Anetta Mona Chișa

Anetta Mona Chișa is one of the outstanding personalities of contemporary Czech visual art. Her work on the verge of object creation, architecture and design contains a multilayered system of thought references and cultural quotations. Matter, image, body, movement and time figure here as something changeable and relational that we all create right here and now. And the exhibition can be a medium that can lead us towards to the resembling thoughts, that used to pass us by...

Marie-Anna Šulc

Marie-Anna Šulc tries to search for utopian narratives in dystopian imaginings, thus creating a merging border between dystopia and utopia. She focuses on the question of intersectionality, the experience of bodies and feminist perspectives. 

The centerpiece of the exhibition is the video-ballad Pelvic Chain, which deals with the body, its changes and its extensions. It deals with the belonging of differently affected bodies, reflects on bodily self-determination and tries to avoid trauma-dumping weight. Drawing on their own experience, the authors address bedriddenness, facing grief in hospital settings whose care, often, exceeds the boundaries of violence. They rap about the anarchy of muscles, nerves and tissue, paying a tribute to the believes about the power of one's body and its healing abilities.

Lenka Tyrpeklová

Projekt Denní chléb zaznamenává reálné absurdní situace představující denní rutinu žen ve vězení, ty dále převádí do nutné stylizace. Jednotlivé situace se zdají však býti zmatenými, až smyšlenými. Zda balancujeme na hranici fikce, se tak může divák jen domnívat. Charakter jednotlivých videí je koncipován jako epický příběh v bezčasí, jenž je podpořen poutavými vypravěči, kteří sami v sobě bojují s hierarchickými vztahy, které nad nimi panují. Hlavními postavami příběhu jsou ženy mající chléb místo tváře, která metaforicky zastupuje identické charaktery všech žen, jejichž obličeje se za pobytu slévají a každá z nich se ocitá nejen bez své tváře, ale i bez vlastní osobnosti. Nikdo si neudrží vlastní tvář ani rozum. Apokalypsa se však bohužel neblíží a ticho před bouří nenastává. Vše už je v tomto primitivním prostředí dávno všudypřítomné a dané. Výstupem je šest krátkých videí, jež jsou výpovědí dvou žen z vězení. Jakým způsobem jejich čas byl naplňován (i skrze odborné pracovníky) prezentují Pohádky z vězení.

Štěpán Brož, Medard Matyáš Zeman

Since his high school years, Medard Matyáš Zeman has been making music in the field of extreme genres such as Harsh Noise and experimental music in general. In it he searches for different positions of creative avant-garde and ambient mysticism. He has been working on sculpture, drawing and object installations for a long time. Štěpán Brož's closer attention to music is mainly focused on a series of paintings dealing with the relationship between romanticism and black metal. Since the beginning, the inspiration of the genre has been a black thread in his work, which he has been alternately approaching and moving away from. His current research topic is neomedievalism in the context of contemporary art, which is also strongly related to the visual culture of metal. As a creative duo, they will mount a collaborative exhibition exploring the question of whether honesty in life and creative work can alone guide us away from the sins of our time (collective racism, pervasive sexism and depression). Through Štěpán Brož's paintings and Matyáš Zeman's drawings and sculptures, they will create a space exploring the theme of sincerity in artistic creation, drawing on the roots of their inspiration: the black metal subculture and its wider contexts.

Juri Charvát

Růžové chipsy se odkazuje na Juriho předchozí práci, video Růžové brambory, ve kterém autor*ka pracuje s queer identitou v malé obci prostřednictvím symbolu růžových brambor. Stejně jako v předchozí práci se snaží přiblížit queer svět s normativním světem přes pojmy, které zažívají obě tyto skupiny lidí. Zastřešujícím tématem pro film Růžové chipsy je komplexita identity. Pomyslně Juri Charvát růžovou bramboru strouhá na tenké plátky a poodhaluje tak konkrétnější části jeho identity. Film stejně jako brambůrkové koberečky je řezaný na tenké plátky postupně měnící svou podobu. Video koláž je složená ze střídajících se záznamů z reálných nestrojených akcí a fiktivních symbolických scén, kde lze vnímat auto fikční příběh postavy, jež se šla bavit na vesnickou zábavu. Právě zábava, jakožto oslava těla, je vnímána jako další téma k propojování světů. Během pobytu na zábavě se jí však stanou dva příběhy, které můžete slyšet. Ve videu i v instalaci se pak objevují náznaky na jednu část autorovy identity a to asexualitu, podávanou ne-stereotypně prostřednictvím postavy, jenž má symbolizovat genderovou euforii.

