past exhibitions
9. 2. - 3. 3. 2012
MIROSLAV TICHÝ
CET OBSCUR OBJET DU DÉSIR
Fotografie a kresby
Otevírací doby výstavy
čtvrtek - sobota 12 - 18 hodin
19. 1. - 3. 2. 2012
Vladimír Skrepl JAGUÁR,
MUSTANG
A PTÁK OHNIVÁK
7. 12. 2011 - 7. 1. 2012
PAVEL BRÁZDA
POKRAČOVÁNÍ LIDSKÉ KOMEDIE
Nové obrazy a grafiky
František Matoušek
KINDERTHERAPIE
27. 10. - 19. 11. 2011
Pocta Janu Pavlíkovi – Dialogy mimo čas
Jano Pavlík / Rudo Prekop / Peter Župník
Jano Pavlík, Ernest už fakt nevie, čo by urobil, 1982-87, © dědicové
kurátorka: Lucia L. Fišerová
29. 9. – 22. 10. 2011
Evžen Sobek
PhotoStories
7. 9. - 24. 9.
29. 6. - 23. 7.
Jan Pištěk - Živly
18. 5. – 25. 6.
Věra Nováková
A retrospective 1949 – 2010
13. 4. - 30. 4. 2010
Rudo Prekop - Štěpán Grygar
17. 3. - 9. 4. 2010
Petr Písařík
15. 2. - 5. 3. 2011
Ve vlastním stínu
Evžen Šimera - Michal Pustějovský
8. 12. 2010 - 5. 2. 2011
PAVEL BRÁZDA
Not yet the end of the world
New digital paintings plus selected works from the 50's to the 90's
13. 10. - 6. 11.
Jiří David
Maadha kai? Madadayo!
8. 9. - 2. 10. 2010
Pavel Baňka: Z mého života
Silvie Milková: horizont událostí / videoprojekce
BASTROPOLIS
M. S. Bastian / Isabelle L. (CH)
Jakub Matuška aka Masker (CZ)
Martin Gerboc (SK)
26. 5. - 26. 6. 2010
Kovanda Jiří Petrbok
7. 4. - 1. 5. 2010
VIRTUAL LIBIDO, REAL ECSTASY
Nadine Blandiche (FR), Josef Bolf (CZ), Veronika Bromová (CZ)
Charles Gatewood (USA), Martin Gerboc (SK), H. R. Giger (CH)
Vlastimil Kula (CZ), Jiří Petrbok (CZ), Irina Polin (CH/RU)
Ivana Lomová
Kočka a já
20. 1. - 13. 2. 2010 Ivan Pinkava - Off Axis
8. 12 2009. - 16. 1.2010
Petr Kvíčala
Flow
29. 10.– 21. 11. 2009
Štěpán Grygar
Photographic series 2
8. 10.– 24. 10. 2009
Vladimí Skrepl
Zastřílet si pro zdraví!
3.9 -26.9. 2009
Forgot your password?
Filin Krug & Markéta Bendová
1. 7. - 18. 7. 2009
Martin Gerboc & The Cabaret Brecht
Tomáš Císařovský / Dorota Sadovská
NEÚNOSNÁ NĚHA / UNBEARABLE TENDERNESS
16. 4. - 8. 5. 2009
9. 3. 2009 – 11. 4. 2009
František Matoušek
6. 2. - 7. 3. 2009
Pavel Brázda
Foto: Přemysl Fialka
Ukázka z Lidské komedie
UNBRAKE!
8. 1. - 31. 1. 2009
Charles Gatewood (USA) - Vlastimil Kula (CZ)
Fotografie
3. 12. - 20. 12. 2008
Svitky a mlhy
Eva Sakuma - obrazy
Petr Pastrňák - práce na papíře
14. 10. 2008 - 8. 11. 2008
Inverzní romantika
Josef Bolf, Martin Gerboc, Jiří Petrbok
Kurátor: Petr Vaňous
11. 9. 2008 - 4. 10. 2008
Jiří Kovanda
Okna, ryby, pelargonie
Práce na papíře 1980 - 1996
20. 6. - 12. 7. 2008
SALTO MORTALE
Rastislav Nado - paintings
Filin Krug - Ema Gekon
films, photography, videoinstallation
INDIE TWINS - Anežka Hošková, Jakub Hošek
Tejpci, kérky, kobry, zdarec, guláš, vercajk, údržba
14. 3. 2008 - 5. 4. 2008
DANIEL DVOŘÁK, JIŘÍ DAVID
Nothing more
1. 2. 2008 - 1. 3. 2008
LIBUŠE JARCOVJÁKOVÁ
TOMÁŠ CÍSAŘOVSKÝ, JIŘÍ KOVANDA, PETR PASTRŇÁK
WORKS ON PAPER
17. 10. - 17. 11. 2007
KATEŘINA DRŽKOVÁ - VIEWPOINTS
PHOTOGRAPHS AND VIDEOPROJECTS 2004-2007
8. 9. - 6. 10. 2007
PETR KVÍČALA - NOT FOR EYES ONLY
PAINTINGS AND WORKS ON PAPER
11. 7. 2007 - 1. 9. 2007
PAINTINGS AND WORKS ON PAPER
M.S. Bastian (CH)
Tomáš Císařovský (CZ)
Ladislava Gažiová (SK)
Jakub Hošek (CZ)
Anežka Hošková (CZ)
David Ilinčev (CZ)
Michal Singer (CZ)
Vladimír Skrepl (CZ)
Jean-Marc de Wasseige (BE)
1. 6. 2007 – 30. 6. 2007
RETROUVÉ
Walter Pfeiffer (CH), Metrocolor (2004)
photographs
Veronika Bromová (CZ), Za závojem (2006)
photographs
Markéta Bendová (CZ), Recognized (2007)
digital photoprojection
his exhibition brings together the works of three photographers from different generations and with varied outlooks on human existence. These conceptual and disparate works document sensitive perceptions on sensuality and intimate experiences brought about by pressure of aesthetics and beauty... read more in our press release.
