Miloš Šejn | Pod Lipami 906 | CZ-50601 Jičín | T +420 723 701 658 | F +420 233 381 662 |
ms@sejn.cz
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Solo
ORPHEVS
13.10. - 14.11.2012 | Galerie města Blanska, Czech Republic
curated by Václav Cílek & Olga Hořavová
www.galerie.blansko.cz
A solo exhibition of Milos Šejn is dedicated to the Underground, the Moravian Karst and Býčí skála Cave. It is consisted from a mix of various media, including of an intact work with the gallery space.
Miloš Šejn: The Býčí skála Cave 28th June 2011
Glaukon tells the story, which experienced warrior Er, that twelve days after his death revived and told what he saw on the other side:
„…they could see from above a line of light, straight as a column, extending right through the whole heaven and through the earth, in colour resembling the rainbow, only brighter and purer; another day's journey brought them to the place, and there, in the midst of the light, they saw the ends of the chains of heaven let down from above: for this light is the belt of heaven, and holds together the circle of the universe, like the under-girders of a trireme. From these ends is extended the spindle of Necessity, on which all the revolutions turn. The shaft and hook of this spindle are made of steel, and the whorl is made partly of steel and also partly of other materials. Now the whorl is in form like the whorl used on earth; and the description of it implied that there is one large hollow whorl which is quite scooped out, and into this is fitted another lesser one, and another, and another, and four others, making eight in all, like vessels which fit into one another; the whorls show their edges on the upper side, and on their lower side all together form one continuous whorl. This is pierced by the spindle, which is driven home through the centre of the eighth. The first and outermost whorl has the rim broadest, and the seven inner whorls are narrower, in the following proportions--the sixth is next to the first in size, the fourth next to the sixth; then comes the eighth; the seventh is fifth, the fifth is sixth, the third is seventh, last and eighth comes the second. The largest is spangled, and the seventh is brightest; the eighth coloured by the reflected light of the seventh; the second and fifth are in colour like one another, and yellower than the preceding; the third has the whitest light; the fourth is reddish; the sixth is in whiteness second. Now the whole spindle has the same motion; but, as the whole revolves in one direction, the seven inner circles move slowly in the other, and of these the swiftest is the eighth; next in swiftness are the seventh, sixth, and fifth, which move together; third in swiftness appeared to move according to the law of this reversed motion the fourth; the third appeared fourth and the second fifth. The spindle turns on the knees of Necessity; and on the upper surface of each circle is a siren, who goes round with them, hymning a single tone or note. The eight together form one harmony…“
Excerpt from Plato’s The Republic
13.10. - 14.11.2012 | Galerie města Blanska, Czech Republic
curated by Václav Cílek & Olga Hořavová
www.galerie.blansko.cz
A solo exhibition of Milos Šejn is dedicated to the Underground, the Moravian Karst and Býčí skála Cave. It is consisted from a mix of various media, including of an intact work with the gallery space.
Miloš Šejn: The Býčí skála Cave 28th June 2011
Glaukon tells the story, which experienced warrior Er, that twelve days after his death revived and told what he saw on the other side:
„…they could see from above a line of light, straight as a column, extending right through the whole heaven and through the earth, in colour resembling the rainbow, only brighter and purer; another day's journey brought them to the place, and there, in the midst of the light, they saw the ends of the chains of heaven let down from above: for this light is the belt of heaven, and holds together the circle of the universe, like the under-girders of a trireme. From these ends is extended the spindle of Necessity, on which all the revolutions turn. The shaft and hook of this spindle are made of steel, and the whorl is made partly of steel and also partly of other materials. Now the whorl is in form like the whorl used on earth; and the description of it implied that there is one large hollow whorl which is quite scooped out, and into this is fitted another lesser one, and another, and another, and four others, making eight in all, like vessels which fit into one another; the whorls show their edges on the upper side, and on their lower side all together form one continuous whorl. This is pierced by the spindle, which is driven home through the centre of the eighth. The first and outermost whorl has the rim broadest, and the seven inner whorls are narrower, in the following proportions--the sixth is next to the first in size, the fourth next to the sixth; then comes the eighth; the seventh is fifth, the fifth is sixth, the third is seventh, last and eighth comes the second. The largest is spangled, and the seventh is brightest; the eighth coloured by the reflected light of the seventh; the second and fifth are in colour like one another, and yellower than the preceding; the third has the whitest light; the fourth is reddish; the sixth is in whiteness second. Now the whole spindle has the same motion; but, as the whole revolves in one direction, the seven inner circles move slowly in the other, and of these the swiftest is the eighth; next in swiftness are the seventh, sixth, and fifth, which move together; third in swiftness appeared to move according to the law of this reversed motion the fourth; the third appeared fourth and the second fifth. The spindle turns on the knees of Necessity; and on the upper surface of each circle is a siren, who goes round with them, hymning a single tone or note. The eight together form one harmony…“
Excerpt from Plato’s The Republic
ARCHIVES & CABINETS
curated by Zuzana Štěpanovičová and Luděk Lukuvka
Oblastní galerie v Liberci / MUSEUM OF EUROPEAN ART
contributory organization
U Tiskárny 81/1
460 01 Liberec V
T. +420 485 106 325
F. +420 485 106 321
oblgal@ogl.cz
GALERIE U RYTÍŘE
Náměstí Dr. E. Beneše 1
460 01 Liberec 1 - Staré Město
MUSEUM OF EUROPEAN ART
Galerie U Rytíře
Within the series of summer exhibition introducing the works of artists connected with this region, the Liberec Regional Gallery is preparing a large retrospective exhibition of the artist and pedagogue of many years, professor Miloš Šejn, born on 10 August 1947 in Jablonec nad Nisou. Between 1990 and 2010, the artist led the Studio of conceptual art in the interdisciplinary department of the Academy of Fine Arts in Prague. For over fifteen years, the artist has also been engaged in organizing the Bohemiae Rosa Laboratory, dealing with relations between the historical, humanized landscape and the mental and emotional state of people (site-specific art projects).
