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Umělec 2/2005

	Журнал Umělec Ročník 2005, 2 6,50 EUR 7 USD
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	Olga Vašinkevič \| interview \| 01.02.2005
	WHAT IS TO BE DONE?DO IT YOURSELF! OLGA VASINKEVICH INTERVIEWS DMITRY VILENSKY
	Dmitry Vilensky became famous in St. Petersburg in the early 1990s due to his creative activities and organization of photo exhibitions associated with the beginnings of St. Petersburg photography as an independent artistic trend. In 1995, he established a PHOTOpostscriptum, a union in cooperation with other Petersburg photographers, who together organized a lot of exhibitions to feature Russian…

	Ivan Mečl \| imprints notes \| 01.02.2005
	THE GERMAN ISSUE-OR HOW WE ONCE AGAIN DIDN’T CONQUER THE WEST
	This story is a composition of short extracts from the novel The Fiery Valley of Culture in the Rays of the Dawn Sunlight. The excerpts are linked with the history of this ‘German issue’ of Umělec magazine, which the Divus publishing house began preparing at the start of 2004. At the Luxembourg book fair in March 2005 the publication was evaluated as the stupidest publishers’ act in the history…

	Christian Riebe \| expo hannover \| 01.02.2005
	A LANDSCAPE WITH HOLES
	1. Expo-Park East Let’s assume the following: as a result of general economic decline (something we can only welcome), and the ongoing dumbing down of society, places emerge among agglomerations that reveal all the indications of extreme periphery. These places don’t console the eye with the charm of empty industrial objects with no history, but with cold neglect. They are like craters in the…

	Alena Boika \| Moscow Biennale \| 01.02.2005
	HOPE-STOP!
	On January 26, when the press-conference of the First Moscow Biennale was at its height, an exhibition called Hope-Stop! opened at the Anatoly Zverev Center of Contemporary Art in Moscow. Its promoters called it an anti-Biennale. Moscow-based art critic Andrey Kovalev asked the exhibition’s participants a simple question: "It is rumored that Hope-Stop! is an anti-Biennale. Is it true or not?"…

	Andrej Kovalev \| Moscow Biennale \| 01.02.2005
	SEMIONAUTSVS VS. DEMIURGES
	Vain endeavors to find out the curators' conception constituted a real challenge for Moscow art critics. The curators pronounced mere words and shocked representatives of Moscow art community because after all, they revealed no intellectual accompaniment, which usually accompanies international events of this kind. Hopes of Dialecticians The situation proved especially piquant as highly…

	Dmitry Bavilsky \| Moscow Biennale \| 01.02.2005
	FIRST MOSCOW BIENNALE:A WARM PLACE IN THE COLD
	In other countries, biennales are planned to attract tourists during high season. The art presentation in Moscow may have been aimed to accomplish some esoteric objective. Otherwise it is impossible to understand what and for whom this one was intended. The First Moscow Biennale was supposed to demonstrate that our day has come. For a whole week of the month-long exhibition, art critics and…

Jiří Ptáček | commentary | 01.02.2005

IBCA – PRAGUE BIENNALE 2: TWO VISITS AT ONCE

At the beginning of the year, Oliver Kielmayer, a Swiss publisher, arranged a meeting in the Umělec editorial office. He wanted some consultation. He had accepted an offer from the Prague National Gallery to curate the International Biennale of Contemporary Art (IBCA). He said he had no idea he would be entering a chaotic quarrel between the IBCA and Prague Biennale 2. The IBCA is organized by…

Travis Jeppesen | commentary | 01.02.2005

ON THE EXPULSION OF THE FRIENDLESS WARRIOR

Why do we read art magazines? Sorry, but it’s a question that needs to be asked every now and then, as the answer seems to change over time according to one’s position, status, and relationship to the rest of the so-called art world, if such a world actually exists. Do we read in search of some projection of our selves on the glossy pages? To keep abreast of the latest trends so we don’t feel…

	Alena Boika \| art and politics \| 01.02.2005
	MARAT GELMAN: THE ART OF POLITICAL PROVOCATION - A STORY IN THREE PARTS, WITH EPILOG AND A REFERENCE
	The First Moscow Biennale opened in Moscow. Revolution took place in Ukraine. In both cases a name of Marat Gelman, the only gallerist among policymakers and the only policymaker among gallerists, is mentioned. He spent several years in the labyrinth of high policy only slightly revealing his presence in art life. And now he is back. Exhibition-declaration Russia-2 was represented among the…

Gabriela Bukovinská-Kotíková | commentary | 01.02.2005

RESPONSE TO INSIDERS INC, AN ARTICLE WRITTEN BY JIŘÍ PTÁČEK (UMĚLEC 1/2005)

In Umělec magazine, Jiří Ptáček wrote a critical review of the Insiders exhibition, which took place in Brno in the House of the Lords of Kunštát at the beginning of the year, and then in the spring at the Futura gallery in Prague.1 The particularly panning tone in the review, and the article’s supporting arguments, are not particularly persuasive. The curator of the Insiders exhibition, Pavlína…

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