lali – -Translation – Keybot Dictionary

  Divus | ZABIJU TĚ  

Show textShow cached sourceOpen source URL	„To je nějaký instinkt, vzpomínky na to, co dělali předtím,“ říká její manžel. „Bylo to pro ně zaživa důležité místo.“
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	“Some sort of instinct, [a] memory [of] what they used to do,” replies her husband. “This was an important place in their lives.”

  Divus | Sex, násilí a k...  

Show textShow cached sourceOpen source URL	I kdyby to dělali, nikdo by je nepropagoval.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Like the Lorraine Bobbit case?
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Oh yeah. That’s true. TV is crazy.

  Divus | Kateřina  

Show textShow cached sourceOpen source URL	Ano, já jsem zdůraznila normálnost tím, že jsem ji v podstatě porušila. To se stalo ale jen v rámci celku, jednotlivci dělali to, co obvykle dělávají, pouze v jiný čas. Připadalo mi, že je to nejchytřejší způsob, jak normálnost uvidět.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Yes, I stressed the normality by essentially disturbing it. That happened in the bigger framework ; the individuals did what they always do, only at slightly different times. For me it was the cleverest way to see normality.

  Divus | Barevná dobrodr...  

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Je to jednoduché, normální foťák by byl asi horší. U toho digitálního rovnou viděli na obrazovce, co fotí, takže nakonec dělali třeba zajímavé detaily svých obličejů. Je tam zajímavá série, holky kolem těch čtrnácti, ještě takové ty pěkné cikánky.

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I had a good trick, though: I would go there in a 1966 Cortina that I told them was Batman’s automobile. When I would leave the school in the afternoon, lots of those little Roma children would jump on my car and as I’d roll away slowly as they’d fall off. I had earned my respect already. That’s interesting. I think they would obey someone they knew from action movies. If I was Arnold Schwarzenegger, I’d have no problem working with them.

  Divus | Nová moskevská ...  

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Nikolaj Malinin to hodnotí takto: „Teď jsou hrdí na to, jak obratně zachytili svěží duch dekonstruktivismu, ale tenkrát ještě neznali ani to slovo. Dělali muzeum a vycházeli přitom z místních a dobových reálií.

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El primer edificio que reflejaba el contraste entre las épocas ha sido el Museo Mayakovsky en la plaza de Lubyanka (1987 – 88) que luego han llamado “el primer ejemplo del deconstructivismo”. La sede del museo que propagaba el vanguardismo revolucionario está escondida detrás del nuevo edificio de la KGB que la rodea por los cuatro lados. Por tanto la principal tarea de los restauradores ha sido “hallar” el edificio y hacerlo visible. El resultado es un poco raro ya que el edificio tan solo se puede observar a través de una reja cerrada. Se entra en el museo a través de un espacio comercial lleno de raros objetos de hierro colado. Se da la sensación de que los han colocado allí a propósito y su misión es preparar al espectador para el encuentro con el arte por excelencia.

  Divus | Sex, násilí a k...  

Show textShow cached sourceOpen source URL	První můj komiks byl publikovaný v roce 1988, když mi bylo 18. S kamarádem jsme udělali vlastní zin, který se jmenoval „Hvyuyim“ (Have you why I am). Pak jsem v roce 1988 začal s Angel Fuck, a pak s Boiled Angel.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	My first comics that, I drew that were published, were in 1988, when I was 18. Me and my friend made up our own zine called ‘Hvuyim’ (“Have you why I am”). Then I started Angel Fuck in 1988 and then Boiled Angel.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	No, there weren’t any problems with that. I wanted to make a digest-sized magazine instead. I did three issues of Angel Fuck and then changed it to Boiled Angel because of some of the ads. They would make me write F**K instead and I wanted a name that people wouldn’t be afraid to say. Then I started Boiled Angel, numer one, and it went up to eight issues.

  Divus | Jednotky mluvič...  

Show textShow cached sourceOpen source URL	První mluviči byli malí nepohybliví paňácové, kteří ale i tak nadělali spoustu veselého poprasku mezi návštěvníky galerií. Téměř dětské figurky bez tváří, které žvatlavě imitují intelektuála, pohodáře nebo manažera, se staly velmi oblíbenými.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	The first Speakers were little motionless dolls, which still managed to kick up a lot of good cheer among gallery visitors. These faceless child-like figures with their prattling voices imitating intellectuals, stoners and office managers became extremely popular. But this was certainly the last thing their creator, Kryštof Kintera, wanted from them.

