zd – Traduction – Dictionnaire Keybot

  Divus | EGONIÁŠOVO PROR...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	„Je třeba žít v hojnosti a v míru s konkurencí,“ zdůrazňuje Karel Gott a vpisuje Václavu Havlovi věnování do své knihy Dopisy Volze, vydanou nakladatelstvím Kolyma Gulag Books.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	—El presente futuro pasado está sujeto a las riendas por el látigo divino. No future, como decimos nosotros, los ciberpunks de la revista Kachlikárna —subraya sus palabras el mayor Zeman.

  Divus | Buďme součástí ...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Vždy zdůrazňuje roli a důležitost instituce, k níž patří.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	What are the basic features of the ordinary art bureaucrat?

  Divus | Jak se pohybova...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	2. V mnoha případech si kurátor umělce pozve na výstavu z důvodů jiných, než je hodnota jeho díla (např. potřebuje ženu, rasovou nebo geografickou pestrost, nebo protože lepší umělec odřekl účast). V těchto případech nesmí kurátor prozradit opravdové důvody, proč umělce pozval, a zdůrazňovat jen hodnotu jeho/jejího díla.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	2. En numerosas instancias, un curador invitará a un artista a una exhibición por razones ajenas al valor de la obra del artista (tales como, por ejemplo, la necesidad de compañía femenina, la diversidad racial o geográfica o tan simple como que un mejor artista declino la invitación).

  Divus | Scéna z filmu  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Stará malířka je zděšená a říká: „To nebylo moc pěkné.“
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	The old painter woman is mortified and says, “That wasn’t very nice.”
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	La vieja pintora, mortificada, acierta a decir “Eso no fue muy amable”.

  Divus | Skupinový portr...  

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Jejich práce se omezuje na kritiku instituce. Nejdůležitější je zde zdůraznění odstupu a zachování vlastní nezávislosti. Takový model vnitřního neheroického vzdoru, vzdoru skrze smích, vzdoru proti snahám přivlastnit si umělce a umění, se dnes stává stále více aktuální – a přinejmenším je zárukou dobré zábavy.

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Los miembros del grupo Azorro lograron continuar siendo artistas sin crear nada de arte. Su trabajo se limita a la crítica de la institución. Lo más importante es señalar las distancias y mantener la independencia propia. Este modelo de resistencia interna no heróica, resistencia mediante la risa, resistencia a los esfuerzos por apropiarse de los artistas y el arte, es un tema de máxima actualidad ,y, cuando menos, garantiza un buen entretenimiento.

  Divus | Tuhle výstavu n...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Vždy zdůrazňuje roli a význam instituce, k níž patří.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	He/she always emphasizes the role and importance of the institution he/she belongs to.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	He/she always emphasizes the role and importance of the institution he/she belongs to.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	He/she always emphasizes the role and importance of the institution he/she belongs to.

  Divus | Zmnožování stře...  

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Trienále uspořádalo Contemporary Art Centre (CAC) ve Vilniusu, nejvýznamnější a jediná instituce svého druhu v Litvě (doufejme, že nehrozí její monopolní zdřevnatění). Je to ambiciózní instituce, která si buduje mezinárodní pozici.

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The triennial was organized by Contemporary Art Centre (CAC) in Vilnius, the most important and only institution of its kind in Lithuania (let’s hope there is no threat to its monopolistic ham handedness). It is an ambitious institution that is building an international position. The exhibition took place in two locations - in the late modernistic building CAC directly in the center of the town, and in the former printing house in nearby Maironio Street.

  Divus | SUPER NASE & CO...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	jsou díla a životy prominentních umělců (a také televizních, reklamních a jiných bavičských hvězd, a rovněž i politiků), záležitost je surrealistickou paralelou Magrittova "Ceci n'est pas une pipe / Tohle není dýmka".
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	is based upon the early Marina Abramovic performance Rhythm 10, where she's stabbing the space between the fingers of her left hand as fast as possible with ten different knives, searching for errors according to/with/through rhythm. These errors seem synchronic in her present and her past time. “

  Divus | SÉMIONAUTI PROT...  

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V takovém kontextu se příliš nehodí, aby umělci zdůrazňovali svoji národní a kulturní identitu. Lehký akcent, s nímž všichni bez výjimky mluví při komunikaci běžným jazykem, dokonce trochu umenšuje komunikační problémy.

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Contemporary artists in a majority avoid large-scale ideas, pompous manifests, and big concepts. Their sphere is private observations, marginalia, and notes. If in the course of 80s and 90s all artists were looped by the idea of national identity, now we see that differences between national schools have been completely erased. This is why it is in principle impossible to identify at once national and cultural affiliation of the author of "frozen room" and "machine that makes toys out of light." Micol Assael (Italy) constructed a refrigerating room with walls covered with hoarfrost. According to her, there is a philosophic idea of art, which extracts energy from environment just as a refrigerator.

  Divus | V běhu času  

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Sám Steve McQueen zdůrazňuje hudební aspekt této práce, když se v rozhovoru s kurátorem své vídeňské výstavy Geraldem Mattem zmiňuje o tom, že se při její realizaci cítil takřka jako hudebník, neboť jeho jediným úkolem při valení barelu bylo, jeho slovy, “držet rytmus”.

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3. See Doris Krystof, The Song of the Street. “Drumroll” as an Artistic Manifesto, Steve McQueen, Kunsthalle Wien 2001, pp. 21–36. Steve McQueen himself emphasized the musical aspect of his work when in an interview with his curator from the Vienna exhibition, Gerald Matt, he pointed out that while working he almost felt like a musician, for his one task while rolling the barrel, in his own words, was to “keep up the rhythm.” See Steve McQueen in conversation with Gerald Matt, ibid., p. 16.

  Divus | Kurátor a kultu...  

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Byli to jak umělci, tak kritici a historici umění, kteří zásadně přispěli k uznání žen v umění v sedmdesátých letech a bylo to podle mě zvláště zdůraznění a zhodnocení "hlasu soukromí", které tak silně poznamenalo umění na další dvě desetiletí.

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In your essay Separation Anxiety you wrote: “The war on the body and the experience of disconnection it engenders is most often revealed in the work of female and gay male artists. From perspectives outside the white male power structure they are in painfully privileged position to comment on and critique the politics of division, exclusion and loss.” (in: Corporal Politics, catalogue of List Visual Arts Center, MIT Press, 1993). Are minorities sufficiently represented in contemporary art institutions? How is such representation to be guaranteed without accepting the humiliating quota, and running “affirmative action?” And, last but not least, does the better visibility of minorities imply also an understanding of them? Isn’t the criticism taken from the “painfully privileged position” of the Other damaged when minorities enter the official institutions?

  Divus | Zmnožování stře...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Trienále uspořádalo Contemporary Art Centre (CAC) ve Vilniusu, nejvýznamnější a jediná instituce svého druhu v Litvě (doufejme, že nehrozí její monopolní zdřevnatění). Je to ambiciózní instituce, která si buduje mezinárodní pozici.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	The triennial was organized by Contemporary Art Centre (CAC) in Vilnius, the most important and only institution of its kind in Lithuania (let’s hope there is no threat to its monopolistic ham handedness). It is an ambitious institution that is building an international position. The exhibition took place in two locations - in the late modernistic building CAC directly in the center of the town, and in the former printing house in nearby Maironio Street.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	The triennial was organized by Contemporary Art Centre (CAC) in Vilnius, the most important and only institution of its kind in Lithuania (let’s hope there is no threat to its monopolistic ham handedness). It is an ambitious institution that is building an international position. The exhibition took place in two locations - in the late modernistic building CAC directly in the center of the town, and in the former printing house in nearby Maironio Street.

  Divus | David Bowie - D...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Samozřejmě tušíte, že jsem nemohl odolat a napsat malou roličku pro sebe samotného. Uděláme část nazvanou Octobriana a Muž z hvězd nebo něco v tom duchu. Cokoliv, co dostane hvězdného Bowieho do tohoto show!
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	When I told Amanda about it she was very excited and we began working on scripts immediately. You know, of course, that I just can’t resist writing in at least a tiny part for myself. We’ll have to come up with a segment, ‘Oktobriana Meets Starman,’ or something like that. Anything to get starstruck Bowie into the show!
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	When I told Amanda about it she was very excited and we began working on scripts immediately. You know, of course, that I just can’t resist writing in at least a tiny part for myself. We’ll have to come up with a segment, ‘Oktobriana Meets Starman,’ or something like that. Anything to get starstruck Bowie into the show!
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	When I told Amanda about it she was very excited and we began working on scripts immediately. You know, of course, that I just can’t resist writing in at least a tiny part for myself. We’ll have to come up with a segment, ‘Oktobriana Meets Starman,’ or something like that. Anything to get starstruck Bowie into the show!

  Divus | SÉMIONAUTI PROT...  

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S produkcí výrazných hvězd totiž v Rusku bývá potíž. Projekt realizovaný v pobočce Muzea současného umění v Jermolajevské ulici, nazvaný křiklavě Starz, působil skutečně hvězdně. Podíleli se na něm ti nejlepší z nejlepších – Oleg Kulik, Vladimir Dubosarskij a Alexandr Vinogradov, skupina AES+F a také Vladislav Mamyšev-Monroe.

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As for new and equally outstanding stars, Russia has serious problems in their production. A project loudly titled Starz at the Branch of the Contemporary Art Museum in Ermolaevsky lane really looks brilliant. It includes the very best – Oleg Kulik, Vladimir Dubosarsky and Alexander Vinogradov, the AES+А group, and Vladislav Mamyshev-Monroe. Brilliant and admirable, they somehow evoke unpleasant thoughts about artificial jewelry, which is emphasized by consonance of Starz and "straz" (eng. paste, artificial diamond). But for all that each of participants is worthy of being named a star and idol. It is impossible not to say that though some joyless irony can be revealed in the name still a portion of joke seems insufficient. The very location of the exhibition redoubles the situation. Real stars should be in a real museum of contemporary art but not in a simulation built by a master of imperial kitsch Zurab Tsereteli. In Russia, in no way can contemporary art stars feel themselves independent figures able of developing own contexts.

