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The work exhibits “the relationship of complete, exterior forms to their internal formal construction.In Mixed Feelings the apparent complexity of additive and subtractive forms is the result of a more complex interplay between two geometric figures whose complexity ascends the banal andtakes on anemotive quality.”

The statue comes from the Self-Portrait Transformation cycle. It is a profile line of my face which I amnot afraid to deform, rotate and thus create a new view of my appearance. The name of the sculptureis Two because every man in the world tries to find himself and most often finds himself and can communicate with himself when seeing own appearance in the mirror. That is why I create mirror images of myself: to find myself through art and make it possible for others to go through this journey, to think and find themselves in this fast-paced time.

The Great Missionary is an expressive encounter of natural, human and technical space. In terms of form, it is a sculptural and stylized body of a helicopter with a flagellate and vividly moving tail, showing a bearer of information. The statue is a reference to missions, whether military or civil, aboutwhich we do not even know yet whether they bring a threat or rescue. The sculpture is also a place of both conflict and merge of the principles representing the origin and end of life - of their mutual interconnection. The active space of the sculpture is a land – the target, as the ancient origin, into which a human being, bringing enlivening, settlement, but also disturbance, is implanted. The sculpture can symbolize the forces that transform the living space and this is achieved mainly by internal tension based on the use of parallels and contrasts between technical and organic morphology.

The statue of the Rector was originally exhibited in the public space within the cycle “Olbram Zoubek:Pedagogové a studenti / Lidé” (Teachers and Students / People) (Ostrava, 2002).

„Euphoria“ is a gentle symbol of the closest connection between a woman and a child (between meand my daughters) as well as the symbol of being on the same wavelength of shared well-being. It isa capture of a brief, passing, but intense learning of new life. It is displayed using a visual and sculpturespecific airy form of spatial drawing.

A sculpture of the Large Yellow Octopus was created for no reason, for the joy of nonsense, in spiteof probability; for the belief that large yellow octopuses exist; if only because they should exist.

The origin of this artwork is an intuition. The sculpture reveals the polarities caused by a human being and his desire. It illustrates the dilemma and balancing act of conscious existence. Enlarged and modified hand tools interfere with common perception and create symbols for transition from an industrial to digital era. Avarice is a critical review of the greed of our commercial being.

Joseph Beuys, the legendary German artist and theorist who has already died, once wrapped a real grand piano in felt and painted a red cross on it. Antonín Kašpar created a total of 14 steel pianos, from which the crosses rise from the top board askew to the sky. They might be receiving or transmitting signals from or to the cosmos; or maybe both at the same time. When the author later visited a gallery in Frankfurt where he saw the original Beuys’ work, he decided to name his own work the Tribute to JB.

The author’s intention was “to create a woman as a Woman, a girl like a Girl, a boy like a Boy anda man like a Man. The statues speak for themselves."

By giving mysterious names, Kovářík leaves the viewer in doubt what the matter actually is. He doesnot like “typecasting”; he rather leaves room for your fantasy and experience. The sculpture is another part of as-yet-unfinished project. It is based on the knowledge of biomorphic shapes as if born from the swirling micro space of the Petri dish. Nothing is impossible and everything is seemingly allowed, but still within the strict limits of classical sculpture and rules of interior structure, form and proportions.

The Rugged Stand combines Skála’s art language with the idea of social intervention. It is to serve as a meeting point, a centre of unexpected interactions, a space of refreshments both physical and spiritual. Compared to city kiosks and newsstands, it is not an industrialized shop, but an organicallyhandicrafted object. The Rugged Stand brings wilderness and the flamboyant architecture to the tourist plantation of the Lesser Town. It refers to other values than purely pragmatic ones.

The sculpture is formulated from a primary round geometric shape, that’s why the name Rounded was chosen. A determining principle of the sculpture is the shape and actual dimension of a circle that appears not only in the resulting shape of the object, but also in its individual components. The sculpture is formed by joining individual parts (carved according to the radius identical to the radius of the resulting object) which form the resulting shape of a growing circle. The overall spatial composition of the work refers to principal mathematical shapes. The purely intuitive composition of individual parts, without using a model, is reflected in an unrestrained, growing and gradually formingwhole and this is an unfinished circle. Interruption of a central curve – or perhaps its controlled incompleteness – adds dynamics to the overall impression of the shape of the sculpture.

A piece of work from the Drawing in Space (Kresby v prostoru) cycle. The Stumps in the Dark areinspired by children‘s play – waving with a burning stump taken out of the fire. It is an attempt torecord and transfer the movement of a hot stump in the dark into a material.

Chairs for the city is a series of bright ceramic sofas and chairs installed in busy city streets for permanent or temporary periods of time. Stop for a moment at a random location in the street, sit down, touch the shiny smooth shapes, feel and enjoy the colours. Nestle down for a while and look around you or close your eyes and listen to the sounds of the street. Allow yourself to be present inthe moment.

I have portrayed the hand in a life-size and in a simple gesture of preparing for the action of flicking off something that is not displayed here on purpose. The viewer is provoked by the very absence of the subject of the play. The sculpture should spark the observer’s imagination.

The Urbantree objects follow the successful Urbanut series and formally build on a four-meter realization of the Tree of Knowledge (Strom poznání) in 2016. The sculptures are made of fragmentsof real trees that are transformed and slightly changed by force and pressure, but still archetypally readable on closer inspection. The treetops are transformed and adapted into a human scale and placed in the town (urban) environment.

The author focused on the space and size of the object in space. A scale chosen for Hyena allows the viewer to perceive the object as a whole, and, at the same time, at a closer look the viewer is forcedto perceive individual segments and parts of the sculpture. Its openness offers insight into the interiorof the object. The sculpture tries to capture the ferocity of hyenas as accurately as possible with metal. An organic form of a living hyena is transferred into a geometric form of the sculpture while enlarging the animal’s proportions. Complex structures that create individual parts of the animal’s body are gradually composed of the 2D parts. The resulting sculpture takes advantage of the distribution of light and shade on metal surfaces, and using its nuances it creates the overall spatial volume.

Coloured glazed ceramics on a reinforced concrete shell. A utility ceramic sofa with organic shapes brings playfulness and optimism into a given public space. In the busy street full of hustle and bustle, the sculpture gives an impression of an island of peace and good cheer, a place where you can “recharge your batteries” with a brief rest.

An object on the border between a statue and utility sculpture, inviting you to stop and have a dialogue with a statue, a place, a man. Different people, different opinions. Sometimes it is nice just to slow down, sit down and find a bridge towards each other.

Enlarged and modified hand tools interfere with common perception and create symbols for transitionfrom an industrial to digital era. The Bluetoo_ sculpture deals with the insanity of our digitally connected existence.

Manta rays – noble majestic underwater creatures whose movement paradoxically resembles the flightof birds. Elegant dancers moving in the depths of indomitable oceans. Graceful curves intersecting oneof the truly last wildernesses of the world. The world with which we are so interconnected and yet it isso remote and so unknown. And perhaps because of all these contrasts, fascinated by the robustness and fragility at the same time, I decided to expose this creature in a completely different environment, different perspective, in a completely different context. When walking beneath the angel wings, you can dream, unleash your imagination and get carried away to the ocean bottom or somewhere further away..

The “Ring“ sculpture is part of the author‘s “Metamorfloris“ series which has been the focus of his fairly intensive work for the past several years. His inspiration by nature and its laws is apparent at the first glance, and it is still evident even at the twenty-second glance. The scale of the sculpture allows, or maybe even requires direct physical contact, allowing visitors to enter the space in the central area – which may or may not be there, depending on your point of view. The “enflowerment of the material“ is the author‘s not entirely apt linguistic attempt to define his state of mind during creation. It is, however, still the term closest to what he intended to convey through the material itself. Other than that, the author specifically encourages spectators and exhibition visitors to sit on, crawl through or even directly stroke the sculpture – as a sort of temporal excursion back to the times of shorts and playgrounds.

The bronze Horse in the Pilsen park is in its very first place in the public space. It travelled to the park straight from a foundry. It is the third horse from the sculpture called Rider. I finished the whole sculpture in fibreglass castings a few years ago. It consists of three horse statues and one horse witha rider. In order to be able to exhibit the sculpture even in the exterior, I gradually began to cast the statues in bronze. During that time I have exhibited the statues separately. I hope to see it once exhibited as a whole, for example in one of the Czech towns within the Sculpture Line. However, I amnot in a hurry and I also rejoice in individual horses.

Connection“ is an object whose natural component is the environment in which it is installed and which complements its meaning. A human being is a direct reflection of the background, society, and landscape shaping him. It is displayed using a visual and sculpture-specific airy form of spatial drawing.

The blue figures of the Explorers are once again floating above the water surface, this time in Pilsen.Sometimes people ask me about the colour of these statues. The blue colour has a brand name Pool Blue, i.e. the colour of the pools, but also of the sky. I have recently realized that this is the colour of information boards on motorways. I once discovered its non-intense contrast in the landscape thanks to a small sculpture. The light blue sculpture then pulled the colour of the sky down to the ground, and thus I let my several other sculptures to do the same. The blue Explorers, quite simple in terms of drawing, are among them.

Regarding the form and size, the primary inspiration for the installation emerged from Megalodon, a prehistoric shark. The author himself perceives the object as a shape archetype that can be found throughout the animal and plant world. Location in the pool induces stress and uncertainty (what ishappening beneath the surface?), adding dynamics to the statue. Superficially clear shape takes onmany forms, including the night one, and provokes the imagination of viewers passing by.

The first impulse of this realization was an intention to complement an intimate place of a private garden with a seating with sculpture. A bench in the form of a stylized woman has been created andyou can nestle down with a book in her arms or sit down face to face to a close person in a confidential conversation. By being placed in the public space in Starý Plzenec, the statue has gained another meaning that is firmly embedded in my work: acting as an island to enliven the street that you usually just pass through, as an opportunity for a short stop enriched with unexpected aesthetic perception, and as a means of rest, now with a view of a local landmark on the horizon.

The sculpture, with the explanatory title of E. T., belongs to a recent series of works by Riccardo Cordero where the desire to trace the space where they’re placed as a physical “presence” and not just as a representative one. A nucleus composed of circular elements, cut and incomplete, born from four vertical elements that looks like they are keeping it down, in place, as to prevent its explosion. The apparent instability of the whole creates complex and unexpected visual paths. The eye of the observer is led to follow the curved lines and the short segments unconsciously trying to unravel this bundle of signs where the relation between filled and empty spaces creates an evocative formal complexity. The artist, not by chance, insists on the concepts of the “sculpture as a presence”, that is the activation of simultaneous perceptions that involves the artworks and their surrounding without having one prevailing over the other.

Manta rays – noble majestic underwater creatures whose movement paradoxically resembles the flight of birds. Elegant dancers moving in the depths of indomitable oceans. Graceful curves intersecting one of the truly last wildernesses of the world. The world with which we are so interconnected and yet it is so remote from us and so unknown. And perhaps because of all these contrasts, fascinated by the robustness and fragility at the same time, I decided to expose this creature in a completely different environment, different perspective, in a completely different context. When walking beneath the angel wings, you can dream, unleash your imagination and get carried away to the ocean bottom or somewhere further away...

“People have a certain visual form fixed in their brain for each single thing. Thanks to that they are able to determine in a split second what they are looking at. Most people perceive the polar bear as white and fluffy. I have broken this form by depriving the animal of its hair and colour. Thus I deprived the viewers of the primary certainty of knowing what exactly they were looking at."

“Learn from yesterday, live for today, hope for tomorrow.The important thing is not to stop questioning.“Albert Einstein, 1879-1955 When you look at a wave, it can seem quite mysterious. Lying between air and water, it whispers a simple question; where exactly does the wave exist? It is a form that doesn‘t have substance. Vague, the uncertain image is always surging in between imagination and information. Perception is like a wave. And if the perception is a form, our existence would be a form as well. It might be possible to say that our existences are continuous of reactions.

“The horses on the piazzetta of the National Theatre belong to the project of four horses, one of which is bearing a rider. I created this group in several variants: in red laminate which stands out in the landscape due to unrealistic colour, in another case I used a structure made from peanut shells. However, the sculptures could not be exhibited in the exterior, so there was no choice but to start recasting them gradually in bronze. The first two horses of this series are now situated in front of the New Stage building as a part of the Sculpture Line 2016 project. This location turned out to be not only visually appealing but also very symbolic. It is impossible to omit the connection with the sculptures decorating the roof of the National Theatre; moreover, the horses are located at the junction between the New Stage and the Old Stage, which corresponds with their nature. They are conceived as a traditional sculpture but their impression bears a considerable measure of update of this topic.”

The first men were the fruit of seed germination of nowhere; half man half chrysalis. These men kept the essence of creation. Guardians of the miracle, celebrating the creation; light, insects, fish, animals, flowers.Men-seeds did not suffer the finiteness of their existence, they knew they had sprung from the creative nowhere and return to her, their soul would return to the infinite substance, therefore, when they died, they were wrapped in textures beyond the earth transformed into stone. Men-seed group stopped tocontemplate the ascension of souls and the walking of the living seed-man.

The installation consists of 100 hay drying devices (each with 3 cross braces – also known as Hoanzn, Triste, Heumandln, Dieme, Schober,...) and provides a reference to the origin and development of ancient agricultural practices since the Iron Age which has shaped the landscape in Europe for centuries . Each „Hoanzn“ is made by hand, and is therefore unique. These devices were highly valued, each provided with a monogram or name . The objects are returned as Land Art in memory of this traditional cultural practice of hay making into the landscape or now in Prague into an urban context and connects the present with a human measure in agriculture from yesterday.

"It is probably known that female swimmers and other floating ladies are my life’s theme. Legs from water are something a bit different. It is a part of handstand visible above the water level and this is usually the most joyous expression of children and girls in water. Well, I also sometimes give it a try. This tomfoolery makes happy even those who watch it; and how to discover the joy also in places where girls usually do not bathe, or where they sometimes bathe but it’s just too cold for bathing at the moment? A sculpture can replace all sorts of people – dead poets, saints but also criminals. So why legs from water should not have a monument if they represent the symbol of the most important thing why we are here - the joy of life?"

The sculpture called “Rossete“ forms a part of the author’s series “Metamorfloris“ which he is recently intensively working on. The inspiration by nature and its basic regularities is obvious not only from the title, in case of Rossete we can really talk about material turned into flowers. The static nature of the sculpture is suppressed with internal tension and apparent motion depending on the movement of the observer.

Chairs for the city is her art project of bright ceramic sofas and chairs installed in busy city streets for permanent or temporary periods of time. Stop for a moment on an unscheduled location right on the street, sit down, touch the shiny smooth shapes, feel and enjoy the colors. Nestle down for a while and look around you or close your eyes and listen to the sounds of the street. Allow yourself to be present in the moment.

The sculpture called “Tree“ is a generous composition of primary natural shapes created from metal industrial segments. The author, has been working with this material for many years. The author regards placement of the industrially processed sculpture in front of the Industrial Palace of the Prague Exhibition Grounds as symptomatic. From the point of the view of the time horizon, it is very probable that a large tree used to grow on this spot. It is therefore paying a homage to the basic natural forces that surround us.

Conch – a hydrokinetic sculpture. The motion effect created by the weight of water flowing in relieves the stone of the proverbial weight, giving the sculpture seeming lightness. Unstable, constantly disturbed and renewed balance of the two opposite elements, stone and water, creates a meditativelyrhythmic movement. The soft overcomes the hard, emptying fulfils, contrasts harmonize. “Conch“ is the materialization of Taoist principles and it is up to the audience what they are capable of viewing.

“Three sculptures created from beer tanks are engaged in a quiet conversation. The title is inspired by a passage from the Ulrych siblings‘ song, which goes something like this: ...you have to talk quietly to hear...”

“I created the sculpture called “Corpus Angelicus“ as a part of an exhibition of the same name which I had at Prague Castle in 1997. An angel is a constant theme for me, this mysterious being is actually present in all religions. It is a sort of a positive, ecumenical symbol and I am enticed to shape it and give it various forms and constantly retransform it. An angel has probably never been seen before but we may believe that it exists in some form and this always stirs my imagination. That is why “Corpus Angelicus“, a sculpture made of robust cast steel, in contrast to the notion of a totally unknown and elusive ethereal being. A sort of shell of the Angel, it can be understood like this. But I leave it to the viewer. I am glad that the object be installed in Břežany near the monastery and I hope that it will give joy to the citizens and maybe also a reason to pause and think.”

“Interconnection of sport and art is current nowadays. In my work and life, first as the Czech snowboarding national team member and now as the coach of the Olympic champion and, at the same time, first as a student of sculpture art and now as a sculptor, this topic is always current. Art and sport are some of the basic elements forming the human personality. Sport teaches discipline and healthy lifestyle, art forms your opinions and feelings. Art and sport are considered marginal issues by our politicians, unworthy of being largely noticed. This testifies to what shaped them and what they probably are like. It is necessary to teach our kids something else than what the people who are to shape us were taught. Do exercises and be interested in artistic initiatives, take your children with you, please...”

The work belongs among the set of sculptures that relate to Čapek’s favourite topic – hair and hairstyle. The author traces the individual arrangements of hair changing into hairstyle and ultimately into an ornament. The ornament phenomenon, together with the spatial nature phenomenon, has become the basic principle for creating these “hairy“ sculptures. Although inspiration proceeds from the very ornament, Čapek is trying to hold it back in the work itself, depriving it of decorativeness. The crucial moment of the work is elimination of the face and the pure interest in the hairstyle and its aesthetics.Thanks to the standing plaits, the sculpture can remind an animal, which can lighten the perception of the sculpture as hairstyle only.

The sculpture, with the explanatory title of E. T., belongs to a recent series of works by Riccardo Cordero where the desire to trace the space where they’re placed as a physical “presence” and not just as a representative one. A nucleus composed of circular elements, cut and incomplete, born from four vertical elements that looks like they are keeping it down, in place, as to prevent its explosion. The apparent instability of the whole creates complex and unexpected visual paths. The eye of the observer is led to follow the curved lines and the short segments unconsciously trying to unravel this bundle of signs where the relation between filled and empty spaces creates an evocative formal complexity. The artist, not by chance, insists on the concepts of the “sculpture as a presence”, that is the activation of simultaneous perceptions that involves the artworks and their surrounding without having one prevailing over the other.

Regarding the form and size, the primary inspiration for the installation emerged from Megalodon, a prehistoric shark. The author himself perceives the object as a shape archetype that can be found throughout the animal and plant world. Location in the pool induces stress and uncertainty (what is happening beneath the surface?), adding dynamics to the statue. Superficially clear shape takes on many forms, including the night one, and provokes the imagination of viewers passing by.

The object enriches the Botanical Gardens with a certain industrial element which – thanks to the combination with natural material – gracefully harmonizes with the surroundings. The sitting figure, made of steel hollow sections, contains the fragments of trees, and thus the sculpture is even more authentically linked to the place; the connection being also emphasized by an intense scent of pine logs.

Coloured glazed ceramics on a reinforced concrete shell. A utility ceramic sofa with organic shapes brings playfulness and optimism into a given public space. In the busy street full of hustle and bustle, the sculpture gives an impression of an island of peace and good cheer, a place where you can “recharge your batteries” with a brief rest.

A statue, running or speeding off, is a symbol of the premises on which it is located. A fragment of the bobsled is transferred into a surreal level where it is carried to the intended destination (the track?) by two pairs of legs.

Coloured glazed ceramics on a reinforced concrete shell. This is a new approach to street furniture. An unconventionally conceived utility sculpture is an inspiration for both architects and city councillors. A ceramic chair does not look dull and it is not a serial product, either. Thanks to its rounded shapes it is playful and original, and rightfully attracts the attention of passers-by.

Fragility, energy and meditation; these are the attributes of the statue which is based on a figure of Buddha sitting in the lotus position. From a distance, we can see a transparent silhouette of the figure; on closer observation we notice individual little figures of sitting Buddhas. At the busy place where the cultures and people from around the world meet, the sculpture emanates the peace and inspires us to slow down, calm down and contemplate.

The object enriches the Botanical Gardens with a certain industrial element which – thanks to the combination with natural material – gracefully harmonizes with the surroundings. The sitting figures, made of steel hollow sections, contain the fragments of trees from the Botanical Garden which wereknocked down by storm, and thus the sculptures are even more authentically linked to the place; the connection being also emphasized by an intense scent of pine logs.

A concrete family of fantastical creatures from another world, wandering in the shade of pine trees, is inspired by the world of bacteria which are invisible to the human eye. However, when zoomed into the human scale, they force viewers to reflect on their own size and/or magnificence.

