boty – -Translation – Keybot Dictionary

  Divus | TAJGA - ZÁJEZD ...  

Show textShow cached sourceOpen source URL	Doporučujeme: pevné boty a oblečení do zimy a vlhka
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Cena ubytování: 300 Kč (obě noci dohromady)

  Divus | Rituál zkrvaven...  

Show textShow cached sourceOpen source URL	BEAVIS: Uhm Hum-hum Člověče, nemůžu. Mám na večer báječnej program. Asi budu sedět doma a okusovat si nehty. Urghhhh Když jsem byl mladší, dokázal jsem se celý odpoledne dívat na špičku svojí boty. Celejch 8 hodin...He-heh Uhmmm
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Butthead: …when everything mates with everything else… hybridization … I’d like to see machines having sex. What are you doing tonight? Do you want to go somewhere? How about Vortex? Huh-hum
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Butthead: …when everything mates with everything else… hybridization … I’d like to see machines having sex. What are you doing tonight? Do you want to go somewhere? How about Vortex? Huh-hum

  Divus | David Bowie - D...  

Show textShow cached sourceOpen source URL	Zatím pro ni plánujeme oblečení ze zvířecích kůží, vysoké boty a taky bude mít nablýskanou šavli. Tahle holka to myslí doopravdy. Zní to skvěle, nemám pravdu?
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Our plans so far have Oktobriana wearing clothes made out of animals skins, high boots on her legs and she’ll also carry a shining sabre. This girl really means business. Sounds exciting, doesn’t it?
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Our plans so far have Oktobriana wearing clothes made out of animals skins, high boots on her legs and she’ll also carry a shining sabre. This girl really means business. Sounds exciting, doesn’t it?
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Our plans so far have Oktobriana wearing clothes made out of animals skins, high boots on her legs and she’ll also carry a shining sabre. This girl really means business. Sounds exciting, doesn’t it?

  Divus | Výroba a použív...  

Show textShow cached sourceOpen source URL	Mikrofon ti může posloužit jako ruční periskop i jako videozáznam. Ofotografuj všechny prostory, ve kterých se ocitáš. Pozor ale na kosmické boty. Hlasem je můžeš přepnout na lyžování po cele. Ničeho se neobávej, můžeš chodit i po špičkách.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	There are special lines in space. Every end of a line is the beginning of a new line. It is prolonged into the last prolongation, which means from a prolongation to a non-prolongation. What is a method that has no method? It has shattered behind the method. Words fail to describe what is behind the method or terminology.

  Divus | Scéna z filmu  

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V tu chvíli se otevřou dveře a vejde muž. Těžko říct, jak je starý, protože vypadá zanedbaně. Na sobě tričko a odrbané džíny, na nohách černé pracovní boty. Vypadá zkouřený nebo snad ještě něco horšího.

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In diesem Moment geht die Tür auf und ein Mann kommt herein. Es wäre schwierig zu sagen, wie alt er ist, da er heruntergekommen aussieht. Er trägt ein T-Shirt und ausgemergelte Jeans, unten schwarze Arbeitsstiefel. Er wirkt stoned oder schlimmer. Über seinen hohlen Wangen verdeckt eine schwarze Sonnenbrille seine eingesunkenen Augen. Ihm gehen die Haare aus. Er geht zum Tisch und schlägt mit seiner Faust darauf, woraufhin ihn das Mädchen verärgert ansieht.

  Divus | Okradená  

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Napadá mě, jestli to není nějaké znamení, jako že nosit přívěšek na klíčích mi přináší smůlu – je zvláštní, že nosit u sebe deník smůlu nepřináší – nebo deník s motivem dvojčat, která už nestojí... Stejně tak jsem málem proklela a zahodila boty, ve kterých se mi to stalo a které jsem měla ten den poprvé na sobě.

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I’ve been thinking about my own arrogance. Yes, maybe I behaved too self-confidently, I felt like a queen who is always in control of what she wants and what she does. Isn’t that a mistake? This arrogant behavior of mine alone could provoke someone. How many times did I walk that way even later at night? I even met stranger types there, they wanted to scare me and I had to avoid them. But this guy knew what he was doing, only I didn’t realize it.

