zne – -Translation – Keybot Dictionary

  Divus | Vítám vás pane ...  

Show textShow cached sourceOpen source URL	Brožkovy malířské abstrakce Kaprůn 1 a 2 jsou zase směsí krystalické dynamiky tvarů a přesně vyvážené, povadle krotké barevné škály. Jenže v podstatě se u jeho “abstrakcí” jedná o dekonstruované uchopení zážitků z hor, malované až ke hranici znečitelnění.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Pavel Ryška, for example, perfectly carries out a series of graphic encounters of nicely revived ready-mades and milestones of conceptual history in the sense of “what would have happened, if…” At the same time, through his lyrical comic-like handling of the subject, he attacks the sentimental nature of lovers of sad eyes and other infantile, old maid delights. The group 2. 1 D show a black and white film story of a digging dog out on a walk — without a punch line and with almost Zen-like pensiveness, but with a BBC logo in the upper corner of the screen.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Pavel Ryška, for example, perfectly carries out a series of graphic encounters of nicely revived ready-mades and milestones of conceptual history in the sense of “what would have happened, if…” At the same time, through his lyrical comic-like handling of the subject, he attacks the sentimental nature of lovers of sad eyes and other infantile, old maid delights. The group 2. 1 D show a black and white film story of a digging dog out on a walk — without a punch line and with almost Zen-like pensiveness, but with a BBC logo in the upper corner of the screen.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Pavel Ryška, for example, perfectly carries out a series of graphic encounters of nicely revived ready-mades and milestones of conceptual history in the sense of “what would have happened, if…” At the same time, through his lyrical comic-like handling of the subject, he attacks the sentimental nature of lovers of sad eyes and other infantile, old maid delights. The group 2. 1 D show a black and white film story of a digging dog out on a walk — without a punch line and with almost Zen-like pensiveness, but with a BBC logo in the upper corner of the screen.

  Divus | Nový konzervati...  

Show textShow cached sourceOpen source URL	Jako způsob rezistence ve své době možná účinně působily, ale fundamentální estetické založení umění stejně jako přímé morální založení politiky, byly pak jednou z příčin naprosté depolitizace a vlastně zneškodnění společenské funkce umění.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	“Residual issues” from the past are influencing the current cultural environment. One such issue is the mechanism of resistance to power and ideology. The time-tested weapon of antitotalitarian resistance was the defense of “superhistorical (superideological) values in art.”1 In practice this often involved a stagnation of what were then already conservative values, mild modernism, or neorealism as Karel Teige once ironically called it. The question is to what extent these values were really at work in the society of that period. They might have been efficient at the time because they represented a path of resistance, but the essentially esthetic nature of art and the direct moral nature of politics was one of the causes of art’s total depoliticization and, in fact, the disposal of any social function for art whatsoever. The abiding effect of such mechanisms in post-communist countries is without a doubt part of the legacy of totalitarianism.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	“Residual issues” from the past are influencing the current cultural environment. One such issue is the mechanism of resistance to power and ideology. The time-tested weapon of antitotalitarian resistance was the defense of “superhistorical (superideological) values in art.”1 In practice this often involved a stagnation of what were then already conservative values, mild modernism, or neorealism as Karel Teige once ironically called it. The question is to what extent these values were really at work in the society of that period. They might have been efficient at the time because they represented a path of resistance, but the essentially esthetic nature of art and the direct moral nature of politics was one of the causes of art’s total depoliticization and, in fact, the disposal of any social function for art whatsoever. The abiding effect of such mechanisms in post-communist countries is without a doubt part of the legacy of totalitarianism.

  Divus | Na pokraji nest...  

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“Skupina Borderhack! nepředstírá, že by ráda odstranila hranice, v nej-horším případě aspoň chceme, abychom si jejich existenci uvědomili. V éře počítačů se hackování chápe jako průnik, průzkum a pátrání v systému s cílem pochopit jej, nikoli zneškodnit. A přesně o to samé se snažíme: pochopit hranice, zjistit, co představují a uvědomit si roli, kterou v nich hrajeme.”

