Dittrichova 9/337, Prague 2
www.tranzitdisplay.cz

Lia Perjovschi is one of the proponents of the “archival turn” in contemporary art practice. At the beginnings of this turn was the necessity of sharing all art production and information about art in the circumstances of Romania in the 80s controlled by Ceausescu. From the early 90s onwards, Lia Perjovschi along with her husband transformed their studio into the Contemporary Art Archive – a collection of books, magazines, visual reproductions and other media. The archive was accessible and was spiced up by guest lectures and discussions with random passers-by. Lia Perovschi decided to rename the Archive to The Center for Art Analysis, but changed primarily its function. It became an encyclopedic source of themes, motifs, histories and narratives that Lia Perjovschi edits subjectively – cuts, copies, reproduces, stages, installs and comments on in gallery spaces. The history of the archive will be displayed at Tranzitdisplay along with the project Plans for a Knowledge Museum – a similar, encyclopedically based and at the same time subjectively installed sum of human knowledge. Perjovschi has been working on the “archiving” of this knowledge for a number of years now.

Školská 28, Prague 1
www.skolska28.cz

While I was studying photography at art school, my interest has moved away from the fine art photography and focused up on the snapshots that people take of family, friends, holidays, vacations, and group images. Snapshots have an enormous value for the person who is either a part of, or somehow related to, the people or place that has been photographed. But how does a photograph get this value? Why is photography such a fascinating medium?

The work consists of three chapters. The first is searching for the specifics of photography; the second investigates photographic world; and the third is examining how the behavior and thinking of people has changed since the invention of photography. The exhibition includes topics such as: photography as a time traveling machine; why a person has a stage fright while being photographed; how the present is becoming a stage for the future; or how are we loosing the possibility to get an authentic memory from a photographic attempt to conserve it. These reflections are presented through the mediums of drawing, text, collages, photographs, objects, video and animation.

www.magdastanova.sk

Školská 28, Prague 1
http://galeriedira.cz

This audio installation designed for headphones presents a collage of verbal commentary regarding the courtyard venue of Galerie díra. Photo-laymen and photo-professionals alike capture their surroundings in which they find themselves through short commentary. In the course of the exhibition, the collage is brought up-to-date with new contributions. The exhibition thematizes shifts created through the translation of visual impressions into words and their sound aspect, and the feedback that the listener experiences when standing on the same spot where prior commentaries originated.

Národní 4, Prague 1
http://novascena.cz

The neon sign No Image Yet, the work of French artist Samuel François (1977), is – among other things – an ingenious commentary on this year’s festival theme. The art is understandable and at the same time inviting of different interpretations. It depends on whether we read it as text or whether we view it as a painting. One could say that in the first case, words describe a newly created painting which comes into being together with the reading of the words. In the second case, the art piece would exist as a statement which itself is the painting. Maybe it’s different still. Be it as it may, this sign can inspire new readings of public space.

Školská 28, Prague 1
http://www.skolska28.cz

Since 2003 when he founded the Berlin publishing house Heckler und Koch with several artist friends, Thomas Winkler has been on a seemingly endless journey “on behalf of worldwide expressionism”, which has taken him to various corners of Europe and the USA. On this journey, Winkler—a conceptual artist, photographer, painter, musician and publisher—makes photographs whose motifs are as diverse as the range of his artistic practice: they capture recollections of visited places, realized performances, exceptional encounters, or moments of idleness. At the White Billboard and the K4 galleries, Thomas Winkler will introduce his latest series of layouts created for the Fotograf Festival in particular during his recent stay in Prague. The opening at the K4 gallery will be accompanied by Prof. Winkler’s introductory lecture on Thomas Winkler’s work and followed by the artist‘s concert in the K4 Club.

Celetná 20, Prague 1
www.galeriek4.cz

Since 2003, when he founded the Berlin press Heckler und Koch with several artist friends, Thomas Winkler has found himself on a seemingly never-ending journey “authorized by worldwide expressionism” which has taken him to various nooks and crannies of Europe and the USA. On this journey, Winkler, a conceptual artist, photographer, painter, musician and publisher, acquires snapshots whose motifs are as diverse as the range of Winkler’s artwork: recollections of visited places, realized performances, exceptional encounters but also moments of idleness. At the dual exhibition in galleries Bílý nástěnka and K4, Thomas Winkler will introduce his newest series of layouts created for the Fotograf Festival during the artist’s recent stay in Prague. The opening night of the exhibition at gallery K4 will go hand in hand with Prof. Winkler’s opening lecture, followed by his concert in the main hall of K4 club.

Ke Sklárně 3213/15, Prague 5
www.meetfactory.cz

The Tereza Sochorová project (along with the participation of Filip Cenek) stands for an intersection of individual approaches, which together form sets and subsets of mutual relations. In her two works (Reader, 2006, Listener, 2012) Sochorová uses shifts in space and time, working with the imagery of an almost identical pregnant woman. Through slightly nuanced performances, the author reconstructs the image of her mother. An abstract slide show presents Filip Cenek’s work Untitled (blue), 1996/1997, which reflects two identical blue “silences”, or non-objective play with light, color and surface. The presentation forms a counterpoint to the more figurative expression of Tereza Sochorová. The exhibition will be accompanied by the original newspaper In the Spirit.

