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`` very well .

'i do . '

a curse and the crash of shattering glass from the kitchen made up alex 's mind for her .

me too , i say .

it dives for the bait , and serena lifts herself from the water .

she entered the building along with a variety of administrative and executive types .

that surprised him .

anyway , she gave me a little push and carried on her way , lets go and have a good time .

adam was n't going to call the detective .

dead weight crushing his soul .

tomorrow all the death and danger that lurked outside the haven of this moment would return .

see , makeup is n't camouflage ; it 's a weapon . ''

either way , mary-lynnette could n't call the police on mark 's new girlfriend unless she had some evidence .

`` are you referring to kirsten ? ''

one of those-a thin man with black alethi hair speckled with a handful of blond hairs , marking some foreign blood-pulled a long red ribbon from his pocket and attached it to his spear .

`` christ , you 're unbelievable . ''

barely aware of bran , sticking by me doggedly , patting my arm every few seconds to reassure himself that i 'm here .

great .

that 's right , it was insured .

when she was done drinking , she lay limply on max 's chest , her eyes closed in exhaustion .

though they do not need to , nor are they meant to .

`` the work was for all those people who have the same blood disorder as i do . ''

a single tear slipped out and ran down my cheek .

`` viper is too fanatic a collector to ever destroy such a priceless artifact . ''

`` that , too , if you 've got it in my size . ''

you raised an amazing daughter . ''

ethan 's eyes flattened .

`` right , '' he said .

`` we heading to the brig , boss ? ''

there was another change of tone .

surely a guy that hot can be a little more original . ''

why do boys always do it this way ?

i 'm not sure what he 's sorry about .

`` stay awake , kid , '' corrado said , his voice calm and collected .

his weird gray eyes peered solemnly into jack 's blue ones .

the wolf and the tiger .

The 2020–21 Rice Owls women's basketball team represents Rice University during the 2020–21 NCAA Division I women's basketball season. The team is led by sixth-year head coach Tina Langley, and plays their home games at the Tudor Fieldhouse in Houston, Texas as a member of Conference USA. Schedule and results |- !colspan=12 style=""|Non-conference regular season |- !colspan=12 style=""|CUSA regular season |- !colspan=12 style=""| CUSA Tournament |- !colspan=12 style=""| WNIT See also 2020–21 Rice Owls men's basketball team Notes References Rice Owls women's basketball seasons Rice Owls Rice Owls women's basketball Rice Owls women's basketball Rice Women's National Invitation Tournament championship seasons

`` they 're warlocks , '' said someone else in a dismissive tone .

