Pavel Šmíd
In my childhood, nothing could be done without respect for authority. I belong to a generation that was instilled with obedience from an early age. Although society at the time was ravaged by the Soviet and socialist plague, nothing changed in terms of the demands for obedience. Whilst nobody identified with the regime, nobody encouraged children to rebel either. Children are simply meant to obey; a bad regime does not, in itself, alter the requirement for a higher order and discipline. Ritual marches, parades and mass gymnastics displays may seem silly, but on the other hand, they strengthen the collective and sporting spirit, and a sense of sharing common human values.
We fear nothingness and chaos. We need to be surrounded by a comprehensible system. We need to
rely on things being in their usual places. Experience may tell us that nature and the world are governed more by chaos, but the fact that things are in constant, irregular motion terrifies us. We insist
on order, on voluntary submission to order, and we demand it of others too, even at the cost of violence.
The time of my youth was static. A grey, timeless period. The Communists managed to create the illusion that nothing radical was happening either here or in the world. In spring the seeds were sown, in summer the combine harvesters set out, and in autumn the crop was harvested.
Today, we suddenly have the feeling that things are happening more than ever before, more than usual. We are taken by surprise; we succumb to apocalyptic and millenarian preachers. We hang on every word of dire predictions, whilst at the same time subconsciously conjuring them up. And once again, a desire for obedience has emerged – a desire for strong authorities.
In my paintings, I bring to life a world of unspoilt naivety and joyful anticipation. I work with collective visual memory. I draw on period photographs where the world of sport mingles with dancers, young people, and children—some in uniform, some not. Seemingly unrelated scenes are linked by a sense of timelessness, carefree trust and social infantilism. Trust and certainty can blind us and dull our instinct for self-preservation, which usually only awakens when it is too late.
Obedience leads, slowly but surely, to servitude, the main characteristic of which is not primarily a lack of freedom, but collective idiocy.
Pavel Šmíd (*1964), August 2022
Solo exhibitions (selection):
2026
Rychta Úvalno, Castle of Sand
2025
Graciano, Brno, Old Dogs (with J. Surůvka)
2024
In Gallery Prague, Pavana
Pecka Gallery, Print 44 Gallery, Prague, joint exhibition Twilight of the Gods
2022
L. Kuby Gallery, Poděbrady, You Cannot Step into the Same River Twice
Říčany Municipal Gallery, On Obedience
2021
Peron Gallery, Prague, ‘The Artist on a Pole’
2020
‘On Obedience’, Pecka Gallery, Prague
Karel Pipich Theatre, Chrudim, ‘The Bride in the Red House’
2019
Morzin Gallery, Vrchlabí, The Age of Innocence
GASK Kutná Hora, Fragments of Memory
2018
Nová Gallery, Troj
Topič’s Salon, Prague, An Unexpected Encounter
2015
Sokolská Gallery, Ostrava, Painting
2013
U prstenu Gallery, Jilská, Prague, The Conspirators II
2012
Church of St Anthony of Padua, Sokolov, The Conspirators
2011
Roudnicen.L. Gallery, Teacher and Pupil (with J. Sopek)
Dolmen Gallery, Prague
2010
Beseda Gallery, Ostrava
2008
Fons Gallery, Pardubice
ICON Hotel, Prague
2005
XXL Gallery, Louny (LUX)
Louvre Gallery, Prague
Krnov Municipal Gallery, (Skirts and Other Coverings)
2004
HVB Prague Branch, Portraits
2003
VŠUP Gallery, Prague, Chinese Bath
Hlučín Gallery – Forest Demon
2002
Ouky-Douky Second-hand Bookshop, Prague (Kunst dem volk)
2001
‘Černý pavouk’ Second-hand Bookshop, Ostrava, Prints
2000
B.A. Creditanstalt, Prague – Painting
‘261’ Gallery, Ostrava (With the Left Eye – With the Right Hand)
1998
“Černý pavouk” Second-hand Bookshop, Ostrava (The Conspirators)
Pecka Gallery, Prague (Elektroaspik)
1997
Lang House, Frýdek-Místek (The Gardener’s Year)
1996
Sankturinovský House, Kutná Hora
‘Černý pavouk’ Second-hand Bookshop, Ostrava
1994
Fiducia Gallery, Frýdek-Místek
Divadlo hudby, Olomouc
1990
Kopeček Gallery, Ostrava – Prints
Group exhibitions:
2026
Nová Galerie, Prague, A Quiet Conversation
2025
Nová Galerie, Prague, Spring
Portheimka Gallery, Prague, The Colour of Time, Jiří Sopko and his pupils
2024
Retrospective, GHMP, Prague
2023
One Man's Ceiling Is Another Man's Floor, Rooftop Radost, Prague
IN ARTE VOLUPTAS, Portheimka Gallery, Prague
2022
South Bohemian Gallery, Hluboká, MEN
Kunsthalle Prague, Midnight Art, the Karel Babíček Collection
Benedikt Rejt Gallery, Louny, Water
Říčany Municipal Gallery, Play at 3 am
GVUO Ostrava, Nature
2021
Nová Galerie, Prague, Naked Before Myself
2020
Klatovy/Klenová Gallery, Water: Transformations of the Element in Czech Art
GVUO Ostrava, The Worker is Mortal, Work is Alive
2019
Dictation of conditions, The Chemistry Gallery, Prague
2018
OKO, Opava Municipal House, Engagement
Wrocław, Poland, Robinson’s Island
2008
Between Animal and Landscape, Klatovy/Klenová Gallery
Resetting, GHMP Prague
2006
OVA 06, Ostrava House of Art
2005
Hlučín, Dušičková exhibition
International Prague Biennale
Mini, Kontakt gallery, Brno
2003
OGV Jihlava, Collection obsession
Prague Castle Riding Hall, Perfect tens
Mánes Exhibition Hall Prague, "Art.cz"
Club Roxy NoD Prague, "6.5."
2000
Colorism, Hradec Králové Municipal Gallery
1999
The magic of colors, City Gallery Litoměřice
1998
Megavision, Jungmannova ul. Prague
Down the bunker, Prague
1997
Exhibition D.U.M., Žižkov Prague
1996
Punch cut, Fiducia Gallery
1992
Dangerous acquaintances, Ostrava Museum
1991
Neosteel heart of the republic, Havířov
1990
Salon of independents, Černá louka Ostrava
1988
Ostrava subway
