DIVUS

Umělec 2/2003

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	Milan Mikuláštík \| art project \| 01.02.2003
	MILAN MIKULÁŠTIK
	Milan Mikuláštik

	Milan Mikuláštík \| techno \| 01.02.2003
	CT 3 AND THE STATE OF THE FREE TECHNO PARTY IN CZ
	This year we came back from Czechtekk on Monday. After our return we had a small gathering at my home where we watched television in the expectation that there would be at least a short report about the party on the news. At first we were nicely surprised when the announcer mentioned that they would feature the festival, but then came disillusionment when we heard a load of nonsense and…

	Jiří Ptáček \| artist \| 01.02.2003
	THE STAR AND THE GATE OF THE GRAY CASTLE: THE GREAT PARTICIPANT
	The Třebíč Jewish Ghetto has a proud new symbol this year: a simple neon Star of David, like a comet shooting up to heaven. The Ghetto is still waiting for its rebirth (this one touristic, under the patronage of UNESCO). The neon light was enough to bring fame. It contains something of a violently interrupted tradition and something of the heretical star of Bethlehem. When we learn that this…

	Pavel Ryška \| manga \| 01.02.2003
	MANGA: FROM BUDDHIST SCROLLS TO BIG EYES
	A search for the true roots of “manga” has brought comics historians back to the 7th century. Like Scott McCloud, who pinpointed the origin of western comics in the Bayeux tapestry, historians in the East located the first manga in scrolls made by Buddhist monks. And as comics don’t necessarily have to be comical, this might be accurate. Religious scrolls and animated stories, “e-monogatari,” are…

	Oystein Aasan a Halvor Kyrre Haugen \| artist \| 01.02.2003
	ALEXANDER GYÖRFI: THE ART OF FRIENDSPLOITATION
	The Artist as Producer (after Walter Benjamin) In his text “The Artist as Producer,” first published in 1978, Dan Graham presents a compressed history of pop music. The title of the text alludes, of course, to Walter Benjamin’s 1934 lecture “The Author as Producer.” The word producer does not, however, have the same meaning in the two texts. In Benjamin’s text, it refers to a social identity,…

	Sophie Jerram \| nz \| 01.02.2003
	TREKKA
	The New Zealand pavilion at the Venice Biennale this year holds a strange social history lesson that examines “wheeler dealing” trade with Czechoslovakia in the 1960s and 70s. Michael Stevenson’s This is the Trekka is the museum-like display of a water-computer and a car, invented in the 1960s. This was a period of New Zealand isolationist history the curators call an “economic monoculture,”…

	Jiří Ptáček \| new faces \| 01.02.2003
	JAKUB STANĚK
	Born 1972, autodidact. In 2000, became founding member of Skupina 0000 in Třebíč.We would probably know Jakub Staněk as an experienced conceptual artist, if it weren’t for his constant efforts to stand on the edge of art history, to supplement it with unexpected raids while remaining as far out on the periphery as he can go.As early as the first half of the 1990s, he began to attack the…

	Marek Pokorný \| review \| 01.02.2003
	IF I WANT TO WRITE A REVIEW, THEN I’LL WRITE IT
	Jana Kalinová: When I don’t know, so I ask, I would ask, but I don’t know who; Home Gallery, Prague, Sept. 9 – Sept. 13, 2003 Experience tells me that in simple situations in which I don’t really know what to do, only rarely — as a typical representative of the male of the species — do I choose the most effective path: in short, I don’t ask where this or that street is, what is the quickest way…

	Jeffrey A. Buehler \| review \| 01.02.2003
	PAP FRICTION
	Prague’s Gallery Art Factory came swooping onto the Czech scene from Slovakia last year, unapologetically landing right on Wenceslas Square in a dark industrial box that used to house a large printing factory. With great spirit the walls were painted various hues of a dark red and the space comfortably outfitted with black designer leather couches and chairs. Walking in, one would be hard pressed…

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