stal – -Translation – Keybot Dictionary

  Divus | MIKROB  

Show textShow cached sourceOpen source URL	“Od konce sedmdesátých do konce osmdesátých let jsem používal fotobudku, abych tvořil své šílené obrázky s použitím masek a pozadí. Do budky jsem chodil aspoň jednou za měsíc (mnohdy častěji) a stal jsem se známý jako ‘boother’.”
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Mix Up’s visits in September & December of 89 were followed by the two furious cycles Mixing with Mix Up I & II. The last one titled Faces, Eyes, Shapes and Colours or English summer 2002 was shown in Remont gallery in spring 2003.

  Divus | ARCHITEKTURA DY...  

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Na trh s uměním vstoupil tehdy, když Christina Aguillera zakoupila za 25 000 liber originál jeho královny Viktorie zobrazené při lesbickém aktu. Tím se zničehonic stal novým Andy Warholem (nebo, pro tento případ, Basquiatem).

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Pero Banksy, si lo comparamos con Basquiat, es aún una figura enigmática y aunque incluso él ha entrado recientemente en el mundo del mercado del arte, sigue manteniendo sus principios – permanece en el anonimato y supuestamente no obtiene beneficios económicos de su trabajo-. Entró en el mercado del arte cuando Cristina Aguilera compró el original de su obra, Queen Victoria, representada en un acto lésbico, por 25.000 libras esterlinas. De pronto se convirtió en un nuevo Andy Warhol (o Basquiat si tenemos en cuenta el tema). En el 2006, la casa de subastas Sotheby vendió sus dibujos de Kate Moss por 50.400 libras, y su Mona Lisa verde fue vendida por 57.600 en la misma subasta. Tan sólo unos meses más tarde, Sotheby vendió su obra Bombing Middle England (Bombardeando media Inglaterra), por la increíble cantidad de 102.000 libras, y el mismo mes los propietarios de la casa en la que se había hecho el graffiti decidieron vender el inmueble a una galería de arte. En abril de 2007, Banksy alcanzó un record al vender su trabajo Space Girl&Bird por 288.000 libras.

  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. Letos se stal spoluorganizátorem jedné z expozic na Prague Biennale 2.

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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 | MÝTUS SVĚTA UMĚNÍ  

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Svět umění, někdy též nazýváný svět současného umění, se stal oborem, který má svá pravidla, konstanty, operační prostor a ekonomické možnosti. Stejně jako se budovala mediální impéria, budují se nyní impéria umělecká.

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El mundo del arte, algunas veces también llamado mundo del arte contemporáneo, es hoy día una especialidad con reglas, constantes, espacio operativo y posibilidades económicas propias. Así como se construyeron imperios mediáticos, hoy se levantan imperios artísticos. El mundo del arte ya no es un mundo de solitarios dispersos comunicados por la sensibilidad, el gusto o la supuesta genialidad. Tiene sus centros mundiales en los que el adepto debiera pasar algún tiempo, tiene sus eventos primorosos donde hay que hacer acto de presencia, tiene metas que hay que alcanzar y principios a tener en cuenta. No existe sólo para los artistas. Ha fijado una escala enorme de posiciones y profesiones con las que no hubieramos soñado hace varios decenios y cuyos nombres y características pueden sumir en depresión a todo profano. Al mundo del arte se sube como al tren y los billetes no son para cualquiera. Sin embargo, parece que el viaje merece la pena.

  Divus | Druhá kultura v...  

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V USA se Milan Kohout stal se členem skupiny performerů Mobius, která byla v roce 1985 navržena na Nobelovu cenu. Po revoluci v roce 1989 se několikrát vrátil zpět do České republiky, aby zde předvedl své nové akce.

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Sus primeras acciones artísticas tuvieron lugar en la Checoslovaquia socialista* a principios de los años ochenta. Una gran parte de la documentación relativa a las acciones tempranas fue incautada por la policía secreta StB** así que la única prueba de ellas son los dibujos del autor que las acompañaban. Es el caso de, por ejemplo, la acción titulada ¨Sé cerdo¨ durante la cual se tumbó en una pocilga entre cochinillos para beber la leche de cerda. La policía secreta encontró las fotografías y a pesar de la metáfora cristiana de esta acción su autor fue tachado de depravado. La policía socialista no era en nada culta. Siendo signatario de la Carta 77*** y disidente del gobierno socialista, después de múltiples persecuciones abandonó el país y en 1986 se fue a los EE. UU. No dejó de realizar las acciones artísticas ni durante su estancia transitoria en un campo de refugiados austriaco donde esperaba el visado para los EE. UU.