  Divus | Scéna z filmu  

Show textShow cached sourceOpen source URL	V tu chvíli se otevřou dveře a vejde muž. Těžko říct, jak je starý, protože vypadá zanedbaně. Na sobě tričko a odrbané džíny, na nohách černé pracovní boty. Vypadá zkouřený nebo snad ještě něco horšího.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	At that moment the door opens and in walks a man. It would be hard to say how old he is because he looks ravaged. He wears a t-shirt and battered jeans, with black work boots below. He seems stoned, or worse. Above his hollow cheeks, black shades hide his sunken eyes. He’s balding. He steps to the desk and knocks on it with his fist, prompting a look of annoyance from the girl.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	En ese momento, la puerta se abre e ingresa caminando un hombre. Es difícil calcular su edad, se le nota afectado. Viste una simple camiseta y pantalones de mezclilla maltratados, con fuertes botas negras de trabajo. Parece estar drogado o algo peor. Sobre sus hundidas mejillas, unos lentes negros esconden sus ojos inyectados. Tiene inicios de calvicie. Camina hacia el escritorio y golpea en él con su puño, provocando una mirada molesta de parte de la chica.

  Divus | Globální lokalita  

Show textShow cached sourceOpen source URL	Jihokorejská skupina FlyingCity vytváří městskou utopii, aby usnadnila život prodejců, jichž stále ubývá. Mario Rizzi pro změnu svým filmem vypráví příběh obuvníka, který vyrábí a prodává boty v Istanbulu.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Other works display acts of civil disobedience towards the state, or independence from the “global culture” imposed by the market: take the activities of the Indonesian RUANGRUPA, whose T-shirts ridicule the idols of popular culture; Tintin Wulia’s film about predatory developers in Jakarta; Yochai Avrahami’s installation about taxis in Israel; or Sean Snyder’s work on the independent circulation of information which, thanks to the Internet, can escape censorship and thus permit genuine pictures from Iraq to be presented to the world.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Other works display acts of civil disobedience towards the state, or independence from the “global culture” imposed by the market: take the activities of the Indonesian RUANGRUPA, whose T-shirts ridicule the idols of popular culture; Tintin Wulia’s film about predatory developers in Jakarta; Yochai Avrahami’s installation about taxis in Israel; or Sean Snyder’s work on the independent circulation of information which, thanks to the Internet, can escape censorship and thus permit genuine pictures from Iraq to be presented to the world.

  Divus | Okradená  

Show textShow cached sourceOpen source URL	Napadá mě, jestli to není nějaké znamení, jako že nosit přívěšek na klíčích mi přináší smůlu – je zvláštní, že nosit u sebe deník smůlu nepřináší – nebo deník s motivem dvojčat, která už nestojí... Stejně tak jsem málem proklela a zahodila boty, ve kterých se mi to stalo a které jsem měla ten den poprvé na sobě.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	I’ve been thinking about my own arrogance. Yes, maybe I behaved too self-confidently, I felt like a queen who is always in control of what she wants and what she does. Isn’t that a mistake? This arrogant behavior of mine alone could provoke someone. How many times did I walk that way even later at night? I even met stranger types there, they wanted to scare me and I had to avoid them. But this guy knew what he was doing, only I didn’t realize it.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Will the thief – or the possible finder of the bag without any valuables – return Radek’s key chain? Or will it never be found and end up in a garbage can? It is quite an interesting situation, considering the text of Radek’s dissertation defense, in which he wonders what the new owner will think about it, not knowing its origin.

  Divus | Nazí v post-sov...  

