Ivan Kafka
Hledání nové identity artefaktu, který je statický a současně má potenciální schopnost pohybu, osobité minimalistické prostředky, lyrismus a při tom nesentimentální věcnost. Schopnost klást aktuální otázky po vztahu současné civilizace k přírodě, po osobní svobodě a jejím závazkům vůči společnosti, silný cit pro kreativitu kulturních a geografických rozdílností. Tak bychom mohli obecně charakterizovat tvorbu Ivana Kafky. Je svého druhu jedinečná a zároveň otevřená širokému spektru interpretací. Umí jednoduchým, univerzálně srozumitelným jazykem oslovit diváka – bez mnohomluvných dovětků, ezoterických symbolů, nebo dodatečných spekulativních výkladů. Jako taková má své pevné místo na současné mezinárodní výtvarné scéně.
Kafka se především vyjadřuje velkými instalacemi v krajině, v nichž v zásadě utilitární předmět uvádí do nových vztahů k přírodním dějům (např. dlouhodobý projekt Prostor volnosti (i skleslosti) – modifikované kompoziční sestavy větrných rukávů v různých částech Evropy), zajímá ho ale i průzkum možností uzavřeného, architektonicky pevně determinovaného prostoru (např. interiérové sestavy pingpongových míčků, halaparten, šípů, větrníků, či hodinových ručiček, které obíhají svůj okruh, ale neukazují čas, nebo nedávná instalace zavěšené, exaktně vymezené roviny z kousků bílé vaty, která je artificiální evokací oblačného nebe). Kategorie velkého formátu tedy v Kafkově díle znamená výzvu vypořádat se s prostorovou daností, dát jí nový smysl a řád. Používá k tomu multiplikovatelné prostředky, které jsou samy o sobě schopné mít kvalitu nějaké modelové situace.
Každé Kafkovo dílo je integrální ve smyslu jednoty obecného a soukromého. Je to ale především privátní rovina, která směruje Kafkovu kreativitu. Ve velkých „veřejných“ instalacích je přítomna potenciálně, bez zbytečných proklamací. Čas od času má ale Kafka silnou potřebu zaměřit se výhradně na ni. Jde o jakousi soukromou identifikaci problémů, kterým právě věnuje zvýšenou pozornost, o průzkum esenciálních hodnot makrosvěta, k němuž vztahuje své instalace, o soustředěné zamyšlení nad paradoxem vztahu přírodního a artificiálního. V takových chvílích volí Kafka malý formát. Nedělá malou plastiku nebo malou instalaci. Spíš bychom mohli říct, že si zapisuje prostorové poznámky do svého intimního deníku.
Takovými relikty jeho soukromí jsou i tři plexisklové krychle o rozměru 6x6x6 cm, které Kafka vystavuje pod názvy „Neuchopitelné zachycení“, „Zdánlivé nic,něco“ a „Blízká rozdílnost“. První krychle determinuje prostředí chomáčku tzv. Babího léta, mimochodem lidového symbolu krásného, slunného podzimu, druhá je naplněna hebkými topolovými semínky připomínajícími vatu a třetí vrstvami jehličí smrku, které nepodléhá změnám ročních období a modřínu, které naopak v zimě hnědne a opadává. Přírodní materiál tu nedemonstruje proměnlivost přírody jako takové, ale spíš Kafkův prožitek z ní a zvláště pak hluboký význam, který má pro jeho život. Exaktní krychle naopak představuje dokonalý prostorový vzorec. Už od počátku své tvorby ji Kafka vnímá jako základní, „zcela svobodný“ tvar. Objekty svou velikostí umožňují přímý kontakt, ten však relativizuje výchozí úvaha, kterou je vratká hranice mezi uchopitelností a neuchopitelností, touha „dotknout se něčeho, čeho se dotýkat snad ani nemá, co je ale nesmírně důležité“ a také význam chvíle a paměti: „Ty nejnenápadnější situace se mohou časem stát nejnaléhavějšími“ (I. Kafka).
