Michael W. Pospíšil was born in 1955 as a Czech and later also accepted French citizenship.
As a child he acted in multiple important czech films, such as in Vojtěch Jasný’s When the Tomcat Comes and in Karel Zeman’s The Stolen Airship.
After graduating from the prestigious Film Academy of Performing Arts (FAMU) in 1980 he moved to France to live with his french wife Marie-Paule.
There he worked as a director, producer, scriptwriter, editor and director of photography for french TV stations, various large companies and state offices. In 2000 he began his career in cultural diplomacy when he became the director of the Czech Center in Paris (2000 – 2007 and 2011 – 2016) and in Sofia (2007 – 2009) and later became the general director of the Czech Centre network (2009 – 2011). In 2005 he was awarded The French Order of Arts and Letters.
In 2016 Michael W. Pospíšil returns to Prague – in total he lived 31 years in France and 31 years in the Czech republic.
Photography has been his passion since early childhood. After multiple exhibitions in France and Czech republic, this year marks his first photography monograph Paris, Prague, etc… published by KANT. It is a selection of images from the last seven years, predominantly from Paris and Prague, but also from other cities and countries.
The exhibition Paris, etc… shows a collection of photographs from Paris. Simultaneously the French institute in Prague is exhibiting a collection of photographs titled Prague, etc… (from May 19th till July 4th 2020).
This autumn Michael W. Pospíšil will introduce a large exhibition Paris, Prague, etc… in the G 4 gallery in Cheb.
Michael sees more than most people. His photographs of the city’s hidden corners, patterns on flaking walls, fleeting encounters in bars and cafés, multiple street scenes reflected in windows, or seemingly ordinary objects and things that we pass without noticing possess not only unquestioned artistic value, but also provide the viewer with room for personal interpretation. Although Pospíšil does not deny his education as a documentary filmmaker nor his experience with humanist photojournalism, some of his images are quite abstract. Pospíšil’s photographs can also be described as distinctive journal entries through which he has found a way of sharing his worldly experiences. This unique book of distinctive color and black-and-white photographs also features an interview with their equally remarkable and distinctive creator.
(Prof. Vladimír Birgus)
“I began photographing the autoportrait series in 2012 when I first started experimenting with levitation and surreal photography. I was attempting to visualize my relationship with nature and how I feel when I’m in it. Gradually I started to broaden the concept of the portraits. One time I found an old TV by the trash cans and I decided that I will put it in place of my head. I wanted to point out that the outside world offers the best television programme I’ve ever heard of and it indicates my position on television broadcasting in general. In time, the TV completely fell apart, so I knew I’d have to mend it up and exhibit it somewhere; for me it’s a legend. I collect old phones, old mirrors and I always want just one thing for or from them; to put them back in the game for at least a while through an interesting photography. I like this type of photography because it’s the best way to let off steam and it can also be a challenge. I like to push my boundaries, sometimes I’m poignant in pointing something out and I’m always amused by the end result. If I had to say which autoportraits entertain me the most, it’s definitely the ones where I am by the side of my dog love, Boony.”
Petr Hricko was born in Teplice in 1976. His journey towards photography is an unexpected one. As he was twenty-seven years old, he was told he has cancer… When he was staying in the hospital, one of his friends brought him a camera to distract him and that was the moment. Hricko began learning how to photograph and slowly started forgetting about his illness. It was the best therapy one could imagine. Later on, when he was leaving the hospital, he knew that he would never stop photographing. He found a new life style. Ever since 2012, Hricko photographs professionally.
Amongst his favourite subjects of photography are nature, levitations, stories or capturing the atmosphere of the street.
If you’ve ever come across Hricko’s work, it’s very unlikely you’d mistake it for someone else’s. The characteristic light blue overtone of his photographs, magical atmosphere seeping from the images, the captivating expressions in the eyes of the subjects and the unbelievable outlook into nature’s beauty. That’s the world how Petr sees it through the viewfinder of his camera, and it won’t leave you without an emotional response.
When you go to see a ballet performance at the National Theatre, you’re mesmerised by the beautiful ballerinas and dancers. They move around the stage with a smile, grace, elegance and confidence. But have you ever considered how much sweat, work and pain is behind the performance that plays before your eyes? This exhibition brings an insight into the backstage of our most important ballet ensemble.
