Miloš Šejn | Českých Bratří 312 | CZ-50601 Jičín | T +420 723 701 658 | milos [at-sign] sejn.cz
AllForWeb | © 2008 sejn
STROKING BODIES - AN ANATOMY OF TRACES14.12.2024 - 15.12.2024
Frozen Moments / Fluid Time04.11.2024 - 27.11.2024
LANDSCAPE FESTIVAL PRAGUE 202413.06.2024 - 30.09.2024
ANIMA MUNDI | VISIONS – ITSLIQUID INTERNATIONAL ART FAIR | VENICE 202407.06.2024 - 21.06.2024
Deposit of Memory: Video Works by Miloš Šejn from 1988-202227.05.2024 - 27.05.2024
MEMORY DEPOSIT06.03.2024 - 27.04.2024
KOR . KON . TOI . 0 0 1 – Miloš Šejn / Adriena Šimotová17.11.2023 - 28.04.2024
BECOMING GARDEN…17.09.2023 - 29.10.2023
Heraclitus principle / One hundred years of coal in Czech art16.06.2023 - 22.10.2023
SYMBIOSIS06.06.2023 - 23.06.2023
1 : 1 : 127.05.2023 - 25.08.2023
Wege in die Abstraktion im Dreiländereck II02.04.2023 - 28.05.2023
BIRTHDAY16.12.2022 - 19.02.2023
MY WIFE/S SOUL16.11.2022 - 17.12.2022
Face for SU–EN22.10.2022 - 22.10.2022
RAVINES AND GARDENS05.10.2022 - 05.11.2022
Valoch & Valoch / Archeology And Conceptual Art30.09.2022 - 27.08.2023
Wege in die Abstraktion im Dreiländereck02.07.2022 - 25.09.2022
AQVA15.04.2022 - 04.09.2022
KINETISMUS: 100 Years of Electricity in Art22.02.2022 - 29.08.2022
EMERGENCY EXIT03.12.2021 - 11.09.2022
MAN IN THE CAVE24.11.2021 - 06.02.2022
ÍHMNÍ30.09.2021 - 28.11.2021
SEMI-OPEN29.09.2021 - 28.11.2021
Prague Biennale 2021 / Re-connect Art03.09.2021 - 07.09.2021
Zdzisław Jurkiewicz. Occurrences25.06.2021 - 21.10.2021
Art Safari 36: TOGETHER05.06.2021 - 11.06.2021
ART, MELANCHOLY AND LAUGH FACES IN THE FACE OF ABSURDITY22.05.2021 - 03.10.2021
KRAJINA + / LANDSCAPE +14.05.2021 - 25.07.2021
WATER18.12.2020 - 06.06.2021
ATLAS NEW CONSTELLATIONS05.12.2020 - 30.05.2021
FOR THE LAST FIFTY YEARS27.11.2020 - 01.10.2023
PILGRIMAGE TO THE MOUNTAINS27.10.2020 - 08.11.2020
Fotograph Festival #X UNEVEN GROUND07.10.2020 - 07.11.2020
Í T H M N29.09.2020 - 31.01.2021
Table and Territory / Table et Territoire26.09.2020 - 27.09.2020
Looking Into The Window19.09.2020 - 31.12.2020
A Pilgrim Who Returns
15.09.2020 - 31.10.2020
Gočár Phenomenon03.09.2020 - 31.10.2020
ART SAFARI 35 – HYDRANT27.06.2020 - 28.06.2020
24h PERFORMANCE14.06.2020 - 15.06.2020
Through the Landscape of K. H. Mácha04.06.2020 - 06.09.2020
NMHTÍ12.05.2020 - 24.06.2020
IDENTITY23.03.2020 - 31.12.2021
Homeplace & Kunka Phenomenon04.03.2020 - 31.07.2020
↗ ASCENT ↙ DESCENT / performance art event23.02.2020 - 23.02.2020
Parallel cinema / Stream, Tree and Stone03.02.2020 - 04.02.2020
Ji.hlava24.10.2019 - 29.10.2019
TRA DUE MONDI16.10.2019 - 16.10.2019
Pilgrims, Refugees, Hermits11.09.2019 - 28.10.2019
The Naked Forms Festival (FNAF)06.09.2019 - 08.09.2019
Sounds / Codes / Images - Audio Experimentation in the Visual Arts06.06.2019 - 10.10.2019
rivers, streams, puddles04.06.2019 - 24.06.2019
IL SORRISO DEL LEONE / VENICE TELEPATHIC BODIES01.06.2019 - 24.11.2019
Performance Crossings 201915.05.2019 - 18.05.2019
THEATRUM MUNDI III27.04.2019 - 27.04.2019
Early Manifestations of Action Art in East Bohemia26.04.2019 - 16.06.2019
AQVA MUO26.04.2019 - 28.05.2019
Yellow Rose Fragrance27.03.2019 - 16.06.2019
WÄRMFLASCHE14.12.2018 - 15.12.2018
ART SPACE ECOLOGY15.10.2018 - 31.12.2020
Architecture and Senses12.10.2018 - 14.10.2018
THEATRUM MUNDI II22.09.2018 - 22.09.2018
OPERA CORCONTICA04.09.2018 - 09.10.2018
PRAGUE WILDERNESS – LANDSCAPE FESTIVAL PRAGUE 201821.06.2018 - 30.09.2018
Energy of the initial line – gesture, rhythm, movement in contemporary Czech art01.03.2018 - 28.05.2018
IMAGE / BODY / SOUND27.11.2017 - 27.11.2020
EVERY WANDERING ENDS IN THE BEGINNING13.11.2017 - 13.11.2017
(Post)Land Art and the Anthropocene06.11.2017 - 06.11.2017
CS CONCEPTUAL ART OF THE 70s11.10.2017 - 13.01.2018
SONIC SOLAR MOUNTAIN26.08.2017 - 26.08.2017
Bohemiae Rosa25.08.2017 - 31.08.2017
