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Umělec 1/2003

	Revista Umělec Ročník 2003, 1 6,50 EUR 7 USD
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Artículos

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	Marek Pokorný \| commentary \| 01.01.2003
	BAEDECKER’S GUIDE ALIAS ROMAN C(T)ORSO
	"“Actually there is nothing as difficult as keeping on good terms with a Roman lady. Pride struggles all the time; with a little love one may awaken in her.” Stendhal, Diary, Roma, August 5, 1832Notwithstanding that the role of contemporary art may in today’s Italian society be — except the non-comparable capital strengths — as doubtful as in the Czech Republic, there is no doubt that this is not…

	Mira Keratová \| Entrevista \| 01.01.2003
	MARTIN PIAČEK SCANS “KINDERVAJCIA”
	"(Kindervajcia are chocolate eggs with toys inside)MARTIN PIAČEK (1972), graduate of Bratislava VŠVU (University of Fine Arts) (studio of professor J. Bartusz 1994-98 and studio of professor J. Jankovič 1998-2000) is the most controversial artist in the Slovak scene. When in January the periodical 3/4Revue published a poster of naked Piaček, pointing to his genitals, he alone purchased a large…

	David Kulhánek \| Entrevista \| 01.01.2003
	ADVICE FROM A POOR RELATIVE
	"Daniel Bozhkov moved to the USA from his native Bulgaria in the early 1990s. Like many other artists from the Eastern Bloc, he took advantage of the open border to go taste what had been forbidden fruit. In many respects even today he is still the same poor relative from the East, an artist with an academic education in the techniques of wall painting who left to see the world. He looks around…

	Jesper Alvaer \| art project \| 01.01.2003
	CANDY FACTORY (KEICHI NIAGAWA - SOAP)
	Candy Factory (Keichi Niagawa - SOAP)

	Marek Pokorný \| venice biennale \| 01.01.2003
	OIL AND COURAGE OR ONLY TO THE EDGE OF THE 50TH BIENNIAL FESTIVAL OF CONTEMPORARY ART IN VENICE
	"“The moon shines nowhere as sweetly and as dreamily as it does in Venice.”Jan NerudaThe Venice Biennial is still the only exhibition of contemporary world art in which — unlike Sao Paolo, Istanbul, Quangzhu or Lyon and Valencia — Czech art critics not only regularly take part, but to which they regularly (albeit with doubtful success) refer.The Venice Biennial is accessible for us not only…

	Janka Vukmir \| venice biennale \| 01.01.2003
	VENICE AS USUAL: AN OVERDOSE
	"It might be unpopular — but true — to say that there is too much of everything in Venice. Too many artists, too many exhibitions, too many curators, concepts, meetings, publications, Euros spent, and this year the absolute record of too many degrees C°; the latter being the dominant but least interesting ingredient in the overdose. The multitude of places, protagonists and art products pose the…

	Pavel Vančát \| venice biennale \| 01.01.2003
	VENICE OVER ABSOLUT
	I would like to add my two bits to the maelstrom of reports storming out of this year’s Biennale, personal and touristy, bobbing on the waves of the long steamy afternoons, like a wobbly gondola on a Venetian waterway. Under the helpful patronage of the company Absolut, the two-and-a-half-day stay I enjoyed in Venice allowed me to experience not only the services of the airline Alitalia and the…

	Jasmina Čubrilo \| venice biennale \| 01.01.2003
	BEFORE AND AFTER THE OPENING
	"1. Looking a little bit backward Harald Szeemann, the director of last year’s Venice Biennial, started his introductory text in the catalogue accompanying this event with the following question: “Do such large exhibitions still make sense?” Apart from Szeemann’s implicit affirmative, which justifies the very existence of this exhibition by means of elaborating its concept and the choice of…

Zuzana Štefková | venice biennale | 01.01.2003

TERROR = DÉCOR: ART NOW

Despite the fact that the Slovenian exposition Terror = décor: art now in Venice cam away with no prizes, it ranks alongside some of the most interesting projects in this summer’s Biennale. Žiga Kariž works with the theme of the commodification of violence in his project, with the viewpoint that artwork comes back to the viewer. The equation Terror = décor contains different possible readings for…

	Denisa Kera \| balkans \| 01.01.2003
	BALKAN ART IS A COMPLIMENT IN VIENNA
	"For ages now the Balkans and everything from the Balkans were considered a symbol of the “betrayal” of European values, either for the violent Islamization in the Middle Ages, or more recently, for the bloody ethnic conflicts. At the end of the 20th century, Hector Hugh Munro, a war correspondent in the Balkans, alias Saki, the famous English satirist, uses the word Balkan as an insult and a…

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