loni – -Translation – Keybot Dictionary

  Divus | Design běžce  

Show textShow cached sourceOpen source URL	Loni jsi si dělal výstavu v ateliéru. Jenže v den vernisáže zaplavila voda město a z druhého břehu Vltavy nemohl nikdo přijet. Chtěl jsi výstavu opakovat. Letos mluvíš o další. Co tě na tom táhne?
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Last year you prepared an exhibition in your studio. But on the day of the scheduled opening the floods hit Prague and no one could cross the Vltava. You wanted to repeat the exhibition. This year you’re talking about another one. What draws you to this?

  Divus | Roman Týc  

Show textShow cached sourceOpen source URL	Roman Týc film doprovodil slovem, takže dostal podobu jakési „vizuální básně“, která je pro něj mimochodem docela typická. Další v cyklu živlů bylo Ohnívání – reakce na čin Zdeňka Adamce, studenta, který se loni v březnu upálil před Národním muzeem.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	In September 2002, floods ravaged Prague and the Vltava river was a swollen and torrential menace. At its height Roman Týc slammed a small down boat the river and through the city, and the event was documented by Jakub Nepraš. Roman Týc later supplied the background dialogue to the documentary, and the work took the form of a “visual poem,” something typical of his art. Next in his cycle of elements was Ohnívání (Rotting Away) — a reaction to student Zdeněk Adamec’s burning himself to death last March in front of the National Museum. Originally Týc wanted to reenact the act using stunt men. But in the end the gaze through the flames — like the stormy waves of the river — changed into the burning of a large voodoo doll. The life-sized dynamically moving, mummy-like figure in white robes had a metal skeleton covered with tar and plastic. One hour before the burning Roman Týc sat on the stairs of the museum with a canister of gasoline and tried to perceive his surroundings. Total hell. After the performance all that was left was a charred husk in the shape of a human body. People occasionally threw flowers.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	In September 2002, floods ravaged Prague and the Vltava river was a swollen and torrential menace. At its height Roman Týc slammed a small down boat the river and through the city, and the event was documented by Jakub Nepraš. Roman Týc later supplied the background dialogue to the documentary, and the work took the form of a “visual poem,” something typical of his art. Next in his cycle of elements was Ohnívání (Rotting Away) — a reaction to student Zdeněk Adamec’s burning himself to death last March in front of the National Museum. Originally Týc wanted to reenact the act using stunt men. But in the end the gaze through the flames — like the stormy waves of the river — changed into the burning of a large voodoo doll. The life-sized dynamically moving, mummy-like figure in white robes had a metal skeleton covered with tar and plastic. One hour before the burning Roman Týc sat on the stairs of the museum with a canister of gasoline and tried to perceive his surroundings. Total hell. After the performance all that was left was a charred husk in the shape of a human body. People occasionally threw flowers.

  Divus | Černý život v s...  

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Tak to je název mého cykloramatu, který jsem vytvořila ve Walker Art Center v Minneapolis. Udělala jsem ho loni a z práce v kruhovém prostoru se mi motala hlava. Na celou práci jsem měla jenom týden, takže tam nebylo tolik detailů jako v opravdovém cykloramatu, ale stejně to bylo epochální!

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This was the title of my cyclorama, created at the Walker Art Center in Minneapolis. I made it last year and working in a circular space was dizzying. I only had about a week to work on it, so it wasn’t as richly detailed as a real cyclorama, but it was epochal! There are escape scenes and a Town Square and the mysterious Southern swamp at night as well as “happy“ slave life. I love the 19th century populism of this kind of “art“. I love that pre- cinematic rush to make history paintings COME ALIVE for the average person. There are the remains of a cyclorama up here in New Bedford, Massachusetts, part of the Whaling museum there. The original banner which advertised it was full of wordy proclamations about death defying scenes etc., but the painting itself is comically bland, it has a sweet folksy quality of having been made by someone who couldn’t adequately interpret the drama of his experience. I kind of Identify with that.

  Divus | Kódy středních ...  

