The exhibition focuses on how Czech art of the first third of the 20th century depicted and evoked the dynamism of the modern era. Futurism, with its emphasis on motion and speed, was a fundamental impulse; however, further stimuli can also be sought outside the circle of futurists. Independent conclusions drawn from the principles of dynamics led some artists (František Kupka, Vojtěch Preissig, Zdeněn Pešánek) to remarkable individual solutions. The exhibition aims to show the connections that exist between seemingly unconnected manifestations. The exhibition has been structured in seven chapters. The chapter MAGIC DRUMS AND CHRONOPHOTOGRAPHY displays optical apparatus working with sequences of detailed phases of motion; in addition to that, it features the ‘chronophotography’ of Étienne-Jules Marey, i.e. special photographs of moving people, animals and objects captured in fast succession, showing the process of walking, running or flying that the senses could not apprehend. The chapter called MOTION AS A THEME, in addition to traditional (though newly upgraded) themes such as dance, deals also with up-to-date motifs of technical civilisation – cars, trains, or trams (Bohumil Kubišta). Ornament is the topic of the chapter RHYTHM AND TIME. It is an abstract recording of the course of time, rendering it either as an endlessly spiralling line or a repeated rhythm. Rhythm and dynamics were starting points for the oeuvre of František Kupka and Vojtěch Preissig. The topic of the chapter DYNAMIC FORCES AND SIMULTANEITY derives from the concept of lines-forces, expressing the inherent dynamism of objects and figures (Otto Gutfreund). Simultaneity is presented as a synthesis of what is seen and thought, an interpenetration of the material and mental worlds. The works of Bohumil Kubišta connected a motif that could be felt by the senses with an abstracted geometric structure. Similarly, the chapter COLOURFUL SCALES expresses the inherent energy of things and figures. Shifts of forms and gradation of colour add a dimension of time to the painting (Antonín Procházka). The last but one chapter, called CIVILIZATIONAL DYNAMISM, focuses on issues of the modern world of the 1920s. The displayed works range from traditional statues (Otakar Švec) to material sculptures (Vincenc Makovský), from objective painting (Josef Šíma), to abstraction (František Gross, Zdenek Rykr). Last but not least, the chapter KINETISM AND IMAGES IN MOTION shows how the use of kinetic motion may contribute to creating a kinetic sculpture (Zdeněk Pešánek), and how the use of variable light prompted dynamic light projections and experimental film (Karel Valter, Irena and Karel Dodal). Its predecessors can be seen in avant-garde photography that worked with the dynamism of light and shade (Jaroslav Rössler, Jaromír Funke).