politics 98 výsledků

politics
How and to what extent can we understand the land, and what do we all know and not know about it? To whom does it belong, and how do we change it, for better or worse? How can we express and capture in human, rather than statistical, terms, both the visible and invisible transformations that the land undergoes, both locally and globally, with regard to the entire biosphere and climate?
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.
Mario Pfeifer
On January 7, 2005, Oury Jalloh, an asylum seeker from Sierra Leone, died in a German police cell as a result of a fire. The police version of the case states that it was probably an accident caused by the detainee himself, or suicide, in connection with the ignition of a mattress made of non-flammable material to which Oury Jalloh was handcuffed and shackled.
(ab)Normal, Aristide Antonas, Bart Lootsma + 11 more
The traveling exhibition Rituals of Solitude, conceived during the global lockdown, explores the spread of fake news, the reversal of the traditional relationship between private and public space, the paradoxical rituals that populate homes, the ways in which visual technologies are domesticated into tools of self-presentation and connection, the accumulation, fetishization, and display of objects in home interiors; and, in addition, the states of loneliness that arise as a result of forced isolation.
Jeanie Crystal, Zein Majali, Emily Pope
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.
Jasmina Metwaly
How do we speak the law? The enactment of the legal is a social construct brought about before the law and after its fictions. As socialised ghosts, our collective minds register each other’s codes, through methodical patterns of self-elevating humans.
Markéta Mansfieldová
Confrontations in public space are becoming more virulent. Protests gain traction, social tension is on the rise. Tension as a reaction to threat, an emotional roller coaster of strong convictions. The truth of convictions is shored up by shared emotional experience. Anger, loss of hope, feelings of remorse, anxiety; the emotional ties of mutuality.
Laura Robson
This lecture examines the development of mass Palestinian displacement as a weapon of war, a tool of state-building, and a tool for enforcement of particular visions of imperial internationalism. It traces how Palestine became the site for the development of a specific modern refugee regime focused on decolonial containment, a process that continues to the present day.
Nikola Brabcová, Tereza Jindrová, Václav Magid + 1 more
Václav Magid is an artist, theoretician, curator and, last but not least, a bass player, whose activities often intertwine aspects from these close areas. As an artist on strong theoretical foundations, his curatorial projects are often conceived as an extensive artistic or theoretical project, and in his artistic work, visuality meets music.
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.
Björnsonova, CESNAK MAJICK SOCIETY, Joey Holder + 3 more
As we find ourselves in times that have extensive socio-political implications, the exhibition thematizes the insecurity, the suspicion and post-factuality gradually digging into our lives more and more. The many ambivalent mechanisms trough which we cope with this uncertainty and multiplicity of artistic processes (either politically-critical, or completely non-factual and sensual, scientific or even speculative) of the abandonment of what is considered “real” or “rational” take their forms in the interconnected realms of the technological, the natural, the mystical, the symbolical.
Nikita Kadan
The lecture by the internationally known Ukrainian artist Nikita Kadan at the Academy of Fine Arts was introduced and accompanied by a debate with the Russianist and semiotician Tomáš Glanc. Kadan lives and works in Kiev. He works with various media, including installation, sculpture, painting and collage.
Edit András
Edit András mainly follows engaged, socially sensitive and critical works of Hungarian art. She is interested in the changing social position of art and the ways in which it adapts to or resists the current situation. She looks at how post-socialist culture deals with its own past, the gendered aspects of Hungarian art, the relationship between culture and power, and how easily cultural and historical issues can be exploited politically.
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.
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.
What can we do within the confines of the present? What are the discursive possibilities and conditions of accelerationism? What are the investments and aspirations for such a language and for such an endeavor?
How and why the 4AM Forum for architecture and media was founded and how do its members see its management? How did their priorities change since the start, how can one finance organization, such as theirs and how do their plans and orientations evolve?