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Reports

The tools brought about by technological progress and the network society create an alternative way of establishing communication and building new relationships of interpersonal and interspecies cooperation. However, we suggest listening to the sounds of practices associated with community: rituality, coexistence with the world of plants, animals, and fungi, dissolving the hypersensitivity of the individual "I" in favor of the collective "we," sensitivity to the stories and perspectives of plants and animals, oil, or clouds.
The exhibition Happiness Is Not for Everyone is a look at the phenomenon of self-help guides that resuscitate the myth of the strong, masculine individual who has his life firmly in his own hands. However, when we focus more closely, we see a lonely man in distress. From the constructed nature of the situation—the asynchronization and denial of the source image and sound, the speaker's hesitant yet determined diction—we can guess that this is a game with authenticity, that we are witnessing the performance of a role, the fulfillment of a task, the immersion in the state of sovereignty.
Currently, we encounter these changes and catastrophes being discussed in regional public debates by people from the scientific community, government agencies, and politics, who use the authority of expert images to describe the ongoing changes and impending catastrophes. We do not see images that deviate from the established norms of scientific representation in the public sphere, and the voices of those directly affected by these changes are heard little or not at all in public debate. However, the presence of the planet as an active force producing its own images and ways of sharing them gives power to these alternative voices, languages, and images.
Jiří Thýn approaches the photographic medium, objects, site-specific installations, and video installations intuitively. In his own words, he tries to work with photography as if he were painting. This allows him to express himself authentically and emotionally through gestures. The author also draws digitally with a computer cursor, without striving for consistent perfection. He is now looking for a way to work with photography in a completely immediate way, moving toward the principle of chance in the digital process. The exhibition Silence, Torso, Presence encourages quiet reflection, contemplation of the perception of time not only in photography but also in the history of sculpture, and reflection on "torsos" which, although they evoke heaviness, refer to the basic forms and principles of our existence.
The exhibition Late Intimacy responds to the pressure to disclose private matters that intimacy currently faces. This pressure is evident in both the mass media and social networks, which are programmed to exploit our need for social acceptance and reward, and is also present in the hidden monitoring and analysis of our behavior in physical and digital space. We are increasingly aware that the ultimate goal of this pressure is to obtain material that can be exploited for commercial or political gain.
Beneath the surface of seemingly ordinary motifs in Erika Bornová's work, there are often hidden disturbing messages—frustration, uncertainty, anxiety, (sweet) painful obsessions—that bring forgotten experiences or suppressed feelings and attitudes back to life. From the outset, an important leitmotif in the artist's work has been a return to the past, whether personal or collective history.
For a long time, I didn't know what to write about this exhibition. It has no theme, the exhibiting artists have nothing in common, and their selection is purely subjective—I selfishly decided based solely on which paintings I personally found remarkable. It was only yesterday in my studio that one of the artists told me about a curator who reproached her for not providing any key to her paintings.
As we find ourselves in times that have extensive socio-political implications, the exhibition thematizes the insecurity, the suspicion and post-factuality gradually digging into our lives more and more. The many ambivalent mechanisms trough which we cope with this uncertainty and multiplicity of artistic processes (either politically-critical, or completely non-factual and sensual, scientific or even speculative) of the abandonment of what is considered “real” or “rational” take their forms in the interconnected realms of the technological, the natural, the mystical, the symbolical.
Kateřina Komm's artistic work to date clearly reveals her intention to layer, compose, and continuously transform countless images, texts, and records of events, inspiring experiences, and impressions from various places, times, and spaces. The author's reflections on vividly resonant moments open up space for further associative ideas, which form richly branched lines of meaning in the resulting sculptures, objects, drawings, and installations. Some of the works were created based on inspiration from a specific object, work of art, or architecture, while others may be a direct imprint of a found object, or even a magical experience of a symbolic nature.
This year, the Luhovaný Vincent exhibition aimed to look at spas from the perspective of artistic realizations in public space. For every city, these often represent untouchable remnants of past eras, regimes, and ideas, but they also illustrate contemporary tastes and social demand. The curators reflected on the festival theme Bez nánosu (Without Sediment) through site-specific artworks and installations, as well as performances and unexpected situations. Three guided walks through the exhibition as part of the festival also provided ample opportunity for theoretical evaluation and fruitful debate with visitors.
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