aai – Übersetzung – Keybot-Wörterbuch

  Divus | ZABIJU TĚ  

Text zeigenZeige Ausgangstext im CacheURL mit Ausgangstext zeigen	„To je nějaký instinkt, vzpomínky na to, co dělali předtím,“ říká její manžel. „Bylo to pro ně zaživa důležité místo.“
Textseiten vergleichenHTM-Seiten vergleichenURL mit Ausgangstext zeigenURL mit Zielsprache zeigendivus.cc als Prioritätsdomäne definieren	“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...  

Text zeigenZeige Ausgangstext im CacheURL mit Ausgangstext zeigen	I kdyby to dělali, nikdo by je nepropagoval.
Textseiten vergleichenHTM-Seiten vergleichenURL mit Ausgangstext zeigenURL mit Zielsprache zeigendivus.cc als Prioritätsdomäne definieren	Like the Lorraine Bobbit case?
Textseiten vergleichenHTM-Seiten vergleichenURL mit Ausgangstext zeigenURL mit Zielsprache zeigendivus.cc als Prioritätsdomäne definieren	Oh yeah. That’s true. TV is crazy.

  Divus | Kateřina  

Text zeigenZeige Ausgangstext im CacheURL mit Ausgangstext zeigen	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.
Textseiten vergleichenHTM-Seiten vergleichenURL mit Ausgangstext zeigenURL mit Zielsprache zeigendivus.cc als Prioritätsdomäne definieren	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 | Sex, násilí a k...  

Text zeigenZeige Ausgangstext im CacheURL mit Ausgangstext zeigen	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.
Textseiten vergleichenHTM-Seiten vergleichenURL mit Ausgangstext zeigenURL mit Zielsprache zeigendivus.cc als Prioritätsdomäne definieren	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.
Textseiten vergleichenHTM-Seiten vergleichenURL mit Ausgangstext zeigenURL mit Zielsprache zeigendivus.cc als Prioritätsdomäne definieren	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 | 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 | 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  

Text zeigenZeige Ausgangstext im CacheURL mit Ausgangstext zeigen	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,…
Textseiten vergleichenHTM-Seiten vergleichenURL mit Ausgangstext zeigenURL mit Zielsprache zeigendivus.cc als Prioritätsdomäne definieren	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…
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	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 | 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 | Jednotky mluvič...  

Text zeigenZeige Ausgangstext im CacheURL mit Ausgangstext zeigen	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.
Textseiten vergleichenHTM-Seiten vergleichenURL mit Ausgangstext zeigenURL mit Zielsprache zeigendivus.cc als Prioritätsdomäne definieren	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 | 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 | 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 | Sex, násilí a k...  

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Nakrájeli jsme jej a rozdávali lidem. Pak se ukázali protestující, Ženy proti pornografii, udělali si kopie Boiled Angel a lidé si je mohli prohlédnout u soudu. V té chvíli se toho chopila i televize.

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That was one of the pieces they brought up in court saying that his drawings were so obscene that it would make people into child molesters. I knew it was like therapy. I’ve seen psychiatry books with children who are abused do drawing to communicate these things. There are so many levels. We actually brought those types of things in as evidence to court but, the judge wouldn’t allow any of it as evidence. Basically, the judge has the say so of what stuff is brought in. That’s how they screw you.

  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 | Kroužek na zadku  

Montrer texteMontrer source en cacheMontrer URL avec texte source	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.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	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.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	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 | Kroužek na zadku  

Montrer texteMontrer source en cacheMontrer URL avec texte source	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.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	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.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	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 | Editoriál  

Text zeigenZeige Ausgangstext im CacheURL mit Ausgangstext zeigen	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.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	The Czech art scene has its own limitations, which have yet to be dissolved, and the desire or ability to dissolve them is still lacking. The best way to discover this is to go abroad and represent the domestic culture; all it takes is to be asked a few question by people who think you know more about it than they do. Near the end of November I went to Berlin with the intention of writing about the exhibition Things You Don’t Know (pp. ) Opening night was going along peacefully when a thin, nimble man with a goatee pounced on me. His name was ……., he was from Petersburg and curious as hell. His wonderfully soft Russian accent bubbled out in every other English word he muttered, and it soon came out that he stood by hardcore leftist art. He shoved into my hands two newspaper copies in which he and his cronies lash out at the non-socialist world of art praxis and call for more gutsy action. In his interrogation about Czechs, his desire to cooperate with those who understand his efforts became apparent. But with every answer I gave him he fell deeper into disillusionment. Not only is Czech engaged art still in its infancy, it still ostentatiously skates along political lines with the emblem of individualism on its jersey. Not counting the post-communist agitprop by the posthumous children of normalization, nary a soul fits into the category of “leftist artist.”
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	The Czech art scene has its own limitations, which have yet to be dissolved, and the desire or ability to dissolve them is still lacking. The best way to discover this is to go abroad and represent the domestic culture; all it takes is to be asked a few question by people who think you know more about it than they do. Near the end of November I went to Berlin with the intention of writing about the exhibition Things You Don’t Know (pp. ) Opening night was going along peacefully when a thin, nimble man with a goatee pounced on me. His name was ……., he was from Petersburg and curious as hell. His wonderfully soft Russian accent bubbled out in every other English word he muttered, and it soon came out that he stood by hardcore leftist art. He shoved into my hands two newspaper copies in which he and his cronies lash out at the non-socialist world of art praxis and call for more gutsy action. In his interrogation about Czechs, his desire to cooperate with those who understand his efforts became apparent. But with every answer I gave him he fell deeper into disillusionment. Not only is Czech engaged art still in its infancy, it still ostentatiously skates along political lines with the emblem of individualism on its jersey. Not counting the post-communist agitprop by the posthumous children of normalization, nary a soul fits into the category of “leftist artist.”