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Každopádně se uměním a jeho teorií zabývá jako autor článků i editor knih, ve svém kurikulu uvádí, že vystupuje na konferencích o umění, loni se mu povedla výstava v berlínské K&S i pražské pokračování v byvší galerii Home.

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Karel Císař siempre protesta cuando alguien lo considera una persona que “tiene que ver con el arte”. No se sabe con certeza si lo toma tan en serio como lo dice o si quiere mantener sus distancias con el público especializado. En todo caso se ocupa del arte y de la teoría del mismo como autor de artículos y editor de libros, en su currículum dice que interviene en conferencias sobre el arte, el año pasado montó una exposición en la berlinesa K&S y la continuación praguense en la desaparecida galería Home. Este año es uno de los organizadores de una de las exposiciones de la Bienal Praguense 2. En Chequia se clasifica entre las tan contadas personas más activas “que tienen que ver con el arte”. Incluso podría afirmarse que es el prototipo ideal de la nueva ola de personalidades en el ámbito de la cultura: es un filósofo que se enreda con el arte como si fuese “de paso”, se orienta más allá de las fronteras del país, las contiendas locales le dejan sin cuidado, es joven, tiene talento de organizador y es comunicativo. Y puesto que son pocos los que reúnen en el país estas características, la invitación de parte de la Galería de la Capital Praga tuvo un eco sumamente positivo.

  Divus | Mozart a Saliera  

Show textShow cached sourceOpen source URL	května 2003 Robertem Mangem, odborníkem na bezpečnostní systémy, který nepotřeboval využít svých dovedností, aby pronikl do muzejní budovy, se loni v lednu vrátila do muzea a má velkou naději, že se stane „novým rakouským mistrovským dílem“.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	The last stage of the Klimt farce was realized through the same means of mechanic reproduction. Posters with the image of the “Austrian Mona Lisa” and the words “Ciao, Adele” covered hundred billboards around the city overnight. Nobody knew who was behind this advertising campaign and the posters provoked a lot of speculations. Soon it was proved that an advertising company owning the billboards cast this last farewell to Klimt’s oeuvre. The catharsis of the “Ciao, Adele” advertising effort was the slogan stating that Adele is leaving, but good advertising is staying.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	The last stage of the Klimt farce was realized through the same means of mechanic reproduction. Posters with the image of the “Austrian Mona Lisa” and the words “Ciao, Adele” covered hundred billboards around the city overnight. Nobody knew who was behind this advertising campaign and the posters provoked a lot of speculations. Soon it was proved that an advertising company owning the billboards cast this last farewell to Klimt’s oeuvre. The catharsis of the “Ciao, Adele” advertising effort was the slogan stating that Adele is leaving, but good advertising is staying.

  Divus | Enwezor sestavi...  

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Už loni se pod názvem Experimenty s pravdou: Přechodná spravedlnost a proces pravdy a usmíření konalo první setkání filozofů, spisovatelů, umělců, architektů, politických aktivistů, právníků, akademiků a dalších v Novém Dillí.

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New Yorker critic Peter Schjeldahl hit the nail on the head when he wrote in July: “Documenta 11 declares, in effect, that art is too powerful a force in the world to abide the hedonism of aesthetes and the punctiliousness of art scholars.” In fact, several Documenta participants, including Gaston A. Ancelovici, Le Groupe Amos and the Raqs Media Collective seldom engage in artistic production at all.

  Divus | Scottův Filmový...  

