Drawing a Line through Landscape (Part 2: On the Road) – Apart
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2021 Sep listening event, radioplay premiere #018

Any Time The Ground Opens

A Promise of Kneropy, SK

23.9.2021 18:00 at A Promise of Kneropy, Pečnianska 7

 

'Any Time The Ground Opens' is a listening event and the premiere of a radio play by Katarína Hrušková in collaboration with André Uhl.
 
Duration 25 minutes
 
Language: english
 
One foot in front of the other,
Once upon a time
all that was seen and learned,
all that was deemed as known
and claimed as understood
was also
walked.
One foot in front of the other,
Unlike in our times,
more seen than walked,
Most of the known is really assumed,
it’s way ahead, it’s indirect.
Broadcast and cast into shells,
Rigid and fragile,
That often shatter into sharp matter.
Just don’t hurt yourself or anyone else.
 
This project was supported in form of a scholarship using public funds by the Slovak Arts Council
 
 

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2021 Sep book launch, performance #017

SOFT BOILED & BAREFOOT BRUNCH

A Promise of Kneropy, SK

11.9.2021 at A Promise of Kneropy, Pečnianska 7

The launch of book SOFT BOILED by Katarína Poliačiková
& premiere of the performance BAREFOOT BRUNCH (Katarína Poliačiková, Eva Priečková)


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2020 Oct online lectures #016

Gaming the Aftermath / Videogame speculations: New futures (?)

streamed online

The lectures streamed online on 19.11.2020 and are available to watch here.

 

In between releasing its video game fragment and launching the upcoming exhibition Gaming the Aftermath by the Diffractions Collective (CZ) hosted by APART Collective, a series of online lectures by Dustin Breitling of Diffractions Collective and cultural and game critic Ondřej Trhoň followed.
 
Dustin Breitling: Gaming the Aftermath
Surveying our current sociopolitical imaginary, Gaming the Aftermath attempts to understand the role of gaming in the wake of disruptive Climate Change, developments in Artificial Intelligence and Simulation Modelling, and our present of socio-political upheavals.
 
Ondřej Trhoň: Videogame speculations: New futures (?)
Perhaps we are living in a Ludic century, where video games and interactive media are ubiquitous and penetrating every aspect of our (pop)culture. What if they could be a vehicle to invoke new kind of political and social and planetary imagination? Unique rhetoric of video games, their systemic nature and immersive affective may be suitable for re-thinking our relationship(s). Is there a possibility of hands-on theory with gamepads.
What if in order to understand complex systems and hyperobjects such as climate crisis, urban infrastructures or global capitalism we have to not only read and watch, but also play?
 
The project was supported using public funding by Slovak Arts Council
 

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2020 Oct online conference #015

rA/Upture: xenofuturities, specters, anachrony

streamed online

The conference took place online from 3.10. – 4.10.2020

 

Middle-eastern European states face, as well as countless democratic systems all over the world, the problem of right wing rhetoricians who try to secure and hold on to over-identified ideologies. 
Nationalist ideology has occupied and co-opted our national and historical myths, therefore we must take them back so as to rebuilt progressive forms of thinking origin and belonging. By shooting up this raptured national identities into space we can loosen the temporality of the nation, allowing us to reimagine history, tearing space time apart, opening psychogeographical landscapes to otherworldly encounters – from here on out, the fictive past and an even more speculative future shall help us reappropriating the task of constructing narratives of identity.

 

For this, we have elaborated the term dis_rapture, which resonates with the title of our symposium. This notion shall be investigated in relation to the terms that embody our subtitle: xenofuturities, specters and anachrony. Dis_rapture is defined as the disruptive act which ruptures predominant ideologies of rapture. By uncovering and splitting the inherent duality of rapture, and by decoupling it from its ideological stagnation we shall unravel its potential for becoming and foster the exponential growth of different perspectives on identity and well-being. The strategy of identity construction shall be reappropriated as a disruptive tool. The rigid borders set around cultural memory define and encode progressive agendas. Our task is to uncover this vague promises of endless ongoing progress and rapture.

 

dis_rapture of xenofuturities     dis_rapture of specters     dis_rapture of anachrony

 


The conference was developed under the guidance of Technologie und das Unheimliche, a Berlin-Budapest-Elsewhere based publishing project and cross-disciplinary movement, which published the HUNGAROFUTURIST manifesto in 2017.


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2017 Nov critical reading, exhibition #014

Reading of xenofeminist manifesto

Apart office

There are no identities, only desires, interests, and identifications. Can radical queerfeminism be emancipatory politics for all? Let´s make gender- and class-divided society a thing of the past! Let´s use technology to overcome biological determinism! Let´s imagine reproduction outside families! Let´s reproduce the future! For bright tomorrows! 



We invite you to a performative reading of the Xenofeminist manifesto with the screening of videos by Patricia Reed and Diann Bauer, members of the Laboria Cuboniks collective. 
Laboria Cuboniks characterizes xenofeminism as an anti-naturalist, gender-abolitionist and techno-materialistic form of feminism. They want a future without patriarchal capitalism instead of identity politics. Everything for everyone. Against gender standards and for a different organization of reproduction. 

 

Event is organized by Generácia Z with Apart collective


Reading will be held in the studio of APART collective in the Welding Research Institute.


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2017 Nov conference #013

What can we do?

Moderní Galerie AVU

What can we do?
conference about art education

 

6.11. 2017
10:00 - 19:00
Moderní Galerie AVU

 

participants: 

Nikita Dhawan (AUS), Anna Gromada (PL), Isabela Grosseová (CZE), Tom Holert (GE), Vojtěch Märc (CZE), Josef Mrva (CZE), Tina Sherwell (PAL), Pavel Sterec (CZE)

Apart kolektiv, Ateliér fotografie (UMPRUM), Ateliér Pavla Ondračky, Ateliér bez vedoucího



Collective of Studio without Master in cooperation with Academy of Fine Arts in Prague invites you to series of lectures and performative outputs on the topic of art education. From a variety of perspectives, artists, theorists and activists will discuss the moment of recognition of inequality and would try to come up with plausible reactions. Our main question is: what exactly can be done?

“Academy of Fine Arts in Prague is a strictly selective educational institution acknowledging its historical heritage and prestige. Its exclusivity is being maintained also through constantly low numbers of candidates accepted. Only those, who show the talent for multidisciplinary artistic practice are offered places on the Academy.” (from the press release to 215th anniversary of AVU)

Talent, which is the main criteria for admission into an artistic academy is presented as a universal, inborn value, which is also inherent to anyone regarding physical, ethnical, social or other limitations they might be facing. However, are we sure that we are members of Academy because of our talent and diligence? To what extent is openness to diversity a real issue in academic environment?

The walls of art schools are covered with pictures and statues of triumph and heroism. However, these seemingly heroical narratives inherently carry also an experience of those, who have lost or were omitted. Who else can be found inside, on the border or outside the narrative? We believe that the notion of artistic work is being depleted through the narrative of success prioritized by the educational institutions. 


Acknowledging the problem of structural setting of institutions of artistic education is a vital step towards possible changes. Conference What can we do? organized by the Studio without Master, which is an initiative born within the environment of artistic higher educational institutions, is trying to find possibilities of common action, which would counteract the current situation in educational institutions. The individual talks range from theoretical lecture to sociological analysis or critical investigation into the organizational principles of collectives.

