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  Divus | literární spot:...  
Ona vystartuje ve chvíli, kdy ucítí pohyb mých dlaní a doplatí na svůj zlozvyk startovat jako helikoptéra. Chce to párkrát vyzkoušet, najít si tu správnou vzdálenost obou dlaní od sebe a od stolu. Navíc nemůžete na stole nic rozbít.
Obi®: I’ve noticed that flies, as a matter of principle, always take off vertically from a table. Just like a helicopter. At about 10 to 15 centimeters, they choose a direction and then buzz off. It was based on this observation that I developed my method of killing them.
  Divus | THC Review a za...  
co je to mlátit hlavou do stolu
Antes de que la recorran, chisporrotean y se evaporan
  Divus | Situace, okolno...  
Série sešitů s jednoduše nasprejovanými náměty — spoty, začleněná do výpůjčního systému knihovny Uměleckoprůmyslového Muzea v Praze. Pozvánka funguje jako výpůjční lístek. Sešity jsou uložené pod vyplněnou signaturou, kde si je můžete zapůjčit a u stolu individuálně prohlédnout.
Series of notebooks with simple sprayed themes — spots. The series was introduced into the lending system of the library. The invitation also served as a registration card. The notebooks are kept
  Divus | literární spot:...  
Máš trvale studené dlaně a chodidla a často močíš... (Vyplivne další nehty.) Cítím tvůj nerovnoměrný srdeční tep, Luku®... Všiml jsem si tvých neuroticky podmíněných rytmických projevů, tvého ťukání prsty do stolu a pohupování chodidlem.
Luke®: I can see that your pupils are dilated. I’ve noticed for some time now that your facial skin is turning red. I believe your mouth is dry right now — I can tell by how many times you swallow … and by your constant swilling of Intelex.
  Divus | Pusťte mě k tomu  
Třicet čtyři různých židlí. Bílý porcelán. Broušené sklenice, stříbro. Mezi talíři prostředkem stolu nahromaděné artyčoky. Na každém talíři leží žlutá a růžová pilulka. Velké žárovky nad stolem, uprostřed křišťálový lustr.
Scratched ladders. Scattered buckets with paint, brushes, and rollers. Radios. Each was tuned to a different station. Technical drawings of chairs, interiors, lamps. Erotic Japanese woodcuts piled on top of each other on a desk. Confusion. Cacophony. Mess. Process.
Scratched ladders. Scattered buckets with paint, brushes, and rollers. Radios. Each was tuned to a different station. Technical drawings of chairs, interiors, lamps. Erotic Japanese woodcuts piled on top of each other on a desk. Confusion. Cacophony. Mess. Process.
  Divus | Jakub Staněk  
Skupina se sešla první den nového roku k improvizované výstavě “OŠP” (Opět Špatná Předsevzetí – pozn. red.). Předem jsem voskem na desku stolu provedl osm očí a čtvero úst. Před kolegy jsem na stůl nalil krabicové mléko.
On the first day of the new year the group met for an improvised exhibition called “OŠP” [Opět Špatná Předsevzetí or Eng: Another Bad Resolution — ed.]. I made eight eyes and four mouths from wax on a table-top in advance. In front of my colleagues I poured a carton of milk onto the table. It trickled from the waxed areas and four screams appeared on the table-top.
  Divus | Konference  
„Jenže, co já vím, jak se mluví v Glasgow. To už je stejně Skotsko, ne? “ Znovu jsem se začal soustředit na přednášejícího. Během mé konverzace se správci Alan přešel k jinému stolu. O poznání energičtěji se rozmluvil na úplně nové téma.
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 | Večeře s Olafem  
Poslední okázalou událostí byla galavečeře pro Cindy Sherman před měsícem. Hned za mnou seděl Elton John a celý večer dlouze prděl. Byl tam John Waters, seděl jsem u jednoho stolu s Tony Ourslerem. Byl to aukční večer jednoho známého aukcionáře, benefiční akce.
It has calmed down considerably. We go dining out a lot but more often to places which I know. Once a week I go somewhere with Brian, or with people who I arrange to meet with. The last moment of glamour was a month ago, it was the gala dinner for Cindy Sherman. Behind me sat Elton John who farted endlessly. John Waters was also there and I sat at one table with Tony Oursler. It was a benefit auction.
