12. – 24. 4. 2018 (opening: April 11 and April 17 at 6 p.m.)

curated by: Sara Pinheiro

WAVEGUIDES is a site-specific and site-responsive sound installation by Donia Jourabchi (BE) and Taufan ter Weel (NL) which facilitates different listening situations to explore our relative sense of space and situatedness.  The installation employs the waveguides on-site, such as transmission lines, pipes and ventilation shafts, and works with the acoustic properties of the space at different positions by means of electroacoustic processes – such as transduction or conversion, amplification, transmission and recording. The exhibition opening will be followed by a public lecture by Taufan ter Weel (April 12, 6 p.m.) titled From Inner Ears to Other Spaces. The lecture will explore the notion of auditory and spatio-temporal situatedness in terms of waveguides and transmission media (reaching from inner ear to outer space – interconnecting bodies, machines and environments). It will discuss the relationships between social practices of listening, acoustic or electroacoustic architectures, and different conceptions of space and time. The duo will then lead a workshop which opens the exhibition to collaborations and interventions. These results will be shared with the public on April 17 at 6 p.m. during a second opening.


11. 4. – Exhibition opening part 1 (with performance)
12.–16. 4. – Public lecture From Inner Ears to Other Spaces and the beginning of the workshop
17. 4. – Exhibition opening part 2 (with performance – outcome of the workshop)
22. 4. – Intervention by the live coding group k-o-l-e-k-t-i-v

Donia Jourabchi (BE) is a sound explorer of contextual relations between body and space within the materiality of sound — an experimental approach towards a spatial practice of sound by designing spatial and sonic trategies that can be potential mechanisms of engaging the social within the physical space. She was involved in numerous collaborations, such as sound system design, public interventions, experimental music, dance and choreography, electroacoustic sound techniques and improvisation, sound registration, spatial amplification, installations and compositions, self-made instruments, radiophonic art, and graphic design. Her works question situated knowledges manifested in the physicality of sound, reflecting on the social conditions in the context-dependent and community-based articulation of site-specificity.

Taufan ter Weel (NL) is an architect, sound artist and researcher with an interdisciplinary approach at the intersection of sonic practice and socio-spatial research on urban problematics in relation to politico-economic processes. Besides carrying out collaborative and independent projects, he works as guest teacher (2014-present) at TU Delft’s Faculty of Architecture (Theory Chair), where he also received his master degree in architecture with honorable mention in 2009. He has worked as part-time instructor (2009-2012) and guest teacher (2013-2014) at The Hague University of Applied Sciences (Built Environment department), where he earlier received his Bachelor degree in 2006. Furthermore, he worked as urban researcher (2009-2010) for Cohabitation Strategies in Rotterdam, and was artistic leader (2010-2012) and co-leader (2013-2014) of Blikopener Festival & Productions, a yearly theatre, performance and installation art festival in Delft. He performs live electronic music since 2001 and followed the Institute of Sonology’s one-year course program (2011-2012) at the Royal Conservatoire The Hague.

14. 3. – 6. 4. 2018 (opening: Tuesday, March 13, 2018 at 6 p. m.)

exhibiting artists: Jakub Jansa, Karolína Juříková
curated by: Lumír Nykl

The collaborative exhibition of Jakub Jansa and Karolína Juříková is the second part of a series whose pilot version originated as an invitation to Jansa’s own Club of Opportunities. The bowling bar became the setting for a seminar devoted to the ontology of celery for all the senses.
In this new, narrative episode featuring Karolína Juříková, our intrepid heroes relocate beneath the arched ceilings of GAMU for an initiatory séance of young stalks, their hag watching from backstage, where bodies flagrantly transform with the promise of a new beginning. An old sage rambles from her ritually refurbished throne, her avuncular visage showing signs of new hope. Through the rejuvenated language of folk verbiage, we call for a new spring of shared imagination.

The bleak emptiness of dark background and personal eradication alternates with the promise of collective initiation to the new storyline. A thick tattoo needle and ink blotted in cruciferous texture suggest that ubiquitous anxiety can be smoothed down and moulded into a custom-tailored role. From the freshly-made shape, marked with a new mission, cones an effort to get better prospects for the near future. The librarian or the florist take their part in a shared narrative with the same natural responsibility coming from a story that’s just too real. A story about a class president who has pulled his classmates out of the debris of a shattered school, simply from loyalty to his function. The feeling of elusion of meaning and the separation from a rapid sequence of micro-affairs weighs and presses us down. But in a proper collective tune, it can materialize into a well-fitting uniform.
A ready-to-wear jersey in a game of commonality.
The hybrid war of avatars over meaning suddenly changes, just like that, into a fairy tale of hope, in which new forms of shared attention economy based on mutual unselfish care are being invented.

