- Jana Kasalová, Lena Knilli
- Monika Burian, Ondřej Horák, Jana Kasalová
- Monika Burian, Ondřej Horák
- Mark Ther
- Speciální programy
- 1. Únor 2012
- 00:11:00
- CZ
Nahlásit chybu
Events v "Praha|Prague"
Kvalita přehrávaného videa je zvolena podle rychlosti vašeho připojení.
Tento díl bude hodně blablabla… Toreador, matador, Monika Burian, býk a Picasso a Dalí a ten Goya! České centrum v Praze, copak tam vůbec vystavují? Vězni, uměni a finance v Dox. Co na to kurátor Ondřej Horák?
The Alps in the Morning Sun
The title of the "Tauromaquia" exhibition
is formed by the words "tauro" - bull and "maquia" - fight.
Filla calls it "a fight with the beast".
We chose this theme for several reasons.
Firstly, it has never been presented in the Czech Republic.
We start with the basic, Goya's, tauromaquia.
In the era of the Inquisition, Goya used this theme
to express a protest against oppression.
For some time he was employed as a court painter,
creating portraits of noblemen.
As soon as he turned his back on nobility
to mingle with ordinary people, he started to use this theme
to take a stand on violence.
We also have here Miloš Forman's film
about Goya's life.
Picasso drew a lot of inspiration from Goya
and tauromaquia or bullfights played a major role in his life.
He often went to see the fights
and was a close friend of the toreador DominguÌn.
DominguÌn was married to Lucia BosÈ,
an Italian actress who was famous in the golden 60's.
DominguÌn had a strong influence on Picasso
who admired him greatly.
Picasso's life was visually captured by his friend,
the photographer Lucien Clergue.
We used one of his photographs to promote the exhibition.
And this is a wonderful photo of Picasso
who is trying to put on the toreador costume.
In Picasso, this admiration and his Spanish blood
were of utmost importance.
Now let's move from Picasso to DalÌ.
DalÌ did not depict bullfights as a form of protest,
but rather to express his admiration
for physical exercise and Spanish culture.
Here are several works on paper and the original gouache.
All DalÌ's works are courtesy of Michael Lucas's gallery.
We also take a lot of pride in exhibiting Guernica,
namely a preparatory sketch for the Guernica tapestry.
Picasso painted Guernica in 1937
after the town of Guernica was bombarded.
It was a clear protest against Franco.
At the same period, between 1938 and 1940,
the Czech painter Emil Filla
created his cycle "Fight with the Beast".
Professor Dvo¯·k, the author of the text in the catalog,
discussed it with Filla himself and found out
that his fight with the beast, apart from other symbols,
had the same hidden anti-fascist meaning.
The idea to organize a joint exhibition
of Lena Knilli and me, Jana Kasalová, came from Taù·na Lang·ökov·,
the former head of the Czech Center in Vienna.
We'd both already had our exhibitions there,
so the idea to exhibit here in Prague came quite naturally.
We defined a common theme - traveling, maps, record of time.
Lena lived here in Prague during the 1990's
but we missed each other
since I lived in Spain and other European countries at the time.
That's something we have in common with the curator,
Camille Hunt, who is also a well-traveled foreigner.
As this is a Czech-Austrian exhibition,
my installation focuses on the Sudetes and the border
between the Czech Republic and Austria.
I've been interested in maps for a long time
so in my installation I used a lot of maps
I got directly from the cartographic society.
I was born in the Sudetes and I spend there a lot of time.
The region symbolizes a historical period
that we certainly haven't digested yet,
especially in connection with äumava
with its abandoned towns that give us all goose bumps.
I decided to work with bilingual toponyms
that I found in the database of disappeared towns.
It's a fascinating list of solitary houses and towns
that disappeared after 1945 due to the displacement
and the consequent creation of military zones.
There were 400 of these towns only around »esk˝ Krumlov.
It's fascinating to see how easy it was to erase them.
In my work I chose many names containing animals.
Animals are mirrors of our own existence.
They were the only beings that outlasted the displacement.
It's very interesting to talk to the locals
in NovohradskÈ hory mountains. A pub owner told us
that most people there supported fascism, even the Czechs.
And people today are still ashamed of their relatives,
which means they haven't digested their own history.
They just look at the Germans and the Austrians
who come to take care of the cemeteries and the churches.
This is particularly strong close to the border
with Germany and Austria.
Let me take a sip now.
I am myself.
Vixen! I am myself.
Vixen! Can you hear me? I am a vixen.
I, I, I am a vixen.
PRISON: A PLACE FOR ART
The project budget has had a complicated development.
The financing methods were established at the beginning
but the whole thing changed after we left the gallery
and found ourselves on the street
with both the project and its financing.
In order to continue, we used our own money,
which is quite ironic because I'm unemployed.
The second donor was the co-author, Martina Rekov·.
Then we started to collaborate with the DOX gallery
that promised us some money for the installation.