  Divus | Go Johnny Go  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Kytara jako logo ve veřejném prostoru a její využití v “sexualizaci” mužských rockových hvězd, jakými byli Jimi Hendrix či Jimmy Page, a jejich ženské kytarové protiklady, od Memphis Minnie až ke Kathleen Hannah, jsou dalšími zajímavostmi v zábavné jam session.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Of course a show of this kind would not be complete without all the usual cultural ephemera (photos, posters, newspaper clippings, album covers, advertising). The guitar as logo in public space and it’s use in the “sexualizing” of male rock stars like Jimi Hendrix and Jimmy Page and in women’s guitar counterhistory, from Memphis Minnie to Kathleen Hannah,
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Of course a show of this kind would not be complete without all the usual cultural ephemera (photos, posters, newspaper clippings, album covers, advertising). The guitar as logo in public space and it’s use in the “sexualizing” of male rock stars like Jimi Hendrix and Jimmy Page and in women’s guitar counterhistory, from Memphis Minnie to Kathleen Hannah,
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Of course a show of this kind would not be complete without all the usual cultural ephemera (photos, posters, newspaper clippings, album covers, advertising). The guitar as logo in public space and it’s use in the “sexualizing” of male rock stars like Jimi Hendrix and Jimmy Page and in women’s guitar counterhistory, from Memphis Minnie to Kathleen Hannah,

  Divus | Kampaň na těle ...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Najednou zničehonic dostane menstruaci! Nápisem na tričku chce vyjádřit své zděšení z toho, že jedno vajíčko propadlo zkáze, minulo se svým životadárným potenciálem. Nebo by barevný nápis napnutý na vnadných ňadrech mohl znamenat: „Tento měsíc menstruuji, tj.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	“I am having my period” is most poignant when worn by a woman, who got pregnant at first ovulation and hasd kept giving birth, child by child, since the end of adolescence. Out of the blue, she gets it! Wearing the T-shirt, she manifests her panic that one ovum is doomed; it missed its life-giving potential. The colorful text, stretched across her ample breasts, might also signify: “I am having my period, and that means I am not pregnant at the moment, I am ready to be fertilized.” In that case, the text would serve as secondary sexual signal announcing ovulation, such as when a female primate’s posterior turns red; over the course of evolution, such signaling has diminished.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	“I am having my period” is most poignant when worn by a woman, who got pregnant at first ovulation and hasd kept giving birth, child by child, since the end of adolescence. Out of the blue, she gets it! Wearing the T-shirt, she manifests her panic that one ovum is doomed; it missed its life-giving potential. The colorful text, stretched across her ample breasts, might also signify: “I am having my period, and that means I am not pregnant at the moment, I am ready to be fertilized.” In that case, the text would serve as secondary sexual signal announcing ovulation, such as when a female primate’s posterior turns red; over the course of evolution, such signaling has diminished.

  Divus | ARCHITEKTURA DY...  

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V minulých dvou letech jsme měli možnost shlédnout dva skvělé britské sci-fi filmy zachycující blízkou nebo možná vzdálenou budoucnost ostrova zvaného Velká Británie. První z těchto filmů, Potomci lidí (Alfonso Cuarón, 2006), ukazuje Londýn v roce 2027.

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En los últimos dos años tuvimos la oportunidad de ver dos excelentes películas británicas de ciencia-ficción representando un futuro cercano o quizás lejano de la isla conocida como Gran Bretaña. La primera de las dos películas "Children of Men" (Los hijos del hombre) de Alfonso Cuarón (2006), está ambientada en Londres en el año 2027. Debido a la destrucción global y a la catástrofe ecológica no ha nacido ningún bebé desde hace 18 años, y la civilización humana tal y como la conocemos quizás se está enfrentando a la extinción. En la segunda película, "28 Weeks Later" (28 semanas después) de Juan C. Fresnadillo (2007), la población británica al completo ha sido contaminada por un virus letal ya introducido en la primera parte de la misma película, "28 días después", de Danny Boyle, (2002). El ejército protege una pequeña parte de Londres mientras los zombis, muertos vivientes, continúan haciendo estragos alrededor. A parte de otras cosas, lo que tienen en común estos dos filmes post apocalípticos es la arquitectura. De hecho, gracias a las eficientes intervenciones de los directores de ambas películas, la ciudad ha sido simplemente “pulida” para ofrecernos una visión de su futuro, un futuro que se puede imaginar. No estamos hablando de efectos especiales o de intervenciones arquitectónicas como las vistas en "Blade Runner" (Ridley Scott, 1982) o "Brazil" (Ferry William, 1985). Contrariamente, Londres ha sido transformada sutilmente en una ciudad en absoluto utópica, enfatizando sus características urbanas actuales. Por ejemplo, en ambas películas hay muchísimas cámaras de circuito cerrado de televisión, unas cámaras que también podemos encontrar hoy a cada paso que damos. Visto así, no parece que estas películas pertenezcan al género de la ciencia ficción, sino más bien al descubrimiento brillante de una situación actual en la que la supresión de los lugares públicos y de los derechos civiles es frecuente.

  Divus | Kateřina  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Souhlasím. Na druhou stranu ty jsi určitou mechanizaci (onu neviditelnou mechanizaci, ten dennodenní zvyk, to nic) zdůraznila a vlastně ji tím i porušila.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	I agree with you. On the other hand, you stressed a certain mechanization (the invisible one, the everyday habit, that nothing), and therefore disrupted it.

  DIVUS  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Octavian Esanu sleduje přijímání a odmítání „amerického“ v neamerickém prostředí na pozadí nejednoznačně chápané svobody a historicky stoupajícího sebevědomí amerického umění, které dost možná stojí za zdánlivou univerzalitou pojmu „současné umění“.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Octavian Esanu looks at the acceptance and rejection of what is “American” in a non-American environment, against the backdrop of an unclear understanding of freedom and the historically growing confidence of American art, which quite possibly stands behind the seemingly universal concept of “contemporary art.” Where the colonization of the spirit through an emphasis on contemporaneity still encounters resistance, the attractiveness of American shoes perhaps presages the strongest export – packaging, boxes, frames and vehicles.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Octavian Esanu verfolgt die Anerkennung und Ablehnung des „Amerikanischen“ in der unamerikanischen Umwelt, mit Blick auf die vieldeutige Freiheit und historisch steigendes Selbstbewusstsein der Amerikanischen Kunst. Diese Kunst kann wohl hinter der scheinbaren Allgemeinheit des Wortes „zeitgenössische Kunst“ stehen. Wo die Kolonialisierung des Geistes noch wegen der Zeitgenössischkeits-Betonung auf Widerstand stößt, deutet die Attraktivität von amerikanischen Schuhen den vielleicht stärkesten Export an – Verpackungen, Kisten, Rahmen und Fahrzeuge.

  Divus | Scéna z filmu  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Stará malířka je zděšená a říká: „To nebylo moc pěkné.“
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Die alte Malerin ist zu Tode erschrocken und sagt: „Das war nicht sehr nett.“
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	El hombre le extiende el celular a la chica, “es para usted”.

  Divus | SVĚT UMĚNÍ  

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Došlo tak k nevídaným investicím, které trh s uměním pohánějí. Jak zdůrazňují kritici, k relativní hodnotě už se dávno nemůžeme vztahovat, když se Giacometti prodává, ve srovnání s Damienem Hirstem, za pakatel.

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“iEsta ha sido nuestra mejor y más exitosa subasta de todos los tiempos!” La declaración se ha convertido en una frase hecha genérica para referirse a cualquier subasta de arte contemporáneo en Nueva York o Londres; cada casa de subastas presume de resultados comparativos y competitivos. Sin embargo, ¿es el término “justo valor de mercado” la forma correcta para describir un mercado sin regular? En años recientes, el amplio reconocimiento del potencial de valor comercial del arte contemporáneo ha permeado la conciencia pública y llevado a inversiones sin precedente, propulsando el mercado del arte. Como lo han señalado los críticos, los valores relativos ya no aplican cuando un Giacometti se vende por una ganga si lo comparamos con un Damien Hirst. Lo que esto significa, entonces, en términos de cómo y por quién la historia del arte será escrita no resulta ninguna novedad puesto que lo será por los mismos que siempre la han escrito: las estructuras superiores de la sociedad con capital disponible para gastar, que han aceitado la máquina de la industria creativa por siglos. Actualmente la población general en ciudades como Londres, Nueva York o Berlín está enfocada hacia las tendencias, trivias y tribulaciones que giran en la órbita del arte contemporáneo. Ya no es exclusivamente un juego de especialistas donde la interpretación es una necesidad para descifrar la producción cultural. Sino que el proceso por el que el objeto institucionalmente aprobado nos llega, el empaque en el que llega, quién es el mensajero y por qué permanece como uno de los fenómenos socio-culturales sin explicación es lo que interesa actualmente.

  Divus | Nový konzervati...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Požadavek odpolitizování byl po roce 1989 pochopitelně extrémní reakcí na politicky zdůvodňované zásahy do umění a stal se pak také součástí nových konzervativních a nacionalistických postojů. Univerzální model kultury, na němž jsme měli ještě v 60.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	The call for depoliticization after 1989 came naturally as an extreme response to politically justified interventions in art and has consequently become a part of new conservative and nationalist positions. The universal model of culture, in which we had a share in the 1960s (e.g. Kolíbal, Knížák), is again being rejected as being too fashionable, too much tied to foreign culture and disruptive to the authentic values by which society is supposed to live and with which it is supposed to build a national identity. Art is supposed to preserve its autonomy and not tie itself to “external” social and political issues, to defend itself against invasions of more universal cosmopolitan fashion. It should live according to its own values, which the world will come to admire (viz. the policies of some cultural institutions such as the National Gallery in Prague).
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	The call for depoliticization after 1989 came naturally as an extreme response to politically justified interventions in art and has consequently become a part of new conservative and nationalist positions. The universal model of culture, in which we had a share in the 1960s (e.g. Kolíbal, Knížák), is again being rejected as being too fashionable, too much tied to foreign culture and disruptive to the authentic values by which society is supposed to live and with which it is supposed to build a national identity. Art is supposed to preserve its autonomy and not tie itself to “external” social and political issues, to defend itself against invasions of more universal cosmopolitan fashion. It should live according to its own values, which the world will come to admire (viz. the policies of some cultural institutions such as the National Gallery in Prague).

