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Juliana Höschlová & Marta Antoniak: Bulimia Cocktail Party

In Prague and Krakow on August 7th, 2017 “We went to elementary school when Kinder eggs from St. Nicholas were a rarity and going to McDonalds‘ only a treat at the end of the school year. Colorful artefacts of a burgeoning capitalism, whose definition we began to grasp only a decade later, caused us states of excited trance. We would collect joghurt cups, chewing gum tattoos and Pogs. And today? Today we’re hungover. We gorge on things, information, emotions, we gulp down data and swallow everything available, in plastic or not... and we’re having a hard time digesting. Like a generation of ,unaware bulimics we constantly and intuitively have to filter it all, so as not to get lost under the trash calamity. The wrong kind of hangover pulsates in our heads, the one that brings spleen and nostalgia, as if after a big party full of drinks and cocktail umbrellas.“ ------- The Bulimia Cocktail Party exhibition will for the very first time present the artistic collaboration of two artists of the upcoming generation of Polish and Czech art scenes, which naturally converge due to similar sociocultural backgrounds: Juliana Höschlová (CZ) and Marta Antoniak (PL). Juliana Höschlová (*1987), a graduate of Prague’s Academy of Fine Arts, is known in the Czech environment through her intense performances, engaged conceptual drawings and videoart, through which in the recent years she undertakes a criticism of mass culture, the mechanisms of consumer society and image manipulation. As part of preparations for the Bulimia Cocktail Party exhibition, Juliana organized a collection of plastic bags, which were then smudged and conjoined into a monumental abstract painting. The collecting of the bags was made difficult by the fact that it took place in Juliana’s temporary place of work in the “deplastifying“ Austria, so most of the bags traveled from the Czech Republic. The exhibition is accompanied by a story from a dystopic world – from “Whiteland“, where flows a black river of oil and people buckle under the weight of their own bellies. Juliana Höschlová mediates the story by means of simple illustrations projected in the gallery through overhead projectors. Marta Antoniak (*1986) is a painter and has recently received her doctorate at the Krakow Academy of Fine Arts. The pieces presented represent Marta as an artist closely examining her medium, which has in the recent years taken on the form of a unique relief. Through melted plastic toys and chewing gum tattoos she creates pleasing yet unsettling assemblages bordering with kitsch. Her relief-paintings often represent parasites spreading under human skin, which upon observation awaken a tingling body feeling: they tempt the observer into a manual exploration of themselves. Juliana and Marta’s joint exhibit is formed from the belief that their formal expressions can create a strong visual experience together. On another level, the exhibition reflects the nostalgia of a generation raised in the nineties in post-communist countries, when the pitfalls of a consumer culture seemed as distant as the world of adults and the currently suffusing feeling of hypersaturation and the fear of its ecological impact. Note: Juaiana Höschlová collected 246 plastic bags. Many thanks to: Zuzana Belasová, Martin Bláha, Papaa Bermansu, Robert Čep, Hedvika Čepová, Jan Dytrych, Kristýna Dytrych Šormová,  Daniel Fabry, Veronika Hauer, Andreas Heller, Zuzana Kolouchová, Ivana Kremláčková, Anika Kronberger, Veronika Maděrová, Ingeborg Pock, Jakob Pock, Renáta Počinková, Veronika Quinn Novotná,  Eva Riebová, Petr Studnička, Šárka Studničková, Iva Škaloudová, Lucie Šplíchalová

Linda Dušková & kolektiv: Sandman

This performace is in czech only.

Aleš Zapletal: Permakultura

Milan Mazúr: Kapitola ÓCUKA - Epilog

Kasha Jandáčková: K smrti štastní

This performance is in czech only!

Tvůrčí skupina Díra na trhu: Plešatá zpěvačka (Ionesco, Jánová, Valerián)

This performance is in czech only!

NoD / Kviiiz

This event is in czech only!

Díra na trhu: Interdimenzionální čočka

This peeformance is in Czech only.

Timbre Timbre (CAN), supprt: Chris Cundy (UK)

Three years have passed since the last and the first Prague show. This year, Canadian Timber Timbre return to present their latest record Sincerely,…

Tereza Zelenková: Had, který zmizel v díře ve stěně

Kasha Jandáčková, kolektiv & NoD: Ve dne v noci

This performance is in czech only!

THE IMPRO BIG BAND (Omar Argentino Galvan feat. IMPROvariace)

“Sound painting” is a sign language used for composing scenes (combining different art disciplines) in real time performances. “Sound…

Díra na trhu: Interdimenzionální čočka

This peeformance is in Czech only.

BE25 | μSputnik

An auteur-style production about the adventure experienced in space by Sputnik, planet Earth’s first artificial satellite. It is also the first…

BE25 | μSputnik

An auteur-style production about the adventure experienced in space by Sputnik, planet Earth’s first artificial satellite. It is also the first…

BE25 | Loutky a cigára

This performace is in Czech only.