Show textShow cached sourceOpen source URL	Alespoň jeden film, který bude v nejbližší době uveden do kin, má oživit Kubrickovu fascinaci umělou inteligencí. Loni zesnulý režisér se zabýval projektem A.I.–Artificial Intelligence, který nyní natáčí Steven Spielberg (před svou smrtí si ho vybral Kubrick).
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	But where Stanley Kubrick’s masterpiece uses cool understatement in its depiction of the sentient machine, 1977’s Demon Seed follows its thematic lead but employs the extreme portrayals so typical of the horror genre. The diabolical Creature is a computer named Proteus, a super-computer that achieves a level of functioning allowing it to question and disobey its human masters. Proteus’ ultimate desire is to mate and create a progeny, and in a bizarre and unparalleled scene, the computer physically rapes the star of the film, Julie Christie, impregnating her with an embryo that gestates at an accelerated level in the womb before removal to the machine’s mechanical incubator. The “creation scene” does not take place until the end, when the child is born in an unsettling mélange of flesh and metal.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	But where Stanley Kubrick’s masterpiece uses cool understatement in its depiction of the sentient machine, 1977’s Demon Seed follows its thematic lead but employs the extreme portrayals so typical of the horror genre. The diabolical Creature is a computer named Proteus, a super-computer that achieves a level of functioning allowing it to question and disobey its human masters. Proteus’ ultimate desire is to mate and create a progeny, and in a bizarre and unparalleled scene, the computer physically rapes the star of the film, Julie Christie, impregnating her with an embryo that gestates at an accelerated level in the womb before removal to the machine’s mechanical incubator. The “creation scene” does not take place until the end, when the child is born in an unsettling mélange of flesh and metal.

  Divus | Po převratu  

Show textShow cached sourceOpen source URL	Nejmladší z “nekomerčních prostorů” vznikl loni v září, jmenuje se Display a vyzařuje především otevřenost a vůli ke spolupráci se spřízněnými galeriemi z dalších, hlavně středoevropských zemí. To je velmi zásadní rozhodnutí — nejprve spojit své síly, a potom se měřit se západní Evropou a Spojenými státy.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	This practice and its collateral problems can be found in other smaller, less important spaces; spaces that are much liked by young Czech artists. The Foundation and Center for Contemporary Art at Jelení, among others, also shows first timers. Located in the premises of the former Soros Center, the twenty-square-meter Jelení gallery presents a new young Czech artist every month. For each exhibition a brochure or a prospectus showing the artist’s work is made — no small effort. The Jelení gallery is one among the small group of spaces dedicated to contemporary art: the National Gallery, City Gallery, Galerie Václav Špála, the galleries MXM and Jiří Švestka and the alternative spaces NoD and Display.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	This practice and its collateral problems can be found in other smaller, less important spaces; spaces that are much liked by young Czech artists. The Foundation and Center for Contemporary Art at Jelení, among others, also shows first timers. Located in the premises of the former Soros Center, the twenty-square-meter Jelení gallery presents a new young Czech artist every month. For each exhibition a brochure or a prospectus showing the artist’s work is made — no small effort. The Jelení gallery is one among the small group of spaces dedicated to contemporary art: the National Gallery, City Gallery, Galerie Václav Špála, the galleries MXM and Jiří Švestka and the alternative spaces NoD and Display.

  Divus | Umělecké závody  

Show textShow cached sourceOpen source URL	V loňském roce ke všem národním uměleckým cenám přibyl maastrichtský The Vincent, evropská cena pro současného umělce, která se snaží vytvořit platformu pro jednotnou prezentaci evropského umění. Její výherci také získávají dosud nejvyšší částku v Evropě (50.000 euro, přes 1,5 milionu korun). Vincent se uděluje jednou za dva roky a loni jej získala Eija-Liisa Ahtila.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Last but not least, the list of national art prizes last year was topped off by the Vincent, a new Maastricht-based award given to a European contemporary artist. This biannual award intends to provide a platform for the united presentation of European art. Last year Eija-Liisa Ahtila, the Finnish video-artist and photographer, made off with the Euro 50,000 grand prize.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Last but not least, the list of national art prizes last year was topped off by the Vincent, a new Maastricht-based award given to a European contemporary artist. This biannual award intends to provide a platform for the united presentation of European art. Last year Eija-Liisa Ahtila, the Finnish video-artist and photographer, made off with the Euro 50,000 grand prize.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Last but not least, the list of national art prizes last year was topped off by the Vincent, a new Maastricht-based award given to a European contemporary artist. This biannual award intends to provide a platform for the united presentation of European art. Last year Eija-Liisa Ahtila, the Finnish video-artist and photographer, made off with the Euro 50,000 grand prize.