 


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2017 Aug performative lecture #012

A U T O G E N *

Welding Research Institute, Bratislava, SK

Ján Ballx x A U T O G E N *



3. August, 18:00
Výskumný ústav zváračský,
Račianska 1523/71 Bratislava
Počet účastníkov: max. 15, záväzná registrácia na info@apart.sk



Auto* označuje aj podstatu seba, identitu, autonómiu aj samostatnosť, sebestačnosť. Autogenéza je samovznikanie.
A autogénny tréning je psychoterapeutická metóda radená do relaxačno-koncentračných metód, ktorú vypracoval nemecký lekár – psychiater J.H. Schultz (1884-1970). Zvládnutie autogénneho tréningu učí účinne regenerovať psychickú a fyzickú energiu organizmu. 



Pomocou audioreprodukcie ponúkame vo Zváračskom ústave (autogén je aj zváranie plameňom) možnosť experienciálne absolvovať jednu / piatu lekciu autogénneho tréningu.



Následne aj s využitím zážitkov z vegetatívnej relaxácie a embodied skúsenosti sa Ján Ballx pokúsi priblížiť experimentálne, experienciálne, synestetické poetické aj post-etické možnosti autorstva vo vzťahu k autorite v kontexte interpretačnej hypotézy Hefaistos (kováč/zvárač) komplexu, teda napríklad aj automatizácie, mechanizácie, technologizácie, metalurgie, alchýmie, podôb kooperácie, kompetície, manipulácie, kreativity a produktivity.

 


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2017 Jun performance #011

Drawing a Line through Landscape (Part 2: On the Road)

Freedom Square, Bratislava, SK
Drawing a Line through Landscape (Part 2: On the Road)
 
 
Nikhil Chopra has just completed his 60 hours long performance for documenta 14 in Athens. Enclosed in a shop on Archemedeous 15 he made drawings of the endless sea using mud and water as his medium. This was Part I of the durational performance “Drawing a Line through Landscape’.
After emerging from the muddy sea, Nikhil Chopra takes on Part 2 of the performance. This time he will make his way by road through Europe from Athens to Kassel from the 13th of May to the 8th of June 2017. He will pitch his mobile room in city squares, abandoned villages and the wilderness, stopping at each location to make drawings on the walls of his tent. Each location also presents it self with an original song that is sung to a prerecorded tune. Each location offers new collaborations with local and home-based artists.
Eventually Nikhil will end in Kassel on the platform of the old Hauptbahnhof with a series of large drawings that will be sewn together and draped to create one continuous panoramic drawing.
While searching for what we all have in common and art being a language that connects us all, the question that he is in search of is, “In the mode of a nomad, will performance realize its potential to transform; spaces, places, people and the self? The answer lies in the moment.”
 
 
Costume Design- Loise Braganza
Set Design- Aradhana Seth
Film- Sophie Winqvist
Song Writer- Gautam Sharma
Music- Ranjit Arapurkal
Driver- Stephen Frick
Documentation- Madhavi Gore
Project Assistant- Shaira Sequeira
 
 
Project commissioned by documenta 14 and supported by Piramal Art Foundation, Payal, and Anurag Khanna, Galleria Continua and Chatterjee & Lal
 
 
Project Partners- University of Ioannina, Department of Fine Art; Tsarino Foundation; Sofia Underground Performance Art Festival; Atelie Plastelin, Sofia; Old School Art Residency, Gorna Lipnitsa; Tancskola, Budapest; Bridgeguard Residency, Sturovo; Apart Collective, Bratislava.
 
 
 
 
 
 
 

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2017 Jun performance #011

Drawing a Line through Landscape (Part 2: On the Road)

Nám. Slobody, Bratislava, SK

Drawing a Line through Landscape (Part 2: On the Road)



Nikhil Chopra práve dokončil jeho 60 hodinovú performance pre documentu 14 v Aténach. Uzavretý v priestore na ulici Archemedeous 15, vytvoril kresby nekonečného mora, použitím bahna a vody ako jeho vyjadrovacieho média. Tento akt je prvou časťou jeho trvajúcej performance s názvom “Drawing a Line through Landscape”
Po vynorení sa z bahnistého mora, Nikhil Chopra poračuje druhou časťou jeho performance. Tentokrát cestou z Atén do Kasselu od 13. Mája do 8. Júna 2017. Na jeho zastávkach v priestranstvách prírody, opustených dedín a mestských námestiach postaví svoju prenosnú izbu, v ktorej bude vytvárať kresby priestranstiev.
Každá z lokácii je reprezentovaná unikátnou piesňou ktorá bude spievaná na dopredu nahranú melódiu. Taktiež, každé miesto je príležitosťou pre nové spolupráce s lokálnymi a domácimi umelcami. Nikhil nakoniec ukončí svoju púť na nástupišti starej Hlavnej stanice v Kasseli sériou kresieb, ktoré napne a zošije dohromady aby vytvorili kontinuálnu panoramatickú kresbu.
Počas hľadania čo máme všetci spoločné, či je umenie je jazyk, ktorý nás všetkých prepája, Nikhilova otázka na ktorú hľadá odpoveď znie : „Uvedomí si formát performance v nomádskom režime svoj potenciál na tranformáciu; priestranstiev, ľudí a samého seba?
Odpoveď spočíva v momente.



Spolupráce:

Performatívne intervencie:
Ivo Ivan – Sofia
Madahvi Gore a Jana Prepeluh – Gorna Lipnitsa
Ivan Angelus a Budapeštianska Akadémia Súčasného Tanca


Loise Braganza – Dizajn kostýmov
Aradhana Seth – Scénografia
Sophie Winqvist – Film
Gautam Sharma - Skladateľ piesní
Ranjit Arapurkal – Hudba
Stephen Frick – Vodič
Madhavi Gore – Dokumentácia
Shaira Sequeira – Projektový asistent



Projekt je iniciovaný documenta 14 a podporený Piramal Art Foundation, Payal and Anurag Khanna, Galleria Continua and Chatterjee & Lal.


Partneri projektu: University of Ioannina, Department of Fine Art; Tsarino Foundation; Sofia Underground Performance Art Festival; Atelie Plastelin, Sofia; Old School Art Residency, Gorna Lipnitsa; Tancskola, Budapest; Bridgeguard Residency, Sturovo; Apart Collective, Bratislava.

 

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2017 April lecture and screening #010

Art Without Death: Russian Cosmism

Kunsthalle Bratislava, SK

Anton Vidokle and Arseny Zhilyaev  - Art Without Death: Russian Cosmism

 

13th April 2017, 5pm, Kunsthalle Bratislava, lecture and screening

 

Lecture is organized by APART in collaboration with SOFT NORM (AFAD) project and Kunsthalle Bratislava. Lecture will be realised in the framework of the exhibition - APART: Possibility of preserving

 

Arseny Zhilyaev’s lecture titled And Apple Trees Will Bloom On Mars will introduce the origin of Russian Cosmism, its main trajectories and representatives that include philosophers, scientists and thinkers. Anton Vidokle will screen two films from his trilogy on Russian Cosmism (the third will be premiered at HKW, Berlin in the fall) including This is Cosmos (2014) and The Communist Revolution Was Caused By The Sun (2015). A Q&A will follow the presentations.

 

The cosmism movement, which called for material immortality and resurrection, as well as travel to outer space, developed from a particular spirituality in nineteenth century Russia. The doctrine of immortal life in infinite space captured the optimism of science and the arts in those days. Since then, the utopian, science fiction-like thinking of the cosmists had a great influence on art, science, and politics in both pre-revolutionary and Soviet Russia.