BE25 | Prokletí rodu Gordonů

This performace is in Czech only.

BE25 | GOON: Krvavá pomsta

This performance is in Czech only.

BE25 | VINNETOU

This perfomrance is in Czech only.

BE25 | SANDMAN

This performance is in Czech only.

Kolektiv Maso krůtí: Cirkusvobody

Thins performance is in czech only!

And So I Watch You From Afar (NIR, Sargent House)

Michael Malarkey (US) - NEW VENUE

Due to extremely high demand, Michael Malarkey’s show has been moved from NoD to Roxy. Show date hasn’t changed (Nov 27th 2017) and all purchased…

cz

Jan Pfeiffer: Two Rules for One Thing

NoD Gallery
Jan Pfeiffer: Two Rules for One Thing
Curator: Pavel Kubesa

Jan Pfeiffer has established himself as an artist working with diverse formats of creating complex signal situations thematizing different semantic contexts. His works abound in historical, mythological, religious and cultural connotations of both specific sites and purely abstract, even anthropological archetypal motifs. Pfeiffer´s visual morphology elaborates the semantic options offered by various sets of basic geometric shapes and develops them in a process aimed at unfolding their broader interpretational potential and a dramatization of symbolic narratives. A common denominator of Pfeiffer´s output is a shared, characteristic mood, an externalized individual sensitivity which determines the nature and language of his approach to individual subjects. Pfeiffer´s narratives thus induce the feeling of a seemingly gentle yet at the same time firm handshake, a physical contact straddling in terms of effect the borderline between a tender stroke and the act of moulding of material, either sculptural or human, represented by spectators.

The project entitled Two Rules for One Thing exemplifies Pfeiffer´s idiom in its handling of correlations between willpower, object and shape, and the limits set on its use. In the work´s unfoiling threedimensional narrative, the prime instrument of communication consists in the repetitive occurrence of the motif of a sinusoid. Its variations are employed with a view to articulating an intricate web of ideas building up a metaphor of the process of human deliberation.

The core of Pfeiffer´s situation consists in approaching the human individual as an active element continuously confronted with sets of either external or internal rules, as well as with a specific set of personal aspirations and capacities geared towards actually making rules, with a view to getting a proper grasp of things. For Pfeiffer, a model situation is represented there by the act of entering into landscape and its ensuing structuring by choreographed individual or collective human movement. The movement he has in mind can be either internal (driven by decision-making, alternative choice, and physical impulses), or external, in terms of actual space-related definitions of direction or limitation. In real life, different strategies and different institutions happen to construct landscape using diverse instruments of mobility. The surface of landscape-as-material-object, with its embedded content of deposited strata of minerals and soil, is overlaid by sediments of ambition and power taking the forms of instructions, restrictions and control mechanisms. The amount of space available for the manifestation of (predominantly physical) movement has been dwindling, for the sake of unidirectional corridors of action which ultimately set the rules. The actual width of the corridors within which we are able to structure our movement ultimately depends on our choice of the game which we have decided to play, or which we have been made to play.

By his own choice of a staged and choreographed approach, however, Pfeiffer focuses primarily on the question of individual, internal action, using the device of animating the spectator´s movement through the physical space of the gallery. There, the unconditional repetition of the sinusoid (i.e., the rule) in the form of landscape sketches of the morphology of hill-shaped reliefs in black-and-white ink drawings (diversifying this formal limitation by varying contents) in the gallery´s first section confronts the spectator with the need to make a decision: namely, whether or not to try and force their way past this large object wedged between the gallery´s walls. The suggestion of this kind of formal openness involving the need to enter the work in the literal, physical sense, enables Pfeiffer to set into motion a simulation of the decision-making process, complete with its elements of determination and taking the first step. Letting into play the physical experience of bowing one´s head, an action required for getting through and past the object, he moreover achieves a visualization of a metaphor of humility vis-a-vis this “rite of passage” to the physical experience of a rule.

The show´s second section opens up before the spectator the sight of a more loosely structured composition featuring instances of variation and plurality, as well as symbiosis of different rules (either formal, or content-wise) applied to one thing. An interesting role is played here by two photographs of hands which, as metaphors of “grasping”, point to the cognitive fact that form alone can be instrumental in decision-making, offering itself as a “perceived alternative,” showing the way. Similarly, what was initially a comparatively inaccessible landscape is now seen for the first time from the other side, where it is treated in an entirely different way. In the exhibition´s last room, the original thing is divided, detached from the rules of form, turned inside out, its averted sides now giving shape to a new landscape element: a corridor, or fissure, which at its far end sets in motion a dialogue-style play of rules involving the use of a six-minute short film re-enacting the movements and unaccomplished conversation between two actors who stand in “the same place”, without ever actually meeting. It may seem that the installation´s end point thus suggests the idea of a unified, communal use of a particular space, the aspiration to a union which, however, is for the time being still unattainable.