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WAS IST KUNST (interview with Raša Todosijević) Zoran Erić | q&a | 01.03.2003
WAS IST KUNST (INTERVIEW WITH RAŠA TODOSIJEVIĆ)
"In the Serbian art scene there is no one quite like Raša Todosijević. Since the 1970s he has worked as an autonomous being, in spite of all the indifference, malediction and even success he has received. His critical position towards nationalism and violence during the dissolution of Yugoslavia only confirmed his reputation. Serbian theoretician Zoran Erić questioned him about the past and…
I had to edit myself a bit (Interview with Petra Vargová) Zuzana Štefková | q&a | 01.02.2003
I HAD TO EDIT MYSELF A BIT (INTERVIEW WITH PETRA VARGOVÁ)
How did you start working with new media? I started in the studio of conceptual tendencies with Miloš Šejn. I spent a year there, and I liked it, but right in the first year I received the studio prize and that’s probably what chased me away. I wanted to go somewhere where I wouldn’t have such an easy life, and so I went to Knížák’s [ed.: Milan Knížák is the controversial head of the National…
Art as Discreet as  Neutron Bomb Interview with Anatoly Osmolovsky Tomáš Pospiszyl | q&a | 01.05.2001
ART AS DISCREET AS NEUTRON BOMB INTERVIEW WITH ANATOLY OSMOLOVSKY
Hungary for more Emese Süvecz | q&a | 01.04.2001
HUNGARY FOR MORE
"Budapest saw the opening of a new museum on September 22 that effectively broke the mold of the local status quo. The Hungarian art scene had been anxiously anticipating MEO for some time, as this project represents the first initiative of its kind to emerge from the private sector. MEO—Contemporary Art Collection belongs to businessman Lajos Kováts who has been gathering experience in the…
I lost Five Years of My Life Ivan Mečl a Vladan Šír | q&a | 01.03.2001
I LOST FIVE YEARS OF MY LIFE
Looking Within An interview with Milena Kalinovská Lenka Lindaurová | q&a | 01.06.2000
LOOKING WITHIN AN INTERVIEW WITH MILENA KALINOVSKÁ
"Milena Kalinovská is an independent curator at the ICI institute (Independent Curators International) in New York. Before that she worked as the director of the Institute of Contemporary Art in Boston where she curated Boston School, New Histories, Bill Viola, and Rachel Whiteread and focused on presenting Czech artists in a Western context. She emigrated to London in 1970 where she organized…
A Never-Ending Process An interview with Martha Colburn Lenka Lindaurová a Jeffrey A. Buehler | q&a | 01.05.2000
A NEVER-ENDING PROCESS AN INTERVIEW WITH MARTHA COLBURN
"Martha Colburn—Super 8 animator and self-taught filmmaker from Balitmore, Maryland—landed in Prague this year while on a European tour, which she described as “verging on a new extreme sport.” She has shown her movies in venues ranging from MoMA in New York to caves in France. She has taught animation in California and was nominated for a Rockefeller grant.How do you feel about what’s been…
Anybody Can Be an Artist (An interview with Ivan Vosecký) Vladan Šír | q&a | 01.03.2000
ANYBODY CAN BE AN ARTIST (AN INTERVIEW WITH IVAN VOSECKÝ)
Painter Ivan Vosecký first introduced himself last year and then again this year with two independent exhibitions at Veletržní Palác of the National Gallery and at the private MXM Gallery in Prague. Your exhibition at Veletržní Palác included rather hostile statements. Why did you decide to phrase some of the inscriptions at the exhibition so forcefully: “Stay at Home,” “Try LSD” or “You’re All…
Vladan Šír | q&a | 01.08.1998
INTERVIEW WITH LÍVIA PÁLDI, CO-DIRECTOR OF THE INSTITUTE OF CONTEMPORARY ART-DUNAÚJVÁROS
The mission statement of the Institute of Contemporary Art - Dunaújváros says that you wish to initiate cooperation among countries of the Central and East European region. Why did you decide to do that, step beyond limitations of one country? The wider perspective is crucial in the context of our work. We both (co-directors Lívia Páldi and János Szoboszlai) worked for the Soros Center for…
Černý život v siluetách Hans Ulrich Obrist a Kara Walker | q&a | 01.08.1998
ČERNÝ ŽIVOT V SILUETÁCH
"This interview was conducted in connection with presentation of Kara Walker’s project for the Vienna Opera House and is a production of Museum in Progress. To begin with, how did you start to work with Silhouettes? I discovered that the silhouette was a near perfect solution to a complex project that I set for myself. I had begun, about six years ago, to try and uncover the often subtle and…
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From series of rare photographs never released before year 2012. Signed and numbered Edition. Photography on 1cm high white...
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Clown‘s Suicide, 1995, silkscreen print, 33 x 46 cm
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Limited edition of 10. Size 100 x 70 cm. Black print on durable white foil.
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