Looking at it today, cosmism – although overshadowed by official Soviet ideology – opens up new perspectives on the Russian avant-garde as well as the ideology and politics of present day Russia. For example, in his influential writings, Nikolai Fyodorov (1829-1903) demanded that the ultimate goal of technology must be to overcome death; all people who had ever lived on earth must be brought back to life. The cosmists were also visionary pioneers of space travel. Fyodorov, for instance, claimed that the colonization of other planets would be the inevitable consequence of the lack of space after the resurrection of the dead. The institution of the museum also played a central role in cosmism as the material needed for the resurrection of individuals would have to be preserved there. Nikolai Fyodorov, like the painter and founder of Suprematism, Kazmir Malevich, believed that after the death of God, the museum would be the only place where a transhistorical union beyond the grave would be possible.”

 

Excerpt from an annotation of the upcoming exhibition at HKW Berlin “Art Without Death: Russian Cosmism,” organized by Anton Vidokle, Arseny Zhilyaev and Boris Groys, September 2017:

https://www.hkw.de/art_without_death_russian_cosmism

 

Anton Vidokle is an artist living and working in New York and Berlin. As founder as e-flux, and co-editor of e-flux journal along with Julieta Aranda and Brian Kuan Wood, Vidokle has presented projects internationally including at the Venice Biennale (2015) and Documenta 13. Most recently, Vidokle has presented his films at the Berlinale International Film Festival (2015, 2016), the Moscow Biennial (2016), the Gwangju Biennial (2016); amongst others.


Arseny Zhilyaev explores the heritage of Soviet museology in his artworks from a revisionist perspective. Since 2011 he is a co-editor of Moscow based magazine about art Khudozhestvennyi Zhurnal. His work has been exhibited internationally at Liverpool Biennale (2016), Ljubljana Triennial (2016) and Tretyakov State Gallery in Moscow (2012); amongst others.

 


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2017 Apr prednáška a premietanie #010

Art Without Death: Russian Cosmism

Kunsthalle Bratislava, SK

Anton Vidokle & Arseny Zhilyaev
Art Without Death: Russian Cosmism


13.
apríl 2017, 17:00 hod., Kunsthalle Bratislava, Prednáška a premietanie

 

Prednášku pripravil APART v spolupráci s projektom SOFT NORM (VŠVU) a Kunsthalle Bratislava. 
Uskutoční sa v rámci výstavy Apart: Possibility of Preserving 

 

Ruský vizuálny umelec Arseny Zhilyaev (1984) predstaví vo svojej prednáške s názvom And Apple Trees Will Bloom on Mars pôvod hnutia ruský kozmizmus, jeho hlavné línie a predstaviteľov. Umelec, kurátor a filmový tvorca Anton Vidokle (1965) predstaví a premietne dva svoje filmy z trilógie o ruskom kozmizme (tretí bude mať premiéru v HKW, Berlín na jeseň tohto roka) This is Cosmos (2014) a The Communist Revolution Was Caused By The Sun (2015). Prednáška a premietanie budú zakončené diskusiou s publikom.

 

Hnutie kozmizmu sa dovolávalo materiálnej nesmrteľnosti a znovuzrodenia, ako aj cestovania do vesmíru. Jeho korene sú v spiritualite 19. storoča v Rusku. Doktrína nesmrteľného života v nekonečnom vesmíre odzrkadľuje dobový optimizmus vo vede a v umení. Utopické science-fiction myslenie kozmistov malo odvtedy výrazný vplyv na umenie, vedu a politiku ako predrevolučného, tak aj Sovietskeho Ruska.

 

Z pohľadu dneška kozmizmus, napriek tomu že bol zatienený Sovietskou ideológiou otvára nové perspektívy interpretácií Ruskej avantgardy a taktiež ideologického a politikého nastavenia Ruska od predrevolučných čias až do súčasnosti. Ako príklad uveďme texty Nikolaja Fedorova (1829-1903), v ktorých deklaroval presvedčenie, že najvyšším cieľom technológie musí byť prekonanie smrti; všetci ľudia, ktorí kedy na Zemi žili musia byť znova oživení. Kozmisti tiež boli vizionárskymi priekopníkmi vesmírneho cestovania. Pre Fedorova predstavovala napríklad kolonizácia ďalších planét nevyhnutný následok nedostatku životného priestoru na Zemi po znovuoživení mŕtvych. Ďalším kľúčovým myšlienkovým momentom hnutia je koncept múzea, využívajúci relikvie, ktoré uchovávajú všetko potrebné pre vzkriesenie duší jednotlivcov. Fedorov, rovnako ako zakladateľ suprematizmu Kazimir Malevič veril, že po smrti Boha bude múzeum jediným miestom, kde bude možná transhistorická jednota.“

 

(úryvok z anotácie pripravovanej výstavy v koncepcii Antona Vidokla, Arsenyho Zhilyaeva a Borisa Groysa s názvom Art Without Death: Russian Cosmism, ktorá sa bude konať v HKW Berlin v septemberi tohto roka;

https://www.hkw.de/art_without_death_russian_cosmism/

 

Anton Vidokle je umelec, kurátor a filmár, zakladateľ portálu e-flux. Vystavoval na Documenta 13, na Benátskom bienále a Bienále v Lyone. V roku 2016 prezentoval svoj science fiction film 2084 na Bienále v Montrealy, This is Cosmos (2014) na Berlinale, Bienále v Shangai a vo Witte de With v Rotterdame. Žije v New Yorku a Berlíne.

Arseny Zhilyaev skúma vo svojom diele dedičstvo Sovietskej muzeológie z revizionistickej perspektívy. Od roku 2011 je ko-editorom moskovského magazínu o umení Khudozhestvennyi Zhurnal. Jeho dielo bolo prezentované na Liverpool Biennale (2016) a Triennale v Ljubljani, ale aj v Paríži, San Franciscu a Tretyakov State gallery v Moskve (2012).


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2016 Sep lecture, screening, discussion #009

Rocket Launch and Reflections on The School of Kyiv

cinema Mladosť, Bratislava, SK

Lecture, screening, discussion



13.09.2016,  5:30 pm – 7:45 pm
Kino Mladosť, Hviezdoslavovo námestie 171/17, 811 02 Bratislava

 

The lecture and discussion will be held in English. Screening Zlaté Piesky Rocket Launch, 2015, 10 min

 

The old tranzit.sk studios are starring in the film Zlaté Piesky Rocket Launch, Josef Dabernig’s contribution to The School of Kyiv, Kyiv Biennial (2015). tranzit.sk presents this movie and its author in an evening debate on the Biennial that has taken place in Kyiv and cities around Europe since last year when Ukraine was at war with Russia and suffering from an economic crisis and social insecurity, a time that seemingly had other priorities than an international art event. Yet, The School of Kyiv imagined proposing alternative pictures of history and currents and other futures for the place. In this way, it hoped that the agora it set up could help to suspend the opposition between aesthetics and politics, between the politics of memory and remembering, between the real and the imaginary, oscillating between even antagonistic realms.



Hedwig Saxenhuber, co-curator of The School of Kyiv, Josef Dabernig and Boris Ondreička will talk about Zlaté Piesky Rocket Launch and reflect on the conditions of curating during this complex period while reconsidering the notion of “the uses of art.”


_____



Hedwig Saxenhuber is a curator and co-editor of springerin Hefte für Gegenwartskunst, Vienna. From 2005 to 2015 she was program director with Christian Kravagna at Kunstraum Lakeside in Klagenfurt. Her recent large-scale projects include The School of Kyiv, Kyiv Biennial 2015, Unrest of Form – Imagining the Political Subject (with Georg Schöllhammer and Stefanie Carp, Vienna Festival, MQ, 2013); Bad Script for a Retrospective, Josef Dabernig (P74, Ljubljana 2011) Bertha von Suttner Revisited, (Schloss Harmannsdorf, with Susanne Neuburger, 2009); Ladies Almanach, (tranzit.cz, Prague, 2009); Art + Politics, from the Collection of the City of Vienna (MUSA, Vienna 2008); Gyumri Biennial, Armenia, 2008; VALIE EXPORT (Moscow Bienal, NCCA, 2007). She is an associate member of the Vienna Secession.



