ARTBANKA MUSEUM OF YOUNG ART 2011

PRAGUE KARLOVA STREET 2 50 5 9.233 N, 14 24 52.718 E ARTBANKA MUSEUM OF YOUNG ART 2011

ARTBANKA MUSEUM OF YOUNG ART PRAGUE 2011

IMPRINT AMoYA PRAGUE 2011 ARTBANKA MUSEUM OF YOUNG ART KARLOVA 2, 110 00 PRAGUE 1 CZECH REPUBLIC PUBLISHER: ART DEPOSIT, S.R.O. KŘIŽÍKOVA 34, 186 00 PRAGUE 8 CZECH REPUBLIC T: +420 234 777 723 T: +420 602 794 175 INFO@ARTBANKA.CZ WWW.ARTBANKA.CZ MUSEUM CHIEF CURATOR VLADO BESKID CURATORS OF SPECIAL PROJECTS RADEK WOHLMUTH MICHAL KOLEČEK CURATOR OF UGO RONDINONE (SWISS) - SOLO PROJECT: OLGA DVORAK CURATORIAL ASSISTANCE EDMUND ČUČKA TARA SEMENOV CATALOGUE EDITOR RADEK WOHLMUTH 02 04 06 08 10 CONTENTS Foreword by the Mayor of Prague What is AMoYA Colloredo-Mansfeld Palace How to Open a Museum in Four Weeks Exhibition Concept AUTHORS PETR ŠEC OLGA DVORAK VLADO BESKID RADEK WOHLMUTH VÍT VLNAS IRENA SATKEOVÁ EDITORIAL STAFF IRENA SATKEOVÁ ZUZANA PAVÉSKOVÁ AMoYA IDENTITY DESIGN ONDŘEJ VALA GRAPHIC DESIGN OF THE CATALOGUE ONDŘEJ VALA MARTIN FISCHER PRINTING HOUSE VÝCHODOČESKÁ TISKÁRNA SPOL. S R.O. COPY EDITOR MAGDALENA PLOSOVÁ TRANSLATION VLADIMÍRA ŠEFRANKA ISBN 978-80-905143-0-0 ALL RIGHTS RESERVED ART DEPOSIT, S.R.O. PHOTO CREDITS: MARTIN CHŮM: page: 219 MARTIN FISCHER: photo of Prague PETER HOMOLA: pages: 174 175 LUKÁŠ JEŽEK: page: 9 LUKÁŠ KLIMENT: page: 223 TOMÁŠ KRIST: pages: 262 263 JAN MAHR: pages: 164 165 PAVEL MATELA: pages: 216 217 MARTIN POLÁK: cover photo, pages: 3, 7, 11, 16 79, 128 129, 136 137, 148, 166 167, 194 195, 211 213, 224 226, 234 235, 278 YAN RENELT: pages: 84 85, 116, 118, 220 221, 264, 272 275 MARCEL ROZHOŇ: pages: 276 277 DUŠAN ŠIMÁNEK: pages: 102 103, 154 155 TOMÁŠ TŘEŠTÍK: pages: 122 123 JAN VESELÝ: pages: 86 87, 90 96, 98 101, 104 107, 110 117, 120 121, 124 127, 130 133, 135, 140 147, 153, 160 163, 172 173, 176 178, 182 189, 198 203, 208 210, 222, 228 231, 236, 240 245, 250, 253 257, 260 261, 264 266, 268 271 ARTISTS ARCHIVE: pages: 82 83, 88 89, 97, 108 109, 134, 152, 156 159, 168 171, 179, 190 191, 196 197, 204 205, 214, 218, 232 233, 238 239, 246 249, 267 12 15 81 AMoYA Artists The Exhibition The Annual 2011