  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 | Ostrov v bažinách  

Montrer texteMontrer source en cacheMontrer URL avec texte source	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.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	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.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	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 | Dominik Lang  

Text zeigenZeige Ausgangstext im CacheURL mit Ausgangstext zeigen	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...
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	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.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	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.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	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 | 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 | 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 | Rodinná pouta ...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Ani koncept této veskrze antikoncepční výstavy rozhodně nebyl zvolen náhodou a také on byl postaven na neotřesitelných pilířích společné zkušenosti a kolektivního vědomí. Matky a Otcové začali čerpat z důvěrně známého prostoru – rodinné „estetiky“ všedního dne. Tak jako jiní, udělali to nejpřirozenější. Začali tematizovat sračky, ve kterých žijí.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	The next exhibition was totally different. Archetypal exhibits seem to be made by one hand, the individual touch has disappeared. The concept of this throughout the contraceptive exhibition wasn’t picked by chance and it was grounded on the unshaken pillars of common experience and collective consciousness. Mothers and Fathers started deriving from the intimately known space – the family “esthetics” of everyday life. As the others – they did the most natural thing. They started using as a theme the misery they live in. Suddenly, a strong and emotional theme appeared: Family life. In reality, that’s a strange mixture of love, annoyance, irony, compassion and embarrassment. Thank god there was no place left for romantics, idealization, and sentiment.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	The next exhibition was totally different. Archetypal exhibits seem to be made by one hand, the individual touch has disappeared. The concept of this throughout the contraceptive exhibition wasn’t picked by chance and it was grounded on the unshaken pillars of common experience and collective consciousness. Mothers and Fathers started deriving from the intimately known space – the family “esthetics” of everyday life. As the others – they did the most natural thing. They started using as a theme the misery they live in. Suddenly, a strong and emotional theme appeared: Family life. In reality, that’s a strange mixture of love, annoyance, irony, compassion and embarrassment. Thank god there was no place left for romantics, idealization, and sentiment.

  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 | Nová moskevská ...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	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.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	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.“
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	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 | Mozart a Saliera  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Problémem je, že takzvaná „identita“ nebyla vytvořena z vnitřní potřeby, ale pro turistickou brožurku. Jako každá současná evropská „národní identita”, nebyla ani tato ničím víc, než jen „ideologií turistiky“, jedinou filozofií, která dnes v Evropě existuje. Pokud ale ideologie jako taková byla jedním ruským myslitelem definována jako „ideologie masové spotřeby“, „baliči” „národní identity“ udělali totéž u historie.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	On the first night I discovered an item in the neighborhood grocery store—one that exceeded my most pessimistic expectations. I have to confess that it looked pretty appetizing. It was just ham, a rose piece of ham with a thin layer of tender white fat delicately framing it. The ham was neatly packed in plastic film and had a label with the words, “Mozart Schinken Papagena.” The absence of quotation marks in the name of the product made unclear whose ham was lying in front of me in the glass coffin of the refrigerated meat display – Mozart’s, or Papagena’s. On the shelves standing nearby, rows of wine bottles adorned with portraits of the great composer were lined up for the anniversary parade. Everything was ready for the Mozart Eucharist, as if the poor author of The Magic Flute announced before his descent to the unmarked mass grave “Drink my blood, eat my (or my Papagena’s) flesh.” On the background of this invitation to cannibalism, marked by overtones of necro - Christianity, the old good Mozart Kugel chocolates looked like a symbol of modesty and manifestation of refined taste.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	On the first night I discovered an item in the neighborhood grocery store—one that exceeded my most pessimistic expectations. I have to confess that it looked pretty appetizing. It was just ham, a rose piece of ham with a thin layer of tender white fat delicately framing it. The ham was neatly packed in plastic film and had a label with the words, “Mozart Schinken Papagena.” The absence of quotation marks in the name of the product made unclear whose ham was lying in front of me in the glass coffin of the refrigerated meat display – Mozart’s, or Papagena’s. On the shelves standing nearby, rows of wine bottles adorned with portraits of the great composer were lined up for the anniversary parade. Everything was ready for the Mozart Eucharist, as if the poor author of The Magic Flute announced before his descent to the unmarked mass grave “Drink my blood, eat my (or my Papagena’s) flesh.” On the background of this invitation to cannibalism, marked by overtones of necro - Christianity, the old good Mozart Kugel chocolates looked like a symbol of modesty and manifestation of refined taste.

  Divus | Dominik Lang  

Montrer texteMontrer source en cacheMontrer URL avec texte source	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...
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	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.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	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.

  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 | 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 | 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 | Americké stolet...  

Text zeigenZeige Ausgangstext im CacheURL mit Ausgangstext zeigen	Rozsah výstavy je najednou příliš široký i příliš úzký. Kdyby svůj cíl organizátoři omezili jen na výstavu vizuálního umění, neudělali by takovou medvědí službu literatuře a divadlu. Počet objektů - 600 v první polovině výstavy věnující se letům 1900-1950, dalších 600 bude zachycovat období 1951-2000 a bude zahájena 26.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	The expressed aim of the exhibition is to show American culture - art, decorative arts, architecture, literature, dance, film, and music. Some very beautiful examples of design and architecture - Frank Lloyd Wright’s Falling Water, the Eames chairs, are shown, and the music and film are used as historic wallpaper throughout; dance, theater and literature particularly, are neglected, if not forgotten. The scope is at once too broad and too narrow. Had they limited their goal to displaying just visual arts, they would not have done such a disservice to literature and theater. The number of objects - 600 in this half covering 1900-1950, and another 600 in the second half covering 1951-2000 which begins September 26th, are not sufficient in number to capture the entire cultural output of the country in its period of rapid expansion. The skeleton of culture presented actually functions as more of a historical document - that which you would find in an outdated historical textbook. The art is not art here, in most cases, but artifact. The difference being that it seems impossible to draw inspiration or new insight from the objects in this configuration. They are lined up to reassure, not re-evaluate.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	The expressed aim of the exhibition is to show American culture - art, decorative arts, architecture, literature, dance, film, and music. Some very beautiful examples of design and architecture - Frank Lloyd Wright’s Falling Water, the Eames chairs, are shown, and the music and film are used as historic wallpaper throughout; dance, theater and literature particularly, are neglected, if not forgotten. The scope is at once too broad and too narrow. Had they limited their goal to displaying just visual arts, they would not have done such a disservice to literature and theater. The number of objects - 600 in this half covering 1900-1950, and another 600 in the second half covering 1951-2000 which begins September 26th, are not sufficient in number to capture the entire cultural output of the country in its period of rapid expansion. The skeleton of culture presented actually functions as more of a historical document - that which you would find in an outdated historical textbook. The art is not art here, in most cases, but artifact. The difference being that it seems impossible to draw inspiration or new insight from the objects in this configuration. They are lined up to reassure, not re-evaluate.

  Divus | Ostrov v bažinách  

Text zeigenZeige Ausgangstext im CacheURL mit Ausgangstext zeigen	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.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	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.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	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.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	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 | 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 | Vítězné tažení ...  

Text zeigenZeige Ausgangstext im CacheURL mit Ausgangstext zeigen	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.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	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.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	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  

Text zeigenZeige Ausgangstext im CacheURL mit Ausgangstext zeigen	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,…
Textseiten vergleichenHTM-Seiten vergleichenURL mit Ausgangstext zeigenURL mit Zielsprache zeigendivus.cc als Prioritätsdomäne definieren	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…
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	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.…
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	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 | Uniformovaná bu...  