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“Borderhack! does not pretend to destroy the border, but, in a worst case scenario, only to make us conscious of it. In the world of computers, hacking is understood as the penetration, exploration or investigation of a system with the goal of understanding it, not of destroying it, and that is exactly what we are trying to do: to understand the border, to know what it represents and to become aware of the role that we play in it.”

  DIVUS  

Show textShow cached sourceOpen source URL	Asi nejlepší, ale nevědomou karikaturou tohoto pojetí světa je současná filmová produkce. Zablácený hlavní hrdina, zmáčený deštěm a otrhaný, je otloukán zrůdnými pololidmi s nepříčetnými výrazy. Poté co je svou mrštností zneškodní – většinou uhne rozeběhnutému…
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	The only pleasant thing left over from Christianity is the reservation of luxury and democracy. Outside this reservation, there is an exotic world of chaos inhabited by enemies. Probably the best, albeit unintentional caricature of this world concept, is the current film industry. The soiled protagonist, ragged and rain-drenched, is being beaten up by humanoid monsters gone berserk. After he…

  Divus | 20 Věcí, které ...  

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Na konci osmdesátých let se pak objevila červená trička s bílým křížem, která nosili módy dbalí lidé. Zdálo se, že se národní symboly dají použít jako móda a tím se zneškodní. Mezi tím se ale tato móda dostala k maloměšťákům a mladým nacistům, kteří v den národního svátku narušili řeč spolkového prezidenta.

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In the 80s, the watch-maker Michel Jordi started using the term “Swiss-Ethno.” The idea was that accessories could be marketed in a modern way if you added some folkloristic Swiss elements. Then, at the end of the 1990s, red t-shirts showing the white Swiss cross appeared, worn by fashion-conscious young people. It seemed as if national symbols could be turned into fashion and thus could be defused. Meanwhile however, this fashion has reached the petit-bourgeois conformism, and the young Nazis, who disrupted the president’s speech on the national holiday, like to wear T-shirts with the Swiss cross.

  Divus | Toto bude vždy ...  

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Na plátnech se pořád objevoval sprej, jenž byl nosný pro první generaci popkulturně konzumeristické generace malířů (včetně Skrepla), jenže přestal obrazům vévodit a spíš se utápěl v břečkách past různé kvality a původu. Jako by Skrepl chtěl sdělit, že když už historické odkazy gest a barvy v obrazech nelze vyloučit, nezbývá než obojí řádně znečistit.

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En los últimos años empezó a rumorearse que a Vladimír Skrepl las cosas no le salían tan bien como antes. Me sorprendió. Uno de los rasgos de su actividad plástica es que, de tiempo en tiempo, se niega a sí mismo. Por eso no entendía muy bien de qué relación entre “antes” y “ahora” se hablaba. Observaba la confusión del público ante el hecho de que Skrepl llevaba tiempo dedicándose a la pintura. Algunos dedujeron de ello argumentos para sus pronósticos de un renacimiento de la pintura checa (sin que Skrepl hubiera aparecido en las recientes muestras de pintura). Otros tacharon a Skrepl de formalista y de estar sujeto a tendencias extranjeras no especificadas.

  Divus | Berlín  

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Dva póly konceptuálního umění představovala díla klasika Sol LeWitta a mladé, v Berlíně žijící Britky Ceal Floyer. Ta téma výstavy uchopila drobnou kresbou, v níž přes sebe kuličkovým perem stále znovu a znovu až do úplného znečitelnění psala “znovu a”.

