The Triennial examines ways of learning about and organising the human spectrum. Its axes are two expositions - Universum thatcan be understood as an expression of the search for a new universality in which man would not dominate his surrounding environment but be a natural part of it. And Jan Pamuła: Pioneer of Computer Art in Poland presenting an exceptional personality from the context of the Central European forum whose work directly calls for thinking about the terms system or organization.
The basis of the Triennial is the institution as a whole and attention is therefore also focused on its permanent exhibitions, and the space for the newly emerging forum, which directly anticipates the programme dedicated to the formation of public space, including interactive installation by Dan Gregor (INITI), Silent Scream. Everything is connected by the year-long SEFO programme, including performative forms, theatre and music productions following the tradition of the Music Theatre, or lectures and workshops connected with the CEAD database. In this sense, the Triennial functions as a modular system (sum of the world), formed by things (res), events and their mutual relations, which is also reflected in its architectural design.
The SEFO Triennial is a project of the Olomouc Museum of Art. However, it has invited other institutions in and outside the city to be involved, including mainly Palacký University, Caesar Gallery, Metropol Cinema, and festivals such as the Flora Theatre Festival, PAF and the Olomouc Ecological Days, respectively the Ludwig Museum in Budapest, the Kunstmuseum Lentos in Linz, the East Slovak Gallery in Košice and the International Cultural Centre in Kraków. A special guest of the triennial is the Kassák Museum in Budapest. The programmes that are prepared in cooperation go beyond a narrow institutional and geographical framework. These engagement efforts can be regarded as one of the principles of SEFO.
Terezinalia: Archeology of the Change
People/AuthorsAndere Seite Studio
Andere Seite Studio is a multidisciplinary creative team of Radek and Zdeněk Květoň, who live and work in northern Bohemia, mainly in the Litoměřice region. The studio is in the long term focused on topographic photography as a main tool for exploring the dynamics of cultural and natural processes, rhythms and layers of places we live in. Their current exhibition collection includes selected results of two baselines of the work by A.S.S. The first is the long-term photographic exploration of Terezín and its neighbourhood based on regular descent into the explored place, on merging with its rhythm and on resulting in a selection and systematisation of various captured signs of changes. The second line is the crossing of the borders of photography as a medium and centrifugal investigation of its potential to change. Long-term mapping of the Terezín region led in establishing a vast and complex archive. This exhibition is just one from the never-ending row of trials to assort it.
The exhibition was a part of the programme of the triennial organised in the frame of the Olomouc Central European Forum programme for 2021. Under the name Universum, the programme is reflecting the various ways of our relations towards the world and of our thoughts about it. The motive of the archive, which is what Radek and Zdeněk Květoň concentrate on, and, moreover the photography itself, which gave the primary impulse to this modern way of thinking about collecting and organizing, are one of the key moments of any memory institution; thus a museum, too. Including this exhibition into the Triennial seems now, during the current crisis, even more symptomatic. Many openings of various programmes have been postponed, not excluding the Triennial, and therefore, a similar crossover and revoke of sediments is going on now, as it happened during the flood in allotment gardens of Terezín. Thanks to these circumstances, Terezinalia naturally fits in another part of traditional dramaturgy of our museum: the Days of Jewish Culture. It looks like, in a certain way, everything really is connected with each other and the multiplicity finally becomes unity, which is after all the original meaning of the word Universum.
curator: Ondřej Dadejík
Deduce & Detect
The second exhibition presented by the traditional Caesar Gallery in Olomouc as part of the SEFO 2021 Triennial presents a pair of safely established contemporary authors, printmaker Šimon Brejcha and intermedialist Michal Kindernay. Together with the young architect María Štěfanová, they share an interest in the landscape and natural elements. While their work is not engaged in the true sense of the word, it is definitely conscious. And for younger curators, SEFO is a good impulse for their own reflections on where human freedom begins and ends.
curators: Jakub Frank, Barbora Kundračíková, Martina Mertová
The exhibition of three authors and three curators (Jakub Frank, Barbora Kundračíková and Martina Mertová) is tied not only to the objectives of the first year of the Trienále SEFO, which examines and verifies the possibilities of our relationship with and thinking about the world but also indirectly responds to the main theme of Olomouc Ecological Days 2020 – it puts forward an argument within an argument, asking: If ecology and our relationship with nature is one of the main topics of the day; if, at the same time, attention is naturally focused on only a few dominant areas such as water scarcity and global warming, how do we deal with those topics, perhaps marginal in nature, that are too fragile for normal perception? And what about our personal experience with today’s landscape? Maria Štefanová, Šimon Brejcha and Michal Kindernay share an interest in ephemeral, inconspicuous but constantly recurring phenomena. In their work, they mirror and refine each other, but in some moments they also deny - they function and act as autonomous entities endowed with their own identity independent of the human one. Whether it is the imprint of a branch, the recording of sound or the mapping of past events, man is its recipient, albeit active, not the originator. It is almost to be said that Kant after Duchamp, Kant in the post-conceptual period, may be passé - Kant after the Anthropocene, in a world that is no longer only or mainly human, but is gaining in interest.
New Media Museums
The New Media Museum project aims to create a framework for the collection and preservation of new media art in the countries of the Visegrád Group (Czech Republic, Slovakia, Poland and Hungary). The project’s main objective is to find functional methods that museums can use to create and manage these collections in the future. The foundation is the creation of a network of various actors in the field, including artists, curators, conservators, technicians and a circle of professional consultants. The results and experiences of case studies, colloquia, publications and discussions then form the natural basis of the institutional infrastructure. In this way, the character of the new media in the Central European region is preserved and the communities themselves and resource centres are involved in the process of institutionalisation. The new collections become a complementary part of existing ones.
The project responds to the problem of under-representation of media arts and culture in heritage institutions in V4 countries. Historians, curators, artists have long recognised video art, digital art, sound art, internet art, interactive installations, and digital culture artefacts as an important phenomenon of the recent era. However, the legacy of these works is largely limited to art professionals. The artefacts are almost absent in museum collections and pioneering works from the 1970s & 80s are largely unknown to the general public. The main reason for this is the lack of expertise for their preservation in the V4 institutions and the absence of a methodology for the technical and administrative handling of the artworks.
The project with an international team of experts is supported by a grant from the Visegrad Fund (2021–2022).
supervision: Dušan Barok & SEFO
coordination: Jakub Frank
partners: Slovenská národná galéria (SK), C3 Center for Culture and Communication Foundation (HUN), PAF (CZ), WRO Art Center (PL)
Academia Film Olomouc: Imagine the Facts
Academia Film Olomouc is one of the largest and oldest popular science festivals in Europe. Every year, AFO brings the broad Czech and international public the latest discoveries in the field of science and starts a discussion on the subject of why and by whom science is pursued today and how it is communicated. At the same time, the festival holds up a positivist mirror on society, i.e., a fact-based approach to the most pressing social issues.
