body 87 results

body
Kristína Haviárová, Jindřiška Jabůrková
The exhibition becomes an environment of matter itself, not only of space, but also of individual objects that we glimpse as they rest. Both authors complement each other perfectly in their work. Neither is dominant, neither is lost. Interest arises in ordinary, insignificant things that are materially interconnected. The material is important here. It forms the main essence of the entire content of the exhibition.
Kateryna Khramtsova
Kateryna Khramtsova filmed a short documentary about a non-binary performer and soldier entitled Qirim (2023), which has been screened at many film festivals, both here and abroad. In the accompanying essay, Kryštof Kočtář presents the film in the context of Khramtsova's artistic work.
Vanalyne Green
Sex, Sickness and Videotape’ is a tribute to video as a medium which empowered women to make and break the rules of self-image, instead of reproducing the images that had been handed to them. Similar to Vanalyne Green’s engagement with video, the artists and writers who contributed to this project deconstruct and rebuild their practice in the response to challenges and possibilities of the current technologically mediated society.
Mary Maggic
How do bodies queer at the molecular level? How is this queering inextricably tied to industrial capitalism? And is there a way out of capitalist ruins, one that has been further exacerbated by the pandemic?
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.
Elen Řádová
In this video we watch a face of a young man and a woman turning away from each other and then meeting for a split of a second. The expression in their faces does not change. However, if the viewer lets the picture effect him for some time, it can be changed to express a whole range of feelings from tenderness over disinterest to cruelty.
David Přílučík, Radim Labuda
Life on Earth has gone through some four billion years of evolution and has always already been together, intertwined with a network of intimate relationships. We all share a common ancestor, we all need the same compounds to live, and our structure is made with the same building blocks, we all share common understanding of “substance semiotics”.
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.
Róbert Gabriš, Jakub Jansa, Anna Ročňová + 2 more
An international jury has selected five visual artists under the age of 35 for the 32nd annual Jindřich Chalupecký Award 2021. They are Robert Gabris, Jakub Jansa, Valentýna Janů, Anna Ročňová, and the artistic non-collective björnsonova. The five artists decided to continue the development initiated by last year's artists and not to compete for the title of laureate, which was thus awarded to all of them.
Dominika Jackuliaková, Jimena Mendoza, Gizela Mickiewicz
Four words to start with. A tongue twister or a modest incantation? The first episode of the fifth curatorial cycle at Galerie Kurzor as a space for three artists to meet. Count to five, open and close your palm. What have we understood, what has escaped us? One thing is certain. We are not ourselves.
‘Gentle Triggers’ is a presentation of work by London based artists Jala Wahid and Nicole Morris whose practices are positioned between sculpture and moving image.
Avdej Ter-Oganian
School of performance is a part of an extensive project called School of avant-garde which Avdej Ter-Oganjan started in 1995 and which continued until 1998. The first group of students he worked with included students of different ages with non-artistic backgrounds and their cooperation did not last long. The second group included mostly Avdej´s son´s David´s friends who were of more or less the same age. The project was an experimental introduction of inexperienced and naïve teenagers into the world of art.
Magdaléna Kašparová
What is shared, what is private and what are the possibilities of self-presentation in contemporary screen based culture? Adopting conventions of a YouTube vlog, Magdalena’s teenage diary entries surface raw and seemingly unedited. Stored in a number of disused mobile phones; songs, gifs, low-fi images and movies weave into and trail off in unfinished stories, anecdotes, soundbites and faces from childhood, where experience of mental illness is quickly interrupted by pop lyrics.
Jiří Černický
In the event projected here worked Jiří Černický with the heat effect and a motif of reflection. He used the Iron – “a female” appliance touching intimate garments but at the same time a „male“ impersonal tool used as a mirror and a brush. He stepped back from the camera to the place where a fata morgana originated due to the thermal inversion.
Petr Kubáč, Marie Lukáčová, Gideon Horváth + 7 more
When we deal with the legacy of mythology, we are primarily interested in what that "legacy" is. Are they themes? Specific characters? Certain models? Ideals? Through its narratives, mythology presents us not only with a multitude of archetypes and stereotypes, but also with many ideals and moral and emotional models that have been accepted to a certain extent as canons, dogmas, and model cases over the centuries. Carl Gustav Jung already noticed this in his interpretation in the field of analytical psychology (archetypes).
Jiří David
Marilyn Monroe comes back to life in the form of her frisky doppelganger. According to David, the slowed-down Arabic music that accompanies the video is “a kind of willful act, an Arabesque, perhaps like that ficus tree or whatever that thing is behind ‘Marilyn’, or like the naïve movements of her hands and body.” It can also be interpreted as a counterpoint highlighting the contrast between our view of woman and the Muslim view.
Markéta Adamcová
Markéta Adamcová's exhibition delves into the themes of mortality, generational trauma, and corporeal vulnerability. Her work highlights the importance of understanding history and family constellations as key factors in understanding our current state and behavior.
Marie Lukáčová, Anna Remešová
The video of Milena's song works within the theoretical background of contemporary feminist thinking, namely with the legacy of cyberfeminism, which was formulated in the early 1990s by British feminist and cyberculture theorist Sadie Plant. Cyberfeminism grants emancipatory power to modern technology, but only as long as all people can access it, regardless of their class status, religious beliefs, cultural identifications, sexual orientation and/or gender.