What is the most bizarre thing you have ever had to deal with during an exhibition installation?
LUKÁŠ KANIA (on behalf of the entire gallery team): During the installation of Rudolf Prekop’s exhibition, two glass panes arrived, each weighing around 80 kilograms. The catch? They were delivered by just the driver, who calmly informed us that he knew nothing about arranging the unloading. Since every one of us weighed less than a single one of those glass panes, several very tense minutes followed. Fortunately, everything turned out fine without any injuries, and the transport company eventually admitted their mistake—and substantially reduced our shipping cost as an apology. Since then, we know that even with art, it’s a good idea to double-check who will be standing on the other side of the truck bed.
What does it usually look like 20 minutes before an opening reception?
LK: A final check to see if everything is “on its mark,” and fine-tuning the last minor details. Then come the seemingly trivial tasks—like stapling the exhibition maps. Out of staples? Never mind, paperclips or safety pins will save the day. Even though we prepare everything weeks in advance, those last twenty minutes always have a pace of their own.
How do you know that an exhibition has been a true success?
LK: When people keep coming back to the gallery. Not just for the guided tours or accompanying programs, but a second or third time simply to look at the artworks again. That is the best proof that the exhibition has left an impression on them.
Which exhibition will you never forget and why?
LK: We will never forget the exhibition of Vladimír Škoda. His spatial installations and work with light transformed the gallery almost into an observatory, showing how powerfully an exhibition can alter the way a viewer perceives space. It is precisely in moments like these that we realize a gallery is not just a place where art is displayed, but a space that constantly evolves alongside it.
