11. - 28. 10. 2018 (opening: Wednesday, 10. 10. 2018 at 6 p.m.)

Captain Lightfoot (Anneli Holmstrom, Emma Pratt, Kadie Salmon) & Christian Henninger, Nitish Jain, Bára Anna Stejskalová, Eva Urbanová

exhibition concept: Captain Lightfoot

graphic design: Jan Slabihoudek

At least since Wagner’s idea of Gesamtkunstwerk, which dates back more than 150 years, generations of artists have been attracted by the innovative potential of bringing together different art forms. The same is true of the Scottish artist-run collective Captain Lightfoot (Anneli Holmstrom, Emma Pratt and Kadie Salmon), for whom working in an interdisciplinary, collaborative fashion has become their second nature.

At the core of the Memory Palace project lie questions about the source, forms and limits of human creativity, and—first and foremost—a quest to experiment with the creative processes. Four young artists (Christian Henninger, Nitish Jain, Bára Anna Stejskalová and Eva Urbanová) from the Academy of Performing  Arts in Prague were invited to contribute to the project, which was launched by a four-day workshop in April 2018. Intensive artistic research and exchange followed until the Memory Palace exhibition slowly became to take shape.

A big part of the research was directed toward the inter-war avant-garde, drawing inspiration from Dada’s rupturing the link between art and artist’s controlled decision making, Surrealism’s automatic writing and focus on the unconscious, or Moholy-Nagy’s idea of the art object as the catalyst of an interactive event. The technique of „transcendental meditation“—as described and championed by David Lynch—has also served as an important source of ideas for the exhibition, together with sensory deprivation and meditative walks. Memory Palace combines the above mentioned historical references, while using the vocabulary of contemporary art.

The artworks on show are comprised of a series of fictive audios, photo montages and  assemblages of random objects collected by the individual artists during their meditative walks. The architecture of the exhibition is structured as a “memory palace“—an imaginary location in your mind where you can store mnemonic images. It follows a path created in order to store creative inspiration, memories and visual imagery.

Special thanks to:  Viktor Dedek, Robin Holmberg, Matěj Šenkyřík, Miro Tóth

Supported by: European Cultural Foundation (STEP Travel Grants)

21. - 30. 9. 2018 (opening: Thursday, 20. 9. 2018 at 6 p.m.)



exhibition concept: Štěpánka Šimlová

The future graduates of the Master and Bachelor programme will present their thesis projects created at the Studio of Classic Photography, Studio of Documentary Photography, Studio of Photography and New Media, Studio of Postconceptual Photography and Studio of Intermedia. The exhibition presents photography and technical image in many forms, which depend on the position of the photographic medium across a range of approaches and applications in the current visual context.

GAMU: Inka Karčáková, Zuzana Lazarová, Simona Petrlová, Eulalie Polne, Karolína Smilková, Tian Yang

Studios of the Department of Photography at Tržiště 20: Oskar Helcel, Anna Jarosz, Daniela Junášková, Elizabeth Khaust, Martin Netočný, Ben Peguero, Jakub Ra, Taisya Sharova, Dušan Smoděj, Minghui Zheng

Studios of the Department of Photography, FAMU
Tržiště 20 (2nd floor)
118 00 Praha 1

19. 7. - 2. 9. 2018 (opening: Wednesday, 18. 7. 2018 at 6 p.m.)

Julien Maire, Robert Vlasák

curated by: Miloš Vojtěchovský

graphic design: Jan Slabihoudek

During the exhibition opening GAMU will host a sound performance  by Tonic Train (Sarah Washington and Knut Aufermann).

This exhibition sheds light (and shadows) on a hidden narrative of optical and kinetic apparatuses. It brings together five works by two artists who have developed a particular, media-archaeological approach to the aesthetics and ideology of the analog technology of the past, seen from the digital era.

French artist Julien Maire (1969) de-constructs and re-invents analog apparatuses and gives them a pataphysical slant. Usually, he disassembles and inverts the functionality of perception machines, such as projectors or cameras. At GAMU, three of his works are on exhibit. These include The Man at Work (2014), an installation based on the stop-motion animation of a sequence of stereolithographic three-dimensional figures running in a loop. A similarly maverick cinematographic machine is his Instantanées (1998). Instead of using flat images as a source, a slide projector adapted to project three-dimensional miniature sculptures is attached to a rotating mechanism that creates an animation of a falling drop of water. In addition, Step Direction (2015) is a variable set of kinetic structures based on the ancient principle of the pantograph, autonomously folding and unfolding in a space.

Robert Vlasák (1978) exhibits two assemblages: the sound sculpture Sirene (2017), an acoustic generator, based on an invention by August Seebeck (1805-1849); and a new kinetic sculpture entitled Vrtuloid (2018), constructed from a collection of car engine fan blades arranged on a shaft and suspended from the ceiling.

The machines at GAMU are propelled by serious playfulness and designed with an idiosyncratic touch derived from careful observations of our world.

