aktualita KOR . KON . TOI . 0 0 1 – Miloš Šejn / Adriena Šimotová17|11|2023 - 29|02|2024
Galerie Muzea Krkonoš, Vrchlabí

In the 2nd cent. the name Korkontoi was used by the Greek geographer Klaudios Ptolemaios in the geographical work Europae tabula quarta. He describes the landscapes and the population beyond the borders of the Roman Empire, as described to him by the people who penetrated the barbarian regions... 
02.09. – 29.10.2023 | Galerie Dům, Klášter Broumov 
1 : 1 : 1
29.05. – 28.08.2023 | CUBE X CUBE GALLERY, Novina - Kryštofovo údolí 
30.9. – 28.11.2021 | ENTRANCE Gallery, Prague
curator: Veronika Čechová

Entrance Gallery is the first artistic space in Prague that focuses systematically in its long-term program on the issues of ecological sustainability and care for the environment. We view this problem as socially urgent and very complex because it includes a wide spectrum of constituent topics and questions. This allows us to structure the gallery program to include the introduction of various artistic, theoretical, or practical attitudes and views.
As far as the actual gallery operation is concerned, we try to implement such practices that correspond with our environmentally and ecologically conscious content. The key values for us are those striving for sustainability and aiming to reduce consumption, those that support horizontal cooperation, discussion and (self)education and those that also stress the importance of slow curating, preferring quality over quantity. In this sense, we try to focus on long-term cooperation and activities that don’t necessarily lead towards immediate public presentation, but are an essential part of developing the gallery’s mission and applying our vision (for instance, the reading group, international networking, and cooperation on artistic projects that take place during the whole year etc.).
The dramaturgy of the gallery is now based on three main program ‘pillars’ and we would like to add a fourth one:
Exhibitions and artistic events
Research and community-based program focused towards the artistic scene
Educational program aimed at the neighbourhood, education and popularization of the general public
Long-term artistic projects connected to gallery’s place and/or residencies

The exhibition by Milos Šejn “SEMI-OPEN” aims to explore the multi-layered history of the site both of the Orangeria and of the entire complex of gardens of the Břevnov monastery, but also the existence of the monastery itself and adjacent spaces, directly charged with questions such as White Mountain, the former deer-park Hvězda and, after all, the likeness of the life of contemporary man and the landscape in this area of the city of Prague in the middle of today's world. The author will be true to his previous artistic direction and will work consistently with both the given spaces and the position of himself, as a living being in the midst of beings other than only human society, but also a living verity within the organism of the place, its geological memory, the life of vegetation, the life of so-called higher organisms and all their manifestations as they are present in the forms of language, communication, being, co-existence and every conceivable form of architecture. Architecture in the literal sense as well as architecture in the sense of dreaming, wishing, co-caring, co-being.
The author's presentation includes not only the "gallery" exhibit itself, but also related community types of meetings like SITE, WORD and TIME.
Accompanying program (details to be specified): 

Thursday, October 14, on the terraces of the gardens of the Břevnov Monastery - & Katarina Kadijević, Tereza Kerle, Rena Milgrom, David Helán, Tomáš Ruller


Wednesday, November 3 - & Ivo Hucl 


Sunday, November 28 - & Bohemiae Rosa
30. 9. – 28. 11. 2021 | SmetanaQ Gallery, Prague

curator: Martina Vítková
Peaceful Relaxing, © Miro Švolík
If you think of a painter as someone who is moved by the picturesque landscape and experiences his horrors and furies in front of a stand in nature or a studio, a palette in one hand, a paintbrush in the other, a beret on his head, and an amusing pipe in the corner of his lips, then Miloš Šejn is not a painter. He is not an observer of the world around him, he is intrinsically his body and intellect both a part and a tool of events.
   Miloš Šejn’s intermediate approach includes painting, drawing, performance, conceptual procedures, land art, work with an archive of found naturals, handling of word, photography, sound recording, and new media. He does not paint in a studio; his studio is nature, a garden, a landscape without walls or roofs. Šejn's activity is open to the natural processes to which he tunes himself, listens to them, influences them by his presence, intensity, and the words that come to him. He works on the ground, the frame some paintings get later, and for others it's not at all relevant. He uses his hands directly rather than a set of brushes. Through them he guides the strokes of wood, lodes, fingers, sizzle and drip, the friction of natural and pigments against each other ... The whole body of the artist becomes the instrument of the creation of the work. Words and sounds arise during the creative process, are part of it, as are colors or gestures. The author stores these kind of poems in typewritten notation, some fragments manifested in calligraphic form. Calligraphy is not only beautiful, but gestural, with immediacy, action, movement, and dance. For Miloš Šejn, there is no difference between a record of nature, a painting and a poem. 
He, in a creative act, reconciles the visual with the acoustic; the painting is made with the co-operation of multiple senses. Everything we perceive and hear in the landscape, the cauliflowers, the noise, the wind, the gurgle of water, the croon of frogs, imprints on us. The artist also works with his own recordings. The genesis of a work of art and the process of knowing a particular place can be an identical process. Globally, Šejn’s approach could be described as communicating with the landscape.
   The paintings bear GPS coordinates specifying the territory of origin of the work. They tend to be popular places in the Bohemian Paradise landscape and elsewhere. Agara is the Celtic name of the Ohře River, Javoří brook can be located in the Giant Mountains, gardens in the Baroque landscape at Jičín. The effect on the landscape, and thus on its articulate record, must necessarily have a time of cyclic as well as fragmentary, natural calendar, pagan and Catholic holidays, Walpurgis Night or St James's Night, farm time of sowing, ripening and harvesting. The artist taps into the primordial, the nature of man-made nature that we suspect beyond the wilderness, farmed and cared for by man. He comes into direct contact with the natural order, with grass, leaves, shrubs, streams, water, stones, hills, furrows, light, dirt, marshes, and forests. 
   Miloš Šejn belongs to a family of wizards of the Earth, to whom the landmark Magicians de la Terre exhibition in Paris in 1988 was dedicated. For more than half a century, he has been collecting wildlife, making it into an archive, understood as a base, a gateway, a way for imagery – a mental activity in which the clichés of the everyday can be transcended, tapping into the resources inside and outside us that expand the world’s perception and understanding. The process of creation is what it is, and at the same time ritual, play, myth-making, purification, connection, harmony. Physicality plays an important role, knowledge by all senses, skin responsiveness and, through walking, performativity. Perceptions, experiences and visions recorded through painting, drawing, sound recording, photography, video or language form a whole, a single world. 
   The idea of the whole is influenced by the limits of the human body; Šejn's work is also about finding a line between the body and nature. We are the creation of the earth. She's our Mother. Performance can be understood as a body poem. The body we watch during the event is not an autobiography, rather a gestural and physical mapping. The artist becomes the landscape himself, there is complete identification, empathy, absolute experience. Art theory has the German term einfühlung for this. 
   The exhibition includes a table, chair and depository. The table does not define where we meet to eat; rather, it is the desk of a scholar, a researcher, something between laboratory and philosophy, pure but experience, and the use of a marked space for observation and thought. René Descartes or Immanuel Kant could have sat at a similar table. On the table, instead of a globe, are a pair of stones, transparent crystal, an enchanted water element, essences of spirituality and pyrites, a mineral as dense and dark as the weight of gravity, the essence of the earth, a symbol of human tools both constructive and destructive. The exposed dead trunk of a lemon tree is not just a found object and a drawing in space, it is tied to the earthly being of the author by time and place of birth. 
   Moving points of color and surfaces brings video projections of Gardening. The record of the desolate garden seen by Milos Šejn is like a glimpse into the sun, reflections and lights clinging to the algae as loved it by Karel Malich, but also the cycle of nature, the Gardener's Year, portrayed by Karel Čapek. The projection rewrites the installation from the old garden convoys with which we used to irrigate the needed places. The end has years of proven shape and material, a symbol of caring for a land whose moisture we use for ourselves. 
   We see the landscape and art in a largely contradictory way, art is man-made, nature is not man-made, man is a part of it, his existence rewrites and influences it as much as any other inhabitant of the planet. Nature and art are a common creativity, a movement. Art also functions as a new possibility of man-to-man spiritual touch, maker-to-viewer, for example, through the landscape. The painting is a record, a map, and an aesthetically fascinating new shape. As part of the exhibition, a painting depository is ready for the visitor to leaf through. Through the entrance to the exhibition, we seem to be invited into the artist's personal space. The whole is a visual event brought to life by performance, with Miloš Šejn sitting in a chair at the table.  