Hana Rousová
- Unbelievable, thirty three years later on the same spot,00:00:00.681
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- and nothing is the same.00:00:06.133
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- The exhibition held in 1982, TK Praha- Stromovka00:00:08.446
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- and this architectonic block was a monolithic cube faced with red bricks,00:00:14.581
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- there were no garages, no dustbins, just grass,00:00:25.483
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- the inflatable hall was across the street00:00:30.349
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- and this is where the trucks came to over the course of three days,00:00:35.326
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- accumulating pressed paper in blocks which we later used00:00:39.917
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- to build steps until the height of 600 centimeters,00:00:44.461
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- and that is the exhibition where I was the only one exhibiting till the end,00:00:51.675
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- although it only lasted for 40 minutes.00:00:56.801
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- After 40 minutes uniformed and nonuniformed forces of the police started to appear00:01:02.051
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- and requested an immediate end of the event.00:01:08.816
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- There’s nothing more amazing than constantly undertaking the risk of a new place,00:01:26.528
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- to start over again and again,00:01:31.477
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- to appear in places where nobody knows you,00:01:34.162
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- where you have to prove that what you have done or what you intend to do00:01:38.503
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- makes sense, is worth it,00:01:43.264
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- and it is only then that without trying too hard00:01:46.786
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- and without popular Czech favouring you can manage to meet00:01:49.366
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- two or three people that find the thing interesting00:01:54.731
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- and then under certain preconditions-00:01:59.473
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- and that is the chance I was talking about in the beginning-00:02:02.513
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- it can pose another opportunity to exhibit,00:02:04.645
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- but all that should be in the first place determined by the quality of the work,00:02:08.282
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- the fact it captured someone’s attention, stuck in one’s memory…00:02:14.442
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- And then you go from the Bohemian-Moravian Highlands to Prague,00:02:18.594
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- from Prague to Germany, from Germany to Paris00:02:23.359
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- from Paris to New York, from New York to Brazil,00:02:26.882
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- you need more and more vigilance, to be more exact,00:02:30.397
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- and you are in a more and more unfamiliar environment00:02:37.243
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- and you're walking on a street and don’t know what is around the corner,00:02:41.161
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- well those are amazing findings, right?00:02:43.590
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- Smells, new views, completely different people…00:02:47.852
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- But it is also fun to look around and find parallels,00:02:52.176
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- so in NewYork I met a black Aneta Fárová,00:02:56.031
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- or you can meet Jiří Valoch, it is incredible.00:03:00.280
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- The shift, the constant experiencing a certain risk00:03:06.075
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- whether or not the thing works out is very important,00:03:11.382
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- it also keeps you on guard,00:03:16.939
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- because you encounter different environments, situations, atmospheres,00:03:19.769
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- and you never know how you will react,00:03:25.294
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- you have to stay at least partially tame…00:03:28.409
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- Of course we will keep the tennis ball, a childhood memory…00:03:33.992
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- This is good, this is the last project.00:03:42.056
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- It is called Interconnection of Czech Trosky.00:03:48.289
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- In a foggy late afternoon weather, using a laser beam,00:03:54.385
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- connecting the two peaks of Czech Trosky…00:04:01.016
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- I would like to make that, I have a special relationship to it,00:04:08.076
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- but I need to borrow a laser, do you know about any?00:04:12.393
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- Čeští pytlíci- výletníci.00:04:15.659
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- These are the first authentic drawings00:04:19.028
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- I later made them in a bigger format,00:04:22.374
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- because I used felt tip pens and it faded a lot.00:04:26.083
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- It was an exhibition in Austria,00:04:29.835
