Vážení návštěvníci, rádi bychom vás informovali o upravené otvírací době od 25.9. 2025, kdy bude galerie otevřená pouze v úterý a ve středu, od 13-17h. Děkujeme za pochopení. Dear visitors, we would like to inform you about adjusted opening hours: starting from 25.9. 2025, the Gallery is open on Tuesday and Wednesday from 13-17pm. Thank you for your understanding.
Red Rainbow dichroid filter
Combination white / orange optic glass, with mirror structure
The square structure
Blue Rainbow dichroid filter
Violet Rainbow dichroid filter.
Red Rainbow dichroid filter
Orange-Yellow mirror structure with dichroid filter
PŘEDNÍ SLOVENSKÝ SKLÁŘSKÝ VÝTVARNÍK Oliver Leššo (*1973) je výraznou postavou současné sklářské generace na Slovensku. Má za sebou mnohé úspěšné prezentace své tvorby v Holandsku, Německu, Itálii, Anglii, Francii, USA a jinde po světe. Leššo má úctu k základním a přirozeným vlastnostem skleněné hmoty, přičemž sklo vnímá jako sochařský materiál. V hloubce jeho objemu a v transparentnosti hledá především sochařský výraz. Tvarování jeho optických objektů však spočívá hlavně ve hře vizuálních forem. Tímto směrem využívá jedinečné vlastnosti skla: průhlednost, odrazy, schopnost lomit světlo a rozkládat ho na spektrum. Autor používá jednoduché základní tvarosloví, jako je jehlan, koule, válec, ovál nebo optická prizma (hranol). Jednoduché tvary ale přitom nechají vyniknout tvořivý záměr autora, který se pak odehrává ve vnitřním světě skleněné hmoty. Lomy světla a odrazy se stávají myšlenkou povýšenou na umělecký záměr. Statický kus skleněné hmoty se mění na dynamický kinetický prostor, měnící se úhlem pozorování. Důležitou součástí tvořivé práce Olivera Lešša je experiment, hledání nových přístupů a technologických řešení; staví dohromady struktury, pomocí kterých buduje vnitřní prostor skleněné hmoty. Struktura vznikající za tepla stavením, vytváří měkké linie vnitřních kreseb v kontrastu s přísným a dokonalým geometrickým tvaroslovím. Tento technologický inovativní přístup stavování struktur ve skle, kterého je Oliver Leššo autorem, využívají v současnosti sklářští výtvarníci na celém světě.
An object that works with space and material in such a way as to create a structure of perception, able to overcome the random and informal frame of the image.
the object stimulates communication between the eye and the brain and makes use of the limits of human perception. The superposition structure requires the interaction of the viewer who, by moving or positioning in space, transforms a static object into a three-dimensional visual experience
Massironi explored new possibilities of creation within the rules of geometric abstraction. His work is mainly characterized by an interest in light, movement, new materials, technologies and processes aimed at the reduction of visual means.
The texture absorbs and reflects light and due to the metal's essence and its surface treatment it creates a complex play of reflections forming different images depending on the angle of view.
the texture absorbs and reflects light and due to the metal's essence and its surface treatment it creates a complex play of reflections forming different images depending on the angle of view
Through experimental procedures and precise and careful design, Aviani integrates materials, geometric structures, and light and shadow expressions to depict the vibrating textural image he wants to convey, as the work's glossy texture will continue to change as the viewer's perspective changes, it repeats and stimulates the viewer's visual perception and imagination.
The texture absorbs and reflects light and due to the metal's essence and its surface treatment it creates a complex play of reflections forming different images depending on the angle of view.