HOW TO EXPLAIN IMAGES TO AN INVISIBLE INTERSPACE02.08.2017 - 10.08.2017
LAPSody 2017 – The Bubble24.05.2017 - 27.05.2017
ALCHEMIC BODY | FIRE . AIR . WATER . EARTH21.04.2017 - 29.05.2017
LIQUID ROOMS / THE LABYRINTH10.02.2017 - 28.02.2017
LANDSCAPE20.12.2016 - 12.02.2017
The Landscape, Art and Photography | Contemporary Artworks in the Landscape01.11.2016 - 12.01.2017
Branches | Nature art – variations26.07.2016 - 16.10.2016
AGARA / Hommage à la Peinture04.04.2016 - 31.05.2016
SPEECH MELODIES19.11.2015 - 08.01.2016
SELÉNÉ / BECOMING A LUNAR FACE TELEPATHICALLY28.09.2015 - 28.09.2015
FACIALITY05.09.2015 - 05.09.2015
SOLAR MOUNTAIN20.09.2014 - 09.09.9999
MICHALEK / ŠEIN27.11.2013 - 12.01.2014
IL SORRISO DEL LEONE01.06.2013 - 24.11.2013
FACIALITY / Space of the Memory and an Immediate Space23.10.2012 - 24.10.2012
Faces / Face as the phenomenon in videoart20.06.2012 - 16.09.2012
ARCHIVES & CABINETS14.06.2012 - 02.09.2012
The Written Face for SU-EN28.01.2012 - 28.01.2012
Finally Together07.09.2011 - 14.10.2011
B/L – Dedicated to Carolus Linnaeus15.06.2010 - 29.08.2010
BEING LANDSCAPE25.03.2010 - 06.06.2010
Gardening10.03.2009 - 13.03.2009
Cartusiae Waldiczensis29.11.2008 - 01.03.2009
LANDSCAPE UNDER TOTALITARIAN16.09.2008 - 30.11.2008
RAVINES AND GARDENS
Galerie Petr Novotný / Praha
Miloš Šejn asks the question "How to build a picture" in the title of the RAVINES AND GARDENS exhibition. Actually, he doesn't. A question mark is missing after the sentence. It is more of a balance statement, with which the author looks back in time from the position of today's experiences as a conceptual artist. It is an expression of a certain point of view and a position of consciousness, which itself remains in motion. The exhibition at the Petr Novotný Gallery in Prague presents a set of early, almost unknown Šejn paintings emerging from a closed time of the past, which unifies the theme of the landscape. In addition to their own painterly qualities, the works also represent a sense of finding an adequate expression for something that goes behind the scenes of a static painterly illusion, the atmosphere of a phenomenon, somewhere deeper below the surface of sensory experience, below the surface of phenomena, or better said inside their constitution.
catalogue
Ravine, 1978, oil on canvas, 100 x 86.5 cm
If we state that the unifying theme here is the landscape, not that it is directly "landscape creation", we do so deliberately. The interest in the landscape, the landscape section, is predicated on Šejn's fascination with a more general and deeply situated theme, which grounds his work from the very beginning (the amalgam of the author's education intertwining art theory and practice speaks clearly). The already frequent alternation of the constructive construction of a pictorial composition rewriting the "shape" of a place with an intuitive, often elemental layering of colors that resonate with the essential nature of the "present situation" speaks of the searching temperament of the painter, who is much more concerned with unfolding a complex experience than with specifying his own pictorial poetics. The morphology that arises here oscillates between presence in the description of the place and emancipation from specific geographical coordinates, often moving away from the convention of the viewer's frontal view in order to glimpse (understand the morphology) the place as a kind of "inner situation" that does not need an orienting horizon, since itself becomes a centripetal particular phenomenon. The image as an entry code to a situation in which the most essential question is the presence of the subject in the constellation of a specific space-time, or more precisely the position of the subject within the constellation, which is an integral part because it co-creates it.