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- the idea was that all the countries that entered the EU and were bordering Austria00:04:31.835
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- would choose one author who would represent the country00:04:38.594
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- and the exhibition would take place at train stations,00:04:43.071
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- and that we could choose the stations.00:04:48.253
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- So when I imagined the Czech ones I decided to make it in Vienna,00:04:50.759
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- and they could attach the wagon to the trains00:04:57.139
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- so I would include all the train stations,00:05:00.635
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- so it was Hungary, Austria, Brno, Slovakia…00:05:04.816
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- With the black and white things, there were no drawings at all,00:05:23.228
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- because I felt like it would be a betrayal of the intention,00:05:26.573
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- it would be processed in an artistic way already00:05:31.296
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- and it would weaken the necessity to realize the actual work.00:05:34.586
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- But because I have always enjoyed drawing00:05:40.855
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- and I think it should be an inseparable part of art life,00:05:43.371
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- and because the deformation that everything is based on photos and documentation is escalating to a maximum,00:05:48.632
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- so it forced me to draw all the more,00:05:57.723
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- besides the fact that I had really enjoyed it since high school.00:06:00.694
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- The first drawings ever were these.00:06:04.733
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- This is how the drawings for the following realizations started.00:06:09.736
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- Wind drawing...00:06:18.411
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- This is an old drawing for the illumination.00:06:26.453
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- For eight or nine windows, smoke machines, ventilators,00:06:33.168
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- the title is Znovuvyhoření.00:06:36.644
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- I really liked these papers they used to make, with the watermark,00:06:39.856
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- they don’t make that anymore, papers for the typewriter,00:06:46.904
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- they had these ladder like watermarks... beautiful!00:06:50.814
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- Then as I was waiting for certain works for several years, even decades,00:06:55.246
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- I had to record it so that I had it captured in some way,00:07:00.676
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- so that I wouldn’t forget it.00:07:05.877
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- Then I was interested in the confrontation of the idea and the realized reality00:07:09.047
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- and I was forced to compromise.00:07:18.646
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- Výstraha z radosti.00:07:23.459
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- Three thousand traffic cones blocking a street guarded from both sides,00:07:29.469
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- eventually the exhibition never happened at the Riverside studio,00:07:39.915
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- so it happened in the South London gallery which was disapointing for me at first,00:07:47.105
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- but then it turned out there was a yard00:07:51.732
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- with sakuras in bloom at that time,00:07:55.618
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- so it hapenned in a different space00:08:00.063
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- but there was the bonus of the pink blooms00:08:03.799
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- that were falling down like snow in between the objects.00:08:07.490
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- It was one of those cycles where the material was borrowed00:08:15.525
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- and the sponsor lent it for the duration of the exhibition00:08:18.408
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- and then it would be returned back.00:08:23.377
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- Which however did not happen in the US,00:08:25.472
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- where I wanted them to lend me several pieces of the most typical street object in New York00:08:28.388
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- and I would make this formation called New York00:08:34.469
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- with smoke machines that would exhale in regular intervals this white steam00:08:39.528
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- like you see on the streets there…00:08:45.070
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- What a shame! But you can' make everything in your lifetime.00:08:47.281
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- I only got as far as to an art high school00:08:51.274
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- that gave some general idea about graphics, typography, photography, bookbindery,00:08:56.083
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- and the rest I was denied, but I don't blame anyone.00:09:06.838
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- But it came back in the form of the group 12/1500:09:17.473
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- where the guys would take me in as the youngest one00:09:23.195
