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care

The exhibition is not a historical cross-section of Ester Krumbachová's work (although it does reflect it), but rather an extensive network of original material, numerous texts, images, and artifacts that Krumbachová dealt with and surrounded herself with throughout her life. It primarily presents Ester Krumbachová's archive/estate in thematically interconnected blocks, revealing her thinking about costume design, particularly the role of detail and the use of color, the interconnection of meaning, artistic form, and the overall atmosphere of a film, her work with text that copies spoken language and folk storytelling rather than high literary style, her relationship to magic, realism, subjectivity, male and female polarity, and the hierarchy of species and social and professional positions.
We can loosely understand the term intermezzo as a planned activity or pause deliberately "inserted" into life or work and associated, for example, with the need for rest, the necessity of transformation, a change of direction, and an escape from the rut of everyday life, everyday life, overcoming feelings of unfulfillment, the desire to help, move forward in life, or get involved in something new.
What futures do plants make possible? From colonial extraction to regenerative practice, from taxonomy to kinship, plants have always mediated the terms of human life.
The colony in Ostrava called Bedřiška has belonged among the so-called socially excluded localities for a long time. However, Bedřiška does not show any features that most probably come to your mind when we speak about excluded localities. The people are happy to live there, they regard the place as their home and they try to keep their houses as well as public spaces in good order and tidy.
Tereza Stejskalová is one of the most prominent feminist and critical voices on the Czech art scene. At present, she works as a curator in the initiative tranzit.cz and in the long term focuses on art critique.
As a curator, Stejskalová often works through postcolonial and feministic prism and her curatorial practice is typically an outcome of a long term research.
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.