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Ředitel odboru vzdělávání při Středisku pro mezinárodní vztahy v Paříži a expert na vztahy ve střední Evropě Jacques Rupnik se pustil odborným a vytříbeným jazykem do přednášky o hrdosti českých lidí na svou tradici nenásilí: podívejte se na sametovou revoluci, násilí sem bylo přivlečeno z ciziny a ti, kteří dělali během zasedání MMF výtržnosti, byli všichni cizinci.

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Forum 2000 is the annual international symposium hosted by President Vaclav Havel for his high-profile Nobel Prize winning friends. That year the symposium took place shortly after the IMF/WB meeting. During one session a Latino-looking activist was invited to speak for a few minutes. This young man, looking uncomfortable in front of such a large and distinguished audience, stammered out a few sentences about the necessity of using violence if necessary in order to fight big corporate power. Jacques Rupnik, director of Studies at the Center for International Affairs Paris and expert of Central European affairs launched into a slick and professional tongue-lashing on the pride of the Czech people for their history of non-violence: just look at the Velvet Revolution, the violence was brought from abroad, and those that rioted in the streets during the IMF/WB meeting were all foreigners.

  Divus | Kateřina  

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Všichni byli součástí té debaty a každý to určitě nakonec dělal z jiného důvodu a jedním z nejpodstatnějších jsem byla v každém případě já a moje úsilí. Při disciplíně Posezení u piva jsme natáčeli krátký dokument o jejich reakcích. Ptala jsem se 1. Proč jste to dělali? ; 2. Byla dnešní sobota jiná, než jsou ty ostatní?

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As for the inhabitants and their awareness of the project, that was a extremely difficult thing. I visited them and tried to explain to them that the project was about seeing the invisible – the normality. That didn’t work of course... Then I said that it was about doing something together. That didn’t work either – they said they already had autumn feasts, that I could come there. Then I added that they had never experienced anything like this – they answered that they had had their fair share of organized teamwork in the past. Then I came up with making a film – to make a video about it- and they told me to get some actors. Then I said that everyone would hear about the village that got together like this – they were not interested. And in the end all this somehow came together, and they finally said yes. All of them were part of the discussion and each of them did it for a different reason, one of the most important of which was me and my efforts. During the ”sitting in the pub” discipline we made a short documentary about their reactions. I asked them 1. Why did you do it? 2. Was this Saturday different than the others? 3. Did you feel you were doing something strange? The answers varied. Some felt nothing special was happening because they were doing the same as usual. Someone said that now there was a higher culture. Another claimed that something fun finally happened in Ponětovice and that they would never meet like that on a Saturday. The most important outcome for me was that most of the people from Ponětovice said that something was going on, and it was just that they did it together.

  Divus | Ježíš v Benátká...  

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Původně jsme měli vymyšleného jen Ježíše — udělali jsme fotky a říkali jsme si, že by byla bomba, kdyby v Benátkách byla celá figura. Ale říkali jsme si: “Prázdný pavilon a v tom jedna třímetrová figura, to je suchárna.”

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meter-tall figure? That’s boring.” So we told Erik about our idea and together we came up with the final look of the entire exhibition. Erik brought ideas that will make the whole thing a lot of fun. On the walls there will be a projection of an audience that will cheer madly like a noisy football audience, and suddenly the atmosphere will change and you’ll be able to see an audience watching something like a chess tournament, staring at the chess players in silence and tension. We will go to sporting events and shoot the audiences. It will be a detail shot with only people in it so that it’s not clear what kind of sporting event it is. And with all that it’ll look like the athlete on the rings is sleeping. It’ll shift over into nonsense.

  Divus | V Číně s Jérôme...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Psali jsme věci, které jsme dokonce ani my sami nemohli zpětně rozpoznat, když byly hotové. Naším cílem bylo změnit každého v analfabeta, včetně sebe samých. Udělali jsme instalaci z kaligrafií, tisíce listů papíru se vlnily na zemi jako oceán, a tak podobně.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	ЧГ: Да, искусство — часть моей жизни, так что я даже не всегда чувствую, что я именно делаю какую-то работу. Как будто я просто живу. Иногда случается, что я делаю что-то для выставки и для меня это как способ убить время. Если бы мне нечего было делать, я бы ни за что не продолжил жить.

  Divus | Uniformovaná bu...  

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Průvodčí si zkopíroval jízdenku Španělů s tím, že jí předá úřadům k vyšetření, jsem si ale jistá, že se tak nikdy nestalo. Španělé udělali, co jim bylo nakázáno. Šli do nejbližší směnárny, vyměnili své britské libry za české koruny a zaplatili průvodčímu nové lístky.

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I asked the German to tell me about his situation once again. He said the police had accused him of using a fake passport when they turned him back. While we were talking in the corridor a woman approached us and introduced herself as a journalist working for Reuters. “I overheard your conversation and am interested to hear more about what happened to you. I’m collecting stories like yours.” So we told her all that happened to the German guy and to the Spaniards. The Spaniards were too afraid to give her their names. We all got off at the main train station in Prague. The conductor made photocopies of the Spaniards’ tickets, telling them that he would send this to the authority to investigate, which I’m sure he never did. The Spaniards did as they were told and went to the nearest exchange office to change their British Pounds for Czech Koruna in order to pay the conductor for the train ride. The Reuters woman herself inspected their tickets with curiosity. The older German activist promised to take the young Spaniards to an INPEG complaint center to report the case.

  Divus | Uniformovaná bu...  

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Klasická policejní technika komunistů: jeden vás přetáhne pistolí a druhý pak nabídne cigaretu. Španělé byli tímto incidentem šokováni ještě víc než já a prosili policisty, aby to nedělali. “Tato paní nemá s námi nic společného, jenom nám pomohla.”

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When we finally got back to the compartment, the student looked so down. There was a new companion in our compartment: a German leftist from Düsseldorf. He explained to us that he’d been turned back at the border when he tried to get into the country by bus the previous day. This time he was trying the train, only with a ticket to Plzeň and not to Prague. The trick worked and he got through. While I was listening to this, two of the anti-terrorist squad came back. This time they demanded to see my passport. They started to write down my passport number and one of them told me that they would report this to the Japanese embassy. But a moment later the other one said, “No, we won’t report it, don’t worry.” Classic communist police technique, one pistol-whips you and the other gives you a cigarette. The Spaniards were more shocked by this incident than I was, and they begged the police not to do it. “This lady has nothing to do with our trouble; she just helped us.” It was sweet of them. The anti-terrorists left. The Spaniards were so apologetic that they started to talk about themselves: I’m a student of this and that; I’m 20 years old… The youngest was 18. He’d attended a few communist meetings, because he was curious about it in Basque, his native country, he said.