Landscape / View from the Window, 1980/11/21, oil on wood, 36.5 x 51.3 cm
The transparent (hidden but at the same time observable) principle of Šejn's landscape paintings is the "touch of place". It initially takes place here in the distance plane. The painter paints on canvas or board, the landscape remains not only in front of him, but rather, as he states, "around" him. Descriptive compositions gradually turn into unique shaping processes that analogically present the creative movement of nature itself, or are connected to it in various ways. The painterly illusion is replaced by the materialization of change (metamorphosis). In itself, it becomes a transformational event, in which the colors remind one's own natural processes (climatic, geological, vegetation, vegetative, etc.). As the landscape horizon is overcome, a sense of the cyclical rhythm of time and action emerges. The sense of "time of creation" is gradually ritualized, because Miloš Šejn perceives time and with it space more and more as a constantly rearranging continuum, the movement of which is also the movement of the subject in its internal structure. Just as time is measured by a clock in the circular cycle of the day, and the clock itself becomes not only a symbol of this movement, but also the very time it measures. They merge with him. Similarly, Miloš Šejn's paintings gradually merge with the cyclic events inside the natural cycle. Images that are the expression of a fascinated subject aware of his own participation in a complex (meaning "cosmic") event.
The anthropocentric Enlightenment model of a world divided into one that is appropriated through knowledge in such a way as to be alienated later, and one that must still be known in order to complete the alienation, is transformed in Miloš Šejn's work. The author intuitively and with all subtlety dismantles binding developmental constructs not only in the field of art, but also in the process of cognition. It rehabilitates the pathways of direct experience and re-raises questions of non-verbal grasping of the world, whose own language forms and systems suddenly return to discourse as something new, unexplored, deserving of our attention because they remove us from the hierarchy of superiority, but not responsibility, within the natural whole . Miloš Šejn's conceptual thinking reveals an emancipatory ritual character.
Ravines and gardens can be perceived metaphorically. As a plot axis given by hidden polarities: drama x calmness, danger x protection, expectation x clarity, spontaneity x organization, etc. Two typological subject lines that present the "open field" of relations between the subject and what not only surrounds him, but also "grows through "; what is inseparable and comprehensive within the ontological movement of human consciousness.
Miloš Šejn's artistic direction, as we can trace it back and structure it, is intrinsically connected with the process of self-awareness of one's own freedom, and in this context it is a constant search and discovery of Heidegger's "open field", in which only "open", "non-locking" can be realized with relation to space-time. The latter is then experienced in "attunement", only a certain participatory part of which can be characterized as an experience and the resulting “atmosphere".
Zebín Hill, 1982, oil on canvas, 41.4 x 41.5 cm
In Miloš Šejn's work, including his exhibited paintings from the 1970s and 1980s, the magical interface of being that takes place in the hiddenness of a relationship, which is realized as an "open attitude" in an "open field" is touched upon and thereby revealed. The author approaches the work as a reflection of an open phenomenon (which is discovered and created at the same time through reflection), without the false ambition of total mastery of any language form, which would then alienate what seems to be the most essential. Every form chosen once and for all is the rape and denial of another (Carl Einstein). The ideal state seems to be expressive plurality in the logic of this thing, encircling, intertwining, but not interfering with the state of affairs. Non-interference with the manifest plan of freedom in various constellations, which are both centripetal and centrifugal towards the human being, who is thrown into this cyclically repeating wheel by his fateful assumptions (limited by time, space and vitality). The forms that Miloš Šejn chooses and uses are primarily forms that open the way for mutual understanding at different levels. They are "ravines and gardens" that we share metaphorically and practically together.
Petr Vaňous, Prague, October 2022
digital translation
Galerie Petr Novotný / Praha
05.10.2022 - 05.11.2022
Miloš Šejn asks the question "How to build a picture" in the title of the RAVINES AND GARDENS exhibition. Actually, he doesn't. A question mark is missing after the sentence. It is more of a balance statement, with which the author looks back in time from the position of today's experiences as a conceptual artist. It is an expression of a certain point of view and a position of consciousness, which itself remains in motion. The exhibition at the Petr Novotný Gallery in Prague presents a set of early, almost unknown Šejn paintings emerging from a closed time of the past, which unifies the theme of the landscape. In addition to their own painterly qualities, the works also represent a sense of finding an adequate expression for something that goes behind the scenes of a static painterly illusion, the atmosphere of a phenomenon, somewhere deeper below the surface of sensory experience, below the surface of phenomena, or better said inside their constitution.
