INTRO 518 TED 69 TED*TED 180 BONUS Q TRACK!
We are the mouths of history. We reproduce the reproduced. Necessity is a choice. And a life style can be sold better. From the 1960s to subculture. From attitude to compilation. From Modernism to weirdness. We’re the mouths of history. A touch changes everything living into neat black dice. Chance is the curator here. How many artists fit into one gallery? Have we heard that one? No! We don’t listen and the refrain goes: Bust out! That was a pretty bad song, like the rest of the 90s. But we survived…We’re not only its mouths – we’re also its limbs and members. Objects of chance movements. We beat on the drawer and opt for necessity and, of course, write lines to captivate: So come, we turn to you, at least until the developers drive us one house further away. Fuck You. You can’t hear? It’s a little loud in here.
- Artyčok.tv presents00:00:00.665
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- INTRO 518 NOW*NOW 180 BONUS Q TRACK! Works chosen by:00:00:03.135
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- Well, we don't really remember the name...00:00:34.252
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- Intro... 518 Now, asterisk Now...00:00:37.947
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- exclamation mark.00:00:41.955
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- That's the name of the exhibition.00:00:47.373
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- It took us quite a long time to realize this exhibition.00:00:52.318
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- The original idea is two years old00:00:55.066
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- but we changed it some two months ago.00:00:58.153
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- First there was just Jirka and I, then Marek joined us00:01:04.052
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- with some crucial ideas.00:01:08.186
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- We were all very interested in studying00:01:18.605
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- the interconnection between music and visual arts,00:01:21.494
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- from the perspective of visual artists00:01:27.325
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- which are influenced by music00:01:29.597
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- or play in some bands00:01:32.117
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- or make musical-visual installations00:01:34.903
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- and so on.00:01:38.504
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- So this is how it all started.00:01:39.928
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- What else to say...?00:01:42.944
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- We tried to choose things00:01:46.678
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- that may not represent the core of the artists' work,00:01:49.590
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- which may be for instance paintings,00:01:52.386
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- but that are rather marginal00:01:56.598
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- and reflect the artists' skills00:02:00.662
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- and their inclination to working with music.00:02:03.152
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- There are many records and posters.00:02:06.387
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- We are interested in minor works00:02:09.932
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- that the artists themselves don't consider to be artwork,00:02:12.566
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- like things created out of passion,00:02:16.370
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- such as CD covers or small posters.00:02:20.037
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- This was our goal,00:02:25.925
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- but I'm not sure if we really met it...00:02:28.448
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- When collecting the works we didn't really know00:02:31.074
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- what we were going to get,00:02:35.489
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- so the conception was changing00:02:38.114
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- during the three days we were arranging the works.00:02:40.426
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- We really enjoyed the opportunity00:02:44.018
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- to be creative during the preparations.00:02:48.988
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- We tried to not impose any hierarchy00:02:57.523
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- and distinctions between what is art and what is not.00:03:03.221
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- We put it all together.00:03:07.413
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- We created a system of hanging things on the wall:00:03:12.561
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- It goes from scores00:03:16.318
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- to concepts and then to posters, realized works00:03:18.640
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- and finally to documentation.00:03:22.258
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- So there's a line of development.00:03:24.603
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- It's like a bildungsroman in music.00:03:27.756
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- We didn't aim for any discovery.00:03:31.022
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- It's not the objective of the research in this field.00:03:34.524
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- However, our target wasn't only the people our age.00:03:37.960
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- Of course, we made the choice00:03:46.021
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- among people connected with music...00:03:49.593
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- But we wanted to create a connection00:03:54.874
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- between people who are not very recognized,00:03:58.504
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- yet who have interesting projects.00:04:01.300
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- Interesting similarities can also be seen.00:04:03.679
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- This was one of our key objectives as well.00:04:06.899
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- So there's Jan Saudek, Milan Knížák,00:04:11.034
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- Vladimír Franz, Milan Grigar...00:04:13.575
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- Surprisingly, no one refused to participate.00:04:17.836
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- We had thought they wouldn't accept,00:04:22.991
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- but they all did.00:04:25.933
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- The most interesting thing for me00:04:29.077
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- was to observe the similarities00:04:31.380
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- between the different approaches,00:04:33.535
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- and it was truly enriching00:04:35.626
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- to meet the artists in person.00:04:37.718
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- This is also one reason for making exhibitions -00:04:39.900
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- meeting people.00:04:42.916
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- For instance, Milan Grigar who we wouldn't have meet otherwise.00:04:45.383
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- We also wanted to cross the barriers00:04:52.572
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- and taboos that exist on the art scene.00:04:55.138
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- Some artists would probably00:04:58.853
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- never have their works hung on the same wall,00:05:01.236
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- such as Saudek and Knížák.00:05:05.013
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- Some of the artists were very generous,00:05:08.906
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- such as Milan Grigar or Petr Nikl00:05:11.408
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- who lent us the originals of their drawings.00:05:13.307
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- In fact, all of the artists we approached00:05:16.165
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- were very helpful, and although they couldn't00:05:18.980
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- influence the location of their works,00:05:20.792
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- they gave us absolute freedom.00:05:22.912
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- They didn't even object to our choice of gallery.00:05:26.700
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- We let the project live its own way.00:05:35.054
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- For instance, we also addressed artists00:05:37.486
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- recommended by others.00:05:39.784
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- Sometimes we didn't even have enough time00:05:41.754
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- to talk to some of the recommended artists.00:05:44.469
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- Today's concert is a typical example.00:05:50.004
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- We never wanted a concert until00:05:52.261
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- Ivan Vosecký offered for us to organize one.00:05:54.210
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- Same thing with Pash.00:06:01.089
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- We knew about two things he was supposed to bring00:06:06.440
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- and the rest was just unexpected.00:06:11.858
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- We also had not seen all the posters.00:06:15.586
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- We just put them all on the walls.00:06:19.333