Show textShow cached sourceOpen source URL	Je umělcem žijícím a tvořícím v Sovětském svazu – jednotlivcem, beroucím na senbe všechny zločiny spáchané svou vlastí. Takový sebekritický přístup umělce přerůstá v pokoření: u jeho ztotožnění se s rohožkou si můžete vybrat: buď ho překročit, nebo si o něj otřít boty.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	In one performance made for the show After the Wall (1999), and repeated for Sao Paolo Biennial (2002), Sargsyan fell to the ground in front of the door and became a doormat inscribed with the word WELCOME. Within the exhibitions’ context, through his lowered status, the artist identified with the Soviet Union, all of its mistakes and sins, as it attempts to make contact with civilization. This is an artist living and creating in the Soviet Union — an individual bearing all the crimes committed by this country. Such a self-critical approach by the artist grows into one of humiliation: he identifies with a doormat which somebody can choose to
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Such was Sargsyan’s interaction with the audience. While at After the Wall visitors merely stepped over Sargsyan, in San Paolo he was injured when people actually used him as a doormat, wiping their feet on him — women’s high-heels were especially painful. All of this calls to mind the performance by the Russian action artist and performer Oleg Kulik in which the artist identifies with a dog, a dog that was cruelly treated in one performance in Russia, where it suffered a beating. In Amsterdam people came up and caressed Kulik, this “barking and attacking dog,” while also offering their assistance. Undoubtedly, Kulik’s performance is much more extreme than Sargsyan’s: an attack by exhibition visitors in one case and direct relation to people in the street in the second. However, in both performances the artists consciously initiated direct communication with the audience. In both cases, the audience became an immediate participant of the performance; and the performance results depend on the audience.

  Divus | Rozmazaný obraz  

Show textShow cached sourceOpen source URL	Také to byl samotář (hlavně doma), hypochondr a sukničkář, a tak bych mohl nakonec porozumět jeho podivné zálibě ve focení tolika záhadných snímků – mnohé z nich byly nezaostřené, špatně zarovnané do rámu. Někdy fotil záhadné varianty či záběry zblízka, nohy a boty pochodující nahoru či dolů hledištěm, či rozmazané lidi, jak jdou ke svým autům na parkovišti, když zápas skončil.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	My family has no idea why my grandfather took so many of these mysterious photos. He had no aspiration to be an artist. He was a barber, the owner of two barbershops, and a veteran of WWII. He was also a recluse (at home), a hypochondriac and a womanizer, so maybe that’s where I can begin to understand his strange interest in taking so many puzzling photos---many were out of focus, and most were badly framed. Sometimes he shot enigmatic variances or close-ups like legs, shoes marching up or down the stands, or blurry people walking back to their cars, in the parking lot, after the event.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	My family has no idea why my grandfather took so many of these mysterious photos. He had no aspiration to be an artist. He was a barber, the owner of two barbershops, and a veteran of WWII. He was also a recluse (at home), a hypochondriac and a womanizer, so maybe that’s where I can begin to understand his strange interest in taking so many puzzling photos---many were out of focus, and most were badly framed. Sometimes he shot enigmatic variances or close-ups like legs, shoes marching up or down the stands, or blurry people walking back to their cars, in the parking lot, after the event.

  Divus | Národní sbírka ...  

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“ Špálovka: „Tito umělci by-li v minulosti placeni reklamní agenturou. “ Jako u Mikešů. I boty tam mají (Shoah, Pode Bal). Představitelé Galerie Václava Špály Edith Jeřábková obracejí naruby více věcí.

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También la recién abierta Špálovka habla, por medio de su comisario Pavel Humhal. Chatea con Guma Guar. Guma Guar: «Esta galería está pagada por una agencia de publicidad.» Špálovka: «Estos artistas en el pasado fueron pagados por una agencia de publicidad.» Como en el caso de los Mikeš. También tienen zapatos (Shoah, Podebal). Los representantes de la Galería de Václav Špála dan la vuelta a más cosas. Ponen a la galería en el rol del artista activista obligándola a reaccionar al arte expuesto, que ellos mismos han colocado. Y al mismo tiempo el artista, que encarna la galería, bajo el letrero podría firmar él mismo, tal como lo hizo Guma Guar. ¿O el pseudónimo en el activismo es kosher (Purista)? Otro concepto extrañamente deformado lo suele presentar el comisario con su primera exposición. El arte puede utilizar medios y procedimientos de la publicidad, y viceversa, pero en lo que se diferencian ambos dominios, y deberían hacerlo, son en su función y su objetivo. Esto es lo que Pavel Humhal se esfuerza en desmentir con la exposición en Špálovka. Sin embargo no puede justificarse ni siquiera con que a partir de ello crea un concepto. El hecho de que el comisario haya convertido el arte en publicidad sin duda es una osadía, pero el resultado es bastante pobre. Además la exposición no resuelve en absoluto la problemática de la relación complicada entre la publicidad y el arte y por tanto se queda sólo en la manifestación de una estrategia en primer plano que debe defender la unión entre el inversor y la dirección de la galería. No me opondría en absoluto si el comisario abusara del arte para algo coherente, pero si es para un lamento en las ventanas de las oficinas de publicidad sabe mal por algunos artistas. Más radical sería mostrar el espacio reconstruido vacío de Špálovka, que en sí mismo sería un buen anuncio. No pido ninguna piedad, pero no entiendo por qué he de salir de la galería como de una tienda en liquidación de la que, además, no me llevo nada a casa. Solo una niebla de rayas rojas ante los ojos.

