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  Divus | EGONIÁŠOVO PROR...  
„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.
—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 | SÉMIONAUTI PROT...  
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.
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 | SÉMIONAUTI PROT...  
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.
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  
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“.
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.
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 | Několik hodin N...  
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.
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.
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 | David Bowie - D...  
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!
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!
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!
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 | Kurátor a kultu...  
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.
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...  
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.
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.
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 | V běhu času  
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”.
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 | Kampaň na těle ...  
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.
“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.
“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 | SUPER NASE & CO...  
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".
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 | Zmnožování stře...  
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.
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 | Skupinový portr...  
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.
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...  
Vždy zdůrazňuje roli a význam instituce, k níž patří.
He/she always emphasizes the role and importance of the institution he/she belongs to.
He/she always emphasizes the role and importance of the institution he/she belongs to.
He/she always emphasizes the role and importance of the institution he/she belongs to.
  Divus | Jak se pohybova...  
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.
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 | Buďme součástí ...  
Vždy zdůrazňuje roli a důležitost instituce, k níž patří.
What are the basic features of the ordinary art bureaucrat?
  Divus | Scéna z filmu  
Stará malířka je zděšená a říká: „To nebylo moc pěkné.“
The old painter woman is mortified and says, “That wasn’t very nice.”
La vieja pintora, mortificada, acierta a decir “Eso no fue muy amable”.
  Divus | Go Johnny Go  
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.
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,
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,
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 | Mezi nebem a zemí  
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.
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.
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 ...  
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.
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.
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 | ARCHITEKTURA DY...  
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.
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 | "Samý vzduch a ...  
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.
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.
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 | Nový konzervati...  
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.
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).
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 | SVĚT UMĚNÍ  
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.
“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 | Nejlepší obrana...  
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.
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.
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 | Jak západ vyhrá...  
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.
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.
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 | Meste, Manet, M...  
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.
"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.
"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 | Kateřina  
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.
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 | Kateřina  
Souhlasím. Na druhou stranu ty jsi určitou mechanizaci (onu neviditelnou mechanizaci, ten dennodenní zvyk, to nic) zdůraznila a vlastně ji tím i porušila.
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 | Scéna z filmu  
Stará malířka je zděšená a říká: „To nebylo moc pěkné.“
Die alte Malerin ist zu Tode erschrocken und sagt: „Das war nicht sehr nett.“
El hombre le extiende el celular a la chica, “es para usted”.
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