FESTIVAL m3 / ART IN SPACE 9.6.—30.9.2018 PRAHA 1

ARTISTS

Hynek Alt (*1976, CZ)

Matyáš Chochola (*1986, CZ)

Jasmina Cibic (*1979, SI)

Viktor Dedek (*1993, CZ)

Deniz Eroglu (*1981, DK)

Feld72

Liam Gillick (*1964, UK)

Anna Hulačová (*1984, CZ)

Christian Jankowski (*1968, DE)

Barbara Kapusta (*1983, AT)

David Maljkovic (*1973, HR)

Christoph Meier (*1980, AT)

Ute Müller (*1978, AT)


Antonis Pittas (*1973, GR)


Boris Ondreička (*1969, SK)

Lisa Reitmeier (*1984, DE)


Sofie Thorsen (*1971, DK)

































































































































Hynek Alt
Untitled (Tower Clock), 2018


Klementinum, Entrance Area
Mariánské nám. 5
110 00 Staré Město, Czechia
50°05'13.2"N 14°24'59.6"E

Silently ticking clocks, seemingly clearly defining a field without place for error, at least until you start to challenge the given.




Hynek Alt was born in 1976. He lives and works in Prague.

Shifting between photography, video, object and installation, he is concerned with forms of perception of the human in the current digital era and the navigation in between physical surroundings and constructed social systems. He uses generic objects and situations, analyses them and changes the way of their presentation, while questioning their purpose. He employs at times widely accessible and cheap technologies (photography, Xerox, offset) aiming at precision, specificity and thorough research while usually arriving at a very general outcome and at times high-tech methods (3D scanning, 3D rendering) to achieve the opposite. His work consists of either a combination of different elements or isolation of one from the other to create new tension and layers of possible reading while challenging their usual hierarchy. Since 2017 he is head of the Studio of Photography and New Media at FAMU, Prague. From 2008-2016 Hynek Alt was head of the photography studio at the Academy of Arts, Architecture and Design in Prague, together with Aleksandra Vajd.

Matyáš Chochola
The Master of the Golden Cut, 2018

The cathartic experience of a Mad-Max-like tour through the city - how far can you push the boundaries of a parking lot?




Matyáš Chochola was born in 1986. He lives and works in Prague, Czech Republic.

He graduated from the Academy of Fine Arts in Prague and Universität der Künste in Berlin. He works primarily in the media of installation and performance. His body of work represents a richly composed universe whose integral part is constituted by the figure of the artist himself. Chochola experiments with post-internet aesthetics, an unorthodox yet sophisticated combination of the symbols of the present and its ancient roots. Trash objects meet precise glass-making techniques, spilled colour meets silk painting, the poetry of shamanism meets 90’s disco.

He has introduced his work, among others, at Manifesta 11 in Zurich, the Grimmuseum in Berlin, SVIT Gallery and the National Gallery in Prague. In 2012, Chochola received the Václav Chad Award at the 6th Zlín Youth Salon. In 2016 he received Jindřich Chalupecký Award for his show Magic, Exotic, Erotic in the National Gallery in Prague.

www.matyaschochola.cz

Jasmina Cibic
The Flower Effect, 2018


National Museum
Václavské náměstí 1700/68
Open: Monday–Sunday 10am–6pm,
except Wednesday 9am–6pm,
every first Wednesday in a month 10am–8pm
110 00 Praha 1 – Nové Město
50°04'47.8"N 14°25'54.2"E

The former Federal Assembly, a collection of imaginary new rose variants representing the botanical hybrid between the rose Europa and roses named after the founding fathers of the European Union.




Jasmina Cibic was born 1979 in Ljubljana.

She works in film, sculpture, performance and installation to explore ‘soft power’ – as political rhetorics which is deployed through art and architecture. Unfolding the complex entanglements of art, gender and state power, the artist encourages viewers to consider the strategies employed in the construction of national culture. Her multi-layered approach draws together primary sources and falsified narratives, creating shifting meanings and highlighting historical uncertainties and untruths.

Jasmina represented Slovenia at the 55th Venice Biennial. Her work was shown at BALTIC Gateshead, MSU Zagreb, MOCA Belgrade, MGLC Ljubljana, CCS BARD, Guangdong Museum of Art China, La Panacee Montpellier, MSUM Ljubljana and MNHA Luxembourg. Cibic’s films have been screened at FIAC Paris, HKW Berlin, Les Rencontres Internationales Paris, and Copenhagen International Documentary Festival. In 2016 Jasmina Cibic has been nominated for the Jarman Award and was the winner of the MAC International Ulster Bank and Charlottenborg Fonden awards.

Viktor Dedek
Play Today - Courtyard Ludology, 2018


Courtyard, passageway between Spálená and Opatovická
50°04'46.4"N 14°25'07.4"E

A digital courtyard as a space between you and your screen, translated into the physical reality of the urban landscape.




Viktor Dedek was born in 1993. He lives and works in Prague, Czech Republic.

Dedek is a student of the sculpture studio at the Academy of Arts, Architecture and Design. His practice evolves around precise strategies of the semiotic analysis by means of the sculptural medium. His recent interest in theatre and performance functions as an enhancement to his previous installation work and synthesises a certain sense of romantic poetics with pragmatic conceptualism.

He has shown his work at Galerie Jeleni in Prague and participated in a series of group shows, for instance at Prague City Gallery, House of Arts in Brno and the gallery of Academy of Fine Arts in Prague.


Deniz Eroglu
A Vacation, 2018


Stone Bell House, Cellar
Staroměstské nám. 1/605/13, 110 00 Staré Město, Czechia
50°05'15.9"N 14°25'19.2"E

An unexpected turn of your vacation, instead of a medieval city you find yourself in the Turkish highlands. Are you even allowed to be here?




Deniz Eroglu was born 1981 in Denmark. He lives and works in Amsterdam, Netherlands.

While over the last years Deniz Eroglu’s practice has gradually opened up to other formats besides video and film encompassing different media such as sculptures, installations, and text his source material has been narrowed down to the artist’s ancestry, history and personal biography. Eroglu has long exhibited a strong interest in characters that inhabit the margins of society and are in some way vulnerable or subject to persecution; be it melancholic hermits, bedridden patients or emaciated peasants, to name a few examples. The main themes being vulnerability and displacement within his own personal context.