  Divus | Nový konzervati...  

Show textShow cached sourceOpen source URL	Také v české kulturní společnosti se konzervativismus stal už delší dobu tématem. Důvodů je celá řada. Umění především ztratilo svou funkčnost jako morální alternativa establishmentu a po ztrátě své opoziční role v minulém režimu se stalo okrajovým problémem.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	The privatization of life is an attendant phenomenon, contributing to the conservative tuning of society, causing the space for politics proper to disappear. According to Grossberg, depoliticization ultimately questions three main conditions for politics proper: 1. the awareness that broader contexts and structures than the private exist; 2. the fact that we have to maintain models of community, associations and alliances; 3. the fact we must retain the belief in the possibility of changing, intervening and acting. Otherwise society falls into apathy, declines into irony, the grotesque and cynicism. Or it simply escapes into stupidity. (Western critics consider films like Forest Gump to be celebrations of stupidity.) Depoliticization as a source of conservatism is a state of unconsciousness, time stopped, a stupid dream, but it is also the rejection of anything external that we ought to be confronted by.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Conservatism has been an issue for some time in the Czech cultural community. There are a number of reasons for this. First of all, art has lost its function as a moral alternative to the establishment. After losing its role as opposition to the former regime, it has become a problem lingering on the margins. Society’s visions are more often realized in the technical and economic spheres. The logic of the reconstruction of the old system is a reconstruction based on a liberal democratic model that claims to be the only possible reality and that feels it must be depoliticized, managed by experts so that the process of achieving the ideal objective — a globalized society — will run as naturally and normally as possible and not be disturbed by excessive immaturity or any attempts at returning to the old regime.

  Divus | MIKROB  

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V květnu roku 1987 mě můj dávný přítel Nebojša Kandić-Dudek představil úžasnému Antoniovi Pušićovi (v té době to byl naprosto neznámý blázen z Černé Hory, jenž se o rok později stal rokenrolovou superstar, známý pod přezdívkou Rambo Amadeus – pozn. aut.).

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“In May 1987, my old friend Nebojša Kandić-Dudek introduced me to the fabulous Antonio Pušić [at that time a totally unknown freak from Montenegro who, a year later, became a rock 'n' roll superstar known by his alter ego: Rambo Amadeus. Note – U. Dj.]. We founded the secret organization KPGS. It’s an acronym for the obscene slogan “Kurac! Pička! Govno! Sisa!” (“Cock! Cunt! Shit! Tit!”) in which Cock, Cunt & Shit represent the Ancient Trilogy, & Tit is a Satyr play which, during a pause between acts, the ethical side of the message is explained to the audience. Much earlier, I was practicing long telephone conversations with Nebojša Kandić that lasted hours while we sat on the toilet, and the dialogue went like this — Kandić: Cock! Me: Cunt! Kandić: Shit! … Recently, he threw in Tit!, because he’s a satyr & moralist.”

  Divus | Tehching Hsieh ...  

Show textShow cached sourceOpen source URL	Pojem současné umění se stal tak širokým, hranice umění se stírají, definice se rozplývá, umělecká výpověď se stává více a více zamotanou do formálních postupů. Toto kódování je živému umění naprosto cizí.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Modern art has become so spread out, shattered and lost in formal dogmatism that nowadays it is present in every moment, in every possible form and idea. Performance art, being the most direct and true expression, stripping away as it does all formal restrictions, theatrical directness while being “here and now” proves, especially at these times, the truth of the most fascinating artistic discourses. The figure of Tehching, standing somewhat aside yet at the same time in the center of public attention, is a prime example of the theory that action art is the most live, direct, and influential (and maybe neglected) of all modern artistic approaches.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Modern art has become so spread out, shattered and lost in formal dogmatism that nowadays it is present in every moment, in every possible form and idea. Performance art, being the most direct and true expression, stripping away as it does all formal restrictions, theatrical directness while being “here and now” proves, especially at these times, the truth of the most fascinating artistic discourses. The figure of Tehching, standing somewhat aside yet at the same time in the center of public attention, is a prime example of the theory that action art is the most live, direct, and influential (and maybe neglected) of all modern artistic approaches.

  Divus | Kdybych chtěl n...  

