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19:46:16",2026,"A group of authors","Academy of Fine Arts in Prague","anglicky",100,"https:\u002F\u002Fknihy.artmap.cz\u002Fsesit-pro-umeni--teorii-a-pribuzne-zony-2\u002F",[],[4482,4494,4512,4529,4546],{"__typename":4483,"background":4,"heading":4484,"content":4485,"content_nodes":4488},"TextBlock",{"cs":4,"en":4},{"cs":4486,"en":4487},"\u003Cp>Sešit pro umění, teorii a příbuzné zóny 40\u002F2026 přináší pětici tematicky různorodých studií a jednu recenzi.\u003C\u002Fp>","\u003Cp>Notebook for Art, Theory and Related Zones 40\u002F2026 presents five thematically diverse studies and one review.\u003C\u002Fp>",{"cs":4489,"en":4492},[4490],{"__typename":4491,"html":4486},"RichContentHtml",[4493],{"__typename":4491,"html":4487},{"__typename":4495,"background":4,"title":4496,"items":4497},"AccordionBlock",{"cs":4,"en":4},[4498],{"title":4499,"content":4502,"content_nodes":4505},{"cs":4500,"en":4501},"Kulturní instituce a mocenské vztahy","Cultural Institutions and Power Relations",{"cs":4503,"en":4504},"\u003Cp>V první studii, nazvané „Politické zásahy do fungování galerií a muzeí umění ve střední Evropě“, se Ondřej Horák a Andrea Kaňkovská zabývají vlivem konzervativních vlád na kulturní instituce v Polsku, Maďarsku a na Slovensku, resp. na jejich personální a programovou proměnu v letech 2010 až 2025. „Poučení z případů ostatních zemí V4 nevede k jednoduchému závěru o potřebě chránit kulturu před politickými zásahy, ale spíše k pochopení, že kulturní pole je neustále formováno mocenskými vztahy, které nelze zcela eliminovat – pouze zpřehlednit, zpomalit a distribuovat tak, aby případné změny režimů nenarušovaly základní institucionální, především personální kontinuitu,“ shrnují autoři v závěru svého příspěvku.\u003C\u002Fp>\u003Cp>Následující článek Zuzany Kriškové je spíše historický, od předchozí studie však přesto není příliš vzdálen v čase ani tématem. Konkrétně se věnuje normalizačnímu období na pražské AVU, kde zkoumá různé druhy mocenských vztahů, které na institucionální rovině ovlivňovaly personální politiku ve světě umění. Proč právě na Akademii, ve srovnání s ostatními vysokými školami uměleckého zaměření v Československu, měly posrpnové čistky relativně omezený dopad a proč si tak AVU udržela značnou personální kontinuitu?\u003C\u002Fp>","\u003Cp>In the first study, titled “Political Interventions in the Operation of Art Galleries and Museums in Central Europe,” Ondřej Horák and Andrea Kaňkovská examine the influence of conservative governments on cultural institutions in Poland, Hungary and Slovakia, specifically on changes in their staffing and programming between 2010 and 2025. “Lessons drawn from the cases of the other V4 countries do not lead to a simple conclusion about the need to protect culture from political interference, but rather to the understanding that the cultural field is constantly shaped by power relations that cannot be completely eliminated—only made more transparent, slowed down and distributed in such a way that possible regime changes do not disrupt basic institutional, above all personnel, continuity,” the authors summarize at the end of their contribution.\u003C\u002Fp>\u003Cp>The following article by Zuzana Krišková is more historical, yet it is still not far removed from the preceding study in time or subject matter. Specifically, it focuses on the normalization period at Prague’s Academy of Fine Arts, examining various kinds of power relations that, at the institutional level, influenced personnel policy in the art world. Why did the post-August purges have a relatively limited impact at the Academy, compared with other art higher education institutions in Czechoslovakia, and why did the Academy therefore retain considerable personnel continuity?\u003C\u002Fp>",{"cs":4506,"en":4509},[4507,4508],{"__typename":4491},{"__typename":4491},[4510,4511],{"__typename":4491},{"__typename":4491},{"__typename":4495,"background":4,"title":4513,"items":4514},{"cs":4,"en":4},[4515],{"title":4516,"content":4519,"content_nodes":4522},{"cs":4517,"en":4518},"Digitální obrazy a technologie reprodukce","Digital Images and Technologies of Reproduction",{"cs":4520,"en":4521},"\u003Cp>Zpět do žhavé současnosti čtenáře vrací Jiří Melzmuf. V článku o „proměně vazby obrazové informace na její nosič“ pracuje s klasickým marxistickým pojmovým aparátem, aby odkryl strukturální souvislosti zdánlivě bezpracné nadprodukce vizuálních obsahů, kterými jsme zahlceni na sociálních sítích a digitálních platformách. Zdánlivé osvobození fotografie od „hmoty“ slouží podle autora primárně k tomu, aby „zakrylo drastickou exploataci přírodních zdrojů i lidské práce a učinilo ji neviditelnou a obtížněji zpochybnitelnou“.\u003C\u002Fp>\u003Cp>Technologicky zprostředkovaná však v naší společnosti není jen reprodukce vizuálních obsahů, ale také reprodukce v daleko intimnějším smyslu, totiž samotné biologické pokračování člověka jako druhu. Denisa Michalinová se ve svém textu věnuje současným uměleckým projektům, které různými způsoby tematizují ektogenezi, tedy vývoj plodu mimo tělo. Na konkrétních příkladech (instalace UNBORN0X9 či díla kolektivu Keiken) sleduje historii i současné uvažování o této technologii, která by mohla sloužit jako nástroj emancipační, anebo naopak i jako nástroj zintenzivňující tradiční nerovnosti mezi různými znevýhodněnými skupinami obyvatel.\u003C\u002Fp>","\u003Cp>Jiří Melzmuf returns readers to the heated present. In an article on the the transformation of the relation between image information and its medium, he works with a classic Marxist conceptual framework in order to reveal the structural connections behind the seemingly effortless overproduction of visual content with which we are inundated on social networks and digital platforms. According to the author, the apparent immateriality of photography primarily serves to conceal the drastic exploitation of natural resources as well as human labor, making it invisible and more difficult to challenge.\u003C\u002Fp>\u003Cp>In our society, however, it is not only the reproduction of visual content that is technologically mediated, but also reproduction in a far more intimate sense: the biological continuation of the human species itself. In her text, Denisa Michalinová addresses contemporary artistic projects that in various ways thematize ectogenesis, that is, fetal development outside the body. Through specific examples (the installation UNBORN0X9 and works by the Keiken collective), she traces both the history of and current thinking about this technology, which could serve as an emancipatory tool, or, conversely, as a tool that intensifies traditional inequalities among various disadvantaged groups.\u003C\u002Fp>",{"cs":4523,"en":4526},[4524,4525],{"__typename":4491},{"__typename":4491},[4527,4528],{"__typename":4491},{"__typename":4491},{"__typename":4495,"background":4,"title":4530,"items":4531},{"cs":4,"en":4},[4532],{"title":4533,"content":4536,"content_nodes":4539},{"cs":4534,"en":4535},"Výstava jako médium a recenze dějin umění","The Exhibition as a Medium and a Review of Art History",{"cs":4537,"en":4538},"\u003Cp>Poslední studii čísla napsala Eva Skopalová. Inspirována především Paulem Ricoeurem a M. M. Bachtinem v ní prostřednictvím pojmu chronotop tematizuje výstavu jako prostorové médium. Výstavy a-Historische klanken (1988) a Doba Karla IV. v dějinách národů ČSSR (1978), pracující s polytemporální kombinací děl z různých historických období, autorka prezentuje jako diskurzivní média, která umožnila artikulaci nelineárního času prostřednictvím specifické konstelace artefaktů.\u003C\u002Fp>\u003Cp>Čtyřicátý Sešit pak uzavírá recenze Tomáše Murára na dvousvazkové Dějiny českých dějin umění (Praha: UMPRUM 2020, 2025) Mileny Bartlové. Navzdory tomu, že se autorka v úvodu publikací přihlásila k ambicióznímu teoretickému aparátu, zůstává podle Murára její výklad spíše popisem institucí, publikační činnosti a vzájemných vztahů jednotlivých aktérů. Současně recenzent přiznává, že v českém prostředí se jedná o poměrně rozšířený problém.\u003C\u002Fp>","\u003Cp>The final study in the issue was written by Eva Skopalová. Inspired above all by Paul Ricoeur and M. M. Bakhtin, she uses the concept of the chronotope to consider the exhibition as a spatial medium. The exhibitions a-Historische klanken (1988) and The Age of Charles IV in the History of the Nations of the Czechoslovak Socialist Republic (1978), which work with a polytemporal combination of works from different historical periods, are presented by the author as discursive media that enabled the articulation of nonlinear time through a specific constellation of artifacts.\u003C\u002Fp>\u003Cp>The fortieth issue of Notebook then concludes with Tomáš Murár’s review of Milena Bartlová’s two-volume Dějiny českých dějin umění [History of Czech Art History] (Prague: UMPRUM 2020, 2025). Although Bartlová declared an ambitious theoretical apparatus in the introduction to the publications, according to Murár her account remains closer to a description of institutions, publishing activity and the mutual relationships among individual actors. 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19:26:14","kolektiv autorek a autorů","Czech","https:\u002F\u002Fknihy.artmap.cz\u002Fsesit-pro-umeni-teorii-a-pribuzne-zony-39-2025\u002F?srsltid=AU7gw4UNLj0gTh03nS66zvBw6cqfXXWLUDJ3GwDQnWyORipl9AUeY959",[4610],{"name":4611,"value":4613},{"cs":4612,"en":4580},"Sešit pro umění, teorii a příbuzné zóny č. 39",{"cs":4614,"en":4614},"100 Kč",[4616,4626,4643,4662,4677],{"__typename":4483,"background":4,"heading":4617,"content":4618,"content_nodes":4621},{"cs":4,"en":4},{"cs":4619,"en":4620},"\u003Cp>Články v 39. čísle Sešitu vznikly z řady seminářů \u003Cem>Linking (Art) Worlds: American Art and Eastern Europe from the Cold War to the Present\u003C\u002Fem>, které se v letech 2022 až 2024 konaly na různých místech středovýchodní Evropy a Spojených států amerických. Autorstvo v nich usiluje o překonání stále převažujícího přístupu ke studiu studenoválečné kulturní diplomacie, jenž je typický binaritou a zdůrazňováním rozdílů spíše než hledáním společných rysů a konvergencí.\u003C\u002Fp>","\u003Cp>The articles in issue 39 of the journal emerged from a series of seminars titled \u003Cem>Linking (Art) Worlds: American Art and Eastern Europe from the Cold War to the Present\u003C\u002Fem>, held at various locations in East-Central Europe and the United States between 2022 and 2024. The authors seek to move beyond the still-prevailing approach to studying Cold War cultural diplomacy, which is characterized by binary thinking and an emphasis on differences rather than a search for shared features and convergences.\u003C\u002Fp>",{"cs":4622,"en":4624},[4623],{"__typename":4491,"html":4619},[4625],{"__typename":4491,"html":4620},{"__typename":4495,"background":4,"title":4627,"items":4628},{"cs":4,"en":4},[4629],{"title":4630,"content":4633,"content_nodes":4636},{"cs":4631,"en":4632},"Výstavy a kulturní diplomacie mezi USA a východní Evropou","Exhibitions and Cultural Diplomacy between the USA and Eastern Europe",{"cs":4634,"en":4635},"\u003Cp>Stefana Djokić se zabývá první výstavou moderního jugoslávského umění v USA, která se konala v letech 1959–1962. Titův režim se jejím prostřednictvím snažil zprostředkovat obraz Jugoslávie jako země, která oproti jiným socialistickým státům šla vlastní cestou, projevující se opuštěním socialistického realismu a otevřením se modernismu.\u003C\u002Fp>\u003Cp>Magdalena Anna Nowak zkoumá recepci čtyř výstav amerického umění, které se v sedmdesátých letech dvacátého století konaly ve Varšavě; ukazuje, že polská kritika si při jejich hodnocení zachovala jistou míru nezávislosti jak na kulturní politice USA, tak na domácím režimu.\u003C\u002Fp>","\u003Cp>Stefana Djokić examines the first exhibition of modern Yugoslav art in the USA, held between 1959 and 1962. Through this exhibition, Tito’s regime sought to present Yugoslavia as a country that, unlike other socialist states, followed its own path, reflected in its abandonment of socialist realism and openness to modernism.\u003C\u002Fp>\u003Cp>Magdalena Anna Nowak explores the reception of four exhibitions of American art held in Warsaw in the 1970s; she shows that Polish critics maintained a degree of independence from both US cultural policy and the domestic regime in their assessments.\u003C\u002Fp>",{"cs":4637,"en":4640},[4638,4639],{"__typename":4491},{"__typename":4491},[4641,4642],{"__typename":4491},{"__typename":4491},{"__typename":4495,"background":4,"title":4644,"items":4645},{"cs":4,"en":4},[4646],{"title":4647,"content":4650,"content_nodes":4653},{"cs":4648,"en":4649},"Fotografie, pop art a paměť holokaustu","Photography, Pop Art, and Holocaust Memory",{"cs":4651,"en":4652},"\u003Cp>Do Československa let 1958–1968 zavádí čtenářstvo Fedora Parkmann, aby na příkladu knižní série \u003Cem>Umělecká fotografie\u003C\u002Fem> dokázala, že přístup k fotografii ve státně socialistickém režimu sdílel se Západem důraz na kulturní docenění média, jeho dokumentárnost a humanismus.\u003C\u002Fp>\u003Cp>Článek Ilky Rambausek se symbolicky pohybuje na obou stranách Berlínské zdi a zabývá se otázkou, jakou roli sehrála recepce pop artu v německo-německé kulturní výměně.\u003C\u002Fp>\u003Cp>V poslední z recenzovaných studií se Jan Elantkowski věnuje americkému umělci lotyšsko-židovského původu Borisovi Luriemu a jeho provokativním kolážím, v nichž konfrontoval americký konzumerismus s vytěsňovanou pamětí holokaustu.\u003C\u002Fp>","\u003Cp>Fedora Parkmann takes readers to Czechoslovakia between 1958 and 1968, using the book series \u003Cem>Umělecká fotografie\u003C\u002Fem> to demonstrate that approaches to photography under state socialism shared with the West an emphasis on the medium’s cultural recognition, documentary qualities, and humanism.\u003C\u002Fp>\u003Cp>Ilka Rambausek’s article moves symbolically between both sides of the Berlin Wall, examining the role played by the reception of pop art in cultural exchange between East and West Germany.\u003C\u002Fp>\u003Cp>In the final peer-reviewed study, Jan Elantkowski focuses on Boris Lurie, an American artist of Latvian-Jewish origin, and his provocative collages, in which he confronted American consumerism with the suppressed memory of the Holocaust.\u003C\u002Fp>",{"cs":4654,"en":4658},[4655,4656,4657],{"__typename":4491},{"__typename":4491},{"__typename":4491},[4659,4660,4661],{"__typename":4491},{"__typename":4491},{"__typename":4491},{"__typename":4495,"background":4,"title":4663,"items":4664},{"cs":4,"en":4},[4665],{"title":4666,"content":4669,"content_nodes":4672},{"cs":4667,"en":4668},"Recenze výstavy a publikace","Exhibition and Book Reviews",{"cs":4670,"en":4671},"\u003Cp>Číslo přináší také dvě recenze. V první se Beáta Hock zamýšlí nad výstavou \u003Cem>Modern Times. The American Dream and the Avant-Gardes of the 1920\u003C\u002Fem>, která se konala v roce 2025 v Drážďanech, v druhé píše Zsuzsa László o knize \u003Cem>Plural and Multiple Geographies of Modern and Contemporary Art in East-Central Europe\u003C\u002Fem> (Routledge 2024) editorek Cateriny Preda a Magdaleny Radomské.\u003C\u002Fp>","\u003Cp>The issue also includes two reviews. In the first, Beáta Hock reflects on the exhibition \u003Cem>Modern Times. The American Dream and the Avant-Gardes of the 1920\u003C\u002Fem>, held in Dresden in 2025; in the second, Zsuzsa László discusses the book \u003Cem>Plural and Multiple Geographies of Modern and Contemporary Art in East-Central Europe\u003C\u002Fem> (Routledge 2024), edited by Caterina Preda and Magdalena Radomska.\u003C\u002Fp>",{"cs":4673,"en":4675},[4674],{"__typename":4491},[4676],{"__typename":4491},{"__typename":4547,"background":4,"title":4678,"type":4,"display":4549,"links":4679},{"cs":4,"en":4},[4680],{"type":2824,"color":4552,"target":93,"link":4553,"url":4553,"page_id":4,"page":4,"file":4,"label":4681},{"cs":4555,"en":4555},{"title":4683,"description":4684,"canonical_url":4685,"og_title":4686,"og_description":4687,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fjournal-for-art-theory-and-related-zones-no-39",{"cs":4690,"en":4694},[4691,4692],{"label":28,"menu_url":29},{"label":4612,"menu_url":4693},"\u002Fsesit-pro-umeni-teorii-a-pribuzne-zony-c-39",[4695,4696],{"label":34,"menu_url":29},{"label":4580,"menu_url":4688},[4698],{"id":13,"name":14,"slug":4699},{"cs":16,"en":17},[],"2026-09-28 19:35:36","2026-10-06 20:35:16",{"id":4704,"title":4705,"slug":4706,"description":4441,"file":4708,"image":4709,"year":4474,"authors":4728,"publisher":4729,"place_of_publication":91,"isbn":4730,"edition":91,"extent":91,"language":91,"publication_type":4,"price":4731,"eshop_link":4732,"info":4733,"content_blocks":4738,"seo":4766,"menu_url":4772,"breadcrumbs":4773,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":4780,"publicationTags":4783,"created_at":4784,"updated_at":4785},"30769","Shitzine",{"cs":4707,"en":4707},"shitzine","31245",{"id":4708,"caption":4,"alt_text":4,"url":4710,"srcset":4711,"media":4712,"conversions":4716,"created_at":4727,"updated_at":4727},"https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F3677\u002FShitzine.jpg","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F3677\u002Fconversions\u002FShitzine-webp_mobile.webp 640w, https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F3677\u002Fconversions\u002FShitzine-webp_mobile_lg.webp 1080w, https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F3677\u002Fconversions\u002FShitzine-webp_fhd.webp 1920w, https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F3677\u002Fconversions\u002FShitzine-webp_1440.webp 2560w, https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F3677\u002Fconversions\u002FShitzine-webp_4k.webp 3840w",{"id":4713,"name":4714,"file_name":4714,"mime_type":4592,"size":4715,"url":4710},"3677","Shitzine.jpg",1227069,[4717,4719,4721,4723,4725],{"name":4454,"url":4718,"width":4456},"https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F3677\u002Fconversions\u002FShitzine-webp_mobile.webp",{"name":4458,"url":4720,"width":4460},"https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F3677\u002Fconversions\u002FShitzine-webp_mobile_lg.webp",{"name":4462,"url":4722,"width":4464},"https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F3677\u002Fconversions\u002FShitzine-webp_fhd.webp",{"name":4466,"url":4724,"width":4468},"https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F3677\u002Fconversions\u002FShitzine-webp_1440.webp",{"name":4470,"url":4726,"width":4472},"https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F3677\u002Fconversions\u002FShitzine-webp_4k.webp","2026-09-28 19:17:16","Shiat Crew","Vydala Akademie výtvarných umění v Praze","978-80-88366-88-1",330,"https:\u002F\u002Fknihy.artmap.cz\u002Fshitzine\u002F",[4734],{"name":4735,"value":4736},{"cs":4705,"en":4705},{"cs":4737,"en":4737},"330 Kč",[4739,4751],{"__typename":4483,"background":4,"heading":4740,"content":4741,"content_nodes":4744},{"cs":4,"en":4},{"cs":4742,"en":4743},"\u003Cp>Publikace je koncipována jako sbírka krátkých povídek, osobních výpovědí a mikro příběhů mapující téma defekace v lidském životě, doplněných o ilustrace, grafické prvky a drobné komentáře reflektující téma tělesnosti a studu s důrazem na humorné, trapné i svízelné situace, které s touto přirozenou potřebou souvisejí. Texty vytvářejí mozaiku osobních zkušeností, které jsou často tabuizované, a přesto univerzálně sdílené. Publikace pracuje s tématem s nadhledem a nadsázkou, ale zároveň poukazuje na hranice intimity a sdílení. Má pobavit, ale i nabídnout prostor pro otevřenější přístup k tělu a jeho projevům.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>The publication is conceived as a collection of short stories, personal accounts and micro-stories exploring the theme of defecation in human life, supplemented by illustrations, graphic elements and brief commentaries reflecting on the themes of physicality and shame, with an emphasis on the humorous, embarrassing and awkward situations associated with this natural need. The texts form a mosaic of personal experiences that are often taboo, yet universally shared. The publication approaches the subject with a light-hearted touch and a touch of hyperbole, whilst at the same time highlighting the boundaries of intimacy and sharing. It aims to entertain, but also to offer space for a more open approach to the body and its expressions.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":4745,"en":4748},[4746],{"__typename":4491,"html":4747},"\u003Cp>Publikace je koncipována jako sbírka krátkých povídek, osobních výpovědí a mikro příběhů mapující téma defekace v lidském životě, doplněných o ilustrace, grafické prvky a drobné komentáře reflektující téma tělesnosti a studu s důrazem na humorné, trapné i svízelné situace, které s touto přirozenou potřebou souvisejí. Texty vytvářejí mozaiku osobních zkušeností, které jsou často tabuizované, a přesto univerzálně sdílené. Publikace pracuje s tématem s nadhledem a nadsázkou, ale zároveň poukazuje na hranice intimity a sdílení. Má pobavit, ale i nabídnout prostor pro otevřenější přístup k tělu a jeho projevům.\u003C\u002Fp>",[4749],{"__typename":4491,"html":4750},"\u003Cp>The publication is conceived as a collection of short stories, personal accounts and micro-stories exploring the theme of defecation in human life, supplemented by illustrations, graphic elements and brief commentaries reflecting on the themes of physicality and shame, with an emphasis on the humorous, embarrassing and awkward situations associated with this natural need. The texts form a mosaic of personal experiences that are often taboo, yet universally shared. The publication approaches the subject with a light-hearted touch and a touch of hyperbole, whilst at the same time highlighting the boundaries of intimacy and sharing. It aims to entertain, but also to offer space for a more open approach to the body and its expressions.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":4752,"items":4753},{"cs":4,"en":4},[4754],{"title":4755,"content":4758,"content_nodes":4761},{"cs":4756,"en":4757},"autoři a autorky","authors",{"cs":4759,"en":4760},"\u003Cp>Shiat Crew je kolektiv přátel spojených nadšením a bodrým humorem. Pracuje s tím, co by jinde bylo považováno za odpad.\u003C\u002Fp>","\u003Cp>Shiat Crew is a collective of friends united by enthusiasm and good-natured humour. They work with materials that would otherwise be considered rubbish.\u003C\u002Fp>",{"cs":4762,"en":4764},[4763],{"__typename":4491},[4765],{"__typename":4491},{"title":4767,"description":4768,"canonical_url":4769,"og_title":4770,"og_description":4771,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fshitzine",{"cs":4774,"en":4777},[4775,4776],{"label":28,"menu_url":29},{"label":4705,"menu_url":4772},[4778,4779],{"label":34,"menu_url":29},{"label":4705,"menu_url":4772},[4781],{"id":13,"name":14,"slug":4782},{"cs":16,"en":17},[],"2026-09-28 19:17:25","2026-10-07 06:27:01",{"id":4787,"title":4788,"slug":4789,"description":4441,"file":4792,"image":4793,"year":4474,"authors":4813,"publisher":4476,"place_of_publication":91,"isbn":4814,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":4815,"eshop_link":4816,"info":4817,"content_blocks":4823,"seo":4849,"menu_url":4855,"breadcrumbs":4856,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":4864,"publicationTags":4867,"created_at":4868,"updated_at":4869},"30768","Language of Inequality ",{"cs":4790,"en":4791},"jazyk-nerovnosti","language-of-inequality","31244",{"id":4792,"caption":4,"alt_text":4,"url":4794,"srcset":4795,"media":4796,"conversions":4801,"created_at":4812,"updated_at":4812},"https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F3676\u002FJazyk-nerovnosti.jpg","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F3676\u002Fconversions\u002FJazyk-nerovnosti-webp_mobile.webp 640w, https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F3676\u002Fconversions\u002FJazyk-nerovnosti-webp_mobile_lg.webp 1080w, https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F3676\u002Fconversions\u002FJazyk-nerovnosti-webp_fhd.webp 1920w, https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F3676\u002Fconversions\u002FJazyk-nerovnosti-webp_1440.webp 2560w, https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F3676\u002Fconversions\u002FJazyk-nerovnosti-webp_4k.webp 3840w",{"id":4797,"name":4798,"file_name":4799,"mime_type":4592,"size":4800,"url":4794},"3676","Jazyk nerovnosti.jpg","Jazyk-nerovnosti.jpg",345193,[4802,4804,4806,4808,4810],{"name":4454,"url":4803,"width":4456},"https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F3676\u002Fconversions\u002FJazyk-nerovnosti-webp_mobile.webp",{"name":4458,"url":4805,"width":4460},"https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F3676\u002Fconversions\u002FJazyk-nerovnosti-webp_mobile_lg.webp",{"name":4462,"url":4807,"width":4464},"https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F3676\u002Fconversions\u002FJazyk-nerovnosti-webp_fhd.webp",{"name":4466,"url":4809,"width":4468},"https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F3676\u002Fconversions\u002FJazyk-nerovnosti-webp_1440.webp",{"name":4470,"url":4811,"width":4472},"https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F3676\u002Fconversions\u002FJazyk-nerovnosti-webp_4k.webp","2026-09-28 19:08:36","Martina Drozd Smutná","ISBN 978-80-88366-76-8",250,"https:\u002F\u002Fknihy.artmap.cz\u002Fjazyk-nerovnosti\u002F",[4818],{"name":4819,"value":4821},{"cs":4820,"en":4820},"Jazyk nerovnosti",{"cs":4822,"en":4822},"250 Kč",[4824,4834],{"__typename":4483,"background":4,"heading":4825,"content":4826,"content_nodes":4829},{"cs":4,"en":4},{"cs":4827,"en":4828},"\u003Cp>Autorská publikace se zabývá příčinami vzniku a působením teoretického rámce, jenž̌ odděluje „ženské“ a „mužské“ umění́. Ústředním pojmem je termín „ženská malba“, který je zde chápán jako sociální konstrukt nahlížený perspektivou specifických (a dobových) podmínek umělecké produkce. Je výsledkem doktorského výzkumu o nerovnostech v uměleckém vzdělávání. Vedle autorských textů a ilustrací poskytuje také data z hodnocení diplomových prací v malířských ateliérech na AVU v letech 1994–2005. Snaží se tak zprostředkovat Akademii i širší kulturní veřejnosti vhled do nedávné minulosti perspektivou genderových nerovností a nabízet porozumění těmto mechanismům.\u003C\u002Fp>","\u003Cp>This monograph examines the origins and impact of the theoretical framework that distinguishes between ‘women’s’ and ‘men’s’ art. The central concept is the term ‘feminine painting’, which is understood here as a social construct viewed through the lens of specific (and period-specific) conditions of artistic production. It is the result of doctoral research into inequalities in art education. In addition to the author’s own texts and illustrations, it also provides data from the assessment of final-year projects in the painting studios at the Academy of Fine Arts in Prague (AVU) between 1994 and 2005. It thus seeks to offer the Academy and the wider cultural public an insight into the recent past through the lens of gender inequalities and to foster an understanding of these mechanisms.\u003C\u002Fp>",{"cs":4830,"en":4832},[4831],{"__typename":4491,"html":4827},[4833],{"__typename":4491,"html":4828},{"__typename":4495,"background":4,"title":4835,"items":4836},{"cs":4,"en":4},[4837],{"title":4838,"content":4841,"content_nodes":4844},{"cs":4839,"en":4840},"Autorka","Author",{"cs":4842,"en":4843},"\u003Cp>Martina Drozd Smutná se věnuje malbě v praktické i teoretické rovině. Svou malířskou tvorbu chápe jako jazyk, kterým lze hovořit o intimitě, zranitelnosti či každodennosti osobních příběhů podmíněných socio-politickými jevy. Je laureátkou Ceny Jindřicha Chalupeckého 2022, vystavuje na české i zahraniční scéně.\u003C\u002Fp>","\u003Cp>Martina Drozd Smutná is dedicated to painting on both a practical and theoretical level. She regards her painting as a language through which one can speak of intimacy, vulnerability or the everyday nature of personal stories shaped by socio-political phenomena. She is the winner of the 2022 Jindřich Chalupecký Award and exhibits both in the Czech Republic and abroad.\u003C\u002Fp>",{"cs":4845,"en":4847},[4846],{"__typename":4491},[4848],{"__typename":4491},{"title":4850,"description":4851,"canonical_url":4852,"og_title":4853,"og_description":4854,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Flanguage-of-inequality",{"cs":4857,"en":4861},[4858,4859],{"label":28,"menu_url":29},{"label":4820,"menu_url":4860},"\u002Fjazyk-nerovnosti",[4862,4863],{"label":34,"menu_url":29},{"label":4788,"menu_url":4855},[4865],{"id":13,"name":14,"slug":4866},{"cs":16,"en":17},[],"2026-09-28 19:09:14","2026-10-06 19:41:48",{"id":4871,"title":4872,"slug":4873,"description":4441,"file":4704,"image":4875,"year":4474,"authors":4884,"publisher":4885,"place_of_publication":91,"isbn":4886,"edition":91,"extent":91,"language":4477,"publication_type":4,"price":4887,"eshop_link":4888,"info":4889,"content_blocks":4890,"seo":4920,"menu_url":4926,"breadcrumbs":4927,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":4934,"publicationTags":4937,"created_at":4883,"updated_at":4938},"30767","Radek Dětinský, 308",{"cs":4874,"en":4874},"308",{"id":4704,"caption":4876,"alt_text":4,"url":4877,"srcset":4,"media":4878,"conversions":4882,"created_at":4883,"updated_at":4883},"Detinsky_obalka","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1888\u002Fdetinsky-obalka.jpg",{"id":4879,"name":4876,"file_name":4880,"mime_type":4592,"size":4881,"url":4877},"1888","detinsky-obalka.jpg",3727250,[],"2026-09-02 11:03:27","Radek Dětinský, Tomáš Glanc","Akademie výtvarných umění v Praze","978-80-88366-81-2",730,"https:\u002F\u002Fknihy.artmap.cz\u002Fradek-detinsky--308\u002F?srsltid=AU7gw4Wl7ktEvOBRjKmcG_Ful0pehiAUPmBrJCjhfdj4gmnTozRIQS_p",[],[4891,4903],{"__typename":4483,"background":4892,"heading":4893,"content":4894,"content_nodes":4897},"white",{"cs":4,"en":4},{"cs":4895,"en":4896},"\u003Cp>Fotografická publikace „308“ zachycuje deset let dějin nejstarší české umělecké školy pohledem školního fotografa. 308 černobílých snímků přináší chronologický přehled života Akademie v letech 2013–2023, od oficiálních událostí a výstav po spontánní momenty a zákulisní scény. Fotografie představují osobní svědectví, jež kombinuje reprezentativní situace s neformálními okamžiky. Výsledkem je unikátní pohled na Akademii jako živoucí organismus oslovující jak „insidery“, tak širší veřejnost.\u003C\u002Fp>","\u003Cp>The photography book “308” captures ten years in the history of the oldest Czech art school through the lens of the school photographer. The 308 black-and-white photographs provide a chronological overview of life at the Academy from 2013 to 2023, ranging from official events and exhibitions to spontaneous moments and behind-the-scenes scenes. The photographs serve as a personal testimony that combines representative situations with informal moments. The result is a unique perspective on the Academy as a living organism that appeals to both “insiders” and the broader public.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":4898,"en":4900},[4899],{"__typename":4491,"html":4895},[4901],{"__typename":4491,"html":4902},"\u003Cp>The photography book “308” captures ten years in the history of the oldest Czech art school through the lens of the school photographer. The 308 black-and-white photographs provide a chronological overview of life at the Academy from 2013 to 2023, ranging from official events and exhibitions to spontaneous moments and behind-the-scenes scenes. The photographs serve as a personal testimony that combines representative situations with informal moments. The result is a unique perspective on the Academy as a living organism that appeals to both “insiders” and the broader public.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":4904,"items":4905},{"cs":4,"en":4},[4906],{"title":4907,"content":4910,"content_nodes":4913},{"cs":4908,"en":4909},"Autoři","Authors",{"cs":4911,"en":4912},"\u003Cp>Tomáš Glanc je slavista, zabývá se kulturními dějinami východní Evropy, avantgardami, undergroundem a současnými kulturními jevy. Působí také jako kurátor českých i mezinárodních výstav, překladatel a kulturní publicista.\u003C\u002Fp>\u003Cp>Radek Dětinský je fotografem na AVU, kde také vede kurz Úvod do praktické fotografie. V letech 2023 - 2025 byl kurátorem výstavního prostoru nakladatelství Trigon. Vystavuje jak na sólových, tak i na skupinových výstavách.\u003C\u002Fp>","\u003Cp>Tomáš Glanc is a Slavicist who specializes in the cultural history of Eastern Europe, the avant-garde, the underground, and contemporary cultural phenomena. He also works as a curator of Czech and international exhibitions, a translator, and a cultural journalist.\u003C\u002Fp>\u003Cp>Radek Dětinský is a photographer at the Academy of Fine Arts (AVU), where he also teaches the course “Introduction to Practical Photography.” From 2023 to 2025, he was the curator of the exhibition space of Trigon Publishing House. He exhibits in both solo and group shows.\u003C\u002Fp>",{"cs":4914,"en":4917},[4915,4916],{"__typename":4491},{"__typename":4491},[4918,4919],{"__typename":4491},{"__typename":4491},{"title":4921,"description":4922,"canonical_url":4923,"og_title":4924,"og_description":4925,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002F308",{"cs":4928,"en":4931},[4929,4930],{"label":28,"menu_url":29},{"label":4872,"menu_url":4926},[4932,4933],{"label":34,"menu_url":29},{"label":4872,"menu_url":4926},[4935],{"id":13,"name":14,"slug":4936},{"cs":16,"en":17},[],"2026-10-07 08:12:55",{"id":4940,"title":4941,"slug":4942,"description":4441,"file":4945,"image":4946,"year":4474,"authors":4954,"publisher":4885,"place_of_publication":91,"isbn":4955,"edition":91,"extent":91,"language":91,"publication_type":4,"price":4956,"eshop_link":4957,"info":4958,"content_blocks":4959,"seo":4970,"menu_url":4976,"breadcrumbs":4977,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":4986,"publicationTags":4989,"created_at":4883,"updated_at":4990},"30762","Filling Compounds for Losses in the Paint and Ground Layers of Paintings on Textile Supports",{"cs":4943,"en":4944},"tmely-pro-vypln-defektu-v-barevne-a-podkladove-vrstve-obrazu-na-textilni-podlozce","filling-compounds-for-losses-in-the-paint-and-ground-layers-of-paintings-on-textile-supports","30763",{"id":4945,"caption":4947,"alt_text":4,"url":4948,"srcset":4,"media":4949,"conversions":4953,"created_at":4883,"updated_at":4883},"Prochazkova_obalka","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1887\u002Fprochazkova-obalka-scaled.jpg",{"id":4950,"name":4947,"file_name":4951,"mime_type":4592,"size":4952,"url":4948},"1887","prochazkova-obalka-scaled.jpg",214546,[],"Alžběta Mirjam Procházková","978-80-88366-77-5",380,"https:\u002F\u002Fknihy.artmap.cz\u002Ftmely\u002F?srsltid=AU7gw4XoCVCGUuTkGyL9vn_f-pDqE7mM9m_cD8UMvaFH_n0AsyKOZCxX",[],[4960],{"__typename":4483,"background":4892,"heading":4961,"content":4962,"content_nodes":4965},{"cs":4,"en":4},{"cs":4963,"en":4964},"\u003Cp>Publikace přináší ucelený vhled do problematiky tmelů určených k výplni defektů v barevné a podkladové vrstvě obrazu na textilní podložce. Základem publikace je podrobný výzkum materiálů, technik, metod aplikace a strukturace výplní. Škála zkoumaných tmelů nabízí možnost výběru vhodného materiálu pro konkrétní charakter, rozsah poškození a problematiku restaurovaného uměleckého díla s ohledem na záměr jeho prezentace. Materiály byly do publikace zařazeny na základě investigace současných přístupů na evropském a americkém restaurátorském poli, se speciální pozorností na historické okolnosti používání a výběru tmelů ve střední Evropě. Vhodné zvolení a aplikace tmelu je určující pro úspěšnou vizuální reintegraci uměleckého díla.\u003C\u002Fp>","\u003Cp>This publication provides a comprehensive overview of fillers designed to repair defects in the color and undercoat layers of paintings on a textile support. The publication is based on detailed research into materials, techniques, application methods, and the structure of fillers. The range of fillers examined offers the possibility of selecting a suitable material for the specific nature, extent of damage, and challenges of the artwork being restored, taking into account the intended presentation of the work. The materials were included in the publication based on an investigation of current approaches in the European and American fields of conservation, with special attention to the historical context of the use and selection of fillers in Central Europe. The appropriate selection and application of a filler is crucial for the successful visual reintegration of a work of art.\u003C\u002Fp>",{"cs":4966,"en":4968},[4967],{"__typename":4491,"html":4963},[4969],{"__typename":4491,"html":4964},{"title":4971,"description":4972,"canonical_url":4973,"og_title":4974,"og_description":4975,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Ffilling-compounds-for-losses-in-the-paint-and-ground-layers-of-paintings-on-textile-supports",{"cs":4978,"en":4983},[4979,4980],{"label":28,"menu_url":29},{"label":4981,"menu_url":4982},"Tmely pro výplň defektů v barevné a podkladové vrstvě obrazů na textilní podložce","\u002Ftmely-pro-vypln-defektu-v-barevne-a-podkladove-vrstve-obrazu-na-textilni-podlozce",[4984,4985],{"label":34,"menu_url":29},{"label":4941,"menu_url":4976},[4987],{"id":13,"name":14,"slug":4988},{"cs":16,"en":17},[],"2026-10-06 11:30:39",{"id":4992,"title":4993,"slug":4994,"description":4441,"file":4997,"image":4998,"year":5007,"authors":5008,"publisher":4885,"place_of_publication":91,"isbn":5009,"edition":91,"extent":91,"language":5010,"publication_type":4,"price":4956,"eshop_link":5011,"info":5012,"content_blocks":5013,"seo":5042,"menu_url":5048,"breadcrumbs":5049,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":5057,"publicationTags":5060,"created_at":5006,"updated_at":5061},"22695","Intaglio printing",{"cs":4995,"en":4996},"hlubotisk","intaglio-printing","22696",{"id":4997,"caption":4999,"alt_text":4,"url":5000,"srcset":4,"media":5001,"conversions":5005,"created_at":5006,"updated_at":5006},"Hlubotisk","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1899\u002Fhlubotisk-obalka.jpg",{"id":5002,"name":4999,"file_name":5003,"mime_type":4592,"size":5004,"url":5000},"1899","hlubotisk-obalka.jpg",904186,[],"2026-09-02 11:03:30",2025,"Vojtěch Hrubant, Markéta Soukupová","978-80-88366-60-7","česky","https:\u002F\u002Fknihy.artmap.cz\u002Fhlubotisk\u002F?srsltid=AU7gw4UhCO7WPvAUvC5Un6UlHCNBQI3uW-XHXFesRaJPsntE4UiBB1H5",[],[5014,5026],{"__typename":4483,"background":4892,"heading":5015,"content":5016,"content_nodes":5019},{"cs":4,"en":4},{"cs":5017,"en":5018},"\u003Cp>Druhý díl plánované edice autorských brožur, která postupně představí jednotlivé grafické techniky. Formou obrazově-textové příručky ilustruje jednotlivé postupy práce s hlubotiskem i dosavadní poznatky o tomto grafickém médiu. Vizuální sdělení v podobě grafických listů se v publikaci prolíná s odborným a popularizačním textem. Vydání edice má za cíl rozšířit pole poznatků a praktických možností jak pro samotnou výuku oboru grafických technik, tak i pro vlastní uměleckou praxi. Hlubotisk je soubor grafických technik kdy se obraz tiskne z hloubky matrice. Klasickým příkladem je třeba suchá jehla nebo z mokrých technik čárový lept. V brožuře si představíme jak ty klasické, tak i experimentálnější postupy včetně jejich historie, původu a vývoje.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>The second volume of a planned series of author's brochures that will gradually introduce individual graphic techniques. In the form of an illustrated handbook, it illustrates individual processes of working with intaglio printing and current knowledge about this graphic medium. Visual communication in the form of graphic sheets is interwoven with expert and popularising text in the publication. The aim of the edition is to expand the field of knowledge and practical possibilities both for the teaching of graphic techniques and for artistic practice. Intaglio printing is a set of graphic techniques in which the image is printed from the depth of the matrix. Classic examples include drypoint and, from wet techniques, line etching. In the brochure, we will introduce both classic and more experimental techniques, including their history, origin and development.\u003C\u002Fp>",{"cs":5020,"en":5023},[5021],{"__typename":4491,"html":5022},"\u003Cp>Druhý díl plánované edice autorských brožur, která postupně představí jednotlivé grafické techniky. Formou obrazově-textové příručky ilustruje jednotlivé postupy práce s hlubotiskem i dosavadní poznatky o tomto grafickém médiu. Vizuální sdělení v podobě grafických listů se v publikaci prolíná s odborným a popularizačním textem. Vydání edice má za cíl rozšířit pole poznatků a praktických možností jak pro samotnou výuku oboru grafických technik, tak i pro vlastní uměleckou praxi. Hlubotisk je soubor grafických technik kdy se obraz tiskne z hloubky matrice. Klasickým příkladem je třeba suchá jehla nebo z mokrých technik čárový lept. V brožuře si představíme jak ty klasické, tak i experimentálnější postupy včetně jejich historie, původu a vývoje.\u003C\u002Fp>",[5024],{"__typename":4491,"html":5025},"\u003Cp>The second volume of a planned series of author's brochures that will gradually introduce individual graphic techniques. In the form of an illustrated handbook, it illustrates individual processes of working with intaglio printing and current knowledge about this graphic medium. Visual communication in the form of graphic sheets is interwoven with expert and popularising text in the publication. The aim of the edition is to expand the field of knowledge and practical possibilities both for the teaching of graphic techniques and for artistic practice. Intaglio printing is a set of graphic techniques in which the image is printed from the depth of the matrix. Classic examples include drypoint and, from wet techniques, line etching. In the brochure, we will introduce both classic and more experimental techniques, including their history, origin and development.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":5027,"items":5028},{"cs":4,"en":4},[5029],{"title":5030,"content":5032,"content_nodes":5035},{"cs":5031,"en":4909},"Autoři a autorky",{"cs":5033,"en":5034},"\u003Cp>Vojtěch Hrubant je výtvarný umělec, studoval Ateliér grafiky I na AVU, kde v současnosti působí jako odborný asistent Grafických dílen. Věnuje se především kresbě a grafice, rovněž dělá ilustrace, drobnou plastiku a prostorové realizace.\u003C\u002Fp>\u003Cp>Markéta Soukupová je vedoucí Grafických dílen AVU. Věnuje se především kresbě a grafice. Zabývá se tématem práce, kresbami návodů, vtipů a civilních scén ze světa pracujících. Působí také v uměleckém duu Pink Flamingos nebo kolektivu No Fun, kde se věnuje videohernímu umění.\u003C\u002Fp>","\u003Cp>Vojtěch Hrubant is a visual artist who studied at the Graphic Arts Studio I at the Academy of Fine Arts, where he currently works as an assistant professor in the Graphic Arts Workshops. He focuses primarily on drawing and graphic arts, but also does illustrations, small sculptures, and spatial installations.\u003C\u002Fp>\u003Cp>Markéta Soukupová is the head of the Graphic Workshops at the Academy of Fine Arts. She focuses primarily on drawing and graphic art. She deals with the theme of work, drawings of instructions, jokes and civilian scenes from the world of workers. She also works in the artistic duo Pink Flamingos and the collective No Fun, where she focuses on video game art.\u003C\u002Fp>",{"cs":5036,"en":5039},[5037,5038],{"__typename":4491},{"__typename":4491},[5040,5041],{"__typename":4491},{"__typename":4491},{"title":5043,"description":5044,"canonical_url":5045,"og_title":5046,"og_description":5047,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fintaglio-printing",{"cs":5050,"en":5054},[5051,5052],{"label":28,"menu_url":29},{"label":4999,"menu_url":5053},"\u002Fhlubotisk",[5055,5056],{"label":34,"menu_url":29},{"label":4993,"menu_url":5048},[5058],{"id":13,"name":14,"slug":5059},{"cs":16,"en":17},[],"2026-10-08 07:00:50",{"id":5063,"title":5064,"slug":5065,"description":4441,"file":5068,"image":5069,"year":5007,"authors":5078,"publisher":4476,"place_of_publication":91,"isbn":5079,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":5080,"eshop_link":5081,"info":5082,"content_blocks":5083,"seo":5163,"menu_url":5169,"breadcrumbs":5170,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":5179,"publicationTags":5182,"created_at":5183,"updated_at":5184},"27523","Brothers with Suitcases: Eight Chapters on the Austro-Hungarian Civilizing Mission in Bosnia and Herzegovina (1878–1918)",{"cs":5066,"en":5067},"bratri-s-kufry-osm-kapitol-o-rakousko-uherske-civilizacni-misi-v-bosne-a-hercegovine-1878-1918","brothers-with-suitcases-eight-chapters-on-the-austro-hungarian-civilizing-mission-in-bosnia-and-herzegovina-1878-1918","27524",{"id":5068,"caption":5070,"alt_text":4,"url":5071,"srcset":4,"media":5072,"conversions":5076,"created_at":5077,"updated_at":5077},"Borozan_Remesova_obalka_","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1894\u002Fborozan-remesova-obalka.jpg",{"id":5073,"name":5070,"file_name":5074,"mime_type":4592,"size":5075,"url":5071},"1894","borozan-remesova-obalka.jpg",263011,[],"2026-09-02 11:03:28","Vjera Borozan a Anna Remešová (eds.)","978-80-88366-62-1",390,"https:\u002F\u002Fknihy.artmap.cz\u002Fbratri-s-kufry\u002F",[],[5084,5100,5118],{"__typename":4483,"background":4892,"heading":5085,"content":5086,"content_nodes":5089},{"cs":4,"en":4},{"cs":5087,"en":5088},"\u003Cp>Kniha \u003Cem>Bratři s kufry\u003C\u002Fem> je souborem studií zaměřených na rakousko-uherskou civilizační misi v Bosně a Hercegovině v období její okupace a anexy mezi lety 1878 a 1918. Publikace z perspektivy několika vědních oborů a metodologických přístupů sleduje pohyb lidí, zboží, idejí, vědeckého poznání a kapitálu mezi Prahou, Vídní a Sarajevem. Část příspěvků zkoumá roli aktérů a aktérek pocházejících z českých zemí a jejich účast na okupační správě, na sociální disciplinaci bosenského obyvatelstva (prostřednictvím školství, lékařství či práva) a propagaci koloniálních „úspěchů“.\u003C\u002Fp>\u003Cp>Druhá část textů tyto aktivity reflektuje v širším časovém a geopolitickém rámci a sleduje otázku (dis)kontinuit imperiálních politik. Jak pohled zblízka na konkrétní činnosti těchto jednotlivců, tak pohled z odstupu na principy koloniální správy ukazují ambivalentní roli, kterou díky jazykové a kulturní příbuznosti sehrávali ti, kdo do Bosny a Hercegoviny přicházeli z českých zemí (nejen) s vidinou výdělku a profesního úspěchu – odtud název knihy \u003Cem>Bratři s kufry\u003C\u002Fem>.