Deniz Eroglu graduated from Städelschule in 2014. He was a resident artist at the Rijksakademie from 2016-17. His work has been shown amongst others at MMK, Staatliche Kunsthalle Baden-Baden, the Marrakech Biennial and Kunsthalle Krems.

www.denizeroglu.net

Feld72


Klárov, park pod Starými zámeckými schody
118 00 Praha 1-Malá Strana
50°05'31.0"N 14°24'32.4"E



The work of Feld72 pivots on the interface of architecture, applied urbanism and art. Feld72 has implemented numerous projects of various dimensions in the national and international context, a huge range including master plans, buildings, studies on urban development, interior and exhibition design, urban strategies and large-scale interventions in the urban environment. The multiple award-winning works are remarkable for a socially responsible, innovative and sustainable approach to architecture and urbanism. Tracking down and reinforcing the potential in locations and (social) environments is a fundamental element of Feld72 projects.

Expanding the field of architecture within the context of the self-initiated project series “Urban Strategies”, the collective has been engaged ever since the office was founded in 2002 in Vienna in tackling the issues of the use and perception of the public space. Through numerous teaching assignments at universities the approach and methodology of Feld72 have been integrated into the academic discourse.

Liam Gillick
Flatter Earthed, 2018
A message from Miltiades, 2018
Fragment d’histoire future 1-3, 2018

A visual identity for the Flat Earth Society and the sound of cheerful jingles leading us all to the Underground.




Liam Gillick was born in 1964. He lives and works in New York, United States.

Gillick deploys multiple forms to expose the new ideological control systems that emerged at the beginning of the 1990s. He has developed a number of key narratives that often form the engine for a body of work. Gillick’s work exposes the dysfunctional aspects of a modernist legacy in terms of abstraction and architecture when framed within a globalized, neo-liberal consensus.

His work has been included in numerous important exhibitions including documenta and the Venice, Berlin and Istanbul Biennales - representing Germany in 2009 in Venice. Solo museum exhibitions have taken place at the Museum of Contemporary Art in Chicago, the Museum of Modern Art in New York and Tate in London. Over the last twenty five years Gillick has also been a prolific writer and critic of contemporary art – contributing to Artforum, October, Frieze and e-flux Journal. He is the author of a number of books including a volume of his selected critical writing. High profile public works include the British Government Home Office (Interior Ministry) building in London and the Lufthansa Headquarters in Frankfurt. Throughout this time Gillick has extended his practice into experimental venues and collaborative projects with artists including Philippe Parreno, Lawrence Weiner and Louise Lawler.

www.liamgillick.info

Anna Hulačová
Surveys of an arrangement, 2018


Senovážné nám. 976/33
110 00 Praha 1-Nové Město
50°05'07.9"N 14°25'51.4"E

Traces of formerly persecuted, later on institutionalised public creativity redefined, deconstructed and imbued with a shifted meaning.




Anna Hulačová was born 1984 in Sušice. She lives and works in Prague, Czech Republic.

Hulačová's practice evolves around sculptures which revive traditional crafts, translating the inspiration found in ancient mythologies, eastern cultures as well as in Czech folk traditions and original Christian symbolism into the language of contemporary art.

She graduated from the Academy of Fine Arts in Prague and has been nominated for the Chalupecky Award in 2016. Her work has been shown amongst others at Palais de Tokyo in Paris, Meyer-Riegger in Berlin, Z20 Sara Zanin in Rome, Contemporary Art Centre in Vilnius and National Gallery in Prague.

Christian Jankowski
Leaving No Marks/ Playing Spree to Moldau, 2018

The artist is present, dreaming, washing, drying, playing.




Christian Jankowski was born in 1968. He lives and works in Berlin.

By utilising the medium of human relationships, the comedic slapstick humour of Formulae, or indeed any of the other innumerable tools of modern communication available, Christian Jankowski trades blows with history, politics and the language of art. His works are almost always performances - both literally and figuratively - in so far as his carefully calibrated set-ups and interactive scenarios engage occasionally unsuspecting collaborators: televangelists, fortune tellers, border guards and professional magicians have all innocently colluded with him to become co-authors of his wide-ranging work.

Jankowski studied at the Academy of Fine Arts, Hamburg, Germany. Recent solo exhibitions include Kunsthaus Hamburg, Germany, Center for Contemporary Art, Ujazdowski Castle, Warsaw, Poland; Sala de Arte Publico Siqueiros, Mexico City, Mexico; MACRO, Rome, Italy; Kunstmuseum Stuttgart, Stuttgart, Germany; Miami Art Museum, Florida, USA; MIT List Visual Art Center, Massachusetts, Cambridge, USA; Swiss Institute, New York, USA and the Wadsworth Atheneum, Hartford, Connecticut, USA. He has participated in numerous group exhibitions ‘When I Give, I Give Myself’, Van Gogh Museum, Amsterdam, The Netherlands; Project Los Altos (off-site show in Silicon Valley, staged by San Francisco Museum of Modern Art, USA; Taipei Biennial, Taiwan; Sydney Biennial, Australia; the Whitney Biennial, New York, NY, USA and the Venice Biennale. In 2016, Jankowski curated the 11th edition of Manifesta, becoming the first artist to assume the role.

Barbara Kapusta
We Make the Place by Playing, 2018


Theatre and Café Komedie
Jungmannova 15/1, 110 00 Praha 1-Nové Město-Nové Město, Czechia
50°04'45.7"N 14°25'17.8"E

Theatre and Café NONA
Národní 1393/4, 110 00 Nové Město, Czechia
50°04'52.5"N 14°24'52.7"E

We demand to be public and exposed but not attacked/ we demand to be in public, seen, but private… A silent play of four actors, transmitting their messages layered on precious marble.




Barbara Kapusta was born in 1983. She lives and works in Vienna.

Kapusta's work almost exclusively departs from poetry and from there evolves into performance, film, sculpture or storytelling. She explores the relationship between the material character of things and the physical existence of the observer as well as verbal and non-verbal language employed in this particular exchange of animate and inanimate participants.

Her objects, films and text-based works have recently been shown at, among others, Gianni Manhattan Vienna, KUP Athens, 21er Haus Vienna, Kunsthalle Vienna, Scriptings Berlin, Beautiful Gallery in Chicago and mumok cinema in Vienna.

www.barbarakapusta.net

David Maljkovic
Dead Ad, 2018


Hotel Elysee, rooftop
Václavské nám. 43, 110 00 Praha 1-Nové Město
50°04'52.8"N 14°25'41.7"E

A legacy of advertisement from the era of the modernist project, piercing through the current state of visual pollution of the city.




David Maljkovic was born 1973 in Rijeka, Croatia. He lives and works in Zagreb, Croatia.