Martin began photographing ballet in 2010 through a high school friend. At that time Prague’s National Opera needed a photographer to immortalize the Sleeping Beauty production. Martin comments this by saying; “I’ve never photographed dance or ballet before, but I like trying new things and I found myself really enjoying it. Especially if one can witness how much work ballet really is, one really wants to give them a round of applause! Later on, I got the opportunity to work with the Ballet of the National Theatre. To me it’s fascinating to see the creation of the productions, to see the hard work of the dancers who are basically making a living through their hobby. Most people say to themselves; we’re going to the theatre. But no one realizes that it’s not only a group of enthusiasts dancing on the stage, it’s also a group of professionals who have been working hard since their childhood to be able to dance in such an important ensemble. I like theatre backstage, that strange magic that parts of the theatre that aren’t open to the public have.”
Martin Divisek was born in Prague on the 11th of May, 1985. He became an avid photographer in elementary school and a few years later his grandfather bought him the classical Exa SLR film strip camera.
He graduated from the Secondary Industrial School of Communication Technology and later spent a few years studying at the Higher Vocational School of Journalism. During his studies, he contributed to the Šíp journal. In 2006, he began working in Prague’s Central Publishing House for Regional Journals that covered news regarding mostly politics, sports and culture. At this moment, he also photographs for the international journalistic European Pressphoto Agency. He has worked closely with the Ballet of the National Theatre for over eight years.
He likes to spend his free time in the nature or at the mountains. He is married and has a son.
2011 – Czech Press Photo, Special Recognition in the “Sport” category
2013 – Czech Press Photo, 2nd place in the category of “People who are talked about”
2014 – Czech Press Photo, Audience Award and Special Recognition in the “Reportage” category
2015 – Getty Images European Editorial Awards – 3rd place in the “News Portfolio of the Year” category
2016 – Czech Press Photo, finalist nomination in the “Current’s Day Problems” category
2018 – Czech Press Photo, finalist nomination in the “Culture and Arts” category
Dalibor Indra’s photographs represent a selection of typical truck driver images that the author collected during the last two years of travelling by bus. It’s only when riding a bus is a person sat high enough to be able to look the truck drivers in the eye. Through photography we have the opportunity to peek into otherwise inapproachable and intimate world of strangers. Into a world that balances between the adventure of lands far, far away and immense boredom and solitude of a long ride.
Indra’s photographs aren’t a sociological research piece based on the author’s long lasting interest in the world of truck drivers. The look into the driver’s cabin surprisingly brings about many aesthetically impressive details – the shadows and reflections painted on the drivers’ faces, secondary reflections created by the road, cars and the surroundings – all of this establishes a captivating play within the images. All it takes is to focus for a bit and start to play.
The outlooks into the drivers’ cabins are accompanied by images from the rest areas, where the multi-ton colossi turn into a temporary hotels on wheels. This creates a unique place with an unmistakeable environment. The drivers can all of the sudden communicated differently than just through walkie talkies. They pull out their camping chairs and gas burners, refill their drinking water and collect their strengths to complete the next bit of their journey. It’s a form of a camping site, only the surrounding lakes and forests are replaced with highways and ruined countryside.
Dalibor Indra (*1996) completed the General Grammar School in Brno in 2016, and it was during his studies that he developed his interest in photography. In 2014 he began frequenting the Photogenia Photographic Institute which helped him direct the course of his work. He’s been studying at the Advertising Photography Studio at Tomas Bata University in Zlin since 2016.
The work of Dalibor Indra has a documentary aspect to it, yet we can see a fascination with the modern society and its influence on the outside world. After the author finds a suitable topic, he then spends a long while developing it and working on it. Especially noteworthy is the author’s unmissable approach to the topic at hand.