Josef Dabernig is a visual artist and filmmaker based in Vienna. He graduated with a degree in sculpture from the Academy of Fine Arts Vienna in 1981, before extending his artistic practice to film, photography, text and questions of architectural display. His work has been exhibited at the Manifesta in Ljubljana and St. Petersburg (2000 and 2014), the Venice Biennial (2001 and 2003), the Gwangju Biennial (2012) and the Kyiv Biennial (2015), while his film festival presence includes Rotterdam, Toronto, Venice and an Oberhausen Profile this year. Dabernig’s recent and upcoming solo exhibitions include Kunsthaus/Neue Galerie in Graz (2013), tranzit workshops, Bratislava (2013), MOCAK, Krakow (2013), mumok Vienna (2014), Galerie Andreas Huber, Vienna (2014), Wilfried Lentz, Rotterdam (2015), P74 Gallery, Ljubljana (2015), Lulu, Mexico City (2016), Kunsthalle Winterthur (2016) and the Badischer Kunstverein, Karlsruhe (2017).


Boris Ondreička is a curator, artist, author and singer based in Bratislava and Vienna. He was project coordinator at the Soros Centre for Contemporary Arts, Bratislava, director of tranzit.sk, Bratislava, and since 2012 he has served as a curator at Thyssen-Bornemisza Art Contemporary, Vienna, where he co-curated Rare Earth, Supper Club, Tomorrow Morning Line, Ephemeropteræ (since 2012) and recently Olafur Eliasson Green Light—An Artistic Workshop. Among others, he co-curated Manifesta 8 in Murcia and Cartagena. In 2010, he co-founded the Julius Koller Society. His artistic projects were presented at Manifesta 2, Biennials in Luxembourg, Venice (Czecho-slovak & Roma pavilions), Prague, Gyumri, Torino, Anzengruber, Tai-Pei, Athens, Kyiv and Jakarta, MoMA-PS1 New York, BAK Utrecht and many others. His HI! lo was published at tranzit/jrp Ringier and One Second/Out of Time at Revolver. Since 1987 he has been the lead-singer and lyricist of the Bratislava band, Kosa z nosa.



The event is organized by tranzit.sk in collaboration with APART.
Erste Foundation is main partner of tranzit.

 

sk.tranzit.org


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2016 Sep prednáška, premietanie, diskusia #009

Štart rakety a úvahy o Kyjevskej škole

kino Mladosť, Bratislava, SK

Prednáška, premietanie, diskusia

 

13.09.2016, 17.30 – 19.45 
Kino Mladosť, Hviezdoslavovo námestie 171/17, 811 02 Bratislava

 

Prednáška a diskusia sa budú konať v anglickom jazyku. Premietanie Zlaté Piesky Rocket Launch, 2015, 10 min

 

Staré ateliéry tranzit.sk je možné vidieť vo filme Zlaté Piesky Rocket Launch (Štart rakety na Zlatých pieskoch), ktorý je príspevkom Josefa Daberniga pre The School of Kyiv (Kyjevská škola), Kyiv Biennial (2015). tranzit.sk uvedie tento film a jeho autora v rámci diskusného večera zameraného na bienále, ktoré sa konalo v Kyjeve a následne v ďalších európskych mestách od minulého roku do tohto leta, teda v dobe vojnového stavu Ukrajiny s Ruskom, ekonomickej krízy a sociálnej neistoty teda v dobe, kedy sa zdalo, že sú dôležitejšie priority než medzinárodne umelecké podujatie. Napriek tomu sa The School of Kyiv pokúsila ponúknuť alternatívnu interpretáciu dejín a aktuálnych udalostí, ako aj naznačiť iné možné podoby budúcnosti daného miesta. Dúfala v to, agora, vytvorená s týmto zámerom, pomôže narušiť rozpor medzi estetikou a politikou, politikou pamäte a rozpamätávaním sa, medzi reálnym a pomyselným, oscilujúc medzi až protikladnými svetmi.



Hedwig Saxenhuber, spolukurátorka The School of Kyiv, Josef Dabernig a Boris Ondreička budú debatovať nielen o filme Zlaté Piesky Rocket Launch, budú tiež spoločne uvažovať o role a pôsobení kurátora v tejto tak komplexnej dobe, či o rôznych poňatiach „používania umenia“.


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Hedwig Saxenhuber je kurátorka a spolueditorka časopisu springerin Hefte für Gegenwartskunst, ktorý vychádza vo Viedni. V rokoch 2005 až 2015 pôsobila s Christianom Kravagnom ako programová riaditeľka v Kunstraum Lakeside v Klagenfurte. K jej posledným väčším projektom patrí The School of Kyiv, Kyiv Biennial, 2015, Unrest of Form – Imagining the Political Subject (spolupráca Georg Schöllhammer a Stefanie Carp, Vienna Festival, MQ, 2013), Bad Script for a Retrospective, Josef Dabernig (P74, Ljubljana 2011), Bertha von Suttner Revisited (Schloss Harmannsdorf, spolupráca Susanne Neuburger, 2009); A Ladies Almanach“ (tranzit.cz, Praha, 2009); Art + Politics, zo zbierky Collection of the City of Vienna (MUSA, Viedeň, 2008); Gyumri Biennial (Armenia, 2008); VALIE EXPORT (Moscow Biennial, NCCA, 2007). Je členkou Vienna Secession.

Josef Dabernig je vizuálny umelec a filmár, žije a pracuje vo Viedni. Vyštudoval sochárstvo na Akadémii výtvarných umení vo Viedni v roku 1981; neskôr svoje umelecké prostriedky obohatil o ďalšie média: film, fotografiu, text i otázky vystavovania architektúry. Jeho práce boli vystavené na Manifesta v Ľubľane a v Petrohrade (2000 a 2014), Benátskom bienále (2001 a 2003), Gwangju Biennial (2012) and Kyiv Biennial (2015), prezentácie na filmových festivaloch zahŕňajú festivaly v Rotterdame, Toronte, Benátkach a Oberhausene. Dabernigove nedávne ako aj nadchádzajúce samostatné výstavy sa konali alebo sa budú konať v Kunsthaus/Neue Galerie v Grazi (2013), v dielňach tranzit v Bratislave (2013), MOCAK v Krakove (2013), mumok vo Viedni (2014), Galerie Andreas Huber vo Viedni (2014), Wilfred Lentz v Rotterdame (2015), Galllery P74 v Ľubľane (2015), Lulu, Mexico City (2016), Kunsthalle Winterthur (2016) a v Badischer Kunstverein v Karlsruhe (2017).

 

Boris Ondreička je kurátor, umelec, spisovateľ a spevák, ktorý žije a pracuje v Bratislave a vo Viedni. Pôsobil ako projektový koordinátor v Sorosovom centre súčasného umenia v Bratislave, ako riaditeľ tranzit.sk v Bratislave a od roku 2012 pracuje ako kurátor v Thyssen-Bornemisza Art Contemporary vo Viedni, kde (spolu)kurátoroval výstavy Rare Earth, Supper Club, Tomorrow Morning Line, Ephemeropteræ (od roku 2012 do súčasnosti) a nedávno aj Green Light, umelecký workshop s Olafurom Eliassonom. Taktiež spolukurátoroval Manifesta 8 v Murcii a Cartagene. V roku 2010 spoluzaložil Spoločnosť Júliusa Kollera. Jeho umelecké projekty boli prezentované na Manifesta 2 v Luxemburgu, na Benátskom (česko-slovenský i rómsky pavilón), Pražskom, Gjumrijskom, Turínskom, Anzengruberovom, Tchaj-pejskom, Aténskom, Kyjevskom a Jakartskom bienále, v MoMA-PS1 v New Yorku, BAK v Utrechte a mnohých ďalších. Jeho autorská kniha Hi! Lo vyšla v spolupráci tranzit/jrp Ringier a One Second / Out of Time v nemeckom vydavateľstve Revolver. Od roku 1987 je hlavným spevákom a textárom bratislavskej kapely Kosa z nosa.



