Saturday , October 23 2021

The finalists of the Chalupeckého Prize analyze the body, society and art, universal repair but do not have – ČT24 – TV Czech


The jury's finalists this year chose the jury this January. The jurors of the chosen artists and artists assessed that "they built an extraordinary aesthetic approach that deals with different cracks in a society that is becoming increasingly uniform."

"This year's finalists will undoubtedly refer to community affairs, but their work is not, and should not be a universal correction, but in many ways it raises and raises – as in the case of art – more questions than final, hard answers, but for current important issues that do not offer simple solutions . This, in my opinion, is one of the tasks of art, "Explains curator of the jury of the exhibition, Teresa Jindrová.

for example Alžběta Bačíková In his installation he examines how to open contemporary art to specific audiences. The artist has long been interested in audiovisual communications, her experimental documentary portraits approaching the feature film. In the project Veletržní "Project" meeting. Photo heroes – Theresa blind and deaf Mac – are looking for a way to drive or dance together. "We do not act as an obstacle for someone not see or hear, but on the contrary, we will try to convey what the heroes can do," notes Bačíková.

The means of mediation of public art, including specific target groups, are also a subject Katerina Oliveova. In recent installments she has combined it with her favorite themes, including feminism, questions of women and parenting. Completely natural expression means is olive nude, grab your body as an artistic material. At the "Volterani" festival, she presented her work in the size of life, she also presents a video in which she is exposed through a permanent exhibition and responds to the exhibited works. Her body was inspired by the children's corner. The exhibition initiated a babysitter to allow parents to see the finalists peacefully.

He uses his body in the works of i Tomas Kiank. In performances, he presents him in a difficult physical performance or even a physical threat. As a form of artistic expression, a medium and video image usually chooses. At the National Gallery, he decided to publish two videos from the YouTube channel he did not create – the first of July, depicting a tragic car accident of two girls, and the other an apocalyptic collage that seeks to put an end to world violence.

But it did not come as many people like a video accidentally captured from a car accident that became viral. But they share a subject of death or destruction, and both point to a paradox related to the constant flow of violent images. On the one hand, people have learned to keep a distance from them, and on the other hand, such "inertia" can be perceived as an ethical problem.

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