Who are we and what shapes us? We, Czechs, like discussing politics in a pub with a mug of beer which tastes so good with ‘svíčková’ and dumplings or with good smoked meats. At weekends, we like going out to the cottage and do some barbecue and, of course, mushroom picking. We have the best hockey in the world; we are in the first place in oilseed rape growing, and the ‘golden Czech hands’ can do anything. At Christmas, Czech carps from Czech ponds are a must and on New Year’s Eve, there must always be a special open-face sandwich. And all of this is washed down with beer – yes, a Pilsner, of course. A real Czech ‘Turkish coffee’ is the culmination of an exotic experience. Sometimes, we recall ‘Father Masaryk’ and the First Republic. Yes, everything was better at that time; people were better; beer cost less and we loved each other much more. And all above that, there is the Czechia for Czech People slogan (which is so much popular with right-wing extremists) which stands for that we definitely do not want to share Czechia with anyone!
In my set of photographs, I reflect on the Czech society in an ironic, funny and visually transparent way. It is not about criticism or evaluation because I am part of that society, too! I show what we are like only through the unofficial national symbols and stereotypes which define us. My objective was to create a visual essence of ‘being Czech’ or a promo for the Czech society. All of this with humour and easiness – after all, it is another national symbol of Czechs that we like making fun of ourselves.
I studied photography at the Vocational Training School of Services in Prague-Vysočany under the guidance of Doc. Aleš Kuneš. After graduation, I started studying at the Institute of Creative Photography of Silesian University in Opava where I am about to complete my Master’s degree programme. I have been working as a teacher of photography at SŠ-COPTH, for the students of Photography. Besides teaching, I am also involved in minor photography works for various customers.
My production is hard to categorise in a specific genre, but I always seek to work with straightforwardness and transparency of photographs and with a pure visual form. I like playing with absurd topics about us, Czechs.
My works have been displayed at various venues, e.g. at the Festival of Photography in Blatná, in the House of Arts in Opava or at the PraguePhoto exhibition.
(CV) Petr Cepela (*1961) graduated from the Faculty of Electrical Engineering of the Czech Technical University in Prague. Later on he began working in the field of computer graphics and information technologies. Currently he collaborates with various different media as a photographer.
Photography fascinates me by the range of themes that I can pick and choose from depending on my mood and needs. One of my favorites is to capture the magical atmosphere of a city and its life. That’s why a backpack filled with photography gear is my trusted travel partner. This year’s summer visit to France yielded this series. Whenever I look at it, I travel back to the place and moment of pressing the shutter………
M. A. Martin got into making photographs at the age of ten. To this day, he has always stuck to film photography in medium format for shooting, and then finalises his pictures himself on a digital printer.
Along with creating several photo workshops in various places, he has been involved in running two such clubs in his region for many years now.
He was born and grew up in the north of France, a land with open horizons, a land of wind and cloudy overcast skies. This territory left its mark very early on his childhood which he lived close to nature.
It is from this very Nature that Michel Arthur draws his inspiration, in search of bewitching atmospheres and unique lights.
He tries to capture the essence and the poetry of those large spaces devoid of human presence,the emotion of those suspended moments, the dreamlike character of lands of shadow and light.
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.
His black and white photographs have always elicited emotion. Expressive, suggestive, unsettling messages about humanity and it’s darker side. Antonin Kratochvil (*1947, Lovosice) photographed tens of war conflicts, humanitarian catastrophes, but also celebrities. And he photographed them in the same way – like a social portrait. Four times a laureate of the World Press Photo award, one of the one hundred most influential figures of world photography according to the American Photo journal. Who is this man that creates art even in the fury of wars? We wanted to make a movie about him.
His work, motivation, way of seeing, selection of themes and original style reflect not only great talent, but also an extraordinary life. He once was the class black sheep, an immigrant, homeless, a criminal, a foreign legion soldier but also a globetrotter and a star of his industry. The turbulence of fate typical for his life also affected the film preparations – Antonin Kratochvil fell into a critical health state in the spring of 2017 and after waking up from weeks long coma he had to learn how to walk again. A few months later we reached another breaking point. In the midst of the Me Too campaign, Kratochvil was accused of sexual harassment by his former american colleague. Even though Kratochvíi denied any wrong doings, the situation culminated in him leaving the renowned photography agency Seven that he founded alongside another six famous photographers in 2001.
The backbone of our film is the broader picture – the story of a family separated by the Iron Curtain. The story of talent that, regardless of circumstances, manifested itself across three generations of photographers, from Antonin’s father Jaroslav to Antonin’s son Michael.
