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[vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_custom_heading text="28/6 – 12/10" font_container="tag:h3|text_align:left" use_theme_fonts="yes"][vc_custom_heading text="The Eye in Art 1900-2025" use_theme_fonts="yes"][/vc_column][/vc_row][vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_column_text]Seeing is a miracle. To see is to know; we equate the eye with knowledge. We say, for example: What the eyes don't see, the heart doesn't grieve over. The eye appears to be a gateway through which the outside world penetrates us. The eye is an important channel of communication, a window to the soul, a portal to the imagination. The eye takes on the symbolism of a guardian, of control. We, the inhabitants of a world of surveillance, watched every second of our lives, on our way to work, in shops, and through our own electronic devices, know this well.  Artists perceive the eye as a door, a kind of mirror, a motif of transition to other dimensions. We have long been aware of the all-seeing eye of the lens, we like to call cinemas OKO (eye) and understand them as a tunnel into the world. There is no escaping the eye. In paintings, objects, videos, and works on paper, you will see treasures from the museum's collections, supplemented by loans from institutions, private collectors, and authors.  These include František Kupka, Salvador Dalí, Man Ray, Andy Warhol, André Derain, Jan Zrzavý, Toyen, František Muzika, Mikuláš Medek, Květa Válová, Dalibor Chatrný, Adriena Šimotová, Karel Pauzer, Karel Nepraš, Milan Knížák, Milan Kunc, Jiří David, Jaroslav Róna, Patricie Fexová, Milan Cais, Josef Bolf, Krištof Kintera, Masker, Jaroslav Vožniak, Pavel Nešleha, Milan Cais, Václav Chochola, Jindřich Štyrský, Václav Zykmund, Václav Tikal, Jaromír Funke, Emila Medková, Josef Dumek, Alén Diviš, Ondřej Navrátil, Lukáš Rittstein, Jan Adamec, Diana Winklerová, Jan Hísek, Luboš Plný, Rudolf Adámek, Anežka Hošková, Jiří Černický, Björn Steinz, Matyáš Maláč, Miloš Ševčík, Naďa Plíšková, Zdenka Hušková, Vladimír Houdek, Nik Timková, Jan Konůpek, Radka Bodzewicz, Yvonne Vácha, Marie Lukáčová,

[vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_custom_heading text="14/6 – 12/10 2025" font_container="tag:h3|text_align:left" use_theme_fonts="yes"][/vc_column][/vc_row][vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_custom_heading text="Kupka and Caricature – Mirrors of Truth" use_theme_fonts="yes"][/vc_column][/vc_row][vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_custom_heading text="František Kupka and Satirical Drawing in Paris 1900" font_container="tag:h3|text_align:left" use_theme_fonts="yes"][/vc_column][/vc_row][vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_column_text]This exhibition is part of a series of exhibitions dedicated by Museum Kampa to the themes, aspects, and contexts of the work of František Kupka. The last in the series was the 2017 exhibition Neighbours in Art: Marcel Duchamp, Raymond Duchamp-Villon, Jacques Villon and František Kupka, and in 2018, on the centenary of the founding of the Republic, the exhibition František Kupka: Legionnaire and Patriot. This year's exhibition will present the artist's work during the "golden age" of satirical magazines. Although Kupka is primarily known as one of the first to step towards non-figurative art, his satirical work, at first glance diametrically opposed to his later concepts, is in many aspects a substantial part of the artist's oeuvre. Although Kupka later distanced himself from this work from the perspective of his new orientation, there is no doubt that the subversive environment of Montmartre, where he not only lived at the beginning of the last century, but into which he integrated, strengthened his sense of non-conformist solutions, even if in this case it was tied to a satirical critique of social conditions. Other artists of the later "classical avant-garde" also went through this process, such as his aforementioned friend and neighbour, Jacques Villon. There is no doubt that it was through this work, both combative and scandalous, that he entered the public space in Paris, in his native Bohemia, and in Vienna, the city associated with his first successes. Magazine satirical drawings have become a powerful means of visual communication with their ability to provide information quickly and concisely, to „humour“ the problems of modern life while retaining a "touch of

[vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_custom_heading text="29/4 – 8/6 2025" font_container="tag:h3|text_align:left" use_theme_fonts="yes"][vc_custom_heading text="Eliška Rožátová – Seeing Differently" use_theme_fonts="yes"][vc_column_text]Eliška Rožátová, painter, draughtswoman, glass artist, author of architectural realisations and free sculptural objects, is one of the distinctive and authentic artists who entered the art scene in the early 1960s. She is most often mentioned in connection with the circle of glass artists, but she is also an excellent painter with a unique sense of colour and an unmistakable pictorial manner. She is also an artist gifted with the courage to experiment, which manifests itself in her search for new techniques in the creation of mosaics, in her innovative approach to glass sculpture, and in her contemporary paintings, in which she treats classical painting techniques as freely as she treats glass. The exhibition at the Museum Kampa is a continuation of the monograph published by JB Publishing in 2024 and presents a representative selection of the artist’s lifelong œuvre. It focuses on the innovative work with glass, with reference to the Neo-Expressionist wave of the 1980s, and contemporary painting; two glass tables will be created especially for the terrace space, and the Narušená struktura  (Disturbed Structure) from 1989 will be reinstalled there.[/vc_column_text][/vc_column][/vc_row][vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][/vc_column][/vc_row]

[vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_custom_heading text="22/2 – 1/6 2025" font_container="tag:h3|text_align:left" use_theme_fonts="yes"][vc_separator][/vc_column][/vc_row][vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_custom_heading text="Pavel Reisenauer" use_theme_fonts="yes"][/vc_column][/vc_row][vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_column_text]Pavel Reisenauer (1961–2024) is best known as the author of the distinctive covers and illustrations for the weekly magazine Respekt and the drawings for the Orientace supplement of the Lidové noviny daily. However, his cooperation with the print media was only the most visible part of his work, which overshadowed a much broader spectrum of his lesser-known or completely unknown artistic expressions – paintings, free drawings, illustrations, comics, and photographs. Unlike the weekly prints, however, these were almost never published.  The present exhibition strives to highlight these unknown positions of Reisenauer’s work alongside his iconic covers and to offer a more comprehensive view of what he was concerned with in his artistic practice. From this starting point, it will be possible to explore the relationship between Reisenauer’s ‘applied’ magazine art and his other works, particularly his paintings: were his paintings a sideline, however intrinsically motivated, an attempt to match the popular newspaper illustrations or unjustly overlooked works?  The exhibition, prepared in cooperation with the magazine Respekt, will present a wide selection of black-and-white and colour covers from Respekt and the front pages of the Orientace supplement, as well as a number of paintings, drawings, digital prints and photographs. Curators: Alena Pomajzlová, Petr Bielický[/vc_column_text][/vc_column][/vc_row]

[vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_custom_heading text="12/4 – 15/6 2025" font_container="tag:h3|text_align:left" use_theme_fonts="yes"][/vc_column][/vc_row][vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_custom_heading text="Miloš Cvach and Sophie Curtil: Harmony of Opposites" use_theme_fonts="yes"][/vc_column][/vc_row][vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_column_text]The exhibition of the Czech artist Miloš Cvach (1945) and the French artist Sophie Curtil (1949) aims to outline their creative development from their student years to the present. In a chronological line and in a mutual confrontation, it reveals the specifics, intersections and differences of the respective artists whose private and professional paths crossed each other half a century ago. Their creative personalities crystallised in the climate of a free society, in France, where Miloš Cvach immigrated to escape the Czechoslovak ‘normalisation’ totalitarianism in the mid-1970s and joined his wife, Sophie. Both of them were thus able to naturally assimilate the contemporary tendencies of world art, such as minimalism or the Arte Povera movement, and formulate their authentic artistic expression against their background. Even though they expressed themselves in the language of geometric abstraction, their work always remained firmly anchored in the tangible world – especially the landscape and urban architecture. Their creative processes derive from careful observation of natural and cultural phenomena, through the exploration of their internal laws, to their final translation into eloquent artistic compression. The concept of the exhibition at the Museum Kampa was inspired by the remarkable book L’art par quatre chemins (To Art by Four Ways), in which Miloš Cvach and Sophie Curtil offered a unique opportunity to interpret works from the history of art. Their playful interpretation based on the ‘poetics of the four elements’, as defined by the French philosopher and aesthetician Gaston Bachelard, can be applied to their own work.  The register and colouring of Miloš Cvach’s works show affinity with the aesthetics attributed to the Far East. The precisely constructed shapes of his reliefs possess the lightness and elegance of

[vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_custom_heading text="29/4 – 8/6 2025" font_container="tag:h3|text_align:left" use_theme_fonts="yes"][/vc_column][/vc_row][vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_custom_heading text="Ladislava Gažiová – Čekání" use_theme_fonts="yes"][/vc_column][/vc_row][vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_column_text]Ladislava Gažiová (* 1981) is one of the outstanding personalities of the contemporary art scene. After two years of studies in Košice, she moved to Prague at the beginning of the millennium, where she attended the studios of Vladimír Skrepl at the Academy of Fine Arts and Jiří David at the Academy of Arts, Architecture and Design. She has had dozens of individual and group exhibitions in the Czech Republic and abroad. In addition to her own work, she has also curated exhibitions of other artists. In 2024, she became the second laureate of the Meda Mládek Prize. The expert jury, consisting of independent experts and representatives of Museum Kampa, recognised the uniqueness of Gažiová’s artistic expression and her ability to raise important social issues through her paintings and curatorial work. The exhibition Waiting in the premises of the so-called Stables will present a selection of Gažiová’s most recent works. It is the artist’s first major exhibition in nine years.[/vc_column_text][/vc_column][/vc_row]

[vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_column_text] Permanent exhibition [/vc_column_text][/vc_column][/vc_row][vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_custom_heading text="Stanislav Kolíbal 100" use_theme_fonts="yes"][/vc_column][/vc_row][vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_column_text]Stanislav Kolíbal (* 1925) is one of the most significant figures of Czech post-war art. In the context of world art, one can find parallels in his work to American minimalism and Italian arte povera, but his work grows from different roots and develops in the spirit of its own internal logic. Kolíbal, as demonstrated by his book illustrations and early works, is a sovereign draughtsman and model maker, but since the 1960s, questions of geometry and space have been central to his drawings and sculptures. The core of his work, however, is not form in itself but the tension between order and chance, duration and transience, being and emptiness.   Meda Mládek, the founder of Museum Kampa, has followed and collected Kolíbal's work since her first visits to socialist Czechoslovakia in the late 1960s. She purchased the artist's works through the state-run Art Center as well as the New York based gallery OK Harris, where Kolíbal had four individual exhibitions during the 1980s. Not all of the works that she acquired over the years became part of Museum Kampa, but it is nonetheless a fairly large and representative collection, with a focus on drawings and sculptures from the 1970s.   The Stanislav Kolíbal 100 exhibition is a reminder of the artist's upcoming 100th birthday, which he will celebrate in December. The exhibition is planned to run until at least February of next year and its composition will be renewed during its run in order to present Kolíbal's works as widely as possible. The connection with the permanent exhibition of paintings by František Kupka is quite deliberate, although the link between Kupka's abstractions and Kolíbal's works is not direct. Stanislav Kolíbal, like Kupka, is one of the true world artists of Czech origin. [/vc_column_text][/vc_column][/vc_row]

[vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_custom_heading text="8/6 - 8/9 2024" font_container="tag:h3|text_align:left" use_theme_fonts="yes"][/vc_column][/vc_row][vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_custom_heading text="From Lines to Matter / Vojtěch Kovařík" use_theme_fonts="yes"][/vc_column][/vc_row][vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_column_text]If our destinies are predetermined, what place does that leave for free will? For luck? For chance? Vojtěch Kovařík confronts the issue in his paintings – and with the current exhibition at Museum Kampa, he steps into the third dimension: the smooth surface of his paintings are accompanied by reliefs and sculptures, with the artist’s path leading from lines that divide the canvas to sculptural works. The themes in this exhibition are universal, touching on the very foundations of Euro-American civilization. Even today in the third millennium, ancient myths, gods and goddesses, Titans, heroes and heroines are all still relevant, their robust forms exceeding the monumental format of the paintings. We may see them as archetypes, whose stories and actions have served since time immemorial to mark the limits and possibilities of our own passage through life and search for meaning. These oversized heroes are megalopsychoi, the great-souled men, the first individualities. Perhaps that is why we may only catch a glimpse of them through the window frame of the canvas, not in their entirety. Sisyphus sinks under the weight of his actions. The parting lovers Eros and Psyche suffer the burden of predestination. The labours of Heracles speak to the fulfilment of destiny, the first of these being to train the Nemean lion. Just as Zeus’s son made himself invulnerable wrapped in his lion skin, so too does the painter face more and more challenges that seem impossible to overcome. The reduced setting of the paintings consists of a stylized interior and Mediterranean landscape, fertile and arid, dusk or dawn, inlets, deserts, and oases. The artist’s approach is authentic: a unique syncresis of the influences of antiquity, modernity, and the digital present.

[vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_custom_heading text="18/2 - 30/3 2025" font_container="tag:h3|text_align:left" use_theme_fonts="yes"][/vc_column][/vc_row][vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_custom_heading text="VISIONS OF THE WORLD" use_theme_fonts="yes"][/vc_column][/vc_row][vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_column_text]This exhibition that presents works exclusively from the Wigam Collection is centered on two main visions of the world. In one space, the focus lies on the experience of the world through the body; while in the other, the world is, first and foremost, observed and lived through the social interdependencies. Needless to say, this distinction signals only the primary point of attention since one cannot think about the body without its social habitus and, conversely, the social order is personal and physical. Art is a place where values can and should be negotiated without being afraid to confront the public with difficult topics. These two visions, reflected in outstanding works made by some of the most interesting artists of our time, seem to be of great relevance at this moment. Participating artists: P. Barlow, G. Baselitz, M. Bourouissa, M. Cahn, J. Claracq, A. Cudahy, M. Eichwald, T. Emin, W. Fangor, L. Fratino, J. Gribbon, D. Hadjab, P. Halilaj, D. Hockney, N. Jaouda, C. Johnson, M. Jungwirth, M. Kara, A. Khorchid, V. Kovarik, X. Lei, A. Niles, H. Quinlan & R. Hastings, D. Richter, G. Rouy, J. Semmel, A. Slowak, P. Stasik, H. Steers, A. Szapocznikow, M. Thomas, K. Wang, A. Warhol, K. Wiley. Curator: Marta Gnyp Please note: the exhibition includes sexually explicit works.[/vc_column_text][/vc_column][/vc_row]

[vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_raw_html]JTVCem9icmF6X2RhdHVtX2tvbmFuaSU1RA==[/vc_raw_html][/vc_column][/vc_row][vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_custom_heading text="Jiří SOZANSKÝ – August 1968 / 1969" use_theme_fonts="yes"][/vc_column][/vc_row][vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_column_text]In his work, Jiří Sozanský (*1946) has long thematised traumatic moments of Czech history from the times of Nazi and Communist totalitarianism. In his sculpture August 1968/1969, he focuses on the breaking point brought upon the society by the invasion of the Warsaw Pact troops in August 1968 and the onset of the so-called ‘normalisation’ in the following year.   The cultural and political thaw of 1968 was understood by many as a breath of freedom after twenty years of rigid totalitarianism. This revival process was destroyed by the invasion of the occupation forces of the Soviet Union, Poland, Hungary, Bulgaria and East Germany on the night of 20 August. In the sculpture, the year 1968 is represented by an erected obelisk, into which a giant wedge is diagonally embedded, like a knife wound or a lightning strike.   The year 1969 is depicted as an obelisk or a crossbar broken in half. While the August invasion was an intervention from the outside, the tragedy of 1969 consisted in the acceptance of the occupation by the political representation of the state and a large part of its citizens and in the repressive crackdown on those who wanted to express their civil dissent. The August 1969 crackdown was not carried out by the occupation troops but by the domestic security, paramilitary and military forces.[/vc_column_text][vc_column_text] Historical context — The Legacy of the Two August Anniversaries[/vc_column_text][/vc_column][/vc_row]

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