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Ausgangssprachen Zielsprachen
Keybot 66 Ergebnisse  www.coldjet.com  Seite 2
  Divus | Kateřina  
3. Když se zamyslím nad tím, jak bych si představovala ideální prezentaci mých věcí, napadají mě dvě možnosti. Jedna z nich je, že budu jenom vyprávět příběhy a přitom z kapsy jako důkaz vytáhnu třeba tašku ze salámů.
When I think about the ideal presentation of my pieces, I can think of two possibilities. One of them is to tell stories during which I might, say, pull out a bag made of salami skins as a form of evidence. The other is to direct my efforts towards their natural environment, i.e. to disseminate the game There is Nothing There in other villages, to show my grandmother’s drawings to her friends or in an old people’s home.
  Divus | Lhář nebo genius  
Odpoledne, když se všichni shromáždili pod věží, našli orloj nedokončený. Všude se válely kusy přístrojů neuvěřitelných tvarů, plné důkazů zručnosti. Pomocníci a radní nešťastně rozhazovali rukama a křivili rozpačitě tváře, hledíc na mistra, zda celou situaci vysvětlí.
"Rarely does an artist succeed in creating an exhibition in the exact meaning of the word “create.” The word “succeed” is also significant here. Those who wished to experience a metaphor for a personal, creative and mental breaking point may have gone to see the exhibition Sory by Petr Pisařík. Some people, however, didn’t believe it, and considered the exhibition art.
"Rarely does an artist succeed in creating an exhibition in the exact meaning of the word “create.” The word “succeed” is also significant here. Those who wished to experience a metaphor for a personal, creative and mental breaking point may have gone to see the exhibition Sory by Petr Pisařík. Some people, however, didn’t believe it, and considered the exhibition art.
  Divus | TRENDY  
Místo aby sběratelé apelovali u svých obchodních partnerů na lidská práva, stačí mnohým za důkaz demokratického smýšlení, když vykoupí ateliér šangajského umělce, který maluje, jako kdyby vyrostl v New Yorku.
But the hype doesn’t only drive individual artists or schools. Whole world regions are becoming objects of speculation for collectors. In the early 90s it was the Russians who gave the market sufficient works, compatible with the West, and yet still exotic enough to bring something interesting into the living rooms of the bored rich. For a short time, the collector was taken by Latin America and later, under the leadership of Documenta 11 and Okwui Enwezor, by Africa, and finally by Asia, particularly China. Instead of appealing to their business partners for human rights, they take a Shanghai artist, who paints as if he grew up in New York and whose work they buy up, as a sufficient sign of democratic thinking. Even here the art appeases a guilty conscience.
But the hype doesn’t only drive individual artists or schools. Whole world regions are becoming objects of speculation for collectors. In the early 90s it was the Russians who gave the market sufficient works, compatible with the West, and yet still exotic enough to bring something interesting into the living rooms of the bored rich. For a short time, the collector was taken by Latin America and later, under the leadership of Documenta 11 and Okwui Enwezor, by Africa, and finally by Asia, particularly China. Instead of appealing to their business partners for human rights, they take a Shanghai artist, who paints as if he grew up in New York and whose work they buy up, as a sufficient sign of democratic thinking. Even here the art appeases a guilty conscience.
  Divus | Vítězné tažení ...  
Jakmile do našeho světa vstoupí vetřelecký zvuk z jiných světů, nastává hromadná panika. Panika, kterou se odpůrci trumpet snaží maskovat za racionální argumenty a vymýšlejí desítky důkazů, které mají dokázat směšnost a nedůstojnost vuvuzelového způsobu fandění.
Тем не менее эти, казалось бы рациональные аргументы, маскировали тщательно скрываемые попытки «защитить» наш европейский футбол от вторжения кого-то из дебрей Африки. Западная цивилизация, которая импортировала самый популярный командный вид спорта в мире на черный континент, была внезапно поражена тем, что африканские язычники сделали с этим первоначально рациональным спортом. Там появились попытки инструктажа африканцев по поводу того, как «правильно» болеть, что очень напомнило постоянные попытки «европеизации» африканцев. В конце концов, президент ФИФА Зепп Блаттер разрешил трубы, отстаивая своё заявление о необходимости сохранения аутентичной атмосферы игры. Однако семена конфликта между побеждёнными европейскими фанатами и раскованными африканцами уже были посеяны.
  Divus | All Tomorrow’s ...  
Kapela zaplnila prostor svým zvukem a otřásla budovou v základech. Měla úspěch, a to je důkaz toho, jak může hudební profesionalita kapely ovládnout diváky na rockovém koncertě nebo v galerii – tím, že jim něžně rozdrtí ušní bubínky uměleckou autoritou.
