Possibilities of Painting (1989–2019)19. 10. – 16. 02. 2020
Curated by Dušan Brozman & Emma Hanzlíková
Artists: Peter Bartoš, Andrej Bělocvětov, Václav Boštík, Michaela Černická, Jiří Černický, Filip Dvořák, Stano Filko, Martin Gerboc, Milan Grygar, Štepán Grygar, Vladimír Hanuš, Vladimír Havrilla, Bohdan Hostiňák, Milan Houser, Alžběta Josefy, KW, Miroslav Machotka, Martin Mainer, Marek Meduna, Jan Merta, Jakub Nepraš, Alice Nikitinová, Jaromír Novotný, Petr Pelzmann, Ivan Pinkava, Daniel Pitín, Viktor Pivovarov, Tomáš Ruller, Vladimír Skrepl, Jiří Sopko, Jiří Středa, Jitka Svobodová, Robert Šalanda, Adam Štech, Emöke Vargová, Vladimír Véla / Architect: Tomáš Džadoň
The exhibition traces the possibilities of Czechoslovak classical painting of the last 30 years. It focuses on the sensory perception of specific phenomena in painting, such as colours, shapes, light or the author’s style. Marcel Duchamp used the term “Retina art” derogatively for works focusing merely o the optical impression. The exhibition accentuates the visual nature of the painting, which is equivalent to the ideological component of the work. It may be seen as a way of traditional reading of contemporary painting, or contemporary reading of traditional painting.
The Loners of Vysocina08. 06. – 29. 09. 2019
Curated by Miloš Doležal & Emma Hanzlíková, Dan Merta
Artists: Jiří Bašta, Stanislav Hynek Doležal, Luboš Drtina Marie Galimberti-Provázková, Jiří John, Čestmír Kafka, Jaroslav Panuška, Bohumír Prokůpek, Jindřich Prucha, Jiří Příhoda, Bohuslav Reynek, Jaroslav Rössler, Jan Zrzavý / Temporary artistic interventions in the ladscape: Stanislav Abrahám, Josef Čančík, Jan Šerých / Architect: Jiří Příhoda
Vysocina is a wrinkled, rugged region, constricted by distress, squeezed between Bohemia and Moravia. In these melancholic regions we often encounter individuals for whom the return to birthplace or abandonment of civilisation has become the only possible way of existence. Rough Vysocina is characterised by shutting oneself into the inner world and the search for inner solitude and spiritual sources. The inspirational tradition that one may draw upon and learn from was defined by outsiders who gradually become essential figures of our cultural history – Josef Florian, Jakub Deml, Bohuslav Reynek or Ivan Martin Jirous. Artists linked by the foggy highlands share radical separation from cultural centres and opposition to the contemporary regime. In the depths of this mysterious region, we may find hiding contemplative solitaires with creative spirits, poets and painters, musicians and architects, whose work, bearing blurred motives of existential distress, should not remain forgotten.
The exhibition is enhanced by three interventions, in which two contemporary artists and one architect temporarily (until the end of summer) enliven three locations in the surrounding landscape. They take inspiration from two late geniuses from Vysocina (G. Mahler and B. Reynek) and in one case from architecture (Melechov). The forested hummock where our pagan ancestors used to hold their feasts (Josef Čančík @Melechov). The bank of a brook where sheep used to feed (Jan Šerých @ Petrkov). The courtyard of a former coaching inn (Stanislav Abrahám @ Pension Mahler, Kaliště).
The Art of Reading Art09. 02. – 12. 05. 2019
Curated by Emma Hanzlíková
Artists: Milan Adamčiak, Pavel Büchler, Dalibor Chatrný, Bohumila Grögerová, Milan Grygar, Josef Hiršal, Jiří Kolář, Běla Kolářová, Július Koller, Viktor Kopasz, Jakub Kovařík, Radoslav Kratina, Jan Kubíček, Ján Mančuška, Štěpán Marko, Milča Mayerová, Monogramista T.D, Vítězslav Nezval, Ladislav Novák, Eduard Ovčáček, Marian Palla, Otto Pilip, Matěj Polách, Rafani, Vojtěch Říha, Jiří Skála, Zdeněk Sklenář, Václav Stratil, Tomáš Svoboda, Jan Šerých, Karel Teige, Timo, Karel Trinkewitz, Miloš Urbásek, Andrea Vacovská, Jiří Valoch, Lenka Vítková, Dušan Zahoranský
The exhibition is based on the interwar avantgarde tradition and 1960s Lettrism art. The alphabet, as a set of basic building stones of our language, serves self-expression. Literary and visual artists play with letters and explore the limits between word and image, or use the script to amplify the visual effect. The letter, as a sign, and simultaneously often also an aesthetic geometric symbol, plays an important role also in the current digitised world, where focusing just on text and not observing only visual navigation through images or photographs is becoming increasingly difficult.
