Cermak Eisenkraft gallery _ Dubai 2015 by TomDesign

About

“Beauty is truth, truth beauty” John Keats

About The company Cermak - Eisenkraft was founded in 2014 with the ambition of becoming a leading dealer in post - war and contemporary Czech and international art. The company’s founders, Tomáš Zapletal and David Železný, who were independently active on the Czech art market before the brand was established, set themselves the goal of creating a company of international repute whose unsurpassed standards will contribute to cultivating the art market in the Czech Republic. The founders of the company took its name from the recent history of their families as an expression of traditional and conservative values. Tomáš Zapletal’s forebears include Anton Cermak, the celebrated mayor of Chicago (1873 Kladno – 1933 Miami). Cermak was a man who earned renown through his honesty, unyielding character and for bringing many gangsters to justice, including the best-known of them all – Al Capone. Cermak was an eminent politician after whom one of Chicago’s main squares is named, and he died after being hit by an assassin’s bullet during an attempt to kill President elect Franklin D. Roosevelt. While being taken to hospital, he uttered the memorable words: “I am glad it was me instead of you.” The name of Eisenkraft is the original Jewish name of David Železný’s family. The last person to bear the name was his grandfather Tordes (Teodor) Eisenkraft (1916 Těšín – 1991 Prague), one of the heroes of the Second World War who took part in the toughest fighting at Sokolov with the army of General Ludvík Svoboda. He was seriously injured in the fighting but miraculously survived. He was given numerous awards for valour, including the Czechoslovak War Cross.

Mission Art dealing and the support of younger artistic positions present two further focal points. Both in dealing with the works of established artists (e.g. Magritte, Hodler, Klee, Léger, Picasso, Richter, Vallotton, Warhol) and the presentation of much younger art, the emphasis is upon the fields of painting, sculpture, and works on paper.The key focus is on education of clients and visitors. The gallery organizes seminars and events focusing on education especially context and history of art. In this area is the described concept unique in Czech Republic.

Basic Principles Be honest and fair, and uphold Cermak Eisekraft’s ethical standards in all of our business activities and relationships. ___ Respect and maintain the confidentiality of information obtained from the company. ___ Respect and maintain the confidentiality of information obtained from our clients. ___ Protect assets entrusted to us by our clients. ___ Report any illegal or unethical behavior or any other behavior that violates this Code or company policies. ___ In addition to the Basic Principles listed above, the following topics require special attention. Compliance with laws, rules and regulations It is an important challenge for all of us to understand how laws, rules and regulations may apply to our business activities. We are expected to obey all of the laws, rules and regulations that govern our business conduct.

Fair Dealing We should endeavor to deal fairly with our clients, suppliers, competitors and other Employees. No one should take unfair advantage of anyone else through manipulation, concealment, abuse of privileged information, misrepresentation of material facts, or any other unfair dealing practice. Cermak Eisenkraft will always withdraw from a deal that doesn’t correspond to its professional standard and code of conduct – without exception.

Confidentiality We are required to maintain the confidentiality and respect the proprietary nature of information entrusted to us by Cermak Eisekraft’s or its clients, except when disclosure is authorized or legally mandated. Confidential information includes all non-public information that might be of use to competitors, or harmful to Cermak Eisekraft’s or its clients, if disclosed.

Quality Cermak Eisenkraft offers its clients only art of the highest quality, art that the company vouches for absolutely and will continue to do so in future.

Fair Prices Cermak Eisenkraft offers art to its clients at fair prices; maintaining the client’s trust is its greatest priority.

Transparency Each client has the right to the greatest possible information about the work on offer. Thorough research into each picture or sculpture is one of the cornerstones of our company’s work.

Contemporary Art

Peter Angermann Šimon Brejcha Federico Díaz Jiří Georg Dokoupil Magdalena Jetelova Milan Kunc Jan Mikulka