Antonin Kratochvil emigrated from Czechoslovakia in 1967 and left behind his at the time unborn son. He got to meet Michael for the first time after nineteen long years. Michael had no notion of his father Antonin for a long time. At home, he was even told Antonin was dead. Michael, now also a photographer, examines his father’s work and the peripeteia of his life, he meets with Antonin’s colleagues and friends. He tackles parts of the past that both of them have tried to avoid before.
During the shoot the producer Martin Hulovec from Punk Film, the director Andrea Sedlackova and both photographers agreed that each of them would independently map the journey, portrait each other and capture the places visited during the shoot. From the apocalyptic Chernobyl where Antonin held his photography workshops or the family visits to the Traiskirchen refugee camp in Austria where Antonin himself was held more than fifty years ago to unique corners of New York City where Antonin found the right light and shadow play for his famous portraits… The final works of Antonin and Michael Kratochvil are presented in this unique exhibition.
Creative producer of film „My father Antonin Kratochvil“, Ceská televize (Czech television)
(director Andrea Sedlackova, producer Martin Hulovec, Punk Film – in cinemas from 4. 6. 2020)
Antonin Kratochvil was born on 12th of April 1947 in Lovosice. He is one of the best known contemporary Czech reportage and portrait photographers who has earned respect and recognition around the world. He is amongst the founding members of the VII Photo Agency which he is currently no longer affiliated with. He is a member of the 400 ASA group that connects renowned personalities of Czech photography and jointly presents their work. Other members apart from Antonin Kratochvil include Karel Cudlin, Jan Dobrovsky, Alzbeta Jungrova, Jan Mihalicek, Tomki Nemec and Martin Wagner.
Antonin Kratochvil mostly devotes himself to documentary photography for which he has received multiple international awards including four World Press Photo prizes. He was ranked amongst the hundred most influential personalities of world photography by the American Photo magazine in 1999.
Antonin Kratochvil’s work in world renowned; his photographs have been published in a variety of newspapers and journals and he is the author and co-author of a number of exhibitions and photographical publications.
Michael Kratochvil (*1967) followed in his father’s footsteps and also became a professional photographer. He graduated from the Institute of Creative Photography in Opava and in addition to reportage photography also focuses on advertising photography and portraits.
Presentation of photographes in Leica Gallery Café
Michael sees more than most people. His photographs of hidden corners of the city, patterns on flaking walls, fleeting encounters in bars and cafés, multiple street scenes reflected in windows, or seemingly ordinary objects and things that we pass without noticing possess not only unquestioned artistic value, but also provide the viewer with room for personal interpretation. Although Pospíšil does not deny his education as a documentary filmmaker nor his experience with humanist photojournalism, some of his images are quite abstract. Pospíšil’s photographs can also be described as distinctive journal entries through which he has found a way of sharing his worldly experiences. This unique book of distinctive color and black-and-white photographs also features an interview with their equally remarkable and distinctive creator. (Prof. Vladimír Birgus)
Leona Telinova lives and works in Prague. She studied photography under Prof. Pavel Banka at the Faculty of Art and Design of UJEP in Usti nad Labem. In her work – that overlaps with other art forms such as painting and puppet theatre – she doesn’t use photography to record reality but more so as a medium through which she creates independent art works. After noire sets staged in urban night exteriors of Berlin, Usti nad Labem or Prague’s Nusle, the author is now exploring nighttime forest. The views of landscapes lighted by the full moon or wildly growing weird mushrooms are nothing more but a carefully arranged still life. They are created on a studio table the photographer shares with her friend, the stage designer and puppeteer Honza Bazant. She is inspired not only by the ubiquitous puppet clutter but also by the very principle of shadow theatre. The still life is then photographed on a digital camera and the resulting photos are not computer manipulated in any way.
The stories of the Little Forest grow gradually. They emerge randomly, like strange mushrooms. Just like animals and other beings, they come about from the capricious world of light and shadow. They germinate in compost full of something that could be either dead or alive.
In the Little Forest it is always dark and the night is lit by the full moon that creates sharp shadows.
