CENA JINDŘICHA CHALUPECKÉHO 2008 on Artyčok

Po několikaměsíčním klidu, během něhož se umělci ve věku do pětatřiceti let mohli přihlásit do soutěže, nabírá devatenáctý ročník Ceny Jindřicha Chalupeckého nové obrátky.

Dům pánů z Kunštátu Gallery00:00:19.101
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Let me introduce to you the finalists,00:00:57.066
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although not all of them are here today.00:01:03.428
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So we have here Tomáš Moravec,00:01:08.384
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Radim Labuda,00:01:20.507
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Evžen Šimera,00:01:26.777
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and Ondřej Brody.00:01:32.704
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And the two absent artists are00:01:39.032
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Zbyněk Baladrán and Jiří Skála.00:01:42.023
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Even before the Chalupecký Award we found themes00:01:45.254
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we wanted to work on together.00:01:49.245
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One of them was the so-called "righteous trial".00:01:53.081
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We found the expression in the memoirs00:01:58.664
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of the architect Masák.00:02:01.654
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There's a short note about a "righteous trial"00:02:03.799
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at the studio of Prager, in the early 80's00:02:07.877
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concerning the consequences00:02:10.811
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of prefabricated architecture00:02:17.573
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in the communist Czechoslovakia.00:02:19.993
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You could also see it as a generation conflict,00:02:23.221
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but for us it was a starting point00:02:26.235
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for our work.00:02:30.446
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The nomination for the Chalupecký Award00:02:33.258
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was a good opportunity to make it happen.00:02:35.910
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We started the background research00:02:39.481
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but we did not find a lot of information00:02:42.622
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because many of the witnesses are dead now00:02:45.589
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and those who are alive either don't talk about it00:02:49.737
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or don't remember it.00:02:53.065
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First we wanted to do a reconstruction,00:02:58.642
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but that was impossible,00:03:01.252
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so we decided to create a fiction00:03:04.333
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based on facts.00:03:06.627
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In the last 3 months, we've been doing research,00:03:08.710
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expanding the context of the trial.00:03:11.396
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This is the final phase.00:03:17.441
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The installation is like an experimental novel.00:03:20.920
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The architecture had become so vulgar00:03:29.438
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that some architects needed self-reflection.00:03:34.336
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The interesting thing was00:03:39.814
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that this happened before 1989,00:03:42.292
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and it may have been more interesting00:03:46.200
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than we know today.00:03:48.997
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Of course, the context has gotten much wider00:03:51.221
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and connections have emerged leading to the present.00:03:55.973
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Some elements of the texts are reflected in the present.00:04:00.232
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We also found out that we couldn't work00:04:07.440
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in a linear way.00:04:11.533
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We had to follow the process of reconstructing the past,00:04:14.274
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consisting of building the present00:04:20.126
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out of a few pieces of the past.00:04:23.391
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I'd also like to comment on the installation itself.00:04:26.554
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In fact, there are two installations00:04:30.046
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and it's not possible to see everything00:04:32.598
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in one visit.00:04:35.036
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You can see only eight texts at once.00:04:37.307
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Everyday at two o'clock an operator00:04:41.359
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replaces the eight transparencies with another set.00:04:44.701
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So if you want to see the whole thing,00:04:50.443
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you have to come four times.00:04:52.815
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We are also interested in the way00:04:55.496
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artworks are presented00:04:58.915
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and also interpreted by the viewers00:05:02.118
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who come to the gallery and spend some time there.00:05:05.734
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In a way, we manipulate the viewers00:05:08.993
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into coming more often.00:05:11.583
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My work is entitled00:05:20.686
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"The Disease of the White Man".00:05:25.509
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I consider it a working title.00:05:29.734
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It is a set of eight images00:05:32.944
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in a presentation recycling their creation.00:05:39.367
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The images were created in the streets of Plzeň00:05:46.192
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where I brought a mobile unit with a projector,00:05:53.428
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and on some walls I projected00:05:57.905
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imaginary layouts of the particular places.00:06:02.474
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My basic purpose is to be aware00:06:11.041
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of the movement of men in the city,00:06:15.262
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and the influence of the city on them.00:06:19.903
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For me it is about looking00:06:23.220
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for the freedom of movement00:06:25.471
