Restriction of opening hours of Troja Château and garden Open call GHMP Art Book Fair 25

František Bílek’s Chýnov Visions

Address
GHMP Bílkův dům
Údolní 133
391 55 Chýnov u Tábora
Map

The building is not barrier-free.

Download the audio guide to the birthplace of František Bílek and the Chýnov cemetery with his works. The guide with commentary by curator Martin Krummholz is in Czech and English and can be downloaded for free.

Open
Tue-Sun 10 am – 12 am, 1–5 pm

In the winter season from November 2, 2020 to April 30, 2021 only by telephone order (+420 774 204 388)

Admission

full 50 CZK
reduced 30 CZK

Curator: Hana Larvová

This exhibition presents you extraordinary Art Deco and Symbolist work of artist, which built in his native town Chýnov place for his activities in the form of individualistic variety of family house with the studio. The architecture of the house built by František Bílek in 1898 from raw brickwork with contemporary folkish wooden components and cuttings refers to the Chýnov traditional architecture. The representative selection of works represents artist mainly as a sculptor, includes also some samples of original furniture sets designed by Bílek for his daughter Berta and his son František Jaromír.

From the beginning of the 2020 season, František Bílek’s studio in Chýnov will present a small trailer for a long-term exhibition to be held on the 3rd floor of Villa Bílek in Prague in May 2021, which will focus on Bílek’s works inspired by his lifelong friend, the poet Otokar Březina.

František Bílekʼs House in Chýnov. Photo by Oto Palán

relief on the František Bílek House in Chýnov. Photo by Oto Palán

František Bílek House in Chýnov. Photo by Oto Palán

František Bílek’s Chýnov Visions. Photo by Oto Palán

relief on the František Bílekʼs House in Chýnov. Photo by Oto Palán

František Bílekʼs House in Chýnov – interior. Photo by Oto Palán

Monika Immrová: Refinement

Address
GHMP Colloredo-Mansfeld
Karlova 189/2
110 00 Prague 1 – Staré Město
Map

The building is not barrier-free.

Accessibility
Sub A (Staroměstská station)
trams n. 2, 17, 18 (Karlovy lázně or Staroměstská stop)

Open
Tue-Sun 1–6 pm

Admission

full 150 CZK
reduced 60 CZK

Curator: Iva Mladičová

Monika Immrová’s artistic statement has several distinct, vividly blending levels: sculptural plasticity, architectural perception of space and matter, the human scale, proportions, the meaning of light and material, the awareness of order. The current exhibition contains a retrospective dimension, but the works are arranged thematically in order to highlight the mutuality of meanings in her sculptures, reliefs and prints from different periods. This allows for the reflection of their relations in the whole body of work, revealing at the same time the links between expressive elements in each individual work.

A distinct line is represented by relifs of a geometrized morphology. They reflect Immrová’s effort to achieve the universal, timeless, accurate and perfect form. However, her early reliefs are of a different character, departing from her early large-size pencil drawings of structures. A paramount role in Immrová’s perception and creative focus has always been played by architecture and in general by a sense of space and mass, a belief that through her works she can greatly influence and bring to life the spatial and lighting situation of a particular place. Her sculptures testify to her profound visual and practical experience with the synthesis of organic, stereometric shapes. Her figures and heads are not a result of a process of simplification, but of immediate realization, finding the universal in the present. The expressive power of her sculptures is derived from plasticity with a minimum of surface expression, the human scale and the significance of proportions. The principle of plasticity also appears in Immrová’s sets of prints. The meaning of light – its constant variability, but also the variability of expression through material – is very important for all the expressive elements. The awareness of the order which the artist desires to make visible is in fact also a tribute to constant change, to the interconnectedness of all details of her work.