The Little Forest is inhabited by various beings. Some live in the underground burrows and others on the Umbilical Islands. The Forest grows shining puffballs, caterpillar mushrooms parasitizing on insect corpses and many other wonderful fungi. The animals and insects have penetrated the Forest from the City where toys are lost, choosing unusual hiding places. While the deer traditionally move around on forest pastures, the giraffes and elephants cozied up on the bottom of a lake. There are few birds in the Little Forest. Maybe they are frightened by the lively air traffic of the neighboring city.
In the Little Forest, everyone lives in mutual symbiosis, forming the body of a single Being. With this Being everything ends and begins again…
Kladno hraje v díle Jiřího Hankeho (nar. 1944) obdobně zásadní roli jako Ostrava ve fotografiích Viktora Koláře nebo Sovinec a jeho okolí v tvorbě Jindřicha Štreita. V rodném městě Hanke vytvořil řadu známých cyklů, k jakým patří Lidé z Podprůhonu (1974–1989), Pohledy z okna mého bytu (1981–2003) nebo Podnikatelé (1992–1995) – a také tam už po čtyřiatřicet let organizuje fotografické výstavy v Malé galerii České spořitelny. Jeho nynější expozice v Leica Gallery Prague zahrnuje jak některé známé fotografie ze zmíněných souborů, tak mnohé dosud nepublikované snímky. Přes všechny motivické i stylové rozdíly je spojuje jednota místa průmyslového města v blízkosti Prahy, doba vzniku během desetiletí,které začínalo hlubokou totalitou a skončilo návratem svobody, i subjektivní autorský pohled, jenž s jemnou ironií a suchým humorem objevuje ve zdánlivě banálních situacích a prostředích výmluvné obrazové symboly.
Hanke patří vedle Gustava Aulehly, Viktora Koláře, Bohdana Holomíčka, Jaroslava Kučery či Dany Kyndrové k výrazné skupině autorů bez formálního fotografického vzdělání, kteří rozhodujícím způsobem obohatili českou dokumentární fotografii osmdesátých let. Jejich snímky, vytvářené z vlastní potřeby a často s apriorní rezignací na publikování, jsou daleko otevřenější a autentičtější než cenzurou a autocenzurou svázané záběry oficiálních fotoreportérů. Zobrazují tragikomičnost husákovské normalizace s pokračující devastací prostředí i lidí, všudypřítomnými ideologickými hesly, prázdnými obchody a pompézními oslavami komunistických svátků na jedné straně a úlevnými úniky většiny lidí z šedé reality do soukromého světa svých rodin a přátel, na zahrádky, do hospod či na tancovačky na straně druhé. Na Hankeho zrnitých černobílých fotografiích vidíme syrový a přitom mnohdy až překvapivě poetický obraz smutného města bez turistů, v němž se prolíná prostý život starých dělnických rodin s dravějším životním stylem nových generací, je akcentován kontrast mezi oficiálností a spontánností, a jsou zachyceny přízračné kontrapunkty mezi jásavými hesly a omšelými domy, na nichž tato hesla visela. Hanke se vyhýbá prvoplánovým vtipům, k jakým by mohly mnohé motivy svádět. Jeho pohled je mnohovrstevnatější a komplexnější, není to sarkastický škleb, ale spíše čechovovský hořký smích skrze slzy, v němž ale nechybí porozumění pro lidské slabosti. Autor není ve svých snímcích jenom vnějším pozorovatelem tehdejšího života, ale i jeho přímým účastníkem. Ukazuje nám svou vlastní rodinu při oslavách Vánoc, přátele, kteří v Praze nesměli vystavovat, sjíždějící se do Kladna na jím organizované výstavy výtvarníků a fotografů, pohledy z okna vlastního bytu. Hankeho soubor je obrazem konkrétního města osmdesátých let, jak ho svým subjektivním pohledem viděl jeden jeho obyvatel, patřící k výrazným osobnostem českého fotografického dokumentu. Ale je také zobecňujícím obrazem doby, v níž se tak mnoho muselo a tak málo smělo.
Vladimír Birgus, kurátor výstavy
Jiří Hanke je zastupován Leica Gallery Prague. Více se o něm dozvíte v odkazu FOTOGRAFOVÉ.
Výstava je součástí FOTOGRAF festivalu, který v měsíci říjnu probíhá v devíti pražských galeriích. Festival organizuje platforma FOTOGRAF v rámci partnerství s Magistrátem hlavního města Prahy. Více na www.fotografestival.cz
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.
