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Jonáš Richter
The exhibition Happiness Is Not for Everyone is a look at the phenomenon of self-help guides that resuscitate the myth of the strong, masculine individual who has his life firmly in his own hands. However, when we focus more closely, we see a lonely man in distress. From the constructed nature of the situation—the asynchronization and denial of the source image and sound, the speaker's hesitant yet determined diction—we can guess that this is a game with authenticity, that we are witnessing the performance of a role, the fulfillment of a task, the immersion in the state of sovereignty.
Dubravka Sekulić
In the lecture Dubravka Sekulić focuses not only on what and why needs to change in architectural education in an effort to make a discipline more equitable, but also on how this change can happen.
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.
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.
Jeanie Crystal, Emily Pope, Zein Majali
Through the moving images of artists Jeanie Crystal, Zein Majali, and Emily Pope, the exhibition explores the theme of diaries and personal narratives. You Make Me Feel is a dose of feelings, a jumble of reactions, and a message to one's future self.
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.
Lucie Myslíková, Markéta Soukupová, Alex Petrova + 2 more
No Fun I. is a journey among skyscrapers that bank clerks and employees of multinational corporations left long ago. Perhaps, most likely, they will return once again to continue the endless cycle leading to a non-existent future. But for now, at least, they have been replaced by a different situation. Somewhere in this desolate landscape, a lonely woman is now telling her life story. Nearby, in a dark alley, a tense battle is taking place between a tough truck driver and an innocent high school girl. Not for long, though. Everything will soon be cut short by the nuclear explosion of two non-binary rockets in love.
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?
Alex Sihelská
Alex constructs and, in turn, deconstructs a fluid identity that defines itself through ephemeral contributions, the power and anxiety inherent in the possibility of breaking down the boundaries between subject and object. Bold yet light-hearted, we trust the work unreservedly for its emotion and the vulnerability of the artist’s personal input.