Conditions of impossibility I/VII
Loss of time
23. 8. – 1. 10. 2017 (exhibition extended)
opening: 22. 8. 2017
launch of the exhibition catalogue and guided
tour with curator Václav Magid 19. 9. 2017 at 4pm
curated by: Václav Magid
exhibiting artists: Vasil Artamonov, Zbyněk Baladrán, Anne-Claire Barriga, Daniela&Linda Dostálková, Chto delat, Tomáš Moravec, Jozef Mrva jr., Matěj Smetana, Jan Šerých, Aleksandra Vajd, Lenka Vítková
The words ‘I don’t have time’ embody one of the key features of contemporary subjectivity. Compared to an era that ‘believed in the future’, the last few decades have been dominated more by a dystopian imaginary. We no longer look to the future with hope but with fear. We no longer experience the present as the locus of becoming, where decisions are being forged that lead to change, but as the endless prolongation of a status quo, with which the acceleration of technological changes and the flow of information is in only ostensible contrast.
In that our sensibility is collapsing in its attempt to cope with the flood of data and demands, our living time is fracturing into a cluster of discrete fragments subject to commodification. Is time passing too fast? Or is it simply standing still? What seems clear is that it no longer belongs to us. So how can we regain time? Should we try to slow down the pace of life and save the few remaining achievements of modernity from extinction? Or should be accelerate still further the development of technology and speculatively change the present such that we look at it from the perspective of the future? Or should we find a point of leverage in the present that will allow us once more to understand the future as open?
Press release here
Radim Labuda: On soup practice
19. 9. 2017 from 5 pm
When an artist cooks, she becomes part of a certain tradition. This of course is the case even when she sculpts or paints. However, during this lecture we will focus on artists that cook.
When an artist cooks, the informed public finds it impossible to separate this activity from its awareness of other cooking artists. And yet it is also impossible to disentangle this event in relation to professional cuisine or the history or prehistory of the preparation and consumption of food.
When an artist cooks, the result of her work can be appreciated on two aesthetic levels. Firstly, on the level of Kantian distanciation, which institutionalised art has relied on for centuries. And secondly, on the level of the appreciation of the subtly blended flavours of the work. As far as the first level of appreciation is concerned, the second level might appear inferior, even fraudulent, since if the food is good, then the experience to be had from eating it overshadows the distanciated aesthetic experience, which becomes accessible to a general public that has only a passing acquaintance with Kant or contemporary institutionalised art.
Radim Labuda, an artist in post-practice, has long been known as the creator of soups. While in his art practice he was subject to feelings of insecurity, when cooking soups he is unashamedly self-confident. And so you can look forward to wonderful food.
The exhibition programme of the Foundation and Center for Contemporary Arts Prague receives support from the Ministry of Culture of the Czech Republic, Prague City Council, State Fund of Culture of the Czech Republic, City District Prague 7
The project A post-practice artist is supported from public finances by the Fund for the Support of Art.