Nov 18, 2012

Dále již na : KONFRONTACNICTENI.BLOGSPOT.CZ

Závěr


Prolog

Před měsícem skončila série konfrontačních čtení v Hunt Kastner Artworks, a tak končí i tenhle blog. Abych ho nějakým rozumným způsobem uzavřel, rozhodl jsem se napsat závěrečný text, v kterém jasně popíši o co jsem se poslední rok a čtvrt snažil a jak se mi to povedlo. Dostal jsem se asi do půlky textu a pak jsem s ním přestal. Opakoval jsem v něm věci, které jsem zde již publikoval; nic nového. Pouze jsem tímhle psaním prodlužoval agonii rozloučení, oddaloval konec tohohle virtuálního vývěstníku. Takže, nakonec zde vkládám tři VYSVĚTLENÍ ke třem termínům, vztahujících se k fyzickému výstupu z blogu; tedy k akcím z Hunt Kastner. A vlastně tím již uvozuji svůj nový blog KONFRONTAČNÍ ČTENÍ, kde se budu již konkrétně zabývat jednotlivcem a kybernetickým prostorem.

Konfrontační čtení: Fyzická akce umožňující vzniknout nepříjemné a esteticky nepoddajné situaci veřejným předčítáním textů z internetu.

Montáže: Většina textů v tomto blogu se jmenuje Text č... Některé z nich se ale spíše podobají montážím. Jsou složeny z youtube videí a z textů a fotografií nalezených v tomto kybernetickém prostoru. Slouží k realizaci konfrontačních čtení.

Vystupování: Začínám používat tento termín místo termínu PERFORMANCE. Odkazuje nejen k danému uměleckému médiu, ale i k lidskému jednání. Jedná se o dobrovolnou či nedobrovolnou participaci na konfrontačních čteních.

Oct 10, 2012

The 10th Confrontation Reading


Confrontation Reading took place in hunt kastner gallery on October 10th, 2012.
Text 13, 1st reprise.
Reading: Jiří Skála.
Camera: Roman Štětina.






Oct 3, 2012

The 8th Confrontation Readings


Confrontation Readings took place in hunt kastner gallery on October 3rd, 2012.
Text 7, 2nd reprise.
Reading: Filip Jakš, Jiří Ptáček, Marek Přikryl and Jiří Skála.
Camera: Štěpán Pech and Tomáš Vaňek.







Sep 26, 2012

The 6th Confrontation Readings



Confrontation Readings took place in hunt kastner gallery on September 26, 2012.
Text 5, 2nd reprise.
Reading: Filip Jakš, Bára Mrázková, Jiří Skála, Jana Šárová and Jan Treibal.
Camera: Bára Mrázková, Jiří Skála a Magdalena Stanová.








Sep 20, 2012

The 4th Confrontation Readings


Confrontation Readings took place in hunt kastner gallery on September 19th, 2012.
Text 10, 1st reprise.
Reading: Bára Mrázková, Jiří Skála, Jana Šárová and Jan Treibal.
Camera: Vojtěch Fröhlich and Jiří Skála.









Sep 13, 2012

The 2nd Confrontation Readings


Confrontation Readings took place in hunt kastner gallery on September 12, 2012.
Text 3, 1st reprise.
Reading: Adéla Taubelová, Jan Treibal a Jiří Skála.
Camera: Aleš Čermák a Jiří Skála.






Sep 7, 2012

Vernisáž výstavy Třetí skupina předmětů a konfrontační čtení v Hunt Kastner.


Zahájení četbou úvodního textu z blogu.
Vystupili: Bára Mrázková, Marek Přikryl, Adéla Taubelová a Jan Treibal.
Vystoupení dokumentoval: Jiří Skála a Zbyněk Baladrán.