His practice engages with the malleable relationship between form and content in aesthetic terms, or signifier and signified in linguistic terms. It is within this relationship that Maljkovic negotiates his formal methods and disjunctive intentions discussing topics such as formalism of failed utopias.

After studying at the Academy of Fine Arts in Zagreb, David Maljković participated in several artist's residency programs including the one of the Rijksakademie in Amsterdam. His work has been shown at Palais de Tokyo in Paris, Van Abbemuseum in Eindhoven, Secession Vienna, Museo Reina Sofia in Madrid, Haus der Kulturen der Welt in Berlin, 11th Gwangju Biennale and the 56. Biennale di Venezia, among others.

Christoph Meier
Untitled, 2018


Church of Our Lady of the Snows x Austrian Cultural Forum, Courtyard
Jungmannovo nám. 753/18, 110 00 Nové Město, Czechia
50°04'58.5"N 14°25'22.3"E

A crowd control mechanism with a mysterious purpose or unintelligible meaning, spreading as a modular structure, testing the qualities of the given space.




Christoph Meier was born in 1980 in Vienna, Austria, where he lives and works.

Christoph Meier’s work considers the artistic intervention as a frame for social exchange, often alluding to mundane and popular spaces for interaction, such as the bar. Resorting to architectural strategies, such as the grid i.e. he reveals previously not visible conditions of the surrounding space, usually in a nonchalant and abstract way, where content and frame merge to accentuate the void. A void to be filled or reflected upon by the viewer.

Meier graduated from the Academy of Fine Arts Vienna and received the MAK Schindler Scholarship. His work has been shown at Casino Luxembourg, KIOSK Ghent, Kunstverein Hamburg, French Pavilion in Zagreb and Kunsthaus Graz, amongst others.

www.christophmeier.net

Ute Müller
Untitled, 2018


RSJ
Revoluční 1502/30, 110 00 Nové Město, Czechia
50°05'33.1"N 14°25'39.3"E

A series of hands reaching out into a plane of merging national history and visions of future possibilities blinded by a mist of contradicting interests.




Ute Müller was born 1978 in Graz, Austria. She lives and works in Vienna, Austria. Ambivalence as a stance and impetus in seeking form and anti-form play a decisive role for Ute Müller: be it casts of negative forms of almost recognizable objects or arrangements of found, easy- to-change, and thus differently charged things. The artist makes comprehensible the process of formation; she varies materials and combines references without allowing anything specific to be missed when grappling with form, idea, and presentation. The categories of space and time are vital for the artist.

Müller studies Fine Arts at the University of Applied Arts Vienna and at the Royal College of Art London. Since 2009 she publishes the artist-zine editions Black Pages with Christoph Meier and Nick Oberthaler. Müller has shown amongst other at Künstlerhaus Graz, Établissement d‘en face Brussels, Kunsthalle Vienna, Galerie Max Hetzler Berlin, Museum for Applied Arts Vienna, Nomas Foundation Rome, Austrian Cultural Forum New York, 21er Haus Vienna, Pigna Project Space Rome, Kumho Museum Seoul and NJP Art Center Seoul.

www.utemueller.blackpages.at/utemueller.html

Antonis Pittas
Who Cares; I will close my eyes and put my finger on the map, 2018


Náměstí Franze Kafky
50°05'15.7"N 14°25'08.9"E

Zenger Transformer Substation
Pod Bruskou 147/3, 118 00 Malá Strana
50°05'32.7"N 14°24'33.9"E

A tower of various forgotten public memories, a text embedded into the skin of a future institution, who really cares?!




Antonis Pittas was born 1973, in Athens, Greece. He lives and works in Amsterdam.

Pittas mainly creates context-sensitive installations, characterized by a performative interaction between past political and artistic movements and the present. In each of his presentations, the artist looks for a dialogue in the gap between the artwork and the art space, whilst addressing the way historical (artistic) forms represent themselves in the contemporary context, sometimes in a violent manner. Next to his art practice, for the last five years Pittas has been a teacher at the Rietveld Academie in Amsterdam, as well as a guest teacher at the Royal Danish Academy of Fine Arts in Copenhagen and at the Sandberg Institute in Amsterdam. His work has been shown amongst others at Hordaland Kunstsenter, Bergen; Stedelijk Museum Bureau Amsterdam; Annet Gelink Gallery; Hessel Museum of Art & CSS Bard Galleries, Annandale, New York; Benaki Museum, Athens; Van Abbemuseum, Eindhoven; Centraal Museum, Utrecht; Kunsthal Extra City, Antwerp; Bozar, Brussels; Kunsthal Charlottenborg, Copenhagen.

www.antonispittas.info

Boris Ondreička
ABYSS, 2015-2018


Stone Bell House, cellar
Staroměstské nám. 1/605/13, 110 00 Staré Město
50°05'15.9"N 14°25'19.2"E

Negative mountaineering into a mediaeval cellar, into the Abyss, the bottomless pit, a spring of duality, a gap between unreal and real.




Boris Ondreička was born in 1969. He lives and works in Bratislava, Slovakia and Vienna, Austria.

Ondreička is a curator, artist, writer and singer. He has been working at Soros centre for contemporary arts, Bratislava, director of art-initiative tranzit.sk, Bratislava, Slovakia, and since 2012 curator at Thyssen- Bornemisza Art Contemporary, Vienna, Austria. Where he has (co-)curated Rare Earth; Supper Club; Tomorrow Morning Line; Ephemeropteræ, Olafur Eliasson Green light. Amongst that he has co/curated Manifesta 8, Being The Future, Palast der Republik, Berlin, DE; Symposion at The Event, Birmingham, UK; Auditorium, Stage, Backstage, Frankfurter Kunstverein, DE; and many individual projects. In 2010 he co-founded the Július Koller Society.

His artistic practice evolves around questions of transfer or translation of meaning between a text and an image, defined by precise rhythm, timing, metrics, consistency and inner critique. He carves out the space of his work somewhere between areas of the private and the public.

His artistic projects include Manifesta 2, Venice Biennial; Prague-, Gyumri-, Torino-, Anzengruber-, Tai-Pei-, Athens- , Kyiv-, Jakarta- biennales; MoMA-PS1 NYC, USA; BAK Utrecht, NL; Maastricht, NL; W139 and De Appel, Amsterdam, NL; Smak, Gent, BE; Kunsthalle Loppem, BE; Marres, Tramway Glasgow UK, Fondazione Sandretto Re Rebaudengo Turin, IT; Le Plateau, and Galerie Jocelyn Wolff, both Paris, F; Frankfurter-, Kölnischer-, Badischer-, Münchener-, Stuttgarter Kunstvereins, DE; Kiasma, Helsinki, FI; HKW, Berlin, DE; ACAF, Alexandria, EG; Slovak and Czech national galleries; Secession, Mumok, Kunsthalle, Tanzquartier, all Vienna, AT; and elsewhere. His HI! lo. was published at tranzit / jrp Ringier, CH. Since 1987 is a lead-singer and lyrics writer of the band Kosa z nosa, Bratislava, SK.

