Berlin > Czech Centrum Berlin > Question Marks in a Blurred Grid

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Question Marks in a Blurred Grid
March 20 – May 3, 2014
Czech Center Berlin, Wilhelmstraße 44 D-10117 Berlin
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Interview with: Matyáš Chochola and Alexandr Puškin, curators: Matyáš Chochola and Alexandr Puškin, exhibited artists: Dirk Bell, Eva Berendes, Barbora Fastrová, Stanislava Karbušická, Martin Kohout, Kalin Lindena, Roman Liška, Marek Meduna.

In this report, Matyáš Chochola and Alexandr Puškin (curators of the exhibition) explain significances of the concept of the exhibition and we talk in detail about the background, structure and importance of this project.

Interview produced by František Zachoval. More info:

foto: Frantisek Zachoval

foto: Frantisek Zachoval

The Observation In A Second Order » Katarina Ševic and Gergely László: House Museum«

Title: The Observation In A Second Order » Katarina Ševic and Gergely László: House Museum«
Location: Ethnological Museum in Berlin
Frantisek Zachoval: talks to Katarina Ševic and Gergely László
Date: December 29, 2014

I met with artists Katarina Ševic and Gergely László at the Ethnological Museum in Berlin to talk about their project House Museum (2006), developed after being able to return to Ševic’s summer cottage in Žuljana, a small village on the Pelješac Peninsula (Croatia) after the civil war in ex-Yugoslavia (1991-2001). The ethnic conflicts prohibited Ševic, a Serbian citizen, and her family to enter Croatian territory and, therefore, inhabit the house. Thirteen years later, the artist returned and, working collectively with Gergely László, cleaned and repaired the house, left ravaged by war and occupied in her family’s absence. The artists gathered more than 100 objects, employing archeological principles to uncover the past of the house and archive the found objects discovered. The House Museum has been exhibited in the group exhibitions Lost in Transition, CAME, Tallinn (2011); Bunker Design at the Moscow Biennial, Hungarian Cultural Centre, Moscow (2007); and at the Remont Gallery, Belgrade (2007) and the Hungarian University of Fine Arts, Budapest (2006).

Katarina Šević (b. 1979, Novi Sad/Serbia) and Gergely László (b. 1979, Budapest) live and work in Budapest and Berlin. Since 2004, Gergely László and Péter Rákosi work collaboratively under the label of Tehnica Schweiz. Šević and László’s other projects include: The Man with an Excavator (2010); The Heroes of the Shaft (2011); Gasium et Circensens (2012); Shifting: Worker Culture and Life Reform in the Madzsar School (2012); and Imperatores Provinciae (2013).


About the project:
After twenty years of re-vitalisation of the post communist countries, the part of a younger generation of theoreticians and artists has quite a critical approach to the social environment and newly constructed history. The series of video-interviews The Observation In A Second Order is a part of the long term research project Objectivity and Manipulation: a collection of essays, interviews and documents following author’s interpretations of their own histories and also reflecting on local institutions, which often operate with strongly subjective attitudes. The parameters of a curatorial selection remain uncertain here. This kind of attitude leads to generalised and strongly manipulative tendencies, which are more and more evident.

The collection of interviews focuses on the former Eastern Block enabling a comparison of different levels of development in the researched subjects. Like in centrifugal circles, the methods of promoting and concealing of certain events can be also traced to the geographically close European countries and its analysis make the final section.

A series of interviews The Observation In A Second Order (Beobachtung zweiter Ordnung) makes the ‘blind spot’ visible to the viewers who can’t perceive it for their particular perspective. The interviews were prepared with artists who critically engage with a trajectory of manipulation and it underlines their art practices.

All right reserved. ARTMargins Online, Frantisek Zachoval and artists.

