CZENArtistsProgram
Umění v prostoru | Arts in space
29.5. - 30.9.2019
Povodí Rokytky | Praha
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Umění v prostoru | Arts in space
29.5. - 30.9.2019
Povodí Rokytky | Praha
CZ
 | 
EN
Umění v prostoru | Arts in space
29.5. - 30.9.2019
Povodí Rokytky | Praha
CZ
 | 
EN
29.5. - 30.9.2019
Povodí Rokytky | Praha
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About

Story

BUBEC, o.p.s. presents the third edition of the m3 / Art in Space Festival. In 2019, the festival takes place around the stream Rokytka in Prague 8 and 9. Thirteen artworks from Czech and foreign authors are placed in the public space and are connected with the topic: BIOTOPE. The festival's curators are Tomáš Knoflíček and Libor Novotný.

"Only through the mirror of other lives, we are able to understand our own one. Only in the eyes of the others, we are able to become ourselves." Thomas Nagel

"The loss of the ability to contemplate - which, among other things, leads to the absolutization of vita activa - is also responsible for the hysteria and nervousness of modern society." Byung-Chul Han

For a long time in scientific circles has prevailed a concept which states that the laws of nature can only work through the intervention of external powers which brew the chemical soup of cells. This notion understands the living matter as passive, waiting for an impulse from a causal force and, in fact, results only in a secular version of a ´Creator´ who controls and corrects the work of the mechanism that he has set up. Today there is still a number of scientists who understand the world as a place of pure empiricism based on causally mechanical interactions and the animals - in terms of the views of René Descartes - as more or less sophisticated machines.  But where there is a machine must also be someone who made it work.  And where there is a machine must also be its user. Exactly the understanding of the world as a machine-led people to the idea that the world and nature are there for human´s sake. It led them into the role of consumers who are not interested in cause and substance but only in benefits. As Heinz Foerster stated: "Western culture fell in love with a trivial machine."  That is because ´trivial machine´ is a complex of our desires for certainty and safety because it´s effective and predictable. Paradoxically, it is the same trivialization of the world that, through barefaced exploitation of natural sources, led to significant changes of the planet´s ecosystem and faced a man with the actual danger of the end of his existence.

This itself may be a good reason for not reducing nature and its processes to a mere mechanism of a machine. And more arguments are adding up. A number of modern biologists suggest that we can´t understand an organism as a machine simply because it defies the principal laws of mechanical design and material self-determination. Machines can´t evolve on their own, they don´t have metabolism or ability to transform into the matter that surrounds them. On the contrary, living organisms do. Nature is full of phenomenons emerging without external plan and control, such as folding of the sand, filigree icy ornaments on frozen glass or camouflage patterns of zebras and leopards and human fingerprints. These structures are self-shaping, so, besides the laws of common causality, they also follow the principles of "self-motion". We know from Wittgenstein that belief in causal nexus is a modern superstition. And in light of this reasoning, we may even need to update our view of DNA which, according to some scientists, doesn´t necessarily represent a source code for executing binary commands, but rather something like a musical score that is orchestrated by the cells according to their momentary needs. Under this concept, a cell is a physical materialization of the principle of subjectivity and its life is a process of creation of identity.

German philosopher and biologist Andreas Weber, whose ´poetic ecology´ represents an alternative to the modern dualism of man and nature, interprets the world - from the tiniest cell to complex structures - as a place vibrating with feelings´.  However utopic this notion may be, it seems logical that the profession of an artist should be declared as one of the pioneers of this approach.  But not an artist in the sense of an artisan fully mastering his craft, but rather an artist as someone with exceptionally higher sensitivity. An artist whose job is not to "create" something but rather to conquer mutual disaffection through poetic (non)action.  The subject of this year´s M3 festival is mainly the incorporation of natural processes to the nature and structure of artistic creation. It doesn´t need to be a straight forward quotation of nature in terms of usage of substances that are commonly accepted as "natural materials". It´s more about searching for a natural principle with the potential to reveal some aspects of the Anthropocene era.  Nevertheless, a question is raised whether we should act or not. Aren´t overproduction and activity the exact sources of our disaffection from nature?