A few days before their show at All Tomorrow’s Parties, Bardo Pond played at the Institute for Contemporary Art, in London. The setting was intimate, and the audience in gallery attire. The band enveloped the space with their sound, practically shaking the building to the ground. The show was a success, and this is a testament to how this band’s musicianship can command an audience at a rock concert or a gallery—by tenderly crushing eardrums with artistic authority. Angelblood is working on a different plane, an animistic horizon with an intriguing, dark metal soundtrack. And stepping out of this realm, on occasion, Rita Ackermann most poetically, releases a solo record, on Thurston Moore’s label, where she sings a sad Hungarian folk song, over and over....
A few days before their show at All Tomorrow’s Parties, Bardo Pond played at the Institute for Contemporary Art, in London. The setting was intimate, and the audience in gallery attire. The band enveloped the space with their sound, practically shaking the building to the ground. The show was a success, and this is a testament to how this band’s musicianship can command an audience at a rock concert or a gallery—by tenderly crushing eardrums with artistic authority. Angelblood is working on a different plane, an animistic horizon with an intriguing, dark metal soundtrack. And stepping out of this realm, on occasion, Rita Ackermann most poetically, releases a solo record, on Thurston Moore’s label, where she sings a sad Hungarian folk song, over and over....
  Divus | Anri Sala a otá...  
Příkladem je dnešní Srbsko, jehož obyvatelé říkají, že jsou všichni proti Miloševičovi. Ale to je jen další důkaz kolektivní amnézie, jež končí eskapismem (či pohádkou, v níž „toto byly roky izolace a sankcí“).
We can find a similar situation not just with Sala’s works, but also with other other artists from Albania. Sala speaks of a tragicomic anecdote he experienced as a pupil: “When I was in school, the bell would always ring just as the teacher would be finishing a lesson, and he would put his last words off to the next day’s lesson. But one day, the system collapsed. The teacher, who was teaching Marxist-Leninist ideology, suddenly had no other option but to come up with a new philosophy. Imagine what happened. There was a vacuum. And that vacuum remains.”
We can find a similar situation not just with Sala’s works, but also with other other artists from Albania. Sala speaks of a tragicomic anecdote he experienced as a pupil: “When I was in school, the bell would always ring just as the teacher would be finishing a lesson, and he would put his last words off to the next day’s lesson. But one day, the system collapsed. The teacher, who was teaching Marxist-Leninist ideology, suddenly had no other option but to come up with a new philosophy. Imagine what happened. There was a vacuum. And that vacuum remains.”
  Divus | Vítězné tažení ...  
Jakmile do našeho světa vstoupí vetřelecký zvuk z jiných světů, nastává hromadná panika. Panika, kterou se odpůrci trumpet snaží maskovat za racionální argumenty a vymýšlejí desítky důkazů, které mají dokázat směšnost a nedůstojnost vuvuzelového způsobu fandění.
Even before the World Cup kicked off, unhappy fans and players had stirred up a debate without precedence: shall we ban the South African fans from using their vuvuzelas? Or should we force spoiled players and fans to listen to the rowdy Africans’ animalistic roar? Although at first glance absurd (“can we forbid people from emitting a certain sound?”), it was a serious proposal. It was claimed that the vuvuzela prevented players from effectively communicating on the field, that it caused irreversible damage to hearing (the vuvuzela’s 130 decibels are the same as a jet plane at takeoff), and that the unending drone was ruining millions of television viewers’ enjoyment of something they had waited four years to see.
Ещё до чемпионата недовольные болельщики и футболисты развернули практически беспрецедентные дебаты: запретить ли южноафриканским фанатам их вувузелы? Или силой заставить игроков и болельщиков слушать животный рёв буйных африканцев? Хотя на первый взгляд это казалось абсурдным «запрещать людям издавать некий звук», но всё же серьёзным. Было заявлено, что вувузела мешает игрокам эффективно переговариваться на поле, что её звучание вызывает необратимые повреждения слуха (130 децибел вувузелы такие же, как звук реактивного самолёта на взлете), и что бесконечный гул мешает миллионам телезрителей «наслаждаться тем, чего они ждали четыре года».
  Divus | UMĚNÍ KOSOVSKÝC...  
Přemluvil jsem ale řídící orgány, aby mi dovolily zůstat, a byl jsem svědkem několika útoků Albánců, kteří se vplížili do tábora v noci a rozřezali stěny stanů dlouhými noži. Následujícího dne kreslili lidé obrázky jako “důkaz” toho, co se v noci dělo.
I don’t know what became of those pictures. I tried to buy them, but everyone wanted to keep their own drawings as a reminder of what had happened to them. I suspect all were lost when these IDPs marched out of their first camp for Macedonia, seeking better security. Although a British KFOR commander had promised in person that they would be protected, an English colonel withdrew his soldiers one night while all the Gypsies were asleep, never to return.
