Future exhibitions

Lucie Rosenfeldová

The exhibition How to Not Remember Our Bodies is the result of a long-term artistic research on body memory in the field of reproductive medicine. The project will introduce a new film by the artist focusing on both individual and collective experiences of reproductive medicine, as well as its historical and political condition. The film draws on historical material gathered from the NFA's medical film archive, information gathered from research at the Medical Museum in Prague, and consultations with experts working on bodily memory.

Karolina Raimund

Karolina Raimund (formerly Kohoutková) is an artist, curator and educator whose artistic and pedagogical practice has long focused on body design and performance, addressing feminist and queerness themes.Identitarian issues related to corporeality in her work are complemented by environmentally engaged projects. These levels are interconnected in Karolina's upcoming exhibition, which takes as its starting point an artistic intervention in the landscape that is linked to a specific place, a 3600 m2 farmland in South Moravia, which is still listed as the property of the artist's late great-grandmother. 

A cacophony of stories emerging from beneath the earth's surface, told from the perspective of a coal mine seen from the moon. The perspective of the human and non-human actors of Eastern Europe, which the author tries to see not from the perspective of the 18th century Western travelers we know and who have shaped the image of this part of the world for so many years. Inspired by Adam Bobbett's essay "The Spirituality of Coal", Ewelina has spent the last year researching coal mines and the stories associated with them, as well as how deeply coal has penetrated us, powering our electrical reality. Bobbette argues that coal creates the spiritual self of a modern man, and asks this question: How will our modern transition to a post-coal society lead to a reconfiguration of the self?

Lištica

Plevelitel project stems from the artist's fascination with the ambiguity of the definition of weeds and their variability in time and space, linked to the way we manage the land. The author also sees weeds as a metaphor for humans. They colonize scarce spaces and exploit resources to make more money. They are inherently intrusive, pushy, competitive and mean. For her, the eradication of weeds becomes the eradication of humans; uprooting them is the chopping off of human limbs. In one place in the world a given plant may be very useful, in another it is considered a weed and treated accordingly. By analogy, humans are treated in the same way. The main character in this project, the catalyst of the plot, is the Weeder, a character with unclear origins and an unclear role in the plot. He cannot be said to be a hero, nor is he purely a negative character. What he does is strange: he bets people. It's unclear if he's also killing them, butchering them, or just collecting them and giving their parts new life in the soil. 

Kristýna Gajdošová, Barbora Ilič

What currently connects a curator, an artist, a DJ and a cameraman? Everything and nothing, as they all usually try to be everything and at the same time define themselves against almost everything. Through the four archetypal figures of the art business, the authors of the exhibition create a multi-layered narrative that reflects the contemporary issue of paradoxical tendencies and consequences of working in the so-called art world. The project is an intersection of the artists' doctoral research, in which they are both researchers and their own objects of investigation. A common element of these researches is an interest in the proclaimed emancipatory and anti-systemic tendencies in contemporary art and the ways in which they are retroactively implicated in existing modes of production and polarizing tendencies in the realm of politics. The outputs of the project will take the form of several moving image fragments, reminiscent of the genre of the trailer.

Anna Chrtková, Matyáš Grimmich, Karolína Schön

The exhibition aims to achieve a moment of calm in the phase of the most hectic crisis - the moment of the "Great Burnout". Corporations are handing over their employees, we as art are chasing attention, Western society is vainly trying to achieve so-called "social peace" and the whole human world functions as one body in a cycle of work-fatigue-work-even more fatigue. Burnout, however, is a privilege that far from everyone can afford. The exhibition is conceived as a crisis intervention. What space do we need to create to allow ourselves to lie down and rest, at least to imagine?

Bernardeta Babáková, Monika Rygálová

A video projection installation working with a girl's nostalgic gaze, drawing on the unsettling atmosphere of gothic novels and post-apocalyptic genres. The installation object draws on the aesthetics of domestic model making, dollhouses and portable altars. The glowing windows invite you to peer into the bowels of a lonely villa, where a feast with special rules for diners is most likely taking place for the last time. The video draws on a tradition of stories set around mansions, imprinting the memory of a place while the beings who inhabited it pass away, disappear. Both the installation and the concept of the audiovisual work look nostalgically back to the girlhood years, drawing on the attitudes and ideas of the world associated with this period. To a time when inhabiting mysterious spaces and ancient interiors seemed a certainty, dinner an endless game after which all one could do was relax and wait for the next days full of pleasurable pleasures.

Ondřej Klavík

The work of Ondřej Klavík is interesting for its almost painterly work with charcoal. The artist himself frames the themes of his large-scale works with existential and essential motifs such as presence or its counterpoint in absence. Absence is made present in his work primarily through themes that are based on absence - that is, they are shaped through their surroundings or otherwise imply absent qualities. He depicts the de-materialisation and displacement of masses. Mining, digging, removing, relocating, or the various uncovered interior places of the Earth that are made up of absent matter. It is present in them precisely through its absence. At the same time, he draws inspiration from extinct cultures, places, or mythologies that are touched by absence. Thus, the present intersects with the vanished, the real with the fictional, the general with the concrete, the descriptive with the abstract.

Leo Trotsenko

This exhibition reflects on the theme of death through such basic and elementary images as heaven and earth. They convey the perspective and experience of a Ukrainian civilian during the Russian-Ukrainian war. The exhibition consists of a sound installation, videos and objects: embroidered plastic garbage cans. The series of objects is called Dream of Humanism, and through simple symbols of different types of clouds such as Cumulonimbus, Stratocumulus, Cirrus, Nimbostratus, etc., it brings the emotion of fear of the open sky.