Yeonwoo Chang

Yeonwoo Chang is an artist based in Dresden, Vienna and Seoul. In her artistic practice she deals with physical and spiritual issues that transcend history, craft, culture and nature. Her recent works show the political context of craft through ceramics.

Ceramics becomes a medium that reflects themes of natural resources, postcolonialism and craft that lead to a discourse of local art and contemporary art in a non-Western context. The Moon Jar project was born out of the impulse to live up to the moniker of a specific type of late 17th century Korean ceramic vessel from the Joseon Dynasty. It is two symmetrical hemispheres smoothly joined at their centre. During the period of Japanese colonialism, this pottery was exported abroad, thus influencing the shape of European ceramics. The specificity of Yenwoo Chang's object is the fact that the glaze of her object is composed of carefully prepared synthetic moon dust. The exhibition project addresses various aspects of the moon as a natural satellite of the Earth, but also as a source of possible territorial acquisition and cultural symbol. The utopian colonization of the lunar surface is contrasted with the pointing out of the symbolic and economic value of artistic artefacts in international museums and the postcolonial debates that accompany them. Beyond these discourses, the material of the ceramic vessel remains clay and its basal character in debates on climate issues.

Trin Alt, Tobias Izsó, Laya Laurence Mussi

Central to the collective project is an exploration of Trompe L'oeil, an artistic technique that deceives the viewer's perception through optical illusions. The aim is to bring together the practices of all the participating artists to create an immersive visual experience within the exhibition. The historical context of the Trompe L'oeil technique is intertwined with contemporary elements of interpretation such as those discussed in Norman Klein's exhibition "From the Vatican to Vegas". The exhibition itself will incorporate various components, including an airbrush mural, the incorporation of carved text directly into the surface of the walls, and the strategic placement of flat sculptural elements. These elements interact with each other, whether by overlapping painted surfaces or occupying separate spaces within the exhibition area, to foster a dynamic and thought-provoking environment for viewers to engage in.

Dana Balážová, Eva Brodská, Lucie Kralíková

The exhibition connects an elemental life-giving element and a powerful symbol preserved for many ages - fire. In the background of the creation of the installation and equally important live actions will be both the photo and video archive of the artists themselves, as well as the collaborative creation of situations associated with prepared scrums of plants, fragrant woods, rattlesnakes and elements washed by ocean waves. The central object will become the hearth as sculptural object, the rising smoke and the many-voiced (or silent) prayer as a means of connecting with ancestors present, future and past in one precious time. A purposeful time-lapse collection of video and photo material of fires from different seasons and gardens, supported by careful drying and gathering of herbs, plants and other found material will give rise to opportunities for gathering over specific scents and themes within the courtyard and the gallery itself. 

 

Šimon Chovan

Šimon Chovan's exhibition project Almanac of Wounds presents his diploma work. It adheres to a strong material sensibility, combining organic substances such as beeswax and ochre pigment in contrast with inorganic ones such as metal or silicone. She casts, cuts, dissolves and stages her objects into complex, organized wholes that resemble structures and systems of various types: human, natural or artificial. This visual narrative creates a fictional vision in which the present meets the future, the personally acquired (such as the soil and wax from the artist's birthplace) meets the prefabricated. This singular sculptural practice touches on many contemporary themes such as environmentalism, the Anthropocene, the irreversibility of new technologies, and alliances, all of which are relevant to Chovan, but within this project the artist also focuses on the interdisciplinary concept of plasticity as defined by French philosopher Catherine Malabou - as a fundamental operation, a reciprocal overlapping of form between the empirical (or material) and the noetic (or mind); the ability to crystallize form as well as destroy it.