25. 4. 2007 – 27. 5. 2007
MID-LIFE
Veronika Bromová, David Černý, Martin Horák, Petra Ondreičková, Robert Portel, Pavel Reisenauer, Michal Singer, Jiří Surůvka, Štěpánka Šimlová, Ivan Vosecký
Curator: Lenka Lindaurová
Vernissage: 24th April 18.00
Nothing is going to be as before! The first time we painfully realize this is in our mid-age. A vague nostalgia appears, a longing for other times, a shade of bitterness. We find our worldview changed. An artist faces up to the truth of Nietzsche’s claim that Life finds meaning only through art. Of course, a postmodern, post-conceptual artist of the twenty-first century cannot and does not want to do without irony, a persistent gain of romantic art, canonized by poststructuralist theory. But where does this surprising residual sentiment rise in that irony?
Does it belong to me as curator? Isn’t it me who gives in to sentiment when recalling the first exhibitions of these artists? Isn’t it a certain kind of sentiment that motivated this project? In the early 1990s they were among the hopes and discoveries of our artistic scene, with some standing on its periphery, and remaining in the shadows to this day. Others have become stars but have not shown themselves in the public for long. The assumptions made in the 1990s by the more progressive Czech theoreticians were somewhat euphoric. We were too far from the centres to get on to the Euro-American train of art history which in the meanwhile, before we had realized, had been declared a phantom. The emerging structure of the Czech artistic process strangely atomized in time, with institutions disintegrating before they could be constructively criticized, and at present, what works best is the alternative scene under the hermetic leadership of the youngest generation of artists. Now middle-aged artists are far from being as sceptical about the possibilities of art as their younger colleagues; they do not see themselves as companions of the globe and the universe, art is not for them just a dummy, matrix, or postproduction. One finds among them even transcendental masochists questioning the announced end of art. Selected things originate in the type of marginalia that move me as a contemporary, like the silliest of happy endings (I can’t use the term fairground amusements because they don’t move anybody any more). They have something in common with real art that will be called in thirty years’ time archaeology, but they have in themselves an unmistakable dose of present irony, the merciful beast that keeps us on our toes, above all in our middle age.
Lenka Lindaurová
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22. – 27. května 2007
Art Prague
Contemporary Art Fair
M.S. Bastian
Ladislava Gažiová
Jakub Hošek
Anežka Hošková
Libuše Jarcovjáková
Petr Kvíčala
Walter Pfeiffer
Vladimír Skrepl
Exhibition hall Mánes
Masarykovo Nábřeží 250
Praha 1
www.artprague.cz
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Trouble Every Day
My chewing gum´s taste is as bitter as the smell of your blood
M. S. Bastian (CH) | Josef Bolf (CZ) | Anežka Hošková (CZ)
24. 3. 2007 - 21. 4. 2007
Since we have not been defining Art for some time, we have all but forgotten why we go in for it, why it exists.
The position presented by the three authors of the project Trouble Every Day (the Swiss M.S. Bastian, Josef Bolf and Anezka Hoskova) is clearly ironic. Great stories full of big words have lost their importance and the world presented to us by the media has begun to belong to us as though it were real. Between us and virtual reality there’s something that we can define as Art. The futility that made it immortal reconciles us with our mortality. The similarity, or rather affinity, of the work of the artists on display consists in their legible comics form. Another common adjective can be psychedelic – but going further, these artists part ways.
Bastian is a typical post-production artist working with expedient visual symbols of pop culture. Idiosyncratically he programs signs, figures, words, and symbols, moving in them as though on the Internet from point to point, in an endless chain of possibilities, in a comfortable and a little neurotic user culture, a Flusserian telematic society. This procedure eliminates any risk of esthestization and superficiality. His work resembles a long trip, though something tells us it will not be without a result. The comics world of Bolf is destructive, as though residual stories concentrated in the subconscious of all Modern Art have survived. It is hard to refrain from a literary interpretation as he entices us to it. His paintings are like looking into the eyes of Medusa, so there’s no way out. It’s hard to say whether Bolf is perfectly refined or whether his work shows in full all of our pathological thoughts.
Hošková, the youngest of the three, has no prejudices. Her artistic world is occupied by enthusiasistic symbolics emerging from a history from which, as is well known, all that one can learn is that one cannot learn anything. Since the author does not expect this, this freedom permits endless visual excesses and their variations, influenced by contemporary music and street culture, in a timeless present. Every day we have some problem, and Art must exist in consequence. This tongue-wagging self-ironising form represented by the three artists liberates us in a way.
Lenka Lindaurová