Peter Angermann * 1945

Initially, from 1966 to 1968, Peter Angermann, who was born in 1945 in Rehau, a small town in Upper Franconia in Bavaria, studied at the Academy of Fine Arts, Nuremberg, Then, in autumn 1968, he was drawn to the class run by Joseph Beuys at the Kunstakademie Düsseldorf. Constantly showered with his teacher’s praise, he nevertheless – or perhaps precisely for that reason – became co-founder of the legendary YIUP group, which from 1969 on attracted attention inside the academy, and above all in the Beuys class, through provocative actions that were directed even against Beuys himself. On leaving the academy in 1972, Angermann saw that in artistic terms, he had come away empty-handed; his passion for painting had not exactly been fostered by Beuys. Not until a year later, once he had largely jettisoned Beuys’s ideas, did Angermann make a new start in the field of painting. A meeting with his former classmate Milan Kunc proved exceptionally fruitful in this situation. Together they developed a new visual language that was closely oriented to everyday life, while simultaneously being fired by a witty, anarchic impulse. In 1979 Jan Knap joined the two friends, and group NORMAL was born. They championed the rejection of individualism and, in line with this, created a large number of joint works – paintings that in some cases were done in public. By 1981, however, each of the three members had progressed so far in his own artistic development that it was decided to disband the group. Standing now on his own two feet, Peter Angermann has retained the sociocritical impulse from his earlier works – coupled with that provocative and at times absurdist humour that marks many of his paintings to this day. In 1976 he surprised the world with the first of his “bear paintings” and what was to be the beginning of a series that has kept on expanding. In fact these are paintings of family life, which, while sharpening our eye for the human condition under the strict use of the bear guise, do not baulk at depicting idylls. Ten years later Angermann pulled another surprise out of the hat – at first through the sheer joy of exploring a genre which at that time was frowned on: en plein air painting. In the meantime, this group of works has found a permanent place in his oeuvre and has led him to discover a virtuosity as colourist that also distinguishes his mature, themed works. The two of them – his themed works and his landscapes – alternate without more ado in Angermann’s work, and it is this liaison that makes Angermann so unique in today’s art scene. Parallel to this, Peter Angermann has also passed his artistic experience on to a new generation of artists, at first through guest professorships at Reykjavík and Kassel, followed from 1996 to 2002 by a professorship at the Städelschule in Frankfurt am Main, and then from 2002 to 2010 at the Academy of Fine Arts, Nuremberg.

Selected Solo Exhibitions China Art Museum, Shanghai, China

Trevi Flash Art Museum, Palazzo Lucarni, Italy

Neues Museum Nürnberg, Germany

Living Art Museum, Reykjavik, Iceland

Gallery M, Korea

SA National Gallery, Cape Town, South Africa

Museen der Stadt Bamberg, Germany

1980’s “Times Square Show”, NYC, USA

Sakip Sabanci Müzesi, Istanbul, Turkey

Casa Bertagnolla 2 Oil on canvas, 50 x 40 cm, 1992

San Francisco Bay #13 Oil on canvas, 75 x 100 cm, 2010

Šimon Brejcha * 1963 Šimon had his works at the important exhibitions of graphic art all around the world. His prints were chosen many times for the international exhibitions in China, Japan, Poland, Austria, Germany. He also participated in the group exhibitions in the United States, South Africa, Belgium. Using his printing press, Šimon Brejcha encloses flattened fragile constructions within the limits of the surface. As the relationship between load and support is fundamentally disturbed, an infinite territory of interdependent laws is created. A perception that this relationship can collapse or disappear is ever present. During the printing process, the space is created partly by chance and partly by the moment of surprise.

Artist’s Statement I don’t draw the reality around me. I capture the reality differently. I am interested in the traces of it’s texture. They represent all the meanings and stories to me. I have chosen nature as the main topic of my work. By the nature I mean especially the most ordinary remains of creatures, plants or organisms, which are still around me and which are waiting to be discovered, so they could become a part of my picture. I also choose the simplest unimportant things in my surroundings (such as cotton buds, toothpicks or wires). From all these materials ( of natural or different origin) or their casts I create serial compositions or three-dimensional small sculptures or constructions, which I then press into thick paperboards under high pressure. Then, the paperboards serve as an intaglio print matrix. After that, the original elements are physically present in every print, even though they are not always recognizable and every single element disappears in the entirety or it is uncleared by the printing process. We discover the elements only after a careful and detailed observation. Eventually in my prints we find, what we are often overlook. See what you don’t see.