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- and the circle became whole once again.00:09:29.064
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- Because the university was important, it's where you make friendships for life or relationships00:09:34.189
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- because the people have already chosen their direction00:09:41.174
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- and the system was ugly in that it knew all about this00:09:45.711
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- and purposely eliminated things that way.00:09:50.401
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- But because I believe that anything negative can turn into something positive through a slight change,00:09:53.856
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- it's just as good a starting point, basically.00:10:00.207
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- It is a certain type of experience.00:10:02.964
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- I’m not saying it is an easy one, but if you’ve already been through it,00:10:06.540
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- it is an experience you can make a good use of.00:10:09.690
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- For the 12/15 exhibition at Mánes in Prague00:10:12.974
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- we wanted to rent a pontoon with these 9 horizons of sand,00:10:16.692
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- the whole pontoon would be fully loaded in the Radotín port00:10:24.625
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- and then taken with a tugboat to Mánes into the blind stream branch00:10:29.737
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- and then anchored with ropes for the duration of the exhibition,00:10:34.550
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- but that never happened because it was difficult to deal with the authorities.00:10:39.264
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- And maybe it was for the best because when I imagine Czech people00:10:47.040
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- throwing their beer bottles and all sorts of papers in there,00:10:50.045
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- it could easily turn into a junk yard.00:10:54.483
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- And this is where my fascination with ships comes from,00:10:56.483
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- that were applied in the form of wind sleeves in Austria.00:10:59.261
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- I would stand on that bridge over there and watch it from above,00:11:03.857
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- and that was perfectly loaded with piles of colourful sands00:11:08.390
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- and I would stand on the bridge and watch this huge ship underneath me,00:11:14.276
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- and I didn’t know if it was me or the ship moving.00:11:20.358
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- These are the links that I find fascinating,00:11:24.394
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- one thing influencing another and the inspirations intertwine.00:11:28.543
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- Within the cycle Prostory volnosti i skleslosti there was this pontoon00:11:35.745
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- full of Austrian wind sacks in a factory three kilometers away00:11:42.885
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- and then taken to the place of the exhibition with a tugboat.00:11:49.943
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- Unfortunately it couldn’t be anchored in the middle of the stream of Elbe,00:11:55.006
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- I originally thought the visitors could swim breaststroke or freestyle00:12:01.311
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- or go on little ships so they could see it from up close00:12:07.678
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- but eventually it was anchored by the river bank.00:12:10.373
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- There was another alternative for a lower draft.00:12:15.150
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- Both were called Z hřbetu na hřbet.00:12:24.289
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- Originally for the vestibule of the National Gallery.00:12:36.446
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- It was never realized so in the end it was in the MuseumsQuartier in Vienna.00:12:38.739
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- The reality.00:12:44.765
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- Just between us, it was good I didn’t make it for the vestibule00:12:49.383
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- because I would drop dead there.00:12:52.287
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- But what I liked was that it would be visible form all the floors, from different heights.00:12:55.182
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- There was a platform built for it in Austria of course.00:13:02.079
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- We go through it quite chaotically,00:13:10.670
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- but because once I tried to fight my pedantism in my Žižkov studio00:13:13.165
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- by even throwing butter and other things around the yard,00:13:20.532
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- which drove me crazy the following day and I cleaned it up again.00:13:29.837
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- Maybe showing it in a different chronology won't hurt.00:13:34.395
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- After all, I am showing this to you exactly as it is stored here.00:13:40.297
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- For legitimations.00:13:48.490
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- I think it is the one we are in front of now.00:14:01.344
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- Because if I move a little bit, there’s the half circle house that I liked,00:14:05.287
