Nowadays, we consider it crucial to think and reflect on the current corona crisis. The Slovenian philosopher Mladen Dolar noted that its effects are similar to a magnifying glass. We have made some important discoveries while looking through the magnifying glass on our operation here. It is becoming more and more apparent that the need for the changes that our magnifying glass pointed out to us starts off a new transformation – and that goes for the field of professional art too. The prevailing procrastination in Gramsci’s statement – “the old is dying but the new cannot be born” – has to be abandoned as the art institution takes on a new role. The gallery needs to focus more on the systematic support of living art just as much as it has to strengthen the public awareness of the field’s fellowship and work to create a synergistic effect within and outside of it: to slow down and to focus more on those topics articulated by the exhibitions. This effort is also supported by Katarína Klusová, an artist, curator and pedagogue, whose project for Galerie Kontext focuses on gallery pedagogy or media education in the form of lectures and discussions with experts on environmentalism, sociology, linguistics, philosophy, and pedagogy. The year-round cycle will include seven realizations in various formats taking place in the foyer niches, the cinema room, the cabinet or directly at exhibitions. The very first one will explore topics of the exhibition project by Anna Tesařová in Galerie mladých. It will examine the theme of desire to hold on to memories through musuem institutions.
Sands of microworld 2.0 is a long-term project of a loosely associated group of Slovak and Czech artists: Michal Žilinský, Jakub Roček, Petr Jambora, and Jakub Němec. The collective works with the medium of scenic installation, 3D animation, and with the topic of global environmental crisis. The author of the sound intervention is Tomáš Moravanský. The curator of the project is Marianna Brinzová.
Aurélie Bayad is a Belgian artist mainly thematizing the ways and forms in which we expose our bodies in virtual space providing the basis for her personal feminist ideological perspective. The language of her work is performance, photography, text, video, and installation.
During summer, the projection room of CIT Cinema at Radnická turns into a space for site-specific installations, revising the medium of moving pictures and the conditions of cinema projection. Adam Turzo’s Spectacle: Residuum stops time in the middle of one sequence or film frame as we find ourselves in a black space between action and reaction, at the point of completed destruction, just before fully realizing the consequences of this action. The act of extinction is, however, not a sudden and unpredictable accident, rather it puts us in the animal skin from the fable about a boiling frog.