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K „hvězdnému“ nebi projektu se může počítat i Peter Land, který asistoval Hajnal Neméth ve videu V mé zahradě, kde oba autoři porcovali nejrůznější symboly svých zemí, vařili je v kotlíku a v převlečení kolem ohně tančili rituální tance.
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Viewed from outside, the selection of artists appeared to be almost random, but the collective activity radiated he concept. There were also very weak and questionable works (a folklore hut with a garden of yellow plastic gloves by Qui Ping) and 100% effective and sophisticated pieces (kinetically changing objects by Attila Csörgö), in addition to commonplace, average, clever and more or less comprehensible works. Even we, viewers from the periphery, could recognize familiar works: an impressive concept by the Hungarian artists Kriszta Nagy I Am Intersexual Girl which used her own face and an ironic take on gender art; photographs by Antal Lakner, which dealt with capitalist/socialist antagonisms in leisure activities and work. The exhibition also featured Mariann Imre, who showed his embroidered floors. He and Attila Csörgö both represented Hungary at last year’s Venice Bienale. The ”stars” of the project were Peter Land and Hajnal Neméth who made the video In My Garden in which both artists chopped up various symbols of their respective countries, boiled them in a kettle and did a ritual dance around the fire. Art in the era of globalization? Yes, it has been like this since the time of cave murals. The different history and experience of ”ost” and ”west” is perhaps more sensitively perceived in Berlin. (The viewer may not feel it, but the former East Germans and we know all about it.)
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Viewed from outside, the selection of artists appeared to be almost random, but the collective activity radiated he concept. There were also very weak and questionable works (a folklore hut with a garden of yellow plastic gloves by Qui Ping) and 100% effective and sophisticated pieces (kinetically changing objects by Attila Csörgö), in addition to commonplace, average, clever and more or less comprehensible works. Even we, viewers from the periphery, could recognize familiar works: an impressive concept by the Hungarian artists Kriszta Nagy I Am Intersexual Girl which used her own face and an ironic take on gender art; photographs by Antal Lakner, which dealt with capitalist/socialist antagonisms in leisure activities and work. The exhibition also featured Mariann Imre, who showed his embroidered floors. He and Attila Csörgö both represented Hungary at last year’s Venice Bienale. The ”stars” of the project were Peter Land and Hajnal Neméth who made the video In My Garden in which both artists chopped up various symbols of their respective countries, boiled them in a kettle and did a ritual dance around the fire. Art in the era of globalization? Yes, it has been like this since the time of cave murals. The different history and experience of ”ost” and ”west” is perhaps more sensitively perceived in Berlin. (The viewer may not feel it, but the former East Germans and we know all about it.)
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Viewed from outside, the selection of artists appeared to be almost random, but the collective activity radiated he concept. There were also very weak and questionable works (a folklore hut with a garden of yellow plastic gloves by Qui Ping) and 100% effective and sophisticated pieces (kinetically changing objects by Attila Csörgö), in addition to commonplace, average, clever and more or less comprehensible works. Even we, viewers from the periphery, could recognize familiar works: an impressive concept by the Hungarian artists Kriszta Nagy I Am Intersexual Girl which used her own face and an ironic take on gender art; photographs by Antal Lakner, which dealt with capitalist/socialist antagonisms in leisure activities and work. The exhibition also featured Mariann Imre, who showed his embroidered floors. He and Attila Csörgö both represented Hungary at last year’s Venice Bienale. The ”stars” of the project were Peter Land and Hajnal Neméth who made the video In My Garden in which both artists chopped up various symbols of their respective countries, boiled them in a kettle and did a ritual dance around the fire. Art in the era of globalization? Yes, it has been like this since the time of cave murals. The different history and experience of ”ost” and ”west” is perhaps more sensitively perceived in Berlin. (The viewer may not feel it, but the former East Germans and we know all about it.)
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