I don’t know what became of those pictures. I tried to buy them, but everyone wanted to keep their own drawings as a reminder of what had happened to them. I suspect all were lost when these IDPs marched out of their first camp for Macedonia, seeking better security. Although a British KFOR commander had promised in person that they would be protected, an English colonel withdrew his soldiers one night while all the Gypsies were asleep, never to return.
  Divus | Večeře s Olafem  
Kultura často slouží jako důkaz, že má člověk čas a peníze, aby se věnoval nepodstatným velkým otázkám života. Umění je jako drahé hodinky; zčásti je to aristokratický životní postoj a možnost odlišit se od proletariátu.
Culture often serves as evidence that people have time and money to occupy themselves with the great but useless questions of life. Art is like an expensive watch; it is partly an aristocratic mental attitude, allowing for the possibility to distinguish yourself from the working class. Art connoisseurs give off airs of good breeding and money. Of all the rich people who collect art, only five percent have any real sense of art. It’s only fashion and style. It’s difficult to concentrate on these hard questions while trying to choose a dessert!
  Divus | Anri Sala a otá...  
Příkladem je dnešní Srbsko, jehož obyvatelé říkají, že jsou všichni proti Miloševičovi. Ale to je jen další důkaz kolektivní amnézie, jež končí eskapismem (či pohádkou, v níž „toto byly roky izolace a sankcí“).
The same is true in Kosovo and other post-socialist countries. Those who collectively suffer from that state of amnesia try to come to terms with the past by describing it as a fairy tale — A fairy tale personified as the other, through which our past burdens are liberated as history is sublimated into a nonhistoric situation: what happened was only a fairy tale that has nothing to do with us! An example of this is in today’s Serbia, a country whose citizens say they are all against Milosevič, but this is only evidence of collective amnesia that concludes with escapism (or with the fairy tale: “those were the years of isolation under the sanctions”).
  Divus | RECYKLACE NÁROD...  
Důkaz tohoto nároku byl nalezen v bohaté národní historii, a tak proces obnovené cirkulace národních mýtů, především ze středověkého srbského impéria, začal mocně formovat názor veřejnosti ve všech médiích.
When the old communist system of values and the ideology of “brotherhood and unity” collapsed, a change in the cohesive forces within the society and the production of a new collective identity was unavoidable. The newly formed oligarchy that came to power in Serbia abused the fact that the citizens needed to acquire a new identity, to identify with a political or national program, or other goals. In this situation, when the question of collective identity became blurred and confusing for most citizens, it was easy to give in to the over-emphasized national identity, and the “rediscovery” that the national and ethnic identity was “older” than that of neighboring nations. The proof for this claim was found in the rich national history, so the process of re-circulating national myths, mainly from the Serbian Medieval Empire, began to powerfully shape public opinion through all the media. History therefore “became understood as an active force that defines the roots of the nations, feeds the constituent myths of ethnic groups and strengthens national identities.”
  Divus | Sex, násilí a k...  
Viděl jsem mnoho psychiatrických knížek o dětech, které byly zneužívány a měly kreslením sdělit své potíže. Existuje mnoho rovin. My jsme tohle uvedli u soudu jako důkaz, ale soudce neumožnil žádné předkládání důkazů. A v zásadě má soudce hlavní slovo v tom, co můžete předložit jako důkaz.
One of the contributors to Boiled Angel who called himself, Mr. Ed. He would do this zine called “Raised by Wolves.” It was kind of his own therapy because he was sexually abused when he was a child. So he would always draw these comics and writings about child abuse and cutting his father’s dick off. He was going to therapy and they told him it was a good outlet to draw these things.
  Divus | UMĚNÍ KOSOVSKÝC...  
Přemluvil jsem ale řídící orgány, aby mi dovolily zůstat, a byl jsem svědkem několika útoků Albánců, kteří se vplížili do tábora v noci a rozřezali stěny stanů dlouhými noži. Následujícího dne kreslili lidé obrázky jako “důkaz” toho, co se v noci dělo.
I don’t know what became of those pictures. I tried to buy them, but everyone wanted to keep their own drawings as a reminder of what had happened to them. I suspect all were lost when these IDPs marched out of their first camp for Macedonia, seeking better security. Although a British KFOR commander had promised in person that they would be protected, an English colonel withdrew his soldiers one night while all the Gypsies were asleep, never to return.
I don’t know what became of those pictures. I tried to buy them, but everyone wanted to keep their own drawings as a reminder of what had happened to them. I suspect all were lost when these IDPs marched out of their first camp for Macedonia, seeking better security. Although a British KFOR commander had promised in person that they would be protected, an English colonel withdrew his soldiers one night while all the Gypsies were asleep, never to return.
  Divus | Sex, násilí a k...  