  Divus | Balonkový fetiš...  

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Latex má totiž důležité dotekové a pachové vlastnosti, které jsou potřeba pro dosažení pravého fetišistického vzrušení. Většina klasických fetišů — z nichž nejoblíbenější jsou boty nebo chodidla, kůže a spodní prádlo — mají charakteristický pach nebo na dotek evokují silné emocionální a psychické reakce.

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Doug has an almost anthropomorphic identification with balloons. The balloon is a lover or a friend. Some guys literally fuck balloons. One young straight looner likes to wrap long thin clown-type balloons around his cock and use the hole like a pussy. Jeff has seen gay men press their cocks between the inflated ears of a Mickey-Mouse-type balloon and “fuck” it. Walt Disney must be spinning in his grave. Buster Steve, a 38-year-old married gay architect, uses the nozzle as an orifice. In Steve’s case, the entire inflated balloon becomes like a big translucent body, and the nozzle is a tight vagina, mouth, or asshole.

  Divus | Soňa Goldová  

Show textShow cached sourceOpen source URL	Náhlé zostření pozornosti vůči předmětnosti působilo svěže a navíc i zkušeně. Goldová se netrápila tím, co aparát nabízí, pouze před objektiv shromáždila věci denní potřeby: boty, audiokazety, deky, talíře aj.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	It is clear at first glance that Goldová has opted for computer manipulation of digital photography. Here, she doesn’t offer a completely illusive diffusion. Rather, she simply set one image next to another, and toned down any sharp boundary between them. This results in fictitious scenery with distorted perspective. The quality of these photographs is dependant on the subtle degrees with which Goldová juggles between ideas that are impossible and passibly possible. Namely, on one photograph there are shadows cast by nothing. To discover these we have to exert a certain effort. In another image we see a city neighborhood juxtaposed with an industrial zone – a combination at once of extremes and also of familiarity.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Her first photographic series, entitled Ze života (From Life, 2002) came immediately after her last phase of not too expressive, lyrical abstract painting. She suddenly intensified subjectivity in refreshing and experienced ways. Goldová did not shy from what the camera offered, but simply collected and placed before the lens used mundane items — shoes, audiocasettes, blankets and plates. From that pile, heaped as if she wanted to clean it all, there formed model landscapes complete with hills, houses or eskimo igloos. Such a city is one that children build when they don’t have a real model house, but wish to play. In this case it served only for photographing, it could have served as acknolwedgement and maybe even to determine that as the same children we work on a 1:1 scale. Let us take a segment of landcape, and affix something to it. What’s more, we haven’t got the power and we can be grateful for it. Someday we might examine the cultural landscape as a model that we build from many sides; for that we’d need an unbelievable amount of glue to somehow all hold it together.

  Divus | Metropole tich...  