Show textShow cached sourceOpen source URL	Konstatování z názvu výstavy Jany Kalinové v galerii Home snad míří právě k tomu stavu, kdy nejisté a nejasné je nejistým a nejasným z principu, ze svého založení, je nejisté a nejasné zcela zásadně či bytostně, jak bych řekl kdysi. Zůstal jenom její problém, její výstava a… její konstatování, která přerůstají v nás, v naše problémy, v konstatování o nás a v naše nezodpovězené otázky.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	The statement in the title of the exhibition by Jana Kalinová in Home Gallery could be referring directly to the situation where the uncertain and the unclear is uncertain and unclear out of principle, from its very establishment. It is uncertain and unclear quite fundamentally or temperamentally. Only her problem remains, her exhibition and… her observation, which extends out from us, out from our problems, out from her watching us and out of our unanswered questions.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	The statement in the title of the exhibition by Jana Kalinová in Home Gallery could be referring directly to the situation where the uncertain and the unclear is uncertain and unclear out of principle, from its very establishment. It is uncertain and unclear quite fundamentally or temperamentally. Only her problem remains, her exhibition and… her observation, which extends out from us, out from our problems, out from her watching us and out of our unanswered questions.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	The statement in the title of the exhibition by Jana Kalinová in Home Gallery could be referring directly to the situation where the uncertain and the unclear is uncertain and unclear out of principle, from its very establishment. It is uncertain and unclear quite fundamentally or temperamentally. Only her problem remains, her exhibition and… her observation, which extends out from us, out from our problems, out from her watching us and out of our unanswered questions.

  Divus | Penis Envy / (N...  

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Modely byly často jeho vlastními přáteli a fotografie tak získávaly intimní charakter. Často se tak penis stal nositelem určité identity. Na fotografii Mark Stevens (Mr. 10 1/2) z roku 1976 nevidíme žádnou tvář.

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AIDS and homosexuality also influenced the photographic work of Robert Mapplethorpe.12 His penis imagery is not only explicit, but also personal. The models for his photographs often included his own friends, and thus his pictures take on a certain intimacy. The penis often became the bearer of a specific identity. The photograph of Mark Stevens (Mr. 10 1/2) (1976) is faceless. Here Mark Stevens is only identifiable through his penis. Arthur C. Danto noted definite hyperbole in this image, which he saw as “placing” the penis not only on a plinth but also in the right hand of the model in the figure of the devil.13 The context of the work’s origin, however, exceeds such hyperbole. At that time, Mapplethorpe was photographing New York’s homosexual S&M scene, taking a number of pictures with this theme at the latter half of the 1970s, including his famous self-portrait (1978).14

  Divus | MIKROB  

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Ale společenské a třídní rozdíly, jež přišly spolu s novým rozdělením rolí ve společnosti, tyto lidi odsunuly stranou. V té době, jako středoškolák a později student na univerzitě, kde studoval literaturu, se Mikrob stal společenským myslitelem.

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In his school days during the 60ies, 70ies & early 80ies, while the whole society was rapidly moving towards more liberal standards, he detected a specific form of conflict. His neighbors, the keepers & bearers of official socialist ideology, were at that time shoved to the margins of society, even though they still had some kind of advantage in the social hierarchy. But the social & class differences that came along with the new disposition of roles inside the society forced these people aside. That was when, as a high school kid & later in university, where he studied literature, he became a social thinker. No kidding! He was a night-clubber, party-lover, always ready to bum around for no particular reason. Then one day, while in this state, he suddenly discovered the photo-booth . . .

  Divus | Kritika transce...  

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Je to jméno pro všechno, co lze chtít v čase, nesnesitelné mučení, jehož nejzazší podstatu gnostický vizionář demaskuje jako prohru, sešlost a smrt. A popravdě řečeno, to, že se kapitalismus stal předmětem tohoto nedůtklivého očerňování, není úplně neopodstatněné.

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time is the source of our distress – Philip K Dick’s ‘Black Iron Prison’ – how can any kind of evolution be expected to save us? Thus Transcendental Miserablism constitutes itself as an impregnable mode of negation. It goes without saying that no substantial residue of Marxian historicism remains in the ‘communist’ version of this posture. In fact, with economics and history comprehensively abandoned, all that survives of Marx is a psychological bundle of resentments and disgruntlements, reducible to the word ‘capitalism’ in its vague and negative employment: as the name for everything that hurts, taunts and disappoints.