Viděl jsem mnoho psychiatrických knížek o dětech, které byly zneužívány a měly kreslením sdělit své potíže. Existuje mnoho rovin. My jsme tohle uvedli u soudu jako důkaz, ale soudce neumožnil žádné předkládání důkazů. A v zásadě má soudce hlavní slovo v tom, co můžete předložit jako důkaz.
One of the contributors to Boiled Angel who called himself, Mr. Ed. He would do this zine called “Raised by Wolves.” It was kind of his own therapy because he was sexually abused when he was a child. So he would always draw these comics and writings about child abuse and cutting his father’s dick off. He was going to therapy and they told him it was a good outlet to draw these things.
  Divus | Konference  
Snad nepřeháním, když vyslovím domněnku, že angličtinu ovládám průměrně. Ani ne nejhůř, ani nejlépe. V Čechách se považuji za smutný důkaz běžné úrovně vzdělanosti. Když se však soustředím, většinou rozumím.
The stewards stopped in their tracks: “Don’t be angry with us, we are only the stewards. Your friend didn’t leave any information for us. But we know there will be two lecturers today. Alan Curral from Great Britain and Johanna Billing from Sweden. Just sit down and listen. It is done so that they will repeat their report to everybody, even individually.”
The stewards stopped in their tracks: “Don’t be angry with us, we are only the stewards. Your friend didn’t leave any information for us. But we know there will be two lecturers today. Alan Curral from Great Britain and Johanna Billing from Sweden. Just sit down and listen. It is done so that they will repeat their report to everybody, even individually.”
  Divus | Sex, násilí a k...  
Viděl jsem mnoho psychiatrických knížek o dětech, které byly zneužívány a měly kreslením sdělit své potíže. Existuje mnoho rovin. My jsme tohle uvedli u soudu jako důkaz, ale soudce neumožnil žádné předkládání důkazů. A v zásadě má soudce hlavní slovo v tom, co můžete předložit jako důkaz.
One of the contributors to Boiled Angel who called himself, Mr. Ed. He would do this zine called “Raised by Wolves.” It was kind of his own therapy because he was sexually abused when he was a child. So he would always draw these comics and writings about child abuse and cutting his father’s dick off. He was going to therapy and they told him it was a good outlet to draw these things.
  Divus | Anri Sala a otá...  
Benjamin rozvíjí teorii „probuzení se z dějin“, podle níž každá zapomenutá fyziognomie historie může sloužit jako důkaz každodenních politických a ideologických ukázek. Benjamin byl na procházce se svou matkou, když jej osvítil nápad o iluminaci jeho kulturně-ideologického původu; Sala našel stejnou formu z promluvy se svou matkou, aby se probudil z kolektivní amnézie minulosti.
Just as Sala found a way to remember the unknown past through his mother, Russian avant-garde artists, Commar and Melamid at the end of the seventies remembered how they used to visit the first Lenin mausoleum with their grandfathers, and then the Stalin and Lenin mausoleums, and then again just that of Lenin.
Just as Sala found a way to remember the unknown past through his mother, Russian avant-garde artists, Commar and Melamid at the end of the seventies remembered how they used to visit the first Lenin mausoleum with their grandfathers, and then the Stalin and Lenin mausoleums, and then again just that of Lenin.
  Divus | Poražená histor...  
Toto téma může být univerzální – a to je dobré, protože dobré počiny by měly rozezvučet národní specifitu jako rockoví hudebníci své kytary. Důkaz podávají samotní umělci, kteří se chystají dokončit druhou epizodu o metru.
Duo van der Mixt made the video The Subway – A Sweet Memory in 2003. It was presented at Docufiction, a video show in Bucharest, and in the exhibition Revolutions Reloaded (Artra Gallery in Milan and PLAY Gallery, Berlin). The Subway… is a mockumentary that tells the story of the metro in Cluj from the viewpoint of a young man, coming of age together with the groundbreaking transportation system. Childhood and adolescence, first love and the annoying feeling of a false start are set alongside the stages of construction. When the digging begins, turning the city into an enormous building site, excitement prevails and there is a growing sense of local pride: ‘our subway was the most precious, the most beautiful one in the country’. The subway was being built by a Chinese company, which of course meant technologically advanced solutions, like the LCD on which any newspaper could be read, ‘one of the reasons why we were so envied by people from Bucharest… [It] was a challenge to regain well-deserved respect… Unfortunately things went wrong.’
  Divus | Lhář nebo genius  
Odpoledne, když se všichni shromáždili pod věží, našli orloj nedokončený. Všude se válely kusy přístrojů neuvěřitelných tvarů, plné důkazů zručnosti. Pomocníci a radní nešťastně rozhazovali rukama a křivili rozpačitě tváře, hledíc na mistra, zda celou situaci vysvětlí.
When the day finally arrived, all that was needed was to assemble all the prepared parts and breathe life into the work. But suddenly the master came and abruptly hauled away everything. Those who carried the large reel spindle had to stop and leave it there. The man who was attaching the enormous gear wheel to a spring had to drop it, and it was at such an unfortunate moment that it was left hanging from the tower window on the unwound spring.
