kleinste – Traduction – Dictionnaire Keybot

  Divus | ZABIJU TĚ  

Montrer texteMontrer source en cacheMontrer URL avec texte source	„To je nějaký instinkt, vzpomínky na to, co dělali předtím,“ říká její manžel. „Bylo to pro ně zaživa důležité místo.“
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	“Some sort of instinct, [a] memory [of] what they used to do,” replies her husband. “This was an important place in their lives.”

  Divus | Kateřina  

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

  Divus | Sex, násilí a k...  

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

  Divus | 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 | 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 | Americké stolet...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	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.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	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.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	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 | 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 | Vítězné tažení ...  

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

  Divus | Editoriál  

Montrer texteMontrer source en cacheMontrer URL avec texte source	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.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	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.”
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	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 | 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...
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	What is Lang trying to do? His actions often are on the level of unusual personal experience. When he created a replica of Stavby č.II. (Constructions II) by Stanislav Kolíbal, he had to solve a lot of technical problems. But Lang got to know the work and the object from a foreign collection which he had never seen before. Now he could investigate it. Usually we have a different experience with art. Lang based his experience on a laborious but unique approach. Similarly he replicated a photo of Gariel Orozco - a “drawing by a bicycle and the water” he substituted with “a drawing by a car and the water.” Instead of a camera he recorded it with a video camera. In Orozco’s photo we also don’t know who drove through the puddles. Here we can see the whole action. The fact that Lang was the driver illuminates the imporatnce of the creator. It also meets his relation toward the mingling of the intimate and the public, of personal experience and public intervention, of the self and the quoted.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	What is Lang trying to do? His actions often are on the level of unusual personal experience. When he created a replica of Stavby č.II. (Constructions II) by Stanislav Kolíbal, he had to solve a lot of technical problems. But Lang got to know the work and the object from a foreign collection which he had never seen before. Now he could investigate it. Usually we have a different experience with art. Lang based his experience on a laborious but unique approach. Similarly he replicated a photo of Gariel Orozco - a “drawing by a bicycle and the water” he substituted with “a drawing by a car and the water.” Instead of a camera he recorded it with a video camera. In Orozco’s photo we also don’t know who drove through the puddles. Here we can see the whole action. The fact that Lang was the driver illuminates the imporatnce of the creator. It also meets his relation toward the mingling of the intimate and the public, of personal experience and public intervention, of the self and the quoted.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	What is Lang trying to do? His actions often are on the level of unusual personal experience. When he created a replica of Stavby č.II. (Constructions II) by Stanislav Kolíbal, he had to solve a lot of technical problems. But Lang got to know the work and the object from a foreign collection which he had never seen before. Now he could investigate it. Usually we have a different experience with art. Lang based his experience on a laborious but unique approach. Similarly he replicated a photo of Gariel Orozco - a “drawing by a bicycle and the water” he substituted with “a drawing by a car and the water.” Instead of a camera he recorded it with a video camera. In Orozco’s photo we also don’t know who drove through the puddles. Here we can see the whole action. The fact that Lang was the driver illuminates the imporatnce of the creator. It also meets his relation toward the mingling of the intimate and the public, of personal experience and public intervention, of the self and the quoted.

  Divus | Jednotky mluvič...  

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

  Divus | 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.

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

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

  Divus | 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 | 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”.

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

  Divus | Rafał Jakubowic...  

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

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

  Divus | 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 | 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 | Sex, násilí a k...  

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

  Divus | 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 | 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 | Kroužek na zadku  

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

  Divus | Kroužek na zadku  

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

  Divus | Kroužek na zadku  

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

  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 | 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 | 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 | MIKROB  

Show textShow cached sourceOpen source URL	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…”
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	“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
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	“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 | 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 | Od bílé skvrny ...  

Show textShow cached sourceOpen source URL	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.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	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.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	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 | 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...  

Show textShow cached sourceOpen source URL	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.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	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 | 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 | 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.