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Artlist — Center for Contemporary Arts Prague

Jan Jakub Kotík

First Name
Jan Jakub
Birth place
Buffalo, New York
Place of work
Lived and worked in
↳ Find in the VVP AVU database
installation art
political art
CSU Library
↳ Find in the catalogue

About artist

In the wide stream of Czech political art Jan Jakub Kotík’s works stand out due to their analytical character, their creation of symbolic relationships between seemingly divergent contexts, and their orientation on American politics. The roots of Kotík’s investigative approach and formally complete realisation can be found in his New York background. They stem from his having grown up and studied in another cultural and political environment.


He arrived on the Czech art scene in 2000 with his exhibit, Economies of Scale / Úspory měřítek at the Jelení Gallery. This collection of household appliances built from airplane, tank and battleship models critically delves into the problem of industrial machinery’s potential. It addresses the fact that the machinery’s well-intentioned conventional utility has a number of known and hidden connections to the technologies of aggression and power. This contextual principle sets the banal every-dayness and unsettling symbols of political expansion against each other. He even utilises a picture of the Mir satellite made from various pieces of toast. It was called Breakfast of Champions / Snídaně šampionů (2001). Kotík is well aware of the genesis and history of social status in consumer design. It took off during the World War II period thanks to the work of army laboratories. Besides the reverse side of consumption, in his further works Kotík also addressed globalisation; for example, in his project Easy Target / Snadný cíl (2001). This project draws attention to the possible short-sightedness of the anti-globalisation movement. The same holds for his series of „personalised“ ATM machines, Money Talks / Peníze promlouvají (2002), which Kotík stylised with the help of sorts of „wallpapers“ readily installable on PCs and mobile phones.


Since 2002 Kotík’s work more intensively deals with the problem of mutual ties between media, industry, politics and ideology. Kotík interprets non-transparent relationships, which shape global reality, generate political leaders, and manipulate information. His work attempts to draw our attention to what interests and brutal facts can be camouflaged by the media image of what appears to be a friendly handshake. The joining of various time and local contexts, the analogy of various hierarchical models validate themselves in Kotík’s „list objects.“ His use of subtle, artificial, electrical moulding for the schematisation of plastic drawings on walls, for example, as he did in the B-1 Bomber (2003) joined to a clock, in the project 60 Watt Max (2004), or his Study of Disseminating Information (2005), thus become a sort of material metaphor for hidden ties.


Kotík’s criticism of militant international policy is expressed in the object, Long Live the Commander / Ať žije velitel (2003), which ironically combines statements on the aggressive policy of the Bush Administration with the heavy metal composition, Iron Man.


This impressive representation of making visible the manipulative strategies of US war rhetoric during the time of the attack on Iraq can be seen, for example, in the S, M, L, XL project (2003). In that work he showed professional models wearing t-shirts with slogans such as „Shock and Awe“, „Axis of Evil“ and „War on Terror.“ The t-shirts were later sold in not-for-profit schemes. Jan Kotík’s works represent concrete forms of power or wealth. He points out that the roots of social evil are not abstract, but rather they speak to us clearly in a mundane language about everyday events.

Author of the annotation
Mariana Serranová



1992-1993 Academy of Applied Arts (UMPRUM), Prague, Czech Republic
1990-1995 studium Cooper Union for the Advancement of Science and Art, New York. BFA 1995

2006 - finalist of Jindřich Chalupecký Award


Solo exhibitions
Jan Jakub Kotík: House of the Holy, Moravská galerie v Brně

Your Money or Your Life, Galeria Noua, Bucharest.

Ill Gotten Gains, Futura gallery, Prague.
Discography, AM180 Gallery, Prague.

60 Watt Max, Galeria Estro, Padua, Italy.
S,M,L,XL, Sub:label project for Galerie Display, Prague.

Freedom Lovers and Evil Doers / Svobodne Duše A Zlosyni”, Galerie Eskort, Brno, Czech rep.
Entrance Stage Death (with Clive Murphy and Fritz Welch). Dum Umění (House of Art), České Budějivice.

Breakfast of Champions, Bezjezdec gallery, Prague, Czech Republic.

Economies of Scale, Centre for Contemporary Art, Prague, Czech Republic.
Grand Opening, Jama 10 gallery, Ostrava, Czech Republic. October 2000.
Group exhibitions not included in ARTLIST.
Ostrovy odporu: Mezi první a druhou moderností 1985-2012, Národní Galerie v Praze - Veletržní palác, Praha
Začátek století, Západočeská galerie v Plzni, Plzeň
Festival Fotograf, ,,Mimo formát´´, Fotografie ve veřejném prostoru, Praha
Podoby vzdoru, Centrum současného umění DOX, Praha

Something of Myself, Hunt&Kastner Artworks, Praha

INTRO 518 TEĎ 69 TEĎ* TEĎ 180 BONUS Q TRACK! , Karlín Studios, Praha

Hrubý domácí produkt, Městská knihovna GHMP
CZECHPOINT, City Gallery of Poznaň, “Arsenal”, Poznan, Poland.