\u003C\u002Fp>","\u003Cp>The book Bratři s kufry (Brothers with Suitcases) is a collection of studies focusing on the Austro-Hungarian civilizing mission in Bosnia and Herzegovina during its occupation and annexation between 1878 and 1918. From the perspective of several scientific disciplines and methodological approaches, the publication traces the movement of people, goods, ideas, scientific knowledge, and capital between Prague, Vienna, and Sarajevo. Some of the contributions examine the role of actors from the Czech lands and their participation in the occupation administration, in the social discipline of the Bosnian population (through education, medicine, and law), and in the promotion of colonial "successes."\u003C\u002Fp>\u003Cp>The second part of the texts reflects on these activities in a broader temporal and geopolitical framework and examines the question of the (dis)continuity of imperial policies. Both a close-up view of the specific activities of these individuals and a distanced view of the principles of colonial administration reveal the ambivalent role played by those who came to Bosnia and Herzegovina from the Czech lands (not only) with the prospect of financial gain and professional success, thanks to their linguistic and cultural affinity – hence the title of the book, Brothers with Suitcases.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":5090,"en":5095},[5091,5093],{"__typename":4491,"html":5092},"\u003Cp>Kniha \u003Cem>Bratři s kufry\u003C\u002Fem> je souborem studií zaměřených na rakousko-uherskou civilizační misi v Bosně a Hercegovině v období její okupace a anexy mezi lety 1878 a 1918. Publikace z perspektivy několika vědních oborů a metodologických přístupů sleduje pohyb lidí, zboží, idejí, vědeckého poznání a kapitálu mezi Prahou, Vídní a Sarajevem. Část příspěvků zkoumá roli aktérů a aktérek pocházejících z českých zemí a jejich účast na okupační správě, na sociální disciplinaci bosenského obyvatelstva (prostřednictvím školství, lékařství či práva) a propagaci koloniálních „úspěchů“.\u003C\u002Fp>",{"__typename":4491,"html":5094},"\u003Cp>Druhá část textů tyto aktivity reflektuje v širším časovém a geopolitickém rámci a sleduje otázku (dis)kontinuit imperiálních politik. Jak pohled zblízka na konkrétní činnosti těchto jednotlivců, tak pohled z odstupu na principy koloniální správy ukazují ambivalentní roli, kterou díky jazykové a kulturní příbuznosti sehrávali ti, kdo do Bosny a Hercegoviny přicházeli z českých zemí (nejen) s vidinou výdělku a profesního úspěchu – odtud název knihy \u003Cem>Bratři s kufry\u003C\u002Fem>.\u003C\u002Fp>",[5096,5098],{"__typename":4491,"html":5097},"\u003Cp>The book Bratři s kufry (Brothers with Suitcases) is a collection of studies focusing on the Austro-Hungarian civilizing mission in Bosnia and Herzegovina during its occupation and annexation between 1878 and 1918. From the perspective of several scientific disciplines and methodological approaches, the publication traces the movement of people, goods, ideas, scientific knowledge, and capital between Prague, Vienna, and Sarajevo. Some of the contributions examine the role of actors from the Czech lands and their participation in the occupation administration, in the social discipline of the Bosnian population (through education, medicine, and law), and in the promotion of colonial \"successes.\"\u003C\u002Fp>",{"__typename":4491,"html":5099},"\u003Cp>The second part of the texts reflects on these activities in a broader temporal and geopolitical framework and examines the question of the (dis)continuity of imperial policies. Both a close-up view of the specific activities of these individuals and a distanced view of the principles of colonial administration reveal the ambivalent role played by those who came to Bosnia and Herzegovina from the Czech lands (not only) with the prospect of financial gain and professional success, thanks to their linguistic and cultural affinity – hence the title of the book, Brothers with Suitcases.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":5101,"items":5102},{"cs":4,"en":4},[5103],{"title":5104,"content":5105,"content_nodes":5108},{"cs":5031,"en":4909},{"cs":5106,"en":5107},"\u003Cp>Anna Remešová studuje doktorský program v oboru teorie a dějiny současného umění na AVU, kde se věnuje historii Náprstkova muzea a semiperifernímu postavení českých zemí v rámci Rakouska-Uherska. V minulosti pracovala jako redaktorka časopisu Artalk a společně s Alžbětou Bačíkovou vedla etc. galerii, kde se zabývala výzkumem dokumentárních strategií v současném uměleckém videu. Externě spolupracuje s Galerií Hraničář v Ústí nad Labem.\u003C\u002Fp>\u003Cp>Vjera Borozan vyučuje teorii současného umění a umění 19. století na AVU. Vystudovala dějiny a teorii umění na FF UK. V letech 2011–2019 byla ředitelkou internetové platformy pro současné umění Artyčok TV. V minulosti působila na FaVU v Brně a UMPRUM v Praze. Byla ředitelkou Národního muzea v Černé Hoře (2017–2018) a dlouhodobou spolupracovnicí iniciativy pro současné umění tranzit.cz.\u003C\u002Fp>\u003Cp>Autorstvo: Vjera Borozan, Anna Remešová, Edin Hajdarpašić, Markéta Křížová, Iva Lučić, Piro Rexhepi, Jakub Rákosník, Diana Reynolds Cordileone, Walter Sauer\u003C\u002Fp>\u003Cp>Text: Walter Sauer, Rakousko(-Uhersko) a evropský kolonialismus, překlad Veronika Korjagina.\u003C\u002Fp>","\u003Cp>Anna Remešová is pursuing a doctoral degree in the theory and history of contemporary art at the Academy of Fine Arts in Prague, where she focuses on the history of the Náprstek Museum and the semi-peripheral position of the Czech lands within the Austro-Hungarian Empire. In the past, she worked as an editor for the magazine Artalk and, together with Alžběta Bačíková, ran the etc. gallery, where she researched documentary strategies in contemporary art video. She collaborates externally with the Hraničář Gallery in Ústí nad Labem.\u003C\u002Fp>\u003Cp>Vjera Borozan teaches the theory of contemporary art and 19th-century art at the Academy of Fine Arts (AVU). She studied art history and theory at the Faculty of Arts, Charles University. From 2011 to 2019, she was the director of the online platform for contemporary art Artyčok TV. In the past, she worked at the Faculty of Fine Arts in Brno and the Academy of Arts, Architecture and Design in Prague. She was the director of the National Museum in Montenegro (2017–2018) and a long-term collaborator with the contemporary art initiative tranzit.cz.\u003C\u002Fp>\u003Cp>Authors: Vjera Borozan, Anna Remešová, Edin Hajdarpašić, Markéta Křížová, Iva Lučić, Piro Rexhepi, Jakub Rákosník, Diana Reynolds Cordileone, Walter Sauer, Text - Walter Sauer: Austria-Hungary and European Colonialism, translated by Veronika Korjagina.\u003C\u002Fp>",{"cs":5109,"en":5114},[5110,5111,5112,5113],{"__typename":4491},{"__typename":4491},{"__typename":4491},{"__typename":4491},[5115,5116,5117],{"__typename":4491},{"__typename":4491},{"__typename":4491},{"__typename":5119,"background":4892,"heading":5120,"images":5121},"GalleryBlock",{"cs":4,"en":4},[5122,5131,5139,5147,5155],{"id":5123,"caption":5124,"alt_text":4,"url":5125,"srcset":4,"media":5126,"conversions":5130,"created_at":4883,"updated_at":4883},"29338","Bratři s kufry","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1889\u002Fbratri-s-kufry-22.jpg",{"id":5127,"name":5124,"file_name":5128,"mime_type":4592,"size":5129,"url":5125},"1889","bratri-s-kufry-22.jpg",378801,[],{"id":5132,"caption":5124,"alt_text":4,"url":5133,"srcset":4,"media":5134,"conversions":5138,"created_at":5077,"updated_at":5077},"29337","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1890\u002Fbratri-s-kufry-6.jpg",{"id":5135,"name":5124,"file_name":5136,"mime_type":4592,"size":5137,"url":5133},"1890","bratri-s-kufry-6.jpg",951951,[],{"id":5140,"caption":5124,"alt_text":4,"url":5141,"srcset":4,"media":5142,"conversions":5146,"created_at":5077,"updated_at":5077},"29339","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1891\u002Fbratri-s-kufry-55.jpg",{"id":5143,"name":5124,"file_name":5144,"mime_type":4592,"size":5145,"url":5141},"1891","bratri-s-kufry-55.jpg",1194137,[],{"id":5148,"caption":5124,"alt_text":4,"url":5149,"srcset":4,"media":5150,"conversions":5154,"created_at":5077,"updated_at":5077},"29340","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1892\u002Fbratri-s-kufry-103.jpg",{"id":5151,"name":5124,"file_name":5152,"mime_type":4592,"size":5153,"url":5149},"1892","bratri-s-kufry-103.jpg",331256,[],{"id":5156,"caption":5124,"alt_text":4,"url":5157,"srcset":4,"media":5158,"conversions":5162,"created_at":5077,"updated_at":5077},"29336","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1893\u002Fbratri-s-kufry-2.jpg",{"id":5159,"name":5124,"file_name":5160,"mime_type":4592,"size":5161,"url":5157},"1893","bratri-s-kufry-2.jpg",221235,[],{"title":5164,"description":5165,"canonical_url":5166,"og_title":5167,"og_description":5168,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fbrothers-with-suitcases-eight-chapters-on-the-austro-hungarian-civilizing-mission-in-bosnia-and-herzegovina-1878-1918",{"cs":5171,"en":5176},[5172,5173],{"label":28,"menu_url":29},{"label":5174,"menu_url":5175},"Bratři s kufry. Osm kapitol o rakousko-uherské civilizační misi v Bosně a Hercegovině (1878–1918)","\u002Fbratri-s-kufry-osm-kapitol-o-rakousko-uherske-civilizacni-misi-v-bosne-a-hercegovine-1878-1918",[5177,5178],{"label":34,"menu_url":29},{"label":5064,"menu_url":5169},[5180],{"id":13,"name":14,"slug":5181},{"cs":16,"en":17},[],"2026-09-02 11:03:29","2026-10-08 06:58:28",{"id":5186,"title":5187,"slug":5188,"description":4441,"file":5191,"image":5192,"year":5007,"authors":5200,"publisher":4476,"place_of_publication":91,"isbn":5201,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":5202,"eshop_link":5203,"info":5204,"content_blocks":5205,"seo":5229,"menu_url":5235,"breadcrumbs":5236,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":5245,"publicationTags":5248,"created_at":5183,"updated_at":5249},"25307","Jimena Mendoza, Water has no hands",{"cs":5189,"en":5190},"jimena-mendoza-voda-nema-ruce","jimena-mendoza-water-has-no-hands","25308",{"id":5191,"caption":5193,"alt_text":4,"url":5194,"srcset":4,"media":5195,"conversions":5199,"created_at":5183,"updated_at":5183},"Jimena_křest_Praha_ig2","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1896\u002Fjimena-krest-praha-ig2-scaled.jpg",{"id":5196,"name":5193,"file_name":5197,"mime_type":4592,"size":5198,"url":5194},"1896","jimena-krest-praha-ig2-scaled.jpg",984469,[],"Jimena Mendoza","978-80-88366-58-4",400,"https:\u002F\u002Fknihy.artmap.cz\u002Fen\u002Fjimena-mendoza-water-has-no-hands\u002F?srsltid=AU7gw4Wxf9mAPWGNtP9UDuQFVO_oYlsTRFN7dkSJ9JBDD-CXtz46Frgv",[],[5206,5216],{"__typename":4483,"background":4892,"heading":5207,"content":5208,"content_nodes":5211},{"cs":4,"en":4},{"cs":5209,"en":5210},"\u003Cp>Kniha \u003Cem>Water has no hands\u003C\u002Fem> shromažďuje, uchovává a sdílí obrazy a příběhy spojené s místy, procesy znečištění, ohněm, vzdálenými setkáními, vůlemi, původností, budoucností, pásy, chladem, barvou a přátelstvím – v určitých okamžicích a čase – ve formě sochy, mapující nedávnou tvorbu Jimeny Mendoza. Obsahuje několik esejí o všudypřítomné simultánnosti, maskování a vynořování, kosmu a slunečním čase. Roztrhané obrazy, stlačené formy, třesený materiál, rozdrcené, hladící, zadržující.\u003C\u002Fp>","\u003Cp>The book \u003Cem>Water has no hands\u003C\u002Fem> collects, preserves, and shares images and stories connected with places, processes of pollution, fire, distant encounters, wills, originality, the future, belts, cold, color, and friendship—at certain moments and times—in the form of a sculpture, mapping the recent work of Jimena Mendoza. It contains several essays on omnipresent simultaneity, masking and emergence, the cosmos and solar time. Torn images, compressed forms, shaken material, crushed, caressing, restraining.\u003C\u002Fp>",{"cs":5212,"en":5214},[5213],{"__typename":4491,"html":5209},[5215],{"__typename":4491,"html":5210},{"__typename":4495,"background":4,"title":5217,"items":5218},{"cs":4,"en":4},[5219],{"title":5220,"content":5221,"content_nodes":5224},{"cs":4839,"en":4840},{"cs":5222,"en":5223},"\u003Cp>Jimena Mendoza (*1979, Mexiko) jako umělkyně sbírá kulturní stopy, adaptované postupy, rozpory a nesourodé synkretismy a přistupuje k nim z vlastní mestické zkušenosti. Má zálibu ve všem, co je mimoběžné, vzdálené a cizorodé. Ve svém díle filtruje, rozkládá, konfrontuje a syntetizuje nejrůznější látky prostřednictvím svérázné výtvarné vize. Od roku 2019 vyučuje v Ateliéru Socha 2 na Akademii výtvarných umění v Praze.\u003C\u002Fp>","\u003Cp>Jimena Mendoza (*1979, Mexico) collects cultural traces, adapted practices, contradictions, and disparate syncretisms, approaching them from her own mestizo experience. She has a penchant for everything that is divergent, distant, and foreign. In her work, she filters, decomposes, confronts, and synthesizes a wide variety of materials through her unique artistic vision. Since 2019, she has been teaching at the Sculpture 2 Studio at the Academy of Fine Arts in Prague.\u003C\u002Fp>",{"cs":5225,"en":5227},[5226],{"__typename":4491},[5228],{"__typename":4491},{"title":5230,"description":5231,"canonical_url":5232,"og_title":5233,"og_description":5234,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fjimena-mendoza-water-has-no-hands",{"cs":5237,"en":5242},[5238,5239],{"label":28,"menu_url":29},{"label":5240,"menu_url":5241},"Jimena Mendoza, Voda nemá ruce","\u002Fjimena-mendoza-voda-nema-ruce",[5243,5244],{"label":34,"menu_url":29},{"label":5187,"menu_url":5235},[5246],{"id":13,"name":14,"slug":5247},{"cs":16,"en":17},[],"2026-10-08 07:03:52",{"id":5251,"title":5252,"slug":5253,"description":4441,"file":5256,"image":5257,"year":5007,"authors":4475,"publisher":4476,"place_of_publication":91,"isbn":91,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":4478,"eshop_link":5265,"info":5266,"content_blocks":5267,"seo":5334,"menu_url":5340,"breadcrumbs":5341,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":5350,"publicationTags":5353,"created_at":5183,"updated_at":5354},"24979","Journal for Art, Theory and Related Zones No. 38\u002F2025",{"cs":5254,"en":5255},"sesit-pro-umeni-teorii-a-pribuzne-zony-c-38","sesit-pro-umeni-teorii-a-pribuzne-zony-c-38-journal-for-art-theory-and-related-zones-no-38-2025","24980",{"id":5256,"caption":5258,"alt_text":4,"url":5259,"srcset":4,"media":5260,"conversions":5264,"created_at":5183,"updated_at":5183},"obalka_Sešit_38_2025","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1897\u002Fobalka-sesit-38-2025.png",{"id":5261,"name":5258,"file_name":5262,"mime_type":4450,"size":5263,"url":5259},"1897","obalka-sesit-38-2025.png",194578,[],"https:\u002F\u002Fknihy.artmap.cz\u002Fsesit-pro-umeni-teorii-a-pribuzne-zony-38-2025\u002F?srsltid=AU7gw4X9FWBKGbv1Y6wkwKnPl3tF255RYruXGrpC4eoO_WDW21wXcQgH",[],[5268,5278,5295,5312,5329],{"__typename":4483,"background":4892,"heading":5269,"content":5270,"content_nodes":5273},{"cs":4,"en":4},{"cs":5271,"en":5272},"\u003Cp>38. číslo \u003Cem>Sešitu pro umění, teorii a příbuzné zóny\u003C\u002Fem> nabízí čtenářstvu čtyři odborné studie a dvě recenze vztahující se k současné praxi i nedávné historii umělecké produkce.\u003C\u002Fp>","\u003Cp>The 38th issue of \u003Cem>Sešit pro umění, teorii a příbuzné zóny\u003C\u002Fem> (Journal for Art, Theory, and Related Zones) offers readers four scholarly studies and two reviews related to contemporary practice and recent history of artistic production.\u003C\u002Fp>",{"cs":5274,"en":5276},[5275],{"__typename":4491,"html":5271},[5277],{"__typename":4491,"html":5272},{"__typename":4495,"background":4,"title":5279,"items":5280},{"cs":4,"en":4},[5281],{"title":5282,"content":5285,"content_nodes":5288},{"cs":5283,"en":5284},"Umění v politických a společenských souvislostech","Art in Political and Social Contexts",{"cs":5286,"en":5287},"\u003Cp>V prvním článku čísla se Darina Zavadilová věnuje historické, sociální a politické dynamice na ose Praha – Havana – Paříž, a to prostřednictvím případové studie výstavy kubánského umělce Tonyho Évory v pražském Domě kubánské kultury z roku 1965.\u003C\u002Fp>\u003Cp>Více do současnosti nás přenáší Daryna Skrynnyk-Myska, která analyzuje, jakým způsobem se po ruské invazi na Ukrajinu proměnilo zpracování vlajky jako předmětu i symbolu v ukrajinských uměleckých projektech; autorka ukazuje, že umění v takové situaci prokazuje mimořádnou schopnost reflektovat odlišné pozice a úhly pohledů.\u003C\u002Fp>","\u003Cp>In the first article, Darina Zavadilová examines the historical, social, and political dynamics between Prague, Havana, and Paris through a case study of an exhibition by Cuban artist Tony Évora at the House of Cuban Culture in Prague in 1965.\u003C\u002Fp>\u003Cp>Daryna Skrynnyk-Myska brings us closer to the present day, analyzing how the Russian invasion of Ukraine has changed the treatment of the flag as an object and symbol in Ukrainian art projects; the author shows that art in such a situation demonstrates an extraordinary ability to reflect different positions and perspectives.\u003C\u002Fp>",{"cs":5289,"en":5292},[5290,5291],{"__typename":4491},{"__typename":4491},[5293,5294],{"__typename":4491},{"__typename":4491},{"__typename":4495,"background":4,"title":5296,"items":5297},{"cs":4,"en":4},[5298],{"title":5299,"content":5302,"content_nodes":5305},{"cs":5300,"en":5301},"Autorství AI umění a prezentace architektury","AI Art Authorship and the Presentation of Architecture",{"cs":5303,"en":5304},"\u003Cp>Další studie má spíše teoretickou povahu a kurátor Tomáš Samek v ní obrací pozornost k otázce, kdo je autorem AI umění; jeho hlavním východiskem je posthumanistický koncept asambláže.\u003C\u002Fp>\u003Cp>V poslední studii zkoumá Marie Kordovská utváření Sbírky architektury v Národní galerii v Praze a způsoby, jakými byla během pětatřiceti let své existence prezentována veřejnosti na přehlídkách Sbírka architektury se představuje (1993), Sen a skutečnost (2016) a ve stálé expozici Architektura všem 1956–1989 (2022).\u003C\u002Fp>","\u003Cp>Another study is more theoretical in nature, with curator Tomáš Samek turning his attention to the question of who is the author of AI art; his main starting point is the post-humanist concept of assemblage.\u003C\u002Fp>\u003Cp>In the last study, Marie Kordovská examines the formation of the Architecture Collection at the National Gallery in Prague and the ways in which it has been presented to the public over the 35 years of its existence at exhibitions such as The Architecture Collection Presents Itself (1993), Dream and Reality (2016), and in the permanent exhibition Architecture for All 1956–1989 (2022).\u003C\u002Fp>",{"cs":5306,"en":5309},[5307,5308],{"__typename":4491},{"__typename":4491},[5310,5311],{"__typename":4491},{"__typename":4491},{"__typename":4495,"background":4,"title":5313,"items":5314},{"cs":4,"en":4},[5315],{"title":5316,"content":5319,"content_nodes":5322},{"cs":5317,"en":5318},"Recenze publikací","Book Reviews",{"cs":5320,"en":5321},"\u003Cp>V recenzní rubrice se nejprve Mathilde Arnoux věnuje knize Marie Klimešové a Hany Rousové Tak blízko, tak daleko. České umění 1947–1960 v mezinárodních sociokulturních souvislostech \u002F So Near, so Far 1947–1960. Czech Art in International Sociocultural Contexts (Praha: Arbor vitae societas 2023), která je podle autorky výjimečná svým zaměřením na vzájemně propojené vztahy evropských uměleckých scén.\u003C\u002Fp>\u003Cp>Posledním textem čísla je recenze Vojtěcha Märce na knihu Jakuba Stejskala Metakunsthistorie, v níž jsou z filozoficko-estetické perspektivy přehodnocovány zavedené uměnovědné pojmy jako kultura, styl, forma, obraz, médium, kontext či materiál.\u003C\u002Fp>","\u003Cp>In the review section, Mathilde Arnoux first discusses Marie Klimešová and Hana Rousová’s book Tak blízko, tak daleko. České umění 1947–1960 v mezinárodních sociokulturních souvislostech \u002F So Near, so Far 1947–1960. Czech Art in International Sociocultural Contexts (Prague: Arbor vitae societas, 2023), which, according to the author, is exceptional in its focus on the interconnected relationships between European art scenes.\u003C\u002Fp>\u003Cp>The last text in this issue is Vojtěch Märce’s review of Jakub Stejskal’s book Metakunsthistorie (Meta-Art History), which reevaluates established art history concepts such as culture, style, form, image, medium, context, and material from a philosophical and aesthetic perspective.\u003C\u002Fp>",{"cs":5323,"en":5326},[5324,5325],{"__typename":4491},{"__typename":4491},[5327,5328],{"__typename":4491},{"__typename":4491},{"__typename":4547,"background":4,"title":5330,"type":4,"display":4549,"links":5331},{"cs":4,"en":4},[5332],{"type":2824,"color":4552,"target":93,"link":4553,"url":4553,"page_id":4,"page":4,"file":4,"label":5333},{"cs":4555,"en":4555},{"title":5335,"description":5336,"canonical_url":5337,"og_title":5338,"og_description":5339,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fsesit-pro-umeni-teorii-a-pribuzne-zony-c-38-journal-for-art-theory-and-related-zones-no-38-2025",{"cs":5342,"en":5347},[5343,5344],{"label":28,"menu_url":29},{"label":5345,"menu_url":5346},"Sešit pro umění, teorii a příbuzné zóny č. 38","\u002Fsesit-pro-umeni-teorii-a-pribuzne-zony-c-38",[5348,5349],{"label":34,"menu_url":29},{"label":5252,"menu_url":5340},[5351],{"id":13,"name":14,"slug":5352},{"cs":16,"en":17},[],"2026-10-08 07:04:06",{"id":5356,"title":5357,"slug":5358,"description":4441,"file":5361,"image":5362,"year":5007,"authors":5370,"publisher":4476,"place_of_publication":91,"isbn":5371,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":5372,"eshop_link":5373,"info":5374,"content_blocks":5375,"seo":5404,"menu_url":5410,"breadcrumbs":5411,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":5420,"publicationTags":5423,"created_at":5183,"updated_at":5424},"24658","Transformations of Masculinity",{"cs":5359,"en":5360},"promeny-maskulinit","transformations-of-masculinity","24659",{"id":5361,"caption":5363,"alt_text":4,"url":5364,"srcset":4,"media":5365,"conversions":5369,"created_at":5183,"updated_at":5183},"Promeny_maskulinit_obalka","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1898\u002Fpromeny-maskulinit-obalka.jpg",{"id":5366,"name":5363,"file_name":5367,"mime_type":4592,"size":5368,"url":5364},"1898","promeny-maskulinit-obalka.jpg",470160,[],"Kateřina Olivová – Darina Alster (eds.)","978-80-88366-51-5",600,"https:\u002F\u002Fknihy.artmap.cz\u002Fpromeny-maskulinit\u002F",[],[5376,5392],{"__typename":4483,"background":4892,"heading":5377,"content":5378,"content_nodes":5381},{"cs":4,"en":4},{"cs":5379,"en":5380},"\u003Cp>Kniha Proměny maskulinit je trans-žánrovou antologií propojující pestrou mozaiku přístupů a cest k tématu maskulinit na osobní, umělecké, filozofické i vědecké rovině. Společně tak tvoříme podoby nových maskulinit. Skrze čtyřicet čtyři příspěvků se v knize setkáváme s množstvím úhlů pohledu a přístupů k tématu mužství – od vědeckých textů, rozhovorů, osobních esejů, přes autorské texty a básně až po umělecké příspěvky jako jsou kresby, fotografie nebo koláže.\u003C\u002Fp>\u003Cp>V úvodní části se čtenářstvo setkává s texty zaměřenými více teoreticky, aby načerpalo pojmový aparát. Ve druhé části se posouváme do osobní roviny, kde lze maskulinitu vnímat prostřednictvím jejího individuálního prožívání. V následující části knihy se zaměřujeme na prožívání maskulinit ve vztazích a v další kapitole se věnujeme žité zkušenosti rodičovství a maskulinitám v rámci otcovských a mateřských rolí. V následující části se seznamujeme s maskulinitou jako spektrem a v poslední kapitole se věnujeme maskulinitám posvátným, abychom prozkoumalx i božské aspekty nitra. Mezi jednotlivými kapitolami se navracíme k vlastní tělesnosti pomocí meditací a imaginací, knihu doplňuje také tematický playlist.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>The book Proměny maskulinit (Transformations of Masculinity) is a trans-genre anthology connecting a diverse mosaic of approaches and paths to the topic of masculinity on a personal, artistic, philosophical, and scientific level. Together, we are creating new forms of masculinity. Through forty-four contributions, the book presents a variety of perspectives and approaches to the topic of masculinity—from scientific texts, interviews, and personal essays to original texts and poems to artistic contributions such as drawings, photographs, and collages.\u003C\u002Fp>\u003Cp>\u003Cbr>In the introductory section, readers encounter more theoretically focused texts to gain a conceptual framework. In the second part, we move to a personal level, where masculinity can be perceived through individual experience. In the following part of the book, we focus on the experience of masculinity in relationships, and in the next chapter, we focus on the lived experience of parenthood and masculinity in the context of fatherhood and motherhood. In the following section, we explore masculinity as a spectrum, and in the last chapter, we focus on sacred masculinities in order to explore the divine aspects of the inner self. Between chapters, we return to our own physicality through meditation and imagination, and the book is complemented by a thematic playlist.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":5382,"en":5387},[5383,5385],{"__typename":4491,"html":5384},"\u003Cp>Kniha Proměny maskulinit je trans-žánrovou antologií propojující pestrou mozaiku přístupů a cest k tématu maskulinit na osobní, umělecké, filozofické i vědecké rovině. Společně tak tvoříme podoby nových maskulinit. Skrze čtyřicet čtyři příspěvků se v knize setkáváme s množstvím úhlů pohledu a přístupů k tématu mužství – od vědeckých textů, rozhovorů, osobních esejů, přes autorské texty a básně až po umělecké příspěvky jako jsou kresby, fotografie nebo koláže.\u003C\u002Fp>",{"__typename":4491,"html":5386},"\u003Cp>V úvodní části se čtenářstvo setkává s texty zaměřenými více teoreticky, aby načerpalo pojmový aparát. Ve druhé části se posouváme do osobní roviny, kde lze maskulinitu vnímat prostřednictvím jejího individuálního prožívání. V následující části knihy se zaměřujeme na prožívání maskulinit ve vztazích a v další kapitole se věnujeme žité zkušenosti rodičovství a maskulinitám v rámci otcovských a mateřských rolí. V následující části se seznamujeme s maskulinitou jako spektrem a v poslední kapitole se věnujeme maskulinitám posvátným, abychom prozkoumalx i božské aspekty nitra. Mezi jednotlivými kapitolami se navracíme k vlastní tělesnosti pomocí meditací a imaginací, knihu doplňuje také tematický playlist.\u003C\u002Fp>",[5388,5390],{"__typename":4491,"html":5389},"\u003Cp>The book Proměny maskulinit (Transformations of Masculinity) is a trans-genre anthology connecting a diverse mosaic of approaches and paths to the topic of masculinity on a personal, artistic, philosophical, and scientific level. Together, we are creating new forms of masculinity. Through forty-four contributions, the book presents a variety of perspectives and approaches to the topic of masculinity—from scientific texts, interviews, and personal essays to original texts and poems to artistic contributions such as drawings, photographs, and collages.\u003C\u002Fp>",{"__typename":4491,"html":5391},"\u003Cp>\u003Cbr>In the introductory section, readers encounter more theoretically focused texts to gain a conceptual framework. In the second part, we move to a personal level, where masculinity can be perceived through individual experience. In the following part of the book, we focus on the experience of masculinity in relationships, and in the next chapter, we focus on the lived experience of parenthood and masculinity in the context of fatherhood and motherhood. In the following section, we explore masculinity as a spectrum, and in the last chapter, we focus on sacred masculinities in order to explore the divine aspects of the inner self. Between chapters, we return to our own physicality through meditation and imagination, and the book is complemented by a thematic playlist.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":5393,"items":5394},{"cs":4,"en":4},[5395],{"title":5396,"content":5397,"content_nodes":5399},{"cs":5031,"en":4909},{"cs":5398,"en":5398},"\u003Cp>Darina Alster, Adam Borzič, Gabby De Cicco, Maty Dio, Duo docentky (Kateřina Lišková, Lucie Jarkovská), Michal Durda, Jan Durina, Luki Essender, Nina Fárová, František Fekete, Matyáš Grimmich, Vladimír Havlík, David Laufer, Jan Matýsek, Matěj Metelec, Kateřina Olivová, Eduard Adam Orszulik, Yui Ozaki, Matěj Pšenička, PXS, Maja Rysová, Tomáš Samek, Benjamin Sebastian, Karolína Schön, Piotr Sikora, Tereza Silon, Alois Stratil, Jakub Strouhal, Magdaléna Šipka, Jan Škrob, Iva Šmídová, Ivan O. Štampach, Viktor Takáč, Ondřej Trhoň, Barbora Trnková, Kateř Tureček, Jana Valdrová, Tomáš Vaněk, Karel Vladyka, Zai Xu, Martin Zetová.\u003C\u002Fp>",{"cs":5400,"en":5402},[5401],{"__typename":4491},[5403],{"__typename":4491},{"title":5405,"description":5406,"canonical_url":5407,"og_title":5408,"og_description":5409,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Ftransformations-of-masculinity",{"cs":5412,"en":5417},[5413,5414],{"label":28,"menu_url":29},{"label":5415,"menu_url":5416},"Proměny maskulinit","\u002Fpromeny-maskulinit",[5418,5419],{"label":34,"menu_url":29},{"label":5357,"menu_url":5410},[5421],{"id":13,"name":14,"slug":5422},{"cs":16,"en":17},[],"2026-10-08 07:04:21",{"id":5426,"title":5427,"slug":5428,"description":4441,"file":5431,"image":5432,"year":5442,"authors":5443,"publisher":4476,"place_of_publication":91,"isbn":5444,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":4731,"eshop_link":5445,"info":5446,"content_blocks":5447,"seo":5471,"menu_url":5477,"breadcrumbs":5478,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":5487,"publicationTags":5490,"created_at":5441,"updated_at":5491},"18414","Most of All, I Look Forward to Dreams",{"cs":5429,"en":5430},"hlavne-se-tesim-na-sny","most-of-all-i-look-forward-to-dreams","18417",{"id":5431,"caption":5433,"alt_text":5434,"url":5435,"srcset":4,"media":5436,"conversions":5440,"created_at":5441,"updated_at":5441},"Kasparova_obalka","Hlavně se těším na sny, obálka","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1923\u002Fkasparova-obalka.jpg",{"id":5437,"name":5433,"file_name":5438,"mime_type":4592,"size":5439,"url":5435},"1923","kasparova-obalka.jpg",1494739,[],"2026-09-02 11:03:35",2024,"Magdalena Kašparová","978-80-88366-36-2","https:\u002F\u002Fknihy.artmap.cz\u002Fhlavne-se-tesim-na-sny\u002F?srsltid=AU7gw4Uh-0ld9INZdi4Qi56OIyW5pGK20CWWEnuPFA7uW99a-UD-BW5j",[],[5448,5458],{"__typename":4483,"background":4892,"heading":5449,"content":5450,"content_nodes":5453},{"cs":4,"en":4},{"cs":5451,"en":5452},"\u003Cp>Vizuální umělkyně Magdaléna Kašparová pracuje se zápisky ze svého dospívání podobně jako s obrazovými kolážemi. Primárně nejde o psaní, ale o shromáždění stop určité fáze života. Deníkové záznamy, „dopísky“ nebo esemesky vylovené z paměti starého mobilu nás od pubertální zkratkovitosti, naivity či kýčovitosti vedou k prožité bolesti. Hlavním tématem je anorexie.\u003C\u002Fp>","\u003Cp>Visual artist Magdaléna Kašparová works with notes from her adolescence in much the same way as she does with visual collages. Her primary concern is not writing itself, but rather collecting traces of a particular stage of life. Diary entries, notes passed between friends, and text messages retrieved from the memory of an old mobile phone lead us from the shorthand, naivety, and kitsch of adolescence towards lived pain. The central theme is anorexia.\u003C\u002Fp>",{"cs":5454,"en":5456},[5455],{"__typename":4491,"html":5451},[5457],{"__typename":4491,"html":5452},{"__typename":4495,"background":4,"title":5459,"items":5460},{"cs":4,"en":4},[5461],{"title":5462,"content":5463,"content_nodes":5466},{"cs":4839,"en":4909},{"cs":5464,"en":5465},"\u003Cp>Magdaléna Kašparová (nar. 1993) je multimediální umělkyně, absolventka Akademie výtvarných umění v Praze. Ve své tvorbě se obrací k osobní paměti, s níž pracuje prostřednictvím (kompulzivně shromažďovaných) dobových artefaktů, popkulturních trendů, ale také dobově příznačných komunikačních kanálů (SMS, MMS, facebook, snapchat). Využívá přitom prostředků remediace a mediální archeologie. V autorských videích jako \u003Cem>My 00’s Diary\u003C\u002Fem> (2020) nebo \u003Cem>Storytime\u003C\u002Fem> (2021) přejímá konvence vlogu; projekt Osobní archeologie prezentovala formou site-specific instalace i webové stránky. V připravované knize \u003Cem>Hlavně se těším na sny\u003C\u002Fem> se prostřednictvím textových záznamů a obrazových koláží vrací ke své zkušenosti s poruchou příjmu potravy, kvůli níž byla hospitalizována v nemocnici v Motole.\u003C\u002Fp>","\u003Cp>Magdaléna Kašparová (b. 1993) is a multimedia artist and a graduate of the Academy of Fine Arts in Prague. Her work explores personal memory through (compulsively collected) period artefacts, pop-cultural trends, as well as communication channels characteristic of their time (SMS, MMS, Facebook, Snapchat). In doing so, she employs strategies of remediation and media archaeology. In her videos, such as \u003Cem>My 00’s Diary\u003C\u002Fem> (2020) and \u003Cem>Storytime\u003C\u002Fem> (2021), she adopts the conventions of vlogging. Her project \u003Cem>Personal Archaeology\u003C\u002Fem> has been presented both as a site-specific installation and as a website. In her forthcoming book \u003Cem>Hlavně se těším na sny\u003C\u002Fem> (\u003Cem>Most of All, I Look Forward to Dreams\u003C\u002Fem>), she revisits her experience with an eating disorder, for which she was hospitalised at Motol University Hospital, through written records and visual collages.\u003C\u002Fp>",{"cs":5467,"en":5469},[5468],{"__typename":4491},[5470],{"__typename":4491},{"title":5472,"description":5473,"canonical_url":5474,"og_title":5475,"og_description":5476,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fmost-of-all-i-look-forward-to-dreams",{"cs":5479,"en":5484},[5480,5481],{"label":28,"menu_url":29},{"label":5482,"menu_url":5483},"Hlavně se těším na sny","\u002Fhlavne-se-tesim-na-sny",[5485,5486],{"label":34,"menu_url":29},{"label":5427,"menu_url":5477},[5488],{"id":13,"name":14,"slug":5489},{"cs":16,"en":17},[],"2026-10-08 07:05:23",{"id":5493,"title":5494,"slug":5495,"description":4441,"file":5498,"image":5499,"year":5442,"authors":4606,"publisher":4476,"place_of_publication":91,"isbn":91,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":4478,"eshop_link":91,"info":5508,"content_blocks":5509,"seo":5575,"menu_url":5581,"breadcrumbs":5582,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":5591,"publicationTags":5594,"created_at":5507,"updated_at":5595},"18629","Sešit pro umění, teorii a příbuzné zóny č. 37 (Journal for Art, Theory and Related Zones No. 37\u002F2021)",{"cs":5496,"en":5497},"sesit-pro-umeni-teorii-a-pribuzne-zony-c-37","sesit-pro-umeni-teorii-a-pribuzne-zony-c-37-journal-for-art-theory-and-related-zones-no-37-2021","23935",{"id":5498,"caption":5500,"alt_text":4,"url":5501,"srcset":4,"media":5502,"conversions":5506,"created_at":5507,"updated_at":5507},"sesit_37","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1920\u002Fsesit-37.jpeg",{"id":5503,"name":5500,"file_name":5504,"mime_type":4592,"size":5505,"url":5501},"1920","sesit-37.jpeg",139452,[],"2026-09-02 11:03:34",[],[5510,5521,5540,5555,5570],{"__typename":4483,"background":4892,"heading":5511,"content":5512,"content_nodes":5515},{"cs":4,"en":4},{"cs":5513,"en":5514},"\u003Cp>37. Sešit pro umění, teorii a příbuzné zóny začíná editorialem Jana Zálešáka a Zuzany Jakalové, kteří v něm představují koncept tohoto tematického čísla, zaměřeného na kurátorský výzkum.\u003C\u002Fp>","\u003Cp>The thirty-seventh issue of the Journal for art, theory and related areas begins with an editorial by Jan Zálešák and Zuzana Jakalová, who present the concept of this thematic issue, focused on curatorial research.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":5516,"en":5518},[5517],{"__typename":4491,"html":5513},[5519],{"__typename":4491,"html":5520},"\u003Cp>The thirty-seventh issue of the Journal for art, theory and related areas begins with an editorial by Jan Zálešák and Zuzana Jakalová, who present the concept of this thematic issue, focused on curatorial research.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":5522,"items":5523},{"cs":4,"en":4},[5524],{"title":5525,"content":5528,"content_nodes":5531},{"cs":5526,"en":5527},"Kurátorský výzkum a péče","Curatorial Research and Care",{"cs":5529,"en":5530},"\u003Cp>V odborné studii „O čom hovoríme, keď hovoríme o kurátorskom výskume? Parciálna správa o stave jednej debaty“ Zuzana Jakalová představuje základní vymezení problematiky kurátorství a její text lze chápat i jako kriticky komentovanou bibliografii kurátorského výzkumu.\u003C\u002Fp>\u003Cp>Esej Jany Písaříkové „Umění nepečuje, pečuj o umění“ je metodologicky smělým příspěvkem do diskuze o tom, jak psát teorii z bytostně osobních pozic. Autorka v něm reflektuje své rozhodnutí ujmout se péče o umělce a kurátora Jiřího Valocha. Aspekt péče, který je někdy jako lehké klišé připomínán v etymologických úvodech úvodů do problematiky kurátorství, se v tomto případě přesouvá do středu dění.\u003C\u002Fp>\u003Cp>Péče, tentokráte o konkrétní region a jeho lidské i nelidské obyvatele, stejně jako o planetu – v kontrastu s abstraktní logikou kapitálu –, má své podstatné místo rovněž ve studii autorského kolektivu Martiny Johnové, Anny Remešové a Karolíny Žižkové „Kurátorský výzkum jako nedisciplinovaná a znepokojivá forma poznání“. Případová studie je věnována výstavě Symptomy budoucnosti (Ústí n. L.: Galerie Hraničář, 2024) a popisuje konkrétní metody kurátorské práce, které zasazuje do diskurzivního rámce uvažování o výstavě jako o formě výzkumu.\u003C\u002Fp>","\u003Cp>In her scholarly study “What Are We Talking About When We Talk About Curatorial Research? A Partial Report on the State of One Debate,” Zuzana Jakalová presents a basic definition of the issue of curatorship, and her text can also be understood as a critically annotated bibliography of curatorial research.\u003C\u002Fp>\u003Cp>Jana Písaříková's essay ‘Art Doesn't Care, Care for Art’ is a methodologically bold contribution to the discussion on how to write theory from an inherently personal perspective. In it, the author reflects on her decision to take care of the artist and curator Jiří Valoch. The aspect of care, which is sometimes mentioned as a slight cliché in etymological introductions to curatorial issues, takes centre stage in this case.\u003C\u002Fp>\u003Cp>Care, this time for a specific region and its human and non-human inhabitants, as well as for the planet – in contrast to the abstract logic of capital – also has an essential place in the study by the authors Martina Johnová, Anna Remešová and Karolína Žižková, “Curatorial Research as an Undisciplined and Disturbing Form of Knowledge”. The case study is devoted to the exhibition Symptoms of the Future (Ústí n. L.: Galerie Hraničář, 2024) and describes specific methods of curatorial work, which it places within a discursive framework of thinking about the exhibition as a form of research.\u003C\u002Fp>",{"cs":5532,"en":5536},[5533,5534,5535],{"__typename":4491},{"__typename":4491},{"__typename":4491},[5537,5538,5539],{"__typename":4491},{"__typename":4491},{"__typename":4491},{"__typename":4495,"background":4,"title":5541,"items":5542},{"cs":4,"en":4},[5543],{"title":5544,"content":5547,"content_nodes":5550},{"cs":5545,"en":5546},"Přírodopis, nekroestetika a způsobená újma","Natural History, Necroaesthetics, and Caused Harm",{"cs":5548,"en":5549},"\u003Cp>Tři původní odborné studie doplňuje překlad eseje „Kompenzační pózy. O přírodopisu, nekroestetice a způsobené újmě“ autorské dvojice Anny-Sophie Springer a Ettiena Turpina. Text vznikl v roce 2019 v přímé souvislosti s trojicí výstav Verschwindende Vermächtnisse: Die Welt als Wald (Mizející dědictví: Svět jako les), které připravili ve spolupráci s přírodopisnými muzei v Berlíně, Hamburku a Halle, a v širším rámci projektu Reassembling the Natural.\u003C\u002Fp>","\u003Cp>The three original scholarly studies are complemented by a translation of the essay ‘Compensatory Poses: On Natural History, Necroaesthetics, and Caused Harm’ by Anna-Sophie Springer and Ettien Turpin. The text was written in 2019 in direct connection with the trio of exhibitions Verschwindende Vermächtnisse: Die Welt als Wald (Disappearing Legacies: The World as Forest), which they prepared in collaboration with natural history museums in Berlin, Hamburg and Halle, and within the broader framework of the Reassembling the Natural project.\u003C\u002Fp>",{"cs":5551,"en":5553},[5552],{"__typename":4491},[5554],{"__typename":4491},{"__typename":4495,"background":4,"title":5556,"items":5557},{"cs":4,"en":4},[5558],{"title":5559,"content":5562,"content_nodes":5565},{"cs":5560,"en":5561},"Recenze publikací o kurátorství","Reviews of Publications on Curating",{"cs":5563,"en":5564},"\u003Cp>Číslo uzavírá recenzní esej Jana Zálešáka, která je soustředěna na trio publikací z edice Myšlení o kurátorství nakladatelství Sternberg Press, konkrétně na knihy Terryho Smitha, Zdenky Badovinać a Bonaventure Soh Bejeng Ndikunga.\u003C\u002Fp>","\u003Cp>The issue concludes with a review essay by Jan Zálešák, which focuses on a trio of publications from the Thinking About Curating series by Sternberg Press, specifically books by Terry Smith, Zdenka Badovinać, and Bonaventure Soh Bejeng Ndikunga.\u003C\u002Fp>",{"cs":5566,"en":5568},[5567],{"__typename":4491},[5569],{"__typename":4491},{"__typename":4547,"background":4,"title":5571,"type":4,"display":4549,"links":5572},{"cs":4,"en":4},[5573],{"type":2824,"color":4552,"target":93,"link":4553,"url":4553,"page_id":4,"page":4,"file":4,"label":5574},{"cs":4555,"en":4555},{"title":5576,"description":5577,"canonical_url":5578,"og_title":5579,"og_description":5580,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fsesit-pro-umeni-teorii-a-pribuzne-zony-c-37-journal-for-art-theory-and-related-zones-no-37-2021",{"cs":5583,"en":5588},[5584,5585],{"label":28,"menu_url":29},{"label":5586,"menu_url":5587},"Sešit pro umění, teorii a příbuzné zóny č. 37","\u002Fsesit-pro-umeni-teorii-a-pribuzne-zony-c-37",[5589,5590],{"label":34,"menu_url":29},{"label":5494,"menu_url":5581},[5592],{"id":13,"name":14,"slug":5593},{"cs":16,"en":17},[],"2026-10-06 19:40:20",{"id":5597,"title":5598,"slug":5599,"description":4441,"file":5601,"image":5602,"year":5442,"authors":4475,"publisher":4476,"place_of_publication":91,"isbn":91,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":4478,"eshop_link":5610,"info":5611,"content_blocks":5612,"seo":5676,"menu_url":5682,"breadcrumbs":5683,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":5690,"publicationTags":5693,"created_at":5507,"updated_at":5694},"18616","Sešit pro umění, teorii a příbuzné zóny č. 36",{"cs":5600,"en":5600},"sesit-pro-umeni-teorii-a-pribuzne-zony-c-36","23936",{"id":5601,"caption":5603,"alt_text":4,"url":5604,"srcset":4,"media":5605,"conversions":5609,"created_at":5507,"updated_at":5507},"sesit_36","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1921\u002Fsesit-36.jpeg",{"id":5606,"name":5603,"file_name":5607,"mime_type":4592,"size":5608,"url":5604},"1921","sesit-36.jpeg",122056,[],"https:\u002F\u002Fknihy.artmap.cz\u002Fsesit-pro-umeni-teorii-a-pribuzne-zony-36-2024\u002F",[],[5613,5623,5642,5657],{"__typename":4483,"background":4892,"heading":5614,"content":5615,"content_nodes":5618},{"cs":4,"en":4},{"cs":5616,"en":5617},"\u003Cp>36. Sešit pro umění, teorii a příbuzné zóny přináší bohatou škálu žánrů i témat. Obsahuje tři recenzované studie, esej, rozhovor a dvě recenze\u003C\u002Fp>","\u003Cp>36. The Art, Theory and Related Zones workbook brings together a rich variety of genres and topics.\u003C\u002Fp>",{"cs":5619,"en":5621},[5620],{"__typename":4491,"html":5616},[5622],{"__typename":4491,"html":5617},{"__typename":4495,"background":4,"title":5624,"items":5625},{"cs":4,"en":4},[5626],{"title":5627,"content":5630,"content_nodes":5633},{"cs":5628,"en":5629},"Intimita, tělesnost a hranice těla","Intimacy, Embodiment, and the Boundaries of the Body",{"cs":5631,"en":5632},"\u003Cp>V prvním textu čísla, nazvaném \u003Cem>Politika intimity. Diskuse o vztahu soukromé a veřejné sféry v českém umění devadesátých let\u003C\u002Fem>, ukazuje Kristina Láníková, na jaká specifika mohla u nás narážet recepce druhé vlny feminismu. Zatímco přístupy západních autorek byly neseny principem „osobní je politické“, v českém umění počátku devadesátých let se intimita naopak stávala nástrojem depolitizace osobního.\u003C\u002Fp>\u003Cp>Polská badatelka Michalina Sablik se v anglicky psané studii \u003Cem>Hybrids. Trans-corporeal Performances at the Labyrinth Gallery in Lublin in the 1970s\u003C\u002Fem> zaměřuje na vybrané performance polských umělců a umělkyň, kteří již v sedmdesátých letech relativizovali hranice mezi lidským tělem a více-než-lidskými bytostmi či technickými aparáty.\u003C\u002Fp>\u003Cp>Ještě radikálnějším zpochybněním hranice mezi vlastním tělem a jeho prostředím se zabývá Lenka Veselá v \u003Cem>Poznámkách z endocénu\u003C\u002Fem>. Autorka zavádí nový pojem, aby zachytila, jak jsou nálady či emoce v rostoucí míře ovlivněny biochemicky zmanipulovanými hormonálními procesy, jež jsou produktem farmaceutického průmyslu.\u003C\u002Fp>","\u003Cp>In the issue’s first text, entitled \u003Cem>The Politics of Intimacy\u003C\u002Fem>. A Discussion of the Relationship between the Private and Public Spheres in Czech Art of the 1990s, Kristina Láníková shows what specifics the reception of second-wave feminism may have encountered in this country. While the approaches of Western artists were carried by the principle of "the personal is political", in Czech art of the early 1990s, intimacy, on the contrary, became a tool for depoliticising the personal.\u003C\u002Fp>\u003Cp>Polish scholar Michalina Sablik, in her English-language study \u003Cem>Hybrids. Trans-corporeal Performances at the Labyrinth Gallery in Lublin in the 1970s\u003C\u002Fem>, focuses on selected performances by Polish artists who already in the 1970s relativized the boundaries between the human body and more-than-human beings or technical apparatuses.\u003C\u002Fp>\u003Cp>An even more radical questioning of the boundary between one’s own body and its environment is dealt with by Lenka Veselá in \u003Cem>Notes from the Endocene\u003C\u002Fem>. The author introduces a new concept to capture how moods or emotions are increasingly influenced by biochemically manipulated hormonal processes that are the product of the pharmaceutical industry.\u003C\u002Fp>",{"cs":5634,"en":5638},[5635,5636,5637],{"__typename":4491},{"__typename":4491},{"__typename":4491},[5639,5640,5641],{"__typename":4491},{"__typename":4491},{"__typename":4491},{"__typename":4495,"background":4,"title":5643,"items":5644},{"cs":4,"en":4},[5645],{"title":5646,"content":5649,"content_nodes":5652},{"cs":5647,"en":5648},"Umění, zemědělství a venkov","Art, Agriculture, and the Countryside",{"cs":5650,"en":5651},"\u003Cp>Esej \u003Cem>V rozšířeném poli. Poznámky k umění, zemědělství a venkovu\u003C\u002Fem> od Kateřiny Konvalinové Žákové porovnává autorčiny zkušenosti ze středočeské komunitní a ekologické farmy Jednorožec a z projektu Inland ve španělské Asturii, který je založen na propojení agroekologického hospodářství se současnou uměleckou praxí.