FOREWORD BY THE MAYOR OF PRAGUE The fact that the Artbanka Museum of Young Art is located at Colloredo-Mansfeld Palace testifies to the uniqueness of this project on the contemporary Czech visual scene, since it has transformed a historical palace in the heart of Prague into a center of contemporary young art. As the Mayor of Prague, I devote myself to preventing our metropolis becoming a lifeless museum, helping it instead to open itself up to art on all possible levels. This institution, established in collaboration with the City Gallery Prague that provided the premises of the palace, represents the largest exhibition project focused on young art in Central Europe. Its original concept proves that a museum does not necessarily have to be a conservative colossus. I greatly appreciate the chief idea of this project, namely the presentation of new young artists to the public, which in turn fosters their creative production. At the same time the Artbanka Museum of Young Art presents art by leading personalities of the Czech art scene from the post-1968 generation. I wish AMoYA many happy visitors. BOHUSLAV SVOBODA Mayor of Prague 002 003

WHAT IS AMoYA AMoYA REPRESENTS A CHANCE FOR YOUNG ARTISTS In the first year alone, 173 young artists participated in the project, and Artbanka eventually purchased a total of 182 works of art from 39 of them. Many of these works have been exhibited at AMoYA. AMoYA a communication platform for establishing relations chiefly between artists and viewers, subsequently also between artists and curators, theorists, gallery owners and collectors. However the main objective remains unchanged it is an effort to promote national young art in the awareness of the Czech and international public and make it more visible. That is why this publication has come into being. AMoYA MISSION Two years ago Olga Dvorak and I thought how to support young visual artists, who, after six years of studies, graduate from art academies and launch their artistic careers. It is often quite difficult for them. Asserting oneself in competition with other artists, building up a professional and personal base, has never been easy and the contemporary world is no exception in this respect. It was our profoundest intention to promote young artists from the Czech and Slovak Republics, providing through the museum exhibitions an exceptional insight into the art-making of this period, and, what is more, to enable these contemporary voices to participate in the international art scene by exhibiting at an art institution together with internationally established artists such as Ugo Rondinone, whose solo project we are delighted and privileged to present at the opening exhibition. In this context, AMoYA intends to close a gap. It is a highly significant meeting point; it even represents a beginning. I believe that in many cases the artistic provocation from our troubled post-communist region is very fruitful for all of Europe it serves as a much-needed reality feedback, to put it in modern terminology. At its best, the museum space will become a locus for open-ended conversations between the works of art themselves and the viewers who encounter them. Although AMoYA focuses mainly on the youngest artistic generation which is demonstrated by the fact that seven academies are presenting their profile exhibitions here its scope logically has to be larger because, like any other museum, it wishes to present as complex an image of the contemporary art scene as possible. Therefore the key word accompanying the new museum s exhibitions is, above all, context. A crucial role is played here by the Baroque building of Colloredo- Mansfeld Palace, where AMoYA is located. It is typical of the local situation that, although Colloredo-Mansfeld Palace is a magnificent building situated in a very interesting location, it had not been used for decades and was, in fact, falling into disrepair. This palace, which in its own right represents the glorious and the less glorious past of our country in equal measure, has the unique character of a representatively alternative space and is an ideal base for a museum of contemporary art. Its walls have transformed into an attractive environment for the most contemporary manifestations of artistic expression from hyperrealism to abstraction, from oil painting to graffiti, from traditional sculpture and easel painting to provocative installations and video art. Today AMoYA features 133 artists of four artistic generations represented by more than 250 works of art in exhibition spaces exceeding 4000 m² in total. Today there is AMoYA, the Artbanka Museum of Young Art, an entirely new museum of art in the very heart of Prague. Its attractive location, large permanent exhibition and program primarily featuring artists of the youngest artistic generation, together create a phenomenon that is probably unprecedented in the Czech Republic. The unique elements of AMoYA also comprise a federal Czech-Slovak scope that constitutes the fundamental juxtapositional basis of this museum. As indicated by the name of this new exhibition institution, an integral part of it is Artbanka a project designed to support students and graduates of art academies. Among its other roles, AMoYA can be a place where new stars are born; where success is not only determined by the past, but above all by the future. PETR ŠEC Co-founder of Artbanka and AMoYA About 150 students graduate from art academies every year in the Czech Republic and Slovakia. Within five years less than 30% continue to produce art, and of course those who make a living by doing so represent an even smaller percentage. Should it be like this? We responded to this question and others in the spring of 2011 by founding Artbanka, which since then has monitored, selected and subsequently supported talented young artists by purchasing their work. Their portfolios are subjected to three rounds of selection carried out by representatives of academies as well as by representatives of state and private galleries and independent curators. This system mainly represents an effort to ensure objective selection, creating a functional safeguard against any personal priorities. If, to begin with, it was necessary to adapt as soon as possible the interiors of the devastated palace to function as a museum and create an attractive visual spectacle within the framework of individual exhibitions that would mediate at least a partial idea of the forms of contemporary art, the next task is obvious. It is not only to create an attractive exhibition program, but also to organize accompanying events that would make AMoYA will present young art, art schools and universities of the West, cities such as London, Vienna, Berlin, and also art from countries that are fighting for democracy. At the same time the museum invites and welcomes major stars of the current international scene. This is what awaits the young museum in the coming months. We would like to thank in particular art academies for their cooperation and kind assistance, the City of Prague for partnership and, of course, the participating artists themselves. Art constitutes a necessary bridge and, in addition, a medium, and we, cofounder Petr Šec and I, sincerely wish that the high quality of young art in Central and South-eastern Europe will now earn the attention it deserves so that it can be judged in the context of international art production. We wish the artists every success in their further creative process. OLGA DVORAK Co-founder of Artbanka and AMoYA 004 005