Miloš Šejn's life-long topic has been the interrelation between the elements, the search for the common laws of the realm of Nature and the artistic form of a work and the transformation of feelings that occurs in particular places in the countryside - often parts of Český ráj or Krkonoše - into a multifaceted art form, including new media.
The whole of the gallery's ground floor (an area of about 360 m2) will be taken up by a cross-section of the artist's work, from paintings, large-scale drawings, artist's books, and photographs to new media and space installations. The exhibition will include works from the end of the 1950s to the present, in a way as yet unprecedented for this artist.
An archive is a collection of historical records, or the physical place they are located. Archives contain primary source documents that have accumulated over the course of an individual or organization's lifetime, and are kept to show the function of an organization.
In general, archives consist of records that have been selected for permanent or long-term preservation on grounds of their enduring cultural, historical, or evidentiary value. Archival records are normally unpublished and almost always unique, unlike books or magazines for which many identical copies exist. This means that archives (the places) are quite distinct from libraries with regard to their functions and organization, although archival collections can often be found within library buildings.
A person who works in archives is called an archivist. The study and practice of organizing, preserving, and providing access to information and materials in archives is called archival science.
When referring to historical records or the places they are kept, the plural form archives is chiefly used. Archivists tend to prefer the term "archives" (with an S) as the correct terminology to serve as both the singular and plural, since "archive," as a noun or a verb, has acquired meanings related to computer science.
A cabinet of curiosities was an encyclopedic collection in Renaissance Europe of types of objects whose categorical boundaries were yet to be defined. They were also known by various names such as Cabinet of Wonder, and in German Kunstkammer or Wunderkammer ("wonder-room"). Modern terminology would categorize the objects included as belonging to natural history (sometimes faked), geology, ethnography, archaeology, religious or historical relics, works of art (including cabinet paintings) and antiquities. "The Kunstkammer was regarded as a microcosm or theater of the world, and a memory theater. The Kunstkammer conveyed symbolically the patron's control of the world through its indoor, microscopic reproduction." Of Charles I of England's collection, Peter Thomas has succinctly stated, "The Kunstkabinett itself was a form of propaganda". Besides the most famous and best documented cabinets of rulers and aristocrats, members of the merchant class and early practitioners of science in Europe also formed collections that were precursors to museums.
excerpts from wikipedia
One part of Milos Šejn's archives from seventies.
One part of Milos Šejn's archives from fifties and sixties.
This exhibition is the most extensive probe into the work of Miloš Šejn just from the perspective of his personal archives and what might be called the cabinet or a personal museum.
curated by Zuzana Štěpanovičová and Luděk Lukuvka
Oblastní galerie v Liberci / MUSEUM OF EUROPEAN ART
contributory organization
U Tiskárny 81/1
460 01 Liberec V
T. +420 485 106 325
F. +420 485 106 321
oblgal@ogl.cz
GALERIE U RYTÍŘE
Náměstí Dr. E. Beneše 1
460 01 Liberec 1 - Staré Město
MUSEUM OF EUROPEAN ART
Galerie U Rytíře
Within the series of summer exhibition introducing the works of artists connected with this region, the Liberec Regional Gallery is preparing a large retrospective exhibition of the artist and pedagogue of many years, professor Miloš Šejn, born on 10 August 1947 in Jablonec nad Nisou. Between 1990 and 2010, the artist led the Studio of conceptual art in the interdisciplinary department of the Academy of Fine Arts in Prague. For over fifteen years, the artist has also been engaged in organizing the Bohemiae Rosa Laboratory, dealing with relations between the historical, humanized landscape and the mental and emotional state of people (site-specific art projects).