Last year, AFO successfully adapted to virtual form. A section on the border of science and art on data visualisation, which AFO is planning in cooperation with the Olomouc Museum of Art, is based on the idea of this transformation. The visualisation of raw data in graphs, maps and art projects is not limited to mere transcription – it is an evaluative, interpretive and constructive process. It’s the connection of points A and B, where, however, the imaginary path of visualisation paradoxically creates point B and projects into it the uncertainties and expectations of the traveller – the creator. We will examine visualisation as a useful tool, but we will also evaluate its negatives, secondary phenomena that we refer to as visual noise or even smog, both in its natural environments and in the city, in books or on the internet. The question we ask ourselves, of course, is when exactly does an argument or opinion becomes information – and what role does visualisation play in this process. And that is why the programme will also include interactive elements and events. Also naturally connected to the AFO programme is one falling within the scope of the Triennial – specifically linked to SEFO, i.e., the functioning and visual existence of cultural institutions and entities operating in the city. An important role is played by WALL, which is becoming an imaginary entry into a new world.
Among the selected authors are Attila Csörgő, Agnes Denes (Leslie Tonkonow Artworks + Projects, New York), Otto Neurath, Evan Ingersoll, Andy Thomas, Kristina Zákopčanová (Climate Facts) or Stano Filko (Central Slovakian Gallery). The project also includes independent artistic realizations (Attila Csörgő, Richard Loskot, Jan Krtička), and visualizations of architecture for SEFO (Jan Šépka).
Just connect to wifi and download the ARTIVIVE application (App Store / Google Play) to your smartphone.
coordination: Jakub Frank, Ondřej Kazík, Barbora Kundračíková, Zdeněk Rychtera
production: Petr Dvořák
Ar men - Lighthouse
The sea was slowly swelling, such a strange silence between the waves disturbed by a muffled rumble: I always saw it mysteriously precede the fog.
A story about voluntary deportation, about the strength of the weather, about the desire to keep the light lit, a story similar to our present reality that connects the museum's attic and its lookout tower and views of the landscape with even your rooms. On the border of theatre, film and music composition, the mechanism’s clockwork will be wound to keep the coast in sight during uncertain voyages.
The live broadcast of the audiovisual composition from diary entries for two actors and music will begin as dusk falls on Monday, May 3rd at 9 p.m.
Ar men is a lighthouse standing in the sea off the west coast of Brittany, France. It is the cell and home of two guards who constantly set in motion the light mechanism, the signal language of seafarers. It's the setting of a story reeking of kerosene, a stone stage of subtle dramas, a place in the head from which one never leaves.
Jean-Pierre Abraham served in this desolate tower in 1959–1964. In his book Ar-men, Abraham describes the six-month shifts of protecting the light, the movements of the weather and the sea, the highly repetitive yet never the same actions of the guards. I would like to see the person who decided to build this.
based on the novel by Jean-Pierre Abraham: Ar men
director: Tomáš Soldán
music: Tomáš Vtípil
cast: Pavel Neškudla, Václav Marhold
Time to Act in Hejčín!
Accompanying programRe-vision: Time to Act in Hejčín!Re-vision: Time to Act in Hejčín!Re-vision: Time to Act in Hejčín!
What to do with urban brownfields? While this seems to be a relatively simple assignment, it fosters deeper reflections on the formation of city space. Originally an independent village with a very long history, Hejčín was incorporated into Olomouc a century ago. The imaginary core of Hejčín is within walking distance of the historical centre of Olomouc. This valuable, albeit neglected, piece of land with the abandoned building of Palacký University’s Faculty of Science stands in the vicinity of several school buildings and a busy city road. What does its future hold? And should we simply demolish the ruins, for which we alone bear responsibility, or perhaps recycle the building? What potential does the entire area have? Can it become the new centre of Hejčín, a district overburdened by traffic congestion and lacking any overall urban design? What other functions could it serve? Is there any point in revising the current zoning documentation?
Students from the Institute of Experimental Creation at the Brno University of Technology under the guidance of Szymon Rozwałka are looking for answers. Several common points are shared with the concept of the SEFO Triennial of Contemporary Central European Art and the central theme of “universum”. How are the DICHOTOMIES of architectural discourse projected into URBAN SPACE? Workshop participants will consider how limited the perception of the city is by extreme aspects: public/private; formal/unmaintained; official/illegal; historical/displaced; harmonious/conflicting; hierarchical/egalitarian; regulated/chaotic, etc. Students analyse the individual dichotomies of architectural discourse and their impact on the city and society.
The task of the workshop becomes the search for a new, “unclosed” master plan – one that works with the fluidity and diversity that the current local-global city generates. As such, the workshop’s second integral output is the design of flexible structures of leasable land and buildings, with historical forms of similarly unstable and open structures offered as inspiration: from Romani settlements through Japanese metabolism to Dutch structuralism (Hertzberger, Bakema, Van Eyck). The approach builds on the ideas of Team 10, the work of Constant Nieuwenhuys, Oskar and Zofia Hansen, Alejandro Aravena and others.
Yet another integral output is the conversion of the original building of the UPOL Faculty of Science (one of the most unpopular buildings in Olomouc) as a fine opportunity for EXPERIMENT and, simultaneously, for the analysis of the concept of TOLERANCE in architecture.
The workshop, the results of which will be presented as an exhibition in the very centre of the studied area and at the Olomouc Museum of Art, is co-organised by the local city quarter of Hejčín and the Re-vision Olomouc discussion platform. It is precisely this connection of the local community, cultural institutions and the city in the role of “guest” that creates a meaningful axis across the small Olomouc universe and its individual parts.
curator: Martina Mertová
AI: When a Robot Writes a Play (performance with discussion)
In 2019, the innovator Tomáš Studeník came up with an idea to celebrate one hundred years since the first performance of Karel Čapek's play RUR (which brought the word "robot" into the world) in an unconventional way – by a theatre play written not by a human, but by artificial intelligence. Based on this idea, a team was formed consisting of computer scientists from Charles University Faculty of Mathematics and Physics (led by computational linguist Rudolf Rosa) and theatre-makers from the Švanda Theater and students of The Academy of Performing Arts in Prague (led by the head of the Švanda Theater, director and pedagogue Daniel Hrbek). By mutual cooperation and debate, they decided to answer the question of whether artificial intelligence is able to write a play and how it will behave when processing such a task.
authors: Švanda Theater, Faculty of Mathematics and Physics at the Charles University, DAMU
coordination: David Hrbek
reservations at email@example.com
phone: 585 514 241
In the initial phase, it was necessary to translate the basic principles of drama into codes of the programming language governing the behaviour of AI, and on the other hand to explain to theatre-makers how to formulate these requirements, so that computer scientists can work with them. The so-called „machine learning method“ was also used; AI read a large number of available scripts and other texts and based on the collected data it created its own "rules for creation". While generating trial dialogues, the whole system started to improve itself gradually - until the moment when only minor human factor interventions were needed, or only on the level of usual dramaturgical input.
Since May 2020, the computer has been generating scenes with a certain theme, which would then make it easier to chain them together. The theme was: images from the life of a robot. Theatre makers always entered the basic parameters: who, where and with whom he talks (it is always just a dialogue of the robot with one other person) and added two initial lines. The rest of the writing was done by the software. And so, the character-robot meets various types of people, he approaches them in his own way and he compares his experience of the world with theirs, with their misery and joy. And almost always the elementary questions of our being were raised before him, directly or in references: What is the meaning of life, birth, dying, love...? The text was written in English and translated into Czech through machine translation and revised by an experienced translator. Dramaturge David Košťák selected the most successful dialogues and then the creators from the Švanda Theater arranged them in a way to tell a comprehensive story about the robot's journey through human society. Thanks to the principle of the journey and autonomously functioning dialogues (which are somewhat naive and yet somehow mysteriously essential), the play can resemble a futuristic version of the Little Prince and his journey through the planets and meeting their inhabitants.