Partners

Organizers:
Financial partners:
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Media partners:

Program

27. May 
Monday to
2. June
Sunday

10:00 - 18:00

Eliška Perglerová: Vepřovice principle

Long Island Libeň
U Českých loděnic, 180 00 Praha 8-Palmovka

From May 27th until September 30th you have an opportunity to join in the creation of bricks called vepřovice and building objects from them. It doesn´t have to be necessarily functional architecture but it is also possible to create abstract, symbolic, activistic sculptural works. The buildings are influenced by the weather. We recommend working in groups (opened daily from 2 pm until 8 pm), or to come for the workshop with lecturer:
27.5. - 31.5.: 10:00 - 18:00
1.6. - 2.6.: 14:00 - 18:00

To the workshop you will get t.shirt and a free snack. The work is placed at the junction of Rokytka and Vltava (50°06’26.8” N 14°28’03.1” E). In case you would like to work outside the workshop days, pick up the keys on the bar of Long Island Libeň.


29. May
Wednesday

19:00 - 21:00

Opening of festival m3 / Art in space

CAMP - Center for Architecture and Metropolitan Planning
Vyšehradská 51, Praha 2

BUBEC, o.p.s. presents the third edition of the m3 / Art in Space Festival. In 2019. The festival takes place around the stream Rokytka in Prague 8 and 9. Thirteen artworks from Czech and foreign authors are placed in the public space and are connected with the topic: BIOTOPE. The festival's curators are Tomáš Knoflíček and Libor Novotný.

Festival will be opened on May 29th in CAMP - Center for Architecture and Metropolitan Planning accompanied with the discussion with curators and artists.

30. May
Thursday

16:00 - 22:00

3 opening days with m3

Start: Nám. OSN, Praha 9
From 18:00: Long Island Libeň, U českých loděnic, Praha 9

BUBEC o.p.s in cooperation with Long Island Libeň prepares 3 opening days of festival m3 / Art in space. Festival offers to the visitors guided tours with curators for children and adults, an opportunity to become a co-author of the artworks from Eliška Perglerová and Jaroslav Kyša. The processual artwork of Oldřich Morys will be created by sculptor/performer from the May 30th until it becomes sand.

Program:

16:00 –  guided tour with curators, start: nám. OSN, Praha 9
18:00 – 22:00 – festival opening at Long Island Libeň
19:00 – Miroslav Tóth (saxofon) and Michal Dymny (el. guitar)
20:00 – DJ St. Jakob

30. May - 1. June – during those three days, the visitors can intervene in the creation of the artworks:
10:00 - 18:00: Eliška Perglerová: Vepřovice principle: Rokytka river mouth, 50.1074706N, 14.4674383E
14:00 - 18:00: Jaroslav Kyša: Anyone can become anything: Sokolovská street: 50.1097403N, 14.4944892E

31. May
Friday

10:00 - 18:00

3 opening days with m3

Rokytka river mouth, 50.1074706N, 14.4674383E
Sokolovská street: 50.1097403N, 14.4944892E

BUBEC o.p.s in cooperation with Long Island Libeň prepares 3 opening days of festival m3 / Art in space. Festival offers to the visitors guided tours with curators for children and adults, an opportunity to become a co-author of the artworks from Eliška Perglerová and Jaroslav Kyša. The processual artwork of Oldřich Morys will be created by sculptor/performer from the May 30th until it becomes sand.

30. May - 1. June – during those three days, the visitors can intervene in the creation of the artworks:

10:00 - 18:00: Eliška Perglerová: Vepřovice principle: Rokytka river mouth, 50.1074706N, 14.4674383E
14:00 - 18:00: Jaroslav Kyša: Anyone can become anything: Sokolovská street: 50.1097403N, 14.4944892E

1. June
Saturday

14:00 - 18:00

3 opening days with m3

Sokolovská street
50.1097403N, 14.4944892E

Mouth of Rokytka river
50.1074706N, 14.4674383E

Tram junction Starý Hloubětín, Praha 9
50.1042344N,14.5304811E

BUBEC o.p.s in cooperation with Long Island Libeň prepares 3 opening days of festival m3 / Art in space. Festival offers to the visitors guided tours with curators for children and adults, an opportunity to become a co-author of the artworks from Eliška Perglerová and Jaroslav Kyša. The processual artwork of Oldřich Morys will be created by sculptor/performer from the May 30th until it becomes sand.