  Divus | Anri Sala a otá...  
Benjamin rozvíjí teorii „probuzení se z dějin“, podle níž každá zapomenutá fyziognomie historie může sloužit jako důkaz každodenních politických a ideologických ukázek. Benjamin byl na procházce se svou matkou, když jej osvítil nápad o iluminaci jeho kulturně-ideologického původu; Sala našel stejnou formu z promluvy se svou matkou, aby se probudil z kolektivní amnézie minulosti.
In his book, “Arcades,” Benjamin developed a theory of “waking up from history,” according to which every forgotten physiognomy of history can serve as evidence of the political and ideological issues of the day. Benjamin was walking with his mother when he came up with illumination about his cultural-ideological origins; Sala found the same form from speaking with his mother in order to wake up from the collective amnesia of the past.
  Divus | Sex, násilí a k...  
Viděl jsem mnoho psychiatrických knížek o dětech, které byly zneužívány a měly kreslením sdělit své potíže. Existuje mnoho rovin. My jsme tohle uvedli u soudu jako důkaz, ale soudce neumožnil žádné předkládání důkazů. A v zásadě má soudce hlavní slovo v tom, co můžete předložit jako důkaz.
Well, its been happening. I don’t know why it took so long to get it out in the open. It just becomes the next big story and eventually people just forget about it. They’ll still be cases going on, it’s just that no one will hear about them. Like rapists who are doctors, you hear a lot of women won’t come forward until some have come forward, publically. They hear about it on the news and twenty women come forward. It happens.
  Divus | Sex, násilí a k...  
Viděl jsem mnoho psychiatrických knížek o dětech, které byly zneužívány a měly kreslením sdělit své potíže. Existuje mnoho rovin. My jsme tohle uvedli u soudu jako důkaz, ale soudce neumožnil žádné předkládání důkazů. A v zásadě má soudce hlavní slovo v tom, co můžete předložit jako důkaz.
Well, its been happening. I don’t know why it took so long to get it out in the open. It just becomes the next big story and eventually people just forget about it. They’ll still be cases going on, it’s just that no one will hear about them. Like rapists who are doctors, you hear a lot of women won’t come forward until some have come forward, publically. They hear about it on the news and twenty women come forward. It happens.
  Divus | Prostředí zbytn...  
Stát už je pouze shrbeným regentem, příliš pokryteckým na to, aby se ze zoufalství, které kolem sebe šíří, dokázal vymanit. I hlučný protest už pro něj platí za audienci a důkaz, že mu ještě věříme. Bez jediného zaváhání sfoukne plamen protestu tím, že přitaká jeho oprávněnosti.
And if we don’t want it to be a cog in the machine, but to be truly the spirit that sets it all in motion, then we must see it as something that, by definition, is long-term. We must work according to the fact that the nature of the problem and the cause of bad solutions is a short-term perspective, and that there is not the least sense in trying to turn around a long-term retreat of meters and kilometers through short-term gains measured in centimeters.
  Divus | Sex, násilí a k...  
Viděl jsem mnoho psychiatrických knížek o dětech, které byly zneužívány a měly kreslením sdělit své potíže. Existuje mnoho rovin. My jsme tohle uvedli u soudu jako důkaz, ale soudce neumožnil žádné předkládání důkazů. A v zásadě má soudce hlavní slovo v tom, co můžete předložit jako důkaz.
Well, its been happening. I don’t know why it took so long to get it out in the open. It just becomes the next big story and eventually people just forget about it. They’ll still be cases going on, it’s just that no one will hear about them. Like rapists who are doctors, you hear a lot of women won’t come forward until some have come forward, publically. They hear about it on the news and twenty women come forward. It happens.
  Divus | Autenticky žitý...  
Považuji uvedené příklady, ke kterým by bylo možné přidat ještě mnohé další, za dostatečný důkaz pro existenci fenoménu „manželského umění“. „Manželské umění“ lze pracovně definovat jako umění, jež je produkované v určitém svazku, nejčastěji institucionalizovaném, a které se vyslovuje k sociálním, psychologickým, erotickým a genderovým problémům z pozice žitého stereotypu.
It isn’t necessary to criticize hierarchy as such; it is a common and functional way of living and organizing life. Indeed, for some, it is an aspiration. Dan Flanagan categorized his works as sadomasochistic relationships, masochistic, and the baby-like living of life of an incurably sick man. He turned his attention towards ignored forms of coexistence and demonstrated how we are able to accept and without problems categorize only a very small and stereotypical part of normal, well-known heterosexual relationships. His projects Supermasochist and Visiting Hours, realized with his partner Sheree Rose are visually sensational, yet they describe the most basic of human needs. The categorization of his own ill health as well as sexual orientation carries in itself a general desire for health, in contrast to the ghettoization of the ill, calling for the right of the sick to love.
