artistic institutions 151 results

artistic institutions
Jana Bohuňovská, Rostislav Koryčánek, Pavel Liška + 6 more
At the end of 2012 there were five candidates for the position of the director of the House of Arts in Brno. The Brno Townhall refused to make their names public referring to the personal data protection law.The selection committee  recommended Terezie Petišková. One of the two unsuccessful candidates was the previous director Rostislav Koryčánek who was removed from office immediately after the announcement of the results by the selection committee. The reasons for this premature removal from office remained unexplained.
Maria Hlavajová
Her uniqueness, not only in the art world, lies in her sincerity and sincere interest in students and art, in integrity that feels almost unwavering, although she is in the position of power, in the ability to inspire people, especially in times when they feel that any effort is vain. Not because she would try to convince people – with here innate charisma – about some dogmatic truth of her approach toward art and artistic creation, but because her view on art she believes in and fights for resonates with people.
Anton Vidokle
Anton Vidokle is the type of artist who might not seem to be a very prolific author, at least not in the classical, material sense of art production. Vidokle is interested in art as a means to learn as much as possible about the world we live in, to explore it.
Karolína Kripnerová, Janek Rous, Vojtěch Sigmund
The project Bellevue di Monaco takes place in several buildings in the centre of Munich. The buildings were supposed to be demolished in order to build new luxury apartments there. However, the plan was thwarted by a group of activists and their guerilla reconstruction of one of the flats. Consequently, the migration crisis in 2015 incited the foundation of an official cooperative involving several hundred local residents who rented the houses and turned them into a multifunctional centre.
Tereza Severová, Tereza Velíková
The program of the gallery should focus - the same as the program of similar galleries e.g. Gallery am180, etc, 35 m2 - primarily on students of art schools and recent graduates, but also on young artists and artists of any age as long as they have “a young mind”.
Bojana Coklyat
American curator Bojana Coklyat describes her own experience with approach to people with disabilities in the Czech Republic. During her one-year stay in the Czech Republic, Coklyat carried out research into our gallery environment. The presentation focuses on the rights of people with disabilities and comments on the effort of our galleries and museums to create programs for visitors with all kinds of disabilities.
What can we do within the confines of the present? What are the discursive possibilities and conditions of accelerationism? What are the investments and aspirations for such a language and for such an endeavor?
Denisa Langrová
The Farmstudio Cultural Centre provides facilities for creative residencies, symposia, courses, art workshops, festivals, music, theatre and dance groups and other activities in the field of contemporary art and live culture.
Václav Magid
The name Gallery 207 is a very down-to-earth name since it comes from the number of the room at the Academy of Arts, Architecture and Design where the gallery was located for five years (in October 2013 it moved to room number 405 but its name remained the same). Behind the same door we can find the Studio of intermedia confrontation.
Veronika Šrek Bromová
Bromová is often associated with the transformation of the perception of female identity in the art of the 1990s in Central and Eastern Europe. She is interested in women’s sexualized position in society. In her ritualized performances of recent years, on the other hand, she emphasizes the archetypal healing power of femininity, fertility, relationships, and collectivity.
Radosavljevic Vasiljevic Darka
When do ethics become more important than aesthetics? How to believe in a utopia that art can heal and change the world? Can a cooperative movement save the world from a disaster? These are the questions with which a group of artists have been grappling for over 20 years, resisting the political and social environment in Serbia by way of subversive artistic practices.
Václav Drozd
They are often presented as condescending patrons of arts, who have decided to put aside a couple of their millions and contribute to public welfare and the promotion of exquisite culture. However, their seemingly good intentions should be seen with view to the context of the troubled political and economic past of our (and not only our) country. We should know how they acquired their property and what social or ecological damage they caused while amassing their fortune.
Jiří Havlíček
In this video Artyčok.TV examines Artbanka with a critical eye. Artbanka defines itself as being a non-profit project that helps young artists to get their foot in the door of this competitve art world. Under closer inspection one discovers the project is not as charitable as it first appears. After purchasing young Czech and Slovak artists' work, Artbanka rents or lends the work to individuals and companies. Artbanka has closely colaborated with City Gallery Prague, and this video scrutinises the two institutions' relationship through a series of interviews that highlights their somewhat sketchy partnership.
David Přílučík, Anna Remešová
It's obvious that the issue of the environment and ecology in art is increasingly becoming a consciously political decision that affects what art we create, how we teach it, how we talk about it, or how we present it. Artwork is intertwined with cultural activity, which is linked to activism and vice versa. The context, material used and financial resources are increasingly accentuated.
Iveta Šalamounová
In her exhibition designs she lays emphasis on simplicity, moderation and compactness. They do not hesitate to include also striking or unsettling elements. However, according to them it is essential that the design of the exhibition does not overpower or overshadow the exhibits but it must become their partner. They also believe that the installation may contribute to the interpretation of the displayed art works. It is equally important for them that the exhibition design is created in a mutual dialogue between all the people involved.
Michal Novotný
Michal Novotný is a curator of contemporary art, who is known for his group exhibitions focusing on a particular theme, which is a genre quite difficult to prepare and not very common on the Czech art scene. The question which arises is about the relationship between individual works of art and the topic of the exhibition which they are incorporated in.
Dominik Lang
Dominik Lang has been involved in exhibition design for a long time. However, unlike other artists, his approach differs in the degree to which he emphasizes the creative aspects of the profession. The result often oscillates between exhibition design and autonomous installation while he himself admits that he deliberately violates this boundary. For this reason, he prefers the term "author of the exhibition's artistic design" or "author of the spatial design".
Vít Havránek
As we can see in the program of Tranzit, Havránek´s theoretical interest is not closely concerned with the autonomous position of visual art but he always reflects its broader global and political context.
Nikola Brabcová, Tereza Jindrová, Irena Lehkoživová + 4 more
VI PER Gallery focuses on architecture in the broadest sense, together with its relations and points of intersection with contemporary art, urbanism, design and media, as well as the political, legal, social, economic and ecological contexts which help to shape architecture and the built environment.
Lenka Dolanová, Michal Kindernay
The aim of RurArtMap is to strengthen the cultural awareness of the countryside and create a space for cultural presentations, a platform for cooperation and activity planning which would make the art and cultural activities in rural environment more accessible.