Leica Gallery Prague

The exhibition is a retrospective overlooking nearly four decades of work by the contemporary photographer Jaroslav Pulicar (*1954) from Brno.

On view from March 4th to April 24th 2022 at Leica Gallery Prague.

In 1971-1981 Pavel Vavrousek documented Nova Sedlica, the easternmost village of then Czechoslovakia.

The exhibition will showcase a range of thematic, mostly autoportrait, collections from 1970s and 1980s, as well as recent work from the last decade which resonates with themes of age and care.

A retrospective exhibition of the Czech photographer Milon Novotny who would have celebrated his 90th birthday this year.

This exhibition was created as an homage to everyone who is or remained young, had wandering feet, and was enthralled with the outdoors. No matter if they called themselves tramps, woodcrafters, hobos, ramblers, cowboys, or Indians, or if they eventually attached a satellite dish to their cabins, they were all a part of the almost exclusively Czech and Slovak tramping scene – considered the largest subculture in both countries.

The Polish photographer Kuba Kamiński (*1985) repeatedly returns to Polish Podlesi and to Belarus where he immortalizes the life and work of local healers that call themselves “the whisperers”.

A group of six distinct personalities of Czech photography drew inspiration from the cross-country skiing competition Jizerska 50 that became the motive of their collective exhibition, each capturing the event through a unique visual conceptualization.

A retrospective exhibition of the Czech photographer Milon Novotny who would have celebrated his 90thbirthday this year.

The “Family Portrait” photographical project has gained social significance over the years. It portraits personalities form the fields of cinematography, architecture, politics, education, healthcare, sport, business and so forth. For Stanko the inspiration isn’t so much the models’ profession, but the psychological side of being immortalized; Stanko’s motivation is mainly the models’ interest to open themselves up to the photographical performance as a prerequisite for a depiction without excessive self-control.

Antonín Kratochvíl emigrated from Czechoslovakia in 1967 and first met his at the time of leaving unborn son Michael after nineteen long years. It is the journey towards mending a father-son relationship that is the backbone of Andrea Sedláčková’s feature documentary “My Father Antonín Kratochvíl”. Antonín and Michael, now also a photographer, independently captured their journey throughout the documentary shoot and they present the final work at a joint exhibition.

Milota Havránková (1945) is an exceptional and to a large degree unique photographer who has been active in Czech and Slovak photography for quite some time; a certain, still persisting lack of categorization and comprehension of her work is therefore all the more surprising. An experimenter who continues to break with tradition and change her style, she entered the art scene at the end of the 1960s. She started using her own reality as a matrix for further creative interventions and revealed an invisible relationship and emotional logic by means of staged analogue photography with seemingly random compositions. The exhibition will focus on this crystallising period of the 1960s and 1970s when almost all the key features and symbols of her later hybrid artwork appeared.