It was around 100 thousand.
The agreement was that neither I, nor Martina,
nor the co-curator Ond¯ej Chrob·k,
nor even the architect Tom·ö Svoboda,
could get any money. And we respected that.
So the cost of the exhibition and the catalog
were shared by the Moravian Gallery
The title of the "Tauromaquia" exhibition
is formed by the words "tauro" - bull and "maquia" - fight.
Filla calls it "a fight with the beast".
We chose this theme for several reasons.
Firstly, it has never been presented in the Czech Republic.
We start with the basic, Goya's, tauromaquia.
In the era of the Inquisition, Goya used this theme
to express a protest against oppression.
For some time he was employed as a court painter,
creating portraits of noblemen.
As soon as he turned his back on nobility
to mingle with ordinary people, he started to use this theme
to take a stand on violence.
We also have here Miloš Forman's film
about Goya's life.
Picasso drew a lot of inspiration from Goya
and tauromaquia or bullfights played a major role in his life.
He often went to see the fights
and was a close friend of the toreador DominguÌn.
DominguÌn was married to Lucia BosÈ,
an Italian actress who was famous in the golden 60's.
DominguÌn had a strong influence on Picasso
who admired him greatly.
Picasso's life was visually captured by his friend,
the photographer Lucien Clergue.
We used one of his photographs to promote the exhibition.
And this is a wonderful photo of Picasso
who is trying to put on the toreador costume.
In Picasso, this admiration and his Spanish blood
were of utmost importance.
Now let's move from Picasso to DalÌ.
DalÌ did not depict bullfights as a form of protest,
but rather to express his admiration
for physical exercise and Spanish culture.
Here are several works on paper and the original gouache.
All DalÌ's works are courtesy of Michael Lucas's gallery.
We also take a lot of pride in exhibiting Guernica,
namely a preparatory sketch for the Guernica tapestry.
Picasso painted Guernica in 1937
after the town of Guernica was bombarded.
It was a clear protest against Franco.
At the same period, between 1938 and 1940,
the Czech painter Emil Filla
created his cycle "Fight with the Beast".
Professor Dvo¯·k, the author of the text in the catalog,
discussed it with Filla himself and found out
that his fight with the beast, apart from other symbols,
had the same hidden anti-fascist meaning.
The idea to organize a joint exhibition
of Lena Knilli and me, Jana Kasalová, came from Taù·na Lang·ökov·,
the former head of the Czech Center in Vienna.
We'd both already had our exhibitions there,
so the idea to exhibit here in Prague came quite naturally.
We defined a common theme - traveling, maps, record of time.
Lena lived here in Prague during the 1990's
but we missed each other
since I lived in Spain and other European countries at the time.
That's something we have in common with the curator,
Camille Hunt, who is also a well-traveled foreigner.
As this is a Czech-Austrian exhibition,
my installation focuses on the Sudetes and the border
between the Czech Republic and Austria.
I've been interested in maps for a long time
so in my installation I used a lot of maps
I got directly from the cartographic society.
I was born in the Sudetes and I spend there a lot of time.
The region symbolizes a historical period
that we certainly haven't digested yet,
especially in connection with äumava
with its abandoned towns that give us all goose bumps.
I decided to work with bilingual toponyms
that I found in the database of disappeared towns.
It's a fascinating list of solitary houses and towns
that disappeared after 1945 due to the displacement
and the consequent creation of military zones.
There were 400 of these towns only around »esk˝ Krumlov.
It's fascinating to see how easy it was to erase them.
In my work I chose many names containing animals.
Animals are mirrors of our own existence.
They were the only beings that outlasted the displacement.
It's very interesting to talk to the locals
in NovohradskÈ hory mountains. A pub owner told us
that most people there supported fascism, even the Czechs.
And people today are still ashamed of their relatives,
which means they haven't digested their own history.
They just look at the Germans and the Austrians
who come to take care of the cemeteries and the churches.
This is particularly strong close to the border
with Germany and Austria.
Let me take a sip now.
I am myself.
Vixen! I am myself.
Vixen! Can you hear me? I am a vixen.
I, I, I am a vixen.
PRISON: A PLACE FOR ART
The project budget has had a complicated development.
The financing methods were established at the beginning
but the whole thing changed after we left the gallery
and found ourselves on the street
with both the project and its financing.
In order to continue, we used our own money,
which is quite ironic because I'm unemployed.
The second donor was the co-author, Martina Rekov·.
Then we started to collaborate with the DOX gallery
that promised us some money for the installation.
It was around 100 thousand.
The agreement was that neither I, nor Martina,
nor the co-curator Ond¯ej Chrob·k,
nor even the architect Tom·ö Svoboda,
could get any money. And we respected that.
So the cost of the exhibition and the catalog
were shared by the Moravian Gallery
Zde se můžete vyjádřit.
Vybráno ze stejné kategorie
