online memory of 10.2–26.2 2012 in Candyland, Gotlandsgatan 76, Stockholm
online memory of 10.2–26.2 2012 in Candyland, Gotlandsgatan 76, Stockholm
rec by Michal Ureš
Long grill that stretches from one side of the display window to the other one manifests the social situation of human multitudes. The long wheel is rotating slowly as social transformations are happening. It is traditional narrative of different cultures where the values are evaluated, codified, standardized and publicly explained and where high expectations of the future of current society are present.
Dlouhé grilovací břevno protíná výstavní vitrínu z jedné strany na stranu druhou a manifestuje společenskou situaci společenské masy. Dlouhé kolo pomaluje rotuje, paralelně probíhají společenské proměny. Je to tradiční popis, představení, symbol odlišných kultur, které své hodnoty předefinovávají, kodifikují, standardizují, normalizují a zveřejňují. Velká společenská očekávání se vytváří.
interview in Czech lang
Magic Carpets Flash Art edition
25.4. – 10.6.2018
The House of the Lords of Kunštát, Brno, Czechia
#nofuture #nongkranpanmongkol #lexaperoutka #gallerylaboratory #avoidfloatinggallery #prague #07092018
NOFUTURE / NONGKRAN PANMONGKOL, LEXA PEROUTKA
7 Sep 2018 – 13 Sep 2018
Gallery Laboratory http://www.galerijnilaborator.cz/
The scope of this cooperative work sees both artists are engaging with the symptoms of contemporary society. It is some sort of radical imagined landscape of our general/global world.
They investigate our modern social atmosphere, which is often uncontrollable. But to a certain extent this atmosphere can be predictable and susceptible to manipulation. Their work manifests ground/basic models and simplification. These are elementary – minimalist sculptural/multimedia installations where they test contemporary social and political situations.
Both artists have worked together for about one decade and are also involved in a curatorial program between Sweden and Czechia.
FUTURE / NONGKRAN PANMONGKOL, LEXA PEROUTKA
7. září 2018 – 13. září 2018
Galerijní Laboratoř http://www.galerijnilaborator.cz/
Během této autorské spolupráce se oba umělci věnují problematice současné společnosti. Jo to druh radikální vizuality našeho všedního/globalizovaného světa.
Autoři dělají průzkum společenské atmosféry, která je běžně nekontrolovatelná. Společenskou atmosféru můžeme do jisté míry předpovídat nebo ji i manipulovat. Jejich tvorba směřuje k základním modelům a zjednodušením. Jsou jimi minimalistické sochařské/multimediální instalace, kde si ověřují současné společenské a politické situace.
Oba umělci již spolupracují deset let, součástí jejich spolupráce je i kurátorský program mezi Švédskem a Českem.
The association ‘The Image Of Time’ welcomes all of you to see art installation of Alexander Peroutka: UNITY/JEDNOTA.
Alexander Peroutka (1975) is a Czech visual artist, sculptor, art curator and art critic. He studied at FUUD of UJEP university in Usti nad Labem. He was a guest a student at SUNY Cortland (USA). Then he attended Monumental Studio at AVU in Prague (prof. Aleš Veselý). He was also an exchange and a guest student at Royal University College of Fine Arts in Stockholm (Kungl. Konsthögskolan). There he attended Monumental Studio of prof. Apolonija Šušterčič. In 2011 he successfully defended his doctorand theses (Information and Identity; Critical Art, its limits and possibilities) at FAVU of VUT in Brno.
The work of Peroutka is highly influenced by his personal attitudes. His diploma work injected into his work easy access and movement throughout his specific focus. His interest is in general social instability and temporarity and direct interaction with these conditions. It expects to be part of these concrete social situations, these rapid social changes and economical mechanisms. It expects him to be an active participant in these specific social environments and their activities.
His work went through natural adjustments throughout the years. He started as a sculptor, he experimented with kinetic objects and then he moved into more contemporary expression. There he uses more complicated technical elements or installations that have temporary character. But he is also applying some traditional sculptural forms. Dominant is his monumental approach that he has never left abandoned.
For the ‘Landscape’ thematic focus of Deska Gallery he is in line with above mentioned practices. Landscape in his approach is transformed into social structure, this immaterial subject is going to materialized with the use of everyday elements. In this concrete situation it is also going to have its subversive side.
Everyday we consume more than we necessarily need. It is embedded in our consciousness, we accept it, it is drive of our life. It is its fulfillment. Consumption is necessary part of functioning economy. I am investigating ground principles of the market/capital and peoples’ manipulation within the market environment. I translate the results of my investigation into new visual and functional forms where I apply my personal conclusions and critique.
Naše spotřeba přesahuje naši každodenní potřebu. Jsme si toho plně vědomi. Konzumace je motorem našeho života – jeho smyslem – jeho naplněním. Je součástí fungující ekonomiky. Zkoumám základní principy trhu/kapitálu a překládám je donových vizuálních a funkčních forem, kde používám moje osobní shrnutí a kritiku.
Victor Marx (1983) is visual artist and architect who lives and works in Stockholm. He works with contemporary social themes that he incorporates into his urban interventions/projects. The scale of his work is somewhere between architectural and more sculptural forms using elements of performance, social interaction and participation.