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Impressive exposition, whose title Perfect Timeless Repetition was taken from Ellis’ book Glamorama, connected works of artists of different generations and expressive tools. The two extremes of conceptual art showed works by classic Sol LeWitt and young British Ceal Floyer, living in Berlin. She grasped the topic of the exhibition using minute drawing where, using a pen, she wrote “again and” again and again untill complete obliteration The work of Peter Friedl Untitled (Berlin) consisted of the number 68 painted on the wall upside down in reference to the political events between years 1968 and 1989. Michal Majerus, who died last year not even thirty-five years old during an airplane accident, was represented by nine paintings, inspired by the world of mass media. Rikrit Tiravanija made a childishly unskilled attempt of emulation of his handwriting in neon and Liam Gillick who also presented himself in two independent expositions in galleries Schipper & Krome and Max Hetzler II, attached one of his celluloid frames to the ceiling .

  Divus | Nový konzervati...  

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Jako způsob rezistence ve své době možná účinně působily, ale fundamentální estetické založení umění stejně jako přímé morální založení politiky, byly pak jednou z příčin naprosté depolitizace a vlastně zneškodnění společenské funkce umění.

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“Residual issues” from the past are influencing the current cultural environment. One such issue is the mechanism of resistance to power and ideology. The time-tested weapon of antitotalitarian resistance was the defense of “superhistorical (superideological) values in art.”1 In practice this often involved a stagnation of what were then already conservative values, mild modernism, or neorealism as Karel Teige once ironically called it. The question is to what extent these values were really at work in the society of that period. They might have been efficient at the time because they represented a path of resistance, but the essentially esthetic nature of art and the direct moral nature of politics was one of the causes of art’s total depoliticization and, in fact, the disposal of any social function for art whatsoever. The abiding effect of such mechanisms in post-communist countries is without a doubt part of the legacy of totalitarianism.

  Divus | My jsme vaše bu...  

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Projekt s takovým názvem byl velmi aktuální v současné atmosféře Moskvy, kde odvrácenou stranou růstu blahobytu je zneužívání migrantů všech národností, nadměrný počet velkých černých aut v ulicích, znečištění všeho myslitelného životního prostředí, dopravní zácpy měnící komunikace ve strnulé ocelové laviny; takový růst uskutečňovaný v kulisách záhadných a gigantických architektonických útvarů se stává mystickou podívanou, procesem, který díky své nepředstavitelné rychlosti daleko přesahuje všechny lidské rozměry.

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En la arquitectura moscovita se perfilan los mismos toques futuristas que en el proyecto “Somos su futuro”. La torre de la Federación donde se presentó el principal proyecto de la Bienal es una prueba evidente. Es la variante moscovita de las torres gemelas, la más baja de la cuales ya esta casi terminada (cuando se acababa de escribir este artículo, estaban hechas cincuenta de seseintaitrés plantas, aunque ahora, teniendo el cuenta la rapidez con la que va la construcción, estarían terminadas las seseintaitrés). La segunda torre ya se está asomando a la superficie. En la etapa inicial de las obras, se tarda 7- 11 días en construir una planta, terminada la planta 32, se tarda tan solo 5 días. La “Federación” es la construcción clave del así llamado barrio de los rascacielos que va a cambiar considerablemente el panorama de la ciudad.

  Divus | Rouhání - Někol...  

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

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

  Divus | Vítám vás pane ...  