\u003C\u002Fp>","\u003Cp>Essay \u003Cem>In the expanded field. Notes on Art, Agriculture and the Countryside\u003C\u002Fem> by Kateřina Konvalina Žáková compares the author’s experiences from the central Bohemian community and organic farm Jednorožec and from the Inland project in Asturias, Spain, which is based on linking agro-ecological farming with contemporary art practice.\u003C\u002Fp>",{"cs":5653,"en":5655},[5654],{"__typename":4491},[5656],{"__typename":4491},{"__typename":4495,"background":4,"title":5658,"items":5659},{"cs":4,"en":4},[5660],{"title":5661,"content":5664,"content_nodes":5667},{"cs":5662,"en":5663},"Kulturní politika a recenze publikací","Cultural Policy and Book Reviews",{"cs":5665,"en":5666},"\u003Cp>V únoru tohoto roku zavítala na AVU maďarská historička umění Edit András. V anglicky vedeném rozhovoru, který jsme pořídili při příležitosti křtu její první české knihy, reaguje především na kulturní politiku režimu Viktora Orbána. V současném Maďarsku se autoritářské dědictví státně socialistického režimu prolíná s novými metodami dohledu a mocenské hegemonie, včetně využití komerčních zájmů a pobídek k politickým cílům.\u003C\u002Fp>\u003Cp>Zmiňovanou publikaci \u003Cem>Kulturní převlékání. Umění na troskách socialismu a na vrcholcích nacionalismu\u003C\u002Fem> (Hradec Králové: Galerie moderního umění 2023) recenzuje Tomáš Pospiszyl, který tvrdí, že by kniha mohla inspirovat k sepsání odborné publikace o historii českého umění po roce 1989.\u003C\u002Fp>\u003Cp>Posledním textem čísla je další recenze – Vojtěch Märc rozebírá sborník \u003Cem>Mapování pohyblivého obrazu: Média, aktéři a místa v českém prostředí\u003C\u002Fem> (Praha: Národní filmový archiv 2023), editovaný Martinem Mazancem a Sylvou Polákovou. Setkáváme se zde rovněž s uvažováním nad určitou hybridizací, tentokrát v souvislosti s médiem pohyblivého obrazu.\u003C\u002Fp>","\u003Cp>In February this year, the Hungarian art historian Edit András visited AVU. In an English-language interview, which we conducted on the occasion of the launch of her first Czech book, she responds primarily to the cultural policy of the Viktor Orbán regime. In contemporary Hungary, the authoritarian legacy of the state socialist regime is intertwined with new methods of surveillance and power hegemony, including the use of commercial interests and incentives for political ends.\u003C\u002Fp>\u003Cp>The aforementioned publication \u003Cem>Cultural Cross-dressing. Art on the Ruins of Socialism and on the Peaks of Nationalism\u003C\u002Fem> (Hradec Králové: Gallery of Modern Art 2023) is reviewed by Tomáš Pospiszyl, who argues that the book could inspire a scholarly publication on the history of Czech art after 1989.\u003C\u002Fp>\u003Cp>The last text of the issue is another review – Vojtěch Märc discusses the anthology Mapping the Moving Image: Media, Actors and Places in the Czech Environment (Prague: National Film Archive 2023), edited by Martin Mazanc and Sylva Poláková. Here we also encounter a reflection on a certain hybridisation, this time in relation to the medium of the moving image.\u003C\u002Fp>",{"cs":5668,"en":5672},[5669,5670,5671],{"__typename":4491},{"__typename":4491},{"__typename":4491},[5673,5674,5675],{"__typename":4491},{"__typename":4491},{"__typename":4491},{"title":5677,"description":5678,"canonical_url":5679,"og_title":5680,"og_description":5681,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fsesit-pro-umeni-teorii-a-pribuzne-zony-c-36",{"cs":5684,"en":5687},[5685,5686],{"label":28,"menu_url":29},{"label":5598,"menu_url":5682},[5688,5689],{"label":34,"menu_url":29},{"label":5598,"menu_url":5682},[5691],{"id":13,"name":14,"slug":5692},{"cs":16,"en":17},[],"2026-10-06 19:52:30",{"id":5696,"title":5697,"slug":5698,"description":4441,"file":5701,"image":5702,"year":5442,"authors":5710,"publisher":4476,"place_of_publication":91,"isbn":5711,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":5712,"eshop_link":5713,"info":5714,"content_blocks":5715,"seo":5726,"menu_url":5732,"breadcrumbs":5733,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":5742,"publicationTags":5745,"created_at":5507,"updated_at":5746},"18602","Exhibitions Have a History: Selected Texts",{"cs":5699,"en":5700},"vystavy-maji-historii-vybor-z-textu","exhibitions-have-a-history-selected-texts","23937",{"id":5701,"caption":5703,"alt_text":4,"url":5704,"srcset":4,"media":5705,"conversions":5709,"created_at":5507,"updated_at":5507},"vystavyMajiHistorii","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1919\u002Fvystavymajihistorii.jpg",{"id":5706,"name":5703,"file_name":5707,"mime_type":4592,"size":5708,"url":5704},"1919","vystavymajihistorii.jpg",284454,[],"Dagmar Svatošová (ed.)","978-80-88366-79-9",350,"https:\u002F\u002Fknihy.artmap.cz\u002Fvystavy-maji-historii\u002F?srsltid=AU7gw4VV46ZDvItKrvpnYwhk7QtHmzI8JvdZhANm5bKL8QQe_yWE7p0m",[],[5716],{"__typename":4483,"background":4892,"heading":5717,"content":5718,"content_nodes":5721},{"cs":4,"en":4},{"cs":5719,"en":5720},"\u003Cp>Kniha \u003Cem>Výstavy mají historii\u003C\u002Fem> přináší do českého prostředí vybrané překlady textů známých i méně známých autorek a autorů představujících základ diskurzu tzv. \u003Cem>exhibition histories\u003C\u002Fem> – oboru zabývajícího se dějinami výstav. Pozornost je v nich věnována gramatice výstav, která se stala podstatným interpretačním nástrojem současných dějin umění.Tři hlavní kapitoly – \u003Cem>Výstava jako médium\u003C\u002Fem>, \u003Cem>Trajektorie exhibition histories\u003C\u002Fem> a \u003Cem>Moment kurátorství\u003C\u002Fem> – ilustrují konkrétní směry výzkumu rezonující v dějinách výstav. První se v obecné rovině věnuje základní otázce, co výstava je a jak ji lze v současnosti chápat jako médium, jako specifickou místně i časově určenou kulturní formu či žánr moderního umění. Druhá kapitola mapuje jednotlivé trajektorie a způsoby, jakými jsou tyto dočasné výstavní reprezentace umění historizovány a jak se propisují do aktualizovaných příběhů jeho dějin. Poslední pak zaměřuje svoji pozornost na dobově podmíněný rozvoj nové kurátorské profese, jež se od konce šedesátých let 20. století postupně etablovala v rámci uměleckého provozu a získala pozici jedné z nejvýznamnějších kapitol výstavních dějin.\u003C\u002Fp>","\u003Cp>The book\u003Cem> Exhibitions Have a History\u003C\u002Fem> brings to the Czech environment selected translations of texts by well-known and lesser-known authors representing the basis of the discourse of \u003Cem>exhibition histories\u003C\u002Fem> – a field dealing with the history of exhibitions. They focus on the grammar of exhibitions, which has become an essential interpretive tool of contemporary art history.The three main chapters – \u003Cem>Exhibition as a Medium\u003C\u002Fem>, \u003Cem>Trajectories of Exhibition Histories\u003C\u002Fem>, and \u003Cem>The Moment of Curating\u003C\u002Fem> – illustrate specific research directions resonating in exhibition history. The first addresses, in general terms, the fundamental question of what an exhibition is and how it can currently be understood as a medium, as a specific locally and temporally determined cultural form or genre of modern art. The second chapter traces the different trajectories and ways in which these temporary exhibition representations of art are historicized and inscribed in the updated narratives of its history. The last then focuses its attention on the time-contingent development of the new curatorial profession, which has gradually established itself within the art establishment since the late 1960s and has gained a position as one of the most important chapters of exhibition history.The book is available only in Czech.\u003C\u002Fp>",{"cs":5722,"en":5724},[5723],{"__typename":4491,"html":5719},[5725],{"__typename":4491,"html":5720},{"title":5727,"description":5728,"canonical_url":5729,"og_title":5730,"og_description":5731,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fexhibitions-have-a-history-selected-texts",{"cs":5734,"en":5739},[5735,5736],{"label":28,"menu_url":29},{"label":5737,"menu_url":5738},"Výstavy mají historii. Výbor z textů","\u002Fvystavy-maji-historii-vybor-z-textu",[5740,5741],{"label":34,"menu_url":29},{"label":5697,"menu_url":5732},[5743],{"id":13,"name":14,"slug":5744},{"cs":16,"en":17},[],"2026-10-08 07:09:46",{"id":5748,"title":5749,"slug":5750,"description":4441,"file":5753,"image":5754,"year":5442,"authors":5763,"publisher":4476,"place_of_publication":91,"isbn":5764,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":5765,"eshop_link":5766,"info":5767,"content_blocks":5768,"seo":5799,"menu_url":5805,"breadcrumbs":5806,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":5815,"publicationTags":5818,"created_at":5762,"updated_at":5819},"13257","Sketch as the initial visualization of an idea",{"cs":5751,"en":5752},"skica-jako-prvotni-vizualizace-myslenky","sketch-as-the-initial-visualization-of-an-idea","13252",{"id":5753,"caption":5755,"alt_text":4,"url":5756,"srcset":4,"media":5757,"conversions":5761,"created_at":5762,"updated_at":5762},"David Böhm: Skica jako prvotní vizualizace myšlenky","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1914\u002Fsnimek-obrazovky-2024-02-27-v100112.png",{"id":5758,"name":5755,"file_name":5759,"mime_type":4450,"size":5760,"url":5756},"1914","snimek-obrazovky-2024-02-27-v100112.png",1595291,[],"2026-09-02 11:03:33","David Böhm","978-80-88378-31-0",395,"https:\u002F\u002Fknihy.artmap.cz\u002Fskica-jako-prvotni-vizualizace-myslenky\u002F",[],[5769,5785],{"__typename":4483,"background":4892,"heading":5770,"content":5771,"content_nodes":5774},{"cs":4,"en":4},{"cs":5772,"en":5773},"\u003Cp>Co je to skica? Jak vznikne něco, co ještě před chvílí neexistovalo? Jak se rodí dílo, za jakých okolností a jak se nápad formuje? Co předchází skice a jak samotná situace vypadá?\u003C\u002Fp>\u003Cp>David Böhm se snaží ve své nové autorské knize tyto otázky zodpovědět prostřednictvím originálních kresebných experimentů, teoretických úvah a rozhovorů se současnými umělci (Jiří Kovanda, Vladimír Skrepl, Kateřina Šedá, Viktor Pivovarov, Alena Kotzmannová, Pavla Sceranková a Vladimír Kokolia).\u003C\u002Fp>\u003Cp>\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>What is a sketch? How do you create something that didn’t exist a moment ago? How is a work born, under what circumstances, and how does an idea take shape? What precedes the sketch and what does the situation itself look like?\u003C\u002Fp>\u003Cp>In his new book, David Böhm tries to answer these questions through original drawing experiments, theoretical reflections and interviews with contemporary artists (Jiří Kovanda, Vladimír Skrepl, Kateřina Šedá, Viktor Pivovarov, Alena Kotzmannová, Pavla Sceranková, and Vladimír Kokolia).\u003C\u002Fp>\u003Cp>\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":5775,"en":5780},[5776,5778],{"__typename":4491,"html":5777},"\u003Cp>Co je to skica? Jak vznikne něco, co ještě před chvílí neexistovalo? Jak se rodí dílo, za jakých okolností a jak se nápad formuje? Co předchází skice a jak samotná situace vypadá?\u003C\u002Fp>",{"__typename":4491,"html":5779},"\u003Cp>David Böhm se snaží ve své nové autorské knize tyto otázky zodpovědět prostřednictvím originálních kresebných experimentů, teoretických úvah a rozhovorů se současnými umělci (Jiří Kovanda, Vladimír Skrepl, Kateřina Šedá, Viktor Pivovarov, Alena Kotzmannová, Pavla Sceranková a Vladimír Kokolia).\u003C\u002Fp>",[5781,5783],{"__typename":4491,"html":5782},"\u003Cp>What is a sketch? How do you create something that didn’t exist a moment ago? How is a work born, under what circumstances, and how does an idea take shape? What precedes the sketch and what does the situation itself look like?\u003C\u002Fp>",{"__typename":4491,"html":5784},"\u003Cp>In his new book, David Böhm tries to answer these questions through original drawing experiments, theoretical reflections and interviews with contemporary artists (Jiří Kovanda, Vladimír Skrepl, Kateřina Šedá, Viktor Pivovarov, Alena Kotzmannová, Pavla Sceranková, and Vladimír Kokolia).\u003C\u002Fp>",{"__typename":4495,"background":4,"title":5786,"items":5787},{"cs":4,"en":4},[5788],{"title":5789,"content":5791,"content_nodes":5794},{"cs":5790,"en":4840},"Autor",{"cs":5792,"en":5793},"\u003Cp>David Böhm (1982) je výtvarný umělec, autor knih a pedagog. Za svou tvorbu získal celou řadu cen doma i v zahraničí. V nakladatelství Labyrint debutoval unikátním komiksem Ticho hrocha (2009) a je spoluautorem knihy Hlava v hlavě (2013), která získala ocenění ve všech tuzemských soutěžích. Spolu s Jiřím Frantou formují respektovanou výtvarnou dvojici a vytvářejí performance, instalace a velkoformátové kresby. Spolupodíleli se na ilustracích a vizuální podobě publikací Průvodce neklidným územím I (2016), Jak se dělá galerie (2016) a Město pro každého (2020). Böhmova autorská encyklopedie A jako Antarktida (2019) vyhrála Magnesii Literu a prestižní Německou cenu za literaturu pro mládež. V roce 2023 vydal knihu o čase TEĎ \u002F Než dočteš tuto větu, narodí se na Zemi 21 dětí. Od roku 2022 vede ateliér Grafika 1 na AVU.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>David Böhm (1982) is a visual artist, book author and teacher. He has won numerous awards for his work at home and abroad. He made his debut in Labyrint publishing house with the unique comic strip Ticho hrocha (2009) and is co-author of the book Hlava v hlavě (2013), which won awards in all domestic competitions. He and Jiří Franta constitute a respected artistic duo and create performances, installations, and large-scale drawings. They have collaborated on the illustrations and visuals for the publications Průvodce neklidným územím I (2016), Jak se dělá galerie (2016) and Město pro každého (2020). Böhm’s original encyclopedia A is for Antarctica (2019) won the Magnesia Literatura and the prestigious German Prize for Young People’s Literature. In 2023, he published a book about the time TEĎ \u002F Než dočteš tuto větu, narodí se na Zemi 21 dětí. Since 2022, he has been the head of the Graphics 1 studio at the Academy of Fine Arts.\u003C\u002Fp>",{"cs":5795,"en":5797},[5796],{"__typename":4491},[5798],{"__typename":4491},{"title":5800,"description":5801,"canonical_url":5802,"og_title":5803,"og_description":5804,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fsketch-as-the-initial-visualization-of-an-idea",{"cs":5807,"en":5812},[5808,5809],{"label":28,"menu_url":29},{"label":5810,"menu_url":5811},"Skica jako prvotní vizualizace myšlenky","\u002Fskica-jako-prvotni-vizualizace-myslenky",[5813,5814],{"label":34,"menu_url":29},{"label":5749,"menu_url":5805},[5816],{"id":13,"name":14,"slug":5817},{"cs":16,"en":17},[],"2026-10-08 07:10:30",{"id":5821,"title":5822,"slug":5823,"description":4441,"file":5825,"image":5826,"year":5442,"authors":5834,"publisher":4476,"place_of_publication":91,"isbn":5835,"edition":91,"extent":91,"language":5836,"publication_type":4,"price":5202,"eshop_link":5837,"info":5838,"content_blocks":5839,"seo":5864,"menu_url":5870,"breadcrumbs":5871,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":5878,"publicationTags":5881,"created_at":5006,"updated_at":5882},"19499","Tomáš Svoboda, Práce \u002F Works 2008–2024",{"cs":5824,"en":5824},"tomas-svoboda-prace-works-2008-2024","19505",{"id":5825,"caption":5827,"alt_text":4,"url":5828,"srcset":4,"media":5829,"conversions":5833,"created_at":5006,"updated_at":5006},"Svoboda_obalka","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1901\u002Fsvoboda-obalka.jpg",{"id":5830,"name":5827,"file_name":5831,"mime_type":4592,"size":5832,"url":5828},"1901","svoboda-obalka.jpg",928141,[],"Tomáš Svoboda","978-80-88366-49-2","Czech, English","https:\u002F\u002Fknihy.artmap.cz\u002Fprace-works-2008-2024\u002F",[],[5840,5851],{"__typename":4483,"background":4892,"heading":5841,"content":5842,"content_nodes":5845},{"cs":4,"en":4},{"cs":5843,"en":5844},"\u003Cp>Lze jedním médiem, médiem tištěné publikace, sestávajícím se z textů a obrazových reprodukcí, zprostředkovat uměleckou tvorbu vznikající v médiích zcela jiných? Jak lze katalogem uchopit dílo Tomáše Svobody, jež se v posledních letech téměř výhradně zabývá uměním pohyblivého obrazu? Jestliže je ve světě filmu zvykem vytvářet dokumentární film o filmu, je pro něj vhodně analogickým postupem vytvořit knihu o katalogu? Inventuru jeho umělecké práce z let 2008–2024 pohybující se na rozhraní výtvarného umění a filmu v knize předznamenává esej \u003Cem>Scénář jako „struktura, která chce být jinou strukturou“\u003C\u002Fem> Piera Paola Pasoliniho.\u003C\u002Fp>","\u003Cp>Is it possible to use a single medium, a printed publication consisting of texts and image reproductions, to convey artistic work created in completely different media? How can a catalogue capture the work of Tomáš Svoboda, who in recent years has focused almost exclusively on the art of the moving image? If it is customary in the world of film to make a documentary film about a film, is it appropriate to create a book about a catalogue as an analogous procedure? The inventory of his artistic work from 2008 to 2024, which straddles the boundary between visual art and film, is prefaced by Pier Paolo Pasolini’s essay “The Screenplay as a Structure that Wants to Be Another Structure.”\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":5846,"en":5848},[5847],{"__typename":4491,"html":5843},[5849],{"__typename":4491,"html":5850},"\u003Cp>Is it possible to use a single medium, a printed publication consisting of texts and image reproductions, to convey artistic work created in completely different media? How can a catalogue capture the work of Tomáš Svoboda, who in recent years has focused almost exclusively on the art of the moving image? If it is customary in the world of film to make a documentary film about a film, is it appropriate to create a book about a catalogue as an analogous procedure? The inventory of his artistic work from 2008 to 2024, which straddles the boundary between visual art and film, is prefaced by Pier Paolo Pasolini’s essay “The Screenplay as a Structure that Wants to Be Another Structure.”\u003C\u002Fp>",{"__typename":4495,"background":4,"title":5852,"items":5853},{"cs":4,"en":4},[5854],{"title":5855,"content":5856,"content_nodes":5859},{"cs":5790,"en":4840},{"cs":5857,"en":5858},"\u003Cp>Tomáš Svoboda se své volné tvorbě dlouhodobě zabývá pohyblivým obrazem a jeho sociokulturními vazbami. Kromě vlastní umělecké praxe současně působí jako architekt výstav, filmový scénograf, vedoucí pedagog ateliéru Nová média 1 na AVU. Je jedním ze zakladatelů pražské galerie Display.\u003C\u002Fp>","\u003Cp>Tomáš Svoboda has long been interested in moving images and their socio-cultural connections in his free work. In addition to his own artistic practice, he also works as an exhibition architect, film set designer, and head teacher of the New Media 1 studio at the Academy of Fine Arts in Prague. He is one of the founders of the Display gallery in Prague.\u003C\u002Fp>",{"cs":5860,"en":5862},[5861],{"__typename":4491},[5863],{"__typename":4491},{"title":5865,"description":5866,"canonical_url":5867,"og_title":5868,"og_description":5869,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Ftomas-svoboda-prace-works-2008-2024",{"cs":5872,"en":5875},[5873,5874],{"label":28,"menu_url":29},{"label":5822,"menu_url":5870},[5876,5877],{"label":34,"menu_url":29},{"label":5822,"menu_url":5870},[5879],{"id":13,"name":14,"slug":5880},{"cs":16,"en":17},[],"2026-10-09 06:55:49",{"id":5884,"title":5885,"slug":5886,"description":4441,"file":5889,"image":5890,"year":5442,"authors":5898,"publisher":4476,"place_of_publication":91,"isbn":5899,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":5900,"eshop_link":91,"info":5901,"content_blocks":5902,"seo":5928,"menu_url":5934,"breadcrumbs":5935,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":5944,"publicationTags":5947,"created_at":5006,"updated_at":5948},"19496","Treatment",{"cs":5887,"en":5888},"leceni","treatment","19819",{"id":5889,"caption":5891,"alt_text":4,"url":5892,"srcset":4,"media":5893,"conversions":5897,"created_at":5006,"updated_at":5006},"Kristina Láníková_Léčení_obálka","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1900\u002Fkristina-lanikova-leceni-obalka.jpg",{"id":5894,"name":5891,"file_name":5895,"mime_type":4592,"size":5896,"url":5892},"1900","kristina-lanikova-leceni-obalka.jpg",556596,[],"Kristina Láníková","978-80-88366-52-2",280,[],[5903,5915],{"__typename":4483,"background":4892,"heading":5904,"content":5905,"content_nodes":5908},{"cs":4,"en":4},{"cs":5906,"en":5907},"\u003Cp>Kristina Láníková ve své umělecké dokumentaci výtvarně zpracovává zkušenost s dlouhodobým užíváním psychofarmak a jejich vysazením. Kniha obsahuje přípravné náčrty, fotografie objektů, cyklus rukopisných „omluv“ a asambláže. Jednotlivé série záměrně pracují s omezeným počtem motivů i použitých materiálů – kombinují obrysy náplastí či obalů od léků, odřezky kůže, otisky lékových blistrů, drobné zdravotnické a kancelářské potřeby, poznámkové lístky. Autorka metodicky sleduje téma, které bývá považováno za intimní, a dává mu úsporný, repetitivní, jakoby kódovaný výraz. Zranitelnost, k níž se vztahuje, tak vynáší z osobní sféry a představuje ji jako společné omezení.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>In her artistic documentation, Kristina Láníková artistically processes her experience with long-term use of psychotropic drugs and their withdrawal. The book contains preparatory sketches, photographs of objects, a series of handwritten ‘apologies’ and assemblages. The individual series deliberately work with a limited number of motifs and materials – combining the outlines of plasters or medicine packaging, scraps of skin, imprints of medicine blister packs, small medical and office supplies, and sticky notes. The author methodically explores a theme that is often considered intimate, giving it an economical, repetitive, almost coded expression. She thus removes the vulnerability to which it relates from the personal sphere and presents it as a common limitation.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":5909,"en":5912},[5910],{"__typename":4491,"html":5911},"\u003Cp>Kristina Láníková ve své umělecké dokumentaci výtvarně zpracovává zkušenost s dlouhodobým užíváním psychofarmak a jejich vysazením. Kniha obsahuje přípravné náčrty, fotografie objektů, cyklus rukopisných „omluv“ a asambláže. Jednotlivé série záměrně pracují s omezeným počtem motivů i použitých materiálů – kombinují obrysy náplastí či obalů od léků, odřezky kůže, otisky lékových blistrů, drobné zdravotnické a kancelářské potřeby, poznámkové lístky. Autorka metodicky sleduje téma, které bývá považováno za intimní, a dává mu úsporný, repetitivní, jakoby kódovaný výraz. Zranitelnost, k níž se vztahuje, tak vynáší z osobní sféry a představuje ji jako společné omezení.\u003C\u002Fp>",[5913],{"__typename":4491,"html":5914},"\u003Cp>In her artistic documentation, Kristina Láníková artistically processes her experience with long-term use of psychotropic drugs and their withdrawal. The book contains preparatory sketches, photographs of objects, a series of handwritten ‘apologies’ and assemblages. The individual series deliberately work with a limited number of motifs and materials – combining the outlines of plasters or medicine packaging, scraps of skin, imprints of medicine blister packs, small medical and office supplies, and sticky notes. The author methodically explores a theme that is often considered intimate, giving it an economical, repetitive, almost coded expression. She thus removes the vulnerability to which it relates from the personal sphere and presents it as a common limitation.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":5916,"items":5917},{"cs":4,"en":4},[5918],{"title":5919,"content":5920,"content_nodes":5923},{"cs":4839,"en":4840},{"cs":5921,"en":5922},"\u003Cp>Kristina Láníková (*1988) je vizuální umělkyně a autorka poezie. Studovala na Akademii výtvarných umění v Praze. Vystavovala samostatně i skupinově, mimo jiné v Galerii Kurzor, galerii sam83, Galerii hlavního města Prahy, Domě umění města Brna nebo GAVU \u002F Galerii AVU. Knižně vydala sbírky Pomlčka v těle (2015), Krátké dějiny zraňování (2017), Úvahy nad zájmeny (2020) a Puma M (2023). Příležitostně publikuje v A2 – kulturním čtrnáctideníku.\u003C\u002Fp>","\u003Cp>Kristina Láníková (*1988) is a visual artist and poet. She studied at the Academy of Fine Arts in Prague. She has exhibited solo and in groups, including at the Kurzor Gallery, the sam83 Gallery, the Prague City Gallery, the Brno House of Arts, and GAVU \u002F AVU Gallery. She has published the collections Pomlčka v těle (Dash in the Body, 2015), Krátké dějiny zraňování (A Brief History of Wounding, 2017), Úvahy nad zájmeny (Reflections on Pronouns, 2020) and Puma M (2023). She occasionally publishes in A2 – kulturní čtrnáctideník (A2 – Cultural Fortnightly).\u003C\u002Fp>",{"cs":5924,"en":5926},[5925],{"__typename":4491},[5927],{"__typename":4491},{"title":5929,"description":5930,"canonical_url":5931,"og_title":5932,"og_description":5933,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Ftreatment",{"cs":5936,"en":5941},[5937,5938],{"label":28,"menu_url":29},{"label":5939,"menu_url":5940},"Léčení","\u002Fleceni",[5942,5943],{"label":34,"menu_url":29},{"label":5885,"menu_url":5934},[5945],{"id":13,"name":14,"slug":5946},{"cs":16,"en":17},[],"2026-10-07 05:38:51",{"id":5950,"title":5951,"slug":5952,"description":4441,"file":5955,"image":5956,"year":5964,"authors":5965,"publisher":4476,"place_of_publication":91,"isbn":5966,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":5712,"eshop_link":5967,"info":5968,"content_blocks":5969,"seo":6007,"menu_url":6013,"breadcrumbs":6014,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":6023,"publicationTags":6026,"created_at":5441,"updated_at":6027},"18610","Art without Tax. Art in the Era of Planetary Civil War",{"cs":5953,"en":5954},"umeni-bez-dane-umeni-v-ere-planetarni-obcanske-valky","art-without-tax-art-in-the-era-of-planetary-civil-war","18625",{"id":5955,"caption":5957,"alt_text":4,"url":5958,"srcset":4,"media":5959,"conversions":5963,"created_at":5441,"updated_at":5441},"Hito_obalka","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1922\u002Fhito-obalka.png",{"id":5960,"name":5957,"file_name":5961,"mime_type":4450,"size":5962,"url":5958},"1922","hito-obalka.png",292468,[],2023,"Hito Steyerl","978-80-88366-54-6","https:\u002F\u002Fknihy.artmap.cz\u002Fen\u002Fumeni-bez-dane\u002F?gad_source=1&gad_campaignid=22103231739&gbraid=0AAAAABxbSlc8vVNRfLlQMrLYRbe7X1jif&gclid=Cj0KCQjwuJLWBhD_ARIsAIBcRUzcpC5Zn6D8L6peQr1w_Yx3qmpEk5iyY4qc9pjlACw1wTKpJHFuTe8aAmGpEALw_wcB",[],[5970,5994],{"__typename":4483,"background":4892,"heading":5971,"content":5972,"content_nodes":5975},{"cs":4,"en":4},{"cs":5973,"en":5974},"\u003Cp>Soubor textů \u003Cem>Umění bez daně. Umění v éře planetární občanské války\u003C\u002Fem> českým čtenářkám a čtenářům poprvé v ucelenějším souboru představuje myšlení významné německé umělkyně, dokumentaristky a intelektuálky Hito Steyerl.\u003C\u002Fp>\u003Cp>Jak píše editor knihy Zbyněk Baladrán, je úvodníkem do naší prožívané reality, pomáhá nám se v ní lépe zorientovat, pochopit a pojmenovat situaci, v níž se nacházíme. Autorčiny kritické úvahy jsou promítány do oblastí výtvarného umění, odkud zároveň i vycházejí. Steyerl poukazováním na podmínky současného uměleckého provozu – množství neplacené „dobrovolné“ práce, daňové úniky, praní peněz a deregulované finanční trhy – odkrývá pohled na autonomní svět umění.\u003C\u002Fp>\u003Cp>Kniha je dostupnou pomůckou studujícím a pracujícím napříč různými generacemi a obory, může být inspirující, zároveň však svým důrazem na problematické roviny nejen kultury, ale i celé společnosti, vyvolává značné znepokojení, nebo dokonce skepsi. Jednotlivé kapitoly tvoří texty psané při různých příležitostech – jako přednášky zazněly na konferencích např. v Tate Modern v Londýně, Van Abbemuseum v Eindhovenu, Whitney Museum of American Art v New Yorku, Haus der Kulturen der Welt v Berlíně, Akademie der Künste der Welt v Kolíně, Artists Space v New Yorku nebo ve Stedelijk Museum v Amsterdamu. Byly též publikovány například v časopise October nebo e-flux.\u003C\u002Fp>\u003Cp>Autorčino zázemí ve světě umění je patrné také ve stylu jejího psaní, které je mezioborové, plné asociací, novotvarů, metafor, nadhledu i detailních analýz.\u003C\u002Fp>","\u003Cp>A collection of texts \u003Cem>Art without Tax. Art in the Era of Planetary Civil War\u003C\u002Fem> presents for the first time in a more comprehensive collection the thought of the important German artist, documentary filmmaker and intellectual Hito Steyerl.\u003C\u002Fp>\u003Cp>As Zbyněk Baladrán, the editor of the book, writes, it is an introduction to our lived reality, helping us to better orient ourselves in it, to understand and name the situation in which we find ourselves. The author's critical reflections are projected into the field of visual art, from which they also originate. By pointing to the conditions of contemporary art operations – the abundance of unpaid "voluntary" work, tax evasion, money laundering and deregulated financial markets - Steyerl reveals a view of the autonomous world of art.\u003C\u002Fp>\u003Cp>An accessible tool for students and workers across generations and disciplines, the book can be inspiring, but at the same time, with its emphasis on problematic levels not only of culture, but of society as a whole, it provokes considerable concern, if not skepticism. The individual chapters consist of texts written on various occasions – as lectures given at conferences such as the Tate Modern in London, the Van Abbemuseum in Eindhoven, the Whitney Museum of American Art in New York, the Haus der Kulturen der Welt in Berlin, the Akademie der Künste der Welt in Cologne, Artists Space in New York, and the Stedelijk Museum in Amsterdam. They have also been published, for example, in October magazine or e-flux.\u003C\u002Fp>\u003Cp>The author's background in the art world is also evident in her writing style, which is interdisciplinary, full of associations, new shapes, metaphors, insight and detailed analyses.The book is available only in Czech.\u003C\u002Fp>",{"cs":5976,"en":5985},[5977,5979,5981,5983],{"__typename":4491,"html":5978},"\u003Cp>Soubor textů \u003Cem>Umění bez daně. Umění v éře planetární občanské války\u003C\u002Fem> českým čtenářkám a čtenářům poprvé v ucelenějším souboru představuje myšlení významné německé umělkyně, dokumentaristky a intelektuálky Hito Steyerl.\u003C\u002Fp>",{"__typename":4491,"html":5980},"\u003Cp>Jak píše editor knihy Zbyněk Baladrán, je úvodníkem do naší prožívané reality, pomáhá nám se v ní lépe zorientovat, pochopit a pojmenovat situaci, v níž se nacházíme. Autorčiny kritické úvahy jsou promítány do oblastí výtvarného umění, odkud zároveň i vycházejí. Steyerl poukazováním na podmínky současného uměleckého provozu – množství neplacené „dobrovolné“ práce, daňové úniky, praní peněz a deregulované finanční trhy – odkrývá pohled na autonomní svět umění.\u003C\u002Fp>",{"__typename":4491,"html":5982},"\u003Cp>Kniha je dostupnou pomůckou studujícím a pracujícím napříč různými generacemi a obory, může být inspirující, zároveň však svým důrazem na problematické roviny nejen kultury, ale i celé společnosti, vyvolává značné znepokojení, nebo dokonce skepsi. Jednotlivé kapitoly tvoří texty psané při různých příležitostech – jako přednášky zazněly na konferencích např. v Tate Modern v Londýně, Van Abbemuseum v Eindhovenu, Whitney Museum of American Art v New Yorku, Haus der Kulturen der Welt v Berlíně, Akademie der Künste der Welt v Kolíně, Artists Space v New Yorku nebo ve Stedelijk Museum v Amsterdamu. Byly též publikovány například v časopise October nebo e-flux.\u003C\u002Fp>",{"__typename":4491,"html":5984},"\u003Cp>Autorčino zázemí ve světě umění je patrné také ve stylu jejího psaní, které je mezioborové, plné asociací, novotvarů, metafor, nadhledu i detailních analýz.\u003C\u002Fp>",[5986,5988,5990,5992],{"__typename":4491,"html":5987},"\u003Cp>A collection of texts \u003Cem>Art without Tax. Art in the Era of Planetary Civil War\u003C\u002Fem> presents for the first time in a more comprehensive collection the thought of the important German artist, documentary filmmaker and intellectual Hito Steyerl.\u003C\u002Fp>",{"__typename":4491,"html":5989},"\u003Cp>As Zbyněk Baladrán, the editor of the book, writes, it is an introduction to our lived reality, helping us to better orient ourselves in it, to understand and name the situation in which we find ourselves. The author's critical reflections are projected into the field of visual art, from which they also originate. By pointing to the conditions of contemporary art operations – the abundance of unpaid \"voluntary\" work, tax evasion, money laundering and deregulated financial markets - Steyerl reveals a view of the autonomous world of art.\u003C\u002Fp>",{"__typename":4491,"html":5991},"\u003Cp>An accessible tool for students and workers across generations and disciplines, the book can be inspiring, but at the same time, with its emphasis on problematic levels not only of culture, but of society as a whole, it provokes considerable concern, if not skepticism. The individual chapters consist of texts written on various occasions – as lectures given at conferences such as the Tate Modern in London, the Van Abbemuseum in Eindhoven, the Whitney Museum of American Art in New York, the Haus der Kulturen der Welt in Berlin, the Akademie der Künste der Welt in Cologne, Artists Space in New York, and the Stedelijk Museum in Amsterdam. They have also been published, for example, in October magazine or e-flux.\u003C\u002Fp>",{"__typename":4491,"html":5993},"\u003Cp>The author's background in the art world is also evident in her writing style, which is interdisciplinary, full of associations, new shapes, metaphors, insight and detailed analyses.The book is available only in Czech.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":5995,"items":5996},{"cs":4,"en":4},[5997],{"title":5998,"content":5999,"content_nodes":6002},{"cs":4839,"en":4840},{"cs":6000,"en":6001},"\u003Cp>Hito Steyerl (*1966, Mnichov) je německá umělkyně, filmařka, teoretička a pedagožka. Ve své tvorbě se zaměřuje na vztah umění, technologií, politiky a globální ekonomiky. Prostřednictvím videí, instalací a esejů kriticky zkoumá fungování obrazů v digitální době, otázky moci, kapitalismu, umělé inteligence a současných konfliktů. Patří k nejvýraznějším osobnostem současného mediálního umění.\u003C\u002Fp>","\u003Cp>Hito Steyerl (born 1966 in Munich) is a German artist, filmmaker, theorist, and educator. Her work explores the relationships between art, technology, politics, and the global economy. Through videos, installations, and essays, she critically examines the role of images in the digital age, addressing issues of power, capitalism, artificial intelligence, and contemporary conflicts. She is one of the most influential figures in contemporary media art.\u003C\u002Fp>",{"cs":6003,"en":6005},[6004],{"__typename":4491},[6006],{"__typename":4491},{"title":6008,"description":6009,"canonical_url":6010,"og_title":6011,"og_description":6012,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fart-without-tax-art-in-the-era-of-planetary-civil-war",{"cs":6015,"en":6020},[6016,6017],{"label":28,"menu_url":29},{"label":6018,"menu_url":6019},"Umění bez daně. Umění v éře planetární občanské války","\u002Fumeni-bez-dane-umeni-v-ere-planetarni-obcanske-valky",[6021,6022],{"label":34,"menu_url":29},{"label":5951,"menu_url":6013},[6024],{"id":13,"name":14,"slug":6025},{"cs":16,"en":17},[],"2026-10-09 14:09:28",{"id":6029,"title":6030,"slug":6031,"description":4441,"file":6034,"image":6035,"year":5964,"authors":6043,"publisher":91,"place_of_publication":91,"isbn":6044,"edition":91,"extent":91,"language":5836,"publication_type":4,"price":5202,"eshop_link":91,"info":6045,"content_blocks":6046,"seo":6074,"menu_url":6080,"breadcrumbs":6081,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":6090,"publicationTags":6093,"created_at":5441,"updated_at":6094},"10824","The Shape between a Girl Looking at her Phone and her Phone",{"cs":6032,"en":6033},"tvar-mezi-divkou-divajici-se-do-mobilu-a-jejim-mobilem","the-shape-between-a-girl-looking-at-her-phone-and-her-phone","10825",{"id":6034,"caption":6036,"alt_text":4,"url":6037,"srcset":4,"media":6038,"conversions":6042,"created_at":5441,"updated_at":5441},"Zahoransky_obalka","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1924\u002Fzahoransky-obalka-scaled.jpg",{"id":6039,"name":6036,"file_name":6040,"mime_type":4592,"size":6041,"url":6037},"1924","zahoransky-obalka-scaled.jpg",302658,[],"Dušan Zahoranský","978-80-88366-23-2",[],[6047,6059],{"__typename":4483,"background":4892,"heading":6048,"content":6049,"content_nodes":6052},{"cs":4,"en":4},{"cs":6050,"en":6051},"\u003Cp>Publikace představuje výběr z prací za posledních 20 let. Katalog otevírají nejnovější objekty – fiktivní knihy – návod na těžko řešitelné problémy, na které postupně navazují starší práce. Ty prostorové rozebírají slova na plastické atomy a molekuly. Ty mediálně rafinovanější rozebírají komplexnější jevy – práce, únava, odpočinek. V publikaci jsou také seřazeny autorovy intervence do veřejného prostoru, ze kterých většina má podobu znaku, loga, nebo několika slovního gesta. Jsou zde dále zveřejněny autorské texty dříve publikované v Psím víně. Katalog uzavírá souhrnná esej Ondřeje Buddeuse.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>The catalogue is published in a Czech-English version.The publication presents a selection of works from the last 20 years. The catalogue opens with the most recent objects - fictional books - guides to hard-to-solve problems, which are gradually followed by older works. The spatial ones break words down into malleable atoms and molecules. The more media-sophisticated ones dissect more complex phenomena - work, fatigue, rest. The publication also arranges the author’s interventions in public space, most of which take the form of a sign, a logo, or a few verbal gestures. The author’s texts previously published in Psí Víno are also published here. The catalogue concludes with a summary essay by Ondřej Buddeus.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":6053,"en":6056},[6054],{"__typename":4491,"html":6055},"\u003Cp>Publikace představuje výběr z prací za posledních 20 let. Katalog otevírají nejnovější objekty – fiktivní knihy – návod na těžko řešitelné problémy, na které postupně navazují starší práce. Ty prostorové rozebírají slova na plastické atomy a molekuly. Ty mediálně rafinovanější rozebírají komplexnější jevy – práce, únava, odpočinek. V publikaci jsou také seřazeny autorovy intervence do veřejného prostoru, ze kterých většina má podobu znaku, loga, nebo několika slovního gesta. Jsou zde dále zveřejněny autorské texty dříve publikované v Psím víně. Katalog uzavírá souhrnná esej Ondřeje Buddeuse.\u003C\u002Fp>",[6057],{"__typename":4491,"html":6058},"\u003Cp>The catalogue is published in a Czech-English version.The publication presents a selection of works from the last 20 years. The catalogue opens with the most recent objects - fictional books - guides to hard-to-solve problems, which are gradually followed by older works. The spatial ones break words down into malleable atoms and molecules. The more media-sophisticated ones dissect more complex phenomena - work, fatigue, rest. The publication also arranges the author’s interventions in public space, most of which take the form of a sign, a logo, or a few verbal gestures. The author’s texts previously published in Psí Víno are also published here. The catalogue concludes with a summary essay by Ondřej Buddeus.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":6060,"items":6061},{"cs":4,"en":4},[6062],{"title":6063,"content":6064,"content_nodes":6067},{"cs":5790,"en":4840},{"cs":6065,"en":6066},"\u003Cp>Dušan Zahoranský je sochař a pedagog působící od roku 2003 na české umělecké scéně. Ve své tvorbě propojuje objektové a prostorové instalace s konceptuálními gesty, videem a textem. Dlouhodobě se zabývá vztahem mezi objektem, obrazem a významem a způsoby, jakými lze narušovat zažité principy vnímání.\u003C\u002Fp>\u003Cp>Svá díla představil na řadě samostatných i skupinových výstav v Česku i zahraničí, mimo jiné v Künstlerhaus ve Vídni, na Donumentě v Regensburgu či na Bienále fotografie v Liège. Od roku 2015 působí jako pedagog na Akademii výtvarných umění v Praze.\u003C\u002Fp>","\u003Cp>Dušan Zahoranský is a sculptor and educator who has been active on the Czech art scene since 2003. His practice combines objects and spatial installations with conceptual gestures, video, and text. He has a long-standing interest in the relationship between objects, images, and meaning, as well as in ways of challenging established modes of perception.\u003C\u002Fp>\u003Cp>His work has been presented in numerous solo and group exhibitions in the Czech Republic and abroad, including at Künstlerhaus in Vienna, Donumenta in Regensburg, and the Biennale of Photography in Liège. Since 2015, he has taught at the Academy of Fine Arts in Prague.\u003C\u002Fp>",{"cs":6068,"en":6071},[6069,6070],{"__typename":4491},{"__typename":4491},[6072,6073],{"__typename":4491},{"__typename":4491},{"title":6075,"description":6076,"canonical_url":6077,"og_title":6078,"og_description":6079,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fthe-shape-between-a-girl-looking-at-her-phone-and-her-phone",{"cs":6082,"en":6087},[6083,6084],{"label":28,"menu_url":29},{"label":6085,"menu_url":6086},"Tvar mezi dívkou dívající se do mobilu a jejím mobilem","\u002Ftvar-mezi-divkou-divajici-se-do-mobilu-a-jejim-mobilem",[6088,6089],{"label":34,"menu_url":29},{"label":6030,"menu_url":6080},[6091],{"id":13,"name":14,"slug":6092},{"cs":16,"en":17},[],"2026-10-06 20:20:57",{"id":6096,"title":6097,"slug":6098,"description":4441,"file":6101,"image":6102,"year":5964,"authors":6110,"publisher":4476,"place_of_publication":91,"isbn":6111,"edition":91,"extent":91,"language":5836,"publication_type":4,"price":6112,"eshop_link":6113,"info":6114,"content_blocks":6115,"seo":6144,"menu_url":6150,"breadcrumbs":6151,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":6160,"publicationTags":6163,"created_at":5762,"updated_at":6164},"12941","Pavla Sceranková, Universe in the Head",{"cs":6099,"en":6100},"pavla-scerankova-vesmir-v-hlave","pavla-scerankova-universe-in-the-head","12942",{"id":6101,"caption":6103,"alt_text":4,"url":6104,"srcset":4,"media":6105,"conversions":6109,"created_at":5762,"updated_at":5762},"Pavla_Scerankova_obalka","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1913\u002Fpavla-scerankova-obalka.jpg",{"id":6106,"name":6103,"file_name":6107,"mime_type":4592,"size":6108,"url":6104},"1913","pavla-scerankova-obalka.jpg",144646,[]," Pavla Sceranková","978-80-88366-32-4",450,"https:\u002F\u002Fknihy.artmap.cz\u002Fvesmir-v-hlave\u002F?srsltid=AU7gw4UeafcgASQ4CwlgdVDRtLc1x14iXDvdRek2BDWf7QdDPXMkl2Xg",[],[6116,6127],{"__typename":4483,"background":4892,"heading":6117,"content":6118,"content_nodes":6121},{"cs":4,"en":4},{"cs":6119,"en":6120},"\u003Cp>Publikace \u003Cem>Vesmír v hlavě\u003C\u002Fem> předkládá obraz umělecké tvorby slovenské sochařky Pavly Scerankové v posledním desetiletí. Prostřednictvím textů britské kritičky Chloe Stead a českého kurátora Jana Zálešáka je rozvrstvena do tematických kapitol, které přináší vhled do autorčina bohatého sochařského a vizuálního jazyka.\u003C\u002Fp>","\u003Cp>The publication \u003Cem>Vesmír v hlavě\u003C\u002Fem> presents a picture of the artistic work of Slovak sculptor Pavla Sceranková in the last decade. Through texts by British critic Chloe Stead and Czech curator Jan Zálešák, it is divided into thematic chapters that provide insight into the artist’s rich sculptural and visual language.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":6122,"en":6124},[6123],{"__typename":4491,"html":6119},[6125],{"__typename":4491,"html":6126},"\u003Cp>The publication \u003Cem>Vesmír v hlavě\u003C\u002Fem> presents a picture of the artistic work of Slovak sculptor Pavla Sceranková in the last decade. Through texts by British critic Chloe Stead and Czech curator Jan Zálešák, it is divided into thematic chapters that provide insight into the artist’s rich sculptural and visual language.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":6128,"items":6129},{"cs":4,"en":4},[6130],{"title":6131,"content":6132,"content_nodes":6135},{"cs":4839,"en":4840},{"cs":6133,"en":6134},"\u003Cp>Pavla Sceranková (*1980) přináší do oblasti sochařské a objektové tvorby nový autorský jazyk a výraz; novou koncepci, navazující na silný odkaz postmoderního, ale zároveň i neokonceptuálního prostorového umění. Vytváří sochařské objekty a instalace vyznačující se minimalistickou čistotou a citlivým vztahem k danému místu. Jinou polohou její tvorby je vytváření objektů, v nichž je zakomponován prvek akce, které vyzývají diváka k interakci. Někdy nabývají podoby videa, či spíše videosochy, která stojí na pomezí performance, animované sochy a autonomního videa. Vyjadřují existenciální vztah člověka k prostředí, ve kterém žije a se kterým se konfrontuje.\u003C\u002Fp>\u003Cp>V obsahové rovině se Pavla Sceranková intenzivně zabývá reflexí lidského vnímání, pamětí a individuálním prožíváním okolního světa. Vychází z osobního prožitku a zkoumá způsob, jak se tento prožitek uchoval v paměti, respektive jaký tvar nabyl. Autorka tematizuje fenomén vnímání, prožívání aktu vnímání, vztah vnímání ke vnímanému světu a vědomí aktu vnímání.\u003C\u002Fp>\u003Cp>Studovala v letech 2000–2006 na Akademii výtvarných umění v Praze, kde v roce 2011 úspěšně ukončila doktorské studium. V rámci stipendijních pobytů absolvovala roční stáž u prof. Tony Gragga v Berlíně. V letech 2010–2015 působila jako akademický pracovník na Katedře výtvarné výchovy a textilní tvorby Univerzity Hradec Králové. V současné době vede s Dušanem Zahoranským vlastní Ateliér intermediální tvorby na pražské Akademii výtvarných umění.Autorkou grafického designu je Adéla Svobodová.\u003C\u002Fp>","\u003Cp>Pavla Sceranková (*1980) brings a new authorial language and expression to the field of sculpture and object making; a new conception building on the strong legacy of postmodern but also neo-conceptual spatial art. She creates sculptural objects and installations characterized by minimalist purity and a sensitive relationship to a given place. Another aspect of her work is the creation of objects that incorporate an element of action, inviting the viewer to interact. Sometimes they take the form of video, or rather video sculpture, which stands between performance, animated sculpture, and autonomous video. They express the existential relationship of a person to the environment in which they live and with which they are confronted.