A statue, running or speeding off, is a symbol of the premises on which it is located. A fragment of the bobsled is transferred into a surreal level where it is carried to the intended destination (the track?) by two pairs of legs.

Regarding the form and size, the primary inspiration for the installation emerged from Megalodon, a prehistoric shark. The author himself perceives the object as a shape archetype that can be found throughout the animal and plant world. Location in the pool induces stress and uncertainty (what is happening beneath the surface?), adding dynamics to the statue. Superficially clear shape takes on many forms, including the night one, and provokes the imagination of viewers passing by.

Coloured glazed ceramics on a reinforced concrete shell. A utility ceramic sofa with organic shapes brings playfulness and optimism into a given public space. In the busy street full of hustle and bustle, the sculpture gives an impression of an island of peace and good cheer, a place where you can “recharge your batteries” with a brief rest.

The statue is a paraphrase of the famous Thinker by sculptor Auguste Rodin. Seated on a high chair, covered with silhouettes of stylized figures in various positions, the Thinker symbolically represents consciousness of all mankind.

Monolithic coloured heads carry references to different ethnics; they demonstrate the beauty and diversity of cultures as well as the ability to live together and mutually enrich one another despite the advancing globalization and associated blurring.

The statues of the Explorers originated as a spatial drawing captured by strokes of aluminium hoses gradually fixed into the final shape by a modelling epoxy resin. Each of the three figures is in a different phase of movement; together they form a dynamic whole. They make an illusion of walking on water, exploring the space between the Functionalist Manes building and Neo Renaissance National Theatre. Their reflection on the river surface moves the installation to a higher level in comparison with conventional, “static” presentation in the gallery.

A theme and subtle storyline of the entire exhibition are the fantasies of everyday life of “a sculptress on parental leave”. The exhibition is conceived as an intersection of three sculptural units, partially linked to each other, but also representing a different approach to the material. The mere change of the lighting conditions or a shift in the viewing angle either highlights a partially transparent sculptural drawing, or transforms objects into full-bodied shapes. The central unit of the exhibition is the “Big laundry” washing line with the figurative composition made of woven wire mesh.

The composition of giant concrete pillows transforms the courtyard into a cosy resting area.

The whole situation is overseen by “Laundresses” – sculptural group of two sitting girls in conversation, as if sharing their secrets.

The sculptures by Eva Roučka are brilliantly modelled figures of mostly plump shapes, for which expression is the crucial thing. Through them the author documents human pride, pomposity, animality as well as the pure joy of life. Swimmer Mářa is an example of a vivid, almost grotesque expression of the feeling of joy or stubbornness when submersing into water, with the moment converted into glazed clay.

The artist created her self-portrait using only the so-called tactile mathematics, which is a system enabling the sightless to perceive the proportions of the surrounding world. Thus, she “watched” her curves and shapes by touch and transformed them into fireclay. It is fascinating to observe how she deliberately highlighted the parts of her face which she perceived as distinctive and withoutany visual control she managed to convert the features into the resulting sculpture.

Up from the depths and drawing a breath. A fleet of submarines. A fin. A machine. Exhaling.

A sitting figure, stylized into lines and Cubist shapes, consisting of a structure of steel hollow sections which the author has been using in his work since 2002 (the series “Flood Tourists“, where the steel sections were complemented with fragments of driftwood). The sculpture nicely contrasts with the surrounding greenery and follows the geometric form of the background architecture.

The title of the work refers to the term used for a camera tripod, or a three-legged stand. However, the installation, compiled from enlarged and stylized fragments of human bones, also gives the viewer an impression of a fingerprint of civilization from another world. The shape of the bones is intentionally enhanced to give an impression of being even more delicately built and higher.

Coloured glazed ceramics on a reinforced concrete shell. This is a new approach to street furniture. An unconventionally conceived utility sculpture is an inspiration for both architects and city councillors. A ceramic chair does not look dull and it is not a serial product, either. Thanks to its rounded shapes it is playful and original, and rightfully attracts the attention of passers-by.

Thanks to the author’s creativity, the old, liquid gas tank has gained an entirely new, aesthetic dimension. A cut-through structure based on the shape of a star has conjured up a kind of a steel lace on the surface of a discarded steel tank, adding to the entire object a semblance of fragility. The interior space is as important as the exterior, allowing vistas through the mass to create new perspectives of perception not only of the statue itself but also of the surrounding area.

A common utility material, an old industrial water tank, gains a whole new expression and aesthetics through the author‘s creative work.

The torus (Anuloid) is a surface of revolution generated by revolving a circle around the axis that lies in the same plane and has no common points, as defined in mathematics. The artificial or sculptural thinking involves a fascination with shapes and their conversion into non-traditional contexts of dimensions and materials. Being installed in an inclined axis, the object disturbs by almost levitating in the space and provokes the imagination by circular framing of a through-view of the surrounding world.

A column, statue or object rotating and rising to the sky. Plumbing pipe elbows playing a game of mutually mingling shapes, forming geometric and, especially, aesthetic structure. Fascination by resulting substance that works by itself as well as in a dialogue with architecture.

Objects, inspired by a “one-stroke” school drawing, are materialized into 3D objects and transformed into monumental proportions. The drawing is carried in space, using steel components and a welder instead of a school pencil which shaped the original drawings.

A sculpture or a piece of architecture? A minimized high-life housing space is modestly equipped with only the most basic features. If you want to visit it, you have to overcome a four-metre rope ladder. The element of luxury is then included in the view and privacy offered by this object.

Open: 10am - 11pm The sculptures were created as thirteeen separate sculptures carved into thirteen oak trunks. Every oak was at least 150 years old and it was always a fallen tree. None of them was cut down for the sculpture. To make sure that the sculptures can stay outside permanently, I cast them into bronze. Later, I cast 13 new sculptures from the forms taken from the thirteen wooden ones and made 13 new ones. I covered the surface with a wallnut shell structure. The actual shells are embedded in the surface by a black polyester resin. I also cast these laminate castings into bronze. After installation in Brno and two years in the sculpture park in Germany, they are located at Prague Bastion.

Open: 10am - 12pm Big heads or other heads like lightbulbs are my long-term topic. A human head is a mysterious object, it can glow with ideas, goodness and can be blocked by stupidity and aggression. By looking at them we can reflect on who we are. I've been making the heads since 1970s. Four of them (2 metres high) were showed in 2011 on the Jan Palach square, in 2013 in front of the National Library of Technology and at Landscape Festival in Prague. In 2016, some of them were destroyed by drunks in České Budějovice. Now one of them is right here. New Town Hall is famous for defenestration of the town councilors in 1419.  Let's hope that nothing like that will happen again. It's all in our heads. 

The throne shows the place inside us. An imaginary pedestal, on which we can put our fantasies, desires, wishes, secret thoughts or something that we would like to say aloud or shout into the world, only we don't know how. Why the cross? The author frequently uses this symbol in his work. As he says, in his concept the cross is not just a religious symbol, but also a base point which was created by intersection of two lines. Like the expression of the two symbols Jing and Jang, Me - You, She – He, She – It etc. This sculpture was created in 2016, two years later the author inscripted three reliefs, three questions. The proper understanding of context is left upon the individuality and sensitivity of every single viewer.

The first impulse of this realization was an intention to complement an intimate place of a private garden with a seating with sculpture. A bench in the form of a stylized woman has been created and you can nestle down with a book in her arms or sit down face to face to a close person in a confidential conversation. By being placed in the public space, the statue has gained another meaning that is firmly embedded in my work: acting as an island to inliven the street that you usually just pass through, as an opportunity for a short stop enriched with unexpected aesthetic perception, and as a means of rest.  

A tree. Its branches are trying to reach the sky just like the human arms try to reach the sun and the light. The narrower the space between the houses, the stronger is the urge of the branches to reach higher and find out what is happening in the world.

Open: mo-fri 7am - 8pm, view from entrance When we say steel, we feel the cold. Cold design, cold material, utilitarity. It is the reason why I try to give the steel sculptures warm, feminine and round shapes. To conquer the material and present it in a bright new light. Stained steel gets a velvet structure and the rain changes its colours to orange and red. That is how the sculpture Féminité was born. It is symbol of a woman – mother.

Manta rays – noble majestic underwater creatures whose movement paradoxically resembles the flightof birds. Elegant dancers moving in the depths of indomitable oceans. Graceful curves intersecting oneof the truly last wildernesses of the world. The world with which we are so interconnected and yet it isso remote and so unknown. And perhaps because of all these contrasts, fascinated by the robustness and fragility at the same time, I decided to expose this creature in a completely different environment, different perspective, in a completely different context. When walking beneath the angel wings, you can dream, unleash your imagination and get carried away to the ocean bottom or somewhere further away..

Open: 9am - 9pm The sculpture is formulated from a primary round geometric shape, that’s why the name Rounded was chosen. A determining principle of the sculpture is the shape and actual dimension of a circle that appears not only in the resulting shape of the object, but also in its individual components. The sculpture is formed by joining individual parts (carved according to the radius identical to the radius of the resulting object) which form the resulting shape of a growing circle. The overall spatial composition of the work refers to principal mathematical shapes. The purely intuitive composition of individual parts, without using a model, is reflected in an unrestrained, growing and gradually forming whole and this is an unfinished circle. Interruption of a central curve – or perhaps its controlled incompleteness – adds dynamics to the overall impression of the shape of the sculpture.

Open: 10am - 10pm This idyllic piece is one of the series of Kovářík’s works, which recycles and transforms common daily items and objects found or unnecessary into artistic artefacts. In this case, years have passed and subsequently combined in an enigmatic hundreds of beer cans. Then, the installation was dealt with in a typical colourful way, leaving it without any further explanation of how we explain the meaning of the work.

Open 7am-10pm My work is based on “exploring man and nature” and portraying one or the other. Thinking about making them with my personal handwriting is the essence of my work. What would a bush look like if it grew according to geometric rules? Wouldn’t you like to answer this question by creating it yourself? I had it...

A piece of work from the Drawing in Space (Kresby v prostoru) cycle. The Stumps in the Dark are inspired by children‘s play – waving with a burning stump taken out of the fire. It is an attempt to record and transfer the movement of a hot stump in the dark into a material.

The metal sculpture of Noha (Foot) is typical of the author’s work, combining the fascination with industrial poetics with the rational perception of the outer world. The shape and rhythm of the sculpture leads one to reflect on the essence of the construction of the world, but also to taking a seat or crawling. It may seem confusing, but according to the author, both approaches lead (albeit zigzagged and shyly, however determined) to the same goal. To what precisely, the author leaves open to the individual mind of every observer, sitter, reliever, refiner, etc.

My intention was to create an amorphous, organic object resembling a natural fragment that would, with its multifaceted, rugged surface correspond with the rugged facade of the Neo-Gothic Town Hall, before which it was placed. By installing various plastic materials and their intuitive shaping and layering, I tried to achieve the baroque richness of the morphology of the object, which would have to irritate the passers-by and attract them to closer observation, searching, finding and losing in these shapes and forms and opening possibilities to various associations , as we encounter in nature.

A horse is the most common animal to be displayed in the classic sculpture. On the memorials of the famous military leaders he is put on the same level. This is not only because of his importance in the fight, but also because of his shape, beauty, statue, movement and energy. Put all of this into a still sculpture was  for me a great challenge, which brought me closer to my predecessors (Josef Václav Myslbek, Bohumil Kafka and others).

In my mind, music and sculpture can develop a very special relationship. Common to them are the rhythm and the emptiness, the void. This emptiness is in the music as the silence between the tones, in the sculpture it is the empty space between the forms. It is this emptiness that forms the rhythm in sculptures as well as in the music. Both types of art share also the dynamics: the change between the extremes as the loud and the quiet, the fast and the slow, or the powerful and the delicate and fragile. In my big sculpture I tried to transcript the music of the Waltz A-minor from Frederic Chopin into my sculptural language. Of course, far away from the categories of right or wrong, this is a very personal interpretation. Everyone can feel free to do his own interpretation. Listening to this particular music, first I feel the circular movement of a waltz changing its sped permanently, so I translated this circular dynamic into the composition of my sculpture. Then I tried to capture the specific changes in speed, the dynamic differences in volume and the extreme changes between mightiness and fragility. If you want, you will feel in the circular composition your own dynamics of the empty spaces between the forms as active part of this composition.

The sculpture is a composition of an arc of a circle and a triangle. Both elements do not touch each other at all, but they appear to be perfectly well-balanced and harmonic. As the sculpture can open a wide sculptural space, it needs a bigger place to be presented adequately.

Born of the material of the industrial age, Inga Aru’s Muse emerges full of grace and elegance in numerous individual parts from a large-format steel plate and presents itself to the beholder as a three-dimensional abstract female figure in all its perfection. In the spirit of the epoch of its genesis, this modern muse has a standardization and seriality. It is the contemporary appearance of a millennia-old inspirational awakener.

Tomáš Medek has been intensively engaged in 3D technologies over the last ten years, such as FDM Rapid Prototyping and 3D Digitization and Measurement. In other words, 3D spatial technology and 3D scanning, which enable him to create the most complex structural objects that are virtually unrealizable without these methods. The resulting works are mostly made of composite material or ABS plastic. The central theme of his present work is organic structures. The artist’s inspiration is nature, natural processes and laws, the biological structure of life and the constructive elements in the construction of organisms. Objects are multiplied, interconnected,deformed and transformed into organic structures in search for bonds, connections and tensions. They look into the interior and uncover inner worlds, views and intersections. He gradually creates a cycle of objects that carries the working name of Fruit. Some implementations are cast into bronze (see the Capsule), although due to their complexity, their casting is a very demanding process requiring specialized technology. This creates unique and formally diverse artistic objects with perfect craftsmanship and a sophisticated concept.

  Ape-man looking up into the sky symbolizes the springing up of ancient civilization; today, high civilization brings advanced material culture, yet the nature we live on is being damaged unceasingly. The perplexed eyesight and innocent face of ape-man reveals the desire to correct all of these faults and to step towards a brighter future. The title originates from my sense of social reality. I express my upset towards the deviated part in the ocean of civilization we live in with this series of works and appeal for more attention to beautiful things.

 A hand with tightly gripped fingers and a thumb raised upward. It is a gesture generally well-known in Western culture as perceived symbol of consent. The gesture performed by the skeleton of the hand refers though to death and extinction, questioning its purely positive meaning.In today’s society, this gesture is a mass-used social networking symbol. The presence or absence of a thumb beneath a post may lead to mental collisions and psychological traumas of all participants in the process.After adding a new post, no matter weather it is a picture of his pet, trip experience or a political comment, user expects the deserved whirlwind of likes from his "friends". Their number is a measure of social approval and success, bringing frustration if there is not enough, blissfulness if there are a lot, making one constantly scrutinizing their social networks, whether new likes are coming, and causing anger at “friends” who have not liked the post, even though they should have. User becomes obsessed in collecting likes and publishing endless posts. In order to gain the number of likes desired, he adapts to public tastes and applies self-stylization for his best public perception. Because yesterday's like is considered a sure "death-like" he can never ease up his efforts.In contrast to ancient times, where in the blood public performances the position of the thumb decided about life and death, in our culture he decides about the being and non-being of a social network user and becomes unwittingly the symbol of extinction of a real life in favour to his more attractive virtual form.  

The sculpture Dynamikon is a part of my latest monumental work which I call "machine sculptures". I'm looking for form which would give an impression of synthesis of something biological and technical. In this particular case, it's some animalistic and very strong machine, ready for action. However, we don't know yet if this action will be useful or dangerous.

The sculpture is a part of the FAT cycle. The whole cycle is dedicated to author‘s fight against the inconspicuous and silent killer – sugar which harms him as well as millions of people around the world. The size of the tongue shows enormous craving for sweets which is even highlighted byirresistible pink colour of cakes. For the auhor, this is the way to deal with addiction and point out both the social problem and the need to fight this deadly trap.

From the moment I saw the ancient ceramic bathtubs in Crete that served for bathing but also as a funeral sarcophagi, I started to thing about a figure lying in the bathtub. The sculpture of the woman lying in the bathtub was made in 2014. I immediately developed it into another scuplture „Bath in the dark“. The bathtub is full of illusive black water in which a woman figure is bathing. The sculpture makes sense on the water surface. A bathtub floats above the water like a boat flying though the air with the naked lying woman.

The bronze Horse in the Pilsen park is in its very first place in the public space. It travelled to the park straight from a foundry. It is the third horse from the sculpture called Rider. I finished the whole sculpture in fibreglass castings a few years ago. It consists of three horse statues and one horse with a rider. In order to be able to exhibit the sculpture even in the exterior, I gradually began to cast the statues in bronze. During that time I have exhibited the statues separately. I hope to see it once exhibited as a whole, for example in one of the Czech towns within the Sculpture Line. However, I am not in a hurry and I also rejoice in individual horses.

Chairs for the city is a series of bright ceramic sofas and chairs installed in busy city streets for permanent or temporary periods of time. Stop for a moment at a random location in the street, sit down, touch the shiny smooth shapes, feel and enjoy the colours. Nestle down for a while and look around you or close your eyes and listen to the sounds of the street. Allow yourself to be present inthe moment.

The work on sculptures dealing with this subject is endless in some ways, thus revealing even one of the mental essentials of the work. The rhythm and movement of sculpture material comes alive by the movement of the observer, which of course does not necessarily have to be physical. However, it is not desirable to discourage the observer from direct contact with the sculpture. The author recommends that you engage in the folds of the work, whether physically or internally, and enjoy the secret of “a certainty of never-ending uncertainty.”

The three blue dancers in the extended and stretched movements of the hands and legs do not dance this time on the water sur face but stand in the middle of the square. They dance or circle around in anticipation of a clash. Combat and dance blend in one energetic movement.

Even heavy things fly, but only downward. This sculpture was thrown down from forty metres. Three times. Modeling was based on mathematical calculations and also evolved with every single fall. The amount of falls was not set, at first. From the basic geometric shapes I then chose the pyramid which can be deformed most easily.

The rider is the fourth sculpture of the four-piece horse sculpture. It was created between  2010 and 2013. One cast with a smooth surface in a red polyester resin is in Kampa Museum, another one with the whole statue is in a private collection and is part of the golf areal near Brno. Bronze část with smooth surface is part of Kamenný dvůr area. I cast the Rider and the whole sculpture into peanut shells structure and also in the structure of walnut shells. The rider from the peanut shells is made also from bronze and this year will be exhibited on Liberec square.

My works are based on "exploring human beings and nature" and displaying one or the other. Thinking about creating them with my personal handwriting is the essence of my work. What would the men look like if he was spread out to elementary geometric shapes? Wouldn't you like to answer this question by creating it? I would...

I like to dedicate my sculptures to someone. Very often to my favourite architects, writers, philosophers or poets. Other times to places, events or feelings and moods. I don't dedicate the sculptures to the sculptors. Perhaps the american sculptor Richard Serra will never know, that I dedicated the statue Hromada to him. I'm doing so with an admiration of the author, who via his work pointed out to me, that the statue except of its shape, material, colour etc. can also have another important characteristic - the weight. The weight of the statue can be as emotional as everything else. Also the manipulation with the object becomes a part of the sculpture. If we accept the weight as a characteristic of the sculpture, it stops being a burden and becomes a part of the experience.

A horse is the most common animal to be displayed in the classic sculpture. On the memorials of the famous military leaders he is put on the same level. This is not only because of his importance in the fight, but also because of his shape, beauty, statue, movement and energy. Put all of this into a still sculpture was  for me a great challenge, which brought me closer to my predecessors (Josef Václav Myslbek, Bohumil Kafka and others).

The Great Missionary is an expressive encounter of natural, human and technical space. In terms of form, it is a sculptural and stylized body of a helicopter with a flagellate and vividly moving tail, symbolizing a bearer of information. The statue is a reference to missions, whether military or civil, about which we do not know yet whether they bring a threat or rescue. The sculpture is also a place of conflict and also a merge of principles representing the origin and end of life – the mutual interconnection. The active space of the sculpture is a land – target, as the ancient origin, into which a human being, bringing enlivening, settlement, but also disturbance, is implanted. The sculpture can symbolize the forces that transform the living space, which is achieved mainly by internal tension based on the use of parallels and contrasts between technical a nd organic morphology.

It is the third horse from the sculpture called Rider. I finished the whole sculpture in fibreglass castings a few years ago. It consists of three horse statues and one horse with a rider. In order to be able to exhibit the sculpture in the exterior, I gradually began to cast the statues in bronze. During that time I have exhibited the statues separately. I hope to see it once exhibited as a whole, for example in one of the Czech towns, possibly as part of the Sculpture Line festival. However, I am not in a hurry and I rejoice even in seeing individual horses exhibited.