  Divus | Několik hodin N...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Sherman nezanevřela na svět filmu, jak to dokazuje i její aktuální výstava v Los Angeleské galerii Larry Gagosiana. Obsahuje stylizované portréty stárnoucích filmových hvězd a autorka se v nich po kratší přestávce, kdy pracovala především s figurínami a panenkami, vrátila k práci s vlastním tělem.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Despite Cindy Sherman’s divorce from the popular Hollywood actor and director Steve Martin, they remain good friends. Cindy hasn’t given up on film either as can be seen in her current exhibition at Larry Gagosian’s gallery in Los Angeles. Here, she shows stylized portraits of aging film stars. After a short break during which Sherman mainly worked with dolls and figures, she returned to working with her own body. She was also quoted as saying that she would like to make another film. Her one condition, however, is that she also wants to write the script, after her debut Office Killer was not received unequivocally.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Illeana Sonnabend, a legend among international gallery owners and Leo Castelli’s ex-wife, who represents artists ranging from Jasper Jones, Robert Rauschenberg to Jeff Koons, opened their new gallery space on West 22nd Street on May 6. Just five years ago this was a place where you could count galleries with the fingers on one hand. Chelsea has since definitely become plundering grounds for rich aristocrats in limos. The first group exhibition in this unusually vast gallery included artists ranging from Roy Lichtenstein, and the Bechers to Koons.

  Divus | Nejlepší obrana...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Hranice zahrnující ve východním podvědomí ostražitý moment obrany se vyjevila i na panelové diskusi na téma Untranslatable Distances (Nepřeložitelné vzdálenosti), kde ji jeden z diskutujících definoval rozdílností západních a východních záchodů: zatímco v západním výkaly okamžitě zmizí v útrobách, my na východě je máme potřebu zkoumat ještě na plošině mísy.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Some of them deal with the need for defense on a personal level, where the collapse of the outside world is reflected with all the more vigor. A video loop by Ene-Liis Semper from Tallinn presents not one but two suicides; they appear neither pathetic nor sentimental. Semper, present at the Manifesta opening, looked like she wasn’t that far from suicide herself. In videos by Joost Conijn from Tilburg, the defense reflexes are displayed a bit more bizarrely and grotesquely. In the video Airplane, Conijn attempts to assemble a plane out of old parts and fly away. The video A Strange Message from Another Star by Veli Granö from Helsinki also shows the main character longing to escape at any price. The pseudo (?) documentary is the story of a man who, ever since World War II, has longed for nothing but to assemble a rocket and take off to another place, which is not as self-destructive and fervid. A similar dose of indetermination is inherent in the video Wisla by Josef Dabernig from Vienna. It is, however, put together in a downright comic style: two coaches, looking like cut-outs from the socialist realist 1970s, are watching what it going on behind the backs of cameras and what, guessing from the sounds, seems to be a match. Their serious and ridiculous world shows itself to be nonsense when they shake hands with other aparatchiks in an empty stadium. Roland Boden’s bunkers, or Urban Modern Shelter Units, like the projects by Andrea Zittel but with an assertive political subtext, find themselves in the position of defending private space as it is confronted by unacceptable surroundings. In addition to being an isolated den, or a mobile observation point, the bunkers may also be used as coffins or as a terrorist gun-pit.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Some of them deal with the need for defense on a personal level, where the collapse of the outside world is reflected with all the more vigor. A video loop by Ene-Liis Semper from Tallinn presents not one but two suicides; they appear neither pathetic nor sentimental. Semper, present at the Manifesta opening, looked like she wasn’t that far from suicide herself. In videos by Joost Conijn from Tilburg, the defense reflexes are displayed a bit more bizarrely and grotesquely. In the video Airplane, Conijn attempts to assemble a plane out of old parts and fly away. The video A Strange Message from Another Star by Veli Granö from Helsinki also shows the main character longing to escape at any price. The pseudo (?) documentary is the story of a man who, ever since World War II, has longed for nothing but to assemble a rocket and take off to another place, which is not as self-destructive and fervid. A similar dose of indetermination is inherent in the video Wisla by Josef Dabernig from Vienna. It is, however, put together in a downright comic style: two coaches, looking like cut-outs from the socialist realist 1970s, are watching what it going on behind the backs of cameras and what, guessing from the sounds, seems to be a match. Their serious and ridiculous world shows itself to be nonsense when they shake hands with other aparatchiks in an empty stadium. Roland Boden’s bunkers, or Urban Modern Shelter Units, like the projects by Andrea Zittel but with an assertive political subtext, find themselves in the position of defending private space as it is confronted by unacceptable surroundings. In addition to being an isolated den, or a mobile observation point, the bunkers may also be used as coffins or as a terrorist gun-pit.

  Divus | Punks not dead  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Punk se soustředil především na hudbu, ale výstava nechává tento aspekt v pozadí a zdůrazňuje asociaci punku s negací nebo jej vystihuje „jako dveře vnímání, skrze něž se vstupuje do říše zašifrovaných zpráv: jako signál k produkci hluku“.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	El punk fue también el no-profesionalismo –artistas autistas tambaleándose en el escenario, fuera de tono, colocados y tocando demasiado rápido –igual que aquellos que se agitaban y semibailaban entre el público. Incluso los punks a tiempo parcial… rebelándose en contra de sus carreras o de la carencia de oportunidades para hacer carrera, pero sólo los fines de semana.

  Divus | Was ist Kunst (...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	To ano a i nyní, na těchto výstavách, a propos Balkán, jenom ex-Jugoslávie má starší generaci. Bulhaři ani Rumuni moji generaci nemají. Ten článek tam není a nebyl, nebo byl tak slabý, že nedokázal nic nového zdůraznit.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	The genealogy of modern art in many Western countries is different as it was built since Modernism, which is not the case in most Eastern European countries. In some countries, contemporary art is only 15, 20 years old.

  Divus | "Samý vzduch a ...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Totéž lze říci i o ve vídeňské Kunsthalle vystavených dílech umělců z Islandu, Dánska, Norska, Finska a Švédska, z nichž celá řada kromě zdůrazňované narativity nově uchopila i zmiňovaná tradiční témata divoké přírody a melancholie.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	The same could be said for the works of artists from Iceland, Denmark, Norway, Finland, and Sweden exhibited in Vienna’s Kunsthalle. In addition to narration, as emphasized by the curators, a number of artists also took a new look at the traditional themes of wild nature and melancholy. This was especially true with works devoted to nature. Joachim Koester, a Danish artist living in New York, exhibited nine color and black and white photographs from his series Row Housing (1999), which shows a deserted arctic settlement. However the settlement is not located in the north of Europe but on the Canadian island of Cornwallis. At the beginning of the 1950s there were only a few businesses, missionaries, and a small company of mounted police on the island. During the height of the Cold War, the Canadian government decided to move a group of original inhabitants away from this region out of fear of losing the territory. In the 1970s, Ralph Erskine, a Swedish architect, began building a settlement where racially and socially different groups could integrate. But this experiment failed and all that remained was the scrapped body of the role-model arctic settlement, which looks like an abandoned space laboratory in Koester’s photographs. The bare, rocky land and especially the massive amounts of telecommunication equipment only intensify this feeling.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	The same could be said for the works of artists from Iceland, Denmark, Norway, Finland, and Sweden exhibited in Vienna’s Kunsthalle. In addition to narration, as emphasized by the curators, a number of artists also took a new look at the traditional themes of wild nature and melancholy. This was especially true with works devoted to nature. Joachim Koester, a Danish artist living in New York, exhibited nine color and black and white photographs from his series Row Housing (1999), which shows a deserted arctic settlement. However the settlement is not located in the north of Europe but on the Canadian island of Cornwallis. At the beginning of the 1950s there were only a few businesses, missionaries, and a small company of mounted police on the island. During the height of the Cold War, the Canadian government decided to move a group of original inhabitants away from this region out of fear of losing the territory. In the 1970s, Ralph Erskine, a Swedish architect, began building a settlement where racially and socially different groups could integrate. But this experiment failed and all that remained was the scrapped body of the role-model arctic settlement, which looks like an abandoned space laboratory in Koester’s photographs. The bare, rocky land and especially the massive amounts of telecommunication equipment only intensify this feeling.

  Divus | Mezi nebem a zemí  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Tyto budovy se často nacházejí ve stavu rekonstrukce. Starší domy mají neproporčně zvětšená okna, v některých případech jsou naopak zazděná. Rozestavěné jsou rovněž některé z typizovaných rodinných domků devadesátých let, které se v odlišných konstelacích objevují hned na několika záběrech.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Other images (with the exception of two individual figures shown burning grass and practising their parking skills) are taken from more tangible distances, capturing social reality primarily through the portrayal of architecture, particularly of village homes rarely complemented by the silhouettes of suburban landscapes. The homes are often in a state of reconstruction. Older homes have disproportionately large windows; some are completely walled up. Standardized homes from the beginning of the 1990s, which appear in several images in various constellations, are also under construction. Jasanský and Polák often submerge groups of buildings behind the horizon, a technique that dominates the entire series and emphasizes the complete inaccessibility of the visible landscape. This is made possible not only by the photographs’ horizontal composition and their strict division into two dimensionally identical levels of sky and earth, but also by the choice of shots, strategically eschewing any connection between the location of the observer and the observed landscape. No paths lead from the observer to the horizon and the furrows in the fields are mostly horizontal, a few somewhat diagonal. In a number of photographs, the view of the horizon is blotted out by lonely fences, walls, roads and train tracks. Polák and Jasanský intensify this effect in three of the images by replacing the bottom level of the image with a water surface.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Other images (with the exception of two individual figures shown burning grass and practising their parking skills) are taken from more tangible distances, capturing social reality primarily through the portrayal of architecture, particularly of village homes rarely complemented by the silhouettes of suburban landscapes. The homes are often in a state of reconstruction. Older homes have disproportionately large windows; some are completely walled up. Standardized homes from the beginning of the 1990s, which appear in several images in various constellations, are also under construction. Jasanský and Polák often submerge groups of buildings behind the horizon, a technique that dominates the entire series and emphasizes the complete inaccessibility of the visible landscape. This is made possible not only by the photographs’ horizontal composition and their strict division into two dimensionally identical levels of sky and earth, but also by the choice of shots, strategically eschewing any connection between the location of the observer and the observed landscape. No paths lead from the observer to the horizon and the furrows in the fields are mostly horizontal, a few somewhat diagonal. In a number of photographs, the view of the horizon is blotted out by lonely fences, walls, roads and train tracks. Polák and Jasanský intensify this effect in three of the images by replacing the bottom level of the image with a water surface.