  Divus | Kateřina  

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Všichni byli součástí té debaty a každý to určitě nakonec dělal z jiného důvodu a jedním z nejpodstatnějších jsem byla v každém případě já a moje úsilí. Při disciplíně Posezení u piva jsme natáčeli krátký dokument o jejich reakcích. Ptala jsem se 1. Proč jste to dělali? ; 2. Byla dnešní sobota jiná, než jsou ty ostatní?

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As for the inhabitants and their awareness of the project, that was a extremely difficult thing. I visited them and tried to explain to them that the project was about seeing the invisible – the normality. That didn’t work of course... Then I said that it was about doing something together. That didn’t work either – they said they already had autumn feasts, that I could come there. Then I added that they had never experienced anything like this – they answered that they had had their fair share of organized teamwork in the past. Then I came up with making a film – to make a video about it- and they told me to get some actors. Then I said that everyone would hear about the village that got together like this – they were not interested. And in the end all this somehow came together, and they finally said yes. All of them were part of the discussion and each of them did it for a different reason, one of the most important of which was me and my efforts. During the ”sitting in the pub” discipline we made a short documentary about their reactions. I asked them 1. Why did you do it? 2. Was this Saturday different than the others? 3. Did you feel you were doing something strange? The answers varied. Some felt nothing special was happening because they were doing the same as usual. Someone said that now there was a higher culture. Another claimed that something fun finally happened in Ponětovice and that they would never meet like that on a Saturday. The most important outcome for me was that most of the people from Ponětovice said that something was going on, and it was just that they did it together.

  Divus | Kroužek na zadku  

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Prosím, ať zpívají a hrají… ale druhá strana netoleruje nás. Udělali jsme takové kroužky z kartonu a přilepili jsme si je na zadky, a tak jsme to nafilmovali. A lidi hned píšou gubernátorovi, že je to propaganda homosexuality, ať nám to zakáže.

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Kosťa: It’s not censorship in the correct meaning of the word. It’s just the individual powers of some complex system, institutions which say: “and now the Orthodox Church will protest.” The conservatives in Novosibirsk who accept only traditional art wrote a letter to the mayor and the people in the House of Culture got scared that they would have problems with funding so they took my exhibition down. The Siberian cultural reality, folk production, they play the accordion, listen to Ala Pugačevová and sing chastushka. Young artists are radically against this, we aren’t. OK, let them play and sing… but they don’t tolerate us. We made these rings from cardboard and pasted them to our buttocks and filmed it. And people wrote to the governor that it’s propaganda for homosexuality and that he has to put a stop to it it. And he will, because he wants to keep the peace. I don’t understand how having cardboard rings on our butts could be propaganda for homosexuality.

  Divus | Lokální kontext...  

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Myslím, že během studené války si umělci ze střední a východní Evropy domnívali, že budou jakoby virtuálně kupováni západními uměleckými institucemi, protože koneckonců dělali umění, zvláště se to týká Polska vzhledem k tamním uměleckým tradicím, podobným těm západním.

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When Milan Knížák became the chief of the Czech Academy of Fine Arts in Prague he began a kind of revolutionary sweep. He destroyed the old Aacademy and established a new one. That was very refreshing. In Poland we still have the old Academy with the old professors who are very often not even artists anymore. Many of them are quite old and they haven’t practiced art for twenty years. We badly need a new Academy. As far as I know, in Hungary, Bulgaria and Slovakia they have the same situation. Under these circumstances it is incredible that young people still try to be artists here. If I was in their position, the first thing I would do is I would go the West to study art.

  Divus | Ježíš v Benátká...  

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Původně jsme měli vymyšleného jen Ježíše — udělali jsme fotky a říkali jsme si, že by byla bomba, kdyby v Benátkách byla celá figura. Ale říkali jsme si: “Prázdný pavilon a v tom jedna třímetrová figura, to je suchárna.”

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meter-tall figure? That’s boring.” So we told Erik about our idea and together we came up with the final look of the entire exhibition. Erik brought ideas that will make the whole thing a lot of fun. On the walls there will be a projection of an audience that will cheer madly like a noisy football audience, and suddenly the atmosphere will change and you’ll be able to see an audience watching something like a chess tournament, staring at the chess players in silence and tension. We will go to sporting events and shoot the audiences. It will be a detail shot with only people in it so that it’s not clear what kind of sporting event it is. And with all that it’ll look like the athlete on the rings is sleeping. It’ll shift over into nonsense.

  Divus | Ježíš v Benátká...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Ale když byly Benátky vyhlášeny, jejich téma na náš projekt sedlo jak ulité. Vyšlo nám vstříc. Tak jsme projekt částečně dodělali a částečně přizpůsobili podmínkám soutěže a byl hotov během jednoho víkendu. Téma jsme předem netušili, ale tenhle projekt byl přímo ideální.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Gábina Bukovinská [from the Center for Contemporary Arts in Prague] once suggested an exhibition with Erik Binder in Gallery Jelení [as part of the exchange program between Jelení and the Center for Contemporary Arts in Bratislava]. Clearly they also thought that the things we were making were close and could work together. So we said, “Sure, anything anytime with Erik.” So it was an accident.

  Divus | Ježíš v Benátká...  

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suvenýry nebo poutač na pavilonu, které jsme do samotného projektu nedávali. Ani jsme nepočítali, že bychom mohli vyhrát, takže jsme udělali jen projekt samotný. Teď vymýšlíme další věci a během třičtvrtě roku se to možná vyvine v obrovský cirkus.

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The Czech party has promised something up to a million crowns; the Slovak party will chip in something too. We also want to address sponsors. I had a meeting at the National Gallery where I was told that we underestimated some things in the budget, so we’ll have to make some changes. Production costs should be about a million crowns. If we want some extra things, we’ll have to look for sponsors. We came up with a lot of things that we’d like to use to make an extra program, like souvenirs and a billboard on the pavilion, which were not part of the original budget. We didn’t even think we’d win, so we’d only calculated for the project itself. Now we’re coming up with all these things, and it just might turn into a circus around the pavilion over the next nine months. We’re thinking of souvenirs, things that people could take away so that the pavilion is promoted as much as possible. We might also have advertisements, posters and perhaps billboards. There’s nothing like this in the budget at the moment. At a meeting in the National Gallery we realized that it would be worth it — at least posters in trams and the metro. It’s just such a shame that the Ministry of Culture and the National Gallery give so much money for something that is hardly advertised in the Czech Republic. It’s money thrown down the toilet. In the Czech Republic it’s a big thing only for those who exhibit in Venice, or maybe those who happen to go there. Otherwise, nobody else knows about it. The Gallery itself is not even promoted. It’s for the sake of both the artists and the Gallery, to raise awareness of Venice here and to promote it as much as possible.

