Miloš Šejn | Českých Bratří 312 | CZ-50601 Jičín | T +420 723 701 658 | milos [at-sign] sejn.cz
AllForWeb | © 2008 sejn
Solo
LVX MICA
23. 5.. – 30. 7. 2026 | Galerie 50°47'55.9"N 14°57'22.6"E
Andělská Hora 16, Chrastava 463 31
curator: Petr Vaňous
**LVX MICA. The Light of Mica.**
A light that is not light in the traditional sense, but rather its residue, its sediment, its memory. Here, Miloš Šejn does not install a work in the conventional meaning of the word — he opens a situation. A situation unfolding on the threshold between a gesture and its reverberation, between matter and its dispersion, between the visible and the audible.
The space of the former sacral interior in Andělská Hora, reduced to an almost ascetic white prism, is not merely a frame. It is an active field in which different temporal layers converge: the geological time of mica, the historical time of architecture, and the ephemeral time of the artist’s performative intervention. Šejn enters here as a medium rather than a creator in the traditional sense — his gestures are not acts of composition, but rather acts of listening to the material and to the site.
The ritual pouring of water and scattering of tiny fragments of mica creates a landscape that resists fixation. It is a landscape in motion, a landscape that emerges even as it disintegrates, a landscape referring both to primordial sediments and to the immediacy of the here and now. This “snow-like radiance” is not an image but an event — a fragile configuration of light, matter, and time.
The parallel sonic layer, based on the delicate ringing of fragments of silver slag, opens another plane of perception. Sound here does not function as accompaniment, but as a latent structure of the space itself, permeating it and destabilizing its apparent emptiness. The silence surrounding the installation is therefore not an absence, but a condensed presence — a space in which that which usually escapes perception may become visible.
23. 5.. – 30. 7. 2026 | Galerie 50°47'55.9"N 14°57'22.6"E
Andělská Hora 16, Chrastava 463 31
curator: Petr Vaňous
**LVX MICA. The Light of Mica.**
A light that is not light in the traditional sense, but rather its residue, its sediment, its memory. Here, Miloš Šejn does not install a work in the conventional meaning of the word — he opens a situation. A situation unfolding on the threshold between a gesture and its reverberation, between matter and its dispersion, between the visible and the audible.
The space of the former sacral interior in Andělská Hora, reduced to an almost ascetic white prism, is not merely a frame. It is an active field in which different temporal layers converge: the geological time of mica, the historical time of architecture, and the ephemeral time of the artist’s performative intervention. Šejn enters here as a medium rather than a creator in the traditional sense — his gestures are not acts of composition, but rather acts of listening to the material and to the site.
The ritual pouring of water and scattering of tiny fragments of mica creates a landscape that resists fixation. It is a landscape in motion, a landscape that emerges even as it disintegrates, a landscape referring both to primordial sediments and to the immediacy of the here and now. This “snow-like radiance” is not an image but an event — a fragile configuration of light, matter, and time.
The parallel sonic layer, based on the delicate ringing of fragments of silver slag, opens another plane of perception. Sound here does not function as accompaniment, but as a latent structure of the space itself, permeating it and destabilizing its apparent emptiness. The silence surrounding the installation is therefore not an absence, but a condensed presence — a space in which that which usually escapes perception may become visible.
Ani labuť ani Lůna
7. 6. - 29. 9. 2025 | Gallery of Art in Litoměřice, Church of the Annunciation of the Virgin Mary
curator: Alena Beránková
https://www.galerie-ltm.cz/2025/06/04/milos-sejn-ani-labut-ani-luna/
7. 6. - 29. 9. 2025 | Gallery of Art in Litoměřice, Church of the Annunciation of the Virgin Mary
curator: Alena Beránková
https://www.galerie-ltm.cz/2025/06/04/milos-sejn-ani-labut-ani-luna/
ZATVÁŘÍ / COUNTENANCE
6. 5. - 22. 6. 2025 | ATELIÉR JOSEFA SUDKA, Praha
curator: Petr Vaňous
Eye of the fly, 1959
Zebín hill and Sun, 1983
ZATVÁŘÍ / COUNTENANCE
With his multilayered work, conceptual artist Miloš Šejn (1947) enters the world of phenomena in order to communicate the core and contours of human presence in a new and distinctive way.
