Sculpture Line Prague

For twenty long years, an extraordinary object has been hiding unnoticed on Italy's Lago di Como. A work called Acquae, which materializes the idea of the world-famous architect Jan Kaplický about the future of bottled water consumption in public spaces. Until 2024, it was only seen by visitors to the Triennale di Milano and the 9th Biennale di Venezia in Venice. After that, Acquae was hidden from public view. Was it a lucky coincidence? It was an inevitable fate. After two decades of resting in obscurity, the steel drop was noticed during a visit to Milan by the renowned British architect Lord Norman Foster, who was linked to Jan Kaplicky not only by profession but also by friendship. His discovery began to write a new, happier chapter in the story of Acquae. After negotiations with the manufacturer of the installation, it was decided that Jan Kaplický's object would return to the Czech Republic. Many thanks to Eliška Kaplický Fuchsová, founder of the Kaplicky Centre Foundation, who guaranteed its safe transport to the Czech Republic. This was arranged by Art Lines. The reconstruction of the work was undertaken by the sculptor Lukáš Rais, who with his team restored it to its original lustre over a period of four months. Now Acquae stands before you again in its original splendour, as a legacy of a Czech visionary whose work changed the way we look at the essence of modern architecture. And thanks to you, it will not fall into oblivion.

The work has a weight of approx. 1840 kg (3.4 x 1.15 x 1.47 m height) and we can reach it by hand from the parking space to a maximum distance of 12 m. It is not a boat in the true sense of the word. It is and it isn't. But everyone who sees it calls it that, so I guess it is. It's more of a rudimentary symbol of a boat, although in its use it's another piece from my workshop on the theme of the author's "Chairs for the City". I see the symbol as a metaphor for our time, as a vessel on which we all sail together. Depending on our personal settings, we understand that voyage as either joy and mutual friendly communication or fear and struggle. I breathe for the former, which is why this "boat" is so big and colorful. Sit on it for a while with friends, or complete strangers.

Original street furniture inspired by the shape of the popular American donut. It captivates with its unique sculptural design while remaining a fully functional element. Manufactured using 3D-printed concrete and cast concrete, decorated with marble and glass. Produced at the Scoolpt studio, which combines art, design, and architecture with a focus on large-format 3D printing of concrete and ceramics.

Two floating figures drift in the airy currents beneath the “skirt” of the Dancing House – suspended between the sky and the river, in a space where architecture meets the wind. The movement of air gently sets them in motion, so their bodies seem to change constantly, as if truly swimming through space. The Swimmers is a metaphor for both freedom and solitude – they are together, yet each alone, connected by an invisible current that carries them. In their lightness, fragile balance, and fleeting motion, one can sense the human desire for freedom and calm, for unity with the environment that surrounds us. The installation responds to a unique site above the Vltava River, where the dance of architecture, light, and wind becomes part of a sculptural narrative. With this work, Veronika Psotková continues her long-term exploration of the human figure in space – of the body as an image of human presence and transience.  

The sculpture Gloria is a striking example of the artist’s interest in archetypal forms, the symbolism of the circle, and spatial balance. The monumental circular motif, disrupted by a diagonal line, functions simultaneously as a symbol, a gateway, and an abstract figure. The work oscillates between minimalism and the monumental spirituality that characterizes Václav Fiala’s oeuvre. Here, the circle is not a closed form but an open space—a symbol of continuity, movement, and the relationship between humanity and the surrounding world. Dynamically drawn vertical and diagonal elements disrupt its stability and introduce tension, energy, and internal movement into the composition. The bold color scheme simultaneously lightens the heavy structure and allows the sculpture to appear almost like a drawing in space. In Gloria, Fiala combines the principles of architecture, sculpture, and drawing into a single monumental gesture. Although he works with industrial materials and geometric reduction, the resulting form does not appear cold—on the contrary, it opens up space for both meditative and emotional interpretations. The work thus builds on the artist’s long-standing effort to create sculptures that not only shape space but also transform the way it is perceived.

