SNG online

2010
2009
2008
2007
2006

Slovak Myth
30. September 2005 - 28. February 2006

Mary of Hungary
2. February 2006 - 30. April 2006

Vladimír Havrilla
23. Marec 2006 - 4. June 2006

Artworks from the Collection of the Museum of Modern Art of Saint - Étienne Métropole
7. April 2006 - 28. May 2006

Andy Warhol – the Last Return of the King of Pop Art So Far
17. May 2006 - 15. June 2006

Figures and Episodes from the Old Testament
From Dürer to Chagall
25. May 2006 - 20. August 2006

Autopoesis
20. June 2006 - 3. September 2006

Ukiyo-e
Japanese Colour Woodblock Prints
7. September 2006 - 5. November 2006

Jindřich Štreit. Photography 1965–2005
Calendars for Jindra Štreit
20. September 2006 - 12. November 2006

Something Happened – Aspects of New Narratives
27. September 2006 - 26. November 2006

Aleš Votava
1. December 2006 - 25. February 2007

Flying Dutchmen
14. December 2006 - 18. Marec 2007

2005
2004

Laureat Grand Prix Insita 2010 - Philippe Azéma

INSITA 2010 9th International Triennial of Self-Taught Art

He was born in 1956 in Cauderan, France. Philippe Azéma leads two parallel lives: during the day he is an agricultural worker and the rest of the time he is an artist. It is an inner urge that leads him to drawing and painting in his studio in Tarn. He works on paper or old sheets glued on to the floor.Fortenye¬ars, the formats of his works have been 4×2 metres, sometimes even more. When looking at his production, it seems as if we were returning several dozens of thousands of years back; so remarkable is their similarity with the themes and techniques of prehistoric cave paintings (or stone painting in general). There are people, animals and various monkeys. He uses own technique: his paintings lack perspective or horizon, silhouet¬tes are depicted in profile,elementsarearrangednexttoeachother regardless of the scale, the colour scheme is limited (he uses yellow, black, and red).
The prehistory of Philippe Azéma is, however, completely thought up. While our distant ancestors drew real animals, tho¬se of Azéma are completely black, fantastic, they come from our nightmares, from spooky fairy-tales or legends, such as the one about the Beast of Gévaudan. Abandoning the simplici¬ty of stone paintings, the space on the yellow background is filledwithsilhouettesofpeople,whicharealsoblack,placedin twisting rows, in layers bordered by lines, or arranged in a seemingly incidental way. The picture is decorated by nume¬rous signs, as if it was a kind of puzzle. Some details can be reminiscent of dreamy Africa.
Philippe Azéma uses acrylic, felt-tip pen, ink, oil, modern ma¬terials and in his (false) archaic aesthetics he mainly works with very contemporary messages. They are blurred contours, like ink blots sprinkled on the canvas, or graffiti,whichshouldrepresent houses or figures,whichdonotlackaflashofhu¬mour. There is, for example, a silhouette of a woman holding the hand of a child, which holds a weird animal and a cartoon sticker.

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Philippe Azéma - Untitled, undated. Galerie Hamer, Amsterdam