  Divus | "Samý vzduch a ...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Namísto tradičních témat spojovaných se severským uměním, jakými jsou světlo, příroda, melancholie či šílenství, se proto kurátorky rozhodly jako společný základ jednotlivých - více než třiceti - představených uměleckých pozic zdůraznit moment narativity.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Sabine Folie and Brigitte Kölle, the curators of the show, were very much aware of the issues associated with territorial determination as a key to constructing a representative, contemporary exhibition of visual art. Instead of traditional themes typical for Nordic art, such as light, nature, melancholy and madness, they chose a moment of narration as the basis for all of the more than thirty presented artistic positions. This moment does not only stem from demographic regional specialties, like low population density, but most of all from the external geographical isolation that originally pushed the Nordic countries out to the periphery. Furthermore, the exhibition suggests that narration and the need for communication—both of which have been steadily developing in the Nordic scene since the local artists came into lively contact with members of Fluxus—anticipated in a certain way the rehabilitation of art perceived as social action. The elite group of artists working in this field ranges from Maurizio Cattelan, to Liam Gillick, Carsten Höller, Gabriel Orozco, Jorge Pardo, and Rirkrit Tiravanija. It’s no accident that these artists come from the periphery, from towns in Italy, Belgium, Mexico, Cuba, Argentina, and Aylesbury and Glasgow in Britain. With parasitical tenacity they have managed to work their way into the global scene with their incommunicable language, which their original local dialects are distinctly incorporated into.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Sabine Folie and Brigitte Kölle, the curators of the show, were very much aware of the issues associated with territorial determination as a key to constructing a representative, contemporary exhibition of visual art. Instead of traditional themes typical for Nordic art, such as light, nature, melancholy and madness, they chose a moment of narration as the basis for all of the more than thirty presented artistic positions. This moment does not only stem from demographic regional specialties, like low population density, but most of all from the external geographical isolation that originally pushed the Nordic countries out to the periphery. Furthermore, the exhibition suggests that narration and the need for communication—both of which have been steadily developing in the Nordic scene since the local artists came into lively contact with members of Fluxus—anticipated in a certain way the rehabilitation of art perceived as social action. The elite group of artists working in this field ranges from Maurizio Cattelan, to Liam Gillick, Carsten Höller, Gabriel Orozco, Jorge Pardo, and Rirkrit Tiravanija. It’s no accident that these artists come from the periphery, from towns in Italy, Belgium, Mexico, Cuba, Argentina, and Aylesbury and Glasgow in Britain. With parasitical tenacity they have managed to work their way into the global scene with their incommunicable language, which their original local dialects are distinctly incorporated into.

  Divus | Kateřina  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Ano, já jsem zdůraznila normálnost tím, že jsem ji v podstatě porušila. To se stalo ale jen v rámci celku, jednotlivci dělali to, co obvykle dělávají, pouze v jiný čas. Připadalo mi, že je to nejchytřejší způsob, jak normálnost uvidět.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Yes, I stressed the normality by essentially disturbing it. That happened in the bigger framework ; the individuals did what they always do, only at slightly different times. For me it was the cleverest way to see normality.

  Divus | Meste, Manet, M...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	1997: v hypermarketu vybaveném uměleckými postoji a službami všeho druhu, v oddělení zlevněných performancí, reklamních poutačů a ředitelů oddělení zaměřených na svůj nadcházející program si někteří kladou otázku: jaké akce jsme ještě schopni? Čeho jsme nositeli? Pokladní sleduje pohledem plným pohrdání a zděšení. Tvrdí o sobě, že jsou umělci.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	"1997: In the hypermarket equipped with artistic attitudes and services of all kind, in the department of marked-down performances, promotional hangings and departmental directors focused on their coming programs, what sort of event are we still capable of? What are we the bearers of? The cashier watches contempt and dismay. They call themselves artists. They will enter a new millennium and do not recognize themselves in their surroundings. They find themselves at the exit; exactly at the turn of a new state of commodification, at the frontier of a new center of exchange — without mediation, active, in direct access, without commission.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	"1997: In the hypermarket equipped with artistic attitudes and services of all kind, in the department of marked-down performances, promotional hangings and departmental directors focused on their coming programs, what sort of event are we still capable of? What are we the bearers of? The cashier watches contempt and dismay. They call themselves artists. They will enter a new millennium and do not recognize themselves in their surroundings. They find themselves at the exit; exactly at the turn of a new state of commodification, at the frontier of a new center of exchange — without mediation, active, in direct access, without commission.

  Divus | All Tomorrow’s ...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Festival v Camber Sands na příští rok, ATP 2005, je ohlašován jako „super avante garde all-star triple weekend extravaganza“, tedy „superavantgardní trojvíkendová extravaganza mnoha hvězd“. Budou tu tři různí kurátoři – Throbbing Gristle (legenda industrial noise), Vincent Gallo (miláček všech, nezávislý herec a hudebník), a nejzajímavější budou Jake a Dinos Chapmanovi, provokativní sourozenci britského umění.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Next year’s festival at Camber Sands, ATP 2005 is being billed as a “super avant- garde all-star triple weekend extravaganza.” There will be three different curators—Throbbing Gristle (industrial noise legends), Vincent Gallo (heartthrob, indies actor/musician), and most interestingly, Jake and Dinos Chapman, the provocative British art siblings. Just to get a sense of what the ATP fans expect from the Chapman Brothers, here’s what just some had to say on drownedinsound.com:
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Next year’s festival at Camber Sands, ATP 2005 is being billed as a “super avant- garde all-star triple weekend extravaganza.” There will be three different curators—Throbbing Gristle (industrial noise legends), Vincent Gallo (heartthrob, indies actor/musician), and most interestingly, Jake and Dinos Chapman, the provocative British art siblings. Just to get a sense of what the ATP fans expect from the Chapman Brothers, here’s what just some had to say on drownedinsound.com:

  Divus | TRENDY  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Nicméně problém zrychlení při vyvolávání nových trendů v umění je, že nemluvíme o designu či o kuchařském umění, ale o záležitosti, jež nám slibuje vyšší hodnoty. Když se pokoušíme zdůvodnit materiální hodnotu uměleckého díla, jež člověk ostatně nepotřebuje k přežití, namlouváme si, že v určitých souvislostech jistě musí být luxusním zbožím.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	The fact is that no one really speaks about the so-called higher values, as in the recent TV discussion after the Art Cologne. There collectors such as Harald Falckenberg from Hamburg or gallery owners such as Tania Grunert from New York only went on about side issues, about some artists’ new cars or questions about a gallery’s program – the answer was “simply good.” That is one way to get out of a difficult situation. None of them spoke concretely, not even while describing the collected or sold art. Concrete or abstract – that is unimportant as long as the artist likes wearing a red sweater, isn’t it?
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	The fact is that no one really speaks about the so-called higher values, as in the recent TV discussion after the Art Cologne. There collectors such as Harald Falckenberg from Hamburg or gallery owners such as Tania Grunert from New York only went on about side issues, about some artists’ new cars or questions about a gallery’s program – the answer was “simply good.” That is one way to get out of a difficult situation. None of them spoke concretely, not even while describing the collected or sold art. Concrete or abstract – that is unimportant as long as the artist likes wearing a red sweater, isn’t it?

  Divus | Jak západ vyhrá...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Umožňovalo jim to i jejich citlivé komponování, jež důsledně vyčerpalo možnosti daného prostoru a využilo tak kupříkladu kontrastu mezi plošným pojednáním vnější strany okna a prostorovou instalací v jeho hloubce. To vše vedlo ke zdůraznění jedinečnosti vystavených děl, která jim skutečnou pozornost zaručuje zřejmě nejefektivněji.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Edward Weldon, one of the ten artists presented at the exhibition How the West Has Won and Lost at the British Council Window Gallery in Prague, said, ”most of what has ever been made is rubbish that wants burning or throwing in the sea. We need to start looking at things properly…” The exhibition itself supported this witty remark by the strategic selection of artists whose various works consistently fought any kind of shift to a common denominator. This was due to their sensitive composition, which consistently used the possibilities in the given space and employed the contrast between the surface conception of the external side of the window and the spatial installation in the window’s depth. This all led to the emphasis on the uniqueness of the works exhibited, which guarantees them real attention in perhaps the most effective way.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Edward Weldon, one of the ten artists presented at the exhibition How the West Has Won and Lost at the British Council Window Gallery in Prague, said, ”most of what has ever been made is rubbish that wants burning or throwing in the sea. We need to start looking at things properly…” The exhibition itself supported this witty remark by the strategic selection of artists whose various works consistently fought any kind of shift to a common denominator. This was due to their sensitive composition, which consistently used the possibilities in the given space and employed the contrast between the surface conception of the external side of the window and the spatial installation in the window’s depth. This all led to the emphasis on the uniqueness of the works exhibited, which guarantees them real attention in perhaps the most effective way.

  Divus | Oh baby you’re ...  

Montrer texteMontrer source en cacheMontrer URL avec texte source

Člověk si jen těžko může představit rozčílení ze zlomyslných poznámek korespondenta známých fran- couzských sportovních novin L’Equipe, který nazval rumunské hráče „les gitans roumains„ (rumunští Cikáni ). V létě roku 1994 bylo na tribuně rumunského parlamentu zdůrazněno, že to je urážka všech Rumunů.

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Romania’s victory over Argentina in the final eight unleashed a great spontaneous wave of joy in all the cities of the country. So one can only imagine the backlash of anger over the malicious comments by a correspondent of the well-known French sports paper L’Equipe when he called our players “les gitans roumains” (the Gypsy Romanians). In the summer of 1994 at the rostrum of the Romanian parliament it was emphasized that the entire Romanian people had been offended. Four years later, at the world championship in France, our players set out to show the French that they had not forgotten the “compliments” — after passing the preliminary group, they all dyed their hair yellow. Although this “transfiguration” failed to bring them luck (the “new Swedes” lost the following game and were eliminated from the competition) it set off an explosive trend among teenagers living in the Romanian workers’ neighborhoods. In those days, kids with black eyebrows and blond hair, dyed with the cheapest liquids on the market, patterned their behavior on their heroes in the world of soccer. They were under the spell of the Romanian player’s “myth,” of the man born into a poor neighborhood who went on to play for Real Madrid or Chelsea and had a yearly income of millions of dollars.