Martina Vítková

Maple Hill / Giant Mountains 2020, Interaction with landscape performance relict

Rivers, Streams, Puddles
03.06. – 07.07.2019 | Galerie AMB, Sbor kněze Ambrože, Ambrožova 729, Hradec Králové

Miloš Šejn & Lada Semecká
Curator: Martina Vítková 
Organizer: Klub konkretistů

I fell through the waterfall by flash and cut the surface with living flow line.
So Dipper bird, which appeared for a moment to the end of the walking  through the Javoří creek in the Giant mountains, told me.

It was a moment so full of elusive image of beauty and bewitching words.

Thus, images are born, which are not only a message, which anyone should be excited about. They are fragments of a living presence.
Miloš Šejn:
From the Diary / July 28, 2018

26.04.2019 – 28.05.2019 | MUO Muzeum moderního umění Olomouc / Divadlo hudby

Water is a significant phenomenon in Milos Šejn's work. Appears almost everywhere. Even the Sun Mountain was built above the stream flowing through it. In MUO / OLOMOUC MUSEUM OF ART – Theatre of Music you can see it on the long white wall in the hall (drawing, writing, painting), water framed and hanging, and a video stream flowing in the foyer.

Right from the water spring
The body of waters bites downwardly there
Where it roots in the deepest subsoil and
Turns its multiple eyes upward
Between grass and trees into the light
From where it was born.
Its being is becoming a shape
And its limbs growing through soil
In the endless folds
Always open embrace for seeing, speaking,
Finger printings and tracks of incoming
For touches the mouth of all beings
On the water surface.
We are also bodies of water
Seemingly break away from this immensity.

Miloš Šejn
From the Diary / October 8, 2014

04.09.2018 - 09.10.2018 | Galerie UFFO, Trutnov

Milos Sejn, Becoming The Maple Brook, acrylic on canvas, 160 x 2500 cm, detail
Galerie UFFO
Náměstí Republiky 999
541 01 Trutnov
Czech Republic

02.08.2017 - 10.08.2017 | SODA GALLERY OF CONTEMPORARY ART / Bratislava

My event and pemanent intervention in the Viktor Fucek's exhibiton shoul be a very free paraphrase of Joseph Beuys cult action of 1965, this time defined by the title “How to explain images to an invisible interspace”.

SODA Gallery

Milos Sejn: MANGHA, Kraków 2012

AGARA / Hommage à la Peinture
04.04. 2016 - 31.05.2016 | GALERIE MĚSTA LOUN, Vrchlického divadlo, Osvoboditelů 411, 440 01 Louny, CZ

curated by Vladimír Drápal

M. Šein: OHARA, 2014, pigments and acrylic on canvas, painting text,
140 x 140 cm

19.11.2015 - 08.01.2016 | Leos Janacek Memorial of the Moravian Museum
Smetanova 14, Brno 602 00, Czech Republic

curated by Jiří Zahrádka

Šeinovy transformace Janáčkových nápěvků představují jeden z potenciálně možných způsobů nahlížení, čtení, interpretací a reinterpretací těchto svébytných dokumentů. Některé listy graficky zmnožují jednotlivé expresívní výrazy v řetězcích přepisů, kdy se písmo postupně ztrácí a znovuobjevuje v nových a nových variacích, původní zvukový impulz je rozvíjen v obrazových situacích, jež lze číst opět sluchově. Podoby řeči jsou tu znovu a jinak ohledávány někdy pomocí konfrontace psaného obrazotextu s kolážovanými útržky původních Janáčkových notací a textů, nebo též s obrazy podnětů, k nimž se některé původní nápěvky vztahují – jako oživené předměty (židle, dveře), petrifikované notace projevů živých bytostí (ptáci, lidé) či bytostí imaginárních a halucinativních – například čert. Výsledné transformace lze vnímat jako předmětné básně, jako expresívní obrazotext a také, nikoliv v poslední míře, jako svébytné partitury.
Odkazy ke konkrétním Janáčkovým nápěvkům jsou vždy přesně uvedeny, respektují současný systém jejich archivace a tak je v každém případě možné posoudit, jaký je konkrétní vztah mezi původním notačním záznamem a jazykově předmětným rozezněním v nových sonických obrazoprostorech. Možné partiturní způsoby nástrojových interpretací i čtení modů, směrových orientací, temp, času a ech jsou pak zcela volné.
Milos Šein / Speech Melodies
Speech Melodies
Leoš Janáček Memorial
EREMITA / Archives & Cabinets II
28.04.2015 - 31.05.2015 | Regional Museum and Galery in Jičín, Valdštejnovo náměstí 1, 506 01 Jičín, Czech Republic
From the M. Šeins Archives

curated by Milos Šein & Jan K. Čeliš

M. Šein: Landscape, 1980, oil on wood
01.04. 2015 - 01.05.2015 | Galerie CAESAR, Horní náměstí–radnice, 772 00 Olomouc, Czech Republic

curated by Miroslav Schubert

MORAWA = river in the Moravian country from which it got its name...
W PRAZE, 1836

The base of name for „Morava“ belongs to the oldest original
European names for flows whose original meaning
was water, morass.