Lisa Reitmeier
Public Paranoia, 2018


Municipal Authority of Prague 1
Vodičkova 681/18, 110 00 Nové Město, Czechia
50°04'45.9"N 14°25'22.1"E

Stone Bell House, Cellar
Staroměstské nám. 1/605/13, 110 00 Staré Město, Czechia
50°05'15.9"N 14°25'19.2"E

A parallel map of the city inhabited by a mole like creature exploring long forgotten theses of Neptunists and Plutonists. What lies beneath the surface unfolds in front of your very eyes.




Lisa Reitmeier was born in 1984 in Trostberg, Germany. She lives and works in Munich, Germany.

Power systems and body structures, rituals and cruelty are the subjects of Lisa Reitmeiers work. Together with the human body, its integrity and its modification, these concepts create a constitution that questions to what extent the performativity of violence and ritual form the human psyche. Experimental clash of materials and an emergent working process lead to extensive installations resembling walkable psychograms (a mixture of crime scene, research laboratory, psychoanalysis and intimacy). This performance of materials reveals how the formation of the psyche destroys as well as recreates interpersonal space, leading to both trauma and healing.

Reitmeier graduated from the Academy of Fine Arts in Munich and was an artist resident at the Rijksakademie in Amsterdam from 2014-2016. Her work has been shown at Hospitality in Cologne, Rijksakademie Amsterdam, Kunstverein Diepenheim and EYE Museum Amsterdam amongst others.

www.lisareitmeier.com

Sofie Thorsen
Excavation, 2018


Florentinum, courtyard
Na Florenci 2116/15, 110 00 Florenc
50°05'20.7"N 14°26'07.9"E

Zaha Hadid, medieval city walls, trash pits, wells and remnants of former 14th-century houses, shapes of history translated into sculptural vessels holding a fluid process of constant urban change.




Sofie Thorsen was born 1971 in Århus, Denmark. She lives and works in Vienna, Austria.

In her installations, films and works on paper, Sofie Thorsen deals with questions of space and architecture in urban space as well as the exhibition context itself. Where the starting point of her work is mostly research based or documentary, the images and materials that surface during the research are reworked and developed into abstract objects and images that constitute the final work.

A graduate of the Academy of Fine Arts in Vienna and the Royal Danish Academy of Fine Arts in Copenhagen, she has shown her work internationally in numerous group and solo exhibitions. She held a teaching position at the Academy of Fine Arts in Vienna from 2005 to 2009. Her work has been shown among others at Kunstbüro, Mumok Kino, Krobath Galerie, Leopold Museum, MAK/ Vienna Biennial, 21er Haus, all in Vienna; Anhava Galerie, Helsinki; House of Arts České Budějovice, Kunsthaus Düsseldorf, Krobath Berlin; Austrian Cultural Forum, New York City; etc.

www.sofiethorsen.net

ARTISTS

Hynek Alt (*1976, CZ)


Untitled (Tower Clock), 2018


Klementinum, Entrance Area
Mariánské nám. 5, 110 00 Praha – Staré Město, Czechia
Open: Monday - Saturday | 9AM - 7PM
50°05'13.2"N 14°24'59.6"E

Silently ticking clocks, seemingly clearly defining a field without place for error, at least until you start to challenge the given.




Hynek Alt was born in 1976. He lives and works in Prague.

Shifting between photography, video, object and installation, he is concerned with forms of perception of the human in the current digital era and the navigation in between physical surroundings and constructed social systems. He uses generic objects and situations, analyses them and changes the way of their presentation, while questioning their purpose. He employs at times widely accessible and cheap technologies (photography, Xerox, offset) aiming at precision, specificity and thorough research while usually arriving at a very general outcome and at times high-tech methods (3D scanning, 3D rendering) to achieve the opposite. His work consists of either a combination of different elements or isolation of one from the other to create new tension and layers of possible reading while challenging their usual hierarchy. Since 2017 he is head of the Studio of Photography and New Media at FAMU, Prague. From 2008-2016 Hynek Alt was head of the photography studio at the Academy of Arts, Architecture and Design in Prague, together with Aleksandra Vajd.

His work has been shown at Fotograf Gallery in Prague, House of Art, Česke Budějovice, Futura Gallery in Prague and Rudolfinum Prague, Škuc Gallery Ljubljana, Slovenia, Plato, Ostrava, National Gallery, Prague, , Graz, Galerie Fait, Brno, Astrup Fearnley Museet, Oslo, Mumok, Vienna, Drdova Gallery Prague, among others.


Matyáš Chochola (*1986, CZ)


The Master of the Golden Cut, 2018

The cathartic experience of a Mad-Max-like tour through the city - how far can you push the boundaries of a parking lot?




Matyáš Chochola was born in 1986. He lives and works in Prague, Czech Republic.

He graduated from the Academy of Fine Arts in Prague and Universität der Künste in Berlin. He works primarily in the media of installation and performance. His body of work represents a richly composed universe whose integral part is constituted by the figure of the artist himself. Chochola experiments with post-internet aesthetics, an unorthodox yet sophisticated combination of the symbols of the present and its ancient roots. Trash objects meet precise glass-making techniques, spilled colour meets silk painting, the poetry of shamanism meets 90’s disco.

He has introduced his work, among others, at Manifesta 11 in Zurich, the Grimmuseum in Berlin, SVIT Gallery and the National Gallery in Prague. In 2012, Chochola received the Václav Chad Award at the 6th Zlín Youth Salon. In 2016 he received the Jindřich Chalupecký Award for his show Magic, Exotic, Erotic in the National Gallery in Prague.

www.matyaschochola.cz

Jasmina Cibic (*1979, SI)


The Flower Effect, 2018


National Museum
Václavské náměstí 1700/68
110 00 Praha 1 – Nové Město
Open: Monday–Sunday 10am–6pm,
except Wednesday 9am–6pm,
every first Wednesday in a month 10am–8pm
50°04'47.8"N 14°25'54.2"E

The former Federal Assembly, a collection of imaginary new rose variants representing the botanical hybrid between the rose Europa and roses named after the founding fathers of the European Union.