  Divus | “We’re the Hipp...  

Show textShow cached sourceOpen source URL	Když v loni na podzim přišla na trh kniha Promarni své mládí, byl to pro mě první emocionální vrchol punkrevivalu. Je to takzvaný román-dokument o německé punkové scéně a nové vlně — rozhovory se stovkou jejich protagonistů, jež autor vedl po dobu jednoho roku.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	The emotional peak of punk revival arrived last fall when the book Verschwende deine Jugend (Waste Your Youth) hit the shops. The book is a so-called documentary novel on German punk and New Wave scenes. In one year the author interviewed 100 representatives of that time. From about 1,000 hours of talk he selected individual sequences and compiled them chronologically/thematically to create a coherent story. I read the book on a train one rainy day; it was indeed nice to meet up again with “good old friends.” Memories, almost buried, were unearthed and new elements were revealed. The media went mad over the book and were still publishing reviews six months after it came out. It was a strange feeling to experience a revival when I was a part of and helped promote the original scene.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	The emotional peak of punk revival arrived last fall when the book Verschwende deine Jugend (Waste Your Youth) hit the shops. The book is a so-called documentary novel on German punk and New Wave scenes. In one year the author interviewed 100 representatives of that time. From about 1,000 hours of talk he selected individual sequences and compiled them chronologically/thematically to create a coherent story. I read the book on a train one rainy day; it was indeed nice to meet up again with “good old friends.” Memories, almost buried, were unearthed and new elements were revealed. The media went mad over the book and were still publishing reviews six months after it came out. It was a strange feeling to experience a revival when I was a part of and helped promote the original scene.

  Divus | Franz Höfner a ...  

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Návštěvník centra faux mouvement v Metz se loni v září a v říjnu trochu podivil, když zjistil, že zde němečtí umělci Franz Höfner a Harry Sachs vybudovali jenom novou výstavní architekturu. Procházel prázdnými místnostmi a prohlížel si krásné, bílé, ale holé stěny.

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A visitor to Metz’s faux-movement gallery last September and October must have been a bit surprised. The two German artists Franz Höfner and Harry Sachs constructed a new exhibition architecture in the gallery. You could walk through empty rooms, see wonderful, white, but bare walls. The classical exhibition pieces, pictures or sculptures were nowhere to be seen. OK, we are so used to many things in art that many thought that this is just another more or less witty critique of museums, or an ideal notion how a museum with smaller and bigger rooms should look according to the two artists. The “white cube” itself as an inexhaustible theme. That was nothing new, as long as we know the various ideal museum models of many artists, whose number has recently been increasing.

  Divus | Report ze země,...  

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Její vyhlášení je spojeno s výstavou v Kosovské galerii umění, kvůli níž přijíždí zahraniční kurátor a podle svého uvážení vybírá účastníky. Loni se této role ujala Najda Zgoniková z Lublaně, letos Gezim Qendro z tiranské Galerie umění.

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And bitter happiness is a leitmotif of his video Bang, bang which uncharacteristically is not an intervention. He used an accidentally discovered audio recording with the story of an Albanian woman who crossed the Albanian border during the war. The viewers can hear her voice while reading the English translation of her story. The violence and intimidation that the woman experienced from the Serbian police is an authentic distillation of the filth of the recent conflict. The repeatedly expressed gratitude to God, that nobody from her family died, resounds in our ears as the substance of happiness is reduced to its most essential unit: How to survive.

