Motel One Hybernská Art

Already during the initial reflections on the design of an artwork for the atrium of MOTEL ONE HYBERNSKÁ, as mediated through the architectural visualization of the space, I was struck by the clean horizontal line of the cornice framing the sky—and perhaps that’s where the verticality comes from. The design process, which we will try to convey primarily through the visual attachment, was shaped by this initial, mediated impression, even though the designated location for the installation lies elsewhere. Quite naturally, I used the dominant line of the walkway leading through the atrium. The only visualization of this passageway or courtyard, with its articulated form framed by a relatively clean façade—structured vertically by the rhythm of window openings and transitioning into a horizontal “cornice edge”—evoked the need to pause and look up. And that’s why the vertical is the attempt to reach toward what lies beyond the cornice, whether through sculpture or just a glance in that direction. A moment to pause, to gaze at the image of the sky through that raised finger, through the figure stretching upward toward the heavens.

For the artistic installation in the generous courtyard space of the newly developed Motel One hotel on Hybernská Street, the artists joined forces for the first time in a bold artistic collaboration, presenting a proposal titled HUMAN RACING, composed of the objects SUPERCHARIOTS & POWERTRAINS. A striking location in the heart of the city deserves a striking artistic approach—and both Namor and Reichel bring their passion and relentless energy into a shared statement in public space. In their work, both artists have long represented a bold and untamed generation—one that doesn’t criticize the current fast-paced digital age but draws from it and, as Reichel puts it, captures “the world as an optimistic apocalypse.” Both have strong experience in intermedia art and often embrace ambiguity and the open-ended nature of interpretation, allowing each viewer to find their meaning within the work. The same applies to their proposed installation, HUMAN RACING. Here, Namor and Reichel reflect on the history of this key transportation hub in the center of Prague—a place with a partially underground, wild past—now undergoing a transformation that pushes it into the 21st century. The theme of the transport junction at the "U Bulhara" crossroads, the chaos and speed of the surrounding train stations, and the sheer number of people who pass through daily—all are reflected in the artists' characteristic creative process: layering meta-narrative symbols, an endless stream of stimuli, often illogical information, and mining from everything they come into contact with. Yet, the work remains anchored in clear symbolic objects—movement and futurism are evoked through casually placed car models, a vision of the future and possible new civilizations (and challenges of modernity) appears as a UFO ship. At the same time, the confrontation with history and the weight of the site's centuries-old spirit is embodied by a fallen dinosaur. And beneath all that—humans. A random passerby? A rushing businessman? A hotel guest from another continent? Or a local who can discover new meanings in the artistic intervention daily? The massive and time-resistant work combines rust, rawness, and the chaos of an alternative, nonconformist artistic approach. At the same time, its smooth, non-disruptive design and simple, almost totemic symbols also draw from purely pragmatic aspects of life—fast cars, luxury fashion, and the achievements of modern living. These are clear, accessible symbols that can be understood by a child passing by in a stroller and a hotel guest in Prague for just a few days on a packed business schedule. The simple design and easy replicability also offer imaginative potential for other uses—hotel merchandise, embroidery on a bathrobe, or a metal keychain souvenir to take home. The strong symbolism, memorability, and even illustrative ness of the installation’s individual elements may eventually allow them to become icons of the location itself.

The object “Liquid Beast” stems from the artist’s unique formal language. Its theme is water as a fundamental element of the landscape—not only the natural one but also the urban one. The sculpture may represent a personification of the element itself or, even better, symbolize a guardian of water. It does not convey a strong environmental message but rather invites humility and reflection in how we handle resources. We also appreciate its direct connection to the water feature in the lower part of the atrium. The sculpture follows the classic model of a free-standing figure. Its form and visual language are part of a recent cycle of creature-like beings created by the artist—objects that are distinctive not only in their stylistic signature but also in the themes they embody, which can resonate over a more extended period of time. The choice of organically shaped work seems a fitting counterpoint to the strict geometric order of the building and courtyard. The gentle visual contrast and subtle coloring should create a calming atmosphere that encourages pause and contemplation. Another essential quality is the sculpture’s potential to become a place-defining element—a true anchor for the space.

The installation depicts a monumental, absent fish body, present only through its fins. This imaginary body comes to life and transforms through interaction with the movement of its observer. The fin objects closely resemble the sails of Asian sailboats, and within the spatial context, a visual blending occurs. This resulting situation shifts the perception of the atrium and evokes a specific aquatic landscape. The object is a sculpture of a non-existent fish body, represented solely by its fins. Their placement provides enough visual anchors to imagine the shape of the fish. The object's plasticity is deepened by its "transparency," where the invisible becomes visible. The main charm of the installation lies in its variability. Thanks to the sculpture’s placement in open space, its multi-perspectival quality is developed to the fullest extent. Due to the atrium's sloped terrain, observers are offered various viewpoints—passersby and building users—depending on which window and floor they are viewing the object from.