  DIVUS  

Show textShow cached sourceOpen source URL	Předlouhé a na první poslech náhodně „posbírané“ kompozice bez zpěvu a čitelné rytmické struktury. Godspeed You! Black Emperor dělali vždy všechno naopak. Místo komunikace s okolním světem kolem sebe vystavěli těžko proniknutelnou pavučinu mýtů,…
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Album covers containing neither the name of the band nor the title of the album. Promotion kept to a minimum. Official band pictures? They don’t exist. And the music? Long, and upon first listening, a randomly ‘collected’ series of compositions without vocals or any clear rhythmic structure. Godspeed You! Black Emperor have always done everything differently. Instead of communicating with the…
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	На обложках дисков нет ни названия группы, ни альбома. Медийная презентация сведена к минимуму. Официальные фотографии? Не существуют. А сама музыка? Длинная и при первом прослушивании кажется произвольно «собранными» сериями композиций без вокала и ясной ритмической структуры. Godspeed You! Black Emperor всегда делали всё наоборот. Вместо коммуникации с миром они создали непроходимую сеть мифов,…

  Divus | Rafał Jakubowic...  

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Je všeobecně známo, že umělci, aby si na živobytí vydělali, nejčastěji pracují právě v reklamních agenturách. Mají snad jinou alternativu? Samozřejmě, třeba jen v gastronomickém oboru. Kromě gastronomické oblasti jsou tu údržbářské služby, jež se také nejeví jako zvlášť povzbudivá, atraktivní alternativa.

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“The freedom Poland won after 1989 at a certain moment became a word that ended all discussion. The expression ‘we’re free’ increasingly meant that we have the right not to know what we want to do in our lives, that we have the right to live from day to day, to enjoy all the things we can buy with our hard-earned money. […] On the one hand, we’re overwhelmed by freedom; we woke the optimism up within us (or rather, it was woken up in us) only to face the grim prospect of unemployment and the necessity to revere the lowest instincts of the new idol — the impersonal Client. […] Those who, in theory, should honor our intellectual and spiritual background now participate in conquering the world alongside those with the lowest social taste, because this is the only way they can make a living,” writes Wandachowicz.

  Divus | Letní tábor a V...  

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Vzal nás také k uprchlickému táboru nedaleko Jericha. Když jsme hleděli na prach a zlomky životů, které narušila Šestidenní válka, poznamenal: „Víte, udělali jsme z těchto lidí uprchlíky. Budou mít děti, vyrostou a stejně se budou pořád chtít vrátit domů.

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Cuando visité Israel hace unos años, un señor que trabajaba con mi padre, héroe de la Guerra de los seis días y científico local que estoicamente identificaba en un instante a sus amigos en un monumento bélico, enseñándonos castillos de defensa, hogueras paleolíticas, y como fabricaban los israelíes un artefacto nuclear. Nos llevó a un campo de refugiados cerca de Jericó. Mientras observábamos el polvo y los desperdicios de las vidas desplazadas a causa de la Guerra de los seis días, nos dijo, “¿Sabéis? Nosotros hemos convertido a toda esta gente en refugiados, tendrán hijos, envejecerán, y aún querrán volver a casa”.

  Divus | Editoriál  

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A my do toho zamotali srbské umění, ne proto, že by mělo nadále stát na druhé straně barikády, ale kvůli tomu, že umění obou Srbska a Kosova se potýká s podobnou zkušeností a je ve své vyhrocené historii sešité těžko viditelnými, ale pevnými stehy. Určitě jsme zase neudělali nic korektního, ale důležitější nám přijde, vynést na stůl karty, o nichž se ví méně, než by se při férové hře vědět mělo.

