Miloš Šejn | Českých Bratří 312 | CZ-50601 Jičín | T +420 723 701 658 | milos [at-sign] sejn.cz
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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
MY WIFE/S SOUL16.11.2022 - 17.12.2022
Face for SU–EN22.10.2022 - 22.10.2022
RAVINES AND GARDENS05.10.2022 - 05.11.2022
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
Prague Biennale 2021 / Re-connect Art03.09.2021 - 07.09.2021
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
AQVA MUO26.04.2019 - 28.05.2019
Early Manifestations of Action Art in East Bohemia26.04.2019 - 16.06.2019
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
KOR . KON . TOI . 0 0 1 – Miloš Šejn / Adriena Šimotová
Galerie Muzea Krkonoš, Vrchlabí
curator: Roman Koucký
So the White-throated dipper told me,
who appeared to me for a moment
towards the end of the road…
2018
Milos Sejn: Snow Calligraphy, The Giant Mountains, 1962, silver bromine photograph
Galerie Muzea Krkonoš, Vrchlabí
17.11.2023 - 28.04.2024
curator: Roman Koucký
The mysterious name Krkonoše is older than the script, which we started using in our country only in the 9th century with the advent of Christianity. The first record is seven hundred years older. In the 2nd cent. the name Korkontoi was used by the Greek geographer Klaudios Ptolemaios in the geographical work Europae tabula quarta. He describes the landscapes and the population beyond the borders of the Roman Empire, as described to him by people who penetrated the barbarian regions for trade or in the Roman military service. Chapter XI deals with the Giant Mountains. Germaniae Magnae situs. That he is really talking about our mountains is evident from a number of contexts, above all he mentions the unmistakable name of the river Albis. In Greek, the Korkontoi (Latin Corconti) were, according to Ptolemy, tribes near Monte Asciburgius, which is Snow White. It is clear that these people were named after the specifics of the mountain range, but their identity is not entirely clear. Ptolemy included them among the Germans, because they inhabited the territory of Great Germania, similarly to the Marcomani and the Quadians mentioned here. It is noteworthy that Korkontoi names together with the Lugi Buri (Lusatians?) as far as the headwaters of the Vistula, on the upper course of which lies the important site of the pagan cult of Kraków. To the east of the Elbe lived the Silingi, probably the Silesians, in their neighborhood the Suebi. Their name is usually interpreted as Svebov, but for more than a thousand years, tribes of Polabian Serbs, who should be of Slavic origin, have resided here.
The name Krkonoše itself is probably already pre-Celtic, adopted by the local population for centuries. In the early modern period, there is a resurgence of interest in the geographical sciences. In the so-called Klaudian map from 1518, a mountain "clearing" bearing the name Krkonoss is marked in the border forest surrounding the Bohemian Basin. Bohuslav Balbín mentions this name in 1679 in the Latin-written work Miscellanea historica regni Bohemia*e as *Kerkonossioi horoi, which he considers derived from the Greek language. He may have known the work of Ptolemy, but more likely he read Greek myths. The compound word Kork-konti clearly speaks of the land bearing the name of the demon Krok, Krko-noss being his seat. Originally, therefore, the mountain range was not named Krakonoši, but on the contrary, much earlier, to the mythical Krakoness mountain range.
https://www.e-vsudybyl.cz/archiv/poledni-kamen-tajemny-strazce-hory-1-4016/
Radek Míka
https://www.krnap.cz/akce/milos-sejn-adriena-simotova/
Adriena Šimotová at work in the Franciscan Monastery in Hostinné in the Giant Mountains, 1984
Miloš Šejn interacting with the Luční hora landscape in the Giant Mountains, 1987-1988
Miloš Šejn: Bílá skála in the Giant Mountains, 1988, pigments on paper, 150 x 400 cm
Adriena Šimotová
Well, I think that Adriena has just reached the period when she realizes almost everything she wants to realize, she can use her artistic and human experiences to the fullest, she is able to complete her development so far and go further, maybe even higher. Perhaps nothing of her earlier work had an impact on me like these Papers, so mature, fully, independently, with all the riskiness of course, with all the sophistication naturally, perhaps I can only say: so Czech. Czech, even with that baroqueness, with a frequent tinge of anxiety and soulful physicality, especially evident in women, and with that oscillation between drawing, graphic arts and sculpture, disciplines which today probably surpass painting in terms of their best results in our country. Never before had Adriena done anything greater than now, rising above the chamber form without giving up the intimacy that was so characteristic of her. Intimacy breathes from every spatial layer of these things mixed with a special eroticism, inviting us to touch them, examine them gently and carefully and reveal what is "behind" there.
(Jaromír Zemina, With Adrienou, text: Hostinné 1984, Arbor vitae 2020, p.40)
Miloš Šejn
I fell down the waterfall in a flash
and cut through the surface
flow lines.
who appeared to me for a moment
towards the end of the road…
Towards the end of which?
Any and anywhere.
Every place has its own memory
and it's up to each of us
if we say the right words
which our memory
reveals right there
at the right moment.
2018
Milos Sejn: Snow Calligraphy, The Giant Mountains, 1962, silver bromine photograph
Korkontoi