\u003C\u002Fp>\u003Cp>In terms of content, Pavla Sceranková is intensively concerned with the reflection of human perception, memory and individual experience of the surrounding world. She draws on personal experience and examines the way this experience is preserved in memory, or what form it takes. The author thematizes the phenomenon of perception, the experience of the act of perception, the relation of perception to the perceived world, and the consciousness of the act of perception.\u003C\u002Fp>\u003Cp>She studied from 2000 to 2006 at the Academy of Fine Arts in Prague, where she earned her doctorate in 2011. As part of a scholarship, she completed a one-year internship with Prof. Tony Gragg in Berlin. From 2010 to 2015, she worked as an academic at the Department of Art Education and Textile Design at the University of Hradec Králové. She currently runs her own Studio of Intermedia Art at the Academy of Fine Arts in Prague with Dušan Zahoranský.Graphic Design: Adéla Svobodová.\u003C\u002Fp>",{"cs":6136,"en":6140},[6137,6138,6139],{"__typename":4491},{"__typename":4491},{"__typename":4491},[6141,6142,6143],{"__typename":4491},{"__typename":4491},{"__typename":4491},{"title":6145,"description":6146,"canonical_url":6147,"og_title":6148,"og_description":6149,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fpavla-scerankova-universe-in-the-head",{"cs":6152,"en":6157},[6153,6154],{"label":28,"menu_url":29},{"label":6155,"menu_url":6156},"Pavla Sceranková, Vesmír v hlavě ","\u002Fpavla-scerankova-vesmir-v-hlave",[6158,6159],{"label":34,"menu_url":29},{"label":6097,"menu_url":6150},[6161],{"id":13,"name":14,"slug":6162},{"cs":16,"en":17},[],"2026-10-09 06:54:53",{"total":6166,"currentPage":74,"lastPage":390,"count":6167,"perPage":6167,"hasMorePages":36},76,21,{"getPublicationCategoriesPaginated":6169},{"data":6170,"paginatorInfo":11245},[6171],{"id":13,"name":14,"slug":6172,"sort_order":94,"is_published":36,"status":37,"created_at":6173,"updated_at":6174,"seo":6175,"publications":6181,"featuredPublications":11244},{"cs":16,"en":17},"2026-08-28 06:06:35","2026-09-25 12:05:45",{"title":6176,"description":6177,"canonical_url":6178,"og_title":6179,"og_description":6180,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},[6182,6247,6305,6384,6449,6513,6558,6605,6671,6724,6769,6812,6864,6928,7004,7070,7144,7210,7277,7346,7391,7472,7556,7607,7658,7703,7735,7803,7846,7922,7987,8032,8098,8141,8184,8258,8331,8380,8412,8480,8551,8621,8689,8754,8823,8888,8962,9025,9093,9158,9225,9338,9406,9459,9525,9590,9656,9722,9828,9894,9966,10026,10095,10158,10225,10290,10393,10490,10569,10673,10780,10883,10987,11043,11118,11181],{"id":6183,"title":6184,"slug":6185,"description":4441,"file":6188,"image":6189,"year":5964,"authors":6198,"publisher":4476,"place_of_publication":91,"isbn":6199,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":6112,"eshop_link":91,"info":6200,"content_blocks":6201,"seo":6226,"menu_url":6232,"breadcrumbs":6233,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":6242,"publicationTags":6245,"created_at":6197,"updated_at":6246},"10819","Jindřich Chalupecký. Texts and Contexts of Art Criticism",{"cs":6186,"en":6187},"jindrich-chalupecky-texty-a-kontexty-kritika-umeni","jindrich-chalupecky-texts-and-contexts-of-art-criticism","10823",{"id":6188,"caption":6190,"alt_text":4,"url":6191,"srcset":4,"media":6192,"conversions":6196,"created_at":6197,"updated_at":6197},"Chalupecky_obalka","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1909\u002Fchalupecky-obalka.jpg",{"id":6193,"name":6190,"file_name":6194,"mime_type":4592,"size":6195,"url":6191},"1909","chalupecky-obalka.jpg",600872,[],"2026-09-02 11:03:32","Anežka Bartlová, Tomáš Glanc, Johana Lomová, Tomáš Pospiszyl (ed.), Jan Wollner","978-80-88366-47-8",[],[6202,6214],{"__typename":4483,"background":4892,"heading":6203,"content":6204,"content_nodes":6207},{"cs":4,"en":4},{"cs":6205,"en":6206},"\u003Cp>Kritik a teoretik umění Jindřich Chalupecký (1910–1990) významným způsobem ovlivnil kulturní život bývalého Československa. Jeho tvorbou prostupuje téma vztahu umění a společnosti a otázka, jak učinit moderní umění smysluplným. Klíčem, jak k dílu kritika přistoupit, se pro autory kolektivní monografie staly Chalupeckého texty. Jejich výběr poskytl chronologické a tematické uzly, které umožnily nahlédnout do historických okolností vzniku textů, přiblížit vztahy k vybraným osobnostem nebo ideové a praktické okolnosti jejich publikování. Součástí publikace je aktualizovaná bibliografie Chalupeckého díla.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>Art critic and theorist Jindřich Chalupecký (1910-1990) significantly influenced the cultural life of the former Czechoslovakia. His work is permeated by the theme of the relationship between art and society and the question of how to make modern art meaningful. For the authors of this collective monograph, Chalupecký’s texts have become the key to approaching the work of the critic. Their selection provided chronological and thematic nodes that allowed insight into the historical circumstances of the texts’ creation, the relationships to selected personalities, or the ideological and practical circumstances of their publication. The publication includes an updated bibliography of Chalupecký’s works.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":6208,"en":6211},[6209],{"__typename":4491,"html":6210},"\u003Cp>Kritik a teoretik umění Jindřich Chalupecký (1910–1990) významným způsobem ovlivnil kulturní život bývalého Československa. Jeho tvorbou prostupuje téma vztahu umění a společnosti a otázka, jak učinit moderní umění smysluplným. Klíčem, jak k dílu kritika přistoupit, se pro autory kolektivní monografie staly Chalupeckého texty. Jejich výběr poskytl chronologické a tematické uzly, které umožnily nahlédnout do historických okolností vzniku textů, přiblížit vztahy k vybraným osobnostem nebo ideové a praktické okolnosti jejich publikování. Součástí publikace je aktualizovaná bibliografie Chalupeckého díla.\u003C\u002Fp>",[6212],{"__typename":4491,"html":6213},"\u003Cp>Art critic and theorist Jindřich Chalupecký (1910-1990) significantly influenced the cultural life of the former Czechoslovakia. His work is permeated by the theme of the relationship between art and society and the question of how to make modern art meaningful. For the authors of this collective monograph, Chalupecký’s texts have become the key to approaching the work of the critic. Their selection provided chronological and thematic nodes that allowed insight into the historical circumstances of the texts’ creation, the relationships to selected personalities, or the ideological and practical circumstances of their publication. The publication includes an updated bibliography of Chalupecký’s works.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":6215,"items":6216},{"cs":4,"en":4},[6217],{"title":6218,"content":6219,"content_nodes":6221},{"cs":5031,"en":4909},{"cs":6220,"en":6220},"\u003Cp>Anežka Bartlová, Tomáš Glanc, Johana Lomová, Tomáš Pospiszyl (ed.), Jan Wollner\u003C\u002Fp>",{"cs":6222,"en":6224},[6223],{"__typename":4491},[6225],{"__typename":4491},{"title":6227,"description":6228,"canonical_url":6229,"og_title":6230,"og_description":6231,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fjindrich-chalupecky-texts-and-contexts-of-art-criticism",{"cs":6234,"en":6239},[6235,6236],{"label":28,"menu_url":29},{"label":6237,"menu_url":6238},"Jindřich Chalupecký. Texty a kontexty kritika umění","\u002Fjindrich-chalupecky-texty-a-kontexty-kritika-umeni",[6240,6241],{"label":34,"menu_url":29},{"label":6184,"menu_url":6232},[6243],{"id":13,"name":14,"slug":6244},{"cs":16,"en":17},[],"2026-10-07 06:03:51",{"id":6248,"title":6249,"slug":6250,"description":4441,"file":6253,"image":6254,"year":4,"authors":6262,"publisher":91,"place_of_publication":91,"isbn":6263,"edition":91,"extent":91,"language":91,"publication_type":4,"price":4,"eshop_link":91,"info":6264,"content_blocks":6265,"seo":6284,"menu_url":6290,"breadcrumbs":6291,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":6300,"publicationTags":6303,"created_at":5507,"updated_at":6304},"15988","MinThe Past Is Dreaming of Today. Superhero History and Critical Theory",{"cs":6251,"en":6252},"minulost-sni-o-dnesku-dejiny-superhrdinu-a-kriticke-teorie","minthe-past-is-dreaming-of-today-superhero-history-and-critical-theory","15989",{"id":6253,"caption":6255,"alt_text":4,"url":6256,"srcset":4,"media":6257,"conversions":6261,"created_at":5507,"updated_at":5507},"Janoscik_Minulost_obalka","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1917\u002Fjanoscik-minulost-obalka.jpg",{"id":6258,"name":6255,"file_name":6259,"mime_type":4592,"size":6260,"url":6256},"1917","janoscik-minulost-obalka.jpg",598463,[],"Václav Janoščík","978-80-88366-07-2",[],[6266,6276],{"__typename":4483,"background":4892,"heading":6267,"content":6268,"content_nodes":6271},{"cs":4,"en":4},{"cs":6269,"en":6270},"\u003Cp>Žijeme v éře superhrdinských blockbusterů, ale zároveň také obrovského nadbytku kritické literatury, která reflektuje všechny aspekty naší reality, samozřejmě včetně samotné populární kultury. Abychom se v těchto podmínkách zorientovali, musíme pochopit, jak se vyvíjela současná popkultura, ale také její kritika. V knize Václava Janoščíka čtenáři najdou nejen zvláštní a napínavou genealogii kritické teorie a superhrdinů – ve které vedle sebe stojí Superman a Adorno, Watchmeni s Temným Rytířem a Deleuzem, nebo Joker, Avengers a Bernard Stiegler –, ale autorův spekulativně-historický a popfilosofický projekt nabízí některé originální odpovědi na ambiciózní otázky dneška: Co přesně superhrdinové představují, nebo jakých problémů jsou symptomem? Co je kritická teorie dnes a jak se vyvíjela v průběhu posledního století? Jak byla formována psychoanalýzou, marxismem nebo poststrukturalismem? Co je dialektika nebo úkol myšlení? Jaké sny minulosti (20. století) realizujeme svými současnými životy (v 21. století)?\u003C\u002Fp>","\u003Cp>We live in an era of superhero blockbusters, but we also live in an era of a huge surplus of critical literature that reflects all aspects of our reality, including, of course, popular culture itself. In order to navigate these conditions, we need to understand how contemporary pop culture has evolved, but also how its criticism has evolved. In Václav Janoščík’s book, readers will not only find a strange and exciting genealogy of critical theory and superheroes - in which Superman and Adorno, Watchmen with the Dark Knight and Deleuze, or the Joker, the Avengers, and Bernard Stiegler stand side by side – but the author’s speculative-historical and pop-philosophical project offers some original answers to the ambitious questions of our time: what exactly do superheroes represent, or what problems are they a symptom of? What is critical theory today and how has it evolved over the last century? How has it been shaped by psychoanalysis, Marxism, or poststructuralism? What is dialectics or the task of thinking? What dreams of the past (20th century) are we realizing with our present lives (in the 21st century)?\u003C\u002Fp>",{"cs":6272,"en":6274},[6273],{"__typename":4491,"html":6269},[6275],{"__typename":4491,"html":6270},{"__typename":4547,"background":4892,"title":6277,"type":4,"display":4549,"links":6278},{"cs":4,"en":4},[6279],{"type":2824,"color":4892,"target":2826,"link":6280,"url":6280,"page_id":4,"page":4,"file":4,"label":6281},"https:\u002F\u002Fknihy.artmap.cz\u002Fminulost-sni-o-dnesku\u002F",{"cs":6282,"en":6283},"KOUPIT","BUY",{"title":6285,"description":6286,"canonical_url":6287,"og_title":6288,"og_description":6289,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fminthe-past-is-dreaming-of-today-superhero-history-and-critical-theory",{"cs":6292,"en":6297},[6293,6294],{"label":28,"menu_url":29},{"label":6295,"menu_url":6296},"Minulost sní o dnešku. Dějiny superhrdinů a kritické teorie","\u002Fminulost-sni-o-dnesku-dejiny-superhrdinu-a-kriticke-teorie",[6298,6299],{"label":34,"menu_url":29},{"label":6249,"menu_url":6290},[6301],{"id":13,"name":14,"slug":6302},{"cs":16,"en":17},[],"2026-10-08 13:18:57",{"id":6306,"title":6307,"slug":6308,"description":4,"file":6311,"image":6312,"year":4,"authors":6320,"publisher":4,"place_of_publication":4,"isbn":6321,"edition":4,"extent":4,"language":4,"publication_type":4,"price":4,"eshop_link":4,"info":6322,"content_blocks":6323,"seo":6364,"menu_url":6370,"breadcrumbs":6371,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":6380,"publicationTags":6383,"created_at":5762,"updated_at":5762},"14762","Když to začalo (When It Began)",{"cs":6309,"en":6310},"kdyz-to-zacalo","kdyz-to-zacalo-when-it-began","14763",{"id":6311,"caption":6313,"alt_text":4,"url":6314,"srcset":4,"media":6315,"conversions":6319,"created_at":5762,"updated_at":5762},"Kdyz-to-zacalo_obalka","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1916\u002Fkdyz-to-zacalo-obalka-scaled.jpg",{"id":6316,"name":6313,"file_name":6317,"mime_type":4592,"size":6318,"url":6314},"1916","kdyz-to-zacalo-obalka-scaled.jpg",271885,[],"Petra Dobruská – Alice Nikitinová (eds.)","978-80-88366-59-1",[],[6324,6358],{"__typename":4483,"background":4892,"heading":6325,"content":6326,"content_nodes":6327},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":6328,"en":6343},[6329,6331,6333,6335,6337,6339,6341],{"__typename":4491,"html":6330},"\u003Cp>Kniha komiksových příběhu je společným dílem ukrajinských umělkyň, studentek a studentů, kteří našli zázemí na pražské Akademii výtvarných umění po vypuknutí války na Ukrajině. Každý z nich pochází z jiné oblasti Ukrajiny a mají často naprosto odlišnou kulturní ale i tvůrčí zkušenost. Co je spojuje je válka a její dopady, potřeba sdílet svůj příběh a snaha ukázat důležitost osobní zkušenosti. Kniha je odrazem jejich myšlenek, současného stavu a rozpoložení. Příběhy symbolické se mění s obrazy utopickými a těmi, které velmi realisticky popisují vlastní osud. Často nechybí humor a nadsázka jako i optimistický pohled do budoucnosti.\u003C\u002Fp>",{"__typename":4491,"html":6332},"\u003Cp>Autorky a autor: Anna Banytiuk, Viktoriia Bobko, Julie Čujenko, Liliia Dorovska, Yelyzaveta Honcharenko, Anna Kaigorodova, Sofiia Kolopeniuk, Anastasiia Lisnycha, Olena Nurmamedova, Violetta Piatnytska, Heorhii Rublik, Anna Solianyk, Anastasiia Tovstokor, Yelyzaveta Ulianova, Olena Zahrebina, Bohdana Zaiats\u003C\u002Fp>",{"__typename":4491,"html":6334},"\u003Cp>Grafika: Petr Hrůza, Anna Macháčková, Viktoria Naumuk\u003C\u002Fp>",{"__typename":4491,"html":6336},"\u003Cp>Obálka: Anna Banytiuk\u003C\u002Fp>",{"__typename":4491,"html":6338},"\u003Cp>Překlady vybraných textů: Miroslav Tomek, Tereza Chlaňová\u003C\u002Fp>",{"__typename":4491,"html":6340},"\u003Cp>Korektura: Jiřina Vyorálková\u003C\u002Fp>",{"__typename":4491,"html":6342},"\u003Cp>Doporučená cena 400 Kč\u003C\u002Fp>",[6344,6346,6348,6350,6352,6354,6356],{"__typename":4491,"html":6345},"\u003Cp>The book is available only in Czech.\u003C\u002Fp>",{"__typename":4491,"html":6347},"\u003Cp>This book of comic stories is the joint work of Ukrainian artists and students who found a home at the Academy of Fine Arts in Prague after the outbreak of war in Ukraine. Each of them comes from a different region of Ukraine and often have completely different cultural but also creative experiences. What they have in common is war and its impact, the need to share their story and the desire to show the importance of personal experience. The book is a reflection of their thoughts, current state and frame of mind. Symbolic stories alternate with utopian images and those that describe their own fate in a very realistic way. 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Prostřednictvím děl pedagogů a vybraných studujících postihuje její charakter a proměny v této zdánlivě nehybné době. Velký prostor v knize zaujímají fotografie Pavla Paula, který v této době veškeré dění na škole dokumentoval.\u003C\u002Fp>",{"__typename":4491,"html":6411},"\u003Cp>Grafická úprava: Tereza Hejmová\u003C\u002Fp>",{"__typename":4491,"html":6413},"\u003Cp>Vydala Akademie výtvarných umění v Praze a Galerie výtvarného umění v Chebu, Praha – Cheb 2024\u003C\u002Fp>",{"__typename":4491,"html":6342},[6416,6417,6419,6421,6423],{"__typename":4491,"html":6345},{"__typename":4491,"html":6418},"\u003Cp>This book, which accompanies the exhibition at the Gallery of Fine Arts in Cheb, presents the events at the Academy of Fine Arts in Prague during the period of the so-called normalization. Through the works of teachers and selected students, it captures the character and transformations in this seemingly stagnant period. A large space in the book is occupied by the photographs of Pavel Paul, who documented all school events during this period.\u003C\u002Fp>",{"__typename":4491,"html":6420},"\u003Cp>Graphic Design: Tereza Hejmová\u003C\u002Fp>",{"__typename":4491,"html":6422},"\u003Cp>Published by the Academy of Fine Arts in Prague and the Gallery of Fine Arts in Cheb, Prague – Cheb 2024\u003C\u002Fp>",{"__typename":4491,"html":6424},"\u003Cp>400 CZK\u003C\u002Fp>",{"__typename":4547,"background":4892,"title":6426,"type":4,"display":6427,"links":6428},{"cs":4,"en":4},"list",[],{"title":6430,"description":6431,"canonical_url":6432,"og_title":6433,"og_description":6434,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fpedagogove-a-posluchaci-akademie-vytvarnych-umeni-v-praze-1969-1989-teachers-and-students-the-academy-of-fine-arts-in-prague-1969-1989",{"cs":6437,"en":6442},[6438,6439],{"label":28,"menu_url":29},{"label":6440,"menu_url":6441},"Pedagogové a posluchači. 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Autorka v jednotlivých částech knihy hledá odpověď na otázku, jak pracovat s kritikou a nabízí možné vymezení výtvarné kritiky jako žánru. Dále se zaměřuje na vnější podmínky, jež nemohli kritici a kritičky sami ovlivnit, ale mohli s nimi pracovat, využívat jejich možnosti a samozřejmě se také museli přizpůsobovat jejich pravidlům. Třetí část textu se pak věnuje vnitřním oborovým předpokladům, které formovaly diskurz i podobu jednotlivých textů.\u003C\u002Fp>",{"__typename":4491,"html":6476},"\u003Cp>Grafická podoba: Štěpán Marko\u003C\u002Fp>",{"__typename":4491,"html":6478},"\u003Cp>Doporučená cena 380 Kč\u003C\u002Fp>",[6480,6481,6483,6485],{"__typename":4491,"html":6345},{"__typename":4491,"html":6482},"\u003Cp>This publication is based on a dissertation that focuses on the 1960s, an important period for Czechoslovak art criticism. 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Galerie vznikla z iniciativy studentů a studentek ateliéru Malby 1. Za dobu fungování galerie se podařilo uspořádat dvacet sedm výstav, z toho dvě se zahraničními hosty a jednu ve veřejném prostoru. Publikace prezentuje fotografický záznam z akcí a je představením kolektivní práce studentů a studentek, jež se na provozu galerie podíleli. V průběhu let se v galerii angažovali studující nejenom z ateliéru Malby 1 na AVU, ale také ze sochařských ateliérů a z Vysoké školy uměleckoprůmyslové v Praze.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>The publication is a comprehensive catalogue of exhibitions and events that have taken place in the student gallery Warehouse M1 on the first floor of the Academy of Fine Arts over the last five years. The gallery was founded on the initiative of the students of the Painting 1 studio. This publication presents a photographic record of the events and showcases the collective work of the students involved in running the gallery. Over the years, the gallery has engaged students not only from the Painting 1 studio at the Academy of Fine Arts, but also from the sculpture studios and the Academy of Art, Architecture and Design in Prague.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":6631,"en":6634},[6632],{"__typename":4491,"html":6633},"\u003Cp>Publikace je souhrnným katalogem výstav a akcí, které proběhly v rámci studentské galerie Sklad M1 v prvním patře na AVU za posledních pět let. Galerie vznikla z iniciativy studentů a studentek ateliéru Malby 1. Za dobu fungování galerie se podařilo uspořádat dvacet sedm výstav, z toho dvě se zahraničními hosty a jednu ve veřejném prostoru. Publikace prezentuje fotografický záznam z akcí a je představením kolektivní práce studentů a studentek, jež se na provozu galerie podíleli. V průběhu let se v galerii angažovali studující nejenom z ateliéru Malby 1 na AVU, ale také ze sochařských ateliérů a z Vysoké školy uměleckoprůmyslové v Praze.\u003C\u002Fp>",[6635],{"__typename":4491,"html":6636},"\u003Cp>The publication is a comprehensive catalogue of exhibitions and events that have taken place in the student gallery Warehouse M1 on the first floor of the Academy of Fine Arts over the last five years. The gallery was founded on the initiative of the students of the Painting 1 studio. This publication presents a photographic record of the events and showcases the collective work of the students involved in running the gallery. Over the years, the gallery has engaged students not only from the Painting 1 studio at the Academy of Fine Arts, but also from the sculpture studios and the Academy of Art, Architecture and Design in Prague.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":6638,"items":6639},{"cs":4,"en":4},[6640],{"title":6641,"content":6642,"content_nodes":6645},{"cs":5031,"en":4909},{"cs":6643,"en":6644},"\u003Cp>Hanku Kuklíkovou, Matěje Lišku, Marii Kuklíkovou, Vladyslava Afanasieva, Matěje Martince a Josefa Šmída spojil zájem o vytvoření galerie k prezentování studentské tvorby a místa pro pravidelné setkávání studentů. Hlavní myšlenkou galerie vždy bylo poskytovat výstavní příležitost studentům a absolventům vysokých uměleckých škol. A to zejména těm, kteří si o výstavní příležitost neumí říct, sami ji nevyhledávají a nedostává se jim tak pozornosti, kterou si zasluhují.\u003C\u002Fp>","\u003Cp>Hanka Kuklíková, Matěj Liška, Maria Kuklíková, Vladyslav Afanasiev, Matěj Martinec and Josef Šmíd were united by their interest in creating a gallery to present student work and a place for regular meetings of students. 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Kdo byli pedagogové, kteří formovali její tvář, a ovlivňovali podobu zdejšího výtvarného umění? Jací studenti prošli jejich ateliéry? Tato kniha se snaží skrze texty, a především fotografie Pavla Paula, školního dokumentátora, prozkoumat jedno z nejzajímavějších období Akademie výtvarných umění v Praze, kterému nebyla dosud věnována pozornost. Skrze momentky z ateliérů, snímky jednotlivých uměleckých děl nebo záznamů běžného života na škole můžeme pocítit atmosféru od šedesátých do poloviny devadesátých let minulého století.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>How did the oldest art school in the Czech Republic change over the course of several decades? Who were the teachers who shaped its face and influenced the shape of the local art? What students passed through their studios? 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Skrze momentky z ateliérů, snímky jednotlivých uměleckých děl nebo záznamů běžného života na škole můžeme pocítit atmosféru od šedesátých do poloviny devadesátých let minulého století.\u003C\u002Fp>",[6701],{"__typename":4491,"html":6702},"\u003Cp>How did the oldest art school in the Czech Republic change over the course of several decades? Who were the teachers who shaped its face and influenced the shape of the local art? What students passed through their studios? This book seeks to explore one of the most interesting periods of the Academy of Fine Arts in Prague, which has not received much attention until now, through the texts and, above all, the photographs of Pavel Paul, the school’s documentarian. Through snapshots from the studios, images of individual works of art or records of everyday life at the school, we can feel the atmosphere from the 1960s to the mid-1990s.\u003C\u002Fp>",{"title":6704,"description":6705,"canonical_url":6706,"og_title":6707,"og_description":6708,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Ffotograficky-archiv-akademie-vytvarnych-umeni-v-praze-fotografie-pavla-paula-z-let-1960-1994-photographic-archive-of-the-academy-of-fine-arts-in-prague-photographs-by-pavel-paul-from-1960",{"cs":6711,"en":6716},[6712,6713],{"label":28,"menu_url":29},{"label":6714,"menu_url":6715},"Fotografický archiv Akademie výtvarných umění v Praze. 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It explores topics such as the camera’s wormhole-like capabilities, why being photographed causes stage fright, how the present is becoming a stage for the future, analog vs. digital photography, the relationship between the photographer and the photograph, and how we are losing the possibility of gaining an authentic memory of a moment from a photographic attempt to conserve it.\u003Cem>“A funny and delicate philosophical survival kit for a better understanding of the influential, omnipresent shadow of photography.”\u003C\u002Fem>— Joan Fontcuberta\u003Cem>“This work by Magda Stanová is a visual essay, not only because she works with numerous photographic reproductions (famous as well as completely private ones), but also and perhaps primarily because of how she thoughtfully contrasts technical perfection with simple drawings which eliminate everything accessory and show only what is essential, though not in the way a chart does, since even the drawings come alive here and lead their own cheerful life.”\u003C\u002Fem>— Miroslav PetříčekMagda Stanová is a multi-disciplinary artist and a senior lecturer at the Department of Theory and History of Art at the Academy of Fine Arts in Prague. 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Hranice příležitostí (Jirka Skála – Johana Chylíková. Boundaries of Opportunity)",{"cs":6868,"en":6869},"jirka-skala-johana-chylikova-hranice-prilezitosti","jirka-skala-johana-chylikova-hranice-prilezitosti-jirka-skala-johana-chylikova-boundaries-of-opportunity","8972",{"id":6870,"caption":6872,"alt_text":4,"url":6873,"srcset":4,"media":6874,"conversions":6878,"created_at":5441,"updated_at":5441},"Skala_obalka","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1925\u002Fskala-obalka-scaled.jpg",{"id":6875,"name":6872,"file_name":6876,"mime_type":4592,"size":6877,"url":6873},"1925","skala-obalka-scaled.jpg",962947,[],"Jirka Skála, Johana Chylíková","978-80-88366-27-0",[],[6883,6902],{"__typename":4483,"background":4892,"heading":6884,"content":6885,"content_nodes":6886},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":6887,"en":6894},[6888,6890,6892],{"__typename":4491,"html":6889},"\u003Cp>Kniha je výsledkem společného výzkumu výtvarného umělce Jirky Skály a socioložky, Johany Chylíkové, kteří se zaměřili na ekonomické, sociální a kulturní nerovnosti existující v komunitě studujících výtvarného umění v České republice. Ve čtyřech kapitolách autoři přinášejí výsledky, které získali z hloubkových rozhovorů se studentkami a studenty českých uměleckých, především výtvarných vysokých škol. Výsledky výzkumu se týkají sociálních, ekonomických a kulturních nerovností, předsudků panujících v komunitě studujících umění, vlivu volnočasových aktivit na uměleckou činnost, profesních aspirací a vlivu rodiny na aspirace a uměleckou motivaci, i povahu umělecké práce.\u003C\u002Fp>",{"__typename":4491,"html":6891},"\u003Cp>Vydala Akademie výtvarných umění v Praze, 2022\u003C\u002Fp>",{"__typename":4491,"html":6893},"\u003Cp>Doporučená cena 250 Kč\u003C\u002Fp>",[6895,6897,6899,6900],{"__typename":4491,"html":6896},"\u003Cp>The book is the result of a joint research of visual artist Jirka Skála and sociologist Johana Chylíková, who focused on the economic, social and cultural inequalities existing in the community of art students in the Czech Republic. In four chapters, the Author presents the results of in-depth interviews with students of Czech art, especially fine arts, universities. The results of the research concern social, economic and cultural inequalities, prejudices prevailing in the art student community, the influence of leisure activities on artistic activity, professional aspirations and the influence of family on aspirations and artistic motivation, and the nature of artistic work.\u003C\u002Fp>",{"__typename":4491,"html":6898},"\u003Cp>Published by the Academy of Fine Arts in Prague, 2022.\u003C\u002Fp>",{"__typename":4491,"html":6345},{"__typename":4491,"html":6901},"\u003Cp>250 CZK\u003C\u002Fp>",{"__typename":4547,"background":4892,"title":6903,"type":4,"display":4549,"links":6904},{"cs":4,"en":4},[6905],{"type":2824,"color":4892,"target":2826,"link":6906,"url":6906,"page_id":4,"page":4,"file":4,"label":6907},"https:\u002F\u002Fknihy.artmap.cz\u002Fhranice-prilezitosti---jiri-skala--johana-chylikova\u002F",{"cs":6282,"en":6283},{"title":6909,"description":6910,"canonical_url":6911,"og_title":6912,"og_description":6913,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fjirka-skala-johana-chylikova-hranice-prilezitosti-jirka-skala-johana-chylikova-boundaries-of-opportunity",{"cs":6916,"en":6921},[6917,6918],{"label":28,"menu_url":29},{"label":6919,"menu_url":6920},"Jirka Skála – Johana Chylíková. Hranice příležitostí","\u002Fjirka-skala-johana-chylikova-hranice-prilezitosti",[6922,6923],{"label":34,"menu_url":29},{"label":6866,"menu_url":6914},[6925],{"id":13,"name":14,"slug":6926},{"cs":16,"en":17},[],{"id":6929,"title":6930,"slug":6931,"description":4441,"file":6934,"image":6935,"year":4,"authors":6944,"publisher":4476,"place_of_publication":91,"isbn":6945,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":6946,"eshop_link":6947,"info":6948,"content_blocks":6949,"seo":6983,"menu_url":6989,"breadcrumbs":6990,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":6999,"publicationTags":7002,"created_at":6943,"updated_at":7003},"8827","Aleš Zapletal. Images of Philosophy and the Physical Mind",{"cs":6932,"en":6933},"ales-zapletal-obrazy-filozofie-a-telesna-mysl","ales-zapletal-images-of-philosophy-and-the-physical-mind","8828",{"id":6934,"caption":6936,"alt_text":4,"url":6937,"srcset":4,"media":6938,"conversions":6942,"created_at":6943,"updated_at":6943},"Snímek obrazovky 2023-05-03 v 18.00.25","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1926\u002Fsnimek-obrazovky-2023-05-03-v180025.png",{"id":6939,"name":6936,"file_name":6940,"mime_type":4450,"size":6941,"url":6937},"1926","snimek-obrazovky-2023-05-03-v180025.png",308081,[],"2026-09-02 11:03:36","Aleš Zapletal","978-80-88366-35-5",220,"https:\u002F\u002Fknihy.artmap.cz\u002Fen\u002Fobrazy-filozofie-a-telesna-mysl---ales-zapletal\u002F",[],[6950,6970],{"__typename":4483,"background":4892,"heading":6951,"content":6952,"content_nodes":6955},{"cs":4,"en":4},{"cs":6953,"en":6954},"\u003Cp>Pojem „obrazy filozofie“ označuje zvláštní okruh děl propojujících vizuální vyjádření a filozofické myšlení pomocí bohatého systému metafor a dalších prostředků podporujících imaginaci. Protože tyto obrazy a ilustrace vznikly v přímé reakci na konkrétní filozofické práce, lze jejich části spojovat s myšlenkami a úryvky zdrojového textu.\u003C\u002Fp>\u003Cp>V knize, kterou držíte v rukou, je nastíněna historie tohoto opomíjeného žánru od středověkých rukopisů po ojedinělé ukázky ze současnosti. Obrazy filozofie byly ještě na počátku sedmnáctého století běžnou součástí filozofických spisů a disputací, v období moderní filozofie (po Descartovi) se však postupně vytrácí.  Autor hledá důvody vymizení a transformace tohoto kdysi bohatého žánru a ukazuje rovněž jeho současné podoby. K rozboru filozofických obrazů Zapletal využívá pojmového a teoretického aparátu současné kognitivní vědy. Především se zaměřuje na způsoby, jakými jsou metafory, metonymie a obrazová schémata používány k interpretaci jazykových vzorů a k zachycení myšlenek samotných výtvarných umělců.\u003C\u002Fp>\u003Cp>Tato studie je kromě reprodukcí již existujících obrazů filozofie doprovázena autorovými vlastními kresbami, které prostupují text a tvoří alternativní výkladovou linii probírané látky.\u003C\u002Fp>","\u003Cp>The term “images of philosophy” refers to a special group of works that link visual expression and philosophical thinking through a rich system of metaphors and other means that support imagination. Because these images and illustrations were created in direct response to specific philosophical works, parts of them can be linked to ideas and passages in the source text.\u003C\u002Fp>\u003Cp>The book outlines the history of this neglected genre, from medieval manuscripts to isolated examples from the present day. Images of philosophy were still a common feature of philosophical writings and disputations in the early seventeenth century, but they have gradually disappeared in the period of modern philosophy (after Descartes).  The author looks for reasons for the disappearance and transformation of this once rich genre and also shows its contemporary forms.Zapletal uses the conceptual and theoretical apparatus of contemporary cognitive science to analyse philosophical images. In particular, he focuses on the ways in which metaphors, metonymy, and pictorial schemes are used to interpret linguistic patterns and to capture the ideas of the artists themselves.\u003C\u002Fp>\u003Cp>In addition to reproductions of existing images of philosophy, this study is accompanied by the author’s own drawings, which permeate the text and form an alternative interpretive line of the material under discussion.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":6956,"en":6963},[6957,6959,6961],{"__typename":4491,"html":6958},"\u003Cp>Pojem „obrazy filozofie“ označuje zvláštní okruh děl propojujících vizuální vyjádření a filozofické myšlení pomocí bohatého systému metafor a dalších prostředků podporujících imaginaci. Protože tyto obrazy a ilustrace vznikly v přímé reakci na konkrétní filozofické práce, lze jejich části spojovat s myšlenkami a úryvky zdrojového textu.\u003C\u002Fp>",{"__typename":4491,"html":6960},"\u003Cp>V knize, kterou držíte v rukou, je nastíněna historie tohoto opomíjeného žánru od středověkých rukopisů po ojedinělé ukázky ze současnosti. Obrazy filozofie byly ještě na počátku sedmnáctého století běžnou součástí filozofických spisů a disputací, v období moderní filozofie (po Descartovi) se však postupně vytrácí.  Autor hledá důvody vymizení a transformace tohoto kdysi bohatého žánru a ukazuje rovněž jeho současné podoby. K rozboru filozofických obrazů Zapletal využívá pojmového a teoretického aparátu současné kognitivní vědy. Především se zaměřuje na způsoby, jakými jsou metafory, metonymie a obrazová schémata používány k interpretaci jazykových vzorů a k zachycení myšlenek samotných výtvarných umělců.\u003C\u002Fp>",{"__typename":4491,"html":6962},"\u003Cp>Tato studie je kromě reprodukcí již existujících obrazů filozofie doprovázena autorovými vlastními kresbami, které prostupují text a tvoří alternativní výkladovou linii probírané látky.\u003C\u002Fp>",[6964,6966,6968],{"__typename":4491,"html":6965},"\u003Cp>The term “images of philosophy” refers to a special group of works that link visual expression and philosophical thinking through a rich system of metaphors and other means that support imagination. Because these images and illustrations were created in direct response to specific philosophical works, parts of them can be linked to ideas and passages in the source text.\u003C\u002Fp>",{"__typename":4491,"html":6967},"\u003Cp>The book outlines the history of this neglected genre, from medieval manuscripts to isolated examples from the present day. Images of philosophy were still a common feature of philosophical writings and disputations in the early seventeenth century, but they have gradually disappeared in the period of modern philosophy (after Descartes).  The author looks for reasons for the disappearance and transformation of this once rich genre and also shows its contemporary forms.Zapletal uses the conceptual and theoretical apparatus of contemporary cognitive science to analyse philosophical images. In particular, he focuses on the ways in which metaphors, metonymy, and pictorial schemes are used to interpret linguistic patterns and to capture the ideas of the artists themselves.\u003C\u002Fp>",{"__typename":4491,"html":6969},"\u003Cp>In addition to reproductions of existing images of philosophy, this study is accompanied by the author’s own drawings, which permeate the text and form an alternative interpretive line of the material under discussion.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":6971,"items":6972},{"cs":4,"en":4},[6973],{"title":6974,"content":6975,"content_nodes":6978},{"cs":5790,"en":4840},{"cs":6976,"en":6977},"\u003Cp>Aleš Zapletal (nar. 1990 v Opavě) je český malíř a intermediální umělec. Ve své tvorbě propojuje vizuální umění s filozofickým myšlením a zkoumá, jak lze prostřednictvím obrazů vyjadřovat abstraktní myšlenky a filozofické otázky. Jeho malby využívají snové prostředí a příběhy, v nichž rozvíjí vztah mezi obrazem, imaginací a poznáním.\u003C\u002Fp>","\u003Cp>Aleš Zapletal (b. 1990 in Opava) is a Czech painter and intermedia artist. His practice connects visual art with philosophical thinking, exploring how images can express abstract ideas and philosophical questions. His paintings employ dreamlike settings and narratives to explore the relationship between images, imagination, and knowledge.\u003C\u002Fp>",{"cs":6979,"en":6981},[6980],{"__typename":4491},[6982],{"__typename":4491},{"title":6984,"description":6985,"canonical_url":6986,"og_title":6987,"og_description":6988,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fales-zapletal-images-of-philosophy-and-the-physical-mind",{"cs":6991,"en":6996},[6992,6993],{"label":28,"menu_url":29},{"label":6994,"menu_url":6995},"Aleš Zapletal. Obrazy filozofie a tělesná mysl","\u002Fales-zapletal-obrazy-filozofie-a-telesna-mysl",[6997,6998],{"label":34,"menu_url":29},{"label":6930,"menu_url":6989},[7000],{"id":13,"name":14,"slug":7001},{"cs":16,"en":17},[],"2026-10-08 05:26:38",{"id":7005,"title":7006,"slug":7007,"description":4441,"file":7009,"image":7010,"year":4,"authors":7018,"publisher":4476,"place_of_publication":91,"isbn":91,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":4956,"eshop_link":7019,"info":7020,"content_blocks":7021,"seo":7051,"menu_url":7057,"breadcrumbs":7058,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":7065,"publicationTags":7068,"created_at":6943,"updated_at":7069},"8824","Ondřej Trhoň. Avatar Studies 1",{"cs":7008,"en":7008},"ondrej-trhon-avatar-studies-1","8831",{"id":7009,"caption":7011,"alt_text":4,"url":7012,"srcset":4,"media":7013,"conversions":7017,"created_at":6943,"updated_at":6943},"Trhon_obalka","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1927\u002Ftrhon-obalka.jpg",{"id":7014,"name":7011,"file_name":7015,"mime_type":4592,"size":7016,"url":7012},"1927","trhon-obalka.jpg",637910,[],"Ondřej Trhoň","https:\u002F\u002Fknihy.artmap.cz\u002Fen\u002Favatar-studies-i---ondrej-trhon\u002F",[],[7022,7038],{"__typename":4483,"background":4892,"heading":7023,"content":7024,"content_nodes":7027},{"cs":4,"en":4},{"cs":7025,"en":7026},"\u003Cp>Umělá těla jsou všude kolem nás: Naše odrazy plující po sociálních sítích, 3D hrdinky a hrdinové v digitálních světech nebo vlastní já zabalená do Instagram filtrů a virtuálního make-upu. Avatar Studies je interdisciplinární sborník, který bere avatary vážně: jako formu, která prostupuje naším mediálním a uměleckým světem. Eseje v textové části vyloží, jak souvisí queer identita s umělými těly a do jakých politických struktur náš naše avatarky a avataři zaplétají. Druhou část knihy pak tvoří nejcelistvější kolekce reprodukcí současných českých uměleckých děl, která s avatary, digitálními těly a virtuálními protějšky pracují.\u003C\u002Fp>\u003Cp>Jako první publikace k tématu v češtině, protíná Avatar Studies hranice oborů. Od současné teorie přes mediální kritiku až po to nejnovější umění, které reflektuje dobu rozpadu pevných já, jež se ztrácejí v digitálním cloudu.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>Artificial bodies are all around us: our reflections floating around social media, 3D heroines and heroes in digital worlds or our own selves wrapped in Instagram filters and virtual make-up. Avatar Studies is an interdisciplinary collection that takes avatars seriously: as a form that permeates our media and art worlds. The essays in the text section lay out how queer identity relates to artificial bodies and the political structures our avatars entangle us in. The second part of the book then consists of the most comprehensive collection of reproductions of contemporary Czech artworks that work with avatars, digital bodies and virtual counterparts.\u003C\u002Fp>\u003Cp>As the first publication on the subject in Czech, Avatar Studies crosses disciplinary boundaries. From contemporary theory to media criticism to the most recent art that reflects the time of the disintegration of fixed selves that are lost in the digital cloud.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":7028,"en":7033},[7029,7031],{"__typename":4491,"html":7030},"\u003Cp>Umělá těla jsou všude kolem nás: Naše odrazy plující po sociálních sítích, 3D hrdinky a hrdinové v digitálních světech nebo vlastní já zabalená do Instagram filtrů a virtuálního make-upu. Avatar Studies je interdisciplinární sborník, který bere avatary vážně: jako formu, která prostupuje naším mediálním a uměleckým světem. Eseje v textové části vyloží, jak souvisí queer identita s umělými těly a do jakých politických struktur náš naše avatarky a avataři zaplétají. Druhou část knihy pak tvoří nejcelistvější kolekce reprodukcí současných českých uměleckých děl, která s avatary, digitálními těly a virtuálními protějšky pracují.\u003C\u002Fp>",{"__typename":4491,"html":7032},"\u003Cp>Jako první publikace k tématu v češtině, protíná Avatar Studies hranice oborů. Od současné teorie přes mediální kritiku až po to nejnovější umění, které reflektuje dobu rozpadu pevných já, jež se ztrácejí v digitálním cloudu.\u003C\u002Fp>",[7034,7036],{"__typename":4491,"html":7035},"\u003Cp>Artificial bodies are all around us: our reflections floating around social media, 3D heroines and heroes in digital worlds or our own selves wrapped in Instagram filters and virtual make-up. Avatar Studies is an interdisciplinary collection that takes avatars seriously: as a form that permeates our media and art worlds. The essays in the text section lay out how queer identity relates to artificial bodies and the political structures our avatars entangle us in. The second part of the book then consists of the most comprehensive collection of reproductions of contemporary Czech artworks that work with avatars, digital bodies and virtual counterparts.\u003C\u002Fp>",{"__typename":4491,"html":7037},"\u003Cp>As the first publication on the subject in Czech, Avatar Studies crosses disciplinary boundaries. From contemporary theory to media criticism to the most recent art that reflects the time of the disintegration of fixed selves that are lost in the digital cloud.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":7039,"items":7040},{"cs":4,"en":4},[7041],{"title":7042,"content":7043,"content_nodes":7046},{"cs":5790,"en":4840},{"cs":7044,"en":7045},"\u003Cp>Ondřej Trhoň (nar. 1993) je český publicista, umělec a herní vývojář. Zabývá se videohrami, digitální kulturou a jejich společenskými a politickými souvislostmi. Ve své umělecké a výzkumné práci se zaměřuje na avatary, virtuální těla a vztah identity a ideologie. Věnuje se také překladům, kurátorství a nezávislé publikační činnosti.\u003C\u002Fp>","\u003Cp>Ondřej Trhoň (b. 1993) is a Czech writer, artist, and game developer. He explores video games, digital culture, and their social and political contexts. His artistic practice and research focus on avatars, virtual bodies, and the relationship between identity and ideology. He is also involved in translation, curating, and independent publishing.\u003C\u002Fp>",{"cs":7047,"en":7049},[7048],{"__typename":4491},[7050],{"__typename":4491},{"title":7052,"description":7053,"canonical_url":7054,"og_title":7055,"og_description":7056,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fondrej-trhon-avatar-studies-1",{"cs":7059,"en":7062},[7060,7061],{"label":28,"menu_url":29},{"label":7006,"menu_url":7057},[7063,7064],{"label":34,"menu_url":29},{"label":7006,"menu_url":7057},[7066],{"id":13,"name":14,"slug":7067},{"cs":16,"en":17},[],"2026-10-08 05:34:27",{"id":7071,"title":7072,"slug":7073,"description":4441,"file":7076,"image":7077,"year":4,"authors":7085,"publisher":4476,"place_of_publication":91,"isbn":7086,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":6946,"eshop_link":7087,"info":7088,"content_blocks":7089,"seo":7123,"menu_url":7129,"breadcrumbs":7130,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":7139,"publicationTags":7142,"created_at":6943,"updated_at":7143},"8821","Elena Pecenová. As If My Eyes Keep Taking the Same Pictures",{"cs":7074,"en":7075},"elena-pecenova-jako-bych-ocima-fotografovala-stale-ty-stejne-snimky","elena-pecenova-as-if-my-eyes-keep-taking-the-same-pictures","8823",{"id":7076,"caption":7078,"alt_text":4,"url":7079,"srcset":4,"media":7080,"conversions":7084,"created_at":6943,"updated_at":6943},"Pecenova_obalka","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1928\u002Fpecenova-obalka.jpg",{"id":7081,"name":7078,"file_name":7082,"mime_type":4592,"size":7083,"url":7079},"1928","pecenova-obalka.jpg",1018220,[],"Elena Pecenová","978-80-88366-34-8","https:\u002F\u002Fknihy.artmap.cz\u002Fen\u002Fjako-bych-ocima-fotografovala-stale-ty-stejne-snimky---elena-pecenova\u002F",[],[7090,7110],{"__typename":4483,"background":4892,"heading":7091,"content":7092,"content_nodes":7095},{"cs":4,"en":4},{"cs":7093,"en":7094},"\u003Cp>Telefonem, kapsou, otevíráme bránu do prostoru, který není dimenzovaný na jeden lidský život. Dominantním tématem knihy je zprostředkovatelnost, neustálé kopie kopií a utopený subjekt, který ztrácí běžné lidské vlastnosti a schopnosti. Naše já se cyklí, hroutí se do sebe, je bodem, kolem kterého se vše mění, vzniká a opět zase zaniká — jsme již dávno mrtví, nebo jen sledujeme kurýra, který nám dováží zásilku tak dlouho, že zapomeneme, kým se to vlastně díváme? S každou novou informací, otevřeným oknem, zprávou, videem nebo přečteným titulkem zpřístupňujeme další nové vrstvy našeho světa — máme pocit, že žijeme již celé věky a s každým počtem opakování se věci a stavy jeví jako dávno prožité a důvěrně známé. Básnický debut umělkyně Eleny Pecenové se snaží zprostředkovat prožitek čtení v rozšířeném poli pomocí obrazového doprovodu, svébytného aspektu knihy, který zdůrazňuje vizuální přístup jako jazyk dnešní doby.\u003C\u002Fp>\u003Cp>Jako bychom očima fotografovali stále ty stejné snímky a již neměli možnost fotoaparát ze svého pohledu odložit.