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However, the core of this issue has evolved into a double fairytale. The first intends to reestablish harmony through subjective narration on the verge of the visionary, though sometimes the impression is more ostentatious than authentic (pp.). The second arises and lingers as a social necessity and construction among all the historic illusions and personal experiences. This time we have given space to Kosovo (pp.), which only recently established itself for the surrounding world as an individual artistic entity. It’s enthusiasm and radicalism are trademark. Thanks goes out to the author of this section, Sezgin Boynik. Kosovar journalist Petrit Hoxha and, in a different way, American Romany activist Paul Polansky fill the section out. We mixed in Serbian art, not because it is supposed to be standing on the other side of the barricade, but because the art of both countries faces similar experiences, and it returns to them, and the acute history of the region finds itself bound by nearly invisible but powerful threads.

  DIVUS  

Show textShow cached sourceOpen source URL	Předlouhé a na první poslech náhodně „posbírané“ kompozice bez zpěvu a čitelné rytmické struktury. Godspeed You! Black Emperor dělali vždy všechno naopak. Místo komunikace s okolním světem kolem sebe vystavěli těžko proniknutelnou pavučinu mýtů,…
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Album covers containing neither the name of the band nor the title of the album. Promotion kept to a minimum. Official band pictures? They don’t exist. And the music? Long, and upon first listening, a randomly ‘collected’ series of compositions without vocals or any clear rhythmic structure. Godspeed You! Black Emperor have always done everything differently. Instead of communicating with the…
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Autopsia kommt aus dem Nirgendwo. Es gibt weder einen Entstehungsort noch eine Adresse. Zum ersten Mal in den Fanzines Bank Rot und Prose Selavy erwähnt, gibt es bis heute keine Biografie. Erhältliche Daten sind knapp und auf wenige veröffentlichte Texte und Reproduktionen begrenzt. Autopsia ist unkommunikativ, hermetisch, im Prinzip elitär und an den Auswirkungen seiner Kunst nicht interessiert.…
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	На обложках дисков нет ни названия группы, ни альбома. Медийная презентация сведена к минимуму. Официальные фотографии? Не существуют. А сама музыка? Длинная и при первом прослушивании кажется произвольно «собранными» сериями композиций без вокала и ясной ритмической структуры. Godspeed You! Black Emperor всегда делали всё наоборот. Вместо коммуникации с миром они создали непроходимую сеть мифов,…

  Divus | Od Heidi, děvčá...  

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Pro místní umělce tu ale bohužel nebylo v minulých staletích příliš práce, a proto mnozí z nich, například Johann Heinrich Füssli, Arnold Boecklin či Ferdinand Hodler a dokonce i architekti jako Le Corbusier a další, vydali po prvním úspěších jinam a kariéru udělali v zahraničí.

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Due to a lack of aristocrats, powerful cities and because of its strong iconoclastic protestant church, Switzerland has for hundreds of years been a very rural country and as regarding the fine arts, rather peripheral. In past and present - a small but beautiful place with a picture-postcard landscape of snow topped mountains, cheese, chocolate and Heidi, was an important inspiration to many local and traveling international artists. Unfortunately for the local artists there was not much to do here in past centuries, so most of them, for instance Johann Heinrich Füssli, Arnold Boecklin or Ferdinand Hodler and even architects like Le Corbusier and so many others would uproot at the first sign of success, finally making their careers abroad. Some had even left before to study at foreign academies, as Switzerland at that time did not offer proper art school education and was always known for its quality in the applied arts and good schools in this field.

  Divus | Vítězné tažení ...  

Show textShow cached sourceOpen source URL	Naoko racionální argumenty ale skrývaly spíše pečlivě ukrytou snahu „uchránit“ náš evropský fotbal před nájezdem z divoké Afriky. Západní civilizace, která nejpopulárnější kolektivní hru na světě importovala na černý kontinent, se najednou nestačí divit, co s kdysi racionálním sportem udělali afričtí neznabohové.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Over time the trumpet became an organic part of South African football culture and South Africans spent years blowing out their lungs to the clear indifference of the rest of the world. The real carpet-bomb effect came with this year’s World Cup, which for the first time in its history was held in Africa. The political decision to hold the most-watched sporting event in the world in the poorest continent unleashed a wave that no one had expected. Riding its crest were not the world’s greatest players, but a plastic trumpet whose droning noise has torn down walls.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Со временем труба стала органической частью южноафриканской футбольной культуры и южноафриканцы потратили годы на выпускание воздуха из своих легких, взамен на абсолютное равнодушие остального мира. Настоящая «ковровая бомбардировка» началась только в этом году, когда Футбольный Кубок в первый раз за всю свою историю проходил в Африке. Политическое решение о проведении самого популярного спортивного мероприятия на самом беднейшем континенте в мире подняло волну, которой никто не ожидал. На её гребне оказались не самые лучшие игроки мира, но звучание пластиковой трубы разрушило его границы.

