Over the course of my semester in Prague, I have frequented the National Gallery. My art classes visit often, and I enjoy doing homework in the museum café. When entering the gallery, it’s impossible to miss the enormous room to the immediate right of the entrance. For months this room was under construction, but it now hosts “Touch of Time,” an exhibit by Magdalena Jetelova.
The sculpture encompasses the entire room, but it’s hard to articulate in words. On the ground, there are wavy layers of a black, reflective material. Behind these layers is a slanted mirror that spans the entire length of the far wall. The viewer can see themselves reflected in the mirror, but the image is trembling. The sculpture’s subtle movement seems to blur the viewer’s entire world. The effect is unusual but not unsettling. I like it. Although one might expect this new, blurry world to be disorienting, it seems soft. Magdalena has said that “Touch of Time” was made to evoke a sense of instability and fragility, and I believe she was successful. The sculpture manages to evoke these themes in both a gentle and effective way.