performance 223 results

performance
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.
Jiří Černický
In the event projected here worked Jiří Černický with the heat effect and a motif of reflection. He used the Iron – “a female” appliance touching intimate garments but at the same time a „male“ impersonal tool used as a mirror and a brush. He stepped back from the camera to the place where a fata morgana originated due to the thermal inversion.
Ivars Gravlejs
Our films can be divided in two categories: art films (following an idea, an experiment) and documents (everyday life in the school: fights among classmates, teachers). Movies  called “I.R. Piktuers” (I. = Ivars, R. = Rinalds, Piktuers = twisted word “pictures” were mostly made between 1992-1993 at the elementary school in Riga.
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.
Matt Mullican
Matt Mullican’s performative lecture takes the form of a monologue that goes through various levels of consciousness and links subjective testimony with attempts to disturb systems of knowledge and create his own cosmology.
Paulina Ołowska
The outward appearance of Olowska’s female subjects is equally as important as the historical memories interwoven seamlessly throughout her collages and paintings. Olowska’s treatment of her subject’s materialization acts as a direct display of the spirit of the individual, which is likely to be contrasted against a uniformed surrounding reminiscent of life experienced behind the iron curtain.
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.
Lumír Hladík
I asked my friends to drive me (blindfolded), and a large mirror to the Baltic Sea coast in East Germany. Upon our arrival, my friends placed the mirror in an upright position on the beach facing the sea. I was escorted towards the mirror, where I sat down, removed the blindfold and watched the sea’s reflection in the mirror.
Bilwa Costa William, Jana Mikle, Tomáš Moravec + 5 more
This year, the Luhovaný Vincent exhibition aimed to look at spas from the perspective of artistic realizations in public space. For every city, these often represent untouchable remnants of past eras, regimes, and ideas, but they also illustrate contemporary tastes and social demand. The curators reflected on the festival theme Bez nánosu (Without Sediment) through site-specific artworks and installations, as well as performances and unexpected situations. Three guided walks through the exhibition as part of the festival also provided ample opportunity for theoretical evaluation and fruitful debate with visitors.
Michaela Cagáňová, Kamila Valešová
One of the enduring questions we explore this last year is whether scent and smells can be used as a tools for storytelling. The sociology and politics of scent remain largely unexplored, yet we all recognise that scents are often subject to rigid labels and gender stereotypes. Primarily however, scents represent interspecies narratives, as animals and plants primarily communicate through scent, without the need for language.
Transform brings together six videos, which coming from different artistic and thematic approaches they use as technical resource the transformation of the image (widely understood) in the process towards a final outcome, different from a certain initial situation. The visual (or sonic) transformation is carried out by resources such as addition, division and negation/fusion.
Vladyslav Afanasiev, Haseeb Ahmed, Nico Alexandroff + 39 more
Currently, we encounter these changes and catastrophes being discussed in regional public debates by people from the scientific community, government agencies, and politics, who use the authority of expert images to describe the ongoing changes and impending catastrophes. We do not see images that deviate from the established norms of scientific representation in the public sphere, and the voices of those directly affected by these changes are heard little or not at all in public debate. However, the presence of the planet as an active force producing its own images and ways of sharing them gives power to these alternative voices, languages, and images.
Jiří Surůvka
It was a bizarre spectacle based on the lack of artistic talent of the main actors who were staging awkward aesthetics of clumsiness they found in themselves or models such as Stalin, Hitler, Miki Volek (a Czech rock'n'roll singer), Gary Glitter, The Olympic music group. Czech pop music and TV shows, our parents, Czech art historians, poets and many others. Anyone could become an object of ridicule and disgrace.
Michal Baumbruck, Michal Blažek, Pavel Büchler + 12 more
The film shows the house of Čestmír Suška and Naďa Rawová, where one of the first unofficial symposiums took place in July 1980 and which was soon followed by others (Netvořice 81, Mutějovice 83 and others). This led to a series of Confrontations (1984–1987) – exhibitions of the youngest generation of artists.
Giulio Zannol
Whereas Marina Abramović will continue to benefit from her position of a stock market player who invested well her hard earned capital into a lucrative mega-corporation called Art World, Václav Pišvejc, on the contrary, will, in his fight for acknowledgement, forever remain mainly a Sisyphus-like figure and a question mark hovering above normality and normalization of contemporary culture.