Poupětova 1, Prague 7
www.artarchiv.cz

Viktor Kopasz’s photographic work has a firm foundation in his journals. His journals could also be called sketchbooks, art books or albums. Since adolescence, Kopasz has been creating books in the same format full of visual observations, obsessive interest and commentary. Individual sheets are covered in photographs accompanied by glued paper findings, short multilingual comments, words and stamps. Viktor Kopasz’s free creation partially stems from his journals which become an evident foundation providing varied inspiration for both his vision and content.

Polička/Shelf is a bookshelf set aside in the library of the Archive of Fine Arts in the Center for Contemporary Art DOX. Since early 2013, at monthly intervals, unique authorial books have been available here for browsing. The selection aims to introduce authors for whom the book form is an unparalleled means of expression.

Poupětova 1, Prague 7

An Open Book – Photography and Text exhibition, which is organized by the citizens’ association The Archive of Fine Art in the small tower of DOX, will introduce the works of several generations of Czech visual poets and its photographical documentation will shed light on the spectacular international project Das offene Buch of Gerhard Jürgen Blum-Kwiatkowski, painter, sculptor, gallerist and collector. In 1998, Czech artists also took part in this project in Hünfeld, Germany. Blum-Kwiatkowski managed to persuade the city council and house owners to make possible the realization of more than one hundred visual poems in the public space and on building facades.

Holečkova 789/49, Prague 5 – Smíchov
www.futuraproject.cz

There is more than one way to not read. The most radical of which is not to open a book at all. For any given reader, however dedicated or prodigious you might be, such total abstention necessarily holds true for virtually everything that has been published, and this in fact constitutes our primary way of relating to books. Mortensen's solo exhibition, encompassing sculptures and writings, explores this matter of fact: Unless you abstain definitively from all conversation and all writing, you will find yourself forever obliged to express your thoughts on books you haven't read.

Audun Mortensen (b. 1985) is a Norwegian author and artist, living in Oslo.
www.audunmortensen.com

Kateřinská 20, Prague 2
www.etcgalerie.cz

The small exhibition of Rudolf Sikora, a Slovak conceptual artist and active observer, consists of the author’s selection from 25 original pages of his children’s book O světě/About the World. The book itself was created as part of a challenge to organize a travelling exhibition abroad called Jiná dětská kniha/Other Child Book. When Rudolf Sikora’s book About the World came into existence during the then normalization period in Czechoslovakia, it could not be publicly presented, let alone published. The only printed copy that managed to get smuggled abroad was never returned to the author.

“About the World” reflects Sikora’s cosmological and environmental contemplations and a message characteristic of his work in the seventies. The discovered scientific photographs are accompanied by his musings or direct quotations taken from the most topical scientific texts. Three of Sikora’s most prominent signs in this interconnected cycle are the following: the star – birth, the arrow – movement, the cross – death.

Újezd 30, Prague 1
www.atelierjosefasudka.cz

Sudek's studio located in a courtyard in Újezd, a part of Prague significant for the life and work of the legendary photographer Josef Sudek, will host two conceptual artists who perceptively examine the possibilities of text in the long term. In their joint project, Jiří Valoch and Lenka Vítková move within a constantly expanding visual plane, in the space between signs and images.

Školská 28, Prague 1

Aleš Čermák freely oscillates between literature, visual art and drama. He doesn’t pay attention to deep-rooted notions about the role of the artist, the publisher, or the director, and fulfills them all at once without having to jump from one to the other. At the root of his work lies a deep interest, that is, an effort to search for alternative ways of sharing, communication and interaction in present-day society.

http://alescermak.blogspot.cz/

In a poem, language retreats from or even completely abandons its communicative function and plays around with words, rhyme, and verse lines to create a new reality, poetry. A typical phenomenon of the interwar avant-garde was the interplay of the various types of art – visual art and literature – and the Czech particularity became the so-called picture poems – collages of images, text and photographs. At the Rhyme exhibition, the artwork of the students of the Photography studio at UMPRUM shifts this concept to utilizing just a single medium, “pure” photography with the quality of rhyme, the poetic figure.

náměstí Jana Palacha 80, Prague 1

To have to accomplish a goal. This desire was the beginning thought for the exhibition The Truth Is Out There. This assignment is what art theoretician and historian, and simultaneously new teacher of the Department of Art Theory and History at UMPRUM, Jan Wollner, dictates to Iveta and Matěj, students of the photography studio at UMPRUM, on the very first day of school. The coordinates of the assignment are determined beforehand: book – film – space. Matěj and Iveta will have two weeks to accomplish the task. They will present the result at the exhibition in their school studio.

www.fotografgallery.cz

We still believe that the moving picture is a certain form of visual thinking, it specifies that which is thought through and discovers the unthinkable. This held true both in the time of its invention more than one hundred years ago as well as in the present day when every corner of shared (common) space is equipped with a camera. The moving picture frees the eye, it is the negative of time, it shows what the eye can never see: signs of decoded reality, spontaneity and external movement. It harbors a dialectic potential - it is an instrument of both emancipation and control. As Dziga Vertov wrote, “Our eyes, spinning like propellers, take off into the future on the wings of hypothesis.”