These are not only phenomena associated with the complex perception of place and time on their most general and essential levels. Often, it is also an exploration of incidental relationships that are hidden, obscured, or layered over time, relating to human memory, personal history, factual events, and mémoire involontaire. A particular phenomenon of this kind is the family memory of the sculptor Hana Wichterlová (1903–1990), who maintained a studio in Újezd, not far from Josef Sudek's studio, and whom Miloš Šejn knew personally as a child.
The exhibition layout for the Josef Sudek Studio creates an intersection of place, time, memory, and
media traces (photographs, videos, drawings). Sudek's photograph of Wichterlová's sculpture, entitled Black Head, plays a significant role here. Her closed eyes serve as the trigger for events, with inner vision as their main referent — the vision that connects the hiddenness of thought with the face of what is seen. Whether it be a human face, a face encountered as a metaphor for a place, a window, or a view. This theme is also reflected in the title of the exhibition, COUNTENANCE / ZATVÁŘÍ. The Czech neologism precisely captures the territory where any fleeting experience transforms into a timeless, lasting essence — an essence that does not disappear by being forgotten but, once formulated, continues to exist forever within a different order of validity.
6. 5. - 22. 6. 2025 | ATELIÉR JOSEFA SUDKA, Praha
curator: Petr Vaňous
Eye of the fly, 1959
Zebín hill and Sun, 1983ZATVÁŘÍ / COUNTENANCE
These are not only phenomena associated with the complex perception of place and time on their most general and essential levels. Often, it is also an exploration of incidental relationships that are hidden, obscured, or layered over time, relating to human memory, personal history, factual events, and mémoire involontaire. A particular phenomenon of this kind is the family memory of the sculptor Hana Wichterlová (1903–1990), who maintained a studio in Újezd, not far from Josef Sudek's studio, and whom Miloš Šejn knew personally as a child.
The exhibition layout for the Josef Sudek Studio creates an intersection of place, time, memory, and
media traces (photographs, videos, drawings). Sudek's photograph of Wichterlová's sculpture, entitled Black Head, plays a significant role here. Her closed eyes serve as the trigger for events, with inner vision as their main referent — the vision that connects the hiddenness of thought with the face of what is seen. Whether it be a human face, a face encountered as a metaphor for a place, a window, or a view. This theme is also reflected in the title of the exhibition, COUNTENANCE / ZATVÁŘÍ. The Czech neologism precisely captures the territory where any fleeting experience transforms into a timeless, lasting essence — an essence that does not disappear by being forgotten but, once formulated, continues to exist forever within a different order of validity.
VYVOLANÉ OBRAZY
10. 12. 2024 – 16. 3. 2025 | Galerie Rohovka – Vzlet, Praha
kurátor: Miloš Vojtěchovský
VZLET
Vyvolané obrazy
10. 12. 2024 – 16. 3. 2025 | Galerie Rohovka – Vzlet, Praha
kurátor: Miloš Vojtěchovský
VZLET
Vyvolané obrazy
Group
Focused View
18. 4. – 4. 5. 2026 | Galerie Škroupovka / KK3, Hradec Králové
Geometry, rhythm and visual order as a challenge to attentive perception – the exhibition Focused Gaze, originally presented at the Abstract Project Gallery in Paris, is now shown by the Czech Club of Concretists (KK3) in Hradec Králové.
The Club of Concretists was founded in 1967 as a platform for artists devoted to non-figurative, geometric and conceptually oriented work. The exhibition presents works by seventeen artists and one artistic duo across generations and also includes the work of an invited guest.
The presented works show a wide spectrum of approaches to concrete art: from painting, printmaking and spatial objects to work with line, structure and text as well as digital print, generative processes and light-kinetic installations.
The exhibition reminds us that concrete art is not only a historical chapter of modernism but still an open field of experiment.
18. 4. – 4. 5. 2026 | Galerie Škroupovka / KK3, Hradec Králové
Geometry, rhythm and visual order as a challenge to attentive perception – the exhibition Focused Gaze, originally presented at the Abstract Project Gallery in Paris, is now shown by the Czech Club of Concretists (KK3) in Hradec Králové.