PROCESS, J. Chalupecky Award Finalists”, Brno House of Art (Dum Umení),
CZECHPOINT, Internation festival of Political Art, Gallery NoD, Prague.
Shadows of Humor, Wroclaw/Bielska Gallery BWA, Bielsko Biala/Moscow
Kaminzimmer, Grieder Contemporary, Zurich, Switzerland.
Marketenderin, Extraschicht, PHOENIX Halle Dortmund, Germany.
Indikace, Jungmanovo Ulice, Part of the 4-days of movement festival.
Innenansicht Prag 06, Kunst Raum Nierderoestereich, Vienna.
Odlet - Low Cost Generation, Czech Center gallery, Prague.
Shadows of Humor, Galeria Awangarda BWA, Wroclaw, Poland.
Chlap, Hrdina, Duch, Stroj” Gallery Hit, Bratislava, Slovakia.
You Knows It, Groeflin Maag, Basel, Switzerland.

Dead Kids Do Nothing, 31Grand, New York.
Prague Biennale 2, New Czech Scene section.
Zeche Zollverein, curated Anemone Vostell. Essen, Germany.

The Presidency”, Exit Art - The first World gallery, New York.
Certain Traces, Post gallery, Los Angeles.
Czech the Market, Galerie Kai Hilgemann, Berlin.
Agora- International Art Exhibit and Symposium, Bordighera, Italy,
Breakthrough – Perspectives On Art From The 10 New EU States”, Grote Kerk Den Haag, The Hague, Netherlands.
Passage d’Europe : un nouveau regard sur l’art d’Europe centrale et orientale, Musée d’Art Moderne, Saint-Etienne, France.

Prague: Young art, Art Cubicle / Galerie & Projekte Mathias Kampl, Berlin Exhibition in collaboration with the Czech Centre Berlin on the occasion of the Czech week 2003.
Prag: Kunst Aktuell, Czech Centre - Berlin.
Compresion, ArtCracker Gallery, Berlin.
Art on Street, Mikrogalerie, Karlínském Námestí, Prague, Curated by David Cerny.
Art Cubicle, HOME gallery (Organized by Galerie Kampl, Berlin/Müchen).
Survey 03, Futura comtemporary arts and events center, Prague Czech Rep.
The Youngest/Nejmladši, National Gallery of the Czech Republic at Veletrzni Palace, Prague, Czech Rep.
ELEKTROBOT, Home gallery, Prague, Czech Rep.
Low-Fi, Catalyst Arts, Belfast, NI.
In Between, The Czech Center Gallery, New York.
Heavy Metal For Sale, Buryzone Gallery, Bratislava, Slovakia.
Wechselstube; Czech Art in Stuttgart, Oberwelt e.V. galerie, Stuttgart, Germany.
Politik-Um / New Engagement: International Exhibit of Political Art, Prague Castle Gallery, Prague, Czech Republic.
ZVON - The Fourth Biennial of Young Artists, Gallery of the City of Prague, Czech Republic.

PLAYERS (GRACZE), BWA Gallery, Wroclaw, Poland.
Criss/Cross; Praha – Stuttgart – Wroclaw”, Center Broumov, Broumov, Czech Republic.
Laboratory of Contemporary Trends, National Gallery of the Czech Republic at Veletrzni Palace, Prague, Czech Republic.
Advanced Watercolor, Houghton Gallery at the Cooper Union, New York.
Národní galerie, Sbírka moderního a současného umění, Praha



Jan J. Kotík, Práce z let 1995-2005, Nadace pro současné umění Praha, 2005.


Umelec Magazine, Travis Jeppesen, Burnt Toast and Broken Satellites (Profile), Prague, 2004.

Tyden Magazine, Tomas Pospiszyl, “George Bush is a Metalhead – Interview with Jan Jakub Kotik”, Prague, 2003

Lidove Noviny, David Kuhlhánek, “Mir Satellite as Artistic Inspiration”, Prague, 2001

The Prague Post, Mimi Fronzak Rogers, ‘Politically Incorrect at the Castle”, Prague 29.5.2002

Mlada Fronta Dnes, Simona Jurackova, “Kotik makes the Music of the President”, Brno CZ, 2004

Mlada Fronta Dnes, JHV, “Pick - Entrance Stage Death”, Moravia Edition - 21.2.2004.

Mlada Fronta Dnes, “Pick - Grand Opening”, Moravia Edition - 2.10.2000

Art & Antiques, Lenka Lindauraova, “Artist’s Profile - Jan Jakub Kotík”, Prague, 2004

Atelier, Jiri Valoch, “Models and Paraphrases - Jan J. Kotik”, Prague - 5.2000

Atelier, Nicholas Sawiciki, “Review - Politik-Um”, Prague, 2003 Atelier, Milena Slavicka, “Review - Prague Bienniale”, Prague, 4.4.2002

The Prague Pill, John Caulkins, “Review- Politik-Um”, Prahue, 15.6.2002


Center for Contemporary Arts Prague www.fcca.cz 2006–2018
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