Podujatie organizuje tranzit.sk v spolupráci s APART . Nadácia Erste je hlavným partnerom iniciatívy tranzit.

 

sk.tranzit.org

 


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2016 Jun screening #008

WALSER

cinema Mladosť, Bratislava, SK

WALSER, 2015, Poland, fiction, 78’ directed by Zbigniew Libera

 

Libera’s film is a snapshot of an imaginary paradise: the director paints the portrait of an ideal tribe, described as "a sort of achievement of the dream of hippies to return to nature, a Slavic version of Avatar". The members of the tribe, who are handsome, young and immortal, live in their idyllic world until they are paid a visit by an outsider, a representative of civilisation: Walser.

 

Screening is a part of exhibithion A Forming of Inevitable Blue / HIT Gallery 

Realised in the framework of Small/Big World project smallbigworld.net

 

 


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2016 Jun intervention #007

“You can’t touch the property that is in private ownership”

Bratislava, SK

A situation on the riverside unfolds from the abstract shape of a monument near the Slovak National Museum, which evokes the limb of a cumbersome prehistoric animal whose claws have been sawn off. With claws, perceived as a symbol of power, the situation addresses the question of freedom, its fragile being and its unclear future, and draws attention to the political manoeuvres of the present day. Who is it that is once again thrusting out a powerful claw; who is treading with heavy feet on somebody’s territory? Should we not by now be looking at manifestations of power as something prehistoric, preserved and situated in the diorama of a museum? The present day, however, offers another, more disturbing view of doings in the world. The problem which the situation collides with is more than topical, it is acute. 

 

Situation #7 took place on 14th of June in bratislava

 

Realised in the framework of Small/Big World project smallbigworld.net

 


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2016 Jun intervencia #007

“Nemôžete sa dotknúť majetku v osobnom vlastníctve”

Bratislava, SK

Situácia na nábreží sa odvíja od abstraktného tvaru na monumente od Juraja Hovorku v blízkosti Slovenského národného múzea, ktorý pripomína končatinu ťažkopádneho prehistorického zvieraťa s odpílenými pazúrmi. Dvojica autorov práve pazúrmi, vnímanými ako symbol moci, reaguje na otázku slobody, jej krehkého bytia, jej nejasnej budúcnosti a upozorňuje na politické manévre súčasnosti. Kto znova vysunie mocenský dráp, kto vkročí ťažkou nohou na niekoho územie? Nemali by sme sa práve dnes pozerať na prejavy moci ako prehistorickú vec, vypreparovanú a umiestnenú v dioráme múzea? Dnešok však ponúka iný, viac znepokojivý pohľad na dianie vo svete. Problém, na ktorý situácia naráža, je viac než aktuálny, je akútny. 

 

Situácia 7 prebehla 14. Júna v Bratislave

 

Realizované v rámci projektu Small/big world smallbigworld.net


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2016 Jun premietanie #008

WALSER

kino Mladosť, Bratislava, SK

WALSER, 2015, Poland, fikcia, 78’ directed by Zbigniew Libera


Filmový debut jednoho z nejvýznamnějších polských umělců. Na pokraji civilizace žije ztracený kmen Conteheli. Jsou to lidé s modrýma očima, plavými vlasy spletenými do dredů fantaskních tvarů a s pomalovanými obličeji. Vypadají jako splnění hippísáckých snů o návratu k přírodě či jako slovanská verze Avatara. Při hře na etnofuturistické nástroje se spojují s vesmírem a se všemi vizemi návratu ke kořenům a jednoty člověka s přírodou. Jsou krásní, mladí a nesmrtelní, tančí nazí, ozdobeni šperky ze slámy a ovoce. Do tohoto rajského světa však vtrhne civilizace v podobě drážního úředníka Walsera. Ten se za každou cenu pokouší proniknout do jejich idylického světa a naučit se jemu nesrozumitelný jazyk, vyvolá však pouze chaos. Klišé známá ze žánrového kina posloužila Liberovi jako dílky mnohopatrové skládačky z literárních figur ztraceného ráje, filozofických a kontrakulturních konceptů utopické společnosti či představ o konci civilizace

Premietanie filmu je súčasťou výstavy A Forming of Inevitable Blue / HIT Gallery a vrámci projektu Small / Big world www.smallbigworld.com

 

 

 


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2015 Nov performance #006

Nedeľa

Bratislava, SK

Bratislava 8.11.2015 10:30 - 14:30

 

 

Performatívna prechádzka Bratislavou, dokumentovaná fotografiami a videami.

 

celá dokumentácia

 

 

    


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2015 Nov performance #006

Sunday

Bratislava, SK

Bratislava 8.11.2015 10:30 - 14:30

 

 

Performative walk through Bratislava documented by photos and videos.

 

full documentation

    


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2015 Nov prezentácia #005

Médium medzi plochou a priestorom

Berlinka v SNG, Bratislava, SK

Prezentácia aktuálnej tvorby spojená s predstavením publikácie Trvanie.
Piatok 6.11. o 16:00 v Café Berlinka SNG

 

Médium medzi plochou a priestorom.

 

Aký druh vedomia? Vizuálne čitateľný - čítanie opakovaním, delením priestoru.

 

Aký druh vnímania priestoru? Možnosť pohľadu dopredu; byť medzi stenou ktorú vidím a stenou ktorú nevidím.

 

Dešifrovateľnosť vlastného aktuálneho vedomia na základe pozorovania priestoru.

 


Medzi dvoma je vždy jedno. Vedomie.

 

 

Martin Vongrej, (*1986, Bratislava, MFA - VŠVU BA, 2012), je umelec žijúci v Bratislave. Absolvent ateliéru "IN" Ilony Németh na VŠVU. Jeho tvorba spočíva vo vytváraní komplexných inštalácií zaoberajúcich sa problematikou ľudského vedomia a vnímania. V roku 2010 sa zúčastnil na prehliadke súčasného umenia Manifesta 8 v Španielskej Murcii s prácou “Pozorujúce sa vedomie“, She has the sence of limited time, v amt_project Bratislava, 2011 v Aténach na Remap 3, či Non profit & Profit, v Spazio A, Pistoia v Taliansku. Samostatne sa predstavil v roku 2012 v Bratislave - s prácou “rems nedej nel erímsev ov“, v roku 2014 v Moravskej galérii v Brne a minulý rok v Prahe vo Fotograf gallery s prácou “Čakanie na konečnú prítomnosť v neprítomnosti“. Zúčastnil sa na rezidenciách v Museumsquartier vo Viedni, Saarenkartano vo Fínsku, KAIR v rakúskom Kremse, Petrolio v talianskej Puglii, Centro Selva v peruánskej džungli či tento rok – Terra Foundation for American Art vo Francúzsku. V roku 2013 vydal publikáciu s názvom “2013“.

 

martinvongrej.com
LABEL - Martin Vongrej - Trvanie - KÚPIŤ



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2015 Nov presentation #005

The Medium between a Flat and a Space

Berlinka v SNG, Bratislava, SK

Presentation of recent work with introducing of publication Duration.
Friday 6.11. o 16:00 v Café Berlinka SNG

 

The Medium between a Flat and a Space

 

What kind of consciousness? Visual understandable – understanding by repetition, splitting of a space.