Julien Maire is a French artist born in Metz in 1969. He graduated from the Academy of Fine Arts in Metz, and currently lives and works in Brussels. Since the mid-1990s, he has created works of performance art, media installation and cinema to produce live works that are hybrids of genres and media, exploring the physicalities of the moving image. Maire’s installations and performances, such as Exploding Camera, Low Res Cinema, and Demi-Pas have been featured widely and internationally at prestigious venues such as Ars Electronica, Digital Art Festival, European Media Art Festival, Film Festival Rotterdam, Sonar, Transmediale, ZKM, ICC (Japan), Empac (New-York). Maire was the winner of the NTAA.be (Update_2 biennial) in 2008 and was nominated for the World Technology Award in New York in 2009.

Robert Vlasák is a Czech visual artist and sculptor born in Kladno in 1978. He works as assistant professor at the Studio of Natural Materials at the Faculty of Art and Design at the J. E. Purkyně University in Ústí nad Labem. Vlasák’s work is an inquiry into the physical qualities of different materials and situations. He is fascinated by the concept of equilibrium and the process of change, which he explores usually by means of visualisation or sonification. Vlasák is interested, too, in the mechanical, sonic and optical aspects of objects, sometimes implemented as electronic and sound-producing elements.

The exhibition is the result of collaboration between GAMU and Agosto Foundation, which has funded the residencies of Julien Maire, Sarah Washington and Knut Aufermann in Prague. The residencies take place with the support of the Czech Ministry of Culture.

Production: GAMU & Agosto Foundation

Financial support: Ministry of Culture Czech Republic

Media partners: Flash Art, Artmap, jlbjlt.net

21. 6. – 8. 7. 2018 (opening: Wednesday, June 20th 2018 at 6 p.m.)

František Fekete, Nina Grúňová, Barbora Hlaváčová, Anežka Horová, Klára Trsková, Franz Milec, Tomáš Roček, Hannah Saleh, Lucie Ščurková, Veronika Švecová

curated by: Lea Petříková, Martin Blažíček

graphic design: Jan Slabihoudek

The exhibited semestral works by students of FAMU’s Center of Audiovisual Studies are spread out among the AMU Gallery (GAMU) and a few other spaces in the main AMU building at Malostranské náměstí, which will be accessible during the event’s opening night. The curated part of the exhibition in GAMU will present select students’ works whose common theme is a post-human perspective on the world.

CAS FAMU Semestral Works: Tržiště 20, Wednesday, June 20th, 2018, 6-10 p.m.

AMU Studios – Atrium:
Alexandra Cihanská Machová

AMU Studios:
Veronika Dostálová, Prokop Jelínek, Veronika Přistoupilová, Tomáš Rampula, Hannah Saleh, Lucie Ščurková

HAMU Backyard:
Daniel Burda

Accompanying program and closing party: GAMU / Avalon, Wednesday, July 4th at 5 p.m.

13. – 17. 6. 2018 (opening: Tuesday, June 12th, 2018 at 6 p.m.)

Veronika Čechmánková, Zuzana Fedorová, Klára Jakešová, Richard Janeček, Olga Krykun, Magdalena Prudíková, Jakub Ra, Adam Směták & Martin Dušek, Erika Štěpánková, Max Vajt

curated by: Václav Janoščík

graphic design: Jan Slabihoudek

We invite you to be serious and careless,
to make real the FAKE and to FAKE your ME.
– Connecting people! –

You can be whoever you want,
not just the audience.
– Because you’re worth it! –

Because we are all
fake and awesome.
– That was easy! –

Preview on Sunday, June 9th, 2018 as part of the 15. Prague Museum Night program (a guided tour starts at 7:30 p.m.)

3. 5. – 1. 6. 2018 (opening: Wednesday, May 2nd, 2018 at 6 p.m.)

Inés Andučić, Iva Bartošová, Theodora Bognárová, Linda Holubová, Pavlína Chroňáková, Jana Kahounová, Barbora Maleninská, Pavel Morávek, Adam Repka, Alžběta Riegerová, Michaela Semotánová, Michal Spratek, Vesa Iliana Stankova, Anežka Straková, Anna Stříteská, Martin Šimek, Zuzana Štěpančíková, Petr Vaněk, Veronika Volfová, Magdalena Vrábová

expert collaboration: Anna Hejmová

supervision: Nikola Tempír

graphic design: Jan Slabihoudek

Stage design is an integral part of theater – live events, drama interpretation, and stage implementations in the “here and now.” These situations are essential for understanding stage design as part and parcel of theatre production, while also showing the difficulty of exhibiting it separately, as a stand-alone work of art.
The presentation of the student works is thus conceived as a mosaic, put together from various stages of the creative process. We aim to show this process, the evolution of a stage design, rather than the final outcome. The realization of scenic and scenographic design evolves all the way up to the play’s premiere, continues to evolve throughout its staging, and can be said to be complete only during the final performance.

The exhibition has been made possible by the financial support of the Faculty of Theatre of the Academy of Performing Arts in Prague.

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