The texture absorbs and reflects light and due to the metal's essence and its surface treatment it creates a complex play of reflections forming different images depending on the angle of view.
the series of works 1.2.3.4.,…. is based on the study of colour phenomenology, resulting in structures based on mathematical formulas. The exploration of colour and surface takes various artistic forms in Alviani's conception
the series of works 1.2.3.4.,…. is based on the study of colour phenomenology, resulting in structures based on mathematical formulas. The exploration of colour and surface takes various artistic forms in Alviani's conception
the series of works 1.2.3.4.,…. is based on the study of colour phenomenology, resulting in structures based on mathematical formulas. The exploration of colour and surface takes various artistic forms in Alviani's conception
the series of works 1.2.3.4.,…. is based on the study of colour phenomenology, resulting in structures based on mathematical formulas. The exploration of colour and surface takes various artistic forms in Alviani's conception
Minimalist sculpture 1.,2.,3., based on geometric shapes and playing with the combination of three basic colors.
the series of works 1.2.3.4.,…. is based on the study of colour phenomenology, resulting in structures based on mathematical formulas. The exploration of colour and surface takes various artistic forms in Alviani's conception
the programming of lines, shapes and chromes and reassembly of structures such as the “pneumatic spaces” that concentrate on units over spaces and mobility. This series includes textiles with kinetic-optical designs, which Germana Marucelli used to create the iconic dresses of the 60s-70s
the programming of lines, shapes and chromes and reassembly of structures such as the “pneumatic spaces” that concentrate on units over spaces and mobility. This series includes textiles with kinetic-optical designs, which Germana Marucelli used to create the iconic dresses of the 60s-70s
Alviani’s prints had an independent existence, not merely transferring other significant works or subjects to paper. Each piece addressed plasticity issues, solvable only through its specific technique. Alviani sought optimal results through screen printing for color and black-and-white photo-mechanical lithography for line work.
Alviani’s prints had an independent existence, not merely transferring other significant works or subjects to paper. Each piece addressed plasticity issues, solvable only through its specific technique. Alviani sought optimal results through screen printing for color and black-and-white photo-mechanical lithography for line work.
Alviani’s prints had an independent existence, not merely transferring other significant works or subjects to paper. Each piece addressed plasticity issues, solvable only through its specific technique. Alviani sought optimal results through screen printing for color and black-and-white photo-mechanical lithography for line work.
Alviani’s prints had an independent existence, not merely transferring other significant works or subjects to paper. Each piece addressed plasticity issues, solvable only through its specific technique. Alviani sought optimal results through screen printing for color and black-and-white photo-mechanical lithography for line work.
Alviani’s prints had an independent existence, not merely transferring other significant works or subjects to paper. Each piece addressed plasticity issues, solvable only through its specific technique. Alviani sought optimal results through screen printing for color and black-and-white photo-mechanical lithography for line work.
the chromostructure of line, geometry and mirroring used to create optical kinetic art through movement and reflection of the surroundings is Alviani's response to the public's inclusion in "environments" in which the observer can personally modify the work, activating it through movement
the chromostructure of line, geometry and mirroring used to create optical kinetic art through movement and reflection of the surroundings is Alviani's response to the public's inclusion in "environments" in which the observer can personally modify the work, activating it through movement
the chromostructure of line, geometry and mirroring used to create optical kinetic art through movement and reflection of the surroundings is Alviani's response to the public's inclusion in "environments" in which the observer can personally modify the work, activating it through movement
the chromostructure of line, geometry and mirroring used to create optical kinetic art through movement and reflection of the surroundings is Alviani's response to the public's inclusion in "environments" in which the observer can personally modify the work, activating it through movement
"monochromatic structures" depending on light and light vibrations and forming optically-dynamic structures.
"monochromatic structures" depending on light and light vibrations and forming optically-dynamic structures.
"monochromatic structures" depending on light and light vibrations and forming optically-dynamic structures.
"monochromatic structures" depending on light and light vibrations and forming optically-dynamic structures.
"monochromatic structures" depending on light and light vibrations and forming optically-dynamic structures.
"monochromatic structures" depending on light and light vibrations and forming optically-dynamic structures
The work depicts metal reliefs with alternating color sequences. She exploited the illusionistic visual experiments to create works that seemed to physically draw the viewer into the painting, in which the flat surface had virtually disappeared.
The work depicts metal reliefs with alternating color sequences. She exploited the illusionistic visual experiments to create works that seemed to physically draw the viewer into the painting, in which the flat surface had virtually disappeared.
The work depicts metal reliefs with alternating color sequences. She exploited the illusionistic visual experiments to create works that seemed to physically draw the viewer into the painting, in which the flat surface had virtually disappeared.
