collective
0:25:52

Jakub Adamec

Jakub Adamec
Contemporary curating has undergone changes. From efforts to build distance and protect a balanced reflexive position it has shifted towards empathy, cooperation and attempts to dehierarchize. Naturally, this is not always the case, but Jakub Adamec is a good example of the fruit that this type of curatorial work may bear.

What can we do?
0:17:55

Nik Timková

Nikola Brabcová
Her activities are interwoven with a complex web of collective bodies of various transient groups or platforms. Since 2009 she has been a member of A.M.180., a team already behind the cult festival of contemporary music Creepy Teepee, taking place every year in the medieval landscape of Kutna Hora. Like the festival itself, is not just a spectacle of monolithic music projects, but also a place for performances and visual arts, as well gallery A.M.180, where Timková works as co-curator, is a place of hybrid cultural activities.
0:32:00

D`Epog

D`Epog
They look at D'EPOG, D'EPOG looks at them. They are peeking together. It is open to participation, it likes to collaborate, it invites many artists from different disciplines. It holds workshops every summer. It is not afraid of anyone and anything; when it is afraid, it shares and overcomes its fear. It's still working on itself. It is non-transmissible although contagious. It is rare and ordinary, it is non-instantaneous and it is always fully living in the present, it is love, freedom, joy, surprise, endurance test, therapy, shared hyperempathy, reptile fantasy, livefull kid, endless party. It's WOW.

Architecture of Coexistence - Bellevue di Monaco

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.

Vít Havránek

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.

Subversive Art Practices, Case Study: MMC Led Art

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.
0:29:28
01:29:43

Dog Questions: Expanding Curatorship; ruangrupa towards documenta 15

Ade Darmawan
In February 2019, documenta 15 issued a press release announcing the names of the artistic directors for the next edition of the world’s largest exhibition of art. The announcement included two historical firsts: The exhibition will not be organized by an individual as in the past, but by a collective (and, what is more, an artists’ collective), and this will be the first time since the exhibition’s founding in 1955 that it will be curated by representatives of the Asian continent.
01:19:03

FOURTH WAVE - BELLA BODY / SKYPE MAMA / DENIER

National Arts Foundation

Balázs Antal, Roland Farkas, Tibor Horváth + 2 more
"The aim of the National Arts Foundation was to: support and set an example for the acquaintance of all social layers and cultural circles to the Hungarian National Art, a knowledge if absent makes it impossible to get a real picture of the Hungarian Nation and Hungarian Culture - all this carried out with a respect of duty, freedom of speech and artistic freedom in the name of a brighter future!"

CRUSADER SCHOOL OF PURE HUMOUR WITHOUT JOKES

Eugen Brikcius, Olaf Hanel, Ivan Jirous + 10 more
In their openness – in terms of both authorship and chronological delimitation – they are happenings in the purest sense of the word, although this term is rarely applied to the Crusaders’ activities.
If we ignore the footage of Vladimír Boudník in Jaromír Pergler’s 1956 film Action in the Streets of Prague, then the oldest known cinematic record of Czech performance art are Rudolf Němec’s films from the early 1970s.
0:27:28