At the very end of the 2026 exhibition season, a pair of artists and one invited guest will be featured—artists whose work has largely passed each other by on the exhibition scene thus far, even though they share at least the same sources of inspiration.

The internationally established sculptor and university professor Aleš Hnízdil (*1954) represents a generation that studied at the Academy of Fine Arts in Prague in the very late 1970s. In 1979, Hnízdil graduated from the master studio of Jiří Bradáček, a longtime friend of Miloš Saxl, director of the Roudnice Gallery. He gradually developed his sculptural work from increasingly stylized figurative compositions until he arrived at the need to depict the very essence of being: energy. It is precisely the motif of natural energy—whether in the form of sound or kinetic movement within a fluid medium (water, air)—that has accompanied him to the present day, when, among other things, he also serves as an associate professor in the Department of Garden and Landscape Architecture at the Czech University of Life Sciences in Prague.

Joining Aleš Hnízdil will be painter and musician Daniel Vlček (*1978), whose studies at the Academy of Fine Arts in Prague were shaped, conversely, by the dynamic period of the turn of the millennium and the widespread availability of information and tools for digital creation. It is precisely the interconnection of the auditory and visual worlds—both in their digital and material forms—that forms the foundation of Vlček’s artistic practice, which is dominated by visual representations of sound waves and artistic sound experiments.

This intergenerational dialogue is expanded by the inclusion of multimedia artist, musician, and educator Antonín Gazda, a long-time collaborator of Daniel Vlček. Together, they will create a multi-channel sound installation tailored to the gallery space, lending the exhibition the qualities of an immersive soundscape.

Although the Roudnice exhibition features a creative dialogue between artists spanning generations, paradoxically, this generational overlap is ultimately marginal. Common ground—such as openness to new ideas, an interest in nature based on exploring interdisciplinary connections, a fondness for Eastern philosophy, or a deep fascination with the invisible, fluid world of waves of movement, sound, and energy fields—blur the boundaries of generational affiliation or the era that shaped their studies.

The upcoming exhibition will thus, in addition to presenting interesting figures from the Czech art scene—tailored to the specific vaulted space and the intended dialogue—also serve, to a certain extent, as confirmation of the fact that art knows no boundaries. And, to some extent, it will also serve as an exploration of the ideological background that shapes the fundamental motivations behind the common starting points of the artists’ work—artists who, thanks to this opportunity, have unexpectedly found common ground.

Curator: Petra Mazáčová