It isn’t necessary to criticize hierarchy as such; it is a common and functional way of living and organizing life. Indeed, for some, it is an aspiration. Dan Flanagan categorized his works as sadomasochistic relationships, masochistic, and the baby-like living of life of an incurably sick man. He turned his attention towards ignored forms of coexistence and demonstrated how we are able to accept and without problems categorize only a very small and stereotypical part of normal, well-known heterosexual relationships. His projects Supermasochist and Visiting Hours, realized with his partner Sheree Rose are visually sensational, yet they describe the most basic of human needs. The categorization of his own ill health as well as sexual orientation carries in itself a general desire for health, in contrast to the ghettoization of the ill, calling for the right of the sick to love.
  Divus | RECYKLACE NÁROD...  
Důkaz tohoto nároku byl nalezen v bohaté národní historii, a tak proces obnovené cirkulace národních mýtů, především ze středověkého srbského impéria, začal mocně formovat názor veřejnosti ve všech médiích.
One of the causes for the production of such a drastic social space could be seen in the strongest wave of ethno-nationalism recorded in recent European history, accompanied by the equally strong wave of populism, which was incidentally conceived and conceptualized in the highest scientific and cultural institution: Serbian Academy of Arts and Sciences, through its “Memorandum on Current Social Questions.” On the other hand, UN sanctions and the complete isolation of the country and breakdown of official communication with the rest of the world caused an “economy of destruction,” and economic collapse with the highest rate of inflation ever recorded.
One of the causes for the production of such a drastic social space could be seen in the strongest wave of ethno-nationalism recorded in recent European history, accompanied by the equally strong wave of populism, which was incidentally conceived and conceptualized in the highest scientific and cultural institution: Serbian Academy of Arts and Sciences, through its “Memorandum on Current Social Questions.” On the other hand, UN sanctions and the complete isolation of the country and breakdown of official communication with the rest of the world caused an “economy of destruction,” and economic collapse with the highest rate of inflation ever recorded.
  Divus | Nostalgie po to...  
Zvětšenina panenské blány na obrazovce. Jemná membrána prosycená atributy jako čistota, autentičnost, důkaz, který musí být zřejmý každému: teď to vidíte, teď ne. Jakoby to video říkalo: „Něco se tu opravdu stalo.
Это тема связана с реализмом как с фетишем. Впечатление от настоящей правды может быть достигнуто с помощью веб- или цифровой камеры. Видео, снятое дома в частном порядке, без разрешения, и даже лучше, если снятое на мобильный телефон, создаёт эффект дешевизны и дилетантизма, которые подтверждают правдивость сцены, что, несомненно, увлекательно само по себе.4 Например, в интернете можно найти видео женщин в общественных туалетах. Съемки «героев» в «повседневной жизни» стали гарантией подлинности. Запись как бы заявляет: «Видите, это правда. Там реальный человек, и вы на самом деле видели как он писает». Реальность — это дополнительный эффект, который очаровывает нас, потому что, кажется, что он предлагает отказ от любого творческого проекта, который обязательно будет субъективным. Она представляет собой определенную точку отсчёта, с которой всё может быть каталогизированно с абсолютной уверенностью.
  Divus | Jiří Skála: pou...  
Díla Jiřího Skály jsou jako veselé historky k vyprávění. Jejich materiální existence je nepatrná a obsahují málo hmatatelných důkazů, jejich výroky jsou však doslovně aplikovány. Autor zaujímá logická stanoviska, kterých se bez výjimky, zarputile a vážně drží až ad absurdum.
From an article on the resistance of new chairs at a football stadium under the weight of six bags of cement, illustrated by one photograph, Jiří Skála recreated the conditions of the experience in a gallery. Reconstruction (2001) is a sculpture made by piling up six cement sacks upon a chair on the wall accompanied by pages from the article. One can not help recalling that emblematic work of Joseph Kosuth One and Three Chairs from 1965 in which he put on a wall an object (a folding chair), accompanied with photographs of the same dimensions and its definition extracted from a dictionary. Jiří Skála 36 years later offers considered a follow up not as a philosophical postulate on ontological equivalents between the thing, its representation and its definition, but in a much more pragmatic way, as a test for the verification of the object’s resistance to the weight of material…
From an article on the resistance of new chairs at a football stadium under the weight of six bags of cement, illustrated by one photograph, Jiří Skála recreated the conditions of the experience in a gallery. Reconstruction (2001) is a sculpture made by piling up six cement sacks upon a chair on the wall accompanied by pages from the article. One can not help recalling that emblematic work of Joseph Kosuth One and Three Chairs from 1965 in which he put on a wall an object (a folding chair), accompanied with photographs of the same dimensions and its definition extracted from a dictionary. Jiří Skála 36 years later offers considered a follow up not as a philosophical postulate on ontological equivalents between the thing, its representation and its definition, but in a much more pragmatic way, as a test for the verification of the object’s resistance to the weight of material…
  Divus | Dokumentarismus...  
