Miloš Šejn | Českých Bratří 312 | CZ-50601 Jičín | T +420 723 701 658 | milos [at-sign] sejn.cz
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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
AQVA MUO26.04.2019 - 28.05.2019
Early Manifestations of Action Art in East Bohemia26.04.2019 - 16.06.2019
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
MY WIFE/S SOUL
Gelerie Petr Novotný
Miloš Šejn is a professor of painting and a conceptual artist. Therefore, it is good to follow the specific starting points of his work in order to understand the author's unique sense of "presence in the situation", which emerges in his work as a reviving and eternally returning leitmotif. And also as a subset of relations.
Vera: The image of the author's wife presents a paradox of closeness that cannot be adequately named. The language of reflection, whatever it may be, remains in the vestibules of complex experience. It cannot be captured as a whole (experience), because it is difficult to maintain the immortality of the present moment other than as a reference back to something that emerges from the memory in the form of an imprint, a trace or a chain of them. The language of "naming", which wants to approach the named, as if it were stopped at the threshold of the Substantial. So he has to take the free path of analogy. After ecstasy, emotion, ecstasy, after all manifestations of relationship, feeling, love, intimacy, traces remain (analogy of shapes and colors). We only owe them the possibility of a kind of reconstruction or deconstruction of the experience in the extended field of time.
Věra and Miloš before the opening of the exhibition Photographs / Drawings / Books in the House of Gentlemens from Kunštát, Brno, April 8, 1986, photo Bohdan Holomíček
However, even traces that persist over a longer period of time gradually weaken, disappear, disappear. It is necessary to hide them in appropriate "vessels" in time. These are constellations of shapes and colors (images). These constellations can be close in their analogy to musical scores, as they abstract away from a concrete feeling and emotion towards an affectation of something timeless that pervades, as a symbol, memory. - Man by nature wants to be an intentional being. He does everything for it.
catalogue / Vera, 1980, oil on canvas, 100 x 80 cm
The creature is heading. It has a pilgrim character (like HOMO VIATOR: "a man who travels on (his) very narrow path; it is a path along a ridge between chasms"). He creates and acquires language systems by which he strives to understand the symbols and signs he receives. He himself not only preserves them, but also revives and updates them with his activities. It is nothing more than trying to understand each other in areas beyond the boundaries of one's own subject. This is the only way to share something in common and understand other subjects in what we call a relationship. A relationship cannot be inherently static, as it is constantly changing over time. - Vera is a first name. A name that speaks in associations through painterly constellations. We see something, we suspect something. We form a concept of a relationship from the outside, which is not ours, but which is a metaphor for all relationships, including ours, which we know intimately. Šejn's paintings of Věra are attempts to totalize something that naturally defies unequivocal fixation and painterly stopping. That is why Miloš Šejn chooses forms of avant-garde modernism (70s and 80s) which, on their way to visualization (a method of approaching the illusion of the whole by assembling and disassembling selected components), purposefully reduce and compress figuration in order to "forever" present what is apparently the most essential of of what naturally disappears and escapes. The figure becomes a constellation of shapes and colors that construct or dismantle the totality of the sign in its symbolic ambiguity. The first name (Vera) humanizes these "monuments". It becomes the axis of the narrative (the title of the exhibition is already telling). On a certain level, the images are inserted into the collectivity of the shared language and at the same time are kept in the area of the author's private memory sphere. Just as Picasso was looking for a construction for the prototype of the beloved woman, he also updated the symbol of the Madonna when he placed the child in her arms. The dialectical tension between the general and the personal (if not even the intimate!) creates a space for sharing the presence in the stopped forms of a static image, which in the case of Miloš Šejn is always rather a "stopped" process of finding a unique expression on the way to what has been lost in time , but is given a chance to loop back in the memory plane.
Vera I, 31/01/1981, oil on canvas, 95.5 x 75.3 cm
A child in arms: ..may seem at first glance to be the prototype of a character. We find ourselves inside the logic of modernism. Language turns into a constructed universe of messages. A child can be a socially confiscated model, a symbol of the vanguard, the avant-garde. A being heralding a new development horizon. But a child is also a symbol of a fulfilled relationship. An intimate place of higher meeting. In the paintings of Miloš Šejn, an important element of the constellation is a latent reference to the thematization of the relationship. It is set here against the coldness of depersonalized, collectivist modernity. It is a specific relationship. Relationship with Faith. With a name that, despite all linguistic generalizations, speaks in the hiddenness of associations. In combined associations, which are divided into personal and general. Modernism appears here as a derivative of adding and subtracting to a subset of the personal and personified. Let's not forget that Miloš Šejno's sought-after position is in the "presence of the situation". But this cannot be found in the view of a static object, but in the process of finding a suitable constellation. And here the objects begin to fade into their surrounding frame. Even before the images of the figures, we find ourselves again in the metaphor of landscapes, full of tracks and prints.
Woman with Child, 15/11/1981, oil on canvas, 96.5 x 70.5 cm
Landscape of Footsteps: Painting is a static medium. Movement is given by chaining points. The apparent whole is the illusion of a moving image. It's the same with memory. The "Land of Footsteps", moving away to return, is a perfect metaphor for memory. The language of modernism here serves memory with its sense of composition. Image as composition. A composition conceptually oscillating between painting and music. Here, Miloš Šejn finds an intermediate space of ambiguity that is so important to him, which on the one hand humanizes the concept in a painterly way, and on the other hand conceptualizes the painting. Closeness recedes to return forever. To return as a symbol.