The Club of Concretists was founded in 1967 as a platform for artists devoted to non-figurative, geometric and conceptually oriented work. The exhibition presents works by seventeen artists and one artistic duo across generations and also includes the work of an invited guest.
The presented works show a wide spectrum of approaches to concrete art: from painting, printmaking and spatial objects to work with line, structure and text as well as digital print, generative processes and light-kinetic installations.
The exhibition reminds us that concrete art is not only a historical chapter of modernism but still an open field of experiment.
BROTHER TREE / BRATR STROM – Jaroslav Anděl & Lenka Falušiová & Miloš Šejn
In recent times the tree has become one of the subjects of environmental protection. It has become
clear that even solitary trees in the open landscape and in the immediate surroundings of human
habitation must be preserved. The environment in which humans lived for tens of thousands of years consisted predominantly of plant vegetation. According to some views, the sudden absence or
scarcity of trees could have a negative effect on the human psyche.
The tree, however—as some works in the exhibition demonstrate—is not only an object of
ecological concern, but can also be its symbol; it can become the embodiment of the values of the
environment. This fact has deeper reasons. The tree belongs among the oldest motifs in visual art as
well as in literature, and its image runs through the entire cultural history of humankind. Since
ancient times, the tree has been one of the principal themes of human imagination.
Jaroslav Anděl
28. 3. - 29. 5. 2026 | Kostel sv. Mikuláše a sv. Anny, Telce
There in the trees, by a strange power,
a spell lies hidden…
— Joseph von Eichendorff
There in the trees, by a strange power,
a spell lies hidden…
— Joseph von Eichendorff
In recent times the tree has become one of the subjects of environmental protection. It has become
clear that even solitary trees in the open landscape and in the immediate surroundings of human
habitation must be preserved. The environment in which humans lived for tens of thousands of years consisted predominantly of plant vegetation. According to some views, the sudden absence or
scarcity of trees could have a negative effect on the human psyche.
The tree, however—as some works in the exhibition demonstrate—is not only an object of
ecological concern, but can also be its symbol; it can become the embodiment of the values of the
environment. This fact has deeper reasons. The tree belongs among the oldest motifs in visual art as
well as in literature, and its image runs through the entire cultural history of humankind. Since
ancient times, the tree has been one of the principal themes of human imagination.
Jaroslav Anděl
Landscapes Seen
27. 3. - 5. 7. 2026 | Galerie Lázně LIberec
Curator: Michaela Kubišová
The beginning of the 19th century brings new ideas into Czech culture, a new philosophy that seeks to turn the individual’s gaze inward. It arrives in the form of the figure of a torn wanderer standing above an abyss, gazing dreamily into the distance to which he may one day arrive, contemplating the meaning of life and the significance of the individual within its cycle. What does the wanderer see? Weary of the Industrial Revolution, of human progress, of Enlightenment thought, he turns his gaze back into his soul, into the landscape both inner and outer, into an intimate experience, into a connection with nature, the land, the homeland, and history. Exactly as the German painter Caspar David Friedrich depicted him around 1818 in his painting Wanderer above the Sea of Fog.
27. 3. - 5. 7. 2026 | Galerie Lázně LIberec
Curator: Michaela Kubišová
The beginning of the 19th century brings new ideas into Czech culture, a new philosophy that seeks to turn the individual’s gaze inward. It arrives in the form of the figure of a torn wanderer standing above an abyss, gazing dreamily into the distance to which he may one day arrive, contemplating the meaning of life and the significance of the individual within its cycle. What does the wanderer see? Weary of the Industrial Revolution, of human progress, of Enlightenment thought, he turns his gaze back into his soul, into the landscape both inner and outer, into an intimate experience, into a connection with nature, the land, the homeland, and history. Exactly as the German painter Caspar David Friedrich depicted him around 1818 in his painting Wanderer above the Sea of Fog.
The wanderer whose footsteps we will follow is the Czech poet Karel Hynek Mácha. A genius who, during his short and turbulent life, managed to become a pioneer of Czech poetry and a source of inspiration for generations of poets and wanderers who sought to follow his path through the landscape and through literature. In 2026, it will be 190 years since his death.
