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[vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_custom_heading text="EVERYONE CAN BE AN ARTIST" use_theme_fonts="yes"][vc_custom_heading text="15.9.-25.9.2026" font_container="tag:h3|text_align:left" use_theme_fonts="yes"][vc_column_text]An exhibition of artworks created by people with intellectual disabilities I SEE THE WORLD DIFFERENTLY – AND THAT IS OK This exhibition of artworks created by people with intellectual disabilities will take place at Kampa Museum for the fifth time this year. The works were created by people with intellectual disabilities from across the Czech Republic and Slovakia as part of the art competition of the same name. A selection of 111 of the most compelling artworks will be presented at the exhibition. The aim of Everyone Can Be an Artist is to promote inclusion through art – to bring the world of people with intellectual disabilities closer to the wider public, give greater visibility to their work and encourage the artists to continue creating. For the first time, this year’s exhibition will also be a sales exhibition. Visitors will have the opportunity not only to discover the distinctive perspectives of individual artists, but also to purchase selected works. The full amount from each sale goes directly to the artist. Sold artworks will be handed over to their new owners after the exhibition ends. Admission is free. The Everyone Can Be an Artist exhibition is held under the patronage of Alexandra Udženija, Deputy Mayor of the City of Prague, Terezie Radoměřská, Mayor of Prague 1, and Ondřej Kubín, Mayor of Prague 4, and with the support of the Jan and Meda Mládek Foundation – Kampa Museum and the Krystyna Pyszko Endowment Fund. The media partner is Czech Radio. The Everyone Can Be an Artist project is organised by the Domov Sulická Endowment Fund. Perhaps the time has come to stop emphasising what makes us different and focus more on what connects us.[/vc_column_text][/vc_column][/vc_row]

[vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_custom_heading text="Milan Kunc - Pop Renaissance" use_theme_fonts="yes"][vc_custom_heading text="3. 10.–17.1.2027" font_container="tag:h3|text_align:left" use_theme_fonts="yes"][vc_column_text]Milan Kunc is one of the more prominent figures of the art scene of the second half of the twentieth century, with his work represented in numerous significant public and private collections around the world. Since the 1970s, he has developed a distinctive visual language in which pop-cultural aesthetics, irony, surrealist imagination, and a sensitive reflection on social change converge. Painting, sculpture, installation, and performance serve in his work as means of observing a world in which everyday life meets absurdity, humour meets critique, and personal experience intersects with collective memory. Kunc brings together symbols of East and West, as well as high and popular culture, without imposing a hierarchy between them. It is precisely this ability to unite seemingly incompatible worlds that makes his work remarkably relevant to today’s geopolitical and social context. The exhibition Pop Renaissance presents a selection of works from the 1980s alongside contemporary paintings that draw on this period or further develop motifs captured in the artist’s drawings from the time. The 1980s were an exceptionally prolific period in Kunc’s practice, shaped by a life lived between New York, Los Angeles, and Europe, where he worked in Rome, Milan, Cologne, and the Netherlands. It was during this period that he created works that would become part of major international collections and define his unique artistic vocabulary. In these works, spontaneous painterly gestures alternate with precisely constructed compositions; references to popular culture intertwine with surrealist imagery, while everyday motifs acquire archetypal significance. Although many of the works were created more than forty years ago, their themes—consumerism, the power of images, ideology, identity, and humanity’s relationship with nature—remain strikingly relevant today. The exhibition offers a view of an artist who has spent decades creating a distinctive vision of the

[vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_custom_heading text="Mikuláš Medek, Jan Koblasa – In Defiance" use_theme_fonts="yes"][vc_custom_heading text="3. 10.–17.1.2027" font_container="tag:h3|text_align:left" use_theme_fonts="yes"][vc_column_text]“In Defiance” features photographs by Jiří Hampl and artworks by Mikuláš Medek and Jan Koblasa from the years 1959–1963 that recall these artists’ legendary exhibition in Teplice in August 1963 – in the château’s riding school, in an exhibition hall named after Czechoslovakia’s first communist president, Klement Gottwald. For Czechoslovak modern art in the postwar period the exhibition was something quite unprecedented, and it marked a turning point. It was extraordinary that it was held at all, despite an earlier prohibition, which was thanks to an easing of the state’s ideological control between April and mid-September 1963. This was the doing of Čestmír Císař, a secretary on the communist party’s central committee who was responsible for the mass media, education, culture and international relations. It was the first time these artists were able to show their existential abstract work, which was so disfavoured by the communist regime, to the general public. Together with Věra Linhartová and František Šmejkal, the exhibition’s curators, they devised an impressive and conceptually focused installation of paintings and sculptures that broke radically with the excessive caution and hypocrisy of the Czechoslovak art scene, making it an unmissable event. To produce a similar interplay of ideas, the present exhibition has prioritised the artworks that were shown back then; where these were unavailable alternatives have been selected from the same period. The creative and conceptual aspects of these works prompt us to pause and reflect, and they clarify, often with an ironic humour, the prevailing emotions, anxieties, hopes and fears of that time, which are not dissimilar to what we are experiencing today. In the centenary year of Mikuláš Medek’s birth, this exhibition seeks to pay homage to art and to the courage of these two

[vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_custom_heading text="Elżbieta Grosse - Writing Life with Clay" use_theme_fonts="yes"][vc_custom_heading text="5.12.2026 – 24.1.2027" font_container="tag:h3|text_align:left" use_theme_fonts="yes"][vc_column_text]This exhibition at the Kampa Museum’s ‘Stables’ will showcase the work of Czech-Polish sculptor Elżbieta Grosse (*1937). Born in Warsaw, she graduated from the Academy of Fine Arts in her hometown in 1966, before settling permanently in Czechoslovakia in 1973. Initially creating metal sculptures, she turned to ceramics for financial reasons, largely developing her work within the confines of applied art. In the late 1980s, Grosse returned to free-form sculpture, a practice she continues to this day. She works on a monumental scale with fireclay. She moulds the clay directly, revealing the material and adding details, while her choice of monochrome black enhances the plasticity and radical nature of her formal solutions. Through her distinctive sculptural language, based on the tension between clearly constructed geometric forms and organically vibrant surfaces, she explores themes of fragility, transience, and instability — issues deeply connected to the human condition. Alongside medium-sized sculptures, the exhibition will present Grosse’s largest work to date: Marathon (2022). Over the course of a single year, Grosse created this sculptural ensemble comprising 37 human legs – symbolising the year of the artist’s birth – each one distinguished by its modelling, surface and dramatic form, and imbued with its own story. While the individual limbs can stand as independent sculptures, it is only within the context of the whole that they enter into mutual relationships, configurations and connections. This subliminally refers not only to the human being as a unique individual, but also to the principles of human society. Curator: Iloná Víchová Production: Rozalie Pánková Graphic Design: Hedvika Marešová Exhibition Design: Viktorie Pánková[/vc_column_text][/vc_column][/vc_row]

[vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_custom_heading text="Květa Kovářová – For the Shape of the Figure" use_theme_fonts="yes"][vc_custom_heading text="3. 10.–22. 11. 2026" font_container="tag:h3|text_align:left" use_theme_fonts="yes"][vc_column_text]The sculptor Květa Kovářová (1925–1966) was part of a generation who began their studies during the war, entering the art world under oppressive conditions. She graduated from Josef Wagner’s studio, which produced a notably large number of female sculptors. While many of her fellow students went on to achieve significant success, Kovářová did not receive a comparable level of attention, despite her ties to the contemporary art scene and the new opportunities for group exhibitions – her husband, the painter Ladislav Karoušek, and her brother-in-law, the sculptor Valerian Karoušek, were both co-founders and members of the M 57 (Makarská) art group. The exhibition For the Shape of the Figure traces the evolution of Kovářová’s artistic practice, from her early studies to her intimate figurative sculptures of the 1950s and on to her abstract forms and architectural commissions of the 1960s. She always accompanied her sculptural works with preparatory drawings, using these to test the form and compositional solution, as well as how the sculpture would stand in space. Kovářová primarily worked with plaster, but was not afraid to experiment with new synthetic materials such as Modurit and fibreglass, which enabled her to work on a monumental scale. Thus, she created her most significant surviving architectural work, the Seated Nudes of Girls (1961–1962), an almost five-metre-long laminate relief, for the boardroom of the foreign trade company Jablonex in Jablonec nad Nisou. Although she could only devote herself to sculpture alongside her work in applied arts and restoration, she produced a substantial body of independent works and artistic concepts. Kovářová focused on the human figure, predominantly depicting it in everyday situations. She swiftly moved beyond the initial conventions of Socialist Realism, drawing on modern sculptural trends

[vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_custom_heading text="Miloš Ševčík – Resonance" use_theme_fonts="yes"][vc_custom_heading text="30.5.–13.9.2026" font_container="tag:h3|text_align:left" use_theme_fonts="yes"][vc_column_text]The Resonance exhibition presents a selection of works by Miloš Ševčík (1939–2007, Prague) from the 1960s to 2007. Tracking the evolution of his artistic expression in painting, drawing, printmaking and sculpture, it moves from figurative and allegorical motifs to characteristic semi-abstract biomorphic structures reflecting a profound relationship with humanity, nature, light and constant transformation. Ševčík’s works connect the imagination with observations of organic forms, capturing the dynamics of growth, decay and the quiet energy of life. The exhibition offers visitors an encounter with art that oscillates between the concrete and the elusive, between form and its dissolution. The exhibition curator, Jolana Pastor, therefore emphasises that Ševčík’s work should not be presented as a linear development, but rather as an emotional and mental map of a single artist who, through figures and biomorphic structures, seeks the essence of human existence. This body of work bears witness to humanity – not the heroic, but the ordinary, the vulnerable and the sometimes absurdly uprooted. And that is precisely why it remains so relevant today.[/vc_column_text][/vc_column][/vc_row]

[vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_custom_heading text="František Pavlů – Two Forms " use_theme_fonts="yes"][vc_custom_heading text="6 June–13 September 2026" font_container="tag:h3|text_align:left" use_theme_fonts="yes"][vc_column_text]František Pavlů (1932–2008), a sculptor, medallist and creator of muchláže (crumplages), was a prominent member of the Klub konkretistů (Concrete Artists’ Club). After studying at the Academy of Arts, Architecture and Design in Prague from 1952 to 1958, he was active in the Prague art scene for almost a decade. In 1968, he relocated to Liberec, where he lived and worked until his death. He became actively involved in cultural activities there from the outset. In 1969, he helped organise the exhibition Socha a město (The Sculpture and the City), where he installed his copper sculpture Křídla (Wings) in the Liberec municipal park. This monumental work, based on the layering of vertical lines, exemplifies Pavlů’s sense of the architectural concept of sculpture. Together with his interest in Neo-constructivist register and the language of minimalism, this became a typical feature of the artist’s sculptural work, not only in the second half of the 1960s, but also making a significant impact from the 1970s to the 1990s. An important parallel to his sculptural work are Pavlů’s works on paper, which he produced continuously from the 1960s onwards, though he devoted himself to it especially intensively after 1990. As well as drawings, collages, monotypes and frottages, particular mention should be made of his crumplages, for which Pavlů found new expressive solutions through his experimental approach. As only a few small catalogues have been published to date on the work and life of František Pavlů, Museum Kampa has prepared a monograph on the artist. The book provides the broadest possible overview of Pavlů’s creative journey, ranging from sculptures and medals to works in public spaces and works on paper, and finally structural painting. Building on several recent books prepared by Museum

[vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_custom_heading text="Václav Sokol – Abundance" use_theme_fonts="yes"][vc_custom_heading text="28 March-24 May 2026" font_container="tag:h3|text_align:left" use_theme_fonts="yes"][vc_column_text]The universe of Václav Sokol is composed of simple images. Rain falling on the landscape, a ship on the sea, light piercing the darkness, a cluster of grapes, or a glass on a table—these modest motifs are familiar from biblical stories as well as from our own lives. In Sokol’s drawings the old language of symbols comes alive again, a language in which the whole world was once told. Archaic metaphors connected with spiritual and religious experience repeatedly became, in the twentieth century, a language of revolt, an island of resistance. Recall the Madonna of mute pain by Karel Kryl, the sung sermons of Svatopluk Karásek, folk songs interpreted by Jaroslav Hutka, or the poems of Ivan Martin Jirous. Painter, draftsman, book designer, signatory of Charter 77, publicist, and curator Václav Sokol was born on September 19, 1938, in Prague. He grew up in a house in Břevnov with an original layout, built for the family by his father, an architect. The house later became the address of the philosopher Jan Patočka, the first spokesperson of Charter 77; it was here that underground seminars were held. Sokol studied at the School of Applied Arts (today known as Hollar Art School). Because of his background and views, he was prevented from pursuing further education. He worked as a librarian, graphic designer, and porter. He illustrated and designed books, organized and opened exhibitions for friends, and wrote articles about art. In both his illustrations and independent drawings, he followed a path of simplification, reduction, and geometry. He works primarily with pastel and charcoal; earlier drawings were created in ink, using pen or brush. A firm, concentrated line, its repetition in varying intensity, and the construction of form through pressure within the line

[vc_row content_text_aligment="" use_row_as_full_screen_section="no"][vc_column][vc_custom_heading text="Václav Špála: Flowers" use_theme_fonts="yes"][vc_custom_heading text="14 February–17 May 2026" font_container="tag:h3|text_align:left" use_theme_fonts="yes"][vc_column_text]Although floral still lifes constitute the most extensive part of Václav Špála’s oeuvre, they have never before been presented in a dedicated exhibition. Previous exhibitions and the specialist literature have mostly dismissed them as a less interesting segment of his work, without attempting to highlight their specific qualities. However, the perspective offered by contemporary art enables us to re-evaluate aspects of Špála’s floral still lifes that modernism regarded as problematic. Variations on a theme, craftsmanship and temporality gain fresh and appealing significance in the context of contemporary art. In August 2025, one hundred and forty years had passed since Špála’s birth and, in May 2026, it will be eighty years since his death. Yet these anniversaries have been more or less forgotten, even though it has been twenty years since his last major exhibition at the National Gallery. Museum Kampa is preparing an exhibition focusing exclusively on Špála’s floral still lifes in early 2026. This exhibition will run from mid-February (opening on Friday, 13 February 2026) until mid-May 2026 on the upper floor of the Sova’s Mills building in Prague. Over eighty paintings from public and private collections will be on display, presenting a selection of Špála’s works from the 1920s to the 1940s. Špála himself graded his paintings and, out of the nearly eight hundred floral still lifes he painted, he only gave thirty-two his highest rating of “rare” or “primissima”. Ten of these will be on display at the exhibition.  Curator: Jan Skřivánek For an interview with the exhibition curator on ART+, see the link here. [/vc_column_text][/vc_column][/vc_row]

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