COLLOREDO-MANSFELD PALACE A large palace building with four wings concentrated around a deep central courtyard is, in its current state, a work of architecture in the high and late Baroque style. The building inside, however, hides many vestiges of older structures that were built on this site during the Middle Ages. From the point of view of the organism of the Old Town of Prague, this place has always been of great importance. It was an intersection of the ancient road leading along the Vltava river from the south and the road connecting the first bridge of Prague with the town center on the right bank of the Vltava. A silent witness to the first documented phase of construction of this palace is the remnant of a Romanesque house preserved, including its vault, in the left wing of the palace. In the 14th century the house was expanded into a one-story Gothic structure, as is documented by written reports. We know that the building, called according to a record from 1409 Ad pueros (The Children s) originally belonged to the stove-makers guild. In 1426 it was bought by the shoemaker Ctibor Merbota; a number of other owners followed. Between 1488 and 1552 the house belonged to the stonemason Daniel and his descendants, after whom it acquired a new name Daniel House. In 1610 it was acquired by Imperial Counsel Nicholas of Langenbruck. He completely rebuilt it at considerable cost in the late Renaissance style, and in 1619 sold it to a leading figure of the Bohemia uprising, Count Joachim Andreas Schlick. Schlick died on the gallows three years later on Old Town Square and the house was confiscated and given to the Jesuit College situated in the nearby Klementinum. During the 17th century and at the beginning of the 18th century this lucrative property was held by a succession of owners such as Julius Henry Duke of Saxe-Lauenburg and the Counts of Breda. embellished with putti and vases from the Braun workshop, crowned in the frieze by the Colloredo-Mansfeld coat of arms, dates from this period. The coat of arms, however, was put on after 1780 when the palace was inherited by the builder s daughter Maria Isabella, whose husband, Prince Colloredo, added the name of the Mansfelds to that of his own family following the end of the Mansfeld dynasty s male line. The building was further adapted in the 19th century. In 1842 a neighboring house on the southern side was attached to the palace. This house was the Schlosser House situated on the site of two older medieval buildings, mentioned in 1362 as the property of the Lords of Kolowrat. Princess Wilhelmina, née Colloredo-Mansfeld, who inherited the palace in 1848, along with her husband, Charles of Auersperg, undertook a thorough reconstruction after the middle of the 19th century. The entire palace was unified in terms of style, including the newly adjoined building and the design of the façade. On the ground floor of the Western wing a passage was created through which a tramline now runs. The other interventions into the noble Baroque building left rather negative traces. The major adaptation of its interiors in 1900, which partially transformed the palace into a residential house, devastated the internal structure of the building. It also affected the sala terrena in the rear wing, into which partitions were inserted. The main remnants of the original interior include Rococo and Second Rococo rooms in the entrance wing, a monumental staircase and a large oval hall spanning two floors. Its ceiling is decorated by rich stucco and a large and dramatic fresco dating from 1736 1737, depicting a gathering of the gods on Olympus connected with an allegorical celebration of the rule of Emperor Charles VI. The figures in the composition were painted by Pietro Scotti, while the architecture was designed by the quadraturista Giovanni Battista Zaist. The original decoration of the palace also comprises an anonymous sandstone figure of Neptune in the fountain in the courtyard, a work of retrospective style that is more striking for its diversity of detail than for being a balanced whole. During the Breda ownership the house seems to have undergone its first major Baroque reconstruction, which gave it the size and appearance we know today. The author of the project is not documented in