The statue originated in 2010 as a reaction to the disturbing and growing dependence humans have on electronics. No matter how a person attempts to “ground” themselves at the roots of their existence (a mighty hand pointing to the ground), it seems that technologis and dependence on them paradoxically hinder them (his hand in the form of a disk), while the first plan is a statue that acts as a celebration of the ancient Greek sculpture, that is, as a celebration of humankind.Com

The sculpture Adam is the hunch of a new being. It reflects on the question of what is going to be the destiny of our civilization which relies on the development and improvement of artificial intelligence that is actually supposed to replace human beings in the end.  

The blue figures of the Explorers are once again floating above the water surface, this time in Pardubice. Sometimes people ask me about the colour of these statues. This particular blue colour has a brand name Pool Blue, i.e. the colour of the pools, but it is also the colour of the sky. And I have recently realized that this is the colour of information boards on motorways, as well. I once discovered its non-intense contrast in the landscape thanks to a small sculpture. The light blue sculpture would pull the colour of the sky down to the ground, and thus I let my several other sculptures do the same. The blue Explorers, quite simple in terms of drawing, are among them.

Regarding the form and size, the primary inspiration for the installation emerged from Megalodon, a prehistoric shark. The author himself perceives the object as a shape archetype that can be found throughout the animal and plant world. Location in the pool induces stress and uncertainty (what is happening beneath the surface?), adding dynamics to the statue. Superficially clear shape takes on many forms, including the night one, and provokes the imagination of viewers passing by.

A sculpture of the Large Yellow Octopus was created for no particular reason, for the pure joy of nonsense, in spite of probability; for the belief that large yellow octopuses exist; if only because they should exist.

Open: Mo - Thu: 8am - 10pm, Fri: 8am - 7pm, Sat: 9am - 4pm, Sun: closed Two underwater war machines resting at the bottom. They are captured in a petrified moment of gentle gesture. Stylized submarines are personification of living creatures and their fleeting touch. Once armoured cases are becoming a sandstone sediment. The natural, industrial and human element is balanced.

A statue, running or speeding off, is a symbol of the premises on which it is located. A fragment of the bobsled is transferred into a surreal level where it is carried to the intended destination (the track?) by two pairs of legs.

“I created the sculpture called “Corpus Angelicus“ as a part of an exhibition of the same name which I had at Prague Castle in 1997. An angel is a constant theme for me, this mysterious being is actually present in all religions. It is a sort of a positive, ecumenical symbol and I am enticed to shape it and give it various forms and constantly retransform it. An angel has probably never been seen before but we may believe that it exists in some form and this always stirs my imagination. That is why “Corpus Angelicus“, a sculpture made of robust cast steel, in contrast to the notion of a totally unknown and elusive ethereal being. A sort of shell of the Angel, it can be understood like this. But I leave it to the viewer. I am glad that the object be installed in Břežany near the monastery and I hope that it will give joy to the citizens and maybe also a reason to pause and think.”

Coloured glazed ceramics on a reinforced concrete shell. A utility ceramic sofa with organic shapes brings playfulness and optimism into a given public space. In the busy street full of hustle and bustle, the sculpture gives an impression of an island of peace and good cheer, a place where you can “recharge your batteries” with a brief rest.

Coloured glazed ceramics on a reinforced concrete shell. This is a new approach to street furniture. An unconventionally conceived utility sculpture is an inspiration for both architects and city councillors. A ceramic chair does not look dull and it is not a serial product, either. Thanks to its rounded shapes it is playful and original, and rightfully attracts the attention of passers-by.

The author focused on the space and size of the object in space. A scale chosen for Hyena allows the viewer to perceive the object as a whole, and, at the same time, at a closer look the viewer is forcedto perceive individual segments and parts of the sculpture. Its openness offers insight into the interiorof the object. The sculpture tries to capture the ferocity of hyenas as accurately as possible with metal. An organic form of a living hyena is transferred into a geometric form of the sculpture while enlarging the animal’s proportions. Complex structures that create individual parts of the animal’s body are gradually composed of the 2D parts. The resulting sculpture takes advantage of the distribution of light and shade on metal surfaces, and using its nuances it creates the overall spatial volume.

The origin of this artwork is an intuition. The sculpture reveals the polarities caused by a human being and his desire. It illustrates the dilemma and balancing act of conscious existence. Enlarged and modified hand tools interfere with common perception and create symbols for transition from an industrial to digital era. Avarice is a critical review of the greed of our commercial being.

Coloured glazed ceramics on a reinforced concrete shell. A utility ceramic sofa with organic shapes brings playfulness and optimism into a given public space. In the busy street full of hustle and bustle, the sculpture gives an impression of an island of peace and good cheer, a place where you can “recharge your batteries” with a brief rest.

For Dolní Břežany, a place with rich history and growing scientific and technical potential, I decided to create a sculpture that would tribute to the vitality of the village which believes in its developement and bright future. The sculpture should reflect the legacy of the village with its geometric and plastic features, characterized by lightness, light, balance and dynamics. If I want to start with the subject of technology, I see the circular shapes as the starting point. The principles of technical devices are often based on rotation around some axis or they transmit images, light or rays (such as laser). I see the circle as a symbol of functionality and dynamics that drive us forward. The sculpture can be reminiscent of wings that are about to take off. The intersection of the two circles can also symbolize the bond which is necessary whenever a group of individuals aims to build something important together.

A statuette of a small man with a disproportionate figure and arrogant angry expression on his face. The figure is divided roughly into three-thirds, each of them representing one part of the body - head, torso and legs. Exactly this oversimplified division creates the seeming anatomical mismatch and his huge head at first glance looks ridiculously. This is a brief characteristics of the statue of "Angry boy", which has become very popular among art collectors, art historians, as well as the non-professional public. It is difficult to describe the whole mix of emotions raised by this statue. The already mentioned arrogance, negativism, inferiority complex, meanness and malicious unhealthy self-importance.

The sculpture is about female and male principles. Both worlds are coming from different world‘s ends and they relate to each other by love. They desire each other and are tied together by a loop, which is also the symbol of love connection. Unity of duality, the constant contradiction of the dualism of our existence.

Joseph Beuys, the legendary late German artist and theorist, once wrapped a real grand piano in felt and painted a red cross on it. Antonín Kašpar created a total of 14 steel pianos, from whose top boards the crosses rise askew to the sky. The crosses might be receiving or transmitting signals from or to the cosmos; or maybe both at the same time. When the author later visited a gallery in Frankfurt where he saw the original Beuys’ work, he decided to name his own work the Tribute to JB.

The statue comes from the Self-Portrait Transformation cycle. It is a profile line of my face which I am not afraid to deform, rotate and thus create a new view of my appearance. The name of the sculpture is Two because every person in the world tries to find themselves and most often finds themselves and can communicate with themselves when seeing their own appearance in the mirror. That is why I create mirror images of myself: to find myself through art and make it possible for others to follow this journey, to think and find themselves in these fast-paced times.

The sculpture is a half - mask, a sense of nonsense, a split half -part on parts, that creates a new form and thus it becomes a game of shapes.

My constant thinking about myself, about human being, about the individual and his position in the systém of humanity, his apparent importance, which is in fact insignificant and meaningless, led me to display human beings, individuals and their roles in the world. Actually, we are only empty, motionless cases standing (sitting) at the same place convinc ed of our uniqueness. All my sculptures, also this one, are often an abstract representation of the human emptiness unreasonably living in this world.

Open: Mo - Fri: 8am -5pm This sculpture bench is another of my contributions to my Town Armchair collection, as we named it in our studio a few years ago when installing the first colored ceramic and concrete “seating” in the public urban area. Although located on the premises of a private company, it is publicly available and offers seating to all passers-by. I enjoy communicating with the public in this friendly and kind way. Just as it is entertaining for the investor who initiated it at this location. I sometimes enjoy wild colors in interaction with the green park or with modern urban architecture, which always somehow becomes more “human” with all the colors..

This sculpture was created when my eye droped on the tetrapak cap from the milk. The double ring shape captured me and a sculpture was created, which was than named - The Ring. Later was officialy named, but it's still a ring for me.

Six steel pianos from whose top sections inclined crosses protrude are taken out from the original 10-piece installation titled “Honour for JB”. Now, the author perceives the sculptures as matter for expressing his ideas by their various grouping or arranging in any number. For installation at Krakonoš Square in Trutnov, Antonín Kašpar chose 6 pieces of these pianos and placed them in a line, so that each one stands exactly in the middle of a square in coloured stone paving. This “regiment” of pianos bridges the area of the Square with imaginary arcs of energy coming from the inclined crosses. Why the crosses? The author uses this symbol fairly often in his work. He understands it not only as a part of Christianity, but also as a basic point of birth, created by crossing two lines, as an original symbol for expressions: You – Me, She – He, She – It, Yin and Yang, etc. Antonín Kašpar often creates the so-called Double Sculptures or Multiple Sculptures. He explains: “If I only create one sculpture, I can walk around it. But if I create two or more sculptures, I or the viewer can get inside the sculpture, become its part for a moment and perceive the energies with which the objects act on each other.”

A composition made of wooden logs. It is a kind of ready-made from logged wood resembling scattered crayons. The object can also be used for sitting.

This sculpture belongs to a group of objects focused on negative space and playing with the way the light passes through them. For this reason, it was conceived for a horizontal position (like most of my sculptures). Richard Kočí adds: “Only at the exhibition in DOX in 2016 we placed it vertically and I found out that I did not mind. The name only refers to the fact that the sculpture is complex, that it is interconnected in various ways – like love, sex and money.”

The topic of infinity or begininglessness, or God forbid, centrelessness has long been a provoking element of the author’s works. The work on sculptures dealing with this subject is infinite in some ways, thus revealing even one of the mental essentials of the work. A sculpture made of high-grade polished steel, as if it was even more multiplied. With its surface capable of reflecting the outside world in direct dependence on the outside world, regardless of the surrounding world, but with reflection on itself, the object is a beautiful example that a great deal of things around us is something completely different from what might seem at first glance.

A composition made of wooden logs. It is a kind of ready-made from logged wood resembling scattered crayons. The object can also be used for sitting.

Chairs for the city is a series of bright ceramic sofas and chairs installed in busy city streets for permanent or temporary periods of time. Stop for a moment at a random location in the street, sit down, touch the shiny smooth shapes, feel and enjoy the colours. Nestle down for a while and look around you or close your eyes and listen to the sounds of the street. Allow yourself to be present inthe moment.

The sculpture is formulated from a primary round geometric shape, that’s why the name Rounded was chosen. A determining principle of the sculpture is the shape and actual dimension of a circle that appears not only in the resulting shape of the object, but also in its individual components. The sculpture is formed by joining individual parts (carved according to the radius identical to the radius of the resulting object) which form the resulting shape of a growing circle. The overall spatial composition of the work refers to principal mathematical shapes. The purely intuitive composition of individual parts, without using a model, is reflected in an unrestrained, growing and gradually forming whole and this is an unfinished circle. Interruption of a central curve – or perhaps its controlled incompleteness – adds dynamics to the overall impression of the shape of the sculpture.

Even heavy things fly, but only downward. This sculpture was thrown down from forty metres. Three times. Modeling was based on mathematical calculations and also evolved with every single fall. The amount of falls was not set, at first. From the basic geometric shapes I then chose the pyramid which can be deformed most easily.

"It is probably known that female swimmers and other floating ladies are my life’s theme. Legs from water are something a bit different. It is a part of handstand visible above the water level and this is usually the most joyous expression of children and girls in water. Well, I also sometimes give it a try. This tomfoolery makes happy even those who watch it; and how to discover the joy also in places where girls usually do not bathe, or where they sometimes bathe but it’s just too cold for bathing at the moment? A sculpture can replace all sorts of people – dead poets, saints but also criminals. So why legs from water should not have a monument if they represent the symbol of the most important thing why we are here - the joy of life?"

The sculpture is a part of the FAT cycle. The whole cycle is dedicated to author‘s fight against the inconspicuous and silent killer – sugar which harms him as well as millions of people around the world. The size of the tongue shows enormous craving for sweets which is even highlighted byirresistible pink colour of cakes. For the auhor, this is the way to deal with addiction and point out both the social problem and the need to fight this deadly trap.

A piece of work from the Drawing in Space (Kresby v prostoru) cycle. The Stumps in the Dark are inspired by children‘s play – waving with a burning stump taken out of the fire. It is an attempt to record and transfer the movement of a hot stump in the dark into a material.

Little Lingerie is a sculptural - drawing record at the time of the current mood of the author in the intense role of mother, carer and housewife. The installation is a follow-up to "Great Lingerie" (2015) and is, along with this installation, the beginning of the spontaneous sculpture diary of motherhood / parenting of the author.

I like to dedicate my sculptures to someone. Very often to my favourite architects, writers, philosophers or poets. Other times to places, events or feelings and moods. I don't dedicate the sculptures to the sculptors. Perhaps the american sculptor Richard Serra will never know, that I dedicated the statue Hromada to him. I'm doing so with an admiration of the author, who via his work pointed out to me, that the statue except of its shape, material, colour etc. can also have another important characteristic - the weight. The weight of the statue can be as emotional as everything else. Also the manipulation with the object becomes a part of the sculpture. If we accept the weight as a characteristic of the sculpture, it stops being a burden and becomes a part of the experience.

Big heads or other heads like lightbulbs are my long-term topic. A human head is a mysterious object, it can glow with ideas, goodness and can be blocked by stupidity and aggression. By looking at them we can reflect on who we are. I've been making the heads since 1970s. Four of them (2 metres high) were showed in 2011 on the Jan Palach square, in 2013 in front of the National Library of Technology and at Landscape Festival in Prague. In 2016, some of them were destroyed by drunks in České Budějovice. It's all in our heads.

The metal sculpture of Noha (Foot) is typical of the author’s work, combining the fascination with industrial poetics with the rational perception of the outer world. The shape and rhythm of the sculpture leads one to reflect on the essence of the construction of the world, but also to taking a seat or crawling. It may seem confusing, but according to the author, both approaches lead (albeit zigzagged and shyly, however determined) to the same goal. To what precisely, the author leaves open to the individual mind of every observer, sitter, reliever, refiner, etc.

The statue comes from the Self-Portrait Transformation cycle. It is a profile line of my face which I amnot afraid to deform, rotate and thus create a new view of my appearance. The name of the sculptureis Two because every man in the world tries to find himself and most often finds himself and can communicate with himself when seeing own appearance in the mirror. That is why I create mirror images of myself: to find myself through art and make it possible for others to go through this journey, to think and find themselves in this fast-paced time.

Chairs for the city is a series of bright ceramic sofas and chairs installed in busy city streets for permanent or temporary periods of time. Stop for a moment at a random location in the street, sit down, touch the shiny smooth shapes, feel and enjoy the colours. Nestle down for a while and look around you or close your eyes and listen to the sounds of the street. Allow yourself to be present inthe moment.

The sculpture is about female and male principles. Both worlds are coming from different world‘s ends and they relate to each other by love. They desire each other and are tied together by a loop, which is also the symbol of love connection. Unity of duality, the constant contradiction of the dualism of our existence.

The rider is the fourth sculpture of the four-piece horse sculpture. It was created between 2010 and 2013. One cast with a smooth surface in a red polyester resin is in Kampa Museum, another one with the whole statue is in a private collection and is part of the golf areal near Brno. Bronze část with smooth surface is part of Kamenný dvůr area. I cast the Rider and the whole sculpture into peanut shells structure and also in the structure of walnut shells. The rider from the peanut shells is made also from bronze and this year will be exhibited in Steinsel.

Two twisted stainless blocks rise to the sky. Object are based on the primary geometric shape, which is further deformed by force. The blocks are rotated around a vertical axis, creating a dynamic sheet metal drapery. Important moment is when I stop the rotation proces. This completes the object and no longer modifies its shape.

A horse is the most common animal to be displayed in the classic sculpture. On the memorials of the famous military leaders he is put on the same level. This is not only because of his importance in the fight, but also because of his shape, beauty, statue, movement and energy. Put all of this into a still sculpture was for me a great challenge, which brought me closer to my predecessors (Josef Václav Myslbek, Bohumil Kafka and others). 

Joseph Beuys, the legendary late German artist and theorist, once wrapped a real grand piano in felt and painted a red cross on it. Antonín Kašpar created a total of 14 steel pianos, from whose top boards the crosses rise askew to the sky. The crosses might be receiving or transmitting signals from or to the cosmos; or maybe both at the same time. When the author later visited a gallery in Frankfurt where he saw the original Beuys’ work, he decided to name his own work the Tribute to JB.

The sculpture Dynamikon is a part of my latest monumental work which I call "machine sculptures". I'm looking for form which would give an impression of synthesis of something biological and technical. In this particular case, it's some animalistic and very strong machine, ready for action. However, we don't know yet if this action will be useful or dangerous.

The Guardian statue originally came into existence as a small piece . Last year I came to a conclusion its form as well as theme would be suitable for recreating it on a monumental scale. And what can be said about the sculpture itself? As for myself, I feel these are troubled times, sometimes even turbulent, and the world seems to be changing for the worse. Besides other things, we perhaps also need a guard, a powerful strong guard. There even might be a time when the knights of Blaník will have to be called to save us.

A sculpture of the Large Yellow Octopus was created for no particular reason, for the pure joy of nonsense, in spite of probability; for the belief that large yellow octopuses exist; if only because they should exist.

The sculpture is a composition of an arc of a circle and a triangle. Both elements do not touch each other at all, but they appear to be perfectly well-balanced and harmonic. As the sculpture can open a wide sculptural space, it needs a bigger place to be presented adequately.

The topic of infinity or begininglessness, or God forbid, centrelessness has long been a provoking element of the author’s works. The work on sculptures dealing with this subject is infinite in some ways, thus revealing even one of the mental essentials of the work. A sculpture made of high-grade polished steel, as if it was even more multiplied. With its surface capable of reflecting the outside world in direct dependence on the outside world, regardless of the surrounding world, but with reflection on itself, the object is a beautiful example that a great deal of things around us is something completely different from what might seem at first glance.

Ape-man looking up into the sky symbolizes the springing up of ancient civilization; today, high civilization brings advanced material culture, yet the nature we live on is being damaged unceasingly. The perplexed eyesight and innocent face of ape-man reveals the desire to correct all of these faults and to step towards a brighter future. The title originates from my sense of social reality. I express my upset towards the deviated part in the ocean of civilization we live in with this series of works and appeal for more attention to beautiful things.

This sculpture is the author's reminder of the millennial tradition of Christian culture in Europe and our country. The author reminds us what is so much needed today - the basic rules of personal relationships and decent human behavior. All this is written in the Ten Commandments. Antonín Kašpar says: Many people, under the term culture, represent only art as such. But culture in the true sense of the word is also how we behave, how we express ourselves, how we raise our children and, last but not least, what remains here as a message to future generations. The purpose of my sculptures is for a perceptive viewer to think about these things when looking at them. Therefore, the size, height of these sculptures is so important. Climb or sit under this THRONE and you will immediately understand where your place is and how ridiculous it is to raise and emphasize your own importance.

„Euphoria“ is a gentle symbol of the closest connection between a woman and a child (between me and my daughters) as well as the symbol of being on the same wavelength of shared well-being. It is a capture of a brief, passing, but intense learning of new life. It is displayed using a visual and sculpturespecific airy form of spatial drawing.

Born of the material of the industrial age, Inga Aru’s Muse emerges full of grace and elegance in numerous individual parts from a large-format steel plate and presents itself to the beholder as a three-dimensional abstract female figure in all its perfection. In the spirit of the epoch of its genesis, this modern muse has a standardization and seriality. It is the contemporary appearance of a millennia-old inspirational awakener. 

This sculptural group is a symbolic reference to the origins of mankind, when man, using his conscious ability and reason, separated himself from the animal kingdom. At the same time, this gift of reason became a fatal flaw in his make up; leading, as it has, to all the -isms, ideologies and religions that homo-sapiens made for himself. In order to create all the rules that enable each individual to have a better life within his or her community, man became a victim of his own desires, his ego and his lust for power.  Nowadays, even the concept of Truth has become relativised; the individual often cannot sort out the truth from lies. Unknowingly, the individual simply a walking tool. In other words, caught within the essence of Heidegger's ''Gestell'', living in a system that has taken his identity.  