  Divus | Bílé Rusko - Sp...  

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Podobně jako předcházející skupina ani oni nemají rádi výraz „konceptualismus“ a tvrdí, že to všechno dělali jenom proto, že to bylo zábavné, neobvyklé a zajímavé. Že zkrátka měli potřebu to dělat. Dnes hraje Drum Extasy v klubech v Minsku i jinde, dokonce i v zahraničí (s Filipem jsme se seznámili cestou do Barcelony na Celosvětové kulturní fórum).

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Just as the previous group they also cannot stand the word "conceptualism" and say that they did all that because it was funny, interesting, and very unusual. They just wanted to do it. It was a need, which they had to satisfy. Now, Drum Ecstasy, plays its music in Minsk and other clubs sometimes far from Belarus (I met Philip on a way to the World Forum of Cultures in Barcelona). Others are not that successful. They say that in Belarus there is no place for photos and pictures – no interest, no financing, and no space. Nevertheless, some events occasionally take place. On December 10, members of former BK Dmitry Plaks and Igor Korzun (Mitek) opened a project at the Contemporary Fine Arts Museum due to support of the Swedish Embassy and cheap fax paper. It remains only to hope that Belarusian climate will at least occasionally please with its anomalous warming in such exotic and rare Belarusian art.

  Divus | Revoluce trpasl...  

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Přesně tak! A udělali jsme také dokonce Den tajných. Když mě zase jednou sebrali, tak si mi stěžovali: „Proč nás na vašich akcích máte pořád jenom jako statisty? Jste k nám nespravedliví, my přece máme taky nějaký duchovní život!

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At that time, I was wondering what to do to those stains that were almost everywhere, and the thought burned in my head. I drew just to cover the stains with something. Later, during a street happening, we put on dwarf hats. The police managed to make our actions impossible. Then next time we distributed our hats. I thought that the police would take the hats off but they took not the hats but people in those hats! We repeated the actions and each time more and more people put on those hats. And each time, there were more and more policemen. As a result, people ceased to be afraid of the police and a shock of the martial law was over.

  Divus | Revoluce trpasl...  

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U těch s černými brýlemi to bylo jasné, ti jen předstírali, ale u ostatních se to nedalo dost dobře určit. A oni ještě navíc požadovali od těch skutečných služební doklady a řídili policii přesně tak, jak to dělali tajní – toho sebrat, tamtoho taky!

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Yes! Oh, we even organized the Day of Seksot. One time, when the policemen again detained me, they were complaining, “Why do you always interpret us as a crowd in your actions? It is dishonorable to treat us like that. We also have some spiritual life!” Then, they asked what the next action would be. I answered – as if they had prompted it – that I would organize International Seksot Day. I would invite you, the KGB, the FBI... They were outraged, “Not the FBI! You should be happy that in Poland you have such seksots as us who let you organize such actions. If you invite the FBI you will have no chance.”

  Divus | Ježíš v Benátká...  

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suvenýry nebo poutač na pavilonu, které jsme do samotného projektu nedávali. Ani jsme nepočítali, že bychom mohli vyhrát, takže jsme udělali jen projekt samotný. Teď vymýšlíme další věci a během třičtvrtě roku se to možná vyvine v obrovský cirkus.

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The Czech party has promised something up to a million crowns; the Slovak party will chip in something too. We also want to address sponsors. I had a meeting at the National Gallery where I was told that we underestimated some things in the budget, so we’ll have to make some changes. Production costs should be about a million crowns. If we want some extra things, we’ll have to look for sponsors. We came up with a lot of things that we’d like to use to make an extra program, like souvenirs and a billboard on the pavilion, which were not part of the original budget. We didn’t even think we’d win, so we’d only calculated for the project itself. Now we’re coming up with all these things, and it just might turn into a circus around the pavilion over the next nine months. We’re thinking of souvenirs, things that people could take away so that the pavilion is promoted as much as possible. We might also have advertisements, posters and perhaps billboards. There’s nothing like this in the budget at the moment. At a meeting in the National Gallery we realized that it would be worth it — at least posters in trams and the metro. It’s just such a shame that the Ministry of Culture and the National Gallery give so much money for something that is hardly advertised in the Czech Republic. It’s money thrown down the toilet. In the Czech Republic it’s a big thing only for those who exhibit in Venice, or maybe those who happen to go there. Otherwise, nobody else knows about it. The Gallery itself is not even promoted. It’s for the sake of both the artists and the Gallery, to raise awareness of Venice here and to promote it as much as possible.

  Divus | Válka bez předn...  

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Den poté se snažíme dostat do Džalalabádu, abychom tam udělali rozhovor s Miroslavem Nijazovem, kapitánem stovky dobrovolníků z Biškeku. Armáda nám nemůže poskytnout auto a jak Uzbekové, tak Kyrgyzové odmítají jet přes vesnice svých nepřátel.

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В Бишкеке нам пришлось давать взятку, чтобы вылететь в Ош. Уехать мы не могли, конвои ушли, а часть колонн на Джелалабад просто отменили из-за обстрелов дороги. В аэропорту за 20 минут до вылета для нас разыграли целое представление, что билетов нет, что бронь нашу продали. Хотя бланки без имен лежали прямо под носом. Закупленную нами гуманитарку (две упаковки обычной воды в хлюпких целлофановых пакетах), тушенку и сигареты отказались принимать в ручную кладь, хотя нехитрая поклажа могла рассыпаться в багажном отсеке. «Для вас же везём!» - не возымело эффекта. Русская девушка, летевшая в Ош к родне наверняка с похожим грузом, была вынуждена переплачивать за перевес, хотя мы дали добро на перерегистрацию веса на нас. Девушка кричала, чуть не сорвалась на слезы, но выдержала. Люди на таможне были непреклонны. Настроение становится просто поганым.

  Divus | Vyjít s tím, co...  

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Tím se dostáváš k tomu, k čemu jsme se chtěli dostat i v Brně, když jsme dělali průzkum tvých oblíbených autorů. Myslím, že je důležité, že jsi autodidakt. To poskytuje člověku určitou svobodu orientace.

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I liked your sentence, “get along with what we have.” You used this for an exhibition we did together in the House of the Lords of Kunštát in Brno. You used elements that were at your disposal. You didn’t want to buy any material and instead systematically worked with what was in a storeroom. Why is that important for you? Is there in this an aspect of ecology for the artist or is there an opposition towards design and commercial production? Is it deeper?