Right from the water spring
The body of waters bites downwardly there
Where it roots in the deepest subsoil and turns its multiple eyes Upward
Between grass and trees into the light
From where it was born.
Its being is becoming a shape
And its limbs growing through soil in the endless folds
Always open embrace for seeing, speaking, fingerprintings and tracks Of incoming
For touches the mouth of all beings on the water surface.
We are also bodies of water
Temporarily detached from this immensity.

From the Diary / October 8, 2014


M. Šein: Morawa, video, 2014

Galerie Caesar
03.07. 2014 - 10.08.2014 | DOX – Centre for Contemporary Art, Prague, Czech Republic

curated by Lucie Rohanová



Poupětova 1, Prague 7, Czech Republic
Tel.: +420 295 568 111
Fax: +420 295 568 168
Monday: 10.00 am – 6.00 pm
Tuesday: closed
Wednesday & Friday: 11.00 am – 7.00 pm
Thursday: 11.00 am – 9.00pm (DOX café until 10.00 pm)
Saturday & Sunday: 10.00 am – 6.00 pm
Box office phone: +420 295 568 123

Cinematic Works
13.05. 2014 - 31.08.2014 | Regional Gallery of Fine Arts in Zlín, Czech Republic

Curated by Martin Fišr

Milos Sein: Grand G / Lampyris, 2002

Regional Gallery of Fine Arts in Zlín
2nd floor of building 14 (videoroom)
Vavrečkova 7040
76227 Zlín
Phone: +420 573 032 220

23.04. - 17.06.2014 | THE OLOMOUC MUSEUM OF ART, Czech Republic

So, is your mother a landscape or a face? … (Godard.) All faces envelop an unknown, unexplored landscape; all landscapes are populated by a loved or dreamed-of face, develop a face to come or already past. What face has not called upon the landscapes it amalgamed, sea and hill; what landscapehas not evoked the face that would have completed it, providing an unexpected complement for its lines and trails?
Gilles Deleuze & Félix Guattari / A Thousand Plateaus


the olomouc museum of art
04.11. 2013 - 31.01.2014 |  Institute of Geophysics AS CR, v. v. i. – Prague

Curated by Aleš Špičák & Jiří Hůla

Institute of Geophysics AS CR, v. v. i. – Prague
a: Boční II/1401, 141 31 Praha 4
t: +420.267.103.111

Milos Šein: Becoming A Morning Meadow, 1st August 2007 – The Giant Mountains

01.06. - 24.11.2013 | Palazzo Grassi – Punta della Dogana, Galleria Giorgio Franchetti alla Ca’ d’Oro, Basilica di Santa Maria Assunta Torcello


1st June – 29th July 2013
Triompho di Fortuna / A Cloud 110 - 2847 m above the Occasio statue / Palazzo Grassi – Punta della Dogana

30th July – 25th September 2013
Canałasso / Water spray on the staircase of the Palazzo Santa Sofia / Galleria Giorgio Franchetti alla Ca’ d’Oro

26th September – 24th November 2013
Veneto / Coldness inside pavimento in the center of la Basilica di Santa Maria Assunta - Museo provinciale di Torcello

Curated by NVBES

Hours: at times between 0-24

Project unknowingly supported by Venetiarum ResPublica, Palazzo Grassi – Punta della Dogana, Galleria Giorgio Franchetti alla Ca’ d’Oro, Museo provinciale di Torcello and Patriarcato di Venezia. Nevertheless, we really sincerely thank them!

Bohemiae Rosa Centre & Laboratory

30.10. - 23.11.2012 | Institute of Macromolecular Chemistry of the ASCR, v. v. i., Prague & Studio of Sculpture AAAD in Prague
curated by Dagmar Šubrtová & Radoslava Schmelzová
Mural drawings, paintings, writing and light-video events.

RARERIRORVRI, video scan, 2012
macro PRAGUE
Galerie MAKRÁČ

FACIALITY / Space of the Memory and an Immediate Space
23.10.2012 - 24.10.2012 | Muzeum Sztuki i Techniki Japońskiej Manggha, Kraków
As a part of the First International Art-Academic Project Towards The Image

Miloš Šejn's solo performance installation is a part of the First International Art-Academic Project Towards The Image.
Curated by Graźyna Brylewska and Katarzyna Nowak

The construct of
"Towards The Image” remains a delicate reference to the title of Marcel Proust’s novel “Swann’s Way” as a metaphor of the fluid boundary between the present and the past.

So, is your mother a landscape or a face? … (Godard.) All faces envelop an unknown, unexplored landscape; all landscapes are populated by a loved or dreamed-of face, develop a face to come or already past.   Gilles Deleuze & Félix Guattari / A Thousand Plateaus


Manggha Museum of Japanese Art & Technology
ul. M. Konopnickiej 26, 30-302 Kraków
tel. 0-12 267 27 03; 0-12 267 37 53 fax. 0-12 267 40 79
NIP 676-22-82-218

13.10. - 14.11.2012 | Galerie města Blanska, Czech Republic
curated by Václav Cílek & Olga Hořavová

A solo exhibition of Milos Šejn is dedicated to the Underground, the Moravian Karst and Býčí skála Cave. It is consisted from a mix of various media, including of an intact work with the gallery space.

Miloš Šejn: The Býčí skála Cave 28th June 2011

Glaukon tells the story, which experienced warrior Er, that twelve days after his death revived and told what he saw on the other side:

„…they could see from above a line of light, straight as a column, extending right through the whole heaven and through the earth, in colour resembling the rainbow, only brighter and purer; another day's journey brought them to the place, and there, in the midst of the light, they saw the ends of the chains of heaven let down from above: for this light is the belt of heaven, and holds together the circle of the universe, like the under-girders of a trireme. From these ends is extended the spindle of Necessity, on which all the revolutions turn. The shaft and hook of this spindle are made of steel, and the whorl is made partly of steel and also partly of other materials. Now the whorl is in form like the whorl used on earth; and the description of it implied that there is one large hollow whorl which is quite scooped out, and into this is fitted another lesser one, and another, and another, and four others, making eight in all, like vessels which fit into one another; the whorls show their edges on the upper side, and on their lower side all together form one continuous whorl. This is pierced by the spindle, which is driven home through the centre of the eighth. The first and outermost whorl has the rim broadest, and the seven inner whorls are narrower, in the following proportions--the sixth is next to the first in size, the fourth next to the sixth; then comes the eighth; the seventh is fifth, the fifth is sixth, the third is seventh, last and eighth comes the second. The largest is spangled, and the seventh is brightest; the eighth coloured by the reflected light of the seventh; the second and fifth are in colour like one another, and yellower than the preceding; the third has the whitest light; the fourth is reddish; the sixth is in whiteness second. Now the whole spindle has the same motion; but, as the whole revolves in one direction, the seven inner circles move slowly in the other, and of these the swiftest is the eighth; next in swiftness are the seventh, sixth, and fifth, which move together; third in swiftness appeared to move according to the law of this reversed motion the fourth; the third appeared fourth and the second fifth. The spindle turns on the knees of Necessity; and on the upper surface of each circle is a siren, who goes round with them, hymning a single tone or note. The eight together form one harmony…“

