Past Exhibitions:

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

2003 Exhibitions

Photographs Yoko Ono - Jaroslav Brabec

An exhibition of over 40 photographs from Yoko Ono's Prague stay taken by the well-known Czech photographer and camera-man Jaroslav Brabec. The conceptual artist's interesting personality is introduced by photos from a press conference and the opening of her exhibition at Museum Kampa. There photo-series added a new dimension and experience for the visitors.

December 24, 2003 - March 30, 2004, Museum Kampa

Women's Room - Yoko Ono

Yoko Ono’s work is very diverse and difficult to place into predetermined categories. She belongs amongst the artistic avant-garde, which came about in the nineteen sixties. She works with different types of mediums; she uses the possibilities to be found in photography, film, installations and in sound recordings. She occupies herself with happenings and performances. She took part in the activities of the Fluxus movement. She has published poetry and various texts. For example a famous performance of hers is Cut Piece from 1964, in which she sat in the middle of the stage and invited the public towards her and had each of them cut off a piece of her clothing. A film made of this performance in 1965 in New York was presented. In the project Sky TV (1966) all sorts of items of her childhood were used. The basic feeling does not change, even though the years speed by and in the course of time we visit various places and environments, which influence our path. A parallel experience radiates in Vertical Memory (1997). The project emerged through the compilation of photographs of the author’s father, husband and son. Each photograph presents a man, who affected her in certain defining moments in her life. Blue Room (1965 – 2003) presents a revolt of a woman living in the most modest conditions of a small apartment in New York.

December 11, 2003 - February 29, 2004, Museum Kampa

Sculptures - Milan Dobeš, Kurt Gebauer, Jiří Beránek

Milan Dobeš

The late 1950’s and early 1960’s was an important formative period for the work of Milan Dobeš, a period that shaped the composition of his collages, objects and graphic prints. In his work, one can see a concerted search for the relationship between basic geometric elements, often rhythmically laid-out, with the utmost simple elements. In the well thought-out, balanced compositions, the contrasts between black and white and the relationships between color tones play an important role. The arrangement of the precisely built up curves evokes the sensation of movement, providing a natural progression to his kinetic objects, where the artist plays with light in reflecting, flexible, circumflexed, mirrored surfaces. While his scope of work moves within precisely defined boundaries, one can extract the maximum from them. His work becomes proof that advances in art, science and technology are closely related, while, at the same time, offering up a highly emotional experience.
We would like to extend our gratitude to the Milan Dobeš Museum and KOMART Gallery for their support in bringing this exhibition to Museum Kampa.

Kurt Gebauer

The exhibition of Kurt Gebauer in Museum Kampa, presents his earlier works. As characteristic of previous exhibitions, he has creatively used the space, both in the exhibition hall as well as outside in the courtyard, to create new connections and relationships between and among the individual works and surroundings. While a sense for the absurd predominates, the sculptures of Kurt Gebauer hold many meanings: there is the underlying social-political subtext, closely connected with his disapproval of the exuberance of the former totalitarian regime, an open and hidden irony, and his own special inner world of fantasies and dreams. Allegories, understandable to anyone who personally experienced the “normalization” period in this country, emerge out of his works, presenting stories and situations that are a part of all of our lives. Kurt Gebauer has played and important and decisive role in the development of the Czech independent art movement. His work, while loosely connected to new figuration, or various pop-art stimuli, above all remains authentic and true to itself, a direct reaction to the realities of our world today.

Ji?í Beranek

Ji?í Beránek belongs to the generation of artists that entered the local arts scene in the first half of the 1970s. He soon moved to the forefront, becoming one of the most prominent sculptors in this country. An expressive formulation, monumental feeling and sense for clearly ordered compositions are asserted in his work. The artist mainly works with wood, expertly combining a precise skill and craft with the ability to render his artistic conception, incorporating a deep understanding of nature and its ongoing processes. His objects and installations, leaning towards the abstract, are sensitively placed in each chosen setting. There is a clear connection and sensitivity to the different artistic epochs projected in his work. Ji?í Beránek and his work have a natural connection to the legacy of past generations, yet, it is clear that his work emerges out of a direct experience and knowledge of the contemporary world. His bold sculptural style and character has strongly influenced several upcoming artists from the younger generation.

June 26 - August 17, 2003, Museum Kampa

Works - Josef Albers

Josef Albers was born in 1888 in Bottrop Germany and died in 1976 in Connecticut, USA. In the early twenties he studied at the legendary Bauhaus art school in Weimar, founded by the architect Walter Gropius in 1919. Albers’ earliest works were figurative drawings and paintings. His style increasingly turned toward the abstract at the Bauhaus where he began to explore abstraction and color, eventually becoming a lifetime preoccupation. Following the completion of his studies in 1923, he joined the faculty at Bauhaus, teaching courses on metalwork, glass, furniture, typography and design until the school was forced to close by the Nazi regime in 1933. Very soon thereafter, Josef Albers, and his wife Anni (also a member of the Bauhaus and artist in her own right), emigrated to the United States, where Albers was invited to teach at the progressive and experimental Black Mountain College in North Carolina, where the curriculum emphasized the importance of the arts in culture and education. In 1949-50 Albers joined the Department of Design at Yale University, where he published Interaction of Color (1963) - "the definitive work on color theory" - and worked on his famous series of studies and paintings Homage to the Square. Albers was also well known for his contribution to Minimal Art and Op Art in the 1960’s. The exhibition at Museum Kampa includes several variations of the Homage to the Square, but in particular focuses on the portfolio Formulation: Articulation, which includes works selected by Albers himself and realized in silkscreen prints and published by two of his former students, Norman Ives and Sewell Sillman, in 1972. This portfolio is the artist’s fullest documentation of the visual exercises of his art pedagogy and offers an unusual opportunity for the study of Albers works and the conceptual relationship between color and form inherent in his work. This exhibition at Museum Kampa is presented in cooperation with the Milan Dobeš Museum in Bratislava, where it was shown earlier in 2002. The works on exhibition come from the private collection of the Italian born artist, Getulio Alviani.

February 7 - March 16, 2003, Museum Kampa

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