 

What sort of understanding of a space? Condition of frontal sight; to be between the wall that I can see and that which I can not see.

 

Identification with actual kind of consciousness according of observation of a space.

 

Between two there is always the one. The consciousness.

 

 

Martin Vongrej (*1986, Bratislava, MFA-VŠVU BA, 2012) is an artist living in Bratislava. Graduate of Ilona Németh's atelier "IN" at AFAD Bratislava. His work consists out of complex instalatons dealing with problematics of human conciousness and perception. In 2010 Martin attended Manifesta 8 contemporary art exhibtion in Spanish town Murcia with his work "Self observing conciousness", "She has the sence of limited time" in amt_project Bratislava, 2011. With his work “rems nedej nel erímsev ov“, Remap 3 in Athens, or Non profit & Profit in Spazio A, Pistoia in Italy. He exhibited individually in 2012 in Bratislava and in 2014 at Moravian Gallery Brno and last year in Fotograf Gallery -“Čakanie na konečnú prítomnosť v neprítomnosti“. He attended artist residencies like Museumsquartier in Vienna, Saarenkartano in Finland, KAIR in Krems, Austria, Petrolio in Puglia, Italy. As well in Peruan jungle Centro Selva or this year's Terra Foundation for American Art in France. In 2013 he made a publication called "2013".

 

martinvongrej.com
LABEL - Martin Vongrej - Duration - BUY


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2014 Nov performance #002

Nie je isté či je mŕtva, alebo len spí

Námestie Slobody, Bratislava, SK

Utorok 11.11. 2014 o 16:00
Námestie Slobody, Bratislava.  

 

Nie je isté, či je mŕtva alebo len spí.

 

Na začiatku slúžila všetkým. Fontána.

 

Výtvarné gesto Althamera podčiarklo jej nový význam, vyschnutá zem, púšť. Ilona Németh nadviazala zmenou skupenstva vody na vzdušnú vlhkosť, ktorá zahalila priestor námestia. K úplnosti chýbal posledný element. Oheň.

 

Či už jednoduchá hra so slovami. fontána (architektonický prvok) alebo fontána (pyrotechnika). upriamenie pozornosti na veci minulé reagujúc na históriu daného priestoru. Sú považované za ukončené avšak so stále znejúcim echom.

 

Využívam aspekty sopky ako metaforu. Mŕtvy živel, vyhasnutý. Nie je isté kedy znovu "ožije" a napácha škody.

 

Z útrob, ktoré vnímam ako niečo minulé, sa zrazu ozýva príchod erupcie a otvára otázku, že či už to naozaj skončilo a či sa zmeny nevracajú vo vlnách.


foto: Michaela Dutková, Matej Gavula, APART


  

      


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2014 Nov performance #002

Not sure if she’s dead or she only sleeps

Námestie Slobody, Bratislava, SK

Tuesday 11.11. 2014 o 16:00
Námestie Slobody, Bratislava.  

 

Not sure if she's dead or she only sleeps.

 

In the beginning the fountain served for everyone. Fountain.

 

Artistic gesture of Althamer underlined her new meaning, thirsty ground, desert. Ilona Németh joined the idea by changing water into mist, which covered the space of the plaza. Only one element was needed to achieve entirety. Fire. 

 

Whether it's a simple game with words, fountain (architectonic element) or fountain (pyrotechnics). Focusing attention on past things, reacting on history of certain space. They are considered as finished but, still with vibrating echo.

 

I use aspects of a volcano as a metaphor. Dead element, extinct. Its not sure when it will “come to life” again and makes damage. 

 

From its entrails, which i think about as something that belongs to the past, suddenly the sound of the arriving eruption comes and opens the question if it is really over and if changes come in waves.

 

photos: Michaela Dutková, Matej Gavula, APART

  

      


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2014 Dec výstava #003

Tíže vědomí světa, nemožnost dýchat duší

Laurinská 14, Bratislava SK

Fotografické práce Petra Sita, vystavené na výstave, ktorej názov je citátom z Knihy neklidu Fernanda Pessoa, vznikli prevažne v roku 2013. Hoci fotografia ostáva hlavným médiom aj súčasných autorovych projektov, nezastáva v nich už ústrednú úlohu – samostatne výpovednú v rámci obsahu i svojich výtvarných a vizuálnych kvalít – ako v období, v ktorom vznikli prezentované snímky. V aktuálnych prácach (ktoré na výstave zastúpené nie sú) sa mení na nástroj, prostriedok, surovinu – vo výsledku súčasť širšie koncipovaného komplexného celku. Tak, ako v roku 1970 definoval Filko umenie ako vizuálnu komunikáciu a uvedomil si hodnotu vizuálnej informácie, tak začala byť pre Sita fotografia smerodajná a podstatná v prvom rade ako vizuálny komunikačný nosič, ktorý v rámci súčasnej tvorby aplikuje v syntéze s mnohými inými prvkami.

 

Peter Sit je autorský samorast. Ojedinelou a určujúcou je energia, zvedavosť a vôľa všeobsiahnutia ako seba samého – vlastného vedomia, bytia, myslenia, jazyka, esencie – tak externého prostredia a rôznych vplyvov, determinujúcich bytie ako také. Potreba povedať a vyjadriť čo najviac ho činí otvoreným rôznym vplyvom, pričom fatálnemu pohlteniu všadeprítomným inšpiračným šumom zabraňuje jeho prirodzená citlivosť a schopnosť nielen rôzne zdroje, signály a podnety zachytiť, ale aj dekódovať a selektovať. Intenzita jeho myšlienok môže byť niekedy rýchlejšia a naliehavejšia, ako možnosti ich okamžitého umeleckého uchopenia, forma akoby bola miestami limitujúca. No k devízam Sitovych autorských procesov nesporne patrí aj fakt, že v rámci hľadania adekvátnych možností vyjadrenia sa nikdy nevzdáva (ani neuspokojuje s jednoduchšou cestou), často v intenzívnej konfrontácii s vlastnými pochybnosťami.

 

Na výstave prezentuje svet objektov, situácií. Hoci sú to na pohľad celkom jednoznačné, konkrétne vyobrazenia „výsekov reality“, predmetné sú len vo svojich skulpturálnych, či priam architektonických kvalitách, čo do obsahu však ostávajú abstraktné. „Obrazy“, pôsobiace na pohľad ako štúdie rôznych náhodných, utilitárnych momentov, príznačné hrou s tvarmi a objemami, skúmajúce určité fyzické / fyzikálne zákonitosti predmetov ako vo svojej podstate, tak vo svojom fungovaní v priestore (statika, tvar, vychýlenie), pri dôslednejšom preniknutí „pod zobrazený povrch“ vyjavujú nečakané súvislosti, príbehy, niekedy až seba-odhalenia autora – mierne, sofistikované, nebadané a nenápadné. Až kdesi vo veľmi vzdialenom pláne, či dokonca možno až po interpretácii samotným autorom, môže divák „dekódovať“ nuansy najosobnejších výpovedí, krehké až efemérne, naznačené línie príbehov. Okrem zmienených formálnych devíz je teda zaujímavé sledovať aj obsahovú výpovednosť fotografií, ktorá v sebe mnohokrát vrství rôzne asociácie, odkazy k niečomu či významové roviny, vnímateľné z rôznych uhlov pohľadu – záleží len na tom, čo chce divák vidieť, čítať, resp. ktorú „verziu“ uprednostní.

