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Kunstraum exhibitions

Dangerous Bodies: Barbara Kapusta
12 October - 16 November
(PV 11 October 6:30 – 9pm)

To Ailsa Rock
Beatrice Loft Schulz and Lindsay McMillan
14 June – 28 July

Something soft: Julie Béna, Susie Green, Deniz Ünal & Zoe Williams
13 April – 25 May (PV 12 April, 6.30–9pm)

Nils Alix-Tabeling
Le Bétyle d’Ail
19 January – 22 February 2019

Anna Hulačová
Graceful ride
29 Sept – 24 Nov 2018

Shelly Nadashi
The Avocado Vampire
26 April – 9 June 2018

Mary Hurrell
2 (Aerial)
9 March – 14 April 2018

Von Calhau!
PHANTOM BLOT BACK TO ATTACK / MANCHA NEGRA VOLTA A ATACAR
12 January - 10 February 2018

Merike Estna
fragments from the shattered toe
29 September – 25 November 2017

Jennifer Tee
Structures of Recollection and Perseverance
1 July – 9 September 2017

Sophie Jung
Producing My Credentials
14 April – 27 May 2017

Olivier Castel
Communicating vessels
25 November 2016 - 11 February 2017

Vanitè
9 September – 5 November 2016

Jumana Emil Abboud
Haunted Springs and Water Demons in Palestine
14 May – 30 July 2016

Dorine van Meel
Disobedient Children
23 October – 19 December 2015

New Pabulum
Aline Bouvy and Simon Davenport
6 September - 10 October 2015

Alex Cecchetti
The printing house of hell
27 June - 22 August 2015

Barbara Visser
Manual/2: The Patient Artist
25 April – 13 June 2015

Unlearning to speak
Tyler Coburn, Luca Frei, Joachim Koester, Jacopo Miliani
28 February - 11 April 2015

Nicoline van Harskamp
25 October - 13 December 2014

Zin Taylor
The Tangental Zigzag
14 June – 26 July 2014

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Anna Hulačová
Graceful ride
29 Sept – 24 Nov 2018


In Anna Hulačová: Graceful ride, table–like horizontal surfaces are inset with abstracted forms which mutate from cell structures, micro-organisms or insect’s internal organs, within a biosphere of variable proportions. This unknown micro–macro space is the ground into which the artist plants a web of symbolic citations, from tradition, mythology and history.

Hulačová’s visual language is expressed through her work’s materiality: cement surfaces of varying textures are applied to underlying sub-structures; smooth planes of cement, or inset aluminium and paper panels are drawn on with flowing lines of graphite pencil; honeycomb and other natural materials are imbedded within forms’ internal chambers; flesh-like and waxy surfaces are formed from complex polymers.

Hulačová repurposes Czech visual culture through the 20th Century to create an imagined cultural representation of the world we find ourselves in today. Hulačová’s borrows from and updates the tropes and subjects of Soviet-era sculpture, the country’s post-war spirit of the future and 1950’s agricultural collectivisation. In Graceful ride Hulačová taps into paradigms of representation in past, present and future, sometimes quoting directly from sculpture history, at other times more loosely.

Insect physiology, sexual habits and collective dynamics are a common thread through Graceful ride, particularly in relation to human society. Without mechanics around it, a stripped-out tractor engine is transforming into an insect form; industry becoming integrated as part of an organic whole. In an inset, two dragonflies gleefully mate – insects who combine their bodies during intercourse to create a single eight-winged flying entity. A high relief frieze depicts bee-keepers, taking over the grand gestures of Soviet cosmonauts. The insect is represented as an industrialised worker, the worker integrated into an organic system.

Anna Hulačová: Graceful ride will be accompanied by a small reader to be released after the opening, including texts by Thomas Cuckle and Nils Alix-Tabeling. The exhibition is supported by Czech Centre London and Techo | Royal Ahrend. Anna Hulačová’s work is shown courtesy of Hunt Kastner, Prague.