Miloš Šejn | Českých Bratří 312 | CZ-50601 Jičín | T +420 723 701 658 | milos [at-sign] sejn.cz
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Group
Les lieux de rêverie / Lenka Falušiová & Miloš Šejn
10. 9. - 28. 10. 2025 | Church of St. Nicholas and St. Anne, Telce
curator: Jaroslav Anděl
There are places that seem to hold a secret power over us—places that enchant, that draw us in. They are places of depth, where one may discover oneself, yet just as easily become lost. Often, these are realms governed by the elements: water, fire, earth, and air—sometimes singly, sometimes in pairs, sometimes in triads. They are sites that stir the imagination, that invite reverie, where one perceives the living web of connection between all things. Dreamers are those with the sensitivity to recognize such places, to enter into their depths. And though each of us carries within a fragment of the dreamer, and though almost any place may become a place of reverie, it seems that certain sites are, by their very nature, destined for it.
Some artists belong to this lineage of dreamers, drawn to particular places and elements, as the French philosopher Gaston Bachelard once so piercingly described. Lenka Falušiová is such a dreamer of the forest, which has remained for her a primal source of inspiration, encoded since childhood in the Jeseníky mountains. For her, the forest is an image of the living, breathing world—one in which human, animal, and plant exist side by side, on the same plane. The tree, that ancient cosmological symbol, rises again and again in her works. “Trees are the guardians of the forest,” she says. Yet Lenka is not a Bachelardian dreamer of any one of the four elements; she is, rather, a dreamer of light. If Bachelard turned to the verses of great poets to reveal the imagination of the elements, Lenka’s works may serve as a path toward the phenomenology of light itself.
Miloš Šejn, by contrast, is a dreamer of the earth. His place of initiation is Zebín, a volcanic hill near Jičín, where he has lived since youth. Zebín shaped his first painterly gestures and guided his further artistic journey toward ever more direct forms of contact with chosen sites—whether in the form of imprints of terrain, the gathering and testing of natural pigments, or performative acts of intervention. And although over the decades Miloš has engaged with other elements—water among them—it seems to me that his imagination feeds most deeply on the forces of the earth. Thus, as I linger over his works, the word chthonic comes insistently to mind. From the Greek chthōn, earth, it names what belongs to the soil, the subterranean, the underworld.
The work Delimitation of Space with Fire (1982) brings together two archetypal images of humankind’s earliest imaginings: fire and the cave. Here, fire recalls not only our primeval intimacy with flame but also the cataclysmic history of the earth itself, bound to volcanic upheaval. Šejn’s cave is a chamber of reverie, opening into the depths of human history as well as into the deep time of the earth.
Jaroslav Anděl
10. 9. - 28. 10. 2025 | Church of St. Nicholas and St. Anne, Telce
curator: Jaroslav Anděl
Places of Dreamers
There are places that seem to hold a secret power over us—places that enchant, that draw us in. They are places of depth, where one may discover oneself, yet just as easily become lost. Often, these are realms governed by the elements: water, fire, earth, and air—sometimes singly, sometimes in pairs, sometimes in triads. They are sites that stir the imagination, that invite reverie, where one perceives the living web of connection between all things. Dreamers are those with the sensitivity to recognize such places, to enter into their depths. And though each of us carries within a fragment of the dreamer, and though almost any place may become a place of reverie, it seems that certain sites are, by their very nature, destined for it.
Some artists belong to this lineage of dreamers, drawn to particular places and elements, as the French philosopher Gaston Bachelard once so piercingly described. Lenka Falušiová is such a dreamer of the forest, which has remained for her a primal source of inspiration, encoded since childhood in the Jeseníky mountains. For her, the forest is an image of the living, breathing world—one in which human, animal, and plant exist side by side, on the same plane. The tree, that ancient cosmological symbol, rises again and again in her works. “Trees are the guardians of the forest,” she says. Yet Lenka is not a Bachelardian dreamer of any one of the four elements; she is, rather, a dreamer of light. If Bachelard turned to the verses of great poets to reveal the imagination of the elements, Lenka’s works may serve as a path toward the phenomenology of light itself.
Miloš Šejn, by contrast, is a dreamer of the earth. His place of initiation is Zebín, a volcanic hill near Jičín, where he has lived since youth. Zebín shaped his first painterly gestures and guided his further artistic journey toward ever more direct forms of contact with chosen sites—whether in the form of imprints of terrain, the gathering and testing of natural pigments, or performative acts of intervention. And although over the decades Miloš has engaged with other elements—water among them—it seems to me that his imagination feeds most deeply on the forces of the earth. Thus, as I linger over his works, the word chthonic comes insistently to mind. From the Greek chthōn, earth, it names what belongs to the soil, the subterranean, the underworld.
