In the solo exhibition Památka - Andenken Kunstverein Dresden e.V. is showing three artistic works that are coming together for the first time.

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Hašek's work generally comprises videos, photography, sculptures, objects and installations. For the exhibition at Kunstverein Dresden, the focus is on a combination of three installations whose starting point is a historical object or practice. Inherent in this are references to German-Czech history.

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The installation Horror Vacui from 2015 shows a historical punch bowl set from the early 20th century. The green glasses with vine leaves come from Hašek's grandmother, who used to clean them when he was a child and lamented the whereabouts of the punch bowl, but also the dilemma of not being able to ask the neighbour about it, who may have been the owner of the punch bowl. The phrase "after the Germans" constantly resonates in their conversations in this context. Artistically, Miroslav Hašek has tried to solve the dilemma of the missing punch bowl and created a seemingly suitable substitute punch bowl. In a juxtaposition, the "new" punch and the old glasses meet. The question arises who or what meets in this installation or who or what is lost forever.

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The main component of the second installation Mythomania/Pseudologia phantastica from 2018 are three words, the German words: Erinnerung, Andenken, Gedächtnis (memory, souvenir, commemoration). They were produced as 3D prints and stored in a mineral spring bath, which petrified the surface of the objects. This technique refers to the production of a well-known souvenir, the Karlovy Vary roses from the spa town of Karlovy Vary. They are made by treating real roses with thermal spring salts and minerals in such a way that they petrify. Miroslav Hašek's petrified words are presented in the exhibition as a museum. The work poses questions about what remains in us but also in artefacts.

The works Horror Vacui and Mythomania/Pseudologia phantastica are flanked by two new artistic works created for the exhibition. The starting point of one work is a postcard from the First World War and the love story associated with it. At the centre of the second work, a floor installation, will be the fragments of an old gravestone.

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Miroslav Hašek, born in 1988, is an artist of the youngest generation working in the area of Ústí nad Labem, Czech Republic. Significant for his artistic work is the examination of German-Czech history, traditions and their transformation into our time. In the process, parables emerge in his works that are transferable to a variety of situations.

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Supported by the Landesdirektion Sachsen, the Stiftung Kunst und Musik für Dresden, the state capital Dresden and the Euroregion Elbe/Labe.