Markéta Slaná

Celé zasazení filmu je situováno do prostoru Vrchního soudu v Praze, který se stává pomyslnou stagí pro zkoumání symptomů současného kulturního neklidu. Soudní síň sama o sobě symbolizuje dynamické prostory, které zahrnují silné mezilidské a společenské dynamiky a vyznačují se jasnou hierarchií moci. Prostor je okupován čtyřmi performery, kteří vykonávají gesta jako šepot, příprava na řeč, přísaha, či snaha neúspěšně posouvat rigidní architekturu. Protagonisté jakoby byly aktéry a zároveň pozorovateli, pomyslná NPCs, která uvízla v soudní síni, co se neustále připravují na projev a vyprávění, k němuž ale nikdy nedojde. Vlna neoliberalismu vedla k erozi historického vědomí, rozostřila hranice mezi minulostí, přítomností a budoucností, a zanechala nás ve stavu zmatku a estetického chaosu. Pronásledují nás ztracené budoucnosti, které byly slíbeny, ale nikdy nepřišly. Co tedy zůstane, když historicita zmizí? Je to vibe. Je na čase nemít žádný program, je čas prostě jen vibovat. vibe je to, co zůstává, když všechno ostatní už zmizelo. Video čerpá inspiraci z kolektivních zkušeností, internetové kultury, sdílených deníků, vlastní choreografické praxe, principů disciplinace i emocionálního vyjádření. Cílem práce je vytvořit komplexní lyrickou situaci, která zkoumá osobní zranitelnost a zároveň zobrazuje bizarní situace jako prostředek k pochopení aktivních vztahů a společenských hranic.

 

Lucie Rosenfeldová

The exhibition project How to (Not) Remember Our Bodies is the outcome of a long-term artistic research on the topic of body memory in the field of reproductive medicine. The exhibition will include a newly produced film by the artist focusing on both the specific individual and collective experiences of reproductive medicine and its historical and political conditioning. It will thus build on the previous film, Uteruses and Brains, which was part of an exhibition at the Kurzor gallery curated by Jan Zálešák in 2022. In contrast to the previous film, the new film will draw on the subjective experiences of women participants in reproductive medicine in the context of Czech and Czechoslovak gynaecology, as well as historical material obtained from the NFA's medical film archive, information gathered from research at the Medical Museum in Prague, and ongoing consultations with experts in the field of bodily memory.

Karolina Raimund

Karolina Raimund (formerly Kohoutková) is an artist, curator and educator whose artistic and pedagogical practice has long focused on body design and performance, addressing feminist and queerness themes.Identitarian issues related to corporeality in her work are complemented by environmentally engaged projects. These levels are interconnected in Karolina's upcoming exhibition, which takes as its starting point an artistic intervention in the landscape that is linked to a specific place, a 3600 m2 farmland in South Moravia, which is still listed as the property of the artist's late great-grandmother. This field is part of one large whole and is thus cultivated in a similar way to the communist regime. The monoculture area is currently made up of smaller plots of land owned by several owners, which are visible only in the drawing on the cadastral map. It is almost as if they did not exist. Karolína decided to remove her great-grandmother's piece of land from this "role", so that her great-grandmother's field would be both a mediator and a pretext for haptic exploration and understanding of the landscape in its former and ideally perhaps future form. The artwork will be based on classical agrarian practice and will thematise the different phases of land care. The project is based on the need to "experience oneself"; to tune in to the life of a great-grandmother. It also stems from the fear that the earth will become even more toxic in the future.It thus builds on the ideas and practice of ecofeminism and highlights the imbalance of human and natural forces. The work will run as a longer term project respecting the natural cycle and will be presented as a sensory exhibition finding partial responses to the character and iconography of the territory through art. Field Revival will be in consultation with a member of staff from the Silva Tarouca Research Institute for Landscape and Ornamental Horticulture, a public research institution.