catalogue
Ravine, 1978, oil on canvas, 100 x 86.5 cmIf we state that the unifying theme here is the landscape, not that it is directly "landscape creation", we do so deliberately. The interest in the landscape, the landscape section, is predicated on Šejn's fascination with a more general and deeply situated theme, which grounds his work from the very beginning (the amalgam of the author's education intertwining art theory and practice speaks clearly). The already frequent alternation of the constructive construction of a pictorial composition rewriting the "shape" of a place with an intuitive, often elemental layering of colors that resonate with the essential nature of the "present situation" speaks of the searching temperament of the painter, who is much more concerned with unfolding a complex experience than with specifying his own pictorial poetics. The morphology that arises here oscillates between presence in the description of the place and emancipation from specific geographical coordinates, often moving away from the convention of the viewer's frontal view in order to glimpse (understand the morphology) the place as a kind of "inner situation" that does not need an orienting horizon, since itself becomes a centripetal particular phenomenon. The image as an entry code to a situation in which the most essential question is the presence of the subject in the constellation of a specific space-time, or more precisely the position of the subject within the constellation, which is an integral part because it co-creates it.
Landscape / View from the Window, 1980/11/21, oil on wood, 36.5 x 51.3 cmThe transparent (hidden but at the same time observable) principle of Šejn's landscape paintings is the "touch of place". It initially takes place here in the distance plane. The painter paints on canvas or board, the landscape remains not only in front of him, but rather, as he states, "around" him. Descriptive compositions gradually turn into unique shaping processes that analogically present the creative movement of nature itself, or are connected to it in various ways. The painterly illusion is replaced by the materialization of change (metamorphosis). In itself, it becomes a transformational event, in which the colors remind one's own natural processes (climatic, geological, vegetation, vegetative, etc.). As the landscape horizon is overcome, a sense of the cyclical rhythm of time and action emerges. The sense of "time of creation" is gradually ritualized, because Miloš Šejn perceives time and with it space more and more as a constantly rearranging continuum, the movement of which is also the movement of the subject in its internal structure. Just as time is measured by a clock in the circular cycle of the day, and the clock itself becomes not only a symbol of this movement, but also the very time it measures. They merge with him. Similarly, Miloš Šejn's paintings gradually merge with the cyclic events inside the natural cycle. Images that are the expression of a fascinated subject aware of his own participation in a complex (meaning "cosmic") event.
The anthropocentric Enlightenment model of a world divided into one that is appropriated through knowledge in such a way as to be alienated later, and one that must still be known in order to complete the alienation, is transformed in Miloš Šejn's work. The author intuitively and with all subtlety dismantles binding developmental constructs not only in the field of art, but also in the process of cognition. It rehabilitates the pathways of direct experience and re-raises questions of non-verbal grasping of the world, whose own language forms and systems suddenly return to discourse as something new, unexplored, deserving of our attention because they remove us from the hierarchy of superiority, but not responsibility, within the natural whole . Miloš Šejn's conceptual thinking reveals an emancipatory ritual character.
Ravines and gardens can be perceived metaphorically. As a plot axis given by hidden polarities: drama x calmness, danger x protection, expectation x clarity, spontaneity x organization, etc. Two typological subject lines that present the "open field" of relations between the subject and what not only surrounds him, but also "grows through "; what is inseparable and comprehensive within the ontological movement of human consciousness.
Miloš Šejn's artistic direction, as we can trace it back and structure it, is intrinsically connected with the process of self-awareness of one's own freedom, and in this context it is a constant search and discovery of Heidegger's "open field", in which only "open", "non-locking" can be realized with relation to space-time. The latter is then experienced in "attunement", only a certain participatory part of which can be characterized as an experience and the resulting “atmosphere".
Zebín Hill, 1982, oil on canvas, 41.4 x 41.5 cmIn Miloš Šejn's work, including his exhibited paintings from the 1970s and 1980s, the magical interface of being that takes place in the hiddenness of a relationship, which is realized as an "open attitude" in an "open field" is touched upon and thereby revealed. The author approaches the work as a reflection of an open phenomenon (which is discovered and created at the same time through reflection), without the false ambition of total mastery of any language form, which would then alienate what seems to be the most essential. Every form chosen once and for all is the rape and denial of another (Carl Einstein). The ideal state seems to be expressive plurality in the logic of this thing, encircling, intertwining, but not interfering with the state of affairs. Non-interference with the manifest plan of freedom in various constellations, which are both centripetal and centrifugal towards the human being, who is thrown into this cyclically repeating wheel by his fateful assumptions (limited by time, space and vitality). The forms that Miloš Šejn chooses and uses are primarily forms that open the way for mutual understanding at different levels. They are "ravines and gardens" that we share metaphorically and practically together.
Petr Vaňous, Prague, October 2022
digital translation