  Divus | Jednotky mluvič...  

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“A ve středu musim to mít celý hotový jo. Teďkon je tu ještě šance, že by se to vodložilo možná, no, to by bylo dobrý, no, protože pak bych zase mohl stihnout ještě tamto, jak sem to neudělal, no a to by taky nebylo od věci to stihnout, no, to jako, udělat se to musí. A nebo že by se to neudělalo? No taky se nic nestane, když se to neudělá. Možná že by stálo za to si rozmyslet, jestli to udělat. Možná je lepší to vůbec nedělat. To bych pak nemusel v úterý si to tady vyzvednout a v pondělí bysme to nemuseli celý připravovat na to vyzvednutí, jo. No, takže kdybychom tuhle záležitost nedělali, tak bysme mohli udělat tamto, co udělat chceme.”

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“And by Wednesday I’ve got to have everything ready. But now if I think about it, there’s still a chance to postpone it, yeah, that would be good, because then I could get done what I haven’t done yet, but then again it’s not like it can wait, and what’s got to get done gets done. But then, what if I just don’t even do it? Anyway, nothing would even happen if I never even did it. Maybe what would happen is that I would rethink doing things. Maybe then it’s better to do nothing at all. Then on Tuesday I wouldn’t have to pick it up here and on Monday we wouldn’t have to get all the stuff ready for the pick up, yeah that’s right. Well, then if I never even bothered with this matter, then I could do something that I really wanted to do.”

  Divus | Ostrov v bažinách  

Show textShow cached sourceOpen source URL	Atmosféra byla sváteční a živá; novináři a obchodní magnáti se mísili s mladými umělci. Performující postrach Obludárium udělali co vždy dělají (a ještě jim nebylo odpuštěno). Celkem vzato, jiskra naděje zde zazářila.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	HOME Gallery opened its doors on 13 December 2002 with an exhibition of the Slovenian art group IRWIN. The one long room of the gallery space was packed with art opening regulars. The atmosphere was festive and alive; journalists and business tycoons mingled with young artists. The performance scourge Obludarium (Freak Show) did what they always do (and they have yet to be forgiven). All in all, a measure of hope flickered here. It remains to be seen if, with the combination of State money, savvy, and a whole lot of luck, HOME can find its place in the local and international scene. We wish them the best.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	HOME Gallery opened its doors on 13 December 2002 with an exhibition of the Slovenian art group IRWIN. The one long room of the gallery space was packed with art opening regulars. The atmosphere was festive and alive; journalists and business tycoons mingled with young artists. The performance scourge Obludarium (Freak Show) did what they always do (and they have yet to be forgiven). All in all, a measure of hope flickered here. It remains to be seen if, with the combination of State money, savvy, and a whole lot of luck, HOME can find its place in the local and international scene. We wish them the best.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	HOME Gallery opened its doors on 13 December 2002 with an exhibition of the Slovenian art group IRWIN. The one long room of the gallery space was packed with art opening regulars. The atmosphere was festive and alive; journalists and business tycoons mingled with young artists. The performance scourge Obludarium (Freak Show) did what they always do (and they have yet to be forgiven). All in all, a measure of hope flickered here. It remains to be seen if, with the combination of State money, savvy, and a whole lot of luck, HOME can find its place in the local and international scene. We wish them the best.

