From October 1, 2026 to January 10, 2027, the SCHIRN KUNSTHALLE FRANKFURT presents the artist’s first solo exhibition in Germany, on the occasion of the Czech Republic’s Guest of Honor appearance at the Frankfurt Book Fair.

Hulačová, who grew up on a farm, draws her art from a deep connection to plants and animals. The artist explores the relationship between humans, nature, and technology from an ecofeminist perspective. In her work, she addresses the loss of biodiversity, insect decline, and the consequences of industrial agriculture. The bee – a symbol of collective labor, ecological crises, and mystical immortality – is a central metaphor in her work, and not only that: Hulačová’s pieces are created in co-creation with her own bee colonies. Together with them, the artist brings forth hybrid beings and faceless science-fiction figures in which concrete and honeycomb, the organic and the technoid, nature and machine merge.

The SCHIRN is showing sculptures, reliefs, and installations, many of which were created specifically for the exhibition. The show’s title refers to the figure of Abundantia, who in Roman mythology represented prosperity and abundance. Her attribute, the cornucopia, pours out its riches in a magical way, while the resources, effort, and labor on which that prosperity relies remain invisible.

Anna Hulačová presents two installative settings at the SCHIRN. The first exhibition room features imposing concrete machines such as “Engine” (2026) and “Big Machine” (2026). Also hanging from the ceiling are cast concrete reliefs adorned with fine graphite drawings, combined with carved linden wood or complemented by honeycombs. Here, Hulačová draws on reliefs commonly found on socialist-era buildings, using motifs and forms familiar from that context, such as rising ears of grain. At the SCHIRN, the artist combines these with the sculptures “Alien Bees” (2021 and 2026) – insect-like figures with humanoid features that recall 1950s comics or science-fiction films.

The second exhibition room features the new production “Still Life / Still Alive” (2026), a food conveyor belt set against metallic, clinical-looking walls. Figurines of female workers are distributed throughout the space. At the end of the conveyor belt, fruits have piled up into a mountain, with one worker attempting to tackle the abundance of produce with a whisk. There are also references to representational conventions of Western (male) art history, in which women have frequently been associated with a lush abundance of fruit, as in 16th-century market scenes. At the same time, the artist points to the not merely historical dimension of the exploitation of (female) labor within the division-of-labor, machine-supported production chain of food production – extending all the way to the female consumer who processes the food. The second work in the room, “After Bugonia” (2025), addresses the dairy industry. Three female workers in rubber boots, work smocks, and headscarves recall, in bearing and aesthetic, the figuration of Socialist Realism. Totalitarian art propagated the archetype of the mother through concepts such as land, earth, and fertility. The workers’ heads are faceless or filled with honeycombs. The title “After Bugonia” derives from the ancient myth according to which bee colonies were born from the dead bodies of bulls (bugonia). The motif of the bee gives rise to a multilayered web of references. Not least, the bee – as a female collective, evoked in expressions like “busy as a bee” – also stands for the invisible female labor of many women across a wide range of societies.