  Divus | Roman Týc  

Show textShow cached sourceOpen source URL	Roman Týc je ročník 1974, ale narodil se až loni v lednu společně se Srdcem. Tehdy skoncoval s tím, co bylo, a začal „dělat bordel“. Když připravoval pro pražskou Art Factory na Václavském náměstí Ohnívání, vypadal s vlasy sčesanými přes temeno jako kluk z Rychlých šípů, teď je to ale spíše Trautenberk.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Roman Týc came into this world in 1974, but was really born last January together with the Heart. That was when he cut himself off from his past and started to make a mess of things. As he was preparing Ohnívání (Rotting Away) for Prague’s Art Factory, his hair was combed over the crown of his head like a comic book villain child, and nowadays he looks more like Trautenberk (Ed. — A mean, fat, ugly and really bad character from a Czech fairy tale, supposed to be a capitalist).
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Roman Týc came into this world in 1974, but was really born last January together with the Heart. That was when he cut himself off from his past and started to make a mess of things. As he was preparing Ohnívání (Rotting Away) for Prague’s Art Factory, his hair was combed over the crown of his head like a comic book villain child, and nowadays he looks more like Trautenberk (Ed. — A mean, fat, ugly and really bad character from a Czech fairy tale, supposed to be a capitalist).

  Divus | Českým umělcům ...  

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Asi to musí být pro všechny hodně frustrující, že už uběhlo deset let (od změny režimu), lidé jsou z toho zklamaní. Zdejší umělecká scéna byla loni v absolutní stagnaci. Vypadá to, že už je to lepší, trochu optimističtější.

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Part of the problem is that this is a small community. It’s a powerful community that has some money behind it from the Ministry of Culture and Soros. I think it could do a great deal, it’s got very talented people here, it’s a fantastic situation, fantastic location. I think it must be really frustrating for everybody that ten years have gone by and that I think people are disappointed. The art scene here last year was an absolute stagnant disaster. It looks like it’s better, a bit more optimistic. I hope it will be really good here one day but at the moment it definitely a bit stuck.

  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 | UM-MJE-LEC  

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Zároveň bychom rádi představili mezinárodnímu publiku německé umění a kulturu. Z tohoto důvodu otevřel Umělec loni v září v Berlíně na Prenzlauer Berg vlastní redakci. Od té doby se aktivně podílí na německé umělecké scéně.

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With this issue Umělec reaches for the first time German as well as Czech and English-speaking readers. Allow me to briefly introduce Umělec to our new readers. Umělec has its main office in Prague; the writers come from all over the world. The articles have been mostly oriented toward Eastern Europe but the choice of themes is increasingly international. Our interest is directed at the artist and their art in individual countries in the contextualized discourse of their self – and outer- perception. Many of the subjects and artists that Umělec brings you rarely find a place in other art magazines.

  DIVUS  

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Geert Mul se loni vrátil k „umění“. Do té doby se věnoval hlavně práci VJe (video DJ) po klubech druhého největšího města Nizozemska, Rotterdamu, a svoje umělecké ambice nechával ladem. Všimli si ho ale lidé z galerie MAMA (Media And Moving Art) a vyzvali jej, aby pro její malý rohový prostor na hlavní galerijní ulici Witte de Withstraat, hned naproti známé stejnojmenné galerii, připravil…

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"The exhibition season is part of what is called the exhibition operations (this expression has already become domestic despite it being absolutely ugly). In fact it is its output, one of the last parts of the chain that is aimed to be consumed by the public. The viewer does not take notice of what is going on behind the scenes as he/she perceives the galleries’ exhibitions as their shop-windows.…

  Divus | Hrůzyplná symet...  

Show textShow cached sourceOpen source URL	Loni zahájil několik komiksů najednou pod titulem America‘s Best Comics (ABC): Tom Strong, Top Ten, Promethea, Tomorrow Stories, The League of Extraordinary Gentlemen. V těchto seriálech si opět hraje s konvencemi, ale tentokrát — i když hrdinové jsou možná lidští a chybující — se žádná z postav neblíží Rorschachově čisté morální ambivalenci.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	While continuous storytelling can produce works of worth, there is a certain extent beyond which the characters aren’t allowed to change. Batman can never move beyond the motivation of avenging his parents’ murder. Archie can never choose between Betty and Veronica.

