doba – -Translation – Keybot Dictionary

  Divus | Několik kroků k...  

Show textShow cached sourceOpen source URL	Einleitungszeit, Doba úvodu (Einleitungszeit, 1999)
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Einleitungszeit, Auranoise (Einleitungszeit, 2001-2)

  Divus | Několik kroků k...  

Show textShow cached sourceOpen source URL	Einleitungszeit, Doba úvodu (Einleitungszeit, 1999)
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Einleitungszeit w/ Sangredans, Auranoise (Ars Morta DVD, 2002)
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Einleitungszeit, Auranoise (Einleitungszeit, 2001-2)

  Divus | Hezká doba a vz...  

Show textShow cached sourceOpen source URL	Časopis Umělec 1998/2 >> Hezká doba a vzrušující sprostá slova (Harmonie 98)
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Zeitschrift Umělec 1998/2 >> Nice Period And Foul Language, Harmony 98

  Divus | Hezká doba a vz...  

Show textShow cached sourceOpen source URL	Hezká doba a vzrušující sprostá slova (Harmonie 98)
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Nice Period And Foul Language, Harmony 98

  Divus | Rituál zkrvaven...  

Show textShow cached sourceOpen source URL	BUTTHEAD: Je to báječná, halucinogenní doba...Cool
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Beavis: Uhm Hum hum The entire world just wants to blow up!
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Beavis: Uhm Hum hum The entire world just wants to blow up!

  Divus | Soukromé umění  

Show textShow cached sourceOpen source URL	Proč je tedy nyní vhodnější doba představovat současné umění a jaké umění podporujete?
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	So why then did you start collecting contemporary art?
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	So why then did you start collecting contemporary art?

  Divus | Nekonečný proce...  

Show textShow cached sourceOpen source URL	Přitahuje vás ta doba?
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Are all of your films short?

  Divus | Hezká doba a vz...  

Show textShow cached sourceOpen source URL	Časopis Umělec 1998/2 >> Hezká doba a vzrušující sprostá slova (Harmonie 98)
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Zeitschrift Umělec 1998/2 >> Nice Period And Foul Language, Harmony 98
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Revista Umělec 1998/2 >> Nice Period And Foul Language, Harmony 98

  Divus | Hezká doba a vz...  

Show textShow cached sourceOpen source URL	Hezká doba a vzrušující sprostá slova (Harmonie 98)
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Nice Period And Foul Language, Harmony 98
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Nice Period And Foul Language, Harmony 98

  Divus | Večeře s Olafem  

Show textShow cached sourceOpen source URL	Kdy si to člověk vlastně uvědomí? Myslím, že si to ještě neuvědomuji. Možná ne přesně; ale ve smyslu věcí, které už nezažiji. Například už nechodím na divoké večírky, to už je pryč. Nebo školní časy, doba studií, které už se nevrátí.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	When does one actually realize that? I think that I have yet to realize it. Maybe not exactly, in the sense of personal growth and maturity. For instance, I don’t go to wild parties anymore, that stage has passed. Or education, my school years and studies will not come back again.

  Divus | Soc-art  

Show textShow cached sourceOpen source URL	Zlatá doba soc-artově pojaté subverze nastoupila až v posledním desetiletí před koncem komunistických režimů, ale umělci tento žánr využívají dodnes. Úmyslná dezinterpretace nebo manipulace s ideologickými symboly se vyskytovala v akcích polské performerské skupiny Oranžová alternativa, která v osmdesátých letech pořádala velkolepé parodické oslavy výročí Říjnové revoluce.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	The absurdity of official propaganda was evident in Eastern Europe and in Russia. Many artists began using it as an efficient artistic tool. At the end of the 1940s and beginning of the 1950s, Czech author Egon Bondy wrote poetry combining official news reports and banal descriptions of everyday events. In the visual arts, the extreme socialist realism imported from the Soviet Union provided a great source of inspiration combining communist ideology and realistic kitsch. Socialist realism was almost perfect for mockery. American Pop art, which provided an important key as its strength, also stemmed from the combination of the uncombineable and from the tension between high art and symbols of consumer culture. Consumer goods, which were nonexistent in Eastern Europe, were substituted with ubiquitous propaganda stripped of its content. In mid-1960s, the Czech artist Milan Knížák made a symbol of a crossed sickle and hammer enriched with Pop hearts. In addition, Milan Kunc living in Germany used elements of Western comics and communist symbols in his paintings from the mid-1970s.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	The absurdity of official propaganda was evident in Eastern Europe and in Russia. Many artists began using it as an efficient artistic tool. At the end of the 1940s and beginning of the 1950s, Czech author Egon Bondy wrote poetry combining official news reports and banal descriptions of everyday events. In the visual arts, the extreme socialist realism imported from the Soviet Union provided a great source of inspiration combining communist ideology and realistic kitsch. Socialist realism was almost perfect for mockery. American Pop art, which provided an important key as its strength, also stemmed from the combination of the uncombineable and from the tension between high art and symbols of consumer culture. Consumer goods, which were nonexistent in Eastern Europe, were substituted with ubiquitous propaganda stripped of its content. In mid-1960s, the Czech artist Milan Knížák made a symbol of a crossed sickle and hammer enriched with Pop hearts. In addition, Milan Kunc living in Germany used elements of Western comics and communist symbols in his paintings from the mid-1970s.