  Divus | Pražské pouličn...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Toto je bezpochyby hlavní efekt a principiální úkol aktuálního umění: vyvolávat nespokojenost, která jako zvlhlá krysa proniká do duší zazobanců a přitakávačů. Obrušující a vysávající nespokojenost je prostě nutná! Zdůrazňujeme ještě jednou: demonstrantky a demonstranti způsobili nové buržoazii střevní křeče.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Second, the Prague disturbances were collective in nature, which is excellent news indeed. Let’s quote Lautremont at this point who said, “Poetry must be made by everybody and not by individuals.” This is certainly true, and the Prague disturbances proved so. We should not forget that the art of the self-proclaimed “professionals” of today’s multicultural elite is nothing but a laughing representation of the current cynical “Lords of Life,” the neo-liberal big guns. To hell with all “professionals!” Only the collective volcanic activity that focuses on destroying the property of those owners is capable of full-scope expression in culture. Destroy capitalist ownership! Let the destruction roll wave after wave like the storms of demonstrators against the police defense walls. Anarchist activities are based on the principal of being reasonless, yet at the same time they smear this principle. These activities not only arbitrarily set their own end but also their beginning…. When an anarchist wave rolls over you, the previous waves become something distant, cast off into the past. The new beginning is more categorical, more dangerous, more frightening…. Whatever is past however does not disappear for good. Like the unexpected pick of a knifepoint, it evokes the fury of the present.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Second, the Prague disturbances were collective in nature, which is excellent news indeed. Let’s quote Lautremont at this point who said, “Poetry must be made by everybody and not by individuals.” This is certainly true, and the Prague disturbances proved so. We should not forget that the art of the self-proclaimed “professionals” of today’s multicultural elite is nothing but a laughing representation of the current cynical “Lords of Life,” the neo-liberal big guns. To hell with all “professionals!” Only the collective volcanic activity that focuses on destroying the property of those owners is capable of full-scope expression in culture. Destroy capitalist ownership! Let the destruction roll wave after wave like the storms of demonstrators against the police defense walls. Anarchist activities are based on the principal of being reasonless, yet at the same time they smear this principle. These activities not only arbitrarily set their own end but also their beginning…. When an anarchist wave rolls over you, the previous waves become something distant, cast off into the past. The new beginning is more categorical, more dangerous, more frightening…. Whatever is past however does not disappear for good. Like the unexpected pick of a knifepoint, it evokes the fury of the present.

  Divus | Receptář Tvrdoh...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Výtvarné umění dvacátého století, ostatně jako všechno avantgardní umění, se muselo nějak obhájit, najít zdůvodnění své obtížné pochopitelnosti, najít pro sebe svou úlohu. Hledání toho, k čemu je avantgardní umění vlastně dobré, je jedním z největších problémů umění tohoto století i často přehlíženým klíčem k pochopení jeho podstaty.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Just as any avant-garde art, art of the 20th Century had to vindicate itself somehow, find reasoning of its difficult comprehension, find its own role. Efforts to find out what avant-garde is good for at all are one of the problems of this century’s art and often represent a key to understanding its essence. This issue has been raised both in Europe and in America. The solutions offered, often completely simplifying the matter, were eagerly accepted by entire masses of artists (let’s remind just the 1950‘s). Art was not only backed up by trivial ideology, its arguments included mainly philosophy, religion, psychology, mysticism, art itself, spirituality, “human being“, “inner truth“, “life“, among other things. Aforementioned Jindřich Chalupecký managed to place art’s goal to both modern life and the transcendental. In Bohemia, art’s symbolic feature is of special significance - art exists because it is telling us something, and due to local romantic tradition it is telling it to us in a metaphorical language. This is where its biggest strength lies as well. Naturally, this can be a double edged sword. Czech art if often cast in a veil of unreality, fantasy, imagination, illustration. Art works stumble under the weight of the task of mediator of various stories and symbolic meanings. The Stubborn’s current exhibition lets us see all those features very well.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Just as any avant-garde art, art of the 20th Century had to vindicate itself somehow, find reasoning of its difficult comprehension, find its own role. Efforts to find out what avant-garde is good for at all are one of the problems of this century’s art and often represent a key to understanding its essence. This issue has been raised both in Europe and in America. The solutions offered, often completely simplifying the matter, were eagerly accepted by entire masses of artists (let’s remind just the 1950‘s). Art was not only backed up by trivial ideology, its arguments included mainly philosophy, religion, psychology, mysticism, art itself, spirituality, “human being“, “inner truth“, “life“, among other things. Aforementioned Jindřich Chalupecký managed to place art’s goal to both modern life and the transcendental. In Bohemia, art’s symbolic feature is of special significance - art exists because it is telling us something, and due to local romantic tradition it is telling it to us in a metaphorical language. This is where its biggest strength lies as well. Naturally, this can be a double edged sword. Czech art if often cast in a veil of unreality, fantasy, imagination, illustration. Art works stumble under the weight of the task of mediator of various stories and symbolic meanings. The Stubborn’s current exhibition lets us see all those features very well.

  Divus | Metropole tich...  

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Umělec zkoumá fenomén posuvu, jakýsi pohádkový prostor “mezi dvěma světy”´, druh pozastavení se nad obrazem, kdy se smysly zmítají v nejistotě jako v nějakém skrytém paralelním světě, ve kterém se sice všechno zdá tak “normální”, ale kde hledáme chyby a nedostatky, které tento systém nedobrovolně obsahuje.

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Amae’s images create some kind of loop, which plays with reality as an expression, while the viewer has the impression that the deviations are in fact more trustworthy than the absurd omnipresence of the real world. The artist investigates the phenomenon of shift, some kind of a fairy tale space “between two worlds,” a kind of pause to think about the picture, when all the senses convulse, as if in some hidden parallel world, where everything seems so “normal,” but where we look for the errors and imperfections that are involuntarily included in this system. If we proceed from the assumption that the photography cannot be “true,” as claims Andreas Gursky, who focused in his work on the perspective of non-existing places and on manipulation through informatics, the more we have to develop artistic worlds, says Amae. He himself pauses to think about this principle, and then specifies that “the truth doesn’t lie in the trial, but in the testimony of presence in the given moment.” Thus he avoids the physical limitation of “being in a place,” and reverses the perception of photographic patterns and methods.

  Divus | Zítřejší svět  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Ještě v roce 1995 umístil Richard D. James na zadní stranu obalu jedné ze svých desek své známé logo na místo plic, aby tak společně s názvem Ventolin — inhalátorem, jehož nepříjemný zvuk uvozuje celé album — evokovalo jeho astmatické stavy, a rok poté na obal další desky fotografii hrobu Richarda Jamese, svého bratra, který zemřel před jeho narozením a jehož jméno Richard David James zdědil — proto Twin.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	decide which works to highlight from the blockbuster exhibition Apocalypse in London last year, he singled out the short film flex by young British artist Chris Cunningham, who was showing his own work for the first time. Before Apocalypse he mostly shot music videos and commercials, and prior to that he made special effects for films like Alien 3, Judge Dredd and Kubrick’s planned A. I. Artificial Intelligence. Nevertheless Cunningham was not an unknown name to art critics. At the end of 1999 he was included in the show Exit at London’s Chisenhale Gallery alongside names like Fischli and Weiss, and Bruce Nauman. There he exhibited the music video Windowlicker, which he’d originally made for Aphex Twin. A year later this piece — along with Come to Daddy, another Aphex Twin video — was presented in Rome at the event Video Vibe: Art, Music and Video in the UK. And now this year flex, the music video All is Full of Love made for Björk and the brand new film Monkey Drummer featuring music by Aphex Twin are all being exhibited at the Venice Biennale.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	decide which works to highlight from the blockbuster exhibition Apocalypse in London last year, he singled out the short film flex by young British artist Chris Cunningham, who was showing his own work for the first time. Before Apocalypse he mostly shot music videos and commercials, and prior to that he made special effects for films like Alien 3, Judge Dredd and Kubrick’s planned A. I. Artificial Intelligence. Nevertheless Cunningham was not an unknown name to art critics. At the end of 1999 he was included in the show Exit at London’s Chisenhale Gallery alongside names like Fischli and Weiss, and Bruce Nauman. There he exhibited the music video Windowlicker, which he’d originally made for Aphex Twin. A year later this piece — along with Come to Daddy, another Aphex Twin video — was presented in Rome at the event Video Vibe: Art, Music and Video in the UK. And now this year flex, the music video All is Full of Love made for Björk and the brand new film Monkey Drummer featuring music by Aphex Twin are all being exhibited at the Venice Biennale.

  Divus | Svět pohlcený t...  

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1. Je třeba brát v úvahu, že označování umění nových médií se nikdy jednoznačně neustálilo a nevymezilo. Obměňují se zde přívlastky digitální, interaktivní, elektronické nebo technologické. V neposlední řadě šlo i o párování slov „umění“ (nebo „kultura“) a „technologie“ či pouhé zdůrazňování mediálního jakožto apriori nového.

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La crítica del Gestell por Heidegger en ningún caso implica el rechazo de las tecnologías como tales, al fin y al cabo eso no es posible. Más bien exhorta al advertimiento de este estado y a su sometimiento a la crítica. Como mínimo dos actividades son capaces de eso: la angustia (el asomarse hacia la nada) y el arte que sabe tratar las cosas de tal manera que las deja lo más cerca de la preocupación existencial original. 42

  Divus | Kdo se bojí mat...  

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Na rozdíl od většiny témat v časopisu Ženin, kde dominuje kombinace fotografií a textu, zobrazila Klodová sex v těhotenství pomocí analytické kresby souložící dvojice připomínající vyobrazení v medicínských či sexuologických příručkách.

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A diferencia de la mayoría de temas de la revista Ženin en la que predomina la combinación de fotografías con el texto, Klodová representó el sexo durante la gravidez por medio de un dibujo analítico de la pareja cohabitante que hace pensar en las imágenes de manules de medicina o sexología. En parte eligió este procedimiento por motivos prácticos, ya que en los demás casos fue su propio modelo, por cuanto hubiera sido complicado quedar embarazada precipitadamente sólo para esta ocasión. Por otro lado, la forma elegida le permitió captar la familia entera y recalcar la presencia del niño en el cuerpo materno en el punto de la “integración”.

