{"id":4333,"date":"2022-06-10T20:45:11","date_gmt":"2022-06-10T18:45:11","guid":{"rendered":"https:\/\/2022.festivalm3.cz\/?page_id=4333"},"modified":"2022-12-10T22:12:10","modified_gmt":"2022-12-10T21:12:10","slug":"eng","status":"publish","type":"page","link":"https:\/\/2022.festivalm3.cz\/eng\/","title":{"rendered":"festival m3 – ENG"},"content":{"rendered":"\t\t
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Festival m\u00b3
Um\u011bn\u00ed v prostoru
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Between interspaces
\n15. 6.\u201430. 9. 2022\nrailway stations<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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The reality of railway station buildings, railway tracks and their surroundings co-creates the clear boundaries of the concept of this year\u2019s Festival m\u00b3 \/ Art in space. In their immediate vicinity, levels of meaning immediately emerge \u2013 social, political-aesthetic, architectural, historical, urban, ecological.<\/p>

We can probably generally agree on the statement that the railway station environment is typical of a peculiar poetics. This is why, for example, in Jaroslav Rudi\u0161\u2019s recently published book, we can also encounter critical comparisons of today\u2019s state-of-the-art railway stations to a \u201csparrow\u2019s nest\u201d, a \u201chospital autopsy room\u201d, a \u201cmouse hole made of glass and steel\u201d, a \u201ccemetery\u201d, a \u201cshopping mall\u201d, a \u201chorrendous department store\u201d, a \u201cmarketplace\u201d, a \u201ccircus tent\u201d, and, in the opposite sense, a romantic memory of a railway station as a \u201ccathedral of transport\u201d. We absolutely understand the emotional colouring of these expressions because, from our own experience, we can easily recall stations that are tiny, oversized, designed for freight transport, insensitively modernised, abandoned, overgrown, closed and dilapidated. Behind these visible signs, however, there are usually more hidden levels, sometimes as a result of rather problematic processes.<\/p>

The dilapidated ruins of railway station buildings can be indicative of a protracted solving of property rights to them. The lifeless neatness of the tracks is due to the repeated widespread application of poisonous herbicides. In the vicinity of railway stations and tracks, we encounter numerous uncontrolled zones, the so-called \u201cnew wilderness\u201d (Ji\u0159\u00ed S\u00e1dlo), with the indeterminate identity of \u201cempty spaces\u201d (Michal Ajvaz), \u201cvague terrains\u201d (Radan Haluz\u00edk), which, however, can be characterised by an exceptionally diverse representation of plant species. The relationship between the city and investors in planning the use of such free\/natural zones is often problematic, yet the ill-defined terrain can be intelligently and sensitively reflected and integrated into the urban space in an appropriate and urbanistic way in the important green areas of the city.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\tInteresting areas around dead-end train lines show us how nature is slowly reclaiming its space. The specific poetry of station environment and train ride brings with it the experience of a \u201cdifferent\u201d space and time, of specific sounds. The linear nature of the railways running through the city, at times rendered invisible by tunnels, naturally connects the centre and the periphery. It provides the possibility to find oneself between spaces and between times, between interspaces. The modernisation of station buildings currently underway can also bring very dismal results. Some empty station buildings have long been waiting for an intelligent conversion, for a new meaningful life. For example, the question of whether the cost-effectiveness of rail transport is a truth or a myth is also food for thought. A current issue is the incorporation of rail transport into the public transport structure, with the possibility of relieving the congested city centre while strengthening connections to isolated suburbs.\n\nWe have the space-time of a railway station connected with the expectation of events according to a prescribed schedule. We notice how the surroundings of the railway lines are tamed \u2013 fences sprout up, overhanging branches are immediately cut off, areas of \u201csafe\u201d visibility are expanded. It is as if the space itself is asking for the input of aimless creativity. This year\u2019s festival\u2019s artistic interventions in and around the diverse spaces of railways, railway stations and their surroundings attempt to highlight the inventive and meaningful cultivation of public space, dilute social and local stereotypes, and initiate stimulating public debates on a number of the themes outlined above.\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Curators Dagmar \u0160ubrtov\u00e1 and Iva Mladi\u010dov\u00e1<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Kladno railway station<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Matej Al-Ali
