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Art
Jan Ságl
The camera on a tripod recorded women, men and children coming up on an escalator from the subway at Wenceslas Square from the then still non-existent underground station Můstek. Their faces reflect everyday commonness and their passive bodies are brought up to the surface in a continual stream on an escalator. Through those people Ságl showed the resignation of Czech society during the normalization period.
Jiří Žák
In The Shattered Epistemologist, Žák collaborates with the charismatic Berlin-based German-Beninese dancer Meïmouna Coffi. Working with a script by Žák, Coffi has created an improvised dance choreography based, among other things, on the physical gestures we use when we operate digital equipment. A collage of dance sequences and blurry, abstract footage – is a visual-poetic metaphor, accompanied by a subjective verbal and text-based commentary that places the fictitious situations within a real and specific context.
Lea Petříková
How to record the incommunicable?
Record of the experienced.
How to transfer this record back into an image?
A house as an enclosed meadow on which events take place.
That, which can never be verified, will forever be that, which remains.
To enter and to see.
Real history, never written event, a dead angle, a blind spot.
Discursus of a net.
Josef Bolf, Petr Malina, Pavel Kappel + 23 more
The curators displayed in glass show-cases toys belonging to forty artists, art theoreticians and architects who grew up in the 1970s and 80s. When we look back we realize that the exhibition was partly a serious and partly an ironic commentary of this kinship and an advance signal of the advent of the period of normalization which became a basic source for the work of a number of Czech artists after the year 2000.
Zbyšek Sion, Petr Lampl, Jan Steklík + 10 more
In their openness – in terms of both authorship and chronological delimitation – they are happenings in the purest sense of the word, although this term is rarely applied to the Crusaders’ activities.
If we ignore the footage of Vladimír Boudník in Jaromír Pergler’s 1956 film Action in the Streets of Prague, then the oldest known cinematic record of Czech performance art are Rudolf Němec’s films from the early 1970s.
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