Past Exhibitions:

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

Richard Fremund (1928—1969)


WoMan With Glasses, ca. 1959

oil, varnish on canvas, 73 × 92 cm Museum Kampa
Photo: Václav Chochola archiv b & M Chochola

September 19, 2014 - December 7, 2014

“He seemed to us as if he belonged to the retinue of some forest god; we liked him immensely. To this day, I cannot grasp the fact that he is dead,” the publisher Štorch-Marien wrote in his memoir a few years after the painter’s death.

Richard Fremund would have been 86 today. He was one of the most distinctive personalities of the Prague art scene during the late 1950s and 60s. This versatile painter, draftsman and graphic designer first captured attention by his exhibition at the Československý spisovatel Gallery in April 1956. The New York Times hailed the event as a test of artistic freedom in communist Czechoslovakia. He was greatly influenced by his subsequent stay in Paris where he became acquainted with modern and contemporary French painting.

His work features both figurative and landscape elements. The defining elements of his style include abstract renditions of cityscapes and Czech villages, painted using saturated oil colours and his typical expressive brushstrokes. At the beginning of the 1960s, he briefly experimented with full abstraction — one of the peaks of his artistic output. After that, he turned to more lyrical forms of expression. He was influenced by pop-art and New Figuration. During those years, he collaborated with the Semafor Theatre and became a well-known personality of Prague cultural life. He also created book illustrations, film posters and stage designs. During the Prague Spring, he visited Italy several times, where his first solo exhibition abroad was held in March 1969. Two months later, he died in a car accident.

The exhibition at Museum Kampa presents some forty oil paintings by Fremund. It showcases some of the finest examples of his work from the two decades following the Second World War. It consists mainly of works held by private collectors and institutions, complemented with a small collection from the National Gallery in Prague. It also highlights the importance of the artist and his work in the context of the tradition of private collections in Bohemia. Already during the 1950s, Fremund’s works appeared in three important Czech private art collections of the 20th century: those of Vincenc Kramář, Jiří Kolář and Josef Sudek.

The exhibition, coupled with the publication of a long-awaited monograph on Fremund, is also a modest reminder of the 45th anniversary of the artist’s death and his subsequent posthumous exhibition, which was held in January 1970 just across the river from here, at Mánes Gallery, and was very warmly received.

Marcela Chmelařová

Jan Švankmajer’s Kunstkammer

Vladimír Kopecký Strom and Calm

April 25 – September 7, 2014


Vladimír Kopecký, Sunrise, 1972

acrylic, linoleum, 170x122 cm, private collection

We can speak of Vladimír Kopecký (born 26 November 1931 in Svojanov in the Bohemian-Moravian Highlands) as a kind of amphibian of art. Not only in the formal sense, being just as important a painter as he is a well-known glass artist, but also in terms of content and aesthetics, since his work oscillates from exquisite geometric harmony to unrestrained spontaneous expression. Both of these, expression and geometry, pictures and glass, stand beside each other, pervade each other and influence each other. As such, Vladimír Kopecký creates a kind of visual Gesamtkunstwerk, he wants to have all options at hand, hating limitations. When he was five, he declared that he wanted to be a painter. His was not a direct path to painting, however. After the Second World War, Kopecký’s family moved to Děčín, North Bohemia, where there still remained run-down schools of glass in Nový Bor and Kamenický Šenov. He attended the schools there and met a young teacher, René Roubíček, in Šenov, and then Stanislav Libenský in Bor. At Prague’s Academy of Arts, Architecture and Design between 1949 and 1956, he frequented Josef Kaplický’s Studio of Monumental Painting and Glass, and he later headed the glass studio at this school for many years from 1990 until 2008. Who else could handle glass so cleverly that he did not even need it when he developed his passion for painting? Over the years, his two loves came together and so his painting and glass became as one. The Storm and Calm exhibition aims to draw the viewer into the emotional and aesthetic world of Kopecký’s work. It focuses mainly on painting, but his spatial creations are also recalled with some of his characteristic objects expressively attacked by colour. Kopecký’s painting has two great peaks. The first occurred from the end of the 1960s until the mid-1970s, and brought with it spacious geometric images, often painted on linoleum. In 1970 through Jindřich Chalupecký, Kopecký was showcased at an exhibition in Prague’s Špála Gallery. A number of themes in his pictures create variation, one might say in the manner of American minimalists. His second peak of exceptional painting has lasted from the end of the 1990s to today, and has brought for some a surprising series of abstract images, whose strength of expression, controlled by masses of colour and spontaneous gestic sovereignty, has placed the artist within a global expressive painting context. But it would not be Vladimír Kopecký if it did not also involve constructive aesthetics. And so in recent years, in contraposition to his wilder pictures, he has created large exquisite geometric serigraphy. Through the photographs of Martin Polák, the exhibition also touches on Kopecký’s work in architecture, which the artist was involved in for many years. Two large-format pictures relate to this, and also to his paintings, card designs for mosaics which Kopecký’s geometric period painting experience has individually developed. At the same time as the Storm and Calm exhibition, a monograph of Kopecký bearing the same name has been created; to be published by Retro Gallery in Prague. The author of the book and curator of the exhibition is Martin Dostál.