  Divus | Vítejte ve svob...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Degotová představovala progresivně myslící Rusko, v němž se zdůrazňuje hodnota uměleckého procesu a myšlení v nových typech infrastruktury. „Rusové mají velkou výhodu, protože v minulosti měli performativní a procesuálně založená díla, což je jeden ze současných trendů.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	“We are playing the West’s game more and more. You have to meet deadlines, to be very professional now, we can’t have the period for wasting time that contributes to the small things. ” Iara Boubnova complained in the final discussion. This no doubt is true. Welcome to the free world.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	“We are playing the West’s game more and more. You have to meet deadlines, to be very professional now, we can’t have the period for wasting time that contributes to the small things. ” Iara Boubnova complained in the final discussion. This no doubt is true. Welcome to the free world.

  Divus | Způsoby tvorby  

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I.D.: Jedním východiskem pro projekt Postcapital byla diskuse, kterou jste vedl s kubánským spisovatelem Ivánem de la Nuez o tom, jaké to je být narozen zhruba ve stejnou dobu (v polovině 60. let), ale v docela jiných poměrech: vy na kapitalistickém západě a on na komunistickém jihu. Když v roce 2006 Postcapital otevřel, jako spolupráce vás, de la Nueze a kubánského umělce Carlose Garacoiy, velmi zdůrazňoval protiklad „pravice“ a „levice“.

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I.D.: One point of departure for the Postcapital project was a discussion you had with Cuban writer Iván de la Nuez about being born around the same time (in the mid-1960s) but in quite different situations: you in the capitalist ‘West’ and he in the communist ‘South’. When Postcapital opened in 2006 as a collaboration between you, de la Nuez and the Cuban artist Carlos Garacoia, it emphasized the opposition between ‘Left’ and ‘Right’. Visitors had to decide whether to enter the exhibition from the left or the right; they could not enter the exhibition straight ahead (from midway).

  Divus | Převtělení skrz...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Každá z projekcí jako by poukazovala na existenci jednoho ze světů (a zároveň na jedno z převtělení umělce odpovídající tomu kterému světu), na vzájemnou odlišnost jednotlivých světů a každé umělecké „reinkarnace“, stejně jako na jedinečnost a neopakovatelnost kontaktů s jednotlivými návštěvníky (každý z nich také zosobňuje existenci jiného – osobního světa), což je zdůrazněno právě sluchátky.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	The first things the viewers saw were the square altar and slide projections of smiles cut out from roughly torn newspaper photographs. At the same time, they passed along a corridor with defective passport photographs on the left side and a monitor on the right. The monitor showed video footage of a crowd at a steamboat harbor (in fact, the footage was made from the Charles Bridge [Prague]) whose atmosphere was reminiscent of impressionist themes. Attached to the video player was a set of headphones.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Like Krishna who gave pleasure to 17,000 of his mistresses at the same time (with each of them thinking he was attending to her alone), Martin Zet divided himself into various realities for the world and all human beings (at least the ones who came to see the exhibition).

  Divus | "Pro" nebo "O" ...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Některá díla znovu promýšlela okolnosti, díky nimž se mísí kultura a městská struktura – topografii, kontext, světlo a tektonické formy. Další popisovala charakter města nebo zdůrazňovala dvojznačný poměr mezi „otevřeným“ a „uzavřeným“ regionalismem.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	The difficult aspect of the curatorial proposition is the interest for creating new venues intermingled within the city fabric, presenting to the viewer a nervous attempt to separate such venues from the urban context. There is also a risk taken to present new, less known, artistic positions. Another suggestion worked with by curators was to pay attention to contrasting situations, bringing works into the biennial context that don’t directly address the theme proposed.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	The difficult aspect of the curatorial proposition is the interest for creating new venues intermingled within the city fabric, presenting to the viewer a nervous attempt to separate such venues from the urban context. There is also a risk taken to present new, less known, artistic positions. Another suggestion worked with by curators was to pay attention to contrasting situations, bringing works into the biennial context that don’t directly address the theme proposed.

  Divus | Očarovaní / Ves...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	“Nejlepší metoda, jak navázati kontakt s pacientem, je, že se spolehneš na stálé magnety, jako jsou například ty v prstech nebo nosu, a vyhneš se oblastem, jako je severní PÓL na temeni hlavy, který obvykle přijímá mesmerický tok z hvězd a jižního PÓLU u nohou, které jsou přirozeným příjemcem pozemského magnetismu.”
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	“If it is a disorder of the eyes, one lays the left hand on the right temple. One then opens the eyes of the patient and brings one’s thumbs very close to them. Then the thumbs are run from the root of the nose (the bridge) all around the socket.”
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	“The best method of establishing rapport with a patient is to rely on the stable magnets such as those of the fingers and the nose and to avoid areas like the North POLE at the top of the head, which usually receives mesmeric fluid from the stars and the South POLE in the feet, which are natural receptors of terrestrial magnetism.”

  Divus | Co dnes znamená...  

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Ženská zkušenost a chování musí být nahlíženy v rámci specifických společenských a ekonomických souvislostí v kapitalistickém systému, zdůrazňuje Power několikrát. Místo toho hází obecný moralismus, který je „často nedostatečně psychoanalyticky rozebrán“, příliš často jen špínu na ženy, hlavně na ty z dělnické třídy.

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Главный тезис профессора Пауер вращается вокруг обзора современного рынка труда, критики современного секса и порнографии, атак на правое крыло или ханжеских «моралистов» феминизма и призывов к новому переосмыслению нуклеарной семьи и социальных структур с позиции левых. В том, что она называет «лейборизацией женщин и феминизацией труда», она досадует на то, что женщины и мужчины всё чаще эксплуатируются якобы полной свободой краткосрочных и временных контрактов. В «истинном ужасе современного мира, - она говорит в ICA, - капитализм просит всех себя эксплуатировать». Экономика заменяет ручной труд на работу в сфере услуг, которая в основном выполняется женщинами, преданными системой, которая диктует им «покупать вибраторы и вино», при этом постоянно притворяться умными, грамотными и профессиональными при любых обстоятельствах в вопросах занятости, прав, льгот, рабочих отношений и т.д.

  Divus | Art 31 Básel  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Tradičně ostře sledovanou sekcí byly Art Statements zaměřené na současné umění. Každá z 27 vybraných galeriích zde smí představit pouze jednoho (nebo jednu skupinu) umělců formou samostatné expozice ve stánku.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Art Basel is big business and it is getting even bigger. In addition to the two floors of the vast exhibition space, occupied by 271 galleries from around the world, this year’s edition was expanded by 12.000 square meters of Art Unlimited. Basel managers laid their hopes on this newly created section as it breaks up the traditional booth presentation by individual galleries and shifts attention to presenting artists and their works. Art Unlimited mostly featured sculptures and videos that were either so huge that they could not fit into even the biggest booth or, even if they could, they just would not have looked nice in one. The question now is whether this enhanced the sales of these works or not, because the final criteria at trade fairs is money.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Art Basel is big business and it is getting even bigger. In addition to the two floors of the vast exhibition space, occupied by 271 galleries from around the world, this year’s edition was expanded by 12.000 square meters of Art Unlimited. Basel managers laid their hopes on this newly created section as it breaks up the traditional booth presentation by individual galleries and shifts attention to presenting artists and their works. Art Unlimited mostly featured sculptures and videos that were either so huge that they could not fit into even the biggest booth or, even if they could, they just would not have looked nice in one. The question now is whether this enhanced the sales of these works or not, because the final criteria at trade fairs is money.

  Divus | Psychogeografie...  

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Zajímá je především dynamika vztahu mezi městem a jeho obyvateli, mezi architekturou a sociálními a dalšími procesy. Zvláště přínosné je jejich zdůrazňování možností sebeorganizace každého systému, která vede k novým, alternativním strukturám vznikající mimo „moc“.

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Su principal interés es el dinamismo de la relación entre la urbe y sus habitantes, entre la arquitectura y los procesos sociales y otros. Una gran aportación es el énfasis en la capacidad de autorganizarse de todos aquellos sistema que conduzcan a nuevas estructuras alternativas que surgan fuera del impacto del “poder”. La arquitectura del lugar muchas veces determina el tipo de interacciones sociales y otras actividades humanas factibles en el espacio dado. Por supuesto, también es válida la afirmación contraria de que precisamente las interacciones y las actividades sociales de las personas son lo que en última instancia configura la arquitectura. Por este motivo, el grupo centra su interés en la arquitectura engendrada por relaciones sociales autopoéticas, como la que encuentran en el recinto del gran mercado Cheonggyecheon de Seúl.

  Divus | PODPORUJE DEUTS...  

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Deník Kommersant uvádí, že jak Friedhelm Hütte z Deutsche Bank AG, tak i Valerie Hillings, kurátorka Guggenheimova muzea v New Yorku, hlasovali pro udělení ceny za „Projekt roku“ Beljajevu-Gintovtovi a zdůvodňovali svou volbu tím, že byla založena na čistě estetických kriteriích a že si neuvědomovali kontext.

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Belyaev-Gintovt es un miembro clave de la organización de Dugin, según su web, lidera su movimiento juvenil y es el “líder estilista”. El compromiso político de Belyaev-Gintovt es más evidente en los montajes fotográficos expuestos en una visita al Cáucaso durante la intervención rusa en Georgia en agosto, después de la cuál el artista se entusiasmó con que “ahora una carretera de montaña se ve apagada y sosa sin una columna de tanques rusos”. Los mismos póster muestran a una mujer rusa con atuendos neo-tradicionalistas empuñando rifles automáticos y hachas, y eslóganes como “Lo recuperaremos todo”, “Patria absoluta” y “Nuestro yugo es sagrado”.