archives, but according to stylistically comparable work it can be attributed to Giovanni Battista Alliprandi. When the Counts of Breda got rid of the palace in 1726, it was still not complete. Its new owner, Charles Richard of Smiedling, nevertheless paid the high price of 130,000 florins for it. Completing the reconstruction was beyond his powers, thus the Baroque adaptation was only finalized after 1735 by the following owner of the palace, Prince Paul of Mansfeld and Fondi. Its builder, and probably designer as well, was architect Franz Ignaz Prée. The monumental portal of the palace The prominent location of Colloredo-Mansfeld Palace at the historical intersection of main roads seems to anticipate the important position that the building had in the history of Prague and the Czech Lands. The Winter King Friedrich von Falz took refuge in this palace on 8 November 1620 before he fled Prague after the Czech estates defeat at the Battle of White Mountain; and the commander of the protestant army, Field Marshal Johann Georg Arnim, stayed here in 1631 during the Saxon occupation of Prague. In 1744, during the War for the Lands of the Czech Crown (War of the Austrian Succession), the palace was occupied by Prussian General Field Marshal Kurt Schwerin. Under these circumstances it comes as no surprise that the palace contained an impressive armory. Its inventory was taken as booty on Whitsun (12 June) of 1848 by revolutionary students from the Klementinum. According to period testimonies, the students behaved themselves. They gave receipts for taken weapons to Countess of Auersperg, who was caught unawares, and they even placed armed guards in the palace to protect it against looting. Rifles from the Colloredo- Mansfeld arsenal allegedly provided good service at the subsequent defending of the barricades at the Old Town Bridge Tower. The war history of the palace also consists of the fact that, until 1914, the palace was used as the estates fencing-room. Another aspect of the cultural history of the palace is the significance of this building for the history of art collecting and fine art in general. In particular during the Rococo and Enlightenment periods the palace became an important social center; this role was evoked as late as the early 20th century by popular costume balls in the Mozart spirit. From the early 19th century it was home to the famous Colloredo- Mansfeld picture gallery, transferred by the owners from their chateau in Döbling near Vienna. A custodian of the collection was painter František Horčička, who in 1808 opened the noble gallery to the public, prepared its catalogue and even established a studio for copyists. Thus for many decades Colloredo-Mansfeld Palace became the seat of an outstanding art collection, highly regarded for its remarkable representation of Italian schools of painting, in particular the Neapolitan Baroque. Later this collection was dispersed to several Czech chateaux, but today it has been reinstalled as a whole at Opočno Castle, which is where the family armory has also been placed. In 1840 Colloredo-Mansfeld Palace held the first annual exhibition of the re-established Fine Arts Union. It was a breakthrough. Although exhibitions of works by students and teachers of the Academy were held in Prague as early as 1821, the founding of a kunstverein a Fine Arts Union made these regular art shows resemble the standard model of a European art salon. In 1839 Count Franz Thun-Hohenstein Jr. carried out a reform of the Fine Arts Union, which also brought about a new concept of annual exhibitions. Despite resistance from the part of local artists, works by foreign artists began to be represented, and in addition to painting and drawing the exhibitions featured examples of period sculpture and applied art. Most exhibits were for sale and members of the Fine Arts Union were able to win some of the exhibited works in a regular lottery of members shares. The exhibition at Colloredo-Mansfeld Palace marked the beginning of this new tradition, which later culminated in the 1880s and 1890s with major spring salons at the Rudolfinum. AMoYA thus continues the rich artistic, exhibiting and collecting tradition that is connected with the history of this famous palace. VÍT VLNAS Art historian 006 007