Show textShow cached sourceOpen source URL	Co si tedy máme myslet o díle Toto není Nike, o detailu boty s ironickým, protikonzumním sloganem, jenž v jednom okamžiku připomíná Magrittovo dílo Toto není dýmka, které samo o sobě poukazuje na defektnost vztahu mezi jazykem a reprezentací skutečnosti?
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Amae’s last exhibition, titled Computer Generated Photography, in Gallery Michel Rein in Paris attempts to avoid the urge to perceive things one way: “People seem to have forgotten that these are synthetic pictures, although they already understood and got accustomed to my artistic methods.” That is why Amae comes with clearly virtual landscapes, to shake up the public without feeling the necessity to justify himself because of this, as for example in Pro Drome II., where in the foreground we see the famous shoe, set in a moonscape.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Amae’s images create some kind of loop, which plays with reality as an expression, while the viewer has the impression that the deviations are in fact more trustworthy than the absurd omnipresence of the real world. The artist investigates the phenomenon of shift, some kind of a fairy tale space “between two worlds,” a kind of pause to think about the picture, when all the senses convulse, as if in some hidden parallel world, where everything seems so “normal,” but where we look for the errors and imperfections that are involuntarily included in this system. If we proceed from the assumption that the photography cannot be “true,” as claims Andreas Gursky, who focused in his work on the perspective of non-existing places and on manipulation through informatics, the more we have to develop artistic worlds, says Amae. He himself pauses to think about this principle, and then specifies that “the truth doesn’t lie in the trial, but in the testimony of presence in the given moment.” Thus he avoids the physical limitation of “being in a place,” and reverses the perception of photographic patterns and methods.

  Divus | Metropole tich...  

Show textShow cached sourceOpen source URL	Co si tedy máme myslet o díle Toto není Nike, o detailu boty s ironickým, protikonzumním sloganem, jenž v jednom okamžiku připomíná Magrittovo dílo Toto není dýmka, které samo o sobě poukazuje na defektnost vztahu mezi jazykem a reprezentací skutečnosti?
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Amae’s images create some kind of loop, which plays with reality as an expression, while the viewer has the impression that the deviations are in fact more trustworthy than the absurd omnipresence of the real world. The artist investigates the phenomenon of shift, some kind of a fairy tale space “between two worlds,” a kind of pause to think about the picture, when all the senses convulse, as if in some hidden parallel world, where everything seems so “normal,” but where we look for the errors and imperfections that are involuntarily included in this system. If we proceed from the assumption that the photography cannot be “true,” as claims Andreas Gursky, who focused in his work on the perspective of non-existing places and on manipulation through informatics, the more we have to develop artistic worlds, says Amae. He himself pauses to think about this principle, and then specifies that “the truth doesn’t lie in the trial, but in the testimony of presence in the given moment.” Thus he avoids the physical limitation of “being in a place,” and reverses the perception of photographic patterns and methods.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Amae’s images create some kind of loop, which plays with reality as an expression, while the viewer has the impression that the deviations are in fact more trustworthy than the absurd omnipresence of the real world. The artist investigates the phenomenon of shift, some kind of a fairy tale space “between two worlds,” a kind of pause to think about the picture, when all the senses convulse, as if in some hidden parallel world, where everything seems so “normal,” but where we look for the errors and imperfections that are involuntarily included in this system. If we proceed from the assumption that the photography cannot be “true,” as claims Andreas Gursky, who focused in his work on the perspective of non-existing places and on manipulation through informatics, the more we have to develop artistic worlds, says Amae. He himself pauses to think about this principle, and then specifies that “the truth doesn’t lie in the trial, but in the testimony of presence in the given moment.” Thus he avoids the physical limitation of “being in a place,” and reverses the perception of photographic patterns and methods.

  Divus | Border Art - So...  

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To je případ kubánské umělkyně Coco Fusco, která dává přednost účasti na veřejných manifestacích a práci v nevládních organizacích a jako svou platformu používá web, na němž on line realizuje protestní akce. V mezních polohách umělecké produkce se nacházejí díla jako je Flames Maquiladora Carlose Amoralese, v němž vyzval Evropany, aby vyráběli boty pro bojovníky.