  Divus | Tip zcca  

Show textShow cached sourceOpen source URL	Absenci v klíčových okamžicích. Tak se například stane, že při odjezdu se kočovník rozloučí s dítětem a po návratu ho přivítá mladá dáma. V určité fázi je vývoj dítěte až neuvěřitelně rychlý a i měsíce jsou velmi dlouhá doba.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	But frequently changing your location requires a completely different social behavior as well: emotional nongrasping, the ability to exist without the presence of loved ones (if there are any). Easily, routinely creating purposeful and other kinds of friendships that are hard to keep because of their number is also one of the necessary skills. So at the moment of farewell, unfinished dialogues (again always a surprise for all participating parties) break off, sometimes for years, decades, sometimes forever.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	But frequently changing your location requires a completely different social behavior as well: emotional nongrasping, the ability to exist without the presence of loved ones (if there are any). Easily, routinely creating purposeful and other kinds of friendships that are hard to keep because of their number is also one of the necessary skills. So at the moment of farewell, unfinished dialogues (again always a surprise for all participating parties) break off, sometimes for years, decades, sometimes forever.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	But frequently changing your location requires a completely different social behavior as well: emotional nongrasping, the ability to exist without the presence of loved ones (if there are any). Easily, routinely creating purposeful and other kinds of friendships that are hard to keep because of their number is also one of the necessary skills. So at the moment of farewell, unfinished dialogues (again always a surprise for all participating parties) break off, sometimes for years, decades, sometimes forever.

  Divus | Hvězda a Brána ...  

Show textShow cached sourceOpen source URL	Už minula doba, kdy Ryška na stěnu jedné olomoucké galerie nastříkal nápis Zasranej Izrael a pohoršil veřejnost tak, že jej kurátor musel zabílit. Tehdy pouze napadl instituci státu, aniž by to rozvedl a aniž by v citlivé kauze kohokoli označil za zdroj svého rozhořčení.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	It is as if just such cruelty never belonged among the rewarding public themes as a consequence of the never-ending spirals of cultural reflexes. But such cannot fail to be the ambivalence of contemporary work. Its importance is based on its connection, as well as its rejection — on the knowledge of its own and others’ value. At the same time, there is an acknowledgment of the worthlessness of the commodity. The beauty of contemporary work shows itself as a systemic gauge that is always positively connected with the system (connection being the basis of its identification). But as a consequence, it is itself
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	It is as if just such cruelty never belonged among the rewarding public themes as a consequence of the never-ending spirals of cultural reflexes. But such cannot fail to be the ambivalence of contemporary work. Its importance is based on its connection, as well as its rejection — on the knowledge of its own and others’ value. At the same time, there is an acknowledgment of the worthlessness of the commodity. The beauty of contemporary work shows itself as a systemic gauge that is always positively connected with the system (connection being the basis of its identification). But as a consequence, it is itself

  Divus | Joe Coleman  

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To mě tak rozčílilo, že jsem nakonec z vlastního rozhodnutí studium ukončil. Profesorům hodně vadila moje předmětná malba, protože tenkrát byla doba minimalistického umění. Předmětná malba mohla být jen jako ilustrace.

