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.
350 CZK / 200 CZK (people with disabilities, students, seniors) / 50 CZK (AMU students and staff)
An evening of graduation projects by third-year choreography students at the Academy of Performing Arts (HAMU).
Nadkroví
Barbora Sváčková
Performance Nadkroví from Barbora Sváčková focuses on the topic of an individual being held within the embrace of their family – an embrace that is both warm and restraining at the same time. It explores the roles we take on, the paths we choose to follow, and how they transform over the course of our lives. Portraying the longing for safety that we find in an overcrowded nest, as well as the force that prevents us from taking flight. Five performers on stage shift between roles, just as we ourselves continually change. Through metaphor, imagery, and physical closeness, they reveal the delicate layers of relationships: tenderness and tension, closeness and distance. They search for balance between the need to remain rooted and the desire to rise and fly.
Choreography: Barbora Sváčková
Performers: Zuzana Kubešová, Tomáš Bednář, Markéta Pščolková, Sofia Rakotová, Veronika Boháčová
Production: Marie Puchernová
Music: Tereza Konzalová
Dramaturgy: Nela Štarková
Costumes: Agáta Belak Molčanová
Set design: Sylvie Nováková
Lighting design: Michal Hór Horáček
Assistant producer: Klára Krumpová
Graphics, design: David Pucherna
Přes oči nevidím
Simona Dejmková
Simona Dejmková's choreography explores themes of surveillance, control, and voluntary blindness in the current society. Four performers on the stage use physical composition and limited vision to create an image of a system that both shapes and distorts individuals. Through this production Simona raises a question of personal responsibility: are we merely observers, or are we ourselves part of the mechanism that shapes us? In the work she addresses the invisible structure of power and offers the possibility that a mere shared gaze could once again become a meaningful encounter. And the body that seems detached can once again live as a human being.
Choreography: Simona Dejmková
Assistant Choreographer: Natalie Tun
Performers: Amálie Cuplová, Kateřina Hulínská, Alice Silná, Amálie Špachtová
Music: Sarah Jedličková
Set Design: Jakub Šulík
Dramaturgy: Filip Novák
Production: Eliška Řezníčková
Projection/lighting design: Michal Hór Horáček
Costumes: Emmanuela Fiala, Karolína Grygarová
Poster design and photo documentation: Savva Domanov
The project is being developed with financial support from AMU.