Selected Exhibitions

Selected Awards

IPCNY and IPCNY in Christie’s, New York and Texas, USA

2x IPCNY, New York, USA

Bourglinster, Luxembourg

The Print of the Year 2005, 2010, 2011,

7th International Graphic Exhibition- Beograd, Serbia

2012, 2013, Prague

FIG, Bilbao, Spain

Nomination Fig Price Bilbao, Spain

Kunstverein Coburg, Germany Ikonenmuseum, Frankfurt am Main, Germany Picturale Est, Strassburg, France Print Triennial, Osaka, Japan

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House Intaglio, 80 x 80 cm, 2015

Black Holes Trap Intaglio, silkscreen, 300 x 80 cm, 2015

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Weed in the Garden of Delights Intaglio, silkscreen, 124 x 200 cm, 2015

Infrontinbehind Intaglio, silkscreen, 124 x 200 cm, 2015

Federico Díaz * 1971 a visual activist of Czech - Argentinean descent, lives and works in Prague. Since the 1990s he has used new media to reveal immaterial aspects of everyday reality of our natural environment which are elusive through primary human senses. Díaz’s work is typified by the language of algorithmically - generated art and systems art, increasingly more intense channels of direct communication with the viewer and the ability to follow his basic creative premise, which says that art is created without the touch of the human hand. He uses media and technologies as a socio-political catalyst of social changes. Recently Diaz’ work has shown interest in the so-called ‘mass ornament’, a concept introduced for the first time by German philosopher, member of the Frankfurt School, Siegfried Kracauer. From that perspective, distinctive sociocultural features of a certain location are materialized in people’s movements, in thus manifested minute nuances of everyday routine acts. Díaz tries to approach these primarily intellectually conceivable marginalia by means of a visual language of his own. This incline of his can be followed since his work Outside Itself made for the Venice Biennial, currently gaining momentum and becoming the decisive binding element of Díaz’ oeuvre, as we can best see in the project You Welded the Ornament of The Times, made for the Cafa Museum in Beijing. Thus a change occurs also in Díaz’ formerly rather techno-optimistic approach. He realizes that parameters of the contemporary technology society require a reflection with a broader spectrum of means. Science and technology alone can no longer give enough of answers one needs. That is why Díaz chooses the path of a much deeper analysis of what is real, based upon his study of materials as building blocks of existence, that connect, along seemingly indirect lines, man with his both natural and artificially formed environment. These tendencies can best be seen in Díaz’ projects Etalon for the Sao Paulo Biennial or his study for the Consistency project for Faena, Buenos Aires. MoMA PS1 founder Alanna Heiss comments, “Federico’s work embraces new and alternate ways of creating and communicating, and I imagine that five years from now, he will be seen as a visionary within the art world.”

Selected Exhibitions Prague Castle - Belvedere, Prague

MoMA PS1, Miami Art Basel, USA

Mori Art Museum, Tokyo, Japan

The Florence Biennale and

CAFA Museum Beijing, China

at the 53rd Venice Biennale, Italy

Institute of Contemporary Arts London, UK Center for Art and Media Karlsruhe, Germany

In 2010 he represented Czech art

Ars Electronica Linz, Germany

at the World Expo 2010 in Shanghai.

Massachusetts Museum of Contemporary Art, USA

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A view to solo exhibition at Prague Castle - Belvedere, 2015, Czech Republic

Subtitle Object, Combined technique, h. 3 m, 2013-4

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Eccentric Gravity series Airbrush on canvas, 225 x 240 cm, 2015

Eccentric Gravity series Airbrush on canvas, 248 x 450 cm, 2015

Eccentric Gravity series Airbrush on canvas, 225 x 240 cm, 2015

Jiří Georg Dokoupil * 1954 Jiří Dokoupil was born in Krnov, former Czechoslovakia, in 1954. After the invasion of the Soviet army in Prague in 1968, he escaped with his family over Austria to Germany. In 1976 he began studying at the Academy of Fine Arts in Cologne. Later on he also attended classes at the Universities of Frankfurt and the Cooper Union in New York, where he studied among others under German concept artist Hans Haacke. The influence of Haacke is evident in Dokoupil‘s early work. From 1983–84 Dokoupil was guest professor at the Academy of Fine Arts of Düsseldorf and 1989 in Madrid. In 1979 Dokoupil founded the group Mülheimer Freiheit with artists such as Hans Peter Adamski, Peter Bömmels and Walter Dahn. The group was associated with the art dealer Paul Maenz who organised Dokoupil‘s first solo exhibition in 1982. In their shared studio in Cologne on a street named Mülheimer Freiheit, the six Jungen Wilden sought to explore a contemporary expression for their art by using a neoexpressive, figurative style of intensely colourful painting with traditional subjects and by overriding the intellectual, reduced formal language of Minimal and Conceptual Art. “I’d come to realize that the conceptual artists had become liars,” Dokoupil has said. “What they had promised us was salvation, art without form. But I’d go into a gallery and there would be nothing to see, and it would be for a lot of money – that just couldn’t be it.” But already in an early stage Dokoupil developed a less wild, rather unusual method of working and soon found his own radical subjective way with individual considerations. With his “book painting” shown at Documenta 7, Kassel, in 1982, Dokoupil attracted the attention of the art world. It was a gigantic material painting called God, show me your balls, a kind of homage to a Julian Schnabel plate painting, (which were made of broken ceramic dishes collaged into an image). Schnabel was not invited to participate in the exhibition – in Dokoupil‘s eyes a serious effront. Since then – besides the early group exhibitions with the Mülheimer Freiheit – Dokoupil’s work has been seen in numerous one-man shows in galleries, museums and at other cultural sites worldwide.