Rudolf Dzurko’s Century of Catastrophes – Century of Miracles

May 28, - June 22, 2014


Rudolf Dzurko, Century of Catastrophes – Century of Miracles, 2001

coloured glass cullet on glass 57 x 41,5 cm Museum of Roma Culture in Brno

This exhibition is part of the World Roma Festival Khamoro.

Slovo 21 NGO and Studio Production Saga are under the patronage of Bouslav Sobotka, Prime Minister of the Czech Government, and Tomáš Hudeček, Mayor of Prague

Rudolf Dzurko was born on July 1, 1941 in Pavlovice in Eastern Slovakia. From 1945 he lived in Northern Bohemia (Kamenický Šenov, Nový Bor, Skalice, Úštěk and elsewhere). He worked as a laborer in the local glass factories there. In the early 1970s Dzurko began to focus on paintings using colored glass debris (waste glass), which he would stick to glass panes; he is the inventor of this original art technique. He also made sculptures of wood and sandstone. Rudolf Dzurko won the Revolver Revue Award in 1996. He died after a long illness on 23 June 2013. He was an acclaimed naive artist of Roma culture in the Czech Republic and perhaps the most famous Romani artist in this country. This exhibition is a selection of Dzurko’s extensive, multifaceted work. The space is divided into four halls featuring thematic clusters of Rudolf Dzurko’s glass paintings and sculptures: “woman” as a major theme of the artist’s work and life journey; the realms of fantasy, poverty, madness and natural humanity; the path of the Roma and finally, path of Roma people and the final anchoring of these paths in the historical context of the late 20th and early 21st century. The exhibition lasts untill June 22nd 2014 in Museum Kampa in Prague, and then the exhibition will be moved to the organizing institution, the Museum of Roma Culture in Brno.

Selection form the Jiří and Běla Kolář Collection


Mikuláš Medek, My Head is Going Around, 1962

oil on canvas Museum Kampa – The Jan and Meda Mladek Foundation Photo: Oto Palán

This is a Collection that was built over several decades by the artists Jiří and Běla Kolář and a large portion of the collection was donated to Museum Kampa after Jiří Kolář’s passing. The remainder of the collection is housed in the National Gallery in Prague. The entire collection was exhibited by the National Gallery in 2001-2002.

The collection’S contents correspond with Jiří and Běla Kolář's interest in artistic idioms, conveying unorthodox views of contemporary world. At the same time, the collection echoes their respect for the heritage passed on by tradition.

This exhibition presents a well selected overview of this large collection gathered over several decades. For example works by Pieter Breughel, Josef Čapek, Bedřich Dlouhý František Gross, Kamil Lhoták, Mikuláš Medek, Francois Morellet and Vasilij Kandinskij are on view amongst other important Czech and international artists. You can read more information about this collection on our site.

Josef Šíma Country - Light

March 21 – June 29, 2014


Josef Šíma Shadows, 1960

oil on canvas 65 × 54 cm private collection

This exhibition of paintings by Josef Šíma at Museum Kampa presents the artist through an intimate collection of twenty-two paintings created over a period of almost fourty years. After retrospective exhibitions at the Museum of Modern Art in Paris, the Museum of Art in Bochum, the National Gallery in Prague and The Return of Theseus at the City Gallery Prague, this is another presentation of the principle work of an artist whose position in 20th century art can scarcely be called into question.