The performance AI: When a Robot Writes a Play is the final part of the first phase of the THEaiTRE project, which in the upcoming months aims to further improve the generating system and to try to find out whether AI (and to what extent) can handle not only dialogues but also the structure of the whole play.
Project TLO3000348 THEaITRE: Artificial Intelligence is the Author of a Theater Play is co-financed with the state support of the Technology Agency of the Czech Republic within the ÉTA Program
The human body as a subject and an instrument of cognition is the theme of an exhibition presenting four Central European artists: Luboš Plný, Tea Smetanová, József Hajdú and Štefan Oslej. The common denominator of their work is the search for personal identity, connection with the exact sciences and the theme of birth and extinction. Selected works touch on examples of scientific practice (X-rays, anatomical drawings), while shifting them into new contexts. The exhibition reflects man as a distinct “universum” that deals not only with exact science, but also with fine arts, with these two different approaches permeating in an inventive and enriching way.
curator: Šárka Belšíková
In the figures of the Seekers, Slovak artist Štefan Oslej takes command of the principles of combinatorial mathematics, applying them to a metaphorical genetic code, thus embodying the paradox of the partly objectifying, partly deeply individualised identity of man. Oslej elaborates the figures of his Seekers both as drawings and especially in three-dimensional form. While it may initially seem that this is an anonymous and uniform set of a single type, each hand-cast bust bears its own graphic and numerical code.
In addition to the search for individuality, the exhibition focuses on the anatomical essence of the individual. This is the main subject of the work of self-taught artist Luboš Plný, who has had a long-term interest in anatomy. He has taken part in many autopsies and even subjected his own body to numerous experiments and examinations. Based on the study of medical atlases, especially after the operation he underwent, he began to create anatomical self-portraits that record in detail the systems of organs, bones, muscles, and veins supplemented with Latin names or texts describing events that occurred during the drawing process. His own system of recording corporeality is an original contribution not only to non-professional art.
Hungarian photographer József Hajdú also works with the internal anatomy of the human body, using and modifying X-ray images from the 1930s. Naturally, their original function is a thing of the past, and the same can be said of their later surprising adaptation into a material for the production of gramophone records. Skeletal systems and spiral grooves with a soundtrack are nevertheless two layers to which Hajdů adds a third – the photographic, thus achieving new semantic connections between the principles of scientific image, music and visual culture. By layering meaning and function, he also accentuates the variability and transience of existence.
This subject, in connection with human existence and the paradoxical association of its beginning and end, is embraced by young Czech sculptor Tea Smetanová. The Canopic Jar cycle directly refers to traditional ancient Egyptian mummification practices involving the use of these vessels to store internal organs. Egyptian canopic jars took the form of gods, whereas Tea has imprinted them with the features of a newborn child. As such, the group of nine formally identical sculptures, each made of a different material, simply reflects the cyclical nature of life.
These approaches and ways of examining human existence have a parallel in one of the exceptional documents of period knowledge, i.e., the obstetric atlas from 1758 with anatomically precise illustrations by William Smellie (1697–1763), a Scottish physician and obstetrician who worked in London. The drawings are the work of Johannes Michael Seligmann (1720–1762), a Nuremberg engraver known primarily for his work on botanical and ornithological atlases. The high-quality scientific illustrations capture – in a seemingly similar yet substantially different way – the internal world of the human body, just like today’s ultrasound and X-ray images.
The Human Records exhibition therefore presents different ways of perceiving human existence, the identity of the individual and actual anatomy of the body. It presents man as a “universum” that is dealt with not only by exact science, but also the fine arts, with these two seemingly different approaches overlapping in an inventive and enriching way.
People/AuthorsAlbert ÁdámAteliér H3TBerlot UršulaGansterer Nikolaus Gertchen Agata Grulkowski Jarosław Gunstheimer JanaKoós Gábor Kútvölgyi-Szabó Áron Lesczyńska Joanna Pomykała Karol Přibyl Ondřej Trs Zdeněk Axmann Lubomír Witt Anna
Accompanying programUniversum + Jan PamułaUniversum + Jan PamułaUniversum + Jan PamułaUniversum + Jan Pamuła
The main exhibition of the SEFO 2021 Triennial presents a group of artists from the broader Central European region whose work repeatedly addresses the issues of the determination, naming, composition, organisation and meaning of the elements making up the world we inhabit. Rather than by topic or approach and definitely not by the medium in which they work, these individuals are united by a way of thinking, their use of basic definitions and polarities that we employ to help us on the path to understanding. The human world is paradoxical: the more it longs for unity and wholeness, the more it creates dividing lines and barriers. The tension between what is inside and what we consider our own and what is outside and belongs to everyone, so to speak, is considerable and also critical for our own self-perception.
curator: Barbora Kundračíková
The world in which we lived was measured out in the 18th century. In the middle of that century, the German philosopher Alexander Gottlieb Baumgarten called aesthetics “the doorway to the midday light of rationality”. David Hume introduced the basic human paradox, the opposition of the personal and the general. And Immanuel Kant showed the limits of human reason, and thanks to him, we all have the right to beauty and truth. Unfortunately, it’s getting harder to agree on what this means. And yet, it all starts with the body, our own senses and the experience they convey to us. A giant abyss separates that which is and what we consider as such. Who decides what is right? Who bears responsibility for such a decision? Why does our world look like it does and not like something else? We could classify rocks not by their chemical composition but by their colour. Instead of describing types, we could describe individual specimens. We can also imagine worlds and universes other than ours, or we could try to follow a different system of the time. Why not? The power of imagination is enormous, the possibilities of classification infinite. As the British mathematical physicist Roger Penrose also tries to show, it is quite possible that the cosmos itself is cyclical and without memory, that it not only shrinks and expands, but also breaks apart, and that what we consider its origin, the big bang, could be only one of many to have occurred.
Let's assume that the universe is cyclical - such is its exposition. At its beginning as well as the end, it is a structure. Uršula Berlot-Pompe, Zdeněk Trs, Jaroslav Grulkowski and even Lubomír Axmann represent the seeming transparency of a logical system, the technically accurate visualisations of its structure. While it would be convenient to understand chaos as its direct opposite, far more subversive are marginal positions or pseudo-systems that use credible mechanisms and established strategies, slightly misinterpreted to make them more pliable. But the more we bend the idealised objective system to our needs and possibilities, the more we betray it. Examples of this subtle yet fundamental shift are the work of Jana Gunstheimer, Áron Kútvölgyi-Szabó, Agata Gertschen, Ondřej Přibyl, Joanna Leszczyńská and Ádam Kokesch, which are all the more impressive because they work with “traditional” media and practices.
Continuity, the universality of the process of cognition and the formulation of one's own arguments or findings are a topic pursued by Nikolaus Gansterer. He also represents the centre of the spectrum – in a tradition in which, at least on a personal level, we follow the Renaissance idea of a centralised universe, in the middle of which stands man, not only as its recipient, but also as a reciprocally creative agent. The importance of the installation’s meaning is enhanced by the technique the artist adopts, drawing.