  Divus | Design běžce  

Show textShow cached sourceOpen source URL	Loni jsi si dělal výstavu v ateliéru. Jenže v den vernisáže zaplavila voda město a z druhého břehu Vltavy nemohl nikdo přijet. Chtěl jsi výstavu opakovat. Letos mluvíš o další. Co tě na tom táhne?
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Last year you prepared an exhibition in your studio. But on the day of the scheduled opening the floods hit Prague and no one could cross the Vltava. You wanted to repeat the exhibition. This year you’re talking about another one. What draws you to this?

  Divus | Po převratu  

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Nejmladší z “nekomerčních prostorů” vznikl loni v září, jmenuje se Display a vyzařuje především otevřenost a vůli ke spolupráci se spřízněnými galeriemi z dalších, hlavně středoevropských zemí. To je velmi zásadní rozhodnutí — nejprve spojit své síly, a potom se měřit se západní Evropou a Spojenými státy.

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This practice and its collateral problems can be found in other smaller, less important spaces; spaces that are much liked by young Czech artists. The Foundation and Center for Contemporary Art at Jelení, among others, also shows first timers. Located in the premises of the former Soros Center, the twenty-square-meter Jelení gallery presents a new young Czech artist every month. For each exhibition a brochure or a prospectus showing the artist’s work is made — no small effort. The Jelení gallery is one among the small group of spaces dedicated to contemporary art: the National Gallery, City Gallery, Galerie Václav Špála, the galleries MXM and Jiří Švestka and the alternative spaces NoD and Display.

  Divus | Na pokraji nest...  

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Akce Borderhack! loni v září konfrontovala samotnou fyzickou hranici v Tijuaně za pomoci multimediálního projektu, který zahrnoval net.art, projekci filmů na hranici, přenosy přes ISDN, konfe-rence, dílny, a za účasti mezinárodních hacktivistů a mediální umělecké komunity.

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There are many ways to approach a border, if crossing it is your intention. But how does your impression of a border region change when you stop to look more closely at the very nature of the space and the lives and land it encompasses. Settle into the artificial world along the Mexican-American border where life nevertheless goes on, performed in an imaginary space but with all too real consequences. Three recent projects singularly articulate the intensity of that space and its attendant consequences. The event Borderhack! confronted the physical border itself in Tijuana last September with multi-media savvy that included net art, border cinema, ISDN connections, conferences and workshops, as well as the participation of the global hacktivist and net-media art community. Witness Mexican women in Ursula Biemann’s video Performing the Border moving north to work in the corporate environment of the maquiladores in order to send money home to relatives. Only instead of opportunity, they wind up ensnarled in the vicious rhythms and regulations of the corporate machine apparatus at Ciudad Juarez. And photographer Mirjam Wirz has recently finished a project near the Rio Grande that probes the empty spaces in and around the border, on both sides, opening up and exposing the ambiguous relationships the natives, both Mexican and American, have to the region.

  Divus | Nesnesitelná le...  

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Podobně působí práce Michaela Landyho, který loni sabotoval ducha kapitalistického vlastnictví - touhu po nerušeném nabývání majetku - tím, že sepsal veškerý svůj majetek, který (včetně uměleckých děl a saaba) nechal zničit.

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All the above are mere details when compared to his Sony Garden (2000–2002), the most ambitious piece in the exhibition. Unfortunately, the more Černický puts in, the less the viewer gets back. The installation doesn’t say that all this Brand New Rubbish is about creating a perfectly clean consumer cycle, free of consumption, neither does it make any observations on the blending of Japanese hi-tech with its feudal past. Let’s then assume that Černický has attempted critically to express our global economy based on overproduction. One object topples this anarchist stance: computer equipment has been ground up and used as a byproduct, made to look like granules of cat litter. Although they don’t soak up liquid very well, there’s another function here:

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Podobně působí práce Michaela Landyho, který loni sabotoval ducha kapitalistického vlastnictví - touhu po nerušeném nabývání majetku - tím, že sepsal veškerý svůj majetek, který (včetně uměleckých děl a saaba) nechal zničit.