Third Family of Objects and Confrontational Readings


In his new project, Skála continues to explore the relationship between people and objects in the context of transition from the Fordist mode of production to the precarious times we live in today. Following his 2007 exhibition Two Families of Objects, and One Family of Objects, a book published in 2010, this is Skála’s third elaboration on the subject. His 2007 exhibition portrayed employees of a shut-down factory who bought the machines they used to operate when it was still up and running. Through the act of the purchase they upset the boundary between two categories of objects, as defined by Umberto Eco: between commodities as things designed for pleasure, and machines which represent strictly utilitarian and unattractive objects used for the production of commodities. In his current project, Skála examines objects which possess the qualities of both. This third category is comprised of machines and other practical tools which are primarily commodities, such as different kinds of electronic devices like computers, sound systems or fashion accessories. They belong to the world of leisure and entertainment. They are fully functional but they are not a part of any manufacturing system. Even though they are designed to serve a practical function (computers are often the principal means of production), they are treasured as pure objects of desire, valuable in themselves and revered, like a fetish, for their functional, technical parameters. Functionality is thus separated from function and transformed into a point of attraction. A phenomenon called unboxing, which has recently been spreading on the internet, demonstrates this curious attitude to commodities. Unboxing consists of unwrapping a brand-new product in front of a camera. The proprietor enjoys every moment of the sensual experience of removing the layers of packaging one by one until he eventually discovers a beautiful new device.
          The first one to notice that the quality of a ‘thing’ multiplies in connection with capitalist mass-production was Karl Marx. In the section on fetishism of commodities in the Capital, he described commodities as mysterious and fantastic ‘things whose qualities are at the same time perceptible and imperceptible by the senses’, whose exchange- value replaced their use-value. According to Marx, money illustrated this phenomenon at the most extreme: although money has no use-value, it is the most worshipped because it is the dominant means of exchange. Guy Debord attempted to describe further erosion of the use-value of commodities in the context of the growing power of the entertainment business and mass media culture. He suggested that in today’s society of the spectacle we no longer need to possess the object of our desire, we are satisfied with gazing – a commodity is replaced by an image. The dichotomy of reality and appearance which formed the essence of Debord’s critique of the spectacle, disappears in Jean Baudrillard’s concept of ‘hyper-reality’. Baudrillard argued that there is no real model for ‘simulacra’ and that ‘sign-value’ has replaced the exchange-value and use-value.
          All these concepts clarify the schism between the instrumental purpose of a commodity and its fetish status, as it relates to the capitalist mode of production and which is growing stronger today. Our choice of theory to interpret the examples of commodity fetishism discussed by Skála will depend on what perspective we assume – the one of the consumer, factory worker, or of the freelance artist? The author himself is informed by all three because his life experience contains elements of each. Skála was born in a family of factory workers and worked as an apprentice in the same factory as his parents. As a contemporary artist, however, he operates in the Post-Fordist mode of production, which sees no difference between work time and leisure. After all, not even he can fully resist the seductive power of beautiful new devices sealed in packaging which is still intact – and neither can we.


Václav Magid, Prague, 2012

Aug 29, 2012


Aug 27, 2012

Text 13


Two number ones,
one vertical line with a little beak at the top
and one more,
that makes two.
https://docs.google.com/file/d/0BwXQJKYVUMn1YTd0YWFjODBzTmM/edit
Darius has been diagnosed with Asperger’s syndrome—a disorder in which sufferers can become obsessed with particular topics, often exhibiting, as Darius does, an astonishing level of expertise. This significant fact didn’t come up until rather recently though-- when it was brought to the attention of the presiding judge who last sentenced Darius. Despite the fact nothing Darius has done has ever caused an injury or even recklessly endangered anyone, at that sentencing, in 2001, Justice Carol Berkman wasted no time in deriding Darius, ignoring the Aspergers and sentencing him to 2 1/2 to 5 years in state prison.¹

A few hundred metres further along a row of silver birches appeared where the track used to be, there was slag poking through their roots and a bit further on there was a little bridge. After another circa 100 metres, a ditch stood out in front of a little garden colony and behind the fence there was a most bizarre, dilapidated building. According to the map there had once been a railway station building there.²

He was sitting on the train, watching a telephone line; it was suspended between wooden poles, curving downwards slightly. His eyes were fixed on the thin black line, rising and falling in a regular pattern. His eyes didn’t move, he was pressing his cheek against the dew-covered window and moving it up and down, severing reality in half. The treetops above the telephone line were shedding their leaves. Inexorably, the train was receding into the distance away from the freshly bared tree trunks.
https://docs.google.com/file/d/0BwXQJKYVUMn1Y1lPMk55TS1pX2M/edit
In ‘Catch me if you can’ Steven Spielberg’s 2002 blockbuster based on the true story of con artist Frank Abagnale Jr., a buttoned down G-man played by Tom Hanks, stalks and eventually arrests a daring and inventive check forger played by the ever limber Leonardo Dicpario. The film, set in the late 60’s and early 70’s probes the emergent bonds between cop and crook, delicately delving into the minds and humanity of each of the fundamentally isolated characters.³

I loved those nights when the four of them roared past beneath my window. You could already hear it when it was departing from Olomouc, six kilometres away. The open window channelled that beautiful sound into the room. I savoured it and looked forward to the next one passing by. Back then I didn’t run around railway stations and tracks with a camera. I just used to sit around on the platform in Velká Bystřice, observing all the action. A lot has changed since then. The locomotives known familiarly as the Brigitte Bardots have gradually disappeared, fallen through the trapdoor of history or been cut up into scrap metal by oxyacetylene torches, and all I have left are these memories.⁴

He’s watching him with interest as he tries to keep hold of the camera in his hands, as he puts it in front of his left eye, trying to narrow his right eye at the same time. Just like his mother does, who owns the camera. He walks behind him, concerned about her means of production, but he doesn’t want to take it from him; he’s curious about how this will turn out. Once the son finally manages to take the first photograph, he decides to put the SLR on a tripod and set it up in such a way that the son can take photographs. Then they select his favourite toy cars together, he places them on the bed, opposite the lens. Eda concentrates each time he presses the shutter release, waits a moment and then joyfully shows him the miniaturised toy car with his finger on the LCD screen.