Berlin ~ Bergwasser Gallery ~ Liu Jing: Jing, Jing & Jing

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Bergwasser Gallery
Liu Jing: Jing, Jing & Jing
date: February 14, 2014
location: Grolmannstraße 16/16A, Berlin, Germany
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The exhibition Jing, Jing & Jing (静 净 境) focused on the contemporary Chinese ink painting, a technique that has been very important for the past thousands years. Liu Jing’s work is based on tradition (she paints with ink) but she inserts contemporary subject matter into her large format works. Traditional techniques have had thousand years of development and one could almost describe them as their own schools of philosophy. Liu Jing connects these schools and uses what she finds useful from each of them. In practice we talk about the post-modern approach where the author seeks new ways, new positions and new social possibilities

In particular Liu Jing works with the fusion of techniques Gongbi (工笔) and Xieyi (写意). Gongbi is defined by attention to detail and by realistic representation as opposed Xieyi which is a spontaneous energetic way of painting. Of course, as with every philosophical school, painting has many interpretations. At the moment when we adjoin both of these techniques, entirely new questions and possibilities for describing the world arise. Unexplored connections will prompt a new set of questions and answers. From my subjective position I see parallels to the social reaction with the contemporary globalized world where the ways of thinking and theory connect, allowing for the emergence of new forms, new gatherings and new theoretical schools which aim to describe the world as a whole.

In Western society, the title Jing, Jing & Jing usually has one meaning and it is generally understood with the emphasis on that meaning. However in China the term has three different meanings. The first character Jing is the name of the artist, which means silent, calm, peaceful, the second term Jing meaning clean and tidy, which may refer to the clean aesthetics of the paintings, and the last meaning of the word Jing, environment, surroundings, social settings which can be interpreted as a historical and artistic context. The title of the show and the exhibited painting underline a multiplicity of meanings and interconnectedness of the contemporary world.

Liu Jing, 1976 was born in Beijing, studied at the Beijing Normal University and graduated at the Chinese Academy of Art, Beijing. Liu Jing is member of the advisory board of for Chinese Calligraphy and Seal Engravers at the Youth Federation of the Ministry of Culture; member of Beijing Seal Engravers Society and she is vice-chairman of the Times Art Museum in Beijing. Her first solo exhibition was at Anshan Hall of Prince Gong’s Mansion, Beijing.

– Frantisek Zachoval

more info:

All right reserved. Galerie Bergwasser, Frantisek Zachoval and artist.

Bergwasser Gallery Liu Jing: Jing, Jing & Jing

Bergwasser Gallery
Liu Jing: Jing, Jing & Jing

Martin Papcún. Prostor/Raum

Martin Papcún. Prostor-Raum Monografie

Title: Martin Papcún. Prostor/Raum
Editor: František Zachoval
30 x 21 cm
German and Czech
168 pages, numerous colour reproductions, Paperback
Berlin, December 2014

Martin Papcún explores private relationships with public spaces and the spaces we inhabit,
 in works both monumental and miniature. His work is continuously focused on relationships, definitions of private/public space, and gaps between.
 Generally, the author examines the differences between communication systems (states, nations, subcultures and individuals) and their own language systematically interprets the broad socio-political systems. Martin Papcún live and work in Munich.

Production of this monograph is possible by funds from the Czech-German Fund for the Future and a grant from LfA Förderbank Bayern.

The Observation In A Second Order »Alexander Peroutka: Strike?«

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Title: The Observation In A Second Order »Alexander Peroutka: Strike?« Location: Laster- und Hängerburg, Berlin / Bethanien Berlin-Kreuzberg Frantisek Zachoval: talks to Alexander Peroutka Date: September 4, 2013

Alexander Peroutka is an artist, curator and writer who graduated in 2006 from the Academy of Fine Arts Prague and received his Ph.D. at the Faculty of Fine Arts of the Technical University in Brno. In 2005, Peroutka was a fellow at the Royal Swedish Academy of Fine Arts. His diploma work, Who Are We? (2006), in which a ventilator seems to react to open web texts on a PC screen, explored Czech online magazines and the way they channel discussions of identity and gender in the Czech media. Other recent projects, such as How do you like Sweden? (2007-2009), Collective Errors (2012), and Invisible Economy (2012), explore community relations within a local economy. Continue reading