KK3
 1. – 12. 4. 2026 | Galerie Abstract Project, Paris

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.

Light Techniques – Heavy Art
13. 2. - 17. 5. 2026 | Galerie v podloubí / Muzeum Kroměřížska 

Umělecká beseda is the oldest Czech association bringing together visual artists, musicians, and writers—founded as early as 1863. Its members differ in their views and approaches to work, yet they are united by a shared love of art and a long tradition of mutual collaboration.
The exhibition at the Museum of the Kroměříž Region presents contemporary works by its members. It offers not only an insight into their artistic practice, but also an opportunity to glimpse a living community of people who share their experiences. Come and see how tradition meets new ideas, how the past comes alive in the present moment, and how art can open pathways to dialogue and understanding in today’s fast-paced world.

JÍT NALEHKO ANEB JAPONSKÉ INSPIRACE
17. – 23. 8. 2026  | Klášter Broumov

Meters of Aura in Depositories and Tons in Scrap Yards
21. 1.  2026 | VAŠULKA KITCHEN BRNO

Meters of Aura in Depositories and Tons in Scrap Yards
According to a famous statement by Walter Benjamin, the development of more accessible technologies of easy reproducibility weakened—or even destroyed—the aura of the artwork. With the death of the “aura,” we are said to have paid for the advantage of wider public access to cultural values. “Even the most perfect reproduction lacks the Here and Now of the work of art—its unique existence at the place where it happens to be. […] The Here and Now of the original constitutes the concept of its authenticity.”
Yet some still believe that a certain measure of aura may have been preserved by artworks even in the digital age. Is this possible if values such as “authenticity,” “hallmark,” and “original” have somehow vanished? Could the aura be hidden, for instance, in digital code? Or even in the configuration of artificial-intelligence algorithms? And what meaning and significance does the growing mass of artworks hold for the communities of the 21st century—at a time when we are grappling with the consequences of our overproduction of everything?