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>With a phone, with a pocket, we open a gate to a space that is not designed for one human life. The dominant theme of the book is mediocrity, constant copies of copies, and a drowned subject who loses ordinary human qualities and abilities. Our self cycles, collapses in on itself, is the point around which everything changes, comes into being and disappears again - are we long dead, or are we just watching a courier deliver a package for so long that we forget who it is we are watching? With each new piece of information, window opened, message, video or headline read, we access new layers of our world - we feel like we’ve been alive for ages, and with each repetition, things and states seem long-lived and familiar. Artist Elena Pecenová’s poetic debut seeks to convey the experience of reading in an expanded field through imagery, a distinctive aspect of the book that emphasizes the visual as the language of our time.\u003C\u002Fp>\u003Cp>It is as if our eyes were photographing the same images over and over again, no longer able to put the camera out of sight.\u003C\u002Fp>\u003Cp>Published by the Academy of Fine Arts in Prague, 2022.\u003C\u002Fp>\u003Cp>The book is available only in Czech.\u003C\u002Fp>\u003Cp>220 CZK\u003C\u002Fp>",{"cs":7096,"en":7101},[7097,7099],{"__typename":4491,"html":7098},"\u003Cp>Telefonem, kapsou, otevíráme bránu do prostoru, který není dimenzovaný na jeden lidský život. Dominantním tématem knihy je zprostředkovatelnost, neustálé kopie kopií a utopený subjekt, který ztrácí běžné lidské vlastnosti a schopnosti. Naše já se cyklí, hroutí se do sebe, je bodem, kolem kterého se vše mění, vzniká a opět zase zaniká — jsme již dávno mrtví, nebo jen sledujeme kurýra, který nám dováží zásilku tak dlouho, že zapomeneme, kým se to vlastně díváme? S každou novou informací, otevřeným oknem, zprávou, videem nebo přečteným titulkem zpřístupňujeme další nové vrstvy našeho světa — máme pocit, že žijeme již celé věky a s každým počtem opakování se věci a stavy jeví jako dávno prožité a důvěrně známé. Básnický debut umělkyně Eleny Pecenové se snaží zprostředkovat prožitek čtení v rozšířeném poli pomocí obrazového doprovodu, svébytného aspektu knihy, který zdůrazňuje vizuální přístup jako jazyk dnešní doby.\u003C\u002Fp>",{"__typename":4491,"html":7100},"\u003Cp>Jako bychom očima fotografovali stále ty stejné snímky a již neměli možnost fotoaparát ze svého pohledu odložit.\u003C\u002Fp>",[7102,7104,7106,7107,7108],{"__typename":4491,"html":7103},"\u003Cp>With a phone, with a pocket, we open a gate to a space that is not designed for one human life. The dominant theme of the book is mediocrity, constant copies of copies, and a drowned subject who loses ordinary human qualities and abilities. Our self cycles, collapses in on itself, is the point around which everything changes, comes into being and disappears again - are we long dead, or are we just watching a courier deliver a package for so long that we forget who it is we are watching? With each new piece of information, window opened, message, video or headline read, we access new layers of our world - we feel like we’ve been alive for ages, and with each repetition, things and states seem long-lived and familiar. Artist Elena Pecenová’s poetic debut seeks to convey the experience of reading in an expanded field through imagery, a distinctive aspect of the book that emphasizes the visual as the language of our time.\u003C\u002Fp>",{"__typename":4491,"html":7105},"\u003Cp>It is as if our eyes were photographing the same images over and over again, no longer able to put the camera out of sight.\u003C\u002Fp>",{"__typename":4491,"html":6898},{"__typename":4491,"html":6345},{"__typename":4491,"html":7109},"\u003Cp>220 CZK\u003C\u002Fp>",{"__typename":4495,"background":4,"title":7111,"items":7112},{"cs":4,"en":4},[7113],{"title":7114,"content":7115,"content_nodes":7118},{"cs":4839,"en":4840},{"cs":7116,"en":7117},"\u003Cp>Elena Pecenová (nar. 1994) je česká vizuální umělkyně, básnířka a performerka. Vystudovala obor Intermedia na Akademii výtvarných umění v Praze. Ve své praxi se pohybuje na pomezí performativního umění a současné literatury, pracuje také s videem. Působila jako šéfredaktorka básnické platformy Psí víno a získala ocenění v mezinárodní literární soutěži Básne SK\u002FCZ 2019.\u003C\u002Fp>","\u003Cp>Elena Pecenová (b. 1994) is a Czech visual artist, poet, and performance artist. She graduated in Intermedia from the Academy of Fine Arts in Prague. Her practice spans performance art and contemporary literature, and she also works with video. She served as editor-in-chief of the poetry platform Psí víno and received an award in the international literary competition Básne SK\u002FCZ 2019.\u003C\u002Fp>",{"cs":7119,"en":7121},[7120],{"__typename":4491},[7122],{"__typename":4491},{"title":7124,"description":7125,"canonical_url":7126,"og_title":7127,"og_description":7128,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Felena-pecenova-as-if-my-eyes-keep-taking-the-same-pictures",{"cs":7131,"en":7136},[7132,7133],{"label":28,"menu_url":29},{"label":7134,"menu_url":7135},"Elena Pecenová, Jako bych očima fotografovala stále ty stejné snímky","\u002Felena-pecenova-jako-bych-ocima-fotografovala-stale-ty-stejne-snimky",[7137,7138],{"label":34,"menu_url":29},{"label":7072,"menu_url":7129},[7140],{"id":13,"name":14,"slug":7141},{"cs":16,"en":17},[],"2026-10-08 05:38:25",{"id":7145,"title":7146,"slug":7147,"description":4441,"file":7150,"image":7151,"year":7159,"authors":5008,"publisher":4476,"place_of_publication":91,"isbn":7160,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":7161,"eshop_link":7162,"info":7163,"content_blocks":7164,"seo":7189,"menu_url":7195,"breadcrumbs":7196,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":7205,"publicationTags":7208,"created_at":6943,"updated_at":7209},"8807","Vojtěch Hrubant – Markéta Soukupová, Screen Printing",{"cs":7148,"en":7149},"hrubant-soukupova-stotisk","vojtech-hrubant-marketa-soukupova-screen-printing","8808",{"id":7150,"caption":7152,"alt_text":4,"url":7153,"srcset":4,"media":7154,"conversions":7158,"created_at":6943,"updated_at":6943},"Hrubant_Soukupova_obalka","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1929\u002Fhrubant-soukupova-obalka.jpg",{"id":7155,"name":7152,"file_name":7156,"mime_type":4592,"size":7157,"url":7153},"1929","hrubant-soukupova-obalka.jpg",964544,[],2022,"978-80-88366-31-7",499,"https:\u002F\u002Fknihy.artmap.cz\u002Fsitotisk\u002F",[],[7165,7176],{"__typename":4483,"background":4892,"heading":7166,"content":7167,"content_nodes":7170},{"cs":4,"en":4},{"cs":7168,"en":7169},"\u003Cp>Sítotisk je autorská publikace vydaná v Grafických dílnách AVU. Je to manuál k jedné zajímavé grafické technice a jako takový se zábavnou formou snaží techniku ostatním přiblížit. Na 56 stranách se čtenář dozví, jaké materiály jsou potřeba, jak sítotisk funguje, jak vzniká, jak se tiskne a jakých chyb se vyvarovat. Autorská publikace nabízí i některé alternativní přístupy pro domácí tisk. Barevná knížka plná ilustrací se nesnaží o suchý výklad techniky. I přesto by měl být každý po přečtení schopen sítotisk sám realizovat.\u003C\u002Fp>","\u003Cp>Screen Printing is an author’s publication published in the Graphic Workshops of the Academy of Fine Arts. It is a manual to an interesting graphic technique and as such it tries to introduce the technique to others in a fun way. In 56 pages the reader will learn what materials are needed, how screen printing works, how it is created, how to print and what mistakes to avoid. The author’s book also offers some alternative approaches for home printing. Filled with color illustrations, the book does not attempt a dry explanation of the technique. Even so, after reading it, everyone should be able to implement screen printing themselves.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":7171,"en":7173},[7172],{"__typename":4491,"html":7168},[7174],{"__typename":4491,"html":7175},"\u003Cp>Screen Printing is an author’s publication published in the Graphic Workshops of the Academy of Fine Arts. It is a manual to an interesting graphic technique and as such it tries to introduce the technique to others in a fun way. In 56 pages the reader will learn what materials are needed, how screen printing works, how it is created, how to print and what mistakes to avoid. The author’s book also offers some alternative approaches for home printing. Filled with color illustrations, the book does not attempt a dry explanation of the technique. Even so, after reading it, everyone should be able to implement screen printing themselves.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":7177,"items":7178},{"cs":4,"en":4},[7179],{"title":7180,"content":7181,"content_nodes":7184},{"cs":5031,"en":4909},{"cs":7182,"en":7183},"\u003Cp>Oba autoři, Markéta Soukupová a Vojtěch Hrubant, jsou aktivními umělci, sítotisku se věnují a kniha představuje jejich první publikační spolupráci. Sítotisk je také první vlaštovkou\u003C\u002Fp>","\u003Cp> Both authors, Markéta Soukupová and Vojtěch Hrubant, are active artists and screen printers, and the book represents their first published collaboration. Screen printing is also the first flagship of an intended micro-edition mapping traditional graphic techniques. All this in a playful form, which is typical of their work.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":7185,"en":7187},[7186],{"__typename":4491},[7188],{"__typename":4491},{"title":7190,"description":7191,"canonical_url":7192,"og_title":7193,"og_description":7194,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fvojtech-hrubant-marketa-soukupova-screen-printing",{"cs":7197,"en":7202},[7198,7199],{"label":28,"menu_url":29},{"label":7200,"menu_url":7201},"Vojtěch Hrubant – Markéta Soukupová. Sítotisk","\u002Fhrubant-soukupova-stotisk",[7203,7204],{"label":34,"menu_url":29},{"label":7146,"menu_url":7195},[7206],{"id":13,"name":14,"slug":7207},{"cs":16,"en":17},[],"2026-10-08 05:46:42",{"id":7211,"title":7212,"slug":7213,"description":4441,"file":7216,"image":7217,"year":4,"authors":7226,"publisher":4476,"place_of_publication":91,"isbn":7227,"edition":91,"extent":91,"language":5836,"publication_type":4,"price":7228,"eshop_link":7229,"info":7230,"content_blocks":7231,"seo":7256,"menu_url":7262,"breadcrumbs":7263,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":7272,"publicationTags":7275,"created_at":7225,"updated_at":7276},"7171","Natural – Between Heaven and Earth. Sculptures 1980–2021",{"cs":7214,"en":7215},"lukas-rittstein-natural-mezi-nebem-a-zemi-sochy-1980-2021","natural-between-heaven-and-earth-sculptures-1980-2021","8779",{"id":7216,"caption":7218,"alt_text":4,"url":7219,"srcset":4,"media":7220,"conversions":7224,"created_at":7225,"updated_at":7225},"20230228-116A8845_up","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1930\u002F20230228-116a8845-up-scaled.jpg",{"id":7221,"name":7218,"file_name":7222,"mime_type":4592,"size":7223,"url":7219},"1930","20230228-116a8845-up-scaled.jpg",1043336,[],"2026-09-02 11:03:37","Lukáš Rittstein","978-80-88366-21-8.",1100,"https:\u002F\u002Fknihy.artmap.cz\u002Fen\u002Fnatural---lukas-rittstein\u002F",[],[7232,7243],{"__typename":4483,"background":4892,"heading":7233,"content":7234,"content_nodes":7237},{"cs":4,"en":4},{"cs":7235,"en":7236},"\u003Cp>Kniha \u003Cem>NATURAL\u003C\u002Fem> jednoho z nejznámějších českých sochařů Lukáše Rittsteina (lautreáta ceny Jindřicha Chalupeckého a vedoucího ateliéru sochařství na Pražské Akademii výtvarných umění) je nejen monografií, ale kapitoly metaforických soch balancujících mezi realitou a abstrakcí často viděných ve veřejném prostoru, provází i hluboký lidský příběh opakovaných setkání se symbolicky posledními kanibalskými náčelníky Papuánského kmene Yali Mek, kteří dokonce v některých kapitolách do plastik vstupují, happeningu se účastní a sochami se stávají…Nadpřirozené setkání pravěku a vesmíru očima umění v knižní troj-edici, složené z knih \u003Cem>ULTRA+SUPER+NATURAL\u003C\u002Fem>.Knižní troj-edici s názvem \u003Cem>ULTRA-SUPER-NATURAL\u003C\u002Fem> vydávají Centrum současného umění DOX Praha, Akademie výtvarných umění v Praze, Knihovna Václava Havla a nakladatelství KANT u příležitosti stejnojmenné výstavy v Centru současného umění DOX (2020).\u003C\u002Fp>","\u003Cp>The book NATURAL by one of the most famous Czech sculptors Lukáš Rittstein (laureate of the Jindřich Chalupecký Award and former head of the sculpture studio at the Prague Academy of Fine Arts) is not only a monograph, but also a chapter of metaphorical sculptures balancing between reality and abstraction often seen in public space, is accompanied by a deeply human story of repeated encounters with the symbolically last cannibal chiefs of the Papuan Yali Mek tribe, who even enter the sculptures in some chapters, participate in the happenings and become sculptures. A supernatural encounter of prehistory and space through the eyes of art in a three-book tri-edition, consisting of ULTRA+SUPER+NATURAL. The book tri-edition entitled ULTRA-SUPER-NATURAL is published by the DOX Centre for Contemporary Art, the Academy of Fine Arts in Prague, the Václav Havel Library and the KANT publishing house on the occasion of the exhibition of the same name at the DOX Centre for Contemporary Art (2020).\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":7238,"en":7240},[7239],{"__typename":4491,"html":7235},[7241],{"__typename":4491,"html":7242},"\u003Cp>The book NATURAL by one of the most famous Czech sculptors Lukáš Rittstein (laureate of the Jindřich Chalupecký Award and former head of the sculpture studio at the Prague Academy of Fine Arts) is not only a monograph, but also a chapter of metaphorical sculptures balancing between reality and abstraction often seen in public space, is accompanied by a deeply human story of repeated encounters with the symbolically last cannibal chiefs of the Papuan Yali Mek tribe, who even enter the sculptures in some chapters, participate in the happenings and become sculptures. A supernatural encounter of prehistory and space through the eyes of art in a three-book tri-edition, consisting of ULTRA+SUPER+NATURAL. The book tri-edition entitled ULTRA-SUPER-NATURAL is published by the DOX Centre for Contemporary Art, the Academy of Fine Arts in Prague, the Václav Havel Library and the KANT publishing house on the occasion of the exhibition of the same name at the DOX Centre for Contemporary Art (2020).\u003C\u002Fp>",{"__typename":4495,"background":4,"title":7244,"items":7245},{"cs":4,"en":4},[7246],{"title":7247,"content":7248,"content_nodes":7251},{"cs":5790,"en":4840},{"cs":7249,"en":7250},"\u003Cp>Lukáš Rittstein (nar. 1973) je český sochař. Absolvoval Akademii výtvarných umění v Praze a následně postgraduální studium na Vysoké škole uměleckoprůmyslové v Praze. Ve své tvorbě pracuje se sochou, objektem a instalací, propojuje organické a technické formy a čerpá z osobních zkušeností, vzpomínek a cest. V roce 1999 získal Cenu Jindřicha Chalupeckého\u003C\u002Fp>","\u003Cp>Lukáš Rittstein (b. 1973) is a Czech sculptor. He graduated from the Academy of Fine Arts in Prague and subsequently completed postgraduate studies at the Academy of Arts, Architecture and Design in Prague. His practice encompasses sculpture, objects, and installation, combining organic and technological forms and drawing on personal experiences, memories, and travels. In 1999, he received the Jindřich Chalupecký Award.\u003C\u002Fp>",{"cs":7252,"en":7254},[7253],{"__typename":4491},[7255],{"__typename":4491},{"title":7257,"description":7258,"canonical_url":7259,"og_title":7260,"og_description":7261,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fnatural-between-heaven-and-earth-sculptures-1980-2021",{"cs":7264,"en":7269},[7265,7266],{"label":28,"menu_url":29},{"label":7267,"menu_url":7268},"Lukáš Rittstein. Natural – Mezi nebem a zemí. Sochy 1980–2021","\u002Flukas-rittstein-natural-mezi-nebem-a-zemi-sochy-1980-2021",[7270,7271],{"label":34,"menu_url":29},{"label":7212,"menu_url":7262},[7273],{"id":13,"name":14,"slug":7274},{"cs":16,"en":17},[],"2026-10-08 05:20:31",{"id":7278,"title":7279,"slug":7280,"description":4441,"file":7283,"image":7284,"year":7159,"authors":7292,"publisher":4476,"place_of_publication":91,"isbn":7293,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":4956,"eshop_link":7294,"info":7295,"content_blocks":7296,"seo":7325,"menu_url":7331,"breadcrumbs":7332,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":7341,"publicationTags":7344,"created_at":7225,"updated_at":7345},"5808","Art and Emancipation. Selected Texts from Piotr Piotrowski",{"cs":7281,"en":7282},"umeni-a-emancipace-vybor-z-textu-piotra-piotrowskeho","art-and-emancipation-selected-texts-from-piotr-piotrowski","5809",{"id":7283,"caption":7285,"alt_text":4,"url":7286,"srcset":4,"media":7287,"conversions":7291,"created_at":7225,"updated_at":7225},"obalka_web","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1931\u002Fobalka-web-scaled.jpg",{"id":7288,"name":7285,"file_name":7289,"mime_type":4592,"size":7290,"url":7286},"1931","obalka-web-scaled.jpg",355902,[],"Pavlína Morganová,  Martin Škabraha (eds.)","978-80-88366-39-3","https:\u002F\u002Fknihy.artmap.cz\u002Fumeni-emancipace-piotr-piotrowski\u002F?srsltid=AU7gw4XHATLYlm_RjJI58OW7XbiYFjzFZ24zBTWqrBF_FaijIlTAovc7",[],[7297,7313],{"__typename":4483,"background":4892,"heading":7298,"content":7299,"content_nodes":7302},{"cs":4,"en":4},{"cs":7300,"en":7301},"\u003Cp>Kniha \u003Cem>Umění a emancipace\u003C\u002Fem> je v českém prostředí prvním uceleným pokusem vyrovnat se s odkazem významného polského intelektuála, jehož myšlenky zůstávají podnětné nejen na poli dějin moderního a současného umění. Piotr Piotrowski (1952—2015) se stal celosvě­tově uznávaným teoretikem díky své koncepci horizontálních – tedy nehierarchicky pojatých – dějin umění, inspirovaných marxistickou a feministickou tradicí. Předkládaný výbor obsahuje texty z let 1998 až 2013; jde jak o samostatně publikované studie, tak o kapitoly z několika Piotrowského knih. Autor v nich tematizuje mocenské, zejména geopolitické vztahy, v nichž umění vzniká a v nichž se píší i jeho dějiny. Odmítá nekritické přejímání západní perspektivy, ať již ve vztahu k bývalému sovětskému bloku, nebo dalším světovým periferiím a marginalizovaným kulturám. V té souvislosti se věnuje také otázkám postkoloniálních studií a zpochybňuje jejich aplikaci na situaci postkomunistických zemí.\u003C\u002Fp>\u003Cp>Dalším tématem knihy je idea kritického muzea, kterou Piotrowski důsledně zastával i ve svém ve­řejném působení, kde narážela na požadavky konzervativní politiky. Výbor je doplněn dvěma rozhovory a úvodem od Agaty Jakubowske a Magdaleny Radomske, které dnes v díle svého učitele pokračují.\u003C\u002Fp>","\u003Cp>The book Art and Emancipation is the first comprehensive attempt in the Czech environment to come to terms with the legacy of a significant Polish intellectual whose ideas remain stimulating not only in the field of modern and contemporary art history. Piotr Piotrowski (1952-2015) became an internationally renowned theorist thanks to his conception of horizontal - i.e. non-hierarchical - art history, inspired by the Marxist and feminist tradition. The present collection contains texts from 1998 to 2013, both self-published studies and chapters from several of Piotrowski’s books. In them, the author thematizes the power relations, especially geopolitical ones, in which art is created and in which its history is written. He rejects the uncritical adoption of a Western perspective, whether in relation to the former Soviet bloc or to other world peripheries and marginalized cultures. In this context, he also addresses the issues of postcolonial studies and questions their application to the situation of post-communist countries.\u003C\u002Fp>\u003Cp>Another theme of the book is the idea of the critical museum, which Piotrowski has consistently advocated in his public work, where it has clashed with the demands of conservative politics. The committee is complemented by two interviews and an introduction by Agata Jakubowska and Magdalena Radomska, who continue their teacher’s work today.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":7303,"en":7308},[7304,7306],{"__typename":4491,"html":7305},"\u003Cp>Kniha \u003Cem>Umění a emancipace\u003C\u002Fem> je v českém prostředí prvním uceleným pokusem vyrovnat se s odkazem významného polského intelektuála, jehož myšlenky zůstávají podnětné nejen na poli dějin moderního a současného umění. Piotr Piotrowski (1952—2015) se stal celosvě­tově uznávaným teoretikem díky své koncepci horizontálních – tedy nehierarchicky pojatých – dějin umění, inspirovaných marxistickou a feministickou tradicí. Předkládaný výbor obsahuje texty z let 1998 až 2013; jde jak o samostatně publikované studie, tak o kapitoly z několika Piotrowského knih. Autor v nich tematizuje mocenské, zejména geopolitické vztahy, v nichž umění vzniká a v nichž se píší i jeho dějiny. Odmítá nekritické přejímání západní perspektivy, ať již ve vztahu k bývalému sovětskému bloku, nebo dalším světovým periferiím a marginalizovaným kulturám. V té souvislosti se věnuje také otázkám postkoloniálních studií a zpochybňuje jejich aplikaci na situaci postkomunistických zemí.\u003C\u002Fp>",{"__typename":4491,"html":7307},"\u003Cp>Dalším tématem knihy je idea kritického muzea, kterou Piotrowski důsledně zastával i ve svém ve­řejném působení, kde narážela na požadavky konzervativní politiky. Výbor je doplněn dvěma rozhovory a úvodem od Agaty Jakubowske a Magdaleny Radomske, které dnes v díle svého učitele pokračují.\u003C\u002Fp>",[7309,7311],{"__typename":4491,"html":7310},"\u003Cp>The book Art and Emancipation is the first comprehensive attempt in the Czech environment to come to terms with the legacy of a significant Polish intellectual whose ideas remain stimulating not only in the field of modern and contemporary art history. Piotr Piotrowski (1952-2015) became an internationally renowned theorist thanks to his conception of horizontal - i.e. non-hierarchical - art history, inspired by the Marxist and feminist tradition. The present collection contains texts from 1998 to 2013, both self-published studies and chapters from several of Piotrowski’s books. In them, the author thematizes the power relations, especially geopolitical ones, in which art is created and in which its history is written. He rejects the uncritical adoption of a Western perspective, whether in relation to the former Soviet bloc or to other world peripheries and marginalized cultures. In this context, he also addresses the issues of postcolonial studies and questions their application to the situation of post-communist countries.\u003C\u002Fp>",{"__typename":4491,"html":7312},"\u003Cp>Another theme of the book is the idea of the critical museum, which Piotrowski has consistently advocated in his public work, where it has clashed with the demands of conservative politics. The committee is complemented by two interviews and an introduction by Agata Jakubowska and Magdalena Radomska, who continue their teacher’s work today.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":7314,"items":7315},{"cs":4,"en":4},[7316],{"title":7317,"content":7318,"content_nodes":7320},{"cs":5031,"en":4909},{"cs":7319,"en":7319},"\u003Cp>Pavlína Morganová,  Martin Škabraha (eds.)\u003C\u002Fp>",{"cs":7321,"en":7323},[7322],{"__typename":4491},[7324],{"__typename":4491},{"title":7326,"description":7327,"canonical_url":7328,"og_title":7329,"og_description":7330,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fart-and-emancipation-selected-texts-from-piotr-piotrowski",{"cs":7333,"en":7338},[7334,7335],{"label":28,"menu_url":29},{"label":7336,"menu_url":7337},"Umění a emancipace. 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Snaží se vystihnout živou strukturu ateliéru, nahlíží jeho důležité inspirační zdroje, různorodé pracovní postupy i výslednou tvorbu studentů a studentek, absolventů a absolventek, kteří ateliérem v průběhu let prošli. Dynamickým způsobem přestavuje vizuální pohled do ateliérové „kuchyně. Koncepce grafického rozvržení publikace je v přeneseném slova smyslu komponována jako výstava.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>The compilation publication Knock, Knock is a record of the current positions of the Robert Šalanda - Lukáš Machalický painting studio after five years of its existence. It seeks to capture the vibrant structure of the studio, looking at its important sources of inspiration, its diverse working practices and the resulting work of the students, graduates and alumni who have passed through the studio over the years. In a dynamic way, it provides a visual insight into the studio’s “kitchen”. The concept of the graphic layout of the publication is, in a figurative sense, composed as an exhibition.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":7949,"en":7952},[7950],{"__typename":4491,"html":7951},"\u003Cp>Souborná publikace Knock, Knock je záznamem aktuálních pozic malířského ateliéru Roberta Šalandy – Lukáše Machalického po pěti letech jeho existence. Snaží se vystihnout živou strukturu ateliéru, nahlíží jeho důležité inspirační zdroje, různorodé pracovní postupy i výslednou tvorbu studentů a studentek, absolventů a absolventek, kteří ateliérem v průběhu let prošli. Dynamickým způsobem přestavuje vizuální pohled do ateliérové „kuchyně. Koncepce grafického rozvržení publikace je v přeneseném slova smyslu komponována jako výstava.\u003C\u002Fp>",[7953],{"__typename":4491,"html":7954},"\u003Cp>The compilation publication Knock, Knock is a record of the current positions of the Robert Šalanda - Lukáš Machalický painting studio after five years of its existence. It seeks to capture the vibrant structure of the studio, looking at its important sources of inspiration, its diverse working practices and the resulting work of the students, graduates and alumni who have passed through the studio over the years. In a dynamic way, it provides a visual insight into the studio’s “kitchen”. The concept of the graphic layout of the publication is, in a figurative sense, composed as an exhibition.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":7956,"items":7957},{"cs":4,"en":4},[7958],{"title":7959,"content":7960,"content_nodes":7963},{"cs":4908,"en":4909},{"cs":7961,"en":7962},"\u003Cp>Robert Šalanda a Lukáš Machalický vedou společně od roku 2016 Ateliér malířství I (Malba 1) na AVU. Oba jsou součástí generace nastupující na uměleckou scénu v období přelomu tisíciletí. 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Jejím cílem je podat osobní a ucelený (zdaleka ne však kompletní) pohled na typologie městských a družstevních bytových domů jako na jeden z možných a funkčních nástrojů řešení nedostupnosti bydlení. Skrze text i obraz nechává nahlédnout do myšlení architektů, komentuje historický i současný kontext a předkládá možnosti, jak navrátit nájemnímu bydlení jeho kvalitu i zašlou slávu.\u003C\u002Fp>","\u003Cp>The book Náš Dům (Our House) both documents and represents the outcome of the author's exploration of Czech rental housing architecture, which she conducted between 2018 and 2022 as part of her doctoral studies at the Academy of Fine Arts in Prague. Its aim is to offer a personal and comprehensive (though by no means exhaustive) perspective on the typologies of municipal and cooperative apartment buildings as one of the possible and effective ways to address the lack of affordable housing. Through text and images, the book provides insight into architects' ways of thinking, examines both historical and contemporary contexts, and explores possibilities for restoring the quality and former prestige of rental housing.\u003C\u002Fp>",{"cs":8059,"en":8061},[8060],{"__typename":4491,"html":8056},[8062],{"__typename":4491,"html":8063},"\u003Cp>The book Náš Dům (Our House) both documents and represents the outcome of the author's exploration of Czech rental housing architecture, which she conducted between 2018 and 2022 as part of her doctoral studies at the Academy of Fine Arts in Prague. Its aim is to offer a personal and comprehensive (though by no means exhaustive) perspective on the typologies of municipal and cooperative apartment buildings as one of the possible and effective ways to address the lack of affordable housing. 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He explores the relationship between space, movement, and perception, often working with architecture and everyday situations, which he shifts into new contexts through subtle interventions.\u003C\u002Fp>",{"cs":8455,"en":8457},[8456],{"__typename":4491},[8458],{"__typename":4491},{"title":8460,"description":8461,"canonical_url":8462,"og_title":8463,"og_description":8464,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fnotes-on-airships",{"cs":8467,"en":8472},[8468,8469],{"label":28,"menu_url":29},{"label":8470,"menu_url":8471},"Poznámky o vzducholodích","\u002Fpoznamky-o-vzducholodich",[8473,8474],{"label":34,"menu_url":29},{"label":8414,"menu_url":8465},[8476],{"id":13,"name":14,"slug":8477},{"cs":16,"en":17},[],"2026-10-07 21:12:13",{"id":8481,"title":8482,"slug":8483,"description":4441,"file":8486,"image":8487,"year":8495,"authors":8496,"publisher":4476,"place_of_publication":91,"isbn":8497,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":8498,"eshop_link":8499,"info":8500,"content_blocks":8501,"seo":8530,"menu_url":8536,"breadcrumbs":8537,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":8546,"publicationTags":8549,"created_at":5006,"updated_at":8550},"1712","Sculpture 2 AVU 1990–2016 \u002F Demartini – Zeithamml",{"cs":8484,"en":8485},"socha-2-avu-1990-2016-demartini-zeithamml","sculpture-2-avu-1990-2016-demartini-zeithamml","1713",{"id":8486,"caption":8488,"alt_text":4,"url":8489,"srcset":4,"media":8490,"conversions":8494,"created_at":5006,"updated_at":5006},"Socha2AVU_obalka","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1902\u002Fsocha2avu-obalka.jpg",{"id":8491,"name":8488,"file_name":8492,"mime_type":4592,"size":8493,"url":8489},"1902","socha2avu-obalka.jpg",1465334,[],2017,"Monika Immrová, Iva Mladičová (eds.)","978-80-87108-69-7",690,"https:\u002F\u002Fknihy.artmap.cz\u002Fen\u002Fsocha-2-avu-1990-2016-demartini---zeithamml\u002F",[],[8502,8518],{"__typename":4483,"background":4892,"heading":8503,"content":8504,"content_nodes":8507},{"cs":4,"en":4},{"cs":8505,"en":8506},"\u003Cp>Publikace podává zprávu o 26letém období sochařského ateliéru Akademie výtvarných umění Socha 2, vedeném v letech 1990–1995 Hugem Demartinim a v letech 1995–2016 Jindřichem Zeithammlem. Ateliér byl zaměřen na abstraktní sochu, v duchu pojetí sochařství v původním slova smyslu, tedy jako vyjádření prostřednictvím hmoty, forem a jejich vzájemné spolupráce. K důležitým charakteristikám děl studentů obou škol náleží vědomí významu sochy, možnosti vyjádření, které skýtá práce s materiálem, vědomí proporčních zákonitostí a kánonu. Tradiční sochařský vyjadřovací prostředek je zde pojímán jako stále platná platforma, o niž je možné se kdykoli při experimentálním hledání opřít. Tematické proměny od transpersonálních idejí k osobnímu příběhu reflektují přítomnost etického rozměru bytí, vlastního postoje, současně odkazují do rovin obecných.\u003C\u002Fp>\u003Cp>Rozsáhlý soubor fotografií děl absolventů, studentů i pedagogů tvoří hlavní část publikace. Je uveden chronologickou osou, jež podává přehled o době studia všech autorů, současně o výstavách a exkurzích ateliéru. Soubory fotografií doprovází uměleckohistorická studie, medailony všech autorů a výběr z již publikovaných textů autorských, kurátorských, rozhovorů a recenzí.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>The publication reports on the 26-year period of the sculpture studio of the Academy of Fine Arts, Sculpture 2, led in 1990-1995 by Hugo Demartini and in 1995-2016 by Jindřich Zeithamml. The studio focused on abstract sculpture, in the spirit of the concept of sculpture in its original sense, i.e. as expression through matter, forms and their mutual cooperation. Among the important characteristics of the works of the students of both schools is the awareness of the meaning of sculpture, the possibility of expression offered by working with material, the awareness of the laws of proportion and the canon. The traditional sculptural means of expression is conceived here as a permanently valid platform, which can be relied upon at any time for experimental research. The thematic transformations from transpersonal ideas to personal narratives reflect the presence of an ethical dimension of being, of one’s own attitude, while at the same time referring to general planes.\u003C\u002Fp>\u003Cp>An extensive collection of photographs of works by alumni, students and teachers forms the main part of the publication. It is introduced by a chronological axis that gives an overview of the period of study of all the authors, at the same time exhibitions and excursions of the studio. The sets of photographs are accompanied by an art historical study, biographies of all the authors and a selection of already published texts by the authors, curators, interviews and reviews.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":8508,"en":8513},[8509,8511],{"__typename":4491,"html":8510},"\u003Cp>Publikace podává zprávu o 26letém období sochařského ateliéru Akademie výtvarných umění Socha 2, vedeném v letech 1990–1995 Hugem Demartinim a v letech 1995–2016 Jindřichem Zeithammlem. Ateliér byl zaměřen na abstraktní sochu, v duchu pojetí sochařství v původním slova smyslu, tedy jako vyjádření prostřednictvím hmoty, forem a jejich vzájemné spolupráce. K důležitým charakteristikám děl studentů obou škol náleží vědomí významu sochy, možnosti vyjádření, které skýtá práce s materiálem, vědomí proporčních zákonitostí a kánonu. Tradiční sochařský vyjadřovací prostředek je zde pojímán jako stále platná platforma, o niž je možné se kdykoli při experimentálním hledání opřít. Tematické proměny od transpersonálních idejí k osobnímu příběhu reflektují přítomnost etického rozměru bytí, vlastního postoje, současně odkazují do rovin obecných.\u003C\u002Fp>",{"__typename":4491,"html":8512},"\u003Cp>Rozsáhlý soubor fotografií děl absolventů, studentů i pedagogů tvoří hlavní část publikace. Je uveden chronologickou osou, jež podává přehled o době studia všech autorů, současně o výstavách a exkurzích ateliéru. Soubory fotografií doprovází uměleckohistorická studie, medailony všech autorů a výběr z již publikovaných textů autorských, kurátorských, rozhovorů a recenzí.\u003C\u002Fp>",[8514,8516],{"__typename":4491,"html":8515},"\u003Cp>The publication reports on the 26-year period of the sculpture studio of the Academy of Fine Arts, Sculpture 2, led in 1990-1995 by Hugo Demartini and in 1995-2016 by Jindřich Zeithamml. The studio focused on abstract sculpture, in the spirit of the concept of sculpture in its original sense, i.e. as expression through matter, forms and their mutual cooperation. Among the important characteristics of the works of the students of both schools is the awareness of the meaning of sculpture, the possibility of expression offered by working with material, the awareness of the laws of proportion and the canon. The traditional sculptural means of expression is conceived here as a permanently valid platform, which can be relied upon at any time for experimental research. The thematic transformations from transpersonal ideas to personal narratives reflect the presence of an ethical dimension of being, of one’s own attitude, while at the same time referring to general planes.\u003C\u002Fp>",{"__typename":4491,"html":8517},"\u003Cp>An extensive collection of photographs of works by alumni, students and teachers forms the main part of the publication. It is introduced by a chronological axis that gives an overview of the period of study of all the authors, at the same time exhibitions and excursions of the studio. The sets of photographs are accompanied by an art historical study, biographies of all the authors and a selection of already published texts by the authors, curators, interviews and reviews.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":8519,"items":8520},{"cs":4,"en":4},[8521],{"title":8522,"content":8523,"content_nodes":8525},{"cs":5031,"en":4909},{"cs":8524,"en":8524},"\u003Cp>Dominik Adamec – Emil Adamec – Mikuláš Adamovský – Pavel Barabas – Adéla Bébarová – Martin Bobek – Filomena Borecká – Milan Cais – Šimon Cibulka – Hugo Demartini – Eliáš Dolejší – Radka Doubravová (Bodzevič) – Gabriela Egemová (Lásková) – Tereza Eisnerová – Miloslav Fekar – Martin Gabčan – Renáta Hanesová – Matouš Háša – Tomáš Havlík – Michaela Hladíková – Pavel Hošek – Michal Hradil – Hana Hrazdírová – Eva Humlová – Monika Immrová – Petr Janoušek – Stanislav Jenčo – Zuzana Kačerová – Jan Kadlec – Kryštof Kaplan – Irena Kárníková – Barbora Kleinhamplová – Jiří Kobr – Klára Kolářová – Jan Komárek – Markéta Korečková – Marius Kotrba – Jiří Kovařík – Jan Kovářík – Václav Krčál – Petra Křivová (Pešková) – Jiří Kývala – Dominik Lang – Vojtěch Linart – Jakub Lipavský – Matěj Lipavský – Marek Ludmila – Bronislava Malá (Bakule) – Štěpán Málek – Martin Malý – Vojtěch Míča – Štefan Michalko – Luděk Míšek – Roman Morcínek – Vojtěch Nerad – Robert Novák – Martin Papcún – Pavel Pecina – Eliška Perglerová – Richard Pešek – Lucie Píštělková – Anna Plačková – Tomáš Polcar – Radana Poubová (Čablová) – Lucie Procházková – Karel Přáda – Kateřina Puffrová (Komm) – Jakub Rajnoch – Veronika Resslová – Lukáš Rittstein – Filip Roztočil – Aleš Říha – Zdeňka Saletová – Eduard Seják – Sáva Spirova – Petr Stibral – Pavel Šimíček – Marek Škubal – Petr Šlosar – Petr Šťastný – Kristýna Täubelová – Daniel Trubač – Lukáš Tůma – Jan Turner – Jan Vágner – Markéta Vaňková – Jan Vejtasa – Erika Velická – David Velík – Adéla Vepřková (Bernhardová) – Martina Viková – Eva Vláčilíková (Matušek) – Tomáš Voves – Sebastian Wojnar – Jindřich Zeithamml – Martin Žák\u003C\u002Fp>",{"cs":8526,"en":8528},[8527],{"__typename":4491},[8529],{"__typename":4491},{"title":8531,"description":8532,"canonical_url":8533,"og_title":8534,"og_description":8535,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fsculpture-2-avu-1990-2016-demartini-zeithamml",{"cs":8538,"en":8543},[8539,8540],{"label":28,"menu_url":29},{"label":8541,"menu_url":8542},"Socha 2 AVU 1990–2016 \u002F Demartini – Zeithamml","\u002Fsocha-2-avu-1990-2016-demartini-zeithamml",[8544,8545],{"label":34,"menu_url":29},{"label":8482,"menu_url":8536},[8547],{"id":13,"name":14,"slug":8548},{"cs":16,"en":17},[],"2026-10-08 05:03:21",{"id":8552,"title":8553,"slug":8554,"description":4441,"file":8557,"image":8558,"year":8567,"authors":8568,"publisher":4476,"place_of_publication":91,"isbn":8569,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":8570,"eshop_link":8571,"info":8572,"content_blocks":8573,"seo":8600,"menu_url":8606,"breadcrumbs":8607,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":8616,"publicationTags":8619,"created_at":8566,"updated_at":8620},"1710","O důležitých věcech se nemluví. Společenství ateliéru Karla Nepraše (Important Things Are Not Talked About. Karel Nepraš Studio Community)",{"cs":8555,"en":8556},"o-dulezitych-vecech-se-nemluvi-spolecenstvi-atelieru-karla-neprase","o-dulezitych-vecech-se-nemluvi-spolecenstvi-atelieru-karla-neprase-important-things-are-not-talked-about-karel-nepras-studio-community","1711",{"id":8557,"caption":8559,"alt_text":4,"url":8560,"srcset":4,"media":8561,"conversions":8565,"created_at":8566,"updated_at":8566},"3_obalka_Nepras","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1938\u002F3-obalka-nepras.jpg",{"id":8562,"name":8559,"file_name":8563,"mime_type":4592,"size":8564,"url":8560},"1938","3-obalka-nepras.jpg",240734,[],"2026-09-02 11:03:38",2020,"Martina Vítková, Markéta Korečková (eds.)","978-80-87108-82-6",590,"https:\u002F\u002Fknihy.artmap.cz\u002Fo-dulezitych-vecech-se-nemluvi-spolecenstvi-atelieru-karla-neprase-martina-vitkova--marketa-koreckova--eds\u002F",[],[8574],{"__typename":4483,"background":4892,"heading":8575,"content":8576,"content_nodes":8579},{"cs":4,"en":4},{"cs":8577,"en":8578},"\u003Cp>Kniha je příběhem sochařského společenství, které vzniklo v devadesátých letech na pražské Akademii výtvarných umění okolo Karla Nepraše, a úvahou o sochařství samotném ve věku velkých změn. Neprašovou školou prošlo několik desítek studentů ve dvou etapách, zprvu jako Stará parta, později Lesbická škola. Jak trefně poznamenal jeden z nich, z ateliéru Karla Nepraše se téměř neodcházelo, taková tam vládla idyla.\u003C\u002Fp>\u003Cp>Všechny texty (popis každodenní sochařské praxe ateliéru, faktografie) rámují vzpomínky a rozhovory se studenty, kolegy a přáteli Karla Nepraše. Bohatý obrazový materiál přibližuje sochařský přístup profesora Nepraše, jeho asistentů a žáků.\u003C\u002Fp>\u003Cp>„Neprašova sochařská škola se stala pojmem i mimo mantinely samotné výtvarné disciplíny, řekněme jako samovolně vykrystalizovaný sociální experiment založený na důvěře mezi pedagogem a studenty.“ napsal Petr Vaňous v recenzi knihy, kterou vnímá jako dvoupólovou: „portrét Karla Nepraše jako sochařské „legendy“, bohémské osobnosti neztrácející pod profesorským talárem pochybnosti o smrtelné vážnosti svého akademického poslání doplňuje „armáda Neprašových žáků.“\u003C\u002Fp>\u003Cp>Karel Nepraš – Jiří Plieštik – Karel Bartáček – Simona Blahutová – Filomena Borecká – Lukáš Bravenec – Jan Cileček – Klára Čulíková (Langová) – Pavel Doskočil – Jana Doubková – Gabriela Lásková (Egemová) – Michal Fejfar – Martina Hozová – Martina Chloupa – Zdeněk Chmelař – Klára Klose – Rebeka Kloudová (Kočí) – Martina Niubó-Klouzová – Kateřina Kociánová – Markéta Korečková – Lenka Kortánková – Filip Kudrnáč – Alžběta Kumstátová – Ján Macko – Aleš Makarenko – Václav Mandelík – Tomáš Martinák – MICL – Michal Novotný – Vít Novotný – Miroslav Pánek – Jan Pospíšil – Vlasta Samohrdová – Paulina Skavová – Martin Slovák – Martin Šohajek – Benedikt Tolar – Tomáš Vejdovský – Lukáš Wagner.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>The book is the story of the sculptural community that emerged around Karel Nepraš at the Academy of Fine Arts in Prague in the 1990s, and a reflection on sculpture itself in an age of great change. Several dozen students passed through Nepraš’s school in two stages, first as the Old Bunch, later as the Lesbian School. As one of them aptly remarked, there was almost no leaving Karel Nepraš’s studio, such was the idyll there.\u003C\u002Fp>\u003Cp>All the texts (descriptions of daily sculptural practice in the studio, factual information) are framed by memories and interviews with students, colleagues and friends of Karel Nepraš. The rich pictorial material presents the sculptural approach of Professor Nepraš, his assistants and pupils.\u003C\u002Fp>\u003Cp>“Nepraš’s sculpture school has become a concept beyond the confines of the art discipline itself, say as a spontaneously crystallized social experiment based on trust between teacher and students.” Petr Vaňous wrote in his review of the book, which he perceives as two-pronged: “The portrait of Karel Nepraš as a sculptural ‘legend’, a bohemian personality who never lost doubts about the mortal seriousness of his academic mission under his professorial gown, is complemented by an ‘army of Nepraš’s pupils.”\u003C\u002Fp>\u003Cp>Karel Nepraš – Jiří Plieštik – Karel Bartáček – Simona Blahutová – Filomena Borecká – Lukáš Bravenec – Jan Cileček – Klára Čulíková (Langová) – Pavel Doskočil – Jana Doubková – Gabriela Lásková (Egemová) – Michal Fejfar – Martina Hozová – Martina Chloupa – Zdeněk Chmelař – Klára Klose – Rebeka Kloudová (Kočí) – Martina Niubó-Klouzová – Kateřina Kociánová – Markéta Korečková – Lenka Kortánková – Filip Kudrnáč – Alžběta Kumstátová – Ján Macko – Aleš Makarenko – Václav Mandelík – Tomáš Martinák – MICL – Michal Novotný – Vít Novotný – Miroslav Pánek – Jan Pospíšil – Vlasta Samohrdová – Paulina Skavová – Martin Slovák – Martin Šohajek – Benedikt Tolar – Tomáš Vejdovský – Lukáš Wagner.\u003C\u002Fp>\u003Cp>The book is available only in Czech.\u003C\u002Fp>\u003Cp>590 CZK\u003C\u002Fp>",{"cs":8580,"en":8589},[8581,8583,8585,8587],{"__typename":4491,"html":8582},"\u003Cp>Kniha je příběhem sochařského společenství, které vzniklo v devadesátých letech na pražské Akademii výtvarných umění okolo Karla Nepraše, a úvahou o sochařství samotném ve věku velkých změn. Neprašovou školou prošlo několik desítek studentů ve dvou etapách, zprvu jako Stará parta, později Lesbická škola. Jak trefně poznamenal jeden z nich, z ateliéru Karla Nepraše se téměř neodcházelo, taková tam vládla idyla.\u003C\u002Fp>",{"__typename":4491,"html":8584},"\u003Cp>Všechny texty (popis každodenní sochařské praxe ateliéru, faktografie) rámují vzpomínky a rozhovory se studenty, kolegy a přáteli Karla Nepraše. Bohatý obrazový materiál přibližuje sochařský přístup profesora Nepraše, jeho asistentů a žáků.\u003C\u002Fp>",{"__typename":4491,"html":8586},"\u003Cp>„Neprašova sochařská škola se stala pojmem i mimo mantinely samotné výtvarné disciplíny, řekněme jako samovolně vykrystalizovaný sociální experiment založený na důvěře mezi pedagogem a studenty.“ napsal Petr Vaňous v recenzi knihy, kterou vnímá jako dvoupólovou: „portrét Karla Nepraše jako sochařské „legendy“, bohémské osobnosti neztrácející pod profesorským talárem pochybnosti o smrtelné vážnosti svého akademického poslání doplňuje „armáda Neprašových žáků.“\u003C\u002Fp>",{"__typename":4491,"html":8588},"\u003Cp>Karel Nepraš – Jiří Plieštik – Karel Bartáček – Simona Blahutová – Filomena Borecká – Lukáš Bravenec – Jan Cileček – Klára Čulíková (Langová) – Pavel Doskočil – Jana Doubková – Gabriela Lásková (Egemová) – Michal Fejfar – Martina Hozová – Martina Chloupa – Zdeněk Chmelař – Klára Klose – Rebeka Kloudová (Kočí) – Martina Niubó-Klouzová – Kateřina Kociánová – Markéta Korečková – Lenka Kortánková – Filip Kudrnáč – Alžběta Kumstátová – Ján Macko – Aleš Makarenko – Václav Mandelík – Tomáš Martinák – MICL – Michal Novotný – Vít Novotný – Miroslav Pánek – Jan Pospíšil – Vlasta Samohrdová – Paulina Skavová – Martin Slovák – Martin Šohajek – Benedikt Tolar – Tomáš Vejdovský – Lukáš Wagner.\u003C\u002Fp>",[8590,8592,8594,8596,8597,8598],{"__typename":4491,"html":8591},"\u003Cp>The book is the story of the sculptural community that emerged around Karel Nepraš at the Academy of Fine Arts in Prague in the 1990s, and a reflection on sculpture itself in an age of great change. Several dozen students passed through Nepraš’s school in two stages, first as the Old Bunch, later as the Lesbian School. As one of them aptly remarked, there was almost no leaving Karel Nepraš’s studio, such was the idyll there.\u003C\u002Fp>",{"__typename":4491,"html":8593},"\u003Cp>All the texts (descriptions of daily sculptural practice in the studio, factual information) are framed by memories and interviews with students, colleagues and friends of Karel Nepraš. The rich pictorial material presents the sculptural approach of Professor Nepraš, his assistants and pupils.