Selected Exhibitions Galerie Bruno Bischofberger and

Galerie Paul Maenz, Köln, Germany

Galerie Andrea Caratsch, Zürich, Switzerland

Tony Shafrazi Gallery, New York

Kunstmuseum Luzern, Luzern, Switzerland

Robert Miller Gallery, New York

Ben Brown Fine Arts, London, UK

Gallery Mary Boone, New York

Deichtorhallen, Hamburg, Germany

Leo Castelli Gallery, New York

Centraal Museum, Utrecht, Germany

Galería Juana de Aizpuru, Madrid

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Napoleoni ďŹ x Acrylic, pigment and soap bubles on canvas, 90 x 145 cm, 2014

PETEI MOKOI Acrylic, pigment and soap bubles on canvas, 145 x 200 cm, 2014

Magdalena Jetelova * 1946 a noted artist, one of contemporary visualartists who have achieved International acclaim. In the form of wooden chairs, staircases and other objects from the late 1970s and the first half of the 1980s she gave an ironic account of life under the Communist regime. Her participation at unofficial events resulted in her not being allowed to attend international exhibitions. Her artistic activity often bordering on illegality, was reduced to the sphere of artists with a similar outlook on art. In 1983-84 she organized in her former studio in Prague, an event with signalling smoke, thus visualizing the expansion of the “red” conglomeration. After her emigration in 1985, her studio was destroyed. When she lived abroad, she never slackened off in her creative activity. As early as 1983 an invitation came to exhibit in the New Art at the Tate Gallery in London, as the only representative of the Eastern Block countries, and then gradually Magdalena Jetelova joined the international artistic scene. Sculpture became her original stepping out, outside the galleries. She began to deal with relations between an object and space. She deconstrues the present form of architecture by a new visuallty, destabilizes it slace by intentional reversal or repetition of elements, and by a general shift in time she uncovers remote or excluded contexts. She was one or the first artists from the post-Communist countries to start applying new technologies and laser light and made use of coded language of GPS coordinates as well as of modern robotic systems. In the continuously improving technology of new media she has found an opportunity for a revival of communication and for mediation of uncommon emotional experience. She is flexible in her response to place, she extracts it from the common context and alters its structure, with the aim of perceiving different interlayers or time and space. She never forgets social aspects either, such as human reights and care of environment. In 1992-1995 she implemented her monumental project Domestication of Pyramids in several cultural insitutions in Europe, in which she confronted their exhibition space with the strict geometry of Egyptian architecture. Ground for her complex creations is found close to landart, conceptual art, and action. Magdalena Jetelova in 1990-2004 was teacher at the State Art Academy in Düsseldorf, from 2004 to the end of 2012 professor at the Academy in Munich.

Selected Exhibitions

Gwangju Biennale in South Korea, 54th Bienale in Venice

Museu d’Art Contemporani de Barcelona, Spain

MAK, Vienna, Austria

Tate Gallery of Art London, UK

The National Gallery in Prague

MoMA, New York, USA Chicago Art Center, USA

Selected Awards

Martin-Grophius-Bau Berlin, Germany Dokumenta 8 in Kassel, Germany Sydney Biennale, Australia

Lovis Corinth Prize, Germany Max Lütz Prize, Stuttgart, Germany Jill Watson Award, Pittsburg, USA

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no title Fume and pigment on canvas, 170 x 290 cm, 2015

Iceland Project Lightbox, 125 x 185 cm, 1999

no title, Fume and pigment on canvas, 150 x 290 cm, 2013

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W端ste (Desert) Fume and pigment on canvas, 160 x 290 cm, 2015