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VI. Con la intención de generar un uso social de las redes de comunicación, un proceso que implica la propia elaboración de representación por parte de los involucrados, distintos proyectos artísticos ofrecen la posibilidad de mantener la cohesión a través del uso del video como herramienta para registrar historias de vida. Maquilapolis es un video documental realizado por mujeres que trabajan en las maquiladoras de Tijuana. El proyecto es una iniciativa entre la cineasta Vicky Funari y el artista Sergio De La Torre, que funciona a través de un grupo de activistas comunitarias que promueven el uso de cámaras de video digitales. En talleres se ofrecen clases de técnicas de cine, grabación de sonidos, y diferentes maneras de contar una historia empleando el medio documental. El efecto de este tipo de estrategias artísticas da lugar a que el intercambio de experiencias y ficciones convierta a las personas en cronistas de su propia realidad.

  Divus | Obrázky z výsta...  

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Boty pro Evropu (2002) od Pavla Braily prý vypovídají o rozdílech mezi Východem a Západem a vznikly v potu každodenní pouti světem právě proto, aby tyto diference a nový mýtus transnacionální identity zachytily v subjektivně fragmentovaném čase.

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It is those allusive things, that have grace and maintain an amused distance, that tend to be the best art, anyway. Actually, I find everything anchored outside tangible reality attractive. At least those appearing with surprise and that start as quickly as they end – like those five thirty second micro-stories on midi-screens continuously running in the space, changing into signal colors that Eija-Liisa Ahtila plugged in for us. The Present (2001) depicts crawling on one’s knees, lying down in a puddle, demolishing wardrobes and several other strange activities all presented by women. And I wouldn’t need to know that it is a reflection of psychotic states of mind. It’s enough to know how it works in the space, changes itself, mingles, shifts, surprises or is poignant, fragile, exact, alive... yes, Eija-Liisa, great!

  Divus | Nazí v post-sov...  

Show textShow cached sourceOpen source URL	Je umělcem žijícím a tvořícím v Sovětském svazu – jednotlivcem, beroucím na senbe všechny zločiny spáchané svou vlastí. Takový sebekritický přístup umělce přerůstá v pokoření: u jeho ztotožnění se s rohožkou si můžete vybrat: buď ho překročit, nebo si o něj otřít boty.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	In one performance made for the show After the Wall (1999), and repeated for Sao Paolo Biennial (2002), Sargsyan fell to the ground in front of the door and became a doormat inscribed with the word WELCOME. Within the exhibitions’ context, through his lowered status, the artist identified with the Soviet Union, all of its mistakes and sins, as it attempts to make contact with civilization. This is an artist living and creating in the Soviet Union — an individual bearing all the crimes committed by this country. Such a self-critical approach by the artist grows into one of humiliation: he identifies with a doormat which somebody can choose to
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	In one performance made for the show After the Wall (1999), and repeated for Sao Paolo Biennial (2002), Sargsyan fell to the ground in front of the door and became a doormat inscribed with the word WELCOME. Within the exhibitions’ context, through his lowered status, the artist identified with the Soviet Union, all of its mistakes and sins, as it attempts to make contact with civilization. This is an artist living and creating in the Soviet Union — an individual bearing all the crimes committed by this country. Such a self-critical approach by the artist grows into one of humiliation: he identifies with a doormat which somebody can choose to
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	In one performance made for the show After the Wall (1999), and repeated for Sao Paolo Biennial (2002), Sargsyan fell to the ground in front of the door and became a doormat inscribed with the word WELCOME. Within the exhibitions’ context, through his lowered status, the artist identified with the Soviet Union, all of its mistakes and sins, as it attempts to make contact with civilization. This is an artist living and creating in the Soviet Union — an individual bearing all the crimes committed by this country. Such a self-critical approach by the artist grows into one of humiliation: he identifies with a doormat which somebody can choose to

  Divus | Performance str...  

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org/, který spojuje více webcamů na jedné obrazovce, nebo velice zajímavý Unmovie, http://193.197.170.79/. Tato flashová aplikace naprogramovaná v jazyce Python umožňuje lidem komunikovat se zvláštními roboty, přičemž se komunikace stává spoluprací na společných básních.