  Divus | Od bílé skvrny ...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	A něčím naše situace zřetelně připomíná i 20. léta, kdy zásadní rozhodnutí dělali komisaři v kožených kabátech – teď je u nás přece také lidová moc. Nynější komisaři pro kulturu (teď už v pravých kožešinách) jsou stejně jako jejich předchůdci pověřeni dohledem nad ideologickou stránkou a nikoho nezneklidňuje, že neznají materiál.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	The revolution spawned the hope that the new democratic and non-corruptive power would obey the law, prevent abuses, and provide “equal opportunities;” the officials would play not an expert but regulative role; the experts would make decisions. However, the profanation of the idea of an open contest again took place. The lobbying of the pre-determined winner was so strong that they finally ceased to wear a mask of democracy. All this not only compromises the new Ministry of Culture, but the new power in general including president Yushchenko whose pochvennichestvo soil philosophy3 and aversion to contemporary art is taken by many as an ideological excuse of such actions of the Ministry of Culture.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	La viceministra de cultura, Olga Bench, proclamó patéticamente, que “Ucrania tiene su propio concepto sobre el arte moderno. El arte debe ser el portador de la armonía y la espiritualidad.” A los artistas modernos les aconsejó (“a la Khrushchev”), que expongan en los gay club. En verdad, muchas cosas en el país nos recuerdan a la época de Khrushchev en la primera mitad del los años 60, se notan los cambios para mejor, y al mismo tiempo mucha absurdidad y diletantismo. En algo nos recuerda claramente también a los años 20, cuando las decisiones esenciales la tomaban los comisarios en gabanes de piel. Ahora existe también aquí el poder popular. Los actuales comisarios para la cultura (ahora ya en verdaderas pieles) son al igual que sus antepasados, encargados de velar sobre el aspecto de la ideología, y a nadie incomoda, que no conozcan el material. Basta que sepan que es espiritualidad.

  Divus | MIKROB  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Mezi jeho úspěchy patřilo vítězství v soutěži z fotobudek v Riverside, v programu televize BBC2 v roce 1982 a články v časopisech The Face a Time Out v polovině osmdesátých let… “V roce 1989 jsem se doslechl o dalším ‘fotobudkovém’ umělci Sašovi Markovićovi z Jugoslávie, který nejenže dělal obrázky z budek, ale také používal masky. Naplánoval jsem to a navštívil jsem jej v Bělehradu dvakrát (1990 a 1991) a udělali jsme první společný projekt a výstavu. Oba jsme začali vystavovat více prací a pak přijel Saša do Británie v roce 1994 a já jsem zorganizoval týdenní ‘fotobudkovou’ dílnu v Glasgow, kde jsme na Strathclyde University mohli v ‘Zimní škole’ rozvinout naši práci a zapojit i jiné lidi. V době jeho další návštěvy v Británii v roce 1999 jsem pozval jedenáct lidí, aby se zúčastnili dnů ‘budkování’ na Nottingham Trent University. Tak vznikla první International Photo-booth Convention (Mezinárodní fotobudkový kongres). V následujících dvou letech se konala na veřejných prostranstvích v Putney v Londýně a sklidila velký úspěch, když přilákala mnoho fotobudkových umělců a nadšenců až z Německa, Francie a Jugoslávie, z Anglie z Brightonu, Birminghamu, Londýna a Nottinghamu…”
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	“From the late 1970s through to the late 1980s I used photo-booth machines to make my wacky pictures using masks and backdrops. I visited a booth at least once a month (often more than that) becoming known as a ‘boother.’ Some highlights during that time was winning a photo-booth competition on ‘Riverside’ a BBC2 TV programme in 1982 and articles in The Face and Time Out in the mid 1980s… During 1989 I heard of another photo-booth artist Saša Marković from Yugoslavia who not only did his pictures in a booth but used masks as well. I made plans and visited him in Belgrade twice (1990 & 1991) doing our first projects together and exhibiting work. We had both exhibited more work and by the time Saša came to the UK in 1994 I arranged a week-long photo-booth workshop in Glasgow, part of the Strathclyde University ‘Winterschool’ for us to expand our work and involve others. By the time of his next visit to the UK in 1999 I invited 11 people to take part in a days ‘boothing’ at the Nottingham Trent University. This became the first International Photo-booth Convention. In the 2 following years it was held in a public location in Putney, London with great success attracting many photo-booth artists and enthusiasts alike from places as far off as Germany, France and Yugoslavia and closer to home from Brighton, Birmingham, London and Nottingham…”1
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	“From the late 1970s through to the late 1980s I used photo-booth machines to make my wacky pictures using masks and backdrops. I visited a booth at least once a month (often more than that) becoming known as a ‘boother.’ Some highlights during that time was winning a photo-booth competition on ‘Riverside’ a BBC2 TV programme in 1982 and articles in The Face and Time Out in the mid 1980s… During 1989 I heard of another photo-booth artist Saša Marković from Yugoslavia who not only did his pictures in a booth but used masks as well. I made plans and visited him in Belgrade twice (1990 & 1991) doing our first projects together and exhibiting work. We had both exhibited more work and by the time Saša came to the UK in 1994 I arranged a week-long photo-booth workshop in Glasgow, part of the Strathclyde University ‘Winterschool’ for us to expand our work and involve others. By the time of his next visit to the UK in 1999 I invited 11 people to take part in a days ‘boothing’ at the Nottingham Trent University. This became the first International Photo-booth Convention. In the 2 following years it was held in a public location in Putney, London with great success attracting many photo-booth artists and enthusiasts alike from places as far off as Germany, France and Yugoslavia and closer to home from Brighton, Birmingham, London and Nottingham…”1

  Divus | Barevná dobrodr...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	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.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	The most important thing was to create a project for the Roma. I had big dreams - originally I wanted to have either a carnival or a theatrical performance. I liked the idea that they would go into the city in the masks we made during the workshop where they could participate in the procession themselves. We realized the Roma are Catholics, mostly, so Honza Balabán offered to create a special Madonna for them. Soon after, more sober-minded people opened my eyes. They said: “You are naive. You are a “gadjo” (non-Roma), forcing on others something they would never think of themselves. This is exactly the view of a white gadjo.”
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	The most important thing was to create a project for the Roma. I had big dreams - originally I wanted to have either a carnival or a theatrical performance. I liked the idea that they would go into the city in the masks we made during the workshop where they could participate in the procession themselves. We realized the Roma are Catholics, mostly, so Honza Balabán offered to create a special Madonna for them. Soon after, more sober-minded people opened my eyes. They said: “You are naive. You are a “gadjo” (non-Roma), forcing on others something they would never think of themselves. This is exactly the view of a white gadjo.”
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	The most important thing was to create a project for the Roma. I had big dreams - originally I wanted to have either a carnival or a theatrical performance. I liked the idea that they would go into the city in the masks we made during the workshop where they could participate in the procession themselves. We realized the Roma are Catholics, mostly, so Honza Balabán offered to create a special Madonna for them. Soon after, more sober-minded people opened my eyes. They said: “You are naive. You are a “gadjo” (non-Roma), forcing on others something they would never think of themselves. This is exactly the view of a white gadjo.”

