Galerie moderního umění
v Hradci Králové

Black Cube

Mark Ther | Alight⁄Svítí⁄Lejchte

curator: Michal Novotný

In the Silesian German spoken around the town of Broumov in the Sudeten region of the Czech Republic, the word “alight” is translated as lejchte. We might perhaps imagine Mark Ther carefully screwing in a light bulb and, with palms facing up in an elegant, but comical, gesture, stating that the original light borrowed from a first Czechoslovak Republic villa for an exhibition at the Gallery of Modern Art in Hradec Králové, is alight. The Czechified spelling of lejchte, a word which, in standard German, would be leuchtet, points to something grammatically incorrect. This deviation from the norm is also testament to the emergence (or perhaps betrays the emergence of) a specific cultural identity, in this case that of the Sudeten region.


White Cube

Alice Nikitinová | Shared Basis

curator: Vít Havránek

The gate of a picket fence in the painting Old School (Stará škola, 2019) by Alice Nikitinová remains slightly cracked, just enough for one high school girl to slip through. The pictured buildings are plain blocks depicted without real light, shadow, filth, decoration or architectural ornamentation, while regular rows of windows give each floor the same rhythm. Unacquainted spectators might hesitate as to whether they are looking at a prison, hospital, or an office employing one of Kafka’s heroes. A school may be the most unlikely option to occur to the average viewer. All these institutions are organized according to internal rules which reflect the social norms of criminal justice, healthcare, or education. Surprisingly, however, the impetus for this painting was not an effort to create a critical depiction of authoritative, gatekeeping institutions, through which the author progressed in her youth and where she spent days and weeks drawing classic busts or live models.



Original? The art of imitating art

curators: Petra Příkazská, František Vyskočil, František Zachoval

This exhibition explores the phenomenon of original works of art and their various falsifications, from copies to intentional forgeries. The period under investigation covers the first half of the 20th century to the present day. The exhibition is methodologically divided into six sections, according to techniques, procedures, and approaches to creating forgeries. Each section consists of paintings, drawings, graphics, and sculptures, as well as photographs, conceptual works, and new media. Because falsifications are dependent on the market for their “survival,” the exhibition explores them not only through the lens of art history, but also from a legal perspective, allowing a broader inquiry into falsification as a social phenomenon.



Pavla Sceranková | Miloš

curator: Václav Janoščík

Sometimes, something or someone passes through our lives. These encounters do not need to take the form of dramatic twists, like those from Hollywood films. They’re usually just small moments — a brief meeting of the eyes, a ripple in our attention, or a touch, such as someone brushing past us, or something clinging onto us. These aren’t clear signs, but rhythms of suddenness and waiting, of being close, or of being reserved. It is precisely these encounters which fulfill Proust’s great novel about small things. And it is this sensitivity and these values which art attempts to express. The work Miloš emerged from the author’s meeting with a stranger — he appeared to her as the back door of a tram opened. He stood, relaxed, without a hint of discomfort, pensive, with a plastic bag clinging to his left leg.