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All the above are mere details when compared to his Sony Garden (2000–2002), the most ambitious piece in the exhibition. Unfortunately, the more Černický puts in, the less the viewer gets back. The installation doesn’t say that all this Brand New Rubbish is about creating a perfectly clean consumer cycle, free of consumption, neither does it make any observations on the blending of Japanese hi-tech with its feudal past. Let’s then assume that Černický has attempted critically to express our global economy based on overproduction. One object topples this anarchist stance: computer equipment has been ground up and used as a byproduct, made to look like granules of cat litter. Although they don’t soak up liquid very well, there’s another function here:

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Show textShow cached sourceOpen source URL	Roman Týc je ročník 1974, ale narodil se až loni v lednu společně se Srdcem. Tehdy skoncoval s tím, co bylo, a začal „dělat bordel“. Když připravoval pro pražskou Art Factory na Václavském náměstí Ohnívání, vypadal s vlasy sčesanými přes temeno jako kluk z Rychlých šípů, teď je to ale spíše Trautenberk.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Vendula Chalánková is an unexpected surprise of the Brno stage. It is possible that if she didn’t bring a comics diary about her trip to India, she wouldn’t be noticed by Eskort gallery’s Jana Kalinová or Pavel Pražák, the “virtual soul” of the Magda web gallery. It would be difficult to look for speculation in Chalánková. She is natural and warm. Her Indian diary documents no consistent story,…
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	If the Red Hot Chilli Peppers shocked their fans, at the time, by wearing socks on their private parts, then i love 69 popgejů hypnotizes them with leopard print hand-made underwear (with a large stuffed phallus hanging out) while writhing their bodies and wearing tennis shoes on their head. Three of the four members of this performance group met in Valašské Meziříčí, Moravia. Currently they live…

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května 2003 Robertem Mangem, odborníkem na bezpečnostní systémy, který nepotřeboval využít svých dovedností, aby pronikl do muzejní budovy, se loni v lednu vrátila do muzea a má velkou naději, že se stane „novým rakouským mistrovským dílem“.

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The last stage of the Klimt farce was realized through the same means of mechanic reproduction. Posters with the image of the “Austrian Mona Lisa” and the words “Ciao, Adele” covered hundred billboards around the city overnight. Nobody knew who was behind this advertising campaign and the posters provoked a lot of speculations. Soon it was proved that an advertising company owning the billboards cast this last farewell to Klimt’s oeuvre. The catharsis of the “Ciao, Adele” advertising effort was the slogan stating that Adele is leaving, but good advertising is staying.

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Roman Týc je ročník 1974, ale narodil se až loni v lednu společně se Srdcem. Tehdy skoncoval s tím, co bylo, a začal „dělat bordel“. Když připravoval pro pražskou Art Factory na Václavském náměstí Ohnívání, vypadal s vlasy sčesanými přes temeno jako kluk z Rychlých šípů, teď je to ale spíše Trautenberk.

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Petra Pìtiletá was born in Prague in 1978, studied at the VŠUP in Prague, 1999-2000 (studio of Pavel Nešleha), later she studied at the Academy of Fine Arts in Prague in the studio of Jiøí David. After she left the Academy, she switched to the studio of Veronika Bromová. She worked briefly with her colleagues Jana Doubková, Sylvie Málová and Magdalena Peševová. Pìtiletá and Peševová were curators…

