Miloš Šejn | Českých Bratří 312 | CZ-50601 Jičín | T +420 723 701 658 | milos [at-sign] sejn.cz
AllForWeb | © 2008 sejn
DIVERSITY CONTEMPORARY II10.12.2024 - 31.01.2025
PAF 2024 / DIARIES - Deposit of Memory: Video Works by Miloš Šejn from 1988-202205.12.2024 - 08.12.2024
LANDSCAPE FESTIVAL PRAGUE 202413.06.2024 - 30.09.2024
ANIMA MUNDI | VISIONS – ITSLIQUID INTERNATIONAL ART FAIR | VENICE 202407.06.2024 - 21.06.2024
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
Face for SU–EN22.10.2022 - 22.10.2022
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
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
NMHTÍ
ARTIKLE / Brno
The title of the book and exhibition, N M H T Í, highlights an important component of the creative approach of Miloš Šejn - namely his work with language. Since the early 1980s, human body drawings and paintings have appeared in his work, accompanied by expressions of sound and speech. The historical archetype apparently refers to some principles of avant-garde tendencies of the early 20thcentury, the essence of which are creative processes interlinking poetry with the visual arts. However, the author develops possibilities of this symbiosis in a completely distinctive way. For Miloš Šejn’s wide straddling in his creation, intermediality is perhaps the clearest umbrella term. The author's strategy, working methods, procedures and means of expression are associated with various artistic disciplines, and resonating in them are experiences loosely connecting them in particular with an unbroken tradition of action and conceptual art, body art and land art. Incidentally, both these components, words and images, also find themselves in the timeline in a varying media relationship. In terms of elemental analysis of the audible side, words are sometimes understandable and other times they drift more into mere assonance. While initially the spoken word formed a visual part of the drawing (to some extent as its accompaniment), there is then a blending of the drawing with writing, thus a concurrence of drawing and the improvised spoken word, or rather perhaps even acoustic expression. Now Šejn proceeds where gestures of the process become a reflection of vision and a component of the spoken word. The acoustic track in the written transcription transforms into words or their fragments, in sounds reproduced by text, or respectively pictorial poems. However, words and the painting are more a situational connection rather than an expression of poetic imagination. One could say that both systems inextricably identify, whereas the word need not have any semantic link to the painting, but it works in more of an associative way.
Besides working with language, there are several other attention-worthy aspects in Miloš Šejn’s creation. These include movement and processuality, the role of place, space and time, and also working with the body. If we focus on the artist's movement in connection with the emergence of the work in time, we can mention in this regard especially the artist's drawings and film footage occurring in parallel during walking, i.e. a process in a way akin to an archetypal journey or traveling in the countryside. In this case, the artist usually works using the technology of a head camera, by which he scans the entire process. In terms of the medium, it thus concerns a sort of tableau in which to a certain extent an aspect of ritual and magic is present. The emphasis on conceptual and processional processes is incidentally also the reason why Miloš Šejn’s work has many points in common, for example, with that of Dalibor Chatrný, and why he does not deny the influence of his teacher, the Czech guru of conceptual painting, Zdeněk Sýkora.
We can also perceive the paintings of Miloš Šejn created in recent years as an equivalent of processional drawings and videos. In them, site selection plays an important role (besides temporal coordinates, which the author meticulously records). It is a privileged ”topoi” for which he created a purely personal and emotional bond, and to which he repeatedly returns as the landscape of his life - whether they are specific locations in the Giant Mountains or by the River Odra. The artist's contact with the landscape literally has a physical nature; indeed, he enters the images of these places through his own body. You could even say that his experience from the place unfolds in a very intimate, almost erotic mode. These associations are moreover evoked by the fact that the material of many of his paintings is canvas with memory of the body, sheets with the "wrinkles" life. Tensioned in the frame, we can then read them as unrepeatable intimate traces of stories in which all situational moments left their creative role: besides landscape morphology and body painting also material that clung to the “painter's canvas” - grass, clay, flowers, twigs, feathers ... In a certain sense, we could designate Šejn’s paintings as some kind of temporal “canning” of specific objective realities and subjective emotions and experiences, capturing the poetry of the place and the fleeting moment. Everything in the painting has meaning as part of a unique situation. In a way, the painting is an object in physical relation not only to the creator and the landscape, but also to the viewer.
