Milan Adamčiak – Panphiliacurated by Daniel Grúňguests: Matej Gavula, APARTopening 28 October 6 – 8 pmduration until 16 December 2016 […]

Milan Adamčiak – Panphilia
curated by Daniel Grúň
guests: Matej Gavula, APART
opening 28 October 6 – 8 pm
duration until 16 December 2016


Publication was supported by Europapier
Paper: Pergraphica Natural Rough


Panphilia by Milan Adamčiak (1946) is a site of interaction, contact, and conjunction sounding of the relation between author and imaginary co-authors – interprets, in which visual imagination of music becomes real. Panphilia consists of various unrealized projects that exist only in form of manuals and instructions, as following: concerts for fictive orchestra, fictive music publisher and legal documents with fictive author’s heraldry. The word Panphilia actually comes from Greek language and means a state of loving or accepting all things. Panphilia in its genealogy activated by Milan Adamčiak has its root in Dada and Pataphysics. Because its source is everyday life, it becomes an alternative to any established institutions of art and it brings to light a different experience with this world. Panphilia has something very spontaneous and imminent in itself, it is a gift.

Milan Adamčiak is one of the first Czechoslovak artists who began systematic research into intermedia overlaps. It was principally creatively that his research was conducted, in the field of experimental poetry, action art and the so-called new music. In the second half of the 1960s he created cycles of diverse kinds of typographic grids, in which the graphic and semantic realisation overlapped with an acoustic rhythmisation of the text. Hence one part of his work has its premise in experimental poetry, taking the form of directions and instructions for various activities. Another part opens the way to visual music, with unconventional notations and graphic scores. A third links the inspirations from the two preceding parts in performative presentation: a game-playing experimentation and a non-completion of the compositional process, which significantly open up the possibility of perfecting the work using both classical and non-classical instruments and unusual settings.


Daniel Grúň


APART produced a publication dedicated to the artist that newly interprets work of Adamčiak and is presented as integral part of the exhibition.


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