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- and the way the trunk is tilted and slightly broken would correspond, you see?00:14:13.701
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- Right? Even the horizon of the terrain… Great.00:14:21.780
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- Thirty eight years ago I crawled here from my Žižkov studio two stops from here,00:14:29.553
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- carrying a cube 4 by 4 by 4 meters on this little hill in the morning haze,00:14:37.057
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- and for a moment closed and secluded this tree from its surroundings00:14:45.270
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- using this light pipe construction, and then I sat and watched,00:14:54.694
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- there was a fog that morning and throughout the morning it was falling down,00:15:00.595
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- revealing the horizon of the city that was lacking these crazy buildings00:15:08.510
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- like the Olšanka hotel and all sorts of restaurant stalls,00:15:14.213
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- and illuminating this street leading up to Flora,00:15:19.612
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- the light was actually similar to the one now, nice.00:15:23.137
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- So that was for my private need, Praha Žižkov, 1977.00:15:29.212
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- I was always fascinated by the particular colours of a particular place,00:15:42.679
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- and you lose it with time, you can’t remember it,00:15:48.485
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- and when I made the individual reproductions that I collected in the same format00:15:52.740
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- for a monography that surprisingly really was published,00:15:58.386
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- it was always captured in the real colours as I remembered them,00:16:02.505
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- I feel like when you make things on a computer,00:16:08.422
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- it is all in the same tone, a sort of blue,00:16:11.760
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- but when you see this yard, and this yard, the colours were fabulous.00:16:16.836
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- It took me some time to accept colour photograph because I couldn’t stand it,00:16:27.230
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- back then it was the cibachrome and the likes,00:16:33.893
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- eventually I really liked the so-called chromaline,00:16:37.605
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- because during totality and shortly after the Velvet revolution when you printed something, a reproduction,00:16:42.220
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- you first made chromaline and that was a template for the printing shop00:16:49.376
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- and that was a rastered reprodution,00:17:00.709
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- and I really liked the chromaline but it doesn't exist anymore,00:17:04.662
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- so I have to look for another technology of special copying00:17:08.703
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- and because I chose a format that was slightly bigger than A3,00:17:14.116
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- I can’t use normal xerox but have to use a special one they only have in printing shops.00:17:21.407
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- This yard fascinated me because there was a clear concrete base,00:17:28.752
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- then this beautiful moss green, and then this yard belonged to three buildings00:17:33.492
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- and the inhabitants divided it into three parts using a mesh which I found amazing.00:17:42.449
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- It lasts till this day, there has been some work on it,00:17:49.328
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- but the light, atmosphere, colours, they still stay the same.00:17:55.244
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- So the very far part was completely filled with forty tons of pressed paper00:18:00.676
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- borrowed from three printing shops00:18:10.593
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- and you could reach through the entrance of that building.00:18:14.492
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- This is a beatiful sculpture of a saint that watches it all,00:18:23.999
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- similarly to how Jan Nepomucký watched the blue wooden sticks in Regensburg.00:18:28.569
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- It is great they let us in, I thought we wouldn’t even get inside.00:18:34.894
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- Just a fun fact, here on this sidewalk they would unload the first two trucks full of the pressed paper00:18:41.827
- 00:18:41.827
- when the caretaker of the house closed the door on us00:18:49.939
- 00:18:49.939
- and said that only over his dead body,00:18:54.233
- 00:18:54.233
- but eventually he agreed after I gladly promised it would never happen again.00:18:56.233
- 00:18:56.233
- And the original project, I just remembered when talking to the people,00:19:04.328
- 00:19:04.328
- was that all the windows in the yard would be connected using these ugly threads,00:19:08.970
- 00:19:08.970
- ideally those white ones used for tying up stuff,00:19:16.085
- 00:19:16.085
- so it would create a space full of these white lines00:19:21.767
- 00:19:21.767
- and each thread would be fixed to an object of daily use,00:19:28.138
- 00:19:28.138
- such as a bed leg, a radiator,00:19:32.286
- 00:19:32.286
- so the people would be all connected for a certain time,00:19:35.953
- 00:19:35.953
- and the interviews where we would ask them to allow this would be recorded,00:19:40.897
