Trvalá proměna

• The exhibition is titled Permanent Transformation00:00:00.400
• 00:00:00.400
• and it's our first show in Prague in two years.00:00:02.900
• 00:00:02.900
• The previous one we had at the Nevan Contempo00:00:05.500
• 00:00:05.500
• and now we are here, at the Fotograf Gallery.00:00:09.050
• 00:00:09.050
• It was curated by Jiří Ptáček00:00:11.450
• 00:00:11.450
• with whom we have collaborated several times in the past.00:00:14.500
• 00:00:14.500
• The installation is composed of several layers,00:00:17.600
• 00:00:17.600
• one of them is what you see all around the gallery walls.00:00:21.700
• 00:00:21.700
• We collaborated with a bunch of fifteen or so kids00:00:25.200
• 00:00:25.200
• who got this space at their disposal00:00:29.600
• 00:00:29.600
• based on our simple instructions.00:00:32.800
• 00:00:32.800
• Then it was all up to them what appears here.00:00:35.950
• 00:00:35.950
• Then there are three videos on display here,00:00:41.300
• 00:00:41.300
• all of them created for this exhibition.00:00:45.200
• 00:00:45.200
• It's probably typical of us, that for our solo exhibitions00:00:48.100
• 00:00:48.100
• we create all new pieces, if we have the opportunity.00:00:52.100
• 00:00:52.100
• Then there is another layer here and that is the merchandise.00:00:55.100
• 00:00:55.100
• We exhibit here limited edition T-shirts.00:00:59.800
• 00:00:59.800
• There are three designs here that work with some slogans00:01:04.500
• 00:01:04.500
• that have interested us and that relate in some way to the topics explored here.00:01:08.100
• 00:01:08.100
• Those are for sale, that's an important information.00:01:13.950
• 00:01:13.950
• To exhibit our three videos here we chose to use this aggressive approach00:01:42.850
• 00:01:42.850
• that could pull the viewer in and with the help of the children we created this setting00:01:48.950
• 00:01:48.950
• as you can see here. The kids were granted total freedom.00:01:53.200
• 00:01:53.200
• To us, children are a sort of metaphor of future00:01:58.450
• 00:01:58.450
• and they have processed the given measure of freedom as they wished.00:02:02.400
• 00:02:02.400
• Then it was important for us to put the videos into this framework.00:02:06.500
• 00:02:06.500
• The videos reference to pop, to future, to a certain freezing of time perhaps.00:02:10.300
• 00:02:10.300
• Documentation was an important part of the process00:02:17.050
• 00:02:17.050
• for which which we used instant Polaroid photography.00:02:20.050
• 00:02:20.050
• The pictures were taken throughout the action.00:02:23.050
• 00:02:23.050
• the children have been accelerating,00:02:26.700
• 00:02:26.700
• and they also could react to the pictures themselves.00:02:29.750
• 00:02:29.750
• The time played it's important role there.00:02:32.900
• 00:02:32.900
• To me the key seems to be the notion of time or temporality,00:02:52.750
• 00:02:52.750
• work with freezing of time, or view of the future,00:02:56.850
• 00:02:56.850
• which is not put to effect or which is frozen.00:03:01.800
• 00:03:01.800
• After all, the title itself references some work with time,00:03:05.600
• 00:03:05.600
• and it is enacted in the videos too.00:03:09.200
• 00:03:09.200
• We work with various motifs that appear in the videos00:03:12.400
• 00:03:12.400
• as well as in our action with the kids, with the motif of a child.00:03:17.700
• 00:03:17.700
• One of the videos works with a simple physical action00:03:35.200
• 00:03:35.200
• which always took place during the monthly siren test.00:03:38.850
• 00:03:38.850
• Another is a static shot of a luxury design interior00:03:42.100
• 00:03:42.100
• where a performance of a twerk dancer takes place00:03:47.700
• 00:03:47.700
• and a pregnant girl with zombie make-up lies on the floor.00:03:52.200
• 00:03:52.200
• The twerk dancer keeps repeating one set of moves.00:03:56.000
• 00:03:56.000
• Important is the notion of looping.00:04:00.250
• 00:04:00.250
• While the pregnant zombie is a play of a potentiality00:04:07.300
