dce – Traduction – Dictionnaire Keybot

  DIVUS  

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Práce Veroniky Vomáčkové nám nabídla její matka. Nejdříve zavolala do redakce, přišla osobně, vyprávěla o dceři, jak jí utekla do Španělska, že tam pobývá v nuzných poměrech na vesnici se zvláštními lidmi.

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Manchmal entdecken wir die Autoren unserer Zeitschrift auf ungewöhnliche Weise. Ich scheine Glück mit solchen zu haben, die an einer Veröffentlichung gar nicht interessiert sind. Die Arbeiten von Veronika Vomáčková wurden uns von ihrer Mutter angeboten. Erst rief sie in der Redaktion an, dann kam sie persönlich vorbei und erzählte von ihrer Tochter, wie sie nach Spanien abgehauen ist und dort mit…

  Divus | V současných hr...  

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Pokud se bavíme o reakcích hráčů, viděl jsem, že v připravované strategii Qurajš o počátcích islámu je jistá mise, konkrétně dobývání Medíny, kdy má hráč jako vůdce beduínského kmene možnost přijmout Islám a přidat se na stranu Proroka, nebo na Medínu zaútočit.

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While we are talking about the reactions of the game’s players, I have seen in the strategy game you are working on, the Quarish, that there is one mission, the Besiege of Medina, where the player represents a chieftain of a Bedouin tribe. He has got an option to accept Islam and take the side of the Prophet or not, and attack Medina. But, if he won, he would in fact endanger, or stop, the spreading of Islam. Aren’t you afraid of the reaction of orthodox believers?

  Divus | Erste Bank  

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B.O.: Naším oficiálním sponzorem je Slovenská Sporiteľňa, slovenská dceřiná společnost skupiny Erste Bank. Ohledně větších projektů a s diskusemi o strategických rozhodnutích se však obracíme na hlavní sídlo ve Vídni.

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B.O.: Nuestro programa se enfoca en el arte contemporáneo, lo que incluye un interés por su desarrollo en Eslovaquia. Ofrecemos espacio para estudios y tratamos de integrar artistas y posiciones en la escena internacional del arte, por ejemplo, Julius Koller y Maria Bartisova. Somos anfitriones de simposios sobre temas relevantes y organizamos exhibiciones o eventos como un festival para música experimental electrónica.

  Divus | Jiří Skála: pou...  

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Propracované systémy, které Jiří Skála ve svých dílech vytváří, připomínají výsledky výzkumů vědce samouka. Usiluje o ověřování zákonů, budování teorií, průzkum a kontrolu uzavřených množin předmětů ve všech oblastech, které jsou na dosah, aby pomocí dosti neurčitých vědeckých znalostí, založených na vlastním pozorování a dokázaných opakováním a napodobováním, neustále obno- voval pole svého hledání… Jako by základním postulátem Jiřího Skály bylo, že jeho teorie nezpochybňuje či nepotvrzuje žádnou zkušenost, nýbrž že na prvním místě stojí celková soudržnost jeho logických systémů, v nichž hodnotu pravdy nahrazuje hodnota platnosti.

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Skála confines the explorative space for his experiments and inserts rules for observation that he applies strictly and regularly. He measures, controls, verifies and filters all information with his reckoning. He methodically inserts miniature and quasi-theoretical deviations into existing systems. Faults and dysfunctions such as dust, minute deviations in distance or the turn of a screw are destructive to the order of things—even in the small scale. Skála’s working method is as important as the outcome. Sometimes even though a work’s creation required a lot of time, the result isn’t even visible. In such cases, we can only take Skála at his word. His careful interventions are often part of the works whose physical existence is not visible—a video of an action, photographic documentation presented as a proof, lists, time sheets, inconspicuous fakes, slight shifts of objects or people.

  Divus | Tam venku je vá...  

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Na jeho prezentaci jsem se Conala zeptal, zda někdy zvažoval, že by svou práci mohl zmezinárodnit, oslovit širší, globální problematikou, zacílit na vůdce i mimo USA a plakátovat celosvětově. Řekl, že v Itálii mu navrhovali, aby plakátoval Berlusconiho a v Anglii Blaira.

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On another front, one week later in Prague, Los Angeles-based guerrilla poster artist Robbie Conal was on tour with his new book “Artburn,” which reprints some of his best work from his monthly full-page space in the LA Weekly. He also presented a short film, Robbie Conal’s Guerilla Etiquette & Postering Techniques, which explains how to illegally poster streets in American cities. The film included tips on avoiding police (work in pairs), and dealing with police if caught; for instance, to avoid a fine or arrest, just explain that it’s an art project. As well, Conal premiered a new series of election posters intended for the streets of New York during the Republican National Convention there, from August 29-September 4, 2004.