- 00:19:40.897
- but that never happened, but I was looking forward to those who would decline it at first00:19:45.868
- 00:19:45.868
- asking for their own piece of thread in the end.00:19:50.500
- 00:19:50.500
- There are two nuns over there, film them, they are good.00:19:56.419
- 00:19:56.419
- So 1981, 10000 white wooden sticks dedicated to the treading down of humans.00:20:05.524
- 00:20:05.524
- It was not a typical yard within the exhibition Lesser town yards,00:20:17.472
- 00:20:17.472
- it was more of a fragment of an old communication,00:20:26.858
- 00:20:26.858
- but quite impressive and for me it was an important change00:20:32.118
- 00:20:32.118
- because this realization marked a change from the private environment00:20:35.258
- 00:20:35.258
- of landscape realizations mostly in the Bohemian-Moravian Highlands to the “public” civilization space.00:20:44.285
- 00:20:44.285
- And it started with the white wooden sticks that I first painted with a brush00:20:56.005
- 00:20:56.005
- to keep the criteria of a classic painter,00:21:02.042
- 00:21:02.042
- but then i stepped out a square meter00:21:05.193
- 00:21:05.193
- and multiplied it by the number of square meters of the whole area00:21:15.918
- 00:21:15.918
- and found out I would need much much more,00:21:20.327
- 00:21:20.327
- so I started to dip it into a bucket of latex.00:21:24.966
- 00:21:24.966
- Quite a cheap statue.00:21:28.800
- 00:21:28.800
- That is the difference between distinguishing the important from the unimportant,00:21:30.800
- 00:21:30.800
- and that is how we get to a very interesting topic of contemporary society00:21:35.519
- 00:21:35.519
- which is not only a bandwagon effect00:21:40.185
- 00:21:40.185
- but also the inability to distinguish quality and important stuff in the new democracy.00:21:43.833
- 00:21:43.833
- The parents of course played a major role in the openness,00:21:52.289
- 00:21:52.289
- objectivity and freedom I was given,00:22:01.574
- 00:22:01.574
- in the good sense of the word,00:22:07.341
- 00:22:07.341
- freedom that respects rules of the game, some mantinels,00:22:09.341
- 00:22:09.341
- which is a third thing in this society-00:22:13.800
- 00:22:13.800
- democracy can only work if mankind is on such a level00:22:16.749
- 00:22:16.749
- that it is able without any orders obey certain limits that are the basic limits of decency.00:22:22.799
- 00:22:22.799
- How simple. Now only to apply it in practice.00:22:34.070
- 00:22:34.070
- Symposium for two, that was good.00:22:39.013
- 00:22:39.013
- I liked the idea you could enter there and something would take place there.00:22:42.745
- 00:22:42.745
- So the moment of surprise00:22:48.647
- 00:22:48.647
- when you enter and this devilish perspective unravels00:23:01.195
- 00:23:01.195
- which during communism it lacked the descriptiveness of the restored summer residence00:23:06.779
- 00:23:06.779
- beacuse it was all grey so you could focus on the silhouette, the perspective,00:23:13.725
- 00:23:13.725
- over there, where the child is walking, there was a 2,3 meters high snowball00:23:22.562
- 00:23:22.562
- that resonated with the space.00:23:29.244
- 00:23:29.244
- And in front of it there was a nivelization mark, a pole,00:23:35.514
- 00:23:35.514
- so there were the three geometric objects in a row.00:23:40.166
- 00:23:40.166
- No walking on grass.00:23:45.213
- 00:23:45.213
- So Prague generous perspective, exactly what we need as humans, a society,00:23:52.731
- 00:23:52.731
- politically, artistically and what we still lack,00:24:00.084
- 00:24:00.084
- that is why I like this place as a parable of my idealistic ideas.00:24:04.462
- 00:24:04.462
- These striped red and white cloths, I didn’t place them there for a change.00:24:17.693
- 00:24:17.693
- That is how we prohibit everything after the revolution,00:24:27.093
- 00:24:27.093
- you cannot even walk on grass.00:24:30.368
- 00:24:30.368
- I don’t know, there are too many prohibitions,00:24:34.700
- 00:24:34.700
- I have already prepared one new realization about it.00:24:36.700
- 00:24:36.700
- We reduced freedom to prohibitions.00:24:39.595
- 00:24:39.595
- The whole of the secrets, chances, joy, sex and everything00:24:43.400
- 00:24:43.400
- is of course completed with politics,00:24:49.253
- 00:24:49.253
- because an artist should be able to express his opinion about what surrounds him,00:24:51.962
- 00:24:51.962
- I even think he should be able to predict it in a way,00:24:56.574
- 00:24:56.574
- that should be the idea, to think about the connections of things00:25:02.164
- 00:25:02.164
- depeer than is common in the society.00:25:06.344
- 00:25:06.344
- And then the politics is one part of the whole00:25:10.597
- 00:25:10.597
- and it becomes a necessity of the art work,00:25:13.961
- 00:25:13.961
- and if it is not there, I almost see it as genderless,00:25:18.293
- 00:25:18.293
- but on the other hand if it is based solely on politics,00:25:23.647
- 00:25:23.647
- it becomes a nonsensical illustration of a certain state,00:25:27.038
- 00:25:27.038
- and that is another error,00:25:31.933
- 00:25:31.933
- the whole that consists of all the constitutive acts00:25:33.933
- 00:25:33.933
- and that is fantastic in its richness,00:25:39.813
- 00:25:39.813
- and even if the artist has a certain central topic he cares about,00:25:42.587
- 00:25:42.587
- the viewer should have the possibility of access based on his own life knowledge,00:25:48.156
- 00:25:48.156
- and then if you speak about things that are common to people from different countries,00:25:55.445
- 00:25:55.445
- where you don't understand a word, the intensity can still be the same.00:26:03.579
- 00:26:03.579
- And it is a strange language that you can use even in very remote places,00:26:09.741
- 00:26:09.741
- and it is exciting to undergo it.00:26:17.613
- 00:26:17.613
- So definitely.00:26:20.737
- 00:26:20.737
- Just as an artist should be able to speak about his work,00:26:22.400
- 00:26:22.400
- explain why he has made it,00:26:25.171
- 00:26:25.171
- the politics that afterall moves the world more and more00:26:28.090
- 00:26:28.090
- and to a certain extent limits us greatly,00:26:32.044
- 00:26:32.044
- whether it’s terrorism, religion, all these things,00:26:35.344
- 00:26:35.344
- of course, it should be there.00:26:39.763
- 00:26:39.763
- And the artists that purposely avoid it,00:26:42.449
- 00:26:42.449
- they don't really satisfy me.00:26:46.893