• 00:04:07.300
• that cannot be realized, that can't climax in birth.00:04:12.050
• 00:04:12.050
• Then there is another video...00:04:16.700
• 00:04:16.700
• Less than a year ago we produced our first rap video00:04:19.100
• 00:04:19.100
• with Dan Kranich and we thought it would be nice to do another one.00:04:26.600
• 00:04:26.600
• The lyrics work around the motif of an oath (or promise).00:04:32.850
• 00:04:32.850
• The rapper walks through a dead forest in Šumava mountains00:04:38.050
• 00:04:38.050
• declaring the lyrics into the music composed by Aid Kid.00:04:43.800
• 00:04:43.800
• It is perhaps very difficult for us to articulate this exhibition as a whole,00:05:10.100
• 00:05:10.100
• perhaps we don't have enough of a distance yet.00:05:16.000
• 00:05:16.000
• It is an open source of further inspiration to us.00:05:22.700
• 00:05:22.700
• The things we have put together here00:05:29.550
• 00:05:29.550
• may perhaps be seen as an attempt at some00:05:33.050
• 00:05:33.050
• new political language, if we put it very loosely.00:05:38.950
• 00:05:38.950
• It is not any specific political agenda, or judgements about politics,00:05:44.750
• 00:05:44.750
• it's rather aiming somewhere behind the language of politics.00:05:52.600
• 00:05:52.600
• On some symbolic level we can talk about political kitsch,00:05:57.800
• 00:05:57.800
• such as children in the hands of politicians.00:06:04.700
• 00:06:04.700
• There is endlessly repeated motif of promises or vows00:06:09.300
• 00:06:09.300
• and some magical means of time.00:06:15.500
• 00:06:15.500
• In fact we still want to enjoy ourselves with art.00:06:54.050
• 00:06:54.050
• It is more and more important for us to approach art itself00:06:58.400
• 00:06:58.400
• or perhaps a phenomenon of art for art's sake.00:07:03.400
• 00:07:03.400
• In my opinion it is an important motivation00:07:10.700
• 00:07:10.700
• why to relate to society as such through the language of art at all.00:07:15.750
• 00:07:15.750
• I believe this is quite a unique exhibition in the context of contemporary art00:07:23.400
• 00:07:23.400
• will prove its quality in more dimensions00:07:32.400
• 00:07:32.400
• which I am not even able to pin down as of now.00:07:38.800
• 00:07:38.800
• We didn't work here with some central theme,00:08:04.050
• 00:08:04.050
• there is perhaps no central topic.00:08:07.500
• 00:08:07.500
• The individual pieces are rather loose, but they do have some connections,00:08:11.600
• 00:08:11.600
• and that may as well be pop culture.00:08:15.450
• 00:08:15.450
• We don't define ourselves in some critical stance against pop culture.00:08:18.450
• 00:08:18.450
• Quite the contrary, we see it as something ubiquitous, which we are a part of too,00:08:22.050
• 00:08:22.050
• or the whole of contemporary art is a part of.00:08:26.500
• 00:08:26.500
• As is usual to us we work with pop culture as a kind of metaphor.00:08:30.100
• 00:08:30.100
• So if there is for instance this video with the zombie,00:08:36.150
• 00:08:36.150
• and where there is Anet twerking around it,00:08:40.500
• 00:08:40.500
• then the viewer might read it as a kind of potentiality00:08:44.100
• 00:08:44.100
• as something that obviously can't be pregnant because it is dead,00:08:49.300
• 00:08:49.300
• and then there is the element of dynamism, that adds some motion and energy.00:08:53.500
• 00:08:53.500
• It relates to the title of the exhibition itself.00:08:59.950
• 00:08:59.950
• Permanent transformation is also important for us, the members of our group00:09:04.300
• 00:09:04.300
• which strives for further development. The view of the future is important to us.00:09:08.200
• 00:09:08.200
• It is also important for to make this exhibition so that it is not be boring00:09:14.950
• 00:09:14.950
• as we believe that -not only Czech- contemporary art slides into certain conservative boredom.00:09:18.800
• 00:09:18.800
• So it was important to us to say no to boredom.00:09:25.900

Zde se můžete vyjádřit. (*nutné)