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Fue la decisión de un comité que se reúne cada semestre. Había tres jueces. Describieron mi trabajo domo fascista y esquizofrénico. Aún si yo fuera un esquizofrénico… ¿que tendría eso que ver con el arte? El término “fascista”… quiero decir, tenemos un comité de revisión que va a decidir si mi obra tiene algún valor artístico… ¡Dicen que yo soy el que supuestamente es fascista!. Esto provocó en mi una reacción de rabia, así que tomé venganza. Se volvió imposible continuar. En ese tiempo había una reacción en contra del arte figurativo en general. Las obras minimalistas eran las únicas que se respetaban en ese entonces. El arte figurativo se reducía a la ilustración.

  Divus | EGONIÁŠOVO PROR...  

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Stejně jako se do nich servilně sápalo před převratem. Nová doba vodstartuje krysí dostihy, kdo dřív urve větší porci slávy, peněz a privilegií. Nejžádanějšíma devízama budou cynismus, bezproblémovost a přízpůsobivost.

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—No lo será. Se subirá a la espalda de todos los posibles lisiados y sublisiados al oeste de la República. Igual que se arrojaba servilmente a ellos antes de la revolución. La nueva época iniciará carreras de ratas, a ver quién arranca antes una porción de fama, dinero y privilegios. Las divisas más pedidas serán el cinismo, la falta de problemas y la adaptabilidad. Se darán premios no demasiado generosos (más bien limosnas decentes), que se convertirán en el criterio autoritativo de la calidad artística. Igualmente será decisivo el número de veces que se ha expuesto en Nueva York, en la Bienal de Venecia, en Londres o en otro lugar. El premio más prestigioso será el vuestro —rechaza así Bondy la afirmación de Chalupický y Šimotová.

  Divus | Sylvie Vondřejc...  

Show textShow cached sourceOpen source URL	Proti většině z nich ani neprotestujeme, protože jsou nám dány hned na začátku a jsme na ně vlastně už zvyklí. Pohlaví, národnost, vzhled, doba do které jsme se narodili i smrt je snad poslední událost, která se v našem životě stane, aniž bychom ji mohli ovlivnit.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	However logical and straightforward Sylvie Vondřejcová’s way might seem, she admits that she goes through a period of doubt after she finishes each project. She is not sure whether conceptual art, which often relies on communication through images, is understandable for viewers if unaccompanied by explanatory texts. Despite this, or perhaps precisely for this reason, she wants to reach out to touch its borders.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	However logical and straightforward Sylvie Vondřejcová’s way might seem, she admits that she goes through a period of doubt after she finishes each project. She is not sure whether conceptual art, which often relies on communication through images, is understandable for viewers if unaccompanied by explanatory texts. Despite this, or perhaps precisely for this reason, she wants to reach out to touch its borders.

  Divus | Sylvie Vondřejc...  

Show textShow cached sourceOpen source URL	Proti většině z nich ani neprotestujeme, protože jsou nám dány hned na začátku a jsme na ně vlastně už zvyklí. Pohlaví, národnost, vzhled, doba do které jsme se narodili i smrt je snad poslední událost, která se v našem životě stane, aniž bychom ji mohli ovlivnit.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Life is composed of a number of things we’re unable to influence. We don’t even fight most of them because they were given to us right from the start and we’ve actually gotten used to them. Gender, nationality, appearance and the time we are born into are the most dominant ones. Death is the last event in our lives which we are unable to influence. The final draw from the lottery of fate.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Life is composed of a number of things we’re unable to influence. We don’t even fight most of them because they were given to us right from the start and we’ve actually gotten used to them. Gender, nationality, appearance and the time we are born into are the most dominant ones. Death is the last event in our lives which we are unable to influence. The final draw from the lottery of fate.

  Divus | Was ist Kunst (...  

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Ano, jak by ne, to byla doba neustálých diskusí o umění. A když to nebylo v SKC, tak jsme se scházeli doma, když ne doma, tak v kavárnách. No a jaké byly ty rozhovory? Byla v nich i romantická naivita.

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Yes, of course, that was a time of constant discussions about art. If it wasn’t in SKC, then we would gather in our homes, if not in our homes, then in pubs. And now you might ask what those discussions were like? One could hear romantic naivetes, too. Then it was also related to our trips and the talk of what we saw where, who we met with, and so on. It was a kind of limb from which all of us grew up, however we could under the circumstances.