  Divus | Dominik Lang  

Show textShow cached sourceOpen source URL	Na společné výstavě s Jiřím Thýnem v galerii Entrance proto iniciovali vznik sítě vztahů mezi osob- nostmi. Všichni na žádost umělců dělali, co umí nejlépe: jeden instalaci, další pozvánku, třetí zaštítil výstavu kurátorsky...
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	What is Lang trying to do? His actions often are on the level of unusual personal experience. When he created a replica of Stavby č.II. (Constructions II) by Stanislav Kolíbal, he had to solve a lot of technical problems. But Lang got to know the work and the object from a foreign collection which he had never seen before. Now he could investigate it. Usually we have a different experience with art. Lang based his experience on a laborious but unique approach. Similarly he replicated a photo of Gariel Orozco - a “drawing by a bicycle and the water” he substituted with “a drawing by a car and the water.” Instead of a camera he recorded it with a video camera. In Orozco’s photo we also don’t know who drove through the puddles. Here we can see the whole action. The fact that Lang was the driver illuminates the imporatnce of the creator. It also meets his relation toward the mingling of the intimate and the public, of personal experience and public intervention, of the self and the quoted.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	What is Lang trying to do? His actions often are on the level of unusual personal experience. When he created a replica of Stavby č.II. (Constructions II) by Stanislav Kolíbal, he had to solve a lot of technical problems. But Lang got to know the work and the object from a foreign collection which he had never seen before. Now he could investigate it. Usually we have a different experience with art. Lang based his experience on a laborious but unique approach. Similarly he replicated a photo of Gariel Orozco - a “drawing by a bicycle and the water” he substituted with “a drawing by a car and the water.” Instead of a camera he recorded it with a video camera. In Orozco’s photo we also don’t know who drove through the puddles. Here we can see the whole action. The fact that Lang was the driver illuminates the imporatnce of the creator. It also meets his relation toward the mingling of the intimate and the public, of personal experience and public intervention, of the self and the quoted.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	What is Lang trying to do? His actions often are on the level of unusual personal experience. When he created a replica of Stavby č.II. (Constructions II) by Stanislav Kolíbal, he had to solve a lot of technical problems. But Lang got to know the work and the object from a foreign collection which he had never seen before. Now he could investigate it. Usually we have a different experience with art. Lang based his experience on a laborious but unique approach. Similarly he replicated a photo of Gariel Orozco - a “drawing by a bicycle and the water” he substituted with “a drawing by a car and the water.” Instead of a camera he recorded it with a video camera. In Orozco’s photo we also don’t know who drove through the puddles. Here we can see the whole action. The fact that Lang was the driver illuminates the imporatnce of the creator. It also meets his relation toward the mingling of the intimate and the public, of personal experience and public intervention, of the self and the quoted.

  Divus | O kurátorské mo...  

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Anebo to někoho napadne, ale nevystaví tam mě. Na takových výstavách, co jsme dělali, je artefakt jenom stavebním kamenem, nikoliv důvodem, a tvoří jen nějakou zástupnou složku. Záleží na souvislostech, do kterých se díla postaví, proto je kurátorská práce důležitá.

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The work of a curator is art also. Art is not finished at the moment when it strikes you. It is necessary to make it and then somebody has to see it, too. I cannot count on somebody coming up with the same idea that I have. Or if somebody does come up with the same idea, he or she doesn’t have to show my work [in such exhibition]. In case of the exhibitions we have done, the artifact is merely a construction element, it is not the reason and serves as a mere substitute element. It depends on the context which the art works are placed into. This is why curatorial work is important.

  Divus | Kroužek na zadku  

Show textShow cached sourceOpen source URL	Kosťa: Protože je to retrospektiva. Poslední rok jsme opravdu hodně pracovali a spoustu jsme toho natočili. Tento rok jsme ještě nic neudělali. Před měsícem jsem byl u Saši v Moskvě celkem deset dní. Ale on zrovna s někým flirtoval, měl nějakou lovestory, a tak jsme nic neudělali, a já měl pak průšvih v práci, že jsem do Moskvy odjel.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Kosťa: Because it’s a retrospective. Last year we worked hard and filmed a lot of material. This year we haven’t done anything yet. A month ago I visited Sáša in Moscow for ten days. But at that time he had some love story, so we didn’t do anything at all, and I had troubles at work so I set off for Moscow.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Kosťa: Because it’s a retrospective. Last year we worked hard and filmed a lot of material. This year we haven’t done anything yet. A month ago I visited Sáša in Moscow for ten days. But at that time he had some love story, so we didn’t do anything at all, and I had troubles at work so I set off for Moscow.