W端ste (Desert) Fume and pigment on canvas, 170 x 250 cm, 2015

Milan Kunc * 1944

“Milan Kunc’s art forms were the flow of the history of western painting crashes against the steep cliffs of the present. This is where flamboyant whorls and deep insights are fashioned. New myths born of the foam.” Hubert Winkels Milan Kunc was born in Prague, Czech Republic. From 1964 to 1967 he studied at the Academy of Fine Arts in Prague. He emigrated to Germany in 1969. From 1970 to 1975 he studied at the Staatliche Kunstakademie in Düsseldorf (Germany) with Prof. Joseph Beuys and Prof. Gerhard Richter. In 1979, he founded “Gruppe Normal” with Jan Knap and Peter Angermann. In 1981 he participated in the legendary Times Square Show in New York. During Kunc’s stay in New York, Pop-Surrealism had a profound impact on him. In 1982 he moved from Düsseldorf to Cologne. He worked throughout 1986 and 1987 in New York and moved to Rome, Italy in 1988. He stayed in Rome and Tuscany until 1991. During his stay in Rome he was inspired by Neoclassicism. In his new, refined paintings he transformed classical Mediterranean metaphysics and lucidity. In 1994 and 1995, he moved to New York and East Hampton in the United States again where he had studios. In 1996 and 1997, he worked on a body of ceramic sculptures in The Hague, Netherlands before moving to Schlosstal in the Eifel, Germany where he spent 2 years. In 2000 Moved back to Cologne. Since 2004, he has lived and worked in Prague, Czech Republic. During last 5 years he visited India where he worked on drawing books. Kunc is called a predecessor of a low-brow movement.

Selected Exhibitions Robert Miller Gallery, New York, USA

Städel Museum, Frankfurt am Main, Germany

Pat Hearn Gallery,New York, USA

Groninger Museum, Groningen, Netherlands

Ulrike Kantor Gallery, Los Angeles, CA, USA

Zon Gallery, Stockholm, Sweden

Galerie Andrea Caratsch, Zürich, Switzerland

Edward Totah Gallery, London, UK

Documenta-Halle, Kassel, Germany

Gallería La Máquina Española, Madrid, Spain

Monika Sprüth Galerie, Köln, Germany

Zonca&Zonca Arte Contemporanea, Milano, Italy

Stadtmuseum Düsseldorf, Düsseldorf, Germany

The National Gallery in Prague

Collections / Selection Deutsche Bank, Frankfurt/Main, Germany

Louis Vuitton, Sylvester Stallone, Julian Schnabel

Kunstmuseum Düsseldorf, Germany

Coca-Cola Collection, Verona, Italy

Museum Groningen, Netherlands

Gagosian Gallery, New York

Museum Würth, Künzelsau, Germany

Bruno Bischofberger

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Fruit Attack Oil on canvas, 150 x 130 cm, 2008

Vegetable and Fruit Conference Oil and gold leafs on canvas, 130 x 150 cm, 2013

Forest TrafďŹ c Oil and gold leafs on canvas, 120 x 90 cm, 2015

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Heaven Oil and acrylic on canvas, 250 x 303 cm, 1987-88

Jan Mikulka * 1980 Jan Mikulka studied at the Academy of Fine Art, Prague. His work has been seen in exhibitions in the Czech Republic, Spain and the UK including the Threadneedle Prize (2013), the Royal Society of Portrait Painters Annual Exhibition 2014 and in the BP Portrait Award 2011. In creating this work, Mikulka was influenced by nineteenth-century British painters of the Pre-Raphaelite Brotherhood. Jan Mikulka belongs among twenty Worldâ&#x20AC;&#x2122;s best hyperrealist painters.

Selected Exhibitions BP Portrait Awards 2015, National Portrait Gallery, London, UK

The Threadneedle Prize 2013, Mall Galleries, London, UK

Figurativas 15 (Honorable mention), MEAM Museum, Barcelona, Spain

Volta 9 (Gallery Vernon), Dreispitzhalle, Basel, Switzerland

Et Cetera, MAXXI Museum, Rome, Italy

Royal Society Of Portrait Painters Annual ExhibitionSELF, 2013 (1. prize winner), Mall Galleries, London, UK

Royal Society Of Portrait Painters Annual Exhibition, 2014, Mall Galleries, London, UK

BP Portrait Awards 2011, Aberdeen Art Gallery, UK BP Portrait Awards 2011 (visitors prize winner), National Portrait Gallery, London, UK

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Still life with Lilies Oil on canvas, 100 x 70 cm, 2015