  DIVUS  

Show textShow cached sourceOpen source URL	Vznikla s potřebou obohatit se o umělecké aspekty vyprávění, lineárnosti a dramatických kategorií, které miluji a které se do obrazů prostě nechci míchat. Jak už jsem zmiňoval, nejsem přítelem mezioborových mutací. Mám rád čistou hru v jasně vymezených, klasických mantinelech. Je pravda, že dnešní doba přináší i v…
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	"Film Tetralogy — theory The making of a videofilm is a continual part of my work. It came about through the need to enrich the artistic aspects of storytelling, linearity and dramatic categories which I love and which I simply do not want to mix into painting or pictures. As I mentioned earlier, I am no friend of inter-field hybrid mutations. I like a fair game played by the rules in clearly…

  Divus | V přímém přenosu  

Show textShow cached sourceOpen source URL	Komentář pořadu: “Malíři (Sadeckého) na slovo poslouchají. Ostatně zrovna je doba, kdy je v módě koukat se na Západ a prodávat se raději za hranicemi než doma. Prorazit do světa, v kterém se vůbec nemluví o žádném svědomí umělce ke společnosti, kde je volnost tvůrčí práce a kde se nikdo nikoho neptá, zda to či ono se slučuje s morálkou nebo vkusem. Vkus nevkus, kýč nekýč a jakápak socialistická morálka, jen když to sype a na kontech budou místo korun marky, libry nebo dolary. Tak kreslí bez zábran a všechno. Jen aby prorazili. Aby se proslavili v západních kruzích. Navíc Petr Sadecký spěchá: Teď, právě teď je příhodná doba prorazit na západní trhy. Bůhví jak to bude třeba za rok.”
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	The commentary for the program said: “The painters obeyed [Sadecký] completely. We live in a time when it’s fashionable to look up to the West and sell behind the borders rather than at home; to break through in a world where they don’t talk about the artist’s consciousness related to society, where freedom of creation rules and nobody asks anybody whether this or that corresponds with morale or taste. ‘Kitsch or not, taste or not; forget about socialist morale, so long as it makes money and the accounts fill up with marks, pounds and dollars instead of crowns.’ So they drew without constraint, just to make it there, to be famous in Western circles. And Sadecký is in a hurry: ‘Now is the time to make it in the Western markets. God knows what will happen next year.’”
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	The commentary for the program said: “The painters obeyed [Sadecký] completely. We live in a time when it’s fashionable to look up to the West and sell behind the borders rather than at home; to break through in a world where they don’t talk about the artist’s consciousness related to society, where freedom of creation rules and nobody asks anybody whether this or that corresponds with morale or taste. ‘Kitsch or not, taste or not; forget about socialist morale, so long as it makes money and the accounts fill up with marks, pounds and dollars instead of crowns.’ So they drew without constraint, just to make it there, to be famous in Western circles. And Sadecký is in a hurry: ‘Now is the time to make it in the Western markets. God knows what will happen next year.’”
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	The commentary for the program said: “The painters obeyed [Sadecký] completely. We live in a time when it’s fashionable to look up to the West and sell behind the borders rather than at home; to break through in a world where they don’t talk about the artist’s consciousness related to society, where freedom of creation rules and nobody asks anybody whether this or that corresponds with morale or taste. ‘Kitsch or not, taste or not; forget about socialist morale, so long as it makes money and the accounts fill up with marks, pounds and dollars instead of crowns.’ So they drew without constraint, just to make it there, to be famous in Western circles. And Sadecký is in a hurry: ‘Now is the time to make it in the Western markets. God knows what will happen next year.’”

  Divus | Večeře s Olafem  

Show textShow cached sourceOpen source URL	První fáze mé práce je definitivně pryč. Na konci devadesátých let byla má práce nahlížena kvůli flirtování s novogotikou a odkazy k hororovým filmům. Tahle doba je už minulostí, „hororového Breuninga“ jsem se musel někdy zbavit.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	The first phase of my work is definitely done. At the end of the nineties, my work was noticed because of my flirtations with the New Gothic and references to horror movies. But this phase has passed and I had to get rid of “horror Breuning”.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	My earlier works were in the tradition of multimedia installations. They were attempts to completely occupy the space. I think that in recent years big changes have occurred.