Performance
žlut načer oran
22. 11. 2025 | GASK Kutná Hora, Dalibor Chatrný 100 - konference
Forms of relationships between text and path/trace in space. The personal body and the body of the universe. Being and becoming. Place, places, non-places. Phonemes and eternity.
Performative lecture, approx. 15 minutes, combined with projection.
22. 11. 2025 | GASK Kutná Hora, Dalibor Chatrný 100 - konference
Forms of relationships between text and path/trace in space. The personal body and the body of the universe. Being and becoming. Place, places, non-places. Phonemes and eternity.
Performative lecture, approx. 15 minutes, combined with projection.
Deset doteků
10. 9. 2025 | KAVKA, Praha
10. 9. 2025 | KAVKA, Praha
Rerformamatteurs
David Helán / Tomáš Ruller / Miloš Šejn
Conditions of Art / Performance Festival 31. 8. 2025
PRAGOVKA GALLERY
Kolbenova 923/34a, 190 00 Praha 9
Trojneférformeří plodještěři kapacitoslavce, proformaautorů předestihne na pevné podstavě literárně nonsenzuální nezavázaného spavce, předeimprovizorium tělesnosti, psa a savce, psavce, abrakababrák a sice sytě nespacifikovatelné přemrštěně odreagovatělé, nebezpečně nesčeřeně, bez čeřeně bezvečeře nepečeně zpečetěně, desatera jesetera ecetera zkoncenprněle stěže specifikovatelné psotník, časoprůzorově za hranicemi zábran zahraď hydroničeným, tni jazykům ctnosti, slovo osol sobě, posel nepopošel samo o sově, osel napapouščen až o uzel v první osobě. Bdělej jelen vtělen jedem jedněm tělem, shalomé polámanej zpomalenejm slalomem, black sabatikán dělej spěchej prdlej sprše prchej, děj se dědem, jeden, dva, tři vzpěněj bědem předepělejm dětem vzadu nadváhu, nedělej se jen se vzdělej, dřepem křepěj, na jazykovědomém základu, pepřem předem přenejm lpěj ze mě spěj sem steč na váhu, strč sněm prsteník vstřeh popostrč těm návnadu.
David Helán / Tomáš Ruller / Miloš Šejn
Conditions of Art / Performance Festival 31. 8. 2025
PRAGOVKA GALLERY
Kolbenova 923/34a, 190 00 Praha 9
9. festival performance
28. - 30. 9. 2024 | Galerie Ferdinanda Baumanna, Praha
9. festival performance / Letná
9. festival performance / Veletržák
28. - 30. 9. 2024 | Galerie Ferdinanda Baumanna, Praha
9. festival performance / Letná
9. festival performance / Veletržák
Special
Bohemiae Rosa
4. – 9. 8. 2026 | Bohemia FARMSTUDIO, Vysoká 26, Czech Republic
Since 1995 Milos Sejn and Frank van de Ven have co-operated in their bi-annual interdisciplinary open-air Body-Site-Exploration projects in various National & Cultural Reserves in the Czech Republic (Kokorin Valley, Plasy Monastery, Bohemian Karst, Bechyne Monastery with the Luznice River, Bohemian Paradise, Sumava and Krkonose Mountains, Kuks Spa) known as the Bohemiae Rosa Project
After thirty years, we return once again to the landscape of the Kokorin Valley and its rock formations. It is a place with a profoundly deep cultural and historical legacy — a landscape shaped by figurative sandstone rocks, caves, valleys, winding brooks, forests, groves, meadows, and the evocative ruins of medieval castles. Our point of departure, Bohemia FARMSTUDIO in Vysoka, which lies at the very heart of this territory, offers almost inexhaustible possibilities for contemporary artistic exploration, particularly in the field of contemporary (performing) arts. Rooted in the landscape itself, the site naturally invites interdisciplinary artistic practices, dialogue between nature and culture, and new forms of embodied, site-specific expression
The program will include:
• MB - (mind/body, muscles/bones) movement training
• practice of and reflection on physical and mental training
• walking and wandering, silent walk, pilgrimage and nocturnal journeys
• various modes of experiencing body, movement and landscape
• investigating divergent senses of space and time
• peripatetic records, drawing, writing, immediate contact with surroundings
• mental topography of a location, myth, archaic mind and genius loci
• geology, archaeology and history of the Landscape as a model of self: layers, vertical connections and labyrinths
An integral part of the workshop will be the individual artistic projects that participants are encouraged to formulate and work on for about 1 to 2 hours a day. (in the fields architecture, landscape art, dance, performance, photography, sculpture, theatre, visual arts, biology and natural history). The workshop leaders are available to guide and support these processes.
