The grant for artists (EUR 2,000) is awarded to support the artist’s work. It enables the artist, without placing any demands on producing a tangible result, concentrate for a period of time on developing, seeking and sublimating the ideas that precede the creation phase. It offers the artist “free time”. This grant encourages artists to seek alternatives in all levels of their work – from the primary idea to the means of presenting their work to the public.
The grant for theoreticians (EUR 2,000) has similar objectives with regard to theory and curatorial work. The necessity to earn a living leads both independent theoreticians and those working for institutions to employ traditional cultural-institutional formats and schemas. This results in a missed chance to develop and formulate alternative postulates and criteria that more closely correspond to both their own experiences and views of the world, as well to current trends in their field.
Zbyněk Baladrán completed his studies in 2003 at the Academy of Fine Arts in Prague and drew attention to himself with his thesis Projection. With a wide-array of amateur film material (gathered through classified ads, requests, etc.) and a several-hour long film interview with his own grandmother he directs our attention to the past fifty years in the Czech Republic. We consider the theme of the subjective historical memory as especially prevalent these days when we often here of a thick line dividing us from our “socialist past”. The displacement of historical memory creates errant assumptions for contemporary reflection and for formulating future visions.
This work by Zbyněk Baladrán is currently part of the European Biennial of Contemporary Art Manifesta in San Sebastian, Spain (Z. Baladrán is a unique artist representing the Czech Republic, Slovakia, Poland and Hungary at this significant exhibition). www.manifesta.es
In 2003 Kateřina � edá created a unique work of art – the “social game” There’s Nothing There. The game was played May 24, 2003 in the village of Ponětovice. Based on a comparison of life in three adjacent villages (one of which is the artist’s hometown), she distributed to the people of Ponětovice a chart which they were to fill in with the activities schedule of their normal Saturday. Everyone wrote pretty much the same. The artist then drew up the “rules” of a normal Saturday and convinced the people of Ponětovice over the course of three months (300 questionnaires, 5 letters to families, Personal visits twice to 125 houses, 5 public announcements on the radio, meetings with local officials, etc.) to take part in the event entitled Daily Regime, in which the same activities would be performed at the same time. She determined the day’s activities schedule on the basis of the questionnaires filled out by the inhabitants as follows: 6.00 am – papers delivered, 7.00 shopping, 9.00 open windows, 10.00 sweeping, 10.30 riding bikes around the town, 12.00 noon – lunch, 2.00 pm – a walk, garden work, television, 5.00 beer gathering, 7.15 news, 22.00 – lights out.
The event took place on May 24, 2003 and a 20 minute film was made of it. She also took part in the event Czech Dream.
Miloš Vojtěchovský worked as a curator for the National Gallery in Prague, in the Foundation for Contemporary Art and at FAVU in Brno. He currently lectures at the Film and Television Faculty in Prague. His focus is on art history and technology, the social context of culture and technology, locative media and community intermedial projects.
At present he is preparing a multi-cultural locative programme performance festival in Central Asian countries and an interdepartmental programme on the applications of control technology within the framework of the TROIA mobile structure, which will premiere in 2005 in Vienna.