The oscillation around this ever-changing focus then includes other artists, including those trying to recreate the moment of experience with what is, what serves for direct touch or view, e.g., Gábor Koós, Karol Pomykała and Ádam Albert, but also Anna Witt, her own work as well as a selection from Central European video art production. At the same time, they transcend the boundaries of the real, or the virtual, the possible, and show the great importance of storytelling, the story we share and the language we use to relate it. At the same time, they demonstrate the most important thing, i.e., that facts are established on the basis of a common culture, not the other way around. And that art permanently and constantly reveals what it means to create reality.
In this constellation, the universum is a pliable structure. It is not complete or all-embracing. Its skeleton is human experience with the world – non-factual, complex and variable. What we share is a system of fixed points, and what makes it exceptional is what lies in between.
Jan Pamuła: Pioneer of Computer Art in Poland | SYSTEM - EMOTION - UNIVERSUM
The retrospective exhibition of Jan Pamuła, the founder and pioneer of computer art in Poland, will present to the Czech professional and general public for the first time the unique work of one of the key representatives of Polish post-war geometric art. Jan Pamuła is today a European-style figure, his works regularly appear at major Polish and foreign exhibitions and his works are owned by leading museum institutions not only in Poland but also abroad. The exhibition follows the systematic presentation of the most prominent artists working in Central Europe and conceptually fits into the Central European Forum Olomouc project, which was officially established by the V4 Culture Ministers in 2008. The exhibition will present the artist's paintings, objects and graphics, including his first computer graphics.
author of the exhibition: Beata Gawrońska-Oramus
curators: Štěpánka Bieleszová, Ladislav Daněk
external cooperation: Władysław Pluta
Part of the programme is a short-term exhibition of the author's light objects in the crypt of the Cathedral of St. Wenceslas. It takes place from 5 August to 31 October 2021.
Jan Pamuła: Light Objects
"Abstract images refer to many facts: to the reality of man, nature, God. God can be present in every fact; however, an abstract image can be a dialogue with God without the transmission of another fact, it can be a prayer."
The Notice Board Project
Accompanying programPostmodern architecture as the crystallization of nineties capitalism - Aleš Zapletal
What happens the moment you pin a magazine clip, a slip of paper with a phone number, a quote from a book, or a photo of your children on a bulletin board over your desk? What kind of relationship do these objects become involved in, how do they communicate with each other and what does the information on the bulletin board tell you? And what if this bulletin board does not hang above your desk, where its arrangement is often a coincidence and its message is rather private, but in the lobby of the city library or at a company’s gatehouse, where it serves to inform everyone who visits the place?
curators: Jakub Frank, Tomáš Kolich
topics: Visual Noise as a Potential Image and a Gateway, Postmodern Architecture as the Crystallization of 1990s, Pareidolia and Visual Ambivalence in Psychiatry, Demonstration and Agitation in the Theory of Josef Dvorský
participating artists: Michal Mitro, Jan Pfeiffer, Vladimír Houdek, Aleš Zapletal
locations: Konvikt – Art Centre of Palacký University, Shopping Passageway from the Upper Square to tř. Svobody, P-centrum in Laffayetova St., Palacký University Law Faculty
The Notice Board project is being prepared by the OMA in cooperation with the Pictures Across Disciplines Association. The Notice Board is an artistic intervention in public space. Its aim is not merely to appropriate hanging message spaces in the sense of a presentation tool, but to highlight their potential as an inconspicuous yet ubiquitous information medium with specific aesthetic rules. It is a play of composition and content, i.e., the emphasis on the formal qualities of the medium, that shifts the utilitarian function of notice boards into the field of art in public space.
We perceive the bulletin board as a distinctive type of visual interface capable of transformation, from wall newspapers in the style of a socialist stěngazeta (wall magazine), through profiles of workers of the week to the investigative boards employed by detectives and conspirators. We foster this diversity both by choosing locations and by focusing and an artistic conception that presupposes traditional “message board techniques” of cork and pin as well as modern projection, e.g., using digital media.
The Notice Board Project is one of the installations through which the Triennial moves from the institutional framework to the public space and enriches the exhibition format with the element of an everyday random encounter with art in unusual or, in contrast, completely common places.
The Caesar Gallery: Common Crisis
Accompanying programCommon Crisis: Tomáš Moravec, Richard LoskotCommon Crisis: Barbora Zentková & Julia Gryboś, Imrich VeberCommon Crisis: Jan Krtička, Jakub Čuška, Jiří Sedlák, Magdaléna TurzováCommon Crisis: Imrich VeberCommon Crisis: Imrich VeberCommon Crisis: Imrich VeberCommon Crisis: PAF CinemaCommon Crisis: PAF CinemaCommon Crisis: PAF CinemaTomáš Moravec: index projection + presentation of the new publication
How many yous have you been? How many, Lined up inside, Each killing the last?
The pop-up scene of the SEFO Triennial at the traditional Caesar Gallery follows the universally present moment of “crisis”. However, it interprets the concept on a situational level and understands it as a common phenomenon. As soon as the last economic crisis ends, the environmental or epidemiological crisis begins. Clearly, this is our everyday life. The Caesar Gallery programme treats the concept of crisis as if it has been overcome and a new system has emerged. The selection of artists, their arrangement and the exhibition background itself respond to this demand. The organisation of the programme also responds to them, which – in addition to the proposed dramaturgy – allows adaptations (online environment, remote forms) and changes, including interventions in the installation. Sustainability and direct support of the visual arts is an essential aspect.
For Olomouc, the Caesar Gallery is a traditional and important space for contemporary art, one that is also uncommonly enduring today. The gallery is symbolically located in the middle of the city. Openings, occurring with only a few sporadic exceptions on the first Tuesday of the month, set the rhythm for the cultural life of Olomouc, despite the fact that the aforementioned stability means a certain exclusivity.
The gallery will undergo a major transformation for the purposes of the SEFO 2021 Triennial. In cooperation with the PAF collective, a cinema will be created primarily for the presentation of video works. The reconstruction is being designed by Tomáš Moravec (*1985), who will also be the first of three residents determining the dramaturgical line of the project. The following residents will be Julia Gryboś (*1988) with Barbora Zentková (*1986), and, finally, Jan Krtička (*1979). The basic architectural capsule created by Moravec is intended for the submissions and interventions of all the invited artists. The public space of Olomouc's Upper Square will become a natural part of the gallery.
Targeted realisations, as well as lectures, author readings, concerts and performances, will be included in this system. Richard Loskot (*1984), Imrich Veber (*1987), Adéla Janská (*1981), Jakub Čuška (*1989), Magdalena A. Turzová (*1978) and Jiří Sedlák (*1985) are among the participating artists. This is a feature that enriches the otherwise materially and institutionally anchored SEFO Triennial with new, experimental and pop-up forms. The opening hours of the gallery will also be adjusted to include regular evening hours and a programme.
curators: Martin Fišr, Jakub Frank, Miroslav Schubert
This series of photographs from five artists (Lenka Leneke Sedláčková, Jan Brykczyński, Krystyna Dul, Peter Korček and Máté Bartha) presents very different ways to organise, transform and understand the world. Lenka Sedláčková chose to document hunting and an organised hunt as one of the ways of controlling nature, while Jan Brykczyński focused on the creation of a private habitat within a confined community. Krystyna Dul recorded the story of a socially isolated old man and the improvised museum exhibition he created. Peter Korček documented the creative gestures through which city residents try to humanise and appropriate its impersonal public spaces. Máté Bartha created an extensive time-lapse documentary on the activities of an organisation that focuses on children from socially disadvantaged groups and instils in them a militant way of perceiving the world. The entire series is then connected by the name of the cycle by Lenka Leneke Sedláčková, Hunted (Loveni), which captures the approach of individual artists to the conception, description, grasp and control of the universum – the world or its parts, be it through a highly rational organisation or, conversely, intuitive feelings or emotionally constructed cosmoses.
curator: Štěpánka Bieleszová
The exhibition will present one of the exceptional personalities of Central European art who has been working in exile for a long time. Pavel Büchler himself describes it as follows: "The exhibition consists of five components that cover the three decades of my work and represent a more or less representative range of my means of expression - from extreme enlargements of detail 90s, through the manipulation of found text and film from the next two decades, to my current interest in the limited possibilities of today's obsolete book printing technology. The exhibition also includes three of my latest "recycled" paintings that connect these interests and activity, which I have been dealing with in parallel with other works for more than 20 years.
