Title: Martin Papcún. Buildings/Spaces
Texts: Christine Nippe, Petr Rezek
Editor: František Zachoval
Hardback, 16 x 22,5 cm, English/German, 160 pages
The 1st edition. Berlin 2015
ISBN 978-39-817-0171-5
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For orders and distribution please contact the author directly: papcun.net (at) gmail (dot) com

The book Martin Papcún. Buildings/Spaces surveys of the previous decade of the artist’s work. Essays by Christine Nippe and Petr Rezek supplement the survey of works and broaden the perspective on Papcún.

Papcún’s research-based practice is informed by his long-term interest in relationships, definitions of private and public space and the gaps between them. Works presented in the book examine the differences between communication systems — those of states, nations, subcultures and individuals, and their own languages — and systematically interprets broad socio-political systems.

The introductory essay, How to feel and touch the space written by the curator and researcher Christine Nippe focuses on contextualising aspects of Papcún’s work, such as themes of remembering and experiencing, in relation to the work of cultural anthropologist Ulf Hannerz, cultural theorist Aleida Assmann, and sociologist Maurice Halbwachs.

The Czech phenomenologist philosopher and art theorist Petr Pezek contributed three essays to the book: An enlarged violin is not a viola, The ruins of a fortress and Memory as a periscope through time. The common element of these texts is that of refined analysis which has a high literary quality at the same time. While he is well known in the Czech Republic, this will be one of the first times that texts of Rezek’s have been translated and published in English and in German.

We are especially grateful for the close cooperation and support of Martin Papcún, Christine Nippe, Petr Rezek, Kathrin Janka, Andrea Lerner, and Lucy Duggan. Without their personal involvement this book would not have been possible. Our thanks go to Michaela Labudová who was responsible for the graphic design. All texts were very carefully proofread by Rebecca Bligh, Sven Scheer, Hana Janečková and Zuzana Jürgens.

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Title: Rudolf Valenta. Rekonstruktion
Sborník textů a dokumentů v kontextu tvorby autora v emigraci (1970–2014)
Eds: Alexander Peroutka, Frantisek Zachoval
Paperback, Czech, 160 pages, black/white
Berlin, January 2015
ISBN 978-39-817-0170-8
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Cover and Graphic © Design Michal Chodanič, 2014
If you wish to order the book, email us at info (at) thekarte.org or editor (at) thekarte (dot) org.

Rudolf Valenta left socialist Czechoslovakia in 1970; renouncing the environment that was his home and the nurturing place of his profession. In the modern world, the phenomenon of mobility is
considered to be an important tool for unifying Europe, with greater mobility being both initiated and supported. During the years of Valenta’s exile and his artistic career in Germany (Berlin), Czech society had transformed; with its integration into a unified Europe and adoption of a new scale of values and beliefs. Czech cultural history is an amalgam of instrumental references, which do not
pay adequate attention to creators residing abroad. For this reason, this publication devotes more attention to studying the material of those works which Rudolf Valenta created during his time in his period of German residence.
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Invisible Violence
11 October 2014
Naunynstraße 53, 10999 Berlin, Germany
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Interview with Alexander Peroutka

Klas Eriksson, Nongkran Panmongkol and Alexander Peroutka work with the idea of social intervention. Their work is influenced by their stay or life in the geopolitical space of Sweden. Social and political ideas in Sweden have traditionally their own autonomous interpretation and implementation. Here it seems the society is more homogeneous and is organized around common understanding. The focus of the presented work lies on artistic investigation into social realities limited by geopolitical space. These interventions expect a social environment that has its limits, borders and its own unique expectations.

Klas Eriksson is investigating social power, hierarchy, social control and violence in cultural imaginary and the impact of pop-culture on function of contemporary society. His investigations leads to a certain performative character of his installations and videos.

Nongkran Panmongkol was born in Thailand and lives in Stockholm. She is working with the ideas of cultural conflict, cultural hegemony while she is analyzing the problems that are created by non-stop modernization of western global society in terms of human interaction limits, personal and collective social responsibilities.

Alexander Peroutka is an artist from Prague and Stockholm. His work is based on investigations into a logic of cultural and political structures that are authentic in every geo-political area (geo-body). He creates his own critical approach that takes three-dimentional form of his installations. His installations are based on documentaries, databases and social models.

http://kreuzbergpavillon.tumblr.com

Klas Eriksson, Nongkran Panmongkol and Alexander Peroutka

Themes and Variations
May 2 – June 28, 2014
Moeller Fine Art, Tempelhofer Ufer 11, D-10963 Berlin
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Interview with: Stephanie Moeller,
curator: Stephanie Moeller,
exhibited artist: Pravoslav Sovak.

Pravoslav Sovák’s solo presentation at the gallery Moeller Fine Art Berlin showcases 35 drawings, collages and etchings created between 1968 and 2013. The exhibition is divided into three thematic circles: Museum Sheets, Beauties, and Desert Sheets. In this video, Stephanie Moeller explains her relationship to Mr Sovák’s work, focusing closer on the series Museum Sheets.

Desert Sheets were conceived during the artist’s regular journeys to the US. A series of works on paper depict landscapes as a symbol of nature, as a symbol of the authentic living. Even though the deserts have very little human interference apart from roads, nuclear testing sites etc. they are spaces which are not inhabited, they are not regularly cultivated, in this respect are not what we call a cultured landscape.

Pravoslav Sovák was born and worked in the communist Czechoslovakia until 1968. He emigrated to Germany on the 21st of August 1968, which was the exact day of the Soviet invasion, and later he settled in Switzerland. His transition between cultural codes of the East and West brought him a deeper understanding of the system as a whole. In many respects his ability to compare, as well as a developed sensibility, enabled his overview of political systems and different structures of society and this facilitated his personal achievement. I would like to suggest that this is the most evident in his thematic work about American deserts in Arizona.

What actually is a desert if not a natural entity? Having had no use for humans, it is left untouched. Infinity, particular circularity and meditation, have been symbolic codes attached to the desert. For Sovák it signifies the opposite of temptation, which we experience in different social systems and cultures. This particular quality can be noticed especially if we are overwhelmed by powerful historical moments. Ulrike Lorenz summarises this in her encomium ‘Topographies of Yearning’ which was published in the Sovák’s monograph Themes &Variations under the framework of an eponymous exhibition: „Sovak’s deserts and vast expanses are topographies of yearning. In the vortext of seeing, the viewer becomes one with the object he’s looking at, but his yearning is never satisfied.“ The show runs until June 28, 2014.

The exhibition was organized as part of the tenth anniversary of Gallery Weekend Berlin, which strategically promotes the exhibition activities of local galleries. Almost all galleries stayed open past their usual opening times. Over sixty artists showed at Gallery Weekend Berlin, including Julian Opie, Zofia Kulik, Gordon Matta-Clark, Liam Gillick and Wolfgang Laib among others.

Pravoslav Sovák was born in 1926 in Vysoké Mýto, Bohemia. After graduating from the School of Ceramics, Bechyně and then from the Philosophical Faculty of Charles University, Prague, he worked as an assistant professor at Palacký University, Olomouc. Sovak received his art education at the Academy of Applied Arts, Prague. He has been living in Switzerland since 1968. In 1975 he was appointed professor and the head of department of Free Graphic Arts at the Cologne School of Art and Design. He was selected for the 36th Biennale di Venezia.

Interview produced by František Zachoval.
More info: http://www.moellerfineart.com

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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 Read More