Kaliopi Chamonikola
book
ARTIKLE
ARTIKLE / Brno
12.05.2020 - 24.06.2020
The title of the book and exhibition, N M H T Í, highlights an important component of the creative approach of Miloš Šejn - namely his work with language. Since the early 1980s, human body drawings and paintings have appeared in his work, accompanied by expressions of sound and speech. The historical archetype apparently refers to some principles of avant-garde tendencies of the early 20thcentury, the essence of which are creative processes interlinking poetry with the visual arts. However, the author develops possibilities of this symbiosis in a completely distinctive way. For Miloš Šejn’s wide straddling in his creation, intermediality is perhaps the clearest umbrella term. The author's strategy, working methods, procedures and means of expression are associated with various artistic disciplines, and resonating in them are experiences loosely connecting them in particular with an unbroken tradition of action and conceptual art, body art and land art. Incidentally, both these components, words and images, also find themselves in the timeline in a varying media relationship. In terms of elemental analysis of the audible side, words are sometimes understandable and other times they drift more into mere assonance. While initially the spoken word formed a visual part of the drawing (to some extent as its accompaniment), there is then a blending of the drawing with writing, thus a concurrence of drawing and the improvised spoken word, or rather perhaps even acoustic expression. Now Šejn proceeds where gestures of the process become a reflection of vision and a component of the spoken word. The acoustic track in the written transcription transforms into words or their fragments, in sounds reproduced by text, or respectively pictorial poems. However, words and the painting are more a situational connection rather than an expression of poetic imagination. One could say that both systems inextricably identify, whereas the word need not have any semantic link to the painting, but it works in more of an associative way.
Besides working with language, there are several other attention-worthy aspects in Miloš Šejn’s creation. These include movement and processuality, the role of place, space and time, and also working with the body. If we focus on the artist's movement in connection with the emergence of the work in time, we can mention in this regard especially the artist's drawings and film footage occurring in parallel during walking, i.e. a process in a way akin to an archetypal journey or traveling in the countryside. In this case, the artist usually works using the technology of a head camera, by which he scans the entire process. In terms of the medium, it thus concerns a sort of tableau in which to a certain extent an aspect of ritual and magic is present. The emphasis on conceptual and processional processes is incidentally also the reason why Miloš Šejn’s work has many points in common, for example, with that of Dalibor Chatrný, and why he does not deny the influence of his teacher, the Czech guru of conceptual painting, Zdeněk Sýkora.
We can also perceive the paintings of Miloš Šejn created in recent years as an equivalent of processional drawings and videos. In them, site selection plays an important role (besides temporal coordinates, which the author meticulously records). It is a privileged ”topoi” for which he created a purely personal and emotional bond, and to which he repeatedly returns as the landscape of his life - whether they are specific locations in the Giant Mountains or by the River Odra. The artist's contact with the landscape literally has a physical nature; indeed, he enters the images of these places through his own body. You could even say that his experience from the place unfolds in a very intimate, almost erotic mode. These associations are moreover evoked by the fact that the material of many of his paintings is canvas with memory of the body, sheets with the "wrinkles" life. Tensioned in the frame, we can then read them as unrepeatable intimate traces of stories in which all situational moments left their creative role: besides landscape morphology and body painting also material that clung to the “painter's canvas” - grass, clay, flowers, twigs, feathers ... In a certain sense, we could designate Šejn’s paintings as some kind of temporal “canning” of specific objective realities and subjective emotions and experiences, capturing the poetry of the place and the fleeting moment. Everything in the painting has meaning as part of a unique situation. In a way, the painting is an object in physical relation not only to the creator and the landscape, but also to the viewer.
Kaliopi Chamonikola
book
ARTIKLE