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In July, Universal NoD gallery saw an action of parental activists fighting for the emancipation of art within the family. Their manifesto attempted to convince us that artists/parents were being oppressed by a mass of lonely and antisocial artists/non-parents. These goons have too much time for their art and self-promotion through various excesses and are too easily able to win the artistic award of Pantheon. The exhibition imitated fatherly might and motherly post-coital provocation. Lenka Klodová, the provocateur and artist impossible to control, stood out in the show with her pornographic variations and metaphors, which have disturbed a number of curatorial projects. This time she showed Islands of Desire — origami constructed out of pornographic lust and installed according to the law of the jungle.
The best works shown at the exhibition Magnetic Fields in Gallery Jelení stole the show, confounding the original concept by the curatorial unit. The best of the bunch were by ostensible curator Vladimír Skrepl with his cat fur hanging from the ceiling (Cat Killer) and Josef Bolf with his misty painting of cutsies communicating in a utopian meadow plateau.
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An American poet was invited to the White House in order to read his controversial plagiarized poetry. All tricked out and ready to do it his way, he comes to the “scandalous” realization that nothing bothers anyone anymore, and instead of banging your head against the wall it is better to build you own walls or at least little fences.
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Why political intellectuals, do you incline towards the proletariat? In commiseration for what? I realize that a proletarian would hate you, you have no hatred because you are bourgeois, privileged, smooth-skinned types, but also because you dare not say that the only important thing there is to say, that one can enjoy swallowing the shit of capital, its materials, its metal bars, its polystyrene…
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Goff & Rosenthal gallery, Berlin, November 18 - December 30, 2006
Society permanently renegotiates the definition of drugs and our relationship towards them. In his forty-five minute found-footage film The Conquest of Happiness, produced in 2005, Oliver Pietsch, a Berlin-based video artist, demonstrates which drugs society can accommodate, which it cannot, and how the story of the drugs can be…
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