Show textShow cached sourceOpen source URL	Brožkovy malířské abstrakce Kaprůn 1 a 2 jsou zase směsí krystalické dynamiky tvarů a přesně vyvážené, povadle krotké barevné škály. Jenže v podstatě se u jeho “abstrakcí” jedná o dekonstruované uchopení zážitků z hor, malované až ke hranici znečitelnění.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	However Kalinová is not the ideal unbiased curatorial cherub. She has her own style, in rough features that correspond to her visual preferences. She looks for possibilities in conceptual arts with ties to sociological contexts and technological model of hyper-reality. That is why the list of names in Under Other Circumstances That Would Be True can lead the more acquainted person to the assumption that the curator did not leave grooved tracks. Petr Brožka, Pavel Ryška, the duo Jan Nálevka and Milan Miluláštík as Mina, 2. 1 D (Jiří Havlíček is also hiding behind the team label), Barbora Klímová … are all old friends. Appearances, though, are often misleading and Under Other Circumstances That Would Be True is an interestingly mixed exhibition with a very subtle accent.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	However Kalinová is not the ideal unbiased curatorial cherub. She has her own style, in rough features that correspond to her visual preferences. She looks for possibilities in conceptual arts with ties to sociological contexts and technological model of hyper-reality. That is why the list of names in Under Other Circumstances That Would Be True can lead the more acquainted person to the assumption that the curator did not leave grooved tracks. Petr Brožka, Pavel Ryška, the duo Jan Nálevka and Milan Miluláštík as Mina, 2. 1 D (Jiří Havlíček is also hiding behind the team label), Barbora Klímová … are all old friends. Appearances, though, are often misleading and Under Other Circumstances That Would Be True is an interestingly mixed exhibition with a very subtle accent.

  Divus | Nový konzervati...  

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Těžko rozhodnout, jestli je takový únik a zneškodnění umění účelovým krokem, upevňováním moci, nebo jestli je regresí, podlehnutím nepřekonatelné přítažlivosti krásných obrazů a minulosti, anebo únikem z naivity či ignorance.

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Post Script: Conservatism is an illusion that all people can recognize for themselves in the eternal yet nevertheless dated paintings made as though they were going to be around forever. This is roughly what Roland Barthes says in his book Mythologies.7 It is astonishing that these who were originally action artists actually prefer an unchangeable hierarchy and that they hide behind tradition and transform that which is a process and history into permanency (and ownership). According to Barthes the transformation that represents the historical as natural, innocent and pure is a myth. Since “myth is a depoliticized statement,” mythmakers must resign themselves to doing something, moving things, and they have to escape the real issues. It is hard to decide whether this kind of escape — and the degradation of art — is a pragmatic step, a strengthening of power, or a regression, a giving in to the unsurpassable attraction of beautiful paintings and the past, or whether it is an escape out of naivety and ignorance.

  Divus | Od Heidi, děvčá...  

