nku – -Translation – Keybot Dictionary

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  Divus | Život a dílo um...  
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“Říkáte na nástěnce?” přeruší ji muž. “Tady žádnou nástěnku nemáme. To bude nějaký omyl.”
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“I saw the picture of the head on the notice board… and I believe that I may know the man.”
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“I saw the picture of the head on the notice board… and I believe that I may know the man.”
  Divus | Okradená  
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To mě dost zaskočilo, zahleděla jsem se na ucha a pokoušela jsem se ji přesvědčit, že je to jen urvaný, že materiál nevydržel, jak se dva lidi o tu kabelku přetahovali. Ale ona zopakovala svou domněnku – takhle čistej řez by jinak nevznikl.
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I keep thinking whether it is some sign – like carrying a key chain brings me bad luck – it is strange that carrying a diary with you doesn’t – or a diary with a picture of the Twins, those which don’t stand anymore...And I nearly cursed and threw away the shoes I was wearing when it happened; it was the first day I had worn them. The sweater I have been wearing for a few weeks got away without punishment. I tried to buy a new diary today, but in July I probably won’t be able to find any.
  Divus | Z deníku přírod...  
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Holandsko: Citizens and Subjects (Aernout Mik) – tento pavilon milují všichni intelektuálové: je věnován uprchlíkům a (ilegální) imigraci, je aktuální, hluboký a „autenticky“ nainstalovaný – můžete si lehnout na žíněnku nebo se posadit na postel s kovovou síti, pak máte pocit, že dokonce i jediný dostupný titěrný „výhled z okna“ na zadní dvůr je součást instalace.
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– Holanda: Citizens and Subjects del artista Aernout Mik. El público disfruta de manera muy intelectual, se trata de los refugiados, de la inmigración ilegal, es muy actual y muy realista, uno puede tumbarse sobre las colchonetas, o sentarse sobre una cama de reja metálica, da la impresión de que la diminuta vista sobre el patio trasero, también es parte de la instalación.
  Divus | Konference  
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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.
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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.”
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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 | CIZINCEM V CIZÍ...  
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Navíc Six nabízí divákovi drobné biografické informace o každém ze svých hrdinů a přidává další informace, které utiší každou falešnou domněnku, že by tito chlapci měli působit jako “zneužívané objekty”.
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doesn’t set out to construct recognizable songs so much as it creates a disturbing atmosphere of a world located somewhere beyond the limits of human cognition via a deft utilization of the psychoactive abilities of the mind. One track, entitled “Immunde Spiritus,” is a five-minute-long opus consisting of a pulsating, echoing beat somewhere far off in the distance, the wailings of a human thighbone trumpet, an indecipherable whispered text, punctuated by a woman’s stabbing screams; the overall effect is one of entropic suspension in a sphere outside of all known spatio-temporal structures.
  Divus | Tajemství květi...  
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Přestože je v pokušení uplatnit svoji zkušenost, nezbaví se pochyb, že popře ojedinělost nálezu. Dospěje k neodbytnému slovu “asi”. A může dál marně pátrat po důkazu, který by jeho domněnku opodstatnil. Nebo se smíří s trvalým odcizením a popřípadě právě z něj čerpá vzrušení.
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This regards her pictures of furnished interiors. We do not truly meet their inhabitants in either of them, yet there are numerous traces of their stay. A living room with a massive sitting set, liberated from dimness by the light of a big garden window, was tidied up by someone. Someone else has stashed away a flowerpot and plant on the surface of a kitchen unit. A tray with bear bottles was prepared on a wobbly table for some guests. But the room itself is a basic hint: in the modestly equipped space we identify with the owner through a small working space in the corner. Yes, these are not places we have personal experience with; yet we have the inclination to regard them as models. They seem familiar to us and photographed only to be lifted and named by the author.
  Divus | Tajemství květi...  
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Přestože je v pokušení uplatnit svoji zkušenost, nezbaví se pochyb, že popře ojedinělost nálezu. Dospěje k neodbytnému slovu “asi”. A může dál marně pátrat po důkazu, který by jeho domněnku opodstatnil. Nebo se smíří s trvalým odcizením a popřípadě právě z něj čerpá vzrušení.
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With Othová we are ready for it. Nevertheless it seems that this time it concerns more layered material. The strangeness of certain pictures forces us to react to the joke and the mystery, but to the petrifaction as well. Interior after interior discloses its distance. Not only are we unable to puzzle out the causes of some events from which the person has slipped so that they could be photographed, but we also unsure what the act of observation is and what the artist is arranging. Mostly we start to feel uncertainty from the unknown of particular things. We are like an archeologist who appears before a discovery lacking any connections. Even though one is tempted to use personal experience, it’s impossible to get rid of doubts that one will negate the uniqueness of the discovery. One arrives at the intrusive word “maybe,” and can continue to search in vain for proof confirming one’s assumption. Or one will come to terms with permanent alienation, and possibly get some receive excitement from that alone. One is a voyeur and does not even know why. One researches but does not get material of any use.
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With Othová we are ready for it. Nevertheless it seems that this time it concerns more layered material. The strangeness of certain pictures forces us to react to the joke and the mystery, but to the petrifaction as well. Interior after interior discloses its distance. Not only are we unable to puzzle out the causes of some events from which the person has slipped so that they could be photographed, but we also unsure what the act of observation is and what the artist is arranging. Mostly we start to feel uncertainty from the unknown of particular things. We are like an archeologist who appears before a discovery lacking any connections. Even though one is tempted to use personal experience, it’s impossible to get rid of doubts that one will negate the uniqueness of the discovery. One arrives at the intrusive word “maybe,” and can continue to search in vain for proof confirming one’s assumption. Or one will come to terms with permanent alienation, and possibly get some receive excitement from that alone. One is a voyeur and does not even know why. One researches but does not get material of any use.