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In the past, a number of other projects attempted to use chatting and other tools for simultaneous communication in a poetic way. There was, for example, Cosy Corner (http://www.cosycorner.org), which connected many webcams to one screen, or the very interesting Unmovie (http://193.197.170.79/). This flash application programmed in the language of Python allows people to communicate with special robots, which becomes a group effort to write a collective poem. The robots, or programs, work with the texts of well-known writers, singers and famous personalities. They actually allow us to creatively chat with them in their language. We find there, for example, the robot Jimi (Bob Dylan), which talks to us with the lyrics of Dylan songs or Drella, which is Andy Warhol, and with cyber-erotic seisha, a Japanese Geisha. From film there is Tark (Andrej Tarkovskij) and Dogen the Zen master from the 13th century who proffers his wisdom. The words, which appear during our discourse with these bots, automatically run the movies from the database, which creates something like a shared performance of the bots and people. Interestingly, the contact between robots and other users in this environment makes us hear only the words in our proximity, which imitates the

  Divus | Performance str...  

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org/, který spojuje více webcamů na jedné obrazovce, nebo velice zajímavý Unmovie, http://193.197.170.79/. Tato flashová aplikace naprogramovaná v jazyce Python umožňuje lidem komunikovat se zvláštními roboty, přičemž se komunikace stává spoluprací na společných básních.

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In the past, a number of other projects attempted to use chatting and other tools for simultaneous communication in a poetic way. There was, for example, Cosy Corner (http://www.cosycorner.org), which connected many webcams to one screen, or the very interesting Unmovie (http://193.197.170.79/). This flash application programmed in the language of Python allows people to communicate with special robots, which becomes a group effort to write a collective poem. The robots, or programs, work with the texts of well-known writers, singers and famous personalities. They actually allow us to creatively chat with them in their language. We find there, for example, the robot Jimi (Bob Dylan), which talks to us with the lyrics of Dylan songs or Drella, which is Andy Warhol, and with cyber-erotic seisha, a Japanese Geisha. From film there is Tark (Andrej Tarkovskij) and Dogen the Zen master from the 13th century who proffers his wisdom. The words, which appear during our discourse with these bots, automatically run the movies from the database, which creates something like a shared performance of the bots and people. Interestingly, the contact between robots and other users in this environment makes us hear only the words in our proximity, which imitates the

  Divus | Soňa Goldová  

Show textShow cached sourceOpen source URL	Náhlé zostření pozornosti vůči předmětnosti působilo svěže a navíc i zkušeně. Goldová se netrápila tím, co aparát nabízí, pouze před objektiv shromáždila věci denní potřeby: boty, audiokazety, deky, talíře aj.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Her first photographic series, entitled Ze života (From Life, 2002) came immediately after her last phase of not too expressive, lyrical abstract painting. She suddenly intensified subjectivity in refreshing and experienced ways. Goldová did not shy from what the camera offered, but simply collected and placed before the lens used mundane items — shoes, audiocasettes, blankets and plates. From that pile, heaped as if she wanted to clean it all, there formed model landscapes complete with hills, houses or eskimo igloos. Such a city is one that children build when they don’t have a real model house, but wish to play. In this case it served only for photographing, it could have served as acknolwedgement and maybe even to determine that as the same children we work on a 1:1 scale. Let us take a segment of landcape, and affix something to it. What’s more, we haven’t got the power and we can be grateful for it. Someday we might examine the cultural landscape as a model that we build from many sides; for that we’d need an unbelievable amount of glue to somehow all hold it together.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Her first photographic series, entitled Ze života (From Life, 2002) came immediately after her last phase of not too expressive, lyrical abstract painting. She suddenly intensified subjectivity in refreshing and experienced ways. Goldová did not shy from what the camera offered, but simply collected and placed before the lens used mundane items — shoes, audiocasettes, blankets and plates. From that pile, heaped as if she wanted to clean it all, there formed model landscapes complete with hills, houses or eskimo igloos. Such a city is one that children build when they don’t have a real model house, but wish to play. In this case it served only for photographing, it could have served as acknolwedgement and maybe even to determine that as the same children we work on a 1:1 scale. Let us take a segment of landcape, and affix something to it. What’s more, we haven’t got the power and we can be grateful for it. Someday we might examine the cultural landscape as a model that we build from many sides; for that we’d need an unbelievable amount of glue to somehow all hold it together.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Her first photographic series, entitled Ze života (From Life, 2002) came immediately after her last phase of not too expressive, lyrical abstract painting. She suddenly intensified subjectivity in refreshing and experienced ways. Goldová did not shy from what the camera offered, but simply collected and placed before the lens used mundane items — shoes, audiocasettes, blankets and plates. From that pile, heaped as if she wanted to clean it all, there formed model landscapes complete with hills, houses or eskimo igloos. Such a city is one that children build when they don’t have a real model house, but wish to play. In this case it served only for photographing, it could have served as acknolwedgement and maybe even to determine that as the same children we work on a 1:1 scale. Let us take a segment of landcape, and affix something to it. What’s more, we haven’t got the power and we can be grateful for it. Someday we might examine the cultural landscape as a model that we build from many sides; for that we’d need an unbelievable amount of glue to somehow all hold it together.

