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.
Video NoD
Olga Krykun: 720/027
An undemanding visual game at information pollution times.
Curator: Veronika Zajačiková
The project grasps everyday life in which one increasingly doubts about information and perceptions. We have become accustomed to doubting this feeling could extend to the common perception of reality.
The project 720/027 is based on exhibition project for Berlínskej Model Gallery - Freesome and video Room #1.
Olga Krykun works with various media such as video, object and installation.
In project 720/027, she develops environment, what is a typical theme for her work. She created a 360 degree room that includes whole house, without dividing rooms by walls. Everywhere in the house, there are small animations and strange transformations of things that pervert and questioned the reality. A visitor can focus on individual animations as the room perceives as a whole. Aesthetics of video projection, is accentuating the chill-out mood of the Video NoD gallery room. Krykun works with significant elements - as wallpaper or a more expensive business look and a leopard motive is. Through the leopard and the African motives, project associated the kitsch luxury, it hits the contrast of the Western way of living and life in Countries of the Third World. And it is this thorny theme that is omnipresent today. But the author does not want to be political. She tries to capture the sense of overwhelm, which is also caused by information pollution and to fill it with current themes. Part of the virtual apartment are, besides playful elements, realistic photographs in frames and other objects typical of Western culture.
Olga Krykun (*1994, Odessa, UA) / since 2009 - lives and works in Prague
2016 / Supermédia Studio, Academy of Arts, Architecture and Design in Prague (CZ)
2016 / Exchange - Department of Photography and Audiovisual Arts, T.E.I. Athens (GRC)
2014-2016 / Intermédia Studio, Ladislav Sutnar’s Faculty of Design and Art, University of West Bohemia, Pilsen (CZ)
Exhibitions:
2017 Fx00136302, performance, Holešovická tržnice, hala č.17., with Max Lysáček
2017 I’ve painted the gate red, now I think red was the wrong colour at the corpus (with Adrian Altman, Jakub Hájek), Prague (CZ)
2017 Freesome, Berlinskej Model, Prague (CZ)
2016 Supermédia, Museum of Photography and Modern Visual Média, Jindřichův Hradec (CZ)
2016 Nevím, jak tohle dopadne, Galerie Samo83, Česká Bříza (CZ)
2015 Don’t. Just… don’t, Papírna, Pilsen (CZ)
http://olgakrykun.tumblr.com