The sculpture was created as the third variant of the statue of the Reader, originally intended to be installed in front of a public library building. Paradoxically, however, already at a time when the order was long gone and no library showed interest in it. Nevertheless, I then gradually became very interested in the issue of the statue of a man immersed in the world unfolding in the book. Through the reader's statue I wanted to portray both the reader and the imaginative world of the book. I used an armchair for this purpose. The armchair is a soft and soothing wall that protects us from the pragmatic world around us allowing us to escape into the worlds of imagination and fantasy. It is a dreamy armchair, and the reader is intentionally an anonymous and symbolic figure, easily interchangeable with any reader. At the same time, the armchair adds monumentality to the statue reinforcing the significance and importance of this fragile theme. Last but not least, it is also necessary to pay tribute to the world of paper book at a time when it is threatened (and so are we!) by the aggressive world of information technology and castrated e - books.

Untitled 01 is the attempt to create a sculpture only with a line. The line becomes networkand shell of a human aura. The work is made by directly blending plastic corrugated tubes insteadof using wax as in traditional metal melting processes. This technique makes the shape thatbecomes like a photographic snapshot unreproducible. The corrugated tube remains full of metal,usually used for a continuous conduction of electric current, now with this method it suggests theimpossibility of a passage of enegia as in a crystallized circulatory system. Intuition derived fromexperiments on living bodies preserved in the crypts of the chapel of Sansevero in Naples.

KLECOHLAVY V and VI 1995, 2010The first Klecohlavy were made from the riveted strip in 1987, another from the iron wire for the backyard at the Vladislav Hall at the Prague Castle exhibition in 1995. The last three of the thick logs were for Mrs. Meda Mládková to the backyard of Museum Kampa.Human heads are a prison of monstrous stupidity. However, the cage does not prevent anything better from blowing there, and thanks to the gaps between the bars, it can also blow into other cages. 

My constant thinking about myself, about human being, about the individual and his position in the systém of humanity, his apparent importance, which is in fact insignificant and meaningless, led me to display human beings, individuals and their roles in the world. Actually, we are only empty, motionless cases standing (sitting) at the same place convinc ed of our uniqueness. All my sculptures, also this one, are often an abstract representation of the human emptiness unreasonably living in this world.

The first impulse of this realization was an intention to complement an intimate place of a private garden with a seating with sculpture. A bench in the form of a stylized woman has been created and you can nestle down with a book in her arms or sit down face to face to a close person in a confidential conversation. By being placed in the public space, the statue has gained another meaning that is firmly embedded in my work: acting as an island to inliven the street that you usually just pass through, as an opportunity for a short stop enriched with unexpected aesthetic perception, and as a means of rest.

Tomáš Medek has been intensively engaged in 3D technologies over the last ten years, such as FDM Rapid Prototyping and 3D Digitization and Measurement. In other words, 3D spatial technology and 3D scanning, which enable him to create the most complex structural objects that are virtually unrealizable without these methods. The resulting works are mostly made of composite material or ABS plastic. The central theme of his present work is organic structures. The artist’s inspiration is nature, natural processes and laws, the biological structure of life and the constructive elements in the construction of organisms. Objects are multiplied, interconnected,deformed and transformed into organic structures in search for bonds, connections and tensions. They look into the interior and uncover inner worlds, views and intersections. He gradually creates a cycle of objects that carries the working name of Fruit. Some implementations are cast into bronze (see the Capsule), although due to their complexity, their casting is a very demanding process requiring specialized technology. This creates unique and formally diverse artistic objects with perfect craftsmanship and a sophisticated concept.

A horse is the most common animal to be displayed in the classic sculpture. On the memorials of the famous military leaders he is put on the same level. This is not only because of his importance in the fight, but also because of his shape, beauty, statue, movement and energy. Put all of this into a still sculpture was for me a great challenge, which brought me closer to my predecessors (Josef Václav Myslbek, Bohumil Kafka and others).

You must live with the Creature Sculptures can be made in different ways, but making a big statue is a story in itself. Just one year after graduating from Gabriel's sculpture studio at the Faculty of Fine Arts in Brno, Jan Dostál, a very young sculptor, has embarked on his 12-meter high work, his biggest so far. The motive is the Creature, a figure and non-figure at the same time, assembled and welded from pieces of sharp iron which is the material the sculptor lives with and loves. A model for the Creature has its prototype if we can call the prototype a statue which is two and a half meters tall. According to his own words, Jan is assembling his huge, really huuuuuuuge Creature starting from its feet. The anthropomorphic shape on the border of an abstract expression is distinguished by Dostál’s handwriting, full of sharp strokes and cutting angles. It has its visual background in a contemporary sci-fi world as well as in a tattoo subculture or it is a reflection of late sculptural modernism. The Creature is magnificent and comes to light so that Jan Dostál can reveal his strange, iron, sharp universe, his aesthetics which he lives with and which lives in him as Alien who you certainly cannot get rid of. However, it is also magnificent to weld a splendid sculpture, piece after piece, without an accompanying drawing, according to one’s own imagination, using a sculpture-like crane of one’s own design and production. In this case, art has a chance to enchant and surprise and this is not just by the size of the Creature. Welcome to another world.

The Key Sculpture by Jiří David symbolizes a milestone for our society. Not only in terms of its legacy of the Velvet Revolution, but also in the constant need to remember the importance of freedom of spirit, freedom of opinion and freedom of expression. That is why the cooperation of the Mikulov Art Symposium “Dílna” and the Sculpture line is extremely important for the town of Mikulov in that it was possible to return this work back to the Czech Republic. And this is precisely in the year when we commemorate the thirtieth anniversary of the Velvet Revolution. The anniversary of the revolution, to which reference is also made of the letters encased in keys in the typographic design of common fonts used during socialism.

Manta rays – noble majestic underwater creatures whose movement paradoxically resembles the flightof birds. Elegant dancers moving in the depths of indomitable oceans. Graceful curves intersecting oneof the truly last wildernesses of the world. The world with which we are so interconnected and yet it isso remote and so unknown. And perhaps because of all these contrasts, fascinated by the robustness and fragility at the same time, I decided to expose this creature in a completely different environment, different perspective, in a completely different context. When walking beneath the angel wings, you can dream, unleash your imagination and get carried away to the ocean bottom or somewhere further away..

The sculpture is a half - mask, a sense of nonsense, a split half -part on parts, that creates a new form and thus it becomes a game of shapes.

The work on sculptures dealing with this subject is endless in some ways, thus revealing even one of the mental essentials of the work. The rhythm and movement of sculpture material comes alive by the movement of the observer, which of course does not necessarily have to be physical. However, it is not desirable to discourage the observer from direct contact with the sculpture. The author recommends that you engage in the folds of the work, whether physically or internally, and enjoy the secret of “a certainty of never-ending uncertainty.”

The artwork is a dialogue with the existing architecture. Once the artist has seen the architectural element of the place, he has transported it into his own imaginary and the iron and wood structure in situ has become the frame of a pentagram lying on three sides that shines losing itself in the circumstances like the notes of a song that are dispersed in the air.

The work takes shape from the accumulation of vessels that have lost their function as containers of substances to become containers of cultures. The vases come from different countries of the world. The theme of the precariousness of ceramics and of recreated Caryatids is universal, as is the language of ceramics utilised by the artist. Solemn and suspended in time, the Cariatidi (Caryatids) of Luca Freschi stand out in silence. They are extremely tall and fragile figures at the look, austere and immeasurably immobile, they arise from the careful and sincere gesture of the artist who, in these works, with an admirable care, has made of the balance the highest exercise of his creative gesture. These tall figures have an ancient allure and welcome into their verticality elements of tradition such as busts of statues, capitals, fragments of columns or shiny skulls, to which the artist associates large or small vases of ever new shapes and colors that hold inside the richness of the worlds and the cultures of the signs they show on the outside. The vases, in their intended overturning of the forms, are the most disconcerting element of the Caryatids. They bear, in fact, the powerful sign of transience of being. The Caryatids are poignant and in their sweet melancholy they fully fall into that delicate and honest reflection on life and its transience so dear to Freschi's poetics.

... King Kong’s Balls, the Gaze of a King, the Royal Pause for the gallery... Between Conceit and indifference, a certain idea of freedom cast in bronze... Sculpt and let the sculpture speak for itself...  ... Those who will see nothing but its attributes will have seen nothing, understood nothing... A grand show to bug the ‘right-minded’... to deceive fools... A half-smile... ... The coarse illusion of an impudent Monkey... The taunt of Kong to set the art-fair “cheetahs’” tongues wagging, for all the masturbatory bonobos to cop complexes.... His balls out in the open like coconuts thrown in the faces of conformism. ... The calm resistance of an untamed Monkey... His gaze is elsewhere... Far from the human menagerie, from this narrow-minded world... Far from this brash theatre, this crass comedy...   ... The Kong has a dream... A paradise lost... With no cage and no master... Freedom at the foot of My Tree ... A laugh that we cannot hear... His balls like gongs to summon the Great Awakening...  

Chairs for the city is a series of bright ceramic sofas and chairs installed in busy city streets for permanent or temporary periods of time. Stop for a moment at a random location in the street, sit down, touch the shiny smooth shapes, feel and enjoy the colours. Nestle down for a while and look around you or close your eyes and listen to the sounds of the street. Allow yourself to be present in the moment.

It is the third horse from the sculpture called Rider. I finished the whole sculpture in fibreglass castings a few years ago. It consists of three horse statues and one horse with a rider. In order to be able to exhibit the sculpture in the exterior, I gradually began to cast the statues in bronze. During that time I have exhibited the statues separately. I hope to see it once exhibited as a whole, for example in one of the Czech towns, possibly as part of the Sculpture Line festival. 

Working with metal, Vladimír Škoda uses a variety of processes and techniques and introduces multiple degrees of interactivity through magnetism and polarity. During his career, he held a long-time position of Professor at École nationale Supérieure des beaux-arts in Le Havre and Marseille, and later also at École nationale des Arts Décoratifs in Strassbourg. Vladimír Škoda is represented by the galleries Cermak Eisenkraft, Prague; Jaroslav Krbůšek, Prague; Catherine Issert, Saint Paul; Mathieu, Lyon; Wittenbrink, Munich; Hoffmann, Friedberg. His work is included for example in the collections at Centre Pompidou and Musée d’Art Moderne in Paris, National Gallery in Prague, Central-Bohemian Gallery in Kutná Hora (GASK) or Gemäldegalerie Neue Meister in Dresden, as well as in many public and private collections in France, Belgium, Germany and the Czech Republic.

In my work I think about existence, about man and his role in this world. Man, would-be social being, used to not being alone (that is why it is always more pleasant for us to watch groups of sculptural figures). But we are alone in our existence and ourselves. While sitting side by side, we are alone with our view of the world, one optimist, the other pessimist, the same or similar appearance, different opinion, in the physical world together - but in the inner world not meeting...

The object depicting the arrow was created by the principle of rotation of the blades. I have been working with this principle for about a year and a half and Strelcie is the first large-scale object made with this technology. Each slat can be inserted into the previous one and thus the whole sculpture is originally made of one sheet.

It is the third horse from the sculpture called Rider. I finished the whole sculpture in fibreglass castings a few years ago. It consists of three horse statues and one horse with a rider. In order to be able to exhibit the sculpture in the exterior, I gradually began to cast the statues in bronze. During that time I have exhibited the statues separately. I hope to see it once exhibited as a whole, for example in one of the Czech towns, possibly as part of the Sculpture Line festival.

Chairs for the city is a series of bright ceramic sofas and chairs installed in busy city streets for permanent or temporary periods of time. Stop for a moment at a random location in the street, sit down, touch the shiny smooth shapes, feel and enjoy the colours. Nestle down for a while and look around you or close your eyes and listen to the sounds of the street. Allow yourself to be present inthe moment.

The sculpture was created as the third variant of the statue of the Reader, originally intended to be installed in front of a public library building. Paradoxically, however, already at a time when the order was long gone and no library showed interest in it. Nevertheless, I then gradually became very interested in the issue of the statue of a man immersed in the world unfolding in the book. Through the reader's statue I wanted to portray both the reader and the imaginative world of the book. I used an armchair for this purpose. The armchair is a soft and soothing wall that protects us from the pragmatic world around us allowing us to escape into the worlds of imagination and fantasy. It is a dreamy armchair, and the reader is intentionally an anonymous and symbolic figure, easily interchangeable with any reader. At the same time, the armchair adds monumentality to the statue reinforcing the significance and importance of this fragile theme. Last but not least, it is also necessary to pay tribute to the world of paper book at a time when it is threatened (and so are we!) by the aggressive world of information technology and castrated e - books.

"It is probably known that female swimmers and other floating ladies are my life’s theme. Legs from water are something a bit different. It is a part of handstand visible above the water level and this is usually the most joyous expression of children and girls in water. Well, I also sometimes give it a try. This tomfoolery makes happy even those who watch it; and how to discover the joy also in places where girls usually do not bathe, or where they sometimes bathe but it’s just too cold for bathing at the moment? A sculpture can replace all sorts of people – dead poets, saints but also criminals. So why legs from water should not have a monument if they represent the symbol of the most important thing why we are here - the joy of life?"

A piece of work from the Drawing in Space (Kresby v prostoru) cycle. The Stumps in the Dark are inspired by children‘s play – waving with a burning stump taken out of the fire. It is an attempt to record and transfer the movement of a hot stump in the dark into a material.

Uninstalled Pieces of art have been commonplace in parks and gardens since anyone can remember. They may be a discreet accessory, an extravagant jewel, a guide or a centrepiece of the garden's design – and the main reason for its existence. An art piece and its placement in the garden can have a deeply personal meaning, or it can be the result of a meticulously focused architectural intent. The creations of Alexandra Koláčková are immediately recognizable and her style unmistakable. And yet despite this – or maybe precisely because of this – they set the narration line of the area in motion in so many different ways... They serve as a decorative piece or a climbing frame; they can be the centre of the universe or a tiny surprise hiding under the bench... And that is why I personally value Alexandra's work so much.  Most gardens are not meant to be just observed, but rather used in active ways – their space waiting to be touched, sat on, jogged through... Everything is permitted – even welcome. The same applies to Alexandra Koláčková's sculptures. Their simple, rounded and approachable shapes as well as their larger than life size outright beg to be climbed on. This has a tremendous benefit for a garden architect like me. A garden, with everything in it, should be inviting, welcoming and open to visitors – it should encourage exploration and discovery. In case of Alexandra's sculptures, this is often literally the case, with hands or even whole bodies inviting visitors to sit, lie or rest on them. Whatever they want and whatever they can think of, be it children, their parents or their imagination.  Kateřina Pospíšilová, garden architect

I like to dedicate my sculptures to someone.  Very often to my favourite architects, writers, philosophers or poets. Other times to places, events or feelings and moods. I don't dedicate the sculptures to the sculptors. Perhaps the american sculptor Richard Serra will never know, that I dedicated the statue Hromada to him. I'm doing so with an admiration of the author, who via his work pointed out to me, that the statue except of its shape, material, colour etc. can also have another important characteristic - the weight. The weight of the statue can be as emotional as everything else. Also the manipulation with the object becomes a part of the sculpture. If we accept the weight as a characteristic of the sculpture, it stops being a burden and becomes a part of the experience.

The sculpture is a half - mask, a sense of nonsense, a split half -part on parts, that creates a new form and thus it becomes a game of shapes.

Big heads or other heads like lightbulbs are my long-term topic. A human head is a mysterious object, it can glow with ideas, goodness and can be blocked by stupidity and aggression. By looking at them we can reflect on who we are. I've been making the heads since 1970s. Four of them (2 metres high) were showed in 2011 on the Jan Palach square, in 2013 in front of the National Library of Technology and at Landscape Festival in Prague. In 2016, some of them were destroyed by drunks in České Budějovice. It's all in our heads.

Ape-man looking up into the sky symbolizes the springing up of ancient civilization; today, high civilization brings advanced material culture, yet the nature we live on is being damaged unceasingly. The perplexed eyesight and innocent face of ape-man reveals the desire to correct all of these faults and to step towards a brighter future. The title originates from my sense of social reality. I express my upset towards the deviated part in the ocean of civilization we live in with this series of works and appeal for more attention to beautiful things.

The Sitting Lioness statue was created as a design for a five-meter monumental statue that would enliven and thematically complete the Parukářka hill (the highest peak in Prague) in the specific Prague district of Žižkov. The theme reflects the strong (somewhat self-ironic) patriotism of the rebel, mostly working-class district, which has always been critical of the ruling establishment. The distinctive ornamental relief on the surface of the sculpture was originally created for technological reasons, ie as an acknowledged supporting metal skeleton for attaching wrought copper plates, but eventually became an element that makes a simple sculptural theme a magical object reminiscent of Egyptian or Assyrian archaeological artifacts.

Joseph Beuys, the legendary late German artist and theorist, once wrapped a real grand piano in felt and painted a red cross on it. Antonín Kašpar created a total of 14 steel pianos, from whose top boards the crosses rise askew to the sky. The crosses might be receiving or transmitting signals from or to the cosmos; or maybe both at the same time. When the author later visited a gallery in Frankfurt where he saw the original Beuys’ work, he decided to name his own work the Tribute to JB.

Uninstalled The sculpture of Rhinoceros was created from a simple idea - to use the protective armor of one species of African rhino, consisting of massive leathery and horned plates to create a fantastic figure of a rhino knight - a colossus that will combine human and animal elements. At the same time, the sculpture symbolically points to the need for world protection of a beautiful creature from the African wilderness, which, thanks to human stupidity, superstition and greed, is gradually disappearing from the earth's surface. It is common knowledge that rhinos have been systematically hunted over the last century for their horn, which is sought after by the superstition - that the powder from it cures male impotence. The forgotten theme of the knight in armor is one of the distinctive sculptural themes that the author returns to the scene of contemporary sculpture after a long time, of course in a transformed form, which proves that no theme is ever doomed to permanent oblivion.

Forest. Nostalgia for the vanishing wilderness. In a row of "parked" soft matter, they cling to horizontal trunks as the soul clings to the axis of its existence. At the same time, they carry their personal stories "on their backs". 

Uninstalled Forest. Nostalgia for the vanishing wilderness. In a row of "parked" soft matter, they cling to horizontal trunks as the soul clings to the axis of its existence. At the same time, they carry their personal stories "on their backs". 

You must live with the Creature Sculptures can be made in different ways, but making a big statue is a story in itself. Just one year after graduating from Gabriel's sculpture studio at the Faculty of Fine Arts in Brno, Jan Dostál, a very young sculptor, has embarked on his 12-meter high work, his biggest so far. The motive is the Creature, a figure and non-figure at the same time, assembled and welded from pieces of sharp iron which is the material the sculptor lives with and loves. A model for the Creature has its prototype if we can call the prototype a statue which is two and a half meters tall. According to his own words, Jan is assembling his huge, really huuuuuuuge Creature starting from its feet. The anthropomorphic shape on the border of an abstract expression is distinguished by Dostál’s handwriting, full of sharp strokes and cutting angles. It has its visual background in a contemporary sci-fi world as well as in a tattoo subculture or it is a reflection of late sculptural modernism. The Creature is magnificent and comes to light so that Jan Dostál can reveal his strange, iron, sharp universe, his aesthetics which he lives with and which lives in him as Alien who you certainly cannot get rid of. However, it is also magnificent to weld a splendid sculpture, piece after piece, without an accompanying drawing, according to one’s own imagination, using a sculpture-like crane of one’s own design and production. In this case, art has a chance to enchant and surprise and this is not just by the size of the Creature. Welcome to another world.

Ape-man looking up into the sky symbolizes the springing up of ancient civilization; today, high civilization brings advanced material culture, yet the nature we live on is being damaged unceasingly. The perplexed eyesight and innocent face of ape-man reveals the desire to correct all of these faults and to step towards a brighter future. The title originates from my sense of social reality. I express my upset towards the deviated part in the ocean of civilization we live in with this series of works and appeal for more attention to beautiful things.

The statue comes from the Self-Portrait Transformation cycle. It is a profile line of my face which I am not afraid to deform, rotate and thus create a new view of my appearance. The name of the sculptureis Two because every man in the world tries to find himself and most often finds himself and can communicate with himself when seeing own appearance in the mirror. That is why I create mirror images of myself: to find myself through art and make it possible for others to go through this journey, to think and find themselves in this fast-paced time.

The topic of infinity or begininglessness, or God forbid, centrelessness has long been a provoking element of the author’s works. The work on sculptures dealing with this subject is infinite in some ways, thus revealing even one of the mental essentials of the work. A sculpture made of high-grade polished steel, as if it was even more multiplied. With its surface capable of reflecting the outside world in direct dependence on the outside world, regardless of the surrounding world, but with reflection on itself, the object is a beautiful example that a great deal of things around us is something completely different from what might seem at first glance.

