Профиль автора >> Palo Fabuš

Palo Fabuš

Этот автор не разместил о себе никакой информации

Přehled příspěvků autora Palo Fabuš

	Palo Fabuš \| critique \| 18.02.2013 13:51
	AN ENVIRONMENT OF UNNECESSARY CULTURE
	Culture must find its defense not under the conditions of the state ideology, but under its own conditions, which are foreign to the state today.

	Palo Fabuš \| critique \| 14.11.2012 17:10
	ARTISTS IN LINE FOR COLLECTIVE SECURITY
	At a time when one of the extremely few identifiable and yet unintegratable positions is held by those who “refuse to conform,” artists want to conform. Instead of further exposing the open wound of reality and pulling the mesh of the matrix towards the Other, they have chosen the opposite course; having filled in their application for (and endorsement of) social obligations, they stand in line for a collective security provided by enlightened managers and sociologists.

	Palo Fabuš \| contemporartism \| 01.02.2011
	CONTEMPORARY ART IS NOT
	There are no simple questions. Not only do all questions already contain the seed of their answer, but neither are there any questions that do not have other questions hidden inside them. Recently, a group of theorists, artists, curators, and art historians asked a seemingly simple question: What is contemporary art? Their essays (in the etymological meaning of the word—“attempts”—as well) on…

	Palo Fabuš \| решения \| 01.02.2010
	АНТОНИО НЕГРИ В ФАРФОРОВОЙ МАСТЕРСКОЙ
	Если мы зададим себе вопрос, оставила ли нам постмодернистская теория определённое сообщение и какое, нам придётся тяжело поработать, чтобы согласится с его значением. Польза данного сообщения не может быть сведена к таким словам как диффузия, двусмысленность, мистификация или просто скептицизм, вероятно, мы будем напрасно искать решение. Итальянский неомарксист и политический философ Антонио…

	Palo Fabuš \| profile \| 01.01.2010
	TOMÁŠ DŽADOŇ: WILL TO TRADITION AND IMAGES OF NOSTALGIA
	Today, more than ever, we find ourselves surrounded by images from the past. Yet we have a paradoxical tendency to describe our relationship to the past with words like disinterest, shallowness and loss. These words suggest a tendency to head through our daily lives with no significant concern for either the past or the future. Our contemporary society often feels disjointed, lacking in a…

	Palo Fabuš \| editorial \| 01.01.2010
	A REEVALUATION OF REEVALUATIONS
	We have just had the end of a decade, with all the requisite media retrospectives and reevaluations. Although the tendency to review and analyze has been ascribed to the entire modern era, it would seem that there has been an upsurge in looking back into the past. It has been said that the 20th century came to a close with the events of September 11, but we still seem to be coming to terms with…

	Palo Fabuš \| essay \| 01.01.2010
	PERSONAL RESPONSIBILITY IN THE WOR(L)D OF MOUTH
	In the 2008 film Untraceable, a team of FBI agents is investigating a series of murders committed via the internet. The murderer ties his victims to killing mechanisms monitored by web cameras, with their suffering (and ultimate death) directly dependent on the number of visitors. Users watch the website fully aware of their role, but visitor levels nevertheless continue to increase. The viewer…

	Palo Fabuš \| 01.01.2010
	B U L L S E Y E = R E C O R D
	Is life a story with a climax in the form of retrospective and reconciliation, or can it be limited to a series of successes without a clear goal? Today, we approach our own biographies in the same way as we do literary stories; life becomes a record of life. Since 2002, Amsterdam’s KesselsKramer publishing house has published a series of books entitled In Almost Every Picture, featuring…

Palo Fabuš | essay | 01.01.2009

THE WORLD ENGULFED BY TECHNOLOGY: A CRITIQUE OF NEW MEDIA

There is perhaps no term more problematic than newness. Despite its ambiguity, this word is surrounded by other generally unexpressed words. First and foremost, “new” always implies the possibility of change. It brings with it hope, and the suggestion of something different, something previously unknown and potentially better than what has existed before. New also means unexplored, uncertain,…

	Palo Fabuš \| new face \| 01.04.2007
	PAVEL STEREC PROFIL OR NEW FACE
	Language, conditions for communication, and even the inexplicability of supra-individual phenomena at the personal level are topics that Pavel Sterec addresses in his work. A student of the Prague School of Arts (AVU), working in Miloš Sejn’s studio for conceptual design, his works define motivation and position as well as the general conditions for artistic production and…

Přehled rubrik autora Palo Fabuš

Kalendář

Otevřít celý seznam

USELESS

Otevřít

DIVUS LIVE

Otevřít celý seznam

04.02.2020 10:17

Slavka Kneppo:

Pověsti o těžkých časech na trhu s uměním jsou opět velmi přehnané...

Letošní 50. ročník Art Basel přilákal celkem 93 000 návštěvníků a sběratelů z 80 zemí světa. 290 prémiových galerií představilo umělecká díla od počátku 20. století až po současnost. Hlavní sektor přehlídky, tradičně v prvním patře výstavního prostoru, představil 232 předních galerií z celého světa nabízející umění nejvyšší kvality. Veletrh ukázal vzestupný trend prodeje prostřednictvím galerií jak soukromým sbírkám, tak i institucím. Kromě hlavního veletrhu stály za návštěvu i ty přidružené: Volta, Liste a Photo Basel, k tomu doprovodné programy a výstavy v místních institucích, které kvalitou daleko přesahují hranice města tj. Kunsthalle Basel, Kunstmuseum, Tinguely muzeum nebo Fondation Beyeler.

Star Wars, I.

01.01.2000 | Otevřít

Doporučená kniha

Otevřít

Mike Diana - Reel Love

Nejnovější články DIVUS

Otevřít celý seznam

DIVUS PERLA: Lucia Dovičáková: What Else Do You Need To Destroy?

DIVUS PERLA: PERLÍNO

DIVUS PERLA: MDNN - The International Unrealized Ideas' Day

Rubriky, které zajímají

Otevřít celý seznam

Цитата дня Издатель не несет ответственности за какие-либо психические и физические состояния и расстройства, которые могут возникнуть по прочтении цитаты.
“	Enlightenment is always late.