Although the selection does not seek to unite individual works and groups of works into a thematic unit, certain motifs repeatedly appear in it - eg "reorganization", "reduction", "synchronization", "duplication", etc. - which can be perceived as a network of mutual relations. and connections. Common to all works is also my intention to find and reveal unexpected poetic, aesthetic and metaphorical qualities in the banality of everyday material."
curator: Gina Renotière
Selection of Works:
The Voice of the People (1991) was originally prepared for the exhibition Czechoslovak Photography in Exile (1992) and has not been re-exhibited since.
What the Cleaners Found (1997, OMA) is a series of author's brochures covering the unintentional poetics of materials that accompany art school work-study rules and curricula, disciplinary rules, handbooks, circulars and reports, payroll, official correspondence, price list of office supplies and the author's own professional CV. It was created when Büchler was the head of the Glasgow School of Fine Arts. "A collection of small books by Pavel Büchler in many things captures the essence of his work and shows why his work stands out in a typical overproduction of contemporary fine art. In addition to Büchler's work based on his famous predecessors Beckett or Kafka, the collection acknowledges our limitations but still manages to come up with something extraordinary and precise. " (Charles Esche)
Tracing Paper (Drawings by Phone Numbers) (1966)
“This work is one of the experiments that preceded or accompanied the creation of the What the Cleaners Found collection. The diagrammatic drawings capture the dynamics of the movement of official correspondence at an art school in a single week. They refer to the systematic procedures of conceptualism and simultaneously to automatic processes in the tradition of modern abstract art.” (Pavel Büchler)
The Commandment (2018)
“One of my experiments with the creation of printed text from incomplete files of letterpress fonts (so far the only one in Czech). All letters from a small sample of relief fonts I obtained from discarded material at the art school were used for the print. A text created by means that are practically out of service makes a statement that has permanent validity. This result is serendipitous. But for some readers chance itself is the result of God's providence.” (Pavel Büchler)
Lost Paintings (2021)
EW285 (Bluebeard's Castle at Night)
EW482 (African Valküre at Night)
EW1278 (Night Pool at Night)
“The Lost Paintings cycle builds on long-term work with transforming pictures rejected by their creators or owners. The source in this case is the figurative canvases of the pornographic painter (and producer of pirated music recordings) Eddie Wolfram obtained as charity from the sale of his estate. The goal is to atone for and aesthetically justify the futile effort of the painter, who left behind only worthless waste. All paint was carefully removed from the canvases and then reapplied at random, with no particular composition, starting with the largest fragments and ending with dust. Setting aside the added time and work, the resulting pieces contain no more or less than the original paintings. Conceptually, the process returns, among other things, to the deconstruction of institutional texts from the 1990s.” (Pavel Büchler)
“The recording of a ballistic missile test-firing found on the internet was cut into loops of unequal length (approximately 3 to 4 seconds). These were then arranged in a random half-hour sequence, separately for each monitor. They are played back separately, so the constellation of the two images is almost never repeated exactly.” (Pavel Büchler)
People/AuthorsAlbert ÁdámAteliér H3TAxmann Lubomír Berlot UršulaBüchler PavelDul Krystyna Gansterer Nikolaus Gertchen Agata Grulkowski Jarosław Gunstheimer JanaHajdú JózsefKoós Gábor Korček PeterKútvölgyi-Szabó Áron Lesczyńska Joanna Oslej Štefan Pamuła Jan Plný Luboš Pomykała Karol Přibyl Ondřej Sedláčková Lenka LenekeTea SmetanováTrs Zdeněk Witt Anna
The self-guided accompanying programme in the Large Exhibition Hall creates an intricate network of intersecting interpretation routes, the aim of which is not only to mark the possibilities for the movement of expositions, but especially to develop the message of presented works in subcategories. The invisible structure of a predefined system, these routes play out the linear narrative of the exhibition with a carefully selected sample of represented artists in all directions – it offers forks, shortcuts, variations and connections, mainly to show the diverse range of possible approaches to a work of art.
The programme, like the exhibition project itself, addresses the human need to organise, describe, and find connections in the seemingly chaotic swarm of elements. And yet, the goal is not to create a manual or provide visitors with one universally valid guide on how to "read" the exhibition. The interpretation lines mark an open space for dialogue between the fixed points of individual artistic realisations. The fact remains that each of us creates their own “universum”, and the question is whether we have the right to decide which approach is the most valuable.
coordination: Terezie Čermáková
PlacesPalacký University: ArmouryPalacký University: Arts Centre KonviktOlomouc University HospitalOlomouc Museum of Art: SEFO
As part of the SEFO 2021 Triennial, as an expression of its interest in the role of public institutions and public space as such, a set of temporary artistic realisations is being created just for this festival. How do the city and institutions work? How is public space organized? What is most valuable about it? And what possibilities does art have? The artists included in the first "test" wave are TIMO, Lucia Tkáčová, Jaro Varga, Pavla Beranová, and Anna Witt, respectively. The host institutions are Palacký University, Olomouc University Hospital and OMA. The programme also includes a sound intervention prepared in cooperation with Tyflocentrum Olomouc. And it is accompanied by a series of public lectures, intended for both, students of the Department of Art History and the Department of Art Education of Palacký University, and the public.
coordination: Barbora Kundračíková
Jaro Varga (Palacký University Library)
The long-term intervention is part of The Yellow Book project (Chiquita Room, the Tàpies Foundation, the Arús Library and the Picasso Museum in Barcelona). Laura González Palacios writes: “Jaro Varga is fascinated by how, until recently, our knowledge has been expressed through writing and has cultivated his interest in the principles of how the sum of that knowledge is created, including the continued failure or inability to discover “how things really are”. Book covers are a complement, the outside, the superficial. They exist outside the books, but they are also part of them. In general, covers protect books, literally and also metaphorically. As during the Second World War, for example, when banned Polish books were covered with dust jackets of German detective novels to give them a chance to survive. This tactic was also used to smuggle books across the border between Czechoslovakia and Germany. But covers can also exist without books, like empty shells, just as books can exist without them. ”
Lucia Tkáčová and Jaro Varga (Olomouc University Hospital)
Hospitals are not only a place of abnormality but also a place of normalcy, a place expressing as well as denying the constants of human life. The authors answer it as a superfluous paradox: “Our project ponders various aspects of treatment, the medicalisation and pathologisation of human life, the study of social models of physical and mental otherness, the institutionalisation of care, the mechanisms of the pharmaceutical industry and (bio)political relationships related to health and treatment. The work itself will be created in response to the spaces and layout of Olomouc University Hospital as a site-specific intervention. The hospital is both a noumenon and a phenomenon: each is the same and simultaneously different. It is crucial for us to personally visit the hospital’s spaces, to spend some time in them, to perceive its physical layout and needs, to follow the rhythm and forms of life in it. In this way, our contemplation of the hospital “as such” is realised and materialised into an output that will be specific to a particular hospital, i.e., this one in Olomouc.”