  Divus | V přímém přenosu  

Show textShow cached sourceOpen source URL	Komentář pořadu: “Malíři (Sadeckého) na slovo poslouchají. Ostatně zrovna je doba, kdy je v módě koukat se na Západ a prodávat se raději za hranicemi než doma. Prorazit do světa, v kterém se vůbec nemluví o žádném svědomí umělce ke společnosti, kde je volnost tvůrčí práce a kde se nikdo nikoho neptá, zda to či ono se slučuje s morálkou nebo vkusem. Vkus nevkus, kýč nekýč a jakápak socialistická morálka, jen když to sype a na kontech budou místo korun marky, libry nebo dolary. Tak kreslí bez zábran a všechno. Jen aby prorazili. Aby se proslavili v západních kruzích. Navíc Petr Sadecký spěchá: Teď, právě teď je příhodná doba prorazit na západní trhy. Bůhví jak to bude třeba za rok.”
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	The commentary for the program said: “The painters obeyed [Sadecký] completely. We live in a time when it’s fashionable to look up to the West and sell behind the borders rather than at home; to break through in a world where they don’t talk about the artist’s consciousness related to society, where freedom of creation rules and nobody asks anybody whether this or that corresponds with morale or taste. ‘Kitsch or not, taste or not; forget about socialist morale, so long as it makes money and the accounts fill up with marks, pounds and dollars instead of crowns.’ So they drew without constraint, just to make it there, to be famous in Western circles. And Sadecký is in a hurry: ‘Now is the time to make it in the Western markets. God knows what will happen next year.’”
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	The commentary for the program said: “The painters obeyed [Sadecký] completely. We live in a time when it’s fashionable to look up to the West and sell behind the borders rather than at home; to break through in a world where they don’t talk about the artist’s consciousness related to society, where freedom of creation rules and nobody asks anybody whether this or that corresponds with morale or taste. ‘Kitsch or not, taste or not; forget about socialist morale, so long as it makes money and the accounts fill up with marks, pounds and dollars instead of crowns.’ So they drew without constraint, just to make it there, to be famous in Western circles. And Sadecký is in a hurry: ‘Now is the time to make it in the Western markets. God knows what will happen next year.’”
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	The commentary for the program said: “The painters obeyed [Sadecký] completely. We live in a time when it’s fashionable to look up to the West and sell behind the borders rather than at home; to break through in a world where they don’t talk about the artist’s consciousness related to society, where freedom of creation rules and nobody asks anybody whether this or that corresponds with morale or taste. ‘Kitsch or not, taste or not; forget about socialist morale, so long as it makes money and the accounts fill up with marks, pounds and dollars instead of crowns.’ So they drew without constraint, just to make it there, to be famous in Western circles. And Sadecký is in a hurry: ‘Now is the time to make it in the Western markets. God knows what will happen next year.’”

  Divus | Ostrov v bažinách  

Show textShow cached sourceOpen source URL	S využitím zkušeností a kontaktů, které obě umělkyně lety nasbíraly, se již vynakládá úsilí tímto směrem. “Nyní je jiná doba,” říká Bromová. “Už není možné sedět ve svém bytě a dělat si svou práci. Je to změna myšlení, když přestanete pracovat pro sebe a začnete pracovat pro druhé.”
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Veronika Bromouvá, the other half of the duo, makes it clear why she wants to do a gallery despite the fact that she already has a full plate being a multimedia artist and head instructor of the New Media II studio at Prague’s Academy of Fine Arts. “What was open at the beginning of the 90s is not so open now,” Bromouvá says. “There is a bad feeling here, and we would like to work against this.” She envisions this also on a larger scale. One of the missions of the gallery will be to work beyond the borders of the country. Though the program for the first year is not entirely ironed out yet, they plan to have an international selection of artists. The gallery will create conceptual exhibitions that will include artists from this country and artists from abroad. One of the more interesting longterm goals of the gallery will be to form an international inter-linked web of like-minded galleries called HOMEnet, which will pass along quality shows, possibly for years at a time. Using the experience and connections the two artists have accumulated over the years some effort is already being made in this direction. “The time is different now,” Bromouvá says. “It’s no longer possible to sit in your apartment and do your work. It’s a change of mind, when you stop working for yourself and you begin working for others.”
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Veronika Bromouvá, the other half of the duo, makes it clear why she wants to do a gallery despite the fact that she already has a full plate being a multimedia artist and head instructor of the New Media II studio at Prague’s Academy of Fine Arts. “What was open at the beginning of the 90s is not so open now,” Bromouvá says. “There is a bad feeling here, and we would like to work against this.” She envisions this also on a larger scale. One of the missions of the gallery will be to work beyond the borders of the country. Though the program for the first year is not entirely ironed out yet, they plan to have an international selection of artists. The gallery will create conceptual exhibitions that will include artists from this country and artists from abroad. One of the more interesting longterm goals of the gallery will be to form an international inter-linked web of like-minded galleries called HOMEnet, which will pass along quality shows, possibly for years at a time. Using the experience and connections the two artists have accumulated over the years some effort is already being made in this direction. “The time is different now,” Bromouvá says. “It’s no longer possible to sit in your apartment and do your work. It’s a change of mind, when you stop working for yourself and you begin working for others.”
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Veronika Bromouvá, the other half of the duo, makes it clear why she wants to do a gallery despite the fact that she already has a full plate being a multimedia artist and head instructor of the New Media II studio at Prague’s Academy of Fine Arts. “What was open at the beginning of the 90s is not so open now,” Bromouvá says. “There is a bad feeling here, and we would like to work against this.” She envisions this also on a larger scale. One of the missions of the gallery will be to work beyond the borders of the country. Though the program for the first year is not entirely ironed out yet, they plan to have an international selection of artists. The gallery will create conceptual exhibitions that will include artists from this country and artists from abroad. One of the more interesting longterm goals of the gallery will be to form an international inter-linked web of like-minded galleries called HOMEnet, which will pass along quality shows, possibly for years at a time. Using the experience and connections the two artists have accumulated over the years some effort is already being made in this direction. “The time is different now,” Bromouvá says. “It’s no longer possible to sit in your apartment and do your work. It’s a change of mind, when you stop working for yourself and you begin working for others.”