  Divus | Roman Týc  

Show textShow cached sourceOpen source URL	Roman Týc má slabost pro živé mezní akce a technický obraz, hlavně v podobě videozáznamu jako dokumentu i prostředku volného vyjádření. Adrenalinový náboj mu zůstal po letech mezi sprejery. Dodnes uplatňuje v běžném životě to, čemu říká principy graffiti, a prostřednictvím svých akcí nezřídka dál zůstává na hranici ilegality.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Roman Týc has a weakness for live events on the edge and the technical image, especially the video recording as a document and means of free expression. After spending so many years among sprayers, he still carries the adrenaline surge within him. To this day he applies what he calls the principles of graffiti to his daily routine, and in his actions he walks the line of legality.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Roman Týc has a weakness for live events on the edge and the technical image, especially the video recording as a document and means of free expression. After spending so many years among sprayers, he still carries the adrenaline surge within him. To this day he applies what he calls the principles of graffiti to his daily routine, and in his actions he walks the line of legality.

  Divus | Poválečné sny z...  

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V tomto díle jsem vycházela z povídky Leonida Andrejeva Zeď, kterou jsem četla ještě před válkou v Jugoslávii jako teenager. Způsob, jakým se příběh změnil v mé paměti a stal se součástí mých zkušeností, byl klíčem k nové interpretaci.

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El punto de partida para esta pieza fue la historia de Leonid Andrejev “The Wall” que leí cuando era adolescente antes de la guerra en Yugoslavia. La forma en que la historia cambió en mi memoria y se convirtió en parte de mi experiencia posterior fue la llave para su re-interpretación. Le pedí a los actores que adaptaran esta historia como si fuera suya y que trataran de volverla a vivir, en lugar de sólo contarla. Su reacción fue instintiva. Los actores conectaron la historia con sus propias memorias. La historia se convirtió en realidad porque las emociones que expresaron fueron honestas.

  Divus | Vyloučení bojov...  

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Provokativní prohlášení, že pokud kritika umění naprosto zmlkne, nic se nezmění, ponechme stranou. Rauterberg dále argumentuje, že základní princip kritiky, tedy posudek, se stal záležitostí minulosti.

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These are the questions I inevitably wound up asking myself after reading the latest issue of BE Magazine, a slim journal published under the auspices of Berlin’s Kunstlerhaus Bethanien. Issue number eleven is dedicated to the theme of “Critique” and kicks off with Hanno Rauterberg’s compelling essay addressing the current crisis of criticism in art. Departing from the provocative statement that if art criticism were to fall completely silent, nothing would change, Rauterberg goes on to argue that criticism’s central tenet, to make a judgment, has become a thing of the past. While acknowledging that this “death of criticism” proclamation is nothing new, Rauterberg maintains that the crisis of criticism has led to self-abolition in favor of a “falsely understood desire” to be objective. Criticism, as a serious intellectual discipline, can’t afford to be objective, reasons Rauterberg; as soon as you lose the I, it is no longer criticism. As Leibniz taught, all perception is determined by the point of the perceiver. Criticism has been replaced by a new sort of art writing that is little more than propaganda for exhibitions and individual careers.

  Divus | Vasil Artamonov  

Show textShow cached sourceOpen source URL	Když mu bylo deset, jeho rodina se přestěhovala do Československa. Od té doby město svého mládí, Andrejevku, nenavštívil. Protože se stal konceptuálně uvažujícím umělcem, rozhodl se tuto přerušenou životní etapu učinit ústředním tématem svých aktivit.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Vasil Artamonov was born in 1980 not far from Moscow. When he was ten, his family moved to Czechoslovakia. Since that time he has not returned to Andrejevka, the town of his childhood. Since he has become a conceptually minded artist, he decided to make this break a central theme in his work.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Vasil Artamonov was born in 1980 not far from Moscow. When he was ten, his family moved to Czechoslovakia. Since that time he has not returned to Andrejevka, the town of his childhood. Since he has become a conceptually minded artist, he decided to make this break a central theme in his work.

  Divus | Poválečné sny z...  

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V tomto díle jsem vycházela z povídky Leonida Andrejeva Zeď, kterou jsem četla ještě před válkou v Jugoslávii jako teenager. Způsob, jakým se příběh změnil v mé paměti a stal se součástí mých zkušeností, byl klíčem k nové interpretaci.