Excerpt from Plato’s The Republic

14.06.2012 - 02.09.2012 | Regional Gallery / Museum of European Art in Liberec & U Rytíře Gallery

curated by Zuzana Štěpanovičová and Luděk Lukuvka

Oblastní galerie v Liberci / MUSEUM OF EUROPEAN ART
contributory organization
U Tiskárny 81/1
460 01 Liberec V
T. +420 485 106 325
F. +420 485 106 321

Náměstí Dr. E. Beneše 1
460 01 Liberec 1 - Staré Město

Galerie U Rytíře
album Picasa

The exhibitions are accompanied by a publication Archives & Cabinets, 120 pp., Museum of European Art in Liberec 2012. The book includes a comprehensive selection of the artist's diaries and texts by Václav Cílek, Jan K. Čeliš, Věra Jirousová and  Zuzana Štěpanovičová.
order this book

Fire of Archives and Cabinets of Heart, photo: J. Štěpanovič

Opening performance by Frank van de Ven / 14th June 2012, photo: J.K.Čeliš

Text is as important in Miloš Šejn’s work as all the other media that can be called artistic, as Šejn is a visual artist; but his techniques include many activities – from ‘classic’ kinds like drawing, painting and photography to performance art that goes beyond the boundaries of shape, which is over and over again redefined by his work. Text appears in many forms. It might be part of a drawn message, inscribed in a picture in the page of an artist’s book or in a painting; it moulds itself into a bold or meticulous drawing and encryption, seeking a total grasp of reality, just like thorough, precise descriptions in the names of works or the commentaries on them. Besides photos and videos, these become a further or even the only imprint/record, as in the case of his body sculpture or other personal and intimate interactions with nature or public performances. As well as in drawings, artist’s books and other works of an interdisciplinary character, text takes on other forms in transcriptions/transformations of primary texts (created by ‘hand’), which are a continuation of work with the original written record, a reflection (reminiscence of a return) on authentic moments of creative activity in the natural environment as well as one of the ways of presenting his projects. Presentation of own work is also one of the functions of the collection of texts called Fire of Archives and Cabinets of Heart, which is the core of this publication.
This way of understanding the author’s work also constitutes a thought axis of the exhibition Archives and Cabinets in the Regional Gallery / Museum of European Art in Liberec.

Two parts of Milos Šejn's archives from fifties, sixties and seventies.

Cabinet of Tree of Identity
The horror and the beauty in the heart of a little child. What else to write here? An Art Deco sculpture of Harlequin’s demonic grimace, possibly important for the pre-war understanding of beauty, secret in North Bohemia and the infinite beauty of a kingfisher at a blue cove.
  Next to several of father’s blue bindings are hiding my uncle’s translations of Maharishi and Vivekananda, which he, Bohumír Šejn, read out at the meetings of friends in Hana Wichterová’s studio during the late 1950s and early 1960s. The writings are lying on a fragment of a bookcase, a favourite part of Brehm’s Life of Animals and a mysterious monography the History of Rosicrucian Society, whose pictorial tables soon became cardinal to me.
  There is also paper for series of drawings, a roll of birch bark, like a book, and a set of father’s bone folders.
Below, there are family relics: a Spiritualistic drawing by J. Kotzian called Solferino (17 September 1924), Josef Sudek’s photograph of Hana Wichterlová’s Black Head, and Wichterlová’s drawings of recommended yoga positions that she did for our family in 1957.
  Another childhood paper film roll, my first collected stones and my later seals of the Gorges from the 1980s.
Even lower are father’s jars of medicinal plants and one of my first archive boxes from the 1950s. Diaries, equipment, colour scales…

Cabinet of Physical Mysteries

Scales (on which, for long years, I weighed the ingredients of my photographic developer for three-step gradation), measures, carat tables of the prices of precious stones and several obsidian Upper-Paleolithic tools from a cave in Slovakia, whose name I have forgotten and that were given to me by Václav Cílek at our first meeting, some-time in the early 1990s. “I always carry a stone like this in my pocket”, he said to me then,“ so I can, everyday, feel deeply the touch of that world whose masterpieces we scarcely understand now.
  A condenser from a Magnitarus enlarger, which I used almost daily in my work during the 1980s. It also became part of a video installation at the international symposium FUNGUS in the Minorite Monastery in Plasy in 1994. Picture, sound, water architecture, a skeleton of the soul of my body and the physique of other bodies created an integral unity with the Moon of that evening.
  Relics of my chemical laboratory whose size increased dangerously in the 1960s.
  One of the reflector bulbs and a memory of its journeys to explosions of light.
  Corroded bottom of a copper pot the family used for everyday life activities – for me, not very practically, it meant something more mysterious. Boiling, steaming, changing colours, questions, misunderstanding, anticipation.

Cabinet of Creativity
Museum, collage, objects of study.
  Right at the top rests a body of a stone-transformed branch from a relatively recent time.
  Below, some natural material from my desk, as it developed during the years. And on the right is a measuring glass with a bottle of gold dust. Both very old, but used quite recently during the performance art show Golden Waters of Vltava at the piazzeta of the National Theatre in Prague, as part of Quadriennale’s scenography.
  Right at the bottom, again, there is a time mixture: one of the parts of my little muse-um from the early 1960s, together with a yellow-lichen-covered twig from the Kobyla quarry in Czech Karst (peeled of on the way with Frank van de Ven), and Swedish moss collected during my wonderings with SU-EN through northern taiga, around Haglund Skola’s studio.

