interview Martin Pfann 6 results

Martin Pfann
Marian Palla, Josef Dabernig, Zbyněk Baladrán + 1 more
These two exhibitions share a certain local specificity. The Screenopolis exhibition attempts to reflect certain local themes through contemporary art, while Marian Palla's exhibition presents a locally based artist and his work. At the same time, there is a certain connection between the authors of these two exhibitions in that both subscribe to conceptual thinking.
Anna Tesařová
The word "wee" is a Scottish synonym for "little." The title A Wee Bit of Heritage represents an attempt to provide at least a small glimpse into the cultural heritage of the northern Scottish town of Wick, with a population of nearly 9,000. The town used to be a strategic fishing spot and the main port of northern Scotland. However, the situation has changed in recent years. Herring stocks have been depleted for decades, crab fishing is no longer as profitable as it used to be, the nuclear power plant has been shut down, and one of the few things that still operate here and are attractive to tourists are the distillery, the nuclear archive, and The Wick Heritage Museum.
Jaro Varga, Catherine Radosa
The concept of the exhibition is based on the ideological convergence of the work of Catherine Radosa and Jaroslav Varga, which consists in revealing the physical and symbolic traces of the past. Both artists examine these relics of bygone times and eras from the perspective of collective memory and the mechanisms of its storage. A vacant lot is an empty space, a gap left by a past situation that can be filled again. The installation Colonne / Révolution captures the constant cycle of the monument in a triple projection. The period of the revolutionary Paris Commune is still a problematic period in France, similar to the period of socialism in our country: it has been and continues to be reinterpreted, tabooed, or marginalized.
Ponomarevová Daniela
In her project DELTA Plan, Daniela Ponomarevová constructs and subsequently deconstructs a post-apocalyptic story responding to the current state of civilization. At the heart of this dystopian narrative is the presumed demise of Earth, which has become nothing more than a testing ground, a temporary refuge for humanity, which is inevitably awaiting destruction by a giant asteroid. The author opens up this fictional future scenario through a series of objects installed in the immersive environment of a supposed laboratory and a text-and-image document.
Julia Grybos, Barbora Zentková
The objects are metal structures of various shapes woven with yarn, which the artists hand-dyed using different types of tea. They use weaving or scrubbing techniques, which, incidentally, most of us know primarily as half-forgotten craft practices. Their focus corresponds to the increased interest of contemporary artists in materials and technologies such as textiles, ceramics, and glass, which have long been neglected. Julia and Barbora, however, approach textiles without any obvious retro nostalgia, which could be tempting.
Lucia Tkáčová, Katarína Hrušková
In our jargon, the somatic exhibition was called svät. Svät took place at the turning point of time and space, embedded in and at the same time separated from the world ruled by time, space, meaning, and significance. Entering the exhibition was a ritualized transition between the world and the svät, between two different dimensions of the same reality. Pilgrims were torn from their everyday lives and thrown into a sacred space-time, where their derailed minds were exposed to events that were unheard of outside.