\u003C\u002Fp>",{"__typename":4491,"html":8595},"\u003Cp>“Nepraš’s sculpture school has become a concept beyond the confines of the art discipline itself, say as a spontaneously crystallized social experiment based on trust between teacher and students.” Petr Vaňous wrote in his review of the book, which he perceives as two-pronged: “The portrait of Karel Nepraš as a sculptural ‘legend’, a bohemian personality who never lost doubts about the mortal seriousness of his academic mission under his professorial gown, is complemented by an ‘army of Nepraš’s pupils.”\u003C\u002Fp>",{"__typename":4491,"html":8588},{"__typename":4491,"html":6345},{"__typename":4491,"html":8599},"\u003Cp>590 CZK\u003C\u002Fp>",{"title":8601,"description":8602,"canonical_url":8603,"og_title":8604,"og_description":8605,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fo-dulezitych-vecech-se-nemluvi-spolecenstvi-atelieru-karla-neprase-important-things-are-not-talked-about-karel-nepras-studio-community",{"cs":8608,"en":8613},[8609,8610],{"label":28,"menu_url":29},{"label":8611,"menu_url":8612},"O důležitých věcech se nemluví. Společenství ateliéru Karla Nepraše","\u002Fo-dulezitych-vecech-se-nemluvi-spolecenstvi-atelieru-karla-neprase",[8614,8615],{"label":34,"menu_url":29},{"label":8553,"menu_url":8606},[8617],{"id":13,"name":14,"slug":8618},{"cs":16,"en":17},[],"2026-10-07 17:53:30",{"id":8622,"title":8623,"slug":8624,"description":4441,"file":8627,"image":8628,"year":8637,"authors":8638,"publisher":4476,"place_of_publication":91,"isbn":8639,"edition":91,"extent":91,"language":5836,"publication_type":4,"price":5712,"eshop_link":8640,"info":8641,"content_blocks":8642,"seo":8668,"menu_url":8674,"breadcrumbs":8675,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":8684,"publicationTags":8687,"created_at":8636,"updated_at":8688},"1707","Litany of the Precariat",{"cs":8625,"en":8626},"litanie-prekariatu","litany-of-the-precariat","1709",{"id":8627,"caption":8629,"alt_text":4,"url":8630,"srcset":4,"media":8631,"conversions":8635,"created_at":8636,"updated_at":8636},"JiriSkala_zadni_obalka","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1951\u002Fjiriskala-zadni-obalka.jpg",{"id":8632,"name":8629,"file_name":8633,"mime_type":4592,"size":8634,"url":8630},"1951","jiriskala-zadni-obalka.jpg",782911,[],"2026-09-02 11:03:41",2019,"Jirka Skála","978-80-87108-86-4","https:\u002F\u002Fknihy.artmap.cz\u002Fen\u002Flitanie-prekariatu\u002F?srsltid=AU7gw4Uo4JEZM0xxf29xOWGK-ahYfPEL4zTvdBp9AT4VUrSXa5woLpiS",[],[8643,8655],{"__typename":4483,"background":4892,"heading":8644,"content":8645,"content_nodes":8648},{"cs":4,"en":4},{"cs":8646,"en":8647},"\u003Cp>Publikace Litanie prekariátu představuje výběr uměleckých aktivit Jirky Skály z let 2011 až 2015. Jedná se převážně o dokumentace participativních akcí, které po dobu pěti let realizoval v rámci dvou internetových blogů: Třetí skupina předmětů a Konfrontační čtení. Tyto aktivity spojovala snaha o nalezení kritické percepce výrobních vztahů v rámci znalostních ekonomik. Jirka Skála doplnil publikaci o dva eseje, v nichž se pokusil o shrnutí tohoto období a o definování možných emancipačních strategií, které by umožnily uživatelům digitálních technologií a infrastruktury vymanit se z jejich vysoce prekarizované životní situace.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>The publication Litany of the Precariat presents a selection of Jirka Skála’s artistic activities from 2011 to 2015. These are mostly documentations of participatory actions he has carried out over a period of five years in the framework of two internet blogs, The Third Group of Objects and Confrontational Reading. These activities were united by a desire to find a critical perception of production relations within knowledge economies.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":8649,"en":8652},[8650],{"__typename":4491,"html":8651},"\u003Cp>Publikace Litanie prekariátu představuje výběr uměleckých aktivit Jirky Skály z let 2011 až 2015. Jedná se převážně o dokumentace participativních akcí, které po dobu pěti let realizoval v rámci dvou internetových blogů: Třetí skupina předmětů a Konfrontační čtení. Tyto aktivity spojovala snaha o nalezení kritické percepce výrobních vztahů v rámci znalostních ekonomik. Jirka Skála doplnil publikaci o dva eseje, v nichž se pokusil o shrnutí tohoto období a o definování možných emancipačních strategií, které by umožnily uživatelům digitálních technologií a infrastruktury vymanit se z jejich vysoce prekarizované životní situace.\u003C\u002Fp>",[8653],{"__typename":4491,"html":8654},"\u003Cp>The publication Litany of the Precariat presents a selection of Jirka Skála’s artistic activities from 2011 to 2015. These are mostly documentations of participatory actions he has carried out over a period of five years in the framework of two internet blogs, The Third Group of Objects and Confrontational Reading. These activities were united by a desire to find a critical perception of production relations within knowledge economies.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":8656,"items":8657},{"cs":4,"en":4},[8658],{"title":8659,"content":8660,"content_nodes":8663},{"cs":5790,"en":4840},{"cs":8661,"en":8662},"\u003Cp>Jirka Skála doplnil publikaci o dva eseje, v nichž se pokusil o shrnutí tohoto období a o definování možných emancipačních strategií, které by umožnily uživatelům digitálních technologií a infrastruktury vymanit se z jejich vysoce prekarizované životní situace.\u003C\u002Fp>","\u003Cp>Jirka Skála supplemented the publication with two essays in which he attempted to summarize this period and to define possible emancipatory strategies that would enable users of digital technologies and infrastructure to break out of their highly precarized life situation.\u003C\u002Fp>",{"cs":8664,"en":8666},[8665],{"__typename":4491},[8667],{"__typename":4491},{"title":8669,"description":8670,"canonical_url":8671,"og_title":8672,"og_description":8673,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Flitany-of-the-precariat",{"cs":8676,"en":8681},[8677,8678],{"label":28,"menu_url":29},{"label":8679,"menu_url":8680},"Litanie Prekariátu","\u002Flitanie-prekariatu",[8682,8683],{"label":34,"menu_url":29},{"label":8623,"menu_url":8674},[8685],{"id":13,"name":14,"slug":8686},{"cs":16,"en":17},[],"2026-10-07 20:57:02",{"id":8690,"title":8691,"slug":8692,"description":4441,"file":8694,"image":8695,"year":8567,"authors":8703,"publisher":4476,"place_of_publication":91,"isbn":8704,"edition":91,"extent":91,"language":8705,"publication_type":4,"price":6946,"eshop_link":8706,"info":8707,"content_blocks":8708,"seo":8734,"menu_url":8740,"breadcrumbs":8741,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":8748,"publicationTags":8751,"created_at":8752,"updated_at":8753},"1702","Salty Mascara",{"cs":8693,"en":8693},"salty-mascara","1703",{"id":8694,"caption":8696,"alt_text":4,"url":8697,"srcset":4,"media":8698,"conversions":8702,"created_at":8636,"updated_at":8636},"Salty_Mascara2","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1952\u002Fsalty-mascara2.jpg",{"id":8699,"name":8696,"file_name":8700,"mime_type":4592,"size":8701,"url":8697},"1952","salty-mascara2.jpg",940765,[],"Valentýna Janů","978-80-88366-01-0","English","https:\u002F\u002Fknihy.artmap.cz\u002Fen\u002Fsalty-mascara--valentyna-janu\u002F",[],[8709,8721],{"__typename":4483,"background":4892,"heading":8710,"content":8711,"content_nodes":8714},{"cs":4,"en":4},{"cs":8712,"en":8713},"\u003Cp>Sbírka textů Salty Mascara od Valentýny Janů konfrontuje otázky současné ekonomiky, klimatické krize a sociálních identit. Dokazuje, že je od sebe není možné jednoduše oddělit a každá*ý z nás si brzy bude muset osvojit způsob, jak být ekologicky zodpovědnou*ným feministkou*ou a nebýt přitom otravná*ý. Knihu provází evokativní vůně ambry, pudru a slaného citronu společně s kresbami Martina Grocha. Portréty postav, jakými jsou Tove Jansson, Tank Girl, Ursula K. Le Guin nebo Trixie Mattel napovídají, že oscilujeme mezi imaginací a skutečností a zároveň čteme generačně příznačný obraz západní (pop)kultury.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>Salty Mascara’s collection of texts confronts issues of the contemporary economy, the climate crisis and social identities. It proves that they cannot simply be separated from each other, and each of us will soon have to adopt a way to be an environmentally responsible feminist and not be annoying at the same time. The evocative scents of ambergris, gunpowder and salty lemon accompany the book, along with drawings by Martin Groch. Portraits of characters such as Tove Jansson, Tank Girl, Ursula K. Le Guin and Trixie Mattel suggest that we oscillate between imagination and reality while reading a generationally indicative picture of Western (pop) culture.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":8715,"en":8718},[8716],{"__typename":4491,"html":8717},"\u003Cp>Sbírka textů Salty Mascara od Valentýny Janů konfrontuje otázky současné ekonomiky, klimatické krize a sociálních identit. Dokazuje, že je od sebe není možné jednoduše oddělit a každá*ý z nás si brzy bude muset osvojit způsob, jak být ekologicky zodpovědnou*ným feministkou*ou a nebýt přitom otravná*ý. Knihu provází evokativní vůně ambry, pudru a slaného citronu společně s kresbami Martina Grocha. Portréty postav, jakými jsou Tove Jansson, Tank Girl, Ursula K. Le Guin nebo Trixie Mattel napovídají, že oscilujeme mezi imaginací a skutečností a zároveň čteme generačně příznačný obraz západní (pop)kultury.\u003C\u002Fp>",[8719],{"__typename":4491,"html":8720},"\u003Cp>Salty Mascara’s collection of texts confronts issues of the contemporary economy, the climate crisis and social identities. It proves that they cannot simply be separated from each other, and each of us will soon have to adopt a way to be an environmentally responsible feminist and not be annoying at the same time. The evocative scents of ambergris, gunpowder and salty lemon accompany the book, along with drawings by Martin Groch. Portraits of characters such as Tove Jansson, Tank Girl, Ursula K. Le Guin and Trixie Mattel suggest that we oscillate between imagination and reality while reading a generationally indicative picture of Western (pop) culture.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":8722,"items":8723},{"cs":4,"en":4},[8724],{"title":8725,"content":8726,"content_nodes":8729},{"cs":4839,"en":4840},{"cs":8727,"en":8728},"\u003Cp>Valentýna Janů je vizuální umělkyně, jejíž postdigitální poezie volně přechází od banálních příběhů, instagramových mouder, filozofických meditací k seriálovým dialogům a útržkům večerních zpráv na hranici mezi fikcí a realitou.\u003C\u002Fp>","\u003Cp>Valentýna Janů is a visual artist whose post-digital poetry moves freely from banal stories, Instagram wisdoms, and philosophical meditations to serial dialogues and snippets of the evening news on the border between fiction and reality.\u003C\u002Fp>",{"cs":8730,"en":8732},[8731],{"__typename":4491},[8733],{"__typename":4491},{"title":8735,"description":8736,"canonical_url":8737,"og_title":8738,"og_description":8739,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fsalty-mascara",{"cs":8742,"en":8745},[8743,8744],{"label":28,"menu_url":29},{"label":8691,"menu_url":8740},[8746,8747],{"label":34,"menu_url":29},{"label":8691,"menu_url":8740},[8749],{"id":13,"name":14,"slug":8750},{"cs":16,"en":17},[],"2026-09-02 11:03:42","2026-10-07 17:14:59",{"id":8755,"title":8756,"slug":8757,"description":4441,"file":8760,"image":8761,"year":8567,"authors":8770,"publisher":91,"place_of_publication":91,"isbn":8771,"edition":91,"extent":91,"language":5836,"publication_type":4,"price":5712,"eshop_link":8772,"info":8773,"content_blocks":8774,"seo":8802,"menu_url":8808,"breadcrumbs":8809,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":8818,"publicationTags":8821,"created_at":8769,"updated_at":8822},"1700","I wanted another experience. Guest artist studio at AVU. Šaloun 2007–2018",{"cs":8758,"en":8759},"chtel_a-jsem-dalsi-zkusenost-atelier-hostujiciho-umelce-avu-saloun-2007-2018","i-wanted-another-experience-guest-artist-studio-at-avu-saloun-2007-2018","1701",{"id":8760,"caption":8762,"alt_text":4,"url":8763,"srcset":4,"media":8764,"conversions":8768,"created_at":8769,"updated_at":8769},"obalka_Saloun","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1942\u002Fobalka-saloun-scaled.jpg",{"id":8765,"name":8762,"file_name":8766,"mime_type":4592,"size":8767,"url":8763},"1942","obalka-saloun-scaled.jpg",258640,[],"2026-09-02 11:03:39","Tomáš Džadoň, Václav Janoščík, Pamela Kuťáková (eds.)","978-80-87108-79-6","https:\u002F\u002Fknihy.artmap.cz\u002Fchtel_a-jsem-dalsi-zkusenost-avu-saloun\u002F",[],[8775,8787],{"__typename":4483,"background":4892,"heading":8776,"content":8777,"content_nodes":8780},{"cs":4,"en":4},{"cs":8778,"en":8779},"\u003Cp>Publikace Chtěl_a jsem další zkušenost zhodnocuje desetiletí fungování Ateliéru hostujícího umělce na AVU. Tímto specializovaným pracovištěm akademie prošli významný umělci a umělkyně střední a mladší generace. Kniha představuje jednotlivé semestrální projekty a relevantní texty z již publikovaných katalogů (od autorů nebo přizvaných teoretiků), medailony umělců, kteří v daném období ateliér vedli a studentskou reflexi, zpracovanou formou rozhovorů. Její součástí jsou také dva teoretické příspěvky, které se zabývají obecnějšími problémy uměleckého vzdělávání a ukazují konkrétní genealogii Šalounova ateliéru. Kniha odhaluje různé perspektivy a pohledy na takto specifickou a ojedinělou vzdělávací platformu uvnitř vysoké umělecké školy.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>The publication I Wanted Another Experience evaluates a decade of operation of the Visiting Artist Studio at the Academy of Fine Arts. This specialized department of the Academy has been used by prominent artists of the middle and younger generation. The book presents individual semester projects and relevant texts from the already published catalogues (by the authors or invited theorists), biographies of the artists who led the studio during the period in question, and student reflection in the form of interviews. It also includes two theoretical contributions that deal with more general issues of art education and show the specific genealogy of Šaloun’s studio. The book reveals different perspectives and views on such a specific and unique educational platform within an art university.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":8781,"en":8784},[8782],{"__typename":4491,"html":8783},"\u003Cp>Publikace Chtěl_a jsem další zkušenost zhodnocuje desetiletí fungování Ateliéru hostujícího umělce na AVU. Tímto specializovaným pracovištěm akademie prošli významný umělci a umělkyně střední a mladší generace. Kniha představuje jednotlivé semestrální projekty a relevantní texty z již publikovaných katalogů (od autorů nebo přizvaných teoretiků), medailony umělců, kteří v daném období ateliér vedli a studentskou reflexi, zpracovanou formou rozhovorů. Její součástí jsou také dva teoretické příspěvky, které se zabývají obecnějšími problémy uměleckého vzdělávání a ukazují konkrétní genealogii Šalounova ateliéru. Kniha odhaluje různé perspektivy a pohledy na takto specifickou a ojedinělou vzdělávací platformu uvnitř vysoké umělecké školy.\u003C\u002Fp>",[8785],{"__typename":4491,"html":8786},"\u003Cp>The publication I Wanted Another Experience evaluates a decade of operation of the Visiting Artist Studio at the Academy of Fine Arts. This specialized department of the Academy has been used by prominent artists of the middle and younger generation. The book presents individual semester projects and relevant texts from the already published catalogues (by the authors or invited theorists), biographies of the artists who led the studio during the period in question, and student reflection in the form of interviews. It also includes two theoretical contributions that deal with more general issues of art education and show the specific genealogy of Šaloun’s studio. The book reveals different perspectives and views on such a specific and unique educational platform within an art university.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":8788,"items":8789},{"cs":4,"en":4},[8790],{"title":8791,"content":8792,"content_nodes":8795},{"cs":5031,"en":4909},{"cs":8793,"en":8794},"\u003Cp>Texty: Tomáš Džadoň, Anna Daučíková, Václav Janoščík, Luis Cammitzer\u003C\u002Fp>\u003Cp>Hostující umělci: Anton Čierny, Magdalena Jetelová, Zbigniew Libera, Jan Merta, Florian Reither, Marcus Geiger, Althea Tauberger, Silke Otto-Knapp, Florian Pumhösl, Nicole Wermers, Jan Mladovský, Ruth Noack, Artur Źmijewski, Simon Wachsmuth, Josef Dabernig, Ilona Németh, Ricarda Denzer, Christina Della Giustina, John Hill, Oleksandr Burlaka, Simon Starling, Sus Zwick a Muda Mathis\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>Texts: Tomáš Džadoň, Anna Daučíková, Václav Janoščík, Luis Cammitzer\u003C\u002Fp>\u003Cp>Guest artists: Anton Čierny, Magdalena Jetelová, Zbigniew Libera, Jan Merta, Florian Reither, Marcus Geiger, Althea Tauberger, Silke Otto-Knapp, Florian Pumhösl, Nicole Wermers, Jan Mladovský, Ruth Noack, Artur Źmijewski, Simon Wachsmuth, Josef Dabernig, Ilona Németh, Ricarda Denzer, Christina Della Giustina, John Hill, Oleksandr Burlaka, Simon Starling, Sus Zwick and Muda Mathis\u003C\u002Fp>",{"cs":8796,"en":8799},[8797,8798],{"__typename":4491},{"__typename":4491},[8800,8801],{"__typename":4491},{"__typename":4491},{"title":8803,"description":8804,"canonical_url":8805,"og_title":8806,"og_description":8807,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fi-wanted-another-experience-guest-artist-studio-at-avu-saloun-2007-2018",{"cs":8810,"en":8815},[8811,8812],{"label":28,"menu_url":29},{"label":8813,"menu_url":8814},"Chtěl_a jsem další zkušenost. Ateliér hostujícího umělce AVU. Šaloun 2007–2018","\u002Fchtel_a-jsem-dalsi-zkusenost-atelier-hostujiciho-umelce-avu-saloun-2007-2018",[8816,8817],{"label":34,"menu_url":29},{"label":8756,"menu_url":8808},[8819],{"id":13,"name":14,"slug":8820},{"cs":16,"en":17},[],"2026-10-07 17:43:54",{"id":8824,"title":8825,"slug":8826,"description":4441,"file":8829,"image":8830,"year":8637,"authors":8838,"publisher":4476,"place_of_publication":91,"isbn":8839,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":5900,"eshop_link":8840,"info":8841,"content_blocks":8842,"seo":8867,"menu_url":8873,"breadcrumbs":8874,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":8883,"publicationTags":8886,"created_at":8752,"updated_at":8887},"1698","Poke Poke Poke 2. Fanzine of Outsalon Tattooing",{"cs":8827,"en":8828},"poke-poke-poke-2-fanzie-outsalonoveho-tetovani","poke-poke-poke-2-fanzine-of-outsalon-tattooing","1699",{"id":8829,"caption":8831,"alt_text":4,"url":8832,"srcset":4,"media":8833,"conversions":8837,"created_at":8752,"updated_at":8752},"poke_poke_poke001","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1953\u002Fpoke-poke-poke001.jpg",{"id":8834,"name":8831,"file_name":8835,"mime_type":4592,"size":8836,"url":8832},"1953","poke-poke-poke001.jpg",188678,[],"Sarah Dubná, Štěpán Marko, Tomáš Mitura (eds.)","978-80-87108-88-8","https:\u002F\u002Fknihy.artmap.cz\u002Fpoke-poke-poke-2-fanzine-outsalonoveho-tetovani---sarah-dubna--stepan-marko--tomas-mitura--eds\u002F",[],[8843,8854],{"__typename":4483,"background":4892,"heading":8844,"content":8845,"content_nodes":8848},{"cs":4,"en":4},{"cs":8846,"en":8847},"\u003Cp>Kniha s názvem POKE POKE POKE 2 je pokračováním příběhu outsalonového tetování. Zabývá se současným fenoménem tetování a jeho vnímáním ve společnosti. Kniha představuje další soubor autorů, kteří se věnují tetování z jiných úhlů pohledu, než na co jsme zvyklí u klasických tatérských studií či jinak profesionalizovaných institucí. Jde o jejich vlastní techniku, styl a přístup.\u003C\u002Fp>","\u003Cp>The book titled POKE POKE POKE 2 is a continuation of the story of Outsalon Tattoo. It deals with the contemporary phenomenon of tattooing and its perception in society. The book presents another set of authors who deal with tattooing from different perspectives than what we are used to seeing in traditional tattoo studios or otherwise professionalized institutions. It is about their own technique, style and approach.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":8849,"en":8851},[8850],{"__typename":4491,"html":8846},[8852],{"__typename":4491,"html":8853},"\u003Cp>The book titled POKE POKE POKE 2 is a continuation of the story of Outsalon Tattoo. It deals with the contemporary phenomenon of tattooing and its perception in society. The book presents another set of authors who deal with tattooing from different perspectives than what we are used to seeing in traditional tattoo studios or otherwise professionalized institutions. It is about their own technique, style and approach.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":8855,"items":8856},{"cs":4,"en":4},[8857],{"title":8858,"content":8859,"content_nodes":8862},{"cs":5031,"en":4909},{"cs":8860,"en":8861},"\u003Cp>Autoři byli vybíráni z různých prostředí od uměleckých škol, až po regionální města atd. Nashromážděné fotografie a realizované rozhovory reprezentují názory na profesionální tetování, estetické priority, tipy a triky, i podstatnou část pozadí tatérské kariéry a životní příběhy jednotlivých autorů.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>The artists were chosen from a variety of backgrounds, art schools, different cities, etc. The photos collected and interviews conducted represent opinions on professional tattooing, aesthetic priorities, tips and tricks, as well as a substantial part of the background of the tattooing career and life stories of each author.\u003C\u002Fp>",{"cs":8863,"en":8865},[8864],{"__typename":4491},[8866],{"__typename":4491},{"title":8868,"description":8869,"canonical_url":8870,"og_title":8871,"og_description":8872,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fpoke-poke-poke-2-fanzine-of-outsalon-tattooing",{"cs":8875,"en":8880},[8876,8877],{"label":28,"menu_url":29},{"label":8878,"menu_url":8879},"Poke Poke Poke 2. Fanzie outsalonového tetování","\u002Fpoke-poke-poke-2-fanzie-outsalonoveho-tetovani",[8881,8882],{"label":34,"menu_url":29},{"label":8825,"menu_url":8873},[8884],{"id":13,"name":14,"slug":8885},{"cs":16,"en":17},[],"2026-10-07 20:15:01",{"id":8889,"title":8890,"slug":8891,"description":4441,"file":8894,"image":8895,"year":8567,"authors":6262,"publisher":4476,"place_of_publication":91,"isbn":8903,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":8904,"eshop_link":8905,"info":8906,"content_blocks":8907,"seo":8941,"menu_url":8947,"breadcrumbs":8948,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":8957,"publicationTags":8960,"created_at":8769,"updated_at":8961},"1696","Stretching the Present. A Detective Quest for the Shared World",{"cs":8892,"en":8893},"napinat-soucasnost-detektivni-patrani-po-sdilenem-svete","stretching-the-present-a-detective-quest-for-the-shared-world","1697",{"id":8894,"caption":8896,"alt_text":4,"url":8897,"srcset":4,"media":8898,"conversions":8902,"created_at":8769,"updated_at":8769},"napinat_soucasnost_obalka_knihy","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1941\u002Fnapinat-soucasnost-obalka-knihy.jpg",{"id":8899,"name":8896,"file_name":8900,"mime_type":4592,"size":8901,"url":8897},"1941","napinat-soucasnost-obalka-knihy.jpg",31056,[],"978-80-88366-05-8",290,"https:\u002F\u002Fknihy.artmap.cz\u002Fnapinat-soucasnost\u002F",[],[8908,8928],{"__typename":4483,"background":4892,"heading":8909,"content":8910,"content_nodes":8913},{"cs":4,"en":4},{"cs":8911,"en":8912},"\u003Cp>Co když je naše komplikovaná současnost vlastně detektivkou bez jasných viníků nebo detektivů? Velmi populární žánr detektivních vyprávění nám tak může poskytovat napětí při hledání vraha, ale tyto příběhy nám také mohou pomoci vyrovnat se s traumatizující realitou, s problémy s naší identitou nebo se sdílením.\u003C\u002Fp>\u003Cp>Kniha Napínat současnost. Detektivní pátrání po sdíleném světě se ubírá dvěma hlavními směry. Popisuje dynamiku detektivního vyprávění počínaje klasickou literaturou (Raymond Chandler) přes ikonické filmy (Okno do dvora, Memento) až po seriálové narativy (Rodina Sopránů, Znovuzrozeni, Na jezeře a Rectify). Druhou linií knihy je hledání filosofie přítomnosti, která čerpá především z post-strukturalismu a afektivního obratu, a směřuje k originálnímu pojetí politiky identit a reality.\u003C\u002Fp>\u003Cp>Kniha se pokouší pátrat v obou směrech – čte detektivní fikci prizmatem filosofie a podrobuje filosofii investigativnímu zkoumání. Dochází tak k reinterpretaci detektivního vyprávění jako součásti hledání časové orientace, jež by nám dokázala poskytnout něco stejně důležitého, jako je sdílený koncept současnosti. Jinými slovy, detektivové se snaží nejen identifikovat vraha, ale také rozklíčovat obraty a zlomy v čase, jimiž se naše současná situace vyznačuje.\u003C\u002Fp>","\u003Cp>What if our complicated present is actually a whodunit with no clear culprits or detectives? So the very popular genre of detective stories can provide suspense as we search for the killer, but these stories can also help us cope with traumatic realities, with our identity issues, or with sharing.\u003C\u002Fp>\u003Cp>The book Stretching the Present. A Detective Quest for a Shared World takes two main directions. It describes the dynamics of detective narrative, from classic literature (Raymond Chandler) to iconic films (Rear Window, Memento) to serial narratives (The Sopranos Family, Born Again, On the Lake, and Rectify). The second strand of the book is a search for a philosophy of presence that draws primarily on post-structuralism and the affective turn, and moves towards an original conception of identity politics and reality.\u003C\u002Fp>\u003Cp>The book attempts to inquire in both directions - reading detective fiction through the prism of philosophy and subjecting philosophy to investigative scrutiny. In doing so, it reinterprets detective narrative as part of a search for a temporal orientation that can provide us with something as important as a shared concept of the present. In other words, detectives are not only trying to identify the murderer, but also to discern the turns and breaks in time that characterize our contemporary situation.\u003C\u002Fp>",{"cs":8914,"en":8921},[8915,8917,8919],{"__typename":4491,"html":8916},"\u003Cp>Co když je naše komplikovaná současnost vlastně detektivkou bez jasných viníků nebo detektivů? Velmi populární žánr detektivních vyprávění nám tak může poskytovat napětí při hledání vraha, ale tyto příběhy nám také mohou pomoci vyrovnat se s traumatizující realitou, s problémy s naší identitou nebo se sdílením.\u003C\u002Fp>",{"__typename":4491,"html":8918},"\u003Cp>Kniha Napínat současnost. Detektivní pátrání po sdíleném světě se ubírá dvěma hlavními směry. Popisuje dynamiku detektivního vyprávění počínaje klasickou literaturou (Raymond Chandler) přes ikonické filmy (Okno do dvora, Memento) až po seriálové narativy (Rodina Sopránů, Znovuzrozeni, Na jezeře a Rectify). Druhou linií knihy je hledání filosofie přítomnosti, která čerpá především z post-strukturalismu a afektivního obratu, a směřuje k originálnímu pojetí politiky identit a reality.\u003C\u002Fp>",{"__typename":4491,"html":8920},"\u003Cp>Kniha se pokouší pátrat v obou směrech – čte detektivní fikci prizmatem filosofie a podrobuje filosofii investigativnímu zkoumání. Dochází tak k reinterpretaci detektivního vyprávění jako součásti hledání časové orientace, jež by nám dokázala poskytnout něco stejně důležitého, jako je sdílený koncept současnosti. Jinými slovy, detektivové se snaží nejen identifikovat vraha, ale také rozklíčovat obraty a zlomy v čase, jimiž se naše současná situace vyznačuje.\u003C\u002Fp>",[8922,8924,8926],{"__typename":4491,"html":8923},"\u003Cp>What if our complicated present is actually a whodunit with no clear culprits or detectives? So the very popular genre of detective stories can provide suspense as we search for the killer, but these stories can also help us cope with traumatic realities, with our identity issues, or with sharing.\u003C\u002Fp>",{"__typename":4491,"html":8925},"\u003Cp>The book Stretching the Present. A Detective Quest for a Shared World takes two main directions. It describes the dynamics of detective narrative, from classic literature (Raymond Chandler) to iconic films (Rear Window, Memento) to serial narratives (The Sopranos Family, Born Again, On the Lake, and Rectify). The second strand of the book is a search for a philosophy of presence that draws primarily on post-structuralism and the affective turn, and moves towards an original conception of identity politics and reality.\u003C\u002Fp>",{"__typename":4491,"html":8927},"\u003Cp>The book attempts to inquire in both directions - reading detective fiction through the prism of philosophy and subjecting philosophy to investigative scrutiny. In doing so, it reinterprets detective narrative as part of a search for a temporal orientation that can provide us with something as important as a shared concept of the present. In other words, detectives are not only trying to identify the murderer, but also to discern the turns and breaks in time that characterize our contemporary situation.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":8929,"items":8930},{"cs":4,"en":4},[8931],{"title":8932,"content":8933,"content_nodes":8936},{"cs":5790,"en":4840},{"cs":8934,"en":8935},"\u003Cp>Václav Janoščík je český teoretik, kurátor a pedagog. Ve své práci propojuje současné umění, filozofii a kritickou teorii a zabývá se zejména vztahy mezi uměním, politikou, technologiemi a současnou společností. Je autorem a editorem řady publikací věnovaných současnému umění a myšlení.\u003C\u002Fp>","\u003Cp>Václav Janoščík is a Czech theorist, curator, and educator. His work connects contemporary art, philosophy, and critical theory, focusing particularly on the relationships between art, politics, technology, and contemporary society. He is the author and editor of numerous publications on contemporary art and thought.\u003C\u002Fp>",{"cs":8937,"en":8939},[8938],{"__typename":4491},[8940],{"__typename":4491},{"title":8942,"description":8943,"canonical_url":8944,"og_title":8945,"og_description":8946,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fstretching-the-present-a-detective-quest-for-the-shared-world",{"cs":8949,"en":8954},[8950,8951],{"label":28,"menu_url":29},{"label":8952,"menu_url":8953},"Napínat současnost. Detektivní pátrání po sdíleném světě","\u002Fnapinat-soucasnost-detektivni-patrani-po-sdilenem-svete",[8955,8956],{"label":34,"menu_url":29},{"label":8890,"menu_url":8947},[8958],{"id":13,"name":14,"slug":8959},{"cs":16,"en":17},[],"2026-10-07 17:48:34",{"id":8963,"title":8964,"slug":8965,"description":4441,"file":8968,"image":8969,"year":8495,"authors":8977,"publisher":4476,"place_of_publication":91,"isbn":8978,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":7939,"eshop_link":8979,"info":8980,"content_blocks":8981,"seo":9004,"menu_url":9010,"breadcrumbs":9011,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":9020,"publicationTags":9023,"created_at":8752,"updated_at":9024},"1693","Mind in the Field. Philosophical Realism in the 21st Century",{"cs":8966,"en":8967},"mysl-v-terenu-filosoficky-realismus-v-21-stoleti","mind-in-the-field-philosophical-realism-in-the-21st-century","1694",{"id":8968,"caption":8970,"alt_text":4,"url":8971,"srcset":4,"media":8972,"conversions":8976,"created_at":8752,"updated_at":8752},"obalka_mysl_v_terenu001","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1954\u002Fobalka-mysl-v-terenu001-scaled.jpg",{"id":8973,"name":8970,"file_name":8974,"mime_type":4592,"size":8975,"url":8971},"1954","obalka-mysl-v-terenu001-scaled.jpg",971334,[],"Václav Janoščík, Lukáš Likavčan, Jiří Růžička (eds.)","978-80-87108-72-7","https:\u002F\u002Fknihy.artmap.cz\u002Fen\u002Fmysl-v-terenu\u002F?srsltid=AU7gw4U_-PR63LITk9qCQzSld7hPcNVviRBd8EZWHMABXA9UNZ5HyeaW",[],[8982,8992],{"__typename":4483,"background":4892,"heading":8983,"content":8984,"content_nodes":8987},{"cs":4,"en":4},{"cs":8985,"en":8986},"\u003Cp>Antologie Mysl v terénu je úvodem do myšlení soudobého filosofického realismu v rámci rozmanitých proudů objektově orientované ontologie, nového materialismu či spekulativního realismu. Úvodní studie Lukáše Likavčana, Václava Janoščíka a Jiřího Růžičky umožňuje českému akademickému a uměleckému publiku zorientovat se v základních koordinátech současného spekulativního myšlení a následujících devět přeložených textů tento členitý terén mapuje a poskytuje nejnovější vhledy do ontologie, epistemologie, environmentální a politické filosofie či teorie vědy.\u003C\u002Fp>","\u003Cp>The anthology Mind in the Field is an introduction to the thought of contemporary philosophical realism within the diverse currents of object-oriented ontology, new materialism and speculative realism. The introductory study by Lukáš Likavčan, Václav Janoščík and Jiří Růžička enables Czech academic and artistic audiences to orient themselves in the basic coordinates of contemporary speculative thought, and the following nine translated texts map this rugged terrain and provide the latest insights into ontology, epistemology, environmental and political philosophy or the theory of science.\u003C\u002Fp>",{"cs":8988,"en":8990},[8989],{"__typename":4491,"html":8985},[8991],{"__typename":4491,"html":8986},{"__typename":4495,"background":4,"title":8993,"items":8994},{"cs":4,"en":4},[8995],{"title":8996,"content":8998,"content_nodes":9000},{"cs":8997,"en":4909},"Autoři a Autorky",{"cs":8999,"en":4441},"\u003Cp>Mezi texty můžeme najít racionalisticky laděné statě badatelů a badatelek jako Alain Badiou, Quentin Meillassoux nebo Ray Brassier, objektově orientované a materialistické koncepce Leviho Bryanta, Timothyho Mortona, Jane Bennettové či Isabelle Stengersové, stejně jako politicko-teoretické intervence Rezy Negarestaniho a xenofeministického kolektivu Laboria Cuboniks. Tyto eseje slouží jako vstupní brány do širokého spektra debat odehrávajících se na samém čele filosofické avantgardy dneška, která se snaží vypořádat s dědictvím (post)kantovské filosofie, fenomenologie, analytické filosofie i poststrukturalismu. Novým způsobem se tak zde pokládají staré otázky poznatelnosti věci o sobě, architektury lidské kognice, postavení člověka v planetární síti mimo-lidských aktérů či možnosti univerzalistického emancipačního projektu.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":9001,"en":9003},[9002],{"__typename":4491},[],{"title":9005,"description":9006,"canonical_url":9007,"og_title":9008,"og_description":9009,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fmind-in-the-field-philosophical-realism-in-the-21st-century",{"cs":9012,"en":9017},[9013,9014],{"label":28,"menu_url":29},{"label":9015,"menu_url":9016},"Mysl v terénu. Filosofický realismus v 21. století","\u002Fmysl-v-terenu-filosoficky-realismus-v-21-stoleti",[9018,9019],{"label":34,"menu_url":29},{"label":8964,"menu_url":9010},[9021],{"id":13,"name":14,"slug":9022},{"cs":16,"en":17},[],"2026-10-08 04:49:39",{"id":9026,"title":9027,"slug":9028,"description":4441,"file":9030,"image":9031,"year":8495,"authors":9039,"publisher":4476,"place_of_publication":91,"isbn":9040,"edition":91,"extent":91,"language":5836,"publication_type":4,"price":9041,"eshop_link":9042,"info":9043,"content_blocks":9044,"seo":9074,"menu_url":9080,"breadcrumbs":9081,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":9088,"publicationTags":9091,"created_at":8752,"updated_at":9092},"1691","A Walk Through Prague. Actions, Performances, Happenings 1949–1989",{"cs":9029,"en":9029},"a-walk-through-prague-actions-performances-happenings-1949-1989","4139",{"id":9030,"caption":9032,"alt_text":4,"url":9033,"srcset":4,"media":9034,"conversions":9038,"created_at":8752,"updated_at":8752},"Walk_obalka","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1955\u002Fwalk-obalka-1.jpeg",{"id":9035,"name":9032,"file_name":9036,"mime_type":4592,"size":9037,"url":9033},"1955","walk-obalka-1.jpeg",923023,[],"Pavlína Morganová","978-80-87108-70-3",500,"https:\u002F\u002Fknihy.artmap.cz\u002Fen\u002Fa-walk-through-prague\u002F",[],[9045,9061],{"__typename":4483,"background":4892,"heading":9046,"content":9047,"content_nodes":9050},{"cs":4,"en":4},{"cs":9048,"en":9049},"\u003Cp>Procházka akční Prahou rozšiřuje poznání českého akčního umění o řadu dosud nepublikovaných akcí a fotografií, především je však průvodcem, který lokalizuje více než sto padesát performancí, happeningů a dalších akčních projektů, jež se konaly v Praze v letech 1949–1989. Odehrály se na turisticky frekventovaných místech, ale i v polozapomenutých zákoutích Prahy. Jejich zdokumentování pomáhá novým způsobem nahlédnout estetiku městského prostředí, odkrývá sociální a politický kontext doby. Těla performerů zviditelňují místa, která se téměř nezměnila, ale i ta, která zanikla a lze je zpřítomnit pouze skrze fotografii. Stanutí na původním místě akce je zážitkem, který významně posunuje interpretaci akčních děl a podstatně přesahuje prožitek z prohlížení jejich dokumentace. Celková mapa navíc ukazuje, jak se pražské akce, performance a happeningy v poválečné době postupně přesunuly z veřejného prostoru centra města na periferii.\u003C\u002Fp>\u003Cp>Tento alternativní průvodce časem a prostorem je určen každému, kdo se chce dozvědět něco víc o českém poválečném umění a nahlédnout pod současnou skořápku města – projít místa zavalená turisty s jinou optikou, ale objevit i neznámá zákoutí Prahy, která kdysi byla pro někoho významná.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>A Walk Through Action Prague expands the knowledge of Czech action art by a number of previously unpublished events and photographs, but above all it is a guide that locates more than one hundred and fifty performances, happenings and other action projects that took place in Prague between 1949 and 1989. They took place in touristic places, but also in semi-forgotten corners of Prague. Documenting them helps to gain a new insight into the aesthetics of the urban environment, revealing the social and political context of the time. The performers’ bodies make visible places that have hardly changed, but also those that have disappeared and can only be made visible through photography. Standing at the original site of the action is an experience that significantly shifts the interpretation of the action works and goes far beyond the experience of viewing their documentation. Moreover, the overall map shows how Prague’s events, performances and happenings in the post-war era have gradually moved from the public space of the city centre to the periphery.\u003C\u002Fp>\u003Cp>This alternative guide through time and space is for anyone who wants to learn more about Czech post-war art and peer beneath the city’s contemporary shell - to walk through places overrun by tourists with a different optic, but also to discover unknown corners of Prague that were once significant to some.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":9051,"en":9056},[9052,9054],{"__typename":4491,"html":9053},"\u003Cp>Procházka akční Prahou rozšiřuje poznání českého akčního umění o řadu dosud nepublikovaných akcí a fotografií, především je však průvodcem, který lokalizuje více než sto padesát performancí, happeningů a dalších akčních projektů, jež se konaly v Praze v letech 1949–1989. Odehrály se na turisticky frekventovaných místech, ale i v polozapomenutých zákoutích Prahy. Jejich zdokumentování pomáhá novým způsobem nahlédnout estetiku městského prostředí, odkrývá sociální a politický kontext doby. Těla performerů zviditelňují místa, která se téměř nezměnila, ale i ta, která zanikla a lze je zpřítomnit pouze skrze fotografii. Stanutí na původním místě akce je zážitkem, který významně posunuje interpretaci akčních děl a podstatně přesahuje prožitek z prohlížení jejich dokumentace. Celková mapa navíc ukazuje, jak se pražské akce, performance a happeningy v poválečné době postupně přesunuly z veřejného prostoru centra města na periferii.\u003C\u002Fp>",{"__typename":4491,"html":9055},"\u003Cp>Tento alternativní průvodce časem a prostorem je určen každému, kdo se chce dozvědět něco víc o českém poválečném umění a nahlédnout pod současnou skořápku města – projít místa zavalená turisty s jinou optikou, ale objevit i neznámá zákoutí Prahy, která kdysi byla pro někoho významná.\u003C\u002Fp>",[9057,9059],{"__typename":4491,"html":9058},"\u003Cp>A Walk Through Action Prague expands the knowledge of Czech action art by a number of previously unpublished events and photographs, but above all it is a guide that locates more than one hundred and fifty performances, happenings and other action projects that took place in Prague between 1949 and 1989. They took place in touristic places, but also in semi-forgotten corners of Prague. Documenting them helps to gain a new insight into the aesthetics of the urban environment, revealing the social and political context of the time. The performers’ bodies make visible places that have hardly changed, but also those that have disappeared and can only be made visible through photography. Standing at the original site of the action is an experience that significantly shifts the interpretation of the action works and goes far beyond the experience of viewing their documentation. Moreover, the overall map shows how Prague’s events, performances and happenings in the post-war era have gradually moved from the public space of the city centre to the periphery.\u003C\u002Fp>",{"__typename":4491,"html":9060},"\u003Cp>This alternative guide through time and space is for anyone who wants to learn more about Czech post-war art and peer beneath the city’s contemporary shell - to walk through places overrun by tourists with a different optic, but also to discover unknown corners of Prague that were once significant to some.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":9062,"items":9063},{"cs":4,"en":4},[9064],{"title":9065,"content":9066,"content_nodes":9069},{"cs":4839,"en":4840},{"cs":9067,"en":9068},"\u003Cp>Pavlína Morganová je historička umění, kurátorka a pedagožka. Od roku 1997 působí na Akademii výtvarných umění v Praze, kde od roku 2013 vede Vědecko-výzkumné pracoviště AVU a přednáší dějiny českého umění 20. století. Zaměřuje se především na české akční umění a dějiny výstav. Je autorkou knih \u003Cem>Akční umění\u003C\u002Fem> a \u003Cem>Czech Action Art\u003C\u002Fem> a spoluautorkou publikace \u003Cem>Výstava jako médium. České umění 1957–1999\u003C\u002Fem>.\u003C\u002Fp>","\u003Cp>Pavlína Morganová is an art historian, curator, and educator. She has worked at the Academy of Fine Arts in Prague since 1997, where she has headed the Research Centre since 2013 and lectures on twentieth-century Czech art history. Her research focuses primarily on Czech action art and exhibition histories. She is the author of Akční umění and Czech Action Art, and co-author of Výstava jako médium. České umění 1957–1999.\u003C\u002Fp>",{"cs":9070,"en":9072},[9071],{"__typename":4491},[9073],{"__typename":4491},{"title":9075,"description":9076,"canonical_url":9077,"og_title":9078,"og_description":9079,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fa-walk-through-prague-actions-performances-happenings-1949-1989",{"cs":9082,"en":9085},[9083,9084],{"label":28,"menu_url":29},{"label":9027,"menu_url":9080},[9086,9087],{"label":34,"menu_url":29},{"label":9027,"menu_url":9080},[9089],{"id":13,"name":14,"slug":9090},{"cs":16,"en":17},[],"2026-10-08 04:56:26",{"id":9094,"title":9095,"slug":9096,"description":4441,"file":9098,"image":9099,"year":8567,"authors":9108,"publisher":4476,"place_of_publication":91,"isbn":9109,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":9110,"eshop_link":9111,"info":9112,"content_blocks":9113,"seo":9139,"menu_url":9145,"breadcrumbs":9146,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":9153,"publicationTags":9156,"created_at":9107,"updated_at":9157},"1714","Speculative Ruinology: Interpretation as a mode of Survival",{"cs":9097,"en":9097},"speculative-ruinology-interpretation-as-a-mode-of-survival","1715",{"id":9098,"caption":9100,"alt_text":4,"url":9101,"srcset":4,"media":9102,"conversions":9106,"created_at":9107,"updated_at":9107},"2_obalka_Speculative_Ruinology2","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1944\u002F2-obalka-speculative-ruinology2.jpg",{"id":9103,"name":9100,"file_name":9104,"mime_type":4592,"size":9105,"url":9101},"1944","2-obalka-speculative-ruinology2.jpg",187850,[],"2026-09-02 11:03:40","Václav Janoščík, Boris Ondreička (eds.)","978-80-87108-99-4",270,"https:\u002F\u002Fknihy.artmap.cz\u002Fen\u002Fspeculative-ruinology\u002F",[],[9114,9126],{"__typename":4483,"background":4892,"heading":9115,"content":9116,"content_nodes":9119},{"cs":4,"en":4},{"cs":9117,"en":9118},"\u003Cp>Pod neustávajícím útokem střepů obrazů, problémů vzdálených i blízkých, konfliktních perspektiv a možností, kterou jsou podmíněné a zaujaté, pod tlakem toho všeho se mění náš vztah k interpretaci. Nejde jen o nějaký nástroj nebo odbornou metodu, je to aktivita, skrze kterou žijeme a definujeme své identity. Tato nevyhnutelnost a důležitost interpretace nás nutí k nové politické vizi a identifikaci. My, umělci, aktivisté, para-akademici, živící se psaním nebo výzkumnými projekty a kulturními aktivitami tvoříme “třídu interpretace”.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>Under the constant onslaught of shards of images, problems both distant and near, conflicting perspectives and the possibilities they are conditioned and biased by, our relationship to interpretation changes under the pressure of it all. It is not just a tool or a technical method; it is an activity through which we live and define our identities. This inevitability and importance of interpretation forces us to a new political vision and identification. We, artists, activists, para-academics, those who make their living through writing or research projects and cultural activities, constitute the “class of interpretation”.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":9120,"en":9123},[9121],{"__typename":4491,"html":9122},"\u003Cp>Pod neustávajícím útokem střepů obrazů, problémů vzdálených i blízkých, konfliktních perspektiv a možností, kterou jsou podmíněné a zaujaté, pod tlakem toho všeho se mění náš vztah k interpretaci. Nejde jen o nějaký nástroj nebo odbornou metodu, je to aktivita, skrze kterou žijeme a definujeme své identity. Tato nevyhnutelnost a důležitost interpretace nás nutí k nové politické vizi a identifikaci. My, umělci, aktivisté, para-akademici, živící se psaním nebo výzkumnými projekty a kulturními aktivitami tvoříme “třídu interpretace”.\u003C\u002Fp>",[9124],{"__typename":4491,"html":9125},"\u003Cp>Under the constant onslaught of shards of images, problems both distant and near, conflicting perspectives and the possibilities they are conditioned and biased by, our relationship to interpretation changes under the pressure of it all. It is not just a tool or a technical method; it is an activity through which we live and define our identities. This inevitability and importance of interpretation forces us to a new political vision and identification. We, artists, activists, para-academics, those who make their living through writing or research projects and cultural activities, constitute the “class of interpretation”.