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?
Martin Zet
I decided to go for the last option, making use of my present position of an art teacher, and so I decided to introduce works of our students from the Video studio. I hope the videos do not show any traces of my influence and I believe this will remain true also in the future.
Alexandra Morales, Georgij Bagdasarov
Pro(s)thetic dialogues is more like a recording of a theatre performance playing out on a computer desktop. Here the human operator creates the conditions for exploring the performativity of a philosophical zombie pieced together from neural networks.
Aleš Záboj
The shop with off-price drugstore products used to be in Bayerova street in Brno between 1986–1989 and it also served as an independent exhibition place.Its conception was created by Petr Oslzlý and Rostislav Pospíšil who represented the fine art and theatre area and its technical support was provided by the drugstore manager Drahomír Svatoň.
Vojtěch Adamec, Zdeněk Beran, Jiří Beránek + 59 more
The initial idea behind this project was to show the work of artists who were not allowed to display their work freely before 1989 or who belonged to the semi-official art scene. Shortly after the aim was to transform the exhibition into a representative show of contemporary art.
Jesper Alvaer
Jesper Alvaer's videos in a compilation from 1999-2004 make up a compact unit following alike motifs and themes. The short films show everyday reality which the author designs or just simply records. They are related by matching the camera eye, a game in which a simple slit through the objective creates a new autonomous event.
Veronika Čechová, Barbora Ciprová, Tereza Jindrová + 1 more
How exactly does the selection and evaluation of artists take place in the context of art awards and, where applicable, evaluation and recognition at art colleges, exhibitions, and other projects? How relevant or "objective" is this selection and evaluation? These are long-discussed questions that have been raised even more intensely in recent years, when the climate surrounding traditional models of awarding art prizes has been changing dynamically in Czechia and abroad, and questions of the forms and ethics of cooperation, care, support, sustainability, etc. are being discussed more and more frequently.
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.
Allan Affichard, Nikola Brabcová, Final_Final + 15 more
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.
J “Mo’ong” Santoso Pribadi
Improvisation is based on Rasa (Rasa - Indonesian term for feeling) - free musical improvisation using feelings - the inner sense of Rasa. Exercises in experimental music and free music in composition based on Rasa, using or creating objects as media that produce sounds from materials that are all around us, such as waste materials.
Natália Sýkorová
Brood – Stranger’s Vial – Womb is a “game that has forgotten its own rules” and “a story without an ending.” Instead of a clear, linear fantasy, it offers a fantasy space that we view through several layers of material and media abstraction. It makes everyday objects and (in)human identities special. It invites us to notice the affects of humanity in the midst of the climate crisis, which can only be glimpsed through peripheral vision, somewhere at the edge of gilded metal. Just beware: The sides will be reversed.
Milan Kozelka
Conceptual artist, performer, and writer Milan Kozelka (1948‒2014) left an indelible mark on Czech art, especially in the 1980s and 1990s. He devoted himself to poetry from the 1960s onwards, and his poems are now considered part of the Czech response to American Beat literature. At the turn of the 1970s and 1980s, he turned his attention to action art.
Jan Ambrůz, Daniel Balabán, Bubánová Tauchmanová Simona + 31 more
The Grey Brick 34/1993 exhibition, included works by 34 artists born between 1941 and 1964 chosen by the jury whose members were Jana Geržová, Mahulena Nešlehová and Petr Nedoma. This successful summer exhibition took place in the gallery U Bílého jednorožce (At the White Unicorn) in the square in Klatovy and also in the Chateau Klenová and its park.
Avdej Ter-Oganian
School of performance is a part of an extensive project called School of avant-garde which Avdej Ter-Oganjan started in 1995 and which continued until 1998. The first group of students he worked with included students of different ages with non-artistic backgrounds and their cooperation did not last long. The second group included mostly Avdej´s son´s David´s friends who were of more or less the same age. The project was an experimental introduction of inexperienced and naïve teenagers into the world of art.
Vladimír Havlík
Jestrdej (1983), a silent black-and-white film bordering on video performance about the small everyday mysteries with classic film gag elements, accompanied by commentary in which he reflects upon his position at that time as an “Olomouc performer”. Thus the work Yesterday (1983– 2008) was created that opens a regular presentation of videos from the AVU Research Center video archive.