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Show textShow cached sourceOpen source URL	Loni na přehlídce nových médií v Chebu vystavil prosklené dveře svého dětského pokoje, kde prožíval dětská traumata, když přes ně periferním viděním vnímal posloupnost zvuků, světel a stínů lidí, která předznamenávala věci příští.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Roman Týc tends to work with traditional symbolic themes — elements or deadly sins, but more than anything he wishes to unravel the question of identity, his own and others’, which almost always permeates his activity and existence. The outer reaches of life situations, death or strong emotions, can be seen more purely, but he brings them even closer by showing what happens his personal experience. Last year at an exhibition of new media in Cheb he exhibited a glass door from his childhood bedroom, where he had survived various traumas. When he looked through the door with his peripheral vision the sequence of sounds, lights and shadows foretold future events. He forced his father to repeat some of the childhood scenarios. He also used personal, harrowing pictures from the family archive projected on four screens and mixed in with pictures from a Dan Bárta concert. Even the most impressive things, though they sometimes have a slightly pathetic undertone, are absolutely experienced, and that makes them persuasive. And it is altogether unimportant whether they are “narrative” adventures, or only partly decipherable moody sketches.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Roman Týc tends to work with traditional symbolic themes — elements or deadly sins, but more than anything he wishes to unravel the question of identity, his own and others’, which almost always permeates his activity and existence. The outer reaches of life situations, death or strong emotions, can be seen more purely, but he brings them even closer by showing what happens his personal experience. Last year at an exhibition of new media in Cheb he exhibited a glass door from his childhood bedroom, where he had survived various traumas. When he looked through the door with his peripheral vision the sequence of sounds, lights and shadows foretold future events. He forced his father to repeat some of the childhood scenarios. He also used personal, harrowing pictures from the family archive projected on four screens and mixed in with pictures from a Dan Bárta concert. Even the most impressive things, though they sometimes have a slightly pathetic undertone, are absolutely experienced, and that makes them persuasive. And it is altogether unimportant whether they are “narrative” adventures, or only partly decipherable moody sketches.

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Show textShow cached sourceOpen source URL	Tak to je název mého cykloramatu, který jsem vytvořila ve Walker Art Center v Minneapolis. Udělala jsem ho loni a z práce v kruhovém prostoru se mi motala hlava. Na celou práci jsem měla jenom týden, takže tam nebylo tolik detailů jako v opravdovém cykloramatu, ale stejně to bylo epochální!
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	This was the title of my cyclorama, created at the Walker Art Center in Minneapolis. I made it last year and working in a circular space was dizzying. I only had about a week to work on it, so it wasn’t as richly detailed as a real cyclorama, but it was epochal! There are escape scenes and a Town Square and the mysterious Southern swamp at night as well as “happy“ slave life. I love the 19th century populism of this kind of “art“. I love that pre- cinematic rush to make history paintings COME ALIVE for the average person. There are the remains of a cyclorama up here in New Bedford, Massachusetts, part of the Whaling museum there. The original banner which advertised it was full of wordy proclamations about death defying scenes etc., but the painting itself is comically bland, it has a sweet folksy quality of having been made by someone who couldn’t adequately interpret the drama of his experience. I kind of Identify with that.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	This was the title of my cyclorama, created at the Walker Art Center in Minneapolis. I made it last year and working in a circular space was dizzying. I only had about a week to work on it, so it wasn’t as richly detailed as a real cyclorama, but it was epochal! There are escape scenes and a Town Square and the mysterious Southern swamp at night as well as “happy“ slave life. I love the 19th century populism of this kind of “art“. I love that pre- cinematic rush to make history paintings COME ALIVE for the average person. There are the remains of a cyclorama up here in New Bedford, Massachusetts, part of the Whaling museum there. The original banner which advertised it was full of wordy proclamations about death defying scenes etc., but the painting itself is comically bland, it has a sweet folksy quality of having been made by someone who couldn’t adequately interpret the drama of his experience. I kind of Identify with that.

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To není ani jedno procento populace, což znamená, že nemůžeme počítat s žádnou podporou vlády, ani finanční. Loni činil rozpočet na kulturu 0,6% všech státních výdajů. Letos bude o další čtvrtinu zkrácen.

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We still don’t have a class of people who are interested in collecting contemporary art. Those people, who are able to buy art today, do so with a mentality that belongs to the 19th Century. They treat a work of art as a kind of investment rather than as a support for the artist. Of course I know some small collectors in Poland, but they are not able to buy many works. You can occasionally sell them a photograph or a drawing. The class that is genuinely interested in art and would like to have the collections, the intellectuals, simply don’t have the money!