Past Exhibitions:

2012 2011 2010 2009 2008 2007 2006 2005 2004 2003 2002 2001

2002 Exhibitions

A Dialogue with Wood - Emelie Brzezinski

Emilie Benes Brzezinski was born in 1932 in Geneva, Switzerland

In the nineteen seventies she focused on monumental wooden sculptures. She works with a saw and an axe and cuts shapes inspired by wood found in fields, factories, neighbour’s backyards and on construction sites.

Besides a number of individual and group shows she also participated in events held in alternative spaces. Something very important for the development of the artist was the presentation of artistic installations by several sculptors and her own personal work on her property in Virginia.

Emilie Benes Brzezinski’s creations are a transformation of destroyed, damaged forms into new forms made by human strength. The artist leaves the trees in their original form, but through the maintenance of the material she penetrates their essence – their soul. "Forest" and "Giants" represent the tenacity of cultural roots in an artistic expression. In this way components of Central European culture is manifestet in her sculptures:

Admiration and saintly respect towards nature,
Love of wood as a resource for creation,
A sensitivity for the spirituality and secretiveness of a forest.

Obdiv a posvátná úcta k přírodě,
Láska ke dřevu jako prostředku k tvorbě,
Citlivost ke spiritualitě a tajemnosti lesa.

November 29, 2002 - March 16, 2003, Museum Kampa

Prague under Water - New York under Ashes - Martin Frouz, Prague - James Thomas & Kevin McKraty, New York

Photographs: Prague under Water - New York under Ashes

Two tragedies:
One brings out a reaction of not only abhorrence and hate in the face of human malice and heartlessness, but it also brings to the surface great solidarity and self-sacrifice. The other brought about, more than anything else, sadness and confusion due to an enraged Mother nature, which not only took away homes, but also millions of irreplaceable documents testifying to the creation of a unique Central European culture.

Both of these two tragic events changed life in two of the most beautiful cities in the world. All current generations will during remembrances of these disasters clearly recall what happened in these moments, what they directly experienced or what they watched in the television and thus were confronted with these catastrophes.

Prague: a historical Central European city shaped by long centuries of development under the combined influence of Czech – German - Jewish cultures; and New York: a modern city in the New World, a place where millions of people from all over the world came to with the wish to give themselves a better future or at the least provide a better life for their children.

Prague is now recuperating from the effects of a terrible natural disaster, whose extent has surpassed anything it has witnessed in over a century - and it is standing strong thanks to the solidarity of the entire nation. New York - the world's synonym for freedom, a city whose two tallest towers symbolized the collective energies of the post-war generations - has not fallen as the terrorists would have wished; on the contrary, it has come out of the tragedy stronger than ever.

November 29, 2002 - March 31, 2003, Museum Kampa

After September 11: Images from Ground Zero - Photography by Joel Meyerowitz

An exhibition presented by the Bureau of Educational and Cultural Affairs of the U.S. State Department and organized by the Museum of the City of New York

Within a few days of the September 11, 2001 attack on the World Trade Center in New York, the Museum of the City of New York, engaged the noted photographer Joel Meyerowitz to create an archive of the destruction and recovery at Ground Zero and the immediate neighborhood. Meyerowitz worked with a large-format camera, which allowed for the greatest detail and color reproduction. The Museum and Mr. Meyerowitz selected 28 images, for this traveling exhibition, which will travel through the world, organized and sponsored by the U.S. State Department and the Bureau of Educational and Cultural Affairs of the U.S. Meyerowitz is an award-winning photographer whose work can be seen in many major private and public collections. He takes a meditative stance toward the work and workers at "ground zero", systematically documenting the painful work of rescue, recovery, demolition and excavation. His photos convey the magnitude of the destruction and loss and the heroic nature of the response.

"To me no photographs meant no history. So I decided to find my way in and make a photographic archive for the City of New York. It is a privilege to work at Ground Zero. Everyone who works there has been transformed by the spirituality of the place."

November 29, 2002 - January 6, 2003, Museum Kampa

Photographs - Man Ray

Author and curator of the exhibition: Helen Staub
Man Ray (1890 Philadelphia, USA - 1976 Paris). "Man Ray is Man Ray, is Man Ray, is Man Ray." With this bonmot Gertrude Stein characterized the versatile artistic personage of Man Ray - an artist full of contrasts, endowed with the ability to see poetry in everything and to purposefully pursue his own conception of avant-garde art.

Man Ray, was born Emmanuel Radnitzky in Philadelphia in 1890. Initially a painter, by the year 1915 he already belonged to those artists who discerned the potential of the photographic medium, which offered such a form of reality reproduction that was more than elementary. He experimented with new techniques in photography, which at that time seemed to be exciting and full of creative opportunities.