The work Delimitation of Space with Fire (1982) brings together two archetypal images of humankind’s earliest imaginings: fire and the cave. Here, fire recalls not only our primeval intimacy with flame but also the cataclysmic history of the earth itself, bound to volcanic upheaval. Šejn’s cave is a chamber of reverie, opening into the depths of human history as well as into the deep time of the earth.
Jaroslav Anděl
THROUGH THE LABYRINTH
30.06.2024 – 30.06.2034 | GASK – Galerie Středočeského kraje
Barborská 51–53, Kutná Hora
Curators: Richard Drury, Veronika Marešová, Adriana Primusová, Vanda Skálová
In our search for the best way of approaching GASK’s new permanent exhibition, we found inspiration in today’s dramatically changing world full of challenges, upheavals and crises – a world in which each of us is a protagonist in his or her own life story. The basic idea behind the exhibition draws loosely on the writing of the American ethnologist and religious scholar Joseph Campbell (1904–1987), who identified surprising parallels between various cultures’ myths, fables and religions, on the basis of which he constructed the idea of the ‘monomyth’ – the idea of a universal ‘hero’s journey’ consisting of three main stages and possessing a typical dramatic structure: a wanderer leaves his familiar surroundings in order to face challenges. He enters the unknown, where he encounters obstacles and demons but also guides and helpers. He faces various dangers, struggles with himself and with the outside world, and when the adventure is over, he returns home transformed.
Miloš Šejn: Seem in the Fire, 1995
The works of art included in the exhibition – itself a journey Through the Labyrinth – represent a thematically based selection of works from the GASK collections ranging from the early twentieth century to the present day, with a particular focus on acquisitions from the past ten years. Their arrangement in the gallery spaces is designed to reflect an archetypal journey during which wanderers – gallery visitors – pass through various stages of learning, self-discovery and identification through their encounter with art. Short explanatory text aid this journey, like a red thread in a maze.
The exhibition’s architectural and visual design engages in a dialogue with the dynamics of the space, creating contrasts between light and shadow, between tension and release. Visitors encounter a wide range of atmospheres– from concentrated dramatic scenes to light and empty spaces designed for resting, reflection or gathering one’s strength. The exhibition’s two main wings are divided into twenty-one thematic sections. Through the Labyrinth also features interventions by artists, performers, theorists and educators offering additional views, interpretations and insights.
THROUGH THE LABYRINTH
30.06.2024 – 30.06.2034 | GASK – Galerie Středočeského kraje
Barborská 51–53, Kutná Hora
Curators: Richard Drury, Veronika Marešová, Adriana Primusová, Vanda Skálová
In our search for the best way of approaching GASK’s new permanent exhibition, we found inspiration in today’s dramatically changing world full of challenges, upheavals and crises – a world in which each of us is a protagonist in his or her own life story. The basic idea behind the exhibition draws loosely on the writing of the American ethnologist and religious scholar Joseph Campbell (1904–1987), who identified surprising parallels between various cultures’ myths, fables and religions, on the basis of which he constructed the idea of the ‘monomyth’ – the idea of a universal ‘hero’s journey’ consisting of three main stages and possessing a typical dramatic structure: a wanderer leaves his familiar surroundings in order to face challenges. He enters the unknown, where he encounters obstacles and demons but also guides and helpers. He faces various dangers, struggles with himself and with the outside world, and when the adventure is over, he returns home transformed.
Miloš Šejn: Seem in the Fire, 1995
The works of art included in the exhibition – itself a journey Through the Labyrinth – represent a thematically based selection of works from the GASK collections ranging from the early twentieth century to the present day, with a particular focus on acquisitions from the past ten years. Their arrangement in the gallery spaces is designed to reflect an archetypal journey during which wanderers – gallery visitors – pass through various stages of learning, self-discovery and identification through their encounter with art. Short explanatory text aid this journey, like a red thread in a maze.
The exhibition’s architectural and visual design engages in a dialogue with the dynamics of the space, creating contrasts between light and shadow, between tension and release. Visitors encounter a wide range of atmospheres– from concentrated dramatic scenes to light and empty spaces designed for resting, reflection or gathering one’s strength. The exhibition’s two main wings are divided into twenty-one thematic sections. Through the Labyrinth also features interventions by artists, performers, theorists and educators offering additional views, interpretations and insights.
THROUGH THE LABYRINTH
Art in your pocket
01.06.2024 – 03.01.2027 | Moravská galerie, Brno
01.06.2024 – 03.01.2027 | Moravská galerie, Brno
1939–2021: The End of the Black-and-White Era
01.05.2023 – 01.05.2027 | Národní galerie - Veletržní palác, Praha
01.05.2023 – 01.05.2027 | Národní galerie - Veletržní palác, Praha
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