Pavla Beranová (the Corpus Christi Chapel of Palacký University)
The installation responses to the sacral environment of the chapel, it directly reflects the altarpiece depicting the scene of the Supper in Emmaus and works with the theme of revelation. "The installation lets the viewer pass through layers of thin paper of various degrees of transparency, behind which the light-emitting image is gradually revealed. Upon entering the chapel, it acts as an almost imperceptible light spot over all layers. clear contours. "
Anna Witt Cinema
Under the title AWC, we present regular screenings of selected authors not only from the Central European context, who make up the imaginative world of the Austrian visual artist Anna Witt (* 1981, AT). At its heart is her own production of Chorweiler Beat from 2016.
Anna Witt: Chorweiler Beat, 2016
HD Video, 14.00 min.
The project was developed in Chorweiler, a big suburb of Cologne. The heartbeat of inhabitants was recorded with an ultrasounds scanner and made into single audio tracks, which were performed individually by a group of a local young street dancer at the site.
Every first and third Saturday of the month we present:
Mykola Ridnyi: Grey Horses, 2016
HD video, 38 min.
Maayan Amir & Ruti Sela: Beyond Guilt, 2003–2005
HD video, 42 min.
Manolis D. Lemos: dusk and dawn look just the same (riot tourism), 2017
HD Video, 3 min.
Alicja Rogalska, Dreamed Revolution, 2015
HD video, 13.43 min.
Bouchra Ouizguen: Corbeaux, 2014
HD Video, 6 min.
Nina Könnemann: What’s new, 2015
HD Video, 3.43 min.
PlacesOlomouc Museum of ArtcityOlomouc Museum of Art: SEFO Palacký University: ArmouryPalacký University: Arts Centre Konvikt
People/AuthorsGregor Dan/ Initi
In cooperation with the Institute of Experimental Creation of the Faculty of Archi- tecture at the Brno University of Technology, the Triennial will move beyond the walls of the museum and develop the theme of the universe in several nearby Olomouc locations delimited by a symbolic triangle: university – church – museum, touching on established public spaces, both in their unfinished and presumably definitive – architecturally rendered – forms. It names and highlights, or, converse- ly, challenges the values of the achieved state. The students will reorganise the individual spaces with interventions that embrace ephemerality, both temporal and material. Members of Palacký University’s Department of Musicology and the Department of Music Education will be actively involved.
coordination: Martina Mertová
Interventions are being chosen from submitted proposals for the gap space in Denisova St. (Olomouc Museum of Art) and the courtyard of the former Jesuit monastery (Konvikt) that today houses the Arts Centre of Palacký University. By creating holes in the old wooden fence next to the host Olomouc Museum of Art, students provide a new perspective of the future construction site of the Central European Forum Olomouc (SEFO). They will let the town grow from within. Previously closed off, the public space becomes a natural site for summer cultural activities, with an entrance from the city’s liveliest street. In contrast and just a short distance from the gap space, students are reinterpreting the established arrangement of the Konvikt courtyard. The scale of a temporary architectural intervention in the form of two circular structures introduces a new order to the space. The creators address the issue of the Universum and wrap Alfred Habermann’s existing sculpture entitled Celestial Globe in new layers – their own abstract form. By partially covering the work or opening non-traditional views, they allow the relativity of our knowledge and the order of the world to be experienced. Musicians will add another dimension to the intervention during the A Different Way of Hearing workshop.
Through the gradual arrangement, maturation and refinement, student works take their final shape in projects, the real form of which will be experienced by both targeted participants and casual observers during the spring workshop and throughout the Triennial. We are creating a living public space for artist and recipient: the artist experiments, engaging the recipient.
SEFO: Forming Public Space
Accompanying programPavla Melková: Public Space as a ContinuumArt to Use of Public SpaceRe-vision: Art to Use of Public SpaceArt in Public Space: A Lession in Street ArtArt in Public Space: A Lesson in Street ArtCycle Trip to (Public) ArtAnna Witt: Worst Fear, Best FantasyWe Are Creating SEFOSAFE: Gold Along the BanksZaparkuj with Palacký University! at SEFOZaparkuj with Palacký University! at SEFOZaparkuj with Palacký University! at SEFOZaparkuj with Palacký University! at SEFO
SEFO has undergone rapid development over the past few years. Only a diacritic has been added to the name, whereas the more substantial changes naturally occurred inside. The summer installation in the gap space – the future site for the new exhibition building and depository – will be devoted to our primary interest: the formation of public space, the creation of public institutions. We are living in a period of endless crisis and harsh criticism of the system. All the established rules and principles governing the functioning of the world are examined and continuously challenged. More and more, we are interpreting the categories we use to understand and judge our world as an expression of manipulation. And while similar thoughts may sound abstract in the context of everyday practice, they have a clear and highly apparent impact.
Olomouc serves as a model for us, and we have invited our partners to think about it, to search for the future order of the world. Together we will follow the path from simple design to the visual hum and manipulation. The programme will be composed of a series of lectures and discussions devoted to the architecture of public space, art within it, the establishment of its new forms, as well as the role of institutions. Also planned are various productions, including smaller theatrical and musical forms, performances and workshops. For us, SEFO is a joint project anchored in two ways – in the community and in expertise. We see it as common space and are trying to make it accessible. Who has the right to enter public space? When and to what extent do we take responsibility for it? How shall we treat it so we don’t have to forfeit it some day?
Seeing Through Music: musical interventions in the open air
Accompanying programA Different Way of Hearing Workshop
What can music express, or what can composers express through music? Where are their creative limits, where are the borders of their talent? These are the questions that some of them will answer for us during the Triennial. We asked selected composers to choose one place in Olomouc that has special meaning for them and to try to credibly capture its essence in a composition lasting several minutes.
coordination: David Hrbek
location: city stairs Michalský výpad
A nice yet very frustrating thing about creative work is that regardless of how hard the artist strives for perfection, the result is always uncertain. It sounds like a game, and a game it certainly is, but only the best artists, regardless of their field, who endeavour at all cost to discover something they didn’t know at the start, to learn something substantial about themself, about others, the world, to arrive at something on the imaginary opposite end, these are the ones who take every game completely seriously.
As such, the Triennial programme will include a musical-sound intervention in public space, i.e., a series of three “concerts” of original short compositions inspired by specific locations in the centre of Olomouc. Each will sound somewhat different in connection with the artistic approach and perception of the invited artists – composer Tomáš Hanzlík, Marek Keprt and a group of experienced music teachers, Gabriela Coufalová and Jaromír Synek from the A Different Way of Hearing project. The third member of this recognised group with international experience will be another important composer of contemporary classical music, Vít Zouhar. This project will have a special standing in the context of the programme, since it will take place in the form of a workshop for the general public. During the creative weekend, each of the participants will make their own instrument under the supervision of the aforementioned instructors and play their part on it.