  Divus | Ostrov v bažinách  

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Atmosféra byla sváteční a živá; novináři a obchodní magnáti se mísili s mladými umělci. Performující postrach Obludárium udělali co vždy dělají (a ještě jim nebylo odpuštěno). Celkem vzato, jiskra naděje zde zazářila.

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HOME Gallery opened its doors on 13 December 2002 with an exhibition of the Slovenian art group IRWIN. The one long room of the gallery space was packed with art opening regulars. The atmosphere was festive and alive; journalists and business tycoons mingled with young artists. The performance scourge Obludarium (Freak Show) did what they always do (and they have yet to be forgiven). All in all, a measure of hope flickered here. It remains to be seen if, with the combination of State money, savvy, and a whole lot of luck, HOME can find its place in the local and international scene. We wish them the best.

  Divus | Konec jedné éry  

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Dva roky po sobě pro Národní galerii produkčně zajišťujeme Benátské bienále, letos je to architektura, loni jsme dělali výtvarné umění. Teď zajišťujeme výstavu v Pražském domě v Bruselu. Měli bychom organizovat výstavu holandského umění v Čechách.

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address western curators or collectors so that they might say to themselves: “This is a new thing; it’s high quality; this will circulate in exhibitions.” It’s connected with the fact that we’re a small country, a small nation lacking money. We aren’t able to push things through to big exhibitions. The thing is, art today is very much disintegrated — this is not only the case in this country, it’s an international phenomenon. Today you won’t find a style-defining tendency in art that would suggest development for the next ten years, as was the case with pop art in the 1960s and abstract art before that or cubism even earlier.

  Divus | Kroužek na zadku  

Show textShow cached sourceOpen source URL	Kosťa: Protože je to retrospektiva. Poslední rok jsme opravdu hodně pracovali a spoustu jsme toho natočili. Tento rok jsme ještě nic neudělali. Před měsícem jsem byl u Saši v Moskvě celkem deset dní. Ale on zrovna s někým flirtoval, měl nějakou lovestory, a tak jsme nic neudělali, a já měl pak průšvih v práci, že jsem do Moskvy odjel.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Kosťa: Because it’s a retrospective. Last year we worked hard and filmed a lot of material. This year we haven’t done anything yet. A month ago I visited Sáša in Moscow for ten days. But at that time he had some love story, so we didn’t do anything at all, and I had troubles at work so I set off for Moscow.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Kosťa: Because it’s a retrospective. Last year we worked hard and filmed a lot of material. This year we haven’t done anything yet. A month ago I visited Sáša in Moscow for ten days. But at that time he had some love story, so we didn’t do anything at all, and I had troubles at work so I set off for Moscow.

  Divus | O kurátorské mo...  

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Dělat umění je jednoduchá formule, jak získat společenskou vážnost, získat moc a tu pak proměnit na peníze. I v historii to tak bylo, a ti, co jsem o nich mluvil, to tak udělali taky. Je to pořád to samé.

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Everybody has a clear objective - [Milan] Knížák has it, Olbram Zoubek as well. That is to be immortal and drive a Porsche. Everybody dreams about that while [Jan] Saudek, as stupid as he is, dares to talk about it. Making art is an easy formula for getting society’s respect, power and turning that into money. It has been like this in the past and the ones I spoke about did it as well. It’s all the same. My objective is not to provide space for the young upcoming generation, or at least not until the moment I start to feel the need. If I don’t die in a car accident like James Dean, I will be an individualist, like, say, [Jaroslav] Róna. If I don’t die in a car accident like Falco, I will perhaps speak of personal honesty like Šerých. I will be humble, even though everybody knows that faith is not painting a cross on a canvas and mysticism is not a skull made out of bronze.

  Divus | Vítězné tažení ...  

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Naoko racionální argumenty ale skrývaly spíše pečlivě ukrytou snahu „uchránit“ náš evropský fotbal před nájezdem z divoké Afriky. Západní civilizace, která nejpopulárnější kolektivní hru na světě importovala na černý kontinent, se najednou nestačí divit, co s kdysi racionálním sportem udělali afričtí neznabohové.