Zbyněk Sekal (12 July 1923 – 24 February 1998) was a Czech sculptor, painter and translator. During World War II he was imprisoned for three years in the Mauthausen concentration camp. After the Warsaw Pact invasion of Czechoslovakia in August 1968, he emigrated to Austria. Already in the mid-1960s, he was considered one of the most important and distinctive Czech sculptors. Life 1923–1968 In 1934–1941 he graduated from the Real Gymnasium and the Business Academy and then worked briefly as an intern at the Topič publishing house. Before the war, he was already involved in the activities of the Comité de la democratie de España and later worked in the left-wing anti-Nazi National Movement of Working Youth. At the beginning of the war, he tragically lost his father. In 1941, at the age of eighteen, he was arrested for distributing leaflets, imprisoned in Pankrác Prison in Prague, in the Small Fortress in Terezín, and for the next three years until the end of the war in Mauthausen concentration camp, where he worked for a year in a stone quarry. In the concentration camp, he became close to the Polish painter Marian Bogusz, and later, as a scribe in an office, he perfected his German, from which he later translated very difficult philosophical texts. In 1945, he was accepted to study at the Academy of Arts, Architecture and Design in Prague in the studio of prof. František Tichý and made friends with his classmates Mikuláš Medek, Stanislav Podhrázský, Josef Lehoučka and Zdeněk Palcr. He rejoined the Spořilov Surrealist group, which had been formed by his friends of the same generation at the beginning of the war. On a trip to Paris organized for students in 1947 by prof. Václav Nebeský, he visited the International Surrealism Exhibition at the Galerie Maeght several times. He was strongly impressed by the rawness of the installations with reminiscences of war and camps and the primitivizing paintings (in the Foyer de l'Art Brut ) by Jean Dubuffet. He also made the acquaintance of Toyen, who was preparing paintings for an exhibition in Prague at Topič Salon. Shortly before his trip to Paris, at the age of 24, he married the painter Ludmila Purkyňová, with whom he had a son, Jan. He continued his studies at the Academy of Arts, Architecture and Design in Prague under prof. František Muzika and in the studio of prof. Emil Filla, but in 1950 he left the school without a diploma to avoid politicized state exams. After leaving school, he belonged to the so-called Libeň circle of Bohumil Hrabal and was the author of the generational statement " Postscript or Abdication" (1951), which was first published in samizdat as part of Hrabal's book The Tender Barbarian (Petlice edition). In 1951–1953 he was employed as a publicity officer at the General Directorate of Meat Industry and as a literary editor at the Political Literature Publishing House (later Svoboda publishing house). In the winter of 1952/1953 he completed his military service. In a futile attempt to save his broken marriage, he moved to Bratislava to join his wife, and in the following years until 1958 lived there alone, working as a translator from German and an art editor. However, he maintained written and personal contact with Prague friends (Mikuláš Medek, Egon Bondy) and sent them manuscripts of his translations. At that time, he was interested in Russian pre-revolutionary thinkers (Berdyaev, Shestov) and especially in existentialism and phenomenology (Nietzsche, Husserl, Schopenhauer, Freud, Jaspers, Heidegger), Franz Kafka, Hermann Hesse and Ludwig Feuerbach. He was invited as a guest to the first exhibition of Group Máj in 1957, participated in the second exhibition in 1958 as a member and returned to Prague. Sekal joined Group Máj because of his friends, but he did not identify with the group's program. In the 1950s, under the influence of reading, he felt an "inner emigration", remained a solitaire in his work, and long before the August 1968 occupation, he was already thinking of leaving for Austria. The following year he travels to Moscow and Leningrad (1959) and in 1961, with sculptors Zdeněk Palcr and Miloslav Hájek, to Warsaw and Gdańsk. A classmate of Zdeněk Palcr from prof. Wagner's studio at VŠUP Alina Szapocznikow introduced him to the sculptor Barbara Pniewska, whose material work was the inspiration for the first of his assemblages, which he called Assembled Pictures. In the early 1960s he was close to Informel and was one of the initiators of the Imaginative and Structural Abstraction movement, but he differed in his strictly intellectual approach to his work. In 1961 he married for the second time to Helena Waldvogel, with whom he had a son, Ondrej. From 1961 he had his own studio on Bělohorská Street in Břevnov and in 1965 he had his first solo exhibitions in Václav Špála Gallery in Prague and House of the Lords of Kunštát in Brno. In 1966 he visited East Berlin and Dresden. In Germany, he made friendly contacts that enabled him, after emigrating, to take advantage of a DAAD scholarship offered by the Akademie der Künste and to acquire a small studio in Berlin. In the 1960s he participated in sculpture symposia in Gmunden (1964, 1965), St. Margarethen (1966) and Vyšné Ružbachy (1967). Even when chiselling the stone, he did not abandon the basic principle of connection with memory, and arrived at an organic shape that was reminiscent of the sandstone rocks in the Děčín region that he knew from his childhood. 