HOW TO OPEN A MUSEUM IN FOUR WEEKS In April 2011 these were still separate units: a dilapidated Baroque palace awaiting reconstruction and a group of people who launched a project to support young art. AMoYA only existed in dreams and discussions. The discussions gave rise to collaboration with the City Gallery Prague and the dreams led to concrete action. City Gallery Prague, which took charge of the building in need of reconstruction, had neither the funds nor the capacity to make use of it at the time and offered Colloredo- Mansfeld Palace as a venue for the presentation of contemporary art. Thus an ideal solution for the palace was found it was opened to the public, cutting-edge art is now shown in its space and at the same time the way AMoYA is managed makes it possible for the facility manager to continue work leading to the complete reconstruction of this building in future. The first cautious inspections of the abandoned interiors soon led to an obsession and desire to open the museum as soon as possible. A production team was put together. We weren t just looking for employees, we were looking for enthusiasts. Initially, many people said that it was impossible and that we were crazy. They were right in one respect. We did, however, prove that it was possible. We alternately held discussions about the mission and focus of the museum and carried out prosaic activities cleaning, demolishing, tidying up, painting, disinfecting, collecting, cleaning, washing, installing, installing, installing, both on the ground and in the air and on 12 June 2011 we staged the grand opening of a unique museum of young art. We have made accessible a space that proves that art is capable of reviving not only architectural monuments The beginnings were not easy, however, and if getting things up and running had taken any longer even more doubts might have arisen. IRENA SATKEOVÁ Executive Director of Artbanka 008 009