Water 2 Oil on canvas, 150 x 110 cm, 2011

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Still life with Lilies Oil on canvas, 100 x 70 cm, 2015

Ĺ ipka, Jump Oil on canvas, 55 x 70 cm, 2014

Masters

RenĂŠ Magritte Francis Picabia Iaroslav Sossountzov Serpan Emil Schumacher Andy Warhol

René Magritte (1898 Hennegau - 1967 Bruxelles) René Magritte was an internationally acclaimed surrealist artist of all time, yet it was not until his 50s, when he was finally able to reach some form of fame and recognition for his work. René Magritte was born in 1898, to a wealthy manufacturer father. René decided to study at the Academie des BeauxArt, which was located in Brussels. He left the school, because he thought that it was a waste of time. All his paintings afterward reflect cubism, the movements which was introduced by Pablo Picass and was very popular at the time. In 1927, René Magritte had his first one man show, which took place at the Galerie la Centaurie in Brussels. During this period of his life, he was producing nearly one piece of art work each day, which made for an extensive showing, and a variety of unique styles for visitors of the exhibit to see. But critics heaped abuse on the exhibition. Depressed by the failure, he moved to Paris where he became friends with artist Andre Breton, the founder of Surrealism. In 1924, Andre Breton published his famous book The Surrealist Manifesto, in which he based Surrealist theory on a simplistic understanding of the psychoanalysis work of Sigmund Freud, in particular his Interpretations of Dreams. From 1927, through 1930, René Magritte became actively involved in the surrealist group, and much of the works during this time period were described as cavernous, with many of his paintings showcasing bizarre scenes, with a hint of eroticism. During the German occupation of Belgium in World War II, Magritte remained in Brussels, and he stayed in Brussels for the remainder of his life. During the majority of his career, his work followed a surrealist style, and he very rarely, if ever, strayed away from this form. Much of the work he created depicted similar scenes, and recurring themes. Some of his favorites were floating rocks, or creating a painting within a painting, and he also used many inanimate objects, within a human figure, creating the distinct styles which other artists did not. Although he died in 1967, of pancreatic cancer, much of the work of René Magritte is still on display today, in his hometown, and around the world. Not only did he introduce a new style, he was a leader in the surrealist style. And, he brought an entirely new way of looking at art, with the paintings, as well as some of the sculptures which he created, during the course of his career.

Auction maximum $11,500,000 for L’empire des lumières (1952), Christie’s , New York, USA

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La belle lurette (Ages ago) Oil on canvas, 33 x 41 cm, 1965

Francis Picabia (1879 Paris - 1953 Paris) Francis Picabia was born François Marie Martinez Picabia on or about January 22, 1879, in Paris, of a Spanish father and a French mother. He was enrolled at the Ecole des Arts Décoratifs in Paris from 1895 to 1897 and later studied with Fernand Cormon, Ferdinand Humbert, and Albert Charles Wallet. He began to paint in an Impressionist manner in the winter of 1902–03 and started to exhibit works in this style at the Salon d’Automne and the Salon des Indépendants of 1903. His first solo show was held at the Galerie Haussmann, Paris, in 1905. From 1908, elements of Fauvism and Neo-Impressionism as well as Cubism and other forms of abstraction appeared in his painting, and by 1912 he had evolved a personal amalgam of Cubism and Fauvism. Picabia worked in an abstract mode from this period until the early 1920s. Picabia became a friend of Guillaume Apollinaire and Marcel Duchamp and associated with the Puteaux group in 1911 and 1912. He participated in the 1913 Armory Show, visiting New York on this occasion and frequenting avantgarde circles. Alfred Stieglitz gave him a solo exhibition at his gallery “291” that same year. In 1915, which marked the beginning of Picabia’s machinist or mechanomorphic period, he and Duchamp, among others, instigated and participated in Dada manifestations in New York. Picabia lived in Barcelona in 1916 and 1917. In 1917, he published his first volume of poetry and the first issues of 391, his magazine modeled after Stieglitz’s periodical 291. For the next few years, Picabia remained involved with the Dadaists in Zurich and Paris, creating scandals at the Salon d’Automne, but finally denounced Dada in 1921 for no longer being “new.” The following year, he moved to Tremblay-surMauldre outside Paris, and returned to figurative art. In 1924, he attacked André Breton and the Surrealists in 391. Picabia moved to Mougins in 1925. During the 1930s, he became a close friend of Gertrude Stein. By the end of World War II, Picabia returned to Paris. He resumed painting in an abstract style and writing poetry. In March 1949, a retrospective of his work was held at the Galerie René Drouin in Paris. Picabia died November 30, 1953, in Paris. His works are in the collections of all major Galleries and Museums around the World.