His work transcends several fields of cultural/art production with main focus on social and urban solutions in Swedish context. However, his themes have a much broader character and more of a global importance, dealing with topics such as changes of current social fabric, multicultural identity, art and cultural activities within economically defined environment and their independence, DIY architecture and architecture in the margins, regeneration of unused public spaces, or renewal of local social interaction etc.
Victor Marx’s work is frequently mentioned in Swedish media because of its connection to ongoing heated public debate on Sweden’s future and future of public/street art.
Victor was one the founders of Cyklopen, an independent culture house in Stockholm, of which he was also the architect. Cyklopen gained its firm position in Stockholm’s contemporary cultural/art scene for its community oriented approach and differentiation away from the traditional and official cultural/art institutions, often limited by their hierarchical and bureaucratic nature and rigid organizational methods. Cyklopen is situated in Stockholm suburbs, the melting-and-meeting pot of various cultures (Eastern European, Middle Eastern…) where future Sweden is just taking shape.
Work of Victor Marx is currently documented by Martina Iverus for the new art program ARTityd (Swedish TV 1).
Accommodation Tower (2008, under Liljeholmen Bridge, Stockholm)
Vitrin Gallery (2008, Masmo subway station, Stockholm)
Cyklopen Independent Culture House no.2 (2013, Högdalen, Stockholm)
Pals Play Tag! Part Two: Czechia-Sweden
Date: 31 Oct 2015 18:00-24:00
Place: Fylkingen, Stockholm
Adress: Torkel Knutssonsgatan 2, Stockholm
Multinational performance art evening at Fylkingen!
A collaborative exchange project between PALS-performance art links from Stockholm and Ferdinand Baumann Gallery from Prague. This is a first attempt to connect these two distant performance art scenes. Both participating art organizations have several years of history and they represent the young emerging performance art scene in their own domestic and international context. Their first exchange took place during “Hunger“ performance festival from 22 to 23 May in Prague this year. The second stage in Stockholm is part of a series of new international exchanges of performance art organized by PALS with other art initiatives abroad (a previous event was held at Fylkingen this year; Pals Play Tag Part One: Poland-Sweden).
Milan Kohout (Prague)
Barbora Šimková (Prague)
Vladimír Turner (Prague)
Karíma Al-Mukhtarová (Prague)
Darina Alster (Prague)
Gaby Billa-Günther (Berlin)
Louise Dahl-Lindvall (Stockholm)
Henrik Ekesiöö (Stockholm)
Nongkran Pangmogkol (Stockholm)
Curators: Erik Wijkström, Darina Alster, Alexander Peroutka
Ferdinand Baumann Gallery
PALS – Performance art links
The Czech Center Stockholm
Hidden Economy, Invisible Economy, Backyard Economy, Spatial Economy, Underground Economy, Informal Economy, Economy of Resourcefulness, Black Economy,… Relational Economy
We are living in the world that seems to be defined mainly by the category of economy. We often hear that our living standards are declining; when we worry about the economy and its negative implications. Our belief in the future falters when economy is not doing well. Our democratic aspirations don’t matter anymore if they cannot create or support economic growth. When the general outlook of the economy is positive our future is positive, too.
Let’s see what this means. Are we strictly defined by economy? Our life is heavily dependent on our attitude to the interpretation of this word. But we don’t know what this interpretation is supposed to be. There are many ideas but there doesn’t seem to be the real thing that has a visible connection to our lives. The word ‘economy’ is like a magic and there are a few magicians who are telling us ‘impenetrable truth’.
But what may happen when we think for ourselves without listening to magicians/truth-interpreters?
Isn’t economy just about definition of our relations? Does it tell us how we are seen as members of a greater society? Does it tell us what we should to do for others and what they should do for us? One word but its interpretation may have many consequences. It can be suggested that the interpretation of this word defines the way we are seen, we are heard, we are known and the way we hear, we see, we know, we learn etc.
In this exhibition we are going to test rules of economy and the implications it is supposed to carry. We are approaching the impenetrable category of economy with all the tools available to us.
Installation av Alexander Peroutka (CZE /Tjeckien)
10 februari 17-22
02 10 – 02 26
Den tjeckiske konstnäre Alexander Peroutkas fontän med skräp i och videofilm med intervjuer på offentliga platser, vill väcka frågor kring en alltmer krympande rörelsefrihet.
The water basin installation occupying the gallery room represents an approximately neutral public place. It is a place where the various remnants of our one or more days´ valued things meet. However, even though the room is public, it doesn’t even mean that it is available to all. There is no sense of permanency, and all is subject to flux and change.
Public spaces are in a constant state of flux and are currently shrinking in favour of entrepreneurship and competition for business growth worldwide.
So, although public places seem to be in the public domain, they have in fact often already been sold off, leaving people isolated in an ever-diminishing realm of connectivity.
The litter and remains of our small private joys, and the results of hidden market mechanism are circulating inside the pool, switching places in reflection of the material
metamorphic cycles evident within urbanized spaces.
The basin is there to remind us of that which we value and is there to be compared to the personal interviews being presented on loop in the next room of the gallery.