30. May - 1. June – during those three days, the visitors can intervene in the creation of the artworks:
10:00 - 18:00: Eliška Perglerová: Vepřovice principle: Rokytka river mouth, 50.1074706N, 14.4674383E
14:00 - 18:00: Jaroslav Kyša: Anyone can become anything: Sokolovská street: 50.1097403N, 14.4944892E
14:00 - guided tour for children with Adam Vačkář: Tram junction Starý Hloubětín, Praha 9

1. June
Saturday

14:00

Guided tour for kids with Adam Vačkář

Tram junction Starý Hloubětín, Praha 9
50.1042344N, 14.5304811E

The objects from artist Adam Vačkář within the festival m3 / Art in Space are placed around the Rokytka stream. Each of the objects expresses the anxiety from the human manipulation of nature. The poetic objects Vačkář is creating through intuition and dialogue with the natural materials. The objects are a mixture of natural materials - wood and industrial materials - metal, plastic, epoxide, which author transforms to obscure looking transmaterial - transitive objects which lost their origin and which are searching for their purpose. Vačkář shows the engineering approach of the consumer society ad absurdum. He wraps branches to plastic foil, imitates organic shapes with the straight lines of industrial materials (metal, laminate) and reveals through them engineering approach of the humankind. He highlights the change of morphology of nature which man systematically produces and which has a very long persistence. The objects should have another dimension - inhabitation of the city environment. In the end, each object should be saved and its sense should be found - it is in education. The objects should serve as a medium for reflection on the topics which are connected with the meaning of art and ecology. Especially about that art can have a function of mediator between the poetic understanding and specific problems. It could work in both ways - as a better understanding of visual art through nature and a better understanding of human activity in nature through art.

21. June
Friday

20:30

Šimon Mráček ≋ Táborák ≋ music performance

Public fireplace at Hořejší rybník

50.0992697N, 14.5235450E

Within the festival M3, Markéta Mráčková and Barbora Šimonová (cosa.cz) will play live musical performance. Their fictitious alter ego Šimon Mráček with Jedůvka will present a series of musical stories inspired by cultural and architectural life.

The event will take place on Friday, 21st of June 2019 at dusk on a meadow near the forest on the riverbank of Rokytka near the Hořejší pond. On the place are the public fireplace  (https://en.mapy.cz/s/3tZCG) and firewood in the form of "hedgehog". The wood from the hedgehog is going to be used during the concert and will be available for other users of the fireplace afterward.

You can expect half an hour of the music by the fire, beer and sausages bring with you.

https://cosa.cz/simon-mracek-taborak/

Map

artists

01
Petra Hudcová

Petra Hudcová

* 1976 in Prague, lives and works in Prague

http://petrahudcova.com
Where

meandre of Rokytka river at Hořejší fishpond

50.0982678N, 14.5182503E

Details

metal, wood

X

The burnout syndrome

"Only we alone must untangle that knot, the paradox of the world´s progress when the better the things become, the worse off we are."  This Theodore Roszak´s quote describes in an apt shortcut the state of the modern world which stepped on a slippery slope as a result of progress.  No other culture has ever achieved such power, knowledge, excess, dynamics as the present one. However, no other culture has ever threatened its future with its actions such as our own.

The installation of Petra Hudcová may be interpreted as a reflection on tools that were made to achieve common welfare but failed in their mission. More than 7000 years old invention of the wheel as one of the most significant technical innovations in history represents here symbolically the initial stimulus of spinning spiral of events which results in today´s barefaced exploitation of natural sources and life on dept. With its shape and placement, the installation refers directly on a millwheel which we can look at in this context as one of man´s first attempts to harness and use nature´s power. However, the fact that its placement is outside the riverbed of Rokytka river shows the short-sightedness of human actions motivated only by instant benefit.