The first phase of my work is definitely done. At the end of the nineties, my work was noticed because of my flirtations with the New Gothic and references to horror movies. But this phase has passed and I had to get rid of “horror Breuning”.
  Divus | Lhář nebo genius  
Jednoho dne jsem hodináře potkal. Seděl jakoby nic v kavárně a usmíval se. Všiml si mého zájmu a pozval mě ke stolu. Náš hovor se samozřejmě stočil i na příhodu s orlojem. Dal jsem najevo, že mi celý příběh nedá spát, stále hledám a nacházím různá vysvětlení, se kterými nejsem spokojen.
The entire city was looking forward to seeing their future pride, and the city councilors prepared a grand opening. Newsletters only exacerbated their impatience; the master himself spared no words of anticipation when meeting his friends.
The entire city was looking forward to seeing their future pride, and the city councilors prepared a grand opening. Newsletters only exacerbated their impatience; the master himself spared no words of anticipation when meeting his friends.
  Divus | Nová media a st...  
Komunikace mezi lidmi se v tomto projektu stává intenzivním vizuálním zážitkem, při nemž skupina šesti lidí sedí kolem speciálního stolu, a datovými brýlemi sledují zvuky, jež vydávají a které se mění na pohybující se objekty.
shadows of numbers and letters marched from within it; a faucet painted the table blue; touching a bowl of sugar caused ants to charge from every direction; a bird suddenly landed on a hammer and sang out; smoke wafted from an ashtray. And that was only the beginning. Like the human bodies in Body Movies, the objects dancing shadows at some point stopped being only copies — in fact they became more real than the
shadows of numbers and letters marched from within it; a faucet painted the table blue; touching a bowl of sugar caused ants to charge from every direction; a bird suddenly landed on a hammer and sang out; smoke wafted from an ashtray. And that was only the beginning. Like the human bodies in Body Movies, the objects dancing shadows at some point stopped being only copies — in fact they became more real than the
  Divus | Lhář nebo genius  
Jednoho dne jsem hodináře potkal. Seděl jakoby nic v kavárně a usmíval se. Všiml si mého zájmu a pozval mě ke stolu. Náš hovor se samozřejmě stočil i na příhodu s orlojem. Dal jsem najevo, že mi celý příběh nedá spát, stále hledám a nacházím různá vysvětlení, se kterými nejsem spokojen.
One day the watchmaker decided to make a clock tower. A machine that would be a milestone in his professional journey. He announced his intention to everybody in town, and the city hall decided to let him build the tower as his masterpiece.
One day the watchmaker decided to make a clock tower. A machine that would be a milestone in his professional journey. He announced his intention to everybody in town, and the city hall decided to let him build the tower as his masterpiece.
One day the watchmaker decided to make a clock tower. A machine that would be a milestone in his professional journey. He announced his intention to everybody in town, and the city hall decided to let him build the tower as his masterpiece.
  Divus | O kurátorské mo...  
Pak ale vyšlo najevo, že nadace neví nic o tom, že Babíček končí a o nás už vůbec nic. Jednání, které se týkalo našeho převzetí, ale shodila správní rada nadace ze stolu kvůli údajným Babíčkovým dluhům.
Karel Babíček, the gallery’s former chief, was negotiating with us on the take-over of the space. He claimed that the ČFU Foundation, owner of the space, knows about us and that he is authorized to negotiate with us. We created a group of people - me, Kadlec, Jiří David, Martin Dostál and Milena Slavická - we approached sponsors and basically got everything ready for the gallery to be operational. Then it turned out that the Foundation did not know that Babíček is leaving and nothing about us either. Because of Babíček’s debts, the Foundation dismissed any further negotiations with us. Nová Síň is now going to show exhibitions that were planned for the Galerie Bratří Čapků. We may take part in tender for the space at the end of the year. We have already secured grants and sponsorship for some of the projects and we’ll try to find a new space. One of the projects should be War Worry exhibition. The biggest project we plan is an exhibition of Czech art of the 1990‘s.
  Divus | Paulina Škávová  
Při práci na návrhu pomníku blanickým rytířům (2002) prošla celou krajinu v okolí hory. Výsledkem byl trojrozměrný objekt/mapa ve tvaru dvoukřídlého stolu. Po rozevření křídel se divák mohl podívat do útrob legendární hory, v nichž se ukrývá systém chodeb jako v dnes slavném afghánském jeskynním komplexu Tora Bora.