EXHIBITION CONCEPT THE RISKY BUSINESS OF A YOUNG MUSEUM OF YOUNG ART 15 Fucking Minutes) as well as a reinstallation of the project created by the Kamera Skura group for the Venice Biennale that features the Crucified Christ as a gymnast on rings in the area of the staircase (Superstar/t/). It also created a necessary dialogue and tension between the exterior and interior in occupying the space. The whole palace was divided into three wings according to its architectural layout, and these provide the basis for the individual exhibition concepts. Section A is designated to prominent names of the Czech and international scenes of the past two decades; Section B features Czech and Slovak academies of art and Section C has been reserved primarily for alternative curatorial and innovative projects with a distinct range of questions. Opening a new museum focused entirely on contemporary art is not a common phenomenon in our Central European space. If we narrow its focus further, to a preference for current and young art of the up-andcoming-generation, it represents none other than the combination of an exceptional event and a suicide mission. Both aspects are underlined by the fact that this museum is not under the umbrella of any state or regional institution; instead the initiative has come from the private sector the Artbanka project, which supports young artists in the Czech context. Jan Kadlec. However, in our opinion these works form a legitimate part of contemporary visual language and sharply formulated topics. only by students, postgraduate students and graduates, but also by their teachers under whose tuition the young artists developed and looked for their own forms of expression. We consider the interconnection of student-studio-teacher to be important and valuable. It is because it shows in more detail the context of the educational and creative environment in which the youngest generation of artists is evolving. We consider it equally important to clarify the term young art. It encompasses not only one s belonging to a certain generation and a focus on the young upcoming generation, but also, in a broader sense, presenting art which is current, topical, which does not lose its intensity and which makes a strong statement. Therefore the exhibition that otherwise prominently features the young generation also includes several artists who are aged about seventy as well as leading figures of the middle generation, especially from the Czech and Slovak scenes. This dual foundation in the mapping of the Czech and Slovak scenes is intended to be the basis for mutual juxtaposition and communication with the broader Central European context. Section C has also been designated for curators projects. Radek Wohlmuth has prepared exhibitions GRAFFZ.cz featuring the currently most active generation of Czech graffiti artists and VKV - všednost, každodennost, věcnost (ordinariness, everyday life, objectivity), which focuses on situations responding mainly to the specific residential atmosphere of this part of the palace. On one hand it is the despised street art which, however, is increasingly earning respect, and on the other hand the low and ordinary juxtaposed with highbrow art. Both exhibitions consistently build on things with which the viewer is familiar and encounters in everyday life things that form a visual opposite to other palace-housed exhibitions. The project Black and White Cocktail, which plays on various forms of a black-and-white dialogue, was organized by Vladimír Beskid, who devised the overall concept and also curated the first exhibition of young artists in the spaces of this museum. An opportunity was given to Slovak painter Jana Bubelinyová and her series Intimacy. In June 2011, in the historical center of Prague in the extraordinary Baroque palace of the Colloredo-Mansfeld family, a new museum came into being under the name of Artbanka Museum of Young Art (AMoYA). Every institution has, from the outset, to define its sphere of activity and operational range, and it was no different in this case. In the conception of the pilot exhibition we naturally drew on the main ambitions of AMoYA. We didn t simply want to create another museum show, but also to define a new laboratory environment for visual art, another communication channel for the necessary direct comparison between the Czech and international scenes, for the exchange of ideas and improvement of the cultural metabolism in Central Europe. The aim was to create a new platform for dynamic exhibition activity in the form of group and solo exhibitions by Czechs and renowned artists from other countries. Given the number of themes and strategies of contemporary art, it was necessary to concentrate on selected issues presented in four basic lines: City Code focus on the urban environment of emptiness and alienation, the representation of city interiors and post-socialist culture and civilization with a mix of peripheral stories and figures; Hybrid Reality reaction to accelerated changes in the media and material world, the creation of new inversion situations and various environments, and the critical dissection of petty bourgeois living rooms and thought; Divine Decay the world fascinated by the body, corporeality, the intimacy of life; the refined though heartless relationships between partners; an atmosphere charged with eroticism, the poison of the body and (un)restrained behaviour; Extreme Port a series of loaded situations which are full of provocative and radical gestures and images; extreme tension, the breaking of taboos and prejudices from the other side dark and decadent. The declared support for and presentation of young visual art of the upcoming generation also includes the ability to record both its critical and ironic thought and engaged and provocative standpoints. AMoYA wants to devote special attention to the presentation of the youngest artists who are still students at partner academies of art in the Czech Republic and Slovakia or who have recently graduated from them. This is why Section B has been reserved for results of work of individual art schools. In total there are five Czech and two Slovak academies or colleges. They comprise the Academy of Fine Arts in Prague; the Academy of Arts, Architecture and Design in Prague; the Faculty of Fine Arts in Brno; the Faculty of Arts of University of Ostrava and the Faculty of Arts of the Technical University of Košice. In Section C there are exhibitions by the Faculty of Art and Design of Jan Evangelista Purkyně University in Ústí nad Labem and the Academy of Fine Arts and Design in Bratislava. While the initial presentation was based on the so-called STAR system, now there is a combined STAR system because the individual academic studios are represented not From among the wide range of artists and works of art presented in the first exhibition, a pre-eminent position was taken by the solo project of Swiss artist Ugo Rondinone consisting of a terrifying X-shaped object with internal breathing (Twentyfourhours), large-scale objects by David Černý in the form of four guns in the palace courtyard (Guns) and Saddam Hussein imprisoned in an aquarium (Shark). Also worthy of note is a site-specific installation by a group of artists in the Baroque hall in the form of an old hearse stuck in wax (Jiří David, Jan Kadlec, Milan Salák: In June 2011, when the new AMoYA museum opened its doors, it also opened a gateway to new opportunities for topical, lively and young art. A new, attractive venue opened to the Czech and international public with a plethora of new experiences in order to help the general public find its own path to the language of contemporary visual art. The latter section in particular, which presents a number of subversive and provocative works, is not usually included in museum exhibitions. We can find here, for example, a psychedelic forest of figures by Vladimír Skrepl, flamboyant large-scale photographs by Štěpánka Šimlová and photographs of a naked woman with plastic bags by Viktor Frešo. Other controversial works include an upside-down male figure with spread legs by Martin Kochan and decadent stylized self-portraits by Milan Salák and VLADO BESKID Chief Curator of AMoYA 010 011