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El punto de partida para esta pieza fue la historia de Leonid Andrejev “The Wall” que leí cuando era adolescente antes de la guerra en Yugoslavia. La forma en que la historia cambió en mi memoria y se convirtió en parte de mi experiencia posterior fue la llave para su re-interpretación. Le pedí a los actores que adaptaran esta historia como si fuera suya y que trataran de volverla a vivir, en lugar de sólo contarla. Su reacción fue instintiva. Los actores conectaron la historia con sus propias memorias. La historia se convirtió en realidad porque las emociones que expresaron fueron honestas.

  Divus | Q: protisměr  

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Obrazy ptáků po stěnách, kteří nás sledují – takové solidní portréty – prostě ptáčkové nás vidí“. Korpaczewski po svém očistil výstavní prostor a umožnil mu, aby se stal něčím jiným. Jako by prostor byl další bytostí, s kterou umělec spolupracuje.

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La pequeña ventana bajo la galería fue cubierta por una capa de celofán gris y en la oscuridad el barco parecía ser una cosa enorme a dos kilómetros de profundidad. Se producían corrientes de aire gracias a un ventilador en la esquina de la habitación, provocando que las medusas se movieran gentilmente, dándole vida a la imagen –tableau vivant. La atmósfera de la galería aumentó gracias a una corta grabación en cinta de audio con un piano. Esta música era triste y en algunos lugares amortiguada, como si también viniera de las profundidades. “La madre del dueño de la galería creyó que habíamos puesto agua y un critico de arte pensó que era un vídeo”.

  Divus | Střípky interak...  

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“ – píše Esther Eppstein v roce 1997 v úvodním textu knížky představující její vlastní výstavní prostor – message salon (ve francouzštině výslovnost připomíná massage salon). Message salon přežil mnoho let a stále zůstal místem setkávání nezkrotných umělců a příbuzných subkultur.

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Zurich saw the dawn of Dada, the first global yet locally active artistic-political movement, which discovered the strength of an artistic expression emerging from the crossing points between art and everyday life, between the political and the mainstream, where social, political and artistic desires meet in the form of a provocative spectacle or just a game and fun at the “Cabaret Voltaire.” Their practices later find their way into the squats of the 1960s and 1980s. Today they can be found in the peculiar, cool and in exhibition spaces, where through more texture, fun and pleasure the space is extended beyond its role of exhibiting artistic works, and all possibilities remain open. They are interlinked via a web of buzzing grapevine – information traveling in no time from ear to ear.

  Divus | Tehching Hsieh ...  

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Pojem současné umění se stal tak širokým, hranice umění se stírají, definice se rozplývá, umělecká výpověď se stává více a více zamotanou do formálních postupů. Toto kódování je živému umění naprosto cizí.

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Modern art has become so spread out, shattered and lost in formal dogmatism that nowadays it is present in every moment, in every possible form and idea. Performance art, being the most direct and true expression, stripping away as it does all formal restrictions, theatrical directness while being “here and now” proves, especially at these times, the truth of the most fascinating artistic discourses. The figure of Tehching, standing somewhat aside yet at the same time in the center of public attention, is a prime example of the theory that action art is the most live, direct, and influential (and maybe neglected) of all modern artistic approaches.

  Divus | Hrůzyplná symet...  

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The Dark Knight ale nastolil vizi Batmana jako nelítostného bojovníka v beznadějně zkorumpovaném a brutálním světě. Velice záhy se nelítostný bojovník v beznadějně zkorumpovaném a brutálním světě stal z každého superhrdiny na stáncích.

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The Dark Knight Returns, by Frank Miller: The title really says it all. Ever since the popular TV show in the 1960s starring Adam West, the character of Batman had been popularly regarded as a cheesy joke, and a pretty funny one at that. The Dark Knight Returns presented a vision of Batman as a ruthless warrior in a hopelessly corrupt and violent world. Very quickly, every superhero on the stands became a ruthless warrior in a hopelessly corrupt and violent world.

  Divus | ZABIJU TĚ  

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Zaprvé hororový film musí prezentovat sám sebe jako horor. Zadruhé nás musí vyděsit natolik, abychom věřili, že ten fantastický scénář se doopravdy stal, či alespoň že je možný. Stejně jako u každé fikce hororový film předpokládá možný svět – a pro tuto předpokládanou realitu je charakteristické, že se divák musí rozhodnout, že na okamžik pře-stane věřit v objektivní realitu (pakliže taková existuje) a naplno se odevzdá pseudonáboženské symbolice pohyb-livých obrázků.