Cabinet of Book Legacy
Books. Knowledge. My records from repeated journeys up the Javoří potok brook be-tween the peatbogs of Černá Hora and the valley of Úpa river in the Krkonoše mountains possess intimacy as well as universal monumentality. Also the memories of the past and the evanescent present. Words run and sometimes maybe grope at the future.
  A corpus lies on books of similar topics; two are a night-time transformation of historical books. At the top of Zebín, in the foothills of Krkonoše, I imagined the place into the texts of the Ovid’s Metamorphosis and Novalis’s Hymns to the Night.
  The whole installation is based on the found seismic records from the Mayrau lignite mine near Kladno, authorized as found books.
  Seba. One of the greatest collectors of his time. How to put in understanding and colourfulness of the present.
  At the back: Berounka / St. George, at the place of transformation of the rivers Mže, Radbuza and Úslava into a new name of a river, molten lead poured into the water on the location, gold-plated, 49˚45’50.52“ 13˚24’44.42“, 7. 7. 2002
  Miller’s dream book (19th centrury dream book in flour). It was also a prop for the film HYPNEROTOMACHIA MOLITORI / Miller’s Visions 2009.

G / LVNA, video-sonic installation, 1994-2012

02.06.2012 - 02.06.2012 | Regional Gallery / Museum of European Art in Liberec
site-specific installation in a frame of the Night Museum, 11 - 12 p.m.

Into the transformations of images and sounds in the space above the stairs it is possible to climb and descend through the apotheosis of night.
It's a dream about the museum of the history and future of human memory of the world.
Become Moonrise with your left eye, become Sunset by your right eye.

Olive bath of stairs arch with the floral window to heaven
Is covered
By waves of leaves and the vegetative body
It is framed by strict labyrinths paths,
Color of middle of light transforming
They turn into the rainbow arc from black to black again
Shades of night
Are drawn through the paths of swirling fireflies
By Midsummer Night life
Body and stars

METAMORPHOSEON, sound video site-specific installation, duration of one hour, 02.06.2012

METAMORPHOSIS representing one-hour mixed video loop, projected on the stucco ceiling and vitrages of the stair hall in former Liebieg‘s Neo-Renaissance villa. The character of historic areas, realised by Gustav Sacher, which was graduated in the Munich Academy of Fine Arts, it will be moved by work of Miloš Šejn. It also augurs character of his forthcoming retrospective at the gallery in Liberec since 14th June – 2nd September 2012.

For over 15 years, Miloš Šejn, whose retrospective exhibition can be seen on the gallery’s ground floor, has been taking part in organizing the activities of Bohemiae Rosa. This company creates site specific art projects, which work with the Genius Loci of a place and are intended to make a specific place more extraordinary. One of the site specific projects was the video installation called Metamorphoseon / Metamorphoses, which took place in the Liberec Regional Gallery during the Museum Night of 2 June 2012.
   Metamorphoses is a one-hour loop of video collage projected at the stucco ceiling and stained glass of the staircase hall of this Neo-Renaissance villa, which was built for Johann Liebieg the younger. The staircase hall in which you find yourself is amongst the most representative parts of the whole villa. In its interior there are stucco decorations, wall reliefs with mythological motifs, a staircase railing rich in artistry and a stained glass skylight with plant motifs. The visitor will barely notice the grandeur of the space at the first glance, however, as most of the decor is placed outside the usual angle of view.
   This is why Miloš Šejn came up with a video installation that directs the viewer’s eyes towards the ceiling. The medium of film gives the Neo-Renaissance message of harmony between man and Nature a different form. The projection uses two parallel sequences – an outer one, which creates a ‘frame’, and an inner one, which fills the center of the shot. The outer sequence shows the movement of fireflies, while the inner uses views of many natural structures. A hologram full of energy unfolds in front of the viewer’s eyes, reminiscent of the perpetual whirl of microscopic particles. The dance of these particles, their incessant creation and destruction, their pulsation, simulates well the film of fireflies. In the main sequence, a human figure appears briefly as a reminder of the High Renaissance ideal of harmony between man and his unspoiled natural environment.
   The video installation heralded the unconventional character of the artist’s retrospective exhibition called Archives and Cabinets, which will be running at the Liberec Regional Gallery from 14 June until 2 September 2012.
Zuzana Štěpanovičová

GENVS CANTORI / Cantere Family History - Dedicated to Gregor Johann Mendel
12.08.2010 - 30.09.2010 | Mendelovo muzeum genetiky v Brně / The Mendel Museum of Genetics in Brno, CZ

Temporary installation of Miloš Šejn's philosophy of plants like a relationship between the human history and nature.
Curated by Pavel Hayek

The permanent exhibiton: Gregor Johann Mendel - Man, Abbot and Scientist
The exhibition is held under the auspices of the rector of Masaryk University prof. PhDr. Petr Fiala, Ph. D and the Abbot of the Old Brno Abbey ThDr. et Ing. Lukáš Evžen Martinec, OSA
Mendel Museum of Masaryk University has prepared an official opening of a new permanent exhibition for its visitors. The year of the opening, 2009, is very important. It is 125 years from Mendel’s death and 90 years from establishment of Masaryk University, the museum’s founder. The unique exhibition is about the most famous Czech person worldwide, which is without any doubt Mendel.
The exhibition is presenting Mendel in an authentic place of Augustinian Abbey in Old Brno as a complex person, which had not moved only in boundaries of cultivation, but in a lot of lines of work.

Opening hours:
April - October
Tuesday - Sunday 10am - 6pm
November - March
Tuesday - Sunday 10am - 5pm
(on Monday on reservation)

Call +42 543 42 40 43 for reservations and details.
tel +420 543 424 043
tel, fax +420 543 332 075

Masarykova univerzita - Mendelovo muzeum
Opatství Staré Brno Řádu sv. Augustina
Mendlovo náměstí 1a
603 00 Brno
Czech republic

The Mendl Museum of Genetics
Gregor Johann Mendel

ATT VARA LANDSKAP – Tillägnad Carl von Linné / BEING LANDSCAPE – Dedicated to Carolus Linnaeus
15.06.2010 - 29.08.2010 | Uppsala Art Museum

Performance Installation
curated by SU-EN and Elisabeth Fagerstedt

Opening hours:
Tue-Fri  12-4 pm, 
Sat–Sun 12-4.30 pm. Mondays closed.

Telephone: +46 (0) 18-727 24 82 (reception)
Fax: +46 (0) 18-727 06 50

Uppsala konstmuseum
Drottnings Christinas väg 1E
SE-752 37 Uppsala, Sweden


25.03.2010 - 06.06.2010 | West Bohemian Gallery in Pilsen

curated by Ladislav Kesner ml.

po    closed
Tu–Su   10.00–18.00
Tel.: +420 377 908 511

West Bohemian Gallery in Pilsen
Výstavní síň Masné krámy
Pražská 18, 301 00 Plzeň
Czech Republic

Ideas for Albrechtus Wallenstein's Jičín by Miloš Šejn and Petr Uličný
8.11.2009  - 22.11.2009 | Regional Museum and Gallery in Jičín

curated by Osamu Okamura

Tel: +420-493 532 204
July - August: 9 - 18:30
September - January: 9 - 17
February: 10 - 16
March - June: 9 - 17
From September till June it is closed on Monday.