Her work is typical for its consistency and playfulness. For the project Trenažér pro bankovní lupiče (Trainer for Bank Robbers, 2001) she went and got a gun license. While working on the design for a memorial to the Knights of Blaník (2002) she walked the entire countryside around the mountain of Blaník and created a three-dimensional object/map in the shape of a double-winged table. After flapping open the wings the viewer can take a look inside the guts of the legendary hill with a system of passages fashioned after the famous complex of caves in Afghanistan’s Tora Bora region.
Her work is typical for its consistency and playfulness. For the project Trenažér pro bankovní lupiče (Trainer for Bank Robbers, 2001) she went and got a gun license. While working on the design for a memorial to the Knights of Blaník (2002) she walked the entire countryside around the mountain of Blaník and created a three-dimensional object/map in the shape of a double-winged table. After flapping open the wings the viewer can take a look inside the guts of the legendary hill with a system of passages fashioned after the famous complex of caves in Afghanistan’s Tora Bora region.
  Divus | Tereza Janečkov...  
Pokud nechceme spolu s J. X. Doležalem celou záležitost smést ze stolu jako touhu po skandálním sebeprosazení a snadno vydělaných penězích a budeme brát vážně autorčin zájem o funkci zobrazení ženy ve společnosti a konstrukci identity umělce/umělkyně, pak důvody zrovna k tomuto typu tvorby najdeme zcela spolehlivě.
Tereza Janečková was not interested in scandal or, in the end, pornography. Both phases (photography in Hustler and the “collective work” monitoring the reception of the photos) have one common theme: an interest in the mechanistic constitution of pictures of a woman (and) artist in the context of a pornographic magazine and similar media. The collage made up of reactions to the incriminating photography reflects the way that “artists are reproduced” from texts written by professional journalists and critics. The game of the structure of figuration and the perception of pictures in a certain context happen at both a physical level and on the plane of the construction of personality. In the artist’s opinion, the result of her project “the girl from the poster” is thus a completely new media identity.
  Divus | Vidět sama sebe...  
Aby se to povedlo, museli bychom s autory a díly navázat co nejužší kontakt: obléci si skutečně oblek Lygie Clark na sebe, běhat s Krasińským po ulicích a házet modré šňůry na zem, s Lauwrencem Wienerem bychom museli sedět u stolu a hrozně se hádat.
I don’t think you can really put yourself into that period — you can’t perfectly grasp it. The only possibility is to appreciate what they had to overcome at that time, before they could look at it from our perspective. That’s why it is crucial to know the dilemmas of the time, and we might be surprised. But to do so we would have to put ourselves into the closest possible contact with the artists and their works. I mean really put on Lygia Clark’s suit; run with Krasiński in the streets throwing blue cords on the ground; we’d have to sit at a table with Lawrence Weiner and get into a heated argument with him. And then it would have to be different, because, in the end, everything looks different in a museum or a gallery.
I don’t think you can really put yourself into that period — you can’t perfectly grasp it. The only possibility is to appreciate what they had to overcome at that time, before they could look at it from our perspective. That’s why it is crucial to know the dilemmas of the time, and we might be surprised. But to do so we would have to put ourselves into the closest possible contact with the artists and their works. I mean really put on Lygia Clark’s suit; run with Krasiński in the streets throwing blue cords on the ground; we’d have to sit at a table with Lawrence Weiner and get into a heated argument with him. And then it would have to be different, because, in the end, everything looks different in a museum or a gallery.
  Divus | O mrkvi, válce ...  
Organizátoři říkali, že ten, komu dali náramek, nemusí platit za večeři. “ V tu dobu u stolu vznikl nepokoj – přišel čas placení, a ti nejhbitější se vrhli k organizátorům pro náramky. V mém nitru se všechno zatočilo a naplnila mě zuřivost.