Auction maximum $7,700,000 for Volucelle II (1922), Sotheby’s, New York, USA

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PÊCHEUR À LA LIGNE, MORET, BORD DU LOING Oil on canvas, 46 x 61 cm, 1908

Iaroslav Sossountzov Serpan (1879 Paris - 1953 Paris) Jaroslav Serpan was one of the artists in the art scene of postwar France. At the end of the 1940’s, he became a member of André Breton’s surrealist group. In the early 1950’s, he began to explore creative possibilities of new forms of abstract painting along with Michel Tapié. Together with art theoretician Édouard Jaguer, he cofounded the Phases movement. His activities were not confined only to art; he also engaged in theoretical considerations and literary work. His life and creative path were directly related to Bohemia. Before relocating to France, Serpan’s parents emigrated from Russia to Czechoslovakia. Shortly after World War II, Serpan exhibited in the Parisian show Surrealism in the year 1947 that was partially transferred to Prague under the title International Surrealism. Jaroslav Serpan’s paintings also appeared at a number of program exhibitions that helped to shape postwar European art. Thanks to a long and intensive collaboration with Michel Tapié, his paintings were displayed at exhibitions like Other Art or Signifiants de l‘Informel. His work undoubtedly responded to contemporary art movements such as Surrealism, Art Informel or Pop Art. At the same time, he used his knowledge and procedures pertaining to his second area of expertise, mathematics and biology, which he acquired during his studies at the Sorbonne. His paintings and sculptures include creatively grasped theories of exact sciences such as sets or calculations of probability. This aspect of Serpan’s artwork was pursued by contemporary art critics, who regarded rigorous exploration and implementation of mathematical concepts as principal quality of Jaroslav Serpan’s work. His artwork is currently displayed in the most prestigious art galleries in the world, such as the Museum of Modern Art (MoMA) and Solomon R. Guggenheim Museum in New York, Israel Museum in Jerusalem; and in Europe, the Ludwig Museum in Cologne, Centre Pompidou in Paris and Vienna’s MuMoK.

Auction maximum $29,865 for Seensha (1952), Christie’s , Paris, France

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EDEIVRITEO Acrylic on canvas, 128,5 x 162 cm, 1967

Emil Schumacher (1912 Hagen - 1999 Ibiza) Emil Schumacher, born in the Westphalian town of Hagen in 1912, began a three-year degree at the Kunstgewerbeschule in Dortmund when he was 20 years old. He started working as an independent artist in 1935 and founded the artist and exhibition association “junger westen” in 1947 together with a few other artists. The style of his work changed drastically in 1950. He abandoned painting objects and turned towards the expressive power of painting alone. Colour itself gradually became the decisive element of his works. This biographical artistic process happened during a period, which was determined by the French École de Paris, Tachism and American Action Painting. While abstraction itself was typical of this period, it also became a typical aspect of Emil Schumacher’s personal style. During the late 1960s and early 1970s Schumacher experimented with a rigorous type of action painting, which is reflected above all in his “Hammerbilder” (Hammer Paintings). The injury and damage to the picture support was to him a means of employing destruction itself as a pictorial phenomenon in art. After exhibiting at the “documenta III” in Kassel in 1964 he created extremely large works, which manifest an extreme painterly freedom. This phase lasted until the 1980s. His latest works of the 1990s, with figurative reminiscences, have clearly overcome the contrast between abstraction and the figurative. Emil Schumacher became internationally known and praised around the middle of the 1950s as one of the most important artists of the Informel. He was awarded numerous international prizes, of which the Guggenheim Award in New York in 1958 was only the beginning. He was appointed professor at the “Hochschule für Bildende Künste” in Hamburg in the same year, accepted a post as professor in Karlsruhe in 1966 and taught as a guest professor at the university in Minneapolis/USA in 1967 for one year. The “Deutscher Bundestag” honoured him in 1998 by commissioning a mural for the Reichstag building in Berlin. Emil Schumacher died in San José, Ibiza on 4th October 1999, one year after the large retrospective exhibition in Munich.