1968–1998 After the Warsaw Pact invasion of Czechoslovakia, he emigrated first to Berlin, then to Düsseldorf and in 1970 finally settled permanently in Vienna. He had to leave behind several dozen sculptures in Prague, only some of which could be brought to Vienna by his son, who was forced to emigrate by the StB in 1983. From 1972 to 1974 he taught at the Staatliche Akademie der Bildenden Künste in Stuttgart. After his emigration he experienced a creative crisis, he missed his partner, who remained in Czechoslovakia, and the role of teacher was alien to his introvert nature. In Vienna he married Christine Pulitzer. From 1974 to the early 1980s he was a member of the Wiener Secession. During the winter of 1980–1981, he spent a study stay in Amsterdam at the invitation of the Stedelijk Museum. In 1984 he received the City of Vienna Prize for Sculpture. In 1995 the National Gallery returned to Zbyněk Sekal the works held in Prague after his emigration throughout the period of normalisation until the fall of communism. After 1989, his works were exhibited successively in Brno, Opava, Bratislava (1992–1993) and in a large retrospective exhibition at the Prague City Gallery in 1997. The National Gallery in Prague in the Trade Fair Palace reconstructed Sekal's Vienna studio in 2014 and is exhibiting it in a permanent exhibition together with a large body of Sekal's sculptures. The architectural design was created by the MCA studio of architects Miroslav Cikán and Pavla Melková. The exhibition was curated by Marie Klimešová. Sekal found a deep resonance with his work in Japan, which he visited twice in the last decade of his life (1989 and 1997). In July 1996, during the preparations for the Prague exhibition, he fell seriously ill and had to undergo lung surgery. He died in Vienna on 24 February 1998. Awards 1984 City of Vienna Prize for Sculpture Work Sekal's first drawings influenced by Cubism and Expressionism were made in 1940–1941 and during his imprisonment during the war. His contact with Lubomír Vašátko, who later perished in the Mauthausen concentration camp, was important. During his studies in 1945–1950 he was interested in figuration, but his experiments with the non-traditional techniques of surrealists, especially collages and frottage, foreshadowed his later interest in material creation. His sculptural work ranges between modelling and object and is based on the transformed principles of cubist sculpture. Fritz Wotruba was close to him artistically. Sekal maintained a close friendship with Mikuláš Medek, and in cycles of drawings, often self-portraits questioning his own personality (The Man Who Smokes), he tried different variations from the veristic to the expressive and imaginative. His photographs of his wife's Face with Surrealist Installations (1947) and his photographic montages anticipated the later similar work of Emila Medková in 1949. At this time, he also assembled surrealist objects and made several book cover designs for titles by Breton, Kafka, and Meyrink. One of the earliest motifs of his postwar drawings is The Lamentation of the Hanged Man, followed by still lifes, drawings of birds, caricatured drawings of soldiers in uniform, and finally a cold, detached reminiscence of war (The Unknown General, 1959). Sekal's first sculptural works are studies of heads and busts in patinated plaster (Head of a Girl, 1957, Bust, 1957), on which he tests simplified modelling. In the context of Czech sculpture of the 1950s, his Head with Closed Eyes (1955) is exceptional; it is a stylized self-portrait and does not depict sleep but an inward-looking gaze. It coincides with the break-up with his first wife Ludmila. Autobiographical tendencies in Sekal's work are also manifested in self-reflection through diary entries. He was conceptually close to Paul Klee and his "Portrait of a Man Experiencing the Inner World" and understanding art not as a "representation of the visible" but as "making visible in a more esoteric sense." In the late 1950s, Sekal created several intimate sculptures in which he deals with post-Cubist (Centaur and Lady, 1956) and imaginative inspirations (Bearing Figure, 1957). The sculpture Boy Blue Flower (1957) refers to Novalis's novel and in the context of Czech sculpture of the 1950s it represents an extraordinary act in its radicality and independence from any models. The existential symbols are drawings and sculptures of birds (Bird, 1957), but especially two suggestive sculptures evoking the suffering of war (Screaming Head, Dead Head, both from 1957). The radical transformation of the figure resulted in a series of sculptures with a new content message (Dwelling, 1958, 1959), which Sekal then reworked in a different form in the 1980s. The term Dwelling comes from Kafka's short story Der Bau (1923–1924) (The Burrow, 1931) and is related to Sekal's need to find a shelter where he could escape from everyday traffic and work in a focused manner. Dwelling II takes the loosely anthropomorphic form of a war invalid and represents a transition to a transparent system of lines without an inner core (Dwelling, 1958) and sculptures that take on the form of a building (Dwelling, 1964). In the 1960s, his large-scale sculptures named Unsteady Structures are a means of self-identification and a representation of the feeling of fragility and the impossibility of finding a way out of this condition. He constructed the sculptures as living organisms by cutting through matter and adding elements that represented labyrinths and secret caves. At the same time, his first composed (folded) reliefs were created, conceived as wire tangles (Tangle, 1967). Since the early 1960s, Sekal's figurative work has evolved towards a gradual deformation and simplification of form, sometimes with an emphasis on plastic volume (Dog, 1963), sometimes on the surface structures of sculpture (Signal, Tortured Torture, 1963). In the abstract themes, figuration is suppressed and empty volume plays an important role alongside mass (Signal, 1957, Letter, 1968) or the sculptures approach relief in rendering of surface (Dissection, 1963, Untitled, 1966). In the composed wire-mesh pieces (assembled pictures), which Sekal has been creating since 1962 in parallel with