3. El la última tarde cuando casi me había consolado al escribir en la pared It should be public (debería hacerse público) unas declaraciones, al exponer todo lo que estaba pensando y al discutir con los demás participantes cuestiones dolorosas para mí, me vi en una cena oficial de cierre (Closing Dinner). Al principio no pensaba ir allí, pero resultó que mi vuelta se había atrasado y empezaba a hacer frío en el parque. Mi primer asombro tuvo lugar ya a la entrada, cuando vi que los organizadores habían reservado sólamente unas 30 plazas, y eso que había unos 300 participantes. Como fui una de las primeras en llegar, también fui una de los "elegidos". Después de una cena muy elegante donde se sirvió pasta -que no como para nada-, pero era lo único que había para los pobres vegetarianos, me llamó la atención una rara pulsera de plástico en la muñeca de mi interlocutor, un simpático chico de Londres. El chico se cortó y dijo: “¿Tú no tienes una así? Los organizadores dijeron que si a uno le daban esto, no hace falta pagar la cena”. Al mismo tiempo, entre los comensales empezó cierto movimiento, ya que estaba llegando la hora de pagar y los más espabilados fueron donde estaban los organizadores a por las pulseras. Todo en mi interior se dió vuelta y me llenó una rabia blanca. No es que no tenía dinero para pagar aquella cena no planeada con comida que no había pedido, sino que lo que estaba pasando, sin duda alguna, lo catalogaba como “mal”. Como en la infancia, cuando infaliblemente, uno puede distinguir lo que está bien y lo que está mal, no podía seguir convenciéndome de que a fin de cuentas era un evento bueno, tanta gente y tantas revistas, Luxemburgo soleado, ilusiones y esperanzas. Quería creer que eran erróneas mis opiniones y mis calificaciónes de Colophon. Estaba hablando con gente, iba dócilmente a presentaciones, dejé la idea de hacer un incendio y trataba de ser buena. Casi llegué a creer que me estaba equivocando cuando pasó una cosa así. Cuando una persona que habían enviado a por las pulseras volvió con una, le dije:” ¿Puedes pedir una para mí y para esta chica y para esta otra?” No sabíamos que la cena era para unos pocos”. Todo el mundo se quedó callado, el enviado se quitó su propia pulsera y la tiró a la mesa. Todo el mundo se sintió incómodo. No podía quedarme callada, ya que mi elevado sentido de justicia exigía, por lo menos, expresarse de forma abierta. Mi intervención fue breve y sin rodeos, en contra de la discriminación, el racismo
  Divus | Miska  
Tématem je spíš samotná změna dynamiky, která se opakováním opotřebovává. Variováním bych se dostal ke způsobu myšlení, který považuji za přisprostlý. Poprvé je to nejlepší. Variuje to ale v jiných objektech. . Variantou ke stolu je třeba nočník nebo věšák. Nebo i podlaha.
The most important thing about this sculpture was the hat it wore. There is the encoded joy in it, of skiing, puberty, heat 15 years old. Old dandruff. It has a rich memory. And you can see it. I don’t want to say that this is the only thing that makes the whole sculpture understandable. All the same, I consider the memory to implicitly contain the possibility of sharing and understanding. Without a specific content, of course. On the level of waves.
The most important thing about this sculpture was the hat it wore. There is the encoded joy in it, of skiing, puberty, heat 15 years old. Old dandruff. It has a rich memory. And you can see it. I don’t want to say that this is the only thing that makes the whole sculpture understandable. All the same, I consider the memory to implicitly contain the possibility of sharing and understanding. Without a specific content, of course. On the level of waves.
  Divus | Umělec - Umělci...  
Jako kdyby příběh o jejím selhání ve chvíli, kdy samy instituce začaly podněcovat a financovat svoji kritiku, představoval důvod ke zvlčení a příruční alibi k tomu, aby byl s historicky dokonaným řešením zapomenut i jeho původní impuls. Jako kdyby si umělci řekli, že tudy cesta nevede, vzpírat se kompromisu vyšlo z módy, vraťme se ke stolu a domluvme se.
The Declaration’s authors are right that times have moved on and artists’ activities have changed. Even the artist has changed. Sooner or later, the modern drive towards the objectification of life probably “had” to give art a social definition as well, to give it a face, purpose and reason for existence. Art was apparently no longer capable of standing on its own legs without the help of adjectives such as engaged, experimental, independent, non-commercial, or contemporary. Jacques Rancière is convinced that art no longer offers any promises.12 And yet, even today we still encounter lively and inventive activities founded on previously unexplored dynamics of new forms, except that this is happening mostly outside of art. There still are people who play with masks of comprehensibility, who walk through locked doors with a laugh, and who, when we reach for them, turn into air.