Auction maximum $533,160 for Solluk (1962), Sotheby’s , Paris, France

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Harunobu oil on canvas, 120 x 95,5 cm, 1957

Andy Warhol (1928 Pittsburgh - 1987 New York) Andrew Warhol’s father, Ondrej, came to United States from the Austria-Hungary Empire (now Slovakia) in 1912, and sent for his mother, Julia Zavacky Warhola, in 1921. After graduation, Andy Warhol (having dropped the letter ‘a’ from his last name) moved to New York City, and shared an apartment with Pearlstein at St. Mark’s Place off of Avenue A for a couple months. In 1960, Warhol began to make his first paintings. They were based on comic strips in the likes of Dick Tracy, Popeye, Superman, and two of Coca-Cola bottles. In 1961, using the Dick Tracy comic strip, he designed a window display for Lord & Taylor, at this time, major art galleries around the nation begin noticing his work. In 1962, Warhol made paintings of dollar bills and Campbell soup cans, and his work was included in an important exhibition of pop art, The New Realists, held at Sidney Janis Gallery, New York. In November of this year, Elanor Ward showed his paintings at Stable Gallery, and the exhibition began a sensation. In the summer of 1966, Warhol’s film Chelsea Girls (1966) became the first underground film to be shown at a commercial theater. In 1968, Warhol’s first solo European museum exhibition was held at Moderna Museet, Stockholm. But later that year on June 3, 1968, Warhol was shot by Valerie Solanas, an ultra-radical and member of the entourage surrounding Warhol. Solanis was the founder of SCUM (Society for Cutting Up Men) Fortunately, Warhol survived the assassination attempt after spending two months in a hospital. This incident is the subject of the film, I Shot Andy Warhol (1996). Afterwards, Andy Warhol dropped out of the filmmaking business, but now and then continued his contribution to film and art. He never emotionally recovered from his brush with death. During the 1970s and 80s, Andy Warhol’s status as a media icon skyrocketed, and he used his influence to back many younger artists. He began publishing of Interview magazine, with the first issue being released in fall of 1969. In 1971, his play, entitled Pork, opened at London at the Round House Theatre. He resumed painting in 1972, although it was primarily celebrity portraits. The Factory was moved to 860 Broadway, and in 1975, he bought a house on Lexington Street. A major retrospective of his work is held in Zurich. In 1976, he did the Skulls, and Hammer and Sickle series. Throughout the late 70s and 80s, a retrospective exhibition was held, as Warhol began work on the Reversals, Retrospectives, and Shadows series. The Myths series, Endangered Species series, and Ads series followed through the early and mid 1980s. On 22 February 1987, a “day of medical infamy”, as quoted by one biographer, Andy Warhol died following complications from gall bladder surgery. He was 58 years old.

Auction maximum $94,000,000 for Silver Car Crash (Double Disaster) (1963), Sotheby’s , New York, USA

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Joseph Beuys in Memoriam, 1986 90 + 20 AP, copy AP 15/20, 5 PP, 5 HC, printer: Rupert Jasen Smith, New York, co-published by Galerie Bernd Kl端ser and Editions Schellmann, Munich/New York KH1774, 81,3 x 61 cm

Location, Space

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The gallery is situated in Dlouhรก 12, Prague 1 about 100 metres from the Old Town Square the very centre of Town.

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Vydala galerie Cermak Eisenkraft _

This catalogue is published by Gallery Cermak Eisenkraft _

Galerie Cermak Eisenkraft _

Gallery Cermak Eisenkraft _

Dlouhá 12

110 00 Praha

CZ - 110 00 Prague

T 00420 608 713 536

T 00420 732 489 824

info@cermakeisenkraft.com

www.cermakeisenkraft.com

Tomáš Zapletal, David Železný

Text

Tomáš Zapletal

David Železný

Open Sources

Fotografie

Photography

Šimon Brejcha, Praha

Šimon Brejcha, Prague

Federico Díaz, Praha

Federico Díaz, Prague

Jan Mikulka, Praha

Jan Mikulka, Prague

Marcel Rozhoň, Praha

Marcel Rozhoň, Prague

Tomas Zapletal, Praha

Tomas Zapletal, Prague

Grafická úprava a sazba

Layout and graphic design

TomDesign s.r.o.

Překlad do angličtiny

Translation into English

Tereza Frantová

Richard Drury

Tisk

Printing

INDIGOPRINT S.R.O.

Vytištěno v České republice

Printed in the Czech Republic

Náklad 100 ks

Edition 100

Říjen 2015

October 2015

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