How can one depict the city today when it is no longer merely an urban whole, but also a psychic landscape, a data infrastructure, and a space of permanent tension? And how can one grasp the metropolis at the moment when its everyday reality breaks down into layers of personal projections, collective affects, and invisible systems that shape our movements, relationships, and modes of perception? The international exhibition project The Hammer Strikes the Bell by New York-based Latvian artist Viktor Timofeev and Czech artist Radek Brousil, prepared together with curators Boris Ondreička and Pavel Kubesa for Prague’s NoD Gallery, enters precisely this field of meaning. Here, the city does not appear as a stable backdrop, but as a living, multilayered organism in which subjective experience collides with the logic of late-postmodern infrastructures. The joint project by Brousil and Timofeev is conceived as a complex exhibition situation in which images, drawings, and a spatial site-specific installation are interwoven into a scenographic whole. The exhibition reflects the specific chronotope of the metamodern gigapolis — a city that is simultaneously a concrete place and a mental state, a set of material structures and a field of imagination. The artists are interested in the intricate image of buildings, people, technologies, and collective psyche that emerges from the structures of today’s metropolises. The exhibition is therefore not built on a mere dialogue between two media or two artistic signatures. More important is the very nature of their encounter: both Brousil and Timofeev have long cultivated a sensitivity to what remains beneath the surface of the visible world, whether power regimes, infrastructures, cultural codes, or unspoken models of identity. From this perspective, The Hammer Strikes the Bell transforms the gallery space into a situation in which the city becomes not only a theme, but also a method. The viewer does not enter a closed narrative, but rather a mutable scenery in which a wide range of individual and collective dramas may unfold. Viktor Timofeev (*1984), whose practice clearly extends beyond the framework of Central and Eastern Europe, is an internationally established artist living and working in New York, whose interdisciplinary practice brings together drawing, painting, video, sound, software, and experimental games into complex environments situated at the intersection of autofiction, worldbuilding, and systems thinking. In 2025, he presented his most extensive museum exhibition to date, Other Passengers, at the Latvian National Museum of Art in Riga; he has also exhibited at the Hessel Museum of Art in New York, Bozar in Brussels, and the National Gallery in Prague. Radek Brousil (*1980) enters this dialogue as an artist who has long reflected on the relationship between image, material, and social reality. In his post-photographic approach, he combines photography with textile, object, video, installation, and painting, and consistently engages with socio-political and environmental themes, postcolonial tendencies, and the question of a “new sensibility.” His work grows out of a critical relationship to standardized interpretations of late capitalism, the Anthropocene, and global power relations, and has increasingly also turned toward the politics of time. Brousil is among the notable figures of the Czech art scene with strong international experience, as confirmed by his projects in London, Brussels, Budapest, Tokyo, and other institutions.
This event is in Czech only!
This event is in Czech only!
This performance is in Czech only!
This event is in Czech only!
This performance is in Czech only.
An evening of graduation projects by third-year choreography students at the Academy of Performing Arts (HAMU). Nadkroví Barbora Sváčkov…
This performance is in Czech only!
This performace is in Czech only.
This performance is in Czech only!
This performance is in Czech only!
This performance is in Czech only!
Scamming is art. They have been with us since the beginning of mankind. They are all around us. And they are more and more of them. There´s no place you…
Scamming is art. They have been with us since the beginning of mankind. They are all around us. And they are more and more of them. There´s no place you…
This performance is in Czech only!
This performance is in Czech only!
This performance is in Czech only!
This performance is in Czech only!
This performance is in Czech only.
This performace is in Czech only.
This performance is in Czech only!
This performance is in Czech only!
This performance is in Czech only!
This performance is in Czech only!
This performance is in Czech only.
This performance is in Czech only!
This performance is in Czech only!
This performace is in Czech only.
Scamming is art. They have been with us since the beginning of mankind. They are all around us. And they are more and more of them. There´s no place you…
Scamming is art. They have been with us since the beginning of mankind. They are all around us. And they are more and more of them. There´s no place you…
This performance is in Czech only!
This performance is in Czech only.
August 18– September 8, 2017
Curator: Eva Riebová
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In Prague and Krakow on August 7th, 2017
“We went to elementary school when Kinder eggs from St. Nicholas were a rarity and going to McDonalds‘ only a treat at the end of the school year. Colorful artefacts of a burgeoning capitalism, whose definition we began to grasp only a decade later, caused us states of excited trance. We would collect joghurt cups, chewing gum tattoos and Pogs.
And today? Today we’re hungover. We gorge on things, information, emotions, we gulp down data and swallow everything available, in plastic or not... and we’re having a hard time digesting. Like a generation of ,unaware bulimics we constantly and intuitively have to filter it all, so as not to get lost under the trash calamity. The wrong kind of hangover pulsates in our heads, the one that brings spleen and nostalgia, as if after a big party full of drinks and cocktail umbrellas.“
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The Bulimia Cocktail Party exhibition will for the very first time present the artistic collaboration of two artists of the upcoming generation of Polish and Czech art scenes, which naturally converge due to similar sociocultural backgrounds: Juliana Höschlová (CZ) and Marta Antoniak (PL).
Juliana Höschlová (*1987), a graduate of Prague’s Academy of Fine Arts, is known in the Czech environment through her intense performances, engaged conceptual drawings and videoart, through which in the recent years she undertakes a criticism of mass culture, the mechanisms of consumer society and image manipulation. As part of preparations for the Bulimia Cocktail Party exhibition, Juliana organized a collection of plastic bags, which were then smudged and conjoined into a monumental abstract painting. The collecting of the bags was made difficult by the fact that it took place in Juliana’s temporary place of work in the “deplastifying“ Austria, so most of the bags traveled from the Czech Republic. The exhibition is accompanied by a story from a dystopic world – from “Whiteland“, where flows a black river of oil and people buckle under the weight of their own bellies. Juliana Höschlová mediates the story by means of simple illustrations projected in the gallery through overhead projectors.
Marta Antoniak (*1986) is a painter and has recently received her doctorate at the Krakow Academy of Fine Arts. The pieces presented represent Marta as an artist closely examining her medium, which has in the recent years taken on the form of a unique relief. Through melted plastic toys and chewing gum tattoos she creates pleasing yet unsettling assemblages bordering with kitsch. Her relief-paintings often represent parasites spreading under human skin, which upon observation awaken a tingling body feeling: they tempt the observer into a manual exploration of themselves.
Juliana and Marta’s joint exhibit is formed from the belief that their formal expressions can create a strong visual experience together. On another level, the exhibition reflects the nostalgia of a generation raised in the nineties in post-communist countries, when the pitfalls of a consumer culture seemed as distant as the world of adults and the currently suffusing feeling of hypersaturation and the fear of its ecological impact.
Note: Juaiana Höschlová collected 246 plastic bags. Many thanks to:
Zuzana Belasová, Martin Bláha, Papaa Bermansu, Robert Čep, Hedvika Čepová, Jan Dytrych, Kristýna Dytrych Šormová, Daniel Fabry, Veronika Hauer, Andreas Heller, Zuzana Kolouchová, Ivana Kremláčková, Anika Kronberger, Veronika Maděrová, Ingeborg Pock, Jakob Pock, Renáta Počinková, Veronika Quinn Novotná, Eva Riebová, Petr Studnička, Šárka Studničková, Iva Škaloudová, Lucie Šplíchalová
Galerie NoD
Juliana Höschlová & Marta Antoniak: Bulimia Cocktail Party
Curator: Eva Riebová