material collages on paper, and which he considers to be a different means of painting, the primary inspiration of surrealist assemblage is evident, which puts discarded and damaged objects into new contexts. For his assemblages, Sekal mostly used objects already used, marked by human activity. In 1962–1963, he created the first series of wooden assemblages in the series Off the Beaten Track, (Holzwege) which he followed up with a series of works during his stay in Düsseldorf (wall relief, 1970) and further works in 1991–1995, conceived as precise inlaid miniatures made of natural wood. From 1964 onwards, he created intricate tangles of wire, fixed on wooden panels, which he called A Scheme for Purposeful Activity. By referring to Heidegger's notion of traffic (Betrieb), he expresses the existential significance of these labyrinths and his inner alienation from society. The surface structuring shared by artists of the Confrontation group, who worked with Informel in the mid-1960s, is gradually replaced by a new quality, consisting in the creation of an apparent or real geometric order (Palindrome I, Royal Walk, 1968) and a more organized form of labyrinth. Sekal worked with a variety of found metal fragments, and in composing the relief he emphasized the memory of the material and sought a new metaphorical meaning for it (Truce, 1966). Unlike some of his generation contemporaries, even in the second half of the 1960s he managed to avoid formal exaltation and aestheticization, and his works increasingly tended towards expressive and formal austerity. After his emigration, his assembled pictures became more characterized by a central symmetry, for which he found points of contact in the structural anthropology of Lévi Strauss. The stone labyrinth Little Stone (Mauthausen) from the 1966 symposium in Sankt Marghareten and Sekal's Self-Portrait (1973) as a tangle of brass wires, made during his time in Stuttgart, are unique works. Already in the mid-1960s, and then after his emigration in the 1970s, the need to find order in the chaos of wires manifested itself in the depiction of the cross as a traditional Christian symbol. These artworks also resulted from two years of work on a set of furnishings for the church in Lustenau (1977–1979). In 1964 Sekal created a plaster statue of the Crucified Christ imitating early medieval works for Vláčil's film Markéta Lazarová. In the 1960s, he participated in the newly established ceramic symposium in Gmunden, where he created block abstract sculptures and, during his second participation, a statue of the Crucified (1965) assembled from ceramic blocks. From the symposium in Sankt Margarethen in 1966, he traveled to the Venice Biennale, which became a strong artistic and spiritual experience and contributed to the purification of the form of his sculptures and composed pictures in the following years. In the chamber sculptures from the 1960s, there is still a rare hint of figuration (Please, No More, 1966); more often the titles symbolically denote the process of creation, as in Mikuláš Medek's paintings (Left - a Slightly Different Possibility, Truce, 1966), or refer to the process of rebirth of discarded things (What Remains of Forest, 1966). Although the starting points of Sekal's sculptures, reliefs and boxes refer to surrealism, he never considered himself a surrealist. Ultimately, the intellectual component, the exploration of spatial relationships and the desire to create order are always the defining process in his work. Shortly before his emigration, Sekal was invited by architect Karel Filsak to design a ceramic tile facade for Prague's Intercontinental Hotel, which became one of the most outstanding brutalist architecture. Shortly after his departure from Czechoslovakia, he was commissioned by the director of Deutsche Bank to create a monumental wall made of stacked wood in David Hansemann's house in Düsseldorf. The wall, measuring about 6 x 12 m, has not survived and only designs on a scale of 1:10 are known. After emigrating to Vienna, he initially had no studio and in his drawings he tried to thematically build on the works he had to leave behind in Prague. In the wooden reliefs there were traces of objects and events or a missing centre. In the composed pictures, this hole refers to the open mouths of the sculptures Screaming Mouth and Dead Head, but also to the original existential feeling at their creation (Hole, 1977). During a painting symposium in Eisenstadt in 1973, he created assembled pictures from pieces of leather (Third Attempt to Simulate a Magical Object, 1973) and continued to collect and preserve material for further works until the 1990s. He also created a series of assembled pictures with Christian motifs, in which the symbol of suffering, apart from the cross, is the spikes themselves (The Cross, 1972, 1977). The obsession with nails haunted Sekal throughout his life. From the 1960s onwards, he worked with a limited register of subjects and preserved their materiality, but he carried his formal sobriety to extreme consequences, especially in his later works with stigmatic objects. A completely personal and intimate part of his work is the assembling of objects in pictures into numerical series. He copes with the trauma of his imprisonment in a concentration camp by converting his prisoner's number into mere banal numerical operations (17 × 13 = 221, From Number Count, 1991, 58 × 58 = 3248, 1993). In the late 1980s and early 1990s, Sekal returned to modeling and resumed miniature formats created in the early 1970s, which were prompted by a sense of confinement in the small space of the studio. The chamber sculptures created in Vienna refer to post-Cubist figuration (Bust, 1988, Figure, 1989), or are studies of the relationship between the organic world and abstract spatial forms, and deliberately do