Monika Immrová (born 1970 in Louny) studied at the Academy of Fine Arts in Prague in the years 1995–2001 (Sculpture Studio of Jindřich Zeithamml; in 1997 she was on a short-term study stay at the Staatliche Akademie der Bildenden Künste in Stuttgart, and in the years 1999–2000 at the Hochschule für Bildende Künste in Dresden). In 2011 she was an artist-in-residence at the Raketenstation at Hombroich, Germany. In the years 2012–2018 she continued her studies at Academy of Fine Arts in Prague in pursuit of her Ph. D. She co-founded the association Sculpture 2 and initiated several exhibitions by its members. Since 1996 she has had a number of solo exhibitions, such as Glypho Grafein at the Gallery of Fine Arts in Most, 2003; Bayer&Bayer Gallery in Prague, 2004; Dialogues at the Hall under Plečnik’s Staircase at Prague Castle (together with Jindřich Zeithamml), 2006; Line and Form at the Caesar Gallery in Olomouc, 2007; Shapes at the Ostrov Summer Palace (Karlovy Vary Art Gallery) and at the Regional Art Gallery in Liberec, 2009; Connection at the Gallery of Louny, 2012; Another Time [Sculptures and Works on Paper] at the Church of St. Lawrence in Klatovy, 2013; Sculpture at GASK – the Gallery of the Central Bohemian Region in Kutná Hora (together with Daniela Vinopalová), 2015; The Shape Precedes Space at the Dům [House] Gallery in Broumov, 2015; an exhibition within the Nika 7a Project and at the Dominican Monastery in Prague, 2016; Sculpture at the Topič Salon in Prague, 2017; Articulation at the House of Art in České Budějovice, 2017; an exhibition at the Galerie Goller in Selb, Germany, 2017; and at the Závodný Gallery in Mikulov, 2018. She has created a sculptural realization at the Maxipes Fík waterfront in Kadaň (2011). In the years 2008 and 2009 she won the Graphic Art of the Year award. She has illustrated Gustav Erhart’s book Podvojná znamení [Double Signs] and Michal Maršálek’s book Pootevřeno [Partly Open], both published by Dauphin. She has co-authored the book Socha 2, AVU 1990–2016 Demartini – Zeithamml [Sculpture 2, Academy of Fine Arts1990–2016 Demartini – Zeithamml] published in 2017 by NAVU, the publishing house of the Academy of Fine Arts in Prague.

view to the exhibition of Monika Immrová: Refinement, Colloredo-Mansfeld Palace, 2020. Photo by Tomáš Souček

Light Underground

Address
GHMP Zvon
Staroměstské nám. 605/13
110 00 Prague 1 – Staré Město
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The building is not barrier-free.

Open
Tue-Sun 1–6 pm

Admission

1 CZK

Important warning
The exhibition is not suitable for epileptics and asthmatics

Curator: Sandra Baborovská

The exhibition of light art interventions in the vaults of the Stone Bell House loosely follows up on the successful series of light and music performances conducted this summer.

Anežka Hošková, Lucifer’s The Light Of The World III, 2017

The exhibition will feature some of the light objects used in the previous performances, together with light installations and videos from the Prague City Gallery collections (Jakub Nepraš, Natural Selection I., 2015, Jiří Thýn – Unnamed (from the Light Painting series) 2010, Philips, videos, 2010. Also featured will be an artwork by Krištof Kintera (My Light is Your Life – Shiva Samurai, 2009), a video by Anežka Hošková (Lucifer’s The Light of the World, 2019) and interactive neon and sound objects by Julie Lupačová (Sound Visualization Lab I, 2019).

The exhibition area will also offer site-specific videomapping performances by VJ Aeldrynk, of the Lunchmeat Studio, performed alongside the intimate solo concerts by Vladivojna La Chia arranged exclusively for the Stone Bell House vaults. The concerts will take place on September 24 and 25, 6 pm.

Krištof Kintera, My Light Is Your Life – Shiva Samurai, 2009, GVU Ostrava

Pavla Beranová and Tereza Bartůňková, Eye To Eye, 2020

Rudolf Sikora and Vladimír Havlík: Snow Stone Star Tree

Address
GHMP Colloredo-Mansfeld
Karlova 189/2
110 00 Prague 1 – Staré Město
Map

The building is not barrier-free.

