identita

Poetic of Identities

Lizaveta Hridzyushka, Šimon Kadlčák, Alex Sihelská + 4 more
In the poetics of identities, it is important to return to a certain point of zero, which is also a breaking point. My self is breaking through certain limitations and constantly fighting against itself. It is always in the process of becoming, and this process is always accompanied by a certain disjointedness. I am nobody and at the same time I am everybody. I belong to the anywheres, to those who are at home everywhere and nowhere at the same time. I don’t know if that is a reason to be sad.
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They Read

Minh Thang Pham
In the video They Read, he gradually and casually introduces several intergenerational pairs. Fathers, mothers, sons, and daughters speak about their origins and ability to speak their “native” languages. Members of the younger generation admit, in fluent, natural Czech or Slovak, that they’re not so confident when speaking the language of their parents – that it’s the “kitchen” dialect of the second generation of immigrants. And it’s these linguistic shifts that the artist sees as a symbol of the rift that appears between him and his parents.

The Limits of Interpretation

Five Hungarian artists present their work in short profiles with stand-in seconding them in parallel videos. In separate portraits takes this stand-in charge of artworks explanation with a sovereignty of an author. He presents five various forms of his art production in various media or creative foci (painting, sculpture, photography, video, installation).

Sources of the new style. Toys of the coming generation of artists

David Adamec, Josef Bolf, Ondřej Chrobák + 23 more
The curators displayed in glass show-cases toys belonging to forty artists, art theoreticians and architects who grew up in the 1970s and 80s. When we look back we realize that the exhibition was partly a serious and partly an ironic commentary of this kinship and an advance signal of the advent of the period of normalization which became a basic source for the work of a number of Czech artists after the year 2000.

The New Dictionary of Old Ideas

Boris Buden, Keti Chukhrov, Milena Bartlová + 2 more
Symposium wants to reflect the current cultural and political situation characterized by the rise of nationalistic politics, populism, Euro-scepticism and anti-immigration attitudes in Central Europe from the perspective of contemporary art and theory. This tendency can be observed not just locally but in the whole of Europe. We will foster an interdisciplinary exchange of ideas discussed in a group of art historians, sociologists, philosophers, and art theoreticians.

In the light of color revolution

The waves of the so called “color revolutions” in former soviet republics like Georgia (“rose revolution”) and the Ukraine (“orange revolution”) are types of uprisings for just and democratic presidential elections. The spirit of color revolution, characterized by the unsatisfactory state of the institution of elections and by struggles to establish it, is present in almost all the post-Soviet countries, but here we reserve the term color revolution for those countries where special early presidential elections took place.

NJME: Fucker Sam and Sam83 Gallery

Surrounding Fucker Sam and Sam83 Gallery there sprung up and operates a space for critical and free thinking covering a lot of activities. I follow the origins, meaning and the operation of the space in the first part of NJME.

Kritické reflexe k výstavě "Budování státu, reprezentace Československa v umění, architektuře a designu"

LACKA - Ladislava Gažiová

Ladislava Gažiová
Ladislava Gažiová is a painter, curator and activist from Slovakia and has been living in Prague for some years. Her early work is characterized by the inspiration of graffiti, using of stencils and sprays, and work with social topics. In recent years, however, Gažiová has been focusing on curatorial work, in which social themes, particularly the topic of the Roma minority, are at the heart of her work.

M.M.

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.