The works on display, most of which can be seen in the Czech Republic for the very first time, principally allow us to follow Šíma’s journey towards light. We take a look inside a dream world, a world of delusional landscapes, space without boundaries, the songs of Orpheus and peculiar spiritual transformations, through which Šíma offers his vision of a world at the summit of which there is free poetic thought.

The inter-War period is represented by a collection of landscapes from 1929–1934, the very pinnacle of Šíma’s painting. They usher in his artistic pilgrimage through a landscape that underwent a great many transformations in the years that followed.

The landscapes are truly transformed into crystalline landscapes that are unchained from the relevant world and gradually become cosmic and mental landscapes.

A dominant position among the work on display is taken by Šíma’s post-War period, by which time he had been recognised in intellectual circles as an artist of global standing. After a lengthy sabbatical, Šíma began painting again in 1950, when he drew on themes of old (a portrait of Berenice Abbott, the suburbs of Paris), experiences (villages in Pontois) and memories and returned to the landscape once more. He painted an impressionistic picture of the landscape in Yéres and came to evoke Brie more and more in his memories. A cycle of paintings inspired by the classical myth of Orpheus was created from the second half of the 1950s onwards. Šíma also painted three versions of the fall of Icarus. He also fully developed his own particular vision of the world in paintings involving crystals, hyperbola, labyrinths, the female body and cosmic visions.

One important painting is “Země-Světlo” (Country – Light) from 1967, a work from the artist’s second decade that was until recently owned by French psychoanalyst Jean-Bernard Pontalis. In this painting, Šíma brought together several motifs previously captured in painting in suggestively palpitating space that is country and light at the same time. It is a ship carried away by unending space, irradiating "that unknown” brilliance of its mission. A mission that the artist left us, perhaps for us to see in its reflection some hope in these dark times.

Milan Mikuš, Curator of the exhibition.

The Museum Kampa Collections

The Jan and Meda Mládek Collection

This is a cornerstone of the Jan and Meda Mládek collection. Its price is today already virtually inestimable. It consists of 215 studies, drawings and paintings, and ranks alongside the world's most comprehensive collections of its kind ...







2012 Exhibitions

Gerald Scarfe, Pink Floyd in Prague!

July 24 - October 13, 2013


Gerald Scarfe was born in London. After a brief period at the Royal College of Art he established himself as a satirical cartoonist with Punch Magazine and then Private Eye Magazine during the early 1960’s. He also worked for the London Daily Mail doing reportage work that took him to the Vietnam War, the cholera epidemic in India, the East-West divide in Berlin, and the United States Presidential election campaign in 1964. In 1967 Scarfe began a long association with the London Sunday Times as their political cartoonist.

He has had many exhibitions worldwide, including New York, Osaka, Montreal, Los Angeles, Sydney, Melbourne, Chicago, Hanover and London, and more than 70 one-man shows. He has designed the sets and costumes for plays, operas and musicals in London, Houston, Los Angeles, San Francisco, Seattle, and New Zealand. The Magic Flute, designed by Scarfe, has been performed in Los Angeles, San Francisco and Seattle. He worked with Pink Floyd on their original stage shows of The Wall.

His film work includes designing and directing the animation for Pink Floyd’s The Wall and he was Production Designer on Walt Disney’s animated feature film, Hercules. Scarfe has also written, directed and appeared in many live action and documentary films for the BBC and Channel 4. He also created the animated title sequences for the well-known British television comedy series for the BBC, Yes Minister and Yes Prime Minster.

Scarfe has published many books of his work, including Drawing Blood, Monsters, Heroes & Villains, Scarfe Face and Scarfe on Scarfe. His most recent publication is The Making of Pink Floyd’s The Wall. His work regularly appears in many periodicals in the UK and abroad. He worked for the New Yorker Magazine for over 20 years.

Gerald Scarfe was made a CBE in the 2008 Queen’s Birthday Honours. He has also received Honorary Degrees from the University of Dundee, University of Liverpool and University of Kent. He was also made an Honorary Professor of the University of Dundee.

Scarfe was recently reunited with Roger Waters, designing inflatables and illustrations for animated projection sequences on the current world tour of Waters’ new stage production of The Wall.

Gerald Scarfe has drawings and paintings in collections at the Tate Gallery and National Portrait Gallery in London, the Smithsonian National Portrait Gallery, New York, and in the House of Commons collection at Westminster, London.