Milota Havrankova (*1945) belongs to a first generation of Czechoslovak photographers with university education; she graduated from art photography from Prague’s FAMU at the end of 1960s. Her work is characterized by a variety of technological and thought processes and a very wide range of artistic disciplines used, from monumental and staged photography to experimental film and design.
Milota Havrankova entered the art scene during her studies. During that time of Czechoslovak photography, a young generation of photographers emerged who weren’t frightened to display a strong disrespect to the contemporary prevailing genres or formal traditions, or to socially or politically engaged topics. The photographical “new wave” with its surreally expressive and lyrically staged images was a terminological and expressive branch of the new wave of Czechoslovak cinematography. The photography also brought aspects of surrealism back to life, however the attempt to capture its imaginative potential was made in completely new conditions. Visual, literary, photographical or even film strategies could appear in photography in mutual symbiosis as photography’s technical reproduction potential set no limit to experimentation. And so at this time the author organically discovered the quality of the staged form, which she then transformed and visually appraised and uncovered the invisible logic of relationships and emotions in her spontaneous compositions. The key motivator of Milota Havrankova’s work is her desire to discover herself and her world through seemingly detached and objective technical methods. Her work process shows first and foremost her uncompromising stance on the question of artistic freedom.
The center of gravity of the “View from a Window” cycle is the author’s work in the hectic 1960s and 1970s, a time that the Czechoslovak society experienced not only euphoria but also a crushing skepticism and moral destruction due to the incoming normalization. In the background of these changes Milota Havrankova’s work crystallized. She oscillated between individual artistic freedom and political oppression. She found the base for her work in exploring her own truth from a fictitious reality. Its no coincidence her photographs became a visual part of the legendary student magazine The Echo of Bratislava University Students printed in 1964-1968 as one of the few publications critically and defiantly reflecting the contemporary sociopolitical and cultural happenings. Milota’s “View from a Window” showcases the clash of two realities, an inner and external one, and the subliminal and arbitrary infiltration of life’s authentic experience in a world of photo image filled with conscious truths, lies and hints.
Anna Vartecka, curator
1945: Born 7th August in Košice, Slovakia, as Milota Marková
1960-64: Studied photography at the School of Applied Arts, Bratislava, Slovakia
1963-65: Employed as photo-reporter by Koliba Film Studios, Bratislava, Slovakia, where she produced her first art photos
1966-71: Studied creative photography at Prague Film Academy (FAMU) under Prof. Ján Šmok
1970: Solo exhibition at Photo Gallery in Krakow, Poland, under the name Milota Marková
1972-77: Taught photography at the School of Applied Arts, Bratislava, Slovakia
1975: Solo exhibition Women in Slovak Literature, Chamber gallery, Martin, Slovakia
1977-91: Freelance photographer (industrial, commercial, fashion, advertising)
1978: Solo exhibition at the Cyprián Majerník Gallery, Bratislava
1980: Solo exhibition Monumental Photography, Photo Medium Art Gallery, Wrocław, Poland
1982: Solo exhibition Monumental Photography, Photo gallery, Warsaw, Poland
1989: Solo exhibition, Burgenlandisches Landesmuseum, Eisenstadt, Austria
1990: Co-founded Galéria X in Bratislava, where she showed her photos of fashion, jewellery and artworks
1991-2007: Head of Creative Photography Studio and member of Academic Senate, AFAD, Bratislava, Slovakia
1992: Honorable Mention, Podvedomé súhry (Subconscious Interplay), International Biennale of Arts and Crafts, Bratislava, Slovakia; exhibited her own textile designs, Galleri 101, Kristiansand, Norway
1994-2005: External lecturer at Dept. of Photography, FAMU, Prague
1994: Solo exhibition, Ars Temporis gallery, Klagenfurt, Austria