  Divus | Masochismus jak...  

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Částečné pudy jsou partyzány falocentrického systému, boří jej a ničí, sabotují a porážejí jej. Voyeur či fetišista zaměřený na vysoké boty se pohybují na satelitu, který už nekrouží kolem slunce falu.

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Anti-Oedipus is thus an anti-phallic work, a "tomb for Oedipus", as it is called in Félix Guattari’s La Révolution moléculaire (1977). The theory of organ machines endeavours to relativise not only the Oedipus complex but the whole primacy of the phallic organisation of part-objects as well. The theory of the wish-machine is therefore anti-Oedipal and anti-phallocratic, and thus amounts to a general theory of part-objects. Klein's analysis of the mouth-breast relationship carries over to other organ relationships, thus eroding the importance of the phallus. Part-objects are interpreted irrespective of their functionality for the totality of the whole object. Instead of totalisation, the whole object is conceived as diversity. The independent reality of the diverse part-objects replaces the integrating control of the phallus. The part-objects are allowed to develop independent relationships with reality. The phallus becomes one part-object among many other part-objects of equal status. The emancipation of part-objects is particularly clearly discernible in the art of the Surrealists. All organs, from hand to foot, from ear to mouth, from breast to leg, are isolated and multiplied. The isolation of part-objects, which amounts to the subjugation and rejection of the phallus, is logically followed by the multiplication of the organs. Instead of one body and one primordial object, the phallus, the wish-machine disintegrates into a multiplicity of organs. The multiplication of the organs is thus the result of the body without organs. The body without organs as a full organism without parts is contrasted with a multiplication of organs without bodies. This disintegration into part-objects and bodies without organs demolishes the frontier between the id and the ego, depriving the superego of power. The Freudian drive-model with its primacy of genital maturity and the hegemony of the phallus is criticised. Organ machines (wish-machines, part-objects) become conceivable that can be realised outside an "organismic" body or genital sexuality. The masochistic body is a body of this kind.

  Divus | Border Art - So...  

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To je případ kubánské umělkyně Coco Fusco, která dává přednost účasti na veřejných manifestacích a práci v nevládních organizacích a jako svou platformu používá web, na němž on line realizuje protestní akce. V mezních polohách umělecké produkce se nacházejí díla jako je Flames Maquiladora Carlose Amoralese, v němž vyzval Evropany, aby vyráběli boty pro bojovníky.

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En los extremos de la producción artística encontramos una pieza como Flames Maquiladora de Carlos Amorales, donde se invitaba a los europeos a manufacturar zapatos para luchadores, haciendo notar la distancia entre el público invitado a participar de una experiencia estética y la extrema explotación de las personas en zonas marginadas. Sin embargo, los espacios privilegiados para la exhibición de obras de arte como el museo y la galería se han convertido en lugares que no favorecen la reflexión crítica, una inauguración es susceptible de convertirse en centro de la frivolidad y el deseo de espectáculo; es claro que el sistema de arte aprovecha la coyuntura que los medios de comunicación han difundido sobre la angustia social y el renovado imaginario de la frontera como lugar donde ocurre “el mal”.