Miloš Šejn | Českých Bratří 312 | CZ-50601 Jičín | T +420 723 701 658 | milos [at-sign] sejn.cz
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Group
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
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?
Matěj Strnad: Write Once – Read Many? Optical media dead, undead, and reanimated
Miloš Vojtěchovský: Little free libraries, mailboxes, and OPS (Oblíbené plašiče špačků / “Favorite Starling Scarers”)
Dušan Barok: Strategies for preserving artistic legacy — “Copy it Right”
Miloš Šejn: Archives & Cabinets
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?
Matěj Strnad: Write Once – Read Many? Optical media dead, undead, and reanimated
Miloš Vojtěchovský: Little free libraries, mailboxes, and OPS (Oblíbené plašiče špačků / “Favorite Starling Scarers”)
Dušan Barok: Strategies for preserving artistic legacy — “Copy it Right”
Miloš Šejn: Archives & Cabinets