Show textShow cached sourceOpen source URL	K tomuto vývoji dochází jen rok po velkém skandálu státem financované výstav Thomase Hirschhorna v Paříži. Umělec kritizoval (v jednom malém detailu) pravicového národního poradce Christopha Blochera, a v celé zemi bylo okamžitě možné pozorovat starý švýcarský reflex „znečištění hnízda“.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	After the Swiss author Paul Nizon had in the 1970s essay "Diskurs in der Enge" (Discourse in the Straits) analyzed the narrowed mindedness of Switzerland, everything suddenly changed for the better, patching the way forward for a new art scene of the 1980s. This mainly happened when collectors and also the big powerful internationalized Swiss companies and banks finally understood, that the arts could contribute to their image and started getting involved in the contemporary scene and systematically started to collect young art. And as the Swiss are tougher and solid in everything they do, they turned it now to the other extreme: The power of the Swiss currency was all of the sudden reflected into a new "Golden Age" of contemporary art. And luckily there appeared just at the right time a bunch of very good artists on the scene, who had an international potential, people like Fischli / Weiss, Urs Lüthi, Roman Signer, later on Pipilotti Rist and others. And the artists were well managed by a bunch of great curators like Harald Szeemann, Bice Curiger and some very professional gallery owners and museum curators. This was the beginning of an exciting artistic period which clearly put Switzerland on the cultural map as the European hot bed for contemporary art and artists: Swiss art became a demanded export article. Within the country Zurich became the home for art galleries such as Peter Kilchman, Eva Presenhuber, Bob van Orsouw, Hauser&Wirth and exciting spaces like the Migros Museum lead by Rein Wolfs or the Kunsthalle. And even beyond the big players, in Zurich a young and dynamic local art scene emerged with many "off-spaces," like Esther Eppstein’s Message Salon, later on Les Complices, White Space and K3 Project Space, as well as young galleries like for example StaubKohler, Ausstellungsraum 25, Galleria Laurin and Hubert Bächler. Though the city of Zurich spends less money on culture than Basel and about the same amount as Geneva, in the field of fine arts it is certainly the leading place in Switzerland.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	While the Swiss federal government supports the arts with only about 0.3% of its budget, much depends of the local authorities. Still there is a very lively discussion going on regarding a planned new federal culture law. How much and what hould the money be spent on and what does the freedom of art mean, regarding criticizing the ones who pay for it? This development happened just one year after the big scandal about a state funded Thomas Hirschhorn show in Paris. The artist criticized (in one small detail) right wing national councillor Christoph Blocher at the Centre Suisse in Paris and immediately the old Swiss "nest soiling" reflex could be observed all over the country. A very unclever parliament decision followed a strong echo in the press: The means of the state run Pro Helvetia foundation, one of the main art supporters, were cut for 1 million Swiss francs per year. By the way, councillor Blocher is an important art collector himself but he is strongly specialized in collecting 19th century painter Albert Anker who idealized the simple Swiss life in the countryside. The very unfortunate behavior of many statesman in this affair and the ideas of some neo-liberal politicians to make the culture funding institutions more or less part of the Swiss tourism board, which promotes at the same time the tourist qualities of the alps and the famous Swiss cheese, seems rather disturbing. The open minded art scene fears a relapse to the old times of rural Switzerland and seems to activate its political consciousness: Recently in a performative action (Ein roter Teppich für die Kunst) the Swiss fine artists union Visarte handed over a petition against the shortage of funds for the fine arts to the parliament in Bern. Some months before this action, artists founded a shadow cultural ministry and elected a culture minister, a post that doesn’t exist yet in the political premiums of Switzerland!

  Divus | Berlín  

Show textShow cached sourceOpen source URL	Dva póly konceptuálního umění představovala díla klasika Sol LeWitta a mladé, v Berlíně žijící Britky Ceal Floyer. Ta téma výstavy uchopila drobnou kresbou, v níž přes sebe kuličkovým perem stále znovu a znovu až do úplného znečitelnění psala “znovu a”.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Impressive exposition, whose title Perfect Timeless Repetition was taken from Ellis’ book Glamorama, connected works of artists of different generations and expressive tools. The two extremes of conceptual art showed works by classic Sol LeWitt and young British Ceal Floyer, living in Berlin. She grasped the topic of the exhibition using minute drawing where, using a pen, she wrote “again and” again and again untill complete obliteration The work of Peter Friedl Untitled (Berlin) consisted of the number 68 painted on the wall upside down in reference to the political events between years 1968 and 1989. Michal Majerus, who died last year not even thirty-five years old during an airplane accident, was represented by nine paintings, inspired by the world of mass media. Rikrit Tiravanija made a childishly unskilled attempt of emulation of his handwriting in neon and Liam Gillick who also presented himself in two independent expositions in galleries Schipper & Krome and Max Hetzler II, attached one of his celluloid frames to the ceiling .
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Impressive exposition, whose title Perfect Timeless Repetition was taken from Ellis’ book Glamorama, connected works of artists of different generations and expressive tools. The two extremes of conceptual art showed works by classic Sol LeWitt and young British Ceal Floyer, living in Berlin. She grasped the topic of the exhibition using minute drawing where, using a pen, she wrote “again and” again and again untill complete obliteration The work of Peter Friedl Untitled (Berlin) consisted of the number 68 painted on the wall upside down in reference to the political events between years 1968 and 1989. Michal Majerus, who died last year not even thirty-five years old during an airplane accident, was represented by nine paintings, inspired by the world of mass media. Rikrit Tiravanija made a childishly unskilled attempt of emulation of his handwriting in neon and Liam Gillick who also presented himself in two independent expositions in galleries Schipper & Krome and Max Hetzler II, attached one of his celluloid frames to the ceiling .
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Impressive exposition, whose title Perfect Timeless Repetition was taken from Ellis’ book Glamorama, connected works of artists of different generations and expressive tools. The two extremes of conceptual art showed works by classic Sol LeWitt and young British Ceal Floyer, living in Berlin. She grasped the topic of the exhibition using minute drawing where, using a pen, she wrote “again and” again and again untill complete obliteration The work of Peter Friedl Untitled (Berlin) consisted of the number 68 painted on the wall upside down in reference to the political events between years 1968 and 1989. Michal Majerus, who died last year not even thirty-five years old during an airplane accident, was represented by nine paintings, inspired by the world of mass media. Rikrit Tiravanija made a childishly unskilled attempt of emulation of his handwriting in neon and Liam Gillick who also presented himself in two independent expositions in galleries Schipper & Krome and Max Hetzler II, attached one of his celluloid frames to the ceiling .