Regional Museum and Gallery in Jičín
Valdštejnovo náměstí 1
506 01 Jičín
Czech Republic

Introducing of the exhibition on-line by Osamu Okamura

Written Landscapes
20.05.2009 - 19.6.2009 | Galerie Šternberk, Radniční 3, Šternberk

curated by Věra Jirousová

galerie otevřena: út–so 13–17

Městská kulturní zařízení, p.o.
Galerie Šternberk
Radniční 3, Šternberk
Czech Republic

pdfsejn_written landscapes.pdf
10.03.2009 - 13.03.2009 | Školská 28, Communication space, Praha

currated by Miloš Vojtěchovský

Školská 28: Communication Space
DEAI, o.s.
Dlouhá 33, 110 00 Praha-1
Czech Republic
phone: +420 296 325 066 (Školská 28 Gallery)

Školská 28 / Communication space

16.08.2007 - 16.09.2007  | Galerie současného umění / Dům umění - Gallery of Contemporary Arts / The House of Art,  České Budějovice, Czech Republic
curator: Zbyněk Sedláček and Michal Škoda
The House of Art

Colorvm Natvrae Varietas
19.10.2006 - 24.11.2006 | Galerie Montanelli, Praha, Czech Republic
curator: Jiří Machalický
16.02. - 24.02.2006 | Communication space at ul. Školská 28, Prague, Czech Republic
Grand G / Miscellanea
10.2.2006 – 19.3.2006 | The National Museum of Agriculture in Prague, Czech Republic

curated by Kateřina Závodová

NMA Prague
Kostelní 44, 170 00 Praha 7
operator: 220 308 200
fax: 233 372 561
cash-desk: 220 308 276

National Museum of Agriculture


Colorvm natvrae varietas / Malerei, Installation, Video
28.08.2005 - 25.09.2005 | Saarländisches Künstlerhaus Galerie, Saarbruecken, Germany

curated by Jiří Machalický

Miloš Šejn gehört seit den Sechziger Jahren des vergangenen Jahrhunderts zu den markanten Persönlichkeiten der tschechischen konzeptuellen Kunst. Šejns Werk ist ein klares Beispiel für das Begreifen der Kunst als Reflexion der Natur. Er arbeitet dabei bereits im Grenzbereich zur „Land Art“. Ausgangspunkt seiner künstlerischen Arbeit ist die beinahe wissenschaftliche Untersuchung der Natur. Der tschechische Kunstprofessor sammelt und ordnet Mineralien, Pflanzen und Tiere nach wissenschaftlichen Kriterien, untersucht ihre Mikrostruktur. Zu seinen Naturbeobachtungen entstehen zahlreiche Notizen. Diese sinnliche, sachliche und schriftliche Annäherung an das Phänomen Natur findet Eingang in die künstlerische Arbeit. Neben Zeichnungen mit natürlichen Pigmenten wird Miloš Šejn eine Installation und eine Videoarbeit zeigen.

Tel.: 0681 / 37 24 85
Fax.: 0681 / 39 73 28
Di. - So. 10 - 18 Uhr

Saarländisches Künstlerhaus
Saarbrücken e.V.
Karlstraße 1
66111 Saarbrücken

Saarländisches Künstlerhaus Galerie

The Dream of the Fisherman\\\\\\\\
28.10.2004 - 31.10.2004 | The Second Tea Celebration, Unnamed Tea-Room in Stáhlavice, Kozel Castle and CZECH-JAPANESE association, CZ

curated by Ladislav Kesner ml.

Zámek Kozel
332 03, Šťáhlavy 67
tel.: +420377969040-1
Zámek Kozel

Subrosa Lutea
14.11.2003 - 12.01.2004 | Galerie moderního umění v Hradci Králové

kurátor Tomáš Vlček

telefon: 495 514 893, 495 514 894
fax: 495 512 420

Galerie moderního umění v Hradci Králové
Velké náměstí 139/140
500 03 Hradec Králové

Galerie moderního umění v Hradci Králové

10.07. - 11.08.2002 | Galerie města Plzně, Plzeň
curated by Václav Malina and Jiří Valoch

Jelení Gallery, Foundation and Soross Centre for Contemporary Art, Prague, Czech Republic
curated by Miloš Vojtěchovský, sound performance by Michael Delia

Bohemiae Rosa / 1818 Places
27.02.1997 - 16.03.1997 | Regional Museum and Gallery in Jičín

kurátor Václav Cílek

Tel: +420-493 532 204
July - August: 9 - 18:30
September - January: 9 - 17
February: 10 - 16
March - June: 9 - 17
From September till June it is closed on Monday.

Regional Museum and Gallery in Jičín
Valdštejnovo náměstí 1
506 01 Jičín
Czech Republic

Miloš Šejn
17.11.1995 - 01.01.1996 | ifa Galerie, Institut für Auslandbeziehungen, Berlin

curated by Simona Mehnert

ifa-Galerie Berlin
Linienstraße 139/140
10115 Berlin
Tel. +49 / 30 / 284491-40
Fax +49 / 30 / 284491-42 at )

ifa-Galerie Berlin

19.10. - 26.11.1995 | Jaroslav Král Gallery, House of Art, Brno, Czech Republic
curated by Jiří Valoch

James Turrell Psychical Complex
07.12. - 29.12.1993
CAESAR Gallery, Olomouc, Czech Republic
curated by Miroslav Schubert, foreword Jiří Zemánek

Landscape and Mind
Municipal Gate Tower, Jičín, Czech Republic

Terra Signvm
03.08. - 27.10.1992 | Orlická galerie, Rychnov nad Kněžnou

kurátor Konstantin Korovin

tel.: +420 494 534 015

Zámek čp. 1
Rychnov nad Kněžnou
Czech Republic

Orlická galerie

07.03. - 07.04.1991 | Galerie Pi-Pi-Art, Praha

Curator: Milena Slavická, Ivona Raimanová

Galerie Pi-Pi-Art
Národní třída 9
110 Praha 1, CZ

Galerie Pi-Pi-Art

vision in fire
31.08. - 23.09.1990 | Galerie Na bidýlku, Brno

curated by Karel Tusch

Galerie Na Bidýlku
Václavská 14/16

Galerie Na Bidýllku
02.01.1989 - 25.01.1989 | Institute of Macromolecular Chemistry of the Academy of Sciences of the Czech Republic, Prague

curated Tomáš Vlček

Overhang - From Miloš Šejn's exhibition in the Institute of Macromolecular Chemistry of the ASCR, Prague 1988

