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Designing places, naming history – naming places, designing history (Fotograf Festival #10)

from: 9. 10. 2020
to: 25. 10. 2020

Tue-Sun 10:00 a.m.–6:00 p.m.
Thu 10:00 a.m.–8:00 p.m.

House of Photography

from: 9. 10. 2020
to: 25. 10. 2020
House of Photography, Revoluční 5, Prague 1

Tue-Sun 10:00 a.m.–6:00 p.m.
Thu 10:00 a.m.–8:00 p.m.

 

curators
Stephanie Kiwitt
Tereza Rudolf
Anna Voswinckel 

 

artists
Zbyněk Baladrán
Eiko Grimberg
Bernadette Keating
Martin Netočný
Shelly Silver
Gabriele Stötzer

 

in cooperation with 
Fotograf 07 z. s.

 

the exhibition is part of
Fotograf Festival: Uneven Ground

 

admission
full: 120 CZK 
reduced: 60 CZK

 
 
 

practical info > 
 

In 1890, Jacob Riis, today considered one of the pioneers of social documentary photography, published the book "How the Other Half Lives", in which he captures life in the poorest neighbourhoods of the growing American capital, including evidence of child labour. In her video collage, depicting a portrait of Chinatown in New York City, author Shelly Silver bluntly answers Riis's research question: “We don't know because we don't care!". Are we actually still asking loudly to whom belongs the public space as well? Have we lost our utopian visions? Do the utopian visions of yesteryear only dwell in company slogans which artist Bernadette Keating twists into a bitter-sweet parody?

The Pool project by Eiko Grimberg digs into the history of a particular place which - frequently rebuilt - illustrates the dominant ideology, where “the other'' is changed or disappears. The modernist vision of urban development in Zbyněk’s Baladrán video is confronted with today's development in the short movie of Martin Netočný. Gabriele Stötzer’s film shows 13 women and men dancing in outdoor locations of their choice. Each one developed, without any music, their own movement to the point of ecstasy. Under the condition of state socialism the film expresses “a freedom inherent in all of us, should we choose to grasp it” (Stötzer). All the approaches then underline the very fragile connections between the image of the public space and the conditions of society, which, when individualized, loses the notion of otherness as a building stone for positive change.

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