On the place where once the river was tamed and diverted - only to be diverted back to its original meandric riverbed a few years ago - the installation of Petra Hudcová raises above all the question what to do, or rather not to do to let the things find their desirable balance.

02
Cosa.cz

Cosa.cz

Barbora Šimonová

*1982, lives and works in Prague

Markéta Mráčková

*1985, lives and works in Prague

https://cosa.cz
Where

Public fireplace at Hořejší rybník

50.0992697N,14.5235450E

Details

different types of wood, stone, bricks

musical performance

X

Šimon Mráček – Campfire

Is the contemporary artistic activity combinable with ideas for sustainable life? Is it normal that artistic installations serve their purpose during the short period of exhibition time and then end up in trash can as useless? Do you consider overproduction as one of today´s biggest problems? If so, does it include arts? And what to do with it?  Are we doing nothing?

If you give these kinds of questions to the authors you are about to invite to an art festival in public space, you shouldn´t be surprised by the outputs being rather ephemeral. Even in case, you´re talking to architects. Moreover, Barbora Šimonová and Markéta Mráčková are not your typical representatives of this field. Not that they wouldn´t be doing anything, rather on the contrary. The point is that the production in the sense of building and constructing is not their primary goal so instead, they navigate freely through the wide and interconnected cultural field in which - logically - they include also architecture. As a part of the festival, Barbora Šimonová and Markéta Mráčková will perform a live musical performance. Šimon Mráček - their fictional alter ego - together with Jedůvka will perform a series of musically treated stories from the future that are inspired by cultural and architectural life. The performance will take place after sunset on a meadow near the forest on the shore of the small river ´Rokytka´, close to ´Hořejší´ fishpond. The only physical trace left after the event will be a big pile of wood of different kinds and qualities set up into the form of ´fuelwood hedgehog´. The wood from the hedgehog will first be used during the concert and then it will stay there to serve other users of the fireplace who will be gradually burning it away until it´s gone.

03
Adam Vačkář

Adam Vačkář

* 1979 in Prague, lives and works in Prague

http://www.adamvackar.com
Where

Průmyslová, Praha 9

50.1014595N, 14.5307379E

Tram loop Starý Hloubětín, Praha 9

50.1042344N,14.5304811E

Details

material: steel, wood, epoxide, asphalt, concrete

X

Dreamtree and In the shadow of doubt

It´s not a secret that one of the influences for Darwin´s evolution theory was the formative example of capitalism that was rising simultaneously with man´s alienation from nature as a result of the industrial revolution. We can say hyperbolically that Darwin´s idea of ruthless selection and endless competition as the engine for the development of life´s diversity is only an application of principles of capitalism on the world of nature. On this path, the main objective of being is to conquer and if the man is set on the top of the food chain, his goal is to triumph over entire nature and thus over himself too. As the German biologist Andreas Weber said: "Soon, the man´s  secret ideal started to be the restless optimizer, perpetual seeker of useful value, the lone warrior who, under pressure of adaptation to a hostile world, seeks ever new tricks to outrun others and expand his heritage." 

This ´state of war´ status of isolation and alienation is reflected by Adam Vačkář by laying out several objects around the city environment. Through them, the author expresses intuitive anxiety from human manipulation with nature and warns of the threat from the urban metabolism that absorbs the entire background and surrounding wilderness. His approach can be partially seen as sympathetic magic. But he pushes the modern ´engineering´ approach to absurdity. For instance, he forcefully combines organic with synthetic materials when he protectively wraps organics in cling film or when he mimics organic shapes with industrial materials. Thus his action is mainly a slap on the face of modern adoration of effectivity and pragmatism which in Vackář´s opinion roots in the model of education that praises knowledge and skills over simple feeling, perception, and communication.

Mainly, for this reason, Vačkář uses his objects for educational purposes - for mediation and discussions with elementary school kids.