Jasmina Cibic was born 1979 in Ljubljana.

She works in film, sculpture, performance and installation to explore “soft power” – how political rhetoric is deployed through art and architecture, particularly examining how cultural production is used by the state to communicate certain principles and aspirations. Through unfolding the complex entanglements of art, gender and state power, the artist encourages viewers to consider the strategies employed in the construction of national culture. Her multi-layered approach draws together primary sources and interconnected narratives, creating shifting meanings and highlighting historical uncertainties and untruths.

Jasmina represented Slovenia at the 55th Venice Biennale. Her work was shown at BALTIC Gateshead, MSU Zagreb, MOCA Belgrade, MGLC Ljubljana, CCS BARD, Guangdong Museum of Art China, La Panacee Montpellier, MSUM Ljubljana and MNHA Luxembourg. Cibic’s films have been screened at FIAC Paris, HKW Berlin, Les Rencontres Internationales Paris and Copenhagen International Documentary Festival. In 2016 Jasmina Cibic has been nominated for the Jarman Award and was the winner of the MAC International Ulster Bank and Charlottenborg Fonden Awards.


Viktor Dedek (*1993, CZ)


Play Today – ludologie ve dvoře, 2018


Courtyard, passageway between Spálená and Opatovická
50°04'46.4"N 14°25'07.4"E

A digital courtyard as a space between you and your screen, translated into the physical reality of the urban landscape.




Viktor Dedek was born in 1993. He lives and works in Prague, Czech Republic.

Dedek is a student of the sculpture studio at the Academy of Arts, Architecture and Design. His practice evolves around precise strategies of the semiotic analysis by means of the sculptural medium. His recent interest in theatre and performance functions as an enhancement to his previous installation work and synthesises a certain sense of romantic poetics with pragmatic conceptualism.

He has shown his work at Galerie Jelení in Prague and participated in a series of group shows, for instance at Prague City Gallery, House of Arts in Brno and the gallery of Academy of Fine Arts in Prague.

Deniz Eroglu (*1981, DK)


A Vacation, 2018


Stone Bell House, Cellar
Staroměstské nám. 1/605/13,
110 00 Praha – Staré Město, Czechia
Tuesday – Sunday | 2PM – 8PM
50°05'15.9"N 14°25'19.2"E

An unexpected turn of your vacation, instead of a medieval city you find yourself in the Turkish highlands. Are you even allowed to be here?




Deniz Eroglu was born 1981 in Denmark. He lives and works in Amsterdam, the Netherlands.

While over the last years Deniz Eroglu’s practice has gradually opened up to other formats besides video and film encompassing different media such as sculptures, installations and text his source material has been narrowed down to the artist’s ancestry, history and personal biography. Eroglu has long exhibited a strong interest in characters that inhabit the margins of society and are in some way vulnerable or subject to persecution; be it melancholic hermits, bedridden patients or emaciated peasants, to name a few examples. The main themes being vulnerability and displacement within his own personal context.

Deniz Eroglu graduated from Städelschule in 2014. He was a resident artist at the Rijksakademie from 2016-17. His work has been shown amongst others at MMK, Staatliche Kunsthalle Baden-Baden, the Marrakech Biennial and Kunsthalle Krems.

http://denizeroglu.net

Feld72



Klárov, park pod Starými zámeckými schody
118 00 Praha 1-Malá Strana
50°05'31.0"N 14°24'32.4"E



The work of Feld72 pivots on the interface of architecture, applied urbanism and art. Feld72 has implemented numerous projects of various dimensions in the national and international context, a huge range including master plans, buildings, studies on urban development, interior and exhibition design, urban strategies and large-scale interventions in the urban environment. The multiple award-winning works are remarkable for a socially responsible, innovative and sustainable approach to architecture and urbanism. Tracking down and reinforcing the potential in locations and (social) environments is a fundamental element of Feld72 projects.

Expanding the field of architecture within the context of the self-initiated project series “Urban Strategies”, the collective has been engaged ever since the office was founded in 2002 in Vienna in tackling the issues of the use and perception of the public space. Through numerous teaching assignments at universities the approach and methodology of Feld72 have been integrated into the academic discourse.

Liam Gillick (*1964, UK)


Flatter Earthed, 2018
A message from Miltiades, 2018
Fragment d’histoire future 1-3, 2018

Vizuální identita Flat Earth Society a radostné tóny vedoucí nás všechny do Podzemí.




Liam Gillick was born in 1964. He lives and works in New York, USA.

Gillick deploys multiple forms to expose the new ideological control systems that emerged at the beginning of the 1990s. He has developed a number of key narratives that often form the engine for a body of work. Gillick’s work exposes the dysfunctional aspects of a modernist legacy in terms of abstraction and architecture when framed within a globalized, neo-liberal consensus.

His work has been included in numerous important exhibitions including documenta and the Venice, Berlin and Istanbul Biennales - representing Germany in 2009 in Venice. Solo museum exhibitions have taken place at the Museum of Contemporary Art in Chicago, the Museum of Modern Art in New York and Tate in London. Over the last twenty five years, Gillick has also been a prolific writer and critic of contemporary art – contributing to Artforum, October, Frieze and e-flux Journal. He is the author of a number of books including a volume of his selected critical writing. High profile public works include the British Government Home Office (Interior Ministry) building in London and the Lufthansa Headquarters in Frankfurt. Throughout this time Gillick has extended his practice into experimental venues and collaborative projects with artists including Philippe Parreno, Lawrence Weiner and Louise Lawler.

http://liamgillick.info/

Anna Hulačová (*1984, CZ)


Surveys of an arrangement, 2018


Senovážné nám. 976/33
110 00 Praha 1-Nové Město
50°05'07.9"N 14°25'51.4"E

Traces of formerly persecuted, later on institutionalised public creativity redefined, deconstructed and imbued with a shifted meaning.




Anna Hulačová was born 1984 in Sušice. She lives and works in Prague, Czech Republic.

Hulačová's practice evolves around sculptures which revive traditional crafts, translating the inspiration found in ancient mythologies, eastern cultures as well as in Czech folk traditions and original Christian symbolism into the language of contemporary art.

She graduated from the Academy of Fine Arts in Prague and has been nominated for the Jindřich Chalupecký Award in 2016. Her work has been shown amongst others at Palais de Tokyo in Paris, Meyer-Riegger in Berlin, Z20 Sara Zanin in Rome, Contemporary Art Centre in Vilnius and National Gallery in Prague.