AMoYA ARTISTS 2011 ÁČKA (ARTUR MAGROT, ALESSANDRA MAREK ČÍHAL (CZ) IVANA JUNKOVÁ (CZ) PETR LYSÁČEK (CZ) KRISTOFER PAETAU (FI) MARTINA ŠEDOVÁ (CZ) SVATEK) (CZ, IT) NIKOLA ČULÍK (CZ) JAN KADLEC (CZ) JAN MAHR (CZ) EUGENIO PERCOSSI (IT) MARTIN ŠILHÁN (CZ) ALENA ADAMÍKOVÁ (SK) JIŘÍ DAVID (CZ) JAN KALÁB (CZ) MARTIN MAINER (CZ) DAVID PEŠAT (CZ) EVŽEN ŠIMERA (CZ) DANA BELL (USA) DAVID 87 (CZ) KAMERA SKURA (CZ) JAKUB MATUŠKA AKA MASKER (CZ) JIŘÍ PETRBOK (CZ) TEREZA ŠIMKOVÁ (CZ) KLÁRA BÉMOVÁ (CZ) PETR DUB (CZ) MARTIN KÁŇA (CZ) BARBORA MAŠTRLOVÁ (CZ) PLEB (CZ) MICHAL ŠIML (CZ) ŠTĚPÁN BERÁNEK (CZ) ANDREJ DÚBRAVSKÝ (SK) STANISLAVA KARBUŠICKÁ (CZ) MATKY A OTCOVÉ PODE BAL (CZ) ŠTĚPÁNKA ŠIMLOVÁ (CZ) KATALIN BESSENYE (HU) SLAVOMÍR DURKAJ (SK) KATEŘINA KARLOVÁ (CZ) (LENKA KLODOVÁ, LUCIE NEPASICKÁ, PETR PÍSAŘÍK (CZ) PAVEL ŠMÍD (CZ) ERIK BINDER (SK) EPOS 257 (CZ) KRIŠTOF KINTERA (CZ) MAREK REJENT, MARTIN PÉČ) (CZ) REALITY (CZ) JAKUB ŠPAŇHEL (CZ) BIOR (CZ) SVETLANA FIALOVÁ (SK) LENKA KLODOVÁ (CZ) MEFISD 86 (CZ) LUKÁŠ RITTSTEIN (CZ) ŠTĚPÁN TESAŘ (CZ) JAN BOHÁČ (CZ) VIKTOR FREŠO (SK) MARTIN KOCOUREK (CZ) PAVOL MEGYESI (SK) ALŽBĚTA ŘÍHOVÁ (CZ) MARK THER (CZ) JOSEF BOLF (CZ) KURT GEBAUER (CZ) VÁCLAV KOČÍ (CZ) SEAN MICKA (USA) DANA SAHÁNKOVÁ (CZ) ZDENĚK TRS (CZ) PAUL BRAINARD (USA) JAN GEMROT (CZ) MARTIN KOCHAN (SK) VOJTĚCH MÍČA (CZ) MILAN SALÁK (CZ) ROMAN TÝC (CZ) ALEŠ BRÁZDIL (CZ) HANES (CZ) ZDENA KOLEČKOVÁ & MICHAELA THELENOVÁ (CZ) JOSEF MLADĚJOVSKÝ (CZ) PAVLA SCERANKOVÁ (SK) VLADIMÍRA VAJSOVÁ (SK) ONDŘEJ BRODY (CZ) HONEY 85 (CZ) STANISLAVA KONVALINKOVÁ (CZ) MARTIN MOFLÁR (SK) MARTIN SEDLÁK (SK) JÁN VASILKO (SK) MIA BROMWELL (USA) KONG (CZ) PAVEL KOPŘIVA (CZ) PETR MOTYČKA (CZ) MIROSLAVA SEVCIK (SK) JANA VOJNÁROVÁ (CZ) JANA BUBELINYOVÁ (SK) PETR PÍSAŘÍK (CZ) PAVEL KORBIČKA (CZ) PAVEL MRKUS (CZ) BORIS SIRKA (SK) JAN VYTISKA (CZ) VENDULA CHALÁNKOVÁ (CZ) DANIEL HANZLÍK (CZ) ROLAND KORPNOVICS (HU) JAKUB NEPRAŠ (CZ) VLADIMÍR SKREPL (CZ) DIANA WINKLEROVÁ (CZ) NATÁLIE CHALCARZOVÁ (CZ) DAVID HELÁN (CZ) FRANTÍŠEK KOWOLOVSKI (CZ) RICHARD NIKL (CZ) JAN SLOVENČÍK (CZ) X-DOG (CZ) MICHAL CIMALA (CZ) MILAN HOUSER (CZ) PETR KRÁTKÝ (CZ) ALEŠ NOVÁK (CZ) JANA SMĚLÍKOVÁ (CZ) MILAN ZAČAL (CZ) CRAP (CZ) DENISA HŘIČIŠČOVÁ (CZ) DENISA KRAUSOVÁ (CZ) JAROMÍR NOVOTNÝ (CZ) ZDENĚK SPOUR (CZ) DUŠAN ZAHORANSKÝ (SK) IVAN CSUDAI (SK) JAKUB HUBÁLEK (CZ) OLGA ALIA KRULIŠOVÁ (CZ) MARTIN NYTRA (CZ) RICHARD STIPL (CZ) DRAGANA ŽIVANOVIĆ (SRB) JIŘÍ ČERNICKÝ (CZ) KATARÍNA JANEČKOVÁ (SK) MAREK KVETÁN (SK) ONDŘEJ OLIVA (CZ) VÁCLAV STRATIL (CZ) MICHAL ČERNUŠÁK (CZ) JAKUB JANOVSKÝ (CZ) JAROSLAV KYŠA (SK) JULIAN OPIE (UK) JIŘÍ SURŮVKA (CZ) SPECIAL GUEST: DAVID ČERNÝ (CZ) ANTONÍN JIRÁT (CZ) LENA LAPSCHINA (RU) QEBE (CZ) IRA SVOBODOVÁ (CZ) UGO RONDINONE (SWISS) 012 013