04
Martin Kubica

Martin Kubica

* 1987 in Ostrava, lives and works in Ostrava

Where

Organizacespojených národů square

50.1104419N, 14.5028992E

Details

mobile fencing

X

Places of uncertain utopia

The mobile fencing which is radically used in Kubica´s installation can be symbolically understood as one of the side-effects of the transformation of the environment and redistribution of people. Indeed these temporary barriers are usually the unmistakable signals of man´s intervention in the land and the sign of culture conquering nature. However, Kubica´s installation works with reverse logic. Fences that radically cut across the United Nations park and draw disconnected isles on its map are not a framework for construction or any other human activity but rather on the contrary. They form a border behind which the human power stops and only the laws of vegetation rule.  Amidst the city, in front of everyone´s eyes, Kubica creates temporary reservations in which life happens under different rules and logic than those which human needs dictate. Naturally, we would hardly expect these places to get back again to harmony with nature during the time of placement of the fences, rather than the utopia of untouched nature will surely come across the modern reality of disposable society. The fact that they will likely become filthy and covered in the garbage instead of isles of virginal nature shouldn´t be considered as a fail because thus we are getting explicit information on the invasive nature of human species.

05
Jaroslav Kyša

Jaroslav Kyša

* 1981 in Žilina, lives and works in Bratislava

http://jaroslavkysa.com
Where

Sokolovská street

50.1097403N, 14.4944892E

Details

modeling clay, wooden construction

In cooperation with: Ondrej Marko, 2021 ARCHITEKTI

X

Anyone can become anything

Clay is often perceived as a means of livelihood and source of all living.  A number of religious systems consider clay as the material the first human has been modeled of. Creation of man from clay belongs to the circle of mythological traditions of Sumerian and Akkadian empires and occurs also in Egypt where, similarly to Christianity and Judaism, occurs the idea of God as a potter. But clay is also a common artistic medium which in this logic makes every sculptor a symbolic creator. This idea has been only strengthened in the modern era when the artist withdrew from his traditionally dedicated role and, instead of portraying God or the world that God created, hyperbolically became God himself and doesn´t need to account to nature and its laws because he can define his own ones.

In his work, Jaroslav Kyša abandons this role of artis-demiurge and hands it over to forces over which he has no control. In the park space, he places a monumental block that looks like a pedestal prepared for a new statue. In fact, the pedestal itself is the very statue made of modeling clay which absorbs external impulses. The clay with its plasticity is prepared to fixate for some time the interventions from by-passers - their touches, pokings or more radical changes that would normally be considered as vandalic or even devastating. But here they are welcome as well as are the natural processes and gradual material degradation that take over this object.

Thus the clay as a unique memory medium expressively captures the endless clash of culture and nature, temporality and stability. But ultimately it leads us also to the question whether it is not more appropriate to perceive these principals as a matter of symbiosis rather than antipodes.

06
Oldřich Morys

Oldřich Morys

* 1983 in Frýdek-Místek, lives and works in Prague

https://www.artlist.cz/oldrich-morys-108631
Where

Park Podviní

50.110803,14.492089

Details

stone
sculptural performance with Michel Franče

X

No title

No other era has ever praised active people more than the present one. We have absorbed in our minds that the more active we act the greater freedom we achieve. But this is a mere illusion because exactly the activity, consumption and over-production led us to alienation from nature and from ourselves. Hectic rush usually doesn´t deliver anything new. According to Korean sociologist Byung-Chul Han, it only quickens what already exists because active people are just rolling as stones, following the brainlessness of mechanics. Hannah Arendt, on the other hand, sees the modern man on the best way to transform into animal species. She namely suggests that if all human activities were looked upon from distant enough, they wouldn´t appear as activities but rather as biological processes. Thus if there is any way how to prevent the deadly activity of the modern world, it is the rehabilitation of the ability to contemplate and ability to doubt as to the natural antipodes of activity.  

Oldřich Morys too creates a balance between vita activa and vita contemplativa. His project is based on placing a coarse stone block in a public space where several sculptors-performers of different aesthetic and conceptual nature will be gradually working it. Each of them actively transforms the stone and imprints in its different shapes from figurative to abstract. However, none of those received forms is the final one as the performance finishes only when there is just a pile of dust left from the stone. Dust that can evoke both children´s sandbox and the dust that any of our activities - including ourselves - will eventually turn into anyway.

