Abstract
The collective monograph has attempted to represent an "alternative monograph", in which Bohumil Kubišta qua artistic subject is revealed in objects connected to centrifugally constructed networks of both close and very loose relationships. In this book, the polyphonic testimony of various agents overrides the monological voice characteristic of monographical studies of a single artist.
Here the subject of the artist becomes the starting point for an investigation of mutual relationships and creative exchanges within the framework of the modern art of the entire Central European region and the continent of Europe as a whole. A key role in the reconstructed network is played by non-human actors, things and objects, among which artworks occupy a special position.
These are taken to be real artefacts of the practice and personality of their creator. The artistic subject thus reveals itself mainly through the objects and the relationship entered into with them.
The monograph reveals the problems involved in writing a history of Central European art of the early 20th century. What becomes clear is that the terminology and concepts of Central European and Czech modern art used over the course of the 20th century were largely determined by the tumultuous geopolitical changes taking place in the region.