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in given conditions.00:06:29.917
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Each situation gave birth to one image,00:06:32.666
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one projection documented on a transparency.00:06:38.437
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Here, the transparencies00:06:44.458
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are projected on the wall again,00:06:47.696
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so that their creation00:06:52.787
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and presentation are recycled.00:06:55.593
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My reason for using the projector00:06:58.607
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was that during last winter, I started to appreciate00:07:06.680
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analog media and working with light.00:07:13.277
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This is why I am now using the projector.00:07:19.004
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It gives me wider possibilities of shaping the light00:07:22.559
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than digital technologies.00:07:27.376
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On digital images, black is never really black,00:07:30.786
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whereas here it's all about light and shadows,00:07:35.978
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which seemed perfect to me.00:07:39.350
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My project for the Chalupecký Award00:08:05.265
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consists of two social situations.00:08:13.001
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I came up with this expression to differentiate00:08:17.159
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this project from other types of artworks,00:08:21.477
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such as performances.00:08:26.282
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In the first part of the project,00:08:30.859
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I had five men tied with a rope00:08:36.202
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by professionals00:08:42.329
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who have been doing this for a long time.00:08:44.643
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The essential thing for me is the interaction00:08:47.695
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with the viewers during the opening.00:08:53.225
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This is why I'm doing this at the opening -00:08:55.747
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I want to create a certain situation,00:09:00.210
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a certain social atmosphere.00:09:05.163
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In the second part, there is a Filipino boy00:09:08.479
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who I found on the Internet.00:09:12.877
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He earns money by an erotic show00:09:17.493
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through a webcam.00:09:22.355
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He's not able to find any other job.00:09:26.122
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It's a quasi-altruistic act00:09:31.691
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because I gave him almost all the money I had00:09:34.936
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for the exhibition.00:09:40.907
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It's hard to say what the exhibition is about.00:09:46.511
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It's only two situations00:09:51.762
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to which the viewers have to relate.00:09:54.954
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For instance,00:09:58.889
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the Filipino boy is available for chat,00:10:01.455
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but I don't really think someone will do so.00:10:06.042
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I'm rather interested in the communication barrier.00:10:09.263
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I don't know how the situations will develop.00:10:15.097
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We'll see.00:10:21.191
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I'm also curious about00:10:23.415
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what the bondage situation will become.00:10:25.449
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The name of my work is00:10:43.813
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"The Gravity Monument".00:10:47.412
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This is my first attempt00:10:50.971
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at making such a complex geometric object,00:10:54.598
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an object made of geometric shapes.00:10:57.259
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I wanted to apply to it00:11:01.371
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my way of working with dripping paint.00:11:04.420
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In this project I wanted to discard00:11:10.148
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all colors, so it's all black and white.00:11:13.857
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The drops are applied to a ready-made object,00:11:17.258
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so I couldn't put them everywhere I wanted to.00:11:21.494
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I really wanted00:11:25.341
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to get rid of my personal style,00:11:28.562
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which is why the drops are only on places00:11:31.218
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with shadows thrown by the white cubes.00:11:34.274
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So inside of a black room there's a white arch00:11:36.972
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made of geometrical shapes00:11:40.673
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that are not only white00:11:43.041
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because the lights make them appear00:11:45.566
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in grayscale shading almost into black,00:11:48.200
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depending on the shadows.00:11:51.940
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I also use the paint drops00:11:55.096
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located not at the edges00:12:00.127
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but instead corresponding to the shape of the shadow.00:12:03.931
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Sometimes they're oblique and flow down...00:12:07.281
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I wanted this object to deny gravity.00:12:10.835
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The boxes, randomly stuck together,00:12:15.995
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should remind people of weightlessness.00:12:19.112
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In contrast to this,00:12:22.970
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the work with paint drops00:12:25.062
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is based on gravity.00:12:27.319
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It's an intersection of the two approaches.00:12:30.141
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In fact, I was trying to come up here00:12:35.868