Telefon +420-296 809 111
Fax +420-296 809 410

Institute of Macromolecular Chemistry of Academy of Sciences, (IMC)
Heyrovského 2
162 06 Praha 6 - Břevnov
Czech Republic
macro PRAGUE
MAKRÁČ Gallery

Works from 1984 - 1988
10.11. - 04.12.1988 | Small Gallery, Liberec, Czech Republic

curated by Dana Sobotková and Jiří Valoch

Malá výstavní síň

10.11. - 04.12.1987 | KS Blatiny, Praha

curated by Ivona Raimanová

KS Blatiny
Španielova 50
163 00 Praha 6 - Řepy

KS Blatiny
The Cave
25.08.1986 - 19.09.1986 | Galerie V předsálí, Městské kulturní středisko, Blansko

curated by Jiří Valoch

út-pá 10.00-12.00, 12.30-17.00 h
so-ne 14.00-17.00 h
Tel.: +420 516 415 781

Galerie V předsálí
Městské kulturní středisko
Hybešova 1
Czech Republic

Galerie města Blanska

Photographs / Drawings / Books
08.04. - 18.05.1986 | Kabinet fotografie Jaromíra Funka / Dům pánů z Kunštátu, Brno

curated by Jiří Valoch

Open Tuesday - Sunday 10 a.m. - 6 p.m.

T (00420) 542 213 883
F (00420) 515 917 565

The House of Arts
The House of the Kunštát lords
Dominikánská 9, 602 00, Brno
Czech Republic

The Brno House of Arts

With Matthias Bernard Braun
24.09.1985 - 26.09.1985 | Dům U zlatého melounu, Praha

curated by Jiří Kaše

tel. +420 224 230 125
tel./fax. +420 224 214 816

Dům U Zlatého melounu
Michalská 12
Praha 1 - Staré Město
Czech Republic

Dům U Zlatého melounu

Body Landscape
01.01.1984 - 01.02.1984 | Krajské muzeum Východních Čech, Hradec Králové

curated by Jiří Zemánek

Tel.: +420 495 512 462

Muzeum východních Čech
Eliščino nábřeží, 500 01 Hradec Králové
Czech Rebublic

02.04.1983 - 02.05.1983 | Pedagogická škola, Čáslav

curated by Josef Novák

tel.: +420 327 340 051
fax.: +420 327 312 975

Gymnázium a Střední odborná škola pedagogická
Masarykova 248
286 26 Čáslav
Czech Republic

Mažarná Cave / Delimitaion of the Space by Fire
18.03.1983 - 22.04.1983 | Minigalerie Výzkumného ústavu veterinárního lékařství, Brno - Medlánky

curated by J. H. Kocman

Veterinary Research Institute
Hudcova 70
621 00 Brno
Czech Republic

Veterinary Research Institute

Works from 1980 to 1982
08.09.1982 - 08.10.1982 | Divadlo hudby OKS v Olomouci, Olomouc

curated by Martin Klimeš

Telefon: +420 585 223 565
Fax: +420 585 228 420

Divadlo hudby Olomouc
Denisova 47, 772 00 Olomouc
Czech Republic

21.05.1982 | Studio Beseda of the Town Theatre, Hradec Králové, Czech Republic

curated by Petr Matásek

Otevřeno: pondělí - pátek: 12.30 - 18.00; sobota: 9.00 - 12.00 hodin
tel.: +420 495 514 590-1

Studio Beseda
Klicperovo divadlo
Mýtská 1, Hradec Králové
Czech republic

Klicperovo divadlo

The Rock
06.05.1982 - 28.05.1982 | Galerie mladých při MKS SKN, Brno

curated by Alena Gálová

út-pá 12.00 - 18.00 hod
sobota 11.00-17.00
tel.: +420 542 427 104

Galerie mladých
Radnická 4
658 78 Brno
Czech Republic

Galerie mladých

Study of Nature I + II
02.04.1982 - 02.05.1982 | Pedagogická škola, Čáslav

curated by Josef Novák

tel.: +420 327 340 051
fax.: +420 327 312 975

Gymnázium a Střední odborná škola pedagogická
Masarykova 248
286 26 Čáslav
Czech Republic

The Giant Mountains
09.09. - 29.09.1981 | Galerie Na schodech, Lékařská fakulta University Karlovy, Hradec Králové

curated by Josef Bavor

Tel.: +420 495816111 ústředna

Charles University in Prague
Faculty of Medicine in Hradec Kralove
Simkova 870
500 38  Hradec Kralove 1
Czech Republic

Faculty of Medicine in Hradec Králové

The Giant Mountains
18.08.1980 - 10.09.1980 | Gallery of The Medical Faculty / Charles University in Hradec Králové, CZ

Watercolours and Drawings from the Yourney August 1-9 1980
Curator: Josef Bavor
Catalogue: samizdat
Silent of the Rocks
forbiden | Divadlo v Nerudovce, Praha, Czech Republic

Divadlo v Nerudovce

01.01.1979 - 01.01.1979 | Galerie Na schodech, Lékařská fakulta University Karlovy, Hradec Králové

curated by Josef Bavor

Tel.: +420 495816111 ústředna

Charles University in Prague
Faculty of Medicine in Hradec Kralove
Simkova 870
500 38  Hradec Kralove 1
Czech Republic

Faculty of Medicine in Hradec Králové

Light in Stones
01.12.1977 - 03.01.1978 |  foyer kina Central / Krajské kulturní středisko, Hradec Králové

curated by Konstantin Korovin and J. K. Čeliš

Krajské kulturní středisko v Hradci Králové

22.09. - 26.11.2023  | SmetanaQ Gallery, Praha 
curators: Jana Písaříková a Ivona Raimanová
Krajinou Zdeňka Sýkory
13.07.2023 | Galerie Benedikta Rejta v Lounech 
23.06. – 10.09.2023 | Galerie moderního umění v Hradci Králové – GMU 
Heraclitus principle - One hundred years of coal in Czech art
16.06. – 22.10.2023 | Galerie moderního umění v Roudnici nad Labem
20.06.2023 | knihkupectví ArtMap, Vojtěšská 196/18, Praha 
Prague Biennale 2021 / Re-connect Art
03.09. 2021 – 07.09.2021 | Prague

curator: Helena Kontová, Jana Orlová, Elis Unique

The Prague Biennale Project 2021, a five-day festival of performance and video art, will take place from the 3rd to 7th of September in thirty locations across Prague. The fourth edition of the festival, subtitled Re-connect Art, will offer reflections on current topics including depersonalised communication, isolation, media ecology, and the relationship between humans and technology. Over fifty artists from around the world will present eleven live performances, five live streams, and over thirty videos. Mariánské náměstí will be the location for a gate that allows for two-way live streaming, connecting the artists and festival visitors directly. Entry to the festival is free of charge. 