All of a sudden it’s another smile, it’s another heartbeat, it’s another style of thinking
New hope couture
Folk body modification
Peep-to-peep networking

31. 1. - 4. 3. 2018 (opening: Tuesday, 30. 1. 2018 at 6 p.m.)

exhibition concept: Štěpánka Borýsková & Petra Tomsová

exhibition architecture: Oldřich Morys

graphic design: Jan Slabihoudek

The floods of 2002 affected also the archive of the Masaryk Institute and Archives of the Czech Academy of Sciences. It contained, among others, colored diapositives and negatives of the Czech geographer J. V. Daneš. In the early 1920s, Daneš was one of the first Czechs to travel over the Pacific, East Asia and North America. Although the waters have irrevocably changed his photographs, the process of degradation has given the individual images a whole new visual quality which reflects the fragility of the photographic medium when faced with natural forces.

© Masaryk Institute and Archives of the Czech Academy of Sciences, collection Daneš Jiří Viktor

© Masaryk Institute and Archives of the Czech Academy of Sciences, collection Daneš Jiří Viktor

accompanying program: Travel Photographs – Caring for Photographs in Collections and Archives (symposium), Wednesday, 21. 2. 2018 at 9:30 a.m. (HAMU Gallery, Music and Dance Faculty, Malostranské Square 13, Prague 1)

The exhibition was realized at the Academy of Performing Arts in Prague as part of the project Evaluating and Interpreting the Photographic Collection of the Czech Academy of Sciences, supported from the resources of the Institutional Support for Long-Term Conceptual Development of Research Organizations, provided by the Ministry of Education, Youth and Sports in 2014. The project—co-investigated by the Department of Photography of the Film and TV School of the Academy of Performing Arts in Prague and the Masaryk Institute and Archives of the Czech Academy of Sciences—has been taking place 2014 – 2018.

15. 12. 2017 – 21. 1. 2018 (opening: Thursday, 14. 12. 2017 at 6 p.m.)

exhibiting artists: Martin Ježek, Kryštof Pešek, (c) merry, Martin Búřil, Jan Kulka
prologue: Auguste & Louis Lumière, Damien Henry
curated by: Lenka Střeláková
logo: 2046
graphic design: Jan Slabihoudek

The exhibition tracks those contemporary forms of the moving image which consciously make contact with experimental approaches to filmmaking throughout the history of cinema. As a direct outcome of technological processes, the image constitutes a theme for its own contemplation – both on the level of an artwork’s creation and presentation, as well as in the specific steps taken during its remediation and archiving.

Through their concerted work, as well as for reasons of their further (theoretical, curatorial, or pedagogical) efforts, the exhibited authors represent a meticulously crafted and up-to-date understanding of the contemporary moving image. Furthermore, by directly referring to and drawing inspiration from the domain of formal and structural film, they disclose the mechanisms and processes that are usually hidden in a closed circuit between input and output. The relationship between technical means and image thus gets de facto inversed: the recording technology doesn’t as much serve the image; it is the image that gets to be presented as an outcome of certain technological processes when it refers to them by its specific shape.

Based on this set of constellations, BLACK BOX, WHITE HAT examines the moving image’s contemporary situation. It repeatedly draws attention to the pressing question of a ubiquitous modus operandi of today’s digital archival and distribution processes. These have gained a normative mandate. The many allusions to the limits of such processes constitute one of the main thrusts of the event, and the presented works would otherwise linger on the margins of visibility, their existence precarious. Parallel to that – and not only for reasons of the singular theme which addresses the actual end of meaning of recording media within the creative field – the exhibition thematizes the incessant oscillation of existence among various modes of data compression, and the unindexable, performative dimension of the moving image, as well as the role it plays in media and informational literacy and its relation to open source systems and the creative strategies these platforms allow.

The French prologue consciously reproduces the peculiar academic/artistic fetish of the relational problematic of train and film or of the ethos relating to the origins of cinematography. However, it simultaneously constitutes a firm reference point from which to address and ponder the contemporary state of the moving image.