Accessibility
Sub A (Staroměstská station)
trams n. 2, 17, 18 (Karlovy lázně or Staroměstská stop)

Open
Tue-Sun 10 am – 6 pm

Admission

full 60 CZK
reduced 30 CZK

Curator: Jakub Král

This joint exhibition by Rudolf Sikora and Vladimír Havlík will become a space for the mutual confrontation of two ways of reaching the same worldview. While Sikora’s objectivization strategy concerns the position of the individual in the cosmos, Havlík, on the other hand, turns to social relationships built on non-spectacular gestures. Both artists share the common themes of people’s relationships to nature and to each other, responsibility, an intimate relationship with the world and the cosmos, and building a utopian overlap in an effort to direct our thinking about the present towards the desired future.

Rudolf Sikora, Constellation of the Hand IV., 1984

At the beginning of a famous television debate by two prominent 20th-century philosophers, the moderator said both speakers were like mountain climbers climbing the same mountain at the same time on opposite sides. Although the exhibiting artists are from different generations and have different backgrounds, both also seem to strive for the same thing, namely, to capture the mutuality of co-experiencing the world and co-creating it by means of two strategies: Sikora’s “bigger picture”, seen from above, and Havlík’s observation of minor shifts in our relationships.

view to the exhibition of Rudolf Sikora and Vladimír Havlík: Snow Stone Star Tree, Colloredo-Mansfeld Palace, 2020. Photo by Tomáš Souček

Rudolf Sikora, Exclamation Mark VI., 1974

Designing places, naming history – naming places, designing history

Address
GHMP Dům fotografie
Revoluční 1006/5
110 00 Prague 1 – Staré Město
Map

The building is barrier-free (elevator – call the phone T (+420) 702 283 922)

Open
Tue-Sun 10 am – 6 pm
Thu 10 am – 8 pm

Admission

full 120 CZK
reduced 60 CZK

Curators: Stephanie Kiwitt, Tereza Rudolf and Anna Voswinckel

In 1890, Jacob Riis, today considered one of the pioneers of social documentary photography, published the book “How the Other Half Lives”, in which he captures life in the poorest neighbourhoods of the growing American capital, including evidence of child labour. In her video collage, depicting a portrait of Chinatown in New York City, author Shelly Silver bluntly answers Riis’s research question: “We don’t know because we don’t care!”. Are we actually still asking loudly to whom belongs the public space as well? Have we lost our utopian visions? Do the utopian visions of yesteryear only dwell in company slogans which artist Bernadette Keating twists into a bitter-sweet parody?

The Pool project by Eiko Grimberg digs into the history of a particular place which – frequently rebuilt – illustrates the dominant ideology, where “the other” is changed or disappears. The modernist vision of urban development in Zbyněk’s Baladrán video is confronted with today’s development in the short movie of Martin Netočný. Gabriele Stötzer’s film shows 13 women and men dancing in outdoor locations of their choice. Each one developed, without any music, their own movement to the point of ecstasy. Under the condition of state socialism the film expresses “a freedom inherent in all of us, should we choose to grasp it” (Stötzer). All the approaches then underline the very fragile connections between the image of the public space and the conditions of society, which, when individualized, loses the notion of otherness as a building stone for positive change.

Despite constant movement, networking, exchange and an abundance of information, we rarely come into contact with the completely unknown, the unexpected – the other. Personalised newsfeeds reinforce our perceptions of ourselves in the world, nourish our feelings and experiences, confirm our position among our peers. In the context of an increasingly globalized society, ever more emphasis is placed on the uniqueness of a person’s identity. At the same time, the call for social and national boundaries and exclusion is becoming louder. To avoiding losing the ground beneath our feet we remain in familiar territory, eluding contact with situations that we cannot categorise, that throw us off balance, demand we step into the unknown or potentially force us to confront ourselves (our insecurities or ineptitudes). We lose sight of the Other in our universal connectedness. The current global pandemic, however, reveals how physically interdependent we all are.

Against this background, the FF #10 strives to give space to works that facilitate encounters with the Other and to revive the function that in this sense can be attributed to the documentary media of photography and film. The ambivalence of these media, suggesting closeness while generating alienation, is probed as are its limitations. Manners of viewing the Other are explored that contrast with the “gaze” of media, social and governmental systems.