  Divus | Očarovaní / Ves...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Byl oslavován jako praotec parapsychologie, objevitel hypnózy, predchůdce jasnovidectví, telepatie a komunikace s jinými světy. Odsuzovali ho však také jako darebáka, šarlatána a člověka, který zaprodal svou duši ďáblu.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	He has been hailed as the great-grandfather of parapsychology, the discoverer of hypnosis, the progenitor of clairvoyance, telepathy and communication with the beyond. And he has also been denounced as a rogue, a charlatan, and as selling his soul to the devil. Anyway you view him, Franz Anton Mesmer is remembered as being more than just a cultish magician.

  Divus | Tam venku je vá...  

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Na jeho prezentaci jsem se Conala zeptal, zda někdy zvažoval, že by svou práci mohl zmezinárodnit, oslovit širší, globální problematikou, zacílit na vůdce i mimo USA a plakátovat celosvětově. Řekl, že v Itálii mu navrhovali, aby plakátoval Berlusconiho a v Anglii Blaira.

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On another front, one week later in Prague, Los Angeles-based guerrilla poster artist Robbie Conal was on tour with his new book “Artburn,” which reprints some of his best work from his monthly full-page space in the LA Weekly. He also presented a short film, Robbie Conal’s Guerilla Etiquette & Postering Techniques, which explains how to illegally poster streets in American cities. The film included tips on avoiding police (work in pairs), and dealing with police if caught; for instance, to avoid a fine or arrest, just explain that it’s an art project. As well, Conal premiered a new series of election posters intended for the streets of New York during the Republican National Convention there, from August 29-September 4, 2004.

  Divus | Satanovo i jiné...  

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S kurátorem Vasifem Kortunem jsem měl sraz na náměstí Taksim, komerčním centru Istanbulu. Tato obdoba pražského Václavského náměstí má ve svém středu pomník zakladatelů tureckého státu, znázorňující vojevůdce a generály stojící kolem pěchotního děla.

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I arranged to meet curator Vasif Kortun on the Taksim Square, Istanbul’s commercial center. Placed in the middle of this square is a statue of the founder of Turkish State with commanders and generals standing by a cannon. “Could you guess what makes this memorial special,“ Vasif asked me. I didn’t understand why this traditional and academic looking memorial made after the 19th Century definition should be immediately interesting. “This memorial was built in the 20‘s,“ Vasif explained. “The author is a nearly forgotten French artist. He was commissioned to do the statue because there was not a single figurative sculptor in Turkey in the 20‘s who would be able to take up such task. After centuries of Islamic laws’ rule, this was the first public three-dimensional image of a human body. It was a scandal in Islamic society and those who made a decision to erect it were very much aware of what would happen. The memorial was from the start intended as a slap in the face of traditional Islamic society.“ Right the first day, I unexpectedly found out how an academic statue may become a controversial piece of work in some countries. Recent Turkish history is full of social engineering and in many respects it is similar to our experience during the past forty years of Communism and our difficult transformation to modern civilization of western type.

  Divus | Rafani bděte! S...  

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Kompromis, jinak v Česku vznešeně, ale mylně nazývaný konsensem, je tu oficiálně nejvyšší metou celospolečenského snažení. Každý, kdo jím opovrhuje, je přinejmenším označen za člověka netolerantního, nejhůře pak za škůdce demokracie.

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Building a complete platform from the people living in the current skeptical middle European society with its spiritual climate — especially in the sphere of art — is not easy. It is precisely in a contemporary society like the Czech Republic’s that this kind of experiment is most difficult. Here doctrinaire activism and totalitarianism itself are just a parody of the application of the ways of the Aryans or our eastern brothers. Compromise, or what is nobly, yet deceptively, called “consensus” in the Czech Republic is officially the highest objective of nation-wide endeavors. Anyone who flouts the norm is, at the very least, branded as being an intolerant person; at worst as a parasite of democracy. Of course it is also because many foreign words, like “democracy,” are empty expressions. The Czech language of all the languages is the most distant from reality. And as a tool for naming objects or ideas it’s completely useless. It’s no accident that abroad it was marked in history as being the language of liars, racketeers, tricksters and other fairground illusionist vermin. Based on these and other bad references about the Czech element, Czechs were not enthusiastically welcomed into secret hermetic societies or organizations where the foundation consisted of order, self-discipline and discretion.