Logo: Jan 2046 Mucska

accompanying program: Jan Kulka’s Archeoscope (presentation and screening), Saturday, 20. 1. 2018 at 6:30 p.m.

The publication accompanying BLACK BOX, WHITE HAT exhibition is available in the gallery.

exhibition partners: PAF Olomouc, jlbjlt.net, Stable Studios

8. 11. – 3. 12. 2017 (opening: Tuesday, 7. 11. 2017 at 6 p.m.)

exhibition concept: Michaela Pavlátová & Pavel Rejholec

graphic design: Jan Slabihoudek

production: Karolína Davidová

CITY CITY is a joint project of students from the departments of animation and sound at Prague’s FAMU. The exhibition presents audio-visual installations, projections and an interactive model of the city which appears in the animated film authored by Filip Blažek. The theme of the exhibition is focused on various creative perspectives on the city, understood as a space to which each being relates both physically and emotionally.

The CITY CITY at GAMU has been made possible by the financial support of FAMU, Filmtalent Zlín, Ministry of Culture Czech Republic and Prague City Hall.

4. 10. – 29. 10. 2017 (opening: 3. 10. 2017 at 6 pm)

Jan Boháč, Jakub Červenka, Jonáš Richter

curated by: Jitka Šosová

“Melodram” is a site-specific project playing with the authors’ desire to become composers. Their libretto is based on Gallery AMU’s spaces and visitor’s movement within them. The composition is framed by three texts, all to certain extent affecting human lives: Hippocratic Oath, NASA’s press release advocating for the colonization of Mars, and a scientific description of Latimeria chalumnae.

15. – 24. 9. 2017

Elisaveta Gershkovich, Valentýna Janů, Šimon Levitner, Johana Novotná, Petr Pustina, Karol Sekta, Elena Semerikova, Jonáš Verešpej

curated by: Štěpánka Šimlová and Jiří Thýn

Exhibition of BcA./ MgA. student works from the Department of Photography, FAMU.

19. 7. – 3. 9. 2017 (opening: 18. 7. 2017 at 6 pm)

curated by: Tea Záchová

The artist transforms the gallery space into an arena where one can discover life, as well as death. The exhibition is inspired by the Minoan taurokathapsia ceremony – the deadly dances with bulls. Who is the acrobat? Is it the artist or the viewer? When do they enter the mystical game? It is right now or soon. The ritual repetition of the game, one which may never finish shores up the abstract frame of time which the artist often uses in her projects.

Accompanying program

24. – 30. 7. 2017 Intervention by Ondrej Zajac, secret gig (http://ondrejzajac.com/)

4. 8. 2017, 18 h Intervention by María Prada, public presentation (http://mariaprada.es/)

17. 8. 2017, 17 h Guided tour with Lea Petříková and Tea Záchová

22. 6. – 9. 7. 2017 (opening: 21. 5. at 6 p.m.)

curated by: Eric Rosenzveig and CAS FAMU students

Exhibition of BcA./ MgA. student works from the Center for Audiovisual Studies, FAMU, Prague:

Daniel Burda, Alexandra Cihanská Machová, Veronika Dostálová, František Fekete, Nina Grúňová, Vendula Guhová, Anežka Horová, Jakub Jirka, Jakub Krejčí, Adéla Kudlová, Veronika Přistoupilová, Anna Radeva, Luboš Rezler, Tomáš Roček, Andrej Sýkora, Klára Trsková

Accompanying program: “Ochočárna” (collective projection) with Vendula Guhová – June 27th and July 3rd at 5:30 p.m.


10. – 17. 6. 2017 (opening: 9. 5. at 6 p.m.)

Veronika Durbáková, Oskar Helcel, Inka Karčáková, Alexandra Mertová, Zheng Minghui, Martin Netočný

Ferrotype authors: Camille Bonneau, Rony Eranezhath, Hanlu Gong, Anna Jarosz a Elena Semeriková, Petronella Karlsson Aslund, Adam Mička, Eleonora Riabkov, Alexander Rossa, Marie Sieberová, Jakub Svoboda, Natálie Ševčíková, Erika Štěpánková, River Young

curated by: Václav Janoščík

I am looking at a photograph. It might be mine, but it can just as well be yours. I hold it in my hand, or I have come across it on the internet. The more attention and time I devote to it, the more it mesmerizes me and inscribes itself in my memory. It slowly starts becoming all; as if I could leave my own self and enter the photograph. As if I could encounter it.