 

Napríklad „pyramída“ z mandarinkových šupiek. Fotografia môže na jednej strane evokovať zimu, či Vianoce, ku ktorým ovocie neodmysliteľne patrí a ktoré svojou nezameniteľnou vôňou a chuťou väčšine ľudí asociuje príjemné a radostné pocity, chvíle. Uvedomenie si polo-obschnutých prázdnych šupiek, ktorých sa pôsobením určitých deštruktívnych biologických procesov pomaly zmocňuje pleseň, však už pravdepodobne odkazuje k niečomu celkom inému. A potom sa dá „výjav“ vnímať štrukturálne, ako určitá biomorfná skulptúra. V tejto súvislosti mi prichádza na um napríklad vyjadrenie mexického sochára Gabriela Orozca: „Keď zjete pomaranč, ostane z neho len prázdna kôra. Premýšľal som o vnútre telesa, o zvláštnej, nejasnej prázdnote celkom banálnych predmetov (...) V tej dobe som tiež premýšľal o raste, ktorého je plný vesmír, o tom, ako z nejakého bodu vychádza plod, ktorý si vytvára nejakú vlastnú štruktúru, ale napokon z neho ostane iba šupka. Ovocie je nádobou (...), socha je pre mňa nádobou, alebo aspoň tým, čo vyvoláva ilúziu, že niečo obsahuje, alebo prenáša.“

 

Barokizujúce zátišie ananásu s cesnakom a cibuľami má okrem skulpturálnych po formálnej stránke aj nepopierateľné maliarske kvality. Oplýva silnou vizuálnou efektívnosťou a pod určitým uhlom a dopadom svetla vyvoláva skutočne až fyzické pôsobenie a štruktúru maľovaného obrazu zo 17. storočia. Dojem z vizuálnej ambivalentnosti môže navyše umocňovať aj nezvyčajná kombinácia zvolených plodín – sladkého ananásu, štipľavej cibule a cesnaku – navzájom nezlučiteľných chutí. Aj tento moment v sebe, rovnako ako pri väčšine iných výjavov na výstave, nesie nepopierateľný metaforický náboj. Čo ak je „prostá“ čiernobiela fotograficky zachytená kompozícia z ovocia a zeleniny v symbolickej rovine seba-terapuetickým gestom, dotknutím sa určitých hlboko uložených vrstiev autorovho seba-ustanovujúceho „ja“, „podaním si ruky“ s niektorými „sladko-kyslými“ momentmi či okolnosťami vlastného života?

 

Možno veľká šírka záberu osobných skúseností, intenzívny vnútorný dialóg so sebou samým, či neuspokojovanie sa s „kĺzaním“ po povrchu vlastného bytia, tlmočeného do umenia („Ľudská činnosť, braná v celku, ako činnosť sama o sebe a pre seba, predstavuje tvorivý akt par excellence: každá tvorba, každý jav, týkajúci sa spôsobu vyjadrovania, z nej priamo vyplývajú.“ M. Duchamp) z autora v konečnom dôsledku činia zrelú osobnosť, ktorá, hoc v mladom veku, podchvíľou (ne)znáša ťaživosť abstraktného myslenia a pociťuje tíhu vědomí světa a nemožnost dýchat duší...

 

Lucia Gavulová

 

foto: Mcihaela Dutková

 

otvorenie a inštalácia

 

 


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2014 Dec exhibition #003

Weightiness of the consciousness of the world, an inability of the soul to breathe

Laurinská 14, Bratislava SK

Photographic works by Peter Sit, exhibited at the show of which the name is a quotation from The book of disquiet by Fernando Pessoa, were made mainly in 2013. Although photography still remains the main medium of the current author's projects, it doesn't represent the main task any more - its own discourse within the content as well as its artistic and visual qualities – the same as it did in the period in which the presented photographs were made. In the current works (that are not a part of the show) his photography changes to a tool, instrument or raw material – an outcome in part of a broader conceived complex entity. As Filko defined art as a visual communication in 1970 and he became aware of the value of visual information, so photography started to be directive and essential as a visual communication carrier for Sit, which he applies in his current works in synthesis with many other elements.

 

Peter Sit is an author's self-made man. Rare and determining is energy, curiosity and the will of covering everything as himself - his own mind, existence, thinking, language, essence – external environment and different impacts, determining existence on its own. The need to tell and express the most makes him open to different impacts, whereas he avoids the fatal absorption of ubiquitous inspiratory noise with his natural sensitivity and ability not to only capture various sources, signals and motions, but also to decode and select. The intensity of his thoughts can sometimes be faster and more acute than the possibilities of their immediate artistic comprehension, the form looks like being sporadically limited. But to devices of Sit's processes belongs also the fact that he never gives up within searching for adequate possibilities of expression (he isn't satisfied with the easier way either), often in intense confrontation with his own doubts.

 

At his show, he presents a world of objects, situations. Although these are quite explicit, concrete images of 'segments of reality', they are in question only in their sculptural or even architectonical qualities, though remaining abstract in their content. “Images” looking like studies of various random, utilitarian moments, characteristic games with forms and volumes, observing certain physical laws of objects as much in their fundamentals as in their functioning within space (statics, form, deviation), at a more consistent insight into ‘displayed surface’ they picture unexpected connections, stories, sometimes even self-exposal of the author – gentle, sophisticated, imperceptible and unpretentious. Somewhere in the very distant layer, or maybe even firstly after the interpretation by the author himself, can the viewer ‘decode’ the nuances of the most personal expressions, fragile to even ephemeral pictured storylines. Besides the mentioned formal devices it is also interesting to observe the contextual statement of the photographs, that often include layers of various associations, links or semantic levels, which can be perceived from different angles of view - it depends on what the viewer wants to see, read, or which 'version' they prefer.


For example the ‘pyramid’ made of mandarin peel. The photograph can on one hand evoke winter, or Christmas time, which this fruit belongs to and this fruit mainly associates pleasant and joyful feelings and moments to most people because of its smell and taste. When perceiving the half-dried empty peels, which are being moulded by destructive, biological reactions, this might link to something completely different. And then we can perceive the ‘spectacle’ structurally, as a certain bio-amorphous sculpture. In this connection I can think of a statement of the Mexican sculptor Gabriel Orozc: “If you eat an orange, there will be only an empty peel left. I was thinking about the inner of an object, about special, unclear emptiness of quite trivial objects (...) In this time I was also thinking about the growth, which the universe is full of, about how fetus comes from one point, which is creating its own structure, but in the end there is only a peel left. The fruit is a vessel (...), sculpture is for me a vessel, or at least something which creates the illusion that it contains or transmits something.”

 

Baroque-like still-life of a pineapple with garlic and onions has besides the sculptural also undeniable painting qualities from the formal side. It flashes with strong visual effectiveness and under certain angles or impact of light it raises really even a physical effect and structure of a painting from the 17th century. The impression of a visual ambivalence can also be increased by an unusual combination of chosen crops - sweet pineapple, sharp onion and garlic - together incompatible flavours. Also this moment carries the same as with most spectacles at the exhibition, undeniable metaphorical charge. What if a ‘simple’ black and white captured photographic composition of fruit and vegetables is a therapeutically gesture on a symbolic level, a touch of certain deeply stored layers of the author's self-establishing ‘himself’, ‘shaking hands’ with some ‘sweet-sour’ moments or circumstances of man's life?

 

Maybe great coverage of personal experiences, intense inner dialogue with himself, or dissatisfaction with ’sliding’ on the surface of man's existence, interpreted into art (“The creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.”) makes the author in the end a mature personality, which, despite his young age, sometimes (doesn't)bear the weight of abstract thinking and feels weightiness of the conscience of the world, an inability of the soul to breathe...