  Divus | Prachy  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Padělání se v druhé polovině dvacátého století stalo jednou z oblíbených praktik. Má ale i své předchůdce. Svým způsobem můžeme za podobného umělce považovat i legendárního ruského anarchistu Machna, který se po říjnové revoluci stal pánem jisté části Ukrajiny.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Forgery became one of the favorite practices in the second half of the 20th Century. There were, however, predecessors. In a way, legendary Russian anarchist Makhna could be considered such an artists. After the October Revolution he reigned over part of Ukraine and printed his own money but their value was not based on anything. They were just printed pieces of papers with an inscribed value in which they were similar to money in the rest of Russia and Germany at that time. Instead of warning against forgery, Makhna encouraged everybody to print an unlimited number of this money, perfectly in agreement with the logic of revolution and anarchism. According to this logic, unlimited amount of money was supposed to bring near the collapse of monetary economy and the rise of Communism. Makhno was soon defeated by the Russian Army and executed.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Forgery became one of the favorite practices in the second half of the 20th Century. There were, however, predecessors. In a way, legendary Russian anarchist Makhna could be considered such an artists. After the October Revolution he reigned over part of Ukraine and printed his own money but their value was not based on anything. They were just printed pieces of papers with an inscribed value in which they were similar to money in the rest of Russia and Germany at that time. Instead of warning against forgery, Makhna encouraged everybody to print an unlimited number of this money, perfectly in agreement with the logic of revolution and anarchism. According to this logic, unlimited amount of money was supposed to bring near the collapse of monetary economy and the rise of Communism. Makhno was soon defeated by the Russian Army and executed.

  Divus | Jiří Skála: pou...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Propracované systémy, které Jiří Skála ve svých dílech vytváří, připomínají výsledky výzkumů vědce samouka. Usiluje o ověřování zákonů, budování teorií, průzkum a kontrolu uzavřených množin předmětů ve všech oblastech, které jsou na dosah, aby pomocí dosti neurčitých vědeckých znalostí, založených na vlastním pozorování a dokázaných opakováním a napodobováním, neustále obno- voval pole svého hledání… Jako by základním postulátem Jiřího Skály bylo, že jeho teorie nezpochybňuje či nepotvrzuje žádnou zkušenost, nýbrž že na prvním místě stojí celková soudržnost jeho logických systémů, v nichž hodnotu pravdy nahrazuje hodnota platnosti.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Jiří Skála was born in 1976, and lives and works in Prague. The elaborated systems that Skála employs in his works are reminiscent of the results of a self-taught scientist. He attempts to verify principles, build theories, investigate and gain control of enclosed groups of objects in all surrounding fields, so that he—with the help of his somewhat indefinite scientific knowledge based on his own observation and proved by repetition and imitation—constantly renews the field of his investigations. It is as if the primary postulate of Skála was that his theory neither doubts nor confirms any experience, but is the complete cohesion of logical systems in which the value of truth is substituted by a value of validity.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Jiří Skála was born in 1976, and lives and works in Prague. The elaborated systems that Skála employs in his works are reminiscent of the results of a self-taught scientist. He attempts to verify principles, build theories, investigate and gain control of enclosed groups of objects in all surrounding fields, so that he—with the help of his somewhat indefinite scientific knowledge based on his own observation and proved by repetition and imitation—constantly renews the field of his investigations. It is as if the primary postulate of Skála was that his theory neither doubts nor confirms any experience, but is the complete cohesion of logical systems in which the value of truth is substituted by a value of validity.

  Divus | Scottův Filmový...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Ve filmech studia Hammer hraje bytost často druhořadou roli a hlavní zlo v nich představuje postava Frankensteina, jehož ztvárnil Peter Cushing, který díky tomu vstoupil do povědomí jako dokonalé ztělesnění “šíleného vědce” plánujícího zničit lidskou rasu.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Notable in nearly all post-Bride renderings is the confusion of creature with creator. Indeed, the very title of Bride itself is misleading, since the subject of the film is not in fact the bride of Frankenstein himself, but the Bride of his creation, the Creature. In the Hammer movies, the Creature often plays a secondary role, the primary evil being located in the character of Frankenstein, portrayed by the late Peter Cushing, whose portrayal gained him notoriety as the quintessential “mad scientist,” quietly devising plots to destroy the human race. (To moviegoers raised on later Hollywood fare, Cushing is best known as Grand Moff Tarkin, Darth Vader’s boss in 1977’s Star Wars.)
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Notable in nearly all post-Bride renderings is the confusion of creature with creator. Indeed, the very title of Bride itself is misleading, since the subject of the film is not in fact the bride of Frankenstein himself, but the Bride of his creation, the Creature. In the Hammer movies, the Creature often plays a secondary role, the primary evil being located in the character of Frankenstein, portrayed by the late Peter Cushing, whose portrayal gained him notoriety as the quintessential “mad scientist,” quietly devising plots to destroy the human race. (To moviegoers raised on later Hollywood fare, Cushing is best known as Grand Moff Tarkin, Darth Vader’s boss in 1977’s Star Wars.)

  Divus | Rouhání - Někol...  