Gerald Scarfe regularly gives illustrated talks about his life and work in the UK and around the world.






Goya prodl. 


Harold Gordon Skilling - Life and Work

30. 5. - 2. 9. 2012

Between 30 May and 2 August, Museum Kampa (U Sovových mlýnů 2, Praha 1) is presenting an exhibition dedicated to the life of Harald Gordon Skilling (1912-1991), an eminent Canadian scholar of Central and Eastern European studies, Professor of Political Science, and the first Director of the Centre for Russian and East European Studies at the University of Toronto whose life and academic career was closely connected to Czechoslovakia and Eastern Europe in general. For his support of democracy in Czechoslovakia he was awarded the Order of the White Lion, the highest order of the Czech Republic, by the President of Czechoslovakia, Václav Havel in 1992.


Gordon Skilling (vpravo / right / à droite), 1967

Entre le 30 mai et le 2 Août, Museum Kampa (U Sovových mlýnů 2, Praha 1) présente une exposition dédiée à la vie de Harald Gordon Skilling (1912-1991), un éminent académicien spécialisé en études slaves et est européennes, surtout tchécoslovaques. Son soutien de la démocratie en Tchécoslovaquie, lui a mérité l'Ordre du Lion blanc, la distinction la plus haute tchèque, qui lui a été accordée par le président de la Tchécoslovaquie, Václav Havel, le 8 mai 1992.


Traversing Elements in a Contraposition System, 1972
acrylic on canvas, 125 x 125 cm
foto: Oto Palán

Jan Kubíček

Systems and Geoconstructions

19. 4. - 17. 6. 2012

A special thank you to the Jaroslav Krbůšek Gallery


Aleš Hnízdil

13. 4. - 10. 5. 2012


Otakar Slavik, A Bent over Tightrope Walker, 1983 – 1987 oil on canvas,
Museum Kampa – The Jan and Meda Mládek Collection

Otakar Slavík

Two Dominants

The exhibition runs from February 10 until April 15, 2012

This exhibition is a comparison of two very different and in a sense two opposing periods that are, however, essential for his development. On the contrary, there was not enough room for the fruitful period of the last twenty years, wherein was a sophisticated synthesis of all existing lines of his work, in which the glowing images as much as possible mingle order with harmonic colouration and sharp deformation of shapes for the natural interconnection of all existing experiences. His early and already strongly mature oeuvre of the nineteen sixties has a fine sense for composition meant for freely formed grids and deep colour accords. The grids in the transitional period at the beginning of the nineteen seventies released and the painting gradually arrived at a sharp expressionism, with which the author in relation to the current world expressed himself with an almost Baroque feeling, perhaps inspired by not only Czech but also by Austrian and even Central European traditions. His development is natural, individual periods are very clear-cut and yet at the same time logically linked. During the final period, when the artist applied all his experiences, individual lines grew and complemented each other. However, the oeuvre remained alive; it did not close itself off from the current development. On loan are works from the collections of Prague’s National Gallery, the Aleš South-Bohemian Gallery at Hluboká, the North Bohemian Gallery of Fine Art in Litoměřice, theKarlovy Vary Art Gallery, private and from Museum Kampa.

Founders of Museum Kampa: ČEZ, Unipetrol, Telefonica 02

Partners of Museum Kampa: Capital City of Prague, MČ Prague 1, Ministry of Culture


Foto by: Bohdan Holomíček

Václav Havel

11. 1. 2012 – 25. 3. 2012

The exhibition mainly focuses on Václav Havel’s dramatic works, presenting plays from the very beginning until his last titled Odcházení (Leaving). Plays that were staged here and abroad and which were tied to his civil stance. Curator and author of this exhibition is theatrical theoretician Helena Albertová. The exhibition contains a series of photographs and accompanying texts.


Eduard Ovčáček

A Glance

2. 12. - 5. 2. 2012

Eduard Ovčáček's oeuvres exhibited in Museum Kampa are presented as the title of the exhibition suggests, in a condensed overview. In the spaces of the former 'Stables' building the visitor can admire a selection of works from various periods dating from the nineteen sixties until now. The exhibition concentrates on experimental lines of the author's oeuvres linked mainly with Letterism and Minimalism using both classical and new means of expression.