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":9127,"items":9128},{"cs":4,"en":4},[9129],{"title":9130,"content":9131,"content_nodes":9134},{"cs":5031,"en":4909},{"cs":9132,"en":9133},"\u003Cp>Kniha Spekulativní ruinologie: Interpretace jako způsob přežití je prvním knižním projektem Class of Interpretation založeném Borisem Ondreičkou a Václavem Janoščíkem, momentálně se zázemím na Akademii výtvarných umění v Praze. Texty: Václav Janoščík, Boris Ondreička, David Šír, Noemi Purkrábková – Jiří Sirůček, Anka Helfert, Vít Bohal, Ivars Gravlejs, Michal Kučerák, Björnsonova, Ondřej Trhoň, Jan Solčáni, Roman Štětina, Susanne Kass, Mia Milgrom, Maria Jančová, Roza Pogosian\u003C\u002Fp>","\u003Cp>The book Speculative Ruinology: Interpretation as a Mode of Survival is the first book project of Class of Interpretation founded by Boris Ondreička and Václav Janoscik, currently based at the Academy of Fine Arts in Prague. Texts: Václav Janoščík, Boris Ondreička, David Šír, Noemi Purkrábková – Jiří Sirůček, Anka Helfert, Vít Bohal, Ivars Gravlejs, Michal Kučerák, Björnsonova, Ondřej Trhoň, Jan Solčáni, Roman Štětina, Susanne Kass, Mia Milgrom, Maria Jančová, Roza Pogosian\u003C\u002Fp>",{"cs":9135,"en":9137},[9136],{"__typename":4491},[9138],{"__typename":4491},{"title":9140,"description":9141,"canonical_url":9142,"og_title":9143,"og_description":9144,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fspeculative-ruinology-interpretation-as-a-mode-of-survival",{"cs":9147,"en":9150},[9148,9149],{"label":28,"menu_url":29},{"label":9095,"menu_url":9145},[9151,9152],{"label":34,"menu_url":29},{"label":9095,"menu_url":9145},[9154],{"id":13,"name":14,"slug":9155},{"cs":16,"en":17},[],"2026-10-07 17:37:39",{"id":9159,"title":9160,"slug":9161,"description":4441,"file":9164,"image":9165,"year":8567,"authors":9173,"publisher":4476,"place_of_publication":91,"isbn":9174,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":6946,"eshop_link":9175,"info":9176,"content_blocks":9177,"seo":9204,"menu_url":9210,"breadcrumbs":9211,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":9220,"publicationTags":9223,"created_at":8427,"updated_at":9224},"1684","Young and Restless",{"cs":9162,"en":9163},"mladi-a-neklidni","young-and-restless","1685",{"id":9164,"caption":9166,"alt_text":4,"url":9167,"srcset":4,"media":9168,"conversions":9172,"created_at":8427,"updated_at":8427},"mladi_neklidni_lic","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1958\u002Fmladi-neklidni-lic.jpg",{"id":9169,"name":9166,"file_name":9170,"mime_type":4592,"size":9171,"url":9167},"1958","mladi-neklidni-lic.jpg",353395,[],"Nela Britaňáková, Veronika Čechmánková (eds.)","978-80-88366-03-4","https:\u002F\u002Fknihy.artmap.cz\u002Fen\u002Fmladi-a-neklidni\u002F",[],[9178,9190],{"__typename":4483,"background":4892,"heading":9179,"content":9180,"content_nodes":9183},{"cs":4,"en":4},{"cs":9181,"en":9182},"\u003Cp>Publikace mapuje čtyřleté působení nezávislé bytové galerie Mladí a neklidní. Kniha je rekapitulací činnosti galerie a současně prezentací umělců, převážně studentů pražských vysokých uměleckých škol.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>The publication traces the four-year activity of the independent housing gallery Mladí a neklidní (Young and Restless). The book is a recapitulation of the gallery’s activities and at the same time a presentation of artists, mostly students of Prague art schools.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":9184,"en":9187},[9185],{"__typename":4491,"html":9186},"\u003Cp>Publikace mapuje čtyřleté působení nezávislé bytové galerie Mladí a neklidní. Kniha je rekapitulací činnosti galerie a současně prezentací umělců, převážně studentů pražských vysokých uměleckých škol.\u003C\u002Fp>",[9188],{"__typename":4491,"html":9189},"\u003Cp>The publication traces the four-year activity of the independent housing gallery Mladí a neklidní (Young and Restless). The book is a recapitulation of the gallery’s activities and at the same time a presentation of artists, mostly students of Prague art schools.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":9191,"items":9192},{"cs":4,"en":4},[9193],{"title":9194,"content":9196,"content_nodes":9199},{"cs":9195,"en":4},"Autorky a autoři",{"cs":9197,"en":9198},"\u003Cp>Kurátorkami galerie byly Nela Britaňáková a Veronika Čechmánková. Výraznou součástí publikace jsou autentické vzkazy od návštěvníků a fotografie pořízené na vernisážích. Kniha obsahuje také texty od BcA. Lindy Vondrové a grafické zpracování Matěje Martince.\u003C\u002Fp>","\u003Cp>The gallery was curated by Nela Britaňáková and Veronika Čechmánková. A significant part of the publication are authentic messages from visitors and photographs taken at the openings. The book also contains texts by BcA. Linda Vondrová and graphic design by Matěj Martinec.\u003C\u002Fp>",{"cs":9200,"en":9202},[9201],{"__typename":4491},[9203],{"__typename":4491},{"title":9205,"description":9206,"canonical_url":9207,"og_title":9208,"og_description":9209,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fyoung-and-restless",{"cs":9212,"en":9217},[9213,9214],{"label":28,"menu_url":29},{"label":9215,"menu_url":9216},"Mladí a neklidní","\u002Fmladi-a-neklidni",[9218,9219],{"label":34,"menu_url":29},{"label":9160,"menu_url":9210},[9221],{"id":13,"name":14,"slug":9222},{"cs":16,"en":17},[],"2026-10-07 17:09:45",{"id":9226,"title":9227,"slug":9228,"description":4441,"file":9230,"image":9231,"year":8567,"authors":9240,"publisher":4476,"place_of_publication":91,"isbn":9241,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":9242,"eshop_link":9243,"info":9244,"content_blocks":9245,"seo":9318,"menu_url":9324,"breadcrumbs":9325,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":9332,"publicationTags":9335,"created_at":9336,"updated_at":9337},"1677","Milk and Honey",{"cs":9229,"en":9229},"milk-and-honey","1678",{"id":9230,"caption":9232,"alt_text":4,"url":9233,"srcset":4,"media":9234,"conversions":9238,"created_at":9239,"updated_at":9239},"IMG_5880","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1964\u002Fimg-5880-scaled.jpg",{"id":9235,"name":9232,"file_name":9236,"mime_type":4592,"size":9237,"url":9233},"1964","img-5880-scaled.jpg",1045181,[],"2026-09-02 11:03:44","Kateřina Olivová","978-80-88366-00-3",1070,"https:\u002F\u002Fknihy.artmap.cz\u002Fen\u002Fmilk-and-honey\u002F",[],[9246,9257,9270],{"__typename":4483,"background":4892,"heading":9247,"content":9248,"content_nodes":9251},{"cs":4,"en":4},{"cs":9249,"en":9250},"\u003Cp>Kniha Milk and Honey představuje třicet dva rozhovorů s třiceti pěti umělkyněmi a umělci, kurátorkami a kurátory, aktivistkami a aktivisty na téma mateřství, otcovství, rodičovství. Zkoumá, jak příchod dětí ovlivňuje jejich práci, profesní vývoj, postavení ve společnosti i v kultuře, také výběr tvůrčích témat i životní hodnoty a postoje.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>The book Milk and Honey presents thirty-two interviews with thirty-five artists, curators, activists, on the topic of motherhood, fatherhood, and parenthood. It explores how the arrival of children influences their work, professional development, position in society and culture, as well as their choice of creative themes and life values and attitudes.\u003C\u002Fp>",{"cs":9252,"en":9255},[9253],{"__typename":4491,"html":9254},"\u003Cp>Kniha Milk and Honey představuje třicet dva rozhovorů s třiceti pěti umělkyněmi a umělci, kurátorkami a kurátory, aktivistkami a aktivisty na téma mateřství, otcovství, rodičovství. Zkoumá, jak příchod dětí ovlivňuje jejich práci, profesní vývoj, postavení ve společnosti i v kultuře, také výběr tvůrčích témat i životní hodnoty a postoje.\u003C\u002Fp>",[9256],{"__typename":4491,"html":9250},{"__typename":4495,"background":4,"title":9258,"items":9259},{"cs":4,"en":4},[9260],{"title":9261,"content":9262,"content_nodes":9265},{"cs":4839,"en":4840},{"cs":9263,"en":9264},"\u003Cp>Autorka knihy – umělkyně a performerka Kateřina Olivová – otevírá v rozhovorech křehká osobní i společenská témata, mnohá z nich stále tabuizovaná, aby poukázala na paradoxy života žen nejen v kontextu kreativních profesí. Kniha vychází ve spolupráci wo-men a AVU.\u003C\u002Fp>","\u003Cp> The author of the book ─ artist and performer Kateřina Olivová ─ opens up in interviews fragile personal and social topics, many of them still taboo, to highlight the paradoxes of women’s lives not only in the context of creative professions. The book is published in collaboration with wo-men and AVU.\u003C\u002Fp>",{"cs":9266,"en":9268},[9267],{"__typename":4491},[9269],{"__typename":4491},{"__typename":5119,"background":4892,"heading":9271,"images":9272},{"cs":4,"en":4},[9273,9282,9291,9300,9309],{"id":9274,"caption":9275,"alt_text":4,"url":9276,"srcset":4,"media":9277,"conversions":9281,"created_at":9239,"updated_at":9239},"1681","IMG_5888","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1961\u002Fimg-5888-scaled.jpg",{"id":9278,"name":9275,"file_name":9279,"mime_type":4592,"size":9280,"url":9276},"1961","img-5888-scaled.jpg",1147034,[],{"id":9283,"caption":9284,"alt_text":4,"url":9285,"srcset":4,"media":9286,"conversions":9290,"created_at":8427,"updated_at":8427},"1679","IMG_5886","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1959\u002Fimg-5886-scaled.jpg",{"id":9287,"name":9284,"file_name":9288,"mime_type":4592,"size":9289,"url":9285},"1959","img-5886-scaled.jpg",987318,[],{"id":9292,"caption":9293,"alt_text":4,"url":9294,"srcset":4,"media":9295,"conversions":9299,"created_at":8427,"updated_at":8427},"1680","IMG_5887","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1960\u002Fimg-5887-scaled.jpg",{"id":9296,"name":9293,"file_name":9297,"mime_type":4592,"size":9298,"url":9294},"1960","img-5887-scaled.jpg",1007715,[],{"id":9301,"caption":9302,"alt_text":4,"url":9303,"srcset":4,"media":9304,"conversions":9308,"created_at":9239,"updated_at":9239},"1682","IMG_5889","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1962\u002Fimg-5889-scaled.jpg",{"id":9305,"name":9302,"file_name":9306,"mime_type":4592,"size":9307,"url":9303},"1962","img-5889-scaled.jpg",1249455,[],{"id":9310,"caption":9311,"alt_text":4,"url":9312,"srcset":4,"media":9313,"conversions":9317,"created_at":9239,"updated_at":9239},"1683","IMG_5890","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1963\u002Fimg-5890-scaled.jpg",{"id":9314,"name":9311,"file_name":9315,"mime_type":4592,"size":9316,"url":9312},"1963","img-5890-scaled.jpg",1247936,[],{"title":9319,"description":9320,"canonical_url":9321,"og_title":9322,"og_description":9323,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fmilk-and-honey",{"cs":9326,"en":9329},[9327,9328],{"label":28,"menu_url":29},{"label":9227,"menu_url":9324},[9330,9331],{"label":34,"menu_url":29},{"label":9227,"menu_url":9324},[9333],{"id":13,"name":14,"slug":9334},{"cs":16,"en":17},[],"2026-09-02 11:03:45","2026-10-07 17:06:29",{"id":9339,"title":9340,"slug":9341,"description":4441,"file":9344,"image":9345,"year":8637,"authors":9353,"publisher":9354,"place_of_publication":91,"isbn":9355,"edition":91,"extent":91,"language":4477,"publication_type":4,"price":8498,"eshop_link":91,"info":9356,"content_blocks":9357,"seo":9385,"menu_url":9391,"breadcrumbs":9392,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":9401,"publicationTags":9404,"created_at":9336,"updated_at":9405},"1675","Vojtěch Míča. Gesto, otisk, paměť (Vojtěch Míča. Gesture, Imprint, Memory)",{"cs":9342,"en":9343},"vojtech-mica-gesto-otisk-pamet","vojtech-mica-gesto-otisk-pamet-vojtech-mica-gesture-imprint-memory","1676",{"id":9344,"caption":9346,"alt_text":4,"url":9347,"srcset":4,"media":9348,"conversions":9352,"created_at":9336,"updated_at":9336},"1_obalka_Mica","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1965\u002F1-obalka-mica.jpg",{"id":9349,"name":9346,"file_name":9350,"mime_type":4592,"size":9351,"url":9347},"1965","1-obalka-mica.jpg",252118,[],"Iva Mladičová, Vojtěch Míča (eds.)"," Akademie výtvarných umění v Praze ","978-80-87108-85-7",[],[9358,9370],{"__typename":4483,"background":4892,"heading":9359,"content":9360,"content_nodes":9363},{"cs":4,"en":4},{"cs":9361,"en":9362},"\u003Cp>Míčova monografie je především důkladná obrazová zpráva o mnohaleté kontinuální sochařské práci. Její struktura není přísně chronologická, reflektuje samotné tvůrčí principy. Rytmus jejího členění je založen na kombinaci koncentrovaných obrazových ohnisek – např. účasti na sympoziu v newyorském Socrates Sculpture Park roku 1997, prezentací na Sculpture Grande v Praze roku 2006 a Sculpture by the Sea v Sydney roku 2009 nebo například výstavy s Ivanem Pinkavou Vitální kolaps v pražském Museu Kampa z roku 2019 – a otevřené různorodosti použitých materiálů, umístění soch nebo inspiračních fotografií. Obrazové celky jsou doprovázeny texty Vojtěcha Míči (včetně anglických překladů). Součástí monografie jsou dále například rozhovory s P. Vaňousem (2014) a I. Mladičovou (2019). Jde o první publikaci prezentující sochy, realizace, kresby a skici Vojtěcha Míči v šíři a intenzitě retrospektivního formátu.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>Míča’s monograph is above all a thorough pictorial account of many years of continuous sculptural work. Its structure is not strictly chronological; it reflects the creative principles themselves. The rhythm of its structuring is based on a combination of concentrated pictorial foci - such as participation in a symposium at New York’s Socrates Sculpture Park in 1997, presentations at Sculpture Grande in Prague in 2006 and Sculpture by the Sea in Sydney in 2009, or, for example, the 2019 exhibition with Ivan Pinkava, Vital Collapse, at Prague’s Kampa Museum - and an open variety of materials used, sculpture locations, and inspirational photographs. The pictorial units are accompanied by texts by Vojtěch Míča (including English translations). The monograph also includes, for example, interviews with P. Vaňous (2014) and I. Mladičová (2019). This is the first publication to present Vojtěch Míča’s sculptures, realisations, drawings and sketches in the breadth and intensity of a retrospective format.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":9364,"en":9367},[9365],{"__typename":4491,"html":9366},"\u003Cp>Míčova monografie je především důkladná obrazová zpráva o mnohaleté kontinuální sochařské práci. Její struktura není přísně chronologická, reflektuje samotné tvůrčí principy. Rytmus jejího členění je založen na kombinaci koncentrovaných obrazových ohnisek – např. účasti na sympoziu v newyorském Socrates Sculpture Park roku 1997, prezentací na Sculpture Grande v Praze roku 2006 a Sculpture by the Sea v Sydney roku 2009 nebo například výstavy s Ivanem Pinkavou Vitální kolaps v pražském Museu Kampa z roku 2019 – a otevřené různorodosti použitých materiálů, umístění soch nebo inspiračních fotografií. Obrazové celky jsou doprovázeny texty Vojtěcha Míči (včetně anglických překladů). Součástí monografie jsou dále například rozhovory s P. Vaňousem (2014) a I. Mladičovou (2019). Jde o první publikaci prezentující sochy, realizace, kresby a skici Vojtěcha Míči v šíři a intenzitě retrospektivního formátu.\u003C\u002Fp>",[9368],{"__typename":4491,"html":9369},"\u003Cp>Míča’s monograph is above all a thorough pictorial account of many years of continuous sculptural work. Its structure is not strictly chronological; it reflects the creative principles themselves. The rhythm of its structuring is based on a combination of concentrated pictorial foci - such as participation in a symposium at New York’s Socrates Sculpture Park in 1997, presentations at Sculpture Grande in Prague in 2006 and Sculpture by the Sea in Sydney in 2009, or, for example, the 2019 exhibition with Ivan Pinkava, Vital Collapse, at Prague’s Kampa Museum - and an open variety of materials used, sculpture locations, and inspirational photographs. The pictorial units are accompanied by texts by Vojtěch Míča (including English translations). The monograph also includes, for example, interviews with P. Vaňous (2014) and I. Mladičová (2019). This is the first publication to present Vojtěch Míča’s sculptures, realisations, drawings and sketches in the breadth and intensity of a retrospective format.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":9371,"items":9372},{"cs":4,"en":4},[9373],{"title":9374,"content":9375,"content_nodes":9378},{"cs":5031,"en":4909},{"cs":9376,"en":9377},"\u003Cp>Sochař Vojtěch Míča (nar. 1966) náleží k výrazným osobnostem generace, jejíž vstup na uměleckou scénu je v českém prostředí spojen s dynamickou dobou devadesátých let, tedy současně s obdobím zviditelnění v mezinárodních souvislostech. Jeho raný rukopis daný expresí a tematikou paměti místa byl záhy obohacen minimalistickým a postminimalistickým tvaroslovím. Zformovala se základní charakteristika jeho prací – přítomnost dvou paralelních, zdánlivě nesourodých výrazových linií. Současné rozpětí celku tak obsáhne industriální mechaničnost betonového odlitku, organičnost ručně opracované materie dřeva nebo kamene, ale i amorfní živelnost umělé hmoty. Míčovy sestavy otisků střepů reality podávají jakoby nezaujatě zprávu o jejím momentálním stavu, jsou ale plné emocionální a intelektuální síly hodnotové reflexe. Vedle sochařské práce Míča dlouhodobě pedagogicky působí na Akademii výtvarných umění – po ukončení studia v ateliéru monumentální tvorby A. Veselého působil jako asistent v ateliéru H. Demartiniho a následně J. Zeithammla, od roku 2015 vede Ateliér figurálního sochařství a medaile.\u003C\u002Fp>\u003Cp>Editoři: Vojtěch Míča, Iva Mladičová\u003Cbr>Texty: Vojtěch Míča, Iva Mladičová, Petr Vaňous\u003Cbr>Fotografie: Radek Dětinský, Tomáš Hulík, Vojtěch Míča, Ivan Pinkava, Martin Polák, Catherine Taveron, Marek Volf\u003Cbr>Grafická úprava a sazba: Michal Slejška\u003Cbr>\u003C\u002Fp>","\u003Cp>The sculptor Vojtěch Míča (b. 1966) is one of the outstanding personalities of the generation whose entry onto the art scene in the Czech environment is connected with the dynamic period of the 1990s, i.e. at the same time with the period of visibility in the international context. His early handwriting, determined by expression and the theme of memory of place, was soon enriched by minimalist and post-minimalist morphology. A fundamental characteristic of his work was formed - the presence of two parallel, seemingly disparate lines of expression. The contemporary span of the whole thus encompasses the industrial mechanics of a concrete casting, the organicity of hand-worked wood or stone, and the amorphous elementality of plastic matter. Míča’s assemblages of imprints of shards of reality report, as if dispassionately, on its current state, but they are full of the emotional and intellectual power of value reflection. In addition to his sculptural work, Míča has long been a teacher at the Academy of Fine Arts - after graduating from the Monumental Art Studio of A. Veselý, he worked as an assistant in the studio of H. Demartini and then J. Zeithamml, and since 2015 he has been the head of the Studio of Figurative Sculpture and Medals.\u003C\u002Fp>\u003Cp>Editors: Vojtěch Míča, Iva Mladičová                                                                                                                                                                       Texts: Vojtěch Míča, Iva Mladičová, Petr Vaňous                                                                                                                                                 Photography: Radek Dětinský, Tomáš Hulík, Vojtěch Míča, Ivan Pinkava, Martin Polák, Catherine Taveron, Marek Volf                                     Graphic Design and typesetting: Michal Slejška\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":9379,"en":9382},[9380,9381],{"__typename":4491},{"__typename":4491},[9383,9384],{"__typename":4491},{"__typename":4491},{"title":9386,"description":9387,"canonical_url":9388,"og_title":9389,"og_description":9390,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fvojtech-mica-gesto-otisk-pamet-vojtech-mica-gesture-imprint-memory",{"cs":9393,"en":9398},[9394,9395],{"label":28,"menu_url":29},{"label":9396,"menu_url":9397},"Vojtěch Míča. Gesto, otisk, paměť","\u002Fvojtech-mica-gesto-otisk-pamet",[9399,9400],{"label":34,"menu_url":29},{"label":9340,"menu_url":9391},[9402],{"id":13,"name":14,"slug":9403},{"cs":16,"en":17},[],"2026-10-05 20:09:33",{"id":9407,"title":9408,"slug":9409,"description":4,"file":9411,"image":9412,"year":8567,"authors":4606,"publisher":4,"place_of_publication":4,"isbn":9421,"edition":4,"extent":4,"language":4,"publication_type":4,"price":4,"eshop_link":4,"info":9422,"content_blocks":9423,"seo":9441,"menu_url":9447,"breadcrumbs":9448,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":9455,"publicationTags":9458,"created_at":6826,"updated_at":6826},"1673","ACTA ARTIS ACADEMICA 2020",{"cs":9410,"en":9410},"acta-artis-academica-2020","1674",{"id":9411,"caption":9413,"alt_text":4,"url":9414,"srcset":4,"media":9415,"conversions":9420,"created_at":6826,"updated_at":6826},"aaa_2020","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1904\u002Faaa-2020.gif",{"id":9416,"name":9413,"file_name":9417,"mime_type":9418,"size":9419,"url":9414},"1904","aaa-2020.gif","image\u002Fgif",61195,[],"978-80-88366-14-0",[],[9424,9435],{"__typename":4483,"background":4892,"heading":9425,"content":9427,"content_nodes":9428},{"cs":9426,"en":9426},"The Colour Theme",{"cs":4,"en":4},{"cs":9429,"en":9432},[9430],{"__typename":4491,"html":9431},"\u003Cp>Editorial: David Hradil, Janka Hradilová, Silvie Švarcová, Eva KočíVydala Akademie výtvarných umění v Praze, NLN,s.r.o.Sborník obsahuje příspěvky ze 7. mezioborové konference ALMA s názvem "The Colour Theme", která se konala ve dnech 16. 10. – 18. 10. 2019 v Univerzitní knihovně v Bratislavě. Příspěvky jsou otištěny pouze v anglickém jazyce.\nSborník byl vydán díky finanční podpoře Akademie výtvarných umění v Praze (Institucionální podpora) a Strategie AV21 (Akademie věd ČR).OBSAH\nEDITORIAL – Colour as a Theme \u002F David Hradil and Janka HradilováSESSION 1 \u002F CHANGING COLOURSCristina Serendan, Ciprian Firea, Simina Ișvanca, Alexandru ChelmușOriginal colours and painting technique of two 17th century post-byzantine iconsJitka Šrejberová, Janka HradilováOriginal colours – one of the keys to interpretation of mediaeval works of artAnabelle Križnar, Jana ŽelinskáChanging and disappearing colors in medieval wall paintings – examples from selected Slovak murals around 1400Silvia Garrappa, Silvie Švarcová, Eva Kočí, Janka Hradilová, Petr Bezdička, David HradilLead soaps in paintings: symptoms and the role of humiditySESSION 2 \u002F UNDERSTANDING COLOURSAndrea Urland, Eva ŠperkaWhen colour is more than pigments - the challenges of restoring architectural colour schemesKonstantinos StoupathisDeveloping a conservation strategy for the retouching of fluorescent paintings: the case study Greek H. LambertAldona JędrusikSharing experiences in conservation – between art and showAnna Klisińska-Kopacz, Michał Obarzanowski, Paulina Krupska, Anna Rygula, Julio del Hoyo MelendezJan Cybis, leader of the colourists painter‘s group: analysis of the artist‘s painting technique using spectroscopic methodsLuboš MachačkoInterdisciplinary research of painting technique of Josef Ceregetti on selected artworksBoris Blatný, Janka Hradilová, Zuzana Ludiková, Radoslav Ragač, Stanislava TrginováInterpretation of the painting the infant Saint John the Baptist with the lamb by Melchiorre GherardiniSara Jordi, Monika Blaser, Robert Sterchi, Jan Inauen, Daniel M. MeierIdentifying pure and applied JunFunori® – an algae-based consolidantMichal Pech, Janka HradilováIdentification of miniature paintings’ pigments using correlations of MA-XRF element mapsSESSION 3 \u002F MAKING COLOURSIrina Petroviciu, Ileana CrețuScale insect sources of dyes in textiles from Romanian collectionsZuzana Širillová, Lenka Hřebřinová, Janka Hradilová, Michal Pech, Olga TrmalováHidden pigments in portrait miniatures – Purple of CassiusChristoph HermEmerald green versus Scheele’s green: evidence and occurrenceSylwia Svorová Pawełkowicz, Michał Witkowski, Petr Svora, Barbara WagnerHistoric paint investigation of the Gierczyn parish church painted decoration in the context of the mining history of the region\nISBN: 978-80-88366-14-0\nCena: 500,- Kč vč. 10% DPH, osobní odběr (doručení poštou - cena zvýšena o náklady na doručení)Tuto a další publikace laboratoře ALMA lze objednat i na stránkách laboratoře \u003Ca href=\"https:\u002F\u002Fwww.alma-lab.cz\">alma-lab.cz\u003C\u002Fa>\u003C\u002Fp>",[9433],{"__typename":4491,"html":9434},"\u003Cp>Editors: David Hradil, Janka Hradilová, Silvie Švarcová, Eva KočíPublished by the Academy of Fine Arts in PRague, NLN,s.r.o.The volume contains papers from the 7th ALMA Interdisciplinary Conference “The Colour Theme”, which took place from 16 October to 18 October 2019 at the University Library in Bratislava. The papers are printed in English only.The proceedings have been published thanks to the financial support of the Academy of Fine Arts in Prague (Institutional Support) and Strategy AV21 (Academy of Sciences of the Czech Republic).CONTENTSEDITORIAL – Colour as a Theme \u002F David Hradil and Janka HradilováSESSION 1 \u002F CHANGING COLOURSCristina Serendan, Ciprian Firea, Simina Ișvanca, Alexandru ChelmușOriginal colours and painting technique of two 17th century post-byzantine iconsJitka Šrejberová, Janka HradilováOriginal colours – one of the keys to interpretation of mediaeval works of artAnabelle Križnar, Jana ŽelinskáChanging and disappearing colors in medieval wall paintings – examples from selected Slovak murals around 1400Silvia Garrappa, Silvie Švarcová, Eva Kočí, Janka Hradilová, Petr Bezdička, David HradilLead soaps in paintings: symptoms and the role of humiditySESSION 2 \u002F UNDERSTANDING COLOURSAndrea Urland, Eva ŠperkaWhen colour is more than pigments – the challenges of restoring architectural colour schemesKonstantinos StoupathisDeveloping a conservation strategy for the retouching of fluorescent paintings: the case study Greek H. LambertAldona JędrusikSharing experiences in conservation – between art and showAnna Klisińska-Kopacz, Michał Obarzanowski, Paulina Krupska, Anna Rygula, Julio del Hoyo MelendezJan Cybis, leader of the colourists painter’s group: analysis of the artist’s painting technique using spectroscopic methodsLuboš MachačkoInterdisciplinary research of painting technique of Josef Ceregetti on selected artworksBoris Blatný, Janka Hradilová, Zuzana Ludiková, Radoslav Ragač, Stanislava TrginováInterpretation of the painting the infant Saint John the Baptist with the lamb by Melchiorre GherardiniSara Jordi, Monika Blaser, Robert Sterchi, Jan Inauen, Daniel M. MeierIdentifying pure and applied JunFunori® – an algae-based consolidantMichal Pech, Janka HradilováIdentification of miniature paintings’ pigments using correlations of MA-XRF element mapsSESSION 3 \u002F MAKING COLOURSIrina Petroviciu, Ileana CrețuScale insect sources of dyes in textiles from Romanian collectionsZuzana Širillová, Lenka Hřebřinová, Janka Hradilová, Michal Pech, Olga TrmalováHidden pigments in portrait miniatures – Purple of CassiusChristoph HermEmerald green versus Scheele’s green: evidence and occurrenceSylwia Svorová Pawełkowicz, Michał Witkowski, Petr Svora, Barbara WagnerHistoric paint investigation of the Gierczyn parish church painted decoration in the context of the mining history of the regionPrice: 500 CZK incl. 10% DPH, personal pickup (delivery by post: price increased by delivery costs)This and other ALMA publications can also be ordered on the ALMA website: \u003Ca href=\"https:\u002F\u002Fwww.alma-lab.cz\">alma-lab.cz\u003C\u002Fa>\u003C\u002Fp>",{"__typename":5119,"background":4892,"heading":9436,"images":9437},{"cs":4,"en":4},[9438],{"id":9411,"caption":9413,"alt_text":4,"url":9414,"srcset":4,"media":9439,"conversions":9440,"created_at":6826,"updated_at":6826},{"id":9416,"name":9413,"file_name":9417,"mime_type":9418,"size":9419,"url":9414},[],{"title":9442,"description":9443,"canonical_url":9444,"og_title":9445,"og_description":9446,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Facta-artis-academica-2020",{"cs":9449,"en":9452},[9450,9451],{"label":28,"menu_url":29},{"label":9408,"menu_url":9447},[9453,9454],{"label":34,"menu_url":29},{"label":9408,"menu_url":9447},[9456],{"id":13,"name":14,"slug":9457},{"cs":16,"en":17},[],{"id":9460,"title":9461,"slug":9462,"description":4441,"file":9465,"image":9466,"year":8495,"authors":9474,"publisher":4476,"place_of_publication":91,"isbn":9475,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":4956,"eshop_link":9476,"info":9477,"content_blocks":9478,"seo":9504,"menu_url":9510,"breadcrumbs":9511,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":9520,"publicationTags":9523,"created_at":9336,"updated_at":9524},"1671","Exhibition Vending Machine. Czechoslovak Pavilion at Expo 67 in Montreal)",{"cs":9463,"en":9464},"automat-na-vystavu-ceskoslovensky-pavilon-na-expo-67-v-montrealu","exhibition-vending-machine-czechoslovak-pavilion-at-expo-67-in-montreal","1672",{"id":9465,"caption":9467,"alt_text":4,"url":9468,"srcset":4,"media":9469,"conversions":9473,"created_at":9336,"updated_at":9336},"obalka_EXPO","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1966\u002Fobalka-expo.jpg",{"id":9470,"name":9467,"file_name":9471,"mime_type":4592,"size":9472,"url":9468},"1966","obalka-expo.jpg",865360,[],"Terezie Nekvindová, Daniela Kramerová a kol.","978-80-87395-31-8","https:\u002F\u002Fknihy.artmap.cz\u002Fautomat-na-vystavu-ceskoslovensky-pavilon-na-expo-67-v-montrealu\u002F?srsltid=AU7gw4VN-Gw9MhWK0MsdVYxwOVNnSdBHMP5xFkqgazekGLMmW68O891l",[],[9479,9491],{"__typename":4483,"background":4892,"heading":9480,"content":9481,"content_nodes":9484},{"cs":4,"en":4},{"cs":9482,"en":9483},"\u003Cp>Světová výstava v Montrealu v roce 1967 byla druhou z trojice poválečných prezentací Československa na světových výstavách a navázala na iniciační moment Expo 58 v Bruselu. Expo 67, specifickým formátem mezi uměním, architekturou a uměleckým řemeslem, předznamenává dnešní podobu výstavního provozu svou internacionalizací, spektakularitou, masovostí a silným ukotvením v politickém, ekonomickém a společenském pozadí. Název Automat na výstavu evokuje výraznou atrakci československého pavilonu – interaktivní biograf Kinoautomat, i dobovou víru v automatizaci jako symbol moderního světa. Především ale slouží jako metafora pro situaci, v níž naše montrealská účast vznikala: Expo 67 se ve své době stalo v Československu jakýmsi měřítkem pro kvalitní provedení výstavnických expozic, bylo však i známkou rutinérského přístupu vedoucího k rozmělnění.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>The 1967 World Exhibition in Montreal was the second of a trio of post-war presentations of Czechoslovakia at world exhibitions and followed the initiating moment of Expo 58 in Brussels. Expo 67, a specific format between art, architecture and artistic craft, foreshadows the present-day form of exhibition operations by its internationalization, spectacularity, mass appeal and strong anchoring in the political, economic and social background. The name Exhibition Vending Machine evokes the distinctive attraction of the Czechoslovak pavilion, the interactive cinema Kinoautomat, as well as the contemporary belief in automation as a symbol of the modern world. Above all, however, it serves as a metaphor for the situation in which our Montreal participation was created: at the time, Expo 67 became a kind of benchmark in Czechoslovakia for the quality of exhibition displays, but it was also a sign of a routine approach leading to dilution.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":9485,"en":9488},[9486],{"__typename":4491,"html":9487},"\u003Cp>Světová výstava v Montrealu v roce 1967 byla druhou z trojice poválečných prezentací Československa na světových výstavách a navázala na iniciační moment Expo 58 v Bruselu. Expo 67, specifickým formátem mezi uměním, architekturou a uměleckým řemeslem, předznamenává dnešní podobu výstavního provozu svou internacionalizací, spektakularitou, masovostí a silným ukotvením v politickém, ekonomickém a společenském pozadí. Název Automat na výstavu evokuje výraznou atrakci československého pavilonu – interaktivní biograf Kinoautomat, i dobovou víru v automatizaci jako symbol moderního světa. Především ale slouží jako metafora pro situaci, v níž naše montrealská účast vznikala: Expo 67 se ve své době stalo v Československu jakýmsi měřítkem pro kvalitní provedení výstavnických expozic, bylo však i známkou rutinérského přístupu vedoucího k rozmělnění.\u003C\u002Fp>",[9489],{"__typename":4491,"html":9490},"\u003Cp>The 1967 World Exhibition in Montreal was the second of a trio of post-war presentations of Czechoslovakia at world exhibitions and followed the initiating moment of Expo 58 in Brussels. Expo 67, a specific format between art, architecture and artistic craft, foreshadows the present-day form of exhibition operations by its internationalization, spectacularity, mass appeal and strong anchoring in the political, economic and social background. The name Exhibition Vending Machine evokes the distinctive attraction of the Czechoslovak pavilion, the interactive cinema Kinoautomat, as well as the contemporary belief in automation as a symbol of the modern world. Above all, however, it serves as a metaphor for the situation in which our Montreal participation was created: at the time, Expo 67 became a kind of benchmark in Czechoslovakia for the quality of exhibition displays, but it was also a sign of a routine approach leading to dilution.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":9492,"items":9493},{"cs":4,"en":4},[9494],{"title":9495,"content":9496,"content_nodes":9499},{"cs":5031,"en":4909},{"cs":9497,"en":9498},"\u003Cp>První monografie pavilonu ČSSR na Expo 67 vychází k příležitosti stejnojmenné výstavy v Chebu. Martin Bernátek, Vladimíra Büngerová, Daniela Kramerová, Henrieta Moravčíková, Terezie Nekvindová, Martin Strakoš a Marta Sylvestrová se v ní zaměřili na kritické zhodnocení československé účasti z hlediska problematiky výstavnictví, architektury, audiovizuálních exponátů nebo otázky česko-slovenských vztahů.\u003C\u002Fp>","\u003Cp>The first monograph of the Czechoslovak Pavilion at Expo 67 was published on the occasion of the exhibition of the same name in Cheb. In it, Martin Bernátek, Vladimíra Büngerová, Daniela Kramerová, Henrieta Moravčíková, Terezie Nekvindová, Martin Strakoš and Marta Sylvestrová focus on a critical evaluation of the Czechoslovak participation in terms of exhibition design, architecture, audiovisual exhibits and Czech-Slovak relations.\u003C\u002Fp>",{"cs":9500,"en":9502},[9501],{"__typename":4491},[9503],{"__typename":4491},{"title":9505,"description":9506,"canonical_url":9507,"og_title":9508,"og_description":9509,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fexhibition-vending-machine-czechoslovak-pavilion-at-expo-67-in-montreal",{"cs":9512,"en":9517},[9513,9514],{"label":28,"menu_url":29},{"label":9515,"menu_url":9516},"Automat na výstavu. Československý pavilon na Expo 67 v Montrealu","\u002Fautomat-na-vystavu-ceskoslovensky-pavilon-na-expo-67-v-montrealu",[9518,9519],{"label":34,"menu_url":29},{"label":9461,"menu_url":9510},[9521],{"id":13,"name":14,"slug":9522},{"cs":16,"en":17},[],"2026-10-08 04:42:23",{"id":9526,"title":9527,"slug":9528,"description":4441,"file":9531,"image":9532,"year":8495,"authors":9540,"publisher":4885,"place_of_publication":91,"isbn":9541,"edition":91,"extent":91,"language":91,"publication_type":4,"price":9542,"eshop_link":91,"info":9543,"content_blocks":9544,"seo":9569,"menu_url":9575,"breadcrumbs":9576,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":9585,"publicationTags":9588,"created_at":9336,"updated_at":9589},"1670","Milena Dopitová. I stejné je jiné (Even the Same is Different)",{"cs":9529,"en":9530},"milena-dopitova-i-stejne-je-jine","milena-dopitova-i-stejne-je-jine-even-the-same-is-different","2595",{"id":9531,"caption":9533,"alt_text":4,"url":9534,"srcset":4,"media":9535,"conversions":9539,"created_at":9336,"updated_at":9336},"obalka_dopitova","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1967\u002Fobalka-dopitova.png",{"id":9536,"name":9533,"file_name":9537,"mime_type":4450,"size":9538,"url":9534},"1967","obalka-dopitova.png",175932,[],"Martina Pachmanová (ed.)","978-80-87108-68-0",1300,[],[9545,9556],{"__typename":4483,"background":4892,"heading":9546,"content":9547,"content_nodes":9550},{"cs":4,"en":4},{"cs":9548,"en":9549},"\u003Cp>Monografická publikace I stejné je jiné je věnovaná dílu Mileny Dopitové, jedné z nejvýraznějších osobností české polistopadové scény. Od svých uměleckých počátků, které byly na přelomu osmdesátých a devadesátých let spjaty s činností skupiny Pondělí, zaujímá Dopitová jednak širokým multimediálním záběrem (instalace, objekty, fotografie, video projekce) a jednak zájmem o tabuizovaná sociální témata vycházející jak z kolektivní, tak z individuální, výrazně osobní zkušenosti člověka v soudobém světě (dospívání, mateřství, stárnutí, nemoc, smrt, násilí, láska, rodina apod.). Její práce charakteristická na jedné straně formální kázní a na straně druhé zájmem o obyčejnou každodennost propojují nové technologie s tradiční rukodělností a vynikají zvláštní citlivostí k problematice lidské – zvláště ženské – identity.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>The monographic publication Even the Same is Different is dedicated to the work of Milena Dopitová, one of the most prominent personalities of the Czech post-Soviet scene. Since her artistic beginnings in the late 1980s and early 1990s, associated with the activities of the Pondělí group, Dopitová has been interested in a wide range of multimedia works (installations, objects, photographs, video projections) and in taboo social themes based on both collective and individual, distinctly personal experiences of people in the contemporary world (adolescence, motherhood, ageing, illness, death, violence, love, family, etc.). Her works, characterised on the one hand by formal discipline and on the other by an interest in the ordinary everyday, combine new technologies with traditional handicraft and stand out for their special sensitivity to the issue of human ─ especially female ─ identity.\u003C\u002Fp>",{"cs":9551,"en":9554},[9552],{"__typename":4491,"html":9553},"\u003Cp>Monografická publikace I stejné je jiné je věnovaná dílu Mileny Dopitové, jedné z nejvýraznějších osobností české polistopadové scény. Od svých uměleckých počátků, které byly na přelomu osmdesátých a devadesátých let spjaty s činností skupiny Pondělí, zaujímá Dopitová jednak širokým multimediálním záběrem (instalace, objekty, fotografie, video projekce) a jednak zájmem o tabuizovaná sociální témata vycházející jak z kolektivní, tak z individuální, výrazně osobní zkušenosti člověka v soudobém světě (dospívání, mateřství, stárnutí, nemoc, smrt, násilí, láska, rodina apod.). Její práce charakteristická na jedné straně formální kázní a na straně druhé zájmem o obyčejnou každodennost propojují nové technologie s tradiční rukodělností a vynikají zvláštní citlivostí k problematice lidské – zvláště ženské – identity.\u003C\u002Fp>",[9555],{"__typename":4491,"html":9549},{"__typename":4495,"background":4,"title":9557,"items":9558},{"cs":4,"en":4},[9559],{"title":9560,"content":9561,"content_nodes":9564},{"cs":5031,"en":4909},{"cs":9562,"en":9563},"\u003Cp>Vedle autorky hlavního textu a editorky Martiny Pachmanové do dvojjazyčné publikace přispěl monografickou studií rovněž Marek Pokorný a rozhovorem s autorkou Milena Kalinovská.\u003C\u002Fp>","\u003Cp>In addition to the author of the main text and editor Martina Pachmanová, Marek Pokorný also contributed a monographic study to the bilingual publication and Milena Kalinovská contributed an interview with the author.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":9565,"en":9567},[9566],{"__typename":4491},[9568],{"__typename":4491},{"title":9570,"description":9571,"canonical_url":9572,"og_title":9573,"og_description":9574,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fmilena-dopitova-i-stejne-je-jine-even-the-same-is-different",{"cs":9577,"en":9582},[9578,9579],{"label":28,"menu_url":29},{"label":9580,"menu_url":9581},"Milena Dopitová. I stejné je jiné","\u002Fmilena-dopitova-i-stejne-je-jine",[9583,9584],{"label":34,"menu_url":29},{"label":9527,"menu_url":9575},[9586],{"id":13,"name":14,"slug":9587},{"cs":16,"en":17},[],"2026-10-05 20:18:18",{"id":9591,"title":9592,"slug":9593,"description":4441,"file":9596,"image":9597,"year":8567,"authors":9605,"publisher":4476,"place_of_publication":91,"isbn":9606,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":8904,"eshop_link":9607,"info":9608,"content_blocks":9609,"seo":9635,"menu_url":9641,"breadcrumbs":9642,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":9651,"publicationTags":9654,"created_at":8752,"updated_at":9655},"1668","The Technique of Antonín Slavíček’s Tempera Paintings in the Context of Mařák’s School of Landscape Painting",{"cs":9594,"en":9595},"technika-temperovych-maleb-antonina-slavicka-v-kontextu-marakovy-krajinarske-skoly","technika-temperovych-maleb-antonina-slavicka-v-kontextu-marakovy-krajinarske-skoly-the-technique-of-antonin-slaviceks-tempera-paintings-in-the-context-of-maraks-school-of-landscape","1669",{"id":9596,"caption":9598,"alt_text":4,"url":9599,"srcset":4,"media":9600,"conversions":9604,"created_at":8752,"updated_at":8752},"Bilavcikova_obalka","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1956\u002Fbilavcikova-obalka-scaled.jpg",{"id":9601,"name":9598,"file_name":9602,"mime_type":4592,"size":9603,"url":9599},"1956","bilavcikova-obalka-scaled.jpg",623413,[],"Hana Bilavčíková","978-80-88366-04-1","https:\u002F\u002Fknihy.artmap.cz\u002Fen\u002Ftechnika-temperovych-maleb-antonina-slavicka\u002F?srsltid=AU7gw4XSeznaIiVXC6VulFTfIr6BN19BLwh5Kj6foZSv1o6QA9PXNigh",[],[9610,9622],{"__typename":4483,"background":4892,"heading":9611,"content":9612,"content_nodes":9615},{"cs":4,"en":4},{"cs":9613,"en":9614},"\u003Cp>Publikace Hany Bilavčíkové vychází z dizertačního projektu, který se zabýval výzkumem techniky malby studentů krajinářské školy Julia Mařáka na Akademii výtvarných umění v Praze na konci 19. století. Projekt byl zaměřen na techniku tempery v díle Antonína Slavíčka. Předkládaná studie reflektuje získané informace v kontextu historického vývoje a klade si za cíl prohloubit poznání tématu díky výsledkům současných restaurátorských průzkumových metod. Cílem bylo také charakterizovat díla a nalézt souvislosti v technologiích malby, dále zjistit, odkud pocházejí barvy Syntonos a zmapovat jejich použití u vybraných autorů v kontextu Mařákovy školy.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>The publication by Hana Bilavčíková is based on her dissertation project, which deals with research into the painting techniques of students of Julius Mařák’s landscape school at the Academy of Fine Arts in Prague at the end of the 19th century. The project focused on the tempera technique in the work of Antonín Slavíček. The present study reflects the information gathered in the context of historical development and aims to deepen the understanding of the topic thanks to the results of contemporary restoration research methods. The aim was also to characterize the works and find connections in the painting technologies, as well as to find out where the Syntonos paints originated and to map their use by selected artists in the context of the Mařák School.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":9616,"en":9619},[9617],{"__typename":4491,"html":9618},"\u003Cp>Publikace Hany Bilavčíkové vychází z dizertačního projektu, který se zabýval výzkumem techniky malby studentů krajinářské školy Julia Mařáka na Akademii výtvarných umění v Praze na konci 19. století. Projekt byl zaměřen na techniku tempery v díle Antonína Slavíčka. Předkládaná studie reflektuje získané informace v kontextu historického vývoje a klade si za cíl prohloubit poznání tématu díky výsledkům současných restaurátorských průzkumových metod. Cílem bylo také charakterizovat díla a nalézt souvislosti v technologiích malby, dále zjistit, odkud pocházejí barvy Syntonos a zmapovat jejich použití u vybraných autorů v kontextu Mařákovy školy.\u003C\u002Fp>",[9620],{"__typename":4491,"html":9621},"\u003Cp>The publication by Hana Bilavčíková is based on her dissertation project, which deals with research into the painting techniques of students of Julius Mařák’s landscape school at the Academy of Fine Arts in Prague at the end of the 19th century. The project focused on the tempera technique in the work of Antonín Slavíček. The present study reflects the information gathered in the context of historical development and aims to deepen the understanding of the topic thanks to the results of contemporary restoration research methods. The aim was also to characterize the works and find connections in the painting technologies, as well as to find out where the Syntonos paints originated and to map their use by selected artists in the context of the Mařák School.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":9623,"items":9624},{"cs":4,"en":4},[9625],{"title":9626,"content":9627,"content_nodes":9630},{"cs":4,"en":4},{"cs":9628,"en":9629},"\u003Cp>Hana Bilavčíková je restaurátorka a odbornice na malířské techniky 19. století. Vystudovala restaurování malířských děl a polychromované plastiky na Akademii výtvarných umění v Praze, kde následně pokračovala v doktorském studiu. Ve svém výzkumu se zaměřuje především na historické malířské techniky a technologii malby, zejména v kontextu Mařákovy krajinářské školy.\u003C\u002Fp>","\u003Cp>Hana Bilavčíková is a conservator and specialist in 19th-century painting techniques. She studied the conservation and restoration of paintings and polychrome sculpture at the Academy of Fine Arts in Prague, where she subsequently pursued her doctoral studies. Her research focuses primarily on historical painting techniques and painting technology, particularly in the context of Mařák’s School of Landscape Painting.