  Divus | Nezávislé umění...  

Show textShow cached sourceOpen source URL	Joseph Beuys, jeden z nejproduktivnějších a nejvlivnějších umělců dvacátého století, získával nadšence po celé Evropě díky myšlenkám a konceptům, jako byla sociální skulptura a ekologická politika. Byla to také doba, kdy umělci opouštěli bílé krychle, aby vstoupili do přirozené krajiny a realizovali svá díla v přírodě.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	So, what could be the possible reasons for our interest in the Seventies? The contemporary understanding of the role of art is changing towards a renewed autonomy of art on one side and socially and politically engaged art on the other, both through distancing themselves from the idea of art as ‘imaginative stimulation’.iii The contemporary artist as ‘alternative knowledge producer’ is involved in producing, mediating, and exchanging alternative models and dealing with issues that are marginalised in mainstream culture and politics. Not only artists, but curators and art theorists have also taken a lead in the reorientation of art to confront the global social and political context.iv If terrorism and torture, inequality and unsustainable living are the pressing questions of our time, then advertising, media, consumerism, Hollywood and Young British Art are not offering any solutions. Are we instead to look to the art of the Seventies for the key to go beyond materialism? Undoubtedly, the reawakening of concern about the threat posed by international politics and the global capitalism to nature and society has encouraged a return to the radical ideas and practices of the artistic avant-garde of the 1970s.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	So, what could be the possible reasons for our interest in the Seventies? The contemporary understanding of the role of art is changing towards a renewed autonomy of art on one side and socially and politically engaged art on the other, both through distancing themselves from the idea of art as ‘imaginative stimulation’.iii The contemporary artist as ‘alternative knowledge producer’ is involved in producing, mediating, and exchanging alternative models and dealing with issues that are marginalised in mainstream culture and politics. Not only artists, but curators and art theorists have also taken a lead in the reorientation of art to confront the global social and political context.iv If terrorism and torture, inequality and unsustainable living are the pressing questions of our time, then advertising, media, consumerism, Hollywood and Young British Art are not offering any solutions. Are we instead to look to the art of the Seventies for the key to go beyond materialism? Undoubtedly, the reawakening of concern about the threat posed by international politics and the global capitalism to nature and society has encouraged a return to the radical ideas and practices of the artistic avant-garde of the 1970s.

