Miloš Šejn | Českých Bratří 312 | CZ-50601 Jičín | T +420 723 701 658 | milos [at-sign] sejn.cz
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Group
Distorted Image. Chapters from the beginnings of video art
29. 4.. – 16. 8. 2026 | House of Art, Brno
Curator: Lenka Dolanová
The exhibition explores the beginnings of video art in former Czechoslovakia, and later in Poland and Hungary. It covers the period from the late 1960s to the mid-1990s. The selection of key events and artworks cannot be separated from the broader social and political context, which largely determined access to technology, approaches to working with video imagery, and the possibilities for sharing it. Through examples of works from different countries, the exhibition encourages viewers to look for differences as well as parallels and points of connection.
The exhibition includes experimental films, recordings of performances and actions, and early animations, which together provide a comprehensive view of the development of this art form. An important part of the exhibition is independent video magazines and news coverage on politics and culture distributed on videocassettes (including Originální Videojournal, Videomagazín Vokna, Videomagazín Karel Kyncl, and Infermental). In addition to single-channel video, the exhibition features various forms of video installations and video sculptures, many of which survive only in documentation.
The title refers to a situation in which images were deliberately or unintentionally distorted and manipulated. Experiments were conducted with analog and digital imagery, television transmission, and the television set as an object, questioning the very ability of images to convey truth. At the same time, it suggests that from today’s perspective it is difficult to present the development of video art in its entirety. Access to sources is already challenging: materials are scattered across private and public collections, artists’ archives, in various stages of digitization, or still stored in attics and cellars on historic and slowly degrading media. Very few institutions in the Czech Republic or other Central European countries actively collect and preserve video art, and almost none focus on video installations. When exhibiting historical works, questions arise about the proper way to present them, and to what extent they can be reconstructed or reproduced.
Vladimír Ambroz, Béla Balázs, Michael Bielický, Gábor Bódy, Wojciech Bruszewski, Filip Cenek, Jiří Černický, Jennifer DeFelice, Izabella Gustowská, Ágnes Háy, Tibor Hajás, Károly Halász, Vladimír Havlík, Vladimír Havrilla, Lumír Hladík, Milan Kohout, Anna Kutera, Karel Kyncl, Adéla Loučanská, Jolanta Marcolla, Dóra Maurer, Zdeněk Mezihorák, Ilona Németh, Miroslav Nicz, Marian Palla, Radek Pilař, Józef Robakowski, Peter Rónai, Tomáš Ruller, Zbigniew Rybczynski, Petr Skala, János Sugár, Lucie Svobodová, Miloš Šejn, Ivan Tatíček, Jaroslav Vančát, Petr Váša, Woody Vašulka, Janka Vidová-Žáčková, Petr Vrána, Martin Zet, Grzegorz Zgraja, Jana Želibská
Miloš Sejn: Psychodrama, 1970, documentation of an action, black and white film 8mm, digitised
web
29. 4.. – 16. 8. 2026 | House of Art, Brno
Curator: Lenka Dolanová
The exhibition explores the beginnings of video art in former Czechoslovakia, and later in Poland and Hungary. It covers the period from the late 1960s to the mid-1990s. The selection of key events and artworks cannot be separated from the broader social and political context, which largely determined access to technology, approaches to working with video imagery, and the possibilities for sharing it. Through examples of works from different countries, the exhibition encourages viewers to look for differences as well as parallels and points of connection.
The exhibition includes experimental films, recordings of performances and actions, and early animations, which together provide a comprehensive view of the development of this art form. An important part of the exhibition is independent video magazines and news coverage on politics and culture distributed on videocassettes (including Originální Videojournal, Videomagazín Vokna, Videomagazín Karel Kyncl, and Infermental). In addition to single-channel video, the exhibition features various forms of video installations and video sculptures, many of which survive only in documentation.
Vladimír Ambroz, Béla Balázs, Michael Bielický, Gábor Bódy, Wojciech Bruszewski, Filip Cenek, Jiří Černický, Jennifer DeFelice, Izabella Gustowská, Ágnes Háy, Tibor Hajás, Károly Halász, Vladimír Havlík, Vladimír Havrilla, Lumír Hladík, Milan Kohout, Anna Kutera, Karel Kyncl, Adéla Loučanská, Jolanta Marcolla, Dóra Maurer, Zdeněk Mezihorák, Ilona Németh, Miroslav Nicz, Marian Palla, Radek Pilař, Józef Robakowski, Peter Rónai, Tomáš Ruller, Zbigniew Rybczynski, Petr Skala, János Sugár, Lucie Svobodová, Miloš Šejn, Ivan Tatíček, Jaroslav Vančát, Petr Váša, Woody Vašulka, Janka Vidová-Žáčková, Petr Vrána, Martin Zet, Grzegorz Zgraja, Jana Želibská
Miloš Sejn: Psychodrama, 1970, documentation of an action, black and white film 8mm, digitisedweb
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.
Special
GRANDE TERRE
1997 – Processual work | Le Hameau de la Brousse, Sers, France
Grande Terre, 1997
tinted sandstone cliff, 3 x 100 m
site
1997 – Processual work | Le Hameau de la Brousse, Sers, France
Grande Terre, 1997tinted sandstone cliff, 3 x 100 m
site
PLACE OF JUSTICE
1999 – Permanent installation | The ridge between the Veliš Hill and Staré Místo nearby Jicin town, Czech Republic
Place of Justice, 1999, sandstone, two linden trees
50°24'15.06"N / 15°19'18.70"E
site
1999 – Permanent installation | The ridge between the Veliš Hill and Staré Místo nearby Jicin town, Czech Republic
Place of Justice, 1999, sandstone, two linden trees50°24'15.06"N / 15°19'18.70"E
site