Christian Jankowski (*1968, DE)


Leaving No Marks/ Playing Spree to Moldau, 2018

The artist is present, dreaming, washing, drying, playing.




Christian Jankowski was born in 1968. He lives and works in Berlin, Germany.

By utilising the medium of human relationships, the comedic slapstick humour of Formulae, or indeed any of the other innumerable tools of modern communication available, Christian Jankowski trades blows with history, politics and the language of art. His works are almost always performances - both literally and figuratively - in so far as his carefully calibrated set-ups and interactive scenarios engage occasionally unsuspecting collaborators: televangelists, fortune tellers, border guards and professional magicians have all innocently colluded with him to become co-authors of his wide-ranging work.

Jankowski studied at the Academy of Fine Arts, Hamburg, Germany. Recent solo exhibitions include Kunsthaus Hamburg, Germany, Center for Contemporary Art, Ujazdowski Castle, Warsaw, Poland; Sala de Arte Publico Siqueiros, Mexico City, Mexico; MACRO, Rome, Italy; Kunstmuseum Stuttgart, Stuttgart, Germany; Miami Art Museum, Florida, USA; MIT List Visual Art Center, Massachusetts, Cambridge, USA; Swiss Institute, New York, USA and the Wadsworth Atheneum, Hartford, Connecticut, USA. He has participated in numerous group exhibitions “When I Give, I Give Myself”, Van Gogh Museum, Amsterdam, the Netherlands; Project Los Altos (off-site show in Silicon Valley, staged by San Francisco Museum of Modern Art, USA; Taipei Biennial, Taiwan; Sydney Biennial, Australia; the Whitney Biennial, New York, NY, USA and the Venice Biennale. In 2016, Jankowski curated the 11th edition of Manifesta, becoming the first artist to assume the role.

Barbara Kapusta (*1983, AT)


We Make the Place by Playing, 2018


Theatre and Café Komedie
Jungmannova 15/1, 110 00 Praha 1-Nové Město, Czechia
Open: Monday - Friday | 8:30 AM - 1AM
Saturday - Sunday | 5PM - 1AM
50°04'45.7"N 14°25'17.8"E

Theatre and Café NONA
Národní 1393/4, 110 00 Praha 1 – Nové Město, Czechia
Open: Monday - Friday | 9AM – 12AM
Saturday - Sunday | 11AM – 12AM
Holidays: July 10th - August 20th
50°04'52.5"N 14°24'52.7"E

We demand to be public and exposed but not attacked/ we demand to be in public, seen, but private…

A silent play of four actors, transmitting their messages layered on precious marble.




Barbara Kapusta was born in 1983. She lives and works in Vienna.

Kapusta's work almost exclusively departs from poetry and from there evolves into performance, film, sculpture or storytelling. She explores the relationship between the material nature of things and the physical existence of the observer as well as verbal and non-verbal language employed in this particular exchange of animate and inanimate participants.

Her objects, films and text-based works have recently been shown at, among others, Gianni Manhattan Vienna, KUP Athens, 21er Haus Vienna, Kunsthalle Vienna, Scriptings Berlin, Beautiful Gallery in Chicago and mumok cinema in Vienna.

http://www.barbarakapusta.net

David Maljkovic (*1973, HR)


Dead Ad, 2018


Hotel Elysee, rooftop
Václavské nám. 43, 110 00 Praha 1 – Nové Město
50°04'52.8"N 14°25'41.7"E

A legacy of advertisement from the era of the modernist project, piercing through the current state of visual pollution of the city.




David Maljkovic was born 1973 in Rijeka, Croatia. He lives and works in Zagreb, Croatia.

His practice engages with the malleable relationship between form and content in aesthetic terms, or signifier and signified in linguistic terms. It is within this relationship that Maljkovic negotiates his formal methods and disjunctive intentions, discussing topics such as formalism of failed utopias.

After studying at the Academy of Fine Arts in Zagreb, David Maljković participated in several artist's residency programs including the one of the Rijksakademie in Amsterdam. His work has been shown at Palais de Tokyo in Paris, Van Abbemuseum in Eindhoven, Secession Vienna, Museo Reina Sofia in Madrid, Haus der Kulturen der Welt in Berlin, 11th Gwangju Biennale and the 56. Biennale di Venezia, among others.

Christoph Meier (*1980, AT)


Untitled, 2018


Church of Our Lady of the Snows x Austrian Cultural Forum, Courtyard
Jungmannovo nám. 753/18, 110 00 Praha – Nové Město, Czechia
50°04'58.5"N 14°25'22.3"E

A crowd control mechanism with a mysterious purpose or unintelligible meaning, spreading as a modular structure, testing the qualities of the given space.




Christoph Meier was born in 1980 in Vienna, Austria, where he lives and works.

Christoph Meier’s work considers the artistic intervention as a frame for social exchange, often alluding to mundane and popular spaces for interaction, such as the bar. Resorting to architectural strategies, such as the grid i.e. he reveals previously not visible conditions of the surrounding space, usually in a nonchalant and abstract way, where content and frame merge to accentuate the void. A void to be filled or reflected upon by the viewer.

Meier graduated from the Academy of Fine Arts Vienna and received the MAK Schindler Scholarship. His work has been shown at Casino Luxembourg, KIOSK Ghent, Kunstverein Hamburg, French Pavilion in Zagreb and Kunsthaus Graz, amongst others.

http://www.christophmeier.net

Ute Müller (*1978, AT)



Untitled, 2018


RSJ
Revoluční 1502/30, 110 00 Praha – Nové Město, Czechia
50°05'33.1"N 14°25'39.3"E

A series of hands reaching out into a plane of merging national history and visions of future possibilities blinded by a mist of contradicting interests.




Ute Müller was born 1978 in Graz, Austria. She lives and works in Vienna, Austria.

Ambivalence as a stance and impetus in seeking form and anti-form play a decisive role for Ute Müller: be it casts of negative forms of almost recognizable objects or arrangements of found, easy- to-change, and thus differently charged things. The artist makes comprehensible the process of formation; she varies materials and combines references without allowing anything specific to be missed when grappling with form, idea, and presentation. The categories of space and time are vital for the artist.