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Poté co je svou mrštností zneškodní – většinou uhne rozeběhnutému zuřícímu mamelukovi, který se sám roztříští o nejbližší mostní pilíř – a utluče jejich cynického vůdce soškou místního krutého boha, se hrdina vrací domů.

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The only pleasant thing left over from Christianity is the reservation of luxury and democracy. Outside this reservation, there is an exotic world of chaos inhabited by enemies. Probably the best, albeit unintentional caricature of this world concept, is the current film industry. The soiled protagonist, ragged and rain-drenched, is being beaten up by humanoid monsters gone berserk. After he disposes of them thanks to his agility—he usually manages to get out of the way of some dashing furious brute, who kills himself on the next bridge pillar—and beats to death their cynical leader with a statuette of a cruel local god. The hero returns home. As he is getting off the plane in New York, London or Frankfurt, the illuminators let us properly see his Western aristocratic features. Then we are shown pictures of progress, wealth and peace. A city from a bird’s eye view, flying over some nice central cluster-of-skyscrapers, a yacht there, the streets are full of colorful cars, mothers with prams, and grinning candy sellers. In the evening, having had a good diner the hero settles by the fireside with his wife and no more than two children, and narrates how glad he is to be back home. That is about how the agitprop programs for the life in socialist countries used to look like. As no one would watch similar odes to capitalism, we can see them at the beginning of every expensive movie, which we gladly pay for.

  Divus | Tam venku je vá...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Na jeho prezentaci jsem se Conala zeptal, zda někdy zvažoval, že by svou práci mohl zmezinárodnit, oslovit širší, globální problematikou, zacílit na vůdce i mimo USA a plakátovat celosvětově. Řekl, že v Itálii mu navrhovali, aby plakátoval Berlusconiho a v Anglii Blaira.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	At his presentation, I asked Conal if he has ever considered internationalizing his work, meaning addressing broader, global issues or targeting leaders beyond the USA, then postering globally. He said that in Italy, he had been encouraged to do a poster of Berlusconi, and in England, he was urged to do likewise Blair. But Conal thinks that taking his work into this direction would be a type of “cultural imperialism.” He suggested that local artists should instead address their own leaders and issues and he was assured that every country had their own artist(s) doing the same type of satirical political art.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	At his presentation, I asked Conal if he has ever considered internationalizing his work, meaning addressing broader, global issues or targeting leaders beyond the USA, then postering globally. He said that in Italy, he had been encouraged to do a poster of Berlusconi, and in England, he was urged to do likewise Blair. But Conal thinks that taking his work into this direction would be a type of “cultural imperialism.” He suggested that local artists should instead address their own leaders and issues and he was assured that every country had their own artist(s) doing the same type of satirical political art.

  Divus | Po převratu  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Současnému českému umění možná chybí kořeny, vazba na historii, na velké předchůdce, na solitéry, kteří nepodlehli — Stanislava Kolíbala, Adrienu Šimotovou, Václava Boštíka, Karla Malicha — i odvaha vyplout na moře světového umění, s jeho bouřemi a spodními proudy.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	On the other hand, although the communist regime subsidized its “culture” to enforce its own political agenda and tolerated a consensual “humanist” culture, the savage capitalism that has replaced it hasn’t brought much. What contemporary Czech art lacks more than anything is roots with its history, its ancestors, its supporters (Stanislav Kolíbal, Adriena Šimotová, Václav Boštík, Karel Malich) and an openness to the winds of the high seas. Some understand this all too well. And are working at it. Right now.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	On the other hand, although the communist regime subsidized its “culture” to enforce its own political agenda and tolerated a consensual “humanist” culture, the savage capitalism that has replaced it hasn’t brought much. What contemporary Czech art lacks more than anything is roots with its history, its ancestors, its supporters (Stanislav Kolíbal, Adriena Šimotová, Václav Boštík, Karel Malich) and an openness to the winds of the high seas. Some understand this all too well. And are working at it. Right now.

