About the artwork:
Synapse is conceived as a permanent, interactive installation for the Florenc metro station in Prague. It explores the relationship between human civilisation, technology, and urban infrastructure, considering public transport as the “nervous system” of the city.
Prague’s transport network is depicted as a living organism whose “neural network” consists of metro, tram, and bus routes. The installation uses real‑time data from the Prague Public Transit Company: the movement of vehicles directly generates the light dynamics, creating a constantly evolving image of the city. Florenc, one of Prague’s major transport hubs, becomes a metaphorical synapse where flows of people, energy, and information intersect.
The complete installation includes 170 light boxes. For the Bright Brussels Festival, 40 boxes — about one quarter — are presented, offering a preview of the future Prague metro installation. For this edition, the work is adapted to the Brussels transport network, allowing international audiences to encounter an autonomous fragment set in a new urban context.
The project originated from an international competition in 2023 and is being developed in collaboration with the Prague City Gallery (GHMP) and the Prague Public Transit Company (DPP). The full installation is scheduled to be unveiled at Florenc in mid‑2026.
About the artist:
Jan Poš is a multimedia artist based in Prague. His practice blends Western mythology with contemporary technologies.
He focuses particularly on the overlap between physical and virtual space. His works often originate in 3D software before being materialised in porcelain or metal, as seen in Cyclopean Masonry (2024) and Fragments (2023), whose reflective surfaces evoke both their real environment and their digital origins. His approach is also rooted in speculation: he creates fictional environments that he freezes and examines, producing a form of “imaginary research,” exemplified in Unstable Objects (2023).
Poš also explores natural and cosmological phenomena, such as in Wind Gust (2021). He favours timeless themes over sociopolitical commentary, while integrating diverse technologies including 3D modelling, digital video (Cyclopean Masonry: deconstructed, 2025), and artificial light, notably in public installations (Countdown, 2023; Collector, 2023).