Reality is not just in the here and now, but stretches between the past and the future, between our perspectives which penetrate it and change it. In order to truly comprehend this, in order to be able to visualize it, we need to overcome our singular perspective. We need a sense of orientation and a wider view of the world around us. In a certain sense, we need photography.


An encounter is not just a metaphor; it does not have to occur just between people. The first part of the exhibition comprises of art projects which attempt an encounter with things, paintings, materials or memories. Martin Netočný is specifically interested in the connection between the anthropomorphic and the inhuman, the figural and the natural. The photograph thus becomes a form of research, of testing visual and natural shortcuts, clichés, connections, and encounters with signs, shapes or symbols.


Modern technologies like, for instance, social networks are often ascribed the ability to increase mobility and to expand our communicational potential. At the same time, however, their constant presence and instant content often preclude any more meaningful interpersonal contact. Oskar Helcel has made a functioning Faraday cage – an apparatus which shields its inside from electromagnetic waves. The piece thus exposes its surface in order to enclose space, focusing on its surface to hide the inside. By means of technology, it inverts the interior and the exterior, connectivity and isolation.


Encounter is predicated on the very uncertainty, or tension, between the familiar and the unknown. An encounter gives the impression of a certain closeness, but it is at the same time predicated on the fact that we do not yet know the other. Connecting photos from the family album with astro-photography, Inka Karčáková fleshes out a figure which represents a relative of hers who is at the same time unreal. František Bernár, a fictitious priest and avid photographer, is introduced to the audience, but remains elusive; we can encounter him, yet he does not really exist.


But let us still suppose that en encounter takes place between real people – between people who live somewhere, have hobbies, characteristics and desires. In her double-channel video, Veronika Durbáková follows the relationship of two friends. She doesn’t, however, adopt a documentary approach, rather deftly noting their masks and fake poses. For instance, the cigarette, the pop songs and the ever-present sense of irony speak volumes; they oscillate on the border of the superficial and the genuine, between kitsch and true sensation; they accelerate and slow down, all the time climbing towards their inevitable, ambivalent finish. The encounter thus does not only take place on the screen – we also discover the connection between the two characters, as well as their relationship with the video’s author and, perhaps, even with ourselves.


An encounter is inherently a bodily experience. We are in a relationship to space and to other bodies, both human and physical. In this sense, we can also understand dance as a form of bodily and material encounter. Alexandra Mertová explores these very possibilities of movement and touch in interpersonal contact. Her double-channel video shows footage of the usual contact of passersby on a street, and juxtaposes it with a dance performance. Fingers, touch, but also the gaze and the passing – these intimate and casual situations and gestures of expression form the robust surface through which we may encounter one another.


Much like being, we understand humanity and the encounter as having depth; as something which is discovered and which possesses duration, stability and gravity. But what if an encounter is rather superficial – a flash of a moment? What if there are no encounters in our lives? Can we fill the gap with service? Can we meet in shopping centers? All these questions, becoming ever more important in our hyper-employed society reared on advertisement, are addressed in Zheng Minghui’s installation. The whispering voice emotionally guides us through the story of a paid partner, while the shot tracks the environment of Shenzhen’s shopping centers, where similar encounters take place on a daily basis.


After the first room, which presents three installations devoted to encounters of a completely serious, ontological nature, and after three further pieces occupying the middle part of the gallery, which focus on the dynamics of encounter in the general sense of the word, we come to a synthesis of the two perspectives. In the last room, we may observe the ferrotypes of first-year students. They usually approach their main theme – a meeting of two ideal parents – with irony, but address the subject in their own various ways. The students managed to smuggle in the irony and tension of their representation of family and wider society by means of using one of the classical technologies of picture reproduction, one which was popular in the 19th century. The light-hearted content coupled with the very robust material of its medium symbolizes the fictitious but also real presence of the photograph – its potential and its drawbacks, its manipulative and ontological identity.


Here, the photograph adopts the guise of various encounters, meetings with people and with things. Much like abbreviations, symbols, or hashtags, they create a rhythm, condensing meaning while constantly drawing us in, closer towards the encounter. The photograph oscillates between the fictitious and the real, the expressive and the intimate; the deep and the superficial, the serious and the ephemeral.


Václav Janoščík