  Divus | Miska  
Tématem je spíš samotná změna dynamiky, která se opakováním opotřebovává. Variováním bych se dostal ke způsobu myšlení, který považuji za přisprostlý. Poprvé je to nejlepší. Variuje to ale v jiných objektech. . Variantou ke stolu je třeba nočník nebo věšák. Nebo i podlaha.
Can you imagine other variations of objects on the table — a table that could be made for the theme of change of the dynamics inside the system of the relationships of objects and their function? Is the exploration into variations somehow important to you?
  Divus | Miska  
A teď se dostávám k důležitému momentu. Během asociačního procesu, který začal vánočkou a skončil stolem, se ukázalo, že dominantní vlastnosti jak vánočky, tak stolu, mají omezený potenciál.
I imagine that when the function of the object is somehow diluted, then the object partially disappears. It’s a kind of donkey bridge to a real disappearance.
I imagine that when the function of the object is somehow diluted, then the object partially disappears. It’s a kind of donkey bridge to a real disappearance.
  Divus | Sylvie Brodi  
Obvykle, když se takto vracívá v noci domů a má něco vypito, pustí si ještě televizi, ať už je tam cokoli, a dá si panáka. Dnes ne... Nedá se říci, že by se večer nezdařil. Seděli u svého stolu, tam vzadu za těmi vysokými fíkusy, a povídali si. Vše plynulo tak, jak má, v poklidu, spokojeně – ostatně jako vždy. Vstal.
After they came home from their favorite restaurant where they have gone every Friday friends with whom they have met up with more-or-less regularly since high school, they didn’t say a word. The children were already asleep. They took a shower. He sat in a comfortable armchair in the hall. Usually, when he comes home late from a pub, he turns on the TV whatever is on and has a shot. Not today... They can’t say that the evening went wrong. They sat at their table, back behind the tall rubber plant and talked. Everything went as usual, calmly, peacefully – like always. He got up. He didn’t put on his coat and went out in the garden. He opened the gate and went out into the night. Suddenly he was in a different and unknown world. Unknown? He had seen it so many times he had been there so many times, so often at this time, just before going to bed. He wasn’t thinking of anything, he felt that he needed to experience something extremely beautiful. Maybe he wouldn’t be embarrassed to say – I desire. Although... no, no, he simply wanted something, something tiny but unusual, something very, very short which you never forget... It crossed his mind that it was like in a picture. Is art itself this journey or does it only show it? Or is that all just a surrogate for things we usually miss? Is good art always self-therapeutic? Maybe. And the better the artist, the wider the circle of those who await such signal. But beware of the most visible signposts with the most legible writing! Now he was in the woods, it was drizzling. From afar he could hear the voices of night creatures which were crouching hidden in the undergrowth. It was a deciduous forest, thicker and thicker. He was struggling through the grey-green twilight... He stopped. Something was happening. The whole time something was happening. Something was penetrating him, it was light and matter at the same time, it was black and white. Did it hurt or was it pleasant? Was it pleasure or just some kind of a strange illness? He had an angel overhead, a devil by his side. Where do all these unclear desires lead? At first all sidesteps and evasions, and ifs. At first the eternal hesitation and then a sudden stampede. Covering of our own eyes and then blinding the others. Where does all this deciding and contemplating lead, all this correcting of what cannot be corrected, all this putting off and waiting? One can only push the handle and go... He was standing there for a long time. The tiny drops were rustling i
  Divus | BalkanBeats  
Všude jsou vytaženy rolety a postaveny stánky s jídlem. Orkestars obklopují stoly a hrají ostošest. Pokud osazenstvo stolu stojí o hudbu, začnou muzikantům lepit na čelo dináry a trumpety a zvuky se zesilují. Když zájem opadá, orkestar se posouvá dále.
Como la mayoría de los protagonistas del Balkan Beats, Ori Kaplan es un inmigrante. Creció en Jaffa, Israel, donde observaba a las orquestas egipcias por televisión, aprendió a tocar el clarinete klezmer de Europa del Este de un búlgaro entrenado por músicos gitanos. Se mudó a Nueva York hace quince años y empezó a tocar en bandas industriales punk. Todo eso cambió cuando escuchó un CD de la banda macedonia de metales Kocani Orkestar y aprendió acerca de las fusiones gitano-turcas del trompetista Búlgaro Yuri Yukanov.