  Divus | GANGY V NEW YORKU  

Show textShow cached sourceOpen source URL	V prostoru mezi jestřábem a mrtvolami stojí tři rozměrné pseudopopartové sochy Resistol 5000, hlavou dolů obrácené plechovky od lepidla, jejichž obsah vytéká ven a chystá se znečistit přírodu nebo umožnit psychedelické čichací výlety, které jsou mezi mexickou mládeží oblíbenou zábavou.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Miguel Calderón is an artist who grew up and lives in Mexico City. His exhibition Forcing the Forces of Nature contains everything that we might expect from an inhabitant of this overcrowded mega-city. He compares his exhibition to Vonnegut’s book Slaughterhouse Five in which moments from the past and future interweave without any logical connection. He also reflected the mundane and spiritual nature of human experiences, contemplated ecology and didn’t leave out a direct depiction of life and death — and this all through the sieve of autobiographical experiences or projections. The scale was just as colorful. Photographs of families lying in the grass after a picnic, a series of photos of a young man with a BMX bike and of a hawk are the artist’s sentimental memories from childhood. In the space between the hawk and dead bodies stand three large pseudo pop art sculptures Resistol 5000: glue cans pouring out their contents and threatening to contaminate nature, or otherwise enabling psychedelic sniffing — a popular pastime of Mexican youth. The folkloric lacquered wood installation called Bar Rustico Montanoso wittily reflects the chaos and attractive tastelessness of bars and cafeterias where city folk go to relax on the weekends.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Miguel Calderón is an artist who grew up and lives in Mexico City. His exhibition Forcing the Forces of Nature contains everything that we might expect from an inhabitant of this overcrowded mega-city. He compares his exhibition to Vonnegut’s book Slaughterhouse Five in which moments from the past and future interweave without any logical connection. He also reflected the mundane and spiritual nature of human experiences, contemplated ecology and didn’t leave out a direct depiction of life and death — and this all through the sieve of autobiographical experiences or projections. The scale was just as colorful. Photographs of families lying in the grass after a picnic, a series of photos of a young man with a BMX bike and of a hawk are the artist’s sentimental memories from childhood. In the space between the hawk and dead bodies stand three large pseudo pop art sculptures Resistol 5000: glue cans pouring out their contents and threatening to contaminate nature, or otherwise enabling psychedelic sniffing — a popular pastime of Mexican youth. The folkloric lacquered wood installation called Bar Rustico Montanoso wittily reflects the chaos and attractive tastelessness of bars and cafeterias where city folk go to relax on the weekends.