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Peter Cusack
\nBran\u00edk Soudwalks\n<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Prague-\u0158eporyje railway station<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Eli\u00e1\u0161 Dolej\u0161\u00ed\u200b
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Masaryk railway station<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Lloyd Dunn\u200b
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Prague-Mod\u0159any train station<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Pavel Ho\u0161ek\u200b
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\n\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\tmore...<\/span>\n\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Prague-Vr\u0161ovice railway station<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Petr Stibral \u200b
\nMonument of the garden colony of Slatiny\n\n<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Michaela Thelenov\u00e1
\nFrom the window I observe the silent flow of the river<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Vladim\u00edr Turner
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Erika Velick\u00e1
\nThe Train Station as an Axis Mundi<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Epos 257
\nAlbert \u0160turma, Martin Neto\u010dn\u00fd\n\n<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Iva Mladi\u010dov\u00e1\u200b<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Iva Mladi\u010dov\u00e1 studied at the Faculty of Science and the Faculty of Arts, Charles University in Prague. In 2007\u20132011, she prepared a monograph and a retrospective exhibition of Jan Kot\u00edk for the National Gallery in Prague. Since 2015, she has been a curator of the Showcase AXA Gallery in Prague and the D\u016fm Gallery in Broumov, and has also prepared a number of exhibitions for other galleries and public spaces. She focuses mainly on contemporary sculpture. She is a co-author of the publications Sculpture 2 AVU 1990\u20132016 and P\u016fsobit, kl\u00e1st p\u0159ek\u00e1\u017eky, vyj\u00edt vst\u0159\u00edc. (Conversations with visual artists on how to teach art) and others. Since 2013, she has been teaching at Jan E. Purkyn\u011b University in \u00dast\u00ed nad Labem and, since 2015, she has been teaching externally at the Academy of Fine Arts in Prague.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Dagmar \u0160ubrtov\u00e1 lives and works in Kladno. She graduated from the Sculpture Studio of the Academy of Arts, Architecture and Design in Prague under the direction of Kurt Gebauer. She worked at the studio as an assistant until 2013. In addition to her artistic profession, she is also involved in thematic curatorial projects such as Olga Karl\u00edkov\u00e1 \/ Audible Landscapes, UM Gallery (2012), and Jitka and Kv\u011bta V\u00e1lov\u00e1 \/Under One Sky (2021). She was responsible for the dramaturgy of the exhibition programme of the Gallery of the Institute of Macromolecular Chemistry of the Academy of Sciences in Prague (2001\u20132021). For several years she worked as a curator of the Mining Museum in the former Mayrau Mine in Vina\u0159ice. She has long monitored the transformation of the landscape as a result of ongoing industrialisation. The central themes of her work are the “no-man’s land” devastated by industry and the slag heaps of deep mines. She does not limit herself to reflection, but aims at a sculptural interpretation of newly emerging places within the so-called new wilderness which are physical examples of natural renewal. This can be seen, for example, in the Earth Dust exhibition at the Coal Mill gallery or in the installation Reclamation, ProLuka Gallery, Prague (2019), in the solo exhibition Stella Maris at the Central Bohemian Region Gallery (2020) and in the group exhibitions Vanitas, DOX Prague (2021), and Stasis Leak, Pragovka Gallery (2022). Since 2015, she has been working on the Na pomez\u00ed samoty \/ Frontiers of Solitude project, which explores current issues of landscape transformation and the interconnectedness of post-industrial society and nature. She is a co-author of the book Guide: Contemporary Artworks in the Landscape (with Radoslava Schmelzov\u00e1 and Radek Mikul\u00e1\u0161, Academia, 2014). For a long time, she has taken care of the V\u00e1lov\u00e1 Sisters’ Home and their work.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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