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While it’s not my point here to reduce the genre down to some crude formula, it must be admitted that it’s possible to do so. As with any genre that wields mainly cultic appeal (although horror flicks were immensely popular during certain periods, such as the 1980s), horror is essentially defined by its limitations. Even in its more extreme manifestations, there are always more things you can’t do in a horror film, and every moment of action must somehow accord to the ideals of the overall premise: death, the beyond, as well as the more general decay of the social fabric.

  Divus | Salon 26  

Show textShow cached sourceOpen source URL	Po dlouhé době a několika pokusech o organizaci výstav uvnitř veletržního komplexu se pátý pavilon na tři týdny stal místem pro prezentací výtvarného umění, ale také událostí, která je relevantní pro celkovou kulturní scénu.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	After several attempts at organizing exhibitions in this complex, the fifth pavilion has now become the place where for three weeks visual art is presented and relevant cultural events take place.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	After several attempts at organizing exhibitions in this complex, the fifth pavilion has now become the place where for three weeks visual art is presented and relevant cultural events take place.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	After several attempts at organizing exhibitions in this complex, the fifth pavilion has now become the place where for three weeks visual art is presented and relevant cultural events take place.

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Díky velkým výstavám, jako je Documenta X a různá bienále, se v muzeích začínají stále častěji objevovat dokumentární videoprojekce a filmy, sociologické studie a archivy. V posledních letech se „obrat k dokumentarismu“ („Documentary Turn“1) v současném umění stal sám o sobě předmětem širšího kurátorského výzkumu.

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Video projections in documentary format, sociological case studies and archival work have been bringing more people into museums since big exhibits like documenta X and numerous biennials. In recent years “Documentary Turn”1 has itself become a subject in contemporary art for closer curatorial examination. This has been made very clear by exhibits such as (Based Upon) True Stories at the Witte de…

  Divus | Cena plechového...  

Show textShow cached sourceOpen source URL	Také na závěr roku 2003 byla udělena Cena Jindřicha Chalupeckého. Jejím laureátem se stal Michal Pěchouček. Cena, již s oblibou i ironií srovnáváme s britskou Turner Prize, tak ustála další rok, přestože prochází zásadní proměnou svého významu.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	"The Jindřich Chalupecký Prize was awarded to Michal Pěchouček at the end of 2003. The award, which we take great pleasure and irony in comparing to the British Turner Prize, has survived another year, though it has gone through crucial transformations in meaning for this country. Until recently, this was due to its founder Václav Havel and his close connection to the values of the regime established after the revolution in 1989. The prize was founded in 1990 and fulfilled the desire of artists to focus on mutual competition and qualities unburdened by history. And because the Czech Republic is not Great Britain and the Jindřich Chalupecký Prize is not the Turner Prize, it has remained a mere “award” without response.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	"The Jindřich Chalupecký Prize was awarded to Michal Pěchouček at the end of 2003. The award, which we take great pleasure and irony in comparing to the British Turner Prize, has survived another year, though it has gone through crucial transformations in meaning for this country. Until recently, this was due to its founder Václav Havel and his close connection to the values of the regime established after the revolution in 1989. The prize was founded in 1990 and fulfilled the desire of artists to focus on mutual competition and qualities unburdened by history. And because the Czech Republic is not Great Britain and the Jindřich Chalupecký Prize is not the Turner Prize, it has remained a mere “award” without response.

  Divus | Umění snadné ja...  

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Absence kritické pozice v obraze má dvě funkce: Na jedné straně pomáhá integrovat obraz do hlavního proudu společnosti, která touží po kráse a transparentnosti. Na druhé straně toho však obraz dosahuje tak úspěšně, že se každému kritickému divákovi až zatočí hlava. Obraz si získal poměrně velké renomé; stal se vlastně hitem sezóny a vizitkou obou umělců.

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In 1995 Vinogradov and Dubosarsky painted Happy Day for their Berlin exhibition called Painting for Reichstag. This was their most successful and spectacular picture to date and was dedicated to the unification of Germany. The monumental canvas (400 x 600 cm) depicts then German chancellor Helmut Kohl at a wedding ceremony intended as an allegory for the unification of Germany. While the bride, groom and surrounding townspeople revel and embrace in ecstatic joy, the gliding angels overhead and the flowers tumbling from the sky only further inflame the painting’s fiery sentiment. Neither irony nor the malice of the intelligentsia is at work here, and the joy of those portrayed and the seeming slavery of the painters to the German state create an unusual tension in the picture — almost a feeling of impending disaster. The lack of a critical position in this picture performs two functions: On the one hand it helps to integrate the visual image into mainstream society, which desires beauty and transparency. But on the other hand the work accomplishes this to such a degree that any critical spectator finds himself becoming quite dizzy. The picture has become rather famous; in fact, it was the hit of the season and is now a business card for the artists.