YOU ARE ENTERING ARTBANKA MUSEUM OF YOUNG ART NOW

FRONTAL PROJECT VOJTĚCH MÍČA & JIŘÍ PETRBOK / PRINCESSES IN MILK / DIGITAL PRINT, METAL, RESIN, FLUORESCENT LAMPS, GLASS / 2000 2006 017

FRONTAL PROJECT JAKUB NEPRAŠ / CULTURES: TAIL / VIDEOPAINTING / 2007 019

CITY CODE EPOS 257 / GRAFFOMAT / MIXED MEDIA / 2010 020

HYBRID REALITY JIŘÍ ČERNICKÝ / PEGASUS SEMTEX / SEMTEX, EXTENSION CABLE, PLUG / 1997 022

EXTREME PORT JIŘÍ DAVID / THE FIFTH SEAL / MIXED MEDIA / 2006 025

DIVINE DECAY ONDŘEJ BRODY / DOG CARPETS, CAT CARPET / MIXED MEDIA / 2007 ROMAN TÝC / HEAVY SUGAR / MIXED MEDIA / 2007 026

DIVINE DECAY KRIŠTOF KINTERA / ALL MY BAD THOUGHTS / POLYURETHANE / 2009 MILAN HOUSER / VANITAS / MIXED MEDIA / 2006 028