Alpy in vranním sluníčky 19 on Artyčok

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 Sun00:00:02.764
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The title of the "Tauromaquia" exhibition00:00:06.840
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is formed by the words "tauro" - bull and "maquia" - fight.00:00:11.440
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Filla calls it "a fight with the beast".00:00:16.720
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We chose this theme for several reasons.00:00:20.689
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Firstly, it has never been presented in the Czech Republic.00:00:25.145
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We start with the basic, Goya's, tauromaquia.00:00:31.470
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In the era of the Inquisition, Goya used this theme00:00:37.439
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to express a protest against oppression.00:00:43.328
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For some time he was employed as a court painter,00:00:47.767
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creating portraits of noblemen.00:00:53.293
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As soon as he turned his back on nobility00:00:58.032
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to mingle with ordinary people, he started to use this theme00:01:02.778
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to take a stand on violence.00:01:08.549
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We also have here Miloš Forman's film00:01:12.384
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about Goya's life.00:01:17.384
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Picasso drew a lot of inspiration from Goya00:01:20.673
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and tauromaquia or bullfights played a major role in his life.00:01:26.950
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He often went to see the fights00:01:32.350
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and was a close friend of the toreador DominguÌn.00:01:35.850
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DominguÌn was married to Lucia BosÈ,00:01:41.370
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an Italian actress who was famous in the golden 60's.00:01:45.428
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DominguÌn had a strong influence on Picasso00:01:52.776
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who admired him greatly.00:01:57.758
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Picasso's life was visually captured by his friend,00:02:02.431
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the photographer Lucien Clergue.00:02:07.846
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We used one of his photographs to promote the exhibition.00:02:12.251
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And this is a wonderful photo of Picasso00:02:20.492
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who is trying to put on the toreador costume.00:02:24.682
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In Picasso, this admiration and his Spanish blood00:02:30.184
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were of utmost importance.00:02:35.738
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Now let's move from Picasso to DalÌ.00:02:40.113
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DalÌ did not depict bullfights as a form of protest,00:02:44.132
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but rather to express his admiration00:02:50.491
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for physical exercise and Spanish culture.00:02:54.491
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Here are several works on paper and the original gouache.00:02:58.991
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All DalÌ's works are courtesy of Michael Lucas's gallery.00:03:05.235
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We also take a lot of pride in exhibiting Guernica,00:03:10.866
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namely a preparatory sketch for the Guernica tapestry.00:03:18.034
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Picasso painted Guernica in 193700:03:23.715
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after the town of Guernica was bombarded.00:03:27.762
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It was a clear protest against Franco.00:03:32.854
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At the same period, between 1938 and 1940,00:03:36.867
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the Czech painter Emil Filla00:03:41.988
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created his cycle "Fight with the Beast".00:03:45.488
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Professor Dvo¯·k, the author of the text in the catalog,00:03:50.179
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discussed it with Filla himself and found out00:03:55.928
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that his fight with the beast, apart from other symbols,00:04:00.480
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had the same hidden anti-fascist meaning.00:04:06.379
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The idea to organize a joint exhibition00:04:27.011
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of Lena Knilli and me, Jana Kasalová, came from Taù·na Lang·ökov·,00:04:31.065
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the former head of the Czech Center in Vienna.00:04:37.065
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We'd both already had our exhibitions there,00:04:41.431
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so the idea to exhibit here in Prague came quite naturally.00:04:46.291
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We defined a common theme - traveling, maps, record of time.00:04:51.839
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Lena lived here in Prague during the 1990's00:04:57.755
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but we missed each other00:05:04.722
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since I lived in Spain and other European countries at the time.00:05:08.165
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That's something we have in common with the curator,00:05:14.527
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Camille Hunt, who is also a well-traveled foreigner.00:05:20.027
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As this is a Czech-Austrian exhibition,00:05:25.766
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my installation focuses on the Sudetes and the border00:05:30.575
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between the Czech Republic and Austria.00:05:36.330
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I've been interested in maps for a long time00:05:41.467
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so in my installation I used a lot of maps00:05:46.742
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I got directly from the cartographic society.00:05:50.935
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I was born in the Sudetes and I spend there a lot of time.00:05:55.346
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The region symbolizes a historical period00:06:01.406
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that we certainly haven't digested yet,00:06:04.906
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especially in connection with äumava00:06:09.381
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with its abandoned towns that give us all goose bumps.00:06:12.881
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I decided to work with bilingual toponyms00:06:18.358
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that I found in the database of disappeared towns.00:06:22.912
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It's a fascinating list of solitary houses and towns00:06:27.605
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that disappeared after 1945 due to the displacement00:06:33.447
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and the consequent creation of military zones.00:06:39.253
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There were 400 of these towns only around »esk˝ Krumlov.00:06:44.741
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It's fascinating to see how easy it was to erase them.00:06:50.572
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In my work I chose many names containing animals.00:06:56.411
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Animals are mirrors of our own existence.00:07:01.540
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They were the only beings that outlasted the displacement.00:07:07.134
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It's very interesting to talk to the locals00:07:13.181
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in NovohradskÈ hory mountains. A pub owner told us00:07:17.770
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that most people there supported fascism, even the Czechs.00:07:23.270
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And people today are still ashamed of their relatives,00:07:28.770
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which means they haven't digested their own history.00:07:34.515
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They just look at the Germans and the Austrians00:07:40.613
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who come to take care of the cemeteries and the churches.00:07:45.175
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This is particularly strong close to the border00:07:50.597
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with Germany and Austria.00:07:55.097
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Let me take a sip now.00:07:59.218
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I am myself.00:08:07.367
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Vixen! I am myself.00:08:12.310
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Vixen! Can you hear me? I am a vixen.00:08:17.220
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I, I, I am a vixen.00:08:22.966
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PRISON: A PLACE FOR ART00:08:36.386
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The project budget has had a complicated development.00:08:43.117
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The financing methods were established at the beginning00:08:48.617
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but the whole thing changed after we left the gallery00:08:54.933
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and found ourselves on the street00:09:01.827
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with both the project and its financing.00:09:05.327
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In order to continue, we used our own money,00:09:09.682
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which is quite ironic because I'm unemployed.00:09:16.945
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The second donor was the co-author, Martina Rekov·.00:09:23.539
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Then we started to collaborate with the DOX gallery00:09:29.193
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that promised us some money for the installation.00:09:35.265
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It was around 100 thousand.00:09:41.057
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The agreement was that neither I, nor Martina,00:09:45.904
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nor the co-curator Ond¯ej Chrob·k,00:09:51.078
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nor even the architect Tom·ö Svoboda,00:09:57.936
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could get any money. And we respected that.00:10:02.915
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So the cost of the exhibition and the catalog00:10:10.120
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were shared by the Moravian Gallery00:10:15.388
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and the DOX gallery. Příliš žluťoučký kůň úpěl ďábelské ódy00:10:20.104

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