Petr Vaňous, Prague, November 2022
translated digitally
Gelerie Petr Novotný
16.11.2022 - 17.12.2022
Miloš Šejn is a professor of painting and a conceptual artist. Therefore, it is good to follow the specific starting points of his work in order to understand the author's unique sense of "presence in the situation", which emerges in his work as a reviving and eternally returning leitmotif. And also as a subset of relations.
Vera: The image of the author's wife presents a paradox of closeness that cannot be adequately named. The language of reflection, whatever it may be, remains in the vestibules of complex experience. It cannot be captured as a whole (experience), because it is difficult to maintain the immortality of the present moment other than as a reference back to something that emerges from the memory in the form of an imprint, a trace or a chain of them. The language of "naming", which wants to approach the named, as if it were stopped at the threshold of the Substantial. So he has to take the free path of analogy. After ecstasy, emotion, ecstasy, after all manifestations of relationship, feeling, love, intimacy, traces remain (analogy of shapes and colors). We only owe them the possibility of a kind of reconstruction or deconstruction of the experience in the extended field of time.
Věra and Miloš before the opening of the exhibition Photographs / Drawings / Books in the House of Gentlemens from Kunštát, Brno, April 8, 1986, photo Bohdan HolomíčekHowever, even traces that persist over a longer period of time gradually weaken, disappear, disappear. It is necessary to hide them in appropriate "vessels" in time. These are constellations of shapes and colors (images). These constellations can be close in their analogy to musical scores, as they abstract away from a concrete feeling and emotion towards an affectation of something timeless that pervades, as a symbol, memory. - Man by nature wants to be an intentional being. He does everything for it.
catalogue / Vera, 1980, oil on canvas, 100 x 80 cmThe creature is heading. It has a pilgrim character (like HOMO VIATOR: "a man who travels on (his) very narrow path; it is a path along a ridge between chasms"). He creates and acquires language systems by which he strives to understand the symbols and signs he receives. He himself not only preserves them, but also revives and updates them with his activities. It is nothing more than trying to understand each other in areas beyond the boundaries of one's own subject. This is the only way to share something in common and understand other subjects in what we call a relationship. A relationship cannot be inherently static, as it is constantly changing over time. - Vera is a first name. A name that speaks in associations through painterly constellations. We see something, we suspect something. We form a concept of a relationship from the outside, which is not ours, but which is a metaphor for all relationships, including ours, which we know intimately. Šejn's paintings of Věra are attempts to totalize something that naturally defies unequivocal fixation and painterly stopping. That is why Miloš Šejn chooses forms of avant-garde modernism (70s and 80s) which, on their way to visualization (a method of approaching the illusion of the whole by assembling and disassembling selected components), purposefully reduce and compress figuration in order to "forever" present what is apparently the most essential of of what naturally disappears and escapes. The figure becomes a constellation of shapes and colors that construct or dismantle the totality of the sign in its symbolic ambiguity. The first name (Vera) humanizes these "monuments". It becomes the axis of the narrative (the title of the exhibition is already telling). On a certain level, the images are inserted into the collectivity of the shared language and at the same time are kept in the area of the author's private memory sphere. Just as Picasso was looking for a construction for the prototype of the beloved woman, he also updated the symbol of the Madonna when he placed the child in her arms. The dialectical tension between the general and the personal (if not even the intimate!) creates a space for sharing the presence in the stopped forms of a static image, which in the case of Miloš Šejn is always rather a "stopped" process of finding a unique expression on the way to what has been lost in time , but is given a chance to loop back in the memory plane.
Vera I, 31/01/1981, oil on canvas, 95.5 x 75.3 cmA child in arms: ..may seem at first glance to be the prototype of a character. We find ourselves inside the logic of modernism. Language turns into a constructed universe of messages. A child can be a socially confiscated model, a symbol of the vanguard, the avant-garde. A being heralding a new development horizon. But a child is also a symbol of a fulfilled relationship. An intimate place of higher meeting. In the paintings of Miloš Šejn, an important element of the constellation is a latent reference to the thematization of the relationship. It is set here against the coldness of depersonalized, collectivist modernity. It is a specific relationship. Relationship with Faith. With a name that, despite all linguistic generalizations, speaks in the hiddenness of associations. In combined associations, which are divided into personal and general. Modernism appears here as a derivative of adding and subtracting to a subset of the personal and personified. Let's not forget that Miloš Šejno's sought-after position is in the "presence of the situation". But this cannot be found in the view of a static object, but in the process of finding a suitable constellation. And here the objects begin to fade into their surrounding frame. Even before the images of the figures, we find ourselves again in the metaphor of landscapes, full of tracks and prints.
Woman with Child, 15/11/1981, oil on canvas, 96.5 x 70.5 cmLandscape of Footsteps: Painting is a static medium. Movement is given by chaining points. The apparent whole is the illusion of a moving image. It's the same with memory. The "Land of Footsteps", moving away to return, is a perfect metaphor for memory. The language of modernism here serves memory with its sense of composition. Image as composition. A composition conceptually oscillating between painting and music. Here, Miloš Šejn finds an intermediate space of ambiguity that is so important to him, which on the one hand humanizes the concept in a painterly way, and on the other hand conceptualizes the painting. Closeness recedes to return forever. To return as a symbol.
Petr Vaňous, Prague, November 2022
translated digitally