Libor Fojtik | Tramps21/06/2021 - 12/09/2021
This exhibition was created as an homage to everyone who is or remained young, had wandering feet, and was enthralled with the outdoors. No matter if they called themselves tramps, woodcrafters, hobos, ramblers, cowboys, or Indians, or if they eventually attached a satellite dish to their cabins, they were all a part of the almost exclusively Czech and Slovak tramping scene – considered the largest subculture in both countries.
Kuba Kaminski | The Whisperers15/04/2021 - 13/06/2021
The Polish photographer Kuba Kamiński (*1985) repeatedly returns to Polish Podlesi and to Belarus where he immortalizes the life and work of local healers that call themselves “the whisperers”.
Jizerska 50 | Vision of six14/01/2021 - 11/04/2021
A group of six distinct personalities of Czech photography drew inspiration from the cross-country skiing competition Jizerska 50 that became the motive of their collective exhibition, each capturing the event through a unique visual conceptualization.
Vasil Stanko | Family Portrait11/09/2020 - 01/11/2020
The “Family Portrait” photographical project has gained social significance over the years. It portraits personalities form the fields of cinematography, architecture, politics, education, healthcare, sport, business and so forth. For Stanko the inspiration isn’t so much the models’ profession, but the psychological side of being immortalized; Stanko’s motivation is mainly the models’ interest to open themselves up to the photographical performance as a prerequisite for a depiction without excessive self-control.
My Father Antonin Kratochvil11/05/2020 - 06/09/2020
Antonín Kratochvíl emigrated from Czechoslovakia in 1967 and first met his at the time of leaving unborn son Michael after nineteen long years. It is the journey towards mending a father-son relationship that is the backbone of Andrea Sedláčková’s feature documentary “My Father Antonín Kratochvíl”. Antonín and Michael, now also a photographer, independently captured their journey throughout the documentary shoot and they present the final work at a joint exhibition.
Milota Havrankova | View from a window17/01/2020 - 15/03/2020
Milota Havránková (1945) is an exceptional and to a large degree unique photographer who has been active in Czech and Slovak photography for quite some time; a certain, still persisting lack of categorization and comprehension of her work is therefore all the more surprising. An experimenter who continues to break with tradition and change her style, she entered the art scene at the end of the 1960s. She started using her own reality as a matrix for further creative interventions and revealed an invisible relationship and emotional logic by means of staged analogue photography with seemingly random compositions. The exhibition will focus on this crystallising period of the 1960s and 1970s when almost all the key features and symbols of her later hybrid artwork appeared.
Krzysztof Miller | Breakthrough and conflicts08/11/2019 - 05/01/2020
A selection of the best photographs of Polish documentary photographer Krzystof Miller recollects the iconic moments of 1989 amid the turmoil of transformation in Central Europe. The second part showcases the locations where revolutions or conflicts went on in the coming decades with Krzysztof Miller continuing his untiring efforts to capture these events.
Josef Chuchma | Cut-Outs (of Normalization)13/09/2019 - 03/11/2019
The exhibition is a selection from Josef Chuchma’s archive – it shows works taken during the seventies and eighties that were, with a few exceptions, never published. The works are from a time when Chuchma wandered through the streets of Prague with a focused aimlessness or when he repeatedly visited certain locations in his hometown that he tried to immortalize and chronicle. He frequented concerts and music festivals, he traveled to Poland and to the religious festivities in Tchenstochova, he made portraits. Normalization – the twenty years after the suppression of the Prague Spring in 1968 – had its specific esthetic and social atmosphere. The way of living was slow and organized, anxious and with little delights. The author believes that his photographs carry normalization’s imprint.