  Divus | Window Gallery /  

Montrer texteMontrer source en cacheMontrer URL avec texte source	v roce 1998 zastoupen na důležité přehlídce Surfacing v ICA. Předchůdce jeho snímků nejednoznačných konstelací běžných předmětů můžeme hledat ve společném díle Marcela Duchampa a Man Raye Elevage de poussičre čili Pěstování prachu z roku 1920, které sestává z Rayova záběru spodní části Duchampova Velkého skla, pokrytého silnou vrstvou prachu.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	The Prague Window Gallery recently presented photographs by the young British artist Luke Gottelier, who was singled out in 1998 for the important exhibition Surfacing at the ICA. We can find a forerunner of his ambiguous photographic treatment of common themes in Ele-vage de Poussiere (Dust Bree-ding), the combined work from 1920 by Marcel Duchamp and Man Ray, which consists of Ray’s shot of the lower part of Duchamp’s Large Glass, covered in a thick layer of dust. In a similar manner, Luke Gottelier transforms huge details of still life pieces into monumental landscapes.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	The Prague Window Gallery recently presented photographs by the young British artist Luke Gottelier, who was singled out in 1998 for the important exhibition Surfacing at the ICA. We can find a forerunner of his ambiguous photographic treatment of common themes in Ele-vage de Poussiere (Dust Bree-ding), the combined work from 1920 by Marcel Duchamp and Man Ray, which consists of Ray’s shot of the lower part of Duchamp’s Large Glass, covered in a thick layer of dust. In a similar manner, Luke Gottelier transforms huge details of still life pieces into monumental landscapes.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	The Prague Window Gallery recently presented photographs by the young British artist Luke Gottelier, who was singled out in 1998 for the important exhibition Surfacing at the ICA. We can find a forerunner of his ambiguous photographic treatment of common themes in Ele-vage de Poussiere (Dust Bree-ding), the combined work from 1920 by Marcel Duchamp and Man Ray, which consists of Ray’s shot of the lower part of Duchamp’s Large Glass, covered in a thick layer of dust. In a similar manner, Luke Gottelier transforms huge details of still life pieces into monumental landscapes.

  Divus | Spálený toast a...  

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Když jsem nedávno navštívil Ameriku, zničehonic mi došlo, proč se země zdá jakoby zamrzlá v nepříjemném okamžiku politické apatie, zatímco se její současný vůdce pouští do války proti bezbranným zemím a využívá imperialistické nástroje, aby dosáhl svých vysoce pochybných cílů...

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Every American family owns a toaster oven. My parents even own two. I’m not sure why, but I suppose it means that they’re extra-American. In its crudest manifestation, capitalism conflates identity with buying power; i.e. you are what you own. Kotík’s work points that out to us, then further complicates the matter by refusing to comment on it. The most notorious manifestation of this strand running throughout Kotík’s oeuvre is his series of Bankomats, first exhibited as part of the Prague Biennale 2002 exhibition at House of the Stone Bell. Here, the logic of consumerism is brought to its ultimate conclusion — we are brought into some twisted vision of the future, wherein the viewer gets to choose which money dispenser best suits his/her individuality. Perhaps the different bankomats even dispense individually designed currency.

  Divus | Umida Achmedova...  

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Po sovětském zřízení se zachovalo „oficiální“ umění, které oslavuje a mytologizuje postavy z minulosti (Köroğlu, Timur, Samani) i současnosti („Vůdce národa“ prezident Nazarbajev, „Otec všech Turkmenů“ Nijazov).

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Это, безусловно, оказывает определяющее воздействие на творческую деятельность в странах региона: менее сильное в странах с кочевыми традициями и более сильное в государствах, возникших на основе различных форм оседлой жизни. Унаследованное от советского строя «официальное» искусство прославляет придирчиво избранные для мифологизации фигуры прошлого (Гёроглы, Тимур, Самани) и настоящего («Лидер нации» президент Назарбаев, «Отец туркмен» президент Ниязов). Немного в стороне, но весьма в русле официальной политики стоят многочисленные и очень похожие одно на другое произведения, воспевающие красоту национальных обрядов, празднеств и быта. Другие ищут признания на не менее мифилогизированном «Западе» и стараются наиболее адекватно выражать все тот же «национальный менталитет» средствами инсталляций, коллажей, концептов, регулярно заполняющие галереи всего мира на протяжении последних пятидесяти лет. Это, конечно, не означает, что в регионе нет художников, искренне и глубоко занятых вопросами собственно творческого поиска. Просто такие художники рискуют не вписаться в существующие, и надо признать, не слишком изящные конформистские рамки, что в текущем политическом и идеологическим климате может грозить им серьезными проблемами.

  Divus | V současných hr...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Pokud se bavíme o reakcích hráčů, viděl jsem, že v připravované strategii Qurajš o počátcích islámu je jistá mise, konkrétně dobývání Medíny, kdy má hráč jako vůdce beduínského kmene možnost přijmout Islám a přidat se na stranu Proroka, nebo na Medínu zaútočit.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	The opening mission of the game involves Baruch Goldstein - aren’t you afraid using such a topic in a computer game? What about the feelings of those whose relatives died there? Aren’t you afraid of their reactions? In European context such utilization would be considered as non-ethical…
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	The opening mission of the game involves Baruch Goldstein - aren’t you afraid using such a topic in a computer game? What about the feelings of those whose relatives died there? Aren’t you afraid of their reactions? In European context such utilization would be considered as non-ethical…