The sculpture was 25.8.2020 moved to Venice. The Guardian statue originally came into existence as a small piece . Last year I came to a conclusion its form as well as theme would be suitable for recreating it on a monumental scale. And what can be said about the sculpture itself? As for myself, I feel these are troubled times, sometimes even turbulent, and the world seems to be changing for the worse. Besides other things, we perhaps also need a guard, a powerful strong guard. There even might be a time when the knights of Blaník will have to be called to save us.

This sculpture is the author's reminder of the millennial tradition of Christian culture in Europe and our country. The author reminds us what is so much needed today - the basic rules of personal relationships and decent human behavior. All this is written in the Ten Commandments. Antonín Kašpar says: Many people, under the term culture, represent only art as such. But culture in the true sense of the word is also how we behave, how we express ourselves, how we raise our children and, last but not least, what remains here as a message to future generations. The purpose of my sculptures is for a perceptive viewer to think about these things when looking at them. Therefore, the size, height of these sculptures is so important. Climb or sit under this THRONE and you will immediately understand where your place is and how ridiculous it is to raise and emphasize your own importance.

Temporary place The sculpture Dynamikon is a part of my latest monumental work which I call "machine sculptures". I'm looking for form which would give an impression of synthesis of something biological and technical. In this particular case, it's some animalistic and very strong machine, ready for action. However, we don't know yet if this action will be useful or dangerous.

A sculpture of the Large Yellow Octopus was created for no particular reason, for the pure joy of nonsense, in spite of probability; for the belief that large yellow octopuses exist; if only because they should exist.

Uninstalled KLECOHLAVY V and VI 1995, 2010The first Klecohlavy were made from the riveted strip in 1987, another from the iron wire for the backyard at the Vladislav Hall at the Prague Castle exhibition in 1995. The last three of the thick logs were for Mrs. Meda Mládková to the backyard of Museum Kampa.Human heads are a prison of monstrous stupidity. However, the cage does not prevent anything better from blowing there, and thanks to the gaps between the bars, it can also blow into other cages.

This monumental cubes is the result of a sequence of mathematical functions. Here five arcs were added and then the Boolean function of Intersection was generated with one big cubic solid. It is quite difficult to imagine this process, as one can hardly recognize the purist elementary solids the sculpture is generated from – however, it is not absolutely necessary to understand to get the aesthetical impression. From the inside of the two cubes a specific dynamic develops, interacting with the sharply broken outer skin. The penetrations form mighty edges, whose strength is subtly questioned by the morbid rustiness.

In 2006/2007, Volker Bartsch designed and built the bronze sculpture "Perspectives", which, at 8 × 9 × 12 m, is considered to be the largest and most complex bronze sculpture in Europe to date. It is permanently located in front of the Henry Ford Building of Freie Universität in Berlin-Dahlem and is dedicated to students who were murdered during the university's founding phase because of their commitment to academic and political freedom.    

Ape-man looking up into the sky symbolizes the springing up of ancient civilization; today, high civilization brings advanced material culture, yet the nature we live on is being damaged unceasingly. The perplexed eyesight and innocent face of ape-man reveals the desire to correct all of these faults and to step towards a brighter future. The title originates from my sense of social reality. I express my upset towards the deviated part in the ocean of civilization we live in with this series of works and appeal for more attention to beautiful things.

In 2019 I started working on my art installation 'Waldlabyrinth' from 2003. And like that the monument got another signification. I covered the tree trunks with bitumen and made it so clear how human actions impair nature and sometimes suffocate. It is a rare example of the change in art objects in public spaces. A necessary change to do justice to the changing living conditions of humans. The tree trunks are a symbol of our time.

I am of the opinion that an artist, and above all a sculptor, should not describe and explain his work, as this deprives the viewer of the freedom and space to interpret and perceive the work in his or her own way. However, to describe what was the motive for the creation of this sculpture, it is simple: It is an eternal contradiction of our Christian moral, peaceful code, and at the same time a constant need to develop ever more sophisticated weapons of mass destruction.

My artwork is called Degree. It is an ancient Mongolian word for shape movement. Line dividing two halves of yin and yang symbol is regarded the Degree symbol. I tought about Degree symbol in a relation to the origins of life. So Degree is counter motion. Counter motion is basis of birth of life. You could say Universe exists with this motion. As a contemporary artist I wanted to interpreate this ancient concept in a new style. The humans in my instalation are not bowing. But they are taking an unique position of balance that is imposible for real people they are in a kind of meditative state. And they are aspiring to reach the spiritual realm. The conciept of consciousness is the main theme of my artwork. Because everything we do in our life links to our consciousness

More than 300 years old cork oak tree fallen from a storm was a symbol of a neighborhood. I decided to respect the original shape of the tree and to give it a new life making it a meeting place and a part of the history of the town.

Sculpture made in stainless steel and installed in the Minqin desert Sculpture Park (Gansu Province, China). The sculpture is an allegory of the Silk Road, an homage to the communication and cultural exchange between the countries and different cultures.

In her most recent work "Flash Points” (2020), Olga creates an installation consisting of 25 sculptures and sculpture groups, spread outside over the monastery garden of Sankt Ottilien in Eresing, Germany. With their straight edges, strong colours and strict symmetry the new arrivals stand in stark contrast with their century-old, organically grown surroundings.

The dynamicity of the shape seems to lock all the energies coming from it in order not to disperse them in the void. Every structural movement is conceived as a concentration path of mind and body which discover again the mutual need to proceed dialectically towards the total synthesis of the involved elements. Looking at some works dedicated to the symbolic figure of the "meteor" it senses that the dialectic between weight and lightness develops by joining the straight lines and the curvatures which incorporate the coordinate becoming of the rotating shape, real and proper architectonic place where intuitive geometry and sudden ruptures return the hardcore complexity of the primary structure...Adapted from a text by Claudio Cerritelli

Vitality. Energy that seduces the senses. Formal concerns that are expressively structured. They are born voluptuously in the (in?) Available space perceived by the sculptor's material and human sensibility. They make their places count. They occupy to be occupied too ... They make themselves seen in colors to point out to us what can be here and there ... They pierce the surroundings, sinuous and hieratic, like desires ... Legitimate and noisy in their silences eager for glances. Dating ... These and other qualities persist, generating significant overcoming and technical precision. With each glance received, what is shown is a natural and genuine property that is the source of procedural sincerity. Fruit of hard work, persistence and restlessness.

 Being inspired by nature, by branches and buds growing around you, the art-work gives you a warm familiar feeling. They look like young buds of leaves, or young buds of flowers waiting to open, promising a new day of a radiant life.

Deinstalováno The work on sculptures dealing with this subject is endless in some ways, thus revealing even one of the mental essentials of the work. The rhythm and movement of sculpture material comes alive by the movement of the observer, which of course does not necessarily have to be physical. However, it is not desirable to discourage the observer from direct contact with the sculpture. The author recommends that you engage in the folds of the work, whether physically or internally, and enjoy the secret of “a certainty of never-ending uncertainty.”

An attempt to portray a man in his essence - his elementary non-physical form - his loneliness, in the consequence of his invisibility to others, the unimportance to the world and system in which he lives. We are important only to ourselves, to others we are almost invisible...

We all suspect that there is constant movement in the endless space, that there are various powers, scales and relations at play that are still beyond humanity's ability to understand. I often wondered about this and tried to give shape to this feeling – in the form of an artifact, through which I would provide myself with tangible, positive answers to these questions. Thus originated the idea to create a symbol of constant demise and rebirth of the Cosmos: the Cosmic Child.

The work is inspired by shapes and forms observed in nature. The sculptor Isabel H Langtry says “I make abstract sculpture whose shapes take on living qualities. People often want to touch them, hug them, I love that reaction and I love Picasso, his work has been important to me since I was a child, as well as Yoruba and Pre-Columbian art, it is not surprising that they look so good in nature and the urban environment. I work directly into clay or stone, sometimes stopping to draw which helps me to develop the language flowing naturally from the source of inspiration. Any narrative shapes you find seem to create themselves, it’s unavoidable, as the eye has evolved to seek them out, which is great fun”.

The work is inspired by shapes and forms observed in nature. The sculptor Isabel H Langtry says “I make abstract sculpture whose shapes take on living qualities. People often want to touch them, hug them, I love that reaction and I love Picasso, his work has been important to me since I was a child, as well as Yoruba and Pre-Columbian art, it is not surprising that they look so good in nature and the urban environment. I work directly into clay or stone, sometimes stopping to draw which helps me to develop the language flowing naturally from the source of inspiration. Any narrative shapes you find seem to create themselves, it’s unavoidable, as the eye has evolved to seek them out, which is great fun”.

The first impulse of this realization was an intention to complement an intimate place of a private garden with a seating with sculpture. A bench in the form of a stylized woman has been created and you can nestle down with a book in her arms or sit down face to face to a close person in a confidential conversation. By being placed in the public space, the statue has gained another meaning that is firmly embedded in my work: acting as an island to inliven the street that you usually just pass through, as an opportunity for a short stop enriched with unexpected aesthetic perception, and as a means of rest.

My constant thinking about myself, about human being, about the individual and his position in the systém of humanity, his apparent importance, which is in fact insignificant and meaningless, led me to display human beings, individuals and their roles in the world. Actually, we are only empty, motionless cases standing (sitting) at the same place convinc ed of our uniqueness. All my sculptures, also this one, are often an abstract representation of the human emptiness unreasonably living in this world.

Tomáš Medek has been intensively engaged in 3D technologies over the last ten years, such as FDM Rapid Prototyping and 3D Digitization and Measurement. In other words, 3D spatial technology and 3D scanning, which enable him to create the most complex structural objects that are virtually unrealizable without these methods. The resulting works are mostly made of composite material or ABS plastic. The central theme of his present work is organic structures. The artist’s inspiration is nature, natural processes and laws, the biological structure of life and the constructive elements in the construction of organisms. Objects are multiplied, interconnected,deformed and transformed into organic structures in search for bonds, connections and tensions. They look into the interior and uncover inner worlds, views and intersections. He gradually creates a cycle of objects that carries the working name of Fruit. Some implementations are cast into bronze (see the Capsule), although due to their complexity, their casting is a very demanding process requiring specialized technology. This creates unique and formally diverse artistic objects with perfect craftsmanship and a sophisticated concept.

„In my world view, there is a vast outer region as well as a vast inner region, and man stands between the two turning to one or the other and, according to his temperament and disposition, considering one or the other the absolute truth and thus denying or sacrificing one for the other”. (Carl Gustav Jung) This idea inspired the creation of “cocoons”. In many cultures, the chrysalis serves as a symbol for transformation, a metaphor for a vulnerable, solitary state of being on the cusp of a new stage of maturity. Puppenhülle is made from a big block of Krastaler marble. An abstract sculpture where you can see a lot of figurative elements if you look closeley.

“Guards of Time” relates to the idea that since the beginning of time mankind has had protectors, both for historic and mystical reasons. It seems that only man himself is a potential source of danger for his own existence. In his works of art Manfred Kielnhofer deals with the natural human desire for security. Thus his oeuvre reflects genuine exploration, consideration and discussion of current as well as historic moods and sensibilities of his social environment. His works of art captivate with elaborate combinations of light and different technique.

With his mighty life slice, which was created at the sculpture symposium, Peter Brauchle takes up his intensive examination of the material stone and has thus raised a lifeline into three dimensions. The abstract sculpture made from a monolithic sandstone has as its theme both human life with all its fractures and the life of stone. The stone, which has been cut several times, differs significantly from sharpened surfaces and makes the sculpture appear soft. The sculpture is based on the shape of an ellipse, from which Peter Brauchte removed a segment and put it back under the large shape in four sections. In doing so, he challenged the statics of the stone without straining it.

The work Terminal is was made in Israel and Germany, most of the inspiration came from the time I have spent in north Germany and Israel, I tried to preserve the atmosphere of what I feel is the north. The strong connection to the marine world and the industrial world combined with architectural features from my close surrounding which is Tel-Aviv city and elements from my own history. It is made from 8 metal pieces with laser cutting technique, and was transformed into rust. The work don’t have a specific time or place, you can go in or out from every part of it. Bringing your own memories and personal feelings to the experience.

The memorial qualifies National Socialist crimes as genocide against Sinti and Roma, which was carried out with the same motive of racial madness, with the same intent and the same will of planned and final annihilation as against the Jews. The memorial on the Weizberg (2012) is a gesture to the victim generation. The design comes from Walter Kratner and shows the broken wheel axle of a freight wagon as a symbol of deportation and genocide. The theme of memory is supplemented by the “Porajmos” writing board. The term means "devouring" in the Sinti and Roma language and describes the National Socialist genocide of the European Roma, who are persecuted as "gypsies". The number of victims is unknown. According to different estimates, however, it has six digits for a wide range.

In many religious, philosophical and mythological traditions, there is a belief in the incorporeal essence of a living being called the soul. Soul is the column -pillar of our life’s Our souls are fragile and powerful in same time, so they deserve a lot of care which we usually forget about. The soul is represented as the main column-pillar of my sculpture. Every soul gets in the life time from all different sides and reasons a lot of impacts . In the past people lived their life’s pure and for a higher reason and a big impact on our soul was nature. Now in this times that we live working to survive we forget about our nature, roots and history which are the foundations of humanity.

Since 24.11.2020 moved from Smetanovo nábřeží to Prague-Bubny. Martin Steinert is a guest of the residency programme of the Goethe-Institut. He will stay in Prague for three weeks and create his work at the occasion of the Sculpture Line festival. During his stay, he is going to create the Prague version of his “Wooden Cloud”. For several years, the work of sculptor Martin Steinert has included spatial installations made of ordinary wooden laths. It was people’s great interest in mostly several-week processes of creating objects in public space which has led Martin Steinert to the idea of involving people directly into his work. In June 2015, Martin Steinert built a monumental sculpture of almost 2,000 meters of wooden slats in the apse of the church of St. John (Johanneskirche) in Saarbrücken. During the four-week creation of the installation, visitors to the church were invited not only to watch the sculptor's work, but even to take part in it themselves. Approximately 1,200 people wrote their personal wishes on prepared wooden slats which Martin Steinert then incorporated into his installation. Their wishes, formulated on the slats as individual manifestos of dreams, hopes and expectations, branched out into thousands of synapses. In this way, an art project called Wooden Cloud – Die Architektur der Wünsche (Architecture of Wishes) was created and set out on its journey. The wooden cloud floats from Saarbrücken through selected cities of the world and it is always created in a new form in prominent public places. Temporary installations made of wooden slats with inscriptions on them become snapshots of social atmosphere. So far, the wooden cloud has stopped on its way in St. Petersburg in 2016, in Berlin in 2017, in Paris in 2018, and the fifth “Wooden Cloud” was created in Al-Istiqlal Park in Ramallah in 2019. Two more wooden clouds are going to be created in 2020 in Prague and Tirana.

The sculpture is a part of the FAT cycle. The whole cycle is dedicated to author‘s fight against the inconspicuous and silent killer – sugar which harms him as well as millions of people around the world. The size of the tongue shows enormous craving for sweets which is even highlighted byirresistible pink colour of cakes. For the auhor, this is the way to deal with addiction and point out both the social problem and the need to fight this deadly trap.

Curated by Matteo Lorenzelli, sponsored by Italian Ministry of Cultural Heritage and Activities, Uffizi Galleries, and Florence’s Municipality.   A sculpture installation consisting of 110 wolves cast in weathering steel which face two emblematic buildings of the Renaissance: Palazzo Pitti and the Spedale degli Innocenti. The work series intends to demonstrate the conflicted yet united relationship between man and animals, man and nature, and man and society.   An allegory of nature’s response to man’s ravages and predatory behavior towards the environment; at the same time, the wolves also represent a reflection on the values of civilization, on the great uncertainty in which we live today and on the real risks of an irreversible annihilation of the current world. Lupi in arrivo represents a real criticism of a world devoted to self-destruction. Liu Ruowang’s wolves are basically a desperate call for environmental protection of the whole planet.  ----------- Lupi in arrivo has provided amazing experiences to dozens of metropolis globally among which: Queenstown (New Zealand), Petersdorf (Germany), Quimper (France), Copenhagen (Denmark), and in Italy Venice, Turin, Cervinara, Naples, and now Florence.   “With the presence of Liu Ruowang’s wolves in our squares we will have many months to think about how to contribute to respecting the natural balance of our planet” – Eike Schmidt, Director of Uffizi Galleries   “Let art sets this ancient city to sail again” – Dario Nardella, Florence City Mayor   “Nothing better than art can allow us a profound reflection on the missing relationship between man and nature” – Tommaso Sacchi, Councilor for Culture of the Municipality of Florence

The work of Giancarlo Lepore is vast and poetic in it’s choice of forms and materials. The body is his favourite subject and this is modelled in leather, marble, bronze, clay, iron... Each of Giancarlo’s sculptures express a wide range of dynamics, whether they be flat, elongated or twisted, each one evokes a sense of lightness. Long slender hulls reaching to the sky, the voice of nature is always present.

165000 lorries shaped into the largest land art in Europe

'Wing' deals with the human destiny of wanting to fly and yet having only one wing available. The creation of the sculptures involves a main principle of life: Order - Disorder/Destruction - Reorder

The installation of ONA B. consists of single stem hay dry devices with 3 cross braces each. It reflects the origin and development of an old agricultural practice that has been known since the Iron Age and shaped the landscape in Europe for centuries. Each “Hoanzn” is made by hand and is unique. These devices were highly prized and given monograms or names; today, with a few exceptions in the highlands, they are being replaced by machine systems. ONA B. brings this traditional cultural asset of the hay harvest back into the landscape and into the memory of society. ONA B. reconnects the human standard in yesterday's agriculture with the present in her art.

‘Ocular Gate’ was a major public art project that Dallas had with Barratt Homes of Bristol UK and South Gloucestershire Council in 2008. The projects’ aim was to produce a piece of work that would unite the two housing estates (1900-2008-9) through a collective and historical time line. The work was an amalgamation of events, historical reference and community involvement. The two pictures show the sculpture being delivered from the Black Isle Foundry, Inverness, Scotland and the sculpture in place in the housing estate in 2011.

Sculpture forms the focus of art led riverfront regeneration project

Wolfgang Gramm’s sculpture "Gate" is part of his „Druid Stones“ series and is a landmark for the city of Büdelsdorf. The sculpture is placed on the traffic island in the city entrance and welcomes visitors who approach the city from the highway. Four tapered blocks from Anroechter green stone stand upright together, with narrow gaps. In the middle a halved granite boulder with a smoothly polished underside almost seems to float. The monumental sculpture is reminiscent of the millennium-old culture and tradition of the megalithic tombs.

The "Opened Disk" series by Xuxo Vázquez is based on a circle. The artist divides the circular steel plate by straight cuts and connects all the resulting segments into a three-dimensional object. The colorful sculptures offer a new figure from every perspective and appeal with their clear aesthetics. The sculptures were created in the NordArt Symposia in 2013 and 2014.

Two steel columns stand as guardians. Just a cut through the steel plate creates the positive and negative of the female silhouette and forms the soft contour for the vertical lines for the columns. Not always recognizable at first glance, but from different perspectives and in interaction with light and shadow within the object, the viewer becomes aware of the female figure.

"Muse of Industry": Born of the material of the industrial age, Inga Aru’s Muse emerges full of grace and elegance in numerous individual parts from a large-format steel plate and presents itself to the beholder as a three-dimensional abstract female figure in all its perfection. In the spirit of the epoch of its genesis, this modern muse has a standardization and seriality. It is the contemporary ap-pearance of a millennia-old inspirational awakener. (Almut Rix)

The recurring theme for the sculptures by Søren West is the research of balance, combined with the desire to give the weighty stone dynamics and lightness. The artist works with the contrast between the organic broken angles of the stones and the shapes that he can add to the sculptures himself. The sculpture “Bosom Buddy” was exhibited at NordArt 2000 and purchased by the city of Büdelsdorf. Since then the sculpture has had a permanent location in front of the town hall.

The reduced construction consists of welded steel plates, which are painted light yellow. The changing angles, overlays and the play of light and shadow offer surprising views and perspectives from all sides and from different distances. The sculpture was created in the NordArt Symposium and is standing in front of the ACO Academy in Büdelsdorf.

Liu Ruowang repeatedly deals with questions about the origin and provenance of mankind, its roots, the meaning of existence, and the related life task of each individual. His works symbolize a bridge between history and our current existence. Also "Original Sin" ask questions about the value and the meaningfulness of the vital origin, threatened by the achievements of civilization. Nevertheless, to perceive the beautiful, to consistently maintain hope and longing, and to strive for constant improvement in the course of the advancing civilization – this is what Liu Ruowang is calling for with his works. 36 ape-men were presented at NordArt 2016. Since then, the sculptures have been staged anew every year and are also shown in the collaborative exhibitions.