Václav Fiala’s work has long oscillated between monumental simplicity and a sensitive handling of space, material, and color. In the series *Color Etudes*, the artist departs from the traditional sculptural conception of mass and creates open spatial compositions in which the concrete base and vividly colored steel elements become carriers of energy, rhythm, and movement.Etude I (yellow) and Etude II (green) work with the elementary geometry of the circle and the cylinder, yet the resulting expression feels organic and almost musical. Here, Fiala develops his characteristic interest in the relationship between construction and intuition, stability and dynamics. Color ceases to be merely an accessory to form—it becomes an independent sculptural element that transforms the perception of volume and the surrounding space.The sculptures appear as fragments of imaginary architectures or frozen movements that enter into a dialogue with the viewer and the environment. Despite their monumental physical presence, they retain a lightness, playfulness, and openness to interpretation. Fiala’s Color Etudes thus build on the tradition of modern abstract sculpture, yet at the same time bear a distinctly personal signature based on precision, a monumental sensibility, and the courage to work with pure color.

When the Jewish residents of Chodov and Háje received their transport orders in 1942, they had to pack everything into a single suitcase: clothes, valuables, and memories. They had no idea that they would never return to their homes. Artist Jan Gemrot conceived the memorial as a monumental vertical structure of their luggage, through which a plant grows—a symbol of the Jewish people’s resilience. The suitcases are silent witnesses to the tragedy that began in the place where we live. The memorial in the park near Chodov Fortress restores these people’s place in our collective memory.  

The new permanent installation of the Sculpture Line project, created by Martin Steinert in August in Prague’s Motol district, is situated in front of Hotel Golf. Its form evokes a golf ball – a symbol of the location, yet at the same time a universal archetype of the perfect sphere. In his work, Steinert has long been engaged with the deconstruction of geometric forms and their transformation into light, wooden structures. By cutting open the sphere, he reveals its inner space, imbuing it with transparency, lightness, and a sense of airiness. The opposing tips of the open shell evoke movement and rotation, as if the object existed in a constant state of transformation. The installation, with a diameter of 4.5 meters, is constructed from 1,200 meters of wooden slats, firmly connected with 5,000 screws. The result is a monumental yet delicate structure that feels both technically precise and organically alive – suspended between strength and fragility, stillness and dynamism.  

Just as the razor, for example, contains a hidden murder in its name, so the ladder contains the taking of Christ down from the cross. And you can take anything off. Like a statue from a pedestal...

The work on sculptures dealing with this subject is endless in some ways, thus revealing even one of the mental essentials of the work. The rhythm and movement of sculpture material comes alive by the movement of the observer, which of course does not necessarily have to be physical. However, it is not desirable to discourage the observer from direct contact with the sculpture. The author recommends that you engage in the folds of the work, whether physically or internally, and enjoy the secret of “a certainty of never-ending uncertainty.”

"Matter Fores", the contents of the holes are also matter and the drilling from the side shows it to be another form of matter, perhaps part of a ritual object or used for some other unknown purpose.

The figure of a walking man with his arm extended forward is perhaps, as the name suggests, a governor, but also a warrior who fell into Hostivaře from another planet. It is assembled like a kit and reminds of sci-fi movies. It's made of metal frames, which confuses the sculptor's fans a bit, because otherwise he likes natural wooden materials.

Forest. Nostalgia for the vanishing wilderness. In a row of "parked" soft matter, they cling to horizontal trunks as the soul clings to the axis of its existence. At the same time, they carry their personal stories "on their backs".

You may not know this, but Jakub Flejšar is a snowboarder and a snowboard coach, and they, as is well known, like to move and run and then also rest. And because Jakub is also a sculptor, he wants his sculptures to make that experience visible. In a stylized and humorous way.

The main purpose of this work was to connect the tee box with the fairway on one of the new holes. As there are two holes facing each other on this part of the course, it was necessary to create a covered passage around the lake to ensure the safety of the players. A total of 50 wooden frames in a row with regular spacing create the illusion of impermeable walls when passing through the tunnel. When viewed from the side, however, the tunnel almost completely disappears and only thin partitions remain.