Miloš Šejn's life-long topic has been the interrelation between the elements, the search for the common laws of the realm of Nature and the artistic form of a work and the transformation of feelings that occurs in particular places in the countryside - often parts of Český ráj or Krkonoše - into a multifaceted art form, including new media.
The whole of the gallery's ground floor (an area of about 360 m2) will be taken up by a cross-section of the artist's work, from paintings, large-scale drawings, artist's books, and photographs to new media and space installations. The exhibition will include works from the end of the 1950s to the present, in a way as yet unprecedented for this artist.
An archive is a collection of historical records, or the physical place they are located. Archives contain primary source documents that have accumulated over the course of an individual or organization's lifetime, and are kept to show the function of an organization.
In general, archives consist of records that have been selected for permanent or long-term preservation on grounds of their enduring cultural, historical, or evidentiary value. Archival records are normally unpublished and almost always unique, unlike books or magazines for which many identical copies exist. This means that archives (the places) are quite distinct from libraries with regard to their functions and organization, although archival collections can often be found within library buildings.
A person who works in archives is called an archivist. The study and practice of organizing, preserving, and providing access to information and materials in archives is called archival science.
When referring to historical records or the places they are kept, the plural form archives is chiefly used. Archivists tend to prefer the term "archives" (with an S) as the correct terminology to serve as both the singular and plural, since "archive," as a noun or a verb, has acquired meanings related to computer science.
A cabinet of curiosities was an encyclopedic collection in Renaissance Europe of types of objects whose categorical boundaries were yet to be defined. They were also known by various names such as Cabinet of Wonder, and in German Kunstkammer or Wunderkammer ("wonder-room"). Modern terminology would categorize the objects included as belonging to natural history (sometimes faked), geology, ethnography, archaeology, religious or historical relics, works of art (including cabinet paintings) and antiquities. "The Kunstkammer was regarded as a microcosm or theater of the world, and a memory theater. The Kunstkammer conveyed symbolically the patron's control of the world through its indoor, microscopic reproduction." Of Charles I of England's collection, Peter Thomas has succinctly stated, "The Kunstkabinett itself was a form of propaganda". Besides the most famous and best documented cabinets of rulers and aristocrats, members of the merchant class and early practitioners of science in Europe also formed collections that were precursors to museums.
excerpts from wikipedia
One part of Milos Šejn's archives from seventies.
One part of Milos Šejn's archives from fifties and sixties.
This exhibition is the most extensive probe into the work of Miloš Šejn just from the perspective of his personal archives and what might be called the cabinet or a personal museum.
Special
TOWARDS THE IMAGE - Photography in Central Europe
23.10.2012 - 24.10.2012 | International Academic Conference / Kraków
International Academic Conference “TOWARDS THE IMAGE - Photography in Central Europe” 23-24 October 2012 Organizers: Faculty of Art of the Pedagogical University in Kraków in the name of the National Education Commission; the Institute of Printmaking and Graphic Design, the Multimedia Department and the “Kwadrat” science & artistic students association
Collaboration: The Walery Rzewuski Museum of the History of Photography in Kraków
Academic Committee of the Conference:
Professor Grażyna Brylewska, Department of Graphic and Visual Design, Faculty of Art of the PU
Professor Halina Cader-Pawłowska, the Multimedia Department, and the Faculty of Art of the PU
Professor Marcin Pawłowski, Department of Artistic Printmaking and Drawing, Faculty of Art of the PU
Rafał Solewski, Ph.D., Department of Art Education and Art Theory, Faculty of Art of the PU Beata Długosz, Ph.D., of the Multimedia Department, Faculty of Art of the PU
Marek Janczyk, M.A., Museum of the History of Photography in Kraków
The conference will be focused around the following subjects:
- the iconic turn in contemporary aesthetics and artistic practice
- photography as a communicative space
- photography in the realm of art
- art of moving image
- photography as a work in process
- contemporary language of photography
- gender and the aesthetics of photography/ image
- the concept of the experiment in contemporary photography
- the avant-garde tradition in Central European countries
- teaching photography at Central European learning institutions
The topic of the conference, contained within the expression "The Image’s Way", can be understood in many ways, literally and metaphorically. It can be understood as a reference to various methods of making photographic images, the language used by contemporary photography, and its relationship with other media. The effort may also be made to assess the photographic image as an aesthetic object, for example in the context of social art. A fundamental element of the conference will be the attempt to present a picture of the situation in which photography found itself after the iconic turn that took place in aesthetics and artistic practice at the turn of the twenty-first century.