Müller studied Fine Arts at the University of Applied Arts Vienna and at the Royal College of Art London. Since 2009 she has been publishing the artist-zine editions Black Pages with Christoph Meier and Nick Oberthaler. Müller has shown amongst other venues at Künstlerhaus Graz, Établissement d‘en face Brussels, Kunsthalle Vienna, Galerie Max Hetzler Berlin, Museum for Applied Arts Vienna, Nomas Foundation Rome, Austrian Cultural Forum New York, 21er Haus Vienna, Pigna Project Space Rome, Kumho Museum Seoul and NJP Art Center Seoul.

www.utemueller.blackpages.at/utemueller.html

Antonis Pittas (*1973, GR)



Who Cares; I will close my eyes and put my finger on the map, 2018


Náměstí Franze Kafky
50°05'15.7"N 14°25'08.9"E

Zenger Transformer Substation
Pod Bruskou 147/3, 118 00 Malá Strana
50°05'32.7"N 14°24'33.9"E

A tower of various forgotten public memories, a text embedded into the skin of a future institution, who really cares?!




Antonis Pittas was born in 1973, in Athens, Greece. He lives and works in Amsterdam.

Pittas mainly creates context-sensitive installations, characterized by a performative interaction between past political and artistic movements and the present. In each of his presentations, the artist looks for a dialogue in the gap between the artwork and the art space, whilst addressing the way historical (artistic) forms represent themselves in the contemporary context, sometimes in a violent manner.

Next to his art practice, for the last five years Pittas has been a teacher at the Rietveld Academie in Amsterdam, as well as a guest teacher at the Royal Danish Academy of Fine Arts in Copenhagen and at the Sandberg Institute in Amsterdam. His work has been shown amongst others at Hordaland Kunstsenter, Bergen; Stedelijk Museum Bureau Amsterdam; Annet Gelink Gallery; Hessel Museum of Art & CSS Bard Galleries, Annandale, New York; Benaki Museum, Athens; Van Abbemuseum, Eindhoven; Centraal Museum, Utrecht; Kunsthal Extra City, Antwerp; Bozar, Brussels; Kunsthal Charlottenborg, Copenhagen.

http://antonispittas.info

Boris Ondreička (*1969, SK)


ABYSS, 2015-2018


Stone Bell House, cellar
Staroměstské nám. 1/605/13, 110 00 Staré Město
Open: Tuesday – Sunday | 2PM – 8PM
50°05'15.9"N 14°25'19.2"E

Negative mountaineering into a mediaeval cellar, into the Abyss, the bottomless pit, a spring of duality, a gap between unreal and real.




Boris Ondreička was born in 1969. He lives and works in Bratislava, Slovakia and in Vienna, Austria.

Ondreička is a curator, artist, writer and singer. He has been working at Soros Centre for Contemporary Arts, Bratislava, as the director of the art-initiative tranzit.sk, Bratislava, Slovakia, and since 2012 curator at Thyssen- Bornemisza Art Contemporary, Vienna, Austria. Where he has (co-)curated Rare Earth; Supper Club; Tomorrow Morning Line; Ephemeropteræ, Olafur Eliasson Green light. Amongst that he has co/curated Manifesta 8, Being The Future, Palast der Republik, Berlin, DE; Symposion at The Event, Birmingham, UK; Auditorium, Stage, Backstage, Frankfurter Kunstverein, DE; and many individual projects. In 2010 he co-founded the Július Koller Society.

His artistic practice evolves around questions of transfer or translation of meaning between a text and an image, defined by precise rhythm, timing, metrics, consistency and inner critique. He carves out the space of his work somewhere between areas of the private and the public.

His artistic projects include Manifesta 2, Venice Biennial; Prague-, Gyumri-, Torino-, Anzengruber-, Tai-Pei-, Athens- , Kyiv-, Jakarta- biennales; MoMA-PS1 NYC, USA; BAK Utrecht, NL; Maastricht, NL; W139 and De Appel, Amsterdam, NL; Smak, Gent, BE; Kunsthalle Loppem, BE; Marres, Tramway Glasgow UK, Fondazione Sandretto Re Rebaudengo Turin, IT; Le Plateau, and Galerie Jocelyn Wolff, both Paris, F; Frankfurter-, Kölnischer-, Badischer-, Münchener-, Stuttgarter Kunstvereins, DE; Kiasma, Helsinki, FI; HKW, Berlin, DE; ACAF, Alexandria, EG; Slovak and Czech national galleries; Secession, Mumok, Kunsthalle, Tanzquartier, all Vienna, AT; and elsewhere. His HI! lo. was published at tranzit / jrp Ringier, CH. Since 1987 is a lead-singer and lyrics writer of the band Kosa z nosa, Bratislava, SK.

Lisa Reitmeier (*1984, DE)



Public Paranoia, 2018


Municipal Authority of Prague 1
VVodičkova 681/18, 110 00 Praha – Nové Město, Czechia
50°04'45.9"N 14°25'22.1"E

Stone Bell House, Cellar
Staroměstské nám. 1/605/13, 110 00 Praha – Staré Město, Czechia
Open: Tuesday – Sunday | 2PM – 8PM
50°05'15.9"N 14°25'19.2"E

A parallel map of the city inhabited by a mole-like creature exploring long forgotten theses of Neptunists and Plutonists. What lies beneath the surface unfolds in front of your very eyes.




Lisa Reitmeier was born in 1984 in Trostberg, Germany. She lives and works in Munich, Germany.

Power systems and body structures, rituals and cruelty are the subjects of Lisa Reitmeiers work. Together with the human body, its integrity and its modification, these concepts create a constitution that questions to what extent the performativity of violence and ritual form the human psyche. Experimental clash of materials and an emergent working process lead to extensive installations resembling walkable psychograms (a mixture of crime scene, research laboratory, psychoanalysis and intimacy). This performance of materials reveals how the formation of the psyche destroys as well as recreates interpersonal space, leading to both trauma and healing.

Reitmeier graduated from the Academy of Fine Arts in Munich and was an artist resident at the Rijksakademie in Amsterdam from 2014-2016. Her work has been shown at Hospitality in Cologne, Rijksakademie Amsterdam, Kunstverein Diepenheim and EYE Museum Amsterdam amongst others.

http://www.lisareitmeier.com

Sofie Thorsen (*1971, DK)


Excavation, 2018


Florentinum, courtyard
Na Florenci 2116/15, 110 00 Praha 1
50°05'20.7"N 14°26'07.9"E

Zaha Hadid, medieval city walls, trash pits, wells and remnants of former 14th-century houses, shapes of history translated into sculptural vessels holding a fluid process of constant urban change.




Sofie Thorsen was born 1971 in Århus, Denmark. She lives and works in Vienna, Austria.

In her installations, films and works on paper, Sofie Thorsen deals with questions of space and architecture in urban space as well as the exhibition context itself. Whereas the starting point of her work is mostly research based or documentary, the images and materials that surface during the research are reworked and developed into abstract objects and images that constitute the final work.