The invited photographers and filmmakers present their visions, observations or studies of a specific place, everyday practices or life. They question their own motivation and make the collision, the boundary, the approximation and permeability between “I” and the Other visible or palpable. With eight group exhibitions the festival examines the wide range of perspectives between proximity and distance, establishing contact and overstepping boundaries, self-confirmation and confrontation with the Other.

Andreas Schulze, installation Untitled Eye Capitainerie, Biennale de Lyon, 2015

Historical interiors of Colloredo-Mansfeld Palace

Address
GHMP Colloredo-Mansfeld
Karlova 189/2
110 00 Prague 1 – Staré Město
Map

The building is not barrier-free.

Accessibility
Sub A (Staroměstská station)
trams n. 2, 17, 18 (Karlovy lázně or Staroměstská stop)

Open
Tue-Sun 10 am – 6 pm

in the winter season 2021 November 1 – 2022 March 31
Tue-Sun 10 am – 4 pm

Admission

fee as part of the entrance fee to Colloredo-Mansfeld Palace

The Colloredo-Mansfeld Palace ranks among outstanding examples of Prague’s palace architecture, with a highly varied history combining elements of the high Baroque style with later Rococo and Second-Rococo additions.

the ceiling of the ballroom in the Colloredo-Mansfeld Palace. Photo by Tomáš Souček

The Baroque edifice, located at one of the most exposed sites of old Prague, close to Charles Bridge, was erected on the foundations of earlier Romanesque and Gothic buildings, and its immediate predecessor, a house in the Renaissance style. The list of its former proprietors includes more than a few notable figures, ranging from Count Jáchym Ondřej Šlik (Joachim Andreas von Schlick), executed for his involvement in the Prague uprising of the Protestant estates, to the Jesuit Order, the Elector of Saxony, the infamously ruthless Count Karl Joachim von Breda, to Heinrich Franz von Mansfeld, Prince of Fondi. The last of these had the original palace building, probably designed by Giovanni Battista Alliprandi, reconstructed in the high Baroque style, by the architect Franz Ignaz Prée. The palace interiors received their definitive neo-Rococo appearance during the 1860s, when the premises were owned by the Auersperg family who later, around the year 1900, had a large section of the palace converted to a luxury block of flats. The palace’s finest and arguably best-preserved interior space is the grand ballroom whose definitive decoration was likely finished between 1736 and 1737. Its ceiling fresco, depicting the assembly of Olympian gods, was made by muralist Pietro Scotti and quadratura painter Giovanni Battista Zeist. The palace’s history has been associated with prominent noble families, as well as with major cultural and political events, such as the last session of the privy council of the “Winter King” Frederick, Elector Palatine, after the Battle of the White Mountain in 1620. After the Second World War, the palace was used by the Czechoslovak Academy of Sciences. It is currently administered by Prague City Gallery.

Colloredo-Mansfeld Palace – interior. Foto Tomáš Souček

Café in the Stone Bell House

Address
Stone Bell House
Staroměstské nám. 605/13
110 00 Prague 1 – Staré Město
Map

The café is barrier-free.

Opening hours
daily 9 am–11.30 pm

Contact and reservation
Café in the Stone Bell House
T (+420) 724 332 342 (Denisa Podstatová)
E info@caffeuzvonu.cz

Café in the Stone Bell House offers a quiet environment inside the Stone Bell House right in the centre of Prague on the Old Town Square. Visitors can enjoy coffee, lemonades, or a glass of wine with homemade desserts. The café also specializes in cold Italian cuisine.

With a valid ticket to the GHMP or GHMP Member card, customers are provided with a 50% discount (the discount does not apply to the garden located directly on the Old Town Square).