Michal Trpák probably already knows that we humans will be replaced by humanoids. We don't know if they will look as the sculptor imagines them, i.e. like marching officials, but certainly when they come in the future to play golf in the future, they might be amused by the sculptor's idea. But beware! Perhaps the artist is warning us with his work if we have not already become humanoids!

Scattered around the golf course were stone jewels - sculptures by Pavel Opočenský, for whom stone is a challenge to make it transparent and lighter, and to work with it as surprisingly as this hard and material medium allows.

When looking at Chramost's work Shark in the Gulf, memories of Spielberg's famous film Jaws will surely come to mind, which at the time terrified audiences. The shark's fin, however, is made of concrete, so it is stable and not life-threatening.

Lukáš Rais's work is characterized by the use of industrially produced components, especially metal rubes. The cluster of pipes placed in the Hostivař playground proves the correctness and expediency of this way. It can be read equally well as an aesthetic achievement or as a certain metaphor for the existence of man in contemporary society.

It's been a while since architecture has seen itself in artistic practices, and vice versa. Especially the transformation and play of facades. The recently deceased sculptor Jiří Beránek is a shining example of this, as the sculptural cladding of the main building of the Hostivař golf complex has made not only this architecture and its architect famous worldwide, but also the sculptor who invented this cladding so uniquely.

David Černý's dominant sculpture In Utero is one of his most important works. In Utero, a six-metre sculpture of a pregnant woman kneeling and holding her head, made of stainless steel, can be perceived by everyone in their own way, but we offer one possible interpretation.

One of the most renowned Czech architects Martin Rajniš likes to cross borders. He creates objects that become distinctive works of art with aesthetic, social and utilitarian functions. Hostivař's Včelín refers to medieval towers with its historicizing octagonal shape and weathervane. But of course, it is primarily home to a bee colony that produces unique golf honey.

The theme of infinity, or perhaps the beginning of the beginning, or heaven forbid the beginning of the beginning, has long been a provocative element in the artist's work. The attempt to capture this highly elemental and mystical matter is a somewhat Sisyphean task, at least according to the author himself. The sculpture, made of highly polished stainless steel, seems to multiply this effort even more. With its surface capable of reflecting the surrounding world in direct dependence on the outside world, without regard to the outside world, yet with a reflection on itself - it is a beautiful example that the great mass of things around us is something quite different than it might seem at first glance.  

The work on sculptures dealing with this subject is endless in some ways, thus revealing even one of the mental essentials of the work. The rhythm and movement of sculpture material comes alive by the movement of the observer, which of course does not necessarily have to be physical. However, it is not desirable to discourage the observer from direct contact with the sculpture. The author recommends that you engage in the folds of the work, whether physically or internally, and enjoy the secret of “a certainty of never-ending uncertainty.”

According to the Dictionary of Foreign Words, fragment means an incomplete work of art. So why am I exhibiting something that is incomplete and therefore only a fragment? Because the final form of the work can be created by the viewer according to his imagination. And imagination is infinite...

The Fall from 1967 is an emblematic work by Stanislav Kolíbal, a doyen of Czech art and probably the most internationally known Czech artist today. The work was created at the height of the free upsurge of Czech society and art during the increasingly relaxed "sixties", but its message seemed to foreshadow what would become reality in just one year: the fall from freedom into more than twenty years of normalization.

A statue, running or speeding off, is a symbol of the premises on which it is located. A fragment of the bobsled is transferred into a surreal level where it is carried to the intended destination (the track?) by two pairs of legs.

Coloured glazed ceramics on a reinforced concrete shell. A utility ceramic sofa with organic shapes brings playfulness and optimism into a given public space. In the busy street full of hustle and bustle, the sculpture gives an impression of an island of peace and good cheer, a place where you can “recharge your batteries” with a brief rest.