  Divus | Soc-art  

Show textShow cached sourceOpen source URL	Zlatá doba soc-artově pojaté subverze nastoupila až v posledním desetiletí před koncem komunistických režimů, ale umělci tento žánr využívají dodnes. Úmyslná dezinterpretace nebo manipulace s ideologickými symboly se vyskytovala v akcích polské performerské skupiny Oranžová alternativa, která v osmdesátých letech pořádala velkolepé parodické oslavy výročí Říjnové revoluce.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Soc-art was created in the USSR at the beginning of the 1970s. The most significant representatives of this trend included Komar and Melamid, Alexander Kosolapov and Leonid Sokov (all of whom claim they had no clue Octobriana existed). At the end of the 1970s, the case of artist Vyacheslav Sysoyev met with great response among Moscow avantgarde circles. He made several comics of a strong political and satirical nature. In one of his stories called “Hammer and Sickle,” these symbols of the union between farmers and workers had sex. The police got hold of the comics and jailed the artist for several years. Sysoyev was an exception among artists. In the Leonid Brezhnev years it was particularly writers and poets who were sent to jail, not visual artists. Malcolm Mclaren, later manager of Sex Pistols, came up with a special show for the punk band New York Dolls in 1975. In the concert The Red Show, the band members were dressed in red leather and red clothes against a background of red curtain with a hammer and sickle.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	The absurdity of official propaganda was evident in Eastern Europe and in Russia. Many artists began using it as an efficient artistic tool. At the end of the 1940s and beginning of the 1950s, Czech author Egon Bondy wrote poetry combining official news reports and banal descriptions of everyday events. In the visual arts, the extreme socialist realism imported from the Soviet Union provided a great source of inspiration combining communist ideology and realistic kitsch. Socialist realism was almost perfect for mockery. American Pop art, which provided an important key as its strength, also stemmed from the combination of the uncombineable and from the tension between high art and symbols of consumer culture. Consumer goods, which were nonexistent in Eastern Europe, were substituted with ubiquitous propaganda stripped of its content. In mid-1960s, the Czech artist Milan Knížák made a symbol of a crossed sickle and hammer enriched with Pop hearts. In addition, Milan Kunc living in Germany used elements of Western comics and communist symbols in his paintings from the mid-1970s.

  Divus | ZABIJU TĚ  

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Klackovská léta mezi tím jsou pravděpodobně nejtěžší dobou v životě většiny Američanů. Je to doba, kdy ještě nejste dospělí, ale dospělí kolem s vámi stále zacházejí jako s dětmi. Neberou vážně vaše názory a jejich zásadní úlohou je střežit vaše chování a vaši sexualitu.

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I initially never intended to make much mention of Ronald Reagan in this article, but since he reappeared in the news while I was writing it, this time as a corpse, it suddenly dawned on me how inseparable he was from the decade I’m primarily addressing here. Under Reagan’s presidency, America saw the rise of a virulent strain of conservativism, one that ultimately “destroyed America’s sense of reality,” in the words of political commentator Tom Carson. “Facts are stupid things,” President Reagan once said, although no one is quite sure whether this was before or after the Alzheimer’s kicked in. It was in the early days of Reagan that the homeless began to appear in growing numbers on the streets of American cities, an early sign of the slow process of turning over the functions of the federal government to companies through such ideas as privatization. Reagan practically initiated the concept of turning social welfare over to charitable foundations. All of this was accomplished with the glue of anti-Communism, a shared bond that tied otherwise quarreling factions together—the libertarian-minded Republicans, the anti-feminist crusaders, the Christian fundamentalists. It was during this decade that the divisions between rich and poor, white and black, straight and gay, seemed to grow. Crack-cocaine suddenly started appearing in poor black ghettos. A new virus called AIDS raged, destroying numerous lives, while President Reagan remained silent on the topic throughout the course of his presidency. People started talking about “family values.” Children were obliged to take “drug abuse resistance education” classes in school, where they were taught about the evils and dangers of smoking marijuana, drinking alcohol, and engaging in premarital sex (homosexuality, of course, was never mentioned.) All of this, of course, attests to the greatness of Reagan and his Moral Majority, who were indeed the genesis of the current Bush administration.

  Divus | Metropole tich...  

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Technologický pokrok se přibližuje chvíli, kdy počítačová myš nahradí malířský štětec a počítačová obrazovka s úhlopříčkou 48 cm vytlačí malířský stojan. Pomalu nastává doba abstraktních děl s plošně položenou barvou (jako od Jeremyho Blakea) nebo virtuálních “high-tech” grafických světů od autorů, jakým je Amae.

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virtual “high/tech” graphic worlds (like Amae’s), is coming. Ryuta Amae only archives his sketches and drafts for two or three months. During this time, he zealously creates an environment, which, with the help of exact mathematical data, reproduces the reality “more realistically than is the reality itself.” “Photomontage doesn’t interest me. It is only a sophisticated version of handmade collage,” explains Amae, who creates a perfect world, some kind of 3-D models, 90 percent of which is fictitious material. For these ideal microcosms, he chooses a particular point of view, which is the only analogy between Amae’s work and photographic methods. The virtual negative becomes a large-format, 2-D image, usually 2 x 2 m. The influence of Japanese culture can be recognized in his foolish grandeur, and in his placement of megalomaniac architectonic constructions into empty space, as, for example, in Fiction. This work is a bluish specter of fragmental architecture, unfinished cosmopolitan construction, unfolding urbanity. “Free of all weightlessness,” the steel construction of a metropolis of silence, which is disturbed from its structural rhythm.