Created for the 20th anniversary of the fall of the Berlin Wall, exhibited the first time in Milan's Duomo square, during the event Plaza 2009-Oltre il limite. Observing the work from afar, it appears as a barrier, an obstacle consisting of two parallel monoliths that remind of a segment of the Berlin wall, for years a symbol of restrictions and impossibility of communication. As we get closer, what happens inside becomes more and more legible: a mass of letters of the world's seven most diffused writing systems gushes forcefully outs, as a manifestation of the dialogue, an impetuous and overwhelming force capable of uprooting the walls of forced isolation. Each limit is mirrored by an escape route, a crack through which freedom of expression can flow, to finally erupt like a raging river.

Originally, I created the Guardian as a small-sized sculpture. Its formal qualities later inspired me to recreate it on a monumental scale. And what can I say about the sculpture itself? I personally feel that these are troubled times, sometimes even turbulent, and the world is changing in all aspects. Regretfully, it is a change for the worse, as we are witnessing in recent months. This work is thus an expression of my belief in our civilisation and its power, a symbol of courage and faith in indomitable spirit of humanity – the Guardian and Protector in difficult times. I am honoured to be able to show my sculpture in the beautiful city of Venice, in a country that had suffered so much this year. I hope that it will bring the viewers a sense of hope in safer future, as it did to me when I was creating it.

This sculpture has a remarkable story of origin. I was approached by the Prague district of Žižkov (which is very proud of its militant Hussite history) to design a statue for Parukářka hill towering over the district (it used to be an executioner's hill and stood behind the walls of Prague). Across entire Prague, this hill is competed only by one hill, namely the one where Prague Castle stands on. As is well known, the Czech lands have a two-tailed lion in the coat of arms, just as Venice has a winged lion. During my visit to Vienna, I was thinking about the statue I should design for the hill and on the way to the Belvedere Palace I noticed beautiful baroque statues of lions and sphinxes lining the way up the hill in the park in front of the Viennese Belvedere. Looking at the Baroque lions, I got an idea to place on Žižkov Hill a lioness that would be a symbolic partner of the Czech Lion placed on the opposite Prague’s Castle hill. I liked the position of an upright sitting lion, leaning on its front legs, as I saw it in the beautiful stone lions guarding the Venetian Arsenal every year during my visit to the Biennale. Originally, I intended to create a 5-meter-high lioness, using a technique of beaten copper sheet mounted on an iron-cast prefabricated structure. I wanted Žižkov Hill to gain a new sculptural landmark and attract visitors from all over the world, who visit mainly the central districts of Old Prague. While working on the model, I decided to use a supporting structure for the metal sheet as a supporting decorative element determining the entire artistic expression of the sculpture. Due to political transfers in the Prague City Hall, this contract was cancelled. I created, however, a 210 cm-high model according to the small model, at least for myself, and I cast it in bronze, because the statue was not so impressive on a small scale. When I was offered the opportunity to exhibit some statue in Venice, it seemed symbolic to me to that my Lioness would found herself in the city of the Lions that had partially contributed to its creation.

The composition consists of individual, mutually separated parts of man - the human body. Due to all the hard work and exhaustion of what he experiences or has experienced, he falls apart physically and mentally. It doesn't matter if it's caused by one exhausting moment or a lifelong effort to achieve something.

Fluorescent, delicate, light: the five boats, designed by the visual artist Johannes Pfeiffer, have found their destination on the banks of the Vltava River where it runs towards the city centre of Prague. The old wall of the dock they are fixed on, thus becomes a boathouse for these little boats, which seem to be waiting for anybody who is in need of them. The title of the work itself, Lifeboats, suggests rescue vessels, small sloops that are used for rescuing people. But approaching them one makes a bitter discovery: the ships are leaking. The material they are made of is a metal net and therefore not impenetrable. The boats which at closer look seem more like fragile leaves than solid vessels can´t transport anybody, can´t rescue anybody as water comes in. This work of art is a symbol of the difficult period which has taken humankind unprepared, in which no lifeboat seems safe enough to rescue all. But although the installation radiates uncertainty, the artist, conveys the awareness that there is still hope. And then the little boats change dimensions for the third time and become burning torches. Thanks to their fluorescent colour which at night makes them visible also from far away they change into beacons of hope, which give comfort by signalising the existence of a new accessible way.   Giulia Cordò "The artwork Lifeboats is installed with financial support of the Czech-German Fund for the Future."

The idea was simply to create an organic large sculpture as a kind of counter point to the strong and mighty architecture around, which can develope a own precence.The size is 19m x 9m x 6m, we needed 2000m of woodsticks and 5000 screws.

Uninstalled The work was designed in 1997 for this place, where previously was a statue of Lenin as part of the event of the Center for Contemporary Art in response to the Bad Nation's Mood. The caterpillar was realized in 2001 in Zlín on the occasion of the exhibition of Kurt Gebauer and his students from the Prague Academy of Arts, Design and Architecture. In 2003 it was exhibited on Wenceslas Square in Prague, then it was exhibited in the Mayrau open-air museum in Vinařice near Kladno. The sculpture was previously installed in front of the Trade Fair Palace in 2020 during Kurt Gebauer's retrospective exhibition at the National Gallery in Prague. Now it arrived here, where the author originally intended it. Subsequently, it should travel to Zlín for permanent installation on the square.

Uninstalled How to support the existence of this sculpture verbally? According to the educational dictionary, the stela is a vertical stone panel or column, serving mainly as a monument. Mine is far from the monument. Even carved letters are not needed. It's more like a giant sprout playing with colors. It symbolizes the key to joy, a new life that waits hidden and after a time when everything around it looks like a hopeless wasteland, sprouts like nothing out of nowhere in full force. A.Koláčková

The sculpture belongs to a so-called „trubkoun“ series, in which the author solves his lifelong interest in the human figure. The complete reduction of the figure to a lapidary shape achieved a very impressive and for him typically humorous and grotesque result.   The statue of Trubkouna was made according to the author's exact instructions by a private company  Eurointermetall s. r. o.  of Lucie and Dalibor Kamenský in Rýmařov, who kindly lent the sculpture. (For example, they also made sculptures of Stanislav Diviš's flowers, which were on display at his exhibition last year in Kutná Hora.)

Uninstalled This sculpture has a remarkable story of origin. I was approached by the Prague district of Žižkov (which is very proud of its militant Hussite history) to design a statue for Parukářka hill towering over the district (it used to be an executioner's hill and stood behind the walls of Prague). Across entire Prague, this hill is competed only by one hill, namely the one where Prague Castle stands on. As is well known, the Czech lands have a two-tailed lion in the coat of arms, just as Venice has a winged lion. During my visit to Vienna, I was thinking about the statue I should design for the hill and on the way to the Belvedere Palace I noticed beautiful baroque statues of lions and sphinxes lining the way up the hill in the park in front of the Viennese Belvedere. Looking at the Baroque lions, I got an idea to place on Žižkov Hill a lioness that would be a symbolic partner of the Czech Lion placed on the opposite Prague’s Castle hill. I liked the position of an upright sitting lion, leaning on its front legs, as I saw it in the beautiful stone lions guarding the Venetian Arsenal every year during my visit to the Biennale. Originally, I intended to create a 5-meter-high lioness, using a technique of beaten copper sheet mounted on an iron-cast prefabricated structure. I wanted Žižkov Hill to gain a new sculptural landmark and attract visitors from all over the world, who visit mainly the central districts of Old Prague. While working on the model, I decided to use a supporting structure for the metal sheet as a supporting decorative element determining the entire artistic expression of the sculpture. Due to political transfers in the Prague City Hall, this contract was cancelled. I created, however, a 210 cm-high model according to the small model, at least for myself, and I cast it in bronze, because the statue was not so impressive on a small scale. When I was offered the opportunity to exhibit some statue in Venice, it seemed symbolic to me to that my Lioness would found herself in the city of the Lions that had partially contributed to its creation.

Uninstalled Originally, I created the Guardian as a small-sized sculpture. Its formal qualities later inspired me to recreate it on a monumental scale. And what can I say about the sculpture itself? I personally feel that these are troubled times, sometimes even turbulent, and the world is changing in all aspects. Regretfully, it is a change for the worse, as we are witnessing in recent months. This work is thus an expression of my belief in our civilisation and its power, a symbol of courage and faith in indomitable spirit of humanity – the Guardian and Protector in difficult times. I am honoured to be able to show my sculpture in the beautiful city of Venice, in a country that had suffered so much this year. I hope that it will bring the viewers a sense of hope in safer future, as it did to me when I was creating it.  

I like to dedicate my sculptures to someone. They are often my favourite architects, writers, philosophers, or poets. Sometimes I dedicate them to places, events or feelings, and moods. From the very beginning, I made this sculpture with the thoughts of Jan Palach. I started working on it on 19 January 2019, at the time of the fiftieth anniversary of his self-sacrifice (11 August 1948 – 19 January 1969). The event was reminded from all points of view on the radio. It was not possible to do anything else... The invitation to the exhibition “Celebrating 30 Years of Freedom”, the intent of which was to remind Sydney, Australia, that our country has already been free for thirty years, came at a time when I was working on the Tower for Jan Palach. The organizers accepted the offered statue and used it as a motif of the whole exhibition. My conception of the statue standing on the very edge of a cliff above the ocean with only the blue surface and the endless sky behind was fulfilled. Therefore, it happened that the ocean and the sky were part of the statue and enhanced its mission. After the exhibition, the organizers decided to move the Tower for Jan Palach 4,000 km to Western Australia to the amazing Cottesloe Beach near Perth. The intention of the installation was brought to even greater perfection there as the statue was placed on a narrow stone cape stretched out deeply to the sea. The accompanying text clarified everywhere who Jan Palach was. However, I was attracted by the idea of placing the statue in Klatovy as well. By the time the Tower for Jan Palach sets out to another pilgrimage, it was standing on the site of the statue of the communist president Antonín Zápotocký, with the towers of our city in the background.  

Uninstalled I am of the opinion that an artist, and above all a sculptor, should not describe and explain his work, as this deprives the viewer of the freedom and space to interpret and perceive the work in his or her own way. However, to describe what was the motive for the creation of this sculpture, it is simple: It is an eternal contradiction of our Christian moral, peaceful code, and at the same time a constant need to develop ever more sophisticated weapons of mass destruction.

The sculpture was made to order in 2015 to be placed in in a modernized industrial area near the Holešovice harbour which was rebuilt into an administrative-residential complex. Two concrete pedestals, each 4 meters long and 2 meters wide, were constructed in advance for two sculptures (the other one was designed by Stefan Milkov) and embedded into the ground. This meant that the sculpture had to match not only its industrial surroundings and the pre-installed pedestal size, but the other sculpture as well. However, the project did not materialize and remained in the virtual model and visualisation stage. Sometime later, I was approached to create a sculpture for a very similar environment in the Šárka Valley which was also rebuilt — only this time the area was purely residential. I used the already designed Squeeze - Industrial sculpture which was a perfect fit for the location. The sculpture, comprising geometric and biomorphic shapes, evokes a feeling of compression — squeezing. To get the basic idea of the shape, I used an old photograph of a crashed hot-air balloon. I also assumed that in a residential area the sculpture would serve as an object for children to engage with and play various games around, and I adjusted the shapes accordingly — so that it could be scaled safely and still encourage imagination. The sculpture in the Šárka Valley has a reddish colour of a fired brick, as a reminder that area had been previously occupied by a brickyard. The two-connected-spheres shape gives an impression of expanding and dominating a large space. I later created a second, black-grey cast for open-space exhibitions.

"It is probably known that female swimmers and other floating ladies are my life’s theme. Legs from water are something a bit different. It is a part of handstand visible above the water level and this is usually the most joyous expression of children and girls in water. Well, I also sometimes give it a try. This tomfoolery makes happy even those who watch it; and how to discover the joy also in places where girls usually do not bathe, or where they sometimes bathe but it’s just too cold for bathing at the moment? A sculpture can replace all sorts of people – dead poets, saints but also criminals. So why legs from water should not have a monument if they represent the symbol of the most important thing why we are here - the joy of life?"

The statue comes from the Self-Portrait Transformation cycle. It is a profile line of my face which I am not afraid to deform, rotate and thus create a new view of my appearance. The name of the sculpture is Two because every man in the world tries to find himself and most often finds himself and can communicate with himself when seeing own appearance in the mirror. That is why I create mirror images of myself: to find myself through art and make it possible for others to go through this journey, to think and find themselves in this fast-paced time.  

The sculpture Dynamikon is a part of my latest monumental work which I call "machine sculptures". I'm looking for form which would give an impression of synthesis of something biological and technical. In this particular case, it's some animalistic and very strong machine, ready for action. However, we don't know yet if this action will be useful or dangerous.

Uninstalled

uninstalled

Pieces of art have been commonplace in parks and gardens since anyone can remember. They may be a discreet accessory, an extravagant jewel, a guide or a centrepiece of the garden's design – and the main reason for its existence. An art piece and its placement in the garden can have a deeply personal meaning, or it can be the result of a meticulously focused architectural intent. The creations of Alexandra Koláčková are immediately recognizable and her style unmistakable. And yet despite this – or maybe precisely because of this – they set the narration line of the area in motion in so many different ways... They serve as a decorative piece or a climbing frame; they can be the centre of the universe or a tiny surprise hiding under the bench... And that is why I personally value Alexandra's work so much.  Most gardens are not meant to be just observed, but rather used in active ways – their space waiting to be touched, sat on, jogged through... Everything is permitted – even welcome. The same applies to Alexandra Koláčková's sculptures. Their simple, rounded and approachable shapes as well as their larger than life size outright beg to be climbed on. This has a tremendous benefit for a garden architect like me. A garden, with everything in it, should be inviting, welcoming and open to visitors – it should encourage exploration and discovery. In case of Alexandra's sculptures, this is often literally the case, with hands or even whole bodies inviting visitors to sit, lie or rest on them. Whatever they want and whatever they can think of, be it children, their parents or their imagination.  Kateřina Pospíšilová, garden architect  

uninstalled (absolute zero, at which all particle motion stops) Art is in its superposition, that is, it is and is not existing due to an external observer whose sense perception determines how it really is. It exists or takes place in a process at a certain point only on the basis of probability after it is observed... When, therefore, we are no longer sure whether art is alive (has meaning) or dead (has lost its meaning), we are not sure what is or is not in the container (i.e., in a kind of capsule or shell of mutual agreement, a vault, but especially an incubator). Whether it remains forever hermetically sealed in absolute zero (impregnable, uninhabitable) for the environment(perceiver, observer), leaving only ideas present, or unfulfilled expectations, desires, space for metaphorical sharing? Or does it ever manage to be reasonably opened and its contents seen revived? But is it not completely empty from the beginning, pretending to be full, to be fulfilled, to be meaningful? To whom is it addressed, where is it going? Is the hoisted white flag really a sign, a present symbol of final defeat, collapse, surrender, a sign of death, or is it, on the contrary, a tactical manoeuvre into the future? In other words, is what we are seeing, and precisely because we are seeing it, art in process? Probably yes, for art capitulates and thus necessarily simultaneously emerges. This conscious, or controlled, capitulation makes contemporary art present not only within the anthropological vision of the observer's subject. When, in a closed space, subsets of form with changing shapes emerge independently, which then stage speculative illusions, traces of parallel activities in desires for intense proximities. This is followed by a time of a priori visibility, i.e. the presence of art at its centre.  

Pieces of art have been commonplace in parks and gardens since anyone can remember. They may be a discreet accessory, an extravagant jewel, a guide or a centrepiece of the garden's design – and the main reason for its existence. An art piece and its placement in the garden can have a deeply personal meaning, or it can be the result of a meticulously focused architectural intent. The creations of Alexandra Koláčková are immediately recognizable and her style unmistakable. And yet despite this – or maybe precisely because of this – they set the narration line of the area in motion in so many different ways... They serve as a decorative piece or a climbing frame; they can be the centre of the universe or a tiny surprise hiding under the bench... And that is why I personally value Alexandra's work so much.  Most gardens are not meant to be just observed, but rather used in active ways – their space waiting to be touched, sat on, jogged through... Everything is permitted – even welcome. The same applies to Alexandra Koláčková's sculptures. Their simple, rounded and approachable shapes as well as their larger than life size outright beg to be climbed on. This has a tremendous benefit for a garden architect like me. A garden, with everything in it, should be inviting, welcoming and open to visitors – it should encourage exploration and discovery. In case of Alexandra's sculptures, this is often literally the case, with hands or even whole bodies inviting visitors to sit, lie or rest on them. Whatever they want and whatever they can think of, be it children, their parents or their imagination.  Kateřina Pospíšilová, garden architect

The world of Riccardo Cordero  It is not easy to penetrate the meanders and communicative spirit of artistic creations, however attractive their message. Paradoxically, it is often the silent and mysterious language of artistic works and their carefully chosen presentation that attract the uninitiated as well as specialists, the curious and art aficionados. This is precisely what happens with Riccardo Cordero thanks to the dozen monumental sculptures skillfully spread around the magnificent Monte Tamaro amphitheater. «L’universo di Riccardo Cordero» (en. The world of Riccardo Cordero) is an exhibition that manifests a desire and a commitment to search for originality in sculpture, albeit monumental sculpture, in an environmental dimension. Cordero’s iron and steel sculptures consist of geometric shapes, the circle and the straight line, which intersect, collide, merge and draw unusual and fascinating paths in which the project and the unexpected, reason and instinct, memory and vision coexist. His works feature horizontal and vertical volumes that are real and ideal, in a perpetual evocation of a vacuum that breathes, pulsates, vibrates, mixed with the rough Piedmontese humus and with an underground austerity capable of guiding the artist in the strict formal layout devoid of superfluous detail in search of new expressive horizons beyond the dynamics of a traditional vision. A rare prerogative only granted to authentic artists.

Iron is a magic material. The World is not a circle is a square.

I'd like to show the movement of my sculptures. No viruses can stop it and sculptures can go on and go on. A very symbolic little heart which you can find in some public spaces in my city Cracow. The sculptures are not so easy to find at the first moment. They are hidden and installed nearby monuments of the Polish worldwide famous artists in a specific location like on the main square and also at the cemetry. I focus on Polish masters and give a hint for others to recognize them or discover. I offer my heart being thankfull and full of thoughts. So I want my inspiration beacome your inspiraton. Go on, let your heart go on.

Fae, a 3 meter high bronze sculpture commissioned for a community garden in North London. The sculpture was designed to both enhance and be enhanced by the surrounding garden and the historic and contemporary buildings that surround it. Fay means fairy and refers to a mythical being or legendary creature found in the folklore of multiple European cultures, often thought to dwell in woodlands and bring good fortune. The sculpture dances with the trees and grasses in the garden creating endless visual possibilities, casting shadows, it makes people want to stay in the outdoor space for longer, look closely and take the time to see the magic, it becomes the focal point. People set picnics up close by, hang their clothes off it, hug & climb on it, it become part of their experience.

The once affable organicity, present in my works, is emphasized here in textures; shapes that continue to imply a female figure which, in turn, is a hybrid between flora and fauna. The greatest importance is in the occupation of space, in giving up the base, in the “roots” that develop through the air and that will soon occupy the entire space. In biology, the root is the first element to emerge after seed germination: it has the function of bringing the plant to the soil through its spectacular tangles. In the sculpture, this entangled presence that refers to a root, anchoring it to the ground, assumes being: feminine, dreamlike, autonomous, somber ... abandons, in certain aspects, the sensuality of before, to assume a not so affable figure , who feels the thickness of his loneliness.

The form that yearns to translate a symbolic feminine seeks its sinuosity in the forms of nature. Sculpture is a body that seeks to anchor itself in space. It embodies its existence by proposing tensions between a colored epidermis with a dark, pointed interior, inviting and limiting, in the same body, the act of touching. Finally, it seeks to integrate itself in this environment for which it was designed: it vibrates with the intensity of its color contrasts with the earthy and dark forest that it inhabits; it wants to be life sprouting at the same time that it intends to integrate itself in the whole and be part of that nature that surrounds it. 

Monumental sculpture installed in the desert sculpture park of Minqin, China. 8 meters high, made in stainless steel.

Winner of the Arte Balossa art prize 2018. “Parco Balossa" is a piece of nature that strenuously resisted building assault in the northern outskirts of Milan, Italy. Now is a public park. The installation consists in an anthropomorphic landmark, symbol of resilience, a guardian inspired by the mysterious giants of Isla de Pascua, and the Japanese UFO-Robots. A gentle giant, and a refuge for birds, the Prono. A structure of recycled construction tubes and joints surrounded by climbing plants. The nature that takes possession of human artifacts. The plant specie was chosen for its chromatic properties as it changes color following the course of the seasons. The Prono is an archetype that recurs in Alessandro Pongan’s work. Its four-legged position also echoes the first movements of babies.