  Divus | Kroužek na zadku  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Prosím, ať zpívají a hrají… ale druhá strana netoleruje nás. Udělali jsme takové kroužky z kartonu a přilepili jsme si je na zadky, a tak jsme to nafilmovali. A lidi hned píšou gubernátorovi, že je to propaganda homosexuality, ať nám to zakáže.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Kosťa: It’s not censorship in the correct meaning of the word. It’s just the individual powers of some complex system, institutions which say: “and now the Orthodox Church will protest.” The conservatives in Novosibirsk who accept only traditional art wrote a letter to the mayor and the people in the House of Culture got scared that they would have problems with funding so they took my exhibition down. The Siberian cultural reality, folk production, they play the accordion, listen to Ala Pugačevová and sing chastushka. Young artists are radically against this, we aren’t. OK, let them play and sing… but they don’t tolerate us. We made these rings from cardboard and pasted them to our buttocks and filmed it. And people wrote to the governor that it’s propaganda for homosexuality and that he has to put a stop to it it. And he will, because he wants to keep the peace. I don’t understand how having cardboard rings on our butts could be propaganda for homosexuality.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Kosťa: It’s not censorship in the correct meaning of the word. It’s just the individual powers of some complex system, institutions which say: “and now the Orthodox Church will protest.” The conservatives in Novosibirsk who accept only traditional art wrote a letter to the mayor and the people in the House of Culture got scared that they would have problems with funding so they took my exhibition down. The Siberian cultural reality, folk production, they play the accordion, listen to Ala Pugačevová and sing chastushka. Young artists are radically against this, we aren’t. OK, let them play and sing… but they don’t tolerate us. We made these rings from cardboard and pasted them to our buttocks and filmed it. And people wrote to the governor that it’s propaganda for homosexuality and that he has to put a stop to it it. And he will, because he wants to keep the peace. I don’t understand how having cardboard rings on our butts could be propaganda for homosexuality.

  Divus | Lokální kontext...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Pro nás objekty neměly vůbec žádný význam, byly pro nás pouze záminkou. Následkem toho mělo všechno, co jsme dělali, strašnou kvalitu... koneckonců, nebyl tu žádný trh! Důležitější bylo, jak se kdo choval, jaký smysl pro humor jste měl.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	I remember this period primarily as darkness and a lot of alcohol. But of course there was also a sense of humor to it, a kind of black, depressive humor. Of course, we don’t have any such close connections with other artists now. But this was not a happy time. We just tried to forget the outside world, we tried to forget the militia in the streets. I organized what could be described as an exhibition, although it wasn’t a real exhibition. A month after this event I was arrested and I spent one year in jail. After this experience I could not be a classical artist anymore. I could not see anything positive or valuable in a traditional painting, sculpture or drawing.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	I remember this period primarily as darkness and a lot of alcohol. But of course there was also a sense of humor to it, a kind of black, depressive humor. Of course, we don’t have any such close connections with other artists now. But this was not a happy time. We just tried to forget the outside world, we tried to forget the militia in the streets. I organized what could be described as an exhibition, although it wasn’t a real exhibition. A month after this event I was arrested and I spent one year in jail. After this experience I could not be a classical artist anymore. I could not see anything positive or valuable in a traditional painting, sculpture or drawing.

  Divus | Revoluce trpasl...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Maloval jsem trpaslíky proto, aby na těch skvrnách prostě něco bylo. A potom, už když jsme dělali pouliční happening, vzali jsme si trpaslíkovské čepičky. Jenže policie nám mohla akci překazit, a tak se při dalším happeningu začaly čepičky rozdávat.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Yes, we made a leaflet saying that we would give out toilet paper. The police came again. They began to search people’s bags to see if there was any toilet paper. They chased after me as I made off on a bicycle covered with strips of toilet paper and they could not catch me. I forgot that the bicycle was without brakes, gathered speed, and rode into a police car. The policemen were so nimble that they caught me in flight. The one who interrogated me asked if I was not ashamed to look like that. I answered that I did a happening. He wrote that down and later, on his way home, he bought a plinth. The other officer asked, “Where are you going with this plinth?” The policeman answered, “I am going downtown to do a happening.”
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Some of us wore black glasses, others had newspapers with eyeholes. I came in a black hat and was dressed as a Czarist intellectual. The funniest thing was that some people were trying to behave like real seksots. The police were confused as they did not know which of them were real and who were not! Those in black glasses apparently were not real but others were not so easy to distinguish. Besides, they asked real agents to show their papers and led the police as real agents, “Take this one, take that one!” They turned everything upside down.

  Divus | Ještě teď mě bo...  

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Srpův narcistně formalistický výklad přináší celou řadu důležitých postřehů (třeba ten o fixaci autorů na určitý materiál), avšak pomíjí komplexnější souvislosti, jež zakládají tvorbu pojednávaných umělců (Kinterovu vazbu na divadelní prvek, sociálně kritické aspekty díla Dopitové a Humhala a principu tělesnosti vůbec), přičemž se omezuje na úzký vzorek toho, co vybraní autoři vlastně udělali (to, že bez uvedení i kritiky pomíjí jakékoli interpretace nabídnuté jinými interprety, nějak patří k věci, ale bohužel diskvalifikuje relevanci Srpova – z hlediska pochopení jednotlivých umělců a jejich konkrétních prací pouze inspirativního – čtení současného umění).13

