Kurt Gebauer
Trubkouni
13/9 - 10/11/2019
Opening 13/9 from 7pm
It is not easy to present the nestors of Czech art in the Luxfer Gallery project. Little time and an inexorable age factor are a great barrier, but Kurt Gebauer – the indefatigable punker – decided not to be limited with that. As the actors say “there are no small roles“, in the world of visual arts we can say “there are no small exhibitions“. All has to be thought over, made and put together, and Kurt Gebauer did so very responsibly.
The author (*1941) belongs to the oldest generation of Czech sculptors. He co-defined postmodern principles of work following the tradition of Czech grotesque and Krizovnická school. He is a long-time teacher, who infected several genarations of artists with his open mind. For the exhibition in Luxfer Gallery he decided to show a series of figures made from recycled paper, calling them Trubkouni (Pipe-figures). I was impressed by this title, for it perfectly depicted not only a laconic directness of his thinking, but his entire work as well. Kurt Gebauer belongs to the artists who are celebrating the magic of everyday things, imperfect bodies or ephemeral disproportion of childhood. All that is spiced with a lot of irony and hyperbole.
Annotation: Luděk Rathouský
Dominik Lang
19/7-8/9/2019
Matej Al-Ali
31/5 - 14/7/2019
Opening 31/5 from 7pm
Work of Matej Al-Ali (*1985, Bardejov, Slovakia) is rooted in intermedia space. He creates mainly
objects and installations, expanding to public space. Some of the installations are on the edge of
performance.
Al-Ali often focuses on material, physical character of object and the process of its creation or destuction. He explores the relationship between object and labor – a conveyor belt is his common material. Together with Tomáš Moravec and Petr Dub they reflect contemporary architecture and its symbolic and (dys)function in the society.
In his latest work, Al-Ali uses the medium of camera as a tool for reality and the viewer´s perception
manipulation.
The artist lives and works in Prague.
Annotation: Kateřina Štroblova
Giel Louws
Leap
30/4 - 31/5/2019
Opening time: we-fr, 2-5pm
Old Town-hall,
city center of Česká Skalice
PHOTOGALLERY
Suported by:
Catherine Radosa
MONUMENT FOR A WITCH
30/4/2019
Nomadic and contextual video-projection in the public space, at the scale of architecture, at the invitation of Luxfer Gallery, Česká Skalice, Czech Republic
Video 4K, 10'45 '', 2019
MONUMENT FOR A WITCH
CATHERINE RADOSA.
If today it is claimed, not without defiance, by certain feminist activists, the figure of the witch remains contradictory, provocative, paradoxical. She is never innocent, carried by a story that is not a fairy tale. To be designated as a witch
is always to be accused. And first of all, to be accused of being a woman. At best, under the burden of ordinary misogyny, of the banality of contempt for the feminine; but also in the criminal heritage, sometimes always active: for sometimes we still burn so-called witches in our days, as we did on a collective scale in the not so distant centuries when beliefs were used as a pretext for male domination. From the large-scale feminicide that Europe has been able to achieve to carnival performances, witch-hunting is never a game without consequences, nor are free the attributes of its representation. Can we, must we really forget, on the night of Walpurgis every April 30, in the joy of the festive bonfires, even under the appearance of the farce and the social custom of the celebration, the crimes of which they are the memory?
By placing it in the public space, in the form of a projection on architecture, the Franco-Czech artist Catherine Radosa offers a multi-level reading of the figure of the witch with Monument for Witch, a work created at the invitation of the
Luxfer Gallery at Česká Skalice. The projected video image is an ephemeral monument, a furtive apparition that slips into various parts of the city during the evening. It features a character whose clothing attributes, capes, dresses, serve
as a support for images from all kinds of archives - 19th century engravings, contemporary press images, activists' performances, but also elements (water, fire) and attributes - in a form of liberating choreography, sequences, moments
when the staged body devotes itself to a playful, emancipating, ironic but very incarnate Sabbath.
With the artist's distance, but also her commitment, with images that resemble documents and theatre, Catherine Radosa extends the evening of April 30 between celebration and denunciation, between festivities and satire.
Supported by:
Tomáš Džadoň
Role Trikolory
7/12/2018-27/1/2019
Jakub Tajovský
Perplex
12/10-02/12/2018
BLACK MILK/OSTRAVA
24/8 - 16/9/2018
Dan Balabán, Pavel Forman, Tomáš Koudela, František Kowolowski, Jiří Kuděla, Petr Lysáček, Václav Rodek, Ivo Sumec, Jiří Surůvka
RAFANI na Art-Brut-All
8/8 - 12/8/2018
Videoinstalation+Music Performance
Fortress Josefov
Plenér of Galerie Luxfer
20/7/2018
Roel van der Linden
20/7 - 18/8/2018
Old Town Hall building, Česká Skalice square
Roel van der Linden
Unity Through Identity
21/5/2018
Rudolf Samohejl
Speculative factory
1/6 - 29/7/2018
Jan Šerých
Anything II
13/4-27/5/2018
Julius Reichel
U.F.O. efect
9/2 - 1/4/2018
Opening 9/2 from 7 pm
RAFANI À PARIS
15/2-6/4/2018
David Možný
Miss You
8/12/2017 - 28/1/2018
Marika Volfová
3,4 Planet Earth
13/10/2017 – 3/12/2017
Opening 13/10 from 7pm
Marika Volfová is a young artist, finishing the Faculty of Fine Arts in Brno next year. Originally, she expressed herself primarily through painting, bearing a significant drawing lines and certain rough ungracefulness. Later on, in 2015, she worked on strong, raw paintings based on sketches made during her trip in Northern Africa and the Middle East. It was a kind of travelogue into the depth of inherited memory, mythical landscapes of subconsciousness, where violence and sex create the first social archetypes of acting. Banal situation of peeing on the beach, gutted guts, expressive conception and colours. The desire for exotics and fear of the unknown in one. Volfová is successful in targeting the right emotional centres to induce strong experience, raising questions connected with contemporary globalization.
The interest for different cultures led her to active help to refugees in the Greek camps, later on to organize independent culture in the Netherlands. At the moment, facing the real voluntary and involuntary nomadism, Volfová is considering her role of a professional artist, so the exhibition in Luxfer can be very dramatic – for her and for the viewer as well. Before the show, she will be staying in the gallery, creating a site specific project.
Annotation: Luděk Rathouský
Roel Jeroen van der Linden
Heatwave in Sydney
4/8/2017 – 24/9/2017
Opening 4/8/2017 from 7pm
Opening hours:
Friday 4 - 7 pm
Phone: +420 606 678 679
The paintings of Roel Jeroen van der Linden are binding together animality and diversity. Maritimes, portraits, figures, stillifes – all is mixed in the colourful boom in his work. His attitude to the medium is clear: A painting is always about painting and about the painter. Without painter no painting. Hence the painter is subject of the painting and because he/she paints, painting is subject of the painting. It's the task of each painter to research (paint) why he/she paints and to research (paint) the state of painting in his/her time.
Roel Jeroen van der Linden graduated in Amsterdam and Prague Academy of Fine Arts. Now he lives and works in Prague.
Annotation: Kateřina Štroblová
PRESS RELEASE Between Dog And Wolf.pdf (418563)
Supported by:
Ministry of Culture
City Česká Skalice
Matej Al-Ali
Veškerá skutečnost je provizorní a není možné jí jakkoli důvěřovat
31/5 - 14/7/2019
Zahájení výstavy 31/5 od 19h