The body is a landscape in itself moving within the larger frame of the given surrounding environment. The vertical and horizontal layering of the (historical) landscape invites us to reflect upon our own layers and connections of self and imagination.
Participants profile: for artists and advanced students working in performance, dance, landscape art, sculpture, photography, architecture, theatre, visual arts, biology and natural history. Selection of participants will be based on c.v. and motivation.
No previous (dance) training is necessary but the workshop will be physically demanding. A good overall condition is required.
Since 1995 Milos Sejn and Frank van de Ven have co-operated in their bi-annual interdisciplinary open-air Body-Site-Exploration projects in various National & Cultural Reserves in the Czech Republic (Kokorin Valley, Plasy Monastery, Bohemian Karst, Bechyne Monastery with the Luznice River, Bohemian Paradise, Sumava and Krkonose Mountains, Kuks Spa) known as the Bohemiae Rosa Project
After thirty years, we return once again to the landscape of the Kokorin Valley and its rock formations. It is a place with a profoundly deep cultural and historical legacy — a landscape shaped by figurative sandstone rocks, caves, valleys, winding brooks, forests, groves, meadows, and the evocative ruins of medieval castles. Our point of departure, Bohemia FARMSTUDIO in Vysoka, which lies at the very heart of this territory, offers almost inexhaustible possibilities for contemporary artistic exploration, particularly in the field of contemporary (performing) arts. Rooted in the landscape itself, the site naturally invites interdisciplinary artistic practices, dialogue between nature and culture, and new forms of embodied, site-specific expression
The program will include:
• MB - (mind/body, muscles/bones) movement training
• practice of and reflection on physical and mental training
• walking and wandering, silent walk, pilgrimage and nocturnal journeys
• various modes of experiencing body, movement and landscape
• investigating divergent senses of space and time
• peripatetic records, drawing, writing, immediate contact with surroundings
• mental topography of a location, myth, archaic mind and genius loci
• geology, archaeology and history of the Landscape as a model of self: layers, vertical connections and labyrinths
An integral part of the workshop will be the individual artistic projects that participants are encouraged to formulate and work on for about 1 to 2 hours a day. (in the fields architecture, landscape art, dance, performance, photography, sculpture, theatre, visual arts, biology and natural history). The workshop leaders are available to guide and support these processes.
The body is a landscape in itself moving within the larger frame of the given surrounding environment. The vertical and horizontal layering of the (historical) landscape invites us to reflect upon our own layers and connections of self and imagination.
Participants profile: for artists and advanced students working in performance, dance, landscape art, sculpture, photography, architecture, theatre, visual arts, biology and natural history. Selection of participants will be based on c.v. and motivation.
No previous (dance) training is necessary but the workshop will be physically demanding. A good overall condition is required.
