The casual hiker, walking through the hills of western Slovakia, will be astonished if they walk to the top of Bradlo Hill, 543 metres above sea level, to encounter a large, terraced, stone structure, consisting of a square platform, measuring 93 by 62 metres, supporting a second platform, 45 by 32 metres, on top of which is a pyramidal form, topped by sarcophagus, with 12 metre-tall obelisks on each corner. Its monumental scale and the rusticated nature of the stonework might lead the uninformed visitor to imagine they had stumbled across some ancient temple, except for the lettering around the sarcophagus, which reads: ‘The liberated Czechoslovak nation to a great son / Czechoslovak minister and general Dr. Milan R. Štefánik, 21 July 1880 – 4 May 1919 / He perished in an aircrash on 4 May 1919 near Bratislava / With him [were] the royal Italian sergeant U[mberto] Merlino and private. G[abriel] Aggiunti’ (Veľkému synovi oslobodený národ československý / Čs. minister a generál Dr. Milan R. Štefánik + 21. júla 1880 4. mája 1919 / S ním kráľ. taliansky serg. U. Merlino a Sol. G. Aggiunti / Zahynul pádom lietadla dňa 4. mája 1919 pri Bratislave).
When studying the history of the avant-garde movement during the interwar period, the Slovak avant-garde remains relatively unexplored and in need of further investigation. Omitted from international works and under-represented in its own country, this key moment in Slovak modernity has recently become a priority area of research at the Slovak Design Museum in Bratislava.  A key resource in this context has been the archives of Iva Mojžišová (1939–2014), an art historian who devoted much time and energy to studying, collecting and preserving materials relating the School of Design in Bratislava (ŠUR, Škola umeleckých remesiel).  The school, around which the Slovak avant-garde was structured, no longer exists, and it is thanks to Mojžišová that documentation related to many of the designers who worked there are now to be found in the Slovak Design Museum. Other archives have also recently been opened to researchers, such as that of Ladislav (László) Csáder (1909–1975), a graphic designer whose rich oeuvre has yet to be fully discovered. Images like the one we will study more closely here testify to the merit of granting him a place in the international avant-garde movement.
Exoticism. It is said that exoticism is not a Czech trait; that we cling to our country like dough to a hole. Certainly this is true; but have you gentlemen never read Robinson Crusoe, The Last of the Mohicans, and Jules Verne, and have you not lived in Bohemia, and had friends like that, and is it a coincidence that one of them joined the Comedians, another perished in America, and a third was lost in the world as a sailor?
In the text Krakonošova Zahrada (The Giant Mountains’ garden), a description of his adventurous youth along the Úpa river in Northern Bohemia, Josef Čapek (1887–1945) cannot deny the provinciality of life in Czechoslovakia. The heroes in the books by Jules Verne (1828–1905) seemed much more thrilling, as well as the famous French novelist himself, who sailed the seas as an avid sailor. Unfortunately, Bohemia does not lie by the sea, a fact that only Shakespeare (1564–1616) could change in The Winter’s Tale (1609–1611). The play is set in Sicily, in a pastoral fantasy world called Bohemia, which lies by the sea.
An article by CRAACE Principal Investigator Matthew Rampley, ‘Decolonizing Central Europe: Czech Art and the Question of “Colonial Innocence”‘ has just been published in the journal Visual Resources.
Built in 1928 on one of the slopes of Zlín’s hilly and quite bare landscape, the family home of Berty and Fanuška Ženatý became known as The American House. It was a replica of a house that the couple owned in the United States, where they had lived and worked for a few years. The villa was rebuilt in the new location upon the wish of the manufacturer Tomáš Baťa (1876–1932) for whom it was meant to serve as a model house that could be easily replicated for the employees of his factories.