KKA2 Homo Sacer Giorgio Agamben
On the occasion of the publication of the Czech translation of the first work in the trilogy Homo Sacer by the Italian philosopher Giorgio Agamben, the fourth meeting this year of the A2 Criticism Club will take place in the tranzitdisplay gallery, Prague.
The debate will focus on understanding the term “homo sacer” within the framework of Agamben’s thinking. It will inevitably examine his powerful thesis that an exceptional state of affairs is the paradigm of contemporary political regimes. It will ask what forms current manifestations of the declared exceptional state of affairs take in reality.
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Pavel Kořínek: The negotiation of memory through comics – from Vladek Spiegelman’s memories to the negotiated trilogy About Stories
The advent of autobiographical comics in the 1970s and 80s saw greater attention being paid to reflections on the wide variety of personal shared and corrected personal memories.
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Fionn Meade: The Broken Atlas
Curator and writer Fionn Meade will talk about his curatorial practice
and introduce three concepts arising from research done at the close
of the 19th century by cultural thinkers involved in developing new
applications within quickly expanding fields, specifically
anthropologist Franz Boas’ “secondary rationalization,” art historian
Aby Warburg’s “pathosformel,” and sociologist Gabriel Tarde’s
“quantification.” By thinking through these concepts together, Meade
will consider their shared traits as partial, even symptomatic
methods, and how their insights question presumed trajectories of
modernity, and might yet be relevant. Meade will consider these
concepts in relation to recent exhibitions Time Again, Nachleben, and
Plaisance.
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PAAL BJELKE ANDERSEN: Writing in a language that is always someone else's
In a TV show from the 1970s, a well-known linguist called the dialect I was speaking then “the ugliest Norwegian.” Since then I have moved to Oslo, graduated and become a literary figure of sorts. I no longer use the dialect (and sociolect) I used to speak when I was a child, although it does not necessarily mean I have learnt to speak and write in “correct Norwegian.” Speech and poetry are tools I use because they are not “mine”: they are always someone else's.
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Andrea Průchová: A New Reading of Monuments of the Past
We perceive the city as a constantly transforming, dynamic complex of events, relationships and roles. Just as the city changes every hour of the day, so the process of creating meanings of cities within the urban infrastructure never stops.
The monuments and sculptural interventions in the public space that characterise the garish suburban high-rise building projects of the normalisation period have become decomposing symbols of the past during the decades of freedom, condemned to physical and spiritual erosion.
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TD soundsystem Rafani: Nameless Commotion
TD soundsystem Rafani: Nameless Commotion
“Many days have passed since the moment when a group of five desperadoes from a hole in which everything is simply magic and reason brought the world to its knees in order to crush it into dust through a sonic sledgehammer, which didn’t sound like music but like a cataclysmic fit of possessed dilettantes. White blocks were shaken to their foundations and concepts to their seams, lakes overflowed their banks and fields were laid waste. Rafani appeared from nowhere to bring to life an apocalypse of boredom in its destructive and diabolical non-inspiring invocation.”
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Chto delat? / Ruti Sela
Mumok, tranzit and the erste foundation cordially invite you to Changer d’image*, the first in a series of performance events.
Chto delat?
Ruti Sela
Ten international film and video makers, artists or groups of artists are invited to reflect on the process of film making in the form of a live event.
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Jana Šrámková: Memory in Footnotes:
Since the time that literature began to resign itself to its descriptive function, one of its primary objectives has been to interrogate itself and its ability to communicate.
The depiction of history and the thematisation of the process of remembering is subject to this change in literature’s focus.
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J. A. R. O.: 4
The winning project in the student competition announced last year. Tranzitdisplay offered its premises and financial support to the most interesting project, which attempts to introduce the form and direction being taken by contemporary art in an intelligible way.
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Andreas Böhn: Cultural Memory and Nostalgia: Media, Technology and the Arts
The term ‘nostalgia’ is composed of the greek words νόστος (returning home) and άλγος (pain). In its original usage the term referred to a pathological form of homesickness. Initially, the nostalgic point of reference signified a place to which to return is principally possible. Yet, in the last third of the 20th century the meaning of the term began to shift more and more towards a temporal perception: Today, nostalgia is understood as a longing for an idealized or even glorified past, often in commodified form. Consequently, a return proper has become impossible, which is why, according to Svetlana Boym, modern nostalgia has developed two different modi operandi: restorative and reflective nostalgia.
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Pavel Klusák: Memories of a Fictitious Past: Contemporary Music and the Rewriting of History
lecture /
A cycle of lectures entitled “Figures of memory in Contemporary Art”
The inspiration of the 20th century, its art, technology and social phenomena takes many different forms at present. This includes dreaming of a parallel past and the use of old sounds, instruments and stylistic procedures to “rewrite” recent history that never in fact took place.
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Markéta Othová & Petr Bakla: Prague Modern: ecouter-voir / listening eyes / nahlížet nasloucháním vol.2
the premiere of the project /
“The Main Plot” is part of the long-term project by Prague Modern entitled "nahlížet nasloucháním / ecouter-voir / listening eyes", which was conceived by the curator Didier Montagné.
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MUTUALLY. COMMUNITIES OF THE 1970s AND 1980s.
exhibition in tranzitdisplay /
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ERSTE Foundation is main partner of tranzit:
