art fairs


Anna Hulačová


In ANNA HULAČOVÁ’s world, nature is messy but endlessly admirable in its constant adaptability and creativity, even in the face of its own degradation. Organisms mutate to adapt to an increasingly inhospitable environment; our surroundings transform into a kind of sci-fi hybrid landscape. In her approach to art, Hulačová has always broken-down hierarchies. She uses subjects and materials traditionally associated with fine art in combination with that of applied and folk art across cultures, all in combination with contemporary media and aesthetics. Her choice of material does not favor the hardy over the ephemeral – she often works with concrete or industrial materials, but equally with beeswax and the organic, highlighting her enduring concern for our fragile condition, society, and environment. In her apocalyptic vision of the future, she fully embraces the inevitable idea of the end, while searching for new alterations and possibilities that may give us the hope and tools to survive.
Anna Hulačová (born 1984, Sušice) graduated from the Academy of Fine Arts in Prague, the Studio of Intermedia Work II under Jiří Příhoda. She is an extraordinary sculptor, whose work revives traditional crafts, translating the inspiration found in ancient mythologies, eastern cultures as well as in Czech folk traditions and original Christian symbolism into the language of contemporary art. Her primarily figurative works embody an idiosyncratic aesthetic merging ancient idols, Gothic woodcarving and surface minimalism of graphic design and photography. Hulačová has exhibited her work at many institutions, including CEEAC in Strasbourg, National Gallery Prague, Galeria Arsenał in Białystok, Brno House of Arts, Art Encounters Biennial 2021 in Timisoara, MO.CO. Montpellier, Centre Pompidou in Paris, Fondation Louis Vuitton in Paris, Liberec Regional Gallery, East Slovakian Regional Gallery in Košice, 2019 Aichi Triennial in Japan, Casino Luxembourg, Baltic Triennial 13, Prague City Gallery, and Gdansk City Gallery.
Anna Hulačová full cv


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Basim Magdy


In his work, which reflects upon the “incomprehensible structure that is the universe”, Basim Magdy uses a variety of techniques and media including drawing, painting, sculpture, video and installations. He often juxtaposes opposites in a combination of the mundane and the absurd, revealing a deeper existential reflection about the human condition.   The artist says “…my main interest is things I find myself baffled by, things that make me question what I know and make me wonder how much is left to be known. I constantly find myself fascinated by the unfathomable as well as the undefined space between reality and fiction. It’s the space where most of history is made.” (1)  While gently warning us of the dangers that lay ahead, his ultimate message is one of hope; reassuring us that, come what may, humanity will prevail.
Basim Magdy (born 1977, Assiut, Egypt) studied painting at the faculty of Fine Arts of the Helwan University in Cairo. Recent solo shows include: FRAC Bretagne (2023), KM21 Museum of Contemporary Art in Hague (2022), M HKA in Antwerp (2020), the Kunsthalle Mulhouse (2019), Museum of Contemporary Art, Chicago (2017) and the Jeu de Paume, Paris (2016).  His work has been included in group exhibitions around the world, including to name just a few: Malta Biennale (2024), Antéfutur, CAPC Bordeaux (2023), the Taipei Biennale (2023), New Order, Art and Technology in the 21st Century at the Museum of Modern Art, New York (2019), À Cris Ouverts, Les Ateliers de Rennes – biennale d’art contemporain (2018), the Sharjah Biennale (2017), Dust, part of the film program of the Liverpool Biennial (2016), The New Museum Triennial: Surround Audience, New Museum (2015). In 2016 Basim was also named Deutsche Bank’s 2016 Artist of the Year.
Basim Magdy full CV


Dalibor Chatrný


The versatile artist Dalibor Chatrný (1925-2012), who made his name on the Brno art scene, is one of the most important and productive representatives of post-war abstract art in this country. As well as graphics, on which his work is based and which he returned to again and again throughout his life, Chatrný uses a wide range of other expressive means. He explores in detail the thresholds of the medium he is working with at any given time, and investigates all of its aspects. As well as classical creative resources he was intuitively drawn to manifestations of action and conceptual art at that time and examined the relationship of creative art to the immanent forces of nature and landscape. For a long time he was concerned with the link between the semantic contents of words and their possible visual form. As well as artistic interpretations of photography he is the creator of several audiovisual works.

In the series of abstract woodcuts from the beginning of the 1960s (Cleavage, 1961; Signals, 1962), which resulted not only in graphic images but also printed forms as an autonomous artwork, he rhythmatised visual space using simple geometrical shapes. In parallel with cycles of tempera and acronex paintings, in 1963 he arrived at a radical restriction of the authorial subject in a cycle of paintings by magnet, in which traces of Indian ink were left by drawing coloured iron filings across the surface of the paper. Three years later he eliminated the role of creator completely, when he exhibited a signed sheet of paper without any authorial intervention. Around the middle of the 1960s he became interested in the creative process for its own sake in cycles of partially painted relief graphics (Režrot, 1966), combining gaufrage and collage with found technical materials.

In the second half of the decade work with prints and the rhythm of grids led Chatrný to sets of perforated graphics, which blurred the boundary between a creative geometric artefact and damaging of the torn paper. At this time the register of creative media with which Chatrný worked expanded significantly. As well as three experimental films created in collaboration with the composer Alois Simandl Piňos (Static Music, Genesis, Grids, all 1970), which were intended for simultaneous projection in the form of an audiovisual triptych, an eight-hour exhibition in the Procházka Hall of the Brno House of Arts in November 1970 played a key role in his output. The exhibition was created by visitors to the gallery, who connected prepared metal and plexiglass cylinders using a network of twine. This unique live event transcended the gallery space when the public began linking objects in the interior with a bust in the park outside.

As well as the exhibition in Jihlava, which took place a year after that in Brno, Chatrný created paintings in space using white string in several visual objects (two boards linked by string forming the picture Untitled, 1970) and graphic cycles (String Projects, 1970). From the end of the sixties onwards Chatrný worked on applying magnetic force in subtle and changeable objects (Untitled (Two Situations), 1970; Magnetic Cabinets, 1972). Soon he began creating photographs in which he experimented with magnets and iron filings (Magnets in Teeth, 1973), as documentation of his radical research into the organic behaviour of technical material and its possible symbiosis with various parts of the human body.

Chatrný also took an interest in land art, not only in works actually created in landscapes (e.g. Mirrors in the Landscape, 1974), but also in a host of utopian projects in negative and aerial sculptures, in which he appropriated entire cut-outs of real space (Projects of Aerial Sculptures into the Atmosphere, 1973). At the time the period of normalisation began, he was developing an interest in artistic books and the utilisation of text in visual art. His interest in literature was reflected in oft-cited prose and poetic works. For instance, during the 1960s Chatrný used texts by Paul Celan in Indian ink drawings, and in 1982 he paid homage to Robert Musil when he transcribed The Man without Properties onto the pages of an Atlas of Cultivated Plant Diseases and Pests. As well as using extracts from literature, he amassed a huge quantity of work on paper which examined the meaning of words and the associations they provoke (Instructions to Painters and Decorators, 1972; On Colours, 1972).

Very often Chatrný simply made minimal interventions in the photography of other artists from the 1960s. For instance, he changed the relations between photographed objects and persons by linking them with lines and string (Photographs Interpreted by String, 1978), or in series of photographic collages (Reduced Portraits, 1978). Chatrný remains faithful to the main principles of his aesthetic in later years, and enriches them, for instance using painting with two hands (the twenty-metre work entitled A deux mains – Unrepeatable, 1987). In the 1990s he developed the principles of automatism in the extensive cycle Paintings with Obstacles. Chatrný used his own work of the previous decades as a source of ongoing creative procedures and as an integrated and organic whole in collages composed of fragments of his older works (Collected Work, 2000).

1949-1953 – Academy of Fine Arts Prague (under Vladimír Sychra, Vladimír Silovský)
1945-1949 – Faculty of Education, Charles University, Prague
(under Cyril Bouda, Martin Salcman, Josef Sejpka, František Kovárna, Karel Lidický)

1992-1994 – department of scenography, Janáček Academy of Performing Arts in Brno
1992-1993 – concept art studio at the Faculty of Fine Arts, Brno University of Technology, Brno
1990-1992 – Academy of Fine Arts in Prague
1963-1986 – Secondary School of Applied Arts Brno

2011 – Umělec má cenu, cena od Václava Stratila
2007 – Cena ministra kultury ČR za přínos v oblasti výtvarného umění – Czech Ministry of Culture
2006 – Cena města Brna za celoživotní dílo – City of Brno | Life-long Achievement ward – City of Brno
2001 – Cena Sdružení A – R, Christmas, Bratislava
2000 – Cena Michala Ranného, Moravská galerie Brno
1997 – Cena Vl. Boudníka za rok 1996, Hlavní město Praha
1985 – Award 4. Biennale europänischen Grafik, Baden – Baden
1968 – Cena 1. bienále Výzkumu grafiky, Galerie Vysočiny Jihlava
1960 – Cena Antonína Procházky, Jihomoravský KNV

Member of art groups
Klub konkretistů
Umělecká beseda

Solo exhibitions

Dalibor Chatrný, Práce s fotografií, MZM Brno, Památník Leoše Janáčka, Brno

Dalibor Chatrný, Horizontálou – vertikálou, Galerie ABM, Hradec Králové

By Virtue of – Dalibor Chatrný | Něco něčím – Daliborem Chatrným, The House of the Lords of Kunštát, Brno
Dalibor Chatrný Redukce, Tapeta Gallery, Prague

Tak, Teď, Tu | So, Now, Here, Galeria 19, Bratislava, SK
By Virtue of – Dalibor Chatrný | Něco něčím –  Daliborem Chatrným, hunt kastner, Prague
Space, Gesture, Energy | Prostorem, gestem, energií, Regional Gallery, at the House of the White Unicorn, Klatovy

Jsem prostorem | I am Space, Brno House of Arts, Brno
Vidět svět jinak | Seeing the World Otherwise, Prague City Gallery, House of the Stone Bell, Prague

It was going to be | Bylo Bude,  (wall text), Leoš  Janáček Memorial,  MZM, Brno

Drawings with Obstacles | Kresby s překážkami, Geophysical Institute AV ČR, Prague

Galerie Závodný, Mikulov
Museum of Modern Art, Olomouc
Topičův salon, Prague

Trutnov City Gallery, Trutnov

Galerie Ars, Brno
Galerie z ruky, Křížovice
Horácká galerie (with Bohuslav Olešov  & Zdeňek Šplíchal), Nové Město
Galerie Malovaný dům (with Bohuslav Olešov & Zdeňek Šplíchal), Třebíč
Galerie Brno, Brno
Galéria umenie, Nové Zamky, SK
Museum Kampa, Prague

Galerie Via art, Prague
Galerie Štenberk, Štenberk

Galerie na bidýlku, Brno
Galerie Patro, Olomouc

Galerie Chagall, Ostrava
Galerie Benedikta Rejta, Louny

Dům umění | Opava House of Arts (with Jiří Valoch & Nikos Armutidis), Opava
Dům umění, Brno | Brno House of Arts
Městského divadla | City Theater Foyer, Ústí nad Labem

Works of Dalibor Chatrný from the Collection of Jiří Valoch, Regional Gallery of Art,
Graphics Cabinett, Zlín

Trio Concept | Trojí koncept, with  N. Armutidis & J. Valoch, Galerie ARS, Brno
Trio Concept | Trojí koncept, with  N. Armutidis & J. Valoch, Malovaný dům,Třebíč

Interpreted Photography, The Jindřich Streit Photo Exhibition Hall, Liberec
(with Dana Chatrná), Portál – Dům Knihy, Uherské Hradiště,

Texty | Texts, České Budějovice House of Arts
Chance Meeting, Michal Ranný Award, Moravian Gallery, Brno
Work from the 1st Half of the 1960s, Galerie střepy, Brno
Design for a Rocking Monument | Návrh na houpací pomník,  Space for one work, Moravian Gallery, Brno
Three Audio Visual Compositions, with A. Piňos, Dům pánů z Fanálu | House of the Lords of Fanál, Brno

Group Exhibitions

Prepictures: Jan Svoboda & fellows, curated by Pavel Vančát, SVIT, Prague
The Worlds of Jindřich Chalupecký, curated by Karina Kottová, Tereza Jindrová, Tomáš Pospiszyl, Tomáš Glanc, Prague City Gallery at the Municipal Library, Prague
Constructive Tendencies, Between Tension and Tenuous Stability, Galerie Benedikta Rejta, Louny, CZ

Rozhráni (Interface), curated by Jiří Machalický, Galerie GKK: White Unicorn Gallery, Klatovy
No Art Today? New Acquisitions from the Prague City Gallery Collections, Prague City Gallery at the Municipal Library, Prague
Vznášet se a chvět v siločarách přitažlivosti, Muzeum města Brna, Brno
Koncepty zrcadlení, GMU, Roudnice nad Labem
Mladí přátelé výtvarného umění 1960 – 1995, Dům pánů z Kunštátu, Brno
Všechno je koláž, Galerie Smečky, Prague
Všemi směry (devadesátá léta ze sbírek GKK), Galerie Klatovy / Klenová, Klatovy
Ještě jednou, prosím, Telegraph Gallery, Olomouc
Konkrétní podzim 2021 – Symbol, Znak, Litera, Galerie Hradce Králové, Hradec Králové
Všemi směry – Devadesátá léta ze sbírek galerie Klatovy, Galéria Jána Koniarka, Trnava, SK

Vznášet se a chvět v siločarách přitažlivosti, Muzeum města Brna, Brno

Konkrétní podzim, Galerie U Přívozu, Hradec Králové
Na konci duhy, dva kroky vlevo, Galerie u Betlémské kaple, Prague
Carnations and Velvet, Prague City Gallery, Prague
Quodlibet, curated by Karel Císař, hunt kastner, Prague
Plnost redukce, Etcetera Gallery, Brno
Kuna nese nanuk: Umění čtení umění, 8smička, Humpolec
Boudník, MG – Pražákův palác, Brno
Doba plastová, Východočeská galerie, Pardubice
Zvuky, kódy, obrazy: Akustický experiment ve vizuálním umění, Dům U Kamenného zvonu, Prague
Mnohoznačnost struktur / dynamika sil, Museum Kampa, Prague
Karel Malich & utopické projekty, Fait Gallery, Brno
50 Years later / O 50 let později, Galerie umění, Karlovy Vary
Kosmos, Galerie U Bílého jednorožce / White Unicorn Gallery, Klatovy
Rodinné striebro – prírastky galérie 2005 – 2019, Galéria umenia Ernesta Zmetáka v Nových Zámkov, Nové Zámky, SK
Art & Print, Muzeum umění, Olomouc

KunaCarries Nanuk: The Art of Reading Art, curated by Emma Hanzlíková, 8SMIČKA, Humpolec
Transformation of Geometry, Collection of Siegfried Grauwinkel, Berlin and Miroslav Velfl, Praha, Municipal Library, Prague City Gallery
Obrazy zimy ve výtvarném umění 19. – 21. století, Galerie U Bílého jednorožce, Klatovy
Okno před záclonou, Oblastní galerie Vysočiny v Jihlavě, Jihlava
Difficult Ceremony, Galerie U Betlémské kaple, Prague
Naše koláže, Galerie Smečky, Prague
Jaro. Československá výtvarná scéna 1966 – 1968, Galerie moderního umění v Roudnici nad Labem, Roudnice nad Labem

O strachu co príde, East-Slovakian Gallery, Kosice, SK
States Of Mind – Beyond The Image / Part One, GASK – Galerie Středočeského kraje, Kutná Hora
Čs. koncept 70. let, Fait Gallery, Brno
Konkrétní podzim – Čistý výraz, pravá jednota (Klub konkretistů KK3), Galerie města Pardubi, Pardubice
Okamžité chrámy: Reflexe archetypů a rituálů v českém akčním a konceptuálním umění, Muzeum umění Olomouc, Olomouc
Tvary myšlenek. Konceptuální, konstruktivní a lyrické tendence v českém umění z ústeckých sbírek, Dům umění Ústí nad Labem, Ústí nad Labem
Písmo v obraze (Lettrismus ze sbírky OGL, Oblastní galerie Liberec, Liberec
Hry a sny (práce na papíře), Zámek Bruntál, Bruntál
Konkrétní podzim – Materiál-struktura-objekt (Klub konkretistů KK3), Galerie Hradce Králové, Hradec Králové
Konstanty a proměnné – Radek Kratina s Jiřím Hilmarem, Daliborem a Ivanem Chatrnými, Muzeum města Brna, Špilberk, Brno
Nepolapitelná struktura, Galerie umění Karlovy Vary, Karlovy Vary
Obraz a slovo v českém výtvarném umění šedesátých let, Západočeská galerie v Plzni, Masné krámy, Pilsen
Album 76, Galerie výtvarného umění, Ostrava

Sto plus jedno dílo ze sbírky Krajské galerie výtvarného umení ve Zlíne, Regional Gallery of Fine Arts – Zlin, Zlín
Turning Pages / Modern book culture in the collections of the Olomouc Museum of art – Zapadoceska galerie, Pilsen
…On Paper | …na papieri, Galeria 19, Bratislava, SK
From Boudnik to Today – Czech Structural Grpahic Works | Od Boudníka k dnešku – Česká strukturální grafika, Galerie Hollar, Prague
Havel – Prigov and Czech Experimental Work | Havel – Prigov a česká experimentální tvorba, Summer Star Palace, Prague

Labyrinths of energy | Labyrinty energie (with Pavel Korbiček, Vladimír Škoda), Spathio Tadini, Milano, IT
Circuit Olomouc / Olomouc semiofficial art scene during normalization, Muzeum Umeni Olomouc, Olomouc
Papier Kole (Slovenska kolaz / Slovak Collage), Galéria Umelcov Spisa, Spišská Nová Ves, SK
Markéta Adamcová, Dalibor Chatrný, Kateřina Rálišová, Viktor Pivovarov, Galerie 35m2, Prague

Vy troubo! pro Jiřího Koláře,  State Palace, Hradec nad Moravicí and Galerie Cella a Hovorny, Opava
Participace, Galerie Via Art, Prague
Vivat musica!, Prague National Gallery, Trade Fair Palace, Prague
The Olomouc Domain, DOX – Centre for contemporary art, Prague
Second–Forms 4 – Interpretation Of Sheets Of Music ff Leoš Janáček, Moravské zemské muzeum, Brno and the Leoš Janáček Memorial, Brno

Additional Links, Kunsthalle am Hamburger Platz, Berlin, DE
Central Attractiveness / Centrální přitažlivost, Muzeum Umeni Olomouc, Olomouc
Laureáti Ceny Vladimíra Boudníka – Galerie moderního umění v Hradci Králové, Hradec Králové
PragueBiennalePhoto 3 – Karlin Hall, Prague
Collection 1 2 3 / The Tracks of History in Acquisitions – Part 3 – GASK – Galerie Středočeského kraje, Kutná Hora

From Titian to Warhol | Od Tiziana po Warhola, Art Museum in Olomouc
Types of Shapes 3 | Druhotvary 3, Leoš Janáček Memorial, Brno
Mushrooms in Brno | Houby v Brně, Reduta Theatre, Brno
Uchronie ou des récits de collection | neboli příběhy se sbírky, Galerie Klenová & La Frac Franche-Comté, Besançon, FR
Concrete Autumn |Konkrétní podzim, Galerie KK 33, Hradec Králové
Mushrooms for John Cage | Na houby for John Cage, Galerie Gottfrei, Opava
Visable Music, Neue Sächsische Galerie, Chemnitz, DE
Psovo slunce. Expresivne ladené kresby ze sbírky Galerie moderního umení v Hradci Králové, Galerie moderního umění v Hradci Králové, Hradec Králové
Open, Fait Gallery, Brno

…and other things | …a jiné věci, Galerie Cesar, Olomouc
Surface, Depth, Space, Moravian Gallery, Brno
Finalisté Ceny Od Václava Stratila | Umělec má cenu, Galerie mladých, Brno
Citation and Interpretation | Citace a interpretace, Galerie NoD, Prague
Light, Shadow and Darkness | Světlo, stín a tma, Galerie NoD, Prague
Dalibor Chatrný – Radoslav Kratina, Galerie Závodný, Mikulov
6th New Zlin Salon 2011, Dům umění, Zlín
134 + 1497/33 = 15; (15 Rokov Galérie Z), GALÉRIA Z, Bratislava, SK

Soft-headed | Měkkohlaví, Brno House of Arts, Brno and the Slovak National Gallery, Bratislava, SK
Types of Shapes 2 | Druhotvary 2, Leoš Janáček Memorial, Brno
Point, Line In Movement, Vasarely Museum, Budapest, HU
Ceská grafika sedesátých let ze sbírek Galerie moderního umení v Hradci Králové: Cást III – Jazyk geometrie, Galerie moderního umění v Hradci Králové, Hradec Králové

Martin Salcman and his Students, Pilsen City Gallery
Soft-headed | Měkkohlaví, Pilsen City Gallery
Sculpture in the Street | Sochy v ulicích, organized by the Brno House of Arts, Brno
Types of Shapes | Druhotvary, Piešťany House of Arts, SK
Traces of Fire | Stopy ohně, Ostrava House of Arts, Ostrava
Fleuves, Hameau Fournaise, Chatou, FR
Subversive Praktiken – Kunst unter Bedingungen politischer Repression, Württembergischer Kunstverein, Stuttgart, DE

Types of Shapes | Druhotvary, Leoš Janáček Memorial, Brno
Lettrismus, Gallery of Modern Art, Roudnice nad Labem
Robert Hliněnský and his Friends, Galerie ARS, Brno
Images, Words | Obrazy slov, National Literature Memorial, Prague
The Third Side of the Wall, Moravian Gallery, Brno
České a slovenské výtvarné umenie šesťdesiatych rokov 20. Storočia, Liptovská galéria Petra Michala Bohúňa, Liptovsky Mikulas, SK
No cage for me!, Muzeum Umeni Olomouc, Olomouc
5th New Zlín Salon 2008, Regional Gallery of Fine Arts – Zlin, Zlín

TT klub Brno, Künstelforum, Bonn, DE and Brno City Museum, Špilberk Castle, Brno
Artist Meeting | Umělecká beseda, Orlický Mountains Museum and Art Gallery, Rychnov nad Kněžnou
Pocta Kassakovi, Gallery of Art Nové Zámky, Nové Zámky, SK

15 years of the TT Club | 15 let TT klubu, Brno City Museum, Brno

Artist Meeting |Umělecká beseda, Rabasova galerie, Rakovnik
Jubilee Artist Meeting | Umělecká beseda – jubilanti, Mánes, Prague
Space and Time | Prostor a čas, Gallery of Modern Art, Roudnice
Exhibition “without barriers”, Egon Schiele Art Centrum Cesky Krumlov, Ceský Krumlov
Private view (The collection of Josef Chloupek), House of the Lords of Kunštát, Brno
New Zlín Salon 2005, Dům umění, Zlín

Among our Groups | Mezi námi skupinami, Brno House of Arts
The Sixties|Šedesátá, from the collection of galerie Zlatá husa, Brno House of Arts
Artist Meeting 1883-2004 | Umělecká beseda 1883 – 2004, Prague City Gallery at the Municipal Library, Prague
Drawing, Drawing… / Kresba, kresba…, Zapadoceska galerie, Pilsen
Poesia Totale, 1897-1997: Dal Colpo di Dadi alla Poesia Visuale, Galleria Colossi Arte Contemporanea, Brescia, IT
Look Light / Ejhle světlo, Prague Castle Riding School, Prague

The 1960s in Brno | Brněnská 60. Léta, Galerie Aspekt, Brno
Parabola, Moravian Gallery, Pražák Palace, Brno
MiniSalon, Jazzová sekce – Artforum, Czech Center, Paris, FR
Works on paper from Museum Kampa collection, Billek VIlla, Prague
Look light/Ejhle svetlo, Moravian Gallery, Brno

20th Century Czech Painting and Sculpture from the Regional Gallery in Zlín | České malířství a sochařství 20. století ze sbírek Krajské galerie výtvarného umění ve Zlín, Zlín Regional Art Gallery, Zlín Castle
Christmas, Bratislava City Gallery, Bratislava, SK
Gesture and Expression | Gesto a výraz (České umění druhé poloviny 20. století), Moravian Gallery, Pražák Palace, Brno
Masters of Czech Modernism | Mistři české moderny, Galerie Aspekt, Brno
Czech Graphics | Česká grafika, Mánes, Prague
III. nový zlínský salon, Regional Gallery of Fine Arts – Zlin, Zlín
Minisalon, Museum Puri Lukisan, Ubud, Bali  and Galeri Nasional Indonesia, Jakarta
Wilderness – Nature, Soul, Language, Galerie Klatovy / Klenová GKK, Klenová
Object / Object. Metamorphoses in Time, Moravian Gallery, Brno

Possible Messages | Možná sdělení, Moravian Gallery, Pražák Palace, Brno
Brno City Museum, Špilberk Castle, Brno
Grafix 2001, Biennale of Small Graphic Art work | Grafix 200, Bienále drobné grafiky, City Museum and Art Gallery, Břeclav
Object | Object, Metamorphoses in Time, Czech Museum of Fine Arts, House of the Black Madonna, Prague
Traces of the Visegrad Four | Doteky vysegrádské čtyřky, Chagall Center and Gallery of Modern Art, Ostrava
11 Moravian Graphic Salon | 2. salón moravské grafiky, Duha Cultural Club, Prostějov
3D, Galerie Druhá modrá, Brno
Sergrafia dall’Eropa centrale,  Palazzo Esplanade, Merano, IT
Album 1977 – Album 1987 – Album 1997, Oravská galéria, Dolný Kubín, SK
Concretist Club of Concretists| Klub konkretistů, Opava House of Arts, Opava
Contemporary Czech Graphic Art | Súčasná česká serigrafia, Central Slovakian Gallery, Banská Bystrica, SK
Album 1977 – Album 1987 – Album 1997, Slovak National Gallery, Zvolen, SK and Záhorská galéria, Senica, SK

Two Ends of the Century | Dva konce století, Czech Museum of Fine Arts, House of the Black Madonna, Prague
Artist Meeting 1999-2000, Umělecká beseda 1999/2000 (7. členská výstava), Mánes, Prague
Czech Serigraphy | Česká serigrafie, State Gallery, House of Arts, Zlín
Contemporary Czech Serigraphy | Současná česká serigrafie, Museum of Modern Art, Hradec Králové
Josef Kubíček, Jánuš Kubíček and Friends , Galerie Antikva Nova, Prague
Dialogues | Dialogy, Galerie Aspekt, Brno
Painter‘s Symposium | Výstava malířského sympozia, Turčianské Teplice, SK
100 Exhibitions of Galerie Caesar | 100. výstava Galerie Caesar, Galerie Caesar, Olomouc
10 Years of the Blansko City Gallery | 10let Galerie, Blansko City Gallery, Blansko
An Exhibition for Ladislav Novák | Výstava pro Ladislava Nováka, Malovaný dům, Třebíč
90 Years of the Brno House of Arts | 90 let Domu umění v Brně, Brno House of Arts, Brno
Melancholie, Moravian Gallery, Brno
Second Blue | Druhá modrá, City Theatre Foyer, Brno
De Tsjechen komen, Galerie Bij de Boeken a Gemeentehui, Huissen, NL
Art in an Accelerated Time (Czech art scene 1958-1968) | Umění zrychleného času (česká výtvarná scéna 1958 – 1968), State Art Gallery, Cheb
7th Artist Meeting Exhibition | 7. výstava Umělecké besedy, Mánes, Prague
Echos of Cubism | Ozvuky kubizmu, Czech Museum of Fine Arts, House of the Black Madonna,  Prague

Table exhibition | Stolová výstava, Moravian Gallery, Café Wlapr, Brno
Mail – Art Ostrava ’99 (630 cm2), Ostrava Art Gallery, New Hall, Ostrava
Body-Word-Movement-Space | Tělo-Slovo-Pohyb-Prostor, Prague City Gallery, Prague
Art in an Accelerated Time (Czech art scene 1958-1968) | Umění zrychleného času (česká výtvarná scéna 1958 – 1968), Czech Museum of Fine Arts, House of the Black Madonna, Prague
Colorism in Czech Art | Kolorizmus v českém výtvarném umění, Litoměřice Art Gallery, Litoměřice
Art for a Hospital | Umění pro nemocnici, oragnized by the Foundation for Contemporary Arts, Galerie Václav Špála, Prague
International Art Biennial, Sharjah, SAE
Forms of Communication (TT Club) | Podoby sdělení /TT klub/, Castle at Bystřice pod Hostýnem
Light-Shadows-Reflections |Světla-Stíny-Odlesky, Kroměřížska Museum, Kroměříž
Workshop 99 | Dílna 99, Mikulov Castle Gallery, Mikulov
Czech Serigraphy | Česká serigrafie, Opava House of Arts, Opava
Contemporary Past (Czech post-modernism 1960-2000) | Současná minulost (česká postmoderní moderna 1960 – 2000), Aleš South Bohemian Gallery, Hluboká nad Vltavou
Holes | Otvory, Moravian Gallery, Brno
Dialogue 1 | Dialog I, Galerie Aspekt, Brno
Contemporary Polish, German and Czech Lithography |Současná polská, německá a česká litografie, Galerie Miro, Prague
II New Zlín Salon |II. Nový zlínský salón, State Art Gallery, Zlín Castle, Zlín
Club of Concretists| Klub konkretistů, Slovak National Gallery, Esterházy Palace, Bratislava, SK
Czech Serigraphy | Česká serigrafie, Old Town Hall, Architect´s Hall, Prague
… And What Collections / … a co sbírky. Přírůstky Muzea umění Olomouc za léta 1985-1988, The Olomouc Museum of Art, Olomouc
Contemporary Czech Visual Art / Súčasné české umenie (zo súkromej zbierky), Bratislava

Club of Concretists| Klub konkretistů, Regional Gallery in Liberec and Aleš South Bohemian Gallery, Hluboká nad Vltavou
Movement around Wednesday (TT Club) | Pohyb kolem středu /TT klub/, Brno House of Arts, Brno
Inter-Kontakt-Grafik, Old Town Hall, Labyrint, Prague
Poesia totale, 1897-1997, Dal Colpo di Dadi alla Poesia, Palazzo della regione, Mantova, IT
Door-frame | Veřeje, Galerie Sýpka Billboards, Vlkov
6th Artist Meeting Exhibition | 6. výstava Umělecké besedy, Mánes, Prague
Concretist Club | Klub konkretistů, Galerie Klatovy/Klenová, Galley at the White Unicorn, Klatovy
Club of Concretists| Klub konkretistů, Karlovy Vary Art Museum, Karlovy Vary; Regional Gallery in Liberec and the Ostrava House of Art, Ostrava
Non-Standard Formats | Nestandartní formáty, Blansko City Gallery, Blansko and , Galerie Caesar, Olomouc
Czech Collage | Česká koláž, Litoměřice Art Gallery, Litoměřice
Jiří Kolář and Czech Collage | Jiří Kolář a česká koláž, Galerie Nationale, Palazzo Barberini, Rome, IT

Society Q Salon | Salon Sdružení Q, Blansko City Gallery, Blansko
Art When Time Stood Still: The Czech Art Scene 1969-1985 | Umění zastaveného času: česká umělecká scéna 1969­1985,  Moravian Gallery, Pražák Palace and Místodržitelský Palace, Brno and the Gallery of Visual Arts in Cheb
Between Tradition and Experimentation, Work on Paper 1939-1989 | Mezi tradicí a experimentem, Práce na papíře v českém výtvarném umění 1939-1989, Olomouc Art Museum, Olomouc
Drawings from the Collection of Ludvík Kundera | Kresby ze sbírky Ludvíka Kundera, Galerie z ruky, Křížovice
The Sorcerer’s Soul | Jitro kouzelníků, Prague National Gallery, Trade Fair Palace, Prague
Made in CZ – práce na papíře, Brno House of Arts, Brno
Tradition in the New, Moravian Gallery, Brno, and Syombathelzý, HU
Club of Concertists | Klub konkretistů, Vysočiny Regional Gallery, Jihlava and Ostrava House of Arts, Ostrava
About the Beginning | O počátku, Plasy Cloister, Plasy
5th Anniversary Exhibition | Výstava k 5. výročí otevření galerie, Galerie Aspekt, Brno
Czech Frottage | Česká frotáž, Prague National Gallery, Kinský Palace, Prague
Minisalon, Jazzové sekce Artforum, Prague Castle, Prague
Czech Collage | Česká koláž, Olomouc Art Museum, Olomouc,
Between Tradition and Experiment (Work on Paper in the Czech Visual Arts, 1939-1989) | Mezi tradicí a experimentem (Práce na papíře v českém výtvarném umění 1939 – 1989), Olomouc Art Museum, Olomouc

Repeated Stories: Tradition in a New Way | Opakované příběhy: Tradice v novém, The Slovak Museum Gallery, Uherské Hradiště
Dawn of the Magicians? Art, science, society on the turn of milenium / Jitro kouzelníků? – Prague National Gallery Prague, Trade Fair Palace,
5th Artists’ Meeting | 5. výstava Umělecké Besedy, Mánes, Praha
Magical World | Kouzelný svět, Česká pojišťovna Rašínova, Brno
Mirrors | Zrcadla, Stmívání v lomu, Kamenolom u Křtin
Art When Time Stood Still | Umění zastaveného času, Czech Museum of Fine Arts, House of the Black Madonna, Prague
Present | Zpřítomnění, Rosa Coeli, Dolní Kounice
Paper 1996 | Papír ´96, Galerie Aspekt   Brno
Paper Symposium 1996 | Sympozium Papír ´96, Předklášteří, Porta Coeli, Tišnov
Hommage a Kaddák, Kassák Muzeum, Budapest, HU
Repeated Stories | Opakované příběhy, Prague National Gallery, Šternberk Palace, Prague
Czech Lithography from the 1990s | Česká litografie 90. Let, Central European Gallery,  Prague City Museum, Prague
Minisalon, Jazzové sekce Artforum, McKissick Museum, Columbia, MO, USA; Florida Gulf Coast Univeristy, Fort Meyers, FL, USA; MFA – Museum of Fine Arts, St. Petersburg, FL, USA and the University Art Gallery of Massachusetts, North Dartmouth, MA, USA
Artists‘ Meeting 1996 | Umělecká beseda 1996, Mánes, Prague
1st New Zlín Salon | I. nový zlínský salon, Zlín State Gallery, Zlín Castle, Zlín

Minisalon, Jazzové sekce Artforum, Johnson Gallery, Albaquerque, NM; Museum of Art, Indianapolis, IL; Cultural Center, Cedar Rapids, IL; Chicago Cultural Center, Chicago, IL; USA
Artchemo 1968/1969, Prague City Gallery, Old Town Hall, Prague; Galéria Medium VŠVU, Bratislava, SK; State Gallery, Zlín and Vysočiny Regional Gallery, Jihlava
Prague National Gallery Permanent Collection, Trade Fair Palace, Prague
The Czech Visual Arts of the 20th Century | České výtvarné umění XX. Století, Czech Museum of Fine Arts, Prague
Artists‘ Meeting Members Exhibition | Členská výstava Umělecké besedy, Rabasova galerie, Rakovník and Mánes, Prague
The Art of Frottage | Umění frotáže, Kroměříž Museum, Kroměříž and Gallery of Fine Arts, Litoměřice
72 exhibitions in the gallery foyer | 72 výstav v Galerii v předsálí, Blansko City Gallery, Blansko
From Contemporary Works – The 1990s | Ze současné tvorby – 90. Léta, State Gallery, House of Arts, Zlín
Writing in the Visual Arts | Písmo ve výtvarném umění, Fine art gallery, Los Angeles. CA, USA
A Real Picture | Opravdické obraz, Galerie Sýpka, Vlkov
The Art of Frottage | Umění frotáže, Liberec Regional Art Gallery, Liberec
Character-Letter-Space-Time | Znak-písmo-prostor-čas, Libeň Synagogue, Prague
L´art du tampons, Musée de la poste, Paris, FR
Interkontakt-grafiky 1995, Old Town Hall, Prague
Dialogues | Dialogy, Galerie Čebus, Brno

Grafika 1994, Central Eruopean Gallery, Center of Czech Graphic Art, Prague
Minisalon, Jazzová sekce – Artforum, Courtyard Gallery World Financial Center, New York, N.Y.; The Contemporary Arts Center, Cincinnati, OH; and The Art and Culture Center, Hollywood, CA, USA
Artists’ Meeting 1994 | Umělecká beseda 1994, Mánes, Prague
Solidart 2000, Olomouc Art Museum, Olomouc
Artchemo 1968-1969, East Bohemian Gallery, Pardubice
Situace Brno, Knoll galéria, Budapest, HU
Chatrný, J. Ambrůz, P. Kvíčala, Trigon gallery, Pilsen
Partitury, Galerie H, Kostelec nad Černými lesy
Mirroring | Zrcadlení, Galerie R, Prague
Czech Drawing from the 20th Century | Česká kresba 20. Století, Museum of Art in Olomouc
Czech Graphic Art from the 1960s |Česká grafika 60. Let, Prague National Gallery, Kinský Palace, Prague

A Record of the Most Diverse Factors… (Czech Painting from the 2nd half of the 20th Century from the State Gallery Collections) | Záznam nejrozmanitějších faktorů… (České malířství 2. poloviny 20. století ze sbírek státních galerií), Prague Castle Riding Hall, Prague
The Poetry of Rationality – Constructivist Tendencies on the Czech Visual Arts | Poezie racionality – konstruktivní tendence v českém výtvarném umění, Czech Museum of Fine Arts, Valdštejnská Riding Hall, Prague
Minisalon, Aux anciens Abattoirs de Mons, Mons  and Beaux-Arts Mons (BAM), Mons, FR
Shapes of tones | Tvary tónů, Mánes – Czech Art Fund Foundation, Prague

Arrested Time | Zastavený čas, Palmovka Synagogue, Prague
Lyon, Łódź : Muzeum Sztuki w Łodzi, 1931-1992, Musée d’Art Contemporain Lyon, Lyon
In the Void | V dimenzích prázdna, Muzeum Umeni Olomouc, Olomouc and The East Bohemian Gallery / Východočeská galerie, Pardubice
Rysunki artystów czeskich, Galerie Ksiezy mlyn, Lodz, PL
Drawings from the member of the TT Club | Kresba v tvorbě členů TT klubu, Ostrava Museum,      Ostrava
Tales without End | Příběhy bez konce, Prague National Gallery, Kinský Palace, Prague and the Moravian Gallery, Brno
Artists‘ Meeting | Umělecká beseda, Opava House of Arts, Opava and the Brno House of Arts, Brno
Mirroring | Zrcadlení, Galerie H, Kostelec nad Černými lesy
From Contemporary Brno Painting | Ze současné brněnské malby, Brno House of Arts, Brno
Shapes of Tone | Tvary tónů, Mánes, Prague
Grey Brick 35/1992 | Šedá cihla 35/1992, Záhorská galéria, Senica, SK and Galéria Juliusa Jakobyho, Košice, SK and Galerie Klatovy / Klenová, Klatovy
The First Sýpka | První Sýpka, Prague Academy of Arts, Architecture and Design Gallery,  Prague
Acquisitions in Czech Art from the 20th Century, 1989-1992 | Přírůstky českého umění 20. Století z let 1989-1992, Royal Riding Hall, Prague Castle, Prague
Artists‘ Meeting 1992 | Umělecká beseda 1992 (1. výstava VO Umělecké besedy po obnovení činnosti), Mánes, Prague
Situation 1970-1989 (Czech and Slovak art from the 70‘s and 80‘s in Ostrava) | Situace 1970 – 1989 (České a slovenské umění v 70. a 80. letech na Ostravsku), Ostrava Gallery of Art, House of Arts, Ostrava
Text in Painting | Písmo v obraze, National Gallery, Pálfry Palace, Bratislava, SK and Brno House of Arts, Old Town Hall, Brno
Basin | Bazén, Žižkova ulice, Bratislava, SK
The Possibilities of Small Sculptures | Možnosti drobné plastiky, Brno House of Arts, Brno
Shapes of Tones | Tvary tónů, City Museum, Litomyšl
Situation | Situace (AICA), Mánes, Prague
Minisalon, Jazzové sekce Artforum, Nová síň, Prague
Arte contemporanea ceca e slovacca 1950-1992, Palazzo del Broletto, Novara, IT
New Geometry | Nová geometrie, National Technical Museum, Prague
Grafika 1994, Central Eruopean Gallery, Center of Czech Graphic Art, Prague

Alternative Tapesserie | Alternativy tapiserie, Brno House of Arts, Brno
Between Shrieking and Meditation | Mezi křikem a meditací, Moravian Gallery, Brno
Situtation 1970-1989 (Czech and Slovak Art from the 1970s and 80s in Ostrava) |Situace 1970 – 1989 (České a slovenské umění v 70. a 80. letech na Ostravsku), Beskyd Museum, Frýdek-Místek
Performance Art | Umění akce, Exhibition Hall Mánes – Czech Art Fund Foundation, Prague  and Museum of Art Zilina, Zilina
In the Void | V dimenzích prázdna, Gallery of Modern Art Roudnice nad Labem, Roudnice nad Labem and Galerie umění Karlovy Vary, Karlovy Vary

Contemporary Czech Drawing | Současná česká kresba, Moravian Gallery, Místodržitelský palác, Brno
Club of Concretists | Klub konkrétistů, Brno House of Arts, House of the Lords of Kunštát and galeria BWA Uniwersytetu Ślaskiego, Cieszyn, PL
Seven Members of the TT Club | Sedm členů TT Klubu, Galerie Sýpka, Vlkov
40 artistes tchèques et slovaques, Musée du Luxembourg, Paris, FR
New Directions in Czech Drawing and Graphic Art | Nové cesty kresby a grafiky, Palace of Culture, Prague
The Rules of the Game | Les règles du jeu – Sept artistes tchèques, Galerie Artem, Quimper, FR
The Brno Circle | Brněnský okruh, Orlická galerie, Rychnov nad Kněžnou and Galerie u Řečických, Prague
Open Dialogue | Otevřený dialog, Univeristy Club, Brno
Neue Blätter aus der ČSSR, Kupferstich – Kabinett, Dresden, DE
Geometrie und Poesie, Galerie Comenius, Dresden, DE
Books | Objects, Galerie Mladych, Brno

Con amore – Brno, Galerie u Štreitů, Sovinec
Project: Slavkov – May ’89 | Projekt: Slavkov – květen ’89, Historical Museum, Slakov
Contemporary Czech Graphic Art | Současná česká grafika, Mánes, Prague
150 Photographs | 150 fotografií, Moravian Gallery, Brno and Hodonín Gallery of Fine Arts, Hodonín
Hommage a H. Stažewski, Galeria rekwizitorna, Wroclaw, PL
Aus dem Würfelmuseum, Karl Ernst Osthaus Museum, Hagen, DE
Honor of František Šmejkal, The Museum of Fine Arts, Houston, TX, USA
Hommatage to F.G. Lorca, Churana de la vega, Granada, ES

The Possibilities of Thread | Možnosti vlákna, Blansko House of Arts, Foyer Gallery, Blansko
4th Annual Drawing Triennale, Awantgarde Gallery, Wroclaw, PL
A Brno Picture | Brněnský obraz, Brno House of Arts, Brno
Geometry in the Contemporary Visual Arts | Geometrie v současném výtvarném umění, Benar House of Culture, Litvínov
Visuelle Texte aus der ČSSR, Kommunale Galerie, Bielefeld, DE

Geometria i lad, Muzeum okregowe, Chelm, PL
21 zeitgenössische Maler aus Mähren, Lindenau – Museum, Altenburg, DE
Concretist Club 1967-68| Klub konkretistů 67-68, Galeria Rafay, Kronberg-Taunus, DE
Graphic Art from the Collection of the Brno City Gallery | Grafika ze sbírek Galerie města Brna, Brno House of Arts, House of the Lords of Kunštát, Brno
Art of Today, Gallery Hotel Hilton, Budapest, HU

Brno – Rennes, Sister Cities | Družební výstava, Brno House of Arts, Brno
A4 Drawings | Kresba A4, Galerie H, Kostelec nad Černými lesy
A mustra de libro objecto, La maguina espaňola galeria de arte, Seville, ES
Systémy a koncepty | Systems and Concepts, B Galéria, Budapest, HU

Hommage a´ Chlebnikow, Lindenau – Museum, Altenburg, DE
Czech Drawings from the 2nd half of the 20th Century | Česká kresba 2. poloviny 20. Století, Povážská galéria, Žilina, SK
Künstlerbücher, Universitätsbibliothek, Oldernburg, DE
Biennale der Europäischer Grafik, Baden Baden, DE
Colorful Sculptures | Barevná socha, Galerie H, Kostelec nad Černými Lesy
A Duná náj, Magyar urbanisztika Tarsásag Szeházába, Budapest, HU
Brno – Rennes, Sister Cities | Družební výstava, Rennes, FR
South Moravian Artists on the 40th Anniversary of the Brno House of Arts | Jihomoravští výtvarníci k 40. výročí osvobození, Brno House of Arts, Brno

Small Sculptural Works by South Moravian Artists | Drobná plastika jihomoravských výtvarníků, Brno House of Arts, Brno
Czech Drawing | Česká kresba,   Aleš South Bohemian Gallery, Hluboká nad Vltavou
Photography as Documentation and Artefact | Fotografie jako dokument a artefakt, ČKD House of Arts, Blansko
Book Metamorphoses | Proměny knižní značky, Foyer Gallery, Blansko
20th Century Czech Drawings | Česká kresba 20. Století, Regional Gallery, Olomouc

Photographic Heaven | Fotografie Heaven, Cambridge, UK
A táj, Pécsi Galéria, Pécs, HU
1982 Centro artisive fantasticart, Castel San Giorgio, IT
Photography Today | Aktuální fotografie, Moravian Gallery, Brno
Arteder ´82, Muestra international de obra grafica dibujo, Bilbao, ES
Artist book Binding | Umělecká knižní vazba, City Museum, Františkovy Lázně

Graphic Art from Brno | Brněnská grafika, Tartu, EST
Galeria rysunku, Poznan, PL
A Picture of Brno | Brněnský obraz, Brno House of Arts, Brno
Künstlerbücher, Künstverein, Frankfurt, DE
Trienále rysunku, Wroclaw, PL
A Return to Nature | Návrat k přírodě, Musej savremene umetnosti, Belgrad, SRB
Institut superieur l´etude du language plastique, Brussels, BE
Artist´s Books, C.D.A.A. Metronom, Barcelona, ES

Brno Graphic Art | Brněnská grafika, Znojmo
M´Ail Art C.D.A., Barcelona, ES
Contemporay Czech Drawing | Soudobá česká kresba, House of the Lords of Kunštát, Brno
Pécsi Galéria, Pěcs, HU

Foto Medium Warsaw, Galeria miesca i chwile, Diekanka, Wroclow, PL
Numbers, Galleria d´arte nuova , Alessandria, IT
Contemporary Concretist Graphic Art | Současná konkretistická grafika, Institute of Industrial Design, Prague

The Tree in Photography | Strom ve fotografii, Brno House of Arts, House of the Lords of Kunštát, Brno
Galeria Arkade Postkarten, Berlin, DE
Texty Wizualne, 1. Trienale rysunku, Wroclaw, PL

Mirror, Hallwalle Gallery, Buffalo, New York, USA
Texty Wizualne, Galeria Labirynt, Lublin, PL

Visual Poetry International, Gallery D Doellen, Rotterdam, NL
10 autorů z ČSSR, EP Galerie Jürgen Schweinebraden, Berlin, DE
Vizuele Poezie, Van Gogh Museum, Amsterdam, NL
Stamp Art, t´Hoogt, Utrecht, NL
Concrete poem, Visual poetry Anthology , Utrecht, NL

Experimentale Kunst aus ČSSR, Galeria Paramedia, Berlin, DE
Festival de la postal creativa, Galeria U, Montevideo, Uruguay
Brněnská grafika, City Cultural Center, House of Arts, Orlová
Institut de l´environement (Hervé Fischer), Paris, FR
Galerie Paramedia, Berlin, DE

Mirrors, Kápolna, Balatonbóglar, HU and Melldider Gallery, Helsinki, FI
Dibuix Joan Miró, Barcelona, ES
Brno Graphic Art | Brněnská grafika, Zagreb, HR
Flags Festival, Nottingham, UK
Mikis – Theodorakis – Klub, Aalst, BE
Brno Graphic Art | Brněnská grafika, Toruň, PL

35 artisti cecoslovacchi contemporanei , Genova, IT
Biennale of Applied Graphic Art | Bienále užité grafiky, Moravian Gallery, Brno

Brno Graphic Art in Mexico |Brněnská grafika v Mexiku, Mexico City, MEX
Concretist Club | Klub konkretistů, Galerie Interior, Frankfurt nad Mohanem, DE
Sculpture from Brno | Brněnská plastika, travelling exhibition around Poland
Czechoslovak Graphic Art | Československá grafika, Centraal muzeum, Utrecht, NL

50 Graphic Artists| 50 grafiků, Ascoli Piceno, IT
50 + 1 Czechoslovak Graphic Artists | 50+1 československý grafik, Massafra, IT
44 Czechoslovak Graphic Artists | 44 československých grafiků, Oxford, UK
Concretist Graphic Art | Konkretistická grafika, ZK ČKD, Blansko
8 Members of the Concretist Club | 8 autorů Klub konkretistů, Galerie De Bazuin, Harlingen, NL
Czechoslovak Graphic Art | Československá grafika, Musée d´art et d´histoire, Geneva, CH
Festival of Czechoslovak Graphic Art | Festival čs. Grafiky, Correggio, IT
8 Members of the Concretist Club | 8 autorů Klub konkretistů, Heineken Galerij, Amsterdam, NL
Confrontaction | Konfrontace, Nová síň, Prague
Contemporary Czechoslovak Graphic Art | Soudobá československá grafika, House of Art, Hodonín
Concretist Graphic Art | Konkretistická grafika, Závodní klub ČKD, Hall of Art, Blansko

Biennale of Applied Graphic Art | Bienále užité grafiky, House of the Lords of Kunštát, Brno
8 Members of the Concretist Club | 8 autorů Klub konkretistů, Tiffany’s Gallery, Schwenningen, DE
Block of Creative Groups | Blok tvůrčích skupin, Bnro House of Arts, Brno
Painting 1969 | Obraz ’69 (Celostátní výstava současné malířské tvorby), Moravian Gallery, Brno
Club of Concretists | Klub konkretistů, Slovak Union of Visual Artists, Bratislava, SK; Galerie Numero, Florence, IT; Galerie Pluymen, Nijmegen, NL; Gallery of Art, Karlovy Vary and Gallerie Fiamma Vigo, Torino, IT

Contemporary Czech Graphic Art | Současná čs. Grafika, Oregon (USA), Ottawa, (CAN),
Vancouver, WA, USA (travelling exhibition 1968-1974)
Brno Artists | Brněnští výtvarníci, Zagreb, HR
300 Painters, Sculptors, Graphics artists, 5 Generations from the 50 Years of the Republic |300 malířů, sochařů, grafiků, 5 generací k 50 létům republiky,  Prague City Gallery, Mánes, Prague
Club of Concretists | Klub konkretistů, Im Hause Behr, Stuttgart, DE; Galerie Václav Špála, Prague and Vysočiny Regional Gallery, Jihlava
1st Biennale of Graphic Art Research | 1. bienále Výzkumy grafiky, Vysočiny Regional Gallery, Jihlava

Brno Salon | Brněnský salón, Brno House of Arts, Brno
4 Premio Cinisello Balsamo, Milano, IT
Applied Graphic Art from Brno | Užitá grafika z Brna, Poznan, PL
South Moravian Artists | Jihomoravští výtvarníci, Bratislava, SK and Košice, SK
Club of Concretists | Klub konkretistů, Im Hause Beh, Stuttgart, DE and Alpbach, AU
Painting 1967 | Obraz ’67, Moravian Gallery, Brno

Brno Review | Brněnská Bilance, Mánes, Prague

Grafika 65, Vlastivědné muzeum, Písek

Parabola, Regional Gallery, Olomouc
Brno Graphic Art | Brněnská grafika, Krakow, PL
Painting and Sculpture from the Brno Chapter of SČVU | Malíři a sochaři brněnské pobočky SČVU, City Gallery, Polička
Parabola, House of the Lords of Kunštát, Brno

Confrontation of Brno Artist Groups | Konfrontace brněnských tvůrčích skupin, Brno House of Arts, Brno

The 4th Review of Czechoslovak Fine Arts | IV. přehlídka československého výtvarného umění, Mánes and Prague Castle Riding Hall, Prague
Moravian Artists | Výstava moravských výtvarníků, Brno House of Arts, Brno
Profile 58, Brno House of Arts, House of the Lords of Kunštát, Brno

2nd Annual Fine Arts Exhibition | Druhá výroční výstava výtvarných umělců, House of Artists, Brno
Young Czechoslovak Artists | Umění mladých výtvarníků Československa, Brno House of Arts, House of the Lords of Kunštát, Brno



Daniel Pitín


Daniel Pitín (*1977) graduated from the Academy of Fine Arts in Prague, where he studied classical painting under Zdeněk Beran and conceptual media under Miloš Šejn. Pitín creates visually complex paintings with dense symbolism and subtle references to canonic works of art, architecture and late-modern aesthetics. His dark palettes, ethereal figures, and surreal structures – which both hide and reveal their actors – give his works a moodiness and a hint of unspoken content. He describes his paintings as fragments of stories and dreams through which he explores “the personal and collective memory of well-known places.” The principles behind his paintings are also found in his collages, videos, and films, which are characterized by the use of found materials such as personal family and historical archives, online sources, and cinematic references, specifically the work of Alfred Hitchcock, film noir, and 1960s Czech cinema.
Daniel Pitín full CV


Dominik Lang


Dominik Lang (born 1980, Prague) is a sculptor who, from the very beginning of his praxis, reflects on the ways artworks are presented, considering the history of the exhibited work, the social, political and economic context that surrounds it as well as the architecture to which it is situated. Lang understands exhibition spaces not to be mere (mute) coulisses, but elements that play active role in the perception of an artwork and formulation of its meaning. He often reveals the hidden apparatuses of artistic production as well as that of the functioning of institutions trying to find new forms of institutional critique (an example can be several large-scale realizations reacting to the situation of the National Gallery in Prague, its history with a big fire as well as the (non)communication and productivity of its employees).   He often works as an architect of exhibitions in which he combines his artistic praxis with that of an architect, creating installations or spatial arrangements that not only present exhibited works but offer a new context in which they can be read.
In 2011 Dominik Lang represented Czech Republic at the Venice Biennale, turning the Czechoslovak pavilion into his Sleeping City installation. For Sleeping City Lang entered into dialogue with the works of his late father, sculptor Jiří Lang, to comment on the ways art works are getting lost, forgotten, neglected or re-discovered and des/interpreted and asks: what are the forces that shape history and cause what gets in? This installation also started his ongoing series of interventions and alterations of figurative sculptures of other authors. Some of them Lang enlarged and allowed visitors to walk through their interior, others cuts into pieces in regard to compose them newly, change their pose and make them move-stand up from the pedestal, move around the room etc.
Dominik Lang full CV


Eva Koťátková


Eva Koťátková’s (born 1982 in Prague) work addresses the social, institutional and physical structures of everyday life: the rules and restrictions which shape how we think, learn, move, behave and create. She often focuses on the situation of groups or individuals that are from various reasons excluded, discriminated, silenced. She tries to find alternative ways of expression for those who are not able to communicate and integrate in the standard way, often collaborating with children as she delves into marginalised stories and emotions. Koťátková creates installations made up of objects, drawings, collages, photographs, video, performance and text which engage the spectator in new environments to expose them to new perceptual experiences and approaches.
She is the co-founder of the platform Institute of Anxiety, a space for collaboration between artists, theorists and activists that sees anxiety as a result of social, political, economic and ecological forces. It argues that there is a potential for positive change both in attempting structural changes and system critique but also in diverse acts of sharing.
Eva Koťátková (1982, Prague) graduated from the Academy of Fine Arts in Prague with a Master’s degree and obtained her PhD from the Academy of Arts, Architecture and Design in Prague. Her work has been the focus of solo exhibitions held at Nottingham Contemporary (2023); Arter Foundation, Istanbul (2023), Prague National Gallery (2022-3); La Casa Encendida, Madrid, Spain (2022); Bildmuseet, Umea, Sweden (2022); CAPC Bordeaux, France (2022); MeetFactory, Prague (2021); Kestnergesellschaft, Hannover, DE (2019-20), Kunsthalle Charlottenborg, Denmark (2019); Pirelli Hangar Bicocca, Milan, Italy (2018), 21er Haus, Vienna, Austria (2017); Museum Haus Esthers, Krefeld, Germany; ISCP, NY (2016); Parc Saint Léger, France; Fundacio Joan Miro, Barcelona, Spain; MIT List Visual Art Center, Cambridge, MA (2015); Staatliche Kunsthalle Baden-Baden, Germany (2014); Modern Art Oxford, UK (2013); Wrocław Contemporary Museum, Poland (2013); and Kunstverein Braunschweig, Germany (2013). Among other group shows, Eva Koťátková has participated in Documenta, Kassel (2022); the 16th Istanbul Biennial (2019), JIWA: the Jakarta Biennial (2017), Sonsbeek16, Arnheim, NL (2016); the New Museum’s Triennial, NY (2015), the 55th Venice Biennale (2013), the 18th Sydney Biennial (2012), and the 11th Biennale de Lyon (2011).



Ewa Partum


Ewa Partum
Born 25.03.1945, Grodzisk Mazowiecki, Poland
Concrete poetry artist, performance artist, film maker, mail artist and conceptual artist engaged in linguistic activities in an attempt to discover a new artistic language.
Ewa Partum-full Bio


Igor Hosnedl


Igor Hosnedl (born 1988, Uherské Hradiště) has developed a highly singular style of painting, characterized by carefully aligned color tones, flowing geometries and an atmosphere suggestive of alternative states of consciousness. Working almost exclusively in large format and with custom-made oil pigments, Hosnedl deploys a cautious yet bold technique to his work through a method that has guided him into a deeper space of painting. “Color is a very powerful weapon,” he explains, “and I really appreciate the unusual final look of the painting surface – it’s almost like a ceramic glaze.”
Hosnedl’s pictures combine a strange ornamental tickling in the stomach and childlike naiveté and hope for a happy ending – but there is also no simple resolution in Hosnedl’s pictures. The narrative of his paintings emerges from the works themselves and permeates installations of past and future exhibitions. Stories are interwoven in ornament-like curls. Although Hosnedl does not work with the direct citation of literature, the poetics of linking and blind paths may be a key to deciphering his works.  His paintings often take on the theme of ornament as an abstraction; they are non-linear, sometimes figurative and sometimes purely intuitive; an example of a strange, tidy chaos. The principle of ornament is thus not an addition or a compliment of a whole in the sense of decoration; it is a principle of work that transcends the works themselves and weighs them together – and is uniquely reflected in the formal processing of individual paintings. According to the artist: „I operate with classical and established narratives from painting history, like dropped shadows from objects randomly placed on tables or simply on horizons, because I’m trying to develop something that might be understood as an everyday thing, and a system that you already know from your visual experiences.”
Igor Hosnedl is a 2013 graduate of the Prague Academy of Fine Arts, studying in the drawing studio of Jitka Svobodová and the painting studio of Vladimír Skrepl/Jiří Kovanda.  He has exhibited in solo and group exhibitions at Kunsthalle Bratislava (solo, 2023); Künstlerhaus Bethanien, Berlin (2022); Nicodim Galerie, Bucharest (2022); Eigen&Art, Berlin (2023, 2022 & 2021); hunt kastner, Prague (2021 & 2016); Ribot Gallery (with Vera Knox, curated by Domenico di Chirico), Milan, 2020;  Nod Gallery (solo), Prague, 2019;  FAIT Gallery (solo), Brno, 2019;  VDIFF, (curated by Milan Mikuláštík), DUMB, House of the Lords of Kunštat Brno, 2019;  Downs & Ross (solo), NY, New York, 2018; Horizont Gallery (solo), Budapest, 2018; After Late for Pro: Office work (curated by Tereza Jindrová), Meetfactory, Prague, 2017;  and Galerie Jelení (solo), Foundation and Center for Contemporary Arts in Prague, 2016.  He currently lives and works in Berlin.
Igor Hosnedl full CV


Ján Mančuška


Born 1975, Bratislava, Czechoslovakia
Died 2011, Prague, Czech Republic


Jan Šerých


Jan Šerých (* 1972, Prague) studied at the Academy of Fine Arts in Prague, where he later taught (2014-2020). During his studies, he was a member of the art group Bezhlavý jezdec (Headless Rider) alongside Josef Bolf, Ján Mančuška and Tomáš Vaněk. Following up on minimal and conceptual trends of the 20th century, Šerých translates formal geometry to flat surfaces across his chosen media of painting, video and installation. Communication and language are central to Šerých’s work, with the artist questioning our capacity to translate, from words to code, from one language to another, from emotion to art, from creator to spectator. The cryptograms and numbers, Morse and other codes he uses illustrate our semiotic traditions, all while exposing their limitations, potential misuses, abuses and manipulations. From a macro perspective, his corpus captures a reflection on culture, or even civilisation. In addition to the artist’s own implementation of language, he employs machines and software, through code, bringing theoretical considerations into practical application through delegation to technology.
His work has been exhibited widely at exhibitions such as: O důslednosti vědy / On Exactitude of Science, Fait Gallery, Brno (2023); The Palace of Concrete Poetry, Writers’ House of Georgia, Tbilisi (2022); No Art Today? New Acquisitions from the Collections of Prague City Gallery, Municipal Library, Prague City Gallery (2021); Moving Image Department #10: Based On Real Events, National Gallery in Prague (2019); Civilization on the Crossroad: Architects of Scientific-Technical Revolution, Futura, Prague (2019); Orient 2, Kunsthalle Bratislava, (2019); Cokoli II (Whatever II), Luxfer Gallery, Česká Skalice (2018); Neue Schwarze Romantik (New Black Romanticism), Künstlerhaus Bethanien, Berlin, DE & Stadtgalerie Kiel, DE (2017); Noul romantism negru, Muzeul Naţional de Artă al României, Bucharest, RO (2017); Limbo, hunt kastner, Prague (2016); Qwerty, Sokolská 26 Gallery, Ostrava (2016); Pustina (Desert), Berlínskej Model, Prague (2014); Čtvrt na jedenáct (Quarter Past Ten), Set Gallery, Liberec (2014); Wysiwyg, Plato, Ostrava (2014); Cokoli (Whatever), Kabinet T. Gallery, Zlín (2013); !sey, lleH, Jelení Gallery, Prague (2013); Islands of Resistance: Between the First and Second Modernity 1985–2012, National Gallery in Prague (2012); Lies and Layers, (with Esther Stocker), hunt kastner, Prague (2011); Dnes (Today), Etc. Gallery, Prague (2011); Nejlepší ze všech špatných řešení (Making the Best of a Bad Situation), Blansko City Gallery (2010), Ears Like Loops, Zona sztuki aktualnej, łódź, PL (2010); On Altruism, Bonner Kunstverein, Bonn, DE (2010); Bad Moon Rising Special, ISCP, New York, USA (2008); Takemehome, hunt kastner, Prague (2007); I invited some friends to come and watch, Galerija Nova / Galerija M. Kraljevič, Zagreb, HR (2006); V. Biennial of Young Artists, House at the Stone Bell, City Gallery, Prague (2005); Prague Biennale 2, Definition of Everyday, Karlin Hall, Prague (2005); J. Chalupecký Award — Finalists 2005, Municipal Library, City Gallery, Prague (2005); 1811197604122005, Plan B, Cluj, RO (2005); Like Beads on an Abacus Designed to Calculate Infinity, Rockwell, London, UK (2004); Neutral, Motorenhalle, Dresden, DE (2004); Laboratory of Contemporary Tendencies, National Gallery in Prague (2001).
Upcoming exhibitions include the group exhibition Blind Paw, curated by Zuzana Blochová and Marek Meduna at Kurzor Gallery / Center for Contemporary Arts Prague, opening in March 2024.
Šerých lives and works in Prague.


Jaromír Novotný


Jaromír Novotný (born 1974, Český Brod) works with painting in his own very unique way, which does not necessarily involve the classic ‘painting pictures’ techniques. Using traditional and non-traditional materials – whether it is acrylic, graphite, printing ink, paper, board, organza, or canvas, Novotny deconstructs painting, its historic form, and content. He analyzes the basic categories of material and technique, undermining the conventions and consistently “abstracting” the process that allows the painting to come into being. At times he stitches the canvas or organza, not painting it, and treats the painting almost in a sculptural way whereby surface does not always take precedence and all the elements of the work are integral to its viewing – support frame, transparency, and even at times slight tears and openings in the canvas.
Jaromír Novotný studied at the Academy of Fine Arts in the Studio of Drawing under Jitka Svobodová and the Conceptual Tendencies Studio under Miloš Šejn.  For over the past ten years his work has moved in the space between the painted image and a reduction to near abstraction – or between the filling in and the taking out.  Recent exhibitions include the solo exhibition Other Things Held Constant, at the House of Arts in Brno in 2021; Just a Narrow Range of Possible Things, Axel Vervoordt, Hong Kong; 2020: Slow Gestures, Museum der Wahrnehmung, Graz, AU; 2019: The Gulf Between, Art Centre de Warande in Turnhout, Belgium,, Tangents, Brno House of Arts, Czech Republic, 2017: Intuition, Fortuny Palace, Venice, IT; The Body of a Painting (solo), hunt kastner; 2016: What a Painting Wants (solo), Kargl Box, Vienna, AU; Generosity: The Art of Giving, curated by Adam Budak, Forms of Silence, Covent of La Tourette, France;  2015: Fern Flower, with Michal Budny at PLATO in Ostrava, Backlight (solo), Dům umění (House of Arts) in České Budejovice, Jaromir Novotny and Gizela Mickiewicz, curated by Patrycja Rylko, Gdansk City Gallery, PL.  His work can be currently also seen in the exhibition Thinking Through Images, The Visual Events of Miroslav Petříček, curated by Jitka Hlaváčková, at the Prague City Gallery at the Municipal Gallery [4 October 2023 – 7 January 2024] and CO-EXTENSIVE, curated by Filip Šenk, at Galerie Rudolfinum in Prague [19 October 2023 – 7 January 2024].
Jaromír Novotný full CV


Jiří Skála


Born 1976 in Sušice, Czechoslovakia


Jiří Thýn


Jiří Thýn works in, and with, the medium of photography, although characteristically his work crosses the borderlines of the medium, pushing beyond into installation and interventions. In his photographic and object-based installations, Thýn attempts a subjective reflection of the world against the background of contemporary events. While Thýn’s main means of expression remains the medium of photography, in which he tries to work with formally, as does a painter, the medium of installation is also an essential part of his work and is meant to support the overall emotion of the exhibited works.
Over the past few years, he has been developing a body of work that deals with contemporary visual and linguistic language as a prerequisite for communication and culture. His aim is to highlight the issues of global modernist visuality in confrontation to the “untranslate-ability” of local languages with their special and individual codes. Thýn’s studies of pictorial compositions are trying to break away from the flat two dimensional surface only to return back to it again (in the words of the Czech curator Pavel Vančát) with a painful exhalation. After many years of gradually refining his own “conceptual lyricism”, Thýn has recently addressed the questions of pictorial consciousness (or unconsciousness) and of the capturing of reality on the background of the modernist canon.
Jiří Thýn (born 1977, Prague) studied at UMPRUM (Academy of Arts, Design and Architecture in Prague) and AVU (Academy of Fine Arts). From 2014-8 he was a professor in the photography department of FAMU (the Film Academy) in Prague and currently heads the photography studio at the University of Jan Evangelista, Department of Fine Arts, in Ústí nad Labem and teaches at Scholastika College in Prague. His work has been featured in major institutional group exhibitions such as Manifesta 11 in Zurich (2016); The Prague National Gallery at the Trade Fair Palace (2016); the Photographer’s Gallery in London (2016); The Elizabeth Foundation for the Arts, New York, N.Y., USA (2016); Galerie Rudofinum, Prague (2011); MoCP – Museum of Contemporary Photography, Chicago, IL, USA (2010); Casino Luxembourg, forum d’art contemporain, Luxembourg (2010), and he most recently has been the subject of solo exhibitions at Prague City Gallery in 2021 (Silence, Torso, the Present) and at the Brno House of Arts in 2017 (In Search of a Monument II), Fait Gallery in Brno (2023-4) and Trafo Galerie in Budapest. He is currently working on a solo exhibition that will open in September at the House of Arts in Usti nad Labem.
Jiří Thýn, full CV


Klára Hosnedlová


Klára Hosnedová (born 1990, Uherské Hradiště) graduated with an MgA from the Academy of Fine Arts in Prague. Her work encompasses a variety of media including photography, sculpture, furniture, embroidery, and site-specific installation. She is interested in the relationship between the human body and architecture. Her process starts with an in-depth study of a specific site and time – the history, the architecture and materials, and the people who inhabited the space.  From this starting point, she develops a new narrative that is manifested in staged photo shoots with models, selected images of which are then embedded into materially rich installations made up of hand-worked embroidery, stone, metal, glass, concrete and epoxy. All the hand embroidery is executed by the artist herself, who designs and oversees the production of the other parts of the installation – most recently working closely with glass masters from the world-renowned glass workshops in Nový Bor, Czech Republic.
Recent exhibitions include solos at Kestner Gesellschaft in Hannover, curated by Adam Budak, Alexander Wilmschen; Kraupa-Tuskany Zeidler gallery, Berlin in 2020; Prague National Theatre, New Stage in 2018 and VOGL (with guests Lucie Sceranková, Anymade Studio and Igor Hosnedl), curated by Edith Jeřábková, hunt kastner, Prague in 2016. Group exhibitions include The Kick Inside in 2022, curated by Cyril Kuizhen Rao, X Museum; Lyon Biennale 2022; Beijing: Boros Collection #4, current collection presentation, Boros Collection, Berlin; in 2021 58th October Salon, Belgrade Biennale; Baltic Triennial 14: The Endless Frontier; Eclipse, the 7th Athens Biennale; in 2019 Metamorphosis. Art in Europe Now, Fondation Cartier, Paris; in 2015 The Best Tailor in Town, curated by Edith Jeřábková & Jiří Kovanda at hunt kastner, Prague. She is currently working on a solo exhibition at Kunsthalle Basel which will open in February 2024.
Klára Hosnedlová full CV


Michaela Thelenová


Michaela Thelenová’s (b. 1969) ongoing interest in the sphere of photography remains in pictures of the surroundings of the place where she lives, in the centre of the former Sudetenland in the village of Sovolusky, situated not far from the city of Ústí nad Labem. In her work, the artist takes fragmentary shots of people and the landscape of a place associated with the problematic history of the expulsion of Germans after the Second World War and the destructive impact of the communist regime on the natural landscape, and the post-1989 political, economic and social transformation, and incorporates historical relics still influencing the fates of people living in the area into the context of global problems of contemporary technical civilisation. The artist uses fragmentary, anti-descriptive language to liberate the multilayered strata of reality and call into question the dominant status of the power centre. – excerpt from a text by Šárka Jírová: Artlist – database of Contemporary Art
Michaela Thelenová full CV



Tomáš Vaněk


Born 1966, Počátky, Czechoslovakia


Viktor Kopasz


Viktor Kopasz was born in 1973 in Kráľovský Chlmec (Királyhelmec), an ethnically Hungarian region in the Southeast corner of Slovakia.  In 1988, he started his studies of photography at the School of Applied Arts in Košice and then moved to Prague, where he attended FAMU (Prague Film and Television Academy, Department of Photography) from 1992 – 1997.  Historically connected to the fate of three national communities and cultures, the topic of homeland and mixed identities are themes that can often be found in his work.  Kopasz currently lives and works in Prague, where he also teaches Photography at the School of Graphic Design.
Since Kopasz graduated from the Department of Photography at Prague’s FAMU in 1997, he has pursued a path that presents a seminal dialogue not only with the possibilities of photography, but with visual expression as such – a clear vital need for the artist.  In his series Temporary Objects we can observe a change in the perception of sequences outside of the temporal one. The object, which we perceive here in the context of the image as a prototype, is figurally present in all its copies and replicas. The concepts that form causality are inverted here, and it disrupts how our minds usually work to anchor and bind abstract concepts and their equivalents as objects. It could be viewed in the context of one aspect of human-computer interaction – an oscillation between illusory and interactive sequences, which forces the user to switch between different ways of thinking, between different cognitive activities. And it is this aspect that emphasizes the role of something that we call multitasking. A certain straddling of the media and their forms, or horizontal and vertical switching between different levels of references is typical of Viktor Kopasz. Creating sketches and inspirational models sometimes leads to a complete abandonment of the original idea and with a redirected focus on the newly created material.
His work was shown at Post History, curated by Barnabás Bencsik, OFF Biennale Budapest,), 2015, at Imaginary maggots in collaboration with Marek Meduna, 2016, at Konstruktivní lyrika,  Galéria Medium, Bratislava, Slovakia 2018, at Prolonged Identity, curated by Jiří Ptáček, Fotograf Gallery, Prague, 2018, and at Paperlust Photobook Fest, Krakow, 2019. Most recently he had a solo exhibition loose structures at Galerie Smečky in Prague and his artist book Temporary objects was published by Artmap in December 2023.
Viktor Kopasz full CV


Zbyněk Baladrán


ZBYNĚK BALADRÁN’s work can be characterized as an examination of the past and its construction, presentation, in relation to prevailing epistemological paradigms.
Born 1973 in Prague, Czech Republic, artist and curator, Baladrán studied art history at Charles University in Prague (1992 – 1997) and attended the studio of visual communication led by Jiří David at the Prague Academy of Fine Arts (1997-2001). He is the founder and one of the curators of Display, founded in Prague in 2001, and continues to work on the curatorial team and exhibition program up until today.
His most recent solo exhibitions include Des Fissures dans l’archive, curated by Simona Dvorák and Tadeo Kohan, at the Maison Populaire, Montreuil; Necrology, curated by Marika Kupková, TIC Gallery, Brno; Necrology #2: Cartography of the Invisible, curated by Daniel Grúň, Július Koller Society, Bratislava, Slovakia; Out of Control, Studio Tomasseo, Trieste, Italy. Baladrán’s most recent group exhibition was Spring never comes again…, curated by Joanna Kordjak in Zachęta-National Gallery of Art, Warsaw, PL.
Along with Vít Havránek, he was the author of the long-term research and exhibition project Monument to Transformation, that focussed on post 1989-social and political transformation. Baladrán was also a member of the team of curators ( for Manifesta 8, which took place in Murcia, Spain, in 2010 and is the author of numerous exhibition architecture projects and major institutions. His work is represented in the Prague National Gallery, Prague City Gallery, Hradec Králové Regional Gallery, Muzeum Stuzki Łódź, FRAC Ile de la Cite, the Erste Collection, Vienna.
Zbyněk Baladrán full CV


Zorka Ságlová


Born 1942 Humpolec, Protectorate of Bohemia and Moravia

Died 2003, Prague, Czech Republic



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Who Sleeps as He Eats
Retrospective and Particip 222

February 22 – April 6, 2021

curated by Vít Havránek


How can we equate the diverse artistic work of Tomáš Vaněk and his “particips”, a neologism denoting the artist’s paintings, objects, events, sound pieces, etc., each assigned and entitled with a different number? What is hidden behind this disciplined reductionism? The exhibition at hunt kastner offers a good basis for answering these questions as it is Vaněk’s first “retrospective”. While not an absolute exhaustive retrospective, the exhibition does present all of the artist’s Particips numbered from 1 to 221 – 222 artworks in total produced between 1999 and 2021.

To search for the origin of Vaněk’s particip neologism, we have to return to the 1990s, to the circle of Nicolas Bourriaud’s “relational art” (the exhibition Traffic, 1996) and book ‘Esthétique relationelle’, 1998), which later received its first criticism and alternate interpretation in the work of Claire Bishop (2012), a theoretician of participatory art. Bourriaud’s definition emphasized an aspect of artistic practice that did not stem from a mimetic, compositional or ideological system (characteristic for avant-garde and neo-avant-garde), but was reactive in nature. It is an activity that appropriates processes in social and artistic contexts, deviates from and rewrites them. It is a practice that alternates predetermined trajectories of human interaction, rearranges established scenarios of relationships in a community, institutions and cultural environments, or seizes in social life that which was not recognizable for the artist.

Even the term “particip”, which the artist has used for each of his works since 1999, was created through the appropriation of the word participation. He does not however appropriate this word from the environment of art theory, as it might seem at first glance, but from the sphere of the word’s common use. The artist places each of his activities into a pre-existing game scenario of everyday relationships. Particip is a way in which poetry can parasitically take over established social codes, “infect them” and thereby alter them. Unlike approaches arising from criticism, the artist does not have to verify the legitimacy of the position he is acting from as he is a recognized co-actor. The particip admittedly declares itself as a parasitical component of thinking and digesting the social body. Covid has transformed the reading of the usefulness and harmfulness of parasites in the human body, which science has long known about. Without bacteria and viruses, which we popularly perceive as foreign, the body would not survive. Nevertheless from an evolutionary view of the earth and its organisms, the human body is a very fragile newborn on a planet historically inhabited by participating bacteria and viruses.

A particip is performed in a specific space, is temporary in character and can be repeated or exhibited in the form of documentation. For this retrospective we decided to work with a single medium – the gif – suitable for its availability of production, easy dissemination and concentration of time, and which caters to the audience. It is the simplest means to unify both moving pictures (video) and static pictures (photography) because a gif enables the easy animation of a still image. From the beginning, the artist documented individual particips using an image and a concise description of the event. This combination is motivated by sheer necessity as the picture by itself would be incomprehensible for the viewer and would offer too many variants of identification, while the text by itself would eliminate the mimetic entirety of an image’s testimony. The combination of both corresponds to “bureaucratic” poetics that conceptual art has engaged in to achieve maximum accuracy of presentation documents.

Older descriptions of particips are formulated in the first person and the event has the main position in them. Newer descriptions are reminiscent of black-light theater. The originator has disappeared and they are also devoid of verbs, which could reveal person or gender. Black-light theater is white magic founded on controlling the power of optics full of tricks and illusions. We read stories about diverted states of objects, props brought to life by their own will. Over the course of time we observe the former co-actor turn into a Houdini, change into black to disappear and leave the stage to mysteriously behaving objects.

Vít Havránek
special thanks to the Prague Academy of Fine Arts, MeetFactory, SVIT and Litost for their generous technical support.


Adam Christensen: The Wind Swallowed My Words

Adam Christensen: The Wind Swallowed My Words

curated by Caroline Krzyszton
3 September – 29 October 2022

Anna Hulačová: Edible, Beautiful, Untamed | Jedlý, Krásný, Nezkrotný

Anna Hulačová: Edible, Beautiful, Untamed | Jedlý, Krásný, Nezkrotný

23 April – 4 June 2022


barbora dayef (projekt_room): feather of truth, fall of trust



CEVDET EREK: Musıkî Müzik

CEVDET EREK: Musıkî Müzik

4 December 2021 – 5 February 2022

Daniela & Linda Dostálková: Gastro Guilt

Daniela & Linda Dostálková: Gastro Guilt
curated by Caroline Krzyszton
20 July – 02 September 2023

Dominik Lang: Pojďme ven, i když prší! / Let's go outside, even if it rains!

DOMINIK LANG: Pojďme ven, i když prší! / Let’s go outside, even if it rains!
4 May – 24 June 2023

Eva Koťátková, Eva Kmentová: Woman in the Sun, Woman in a Box


curated by: Edith Jeřábková
exhibition architect: Dominik Lang
22| 9|- 16| 11|2018





Igor Hosnedl: Rapunzel

17 May – 24 June 2021

Jan Šerých ANE

Jan Šerých: ANE
27 January – 09 March 2024

Jaromír Novotný: A Barking Dog Interrupts Everything

Jaromír Novotný: A Barking Dog Interrupts Everything
16 November 2023 – 13 January 2024

Jindřiška Jabůrková: Endless Flow

Jindřiška Jabůrková: Endless Flow
curated by Anežka Chalupová and Vít Novák
24 September – 04 November 2023

Jiří Skála: The Aspiration of Foreign Bodies | Aspirace cizích těles

Jirka Skála: The Aspiration of Foreign Bodies | Aspirace cizích těles

19 February – 7 April 2022

KRIS LEMSALU & KYP MALONE: It’s a Family Affair

KRIS LEMSALU & KYP MALONE: It’s a Family Affair

4 September – 16 October 2021

Maruša Sagadin: Fissures, Others’ Houses

Maruša Sagadin: Fissures, Others’ Houses
curated by Vít Havránek
24 September – 04 November 2023
in cooperation with Christine König Galerie, Vienna

Milan Adamčiak: Self-kcia / Self-ction

Milan Adamčiak: Self-kcia / Self-ction
curated by Daniel Grúň
in cooperation with Matej Gavula and Ján Gašparovič
28 June – 12 August 2022



curated by Branka Stipančić

12 December 2020 – 6 February 2021

Natalie Perkof: Kabinet miniatur a rozkoše / Cabinet of Miniatures and Delights

Natalie Perkof: Kabinet miniatur a rozkoše / Cabinet of Miniatures and Delights
3 September – 29 October 2022

neighbourhood boogie-woogie 2019

Neighbourhood Boogie Woogie 2019:  Agoraphilia

curated by Milan Mikuláštík

Neighbourhood Boogie-Woogie 2022

Neighbourhood Boogie Woogie 2022
17th and 23rd July 2022

The sixth annual celebration of art in public spaces organized by hunt kastner aimed to enliven the Žižkov hood by combining contemporary art and music. The program for 2022 reflected upon the approach of artist Milan Adamčiak, who since the mid-1960s had been creating experimental poetry, graphic scores and breaking down the boundaries between classical music and visual and performance art. Using  Adamčiak’s staged performance of “Vodná hudba” [Water Music] as a starting point, we organized a program of contemporary works over a period of 2 weekends, including three new performances created specifically for NBW 2022, with our neighborhood of Žižkov as the backdrop.

Nikolay Karabinovych: Estern Union

Nikolay Karabinovych: Estern Union
in cooperation with Voloshyn Gallery, Kyiv
28 June – 12 August 2022

Ovoce praská na rtech / Fruit bursts on your lips

Ovoce praská na rtech / Fruit bursts on your lips
Valentýna Janů, Marie Lukáčová, Marie Tučková, Lou Lou Sainsbury
curated by Hana Janečková
16 November 16 2023 – 13 January 2024


A True Mirror


07|06 – 20|07|2019

adam stech: portrait painting _ 17|3|- 9|5|2010

17|3|- 9|5|2010

Adam Stech: Portrait Painting _ 3|17| - 5|9|2010

Adam Stech: Portrait Painting

3|17 – 5|9|2010


h u n t k a s t n e r is pleased to present the first gallery solo exhibition of the work of Adam Štech, a recent graduate of the Academy of Fine Arts in Prague. In this series of new paintings, as in his past work, Štech draws on influences and references he finds in classical painting. He deconstructs images and elements – gestures, postures, backdrops, landscapes and allegorical symbols – from reproductions of historical paintings, or even stills from classic films, dissecting and reconfiguring selected components. He collects, pores over, sifts through, and pieces the individual ingredients back together into new combinations and contexts, resulting here in vibrant, bold, Frankenstein-like grotesque portraits that possess a romantic nobility and eerie familiarity. The seven smaller oil portraits, hung on dark red-wine colored backdrops, reminiscent of the walls of a classic portrait gallery, take works by well-known portrait painters such as Holbein, Raphael, Titian, or even a kind neoGerman expressionist Vampire from the film “Dracula” by Francis Ford Coppola, as their initial starting point. Similarly, Štech’s larger and more narrative and epic-like acrylic paintings, stem from works such as “Zeus and Thetis” by Ingres (Cibule/Onion), a Renaissance “Madonna and Child” by a unknown German painter combined with imagery from Polanski’s film “The Ninth Gate” (LCF), or a combination of works from seemingly clashing eras and styles as in the painting Sasquatch, which adopts elements from English Romanticism, the High Renaissance and modern film. The artist doesn’t attempt to reproduce these classical works in any formal way, but rather creates a „remix“ – as the art historian Petr Vanouš terms it: a „stylized remix“, „visual sampling“, or „VJ-ing”. Like a DJ he picks out bits and pieces from his large and varied collection of – in this case visual – material (most of which he has found and collected while surfing the internet) and fuses them back together in new combinations and formations, creating completely new and original works. The end result might initially come off as spontaneous, haphazard, or crudely slapped together, but is in fact is very well thought out and calculated, with a precise skill in the selection, sequencing and proper mixing.


download pdf



25|1| – 15|3|2014



alena kotzmannova and lenka vitkova: olive in a martini

14|3 – 9|5|2008

Artur Magrot: Global Illumination


6 June – 27 July 2020

Basim Magdy | A Future of Mundane Miracle _ 7|9|–19|10|2013

Basim Magdy

A Future of Mundane Miracles


basim magdy: only stone, bronze and the sky shall outlive all the rest 25|2| – 15|4|2017

25|2| – 15|4|2017

BERLÍNSKÝ MODEL hunt kastner & Arratia Beer

hunt kastner & Arratia Beer

By Virtue of | Dalibor Chatrný, curated by: Barbora Klímová & Filip Cenek, 28.5 ­– 30.7. 2016

by virtue of
28|5| ­– 30|7|2016

césar martínez: el imperdurablemente presente


16|10 – 16|12|2006



cover art: modebal paints western masters

17|1 – 16|3|2007


txt in czech


Daniel Pitín_The Baroque office_9|1|-27|2|2016

Daniel Pitín

Barokní kancelář | Baroque Office


curated by: Jen Kratochvíl
9|1 – 27|2|2016


Henry Lime runs into a crossroads within the endless sewer system – a large vaulted chamber full of entryways, passageways, and openings onto the artificial underground rivers that crisscross the hidden city beneath the postwar ruins of Vienna, a city divided into two blocs of eastern and western spheres of influence. From all sides, we can hear indistinguishable shouting – the voices of the police officers trying to locate him within a shrinking perimeter in the giant labyrinth, though it is unclear from which direction the voices are coming. Lime’s eyes and ears – or rather, the camera lens and microphone – scan the various arched openings, but the echoing walls make it impossible to find a safe way out amidst the chaos of reverberating voices. In his panic, Henry Lime (Orson Welles), the anti-hero of Carol Reed’s The Third Man, chooses the wrong path and runs straight towards his inevitable end. Strangely, Graham Greene, the author of the screenplay and its later literary adaptation, left this scene out of his novella, as if it was too visual, too sensory, to be captured in words. But these few seconds take the place of many long pages of describing the character of Lime/Welles in this seminal work of postwar American cinema.


Daniel Pitín uses the actors in his paintings and films as a reflection of the state of human society. The characters do not reveal themselves by their own accord, through specific demonstrations of their character and moods in the form of body language or facial expressions. The space itself forms a description of their nature, their state of mind, and their relationships within the broader context. They literally become prisoners of their setting without Pitín ever seeing this state as negative. What is more, his position towards his screenplays is not purely descriptive, for he feels himself to be an actor in an endless process captured by his always narratively open scenes. Each image forms a part of a whole that is slowly taking shape without having clearly defined borders. The formalistic scenography inspired by the visual nature of late modernism thus frames the various situations, but at the same time makes room for moving back and forth among them. The physical mass of architecture ceases to be rooted in reality and is shifted onto the level of the surrealist landscape of consciousness and memory.


The name of Daniel Pitín’s new film, Cloud Cartography, is a reference to his long-term, though previously non-verbalized, interest in the everyday reality of our co-existence within incomprehensible labyrinths of communication, which can be reflected through the internet. Although we automatically entrust our most intimate data to “cloud services” such as Google Drive, Dropbox, iCloud and many other, in reality we have no idea where we are actually sending our documents, images, texts, tables or films. Computer technicians who try to penetrate the secrets of the internet use the term “cloud cartography” for the act of exploring this uncharted territory and creating a map of data clouds – which are not nearly as immaterial as their name might indicate. At a time when manipulative marketing proclaims the environmental nature of the latest developments in computer technology, when every new laptop or smartphone bears an eco-friendly manufacturing certificate, this virtual cloud, in actuality, consists of a small number of remote data centers – carefully protected buildings in distant locations that burn as much fossil fuel as a small city. And in these spaces filled with their endless rows of server boxes, it makes no difference whether the photograph of your children is stored on the same disk as the data from a pornographic website or back-up information regarding the location of soldiers on a distant battlefield. On the one hand, this fact points towards the democratic nature of the internet, but at the same time it raises serious concerns. The mapping process involves infiltrating an account in the cloud, and from there exploring more and more surrounding data until, step by step, a complete cartography of the cloud’s structure has been created.


The internet can thus be easily compared to an ancient sewage system connecting households throughout the city within an extensive underground river like the one that Henry Lime was trying to escape – a far better comparison than, for instance, the one used by Bill Clinton in the 1990s, when he likened the still-evolving internet to the interstate highway system. After all, with cars you always know where you are coming from and where you are going, but 99% of the time you don’t know where the pipes from your sink lead, nor do you want to know.


Although Pitín’s paintings inherently possess the element of time – frozen, narrative time – they merely hint at what Cloud Cartography does literally. The individual actors are placed into various scenographies of deconstructed matter that open up and are interconnected by direct, indirect and blind passageways. According to Pitín, when you place his paintings in a row, you get the floorplans of rooms and corridors forming an abstract architecture. The principle reference source for Cloud Cartography and the series of paintings entitled Baroque Office was Gilles Deleuze’s book “The Fold: Leibnitz and the Baroque” (1988), in which Deleuze presents an interpretation of Leibniz’s philosophical work and uses the baroque as a theoretical tool for analyzing contemporary art. The book opens as follows:


“The Baroque refers not to an essence but rather to an operative function, to a trait. It endlessly produces folds. […] The Baroque fold unfurls all the way to infinity. First, the Baroque differentiates its folds in two ways, by moving along two infinities, as if infinity were composed of two stages or floors: the pleats of matter, and the folds in the soul. […] A labyrinth is said, etymologically, to be multiple because it contains many folds. The multiple is not only what has many parts but also what is folded in many ways. A labyrinth corresponds exactly to each level… […] A ‘cryptographer’ is needed, someone who can at once account for nature and decipher the soul, who can peer into the crannies of matter and read into the folds of the soul. Clearly, the two levels are connected.”


Although Pitín remains more or less true to his reconstruction of Leibniz’s model, he tries in all his works to offer the possibility of abandoning the infinitely tangled web of folds that make up his canvases and scenographies and the fates of their actors. At the film’s conclusion, it looks as if a way out is within reach, but it proves to be an illusion – the web of information does not abandon its system, its fixed structure, but leads merely into the spotlight of public exhibition in a theater illuminated seemingly by daylight but in reality by further flows of information. We are standing on a stage from which there is no escape.

* **

Struck by a policeman’s bullet, Lime/Welles tries to climb a winding staircase out of the underground labyrinth. He is lying on the upper steps, trying in vain to open the manhole cover in order to escape. His fingers poke out through the grate, but to no avail. He exchanges one last glance with his friend, and is hit by the final bullet. He will never leave the labyrinth.



The Third Man, Carol Reed, Graham Greene, 1949

Tung-Hui Hu, A Prehistory of the Cloud, 2015

Gilles Deleuze, The Fold: Leibniz and the Baroque, 1988

Daniel Pitín, Blind Man’s Bluff, 2015 (The Other Side of an Image, Adam Budak in conversation with Daniel Pitín)




Daniel Pitín (*1977) graduated from the Academy of Fine Arts in Prague, where he studied classical painting under Zdeněk Beran and conceptual media under Miloš Šejn. Pitín creates visually complex paintings with dense symbolism and subtle references to canonic works of art, architecture and late-modern aesthetics. His dark palettes, ethereal figures, and surreal structures – which both hide and reveal their actors – give his works a moodiness and a hint of unspoken content. He describes his paintings as fragments of stories and dreams through which he explores “the personal and collective memory of well-known places.” The principles behind his paintings are also found in his collages, videos, and films, which are characterized by the use of found materials such as personal family archives, online sources, and cinematic references, specifically the work of Alfred Hitchcock, film noir, and 1960s Czech cinema.


daniel pitín, baroque office 9|1|– 27|2|2016




Daniel Pitín: Kunstwerke _ 5|6 - 28|7|2012


5|6 – 28|7|2012

daniel pitin: man in the garden

28|1 – 28|3|2009

Dominik Lang: Bone Collectors _ 24|4| – 13|6|2015


24|4| – 13|6|2015

Dominik Lang: Documentation _ 29|3 - 20|5|2012


29|3 – 20|5|2012



Dóra Maurer | Parallel System _ 31|10| – 19|12|2015


31|10| –  19|12|2015

Eva Kotatkova and Denisa Lehocka _ 26|3 - 25|5|2014

26|3 – 25|5|2014



Eva Kotatkova: Controlled Memory Loss _ 1|14 - 3|7|2010

Eva Kotatkova: Controlled Memory Loss

1|14 – 3|7|2010


h u n t k a s t n e r is pleased to present a new project by Eva Koťátková in the solo exhibition Controlled Memory Loss. In this new body of work, the artist continues her exploration of familiar surroundings. In a series of drawings, objects, installations, videos and photographs, the artist examines, probes, and often redefines the conventional idea and meaning of “to be at home”. Through creating a series of staged situations, illustrated in drawings, video, photographs and models, the artist attempts to define the scope of deeply-rooted patterns and rules, which either influence or determine our behavior as we attempt to integrate ourselves in – or, distance ourselves from – conventional structures. In a remote place, far off the beaten path and from scenic views, lies a neglected mound of discarded household items. Many of the items tossed on this pile have already lost their original shape; most of them have lost their original functions, or potential for recovery and reincorporation back into daily life. As the individual objects sink deeper and deeper into the lower layers, disappearing into the stratification of the mass, each object begins to take on the shape or identity of another, so that there are no longer any easily identifiable autonomous objects, simply shapes, fragments and silhouettes of the original, whose only role is now to remain caught in this anonymous new arrangement. As we look upon this chaotic conglomeration, we might find ourselves overcome with resigned regret, or, on the contrary, gripped by an determination to bring these things back into use, to return them to their former state, and awaken people’s interest in using them again. This means repairing the arm of the chair, fixing the bottom of the drawer, adding on the missing chair legs, screwing new light bulbs into lamps. It would be necessary to glue, sew and piece together the fragments, and do whatever it takes to put these things back together again in some sort of semblance of their former life. But what if, in the midst of these “repairs”, our memory, experience or practice fails us and the pieces refuse to fit back together again? What if, despite our detailed knowledge of all that is familiar to us, we find we are not able to identify the missing parts, name them, or correctly piece them back together again? Then, we would be left with no alternative other than to go back to the beginning – to explore the material of the items, their solidity, pliability or softness, to guess their function in relation to our body, to try and see which objects we can sit on, which ones we can move, which things can be used for cover or to keep us warm, which objects we can hide in… The video work Exercise No. 2- Mound (Cvičení č. 2: Hromada) documents how a group of four people made themselves at home in this mound of cast-offs over a 24-hour period. In addition to 4 videos documenting a series of performances (Exercise No.1 – Hanging; Exercise No. 2 – Mound; Exercise No. 3 – Sitting, Standing, Lying; Exercise No. 4, 5 – Home Reconstruction), the exhibition also presents a series of photographs of staged situations (a human clothes-rack; a home that is carried on one’s back; an instrument for reading multiple books all at one time; an instrument for looking into your neighbors homes), and related drawings. Finally, in the center of the exhibition space, is a series of miniature models, presented on a meandering mound of interlocked black cubes, each numbered from 1 – 14, like the different stations of a board game, which illustrate situations and incidents of home life, based on real experiences. The exhibition visitors are invited to participate by creating their own proposals, in drawing or in text, of how they might react, handle – or, extricate – themselves in any of the given situations. Eva Koťátková (born 1982 in Prague) studied from 2002-7 at the Prague Academy of Fine Arts, Prague Academy of Applied Arts, San Francisco Art Institute and Akademie Bildende Kunst Wien. In 2007 – at the age of 25 – she became the youngest artist ever to be awarded the Jindřich Chalupecký Award for young artists in the Czech Republic. Koťátková combines several techniques in her work, which begins with her drawings – her many drawings are initially created without a set intention, which only later is revealed in the final form and content, objects and video or photographed performances, which are characterized by their playful exploration of the artists immediate environment – and herself.

eva kotatkova: controlled memory loss _ 14|1| - 7|3|2010

eva kotatkova: controlled memory loss
14|1| – 7|3|2010

ewa partum: poem by ewa


13 | 4 – 1 | 6 | 2019



Filip Cenek: Overlay _ 14|11 - 21|12|2012


14|11 –  21|12|2012



Frantiska and Tim Gilman: I have a window - I see and I forget _ 11|8 - 10|10|2011


11|8 – 10|10|2011

Hole in the Flow _ 16|12|2010 - 19|2|2011


16|12|2010 – 19|2|2011

Il faut cultiver notre jardin, NEIGHBOURHOOD BOOGIE-WOOGIE 2018

Il faut cultiver notre jarden

As part of the 4th annual cooperative gallery summer programthis year inspired by Voltaire’s Candide, hunt kastner will be hosting projects by Paul Chaney, Jiří Thýn, Věra Novaková and Veronika Svobodová in the gallery, and projects and events with Anna Hulačová, Tomáš Uhnák and Jolanta Nowaczyk/Alexandra Ivanciu outside of the gallery walls.