The work depicts metal reliefs with alternating color sequences. She exploited the illusionistic visual experiments to create works that seemed to physically draw the viewer into the painting, in which the flat surface had virtually disappeared.
Dadamaino has gone beyond the ‘issue of painting’: It plays with space and dimensions, thus creating an optical illusion that draws the viewer directly into the work.
In the 1950s, influenced by Eastern philosophy and Gregorian chanting, he began a ritual of hammering nails. These materials signify protection and creation to the artist, who remembers nailing planks over the windows of his home to deter Soviet troops after the Second World War.
Staudt's conception of space here, as in all his works, is clearly marked by transparency and precision. Here the four diagonal positions are arranged alternately in two clockwise levels.
It is possible to see geometric objects and distributed surfaces, which, however, confuse the viewer with their specific spatiality, perspective and irregular shape. This work becomes a kind of symbolic representative sign of this contemplative artist.
Composition No. 2 im Blau is painted in the style of a linear painting. Rhythmically grouped stripes curled in narrow ankles play a key role here.
Costalonga is an innovator of optart and kinetic art. Interested in color theory, Costalonga's paintings gradually expanded into three-dimensional forms with complex surfaces that produced scintillating visual effects.
Costalonga is an innovator of optart and kinetic art. Interested in color theory, Costalonga's paintings gradually expanded into three-dimensional forms with complex surfaces that produced scintillating visual effects.
Costalonga is an innovator of optart and kinetic art. Interested in color theory, Costalonga's paintings gradually expanded into three-dimensional forms with complex surfaces that produced scintillating visual effects.
Kleiner Goethe plays with the refraction of light, where plastic prisms break the striped black and white back wall into an iridescent spectrum.
Points, first monochrome, then coloured, arranged on the canvas or board in an order that follows a mathematical definition. The result is highly poetic and absolutely in line with the experiments that many artists have carried out since the 1960s.
Grignani has an architectural background and worked with experimentalism in the field of new aesthetic and visual communication.
Adrian is considered to be one of the pioneers of media art focusing on kinetic objects, anti-film and computer art. He evoked complex, reciprocal movements like physical waves or concentric circles.
Although Kline's paintings look as if they were executed in a spontaneous burst of activity, they were often painstakingly pre- planned through preliminary studies. Despite the fact that Kline's paintings look like variations on Asian calligraphy, the artist denied this influence.
Gocce Primavera speaks a new personal language, characterized by its geometric forms and shimmering colors that play with the optical illusion of movement.
Massironi explored new possibilities of creation within the rules of geometric abstraction. His work is mainly characterized by an interest in light, movement, new materials, technologies and processes aimed at the reduction of visual means.
Massironi explored new possibilities of creation within the rules of geometric abstraction. His work is mainly characterized by an interest in light, movement, new materials, technologies and processes aimed at the reduction of visual means.
Massironi explored new possibilities of creation within the rules of geometric abstraction. His work is mainly characterized by an interest in light, movement, new materials, technologies and processes aimed at the reduction of visual means.
Massironi explored new possibilities of creation within the rules of geometric abstraction. His work is mainly characterized by an interest in light, movement, new materials, technologies and processes aimed at the reduction of visual means.
Informal gesture is overcome in order to adhere to more structured formal compositions in a constructivist sense with a greater focus on form psychology.
Informal gesture is overcome in order to adhere to more structured formal compositions in a constructivist sense with a greater focus on form psychology.
Landi's artwork focuses on the phenomenal perception of reality in its simplest structures. Using elementary geometric shapes, it tends to evoke a perceptual stimulation in the viewer.
Komart Gallery was founded in 1998 in Bratislava. Its exhibition programme focuses exclusively on optical, kinetic and geometric abstraction. Since 2001, the Gallery had worked closely with the Milan Dobes Museum in Bratislava. In 2011, the Gallery had opened its flagstore in Berlin. Now the Gallery is open to all who trust in the values of contemporary art also in Prague.
Gallery: Salvátorská 932/6, 110 00 Praha 1
Office: Karolinská 707/7, 186 00 Praha 8
IN: 19232870
Contact: gallery@gallerykomart.cz