Artistic Duos at Work13. 09. – 13. 01. 2019
Curated by Emma Hanzlíková
Artists: Julia Gryboś & Barbora Zentková, Anetta Mona Chişa & Lucia Tkáčová (CHITKA), Jarmila Mitríková & Dávid Demjanovič, Aleksandra Vajd & Hynek Alt, Steina Vasulka & Woody Vasulka, Jaroslava Brychtová & Stanislav Libenský, Vasil Artamonov & Alexey Klyuykov, David Böhm & Jiří Franta, Ondřej Brody & Kristofer Paetau, Lukáš Jasanský & Martin Polák, Milan Mikuláštík & Jan Nálevka (MINA) Concept: David Böhm & Jiří Franta
There are a several creative pairs of artists who present themselves as one entity. Each piece of their work is a symbiosis of a mutual cooperation. Only with the arrival of the avant-garde the phenomenon of artistic cooperatives starts occurring systematically. A variety of collective signatures of art associations, groups and couples alongside individual artist push the borderline of authorship. The exhibition Two Heads, Four Hands introduces works of art of a several artistic duos who worked in Czechoslovakia, even though in some cases one person of the couple was a foreigner.
The interconnecting points of the duos are based on pair symmetry, mirror reflection, optical illusion, on the ability to dialogue and on the identity game and irony. Although a functioning within a couple is primarily a natural principal, in the world of art it is more of a rarity.
Textiles in the Context of Art19. 04. – 12. 08. 2018
Curated by Emma Hanzlíková and Markéta Vinglerová
Artists: Dalibor Bača, Věra Boudníková Špánová, Eva Brázdová, Pavel Brázda, Radek Brousil, Tereza Bušková, Veronika Carbová, Jiří Černický, Milena Dopitová, František Drtikol, Aneta Dvořáková, Barbora Fastrová, Jaroslava Frajová, Richard Fremund, Jaromír Funke, Emilie Frydecká, Věra Gabrielová, Josef Hampl, Helena Hladilová, Eliška Hlavačková, Adam Holý, Marie Horneková, Klára Hosnedlová, Vendula Chalánková, Ludmila Kaprasová, Olga Karlíková, Svatopluk Klimeš, Milan Knížák, Jindřich Koch, Jiří Kolář, Běla Kolářová, Brigita Kolčavová Sirková, Stanislav Kolíbal, Július Koller, Jiří Kovanda, Markéta Kratochvílová, Alžběta Krňanská, Svatoslav Krotký, Antonín Kybal, Viktorie Langer, Ondřej Louda, Adéla Matasová, František Matoušek, Bohdan Mrázek, Karíma Al-Mukhtarová, Josef Muller, Kamila Musilová, Jan Nálevka, Markéta Othová, Michal Pěchouček, Dagmar Piorecká, Johana Pošová, Ondřej Přibyl, Rafani, Julius Reichel, Viktória Remiarová, Božena Rothmayerová, Renata Rozsívalová, Zorka Ságlová, Sráč Sam, Lucia Sceranková, Pavla Sceranková, Rudolf Schlattauer, Helena Skočdopolová, František Skála, Matěj Smetana, Adam Stanko, Irene Stehli, Jan Steklík, Josef Sudek, Ladislav Sutnar, Zuzana Ševčíková, Adriena Šimotová, Alena Šišková, Jana Špánková, Roman Štětina, Marie Teinitzerová, Nik Timková, Jiří Thýn, Lenka Vacková, Jiří Valoch, Dan Vlček, Vlastimil Vodák, Martin Zet
Exhibitions dedicated to the art of textile revealed within a wider context, are rare in the Czech Republic. The textile medium has long been seen as a solely female domain and most often it has been linked with the work of local female artists. However, many other artists make use of textile as a medium for their creative expression. While for some artists working with cloth presents a challenge and enrichment of their work, for others it is but a routine. 8smička’s inaugurating exhibition shows some of the most considerable works of art created in the period starting at the beginning of the 20th century up until now. The exhibition introduces an overview of art from across generations aiming at impairing a stereotypical perception of textiles belonging merely to the field of applied arts. At the same time it is highlighting a recent tendency of increased interest in this medium as it also proposes its multilayered character in unconventional ways of interpretation. Moreover, it is an homage to the broadcloth made in Humpolec as much as to all the artists concerned with textiles who had been marginalised and missed out for a lengthy period of time. The exhibition is accompanied by guided tours given by curators, with Saturday craft workshops and further events.