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House of Art
TUES–SUN 10:00–18:00

The infinity of numbers


mixed technique, steel, digital motion, mirror steel, numerals, 50 × 50 × 25 cm

purchased 2020 with the support of the Czech Ministry 

Two kinetic objects made of polished steel. The surface of one of the objects displays prime numbers from 2 to 97 plus the number 1, arranged in a meander-shaped structure. On the second object, the remaining numbers of the series are arranged in a similar configuration. These meandering sections move up and down in a regular rhythm, causing the numerals to emerge and then recede again. The numbers and their rhythmic up-and-down motion present us with interpretative questions. Prime numbers are unique in that they can only be divided by 1 or by themselves. Their indivisibility by other numbers may evoke sensations of exceptionality and originality. Prime numbers can thus be perceived as exceptional phenomena, or personalities which emerge periodically during the course of human history only to recede again, having left an important imprint on which society’s values are built. By using numbers, the artist can communicate on a generally comprehensible, semantically neutral level, unencumbered by more specific visual signs. Viewers can bring their own levels of interpretation to the work, decoding the processes of the numbers and their interrelations.


(1940, Prague) Painter, sculptor, graphic artist, creator of objects and installations. She studied at the Academy of Fine Arts in Prague (1958–1964). She has exhibited solo since 1971 and in group exhibitions since 1969; her work has also frequently been exhibited abroad, including international projects in Germany, Britain, Belgium, and particularly in the USA. Since 1990 she has taught at the Prague Academy of Arts, Architecture and Design (as a member of the spatial art studio specializing in textiles and alternative techniques). In 2000 she was a visiting teacher at the University of Colorado in Boulder. In 2004–2005 she was the Vice-Rector of the Josef Škvorecký Academy, and in 2005–2012 she taught in Plzeň, at the West Bohemian University’s Faculty of Art and Design, where she co-founded the spatial and intermedia art studio. Adéla Matasová’s work has always been rooted in a conceptual approach. After the Velvet Revolution of 1989, she responded to newly emerging artistic directions in her approach to space, repetition and intermediality. Her installations from the 1990s are situated in monumental spaces and various types of architecture, such as the stone walls of medieval castles, stables, city halls and similar interiors, but also in exterior spaces. Her favourite material is metal, particularly thin polished sheet metal that acts as a mirror. She often uses sheet metal to make periscope-type structures. Besides her large-scale sculptural works and spatial installations, Matasová is also known for her suspended kinetic objects driven by electrical motors or software; here again frequent features are mirroring effects, elements of surprise and variability in materials.
mixed technique, cloth, mechanical motion, 200 × 200 cm, purchased in 2020 with the support of the Czech Ministry of Culture


digitally altered photograph, paper 1000 × 1500 mm, purchased 2020 with the support of the Czech Ministry of Culture

Fictitious projects

video, duration 63 seconds, purchased 2020 with the support of the Czech Ministry of Culture

Each of us has at some time wanted to touch existence

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Wallachian Madonna

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