vá 26, Czech Republic
International Interdisciplinary Open-Air Workshop for artists and dancers exploring the relation between body, art and landscape
led by Frank van de Ven & Milos Sejn Kokorin Vallley
www
4. – 9. 8. 2026 | Bohemia FARMSTUDIO, Vysoká 26, Czech Republic
International Interdisciplinary Open-Air Workshop for artists and dancers exploring the relation between body, art and landscape
led by Frank van de Ven & Milos Sejn
Since 1995 Milos Sejn and Frank van de Ven have co-operated in their bi-annual interdisciplinary open-air Body-Site-Exploration projects in various National & Cultural Reserves in the Czech Republic (Kokorin Valley, Plasy Monastery, Bohemian Karst, Bechyne Monastery with the Luznice River, Bohemian Paradise, Sumava and Krkonose Mountains, Kuks Spa) known as the Bohemiae Rosa Project
After thirty years, we return once again to the landscape of the Kokorin Valley and its rock formations. It is a place with a profoundly deep cultural and historical legacy — a landscape shaped by figurative sandstone rocks, caves, valleys, winding brooks, forests, groves, meadows, and the evocative ruins of medieval castles. Our point of departure, Bohemia FARMSTUDIO in Vysoka, which lies at the very heart of this territory, offers almost inexhaustible possibilities for contemporary artistic exploration, particularly in the field of contemporary (performing) arts. Rooted in the landscape itself, the site naturally invites interdisciplinary artistic practices, dialogue between nature and culture, and new forms of embodied, site-specific expression
The program will include:
• MB - (mind/body, muscles/bones) movement training
• practice of and reflection on physical and mental training
• walking and wandering, silent walk, pilgrimage and nocturnal journeys
• various modes of experiencing body, movement and landscape
• investigating divergent senses of space and time
• peripatetic records, drawing, writing, immediate contact with surroundings
• mental topography of a location, myth, archaic mind and genius loci
• geology, archaeology and history of the Landscape as a model of self: layers, vertical connections and labyrinths
An integral part of the workshop will be the individual artistic projects that participants are encouraged to formulate and work on for about 1 to 2 hours a day. (in the fields architecture, landscape art, dance, performance, photography, sculpture, theatre, visual arts, biology and natural history). The workshop leaders are available to guide and support these processes.
The body is a landscape in itself moving within the larger frame of the given surrounding environment. The vertical and horizontal layering of the (historical) landscape invites us to reflect upon our own layers and connections of self and imagination.
Participants profile: for artists and advanced students working in performance, dance, landscape art, sculpture, photography, architecture, theatre, visual arts, biology and natural history. Selection of participants will be based on c.v. and motivation.
No previous (dance) training is necessary but the workshop will be physically demanding. A good overall condition is required.
Since 1995 Milos Sejn and Frank van de Ven have co-operated in their bi-annual interdisciplinary open-air Body-Site-Exploration projects in various National & Cultural Reserves in the Czech Republic (Kokorin Valley, Plasy Monastery, Bohemian Karst, Bechyne Monastery with the Luznice River, Bohemian Paradise, Sumava and Krkonose Mountains, Kuks Spa) known as the Bohemiae Rosa Project
After thirty years, we return once again to the landscape of the Kokorin Valley and its rock formations. It is a place with a profoundly deep cultural and historical legacy — a landscape shaped by figurative sandstone rocks, caves, valleys, winding brooks, forests, groves, meadows, and the evocative ruins of medieval castles. Our point of departure, Bohemia FARMSTUDIO in Vysoka, which lies at the very heart of this territory, offers almost inexhaustible possibilities for contemporary artistic exploration, particularly in the field of contemporary (performing) arts. Rooted in the landscape itself, the site naturally invites interdisciplinary artistic practices, dialogue between nature and culture, and new forms of embodied, site-specific expression
The program will include:
• MB - (mind/body, muscles/bones) movement training
• practice of and reflection on physical and mental training
• walking and wandering, silent walk, pilgrimage and nocturnal journeys
• various modes of experiencing body, movement and landscape
• investigating divergent senses of space and time
• peripatetic records, drawing, writing, immediate contact with surroundings
• mental topography of a location, myth, archaic mind and genius loci
• geology, archaeology and history of the Landscape as a model of self: layers, vertical connections and labyrinths
An integral part of the workshop will be the individual artistic projects that participants are encouraged to formulate and work on for about 1 to 2 hours a day. (in the fields architecture, landscape art, dance, performance, photography, sculpture, theatre, visual arts, biology and natural history). The workshop leaders are available to guide and support these processes.
The body is a landscape in itself moving within the larger frame of the given surrounding environment. The vertical and horizontal layering of the (historical) landscape invites us to reflect upon our own layers and connections of self and imagination.
Participants profile: for artists and advanced students working in performance, dance, landscape art, sculpture, photography, architecture, theatre, visual arts, biology and natural history. Selection of participants will be based on c.v. and motivation.
