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Nálevka ve skutečnosti pouze reprodukoval to, co už na více či méně legálním trhu dávno existuje. Výrobci změnili symboly a jména, aby předešli stíhání, ale zároveň se museli dostatečně přiblížit originálu, aby zákazníka ošálili a on uvěřil, že kupuje ten pravý výrobek.
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Jan Nálevka, the youngest of the exhibited artists, has taped up three rows of four large sheets of paper, on which he printed various geometrical shapes and designs that approximated those of the most popular sports designers and manufacturers, along with what looked like consciously manipulated names like Kerbo and Nake. Only if you are familiar with the Vietnamese clothing stands in Prague will you realize that the work is not intended to undermine the methods of predatory manufacturers looking for ways to permanently sear a design on the collective social psyche. In fact Nálevka merely reproduces what already exists in the more-or-less black-market trade of goods in the city. The symbols and names have to be changed enough to prevent prosecution, but they must still look enough like the original to fool customers into believing they are buying the real article. All of which is a game anyway, as it seems no one is actually fooled, and that often times people are willing to settle for an approximation of the ideal.
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Jan Nálevka, the youngest of the exhibited artists, has taped up three rows of four large sheets of paper, on which he printed various geometrical shapes and designs that approximated those of the most popular sports designers and manufacturers, along with what looked like consciously manipulated names like Kerbo and Nake. Only if you are familiar with the Vietnamese clothing stands in Prague will you realize that the work is not intended to undermine the methods of predatory manufacturers looking for ways to permanently sear a design on the collective social psyche. In fact Nálevka merely reproduces what already exists in the more-or-less black-market trade of goods in the city. The symbols and names have to be changed enough to prevent prosecution, but they must still look enough like the original to fool customers into believing they are buying the real article. All of which is a game anyway, as it seems no one is actually fooled, and that often times people are willing to settle for an approximation of the ideal.
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Jan Nálevka, the youngest of the exhibited artists, has taped up three rows of four large sheets of paper, on which he printed various geometrical shapes and designs that approximated those of the most popular sports designers and manufacturers, along with what looked like consciously manipulated names like Kerbo and Nake. Only if you are familiar with the Vietnamese clothing stands in Prague will you realize that the work is not intended to undermine the methods of predatory manufacturers looking for ways to permanently sear a design on the collective social psyche. In fact Nálevka merely reproduces what already exists in the more-or-less black-market trade of goods in the city. The symbols and names have to be changed enough to prevent prosecution, but they must still look enough like the original to fool customers into believing they are buying the real article. All of which is a game anyway, as it seems no one is actually fooled, and that often times people are willing to settle for an approximation of the ideal.
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