The exhibition brings together Irina Gheorghe’s long-term research into space and time beyond the boundaries of the “here and now” and sets it in dialogue with Milan Adamčiak’s graphic notation. Her site-specific spatial score becomes an environment that guides visitors toward interactions and transforms their movement into an improvised performance following an ambiguous script. The visitor thus unwittingly becomes part of the exhibition’s processual dimension.

Curated by Jitka Hlaváčková

Opening: June 4, 2026, 6 PM

Performative dialogue between Irina Gheorghe and Jitka Hlaváčková at 6:30 PM

Exhibition: June 5 – July 25, 2026

Opening hours: Tue–Sat, 1–6 PM

The research for this exhibition was part of Irina Gheorghe’s post-doctoral project Scores for the End of the Present: Notation Systems in Performative and Visual Arts and Their Relationship to Different Temporalities, carried out at the Vilnius Academy of Arts between 2024 and 2026 and funded by the Research Council of Lithuania (LMTLT), agreement No. S-PD-24-128.

The exhibition was kindly supported by the Romanian Cultural Institute in Prague.

Bios

Irina Gheorghe

Irina Gheorghe is an interdisciplinary artist whose work straddles the boundaries between movement, notation, and material exploration. She moves fluidly between choreography, drawing, object installations and video performance, developing three-dimensional scores and sign systems that invite participants to rethink perception through physical action. In her work, Gheorghe prioritises process over result: gestures become signs, signs become instructions, and the meeting space transforms into a place where a new language emerges. Her projects often combine meticulous formal structures (grids, taped lines, measured

modules) with improvisational protocols that amplify overlooked bodily intelligences: breath, hesitation, step, touch. Through this synthesis, she explores how collective practices and micro-movements generate alternative grammars for perceiving the world and relating to it.

Milan Adamčiak

Bratislava-based composer and theorist Milan Adamčiak (1946–2017) worked from the 1960s on conceptual scores in the Fluxus vein (e.g., “Sisyphus Robots”) and later experimented in musical graphics with numerous graphic, verbal, and purely conceptual scores. In 1970, with Robert Cyprich, he performed a reinterpretation of Handel’s Water Music in an indoor pool with players above and below the water. In 1991–1992 he organized the Festival of Intermedia Art in Bratislava (FIT), curating an exhibition of Cage’s scores and initiating John Cage’s invitation to the city; Cage later invited Adamčiak to perform in Perugia, where Adamčiak intervened in Cage’s pieces. From the 1970s he maintained active correspondence with international composers, artists and theorists (e.g., Max Bense, Marshall McLuhan, Karlheinz Stockhausen, Dick Higgins, Joseph Beuys, John Cage).

Jitka Hlaváčková

She earned her master’s and doctoral degrees in art history from the FF UK. Since 2006, she has worked at the Prague City Gallery, where she is the curator of the photography and new media collection. She has organised a number of exhibition projects, including The Art of Activism (2026), An Album of Slow Images: Compositions and Artworks from the Uncertain Situations Series (2024); Thinking Through the Image: The Visual Events of Miroslav Petříček (2023); Divination from a Night Sky Partially Obscured by Clouds: The Role of Photography in the Post-Media Age (2022), and dozens of monographic projects. Her research focuses on the theory of acoustic art, video art and art reflecting classical technologies in post-media contexts. Concurrently, she is interested in strategies of urban and environmental art in relation to social, gender, and community issues. She is a member of the executive board of the Cultural and Creative Federation of the Czech Republic and chair of the professional organization of visual artists and theorists Spolek Skutek (since 2025).

Three-Dimensional Scores for the End of the Present

photo: František Svatoš