No previous (dance) training is necessary but the workshop will be physically demanding. A good overall condition is required.
vá 26, Czech Republic
International Interdisciplinary Open-Air Workshop for artists and dancers exploring the relation between body, art and landscape
led by Frank van de Ven & Milos Sejn Kokorin Vallley
www
Meters of Aura in Depositories and Tons in Scrap Yards
21. 1. 2026 | VAŠULKA KITCHEN BRNO
Meters of Aura in Depositories and Tons in Scrap Yards
According to a famous statement by Walter Benjamin, the development of more accessible technologies of easy reproducibility weakened—or even destroyed—the aura of the artwork. With the death of the “aura,” we are said to have paid for the advantage of wider public access to cultural values. “Even the most perfect reproduction lacks the Here and Now of the work of art—its unique existence at the place where it happens to be. […] The Here and Now of the original constitutes the concept of its authenticity.”
Yet some still believe that a certain measure of aura may have been preserved by artworks even in the digital age. Is this possible if values such as “authenticity,” “hallmark,” and “original” have somehow vanished? Could the aura be hidden, for instance, in digital code? Or even in the configuration of artificial-intelligence algorithms? And what meaning and significance does the growing mass of artworks hold for the communities of the 21st century—at a time when we are grappling with the consequences of our overproduction of everything?
Matěj Strnad: Write Once – Read Many? Optical media dead, undead, and reanimated
Miloš Vojtěchovský: Little free libraries, mailboxes, and OPS (Oblíbené plašiče špačků / “Favorite Starling Scarers”)
Dušan Barok: Strategies for preserving artistic legacy — “Copy it Right”
Miloš Šejn: Archives & Cabinets
21. 1. 2026 | VAŠULKA KITCHEN BRNO
Meters of Aura in Depositories and Tons in Scrap Yards
According to a famous statement by Walter Benjamin, the development of more accessible technologies of easy reproducibility weakened—or even destroyed—the aura of the artwork. With the death of the “aura,” we are said to have paid for the advantage of wider public access to cultural values. “Even the most perfect reproduction lacks the Here and Now of the work of art—its unique existence at the place where it happens to be. […] The Here and Now of the original constitutes the concept of its authenticity.”
Yet some still believe that a certain measure of aura may have been preserved by artworks even in the digital age. Is this possible if values such as “authenticity,” “hallmark,” and “original” have somehow vanished? Could the aura be hidden, for instance, in digital code? Or even in the configuration of artificial-intelligence algorithms? And what meaning and significance does the growing mass of artworks hold for the communities of the 21st century—at a time when we are grappling with the consequences of our overproduction of everything?
Matěj Strnad: Write Once – Read Many? Optical media dead, undead, and reanimated
Miloš Vojtěchovský: Little free libraries, mailboxes, and OPS (Oblíbené plašiče špačků / “Favorite Starling Scarers”)
Dušan Barok: Strategies for preserving artistic legacy — “Copy it Right”
Miloš Šejn: Archives & Cabinets
Bohemiae Rosa
S i t e B o d y E x p l o r a t i o n 26 - 31 August 2025
Lusatian and Zittau Mountains – The Czech Republic & Germany & Poland
International Interdisciplinary Open–Air Workshop for artists and dancers exploring the relation between body, art and landscape led by Frank van de Ven and Milos Sejn
S i t e B o d y E x p l o r a t i o n 26 - 31 August 2025
Lusatian and Zittau Mountains – The Czech Republic & Germany & Poland
International Interdisciplinary Open–Air Workshop for artists and dancers exploring the relation between body, art and landscape led by Frank van de Ven and Milos Sejn
POINTS OF REFLECTION
16. 6. - 30. 9. 2025 | Kutná Hora - intervention in public space
curator: Petr Vaňous
Miloš Šejn: ONETEMAN / UNESCO UNITES
16. 6. - 30. 9. 2025 | Kutná Hora - intervention in public space
curator: Petr Vaňous
Miloš Šejn: ONETEMAN / UNESCO UNITESThe ambient band ONETEMAN is a sound installation for the Church of Our Lady on the Theme in Kutná Hora, comprising authentic sonic recordings of walking through medieval slag fields in Markovičky near Bylany and subsequent ambient manipulations with the collected material in the chapel of St. Anne on the hill of the same name near Jičín. The chapel, built around 1670, was designed by Jean-Babtiste Mathey.