  Divus | Tam venku je vá...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Na jeho prezentaci jsem se Conala zeptal, zda někdy zvažoval, že by svou práci mohl zmezinárodnit, oslovit širší, globální problematikou, zacílit na vůdce i mimo USA a plakátovat celosvětově. Řekl, že v Itálii mu navrhovali, aby plakátoval Berlusconiho a v Anglii Blaira.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	At his presentation, I asked Conal if he has ever considered internationalizing his work, meaning addressing broader, global issues or targeting leaders beyond the USA, then postering globally. He said that in Italy, he had been encouraged to do a poster of Berlusconi, and in England, he was urged to do likewise Blair. But Conal thinks that taking his work into this direction would be a type of “cultural imperialism.” He suggested that local artists should instead address their own leaders and issues and he was assured that every country had their own artist(s) doing the same type of satirical political art.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	At his presentation, I asked Conal if he has ever considered internationalizing his work, meaning addressing broader, global issues or targeting leaders beyond the USA, then postering globally. He said that in Italy, he had been encouraged to do a poster of Berlusconi, and in England, he was urged to do likewise Blair. But Conal thinks that taking his work into this direction would be a type of “cultural imperialism.” He suggested that local artists should instead address their own leaders and issues and he was assured that every country had their own artist(s) doing the same type of satirical political art.

  Divus | RECYKLACE NÁROD...  

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Konečný výsledek se formoval v populistických příbězích, jako je ten Božidara Vučureviće, srbského vůdce z Trebinje: “Dokonce i mrtvé jsme vystavili, abychom je mohli ochránit, a chráníme důstojnost živých; proto není srbská historie jen učitelem života, ale také učitelem smrti. Svatý Sáva, car Lazar, Njegoš, Karađorđe… jsou stále s námi, připomínají nám, kdo jsme a čím jsme.”

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Among all Serbian constitutional myths, the myth of Kosovo is the most pervasive in revived ethno-national stories and phantasmagoria, and it points to the “Emperor” Lazar’s choice of the Divine Realm as the correct path and decision for the Serbian national character. This fits perfectly into the mythological, anti-historical perception of time, where time returns again and again in everlasting cycles, unlike the usual understanding of the linear flow of time in Judeo-Christian civilization. The final consequence of which took shape in populist stories, like this one by Božidar Vučurević, Serbian leader from Trebinje: “Even the dead we lined up to preserve, and we defend the dignity of the living; that’s why for Serbs history is not only a teacher of life, but also a teacher of death. St. Sava, Tsar Lazar, Njegoš, Karađorđe... they are still with us, reminding us of who we are and what we are.” It could even be said that just the mention of Kosovo and its myth became a choice and the determination for a myth — it became a “myth about a myth” as Ivan Čolović remarked.

  Divus | RECYKLACE NÁROD...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Konečný výsledek se formoval v populistických příbězích, jako je ten Božidara Vučureviće, srbského vůdce z Trebinje: “Dokonce i mrtvé jsme vystavili, abychom je mohli ochránit, a chráníme důstojnost živých; proto není srbská historie jen učitelem života, ale také učitelem smrti. Svatý Sáva, car Lazar, Njegoš, Karađorđe… jsou stále s námi, připomínají nám, kdo jsme a čím jsme.”
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	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.”
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	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 | Prachy  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Padělání se v druhé polovině dvacátého století stalo jednou z oblíbených praktik. Má ale i své předchůdce. Svým způsobem můžeme za podobného umělce považovat i legendárního ruského anarchistu Machna, který se po říjnové revoluci stal pánem jisté části Ukrajiny.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Most governments in the world are very sensitive to imitating their currencies. Japanese artist Akasegawa Genpei personally experienced this sensitivity when he had his printer make copies of 1000 Yen bank notes in 1963. He used them as an invitation to his exhibition and a material for his other works and performances. The following year, he was prosecuted for forgery. The lawsuit turned into a philosophical dispute over the basis and relationship between forgery, imitation and a model. The artist once even turned the court house into a place of his performance during which he demonstrated how he was using money. Akasegawa Genpei’s defense was based on the fact that bank notes that he used for his art were mere models of money which were different from the real thing as they were bearing any financial value of currency but they did bear artistic value. After being convicted, he made a series of bank notes with the value of zero Yens printed on them by which he tried to demonstrate the absurdity of his trial.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Most governments in the world are very sensitive to imitating their currencies. Japanese artist Akasegawa Genpei personally experienced this sensitivity when he had his printer make copies of 1000 Yen bank notes in 1963. He used them as an invitation to his exhibition and a material for his other works and performances. The following year, he was prosecuted for forgery. The lawsuit turned into a philosophical dispute over the basis and relationship between forgery, imitation and a model. The artist once even turned the court house into a place of his performance during which he demonstrated how he was using money. Akasegawa Genpei’s defense was based on the fact that bank notes that he used for his art were mere models of money which were different from the real thing as they were bearing any financial value of currency but they did bear artistic value. After being convicted, he made a series of bank notes with the value of zero Yens printed on them by which he tried to demonstrate the absurdity of his trial.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Most governments in the world are very sensitive to imitating their currencies. Japanese artist Akasegawa Genpei personally experienced this sensitivity when he had his printer make copies of 1000 Yen bank notes in 1963. He used them as an invitation to his exhibition and a material for his other works and performances. The following year, he was prosecuted for forgery. The lawsuit turned into a philosophical dispute over the basis and relationship between forgery, imitation and a model. The artist once even turned the court house into a place of his performance during which he demonstrated how he was using money. Akasegawa Genpei’s defense was based on the fact that bank notes that he used for his art were mere models of money which were different from the real thing as they were bearing any financial value of currency but they did bear artistic value. After being convicted, he made a series of bank notes with the value of zero Yens printed on them by which he tried to demonstrate the absurdity of his trial.