 

Lucia Gavulová

 

photos: Mcihaela Dutková

 

opening and installation

 

 

 

 


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2015 Aug performatívna výstava #004

29. August

byt Mira Csölleho, Bratislava, SK

26.2. 2015 ŠTVRTOK 18:00
UL.29. AUGUSTA 38, BRATISLAVA
CSÖLLE 3. POSCHODIE

 

Bratislavské bytové domy zakladajú prirodzený sociálny kolorit mesta. Sú ako pľúca organizmu. Mesto nimi dýcha a okysličuje atmosféru ulíc. Schátrané objekty, vyhĺbené jamy a prázdne oplotené pozemky postupne miznú, na ich miestach sa vynímajú defektné zrkadlové siluety nových budov. Staré bytové domy tu zostávajú, menia sa len ich majitelia. Pre mnohých sú nehnuteľnosťami, realitami, ich hodnota sa meria v číslach. Byt na ulici 29. augusta sa nachádza na samom okraji Starého mesta, v modernej zástavbe s kubistickými prvkami, kde kedysi žili robotníci a úradníci, racujúci v prístave a v neďalekých továrňach. Dnes sa fasáda domu pozerá na gigantické stavenisko, ktoré sa čoskoro zmení na jeden z produktov ekonomického zázraku krajiny a stane sa pýchou jej prosperity. Ekonomická súťaž tvrdo dopadla aj na to, ako umelci vnímajú pocit spoločného. Kedysi sa spoločné rovnalo kolektívne, a jednoducho bolo dané zhora. Mimo to sa vzájomnosť spontánne prijímala skôr na princípoch polupatričnosti, než v rovine určitého vopred definovaného záujmu. Miro Csölle svoj byt na treťom poschodí, na ulici 29. Augusta, po tom, čo ho vyprázdnil a pred tým, než ho postúpil novým majiteľom, zmenil na dočasný výstavný priestor. Byt, čo bol dovtedy miestom osobných spomienok a detských hier, teraz, dočasne, na niekoľko dní prenechal spoločnej výstave, aby tu vznikla Situácia # 4. Inštaláciami pripravenými špecificky pre toto miesto, intervenciami improvizovaných objektov, performačnými procesmi a fotografiami Situácia # 4 premenila priestor bytu na prostredie živého spoločenstva. Prinesené aj improvizované objekty sa nachádzali nielen konvenčne zavesené na stenách. Bytová výstava prerástla do enklávy. Do inštalácií boli zapojené parkety, praskliny v dlažbe, balkón, bytový zvonček, záchod, umývadlo, osvetlenie, ústredné kúrenie, okná ... Sú to momenty, kedy diela a procesy získavajú nový kontext v spontánnej zrážke s ďalšími dielami a procesmi. Nemyslím si, že táto výstava má niečo spoločné s undergroundom či étosom „neoficiálneho“ umenia. Skôr išlo o improvizované stretnutie tvorivých individualít, ktoré našli spoločnú reč. Nie náhodou sa tu našli predstavitelia dvoch generácií v dvadsaťročnom medzičase. Jedni sa tak trochu obhliadli späť (Cyril Blažo, Miro Csölle, Matej Gavula, Milan Tittel) a druhí (Erik Janeček, Denis Kozerawski, Peter Sit, Andrej Žabkay) sa možno utvrdili v pocite, že nešliapu do nedotknutej zeme. Táto výstava sa udiala spontánne, čím potvrdila sympatie a číru radosť z kontinuity.

 
Daniel Grúň
 

foto: Michaela Dutková, Maťo Gavula, Apart    

 


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2015 Aug performative exhibithion #004

29. August

Flat of Miroslav Csölle, Bratislava, SK

26.2. 2015 ŠTVRTOK 18:00
UL.29. AUGUSTA 38, BRATISLAVA
CSÖLLE 3. POSCHODIE

 

Bratislava´s apartment buildings establish natural social coloring of the city. They are like lungs of an organism. The city breathes and brings up the atmosphere of the streets through them. Shattered objects, dug up pits and empty parcels circled with fences are gradually disappearing. Defect mirror silhouettes of new buildings appear instead of their places. Old apartment buildings remain here, the only changing part is their owners. For many of the owners the flats are just properties, real estates, whose value is set in numbers. Flat on the street of 29 th of August is situated at the very end of the Old town, in modernistic development area with cubistic accents, where once workers and clerks lived, working in nearby factories. Today the facade of the building is looking on a giant construction site, which will turn into one of the products of economical miracles of the country, and it will be a part of its prosperity prides. Economical competition had big effect on how artists view the sense of commonness. The other day the term of common equaled collective, and simply it was given from above. Except that commonness was more spontaneously accepted more on principles of togetherness, than on certain, already defined interest. Miro Csolle had his flat at the third floor on the 29 th August street, after he emptied the flat before he forwarded it to its new owners, he turned the flat into temporary exhibition space. Till now the flat was a place of personal memories and child games, and temporarily now, only for couple of days he let the space for collective exhibition, for Situation # 4 to take place. Situation #4 changed the space of the flat to a living community, by installations created specially for this place, interventions of improvised objects, performance processes and photographs. Brought and as well improvised objects were appearing not only conventionally hung on the walls. Flat exhibition outgrew to an enclave. Installations involved wooden floor, cracks in the concrete, balcony, flat bell, toilet, sink, lighting, windows ... They are the moments, when artworks and processes gain new context in spontaneous collisions with another artworks and processes. I don´t thing that this exhibition has something to do with the underground or the ethos of “non-official” art. Rather improvised encounter of creative individualities, which found their mutual language. Representatives of two generations with twenty years split were present at the place by no accident. Ones looked back a bit( Cyril Blažo, Miro Csolle, Matej Gavula, Milan Tittel) and the others (Erik Janeček, Denis Kozerawski, Peter Sit, Andrej Žabkay) maybe reassured themselves, that they are not stepping at untouched land. This exhibition was spontaneous, and thus confirmed sympathies and pure pleasure from continuity.

 

Daniel Grúň
 

photos: Michaela Dutková, Maťo Gavula, Apart    


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2014 Okt projekcia #001

Pobrežie voloviny

Berlinka v SNG, Bratislava, SK

5.10. 2014
Nedeľa, 10:00 - 00:00 
Berlinka SNG
projekcia
16:00 performance Miroslav Csölle

 

Pobrežie voloviny Milan Tittel (1966), Matej Gavula (1972), Miroslav Csölle (1964)

 

Pobrežie voloviny je názov série video-projekcií umelcov Milana Tittela, Mateja Gavulu a Miroslava Csölleho, ktoré sa tematicky týkajú bratislavského toku rieky Dunaj. Ten je jednotiacim momentom všetkých výstupov, zaznamenávajúcich akcie skupiny, týkajúce sa rieky, alebo nejakým spôsobom s ňou pracujúce, v každom ročnom období.   

 

Situácia je súčasťou festivalu BLAF.

 

foto: Peter Sit 

 

dokumentácia


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2014 screening #001

Coast of Goofness

Berlinka v SNG, Bratislava, SK

5.10. 2014
Sunday, 10:00 - 00:00 
Berlinka SNG
projection
16:00 performance of Miroslav Csölle

 

Milan Tittel (1966), Matej Gavula (1972), Miroslav Csolle (1964)

 

Coast of Goofness is the name for series of video projections by artists : Milan Tittel, Matej Gavula and Miroslav Csolle, which are thematically related to Bratislava's Danube river flow. The river acts as a unifying moment of all outputs, capturing all of the actions of the group, that are related to the river or working with the theme in some way in each period of the year.

 

Situation is part of BLAF festival


photos: Peter Sit 

 

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