  Divus | GANGY V NEW YORKU  

Show textShow cached sourceOpen source URL	V prostoru mezi jestřábem a mrtvolami stojí tři rozměrné pseudopopartové sochy Resistol 5000, hlavou dolů obrácené plechovky od lepidla, jejichž obsah vytéká ven a chystá se znečistit přírodu nebo umožnit psychedelické čichací výlety, které jsou mezi mexickou mládeží oblíbenou zábavou.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Miguel Calderón is an artist who grew up and lives in Mexico City. His exhibition Forcing the Forces of Nature contains everything that we might expect from an inhabitant of this overcrowded mega-city. He compares his exhibition to Vonnegut’s book Slaughterhouse Five in which moments from the past and future interweave without any logical connection. He also reflected the mundane and spiritual nature of human experiences, contemplated ecology and didn’t leave out a direct depiction of life and death — and this all through the sieve of autobiographical experiences or projections. The scale was just as colorful. Photographs of families lying in the grass after a picnic, a series of photos of a young man with a BMX bike and of a hawk are the artist’s sentimental memories from childhood. In the space between the hawk and dead bodies stand three large pseudo pop art sculptures Resistol 5000: glue cans pouring out their contents and threatening to contaminate nature, or otherwise enabling psychedelic sniffing — a popular pastime of Mexican youth. The folkloric lacquered wood installation called Bar Rustico Montanoso wittily reflects the chaos and attractive tastelessness of bars and cafeterias where city folk go to relax on the weekends.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	Miguel Calderón is an artist who grew up and lives in Mexico City. His exhibition Forcing the Forces of Nature contains everything that we might expect from an inhabitant of this overcrowded mega-city. He compares his exhibition to Vonnegut’s book Slaughterhouse Five in which moments from the past and future interweave without any logical connection. He also reflected the mundane and spiritual nature of human experiences, contemplated ecology and didn’t leave out a direct depiction of life and death — and this all through the sieve of autobiographical experiences or projections. The scale was just as colorful. Photographs of families lying in the grass after a picnic, a series of photos of a young man with a BMX bike and of a hawk are the artist’s sentimental memories from childhood. In the space between the hawk and dead bodies stand three large pseudo pop art sculptures Resistol 5000: glue cans pouring out their contents and threatening to contaminate nature, or otherwise enabling psychedelic sniffing — a popular pastime of Mexican youth. The folkloric lacquered wood installation called Bar Rustico Montanoso wittily reflects the chaos and attractive tastelessness of bars and cafeterias where city folk go to relax on the weekends.