  Divus | Jakub Staněk  

Show textShow cached sourceOpen source URL	Nar. 1972, autodidakt. V roce 2000 se stal zakládajícím členem třebíčské Skupiny 0000.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Born 1972, autodidact. In 2000, became founding member of Skupina 0000 in Třebíč.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Born 1972, autodidact. In 2000, became founding member of Skupina 0000 in Třebíč.

  Divus | Cena plechového...  

Show textShow cached sourceOpen source URL	Zmizely však také sympatie Národní galerie a z prezidenta se stal “mimořádný” řadový občan. Po loňském hostování v brněnském Domě umění, které výtvarná obec hodnotila jako osvěžení, ale všehovšudy znamenalo odchod ze světel ramp, se cena letos vrátila do hlavního města.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	But the affection of the National Gallery has evaporated and the president has become an “extraordinary” ordinary citizen. After last year’s stop over in Dům umění in Brno (publicly praised for being fresh, but in fact it marked an exit from the limelight) this year the award returned to the capital. However, it was Futura who took it in — a space which is establishing itself, but for now has only entered the consciousness of the close-knit art public. This time Václav Havel awarded the prize personally, but there’s no more: “where’s Havel? There’re crowds of people, journalists and TV crews…” The Jindřich Chalupecký Prize looks as if it’s becoming one of those prizes that springs up, supports the winner for some time, gives him some money, sets him up for a stay abroad, or at least a catalogue… but he’ll never make it out of the smoke-filled den of thieves that is the art community.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	But the affection of the National Gallery has evaporated and the president has become an “extraordinary” ordinary citizen. After last year’s stop over in Dům umění in Brno (publicly praised for being fresh, but in fact it marked an exit from the limelight) this year the award returned to the capital. However, it was Futura who took it in — a space which is establishing itself, but for now has only entered the consciousness of the close-knit art public. This time Václav Havel awarded the prize personally, but there’s no more: “where’s Havel? There’re crowds of people, journalists and TV crews…” The Jindřich Chalupecký Prize looks as if it’s becoming one of those prizes that springs up, supports the winner for some time, gives him some money, sets him up for a stay abroad, or at least a catalogue… but he’ll never make it out of the smoke-filled den of thieves that is the art community.

  Divus | Jakub Staněk  

Show textShow cached sourceOpen source URL	Nar. 1972, autodidakt. V roce 2000 se stal zakládajícím členem třebíčské Skupiny 0000.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Born 1972, autodidact. In 2000, became founding member of Skupina 0000 in Třebíč.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Born 1972, autodidact. In 2000, became founding member of Skupina 0000 in Třebíč.

  Divus | Postel pro dva  

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To je přítomnost, ale minulost se stále ozývá. Jako v historii každého z nás je nepochybně páteří toho, kým se David stal. Začalo to v roce 1990, kdy si ve věku 29 let uvědomil, čemu se chce věnovat. Než začal kreslit, pracoval v továrnách a obchodních domech a psal poezii.

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Whenever I visit David in his studio things change just ever so slightly, yet the placement is always the same. The desk is in the back right with a futon folded underneath, the fan is hanging in the middle of the window, paintings are stacked along the left wall along with countless CD cases, and his huge half drawn painting hanging on the other wall. The change, though, lies on paper, the size of a twin bed for an extremely tall person, times two. Slowly he’s chipping away at the blankness and filling it with Spanish orange colored pencils. The flood is overwhelming. That’s exactly what I mean. The feeling of being overwhelmed is rhythmic and hard to grasp in the sense that it chokes you and makes you feel like you’re on a boat of paper cuts. On the desk there’s a little short lipped box of Spanish orange pencil tips that will soon grow to the point of a mini Swiss Alp. These are the remnants of the boxes of pencils he goes through to cover such a space. Everything is used and nothing not even the tips will be wasted. The two twin beds will be put together to make a queen sized rest for religion. It breathes something holy to me so that allows sleep to come just fine by their intake. It’s exactly what it should be.