  Divus | "Pro" nebo "O" ...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Pokud „pro“ a „o“ ustavuje příčinné vztahy vytvářené mezi novou urbanitou města, společenským životem a uměleckou reakcí, jeví se otázka po identitě jako hlavní idea, jíž kurátoři chtěli zdůraznit. Jejich myšlenka se nezakládá na abstraktním pojetí kontextu, ale na specifickém, dynamickém kontextu.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	In some cases the challenge to the artist was a success – the work having the capacity to incorporate in its vision the intimate identity of the city and tradition, but there are examples where long quotations or simply visual documentation of the urban existence did not succeed in offering to the viewer awareness of the inner city. On the contrary it seems that some pieces are perpetuating these clichés and couldn’t escape the general perspective.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	In some cases the challenge to the artist was a success – the work having the capacity to incorporate in its vision the intimate identity of the city and tradition, but there are examples where long quotations or simply visual documentation of the urban existence did not succeed in offering to the viewer awareness of the inner city. On the contrary it seems that some pieces are perpetuating these clichés and couldn’t escape the general perspective.

  Divus | Rozhovor s Rašo...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Je to taková pozdní reflexe boje za individualismus, proto. Existuje tu fiktivní systém kolektivismu jako Srbsko, Česko, jako Evropa. Co je jeho protikladem? Je to jednotlivec - moje jméno. Die Serbische Kunst ist tot, es leben Raša Todosijević.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Many young artists have left Serbia. For me it’s OK; I can travel; I have contact with people though I’m completely broke. But it’s worse for the youngest artists who have finished the Academy. They have no money; it’s difficult to travel around; there’s no information, no magazines, no contact with foreign artists and so on. We can expect the effect of this isolation to last. We are living through a time of the latent infection of isolation. The real effects will appear over the next ten years. Otherwise they make art that looks like the art everywhere else, in Germany, in France, but they’re poor and they get no response, no cultural response. After a while they have no chance to develop. Another thing is that at this time there are no cultural taboos. Most of the cultural taboos have disappeared. Young artists tend to resist—to fight against the older generation. I’d like to be a decadent artist with money, cigars, a glass of whiskey. I would like to give up being the avant-garde artist. I’m fed up with such slow elevators. Elevators go bloody slow here. So the best thing for young artists is to go abroad. There’s no sympathy for those who dream of political change. Art will be dominated by modernism and Hotel Kunst [art bought by hotels and placed in rooms]. This kind of art will be the priority for the new generation of liberal politicians who don’t want to be involved in avant-garde art, something they don’t understand. In all of eastern Europe, Hotel Kunst will be the mainstream. Video, computers, technomedia, a little bit of dance, a little bit of painting.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Many young artists have left Serbia. For me it’s OK; I can travel; I have contact with people though I’m completely broke. But it’s worse for the youngest artists who have finished the Academy. They have no money; it’s difficult to travel around; there’s no information, no magazines, no contact with foreign artists and so on. We can expect the effect of this isolation to last. We are living through a time of the latent infection of isolation. The real effects will appear over the next ten years. Otherwise they make art that looks like the art everywhere else, in Germany, in France, but they’re poor and they get no response, no cultural response. After a while they have no chance to develop. Another thing is that at this time there are no cultural taboos. Most of the cultural taboos have disappeared. Young artists tend to resist—to fight against the older generation. I’d like to be a decadent artist with money, cigars, a glass of whiskey. I would like to give up being the avant-garde artist. I’m fed up with such slow elevators. Elevators go bloody slow here. So the best thing for young artists is to go abroad. There’s no sympathy for those who dream of political change. Art will be dominated by modernism and Hotel Kunst [art bought by hotels and placed in rooms]. This kind of art will be the priority for the new generation of liberal politicians who don’t want to be involved in avant-garde art, something they don’t understand. In all of eastern Europe, Hotel Kunst will be the mainstream. Video, computers, technomedia, a little bit of dance, a little bit of painting.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Many young artists have left Serbia. For me it’s OK; I can travel; I have contact with people though I’m completely broke. But it’s worse for the youngest artists who have finished the Academy. They have no money; it’s difficult to travel around; there’s no information, no magazines, no contact with foreign artists and so on. We can expect the effect of this isolation to last. We are living through a time of the latent infection of isolation. The real effects will appear over the next ten years. Otherwise they make art that looks like the art everywhere else, in Germany, in France, but they’re poor and they get no response, no cultural response. After a while they have no chance to develop. Another thing is that at this time there are no cultural taboos. Most of the cultural taboos have disappeared. Young artists tend to resist—to fight against the older generation. I’d like to be a decadent artist with money, cigars, a glass of whiskey. I would like to give up being the avant-garde artist. I’m fed up with such slow elevators. Elevators go bloody slow here. So the best thing for young artists is to go abroad. There’s no sympathy for those who dream of political change. Art will be dominated by modernism and Hotel Kunst [art bought by hotels and placed in rooms]. This kind of art will be the priority for the new generation of liberal politicians who don’t want to be involved in avant-garde art, something they don’t understand. In all of eastern Europe, Hotel Kunst will be the mainstream. Video, computers, technomedia, a little bit of dance, a little bit of painting.

  Divus | Meste, Manet, M...  

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1997: v hypermarketu vybaveném uměleckými postoji a službami všeho druhu, v oddělení zlevněných performancí, reklamních poutačů a ředitelů oddělení zaměřených na svůj nadcházející program si někteří kladou otázku: jaké akce jsme ještě schopni? Čeho jsme nositeli? Pokladní sleduje pohledem plným pohrdání a zděšení. Tvrdí o sobě, že jsou umělci.

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"1997: In the hypermarket equipped with artistic attitudes and services of all kind, in the department of marked-down performances, promotional hangings and departmental directors focused on their coming programs, what sort of event are we still capable of? What are we the bearers of? The cashier watches contempt and dismay. They call themselves artists. They will enter a new millennium and do not recognize themselves in their surroundings. They find themselves at the exit; exactly at the turn of a new state of commodification, at the frontier of a new center of exchange — without mediation, active, in direct access, without commission.

  Divus | Zítřejší svět  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Ještě v roce 1995 umístil Richard D. James na zadní stranu obalu jedné ze svých desek své známé logo na místo plic, aby tak společně s názvem Ventolin — inhalátorem, jehož nepříjemný zvuk uvozuje celé album — evokovalo jeho astmatické stavy, a rok poté na obal další desky fotografii hrobu Richarda Jamese, svého bratra, který zemřel před jeho narozením a jehož jméno Richard David James zdědil — proto Twin.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	decide which works to highlight from the blockbuster exhibition Apocalypse in London last year, he singled out the short film flex by young British artist Chris Cunningham, who was showing his own work for the first time. Before Apocalypse he mostly shot music videos and commercials, and prior to that he made special effects for films like Alien 3, Judge Dredd and Kubrick’s planned A. I. Artificial Intelligence. Nevertheless Cunningham was not an unknown name to art critics. At the end of 1999 he was included in the show Exit at London’s Chisenhale Gallery alongside names like Fischli and Weiss, and Bruce Nauman. There he exhibited the music video Windowlicker, which he’d originally made for Aphex Twin. A year later this piece — along with Come to Daddy, another Aphex Twin video — was presented in Rome at the event Video Vibe: Art, Music and Video in the UK. And now this year flex, the music video All is Full of Love made for Björk and the brand new film Monkey Drummer featuring music by Aphex Twin are all being exhibited at the Venice Biennale.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	decide which works to highlight from the blockbuster exhibition Apocalypse in London last year, he singled out the short film flex by young British artist Chris Cunningham, who was showing his own work for the first time. Before Apocalypse he mostly shot music videos and commercials, and prior to that he made special effects for films like Alien 3, Judge Dredd and Kubrick’s planned A. I. Artificial Intelligence. Nevertheless Cunningham was not an unknown name to art critics. At the end of 1999 he was included in the show Exit at London’s Chisenhale Gallery alongside names like Fischli and Weiss, and Bruce Nauman. There he exhibited the music video Windowlicker, which he’d originally made for Aphex Twin. A year later this piece — along with Come to Daddy, another Aphex Twin video — was presented in Rome at the event Video Vibe: Art, Music and Video in the UK. And now this year flex, the music video All is Full of Love made for Björk and the brand new film Monkey Drummer featuring music by Aphex Twin are all being exhibited at the Venice Biennale.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	decide which works to highlight from the blockbuster exhibition Apocalypse in London last year, he singled out the short film flex by young British artist Chris Cunningham, who was showing his own work for the first time. Before Apocalypse he mostly shot music videos and commercials, and prior to that he made special effects for films like Alien 3, Judge Dredd and Kubrick’s planned A. I. Artificial Intelligence. Nevertheless Cunningham was not an unknown name to art critics. At the end of 1999 he was included in the show Exit at London’s Chisenhale Gallery alongside names like Fischli and Weiss, and Bruce Nauman. There he exhibited the music video Windowlicker, which he’d originally made for Aphex Twin. A year later this piece — along with Come to Daddy, another Aphex Twin video — was presented in Rome at the event Video Vibe: Art, Music and Video in the UK. And now this year flex, the music video All is Full of Love made for Björk and the brand new film Monkey Drummer featuring music by Aphex Twin are all being exhibited at the Venice Biennale.

  Divus | Rozhovor s Rašo...  

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Je to taková pozdní reflexe boje za individualismus, proto. Existuje tu fiktivní systém kolektivismu jako Srbsko, Česko, jako Evropa. Co je jeho protikladem? Je to jednotlivec - moje jméno. Die Serbische Kunst ist tot, es leben Raša Todosijević.

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It’s a late reflection of fighting for individualism, that’s why. You have a fictional system of collectivism like Serbia, like Czechia, like Europe. What is the opposite? It’s the individual— my name. Die Serbische Kunst ist tot, es lebe Raša Todosijević Kunst. Of course, it’s an allusion to the Tatlin piece Kunst ist tot, es lebe neue maschinen Kunst Tatlin. Raša Todosijević is an individual. Serbia is the collective. Fighting in the face of the ideas of the collective. This is why I emphasis my name; I’m using my name as a medium for individualism. If you look in the dictionary, you’ll see the meaning of the term “individualism.” You’ll be surprised how negative it is. I’m saying that I’m Über Serbe. I know why I’m using German in that special context. I’m fighting for my own identity, my own way of defining my existence in the bloody, dirty place Belgrade and Serbia are today. I’m not well accepted here; they think that I destroy everything I touch. Of course, I destroy rotten things. Serbia now is in a rotten position, very very rotten. This fight started in the 1970s. We were against our professors. Our professors were extremely stupid people. As a young student I wondered why my professors were so stupid. On the other hand I had to obey the instructions and judgements of those stupid people.