Stejnojmenná instalace v Nyonu z roku 1993 promítá paralelně tiskový obraz demonstrujících mas a pozdější zabrání prázdného dějiště v konfrontaci s archivními snímky a vzpomínkami lidí, kteří trauma onoho dne zažili jako očití svědkové či je viděli v televizi. Dokumentace zde není zkoumáním důkazů skutečnosti, ale filtrem kolektivních vzpomínek.
Methods of participation, sale, video workshops or service (as far as giving up authorship in favor of open social structures) are possible ways of approaching a resolute reality in the media. Comparable strategies one finds, for example, in the works of Stephen Willats or Nasrin Tabatabai.7 From time to time the artistic works, above all in the conceptual decision, involve exhibiting found film material or film produced under someone else‘s direction in artistic context. In this connection also noteworthy is the work of American-Palestinian artist Emily Jacir, who with her privilege of possessing two passports and therefore unrestricted freedom of movement takes up the cause of the people of Palestine, for whom unhindered travel is not possible. Where We Come From (2001-2003) is based on the simple question, “What can I do for you in Palestine, where can you not go, where I however can?” The work involves the documentation of the realization of extremely varied, part banal-pragmatic, part symbolic or intimate-personal actions. Or else, all the more urgent, in the documentation of failure by managing a simpler way.
Methods of participation, sale, video workshops or service (as far as giving up authorship in favor of open social structures) are possible ways of approaching a resolute reality in the media. Comparable strategies one finds, for example, in the works of Stephen Willats or Nasrin Tabatabai.7 From time to time the artistic works, above all in the conceptual decision, involve exhibiting found film material or film produced under someone else‘s direction in artistic context. In this connection also noteworthy is the work of American-Palestinian artist Emily Jacir, who with her privilege of possessing two passports and therefore unrestricted freedom of movement takes up the cause of the people of Palestine, for whom unhindered travel is not possible. Where We Come From (2001-2003) is based on the simple question, “What can I do for you in Palestine, where can you not go, where I however can?” The work involves the documentation of the realization of extremely varied, part banal-pragmatic, part symbolic or intimate-personal actions. Or else, all the more urgent, in the documentation of failure by managing a simpler way.
  Divus | Nostalgie po to...  
Proto se neustále opakují obrazy penisů v momentě ejakulace. Ruku v ruce s tímto výbuchem křeče a externalizací dosud skrytého (semene) jde příslib explicitního vyjádření implicitní akce. Je to jakoby důkaz, nebo pravda.2
Линда Уильямс, в своей книге «In Hard Core. Power, Pleasure, and the “Frenzy of the Visible”» (UC Press, 1989) анализирует порнографические повествования, пытаясь сделать невидимое видимым. Автор объясняет, что порнографическая фиксация на видимом коренится в потребности современного человека получить власть через всевидение. Ничто не может спрятаться от объектива камеры. Всё должно быть предсказуемо, классифицируемо и контролируемо. Даже потеря контроля должна быть под контролем. Но с точки зрения человеческой сексуальности, всегда что-то ускользает от нас... всегда.
  Divus | Pavel Švec  
Že by se životy ve vesmíru mezi sebou navzájem připomínaly? Už dlouho máme radary obrácené do kosmu, fotíme pouště cizích planet a někteří třeba vyhazují do vzduchu hrnce, aby předložili důkaz, že Oni nás navštěvují.
If there is life on another planet, it is pretty similar to our own. Are lives in space so similar to our own? We have had radar beams searching the cosmos for years, we photograph the deserts of foreign planets and some people even throw pots into the air, which look like ufos, to provide evidence that They keep visiting us. Some scientists point out that search for extra-terrestrial intelligence is limited to our own comprehension of the idea of “life forms.” Imagine that we meet some extraterrestrials and find out that they are just like us: The extraterrestrials do only what we do and experience only what we experience. Wouldn’t that be a disappointment?
  Divus | Sbohem arkádie ...  
Tento stav mu sice umožňuje projikovat do svého okolí a světa jako celku smysl a řád, ale zároveň je ohrožen situacemi typu osobní tragédie, přírodní katastrofy, války nebo terorismu — zkrátka vším, co připouští výklad, že život je nahodilý a Člověk nemusí být nakonec vůbec výjimečný. Tváří v tvář možnosti, že „Všechno je marnost,“ (Kaz 1:2) a že život žádný smysl nemá, se Člověk hroutí a trpí tím, co se běžně nazývá „existenciální krizí“.