The culmination of the entire Seeing Through Music programme will be an afternoon concert, with the audience walking from one performance location to the next. Each composition will be performed at a given place in the form of a short interview with the composer(s), who will explain the origin of their work, drawing attention to passages in the composition that musically or aurally reflect a particular environment or its parts. How the chosen location resonates with the particular composer is also elaborated. The exteriors for all the compositions are chosen in advance, allowing the performances to go on even if the weather does not cooperate.
The media partner for this project is Czech Radio Olomouc, which will record the pieces so that the music can be played for random passers-by at the sites during the Triennial.
Marek Keprt (Czech Republic)
1974 pianist, composer, music teacher
lives and works in Olomouc
Tomáš Hanzlík (Czech Republic)
* 1972, composer, musicologist, opera director, artistic director of Ensemble Damian
lives and works in Doubravice nad Moravou
Hanzlík's compositional style is described as neo-baroque minimalism, characterized by the cycle of historical harmonic and melodic fragments. He also contributes significantly to the visual side of Ensemble Damian's productions, both in terms of movement and art.
Lhoták - Houellebecq - Balthus
Accompanying programKamil Lhoták - My fatherMichel Houellebecq - Map and TerritoryBalthus - Late Memories
The universe of three worlds, different on the outside and so close on the inside. Nostalgic and melancholic nooks of Lhoták's canvases, in which modern man is so small and the machine is even bigger; the daunting and gloomy fate of the postmodern man in Houellebecq's texts, the author of which, as few writers of contemporary world literature, aptly describes today's society; and man and the landscape as the mediator of the first and last truth of the world past, present and future in the paintings of Balthus, one of the greatest painters of the 20th century, who said, "Let us observe the light."
Such will be scenic readings from three books, organized by the Olomouc Museum of Art: Kamil Lhoták - My Father Kamil Lhoták (Museum of Modern Art June 22 at 7 pm), Michel Houellebecq - Map and Territory (Museum of Modern Art July 22 at 7 pm) ), Balthus - Late Memories (Museum of Modern Art 24 August at 7 pm).
coordination: Roman Ludva
Who is not afraid, has paper to play with!
Accompanying programČeskoslovenské klacky: The smallest of the SámiSpielraum Kollektiv: PaperrrrDamúza: RiverSpielraum Kollektiv: PaperrrrDamúza: River
The cycle reflects the keywords of the triennial - paper as a carrier and the body of theatrical interaction, a museum as a laboratory and a warehouse, a work of art as a way of getting to know and describing the world. And includes the performance Damúza: River (puppet theatre for parents with children from 2 years, July - August 2021 / SEFO), Spielraum Kollektiv: Papírrrr (interactive theatre for parents with children from 5 years, 19. - 20. 9. 2021 / 16.00 / Archdiocesan Museum Olomouc - Mozarteum) and Československé klacky: The Smallest of the Sámi (chamber puppet show for parents with children from 6 years, 16 January 2022 / Olomouc Archdiocesan Museum - Picture Gallery).
coordination: Pavlína Wolfová
ART IN THE GAP
The summertime programme in the SEFO gap space includes creative workshops run by Olomouc Museum of Art lecturers. Open to all age categories, the workshops are focussed primarily on materials and the endless possibilities for working with them. While the cycle is inspired by the principles and themes of the Triennial, participants are given artistic license to create as they wish.
24/7, 5/8, 17/8, 11/9: 2 p.m. – 6 p.m.
coordination: Terezie Čermáková
In connection with the long-term strategy of the Central European Forum Olomouc (SEFO), selected foreign institutions will also be presented as part of the accompanying programme of the SEFO 2021 triennial. The education departments of the SEFO's partner institutions were invited to collaborate on the international programme. With the prepared submissions, these partners will transfer the triennial from Olomouc to their spaces and introduce their visitors to the individual topics of the main exposition of the SEFO 2021 Universum triennial, while offering their own interpretation of the chosen issue.
The collaboration is based on the idea that the approaches presented in the Olomouc exhibition are undoubtedly unique, but the issues they address are universal and can be repeatedly examined in a large number of independent cases within a (limited) category of visual art. Reinterpretation does not refute the presented system; on the contrary, it opens it to new perspectives and confirms that the process of “questioning” can never be considered complete.
The programme itself will take place on two levels, mainly during selected weeks in individual partner museums with a focus on local audiences, but also in part online with an effort to create an interactive network across institutions.
SEFO Special Guest: Kassák Museum
The Kassák Museum, which belongs to the Petőfi Literary Museum, has operated since 1976. The function of the museum is to preserve the material and intellectual legacy of Lajos Kassák (1887 – 1967) to study it with a scientific approach and to present it as a colourful experience to visitors. Our aim is that the museum steps up to be an acknowledged location of Kassák researches carried out in the region and to become a factor in the international research of modernism.
As part of the triennial, the Kassák Museum will present a series of online programmes linked to a newly installed permanent exhibition and short-term thematic exhibitions. It will also include a series of lectures and discussions with foreign experts. Reflected topics include the establishment of Central European avant-garde, their existence between politics and art, the use of new art forms and also overlaps with everyday life. The aim is not to update their strategies but to generalize them and, as such, to place them in a broader framework.
guarantor: Sasvári Edit, Szeredi Merse Pál
coordination: Šárka Belšíková, Barbora Kundračíková
Olomouc Ecological Days: The Original
Accompanying programOriginal: between art and nature
For more than thirty years, the Olomouc Ecological Days festival has been exploring the complicated relationship between man and nature. Rather than expert interpretations, the festival leans towards interviews, and in addition to major environmental topics, marginal or alternative issues also receive attention. Ecological issues are perceived holistically, drawing on knowledge of both natural and social sciences, myths, art and intimate experiences. In the words of Zdeněk Neubauer, Olomouc Ecological Days is a “joint conference on our world”. In one region, with specific people and at common events.
The 31st annual festival, which will take place between September 10 and 19, 2021, is remarkable for its close connection between the natural sciences and art. The festival theme is “original” and the basic set of questions is, of course, what an original experience with the world means to us and how we share it with each other. Are there any secrets left in the depths beneath the surface of things and bodies?
coordination: Michal Bartoš, Barbora Kundračíková
RE: Century of Relativity
Contemporary art interventions have become a commonly used means for injecting new life into traditional chronologically or contextually conceived permanent exhibits. The closing of the Olomouc Archdiocesan Museum has provided us with the opportunity to try a slightly different method for the simultaneous presentation of old and modern art. We have created a space in the Century of Relativity exhibit of 20th-century art for several selected works that visitors are accustomed to seeing in the Archdiocesan Museum. We believe that these unexpected encounters will open up an inspiring dialogue across the centuries. The presentation of works in a new context can then activate not only our conscious and unconscious but naturally also the work of art itself.