All of the above subjects may be viewed in reference to central European art. The aim of the conference is the analysis of many aspects in which the photography of the region may be viewed. Is it a phenomena that is separate on a European scale, or a worldwide scale? Does the modernist tradition have meaning for today's artists in the Czech Republic, Poland, Slovakia, and Hungary? How and to what extent has the concept of the photographic experiment changed since the times of modernism? Are the ideas of the avant garde present in photography education programmes at Central European learning institutions?
The construct of "The Image’s Way” remains a delicate reference to the title of Marcel Proust’s novel “Swann’s Way” as a metaphor of the fluid boundary between the present and the past.
The academic meeting will take place on the 23rd and 24th of October 2012 from 9 AM to 3 PM at the Auditorium of Professor W. Danek at the Pedagogical University at Podchorążych 2 street in Kraków. The two-day meeting will be accompanied by exhibits and multimedia show in the galleries and around the city. After the conference an academic review publication will be put out.
Contact information:
Photography Studio Professor Halina Cader-Pawłowska
Beata Długosz, Ph.D. pracowniafoto.up@gmail.com
tel: +48 12 662 69 59 (Monday 11:00 AM to 4:00 PM Wednesday 11:00 AM to 2:00 PM, Thursday 11:00 AM to 4:00 PM)
23.10.2012 - 24.10.2012 | International Academic Conference / Kraków
International Academic Conference “TOWARDS THE IMAGE - Photography in Central Europe” 23-24 October 2012 Organizers: Faculty of Art of the Pedagogical University in Kraków in the name of the National Education Commission; the Institute of Printmaking and Graphic Design, the Multimedia Department and the “Kwadrat” science & artistic students association
Collaboration: The Walery Rzewuski Museum of the History of Photography in Kraków
Academic Committee of the Conference:
Professor Grażyna Brylewska, Department of Graphic and Visual Design, Faculty of Art of the PU
Professor Halina Cader-Pawłowska, the Multimedia Department, and the Faculty of Art of the PU
Professor Marcin Pawłowski, Department of Artistic Printmaking and Drawing, Faculty of Art of the PU
Rafał Solewski, Ph.D., Department of Art Education and Art Theory, Faculty of Art of the PU Beata Długosz, Ph.D., of the Multimedia Department, Faculty of Art of the PU
Marek Janczyk, M.A., Museum of the History of Photography in Kraków
The conference will be focused around the following subjects:
- the iconic turn in contemporary aesthetics and artistic practice
- photography as a communicative space
- photography in the realm of art
- art of moving image
- photography as a work in process
- contemporary language of photography
- gender and the aesthetics of photography/ image
- the concept of the experiment in contemporary photography
- the avant-garde tradition in Central European countries
- teaching photography at Central European learning institutions
The topic of the conference, contained within the expression "The Image’s Way", can be understood in many ways, literally and metaphorically. It can be understood as a reference to various methods of making photographic images, the language used by contemporary photography, and its relationship with other media. The effort may also be made to assess the photographic image as an aesthetic object, for example in the context of social art. A fundamental element of the conference will be the attempt to present a picture of the situation in which photography found itself after the iconic turn that took place in aesthetics and artistic practice at the turn of the twenty-first century.
All of the above subjects may be viewed in reference to central European art. The aim of the conference is the analysis of many aspects in which the photography of the region may be viewed. Is it a phenomena that is separate on a European scale, or a worldwide scale? Does the modernist tradition have meaning for today's artists in the Czech Republic, Poland, Slovakia, and Hungary? How and to what extent has the concept of the photographic experiment changed since the times of modernism? Are the ideas of the avant garde present in photography education programmes at Central European learning institutions?
The construct of "The Image’s Way” remains a delicate reference to the title of Marcel Proust’s novel “Swann’s Way” as a metaphor of the fluid boundary between the present and the past.
The academic meeting will take place on the 23rd and 24th of October 2012 from 9 AM to 3 PM at the Auditorium of Professor W. Danek at the Pedagogical University at Podchorążych 2 street in Kraków. The two-day meeting will be accompanied by exhibits and multimedia show in the galleries and around the city. After the conference an academic review publication will be put out.
Contact information:
Photography Studio Professor Halina Cader-Pawłowska
Beata Długosz, Ph.D. pracowniafoto.up@gmail.com
tel: +48 12 662 69 59 (Monday 11:00 AM to 4:00 PM Wednesday 11:00 AM to 2:00 PM, Thursday 11:00 AM to 4:00 PM)