Потерянный рай: Человек навсегда изгнан из земного рая, который Создатель предоставил ему. Мы знаем, что за этим последовало: стыд, ненависть, изгнание в негостеприимную пустыню и братоубийство. Человеческий род пережил наводнение, голод, войну, плен, и тиранию. Религиозны ли мы или нет, история изгнания из рая и её последствия имеют глубокие корни в нашей западной психике. Туманное, а иногда и убедительное осознание того, что с миром не всё в порядке, и рай, если когда-либо и царил здесь, безвозвратно испарился, нашёл своё место в нашем коллективном бессознательном.
  Divus | Čím je vyvolán ...  
To je nedorozumění, milý Dimo. Důkazům tohoto zjištění je věnován můj článek. Zabývá se přerodem akcionismu jako „ne-umění“ (majícího nicméně potenciál se uměním stát) v produkci jakýchsi papírmašé exotického ovoce a dalších potravin, oblíbených Osmolovským a lidmi z jeho okolí, přičemž se tak děje cizíma rukama.
Nuestros artistas demuestran un retorno simulativo al temprano paradigma modernista (el que Peter Burger, filósofo hegeliano izquierdista, llama estetismo en su libro “La teoria de la vanguardia”). Si Gutov, por ejemplo, dice en plan filosofía romántica de Shelling, que una obra es un “absoluto” y “no depende de nada” (de hecho, ab-solutum significa independiente, ilimitado) – os felicito, ¡habéis inventado la bicicleta! Pero, Dmitry, intenta argumentarlo en cuanto al arte contemporáneo, escribe un artículo académico grande con citas y alegaciones. Si no, ¿para qué sirven las habladurías seudo-teóricas? No va a ser posible quedarse con el huevo y la gallina...
  Divus | All Tomorrow’s ...  
Kapela zaplnila prostor svým zvukem a otřásla budovou v základech. Měla úspěch, a to je důkaz toho, jak může hudební profesionalita kapely ovládnout diváky na rockovém koncertě nebo v galerii – tím, že jim něžně rozdrtí ušní bubínky uměleckou autoritou.
Takeda studied sculpture at UC Santa Barbara, with installation artist, Ann Hamilton, and got his MFA at Rutgers University. His Philadelphia (Bardo Pond) connection starts with his studies at Rutgers, in New Jersey. For him, Philadelphia can also be an inspiration for his art. “It’s the city that David Lynch called the most important influence in his life. This is where he [Lynch-ed] was an art student. This is where he made the Grandmother, and this is where Eraserhead is from, even though he made it in LA. This is where Marcel Duchamp’s last work of art, “Etant donnes...” the illuminating gas, resides at the Philadelphia Art Museum. This is the city where Sun Ra decided to settle in late 1968 to continue his work of making music that heals. May he rest in peace.”
  Divus | Od bílé skvrny ...  
A je nemožné je přesvědčit, že v Benátkách není třeba doslovně převyprávět minulost a přítomnost země a veřejně otevírat duši, abychom předvedli to nejsvatější. Bienále není akcí, kde má být světu předložen důkaz o tom, jak milujeme nezávislou Ukrajinu a vážíme si svých předků a tradic.
Again the role of the Ministry was not in regulation but in editing. The regulations on the contest were created and backdated to legalize the presence of Ministry representatives on the jury. Now the deputy minister could act as the jury chairperson. This document entitled them to “recommend artistic improvement of projects” and proclaimed decisions of the jury invariable and definitive. The situation of the Venice presentation is only a particular case, but it demonstrates how questions are addressed in culture today. It isn’t that contemporary art is being ignored; there is a fundamental absence of any professional approach and there remains a deliberate unwillingness to create effective schemes of work in culture.
  Divus | Jak vyzrát na s...  
Bohužel nemáme žádný důkaz o tom, že Haring Ensorovu Bitvu kostlivců kdy viděl. Jeho poslední léta byla poznamenána horečným a stále stupňovaným cestováním po světě. 17. dubna roku 1989 během svého pobytu v Mnichově navštívil i Ensorovu výstavu v místní Kunsthalle a učinil si o tom stručný zápis do svého deníku.
Keith Haring’s work and personality are devoid of aggression and cruelty; his urinating skeleton feels very human and, in contrast to Klinger’s interpretation of the same theme, we may assume that it was a self-portrait—a “future” self-portrait of a dying artist. Let’s remember that James Ensor made a similar “future” self-portrait in his work My Portrait in 1960 (1888): a supine, decomposing skeleton.8 For Ensor, as with Klinger, skeletons are portrayed allegorically. They are however imbued with a stronger sense of mad and often inexplicable black humor. In addition to mercilessly scything living people, Ensor’s favorite revivified skeletons also indulge in various banal activities such as playing pool, fighting over a herring and warming up over a stove; they just do what ordinary people do. In contrast to those who often forget about their mortality, his skeletons always bear the image of their own death, resisting it with ironic humor.
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