This project marks the beginning of complex work with the permanent exhibition in advance of the construction and opening of the new SEFO building.
curators: Helena Zápalková, Ladislav Daněk
People/AuthorsGregor Dan/ Initi
In a spontaneously changing society, technology and new media surround us every day at almost every step. It is therefore obvious that they fascinate many people and lead to an exploration of the boundaries and possibilities of these media in co-creating the known world. According to Dan Gregor, one of our most prominent visual artists, technology is never just an attraction. Technology does not replace man - it always mediates a dialogue and fosters interaction. Without a living person, technology is simply dead.
curator: Petr Dvořák
Based on his previous work work, Dan Gregor was addressed for Silent Scream. This is his new interactive installation created specifically for the Museum’s “gap” space, where it will also run regularly during the Triennial. As the public is aware, this is the future site for the new Central European Forum (SEFO) building. The installation itself is based on software that transforms the human voice (in Czech and English) into written text, which was developed by Dan Gregor together with the programmer Václav Opekar. Silent Scream is mainly about that which each of us sometimes has in our head and maybe just inwardly whispers to ourselves. Often you may not even want anyone to hear it. But what if your words “materialised” and you could look at them from a distance? In this way, you can fill in the space of the “gap” with your own meaning! SEFO hasn’t been built, but it’s already here! Placing the installation in this space also creates the possibility of a purely visual and more intimate form of vox populi. Under the supervision of Nicol Galeová, students from the Brno University of Technology will take part in the architectural design of the entrance to the gap for Silent Scream and its setting.
The partner of the installation is the Regional Museum in Olomouc.
Václav Burian Award
This poetry festival, which is gradually becoming part of the Central European Forum programme, builds on the legacy of journalist, Polish scholar and poet Václav Burian; for the sixth time, the festival presents a selection of current Central European lyrical poetry.
The jury nominates four poets from Poland, Slovakia, the Czech Republic and German-speaking Europe. The recital by the poets is followed by a public discussion and a vote to choose the winner in two categories: for Poetry and for Cultural Contribution to the Central European Dialogue. The prize for Poetry has been awarded thus far to poet Milan Děžinský (2016), Polish poet and translator Tomasz Różycki (2017), Polish poet Jarosław Mikołajewski and Slovak poet Michal Habaj (2018), Berlin poet and performer Max Czollek (2019) and German poet Dagmara Kraus (2020). The prize for Cultural Contribution to the Central European Dialogue has been awarded to Bohemist, translator and journalist Aleksander Kaczorowski (2016); Slovak-Hungarian publisher and journalist László Szigeti (2017); Polish Bohemist, translator, dissident and journalist Andrzej Jagodziński (2018); Ukrainian novelist, journalist, rocker and fighter for Ukrainian democracy and freedom Jurij Andruchovyč (2019); and Polish cultural anthropologist and publisher Monika Sznajderman (2020).
The recitals and the announcement of this year’s Václav Burian Award winners will be held in the large studio of Czech Radio Olomouc with a live stream.
coordination: Alexandr Jeništa
Art Brut Film Olomouc: Parallel Worlds
The 10th annual festival of films on the subject of the spontaneous creativity Art Brut Film of untrained artists in Central Europe and beyond will be held on Thursday, 30 September 2021. This year it will be part of the SEFO Triennial and will feature a medium-length film and a number of short videos corresponding to the dramaturgical line of the Triennial and telling the remarkable stories of unique artists of “original” or “marginal” works. These include the nearly forgotten paintings of railwayman Václav Beránek (1915–1982). Enchanted by the guileless fairy-tale world, he was able to capture even the hidden and dark side of our lives, such as in the large-painting Vodní královna a ztroskotání plachetnice (The Water Queen and the Shipwreck), the creation of which was filmed fifty years ago by Slovak director Eugen Šinko.
supervision: Pavel Konečný
coordination: Šárka Belšíková
Flora Theatre Festival: Beautiful New World
Accompanying programEerie Valley / Unheimliches TalEerie Valley / Unheimliches TalEerie Valley / Unheimliches Tal
The Flora Theatre Festival is one of the most dramaturgically profiled theatre festivals in the Czech Republic today. It has long been the only domestic festival to combine performances of dramatic works of Central European repertoire theatres and independent companies with works of contemporary dance and the performing arts, which are complemented by a rich accompanying programme.
The Olomouc Museum of Art is a long-time collaborator with the festival. This year a joint presentation of the experimental performance Eerie Valley by the progressive Berlin troupe Rimini Protokoll featuring a humanoid robot in the leading role takes place. This piece falls under the Triennial’s thematic section on the relationship between art, science and the resulting technology.
coordination: Alexandr Jeništa
Forum Book Edition
The SEFO project is based on multidisciplinary and international cooperation. An integral part of this objective directly related to the vision of SEFO is the Fórum publication series, which SEFO is deliberately developing in areas whose relationship with visual culture is more contextual, creative and conceptual, i.e., history, sociology, political science, religion studies and others. The primary leitmotif remains the idea of Central Europe – its social, cultural and political identity and historical transformation. The basic premise of SEFO – its openness – is naturally also reflected in the scheme of the publication series, which is focussed primarily on new works of a professional nature and a Central European origin. Nevertheless, some of the texts are exotic or of a reference nature, older or from the genre of belles-lettres. The selection of works is based on the museum's own research plan, indirectly linked to specific projects, inquiries and current topics.
The first work in the Fórum series is by Viennese authors Erhard Busek and Emil Brix entitled Mitteleuropa Revisited. Warum Europas Zukunft in Mitteleuropa entschieden wird (Central Europe Revisited. Why Europe’s Future Will Be Decided in the Region). The authors published the book Projekt Mitteleuropa (Project Central Europe) in 1986, and after 30 years, these two “promoters of the Central European idea” decided to return their attention to this region once again. Busek and Brix deliberately and carefully revise their visions, in the process discovering new reflections on Central Europe today and perhaps even its future. With a very erudite and yet accessible approach, the book discusses the fundamental issues of the changing geopolitical and economic realities of our continent. The essays provide diagnoses and prognoses of the region and shed light on many suspected but also unforeseen historical, social, cultural and political contexts. There are even thoughts on relations between Central Europe and the Russian Federation and the European Union. In addition to the original German, the book has also been published thus far in English, Polish and Hungarian.
translation: Zuzana Henešová
publisher: Olomouc Museum of Art/ SEFO & Palacký University in Olomouc
As part of the long-term cooperation with Polish partners and in connection with the CEAD programme: New Media Museum will host a workshop devoted to an iconic work of Central European new media art. Project Re: SENSTER is focused on the renewal of the cybernetic sculpture of Edward Ihnatowicz commissioned by the Philips Health Technology Company in 1970. This work was acquired by AGH University of Science and Technology in Krakow in April 2017.
SENSTER is a five-metre-long steel kinetic sculpture designed to react to sound and motion in its vicinity by means of a set of microphones and Doppler sensors. In its current state, the sculpture responds exclusively to sound signals; the Doppler sensors are inactive. The sequences of interaction were previously regulated by a program written in assembler language and coded into a P9201 prototype computer. Following its renovation, it works with a modern programmable logic controller.
SENSTER was the third work of art to be funded by the Dutch company, following Nicolas Schöffer’s kinetic installation “CYSP 1” (1956) and a project prepared by Le Corbusier, Iannis Xenakis and Edgard Varès entitled Poème électronique (1958). Despite its importance, SENSTER remained inactive after the mid-1970s and at the beginning of the 21st century was even included on a list of “lost” pioneering media art projects. It was brought back to life by a transdisciplinary team relying equally on technical and artistic disciplines.
SENSTER is one of the planned long-term loans for SEFO.
supervision: Anna Olszewska, Marek Długosz
koordinace: Barbora Kundračíková