the history 85 results

the history
Martin Netočný
The image of pages in a textbook being turned by a machine and standardised scientific restoration processes may arouse concerns but simultaneously hope. The experience of Western modernity, whether optimistic or disastrous, is a significant heritage which we should take good care of. We already know only too well what crimes and violence modern western people were capable of committing or at least took part in. However, we should not forget that modern institutions, such as the state, schools, science or museums, have created the infrastructure for our better lives.
Dominika Jackuliaková, Jimena Mendoza, Gizela Mickiewicz
Four words to start with. A tongue twister or a modest incantation? The first episode of the fifth curatorial cycle at Galerie Kurzor as a space for three artists to meet. Count to five, open and close your palm. What have we understood, what has escaped us? One thing is certain. We are not ourselves.
Isabelle Cornaro
In her work, Cornaro uses found objects imbued with symbolic potential or emotional value, which she presents in different types of display and media to reveal the subtle shifts of meaning provoked by processes of reproduction and translation.
Borrowed from domestic, decorative or functional contexts, these artefacts are often linked to Western culture as a means of power, their combination and arrangement in the artist’s work invites spectators to question the relationships between systems of representation and our understanding of the world.
Erika Bornová
Beneath the surface of seemingly ordinary motifs in Erika Bornová's work, there are often hidden disturbing messages—frustration, uncertainty, anxiety, (sweet) painful obsessions—that bring forgotten experiences or suppressed feelings and attitudes back to life. From the outset, an important leitmotif in the artist's work has been a return to the past, whether personal or collective history.
Petr Skala
His original creative processes applied to the then typical 16mm film (e.g. scratching, engraving, painting and application of chemical agents) were in fact close not only to foreign hand-made film but also to gestic painting and the material-orientated Art Informel.
Ana de Almeida
For over a century, the factory in Střekov has influenced the structure of the city and the quality of life of its inhabitants. During the period of industrial development, Johann Schicht and his descendants built civic amenities in the city – a health center, spas, nurseries, a library, and residential buildings for their workers. After the company was nationalized, production continued and continued to employ a large number of newly settled residents. The national company Setuza also brought its employees together and enabled them to participate in "extracurricular activities," primarily in events organized by the Revolutionary Trade Union Movement, which included the organization of International Women's Day celebrations, St. Nicholas Day gifts, and children's camps.
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.
Jiří Havlíček, Pavel Ryška
The name Pérák was derived from a general word for a spring and the suffix -ák, often used to form an informal name. The name was motivated by his significant feature, i.e. the springs- steal springs on his feet that helped this cartoon character overcome the most difficult of obstacles. Traces of the legendary phantom, who first appeared in 1946, have been apparent in the Czech visual culture for more than seventy years.