A graduate of the Academy of Fine Arts in Vienna and the Royal Danish Academy of Fine Arts in Copenhagen, she has shown her work internationally in numerous group and solo exhibitions. She held a teaching position at the Academy of Fine Arts in Vienna from 2005 to 2009. Her work has been shown among others at Kunstbüro, Mumok Kino, Krobath Galerie, Leopold Museum, MAK/ Vienna Biennial, 21er Haus, all in Vienna; Anhava Galerie, Helsinki; House of Arts České Budějovice, Kunsthaus Düsseldorf, Krobath Berlin; Austrian Cultural Forum, New York City; etc.

http://sofiethorsen.net

MAP

01 Hynek Alt

02 Matyáš Chochola

03 Jasmina Cibic

04 Viktor Dedek

05 Deniz Eroglu

06 Feld72

07 Liam Gillick

08 Anna Hulačová

09 Christian Jankowski

10 Barbara Kapusta

11 David Maljkovic

12 Christoph Meier

13 Ute Müller


14 Antonis Pittas

15 Boris Ondreička

16 Lisa Reitmeier

17 Sofie Thorsen

Mariánské nám. 190/5

Václavské nám. 1700/68

Václavské nám. 1700/68

50.07955, 14.41872

Staroměstské nám. 1/605/13

50.09194, 14.40899

07 Liam Gillick

Senovážné nám.

Jungmannova 15/1

Národní 1393/4

Václavské nám. 43

Jungmannovo nám. 753/18

Revoluční 1502/30

50.08769, 14.41913

Staroměstské nám. 1/3

Staroměstské nám. 4/1

Na Florenci 2116/15

Check out the locations

PROGRAM

COMING VERY SOON

ABOUT

“VICE VERSA: Our Earth is their Moon, our Moon is their Earth”, is the title of this years m3 festival and a phrase borrowed from Ursula Le Guin's 1974 utopian Sci-Fi novel The Dispossessed it underlines a dual coexistence of two opposing, yet mutually dependent and intertwined civilisations. In the context of a festival of art in public space it relates to issues of a wide discrepancy between the general public and the professional art audience, questions regarding the various levels of social hierarchy in the population inhabiting the city, same as the peculiar relationship of local residents to short-term visitors.

The city centre of Prague vibrates with impulses of the constant tourist influx. Groups of visitors on their sightseeing tours, filling their phones and SD cards with endless amounts of images, spring break or stag night crews running around masked as pirates, genitals, or Soviet soldiers are plundering the streets and leaving unprecedentedly high tips in overpriced bars, where no residents would ever go to. Everything seems to be in order. Not much space for complaints anymore, since this is the way how the city has been developing since the radical post-communist transformation after the Fall of the Berlin Wall. Possibly one other shift is comparable to 1989, namely the introduction of cheap low-cost flights, remarkably enlarging the numbers of young visitors.

It's harder and harder to find any locals actually living in the centre, since the prices have rocketed skyhigh and it's even hard to talk about gentrification at this point, since everything seems to be orchestrated in mutual acceptance of the city itself, developers and smaller businesses, all profiting from the given conditions. Exploitation goes far beyond the scale of the touristic industry, the cultural and historical richness of the city is adapting to serve the fast pace of populistic requirements comparable to the strategies of a hollywood blockbuster.

Critical sensitivity rarely finds a place in the public discussion and a fact supported by the level of general lack of interest.

Nothing is completely lost though. The historical significance of the city, the richness of its cultural and subcultural movements are still there to a large extent, just out of sight of the global public. You have to look for hidden treasures, be patient and curious.

Such is the approach of VICE VERSA, carefully implementing on various scales and timelines a variety of approaches and artistic media into the fabric of the city taking shape as new site-responsive occurrences. Ranging from loud statements, to very subtle ones, some almost invisible interventions or commentaries relating to both historical and current and trying to assess a possible future of the city.

STORYLINE:

Since the beginning of Autumn 2017, artists from different parts of the world have been coming to Prague for an extensive research of the city as a hub of both historical and contemporary issues followed and developed by the artists through their respective practices. Since the start of conceptual preparation of the festival, the intention of the curators has been since the start of conceptual preparation of the festival to bring various different perspectives from foreign and local artists, whose interests are creating a scale of possible approaches to pressing problems and downfalls of the current state of the city of Prague, same as to its richness and various historical treasures, those ones present in the broader public discourse, same as hidden, or forgotten ones. Each artist is formulating hers or his thoughts through a plethora of medias, spanning from a neon sign, underground mystic diagram and monumental sculpture to contemplative film or a wall text. Throughout the research itself, both the artists and the curators completely changed their perspective of the city, which they were either well acquainted with, or visited for the first time. Multiple layers of understanding were unfolded, folded again and revaluated to comprehend more personally the tangible presence of history on every single step during almost endless walks back and forth in the streets, squares, parks and hills, same as passages, cinemas, university lecture halls, exhibition spaces or underground tunnels. References to the local culture: architecture, fine arts, applied arts, literature and film are forming yet another plane of understanding translated into each single work. After all these experiences VICE VERSA is leaving a traditional and established format of presentations of art in public space, based on utilisation of primary outdoor public spaces and stepping largely into semi-public and semi-private areas, which are broadening, but at the same time focusing the curatorial intention, thus presenting not only a festival of sculptures and interventions, but also a presentation of complex thoughts and considerations of the local context.


CREDITS:

CURATED BY
Significant Other: Laura Amann & Jen Kratochvil

ARTISTIC DIRECTOR
Čestmír Suška

FESTIVAL ARTISTIC BOARD
Kateřina Frejlachová and Olga Škochová (Prague Institute of Planning and Development), Marie Foltýnová (Prague City Gallery), Vojtěch Míča (Academy of Fine Arts in Prague), Dominik Lang (Academy of Arts, Architecture and Design in Prague), Pavel Karous.

PRODUCED BY
Petra Špačková, Iv Vodičková, Marek Volf

PR AND MARKETING
Tatiana Brederová

VISUAL MOTIF
Liam Gillick

GRAPHIC DESIGN
finkner.me

INFO POINT
Stone Bell House, cellar
Staroměstské nám. 1, Staré Město
Open: Tue–Sun, 2PM – 8PM


Pořádá BUBEC o.p.s.

Generálni partner

Hlavní partner

Mediální partneři

Partneři

Festival se koná pod záštitou primátorky hlavního města Prahy Adriany Krnáčové, radního hlavního města Prahy Jana Wolfa a starosty MČ Praha 1 Oldřicha Lomeckého.