  Divus | Spálený toast a...  

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Když jsem nedávno navštívil Ameriku, zničehonic mi došlo, proč se země zdá jakoby zamrzlá v nepříjemném okamžiku politické apatie, zatímco se její současný vůdce pouští do války proti bezbranným zemím a využívá imperialistické nástroje, aby dosáhl svých vysoce pochybných cílů...

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Every American family owns a toaster oven. My parents even own two. I’m not sure why, but I suppose it means that they’re extra-American. In its crudest manifestation, capitalism conflates identity with buying power; i.e. you are what you own. Kotík’s work points that out to us, then further complicates the matter by refusing to comment on it. The most notorious manifestation of this strand running throughout Kotík’s oeuvre is his series of Bankomats, first exhibited as part of the Prague Biennale 2002 exhibition at House of the Stone Bell. Here, the logic of consumerism is brought to its ultimate conclusion — we are brought into some twisted vision of the future, wherein the viewer gets to choose which money dispenser best suits his/her individuality. Perhaps the different bankomats even dispense individually designed currency.

  Divus | Demokratizace n...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Češi zvědaví na Tinta Brasse zaplňovali kina ve stejné době, kdy Prahu ve funkci prezidenta USA navštívil George Bush, sr. Stejně jako jeho předchůdce Ronalda Reagana považovali i jeho za jakousi rockovou hvězdu.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	director Luis Bunuel. However, if you were to watch one of Brass’ more serious (soft-erotica with a socio-political element) films, specifically Salon Kitty, you’d notice that Beecroft’s “ground-breaking” shot was taken from a scene in this film. This in no way discredits her work; rather, Brass films have taken on another dimension.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Beecroft creates photo spectacles using emotionless nude women, usually models, with apparently no erotic point to her work. One of her most well-known shots lines up about forty women, standing at attention and in formation like soldiers, totally nude but for their knee-high, black marching boots. You could think that the piece is either a jab at fascism, or an ode to the

  Divus | Satanovo i jiné...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	S kurátorem Vasifem Kortunem jsem měl sraz na náměstí Taksim, komerčním centru Istanbulu. Tato obdoba pražského Václavského náměstí má ve svém středu pomník zakladatelů tureckého státu, znázorňující vojevůdce a generály stojící kolem pěchotního děla.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	I arranged to meet curator Vasif Kortun on the Taksim Square, Istanbul’s commercial center. Placed in the middle of this square is a statue of the founder of Turkish State with commanders and generals standing by a cannon. “Could you guess what makes this memorial special,“ Vasif asked me. I didn’t understand why this traditional and academic looking memorial made after the 19th Century definition should be immediately interesting. “This memorial was built in the 20‘s,“ Vasif explained. “The author is a nearly forgotten French artist. He was commissioned to do the statue because there was not a single figurative sculptor in Turkey in the 20‘s who would be able to take up such task. After centuries of Islamic laws’ rule, this was the first public three-dimensional image of a human body. It was a scandal in Islamic society and those who made a decision to erect it were very much aware of what would happen. The memorial was from the start intended as a slap in the face of traditional Islamic society.“ Right the first day, I unexpectedly found out how an academic statue may become a controversial piece of work in some countries. Recent Turkish history is full of social engineering and in many respects it is similar to our experience during the past forty years of Communism and our difficult transformation to modern civilization of western type.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	I arranged to meet curator Vasif Kortun on the Taksim Square, Istanbul’s commercial center. Placed in the middle of this square is a statue of the founder of Turkish State with commanders and generals standing by a cannon. “Could you guess what makes this memorial special,“ Vasif asked me. I didn’t understand why this traditional and academic looking memorial made after the 19th Century definition should be immediately interesting. “This memorial was built in the 20‘s,“ Vasif explained. “The author is a nearly forgotten French artist. He was commissioned to do the statue because there was not a single figurative sculptor in Turkey in the 20‘s who would be able to take up such task. After centuries of Islamic laws’ rule, this was the first public three-dimensional image of a human body. It was a scandal in Islamic society and those who made a decision to erect it were very much aware of what would happen. The memorial was from the start intended as a slap in the face of traditional Islamic society.“ Right the first day, I unexpectedly found out how an academic statue may become a controversial piece of work in some countries. Recent Turkish history is full of social engineering and in many respects it is similar to our experience during the past forty years of Communism and our difficult transformation to modern civilization of western type.