not refer to the real object (Untitled, 1988, 1990). Between 1985 and 1991, he used traces of plant juices, which he completed in watercolour by means of free form associations. In addition to drawings, he made collages using waste materials such as banana peels and salami skins. The artist sometimes revisited the assembled pictures and reworked some of them. To avoid this, he came to the decision in 1983 to give them a third dimension in the form of boxes made of wooden slats, which he initially referred to as scaffolding. These protect the original core around which they were assembled as something precious, but the core is also the pretext for the whole construction. As can be seen from the artist's diaries, the idea of building the sculpture from the inside, from its core towards the space, had been on his mind since 1966 and then again when he created the tabernacle for the church in Lustenau in 1979. As an echo of the surrealist background of the sculptor's work, a common object, most often a board marked by traces of use, is usually at the centre of the boxes, while the box sometimes represents a valuable (Mahogany Box, 1985), often complex, strictly geometric and rational construction (Box with an indicated cross, 1992, Labyrinth, 1993). The need to prevent others from touching the work and to enclose it in a box arose while he was working on a tabernacle. It is also related to his interest in shamanism and black magic, which dates back to a visit to the Musée de l'Homme in Paris in 1947 and deepened during a stay in Amsterdam, where he visited the ethnographic collections at the Tropenmuseum and studied ethnological literature and books on magic and shamanism. A series of Copper Cases (wire metal boxes) from the early 1990s contain no core and are rather a kind of outline of a sculpture, constructed into complex spatial forms (Copper Box, 1991). They are based on visual multiplicity and assembled from structural elements densely wrapped with thin copper wire with accentuated joints. Sekal's sculptures from the late 1980s and early 1990s have a small scale and abstract geometric shapes, sometimes referring to figuration (Bust, 1988). After returning from Japan, he felt the need to create sculptures with a rounded organic shape and realized several variations based on a plaster cast of a found stone (Variations on the Kritzendorf Stone, 1992). At the same time, he designed a memorial to the writer H. P. Lovecraft (1990), a sculpture for the grave of Alfred Schmeller and the Memorial to the Jews of Vienna who were killed during the war (1992). Between 1995 and 1997, he redesigned the plaster sculptures that returned from Prague National Gallery. In particular, he cut up and reassembled the Unsteady Buildings, which he had intended for his retrospective exhibition at the Prague City Gallery. Sekal concluded his creative activity with an extraordinary accomplishment, transforming his last studio into a total work of art six months before his death. The studio was reinstalled in this form as part of the National Gallery exhibition of modern art at the Trade Fair Palace in Prague. Sekal's entire oeuvre is deeply introvert, as the following quote from his text Abdication attests: We want to go our own way, which we hardly know at all yet. We don't want to resemble other people, their faces are becoming more and more like the faces of idiots. It doesn't matter much about this observation, they consider us idiots too, it has always been like that. We don't want to be happy their way. Translations Private translations of works by Franz Kafka, some published in Nový život journal 1952 Walter Bartel, Karl Liebknecht gegen Krupp, Rovnost, Prague 1954 Ludwig Feuerbach, Das Wesen des Christenthums, State Publishing House of Political Literature, Living Links; series II, vol. 15, Prague 1957 Franz Kafka, In the Penal Colony, part of a collection of ten novels, Čs. Spisovatel, Prague 1958 Christian Dietrich Grabbe, Don Juan und Faust, anthology, SNKLHU, World Reading; Vol. 195, Prague 1959 Ludwig Feuerbach, Principles of Future Philosophy and Other Philosophical Works, anthology (Sämtliche Werke, Band 1, 2, ), Philosophical Library, Works of the Czechoslovak Academy of Sciences. Section of Economics, Law and Philosophy, Prague 1960 Georg Büchner, Dantons Tod, Orbis, Edition. 1963 Franz Kafka, Die Verwandlung, SNKLU 1st ed., Prague, 1990 Primus, Prague, 1968 Günter Grass, Katz und Maus, Odeon, Edition: Contemporary World Prose. Small Series, Prague, 3rd ed. 2009, Atlantis Prague, 1992 Günter Grass, The Tin Drum (Die Blechtrommel), Odeon, Edition. Prestigious Club, Prague, 1996 Carl von Clausewitz, Vom Kriege, 2nd ed. Bonus A, Brno, , 2008 Academia, Prague, Texts Abdication (1951), used as the final chapter of Bohumil Hrabal´s The Tender Barbarian Ralentir travaux LXV (1965), Výtvarné umění 1, 1966 Nautilus (1986), manuscript, the estate of Z. Sekal, Vienna Diaries - Sekal kept a detailed diary from his early youth, practically daily, rarely with longer breaks. For him as an introvert, the diary was a partner in dialogue and a place for self-reflection and permanent intellectual revision of his work. Older entries were often rewritten in the pursuit of perfection and took the form of literature intended for publication. In the last years of his life, this need intensified and it became a ritual stereotype - a kind of continuous litany structured by an identical entry formula in which he gives the exact time and his position in space. The diaries make clear his obsession with work, which also became his struggle for life. Illustrations 1947 Viktor Dyk: The Pied Piper Film posters The Wind Calms Down Before Dawn (1960), Test Drive (1962), Festive Ride (1964) Book designs Breton A: Magnetic Fields, Meyrink G: Golem, Kafka F: Transformation, Lorca F. G: Poet in New York, Kesten H: Happy People, Kisch E. E: American Paradise Covers and typography 1962/1964 State Publishing House of Fine Literature and Art, n.p., Prague 1967/1970 Odeon, publishing house of fine literature and art, n.p., Prague 1969 revue Světová literatura Exhibition catalogues own – 1965, 1969, 1988, 1997, other artists (Eva Kmentová, Adolf Hoffmeister, Mikuláš Medek, Jan Svoboda, Ladislav Novák (artist), Zdeněk Palcr, Stanislav Podhrázský, Etapa, Graphics 65, Contemporary Art from Austria Realizations 1968 Fairmont Golden Prague Hotel, Prague - vertical strips made of ceramic tiles 1970 Wood Relief 6 x 12 m, David Hansen House, Düsseldorf 1977/1979 Altar, ambo, tabernacle, Lustenau Church, Vorarlberg Representation in collections National Gallery in Prague Moravian Gallery in Brno Generali Foundation, Vienna Museum Bochum, Bochum Museum des 20. Jahrhunderts (20er Haus) / Museum Moderner Kunst, Vienna Rupertinum, Salzburg Museum of Art Olomouc Aleš South Bohemian Gallery in Hluboká nad Vltavou Central Bohemian Region Gallery in Kutná Hora Gallery Klatovy, Klenová Regional Gallery in Liberec Benedikt Rejt Gallery, Louny Gallery of the Capital City of Prague Art Gallery Karlovy Vary North Bohemia Art Gallery in Litoměřice Gallery of Modern Art in Roudnice nad Labem Gallery of Modern Art in Hradec Králové Gallery of Fine Arts in Cheb West Bohemian Gallery in Plzeň Private collections at home and abroad Exhibitions Solo 1961 Sochy, galerie na Karlově náměstí 1965 Sochy – reliéfy: 1948–1965, Galerie Václava Špály, Praha 1965 Sochy – reliéfy: 1948–1965, Dům pánů z Kunštátu, Brno 1965 Zbyněk Sekal: assemblages, Miloslav Chlupáč: sculptures, Galerie im Greichenberisl, Vienna 1969 Skládané obrazy a sochy, Galerie Václava Špály, Praha 1971 Bilder und Skulpturen, Galerie im Griechenbeisl, Vienna 1977 Zusammengesetzte Bilder, Zeichnungen, Neue Galerie des Landesmuseum Joanneum in Graz, Museum Bochum, Museum des 20. Jahrhunderts, Vídeň 1982, 1985, 1987 Geflechte Anwendungen eines Verfahrens, Neue Galerie, Vienna 1988 Bronzek, Zeichnungen, Neue Galerie, Vienna 1990 Galerie Stubenbastei, Vienna 1991 Scultore, Studio oni de Rossi, Verona 1991 Rupertinum, Salcburk 1992 Skulpturen, Materialbilder, Zeichnungen, Gerüste 1967–1991, Künstlerhaus Klagenfurt 1992/93 Některé práce z let 1940–1992, Dům umění města Brna, Dům umění v Opavě, Galéria Médium, Bratislava 1997 Works for the last fifty-five years / Arbeiten aus den letzten fünfundfünfzig Jahren, Prague City Gallery 2003 Plastiky a reliéfy 1959–1994, Galerie Ztichlá klika, Praha, Galerie Caesar, Olomouc 2010 Skládané obrazy, sochy a schránky, Brno Gallery CZ, Brno 2012 Skládané obrazy a schránky, Topičův salon, Praha 2014 Sekal and Japan. Greetings to a distant land, Greetings from a distant land, West Bohemian Gallery in Plzeň 2015 A věci se zvolna berou před se, Muzeum umění Olomouc 2016 Young Sekal - Drawings from the camp and other..., Terezín Memorial 2020 Zbyněk Sekal, Belvedere Museum Wien 2022 Drawings and intimate sculptures, Becher Villa, Karlovy Vary 2023 Zbyněk Sekal: Sekal 100, Museum Kampa 2023 Zbyněk Sekal: Paměť / Memory, Moravian Regional Museum Brno Collective (selection) 1964 Sculpture 1964, Liberec 1965 Tschechoslowakische Kunst heute: Profile V, Städtische Kunstgalerie, Bochum 1965 Małarstwo a rzeźba z Pragi, Cracow 1965 Keramik aus 12 ländern, Internationaler Künstlerclub IKC (Palais Pálffy), Vienna 1965 La transfiguration de l'art tcfhéque: Peinture - sculpture - verre - collages, Palais de Congres, Liege 1966 Tschechoslowakische Kunst der Gegenwart, Akademie der Künste, Berlín 1966 Tokyo International Exhibition of Art, Tokyo 1966 Tschechoslowakische Plastik von 1900 bis zur Gegenwart, Museum Folkwang, Essen 1967 Moderne Kunst aus Prag, Celle, Soest, Kunsthalle zu Kiel 1967 Mostra d'arte contemporanea cecoslovacca, Castello del Valentino, Torino 1967 17 tsjechische kunstenaars (17 Czech Artists), Galerie Orez, Den Haag 1968 Sculpture tchècoslovaque de Myslbek à nos jours, Musée Rodin, Paris 1969 L'art tcheque actuel, Renault Champs - Élysées, Paris 1969 Arte contemporanea in Cecoslovacchia, Galleria Nazionale d'Arte Moderna e Contemporanea (GNAM), Rome 1970 Tschechische Skulptur des 20. Jahrhunderts: Von Myslbek bis zur Gegenwart, Schloß Charlottenburg - Orangerie, Berlin 1971 Imago, Galerie im Greichenbeisl, Schloss Lengenfeld 1974 Wiener Secession, Krems 1974 Neue Mitglieder der Wiener Secession, Wien 1974 Tschechische Künstler, Galerie Wendtorf + Swetec, Düsseldorf 1976 Parallelaktion, Neue Kunst aus Österreich, Von der Heydt Museum, Wuppertal 1980 Die Kunst Osteuropas im 20. Jahrhundert, Garmisch-Partenkirchen 1982 Künstler, Die kamen und blieben, Secession, Wien 1983/84 Das Prinzip Hoffnung. Aspekte der Utopie in der Kunst und Kultur des 20. Jahrhunderts, Museum Bochum 1989 Wo bleibst du, Revolution?, Museum Bochum, Bochum 1990 Polymorphie: Kunst als subversives Element Tschechoslowakei 1939–1990, Martin-Gropius-Bau, Berlin 1990 Galerie Stubenbastei, Wien 1991 Rupertinum, Salcburk 1991 Studio Toni de Rossi, Verona 1991 Czech Informel. Pioneers of Abstraction 1957–1964, Prague City Gallery 1992 Czech Fine Art 1960–1990, Central Bohemian Gallery, Prague 1993 Czech Fine Art 1930–1960, Czech Museum of Fine Arts, Prague 1993/94 Record of the Most Diverse Factors... Czech Painting of the Second Half of the 20th Century from the Collections of State Galleries, Prague Castle Riding Hall 1994 Grey Brick 66/1994 Exile, U Bílého jednorožce Gallery, Klatovy 1994 Focal Points of Rebirth, Prague City Gallery 1997 Aspekte imaginativer Kunst im 20. Jahrhundert: Profil und Perspektiven einer Sammlung, Museum Bochum 1997 Czech Imaginative Art, Rudolfinum Gallery, Prague 1999 The Art of Accelerated Time. Czech Art Scene 1958–1968, Prague, Cheb 2002/2004 The World of Stars and Illusions. Czech Film Posters of the 20th Century, Moravian