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with a new base line00:12:39.662
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from which I could move on.00:12:42.849
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I didn't want to repeat myself00:12:44.954
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so I only used the theme of dripping00:12:47.977
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and applied it to something new.00:12:50.776
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I worked together with the architect00:12:55.191
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Mirek Vavřina.00:12:57.787
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We agreed that the arch00:12:59.590
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is a very interesting shape in architecture.00:13:02.235
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Wait...00:13:08.365
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Can you see anything?00:13:12.140
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Go shoot the texts in the space00:13:14.057
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and then I'll say a few words about it.00:13:17.514
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A part of the project started00:13:21.707
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about a year ago.00:13:25.617
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The other part is based00:13:30.147
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on my recent visit to China.00:13:32.558
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It's an installation consisting00:13:35.612
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of two main parts and one detail.00:13:38.438
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The first series of paintings00:13:41.546
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consists of JPEG images00:13:45.505
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downloaded from various websites00:13:48.582
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monitoring human rights in China.00:13:52.825
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Some of them are quite brutal,00:13:56.284
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others are kitschy family portraits,00:13:58.758
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but all of them have a touch of violence00:14:02.907
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because sometimes people disappear00:14:09.644
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without any trace...00:14:12.158
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So it's a strange mix of beaten people00:14:14.970
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and kitschy portraits00:14:19.521
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and a few photos of buildings00:14:25.454
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that don't mean anything00:14:29.059
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unless you know it's the central jail -00:14:31.170
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for instance, keeping political prisoners.00:14:33.897
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However, those photos are forbidden in China.00:14:37.461
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So I sent the photos back to China00:14:41.382
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over the Internet00:14:44.838
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to a painting factory that manufactures00:14:47.116
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all kinds of paintings.00:14:49.997
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I downloaded these forbidden photos00:14:52.776
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and sent them there.00:14:56.185
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The paintings were ready 3 weeks later.00:14:59.093
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As I said, this part of the project00:15:04.670
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started about a year ago, for another exhibition.00:15:07.617
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Last month I returned from China00:15:11.245
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where I wanted to visit this painting factory00:15:15.168
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and document it.00:15:19.161
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I finished by meeting an interesting artist00:15:21.893
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with the pseudonym "Apple"00:15:25.732
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who makes portraits of Chinese leaders00:15:28.529
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just to vandalize them with his friends00:15:32.781
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during a series of performances.00:15:36.892
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He works half illegally -00:15:41.174
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a dissident artist.00:15:43.051
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I thought the paintings I got on the Internet00:15:47.385
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were quite complementary to his work.00:15:53.425
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I always try to achieve neutral presentation.00:15:57.111
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The accompanying texts are concise,00:16:01.559
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merely describing00:16:04.581
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why I chose to do this00:16:07.791
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without mentioning my political attitude.00:16:11.263
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I think that's important because the exhibits00:16:15.286
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are so extreme that no interpretation is needed.00:16:18.676
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I don't want to convey cheap stereotypes00:16:22.542
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about China00:16:27.076
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or about human rights.00:16:29.758
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By the entrance,00:16:36.173
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there's an inscription "Painting China Now".00:16:37.609
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It's a reference to all the exhibitions00:16:41.941
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of Chinese art, mostly painting,00:16:45.492
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usually called "Chinese Painting".00:16:48.596
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All I did was reverse it00:16:52.229
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so it's about painting China now.00:16:59.417
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Under the title of the installation00:17:06.931
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there is a 20 year old palette00:17:11.385
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by one of the artists from the painting factory.00:17:14.140
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It is a stalagmite-like structure00:17:21.569
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that has fascinated me since the moment I first saw it.00:17:24.640
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I can't imagine how many paintings00:17:27.956
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the palette has produced.00:17:30.634
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This object presents the means of production00:17:35.282
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of the paintings themselves.00:17:40.332
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I guess that's it.00:17:44.594

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