<h1>Jiří Příhoda VOID</h1>
<h1>Jiří Příhoda VOID</h1>
<h1>Jiří Příhoda VOID</h1>

Jiří Příhoda’s artistic practice may best be characterised as an exploration of space, volume, matter and emptiness. Put into practice, his morphologically immensely inventive and innovative studies of imaginary objects become highly inspiring sites that interconnect architectural designs with fine art sculpture.

The objective does not lie in the utility of the created environment, form or sculpture. Příhoda employs architectural devices to deftly navigate abstract spatial studies that are best understood from the perspective of artistic solutions to material problems. The primary theme of his presentations of form-focused work, creativity and ingenuity is the search for emotionally balanced and at the same time inspiringly provocative designs of intersections of space and matter, as well as encounters between reality and mere concept. All this is usually done without prior considerations for potential practical applications, although these are not ruled out. In other words, his theme also comprises the inspiration to highlight other than the utilitarian worlds that are inherently the focal point of architectural thinking, and he often does so in ways that are nonstandard or even downright ungraspable in practice. In its essence, Jiří Příhoda’s highly conceptual thinking regarding the abstract construction of matter does not lie far from meditative approaches to the architectural construction of inner and outer space, whose form is increasingly determined primarily through the reinterpretation of many traditional, profoundly considered and tried and tested historical architecture practices that almost approach classical balance and reference the canons of antiquity. The Rudolfinum’s complex and complicated neo-renaissance architecture provides an important and inspirational “counterpoint” for the artist – its qualities always stand out best when confronted with strong contemporary art concepts.

Mostly featuring entirely new installations, the exhibition also includes reminders of Příhoda’s key works from decades past. Galerie Rudolfinum’s VOID is certainly the most extensive showcase of his practice to date with a deeply developed configuration of internal connections between the constituent installations – both on the level of the interpenetration of their forms, and their conceptual sequence. Příhoda’s oeuvre stands out with its absolutely unwavering level of excellence that by far exceeds the current standard of presentations of its type, making it one of a kind on the Czech art scene.

Curator: Petr Nedoma

Music for VOID

Directly for the Jiří Příhoda VOID exhibition at Galerie Rudolfinum, Martin Petrák, bassoonist of the Czech Philharmonic, composed the Music for VOID composition for four bassoons, marimba, organ positive and double bass. The basic message of the composition, inspired by the exhibition, its space, light and depth, consists in providing a possible story without words to the entire exhibition, without explicit intervention into exhibited objects on the border of sculpture and architecture.

The premiere of the Music for VOID took place on Thursday, June 23, 2022. During the exhibition, it will be repeated as part of the accompanying programs. It is performed by members of The Affogato & Friends.

Accompanying events

Jiří Příhoda VOID | intro | Galerie Rudolfinum

Jiří Příhoda VOID | spot | Galerie Rudolfinum

Monday CLOSED

Tuesday–Sunday 10–18

Thursday 10–20

Dear visitors, the last entry to the exhibition is possible no later than 30 minutes before the end of opening hours.

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