1995: Senior lecturer in photography, Prague Film Academy (FAMU); the catalogue Milota 1974-1994 named photographic publication of the year by Czech Photo; solo exhibition and video projection Milota Havránková, Gallery Teatru NN, Lublin, Poland
1997: Special prize of Eva magazine at Brno International Fashion Fair, STYL 97; solo exhibition of digital photography and photo design with live fashion show, Trade Fair Palace, Prague
2000: Solo exhibition Nutná hra (Necessary Game), Josef Sudek House of Photography, Prague; solo exhibition Milota, Nova Gallery, Košice, Slovakia
2002: Appointed head of Photography and New Media, member of Departmental and Artistic Board, AFAD, Bratislava, Slovakia
2004: Solo exhibition Milota, Koloman Sokol Gallery, Washington DC, USA
2005: Solo exhibition Milota Havránková, Gallery 10, Washington DC, USA; Zelený dom (Green Home): 2 solo exhibitions at Bratislava City Gallery and Gallery Art Factory, Prague
from 2006: Member of Departmental Board for doctoral studies, AFAD, Bratislava, Slovakia
2006: Appointed Professor of Liberal Arts, AFAD, Bratislava, Slovakia
2007: Solo exhibition V kružnici M. H. (In the M.H. Circle), Nitra gallery, Slovakia
2007-11: Director of Galerie PF 01, Bratislava, Slovakia
2008: Crystal Wing award for outstanding contribution to the visual arts in Slovakia; solo exhibition Bytie (Being), Slovak Institute, Vienna, Austria
2009: Solo exhibition Modrá strecha (Blue Roof), Embassy of the Slovak Republic, London, UK
2010: Documentary portrait of Milota Havránková in the GEN.sk TV series about outstanding Slovaks
2011: Solo exhibition inBOND Performing Gallery, Saatchi gallery, London, UK
2012: Solo exhibition inBOND, Central European House of Photography, Bratislava, Slovakia
2012-13: Taught at Dept. of Photography, FAMU, Prague
from 2013: Head of Photomedia Studio, Dept. of Intermedia and Digital Media, Banská Bystrica Academy of Art, Slovakia
2014: Named Professional Photographer of the Year by the Central European House of Photography; received Slovak National Council Award for Humanitarian Education and Culture for photography; participated in the international collective exhibition Grey Gold: Czech and Slovak Artists 65+ In the Brno House of Arts; solo exhibition Selected Works, 1964-2014, gallery of Slovak union of Visual Arts, Bratislava, Slovakia
2015: Collective exhibition Grey Gold: Czech and Slovak Artists aged 65 and over, Nitra gallery, Slovakia
2015-2016: Milota – exhibition of the Slovak photographer Milota Havrankova, Dum u Kamenneho zvonu, Prague City Gallery
2019-2020: Milota Havrankova: TORSO | Laboratory of Eternal Returns, East Slovak Gallery in Kosice | SK
Museum of Decorative Arts, Prague; Prague City Gallery; Moravian Gallery, Brno; National Gallery of Slovakia, Bratislava, Slovakia; Matica slovenská, Martin, Slovakia; Turiec gallery, Martin, Slovakia; Slovak National Museum of Literature, Martin, Slovakia
Anna works as an art theorist, exhibition curator and since 2001 as a lecturer at the Department of History and Theory of Art at FUD UJEP in Usti nad Labem. She focuses on the theory and history of photography, graphical design and on the topic and critique of contemporary visual art and it’s overarch into other theoretical disciplines such as gender studies and sociology. She publishes technical texts in domestic and international journals, catalogues and monographies. Since 2012 she’s working on a research in the field of late work of the modernist generation of Czech and Slovak female artists aged 65 and over. As a curator Anna contributed to many domestic and international projects, for example:
· Milota Havrankova: TORSO/Laboratory of Eternal Returns, East Slovak Gallery in Kosice/ SK, 2019/20
· Blurred Topography – Pilgrims over the Sea of Fog, part of the annual FUD UJEP Monumental Topography project, Emil Filla Gallery in Usti nad Labem, 2018
· Grey Gold: At my fingertips, Kunstverein in Schwerin/ DE, 2017/18
· Milota – exhibition of the Slovak photographer Milota Havrankova, Dum U Kameneho zvonu, Prague City Gallery, 2015/16
· Tectonics of memory. Movement of personal memories in Czech and Slovak art of the young generation, Brno House of Arts, 2015
· Grey Gold. Late work of Czech and Slovak female artists aged 65 and over, Brno House of Arts, 2013