  Divus | Demokratizace n...  

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Češi zvědaví na Tinta Brasse zaplňovali kina ve stejné době, kdy Prahu ve funkci prezidenta USA navštívil George Bush, sr. Stejně jako jeho předchůdce Ronalda Reagana považovali i jeho za jakousi rockovou hvězdu.

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Czechs were packing the halls to see Tinto Brass at the same time that George Bush Sr., U.S. President, made his ceremonious visit to Prague. Bush and his predecessor in office, Ronald Reagan, were like rock stars to the Czechs, and Bush’s speech on Wenceslas Square in 1990 was such a call to life, liberty, and the pursuit of happiness that it drove the Czechs wild in the streets. It became a New Year’s Eve celebration, without the cherry bombs and fireworks. For hours after Bush’s speech, the square was full of drunken revelry and wanton kissing.

  Divus | Digitální Intif...  

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Qurajš jde v tomto ohledu mnohem dále, v příběhu se objeví několik uctívaných islámských postav a způsob jejich prezentace bude zajisté v muslimské společnosti bedlivě zkoumán. Část hry dokonce staví hráče do role vůdce pohanského beduínského kmene, který se v jedné misi ocitne v bitvě u Medíny na straně nepřátel Islámu.

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While describing their work we must realize in which conditions Afkar Media functions. The relationships of Arab society to the question of Palestine is a bitter mixture of sympathy, irritation, humiliation and a feeling of shame for not being able to help. In the introduction I wrote that the Tahta al-Hisar’s release was put off for more than a year. The reason was the difficult negotiation with the distributors in individual countries, who had objections to various aspect of the game, e.g. that a Palestinian on the package box is facing a fighter chopper with a rocket launcher in his hand; the distributor wanted the man to hold a symbolic stone only. Although the original version survived, Afkar Media are forced to compromise if they want to do well in the Arab market. I look with great expectation to their upcoming strategic game, Quarish, which can be a kind of a tolerance test towards the games depicting sensitive events in Islamic history. The reactions to the first game, Tahta al-Ramad, were allegedly 90% positive, although a few letters written from orthodoxic-religious positions blamed the authors, e.g. for the use of music was condemned (according to the strict interpretations of Islam music is completely unwelcome). Quarish goes much further in this respect, in the story there are a few revered Muslim figures and how they are presented will be surely investigated closely in Muslim society. A part of the game even puts the player into the role of a leader of a pagan Bedouin tribe which in one mission in a battle at Medina finds itself on the side of the enemies of Islam. The player has a chance to embrace Islam and to join the side of the Prophet, or to refuse and go on in the siege of Medina. In fact in this fight the primary Islamic community stood the test, but if the player doesn’t make the expected decision and doesn’t join the Muslims, their victory can lead to a halt of the spread of Islam. Radwan Kasmiya claims that they want to show early Islamic history as accurately as possible without legends and superstition. Such an approach doesn’t always have to be in accord with the folk Islamic devotion and might face a harsh critique.

  Divus | Krize ,,nenápad...  

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Teoretická východiska moskevského nonspektakulárního umění navazují na analýzu kapitalistické společnosti, kterou zformuloval vůdce Situacionistické internacionály Guy Debord v díle Společnost spektáklu (1967).

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Around 2002 the “discrete tendency” in Czech art began to become formalized and institutionalized. The artists, who founded this movement in the late 90s, at this time became the most successful of their generation. Thanks to their participation with new institutional initiatives in Czech art such as PAS, Display and Tranzit they found closer links with international art. The “discrete tendency” then disengages from the community and became part of a wider exchange of artistic values. Specific projects, activities and strategies, bound together with the local social milieu, now had the opportunity to travel abroad where their original meanings were generalized, simplified and alienated. A good example is the Bezhlavý Jezdec (headless rider) window-box, which functioned for a few years as an exhibition space on Dělnická st. in Prague-Holešovice. In 2002, the PAS group (Produkce aktivit současnosti – Production of Present Day Activities – Havránek, Skála, Vaněk) sent the window-box to the Art-Kliasma festival of contemporary art in Russia. Whilst the object functioned in its local context (in Prague) as an alternative framework for the presentation of young artist’s artwork when it was exported to the Russian show, it was presented as an art work. Thus, what had been its own self-contained locus (the window box) was torn from its previous context in order to serve as an entrance ticket into the global contemporary art scene.