07
Richard Loskot

Richard Loskot

*1984 in Most, lives and works in Ústí nad Labem

http://richardloskot.net
Where

In front of new Libeň synagogue

50.104036N, 14.473675E

Details

ceramics

in cooperation with: UAII Studio

X

Tough soil

If in the past a dried up riverbed was a sort of anomaly, this is not true anymore today. The number of drying rivers is rising every year and their number even overruns the number of ever-flowing. Richard Loskot reacts on this fact by installing a pavement that with its shape and structure resembles a riverbed that crackles as a result of drought. Mimetic language of the installation hyperbolically sets the spectator to a situation of tourist who during dry summer months walks across dry riverbeds and watches the world from an unusual perspective.  

Also, the material used for the installation points at the global climate change.  Some of its key components are waste materials from the energy industry (flue dust, slag) and Loskot intentionally recycles them. Using them he not only tries to put them back into the cycle as simultaneously they remind us that drying rivers - in contrast with the ever-flowing ones - also participate on global warming by the extensive release of carbon dioxide, although to a much lower extent than energetics does.

08
Gregor Eldarb

Gregor Eldarb

* 1971  in Bielsko-Biala, lives and works in Vienna

https://www.gregoreldarb.com
Where

Dr. Václava Holého square

50.1067775N, 14.4731067E

Details

metal
video

X

Soapfilm

Eldarb´s project is a dialogue between the real and utopian possibilities of the life of the urban organism. The author elaborates an idea of self-generating structure binding natural processes with the artificial and technical system while referring to works of German architect and visionary Frei Otto, whose research in the field of construction of optimal shape layed the foundation of so-called ´generative architecture´. In his work Eldarb uses fluid substances, letting their natural properties act on the conditions of the local environment.

The project falls into two parallel parts that complement each other. The first is a video where the author uses a thin film of soapy molecules that physically deform a projected video in a way, not unlike digital post-production.

The second part is represented by a textual installation on the channel bed of the Rokytka river reading the sentence "What we all lack".  It´s an appropriation of one of Man Ray´s pieces where he reacted on philosopher Friedrich Engels´s critique. The motive of a pipe puffing out a soap bubble namely suggests that the society doesn´t have a problem with lack of dialectics - as Engels stated - but with lack of imagination. (The video will be installed from the 1.09.2019)

09
Daniel Hanzlík

Daniel Hanzlík

*1970 in Teplice, lives and works in Prague

https://www.danielhanzlik.cz
Where

Elsnicovo square

50.1068019N, 14.4722275E

Details

sound installation, hydrophone, wood, polycarbonate plates, speakers, audio player

X

Stream

Elsnicovo square is one of the noticeable samples of human expansion towards nature. In the fall of the 19th century, as a symbol of progressing civilization, the oldest concrete bridge in Czech rep. was built here, followed during the 20th century by covering of the original river channel resulting in Rokytka river becoming an underground river. Paradoxically, this area where nature has been so curtailed is now used very scarcely - which necessarily suggests that people are satisfied with the mere act of conquering, similar to a child who loses interest in a toy after obtaining it.

The fact that the times of absolute dominance of human being are possibly fading away and that modern society reaches out for more or less staged dialogue with the environment is represented by recently revealed designs for reconstruction of the space which significantly disturb the present relentless dictatorship of concrete, steel, and asphalt. But until that act of "renaturalization" of the space will take place, a symbolic predecessor will occur in form of Daniel Hanzlik´s sound installation which through a hydrophobic microphone brings the sounds of the underground river back to the daylight. Through this mechanism, the author tries to unmask the hidden presence of the river stream and liberate its energy while overpowering the unnatural urbanistic design by symbolic reconstruction of the original open river environment.

As a part of the project, the audio track will be streamed to radio aporee www.aporee.org

(For technical reasons this art work in for the moment not working)

10
Rudolf Samohejl

Rudolf Samohejl

* 1987 in České Budějovice, lives and works in Prague

https://www.rudolfsamohejl.info
Where

Long Island Libeň

50.1072539N, 14.4687314E

Details

metal, rubber, electricity

X

Naked App, You Know

Over less than a century, Coca-colonisation of the world fundamentally changed our relation to wild nature. It was guided by science that induced ´disenchantment´ of nature which caused that man was able to abandon his deep-rooted attitude of aggressive distrust based on fear and rather mark it with a code number as another commodity worth of consumption. From this perspective, it looks like we only listen to nature in two extreme cases. Either when it offers us superficial pleasures of a curious tourist or when it acts extremely. If it´s not about these two, it fails in competition with other man-made ´attractions´ offering superficial pleasures because it´s ´boring´.