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Considero que otro aspecto esencial del fallo debido a la articulación o al rebanamiento de la escena plástica después del año 1989 se debe a la temática discontinua y de problemática elección de los distintos ámbitos de problemas. La indecisión carente de lógica en la delimitación de los capítulos conforme al medio, la tendencia, el tipo de práctica social o enfoques y principios de la construcción de la obra de arte dificulta la captación de la dinámica real del arte checo posterior al año 1989. Si bien encontramos la inclusión de uno de los medios (arte electrónico), echamos de menos un capítulo sobre la pintura. El capítulo introducido por el intento de comprender el fenómeno de las exposiciones fundamentadas en el concepto elaborado por el comisario de las mismas, trata de la pintura partiendo de la dicotomía falaz establecida entre la relación incomprendida de la obra de arte con el espacio público y la “nueva imagen”. No se tiene en cuenta que la pintura como medio ofrece de por sí suficiente material para definir el carácter del arte de los años 90 y sus nexos con las generaciones que van alcanzando la madurez y el estatuto debatido de la obra de arte. Del mismo modo parece cuestionable no hacer caso de la aceptación de la fotografía como medio utilizado corrientemente por los plásticos y el debate desplegado en relación con la supuesta pérdida del control respecto de este medio por parte de los autores que se autodefinen como fotógrafos. Antonín Dufek alude a este problema sin radicalizarlo y —menos aún— sin llegar a reflejar este desplazamiento como uno de los movimientos esenciales en la escena checa posteriores a 1989, tal vez más importantes y significativos respecto de las cualidades que en el caso de los medios nuevos y del vídeo. (11) Al leer sobre el arte de la década del 90, visto a través del concepto de decadencia, desligado de sus connotaciones históricas, por cuanto totalmente impreciso, parece inconcebible que no se discuta la problemática del género y del feminismo, como menos, latente, y —después del año 1989— fenómeno destacado. (12) Otro marco genérico que determinó notablemente la forma del arte después del año citado y no recibió la atención pertinente, fue la relación con la cultura pop, la sociedad del consumo así como lo visual y los mecanismos de la publicidad. De manera análoga merecería pasar a ser un foco interpretativo el aspecto social y la, digamos, paulatina repolitización del arte checo al final del decenio. A dife

  Divus | Ježíš v Benátká...  

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suvenýry nebo poutač na pavilonu, které jsme do samotného projektu nedávali. Ani jsme nepočítali, že bychom mohli vyhrát, takže jsme udělali jen projekt samotný. Teď vymýšlíme další věci a během třičtvrtě roku se to možná vyvine v obrovský cirkus.

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The Czech party has promised something up to a million crowns; the Slovak party will chip in something too. We also want to address sponsors. I had a meeting at the National Gallery where I was told that we underestimated some things in the budget, so we’ll have to make some changes. Production costs should be about a million crowns. If we want some extra things, we’ll have to look for sponsors. We came up with a lot of things that we’d like to use to make an extra program, like souvenirs and a billboard on the pavilion, which were not part of the original budget. We didn’t even think we’d win, so we’d only calculated for the project itself. Now we’re coming up with all these things, and it just might turn into a circus around the pavilion over the next nine months. We’re thinking of souvenirs, things that people could take away so that the pavilion is promoted as much as possible. We might also have advertisements, posters and perhaps billboards. There’s nothing like this in the budget at the moment. At a meeting in the National Gallery we realized that it would be worth it — at least posters in trams and the metro. It’s just such a shame that the Ministry of Culture and the National Gallery give so much money for something that is hardly advertised in the Czech Republic. It’s money thrown down the toilet. In the Czech Republic it’s a big thing only for those who exhibit in Venice, or maybe those who happen to go there. Otherwise, nobody else knows about it. The Gallery itself is not even promoted. It’s for the sake of both the artists and the Gallery, to raise awareness of Venice here and to promote it as much as possible.

  Divus | Revoluce trpasl...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	A všechno, co se v socialistickém surrealismu děje, včetně policisty postávajícího na ulici, je zároveň uměleckým činem... V období stávek jsme potom vydali satirické noviny Oranžová alternativa. Kvůli tomu se nás vůdci stávek snažili nějak zbavit, protože jsme si dělali legraci i z nich.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	I was a school student then. Once I said that I would not participate in the May Day Demonstration as it was voluntarily. There was a scandal. On May 1, I took some medicine drops from a small bottle. I approached a platform, where political figures were standing and told a security guard that I brought drops for heart ailment for my father who is on the platform as he needed them. I was allowed to enter. They set their eyes on me for some time, but I approached some man and began to discuss the weather with him. They thought that he was my father. The demonstration went on; some workers were throwing flowers onto the platform. I picked the flowers up. Then an announcer said my that school was on the way. I told people on the platform that my fellows were coming and I had to greet them. I was between Soviet and Polish officers and began to throw flowers. People from my school were shocked. However, our principal turned out to be very smart as he later told that I was a young journalist and was invited to ascend the platform.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Yes, we made a leaflet saying that we would give out toilet paper. The police came again. They began to search people’s bags to see if there was any toilet paper. They chased after me as I made off on a bicycle covered with strips of toilet paper and they could not catch me. I forgot that the bicycle was without brakes, gathered speed, and rode into a police car. The policemen were so nimble that they caught me in flight. The one who interrogated me asked if I was not ashamed to look like that. I answered that I did a happening. He wrote that down and later, on his way home, he bought a plinth. The other officer asked, “Where are you going with this plinth?” The policeman answered, “I am going downtown to do a happening.”

  Divus | ČT 3  

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Letos jsme se z Czechtekku vrátili v pondělí. Po příjezdu jsme si udělali u mě doma malé posezení a sledovali televizi v očekávání alespoň krátké mini-reportáže v bloku zpravodajství. Nejdříve jsme byli mile překvapeni, když moderátor oznámil, že se budou festivalu věnovat v rozsáhlém samostatném tématu, pak ale přišlo rozčarování, když jsme slyšeli všechny ty nesmysly a nepřesnosti (namátkou: na freeparties se prý hraje hudba dosahující rychlosti až 120 BPM (úderů za minutu) – ve skutečnosti se hraje daleko, mnohdy více než dvojnásobně – rychleji, na 120 BPM dnes začínají ty nejpomalejší chilloutové skladby).

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The history of free parties, as they are known today, is relatively short. The roots of so-called dance music lie in Detroit in the first half of the 1980s. It was there that house originated, and later techno. Important influences include the hippies in the 60s and 70s, with their mobile open-air festivals, and the electronic experimenters in the 70s and 80s (Cabaret Voltaire, Kraftwerk and others). However, it was Europe that synthesized these influences, not America. At the end of the 80s the first sound systems sprang up in England. These were parties of leftwing musicians and artists, co-owners of powerful sound equipment, who organized the first independent music events. At first they were located in abandoned industrial properties and squats (especially Spiral Tribe, who later became part of the Czech scene, but also Circus Warp, Mutoid Waste Company, and Exodus...). Ravers, lovers of the fast beats, quickly arose in America too, mainly in San Francisco. Illegal dance events were held more and more often in the open air in the unpopulated countryside. This is one reason why the sound became increasingly loud; in the city this could have posed be a problem, as could the inseparable mixture of dance music and psychedelic drugs brought by the ravers to commune with nature.