In 1921 he helped to establish the New York Dadaist Group. He gradually became one of the leading personalities in the development of both the American and the international modern art scenes, and influenced several generations of artists. Man Ray moved to Paris in 1921, which was at that time the center of the most progressive art of the period. There he also became acquainted with French Dadaists, but the crucial moment in the development of Ray’s creation was his encounter with the Surrealists. Under their influence, he also created films and carried on with his own independent surrealistic works.

A friend of Picasso, Braque, Dominguez, Max Ernst, Henry Miller and Ava Gardner, Man Ray lived alternatively in Hollywood, New York and Paris. Some of his most famous works, as for example "The Lovers", a picture on which gigantic lips float across the sky, or a Dadaist object "The Gift" where nails protrude from the flat of an iron ensured him world-wide recognition; still more celebrated, however, was his poetic photographs which turned all conventions upside down. According to Man Ray, the photographic technique was put in the service of imagination, he discovered solarization. His most important discovery was his experimental photographs, known as rayograms, on which he continued to work after his arrival in Paris. His rich and fruitful imagination, in connection with irrational techniques of photographic images created without a camera, fully corresponds to the position of a photographer gifted with one of the most outstanding inventions ever. Using the medium of photography and assemblage, Man Ray injected a new feeling into the art through the use of individual elements in the general composition of the work. He focused on signs and fragments - eyes, lips, the profile - thus giving the photographs an erotic tension and movement. He dramatically emphasized the mysterious feminity. In the fashionable Parisian society, Man Ray won his popularity with his stylized and fashion photographs. Up until the late thirties, he was the foremost fashion photographer.

The exhibition encompasses all Man Ray's creative periods: rayograms, solarization, surrealistic, fashion and erotic photographs, portraits of friends and self-portraits.

The photographic works have been lent by Mr. Lucian Treillard, Man Ray's former assistant, who dedicated a large part of his collection of negatives to the Paris Museum of Modern Art, the Centre Pompidou, in 1996

June 26 - August 18, 2002, Museum Kampa

Homage to the Creative Team - First Part of the Jan and Meda Mládek Collection

An important characteristic of the exhibition of the first part of the Jan and Meda Mládek Collection, is the incorporation of glass sculpture, presenting works by artists who have long ceased to be regarded more than anything else as craftsmen belonging in the domain of applied art: by now, their art has assumed its rightful place in the family of object, installation and land art forms.

Václav Cígler has rendered a path finding contribution in the field of sculptural approach to glass. His objects are often set within a strictly defined spatial context, which in its turn defines each of them as an organic part of its environment, whether it be architecture, nature, indoor or open-air setting.

The output of Marian Karel exemplifies a similar process of overlapping or fusion of various media. His objects evolve into installations, which are contextually bound with various settings chosen by the artist. The latter lets in reflections of the surrounding world as well as a variety of actions, which he adjusts so that they interact organically with his objects.

For her part, Dana Záme?níková is apt at accumulating layer upon layer of diverse narrative elements and images. Accordingly, in her idiom reminiscences of past moments and events overlap with fresh impressions of everyday reality.

Works by these three artists have been included as part of the more extensive display which offers the viewer a survey of expressive tendencies, figural works, and geometrical abstraction. The exhibition include crucial paintings, sculptures and drawings by artists who embarked on their creative trajectories in the late 1950s and early 1960s, including the likes of Adriena Šimotová, Stanislav Kolíbal, Aleš Veselý, Miloslav Chlupa?, Eva Kmentová, Milan Grygar, Alena Kucerová, Vera Janoušková, Vladimir Janoušek, Zd?nek Sykora, Jan Kubi?ek, Hugo Demartini, Radek Kratina, Ji?í Na?eradský and Otakar Slavík.

Represented in the show by one of his most impressive, most suggestive wire objects, is Karel Malich. A powerful, large-scale chiasmage is this exhibition’s pick from the production of Ji?í Kolá?, whose extensive body of works constitutes one of the Mládek collection’s cornerstones. The display has a striking dominant point in Nepraš's sculpture, Ra?te to?it (Turn, Please). Sculptor Magdalena Jetelová is represented here by her famed Stairs, dating from the early 1980s. Another splendid item on view is a painting by Vladimír Kopecký. Importantly, the collection takes pride in its section devoted to Slovak artists, containing works by Jozef Jankovi?, Rudolf Sikora or Zdeno Mayer?ak.

Mrs. Meda Mládek has systematically followed the evolution of Czech and Slovak art, without forgetting to take due notice of developments on the Hungarian, Polish and Yugoslav art scenes since the 1960s, with special focus on the production of the above-listed generations and individual artists. By no means does this imply, however, her lack of interest in the output of those who emerged on the scene more recently. On the contrary: among members of the present-day middle generation of artists, she has been most impressed by works of, among others, Václav Stratil and Ji?í Kornatovský whose drawings are also included in the exhibition.