Pieces of art have been commonplace in parks and gardens since anyone can remember. They may be a discreet accessory, an extravagant jewel, a guide or a centrepiece of the garden's design – and the main reason for its existence. An art piece and its placement in the garden can have a deeply personal meaning, or it can be the result of a meticulously focused architectural intent. The creations of Alexandra Koláčková are immediately recognizable and her style unmistakable. And yet despite this – or maybe precisely because of this – they set the narration line of the area in motion in so many different ways... They serve as a decorative piece or a climbing frame; they can be the centre of the universe or a tiny surprise hiding under the bench... And that is why I personally value Alexandra's work so much.  Most gardens are not meant to be just observed, but rather used in active ways – their space waiting to be touched, sat on, jogged through... Everything is permitted – even welcome. The same applies to Alexandra Koláčková's sculptures. Their simple, rounded and approachable shapes as well as their larger than life size outright beg to be climbed on. This has a tremendous benefit for a garden architect like me. A garden, with everything in it, should be inviting, welcoming and open to visitors – it should encourage exploration and discovery. In case of Alexandra's sculptures, this is often literally the case, with hands or even whole bodies inviting visitors to sit, lie or rest on them. Whatever they want and whatever they can think of, be it children, their parents or their imagination.  Kateřina Pospíšilová, garden architect

Forest. Nostalgia for the vanishing wilderness. In a row of "parked" soft matter, they cling to horizontal trunks as the soul clings to the axis of its existence. At the same time, they carry their personal stories "on their backs".

DEINSTALLED The sculpture was created as the third variant of the statue of the Reader, originally intended to be installed in front of a public library building. Paradoxically, however, already at a time when the order was long gone and no library showed interest in it. Nevertheless, I then gradually became very interested in the issue of the statue of a man immersed in the world unfolding in the book. Through the reader's statue I wanted to portray both the reader and the imaginative world of the book. I used an armchair for this purpose. The armchair is a soft and soothing wall that protects us from the pragmatic world around us allowing us to escape into the worlds of imagination and fantasy. It is a dreamy armchair, and the reader is intentionally an anonymous and symbolic figure, easily interchangeable with any reader. At the same time, the armchair adds monumentality to the statue reinforcing the significance and importance of this fragile theme. Last but not least, it is also necessary to pay tribute to the world of paper book at a time when it is threatened (and so are we!) by the aggressive world of information technology and castrated e - books.

The sculpture was created as the third variant of the statue of the Reader, originally intended to be installed in front of a public library building. Paradoxically, however, already at a time when the order was long gone and no library showed interest in it. Nevertheless, I then gradually became very interested in the issue of the statue of a man immersed in the world unfolding in the book. Through the reader's statue I wanted to portray both the reader and the imaginative world of the book. I used an armchair for this purpose. The armchair is a soft and soothing wall that protects us from the pragmatic world around us allowing us to escape into the worlds of imagination and fantasy. It is a dreamy armchair, and the reader is intentionally an anonymous and symbolic figure, easily interchangeable with any reader. At the same time, the armchair adds monumentality to the statue reinforcing the significance and importance of this fragile theme. Last but not least, it is also necessary to pay tribute to the world of paper book at a time when it is threatened (and so are we!) by the aggressive world of information technology and castrated e - books.

The first impulse of this realization was an intention to complement an intimate place of a private garden with seating with sculpture. A bench in the form of a stylized woman has been created and you can nestle down with a book in her arms or sit down face to face to a close person in a confidential conversation. By being placed in the public space, the statue has gained another meaning that is firmly embedded in my work: acting as an island to enliven the street that you usually just pass through, as an opportunity for a short stop enriched with unexpected aesthetic perception, and as a means of rest.

The first impulse of this realization was an intention to complement an intimate place of a private garden with seating with sculpture. A bench in the form of a stylized woman has been created and you can nestle down with a book in her arms or sit down face to face to a close person in a confidential conversation. By being placed in the public space, the statue has gained another meaning that is firmly embedded in my work: acting as an island to enliven the street that you usually just pass through, as an opportunity for a short stop enriched with unexpected aesthetic perception, and as a means of rest.

Pieces of art have been commonplace in parks and gardens since anyone can remember. They may be a discreet accessory, an extravagant jewel, a guide or a centrepiece of the garden's design – and the main reason for its existence. An art piece and its placement in the garden can have a deeply personal meaning, or it can be the result of a meticulously focused architectural intent. The creations of Alexandra Koláčková are immediately recognizable and her style unmistakable. And yet despite this – or maybe precisely because of this – they set the narration line of the area in motion in so many different ways... They serve as a decorative piece or a climbing frame; they can be the centre of the universe or a tiny surprise hiding under the bench... And that is why I personally value Alexandra's work so much.  Most gardens are not meant to be just observed, but rather used in active ways – their space waiting to be touched, sat on, jogged through... Everything is permitted – even welcome. The same applies to Alexandra Koláčková's sculptures. Their simple, rounded and approachable shapes as well as their larger than life size outright beg to be climbed on. This has a tremendous benefit for a garden architect like me. A garden, with everything in it, should be inviting, welcoming and open to visitors – it should encourage exploration and discovery. In case of Alexandra's sculptures, this is often literally the case, with hands or even whole bodies inviting visitors to sit, lie or rest on them. Whatever they want and whatever they can think of, be it children, their parents or their imagination.  Kateřina Pospíšilová, garden architect

Pieces of art have been commonplace in parks and gardens since anyone can remember. They may be a discreet accessory, an extravagant jewel, a guide or a centrepiece of the garden's design – and the main reason for its existence. An art piece and its placement in the garden can have a deeply personal meaning, or it can be the result of a meticulously focused architectural intent. The creations of Alexandra Koláčková are immediately recognizable and her style unmistakable. And yet despite this – or maybe precisely because of this – they set the narration line of the area in motion in so many different ways... They serve as a decorative piece or a climbing frame; they can be the centre of the universe or a tiny surprise hiding under the bench... And that is why I personally value Alexandra's work so much.  Most gardens are not meant to be just observed, but rather used in active ways – their space waiting to be touched, sat on, jogged through... Everything is permitted – even welcome. The same applies to Alexandra Koláčková's sculptures. Their simple, rounded and approachable shapes as well as their larger than life size outright beg to be climbed on. This has a tremendous benefit for a garden architect like me. A garden, with everything in it, should be inviting, welcoming and open to visitors – it should encourage exploration and discovery. In case of Alexandra's sculptures, this is often literally the case, with hands or even whole bodies inviting visitors to sit, lie or rest on them. Whatever they want and whatever they can think of, be it children, their parents or their imagination.  Kateřina Pospíšilová, garden architect

Pieces of art have been commonplace in parks and gardens since anyone can remember. They may be a discreet accessory, an extravagant jewel, a guide or a centrepiece of the garden's design – and the main reason for its existence. An art piece and its placement in the garden can have a deeply personal meaning, or it can be the result of a meticulously focused architectural intent. The creations of Alexandra Koláčková are immediately recognizable and her style unmistakable. And yet despite this – or maybe precisely because of this – they set the narration line of the area in motion in so many different ways... They serve as a decorative piece or a climbing frame; they can be the centre of the universe or a tiny surprise hiding under the bench... And that is why I personally value Alexandra's work so much.  Most gardens are not meant to be just observed, but rather used in active ways – their space waiting to be touched, sat on, jogged through... Everything is permitted – even welcome. The same applies to Alexandra Koláčková's sculptures. Their simple, rounded and approachable shapes as well as their larger than life size outright beg to be climbed on. This has a tremendous benefit for a garden architect like me. A garden, with everything in it, should be inviting, welcoming and open to visitors – it should encourage exploration and discovery. In case of Alexandra's sculptures, this is often literally the case, with hands or even whole bodies inviting visitors to sit, lie or rest on them. Whatever they want and whatever they can think of, be it children, their parents or their imagination.  Kateřina Pospíšilová, garden architect

Martin Steinert is a guest of the residency programme of the Goethe-Institut. He will stay in Prague for three weeks and create his work at the occasion of the Sculpture Line festival. During his stay, he is going to create the Prague version of his “Wooden Cloud”. For several years, the work of sculptor Martin Steinert has included spatial installations made of ordinary wooden laths. It was people’s great interest in mostly several-week processes of creating objects in public space which has led Martin Steinert to the idea of involving people directly into his work. In June 2015, Martin Steinert built a monumental sculpture of almost 2,000 meters of wooden slats in the apse of the church of St. John (Johanneskirche) in Saarbrücken. During the four-week creation of the installation, visitors to the church were invited not only to watch the sculptor's work, but even to take part in it themselves. Approximately 1,200 people wrote their personal wishes on prepared wooden slats which Martin Steinert then incorporated into his installation. Their wishes, formulated on the slats as individual manifestos of dreams, hopes and expectations, branched out into thousands of synapses. In this way, an art project called Wooden Cloud – Die Architektur der Wünsche (Architecture of Wishes) was created and set out on its journey. The wooden cloud floats from Saarbrücken through selected cities of the world and it is always created in a new form in prominent public places. Temporary installations made of wooden slats with inscriptions on them become snapshots of social atmosphere. So far, the wooden cloud has stopped on its way in St. Petersburg in 2016, in Berlin in 2017, in Paris in 2018, and the fifth “Wooden Cloud” was created in Al-Istiqlal Park in Ramallah in 2019. Two more wooden clouds are going to be created in 2020 in Prague and Tirana.

Forest. Nostalgia for the vanishing wilderness. In a row of "parked" soft matter, they cling to horizontal trunks as the soul clings to the axis of its existence. At the same time, they carry their personal stories "on their backs".

Forest. Nostalgia for the vanishing wilderness. In a row of "parked" soft matter, they cling to horizontal trunks as the soul clings to the axis of its existence. At the same time, they carry their personal stories "on their backs".

The sculpture is a half - mask, a sense of nonsense, a split half -part on parts, that creates a new form and thus it becomes a game of shapes.

Deinstalled. The work consists of three simple bodies that are connected to each other in such a way that a dynamic upward movement from horizontal to vertical is created. A block, a cube and a section of a circle are sufficient to create the impression of movement. The slightly offset arrangement and the implied rotation in the vertical form the basis of the dynamics.

The statue comes from the Self-Portrait Transformation cycle. It is a profile line of my face which I am not afraid to deform, rotate and thus create a new view of my appearance. The name of the sculpture is Two because every man in the world tries to find himself and most often finds himself and can communicate with himself when seeing own appearance in the mirror. That is why I create mirror images of myself: to find myself through art and make it possible for others to go through this journey, to think and find themselves in this fast-paced time.

The sculpture is a part of the FAT cycle. The whole cycle is dedicated to author‘s fight against the inconspicuous and silent killer – sugar which harms him as well as millions of people around the world. The size of the tongue shows enormous craving for sweets which is even highlighted byirresistible pink colour of cakes. For the auhor, this is the way to deal with addiction and point out both the social problem and the need to fight this deadly trap.

The sculpture is a part of the FAT cycle. The whole cycle is dedicated to author‘s fight against the inconspicuous and silent killer – sugar which harms him as well as millions of people around the world. The size of the tongue shows enormous craving for sweets which is even highlighted byirresistible pink colour of cakes. For the auhor, this is the way to deal with addiction and point out both the social problem and the need to fight this deadly trap.

A sculpture of the Large Yellow Octopus was created for no particular reason, for the pure joy of nonsense, in spite of probability; for the belief that large yellow octopuses exist; if only because they should exist.

A sculpture of the Large Yellow Octopus was created for no particular reason, for the pure joy of nonsense, in spite of probability; for the belief that large yellow octopuses exist; if only because they should exist.

You must live with the Creature Sculptures can be made in different ways, but making a big statue is a story in itself. Just one year after graduating from Gabriel's sculpture studio at the Faculty of Fine Arts in Brno, Jan Dostál, a very young sculptor, has embarked on his 12-meter high work, his biggest so far. The motive is the Creature, a figure and non-figure at the same time, assembled and welded from pieces of sharp iron which is the material the sculptor lives with and loves. A model for the Creature has its prototype if we can call the prototype a statue which is two and a half meters tall. According to his own words, Jan is assembling his huge, really huuuuuuuge Creature starting from its feet. The anthropomorphic shape on the border of an abstract expression is distinguished by Dostál’s handwriting, full of sharp strokes and cutting angles. It has its visual background in a contemporary sci-fi world as well as in a tattoo subculture or it is a reflection of late sculptural modernism. The Creature is magnificent and comes to light so that Jan Dostál can reveal his strange, iron, sharp universe, his aesthetics which he lives with and which lives in him as Alien who you certainly cannot get rid of. However, it is also magnificent to weld a splendid sculpture, piece after piece, without an accompanying drawing, according to one’s own imagination, using a sculpture-like crane of one’s own design and production. In this case, art has a chance to enchant and surprise and this is not just by the size of the Creature. Welcome to another world.

He artwork consists of 5 wooden doors made of very old chestnut wood obtained from old decayed houses in the Italian mountains. I first charred the doors with fire, cleaned them by brushing and treated them with fluorescent paint. My intention was that these lightening doors should be seen as beacons of hope. These doors, initially charred black, have undergone a transformation, and are now meant to represent the light at the end of the tunnel. People are to identify with the belief that the problems that affect us all will eventually be overcome. It will not be easy. The door is set at a certain height, but it is possible if we try. The collage on the wall in Carlsbad above the Thermal Hotel is the perfect place for this metamorphosis. The higher collage on the wall is very distinctive.There is a goal, a target to reach, a door to walk through, a situation to get through. And the "shining door" gives us hope, direction. The artwork Lightening Doors is installed with the financial support of the Czech-German Fund for the Future.

Ape-man looking up into the sky symbolizes the springing up of ancient civilization; today, high civilization brings advanced material culture, yet the nature we live on is being damaged unceasingly. The perplexed eyesight and innocent face of ape-man reveals the desire to correct all of these faults and to step towards a brighter future. The title originates from my sense of social reality. I express my upset towards the deviated part in the ocean of civilization we live in with this series of works and appeal for more attention to beautiful things.

Locked in a metal sphere, a bubble, a prison and isolation at a time when it was necessary to keep a social distance and communication only took place in the online space. The sculpture is a memento of the pandemic, yet it is also a reminder of contemporary life, when, seated in front of monitors, we reflect the rest of the world only by seeing it through parallel viewports, and our surroundings are mirrored in the reflections of the glass....

"That swimmers and other floating ladies is a lifelong theme of mine is probably well known. Feet out of the water is a bit different. It's the above water visible part of the handstand, and that's usually the most joyful display of kids and girls in the water. Well, I'm gonna cut it sometime. Even the people who see it get a kick out of the fooling around, well, how do you find that joy even where the girls usually don't swim, or sometimes swim, but it's just a little too cold to do so? A statue will replace anything - dead poets, saints, and even criminals. So why shouldn't a monument have feet of water when they are a symbol of the most important thing we are here for, the joy of life?"

Forest. Nostalgia for the vanishing wilderness. In a row of "parked" soft matter, they cling to horizontal trunks as the soul clings to the axis of its existence. At the same time, they carry their personal stories "on their backs".

In my work I reflect on being, on man and his role in this world. Man, a would-be social being, used to not being alone ? We are alone in our being, alone in ourselves and with ourselves, alone with our world view, one optimistic, the other pessimistic, the same or similar in appearance, differentin opinion, together in the physical world but not meeting in the inner one..... This project was realized with the financial contribution of the Central Bohemian Region.

Michal Trpák belongs to artists for whom art is a challenge to communicate and an incentive to develop their imagination. His ten-legged, striped Mazlik grazes on the grass like an overgrown stuffed animal. It may be made of concrete and marble, but it still beckons to be stroked, as the artist encourages.

The pair of happy pigs, executed in white stylized form, is the work of Slovak artist Martin Sedlák. The seemingly banal motif, which may surprise some, is part of the artist's strategy to upset the habitual ways of perception and experiment with different materials, motifs and forms.

The Sitting Lioness statue was created as a proposal for a five-meter monumental statue that would enliven and thematically complete the Parukářka hill (the highest peak in Prague) in the specific Prague district of Žižkov. The theme reflects the distinctive (somewhat self-ironic) patriotism of a rebellious, predominantly working-class neighborhood that has always been critical of the ruling establishment. The lioness was designed as a proud partner and at the same time a rival of the official Czech symbol – the two-tailed lion, which symbolically resides on the opposite hill in the premises of Prague Castle. The distinctive ornamental relief on the surface of the statue originally arose for technological reasons, i.e. as a recognized supporting metal frame for attaching the sculpture's forged copper plates, but eventually became an element that turns a simple sculptural subject into a magical object, reminiscent of an Egyptian or Assyrian archaeological artifact.

He created the dwarfs in 1985 for the H. Hůlov Brothers Gallery on their farm in Kostelec nad Černými lesy. The unofficial event was a success and Kurt decided to repeat it in the capital on an official basis at the beginning of perestroika. Not that he longed for artistic satisfaction, let alone fame or money. He was simply annoyed that if artistic ballast, considered art by cultural strategists, could be presented in public, why not at least occasionally display something worthy...

The Sloth sculpture series are sculptures whose main theme is female power and everything that falls under it. At first, gentle curves of figural processing, but hiding a big weapon, sensuality, wit, refinement and, of course, intelligence. The processing and material is chosen on purpose. The basic hoof is made of classic colored laminate, which is resistant to weather conditions. The color treatment is again deliberately challenging and even provocative

An experimental object welded from scaffolding tubes, which went through several forms.The Thunderbird is a mythical creature from the legends of the indigenous peoples of the American continent. The form is inspired by the symbolic representation of the motif in petroglyphs and other artistic expressions of the original inhabitants.

The monumental golden fly depicts the controversy over what everyone wants. The sculpture was inspired by Adolf Heyduk's poem and the fascination with the insect itself. The fly, so small, useless and annoying, yet beautifulwhen viewed in detail under a microscope. A fascinating biological machine that we are unable to perceive with the naked eye. And that is why it has been magnified to a superhuman scale, so that its individual details can beadmired, and so that when confronted, a polemic can be stirred up over its own greatness and perhaps even over happiness, so fragile, so seemingly complex and yet sometimes so easy when one is able to perceive the littlethings.

Manta rays – noble majestic underwater creatures whose movement paradoxically resembles the flight of birds. Elegant dancers moving in the depths of indomitable oceans. Graceful curves intersecting one of the truly last wildernesses of the world. The world with which we are so interconnected and yet it is so remote from us and so unknown. And perhaps because of all these contrasts, fascinated by the robustness and fragility at the same time, I decided to expose this creature in a completely different environment, different perspective, in a completely different context. When walking beneath the angel wings, you can dream, unleash your imagination and get carried away to the ocean bottom or somewhere further away...

A piece of work from the Drawing in Space (Kresby v prostoru) cycle. The Stumps in the Dark are inspired by children‘s play – waving with a burning stump taken out of the fire. It is an attempt to record and transfer the movement of a hot stump in the dark into a material.

DEINSTALED 31.8.2022 (horizon, spacetime, human memory) Ad. 1 Horizon: In 2006 I was invited to the Sakharov Center in Moscow, where I presented large-scale photographs from the Fifth Seal series in a solo exhibition. The Academician Andrei Sakharov Centre has been operating in Moscow since 1994. It specialises in mapping the crimes of communism and includes an extensive archive on political repression, the history of the GULAG labour camps and their victims. Ad.2 Space-time: By an extraordinary coincidence, I was staying in Andrei Sakharov's apartment at the time of the opening of the exhibition. In the apartment that became his last home after his return from exile in 1986. The apartment where Russian intellectuals, artists and dissidents gathered until Sakharov's death in 1989. No one else lived in the apartment until then, so everything from the coffee spoons, dishes, clothes in the hall closet, the gramophone record, towels and soap in the bathroom, the kitchen tablecloth, the ashtray on the window and, of course, the books have remained unmoved in time since Elena Bonner, Sakharov's wife, left the apartment. Ad.3 Human memory: I spent several days and nights in this unique environment. And then, one evening, my gaze fell on the catalogue I had brought with me and suddenly became aware of its chilling contextual connection to this apartment. It was the 2002 catalogue No Compassion, which included 18 photographs of prominent world politicians of the time crying. I implanted them with my tears. Among them was Vladimir Putin. I couldn't help but take advantage of it, everything was pointing in that direction, and so the weeping Putin began to "wander" in all corners and tucked away corners. He peeked out from behind doors, pillows, lying on the window sill, on the dining table, from the bathroom mirror, and even from the outdated microwave. I couldn't escape it, it attacked my naked body. He was everywhere. Thus a series of photographs were necessarily, inevitably taken, but never exhibited anywhere since then (2006). Only now, after 16 years, on the occasion of the Czech season in Dresden. In a city that is again closely linked to the unfortunate activities of V.Putin, as he was a KGB officer there. It was here, in Dresden, in the second half of the 1980s, that an agent of the Soviet KGB secret service was starting a family, saving for a car and dreaming of a career as an elite spy. The fall of the Berlin Wall changed his situation completely, and on the evening of 5 December 1989 he was still on the phone to the Dresden Red Army garrison demanding that tanks be sent. Shortly before, a crowd of demonstrating East Germans had tried to occupy the KGB building.   Epilogue: In conclusion, I would like to return to Andrei Sakharov's wife. Bonner was the first signatory of the anti-Putin manifesto "Putin must go" published on 10 March 2010 > and continuing in a series of demonstrations.  