Marian Karel

21. 8. - 29. 1. 2012


Marian Karel is one of the few Czech artists who has reached an international status within the Minimalistic movement. However, it cannot be said that he fully identifies with this style. His foundations are in fact very complicated. His goal is to express as accurately as possible and simultaneously very simplistic specific relationships between basic geometrical elements, which however, very artfully and intricately connect and permeate. He is able to react to the given space and create objects precisely for it, in order to stress several of their properties, to naturally complete and allude to further possibilities. This exhibition reacts precisely in this manner, especially to its surroundings, which over time have been transformed repeatedly and are well understood by the author. He closely worked on the reconstruction of Sova’s Mills along with Václav Cigler and Dana Zámečníková giving him a greater sense and understanding of the spaces in which his exhibition is
located. During the reconstruction old elements were sensitively merged with new ones and therefore complementing it each other through ideological tendencies of various historical periods along with contemporary sensibilities. The exhibition’s concept is based on the examination of the possibilities of the interaction of various materials and shapes, which we can come across in nature, art and architecture. The installation transforms three main spaces in Museum Kampa: the two main exhibition halls on the ground floor and the terrace, where two close ideologies meet: the glass terrace of Václav Cigler and the iron Cube of Marian Karel. The Cube is imaginarily transformed in that it creates the illusion of shifting along the glass footbridge, faces it and is deformed in such a way that the Cube appears to be lightly touching the footbridge. Visitors can walk through the Cube and contemplate spatial relations and the laws of physics. When we enter the exhibition hall under the terrace, our attention is immediately captured by a “cubistic object” comprised of an iron construction and glass panes, which intersect a steel column which is a part of the existing architecture. It gives the impression that it is deformed by the weight of the terrace. It becomes a symbolic expression of strength, whichcan transform the balance of various relationships. Next is an object in which a glass pyramid penetrates a  granite block. In another object a glass pane imaginarily cuts through a steel plate, again a result of a
specific process captured in this oeuvre. Through the use of glass panes placed on the surface of the wall and on the floor a further sculpture creates the illusion of a three-dimensional space. The only object
in this exhibition which has been exhibited before is “Kaaba” – a black glass cube, which is convex, as is if it was heated by the sun, and levitating above the ground, thereby concealing its weight. The installation  “The World according to Plato”, which is unfortunately not exhibited, is based on the permeation of three glass panes suggesting a tilted horizon, aiming from the north to the south and from the west to the east. In the next exhibition hall the sculptor created an “intersection” using existing columns traversed by a cylinder and a prism. Mrs. Mladek has been following Marian Karel’s career and oeuvre for several years  and therefore it is only natural that this “tailored” exhibition is being held in Museum Kampa. In order  for the continuity to be even more distinct, visitors are welcomed by one of the author’s more important  sculptures in the courtyard next to the main entrance, inducing the atmosphere of the current exhibition  which has a clear internal logical construction. In conclusion I would like to mention that Sova’s Mills obtained its current form during reconstruction which took place at the beginning of the 21st century. It was at this time that Marian Karel’s “glass tower,” topped off with its slanted glass cube over
the stairwell, was installed becoming a dominating element of Museum Kampa. Even this installation is an intersection of the original walls and the new object, which appears very light due to its glass construction.
Marian Karel is also the author of the “small stream,” which bisects the courtyard and symbolizes a river´by its “weir,” which connects the “stream” with the Vltava River. A river that has over the centuries
devastated the Sova’s Mills building time and again and is inextricably connected to its history.
Jiří Machalický

Archive of Freedom at Schwarzenberg Castle

21. 9. - 8. 1. 2012

The “Archive of Freedom at Schwarzenberg Castle” exhibition is taking place on the occasion of the 25th anniversary of the founding of the Documentation Centre for the Promotion of Independent Czechoslovak Literature (ČSDS). The exhibition maps the path, which led to the establishment of one of the most notable Czechoslovak exile institutions during the latter half of the 20th century. It also documents the efforts of a group of notable figures from the cultural and political exile community supported by “domestic” and international allies. The exhibition seeks to highlight the various phases of operation and activities of the ČSDS, from the “home business” created by one individual, to today’s non-governmental organisation, incorporated into the structures of both domestic and international cultural and academic institutions.   

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