Gallery in Brno, Mánes, Prague, Czech Centre New York, Czech Centre London, Consulate General of the Czech Republic, Los Angeles, Czech Cultural Centre, Bratislava, Czech Centre Dresden, Consulate General of the Czech Republic, Hong Kong, Art Gallery Karlovy Vary, Macao Museum of Art 2003 Art is Abstraction. Czech Visual Culture of the 1960s, Prague Castle Riding Hall, Museum of Decorative Arts, Brno, Salon, Kabinet, Olomouc 2004/06 Šedesátá / The sixties, From the collection of the Zlatá husa Gallery in Prague, Brno House of Arts, Karlovy Vary Art Gallery 2007 Máj 57 Group, Prague Castle, Imperial Stables, Prague 2007/8 Soustředěný pohled / Focused View. Graphics of the 1960s from the collections of the member galleries of the Council of Galleries of the Czech Republic, Regional Gallery in Liberec, Liberec, Regional Gallery of the Highlands in Jihlava 2008 Nechci v kleci! / No cage for me!, Museum of Art Olomouc 2010 New Sensitivity, National Art Museum of China, Beijing 2010 Years in days. Czech Art 1945–1957, Prague City Gallery 2010 Czech Art in Exile / Tschechische Kunst im Exil, Vienan, Galerie G, Olomouc 2012 Czech Modern Art, Gallery of Fine Arts in Cheb 2014 Best of artmark collection I, Galerie Artmark, Vienna 2015 Die achtziger Jahre in der Sammlung des MUSA, MUSA Museum Start Gallery Artothek, Wien 2019 Nezlomní: Od Franze Kafky po sametovou revoluci / The Steadfast: From Franz Kafka to the Velvet Revolution, Municipal house, Prague 2022/2023 Das Tier in Dir: Kreaturen in (und außerhalb) der mumok Sammlung / The Animal Within: Creatures in (and outside) the mumok Collection, MUMOK - Museum Moderner Kunst Stiftung Ludwig Wien Notes References Sources Monographs Marie Klimešová: Zbyněk Sekal (cz, en), 543 p., Řevnice: Arbor vitae, 2015, ISBN 978-80-7467-088-6. Marie Klimešová: Zbyněk Sekal and Japan, Arbor vitae 2014, ISBN 978-80-7467-064-0 Author catalogues Zbyněk Sekal: Sculptures - reliefs 1948–1965, Kříž J., cat. 30 p., no., fr., SČVU, Prague 1965 Zbyněk Sekal: Folded paintings and sculptures, Chalupecký J., cat. 12 p., SČVU, Prague 1969 Zbyněk Sekal: Bilder und Skulpturen, Travaux R, cat. 12 p., de., Vienna 1971 Zbyněk Sekal: Zusammengesetzte Bilder (Zeichnungen), Cage J et al., cat. 68 p., Graz 1977 Zbyněk Sekal: Geflechte Anwendungen eines Verfahrens, cat. 24 p., Neue Galerie, Wien 1982 Zbyněk Sekal: Bronzen, Zeichnungen, Sotriffer K., cat. 44 p., Neue Galerie, Wien 1988 Sekal: scultore, Martini S, Sekal Z, cat. 40 p., Studio oni de Rossi, Verona 1991 Zbyněk Sekal: Some works from 1940 to 1992, Hofmann W, Sekal Z, Valoch J, cat. 47 p., no., no., Brno House of Arts 1992, ISBN 80-7009-052-9 Zbyněk Sekal: Skulpturen, Materialbilder, Zeichnungen, Gerüste (1967–1991), Hofmann W, Sekal Z, cat. 36 p., no., Künstlerhaus Klagenfurt 1992 Zbyněk Sekal: Works of the last fifty-five years, Baumann H, Hofmann W, Klimešová M, Sekal Z, cat. 184 p., no., no., GHMP, Prague 1997, ISBN 80-7010-043-5 Zbyněk Sekal, And things are slowly taking over, Alšova jihočeská galerie, Arbor vitae, 2015, ISBN 978-80-87799-40-6 Collective catalogues (selection) Tschechoslowakische Kunst Heute – Profile V, Kotalík J., Leo P., Míčko M., 166 p., (de), Städtische Kunstgalerie, Bochum 1965 Aktuální tendence českého umění / Tendances actuelles de l'art tchéque, Míčko M., 162 p., (cz, fr), AICA, Prague 1966 Wo bleibst du, Revolution?, Astier P et al., 156 p., (de), Museum Bochum 1989 Czech Informel, Pioneers of Abstraction 1957–1964, Dufek A., Nešlehová M., Valoch J., 266 p., Prague City Gallery 1991 Foci of Rebirth, Czech Art 1956–1963, Bregant M. et al., 447 p., (cz, en), Prague City Gallery 1994, ISBN 80-7010-029-X Šedesátá / The sixties, Juříková M., Železný V., 414 p., (cz, en), Galerie Zlatá husa, Prague 2004, ISBN 80-239-3406-6 New Sensitivity / Nová citlivost, Czech Sculpture of the 1960s - 1980s / České sochařství 60.-80. let 20. století, Knížák M et al., 189 p., (cz, en, chin), National Gallery Prague 2010 Books and encyclopedias (selection) Geneviève Bénamou (ed.), Sensibilités contemporaines / Contemporary artistic sensibilities, 70 artistes d'origine tchégue et slovaque hors tchécoslovaquie / 70 artists of Czech and Slovak origin living outside Czechoslovakia 1970–1984, 297 p., ang., fr., Paris 1985, ISBN 2-9500702-1-3 Chalupecký J., Nešlehová M., New Art in Bohemia, 173 p., H&H, s. r. o., Jinočany 1994, ISBN 80-85787-81-4 Nešlehová M., Poselství jiného výrazu, Pojetí informelu v českém umění 50. a první poloviny 60. let / The Message of Another Expression, The Concept of Informel in Czech Art of the 1950s and the First Half of the 1960s, (cz, en), 286 p., Artefact Prague 1997, ISBN 80-902160-0-5 BASE Publishing ISBN 80-902481-0-1 Hůla J., Interviews, 122 p., Dauphin Publishing House, Prague 2001, ISBN 80-86019-74-8 Morganová P. et al., České umění 1938-1989 / Czech Art 1938–1989, Programs, critical texts, documents, 520 s., Academia Praha 2001, ISBN 80-200-0930-2 Erhart G., Colourful Trajectories of Dreams, publisher. H+H, Prague 2008, ISBN 9788073190736 Klimešová M., Roky ve dnech / Years in Days, Czech Art 1945–957, 424 p., Prague City Gallery 2010, ISBN 978-80-87164-35-8 Klimešová M, Greetings to a distant land, greetings from a distant land: Zbyněk Sekal and Japan, 128 p., Arbor vitae, Řevnice 2014, ISBN 978-80-86415-97-0 External links Information system abART: Zbyněk Sekal Zbyněk Sekal - ein Materialpoet und kritischer Zeitgeist, Belvedere 21 Artlist: Zbyněk Sekal Prostor: Zbyněk Sekal (1923–1998) Czech TV: Zbyněk Sekal (2012) Czech Radio: Zbyněk Sekal: Composed pictures and boxes (2012) Zbyněk Sekal: Film posters, book covers, illustrations Czech literary translator´s guild: Zbyněk Sekal 1923 births 1998 deaths Artists from Prague Czech sculptors Czech male painters Czech translators 20th-century Czech male artists Academy of Arts, Architecture and Design in Prague alumni