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Ещё до чемпионата недовольные болельщики и футболисты развернули практически беспрецедентные дебаты: запретить ли южноафриканским фанатам их вувузелы? Или силой заставить игроков и болельщиков слушать животный рёв буйных африканцев? Хотя на первый взгляд это казалось абсурдным «запрещать людям издавать некий звук», но всё же серьёзным. Было заявлено, что вувузела мешает игрокам эффективно переговариваться на поле, что её звучание вызывает необратимые повреждения слуха (130 децибел вувузелы такие же, как звук реактивного самолёта на взлете), и что бесконечный гул мешает миллионам телезрителей «наслаждаться тем, чего они ждали четыре года».

  Divus | Ostrov v bažinách  

Show textShow cached sourceOpen source URL	Atmosféra byla sváteční a živá; novináři a obchodní magnáti se mísili s mladými umělci. Performující postrach Obludárium udělali co vždy dělají (a ještě jim nebylo odpuštěno). Celkem vzato, jiskra naděje zde zazářila.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	The gallery itself measures in at 180 square meters and is rectangular in shape with a lofty ceiling and two regular rows of sunken cubic skylights. The one-room gallery has a clean garage feeling, an open light space with a gritty quality. Its location in the heart of the city and, more specifically, its position set back from the street between two taller residential buildings, make it both accessible and intimate. No wonder it’s called HOME.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	The gallery itself measures in at 180 square meters and is rectangular in shape with a lofty ceiling and two regular rows of sunken cubic skylights. The one-room gallery has a clean garage feeling, an open light space with a gritty quality. Its location in the heart of the city and, more specifically, its position set back from the street between two taller residential buildings, make it both accessible and intimate. No wonder it’s called HOME.

  Divus | Barevná dobrodr...  

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Pak se zkracují ty intervaly, kdy si chodí pro pochvalu, a pak začínají jen tak skákat na místě. Ztratí zájem o malbu, mrskne s tím štětcem a teď tam jenom nějak tancuje. A ty je musíš nějak přinutit, aby to dodělali. To byl největší problém.

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I had worked with them before, when Helena Balabánová was director of a religious school in Ostrava - Přívoz. We were given a week to paint on a wall with the children. That was the beginning, and the school got money from many places. They had about 100,000 crowns from the Soros foundation, and they bought a potter’s wheel and a kiln. With the money left over they invited five artists to paint with the Roma children on the walls of the club there. I had about five girls to make a design that we prepared to put on the wall.

  Divus | Nová moskevská ...  

Show textShow cached sourceOpen source URL	Nikolaj Malinin to hodnotí takto: „Teď jsou hrdí na to, jak obratně zachytili svěží duch dekonstruktivismu, ale tenkrát ještě neznali ani to slovo. Dělali muzeum a vycházeli přitom z místních a dobových reálií.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Der Wiederaufbau unter der Leitung Andrej Bokovs begann auf der Welle der Perestrojka-Euphorie, als es schien, das jetzt alles neu werden und alles erlaubt sein würde. Wladimir Majakowski – ein anerkannter Vertreter der Klassik und gleichzeitig Revolutionär – „legitimierte die Erneuerung“. Die Architekten befreiten sich von allen Verboten und Komplexen und schufen die radikalste gesellschaftliche Inneneinrichtung der kommenden 15 Jahre. Wie schrieb Nikolaj Malinin: „Jetzt ist es üblich sich daran zu weiden, wie geschickt sie den ‚allerneuesten Geist des Dekonstruktivismus’ eingefangen haben, aber damals kannten sie ja noch nicht einmal dieses Wort. Sie haben ein Museum gebaut und gingen dabei ausschließlich von den Realien von Ort und Zeit aus.“
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	El localización era genial ya que la casa del poeta estaba rodeada por el nuevo edificio de la KGB. La metáfora estaba lista, tan sólo faltaba “encarnarla”. Lo han hecho muy bien. Por fuera vemos una instalación-prólogo. Un armazón torcido que simboliza la sencillez constructivista, la postura propia para la fotografía de Aleksandr Ródchenko y la revolución truncada. Dentro encontramos un fantástico y complicado espacio multidimencional, sin igual en aquel entonces. Saltando abismos y uniéndose en flujos, lleva al visitante a través de la biografía del poeta, marcando los momentos clave. La ascensión finaliza en un sencillo cuarto donde vivió y pereció el poeta.