“Unabashed optimism is an integral part of our constant effort to cultivate our immediate environment. We create gardens on our balconies, take care of even the smallest free space in front of our homes and even put up beehives on our rooftops. We try to create our own perfect world, while fighting against the pressure that overpopulation imposes on our resources, balancing between the positives and negatives of this incredible, yet harmful,  consumer life. We are always chasing after happiness and looking for new ways to cultivate our own bodies and souls which brings us to Voltaire’s Candide and his famous yet troubling phrase ‘il faut cultiver notre jardin’. Is it satire? Is he saying we should focus on the individual as this is all that we can ultimately do? Or does focusing on the individual bring about gradual improvements in society at large? Where and how do we find a balance?”
(Jan Vítek & Tereza Havlovicová, curators)


for full program see:




Interpreter I & Anna Hulačová _ 12|9| – 17|10|2015




12|9| –  17|10|2015


Jakub Nepraš: Landscape _ 27|1|2012 - 15|3|2012


27|1|2012 – 15|3|2012



Ján Mančuška: A Gap (in cooperation with Meyer Riegger, Berlin/Karlsruhe)

Ján Mančuška, A Gap

5 September – 17 October 2020

jan šerých: LIMBO 12|3 - 14|5|2016


12|3 – 14|5|2016

jan serych: takemehome


29|5 – 30|30|2007



Jaromír Novotný | Guiding Lines _ 27 l 3 – 11 l 5 l 2013


27 | 3 – 11 | 5 | 2013

Jaromír Novotný The Body of a Painting 7|1| – 18|2|2017

7|1| – 18|2|2017

jiri prihoda: e-shape, e-space, e-scape 16|5 - 15|7|2008

16|5 – 15|7|2008



Jiří Skála: Third Family of Objects and Confrontational Readings _ 7|9 - 12|10|2012


7|9 – 12|10|2012

jiri skala: two families of objects

10|10 – 30|11|2007

Jiri Thyn, Consciousness as a Fundamental Attribute, I, II _ 28|8| - 11|10|2014

28|8| – 11|10| 2014

jiri thyn: less

8|4 – 6|6|2009

Jiří Thýn: Tvar, práce a dvě tlustá břicha | Shape, Work and Two Fat Bellies



josef bolf: heavy planet 19|12| 2014 - 14|2| 2015


19|12|2014 – 14|2|2015



josef bolf: personal disposition _ 21|5 - 18|7|2010

21|5 – 18|7|2010


Josef Bolf: Personal Disposition _ Mar|21 - July|18 |2010

Josef Bolf: Personal Disposition

Mar|21 – July|18 |2010 


h u n t k a s t n e r is pleased to present our second solo exhibition by the well-known Czech artist Josef Bolf. In this exhibition of new work, the artist combines sound with a series of paintings that were inspired by various photographs that the artist found while going through old family photograph albums. Here, more than ever before, the artist has focused on the phenomenon of memory and how it shapes our character, influences our self-perception, and affects our lives. In using old photographs as a starting point, the artist was influenced by the writings of the French critic and philosopher Roland Barthes, when he said “photography is a kind of primitive theater, a kind of Tableau Vivant, a figuration of the motionless and made-up face beneath which we see the dead.” A photograph, he explained, creates a falseness in the illusion of “what is”, where “what was” or “what has ceased to be” would be a more accurate description. The selected photographs, used as models for the paintings, were not chosen because they held any close personal meaning for the author, nor are they meant to create any kind of narrative, personal or otherwise. The images he chose just happened to catch his eye for different and various reasons – a special atmosphere, the way the light caught a white shirt, a fault in the photography creating a black frame, or just something odd or intriguing in the background. We can still find images of places and people that figure in the Bolf’s personal life, but the artist’s relationship with the subjects in the paintings is not paramount. More important for the artist is this relationship between “what is” and “what was”. Another source of material for this new series of work is the one act play Krapp’s Last Tape by Samuel Beckett (Krapp being described by Beckett as a man with a masochism that both demands and dreads the assault of memory), as well as a cheap secondhand paperback called something like “Unexplained Mysteries of this World”. Bolf worked with Roman Štětina, a student at the Academy of Fine Arts, on making a sound recording for the installation that is played on a simple old fashioned tape recorder. The exhibition visitor enters the gallery into an almost empty narrow entrance way. Just one small painting is on the wall: a dark and smoky image of a prostrate figure lying face down on the carpet in front of an open fire place. Inexplicable noises can be heard coming from the other side of the wall: moving, scraping, and shuffling, even sawing sounds – someone is there, doing something. As the visitor rounds the corner and enters the exhibition space, they see that the sounds are only coming from a recording played on a tape player lying alone, on the floor, in a corner of the room. Did the protagonist they expected to meet, place this audio decoy there to fool them and then escape out the back door? Josef Bolf’s palette has become much softer and subtler over the past year; these paintings are more “painterly” than his previous work, which was – in particular the scratch paintings from 2006-7 – more a derivative of his drawings. The paintings were meticulously worked on in multiple layers in oil paint, often with a trickle or thin layer of ink to create a sort of rainy black veneer. The artist easily spent a full month in the studio to complete just one work. The locations interpreted the paintings (i.e.: The Reservoir, On the Corner, The Castle, The Hospital, The Storeroom) no longer emphasize the sterile landscapes and harsh lines of the large housing estates on the edges of Prague that much of his earlier work favored. There is a softer, gentler, pensive atmosphere and, while still dark, include a wider range of colors than in his characteristic pink and black works. Despite, or perhaps because of these departures in technique from his previous work (Bolf is an artist who gets bored repeating the same thing over and over), these new works are still very distinctively “Bolf-esque. There is one constant theme that remains present throughout all his work: death and mortality. J o s e f B o l f (born 1971, Prague) doesn’t really need much introduction to Czech audiences. Last year, his large scale paintings from the Rudolfinum exhibited “Undercurrents” brought him wide spread attention, and his solo exhibition “You Are Not You, You Are Me”, later in the year, at the Prague City Gallery at the Old Town Square, attracted a large number of visitors and rave reviews. He has been commissioned by the Moravian Gallery to create a new mosaic for the façade of the historic Jurkovic villa in Brno, and later this year his work will be included in several large museum exhibitions, including “Decadence Now”, curated by Otto Urban at the Rudolfinum, or “And Don’t Forget the Flowers”, curated by Yvona Ferencova at the Moravian Gallery. Josef Bolf’s work has also become much better known internationally and can be found in prominent collections in Europe and the United States, as well as at home. His solo exhibition, “The Wolf”, just closed at Ana Cristea Gallery in New York City, and later this year his work will be featured in the exhibit “After the Fall” at the Hudson Valley Center for Contemporary Art in New York, a public museum established by the prominent art collectors, Livia and Marc Strauss in Peerskill, New York.

josef bolf: soft and pink

15|5 – 15|7|2006

Josef Dabernig, VIKTORIA





Kajsa Dahlberg & Jirka Skála: In my hands, every day, In my sight, every day 9|9-27|10|2017




Klara Kristalova, Where I Come From and Where I Will Be _ 7|6 - 3|8|2014


7|6 – 3|8|2014



lena knilli: in den haeusern

8|2 – 2|10|2006

Lies and Layers: Esther Stocker and Jan Serych _ 31|10 - 17|12|2011

31|10 – 17|12|2011



Marie Kratochvilová, curated by Pavel Vančát, (in the projekt_room)


9 | 9 – 27 | 10 | 2017



 curated by: Pavel Vančát

special cooperation: Terezie Petišková


michaela thelenova: about freedom

2|3| – 2|5|2006



12|10| – 5|12|2010


Michaela Thelenová: Sudetská reneta | Sudeten Reinette 8|12|2018-26|1|2019



only stone bronz and the sky

25|2| – 15|4|2017


„Loss becomes a tradition for the forgetful,“ we read in Basim Magdy’s film The Many Colors of the Sky Radiate Forgetfulness (2014), while statues, rocks, trees and animals show us their numb faces. There obviously is something they want to remind us of, but it´s so hard for us to tell of what or why. Like with other exhibited works, the series of photographs The Hollow Desire to Populate Imaginary Cities (2015), The Universe Stopped to Gaze at our Footprints (2014) or Masquerading as an Oversized Underwater Mountain Range / A Make Believe Rainbow After a Storm (2016), Magdy´s attention is turning towards an intuitive visual interpretation of the world; to pieces of stories, short moments, found fragments of eavesdropped tales, to small bits of mental maps of our time. As well as the central installation The Future of Your Head (2008), they are all asking the same thing: How do we stand in the world, and how does the world surround us?

In Basim Magdy‘s world we stand in motion. For him, neither history, present, nor the future are merely a linear succession of facts, figures, data, liters of blood spilled, military operations, revolutions, or paradigm shifts. It is a variable and ever-changing mix of everything we want to or do not want to, can or cannot, remember. An unclear, blurred and indistinct mixture of emotions, relationships, justices and injustices, joys and pains, significant and petty events, of changes as well as of what is changing too slow for us to notice. Basim Magdy´s work opens a part of memory that does not need to succumb to historiographical categorizations. He does not postulate how things happened, does not demand connections to be logical to make sense. It is neither the winners nor the losers he is primarily interested in, he does not elaborate who stood on which side of the barricade. He rather hesitates, looks closer, collects and records, intuitively fabulates, empathizes. He forces us to re-live the memories as emotions and to let the volatile situations materialize in our own present. He revokes their appearance, knowing that their re-appearance is yet again just an elusive moment in time. A moment that will briefly disappear into oblivion, just to be rediscovered and resurrected from the ashes – in a different way, somewhere else and by someone else. It is due to this hesitation that we´re allowed to approach memory much closer than we normally would – albeit with the risk of forgetting it all in a second.

– – – – – – – – –


Basim Magdy (b. 1977) is an artist based in Basel, Switzerland and Cairo, Egypt. His exhibitions include solo presentations at Jeu de Paume, Paris; MCA Museum of Contemporary Art, Chicago; MAXXI Museo nazionale delle arti del XXI secolo, Rome; CAPC musée d’art contemporain de Bordeaux; Deutsche Bank KunstHalle, Berlin and Art in General, New York. His work was presented recently at group exhibitions at Hessel Museum of Art, Annandale-On-Hudson, New York; Salt Ulus, Ankara; Sharjah Art Foundation, Sharjah, UAE; Whitechapel Gallery, London; MoMA The Museum of Modern Art, New York; KW Institute for Contemporary Art, Berlin; The Museum of Contemporary Photography, Chicago; Surround Audience: 2015 New Museum Triennial, New Museum, New York; Museum of Modern Art Warsaw; HOME Manchester, UK; Lismore Castle Arts, Ireland; La Biennale de Montreal, Canada; MUMA – Monash University Museum of Art, Melbourne; His work has been featured in numerous biennials including the SeMA Biennial MediaCity, Seoul, Korea, 2014; the 13th Istanbul Biennial, Turkey, 2013; Biennale Jogja XII, Indonesia, 2013; the Sharjah Biennial 11, UAE, 2013; La Triennale, Palais de Tokyo, Paris, 2012 and Transmediale, Haus der Kulturen der Welt, Berlin, 2012. He was shortlisted for the second edition of the Future Generation Art Prize, Pinchuk Art Centre in 2012 and is the winner of Abraaj Art Prize, Dubai and the New:Vision Award, CPH:DOX Film Festival, Copenhagen in 2014. Magdy is the recipient of the 2016 Deutsche Bank Artist of the Year award.

text: Zuzana Jakálová, February 2017

Palimpsests: Cyril Blazo and Juergen von Dueckerhoff _ 17|5 - 16|07|11


17|5 – 16|07|11



petra vargova: sound flowers


8|8 – 2|10|2007

Pivovarov-cesky pivovarov - 19|5| – 15|7|2017


19|5| – 15|7|2017


Přemysl Procházka, Práce | Work _19|5-4|7|2018



QUODLIBET, curated by Karel Císař

15|11|2019 – 1 |1|2020

exhibition architect: Dominik Lang


Rocnova Anna - 26|5| – 15|7|2017


26|5| – 15|7|2017

guest: Martin Zvěřina

curator: Tereza Jindrová

Si On: Female Creature


25|1 – 21|3|2020

something of myself: 23 self-portraits

something of myself: 23 self-portraits
26|6 – 26|8|2009

stepanka simlova


9|1 – 8|3|2008

The Best Tailor in Town, a group exhibition curated by Edith Jeřabková and Jiří Kovanda 28|2| - 11|4| 2015








28|2| –  11|4|2015



The Earth Turns and All Things Slip Away _ 17|1 - 16|3|2013

17|1 – 16|3|2013


Artists: Zbyněk Baladrán, Geta Brătescu, Stano Filko, Ryan Gander, Geert Goiris, Fernanda Gomes, Katarína Hládeková, Barbora Kleinhamplová, Eva Kmentová, Stanislav Kolíbal, Július Koller, Alena Kotzmannová, Eva Koťátková, Jiří Kovanda, Ján Mančuška, Markéta Othová, Anna Ročňová, Jiří Skála, Jan Svoboda, Jiří Thýn, Tomáš Vaněk, Guido van der Werve



The Lost Highway: Alena Kotzmannova and Tomas Vanek at Villa Rejkyavik, Iceland _ 7|9 - 7|30|2010

The Lost Highway: Alena Kotzmannova and Tomas Vanek  at Villa Rejkyavik, Iceland

7|9 – 7|30|2010

The Race: Tomas Dzadon and Valentino Diego _ 7|30- 8|26|2010




Tomáš Vaněk: Particip123 / Presentaction _ 11|3 – 7|5|2011


11|3 – 7|5|2011

tomas vanek: when i watch tv i do not think

15|12|2005 – 15|2|2006

veronika bromova - hahathor's handbag _ 23|3 - 22|5| 2007

veronika bromova: hahathor’s handbag
23|3 – 22|5| 2007



VERONIKA PAUSOVA, Drawing the Curtain _19|5-4|7|2018




Viktor Kopasz & Geert Goiris | Dead Language _ 8|11| – 21|12|2013


8|11| – 21|12|2013



Viktor Kopasz: Late Harvest

Viktor Kopasz
Late Harvest
19|11|2008 – 18|1|2009

viktor kopasz: late harvest

19|11|2008 – 18|1|2009



VIKTOR KOPASZ: Temporary Objects / Book Proposal

6 June – 25 July 2020


5|11|- 17|12|2016


When Textiles Become Form





3|9 – 22|10|2016



Zbynek Baladran, Diderot's Dream _ 24|10| - 6|12|2014


24|10 – 6|12|2014

Zbynek Baladran: Cognitive Maps _ 23|9 - 21|11|2009


23|9 – 21|11|2009



Zbyněk Baladrán: the beginning of something yet to be determined

31|08 – 2|11|2019

Zorka Ságlová: Bílá _ 27|1|2018 – 3|3|2018


27|1|2018 – 3|3|2018

Zorka Ságlová: Hay-Straw 50


28|07 – 23|08|2019


Sráč Sam

SRÁČ SAM: Vrhni stín sněhuláka / Casting the Snowman’s Shadow
2 December 2022 – 3 February 2023

Tomáš Vaněk: Who Sleeps as He Eats

Tomáš Vaněk: Who Sleeps as He Eats

Retrospective and Particip 222

curated by Vít Havránek

22 February – 16 April 2021

Touching Time that Stands Still

Dotknout se zastaveného času / Touching Time that Stands Still
Eva Kmentová, Eva Koťátková, Alena Kotzmannová,
Alena Kučerová, Adéla Matasová, Tereza Štětinová
17 February – 1 April 2023


Vodná hudba / Water Music 1970

HP new

Katya Buchatska: You Will See This Light on the Sunniest Day

Katya Buchatska: You Will See This Light on the Sunniest Day
20 July – 02 September 2023

in cooperation with The Naked Room, Kyiv








coming up


Josef Dabernig, VIKTORIA

curated by Luca Lo Pinto

opening reception Friday, November 10, 6-9pm



Sigurður Guðmunsson: Journey of Being

5 September – 17 October 2020


31|8 – 4|10|2019

Roman A. Muselík, a part of Fotograf Festival 2019

10|10 – 16|11|2019


Test artist