we would be delighted to have you . ''

she tried to remember his name , and could n't .

they are empty pits of nothing , with no comfort to offer me .

how he loved that bee .

casey had stormed out in a huff after his call and told me not to wait up for him .

his shirt covered in safety glass .

`` ohmygosh .

a four by four toyota ?

he inhaled sharply-and had her traced to their bed before he 'd released that breath .

right there was where i wanted to be always .

`` you will be sorry , '' she murmured .

'the one who took me prisoner , the man who was killed by the americans , was an american himself . '

but the children followed , their smelly , loud , rock throwing selves breaking the peace of the river .

allison nodded again .

breathing heavily , he stared at me , lifting a hand cautiously , like he was afraid i might recoil .

he did n't even have any parties .

brand turns to look at me .

why had the fire been in that old stable ?

all she knew was she felt more connected to him than she had ever felt to any of the other men she had gone out with .

you look more like a knight than you do a holy man . ''

where are you going so early ?

i would be lying if i didnt say that i felt nervous .

blame it on the magic misfire , not the vampires . ''

i thank you for your patience , fanny .

i was n't being serious , sweetheart .

and then he climbs into the tank , and leaves .

i loved how she was so brave and spontaneous , especially when it came to the way she would always experiment with her hair and style .

`` might i ask , mistress , the purpose of that chase ? ''

katie giggled , feeling my sarcasm .

and each movement he made caused the bed to vibrate with a motion that might , just possibly , indicate the first tremors of another earthquake .

tommy would wake up , and they would search this place together .

in the distance , i heard sirens .

jared was n't beefy like some of the guys who worked out too much and he was n't skinny-jared 's chest was just right , a mix of lean muscle with only a hint of bulk .

it was immovable .

her throat constricted with a sudden itchy , desperate feeling .

he turns , showing me the set of wings that sprout from his back .

the strongest survive .

there was orange pop all over my notes and the coffee table .

the bellman took them and headed for the front door with the other plastic bags .

an order .

so is that a six ?

as details of his love life unfolded before him , he dreamed of the room back at his grandfather 's house .

he meant cabot - the gp 's receiver .

`` and the difference is ... ? ''

ethan 's arm falls to his side .

it might be in the evidence room of the nearest police station , or it might already have joined some collector 's trove of oddities .

she grabbed the leaves again .

`` yeah , '' i heard myself say , and it was mostly true .

the damn thing was packed .

zena .

winter was coming and it was cool in the mornings for his stiff old bones .

lo deflates in my arms , but she says simply , `` i did n't ask . ''

she shook her head .

i leapt from my bed awakening from my dark demonic dream , gasping for breath .

because if that 's true , i 'll reserve a cell for you this minute . ''

he roared .

if she had sisters , she had to find a way to help them .

the temptation to change gnawed at him , but he decided that he should save that power for emergencies .

at the center of the room was a long dining table .

hate you all . ''

`` i brought you in . ''