At first glance, Rudolf Samohejl´s artificial earthquake looks like an amusement machine too. However, the installation simulating one of the most impressive natural phenomenons on a limited space doesn´t really meet the greedy needs of a man who reaches satiation only through intensification of stimuli. The relatively sporadic and irregular cycle of activity doesn´t fit the status of ´attraction´ and rather an aura of unpredictability or secret is built around the ´phenomenon´. Thus paradoxically, a machine invites us to the more enquiring and inner relationship of man and nature through which we can expect a broad variety of experiences - from banality to miracle.

(In order to turn on the art work, please ask workers of Long Island Libeň)

11
Eliška Perglerová

Eliška Perglerová

* 1987 in Prague, lives and works in Prague

http://www.eliskaperglerova.cz
Where

Mouth of Rokytka river

50.1074706N, 14.4674383E

Details

soil, water, hay, straw, wood

X

Vepřovice Principle

It´s paradoxical that man often inclines to things that are sterile, clean, stable - practically lifeless, and is usually driven back by contact with something slimy, moist and smelly - simply alive. According to Freud, civilization is based upon suppressing raw physicality. Under this physicality, we can understand the whole nature, as our body is our closest form of nature. It is remarkable how the artificiality of today´s lifestyle is able to isolate us from ourselves and how easy we surrender to civilization that, in the better case, makes of us a room flower that withers without external care.

Eliška Prglerová´s project thematizes passivity and resignation with which we accept the libation of nature as well as a resignation on taking things into our hands. She argues with the present constellation of forces included in the transforming of shared space where the instant developer´s projects still dominate and she calls for broader participation of individuals. Her project is a sort of a simulator that encourages us to surpass our shy of contact with the environment and almost invites us to civil disobedience in terms of guerilla strategies for changes in the shape of the city and nature in it. She builds upon her belief that city people lack creative physical activity, spontaneity, and freedom of expression. For this purpose, she establishes an opened and freely migrating group of people whose goal is to create ephemeral architectonic and sculptural structures out of mud dug out in docks of Libeň and other natural materials. Indeed mud - the tactile, grim and degrading matter - serves as a mediator for intensive contact with nature. However, as the nature of this activity is necessarily transient, the result happens to be more of a ´social sculpture´ as Beuys would call it.

.

12
Jiří Černický (od 1.9.2019)

Jiří Černický (od 1.9.2019)

* 1966 in Ústí nad Labem, lives and works in Prague

http://cernicky.com
Where

U českých loděnic

50.107771N 14.467527E

Details

water, pump

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Tree-top rain

A tree amidst the city is one of the last ubiquitous evidence of immense power of nature and a decent counterweight to the man-made world. In its size, it competes with houses and, similarly to them, offers people asylum and protection from blinding sun rays and rain. Unlike the stone, it is loaded with dynamics of growth and therefore, symbolically, represents the inexhaustible and fertile forces of water.

The keynote of Jiři Černický´s installation is to deliver to the city dwellers a more intense feeling of bonding with nature followed by a touch of supernatural.  Whereas a common tree mainly sucks up the water from the soil - so it´s dry under it during rain - Jiří Černický´s tree reacts the other way round - it rains from the tree-top during the dry days. But this surrealistic trick, not unlike Magritte´s eye illusions, indeed exemplifies natural processes that run inside the trees. As a modern variation of the tree of life (arbor vitae) or a secular version of a fountain spraying amidst Garden of Eden (fons vitae) it is not only a vagarious medium for refreshment during a hot summer but above all an homage to water as a source of all living on the planet.

But this tree, in its own way a manipulated nature, offers also negative connotations regarding the artificiality that infiltrates more and more our lives and suppresses the natural.

(This installation will be displayed from the 1.09.2019)

DARK
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LIGHT