  Divus | Českým umělcům ...  

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Jsou to především kurátoři a kunsthistorici a jejich úkolem je pracovat s tématy. Udělali to nejlepší, co za dané situace mohli. Nemají dost zkušeností ze života v zahraničí, nikdy nebyli v Londýně, několikrát navštívili New York, ale jinak neměli mnoho možností cestovat mimo Evropu nebo bývalý východní blok.

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I respect their work. The Ševčíks have tried to do something here. They are predominantly curators and art historians and as a curator or an art historian, their job is to work with themes. They’ve done the best that they can under the circumstances. They don’t have enough experience from living abroad, they’ve never been to London, they’ve been to New York a few times, but they have not been able to travel a lot outside Europe and the former Eastern Bloc. They’ve got a good European context, they go to Germany a lot, Poland, they’ve traveled around. They see things and they understand that these things are important. I’m not blaming them personally. They would not be able to understand it without living abroad for longer time. They’re not stupid people and they are trying to be as active as possible here. I think the problem more is that the artists do not take responsibility for understanding. I mean every artist wants exposure but there is a limit in self-dignity that perhaps people could try to think a little bit more cleverly about the exhibition they choose to be in here, the theme and the content of the work they choose to produce.

  Divus | Psychogeografie...  

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Nejjednodušším algoritmem na procházení je například pravidlo, kdy se pohybujeme 2 x vlevo, 1 x vpravo, 1 x vlevo po ulicích města. Cílem je dokumentovat tuto neobvyklou cestu, například slovně v podobě příběhu, v kterém popisujeme, co se odehrálo, koho jsme potkali nebo co jsme na dané cestě dělali.

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El algoritmo más simple para pasear es, por ejemplo, la regla conforme a la que caminamos por las calles de la ciudad doblando 2x a la izquqierda, 1x a la derecha, 1x a la izquierda. La finalidad es documentar este desplazamiento inusual, sea verbalmente, en forma de relato en el que describimos lo que sucedió, a quién encontramos o qué hicimos durante el caminar. Asimismo puede generarse una documentación visual que capte diferentes signos (arte callejero -streetart- o, meramente la publicidad) que establece entre ellos correlaciones visuales. La grabación de sonidos y el vídeo o, con creciente frecuencia, la tecnología GPS completan obviamente los paseos psicogeográficos, agregándoles una nueva dimensión. Entre otras cosas, nos dan la posibilidad de crear una interesante visualización que interprete nuestros movimientos por la ciudad en forma de diversos mapas y dibujos. El entrelazamiento del mundo virtual y del real, del mapa y del territorio, no tienen una dirección unívoca y todas las combinaciones y las interacciones creadoras quedan autorizadas.

  Divus | Dominik Lang  

Show textShow cached sourceOpen source URL	Na společné výstavě s Jiřím Thýnem v galerii Entrance proto iniciovali vznik sítě vztahů mezi osob- nostmi. Všichni na žádost umělců dělali, co umí nejlépe: jeden instalaci, další pozvánku, třetí zaštítil výstavu kurátorsky...
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Memory has architecture and we are their architects. Single elements in their structure are mutually interwoven. Through the analogies between the remembered and immediate present realities we create interference, from which we conclude this or that. When Lang suspended a clothesline, overloaded with clothes, from the window of the Academy of Visual Arts, the huge building, that for three centuries has boasted the importance of artists’ education, changed its function. It stopped being a vessel for a lot of nameless students and sent a signal about an individual who needs to solve a common situation. The amount of clothes was so big that it would never dry. The person standing outside couldn’t understand right away, but the signal about a common situation was again only a piece of art – a sculpture.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Memory has architecture and we are their architects. Single elements in their structure are mutually interwoven. Through the analogies between the remembered and immediate present realities we create interference, from which we conclude this or that. When Lang suspended a clothesline, overloaded with clothes, from the window of the Academy of Visual Arts, the huge building, that for three centuries has boasted the importance of artists’ education, changed its function. It stopped being a vessel for a lot of nameless students and sent a signal about an individual who needs to solve a common situation. The amount of clothes was so big that it would never dry. The person standing outside couldn’t understand right away, but the signal about a common situation was again only a piece of art – a sculpture.