multimedia 144 výsledků

multimedia

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.
We hope that by combining a number of various artworks and projects, hints of possibility will begin to emerge, from which a way out of today’s situation, that is oppressive on many levels, can slowly be carved. When it seems there is nowhere to run, we can try running into the future – and from there, start to reshape the present.
The group exhibition presents works in different media by emerging artists from Czech Republic, Poland and Germany that refer to folk and indigenous traditions, beliefs and crafts, magical thinking and animism, using the language of poetry, speculative theories and storytelling. Using these various approaches and narratives the artists explore topics related to letting go, unlearning, loss or mourning in the context of the individual and collective traumas.
In the broadest sense, Todosijević's exhibition and his lifelong artistic practice balance on the edge of the possibilities of interpreting various symbols originating from history, our present, or the art world itself. It represents walking a very fine line between moral and perverse interpretations of history or contemporary global events, which are not entirely distinguishable at first glance.
The environmental aspect of Hussite thinking is particularly noteworthy. Like today's generations, the Hussites lived with the prospect of dramatic changes in the world (or even its end, as it was known at the time) either approaching or already underway. As a result, their radically revolutionary agenda also carried with it a significant dimension of what today could be described by the popular term "degrowth."
Jan Pfeiffer's exhibition explores how architecture and urban spaces preserve the energy and ideas that have been imprinted on them, tracing the author's journey from personal experiences to universal symbols. Using black-and-white photographs and models, he intuitively connects distant elements—from a flame in Ramallah to the crown of the Old Town Bridge Tower—into a poetic construction about architectural "springs."
The concept of the exhibition stems from a dialogue between historical works presented in 1993 by a group of emerging artists from Ústí nad Labem at two editions of the exhibition NARUŠENÁ ROVNOVÁHA (DISTURBED BALANCE) at the Municipal House in Prague and the Emil Filla Gallery in Ústí nad Labem, and completely new projects by younger artists born in the 1980s, who had the opportunity to experience the atmosphere of Ústí nad Labem, especially during their university studies, and this experience led them to develop their authentic creative attitudes.
The online environment often appears to us as a space of timelessness. A space where artifacts of the past accumulate regardless of their original context and where they disappear again after satisfying immediate demand. But can the (post)digital landscape be used to revive lost, missing or displaced media, objects, actors or interfaces? A thematic collection of audiovisual essays allows us to understand the online space as a labyrinth of fragments and traces of analogue and digital histories that can be speculatively ''reconfigured'' to play out surprising exchanges between ''then'' and ''now'' as well as to create alternative or unrealized futures.
The international exhibition Beyond the Sound presents a contemporary approach to the specific and lively artistic field of sound art. Sound is presented not as an independent aesthetic form, but as a medium used to explore and reveal phenomena that are often unrecognisable to the eye.
The tools brought about by technological progress and the network society create an alternative way of establishing communication and building new relationships of interpersonal and interspecies cooperation. However, we suggest listening to the sounds of practices associated with community: rituality, coexistence with the world of plants, animals, and fungi, dissolving the hypersensitivity of the individual "I" in favor of the collective "we," sensitivity to the stories and perspectives of plants and animals, oil, or clouds.
The exhibition is not only a departure from the established boundaries of the field, but also a demonstration of the possibilities that ceramics offer within contemporary art. The fact that it is ceramic clay, in various forms and shapes, that fills the gallery spaces is not a surprising result of a symposium focused on this material. However, ceramics is not the only means of expression that the exhibiting artists work with in their creations, which is also reflected in their latest works created during their four-week stay in Bechyně.
By dissolving boundaries, cultural constructs, nationalities, taxonomies, and skin, we transform old paradigms of human/non-human, toxicity/purity, and living/dead into permanent cooperation with the foreign. After all, all boundaries are only transitional spaces where matter morphs and theorizes a new existence.
Throughout his life, Chalupecký promoted and defended new artistic trends and was interested in general questions of art, especially the meaning of art in modern society. He was a defender of art in connection with life. In today's terms, we could perhaps use the term activist or engaged art. He did not believe in the purely aesthetic function of art and culture in general.
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).
Artworks by Lukáš Prokop exceed simple categorization, as his work oscillates among various media: he deftly connects his work with video, graphic imaging, sculpture, photography, textile, writing or digital printing. By actively thematizing creative technological processes, Prokop’s work also intentionally problematizes his own authorial position as the sole producer of the artistic content/work.
Artlist:Talk enriches the possibilities of this procedural documentation and offers artists a live presentation format. The aim of Artlist:Talk - like Artlist - is to provide the interested public with an understanding of contemporary artistic approaches and expression, which in this case is complemented by the unique perspective of the artists themselves.
Rather than an exhibition, it is an authorial environment – architecture within architecture. The vision for this solution is based on the motif of an island, a changing landscape, lithospheric plates, and the story of the mill complex itself. The basic conceptual framework creates space for collective and individual multi-genre artistic and curatorial work.