  Divus | Hudba, jejíž ge...  

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Alvina Currana a Jona Rose jsem uvedl jako reprezentativní příklady nového hudebního myšlení, které přinesla postmoderní doba. Toto myšlení podrobuje kritické a zároveň exploatující redakci všechny poetické i technologické výdobytky poválečných uměleckých avantgard, orientovaných spíše inteligibilně a konceptuálně než senzibilně a esteticky.

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Я уже упоминал Алвина Куррана и Джона Роуза в качестве репрезентативных примеров нового музыкального мышления постмодернистской эпохи. Этот способ мышления подвергает все поэтические и технологические достижения послевоенного художественного авангарда критическому анализу и эксплуатации: такие технологические и поэтические достижения ориентированы скорее на интеллигибельность и концептуальность, а не на чувства или эстетику. Сонористский либерализм, неидиоматическая импровизация и живая интерактивная электроника за последние два десятилетия соединили два направления ориентации на жизнеспособный, вибрирующий, переменный, ризоматически неиерархический, эстетически привлекательный и по-прежнему недифференцируемый поток аудио-визуальных жестов, индивидуальных и коллективных, где стабильна только нестабильность. Это поток, в котором можно встретить и встречаются сами самые различные художники в неожиданных (но ещё предполагаемых) сочетаниях: Alvin Curran, Richard Teitelbaum, Christian Wolff, Yasunao Tone, Phill Niblock, Keith Rowe, John Tilbury, George Lewis, Butch Morris, Evan Parker, Jon Rose, Nicolas Collins, John Zorn, Fred Frith, Christian Marclay, David Shea, Bob Ostertag, Kronos Quartet, Miya Masaoka, Otomo Yoshihide, Merzbow, Toshimaru Nakamura, Günter Müller, Lawrence Casserley, Adam Bohman, Francisco Lopez, Phil Durrant, Kaffe Matthews, Jim O’Rourke, The Ex, Sonic Youth, Mike Patton, Alan Licht, Tony Buck, DJ Olive, Ikue Mori, z’ev, Alessandro Bosetti, Oren Ambarchi, Domenico Sciajno, Fennesz, Franz Hautzinger, Axel Dörner и многие другие личности, которые оставили и продолжают оставлять свой след на характере музыки последних десятилетий.

  Divus | "Houstone, máme...  

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Podle Haanstra (1999) většina účastníků do uměleckých kurzů „...přichází, aby se naučili malovat, a ne analyzovat umění. Z jejich pohledu je doba věnovaná analýze umění a jeho dějinám víceméně ztrátou času.

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Some social reasons like meeting new people were expected. However, from informal conversations with students, I realized that some of their reasons go even deeper. One initially puzzling observation was that the majority of my students were women, who represented at least 75% of each of my classes. Many of them were young mothers or were pregnant and very often fell into the process-oriented category. In some cases, two friends would join the class as their night out together without husbands and children. Their goal was usually to enjoy the evening, meet new people, and at the same time learn something new. Another example of an activity-oriented situation is a couple I once had - a busy businessman and his pregnant wife who joined the course in order to spend some quality time together. As an art educator, it’s one thing to be responsible for teaching basic art techniques and another to be responsible for someone’s only night out or a couple’s quality time together!

  Divus | Hvězda a Brána ...  

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Už minula doba, kdy Ryška na stěnu jedné olomoucké galerie nastříkal nápis Zasranej Izrael a pohoršil veřejnost tak, že jej kurátor musel zabílit. Tehdy pouze napadl instituci státu, aniž by to rozvedl a aniž by v citlivé kauze kohokoli označil za zdroj svého rozhořčení.

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Now he has completely entered the paradox: he has created socially ironic artifacts in the most “artifactual” form (a picture in a frame), which offers itself to the same thing that Ryška brought about in his other “colleagues.” Without Words can be considered an extraordinary cycle, because it is left to its own tender mercies. The sabotage is carried out not only as a representation, but the representation rushes in to sabotage itself.