lali – Übersetzung – Keybot-Wörterbuch

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Keybot 143 Ergebnisse  www.coldjet.com  Seite 6
  Divus | MIKROB  
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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…”
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“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
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“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 | 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 | Kroužek na zadku  
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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.
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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.
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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  
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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.
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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.
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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 | 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 | 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 | Dominik Lang  
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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...
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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.
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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.
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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 | 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 | 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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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.”
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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.”
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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.”
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