Art Safari 36: TOGETHER
05.06. – 11.06.2021 | Studio Bubec
Prague, CZ
Curated by Daniela Kramerová
Art Safari 36 will be designed on the principle of artistic cooperation as well as activating visitors to participate artistically and experience the event. Selected artists who belong to the studio's tribal authors and have been instrumental in its existence will be approached with an offer to participate in this Art Safari. And - at the same time, they will be asked to choose the collaborator(s) with whom they will jointly create the work or installation for the show. The condition is artistic interaction (not just cooperation on the ground of realisation, for example), or the choice of an inspirational counterpart who is not necessarily from the art world, but who will support the search for more challenging avenues of cooperation. 

Miloš Šejn & Vladimír Javorský: CO–OPERATION 

Theatrum Mundi III
27.04.2019 | Národní galerie, Veletržní palác, Prague

“Theatrum Mundi” is a multimedia project that displays a model of the universe metaphorically as an endless circle of life where everyone is a co-creator and introduces art as a process that makes us what we are. 

Theatrum Mundi III
Bohemiae Rosa
25.08. - 30.08.2023 | Landscape & Memory - Bohemian Paradise & Isara River  
Rivers, Streams, Puddles
03.06.2019 | Muzeum východních Čech v Hradci Králové, Eliščino nábřeží 465, Hradec Králové

Lecture and discussion with Václav Cílek & Miloš Šejn
on Monday, June 3, 2019, at about 10 o'clock in the morning 
Organizer: Klub konkretistů 

15.10.2018 | BLACK ROSE BOOKS, Montreal, Canada

Art Space Ecology: Two Views--Twenty Interviews embraces the international context of today’s art making and, through the medium of interviews, encourages readers to engage directly with nature-focused creators and their artistic processes. The twenty artists, though diverse in backgrounds and methods, all produce works that are either embedded in the environment or that document our ever-changing landscapes. In these interviews, Grande explores the motivations that inspire artists to use the natural world as their canvas and how their works explore the intersections of art, space, and the environment, raising questions about our relationship with the landscapes themselves. An engaging introduction by Edward Lucie-Smith, English writer, poet, art critic, curator and broadcaster, sets the stage for these artists to share about the artistic processes of their works.

Table of Contents

Foreword by Edward Lucie-Smith;
Introduction by John K. Grande;
Paul Walde - Requiem for a Glacier
Jason deCaires Taylor - Rising Waters
Jan-Erik Andersson - Form Follows Fun
Milos Sejn - Walking Past Babylon
Buster Simpson - It’s About Habitat
Peter Hutchinson - With Nature in Mind
Joshua Portway & Lise Autogena - Environments in Conflict
Chris Booth - Sculpture in Ecolution
The Harrisons - How Big is Here?
Pilar Ovalle - Nature In Place
Michael Nicoll Yahgulanaas – Best to Love Bugs
David Maisel - Tapping Topography
Alan Sonfist - Culture Nature
David Mach - DISRUPTOR
Haesim Kim - Contemplating Nature
NILS-UDO - Towards Nature
Gyenis Tibor - Photo Actionism
Dennis Oppenheim - Putting the Public Back into Public Art
Robert Polidori - Ars Memoria
Henrique Oliveira - Being and Form

Paperback ISBN: 978-1-55164-696-1
Hardcover ISBN: 978-1-55164-698-5
Ebook ISBN: 978-1-55164-700-5 


"Grande offers an eclectic global perspective in the book, whether it's Jason deCaires Taylor's underwater sculptures in the Canary Islands or Milos Sejn's Solar Mountain, a site for contemplation and renewal in the Czech Republic. . . . Timely, and the conversations engaging."
– Galleries West

"No significant movement in art remains independent of social and historical forces. Nor can it remain independent of surrounding related artistic impulses, which may not be pursuing the same ends. These are things that emerge clearly from John K. Grande’s fascinating series of interviews with artists working in this field. Ecological art and Land Art have a much longer history than most experts on contemporary culture are willing to suppose.... Other parallels can be found in the historical record of non-European cultures, especially in China and Japan, where landscape occupies the central position in art that Europe, since the Greeks, has accorded to the human figure."
– Art & Museum

"Whatever the medium under consideration, whether sculpture, organic interventions, performance art, body art, or technically complex installations, the discussions he choreographs in his new books explore and reveal the often mysterious motivations behind the maker’s making and unearths their intentions in a gentle yet dramatic manner. This book demonstrates clearly that in the end, or even more so, in the beginning, the natural world is our original and implicit canvas.
By examining the powerful intersections between art, technology and biology itself, he manages to reveal the deep questions that drive each artist forward. Perhaps the biggest question, and the most commonly recurring one: what is the most appropriate relationship we have or should have to the landscape? Not as something we live on, but as a place we should live with."

This book is a field guide for artists working with nature, or addressing issues of the natural world in performance, video, painting, sculpture, installation or body art. The natural world becomes a canvas for exploring the intersections of art, space, and the environment. Questions about our relationship with land are raised by the dynamic interactivity and dialogues between John K. Grande and the artists: object and environment, artist and audience, society and nature.
– Arte.Es Magazine, Spain

"John Grande's international renown as a critic, curator and cultural commentator is hard earned and well deserved. His own observations, as well as the important artists he shares with us in this collection of twenty inter-views, is all about our active engagement in the natural environment. The delicate balance and proportional harmony so clearly in evidence in his questions and the artist's answers often feels like a carefully crafted dance between the heart and the head."
– Critics at Large 
Architecture and the Senses
12.–14.10.2018 | Plasy Monastery, CZ  

Seminar, Workshops, Discussion

Agosto Foundation

Miloš Šejn: A Nightingale with a Flat Flight, Path in Translation

I record a moment of the nightingale’s living space. I have entered his house, his home. Reflections of vegetation, overhanging willows, and viburnums on the surface of the water say something of our, yes, perhaps our dialogue. I don’t know what the avian beings truly see and feel, but I am enraptured by the visual impression of this moment. When I wake up early in the morning, I lie on my bed and the branches from the garden stretch in from the window, clouds, the first rays of sun, and birdsong, it’s a perfect situation. Half asleep, loved ones and acquaintances approach, my consciousness is just as much between corporeality as between a dream and the consciousness of the house. I don’t know how the singing birds perceive this moment, and I know even less how long it has been since people have tried to capture this musical stream of speech in their own language – probably since time immemorial. Various languages and dialects hear something different each time. What follows are examples of translations of nightingales from the history of ornithology. And do we hear today at least some of a fragment of the nightingale’s building of a house?

Bohemiae Rosa pointAcademy Archives point

Miloš Šejn | Českých Bratří 312 | CZ-50601 Jičín | T +420 723 701 658 | milos [at-sign]

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