June 26 - August 18, 2002, Museum Kampa

Paintings from 1981 - 2001 - Zdena Strobachová

Zdena Strobachová's painting has a formidably wide breath, and therefore calls for a correspondingly generous amount of display space, which would allow for the full deployment of its significant decorative qualities. (She had accumulated a wealth of precious experience relevant in that respect during her time as a stage-scenery painter.) This country has only few painters as highly qualified for architecture-linked work as is Zdena; in fact, deep in my heart I believe that the medium ideally matching her kind of talent would have been that used by old-time fresco painters in decorating the walls of stately interiors. Like in their painting, in Zdena's, too, there is a definite and permanent element of solemnity - and by no means does this relate only to the part of her output focused on flowers. Actually, conveyed by the refined palette of Zdena's paintings, even the most rudimentary aspects of everyday human existence assume a dimension of serene uniqueness which turns them into a great, brilliant apotheosis of life, solemn yet utterly unostentatious, lacking ostentation yet noble: why indeed, nobility is never synonymous with pomp. In this sense, too, Zdena's art has shown manifest affinity with the legacy of such masters of French modern painting and colourism as were Pierre Bonnard, Henri Matisse and Raoul Dufy. Indeed, I would not hesitate to claim that as concerns the magical musicality of her color harmonies, her work might even occasionally beat the endeavors of those great artists. Recently her paintings were displayed – on others' initiative, as her own modesty and timidity have left no room in her for personal ambition – in Prague's Motol Hospital, a fact in which alone I tend to perceive the workings of some kind of superior justice. For obviously, the hospital's doctors and surgeons realized only too well that works of very few artists would have been as properly installed and as needed on those particular premises, as were Zdena's. To be sure, there are not many artists around today whose work would charge us spectators with such unequivocally positive vibrations and would be so straightforwardly instrumental in opening our eyes to the brighter side of the world around us, as the work of Zdena Strobachová, whose tribute to life has been the more heartfelt the more painful has been her awareness of the threats posed to life and of its ultimate vulnerability. For all this, she deserves our thanks and gratitude. Jaromír Zemina, June 2002

June 26 - August 18, 2002, Museum Kampa

Paintings Sculptures and Collages - Gerardo Ruedo

The Spanish artist Gerardo Rueda belongs to the generation immediately following the war. His form of expression was shaped from the late nineteen forties and onwards. From the beginning he had in him a sense for a balanced composition of shapes and coloured tones. At the same time characteristic for him was a lyrical feeling, with which he created fragile and gentle variations, in which he evolved his thoughts and ideas. During the nineteen fifties a rational organization and accurate rhythmic filing of compositional components was still predominant in artistic creation. Later on his expression was enriched by the diffusion of different types of structures. The artist matured towards a very individual pictorial form, in which an important role played the principles of assembling connected with collage. Next to a clear order randomness was also maintained, which determined the development of Rueda’s creation. The nineteen sixties became a time of fruitful searching and discovery and also a time of continually active inventiveness and inspiration. From the next decade a more decorative sense unfolded, in which an artist could creatively benefit from actual experiences. He fulfilled his ideas within a rich synthesis up until the end of his life, which came from a legacy of an interwar avant-garde flow and at the same time a reaction to modern day life in its different transformations. Interesting is Rueda’s obvious kinship with the creativity of some of our artists. His Czech and Slovak counterparts due to their political and cultural isolation got the opportunity to establish themselves later. In spite of this, however, as early as 1960 notable points of contact manifested. Rueda’s pictures and collages at the beginning of the nineteen sixties with its meditativeness and gravitation to a strict sense of order were close to the simultaneous experiments of Karel Malich, who also matured towards a geometric abstraction. With his trial of various artistic procedures Rueda took up a similar path of exploration as Dalibor Chatrný. A perfect well balanced solution of special relationships and a direction towards monochromatic conception is a part of his creation which is expressly related to Stanislav Kolíbal. His expression in the approach to minimalism is comparable to Jan Kubí?ek and Milan Grygar. Rueda’s retrospective offers a representative selection and an insight into his intense and at the same time expressly diverse work. At the same time he implies, how artists from different European cultural areas can be close to each other.

February 7 - March 31, Museum Kampa  Unipetrol ČEZ, a.s. ČESKÝ TELECOM, a.s. MERO ČR, a. s. Exportní garanční a pojišťovací společnost, a.s. Eurotel Praha, spol. s.r.o. Magazín Prague Leaders Pražská paroplavební společnost a. s. Agentura Easy Prague



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