INTRO 518 TED 69 TED*TED 180 BONUS Q TRACK! : David Böhm, Josef Bolf, Petr Bosák, ..

Česká republika Praha Karlin Studios
Kvalita přehrávaného videa je zvolena podle rychlosti vašeho připojení.

Jsme ústy historie. Reprodukujeme reprodukované. Nutnost je volbou. A životní styl lze lépe prodat. Od 60. let k subkultuře. Od postoje ke kompilaci. Od modernismu k divnosti.Jsme ústy historie. Dotyk proměňuje vše živé v úhledně černé hrací kostky. Náhoda je tu kurátorem. Kolik umělců se vejde do jedné galerie? Slyšeli jsme to? Ne! Neposloucháme a refrén zní: Prokopat se ven! Byla to dosti špatná píseň, jako celá devadesátá léta. Avšak přežili jsme… Jsme nejen jejími ústy, nýbrž i údy. Objekty nahodilých pohybů. Bušíme na šuplík a volíme nutnost a samozřejmě píšeme věty, abychom upoutali, tedy přijďte, obracíme se na vás, alespoň do té doby než nás developeři vyženou o dům dál. Fuck you. Neslyšíte? Je tu trochu hluk.

Artyčok.tv presents
INTRO 518 NOW*NOW 180 BONUS Q TRACK! Works chosen by:
Well, we don't really remember the name...
Intro... 518 Now, asterisk Now...
180 Bonus Q Track, exclamation mark.
That's the name of the exhibition.
It took us quite a long time to realize this exhibition.
The original idea is two years old
but we changed it some two months ago.
First there was just Jirka and I, then Marek joined us
with some crucial ideas.
We were all very interested in studying
the interconnection between music and visual arts,
from the perspective of visual artists
which are influenced by music
or play in some bands
or make musical-visual installations
and so on.
So this is how it all started.
What else to say...?
We tried to choose things
that may not represent the core of the artists' work,
which may be for instance paintings,
but that are rather marginal
and reflect the artists' skills
and their inclination to working with music.
There are many records and posters.
We are interested in minor works
that the artists themselves don't consider to be artwork,
like things created out of passion,
such as CD covers or small posters.
This was our goal,
but I'm not sure if we really met it...
When collecting the works we didn't really know
what we were going to get,
so the conception was changing
during the three days we were arranging the works.
We really enjoyed the opportunity
to be creative during the preparations.
We tried to not impose any hierarchy
and distinctions between what is art and what is not.
We put it all together.
We created a system of hanging things on the wall:
It goes from scores
to concepts and then to posters, realized works
and finally to documentation.
So there's a line of development.
It's like a bildungsroman in music.
We didn't aim for any discovery.
It's not the objective of the research in this field.
However, our target wasn't only the people our age.
Of course, we made the choice
among people connected with music...
But we wanted to create a connection
between people who are not very recognized,
yet who have interesting projects.
Interesting similarities can also be seen.
This was one of our key objectives as well.
So there's Jan Saudek, Milan Knížák,
Vladimír Franz, Milan Grigar...
Surprisingly, no one refused to participate.
We had thought they wouldn't accept,
but they all did.
The most interesting thing for me
was to observe the similarities
between the different approaches,
and it was truly enriching
to meet the artists in person.
This is also one reason for making exhibitions -
meeting people.
For instance, Milan Grigar who we wouldn't have meet otherwise.
We also wanted to cross the barriers
and taboos that exist on the art scene.
Some artists would probably
never have their works hung on the same wall,
such as Saudek and Knížák.
Some of the artists were very generous,
such as Milan Grigar or Petr Nikl
who lent us the originals of their drawings.
In fact, all of the artists we approached
were very helpful, and although they couldn't
influence the location of their works,
they gave us absolute freedom.
They didn't even object to our choice of gallery.
We let the project live its own way.
For instance, we also addressed artists
recommended by others.
Sometimes we didn't even have enough time
to talk to some of the recommended artists.
Today's concert is a typical example.
We never wanted a concert until
Ivan Vosecký offered for us to organize one.
Same thing with Pash.
We knew about two things he was supposed to bring
and the rest was just unexpected.
We also had not seen all the posters.
We just put them all on the walls.

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