400 ASA: Simply Documentary…

Address
GHMP Dům fotografie
Revoluční 1006/5
110 00 Prague 1 – Staré Město
Map

The building is barrier-free (elevator – call the phone T (+420) 702 283 922)

Open
Tue-Sun 10 am – 6 pm
Thu 10 am – 8 pm

Admission

full 120 CZK
reduced 60 CZK

Curator: Josef Moucha

This new association of Czech photographers opted for the name 400 ASA in reference to the kind of film that is highly sensitive to light exposure. The exhibition 400 ASA: Documentary Photography examines the lives of various social groups, taking a closer look on the habitats they create for themselves. The exhibits are complemented by projections of other works by each of the participating photographers, selected from just one segment of their concurrent work programs. Karel Cudlín (*1960), Jan Dobrovský (*1960), Alžběta Jungrová (*1978), Antonín Kratochvíl (*1947), Jan Mihaliček (*1965) and Martin Wágner (*1980) view the nature of today’s world realistically, but each captures its mutability in his or her own way. As a guest, they have invited an Italian colleague and member of the famous Magnum Photos agency, the renowned photojournalist Paolo Pellegrin (*1964), to exhibit with them.

Alžběta Jungrová, Convicted through the Darkness, 2018, 400 ASA

Paolo Pellegrin, A man arrested by the police after assaulting his father, Rochester, New York, USA, 2012. Magnum Photos

view to 400 ASA: Simply Documentary... exhibition, House of Photography, 2020. Photo by Tomáš Souček

Bedřich Dlouhý: What I Like

Address
GHMP Knihovna
Mariánské náměstí 98/1
110 00 Prague 1 – Staré Město
Map

Barrier-free access is provided via the entrance from Valentinská Street (elevator).

Open
Tue-Sun 10 – 6 pm
Thu 10 am – 8 pm

Admission

full 120 CZK
reduced 60 CZK

Bedřich Dlouhý – What I Like is the first retrospective exhibition of the work of the painter Bedřich Dlouhý (*1932) from 1956 to the present day. It reveals the depth of Dlouhý’s creative imagination, the originality of his ideas and techniques, and it shows how his experimentation went beyond the contemporary concept of the medium of painting. In a selection of works, many of which were previously unknown and have never been shown before, the exhibition embraces the richness of this artist’s work and outlines how his art developed. Dlouhý was one of the co-founders of the legendary group The Šmidras (1957), and we explore Dlouhý’s still topical Dadaist and “Šmidra-esque” strategy of bridging seriousness, flippancy and absurdity. We discover the brilliance of his painting, his ironic takes on pop art and photorealism, and his witty paraphrasing of the old masters. We also examine his inventive use of assemblage and collage, two techniques that came to dominate his work. They offered him freedom of expression, they brought into play the principle of chance to stimulate his imagination, and they allowed him to extend his sense of humour and his ironic use of illusion. In this respect Dlouhý’s Šmidra-esque vitality remains unusually active, as is also demonstrated in a film that Aleš Kisil made in 2000 as part of Czech Television’s Ateliéry/Studios series. The documentary forms an integral part of this retrospective.

The exhibition is accompanied by a richly illustrated catalogue designed by Zdeněk Ziegler.

Bedřich Dlouhý, Self-Portrait III, 2008, private collection

Bedřich Dlouhý, The Lacemaker, 1986. Museum Kampa – the Jan and Meda Mládek Foundation, Photo Oto Palán

view to the exhibition of Bedřich Dlouhý: What I Like exhitibion. Municipal Library, 2nd floor, 2019. Photo by Tomáš Souček

Květa Pacovská: Run till the End

Address
GHMP Colloredo-Mansfeld
Karlova 189/2
110 00 Prague 1 – Staré Město
Map

The building is not barrier-free.

Accessibility
Sub A (Staroměstská station)
trams n. 2, 17, 18 (Karlovy lázně or Staroměstská stop)

Open
Tue-Sun 10 am – 6 pm

Admission

full 60 CZK
reduced 30 CZK

After the retrospective of the conceptual artist Květa Pacovská in the Municipal Library, this time we will focus on the almost unknown, but even more important part of her art, in which in the 1960s and early 1970s she devoted herself to freeform printmaking and objects of paper and metal simultaneously to book design and illustrations. So far, due attention has not been paid to this area and it will come as a complete surprise to her fans. In fact, in her early work the artist had formulated her basic starting points, which she subsequently developed in her extraordinary and multi-layered oeuvre, consisting of not only artist’s books and illustrations, but also paintings, sculptures and drawings.