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Show textShow cached sourceOpen source URL	K tomuto vývoji dochází jen rok po velkém skandálu státem financované výstav Thomase Hirschhorna v Paříži. Umělec kritizoval (v jednom malém detailu) pravicového národního poradce Christopha Blochera, a v celé zemi bylo okamžitě možné pozorovat starý švýcarský reflex „znečištění hnízda“.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	After the Swiss author Paul Nizon had in the 1970s essay "Diskurs in der Enge" (Discourse in the Straits) analyzed the narrowed mindedness of Switzerland, everything suddenly changed for the better, patching the way forward for a new art scene of the 1980s. This mainly happened when collectors and also the big powerful internationalized Swiss companies and banks finally understood, that the arts could contribute to their image and started getting involved in the contemporary scene and systematically started to collect young art. And as the Swiss are tougher and solid in everything they do, they turned it now to the other extreme: The power of the Swiss currency was all of the sudden reflected into a new "Golden Age" of contemporary art. And luckily there appeared just at the right time a bunch of very good artists on the scene, who had an international potential, people like Fischli / Weiss, Urs Lüthi, Roman Signer, later on Pipilotti Rist and others. And the artists were well managed by a bunch of great curators like Harald Szeemann, Bice Curiger and some very professional gallery owners and museum curators. This was the beginning of an exciting artistic period which clearly put Switzerland on the cultural map as the European hot bed for contemporary art and artists: Swiss art became a demanded export article. Within the country Zurich became the home for art galleries such as Peter Kilchman, Eva Presenhuber, Bob van Orsouw, Hauser&Wirth and exciting spaces like the Migros Museum lead by Rein Wolfs or the Kunsthalle. And even beyond the big players, in Zurich a young and dynamic local art scene emerged with many "off-spaces," like Esther Eppstein’s Message Salon, later on Les Complices, White Space and K3 Project Space, as well as young galleries like for example StaubKohler, Ausstellungsraum 25, Galleria Laurin and Hubert Bächler. Though the city of Zurich spends less money on culture than Basel and about the same amount as Geneva, in the field of fine arts it is certainly the leading place in Switzerland.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	After the Swiss author Paul Nizon had in the 1970s essay "Diskurs in der Enge" (Discourse in the Straits) analyzed the narrowed mindedness of Switzerland, everything suddenly changed for the better, patching the way forward for a new art scene of the 1980s. This mainly happened when collectors and also the big powerful internationalized Swiss companies and banks finally understood, that the arts could contribute to their image and started getting involved in the contemporary scene and systematically started to collect young art. And as the Swiss are tougher and solid in everything they do, they turned it now to the other extreme: The power of the Swiss currency was all of the sudden reflected into a new "Golden Age" of contemporary art. And luckily there appeared just at the right time a bunch of very good artists on the scene, who had an international potential, people like Fischli / Weiss, Urs Lüthi, Roman Signer, later on Pipilotti Rist and others. And the artists were well managed by a bunch of great curators like Harald Szeemann, Bice Curiger and some very professional gallery owners and museum curators. This was the beginning of an exciting artistic period which clearly put Switzerland on the cultural map as the European hot bed for contemporary art and artists: Swiss art became a demanded export article. Within the country Zurich became the home for art galleries such as Peter Kilchman, Eva Presenhuber, Bob van Orsouw, Hauser&Wirth and exciting spaces like the Migros Museum lead by Rein Wolfs or the Kunsthalle. And even beyond the big players, in Zurich a young and dynamic local art scene emerged with many "off-spaces," like Esther Eppstein’s Message Salon, later on Les Complices, White Space and K3 Project Space, as well as young galleries like for example StaubKohler, Ausstellungsraum 25, Galleria Laurin and Hubert Bächler. Though the city of Zurich spends less money on culture than Basel and about the same amount as Geneva, in the field of fine arts it is certainly the leading place in Switzerland.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine divus.cc as primary domain	After the Swiss author Paul Nizon had in the 1970s essay "Diskurs in der Enge" (Discourse in the Straits) analyzed the narrowed mindedness of Switzerland, everything suddenly changed for the better, patching the way forward for a new art scene of the 1980s. This mainly happened when collectors and also the big powerful internationalized Swiss companies and banks finally understood, that the arts could contribute to their image and started getting involved in the contemporary scene and systematically started to collect young art. And as the Swiss are tougher and solid in everything they do, they turned it now to the other extreme: The power of the Swiss currency was all of the sudden reflected into a new "Golden Age" of contemporary art. And luckily there appeared just at the right time a bunch of very good artists on the scene, who had an international potential, people like Fischli / Weiss, Urs Lüthi, Roman Signer, later on Pipilotti Rist and others. And the artists were well managed by a bunch of great curators like Harald Szeemann, Bice Curiger and some very professional gallery owners and museum curators. This was the beginning of an exciting artistic period which clearly put Switzerland on the cultural map as the European hot bed for contemporary art and artists: Swiss art became a demanded export article. Within the country Zurich became the home for art galleries such as Peter Kilchman, Eva Presenhuber, Bob van Orsouw, Hauser&Wirth and exciting spaces like the Migros Museum lead by Rein Wolfs or the Kunsthalle. And even beyond the big players, in Zurich a young and dynamic local art scene emerged with many "off-spaces," like Esther Eppstein’s Message Salon, later on Les Complices, White Space and K3 Project Space, as well as young galleries like for example StaubKohler, Ausstellungsraum 25, Galleria Laurin and Hubert Bächler. Though the city of Zurich spends less money on culture than Basel and about the same amount as Geneva, in the field of fine arts it is certainly the leading place in Switzerland.