The Kutná Hora Illumination, depicting silver mining and processing in Kutná Hora, is a title page (frontispiece) that was cut out of a now unknown choirbook.
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House of Cards presents works by Jakub Janovský from the past several years, with a focus on his long-standing interest in utopian, fictional and temporary buildings. He draws inspiration in equal measure from the dreams of avant-garde architects, actual contemporary buildings and his son’s bold experiments with wooden building blocks. Janovský explores all these sources of inspiration as a counterbalance to figural works with motifs of children’s games and as personal encounters in an anonymous city – but also as a specific, intimate homage to the classical themes of still-lifes and as a kind of vanitas, a metaphor for the fragile and ephemeral nature of existence.
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The work of Klára Stodolová mixes painting with dance. The depths of the unconscious conceal many things, among them all human and personal experience, the laws of the universe, our fears and talents. To dance their healthy potential means to raise them into the light of consciousness and to incorporate them bodily.
For Klárá, this can be done through Biodanza, an integrative system of movement created by the Chilean psychologist and lover or life Rolando Toro that she has practiced for the past eight years. Besides several large-format plein-air watercolours, the exhibition shows Klára’s graduation work from her study of Biodanza – a series of dance paintings depicting Biodanza’s Theoretical Model as well as the elements and archetypes of human experience.
The exhibition has been organised in collaboration with Gábina Fárová.
Held to mark the centenary of the birth of a major Czech painter, sculptor, typographer, stage and costume designer and teacher, this exhibition focuses on Fára’s distinctive book design and graphic design.
To mark Fára’s birthday (12 September 1925 – 3 March 1988), on 13 September GASK will hold a discussion meeting at which we will hear recollections from his contemporaries.
With an exhibition of work by Oldřich Kerhart (1895–1947), GASK is marking the 130th anniversary of the artist’s birth and fifty years since his last comprehensive exhibition at the then Central Bohemian Gallery in Prague, of which GASK is the direct successor. The exhibition doesn’t claim to be an exhaustive retrospective; rather, it will present an intimate look at selected areas of Kerhart’s oeuvre, including his works on paper (including drawings and prints).
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The painter Linda Klimentová lives and works in Prague and southern Bohemia. She studied painting under Michael Rittstein at the Academy of Fine Arts in Prague. She works with a delicate watercolour technique even when painting in acrylics. Her paintings’ ethereal quality perfectly expresses the uncertain and intangible character of memories and mental images of reality. In 2022, she discovered a new form of representation involving the connection of body and landscape – the main theme of her exhibition at GASK, Land of Mystery.
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The large-format images of animals, often looking directly into the lens of the camera trap, are an evocative testimony to the nocturnal life of our fellow creatures, whose glowing gazes resemble lights shining in the dark. The archetypal impression made by the animal portraits contrasts with the dynamic music-video or street-art aesthetic of the photographs of dancers and masked figures. It is like an encounter, in one magical space, between the old rituals of hunters and the modern mythology and nightmares of the big city.
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The exhibition with the mysterious title Viscum album presents the work of Anežka Hošková, an established Czech artist who has contributed to reintroducing romantic and emotional tendencies into contemporary art in the Czech Republic. In terms of subject matter, her drawings, paintings, stained glass and performative installations place her within the international stream of mystical, associative art and post-internet aesthetics. In this spirit, Viscum album presents previously unexhibited works as well as older works from the artist’s archives and works on loan from various other art institutions.
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Czech filmmaker and creator of animated films Pavel Koutský presents his annual year-in-review – brilliant cartoon commentaries on the state of the world around us characterised by his typical humorous insight. The exhibition also includes screenings of his films and shows works associated with these films.
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Artist Jaroslav Kučera, founder of the KOW design brand, presents his conceptual jewellery project Cross Section in the form of an exhibition contrasting his most recent brooch collection with older works, namely the illuminated Clouds collection.
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The painter Vratislav Nechleba (1885–1965) lives on in the Czech cultural consciousness mainly thanks to the short stories of Ota Pavel – specifically the legendary character of the temperamental portrait painter Nejezchleb. Unlike the First Republic portraitist, however, his work is essentially unknown in professional circles or by the public. Although he spent four decades teaching at Prague’s Academy of Fine Arts and served several terms as the school’s rector, he spent his entire life as an artistic outsider who pointedly kept a distance from his progressively oriented generational peers and their endeavours at developing a modern form of expression. His works relating to the era’s social elites were admired for their consummate technique and draughtsmanship, as well as for their masterful execution, naturalism and sense of detail.
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Although a recognised figure of Zlín’s cultural identity, Svatopluk Slovenčík and his artistic legacy have remained relatively marginal within the broader perception of Czech art of the last decades. Marking the ninetieth anniversary of Slovenčík’s birth and the twenty-fifth anniversary of his death, the exhibition Field of Presence and the new monograph The Silence of the Studio aim to rectify this situation. The exhibition at GASK places special emphasis on Slovenčík’s work on paper (drawings, collages) that most clearly manifest the ‘source trinity’ of his artistic idiom: space, rhythm and shape.
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