Camp game
Voices emerge one after another creating polyphony.
I was actually born in a camp.
Voices: Glenn Gould, Tereza Fišerová, Ludwig van Beethoven, Tintoretto, Paris Bordone, Irrsigler, Johann Sebastian Bach, Kryštof Dientzenhofer, Jan Kratochvil, Thomas Bernhardt, Reger, Dan Graham, Man with white beard and others.
…while he kept talking of Mozart rather than Bach, I had to pick a place in the so-called Sebastian Hall; I had to, although it was completely against my liking to assume a place before Tizian, so that I could watch Reger, sitting in front of Tintoretto’s Man with white bird, standing, which was no disadvantage as I prefer standing to sitting, especially when observing other people, I have always had better observation skills when standing rather than sitting, and since I did manage to, looking from the Sebastian Hall to the Bordone Hall, caught a glimpse of the whole Reger, not even obstructed by a seat backrest, who…
In fact, there is no camp in this photograph. Although I was actually born in a camp. When my aunt divorced, she lived alone only with my cousins for some time and then she met a gentleman who became my new uncle. He lived in a large house in the countryside with a wide garden full of fruit trees and very meticulously mown lawn. It was a space of adults where children suddenly happened to appear, everything had special rules of its own and in the beginning my cousins and I found it difficult to try to come to terms with it. We wished very much to camp in the garden and we eventually were allowed to, but we always had to put up our tent at a different place so that the grass below would not fade away.
When Tereza was a child she hated letscho, a traditional meal made of stewed tomatoes and peppers parents or instructors used to trouble the children of her generation in summer times with. This was the case especially in camps, and in one of them Tereza was born. Overcooked vegetable lacking any shape or taste that would arouse at least some interest of children’s tasting buds was served on one afternoon as forced lunch once again. After Tereza ate it with utmost self-denial and necessary dose of accompanying encouragements, they all went to play the camp game called „Remembering“. Running with due vigour Tereza easily beat the rest of contestants, probably driven by the culinary injustice she had had to swallow. After her performance was highly praised by all the participants, she decided for an ostentatious gesture, as Tereza said: “I won Remembering and threw the letscho up the ditch.”
Where are the borders between polyphony and uncontrolled babble?
Fuga (Italian for escape, break-away) is a contrapuntal, polyphonic, imitative, two to six-tone musical composition of one sentence. It is a peak form of counterpoint which rigorously observes the equality of all voices. Its typical features include: …
This is no fuga.
- The exhibition called Camp Game00:00:18.944
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- was prepared by Tereza Fišerová and00:00:23.932
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- it consists of one piece of work which00:00:29.014
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- fills up the gallery space.00:00:34.297
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- As one of Terezas, I guess it was Velíková,00:00:40.775
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- said that there was finally someone who00:00:45.078
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- would cover the Entrance Gallery.00:00:49.659
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- But I guess it's not necessary.00:00:52.402
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- Although the space is quite problematic,00:00:54.774
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- we both got to like it00:00:57.399
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- during this exhibition, am I right?00:00:59.124
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- Absolutely.00:01:01.618
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- At the beginning we talked a lot,00:01:04.120
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- we also spoke about the time00:01:10.535
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- I spent at summer camps00:01:14.311
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- and the space here had also some effect,00:01:19.737
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- as it's all summer like,00:01:24.485
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- it's summer, so the whole exhibition is summer like.00:01:27.789
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- Summer like, absolutely.00:01:33.852
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- Interesting is that Tereza works with00:01:35.285
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- a very developed art language which00:01:38.198
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- she has been using continually for many years.00:01:42.337
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- She adds new levels and formats,00:01:49.261
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- but mainly new content.00:01:52.547
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- It was evident since the beginning00:01:56.303
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- what was going to happen with00:02:00.371
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- the viewer at the exhibition.00:02:03.488
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- But the content which united00:02:06.172
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- the formal form of the final arrangement00:02:08.856
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- had been generated gradually.00:02:12.735
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- As we were really absorbed by the place,00:02:28.385
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- we found it natural to use the sounds00:02:35.633
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- from the monastery surroundings,00:02:42.540
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- so all the sounds that can be heard at the exhibition00:02:46.527
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- can be also heard when00:02:51.755
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- you walk in the beautiful garden.00:02:54.025
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- It corresponds with the game a bit,00:02:59.486
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- when something from outside gets inside00:03:04.635
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- and you can look for it both inside and outside.00:03:09.385
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- This reflects the game too.00:03:13.253
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- Although the exhibition is called Camp Game,00:03:21.771
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- it is not evident there for everyone,00:03:24.746
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- but we dealt with it all the time and00:03:27.585
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- it is contained there somehow.00:03:28.870
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- The idea is very simple,00:03:31.554
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- Moving outside environment into00:03:33.883
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- an institutional gallery space is nothing new of course and00:03:36.791
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- we couldn't avoid it here either.00:03:41.820
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- We needed to get our impressions of the park00:03:52.343
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- into the gallery because we found out00:03:57.224
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- we had a very similar experience.00:04:01.460
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- When you walk to the Entrance Gallery00:04:05.738
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- from the tram stop,00:04:08.819
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- you always walk very quickly along00:04:10.699
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- the same paved way, go inside00:04:14.484
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- and leave the same way.00:04:17.811
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- But there are so many other ways00:04:20.422
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- how to get from A to B.00:04:23.451
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- That's why our ambition00:04:33.545
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- or Tereza's intention with00:04:35.525
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- the sounds was to move these impressions00:04:37.759
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- the other way round as well,00:04:42.561
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- so that the viewer will come here too00:04:45.145
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- and listen to the sounds in their natural environment.00:04:48.109