  Divus | DVOJNÁSOBNÝ DIS...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	U Displaye pouze nebylo jasné, zda autorovi či kurátorovi Radku Váňovi připsat skutečnost, že druhá půlka Displaye zůstala “zase jen” galerií s rozměrným snímkem na stěně a s dokumentárním videem o další, obdobně matoucí Kluitersově projekci.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	On the other hand, in the case of Milan Salák’s Two Horizons, also at Display, this role was used appropriately. That one of the most active “young and restless” artists from end of the 1990s has cloistered himself away for three years was suspicious enough. But the discovery that this whole time he has been painting large landscapes was bewildering. Salák defended his regional conceptions when, with great discipline, he successfully transferred maps and overhead views of the Czech lands into illusionary landscape paintings. The artist wished to emphasize the importance of looking for and finding places in the paintings that we know and have “tramped through” many times. The paintings have strange spatial vaulting and there is a maddening obsession with details and precision. The effectiveness of the paintings could be placed on a scale somewhere between “hardcore hikers” who finding treasured places to the cold response to the schematic transfer of the map by those who don’t know the original. Both of these he admitted as possible ways to understand the work, as a quality and sacrifice, so that he wouldn’t have to take part in impersonal global messages.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	On the other hand, in the case of Milan Salák’s Two Horizons, also at Display, this role was used appropriately. That one of the most active “young and restless” artists from end of the 1990s has cloistered himself away for three years was suspicious enough. But the discovery that this whole time he has been painting large landscapes was bewildering. Salák defended his regional conceptions when, with great discipline, he successfully transferred maps and overhead views of the Czech lands into illusionary landscape paintings. The artist wished to emphasize the importance of looking for and finding places in the paintings that we know and have “tramped through” many times. The paintings have strange spatial vaulting and there is a maddening obsession with details and precision. The effectiveness of the paintings could be placed on a scale somewhere between “hardcore hikers” who finding treasured places to the cold response to the schematic transfer of the map by those who don’t know the original. Both of these he admitted as possible ways to understand the work, as a quality and sacrifice, so that he wouldn’t have to take part in impersonal global messages.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	On the other hand, in the case of Milan Salák’s Two Horizons, also at Display, this role was used appropriately. That one of the most active “young and restless” artists from end of the 1990s has cloistered himself away for three years was suspicious enough. But the discovery that this whole time he has been painting large landscapes was bewildering. Salák defended his regional conceptions when, with great discipline, he successfully transferred maps and overhead views of the Czech lands into illusionary landscape paintings. The artist wished to emphasize the importance of looking for and finding places in the paintings that we know and have “tramped through” many times. The paintings have strange spatial vaulting and there is a maddening obsession with details and precision. The effectiveness of the paintings could be placed on a scale somewhere between “hardcore hikers” who finding treasured places to the cold response to the schematic transfer of the map by those who don’t know the original. Both of these he admitted as possible ways to understand the work, as a quality and sacrifice, so that he wouldn’t have to take part in impersonal global messages.

  Divus | SÉMIONAUTI PROT...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	V takovém kontextu se příliš nehodí, aby umělci zdůrazňovali svoji národní a kulturní identitu. Lehký akcent, s nímž všichni bez výjimky mluví při komunikaci běžným jazykem, dokonce trochu umenšuje komunikační problémy.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Contemporary artists in a majority avoid large-scale ideas, pompous manifests, and big concepts. Their sphere is private observations, marginalia, and notes. If in the course of 80s and 90s all artists were looped by the idea of national identity, now we see that differences between national schools have been completely erased. This is why it is in principle impossible to identify at once national and cultural affiliation of the author of "frozen room" and "machine that makes toys out of light." Micol Assael (Italy) constructed a refrigerating room with walls covered with hoarfrost. According to her, there is a philosophic idea of art, which extracts energy from environment just as a refrigerator.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Contemporary artists in a majority avoid large-scale ideas, pompous manifests, and big concepts. Their sphere is private observations, marginalia, and notes. If in the course of 80s and 90s all artists were looped by the idea of national identity, now we see that differences between national schools have been completely erased. This is why it is in principle impossible to identify at once national and cultural affiliation of the author of "frozen room" and "machine that makes toys out of light." Micol Assael (Italy) constructed a refrigerating room with walls covered with hoarfrost. According to her, there is a philosophic idea of art, which extracts energy from environment just as a refrigerator.

  Divus | Digitální Intif...  

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Ačkoliv designéři Afkár Media otevírají téma propagandy a vlastní angažovanosti, fakticky používají takřka stejné manipulativní postupy jako hry, vůči kterým se vymezují. V první řadě jde o legitimizaci vlastního pojetí skutečnosti zdůrazňováním pravdivosti předkládaných příběhů.

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Although the designers of Afkar Media open up the theme of propaganda and their own politics they in fact use the same manipulative means as the games they define themselves against. First of all it is about a legitimization of their own understanding of reality stressing the truthfulness of the presented stories. Kuma/War offer with every mission a broad set of newspaper news, analyses and satellite photos which the authors used while designing the mission, Tahta al-Hisar show the mission with newspaper clippings, photographs and spoken commentary. In both games emphasis is put especially on the convincing details which, however, have no deeper meaning from the perspective of bias or non-bias of the game, e.g. to the topographic correspondence of the game and real world (the surrounding of the hideaway of Saddam Hussein’s sons Uday and Qusay in Kuma/War; the Jenin refugee camp or Mosque of Abraham in Tahta al-Hisar).

  Divus | Scottův Filmový...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Zatímco De Nirovo zpodobnění bytosti zdůrazňuje strach s psychického rozkladu, jeho složení z tělesných ostatků zločinců — “zlo sešité se zlem” — je oidipovskou hrozbou celistvosti, která představuje jeden ze základních kamenů moderního hororu.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Contemporary Frankenstein readings such as Kenneth Branagh’s (1994) have returned to the romantic posturing of the beast’s creator and the intentions of Shelley herself (wife of poet Percy Bysshe Shelley and friend of Lord Byron). Branagh’s version, co-starring Robert de Niro as the Creature, is marked by numerous self-renderings of Branagh as the bare-torsoed Byronic hero, struggling with obsession and struck by a love powerful enough to overcome death itself. Despite its resolute mediocrity, Branagh locates the Frankenstein drama firmly in the Romantic tradition. Branagh also breaks new ground in his portrayal of the Monster’s genesis, which is a delightful and revolting mixture of organic and inorganic elements, with electric eels squirming in amniotic fluid (details not included in the original novel) zapping the Creature back to life. Meanwhile, De Niro’s portrayal of the Creature highlights a fear of psychic fragmentation: The composition of the Monster from parts of dead criminals — “evil stitched to evil” — is an Oedipal threat to wholeness that provides one of the bases of modern horror.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Contemporary Frankenstein readings such as Kenneth Branagh’s (1994) have returned to the romantic posturing of the beast’s creator and the intentions of Shelley herself (wife of poet Percy Bysshe Shelley and friend of Lord Byron). Branagh’s version, co-starring Robert de Niro as the Creature, is marked by numerous self-renderings of Branagh as the bare-torsoed Byronic hero, struggling with obsession and struck by a love powerful enough to overcome death itself. Despite its resolute mediocrity, Branagh locates the Frankenstein drama firmly in the Romantic tradition. Branagh also breaks new ground in his portrayal of the Monster’s genesis, which is a delightful and revolting mixture of organic and inorganic elements, with electric eels squirming in amniotic fluid (details not included in the original novel) zapping the Creature back to life. Meanwhile, De Niro’s portrayal of the Creature highlights a fear of psychic fragmentation: The composition of the Monster from parts of dead criminals — “evil stitched to evil” — is an Oedipal threat to wholeness that provides one of the bases of modern horror.

  Divus | Skrytá scéna v ...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Dokumentaci akcí studia kmkk doprovázela nová instalace, která zdůrazňovala relevantnost projektu. Tvořil ji koberec, na němž spočíval originál budapešťské volební urny. Návštěvníci muzea byli vyzváni, aby nominovali “problémy maďarského umění, které tu byly zameteny pod koberec”.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	activities of the Újlak Group, and this exhibition is no exception in the sense of demystification of their position. Újlak was an artist group that first exhibited in the abandoned Hungária Turkish baths in summer 1989, before moving to the deserted Újlak (New Dwelling) Cinema, until it was demolished the following year. From 1991 to 1995 they took over an empty pasta factory in Tőzöltó Street, where they organised one-night shows of invited artists from both Hungary and abroad. These shows were very much “happenings” and often involved the
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	activities of the Újlak Group, and this exhibition is no exception in the sense of demystification of their position. Újlak was an artist group that first exhibited in the abandoned Hungária Turkish baths in summer 1989, before moving to the deserted Újlak (New Dwelling) Cinema, until it was demolished the following year. From 1991 to 1995 they took over an empty pasta factory in Tőzöltó Street, where they organised one-night shows of invited artists from both Hungary and abroad. These shows were very much “happenings” and often involved the

  Divus | Sex, násilí a k...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	4. června 1996 podle výnosu z Largo na Floridě prohlásil obvodní soudce ziny Mike Diany Boiled Angel #7 a #ATE za obscénní. Soudce zdů-raznil výnosem, že on sám shledává Dianovy komiksy za „zjevně pohoršlivé“.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	On June 4, 1996, a ruling issued by Largo, Florida, Circuit Judge Douglas Baird declared Mike Diana’s zines, Boiled Angel #7 and #ATE as obscene. The judge emphasized throughout Mi-ke’s ruling that he personally found Diana’s comics “patently offensive.” Referring to Diana as “the appellant,” and stated, “The evident goal of the appellant’s publication is to portray shocking and graphic pictures of sexual conduct so it will be noticed. If the message is about victimization and that horrible things are happening in our society, as the appellant alleges, the appellant SHOULD HAVE created a vehicle to send his message that was not obscene.”
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir divus.cc comme domaine prioritaire	Well, I think it’s a combination. Some of my earlier Boiled Angel things were anti-religious. I felt that was because I was forced to go to church, since I was young, ever since I can remember, until I was about 15. When I finally just stopped going. My father didn’t really try to force me anymore at that point. I felt I had to get all of the forced religion (Roman Catholic) out of my system.