The shape of the spiral has fascinated me in nature since I was a child, without knowing anything about the symbolic meaning people have always attached to it. When I think about it, I often intuitively think of something to draw or model, and then only realize the inner connections. Usually when someone asks me about the source of my inspiration. The spiraling shells are not only beautiful, but mysterious and inspiring. Their natural beauty and grandeur evoke a sense of humility and wonder at the infinite creative power of nature. That is why it has also become a symbol of the ever-recurring events in nature, on our planet and in the universe. In the same way, the spiral is seen as a symbol of spiritual growth and fulfilment in life, symbolizing the mysterious journey into one's own inner self. It can also be an energy radiator or a protective talisman. In magical practice, the spiral, especially the right-hand spiral, supports the effort to make our wishes become reality. And I like this idea. I put my personal wish in it too. In my rendition, it couldn't be other than cheerfully colorful and irregularly regular.

One of the most renowned Czech architects Martin Rajniš likes to cross borders. He creates objects that become distinctive works of art with aesthetic, social and utilitarian functions. Hostivař's Včelín refers to medieval towers with its historicizing octagonal shape and weathervane. But of course, it is primarily home to a bee colony that produces unique golf honey.

David Černý's dominant sculpture In Utero is one of his most important works. In Utero, a six-metre sculpture of a pregnant woman kneeling and holding her head, made of stainless steel, can be perceived by everyone in their own way, but we offer one possible interpretation.

The Fall from 1967 is an emblematic work by Stanislav Kolíbal, a doyen of Czech art and probably the most internationally known Czech artist today. The work was created at the height of the free upsurge of Czech society and art during the increasingly relaxed "sixties", but its message seemed to foreshadow what would become reality in just one year: the fall from freedom into more than twenty years of normalization.

It's been a while since architecture has seen itself in artistic practices, and vice versa. Especially the transformation and play of facades. The recently deceased sculptor Jiří Beránek is a shining example of this, as the sculptural cladding of the main building of the Hostivař golf complex has made not only this architecture and its architect famous worldwide, but also the sculptor who invented this cladding so uniquely.

The red geometric sculpture on the playground was created in the last phase of Karel Malich's work. After a number of years, the artist again needed to step out of the two-dimensional surface of paper into space, and the result is the shells in which he evaluates his lifelong artistic experience. Although it is an abstract onstruction, we can feel both echoes of the human figure and a certain grandeur of landscape formations.

Lukáš Rais's work is characterized by the use of industrially produced components, especially metal rubes. The cluster of pipes placed in the Hostivař playground proves the correctness and expediency of this way. It can be read equally well as an aesthetic achievement or as a certain metaphor for the existence of man in contemporary society.

When looking at Chramost's work Shark in the Gulf, memories of Spielberg's famous film Jaws will surely come to mind, which at the time terrified audiences. The shark's fin, however, is made of concrete, so it is stable and not life-threatening.

Scattered around the golf course were stone jewels - sculptures by Pavel Opočenský, for whom stone is a challenge to make it transparent and lighter, and to work with it as surprisingly as this hard and material medium allows.

Michal Trpák probably already knows that we humans will be replaced by humanoids. We don't know if they will look as the sculptor imagines them, i.e. like marching officials, but certainly when they come in the future to play golf in the future, they might be amused by the sculptor's idea. But beware! Perhaps the artist is warning us with his work if we have not already become humanoids!

The main purpose of this work was to connect the tee box with the fairway on one of the new holes. As there are two holes facing each other on this part of the course, it was necessary to create a covered passage around the lake to ensure the safety of the players. A total of 50 wooden frames in a row with regular spacing create the illusion of impermeable walls when passing through the tunnel. When viewed from the side, however, the tunnel almost completely disappears and only thin partitions remain.

The figure of a walking man with his arm extended forward is perhaps, as the name suggests, a governor, but also a warrior who fell into Hostivaře from another planet. It is assembled like a kit and reminds of sci-fi movies. It's made of metal frames, which confuses the sculptor's fans a bit, because otherwise he likes natural wooden materials.

You may not know this, but Jakub Flejšar is a snowboarder and a snowboard coach, and they, as is well known, like to move and run and then also rest. And because Jakub is also a sculptor, he wants his sculptures to make that experience visible. In a stylized and humorous way.

Martin Steinert is a guest of the residency programme of the Goethe-Institut. He will stay in Prague for three weeks and create his work at the occasion of the Sculpture Line festival. During his stay, he is going to create the Prague version of his “Wooden Cloud”. For several years, the work of sculptor Martin Steinert has included spatial installations made of ordinary wooden laths. It was people’s great interest in mostly several-week processes of creating objects in public space which has led Martin Steinert to the idea of involving people directly into his work. In June 2015, Martin Steinert built a monumental sculpture of almost 2,000 meters of wooden slats in the apse of the church of St. John (Johanneskirche) in Saarbrücken. During the four-week creation of the installation, visitors to the church were invited not only to watch the sculptor's work, but even to take part in it themselves. Approximately 1,200 people wrote their personal wishes on prepared wooden slats which Martin Steinert then incorporated into his installation. Their wishes, formulated on the slats as individual manifestos of dreams, hopes and expectations, branched out into thousands of synapses. In this way, an art project called Wooden Cloud – Die Architektur der Wünsche (Architecture of Wishes) was created and set out on its journey. The wooden cloud floats from Saarbrücken through selected cities of the world and it is always created in a new form in prominent public places. Temporary installations made of wooden slats with inscriptions on them become snapshots of social atmosphere. So far, the wooden cloud has stopped on its way in St. Petersburg in 2016, in Berlin in 2017, in Paris in 2018, and the fifth “Wooden Cloud” was created in Al-Istiqlal Park in Ramallah in 2019. Two more wooden clouds are going to be created in 2020 in Prague and Tirana.

Pieces of art have been commonplace in parks and gardens since anyone can remember. They may be a discreet accessory, an extravagant jewel, a guide or a centrepiece of the garden's design – and the main reason for its existence. An art piece and its placement in the garden can have a deeply personal meaning, or it can be the result of a meticulously focused architectural intent. The creations of Alexandra Koláčková are immediately recognizable and her style unmistakable. And yet despite this – or maybe precisely because of this – they set the narration line of the area in motion in so many different ways... They serve as a decorative piece or a climbing frame; they can be the centre of the universe or a tiny surprise hiding under the bench... And that is why I personally value Alexandra's work so much.  Most gardens are not meant to be just observed, but rather used in active ways – their space waiting to be touched, sat on, jogged through... Everything is permitted – even welcome. The same applies to Alexandra Koláčková's sculptures. Their simple, rounded and approachable shapes as well as their larger than life size outright beg to be climbed on. This has a tremendous benefit for a garden architect like me. A garden, with everything in it, should be inviting, welcoming and open to visitors – it should encourage exploration and discovery. In case of Alexandra's sculptures, this is often literally the case, with hands or even whole bodies inviting visitors to sit, lie or rest on them. Whatever they want and whatever they can think of, be it children, their parents or their imagination.  Kateřina Pospíšilová, garden architect

The work consists of three simple bodies that are connected to each other in such a way that a dynamic upward movement from horizontal to vertical is created. A block, a cube and a section of a circle are sufficient to create the impression of movement. The slightly offset arrangement and the implied rotation in the vertical form the basis of the dynamics.

The object depicting the arrow was created by the principle of rotation of the blades. I have been working with this principle for about a year and a half and Strelcie is the first large-scale object made with this technology. Each slat can be inserted into the previous one and thus the whole sculpture is originally made of one sheet.

Big heads or other heads like lightbulbs are my long-term topic. A human head is a mysterious object, it can glow with ideas, goodness and can be blocked by stupidity and aggression. By looking at them we can reflect on who we are. I've been making the heads since 1970s. Four of them (2 metres high) were showed in 2011 on the Jan Palach square, in 2013 in front of the National Library of Technology and at Landscape Festival in Prague. In 2016, some of them were destroyed by drunks in České Budějovice. It's all in our heads.

Big heads or other heads like lightbulbs are my long-term topic. A human head is a mysterious object, it can glow with ideas, goodness and can be blocked by stupidity and aggression. By looking at them we can reflect on who we are. I've been making the heads since 1970s. Four of them (2 metres high) were showed in 2011 on the Jan Palach square, in 2013 in front of the National Library of Technology and at Landscape Festival in Prague. In 2016, some of them were destroyed by drunks in České Budějovice. It's all in our heads.

Big heads or other heads like lightbulbs are my long-term topic. A human head is a mysterious object, it can glow with ideas, goodness and can be blocked by stupidity and aggression. By looking at them we can reflect on who we are. I've been making the heads since 1970s. Four of them (2 metres high) were showed in 2011 on the Jan Palach square, in 2013 in front of the National Library of Technology and at Landscape Festival in Prague. In 2016, some of them were destroyed by drunks in České Budějovice. It's all in our heads.

From the author's series of reinforced concrete objects there is also a statue located in the lower part of the town of Mikulov. It is a 17,5t object, which the sculptor created mainly during the Mikulov art symposium "workshop". The artist dug a form into the ground, into which all the different layers of the compacted demolished original buildings found here have been cut. He reinforced this mould with reinforced concrete and cast the object, which, after subsequent removal and installation next to the original mould, he added metal elements. These elements complete the upper part of the work. Despite its abstract form, the sculpture has a very concrete form as a result of working with space and creates a dialogue with another work from the late 1980s. The artist himself anticipates that the surrounding trees will gradually outgrow the sculpture and that the weathering of the concrete over many years will reveal the new morphology of the work and its form. This reasoning, counting on the effect of the work on the individual for more than a century, is close to Lipavský's heart. He always creates works in concrete so that the transformation of the object is part of the original concept and the chosen technology. The work was created and installed as part of the 29th Mikulov Art Symposium "Workshop".

The metal structure made of steel, roxors, vinglons and rods represents an abstracted figure with clasped hands. Entitled 'Joy', its current appearance is not the final and fixed form of this work. The sculpture, which belongs to the artist's "Bezva úča" series, was created for a specific place, the upper gallery of Mikulov Castle. "Joy" is built here for direct communication with the Holy Hill, which is viewed through the passage between the different parts of the castle. This spatial object is designed to be subject to surface corrosion and at the same time to serve as a support structure for a plant - a liana - that will grow through it and gradually fill it in. The work was created and installed as part of the 29th Mikulov Art Symposium "Workshop".

The sculpture from the "Trumpet" series by sculptor Kurt Gebauer combines a walking figure and an extremely strong warning. Internally, the artist calls it "Adolf Putin" and in the Franz von Sonnenfels Park in Mikulov he has placed it exactly on the east-west axis so that this blunt and forceful figure walks from the east. From a place from which evil and violence are now pouring down on Europe. The sculptor Gebauer thus gives his work, a statue belonging to a wide series of various figures, a global context that goes beyond the statue as an object, its aesthetics and its form. The work was created as part of the 29th edition of the Mikulov Art Symposium "workshop".

The rider is the fourth sculpture of the four-piece horse sculpture. It was created between 2010 and 2013. One cast with a smooth surface in a red polyester resin is in Kampa Museum, another one with the whole statue is in a private collection and is part of the golf areal near Brno. Bronze část with smooth surface is part of Kamenný dvůr area. I cast the Rider and the whole sculpture into peanut shells structure and also in the structure of walnut shells. The rider from the peanut shells is made also from bronze.

Václav Havel: Truth and love must triumph over lies and hatred. This legendary statement of Havel's continues to carry not only a moral imperative, i.e. a form of recommendation or example of commitment, but despite its seemingly utopian message, it is a fundamental human idea and aspiration. The vision for the building itself was conceived in 2012 and was not realised at the time for many reasons. However, its basic idea has remained unchanged, i.e. when the human (Havel's) voice metaphorically, but in its 3D representation, penetrates impermeable walls, concrete barriers, etc. That is, through some kind of internal and external barriers, misunderstandings. This symbolic process of breaking down the walls of evil with the power of the voice, with the power of non-violence, with the power of understanding, with the power of togetherness, thus carries the ethos of freedom and value responsibility. It also evokes the capacity of human good will not to shrink from evil and, on the contrary, to help resolve the misunderstandings that arise, to be heard. Negate aggression, humiliation, contempt, or various surviving evil atavisms in their extreme forms. It is a message that holds our civilization against all manifestations of hatred past, present and future. Prof.ak.mal.Jiří David

Martin Steinert is a guest of the residency programme of the Goethe-Institut. He will stay in Prague for three weeks and create his work at the occasion of the Sculpture Line festival. During his stay, he is going to create the Prague version of his “Wooden Cloud”. For several years, the work of sculptor Martin Steinert has included spatial installations made of ordinary wooden laths. It was people’s great interest in mostly several-week processes of creating objects in public space which has led Martin Steinert to the idea of involving people directly into his work. In June 2015, Martin Steinert built a monumental sculpture of almost 2,000 meters of wooden slats in the apse of the church of St. John (Johanneskirche) in Saarbrücken. During the four-week creation of the installation, visitors to the church were invited not only to watch the sculptor's work, but even to take part in it themselves. Approximately 1,200 people wrote their personal wishes on prepared wooden slats which Martin Steinert then incorporated into his installation. Their wishes, formulated on the slats as individual manifestos of dreams, hopes and expectations, branched out into thousands of synapses. In this way, an art project called Wooden Cloud – Die Architektur der Wünsche (Architecture of Wishes) was created and set out on its journey. The wooden cloud floats from Saarbrücken through selected cities of the world and it is always created in a new form in prominent public places. Temporary installations made of wooden slats with inscriptions on them become snapshots of social atmosphere. So far, the wooden cloud has stopped on its way in St. Petersburg in 2016, in Berlin in 2017, in Paris in 2018, and the fifth “Wooden Cloud” was created in Al-Istiqlal Park in Ramallah in 2019. Two more wooden clouds are going to be created in 2020 in Prague and Tirana.

Václav Havel: Truth and love must triumph over lies and hatred. This legendary statement of Havel's continues to carry not only a moral imperative, i.e. a form of recommendation or example of commitment, but despite its seemingly utopian message, it is a fundamental human idea and aspiration. The vision for the building itself was conceived in 2012 and was not realised at the time for many reasons. However, its basic idea has remained unchanged, i.e. when the human (Havel's) voice metaphorically, but in its 3D representation, penetrates impermeable walls, concrete barriers, etc. That is, through some kind of internal and external barriers, misunderstandings. This symbolic process of breaking down the walls of evil with the power of the voice, with the power of non-violence, with the power of understanding, with the power of togetherness, thus carries the ethos of freedom and value responsibility. It also evokes the capacity of human good will not to shrink from evil and, on the contrary, to help resolve the misunderstandings that arise, to be heard. Negate aggression, humiliation, contempt, or various surviving evil atavisms in their extreme forms. It is a message that holds our civilization against all manifestations of hatred past, present and future. Prof.ak.mal.Jiří David

A composition made of wooden logs. It is a kind of ready-made from logged wood resembling scattered crayons. The object can also be used for sitting.

It is the third horse from the sculpture called Rider. I finished the whole sculpture in fibreglass castings a few years ago. It consists of three horse statues and one horse with a rider. In order to be able to exhibit the sculpture in the exterior, I gradually began to cast the statues in bronze. During that time I have exhibited the statues separately. I hope to see it once exhibited as a whole, for example in one of the Czech towns, possibly as part of the Sculpture Line festival.

Chairs for the city is a series of bright ceramic sofas and chairs installed in busy city streets for permanent or temporary periods of time. Stop for a moment at a random location in the street, sit down, touch the shiny smooth shapes, feel and enjoy the colours. Nestle down for a while and look around you or close your eyes and listen to the sounds of the street. Allow yourself to be present inthe moment.

Coloured glazed ceramics on a reinforced concrete shell. A utility ceramic sofa with organic shapes brings playfulness and optimism into a given public space. In the busy street full of hustle and bustle, the sculpture gives an impression of an island of peace and good cheer, a place where you can “recharge your batteries” with a brief rest.

Chairs for the city is a series of bright ceramic sofas and chairs installed in busy city streets for permanent or temporary periods of time. Stop for a moment at a random location in the street, sit down, touch the shiny smooth shapes, feel and enjoy the colours. Nestle down for a while and look around you or close your eyes and listen to the sounds of the street. Allow yourself to be present inthe moment.

The origin of this artwork is an intuition. The sculpture reveals the polarities caused by a human being and his desire. It illustrates the dilemma and balancing act of conscious existence. Enlarged and modified hand tools interfere with common perception and create symbols for transition from an industrial to digital era. Avarice is a critical review of the greed of our commercial being.

The topic of infinity or begininglessness, or God forbid, centrelessness has long been a provoking element of the author’s works. The work on sculptures dealing with this subject is infinite in some ways, thus revealing even one of the mental essentials of the work. A sculpture made of high-grade polished steel, as if it was even more multiplied. With its surface capable of reflecting the outside world in direct dependence on the outside world, regardless of the surrounding world, but with reflection on itself, the object is a beautiful example that a great deal of things around us is something completely different from what might seem at first glance.

The topic of infinity or begininglessness, or God forbid, centrelessness has long been a provoking element of the author’s works. The work on sculptures dealing with this subject is infinite in some ways, thus revealing even one of the mental essentials of the work. A sculpture made of high-grade polished steel, as if it was even more multiplied. With its surface capable of reflecting the outside world in direct dependence on the outside world, regardless of the surrounding world, but with reflection on itself, the object is a beautiful example that a great deal of things around us is something completely different from what might seem at first glance.

Ape-man looking up into the sky symbolizes the springing up of ancient civilization; today, high civilization brings advanced material culture, yet the nature we live on is being damaged unceasingly. The perplexed eyesight and innocent face of ape-man reveals the desire to correct all of these faults and to step towards a brighter future. The title originates from my sense of social reality. I express my upset towards the deviated part in the ocean of civilization we live in with this series of works and appeal for more attention to beautiful things.

Coloured glazed ceramics on a reinforced concrete shell. This is a new approach to street furniture. An unconventionally conceived utility sculpture is an inspiration for both architects and city councillors. A ceramic chair does not look dull and it is not a serial product, either. Thanks to its rounded shapes it is playful and original, and rightfully attracts the attention of passers-by.

“I created the sculpture called “Corpus Angelicus“ as a part of an exhibition of the same name which I had at Prague Castle in 1997. An angel is a constant theme for me, this mysterious being is actually present in all religions. It is a sort of a positive, ecumenical symbol and I am enticed to shape it and give it various forms and constantly retransform it. An angel has probably never been seen before but we may believe that it exists in some form and this always stirs my imagination. That is why “Corpus Angelicus“, a sculpture made of robust cast steel, in contrast to the notion of a totally unknown and elusive ethereal being. A sort of shell of the Angel, it can be understood like this. But I leave it to the viewer. I am glad that the object be installed in Břežany near the monastery and I hope that it will give joy to the citizens and maybe also a reason to pause and think.”

The author focused on the space and size of the object in space. A scale chosen for Hyena allows the viewer to perceive the object as a whole, and, at the same time, at a closer look the viewer is forcedto perceive individual segments and parts of the sculpture. Its openness offers insight into the interiorof the object. The sculpture tries to capture the ferocity of hyenas as accurately as possible with metal. An organic form of a living hyena is transferred into a geometric form of the sculpture while enlarging the animal’s proportions. Complex structures that create individual parts of the animal’s body are gradually composed of the 2D parts. The resulting sculpture takes advantage of the distribution of light and shade on metal surfaces, and using its nuances it creates the overall spatial volume.

A statue, running or speeding off, is a symbol of the premises on which it is located. A fragment of the bobsled is transferred into a surreal level where it is carried to the intended destination (the track?) by two pairs of legs.