\u003C\u002Fp>",{"cs":9631,"en":9633},[9632],{"__typename":4491},[9634],{"__typename":4491},{"title":9636,"description":9637,"canonical_url":9638,"og_title":9639,"og_description":9640,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Ftechnika-temperovych-maleb-antonina-slavicka-v-kontextu-marakovy-krajinarske-skoly-the-technique-of-antonin-slaviceks-tempera-paintings-in-the-context-of-maraks-school-of-landscape",{"cs":9643,"en":9648},[9644,9645],{"label":28,"menu_url":29},{"label":9646,"menu_url":9647},"Technika temperových maleb Antonína Slavíčka v kontextu Mařákovy krajinářské školy","\u002Ftechnika-temperovych-maleb-antonina-slavicka-v-kontextu-marakovy-krajinarske-skoly",[9649,9650],{"label":34,"menu_url":29},{"label":9592,"menu_url":9641},[9652],{"id":13,"name":14,"slug":9653},{"cs":16,"en":17},[],"2026-10-07 17:20:46",{"id":9657,"title":9658,"slug":9659,"description":4441,"file":9662,"image":9663,"year":8637,"authors":9671,"publisher":4476,"place_of_publication":91,"isbn":9672,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":5900,"eshop_link":9673,"info":9674,"content_blocks":9675,"seo":9701,"menu_url":9707,"breadcrumbs":9708,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":9717,"publicationTags":9720,"created_at":9336,"updated_at":9721},"1665","The After Life Exhibitions",{"cs":9660,"en":9661},"after-life-vystavy","the-after-life-exhibitions","1667",{"id":9662,"caption":9664,"alt_text":4,"url":9665,"srcset":4,"media":9666,"conversions":9670,"created_at":9336,"updated_at":9336},"After_Life_vystavy","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1968\u002Fafter-life-vystavy-scaled.jpg",{"id":9667,"name":9664,"file_name":9668,"mime_type":4592,"size":9669,"url":9665},"1968","after-life-vystavy-scaled.jpg",276876,[],"David Fesl, Isabela Grosseová (eds.)","978-80-87108-80-2","https:\u002F\u002Fknihy.artmap.cz\u002Fen\u002Fafter-life-vystavy---david-fesl--isabela-grosseova--eds\u002F",[],[9676,9688],{"__typename":4483,"background":4892,"heading":9677,"content":9678,"content_nodes":9681},{"cs":4,"en":4},{"cs":9679,"en":9680},"\u003Cp>After Life výstavy je sborníkem příspěvků čtrnácti umělců a kurátorů, kteří se zamýšlí nad přístupy v dokumentaci výstav a uměleckých děl. Autoři byli požádáni, aby byli ve svých textech co nejvíce osobní a zprostředkovali tak vlastní zkušenost a úvahy na toto téma. Kniha sestává ze tří bloků – Manipulace s fakty a teorií, Popisy a subjektivní pravdy, Literatura –, v nichž se dokumentační fotografie stává pozitivním nástrojem, důkazem, zkouškou nebo skicou, prostředkem pro vydírání, sebeprezentační blamáží a sbližovacím prvkem.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>The After Life exhibitions is a collection of contributions by fourteen artists and curators who reflect on approaches to the documentation of exhibitions and artworks. The authors were asked to be as personal as possible in their texts to convey their own experiences and reflections on the subject. The book consists of three sections ─ Manipulating Facts and Theory, Descriptions and Subjective Truths, and Literature ─ in which documentary photography becomes a positive tool, a proof, a test or sketch, a means of blackmail, a self-presentational bluff, and a bonding element.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":9682,"en":9685},[9683],{"__typename":4491,"html":9684},"\u003Cp>After Life výstavy je sborníkem příspěvků čtrnácti umělců a kurátorů, kteří se zamýšlí nad přístupy v dokumentaci výstav a uměleckých děl. Autoři byli požádáni, aby byli ve svých textech co nejvíce osobní a zprostředkovali tak vlastní zkušenost a úvahy na toto téma. Kniha sestává ze tří bloků – Manipulace s fakty a teorií, Popisy a subjektivní pravdy, Literatura –, v nichž se dokumentační fotografie stává pozitivním nástrojem, důkazem, zkouškou nebo skicou, prostředkem pro vydírání, sebeprezentační blamáží a sbližovacím prvkem.\u003C\u002Fp>",[9686],{"__typename":4491,"html":9687},"\u003Cp>The After Life exhibitions is a collection of contributions by fourteen artists and curators who reflect on approaches to the documentation of exhibitions and artworks. The authors were asked to be as personal as possible in their texts to convey their own experiences and reflections on the subject. The book consists of three sections ─ Manipulating Facts and Theory, Descriptions and Subjective Truths, and Literature ─ in which documentary photography becomes a positive tool, a proof, a test or sketch, a means of blackmail, a self-presentational bluff, and a bonding element.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":9689,"items":9690},{"cs":4,"en":4},[9691],{"title":9692,"content":9693,"content_nodes":9696},{"cs":5031,"en":4909},{"cs":9694,"en":9695},"\u003Cp>Autoři příspěvků: Anne-Claire Barriga, Oldřich Bystřický, Polina Davydenko, Daniela & Linda Dostálkovy, David Fesl, Isabela Grosseová, Jiří Havlíček, Jakub Jansa, Edith Jeřábková, Šimon Kadlčák, Zuzana Krišková, Marie Lukáčová, Lenka Vítková.\u003C\u002Fp>","\u003Cp>Authors of contributions: Anne-Claire Barriga, Oldřich Bystřický, Polina Davydenko, Daniela & Linda Dostálkovy, David Fesl, Isabela Grosseová, Jiří Havlíček, Jakub Jansa, Edith Jeřábková, Šimon Kadlčák, Zuzana Krišková, Marie Lukáčová, Lenka Vítková.\u003C\u002Fp>",{"cs":9697,"en":9699},[9698],{"__typename":4491},[9700],{"__typename":4491},{"title":9702,"description":9703,"canonical_url":9704,"og_title":9705,"og_description":9706,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fthe-after-life-exhibitions",{"cs":9709,"en":9714},[9710,9711],{"label":28,"menu_url":29},{"label":9712,"menu_url":9713},"After Life výstavy","\u002Fafter-life-vystavy",[9715,9716],{"label":34,"menu_url":29},{"label":9658,"menu_url":9707},[9718],{"id":13,"name":14,"slug":9719},{"cs":16,"en":17},[],"2026-10-07 17:39:29",{"id":9723,"title":9724,"slug":9725,"description":4441,"file":9728,"image":9729,"year":8637,"authors":9737,"publisher":4476,"place_of_publication":91,"isbn":9738,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":9739,"eshop_link":9740,"info":9741,"content_blocks":9742,"seo":9807,"menu_url":9813,"breadcrumbs":9814,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":9823,"publicationTags":9826,"created_at":9107,"updated_at":9827},"1735","Journal for Art, Theory and Related Zones 26\u002F2019",{"cs":9726,"en":9727},"sesit-pro-umeni-teorii-a-pribuzne-zony-26-2019","sesit-pro-umeni-teorii-a-pribuzne-zony-26-2019-journal-for-art-theory-and-related-zones-26-2019","1736",{"id":9728,"caption":9730,"alt_text":4,"url":9731,"srcset":4,"media":9732,"conversions":9736,"created_at":9107,"updated_at":9107},"obalka_Sesit_26","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1947\u002Fobalka-sesit-26.jpg",{"id":9733,"name":9730,"file_name":9734,"mime_type":4592,"size":9735,"url":9731},"1947","obalka-sesit-26.jpg",374582,[],"A team of authors","1802-8918",80,"https:\u002F\u002Fknihy.artmap.cz\u002Fen\u002Fsesit-pro-umeni--teorii-a-pribuzne-zony-26-2019\u002F",[],[9743,9753,9770,9787,9802],{"__typename":4483,"background":4892,"heading":9744,"content":9745,"content_nodes":9748},{"cs":4,"en":4},{"cs":9746,"en":9747},"\u003Cp>Dvacáté šesté číslo Sešitu pro umění, teorii a příbuzné zóny se vrací ještě jednou k tématu historie výstav, jež chápeme jako prizma, jímž je možné se dívat na umění druhé poloviny dvacátého století.\u003C\u002Fp>","\u003Cp>The twenty-sixth issue of the Journal for Art, Theory and Related Zones returns once again to the theme of exhibition history, which we understand as a prism through which to view the art of the second half of the twentieth century.\u003C\u002Fp>",{"cs":9749,"en":9751},[9750],{"__typename":4491,"html":9746},[9752],{"__typename":4491,"html":9747},{"__typename":4495,"background":4,"title":9754,"items":9755},{"cs":4,"en":4},[9756],{"title":9757,"content":9760,"content_nodes":9763},{"cs":9758,"en":9759},"Kurátorská praxe a výstavy amerického umění","Curatorial Practice and Exhibitions of American Art",{"cs":9761,"en":9762},"\u003Cp>Obsahuje rozhovor Terezie Nekvindové s kurátorkou a kritičkou Ludmilou Vachtovou, která připravovala program nejen pro galerii Na Karlově náměstí, ale též Galerii Platýz a podílela se také na přípravě série výstav v Liberci v šedesátých letech.\u003C\u002Fp>\u003Cp>Dále zde najdeme text Márie Oriškové o dvou výstavách amerického umění, které proběhly v Československu v roce 1947 a 1969.\u003C\u002Fp>","\u003Cp>It includes Terezie Nekvindová’s interview with curator and critic Ludmila Vachtová, who developed programmes not only for the gallery on Charles Square but also for Galerie Platýz, and helped prepare a series of exhibitions in Liberec in the 1960s.\u003C\u002Fp>\u003Cp>The issue also features a text by Mária Orišková on two exhibitions of American art held in Czechoslovakia in 1947 and 1969.\u003C\u002Fp>",{"cs":9764,"en":9767},[9765,9766],{"__typename":4491},{"__typename":4491},[9768,9769],{"__typename":4491},{"__typename":4491},{"__typename":4495,"background":4,"title":9771,"items":9772},{"cs":4,"en":4},[9773],{"title":9774,"content":9777,"content_nodes":9780},{"cs":9775,"en":9776},"Jiří Valoch a ženy v umění","Jiří Valoch and Women in Art",{"cs":9778,"en":9779},"\u003Cp>Následuje studie o Jiřím Valochovi, v níž se tentokrát autorka Helena Musilová věnuje jedné konkrétní výstavě, již Valoch připravil pro brněnský Dům umění v roce 1980.\u003C\u002Fp>\u003Cp>Dalším z textů je studie Evy Skopalové a Marianny Placákové, která se věnuje ženám v umění 50.–80. let a to jak těch, které tvořily, tak i těch na obrazech.\u003C\u002Fp>","\u003Cp>This is followed by a study of Jiří Valoch in which Helena Musilová focuses on a particular exhibition he curated for the Brno House of Arts in 1980.\u003C\u002Fp>\u003Cp>Another contribution is a study by Eva Skopalová and Marianna Placáková examining women in art from the 1950s to the 1980s, both as artists and as subjects depicted in artworks.\u003C\u002Fp>",{"cs":9781,"en":9784},[9782,9783],{"__typename":4491},{"__typename":4491},[9785,9786],{"__typename":4491},{"__typename":4491},{"__typename":4495,"background":4,"title":9788,"items":9789},{"cs":4,"en":4},[9790],{"title":9791,"content":9794,"content_nodes":9797},{"cs":9792,"en":9793},"Strategie vystavování fotografie","Strategies for Exhibiting Photography",{"cs":9795,"en":9796},"\u003Cp>Číslo uzavírá text Alise Tifentale o strategiích vystavování fotografie na FIAP 1956.\u003C\u002Fp>","\u003Cp>The issue concludes with a text by Alise Tifentale on strategies for exhibiting photography at FIAP 1956.\u003C\u002Fp>",{"cs":9798,"en":9800},[9799],{"__typename":4491},[9801],{"__typename":4491},{"__typename":4547,"background":4,"title":9803,"type":4,"display":4549,"links":9804},{"cs":4,"en":4},[9805],{"type":2824,"color":4552,"target":93,"link":4553,"url":4553,"page_id":4,"page":4,"file":4,"label":9806},{"cs":4555,"en":4555},{"title":9808,"description":9809,"canonical_url":9810,"og_title":9811,"og_description":9812,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fsesit-pro-umeni-teorii-a-pribuzne-zony-26-2019-journal-for-art-theory-and-related-zones-26-2019",{"cs":9815,"en":9820},[9816,9817],{"label":28,"menu_url":29},{"label":9818,"menu_url":9819},"Sešit pro umění, teorii a příbuzné zóny 26\u002F2019","\u002Fsesit-pro-umeni-teorii-a-pribuzne-zony-26-2019",[9821,9822],{"label":34,"menu_url":29},{"label":9724,"menu_url":9813},[9824],{"id":13,"name":14,"slug":9825},{"cs":16,"en":17},[],"2026-10-07 21:08:32",{"id":9829,"title":9830,"slug":9831,"description":4,"file":9834,"image":9835,"year":4,"authors":9843,"publisher":4,"place_of_publication":4,"isbn":9844,"edition":4,"extent":4,"language":4,"publication_type":4,"price":4,"eshop_link":4,"info":9845,"content_blocks":9846,"seo":9874,"menu_url":9880,"breadcrumbs":9881,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":9890,"publicationTags":9893,"created_at":6826,"updated_at":6826},"5515","Dělení těla (Division of the Body)",{"cs":9832,"en":9833},"deleni-tela","deleni-tela-division-of-the-body","5519",{"id":9834,"caption":9836,"alt_text":4,"url":9837,"srcset":4,"media":9838,"conversions":9842,"created_at":6826,"updated_at":6826},"SKM_C250i220606071500","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1907\u002Fskm-c250i220606071500-1-scaled.jpg",{"id":9839,"name":9836,"file_name":9840,"mime_type":4592,"size":9841,"url":9837},"1907","skm-c250i220606071500-1-scaled.jpg",576418,[],"Darina Alster – Piotr Sikora (eds.)","978-80-88366-20-1",[],[9847,9868],{"__typename":4483,"background":4892,"heading":9848,"content":9849,"content_nodes":9850},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":9851,"en":9859},[9852,9854,9856,9858],{"__typename":4491,"html":9853},"\u003Cp>Autorská publikace Dariny Alster a Piotra Sikory sdružuje různorodé pohledy na tělesnost v umělecké práci. Tělo je zde chápáno jako nástroj společenské manipulace i samostatné univerzum odrážející vesmírné vlivy. Jednotlivé kapitoly jsou rozděleny podle částí lidského těla. Prostřednictvím textových a vizuálních příspěvků vybraných umělců a umělkyň, teoretiček a teoretiků kniha představuje hlavní teoretická a tvůrčí specifika, kterými lze tematiku tělesnosti v současné době nazírat. Publikace vychází v koedici AVU a FAVU VUT.\u003C\u002Fp>",{"__typename":4491,"html":9855},"\u003Cp>Darina Alster je vizuální umělkyně a performerka. Spolu s Kateřinou Olivovou vede ateliér Nová média 2 na AVU. Ve své tvorbě se kromě lidského těla zabývá i problematikou genderu a feminismu, které zpracovává v autorských performancích a v projektech uměleckého aktivismu. Je jednou ze zakladatelek kolektivu Mothers Artlovers.\u003C\u002Fp>",{"__typename":4491,"html":9857},"\u003Cp>Piotr Sikora je kritik a kurátor současného umění. Zkoumá především vztahy mezi popkulturou, politikou a uměleckým světem. Ve své kurátorské praxi se zaměřuje na rozvoj metod pro dekonstrukci velkých narativů, využívá přitom ironii, nadsázku a provokaci.\u003C\u002Fp>",{"__typename":4491,"html":6893},[9860,9862,9864,9866,9867],{"__typename":4491,"html":9861},"\u003Cp>This publication by Darina Alster and Piotr Sikora brings together diverse perspectives on corporeality in artistic work. The body is understood here as a tool of social manipulation as well as an independent universe reflecting cosmic influences. The individual chapters are divided according to the parts of the human body. Through textual and visual contributions by selected artists, theorists and artists, the book presents the main theoretical and creative specifics through which the subject of corporeality can be viewed today. The publication is published in co-edition of the Academy of Fine Arts and Architecture and the Faculty of Fine Arts of the BUT.\u003C\u002Fp>",{"__typename":4491,"html":9863},"\u003Cp>Darina Alster is a visual artist and performer. Together with Kateřina Olivová, she runs the New Media 2 studio at AVU. In her work, she deals not only with the human body, but also with issues of gender and feminism, which she treats in her original performances and in projects of artistic activism. She is one of the founders of the Mothers Artlovers collective.\u003C\u002Fp>",{"__typename":4491,"html":9865},"\u003Cp>Piotr Sikora is a critic and curator of contemporary art. He mainly explores the relationships between pop culture, politics and the art world. His curatorial practice focuses on developing methods for deconstructing grand narratives, using irony, exaggeration and provocation.\u003C\u002Fp>",{"__typename":4491,"html":6345},{"__typename":4491,"html":6901},{"__typename":4547,"background":4892,"title":9869,"type":4,"display":4549,"links":9870},{"cs":4,"en":4},[9871],{"type":2824,"color":4892,"target":2826,"link":9872,"url":9872,"page_id":4,"page":4,"file":4,"label":9873},"https:\u002F\u002Fknihy.artmap.cz\u002Fdeleni-tela---darina-alster--piotr-sikora-a-kol\u002F",{"cs":6282,"en":6283},{"title":9875,"description":9876,"canonical_url":9877,"og_title":9878,"og_description":9879,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fdeleni-tela-division-of-the-body",{"cs":9882,"en":9887},[9883,9884],{"label":28,"menu_url":29},{"label":9885,"menu_url":9886},"Dělení těla","\u002Fdeleni-tela",[9888,9889],{"label":34,"menu_url":29},{"label":9830,"menu_url":9880},[9891],{"id":13,"name":14,"slug":9892},{"cs":16,"en":17},[],{"id":9895,"title":9896,"slug":9897,"description":4441,"file":9900,"image":9901,"year":7936,"authors":9909,"publisher":4476,"place_of_publication":91,"isbn":9910,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":9911,"eshop_link":91,"info":9912,"content_blocks":9913,"seo":9945,"menu_url":9951,"breadcrumbs":9952,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":9961,"publicationTags":9964,"created_at":7225,"updated_at":9965},"5330","The Myth of the Architect: Jan Kotěra 150",{"cs":9898,"en":9899},"mytus-architekta-jan-kotera-150","the-myth-of-the-architect-jan-kotera-150","5332",{"id":9900,"caption":9902,"alt_text":4,"url":9903,"srcset":4,"media":9904,"conversions":9908,"created_at":7225,"updated_at":7225},"obálka","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1933\u002Fobalka-scaled.jpg",{"id":9905,"name":9902,"file_name":9906,"mime_type":4592,"size":9907,"url":9903},"1933","obalka-scaled.jpg",841144,[],"Helena Čapková, Ladislav Zikmund-Lender (eds.)","978-80-88366-16-4",1000,[],[9914,9926],{"__typename":4483,"background":4892,"heading":9915,"content":9916,"content_nodes":9919},{"cs":4,"en":4},{"cs":9917,"en":9918},"\u003Cp>Kniha, vydaná ke 150. výročí narození architekta, designéra, výtvarníka, pedagoga, organizátora a urbanisty Jana Kotěry, obsahuje deset kapitol od historiček a historiků architektury obsahujících nové interpretace Kotěrova díla a jeho témata, jimž dosud nebyla věnována pozornost.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>The book, published on the 150th anniversary of the birth of architect, designer, artist, educator, organizer and urban planner Jan Kotěra, contains ten chapters by architectural historians containing new interpretations of Kotěra’s work and themes that have not yet received attention.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":9920,"en":9923},[9921],{"__typename":4491,"html":9922},"\u003Cp>Kniha, vydaná ke 150. výročí narození architekta, designéra, výtvarníka, pedagoga, organizátora a urbanisty Jana Kotěry, obsahuje deset kapitol od historiček a historiků architektury obsahujících nové interpretace Kotěrova díla a jeho témata, jimž dosud nebyla věnována pozornost.\u003C\u002Fp>",[9924],{"__typename":4491,"html":9925},"\u003Cp>The book, published on the 150th anniversary of the birth of architect, designer, artist, educator, organizer and urban planner Jan Kotěra, contains ten chapters by architectural historians containing new interpretations of Kotěra’s work and themes that have not yet received attention.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":9927,"items":9928},{"cs":4,"en":4},[9929],{"title":9930,"content":9931,"content_nodes":9934},{"cs":5031,"en":4909},{"cs":9932,"en":9933},"\u003Cp>Ve dvou kapitolách se Jana Sklenářová Teichmanová a Ladislav Zikmund-Lender věnují Kotěrovu pedagogickému působení na Uměleckoprůmyslové škole a Akademii výtvarných umění. Tři kapitoly od Heleny Čapkové, Miroslava Pavla a Ladislava Zikmunda-Lendera jsou zaměřeny na Kotěrovy kontakty se zahraničím a mezinárodní transfer idejí: Japonsko a „orientalismus“, Nizozemí a Spojené státy. Dvě kapitoly Venduly Hnídkové a Markéty Žáčkové představují Kotěru jako urbanistu.\u003C\u002Fp>\u003Cp>Jan Galeta soustřeďuje svou pozornost na využívání tradic minulosti v Kotěrově díle a ukazuje tak, že jeho obraz revolucionáře, který odmítl všechno historické, je jen tradovaným mýtem. Ladislav Zikmund-Lender ukazuje v další kapitole Kotěrovy ambice stvořit syntetický styl pro nový Československý stát po roce 1918, které nebyly příliš naplněny.\u003C\u002Fp>\u003Cp>Filip Šenk aktualizuje principy Kotěrovy architektury na několika příkladech současné architektury. Součástí knihy je i rozsáhlý výběr z Kotěrovy publicistické činnosti z let 1900—1921 a z textů o Janu Kotěrovi z let 1922—1972, obě části jsou uvedeny historiografickými studiemi.\u003C\u002Fp>\u003Cp>Kniha obsahuje přes dvě stě reprodukcí, většinou dosud nepublikovaných historických návrhů a fotografií, soubor současných fotografií detailů Kotěrovy architektury od Jiřího Zikmunda a dvanáct ilustrací Jana Šrámka.\u003C\u002Fp>","\u003Cp>\u003Cbr>In two chapters, Jana Sklenářová Teichmanová and Ladislav Zikmund-Lender explore Kotěra’s teaching at the School of Applied Arts and the Academy of Fine Arts. Three chapters by Helena Čapková, Miroslav Pavel and Ladislav Zikmund-Lender focus on Kotěra’s international connections and the cross-border exchange of ideas: Japan and “Orientalism,” the Netherlands and the United States. Two chapters by Vendula Hnídková and Markéta Žáčková present Kotěra as an urban planner.\u003C\u002Fp>\u003Cp>Jan Galeta focuses on the use of historical traditions in Kotěra’s work, showing that his image as a revolutionary who rejected everything historical is merely a perpetuated myth. In another chapter, Ladislav Zikmund-Lender examines Kotěra’s largely unfulfilled ambitions to create a synthetic style for the new Czechoslovak state after 1918.\u003C\u002Fp>\u003Cp>Filip Šenk brings the principles of Kotěra’s architecture into the present through several examples of contemporary architecture. The book also includes an extensive selection of Kotěra’s published writings from 1900–1921 and texts about Jan Kotěra from 1922–1972, both sections introduced by historiographical studies.\u003C\u002Fp>\u003Cp>The book contains more than two hundred reproductions, mostly of previously unpublished historical designs and photographs, a collection of contemporary photographs of details of Kotěra’s architecture by Jiří Zikmund, and twelve illustrations by Jan Šrámek.\u003C\u002Fp>",{"cs":9935,"en":9940},[9936,9937,9938,9939],{"__typename":4491},{"__typename":4491},{"__typename":4491},{"__typename":4491},[9941,9942,9943,9944],{"__typename":4491},{"__typename":4491},{"__typename":4491},{"__typename":4491},{"title":9946,"description":9947,"canonical_url":9948,"og_title":9949,"og_description":9950,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fthe-myth-of-the-architect-jan-kotera-150",{"cs":9953,"en":9958},[9954,9955],{"label":28,"menu_url":29},{"label":9956,"menu_url":9957},"Mýtus architekta: Jan Kotěra 150","\u002Fmytus-architekta-jan-kotera-150",[9959,9960],{"label":34,"menu_url":29},{"label":9896,"menu_url":9951},[9962],{"id":13,"name":14,"slug":9963},{"cs":16,"en":17},[],"2026-10-07 12:55:53",{"id":9967,"title":9968,"slug":9969,"description":4441,"file":9971,"image":9972,"year":7936,"authors":9980,"publisher":4476,"place_of_publication":91,"isbn":9981,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":5900,"eshop_link":9982,"info":9983,"content_blocks":9984,"seo":10007,"menu_url":10013,"breadcrumbs":10014,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":10021,"publicationTags":10024,"created_at":6826,"updated_at":10025},"4169","Poke poke poke 3",{"cs":9970,"en":9970},"poke-poke-poke-3","4170",{"id":9971,"caption":9973,"alt_text":4,"url":9974,"srcset":4,"media":9975,"conversions":9979,"created_at":6826,"updated_at":6826},"obalka_poke3","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1905\u002Fobalka-poke3.jpg",{"id":9976,"name":9973,"file_name":9977,"mime_type":4592,"size":9978,"url":9974},"1905","obalka-poke3.jpg",27774,[],"Sarah Dubná, Štěpán Marko, Matěj Pšenička (eds.)","978-80-88366-22-5","https:\u002F\u002Fknihy.artmap.cz\u002Fen\u002Fpoke-poke-poke-3---sarah-dubna--stepan-marko--matej-psenicka--eds\u002F",[],[9985,9995],{"__typename":4483,"background":4892,"heading":9986,"content":9987,"content_nodes":9990},{"cs":4,"en":4},{"cs":9988,"en":9989},"\u003Cp>Kniha s názvem POKE POKE POKE 3 je dokončením příběhu outsalonového tetování. Zabývá se současným fenoménem tetování a jeho vnímáním ve společnosti. Kniha představuje další soubor autorů, kteří se věnují tetování z jiných úhlů pohledu, než na co jsme zvyklí u klasických tatérských studií či jinak profesionalizovaných institucí. Jde o jejich vlastní techniku, styl a přístup.\u003C\u002Fp>","\u003Cp>The book entitled POKE POKE POKE 3 is the completion of the story of the Outsalon of tattooing. It deals with the contemporary phenomenon of tattooing and its perception in society. The book presents another set of authors who deal with tattooing from different perspectives than what we are used to seeing in traditional tattoo studios or otherwise professionalized institutions. It is about their own technique, style and approach.\u003C\u002Fp>",{"cs":9991,"en":9993},[9992],{"__typename":4491,"html":9988},[9994],{"__typename":4491,"html":9989},{"__typename":4495,"background":4,"title":9996,"items":9997},{"cs":4,"en":4},[9998],{"title":9999,"content":10000,"content_nodes":10002},{"cs":5031,"en":4909},{"cs":8860,"en":10001},"\u003Cp>The artists were selected from a variety of backgrounds ranging from art schools, to regional cities etc. The photos collected and interviews conducted represent opinions on professional tattooing, aesthetic priorities, tips and tricks, as well as a substantial part of the background of the tattooing career and life stories of each author.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":10003,"en":10005},[10004],{"__typename":4491},[10006],{"__typename":4491},{"title":10008,"description":10009,"canonical_url":10010,"og_title":10011,"og_description":10012,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fpoke-poke-poke-3",{"cs":10015,"en":10018},[10016,10017],{"label":28,"menu_url":29},{"label":9968,"menu_url":10013},[10019,10020],{"label":34,"menu_url":29},{"label":9968,"menu_url":10013},[10022],{"id":13,"name":14,"slug":10023},{"cs":16,"en":17},[],"2026-10-07 17:01:04",{"id":10027,"title":10028,"slug":10029,"description":4441,"file":10032,"image":10033,"year":7936,"authors":6262,"publisher":4476,"place_of_publication":91,"isbn":10041,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":8904,"eshop_link":10042,"info":10043,"content_blocks":10044,"seo":10074,"menu_url":10080,"breadcrumbs":10081,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":10090,"publicationTags":10093,"created_at":8566,"updated_at":10094},"4166","Dystopian Realism. How to Learn Through Capitalism and Dark Futures",{"cs":10030,"en":10031},"dystopicky-realismus-jak-se-ucit-skrze-kapitalismus-a-temne-budoucnosti","dystopian-realism-how-to-learn-through-capitalism-and-dark-futures","4167",{"id":10032,"caption":10034,"alt_text":4,"url":10035,"srcset":4,"media":10036,"conversions":10040,"created_at":8566,"updated_at":8566},"obalka_dystopicky","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1934\u002Fobalka-dystopicky.jpg",{"id":10037,"name":10034,"file_name":10038,"mime_type":4592,"size":10039,"url":10035},"1934","obalka-dystopicky.jpg",28468,[],"978-80-88366-06-5","https:\u002F\u002Fknihy.artmap.cz\u002Fdystopicky-realismus-jak-se-ucit-skrze-kapitalismus-a-temne-budoucnosti---vaclav-janoscik\u002F",[],[10045,10061],{"__typename":4483,"background":4892,"heading":10046,"content":10047,"content_nodes":10050},{"cs":4,"en":4},{"cs":10048,"en":10049},"\u003Cp>V současnosti můžeme sledovat stále rostoucí popularitu dystopických příběhů, tedy těmnějších vizí naší budoucnosti, ale také rostoucí intenzitu diskusí týkajících se podstaty nebo proměny současného ekonomicko-politického uspořádání, které často zobecňujeme jako kapitalismus. Kniha Dystopický realismus? Jak se učit skrze kapitalismus a temné budoucnosti se pokouší právě za pomoci dystopických příběhů, přiblížit některé nejdůležitější pojmy a roviny kapitalismu. Jednotlivé kapitoly prochází problémy pokroku, abstrakce, trhu, komodit a směny, technologie, kapitálu a kapitalizaci, ale také současnou situaci charakterizovanou jako kapitalismus identit. Kniha postupně prochází krizi utopických vizí (Star Trek), některé klasické dystopie (Zamjatin, Huxley, Asimov) a jejich postmoderní nástupce (Dick, Ballard), hry a zejména jejich survivalovou formu (Monopoly, Death Stranding), ale také současnou quality TV (Po životě, Roky a Roky).\u003C\u002Fp>\u003Cp>Cílem Dystopického realismu ale není jen průzkum těchto kontextů. Celá kniha je určitou reakcí na Marka Fishera jeho pojem kapitalistického realismu. Zatímco v jeho argumentaci jsou tradiční dystopie ukázkou toho, že alternativní budoucnost není možná (po krizi je nastolen původní řád), v Dystopickém realismu jsou tyto příběhy experimentálním prostorem vyvíjející citlivost k jinakosti, různé formy péče a solidarity, intenzity a strategie mimo tradiční rámce současné společenské situace.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>At present we can observe the growing popularity of dystopian stories, i.e. darker visions of our future, but also the growing intensity of discussions concerning the nature or transformation of the current economic-political order, which we often generalize as capitalism. The book Dystopian Realism? How to Learn Through Capitalism and Dark Futures attempts to bring some of the most important concepts and levels of capitalism into focus precisely with the help of dystopian narratives. Individual chapters go through the problems of progress, abstraction, the market, commodities and exchange, technology, capital and capitalization, as well as the current situation characterized as identity capitalism. The book progresses through the crisis of utopian visions (Star Trek), some classical dystopias (Zamyatin, Huxley, Asimov) and their postmodern successors (Dick, Ballard), games and especially their survivalist form (Monopoly, Death Stranding), as well as contemporary quality TV (After Life, Years and Years).\u003C\u002Fp>\u003Cp> But the aim of Dystopian Realism is not just to explore these contexts. The whole book is a kind of response to Mark Fisher’s notion of capitalist realism. While in his argument traditional dystopias are a demonstration that alternative futures are not possible (the original order is established after the crisis), in Dystopian Realism these stories are experimental spaces developing sensitivity to otherness, different forms of care and solidarity, intensities and strategies outside the traditional frameworks of the current social situation.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":10051,"en":10056},[10052,10054],{"__typename":4491,"html":10053},"\u003Cp>V současnosti můžeme sledovat stále rostoucí popularitu dystopických příběhů, tedy těmnějších vizí naší budoucnosti, ale také rostoucí intenzitu diskusí týkajících se podstaty nebo proměny současného ekonomicko-politického uspořádání, které často zobecňujeme jako kapitalismus. Kniha Dystopický realismus? Jak se učit skrze kapitalismus a temné budoucnosti se pokouší právě za pomoci dystopických příběhů, přiblížit některé nejdůležitější pojmy a roviny kapitalismu. Jednotlivé kapitoly prochází problémy pokroku, abstrakce, trhu, komodit a směny, technologie, kapitálu a kapitalizaci, ale také současnou situaci charakterizovanou jako kapitalismus identit. Kniha postupně prochází krizi utopických vizí (Star Trek), některé klasické dystopie (Zamjatin, Huxley, Asimov) a jejich postmoderní nástupce (Dick, Ballard), hry a zejména jejich survivalovou formu (Monopoly, Death Stranding), ale také současnou quality TV (Po životě, Roky a Roky).\u003C\u002Fp>",{"__typename":4491,"html":10055},"\u003Cp>Cílem Dystopického realismu ale není jen průzkum těchto kontextů. Celá kniha je určitou reakcí na Marka Fishera jeho pojem kapitalistického realismu. Zatímco v jeho argumentaci jsou tradiční dystopie ukázkou toho, že alternativní budoucnost není možná (po krizi je nastolen původní řád), v Dystopickém realismu jsou tyto příběhy experimentálním prostorem vyvíjející citlivost k jinakosti, různé formy péče a solidarity, intenzity a strategie mimo tradiční rámce současné společenské situace.\u003C\u002Fp>",[10057,10059],{"__typename":4491,"html":10058},"\u003Cp>At present we can observe the growing popularity of dystopian stories, i.e. darker visions of our future, but also the growing intensity of discussions concerning the nature or transformation of the current economic-political order, which we often generalize as capitalism. The book Dystopian Realism? How to Learn Through Capitalism and Dark Futures attempts to bring some of the most important concepts and levels of capitalism into focus precisely with the help of dystopian narratives. Individual chapters go through the problems of progress, abstraction, the market, commodities and exchange, technology, capital and capitalization, as well as the current situation characterized as identity capitalism. The book progresses through the crisis of utopian visions (Star Trek), some classical dystopias (Zamyatin, Huxley, Asimov) and their postmodern successors (Dick, Ballard), games and especially their survivalist form (Monopoly, Death Stranding), as well as contemporary quality TV (After Life, Years and Years).\u003C\u002Fp>",{"__typename":4491,"html":10060},"\u003Cp> But the aim of Dystopian Realism is not just to explore these contexts. The whole book is a kind of response to Mark Fisher’s notion of capitalist realism. While in his argument traditional dystopias are a demonstration that alternative futures are not possible (the original order is established after the crisis), in Dystopian Realism these stories are experimental spaces developing sensitivity to otherness, different forms of care and solidarity, intensities and strategies outside the traditional frameworks of the current social situation.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":10062,"items":10063},{"cs":4,"en":4},[10064],{"title":10065,"content":10066,"content_nodes":10069},{"cs":5790,"en":4840},{"cs":10067,"en":10068},"\u003Cp>Václav Janoščík je teoretik, kurátor a pedagog zaměřující se na současné umění, filozofii a kritickou teorii. Ve své práci se věnuje zejména vztahům mezi uměním, politikou, technologiemi a současnou společností. Působí také jako autor a editor řady publikací věnovaných současnému umění a myšlení.\u003C\u002Fp>","\u003Cp>Václav Janoščík is a theorist, curator, and educator focusing on contemporary art, philosophy, and critical theory. His work explores the relationships between art, politics, technology, and contemporary society. He is also the author and editor of numerous publications on contemporary art and thought.\u003C\u002Fp>",{"cs":10070,"en":10072},[10071],{"__typename":4491},[10073],{"__typename":4491},{"title":10075,"description":10076,"canonical_url":10077,"og_title":10078,"og_description":10079,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fdystopian-realism-how-to-learn-through-capitalism-and-dark-futures",{"cs":10082,"en":10087},[10083,10084],{"label":28,"menu_url":29},{"label":10085,"menu_url":10086},"Dystopický realismus. Jak se učit skrze kapitalismus a temné budoucnosti","\u002Fdystopicky-realismus-jak-se-ucit-skrze-kapitalismus-a-temne-budoucnosti",[10088,10089],{"label":34,"menu_url":29},{"label":10028,"menu_url":10080},[10091],{"id":13,"name":14,"slug":10092},{"cs":16,"en":17},[],"2026-10-07 06:22:08",{"id":10096,"title":10097,"slug":10098,"description":4441,"file":10100,"image":10101,"year":7936,"authors":9737,"publisher":4476,"place_of_publication":91,"isbn":10109,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":6946,"eshop_link":10110,"info":10111,"content_blocks":10112,"seo":10139,"menu_url":10145,"breadcrumbs":10146,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":10153,"publicationTags":10156,"created_at":8566,"updated_at":10157},"3405","Social distancing journal",{"cs":10099,"en":10099},"social-distancing-journal","3406",{"id":10100,"caption":10102,"alt_text":4,"url":10103,"srcset":4,"media":10104,"conversions":10108,"created_at":8566,"updated_at":8566},"social_obalka","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1935\u002Fsocial-obalka.png",{"id":10105,"name":10102,"file_name":10106,"mime_type":4450,"size":10107,"url":10103},"1935","social-obalka.png",20457,[],"978-80-88366-24-9","https:\u002F\u002Fknihy.artmap.cz\u002Fsocial-distancing-journal\u002F",[],[10113,10127],{"__typename":4483,"background":4892,"heading":10114,"content":10115,"content_nodes":10118},{"cs":4,"en":4},{"cs":10116,"en":10117},"\u003Cp>Po dobu zhruba dvou měsíců vznikal sdílený deník, do kterého přispěli studentky, studenti a vyučující ateliéru Intermédia 2 na AVU. Pandemie dlouhodobě ovlivňuje naše životy a my pořád nemůžeme dohlédnout za konec krize. Co se stane, až omezení pominou? Co náhlé zastavení společnosti znamená pro naši budoucnost? Spíš než o rozbor toho co se stalo, nám šlo o výměnu postřehů a zážitků, které tvoří mozaiku důkazů, že se děje něco mimořádného.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>For about two months, a shared diary was created, to which students and teachers of the Intermedia 2 studio at AVU contributed. The pandemic has been affecting our lives for a long time and we still cannot see beyond the end of the crisis. What will happen when the restrictions are gone? What does the sudden halt of society mean for our future? Rather than an analysis of what happened, we were interested in exchanging insights and experiences that form a mosaic of evidence that something extraordinary is happening.\u003C\u002Fp>\u003Cp>The publication of a collective studio work, a shared diary from quarantine.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":10119,"en":10122},[10120],{"__typename":4491,"html":10121},"\u003Cp>Po dobu zhruba dvou měsíců vznikal sdílený deník, do kterého přispěli studentky, studenti a vyučující ateliéru Intermédia 2 na AVU. Pandemie dlouhodobě ovlivňuje naše životy a my pořád nemůžeme dohlédnout za konec krize. Co se stane, až omezení pominou? Co náhlé zastavení společnosti znamená pro naši budoucnost? Spíš než o rozbor toho co se stalo, nám šlo o výměnu postřehů a zážitků, které tvoří mozaiku důkazů, že se děje něco mimořádného.\u003C\u002Fp>",[10123,10125],{"__typename":4491,"html":10124},"\u003Cp>For about two months, a shared diary was created, to which students and teachers of the Intermedia 2 studio at AVU contributed. The pandemic has been affecting our lives for a long time and we still cannot see beyond the end of the crisis. What will happen when the restrictions are gone? What does the sudden halt of society mean for our future? Rather than an analysis of what happened, we were interested in exchanging insights and experiences that form a mosaic of evidence that something extraordinary is happening.\u003C\u002Fp>",{"__typename":4491,"html":10126},"\u003Cp>The publication of a collective studio work, a shared diary from quarantine.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":10128,"items":10129},{"cs":4,"en":4},[10130],{"title":10131,"content":10132,"content_nodes":10134},{"cs":5031,"en":4909},{"cs":10133,"en":10126},"\u003Cp>Vydání kolektivní ateliérové práce, sdíleného deníku z karantény.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":10135,"en":10137},[10136],{"__typename":4491},[10138],{"__typename":4491},{"title":10140,"description":10141,"canonical_url":10142,"og_title":10143,"og_description":10144,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fsocial-distancing-journal",{"cs":10147,"en":10150},[10148,10149],{"label":28,"menu_url":29},{"label":10097,"menu_url":10145},[10151,10152],{"label":34,"menu_url":29},{"label":10097,"menu_url":10145},[10154],{"id":13,"name":14,"slug":10155},{"cs":16,"en":17},[],"2026-10-07 06:25:58",{"id":10159,"title":10160,"slug":10161,"description":4441,"file":10164,"image":10165,"year":7936,"authors":10173,"publisher":4476,"place_of_publication":91,"isbn":10174,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":4731,"eshop_link":10175,"info":10176,"content_blocks":10177,"seo":10204,"menu_url":10210,"breadcrumbs":10211,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":10220,"publicationTags":10223,"created_at":6826,"updated_at":10224},"3402","The Gravity of Artistic Competence",{"cs":10162,"en":10163},"gravitace-umelecke-kompetence","the-gravity-of-artistic-competence","3403",{"id":10164,"caption":10166,"alt_text":4,"url":10167,"srcset":4,"media":10168,"conversions":10172,"created_at":6826,"updated_at":6826},"obalka_gravitace","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1906\u002Fobalka-gravitace.jpg",{"id":10169,"name":10166,"file_name":10170,"mime_type":4592,"size":10171,"url":10167},"1906","obalka-gravitace.jpg",26011,[],"Isabela Grosseová","978-80-88366-18-8","https:\u002F\u002Fknihy.artmap.cz\u002Fen\u002Fgravitace-umelecke-kompetence---isabela-grosseova\u002F",[],[10178,10190],{"__typename":4483,"background":4892,"heading":10179,"content":10180,"content_nodes":10183},{"cs":4,"en":4},{"cs":10181,"en":10182},"\u003Cp>Knižní vydání disertační práce, která analyzuje problematiku uměleckého vzdělávání a jeho následného vlivu na pozdější životy absolventů a absolventek oborů volného umění na AVU. Tematizuje otázky, jakými pocity je provázen osobní pocit neúspěchu v uměleckém prostředí či volba osobní rezignace na uměleckou kariéru. Je možné poté uměleckou kompetenci infiltrovat do světa mimo umění a jaký význam má v této situaci samotné umělecké vysokoškolské vzdělání? Isabela Grosseová hledá mimo jiné odpovědi v autentických rozhovorech s osobnostmi, které uměleckým vzděláním na AVU prošly.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>A book edition of a dissertation that analyses the issue of art education and its subsequent influence on the later lives of graduates of liberal arts at AVU. It addresses the questions of what feelings accompany a personal sense of failure in an artistic environment or the choice of personal resignation to an artistic career. Is it then possible to infiltrate artistic competence into the world outside of art, and what is the significance of art higher education itself in this situation? Isabela Grosseová seeks answers in authentic interviews with personalities who have undergone art education at AVU.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":10184,"en":10187},[10185],{"__typename":4491,"html":10186},"\u003Cp>Knižní vydání disertační práce, která analyzuje problematiku uměleckého vzdělávání a jeho následného vlivu na pozdější životy absolventů a absolventek oborů volného umění na AVU. Tematizuje otázky, jakými pocity je provázen osobní pocit neúspěchu v uměleckém prostředí či volba osobní rezignace na uměleckou kariéru. Je možné poté uměleckou kompetenci infiltrovat do světa mimo umění a jaký význam má v této situaci samotné umělecké vysokoškolské vzdělání? Isabela Grosseová hledá mimo jiné odpovědi v autentických rozhovorech s osobnostmi, které uměleckým vzděláním na AVU prošly.\u003C\u002Fp>",[10188],{"__typename":4491,"html":10189},"\u003Cp>A book edition of a dissertation that analyses the issue of art education and its subsequent influence on the later lives of graduates of liberal arts at AVU. It addresses the questions of what feelings accompany a personal sense of failure in an artistic environment or the choice of personal resignation to an artistic career. Is it then possible to infiltrate artistic competence into the world outside of art, and what is the significance of art higher education itself in this situation? Isabela Grosseová seeks answers in authentic interviews with personalities who have undergone art education at AVU.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":10191,"items":10192},{"cs":4,"en":4},[10193],{"title":10194,"content":10196,"content_nodes":10199},{"cs":10195,"en":4840},"Autorka ",{"cs":10197,"en":10198},"\u003Cp>Isabela Grosseová je vizuální a intermediální umělkyně, studovala doktorát v ateliéru intermediální tvorby a v ateliéru Grafika II na AVU. Ve své tvorbě se zabývá zkoumáním a ohledáváním hranic uměleckých formátů a povahy umělecké praxe. Od roku 2005 spolupracuje na projektech s umělcem Jesperem Alvaerem.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>Isabela Grosseová is a visual and intermedia artist who studied for her PhD in the Intermedia Studio and Printmaking II at the Academy of Fine Arts. Her work explores and questions the boundaries of artistic formats and the nature of artistic practice. Since 2005 he has been collaborating on projects with artist Jesper Alvaer.\u003C\u002Fp>",{"cs":10200,"en":10202},[10201],{"__typename":4491},[10203],{"__typename":4491},{"title":10205,"description":10206,"canonical_url":10207,"og_title":10208,"og_description":10209,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fthe-gravity-of-artistic-competence",{"cs":10212,"en":10217},[10213,10214],{"label":28,"menu_url":29},{"label":10215,"menu_url":10216},"Gravitace umělecké kompetence","\u002Fgravitace-umelecke-kompetence",[10218,10219],{"label":34,"menu_url":29},{"label":10160,"menu_url":10210},[10221],{"id":13,"name":14,"slug":10222},{"cs":16,"en":17},[],"2026-10-07 17:04:50",{"id":10226,"title":10227,"slug":10228,"description":4441,"file":10230,"image":10231,"year":7936,"authors":10239,"publisher":4476,"place_of_publication":91,"isbn":10240,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":4731,"eshop_link":10241,"info":10242,"content_blocks":10243,"seo":10271,"menu_url":10277,"breadcrumbs":10278,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":10285,"publicationTags":10288,"created_at":8566,"updated_at":10289},"3399","KPZ",{"cs":10229,"en":10229},"kpz","3400",{"id":10230,"caption":10232,"alt_text":4,"url":10233,"srcset":4,"media":10234,"conversions":10238,"created_at":8566,"updated_at":8566},"KPZ_obalka","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1936\u002Fkpz-obalka.png",{"id":10235,"name":10232,"file_name":10236,"mime_type":4450,"size":10237,"url":10233},"1936","kpz-obalka.png",30264,[],"Hana Chmelíková, Radka Bodzewicz","978-80-88366-19-5","https:\u002F\u002Fknihy.artmap.cz\u002Fen\u002Fkpz---hana-chmelikova--radka-bodzewicz-2\u002F?srsltid=AU7gw4VE0lPyqYKl3IzXrJmbOyVlzi3fkBy4rP7R8Zm-8xPGXDl8CNhW",[],[10244,10255],{"__typename":4483,"background":4892,"heading":10245,"content":10246,"content_nodes":10249},{"cs":4,"en":4},{"cs":10247,"en":10248},"\u003Cp>Společný dvojsešit autorek završuje jejich roční spolupráci, která byla založena na vzájemném dialogu kresbou\u002Ftextem. Časosběrný dokument odráží jak nutkání tvořit, tak především potřebu dialogu, sdílení a vzájemné péče. Tento tvůrčí proces se prokázal jako funkční zejména v covidové izolaci, během níž obě autorky hledaly prostor pro nové ideje a vztahy. Sešit má potenciál stát se záchranným prostředkem tehdy, když kresba vedle svého vizuálního účinku naplno projeví svou magickou sílu, a to právě ve chvíli, kdy se provádí. I díky textu, který autorky poskládaly ze vzájemné komunikace a který protéká oběma částmi směrem do středu, vyznívá KPZ jako Kryptický Příběh Záchrany jedna druhé.\u003C\u002Fp>","\u003Cp>The artists’ joint double essay completes their year-long collaboration, which was based on a mutual dialogue through drawing\u002Ftext. The time-lapse document reflects both the urge to create and, above all, the need for dialogue, sharing and mutual care. This creative process proved to be particularly functional in the covid isolation, during which both artists sought space for new ideas and relationships. The scrapbook has the potential to become a lifesaving device when the drawing, in addition to its visual effect, fully manifests its magical power at the very moment it is being performed. Also thanks to the text, which the authors have pieced together from their communication with each other and which flows through both parts towards the center, KPZ sounds like a Cryptic Story of Rescuing each other.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":10250,"en":10252},[10251],{"__typename":4491,"html":10247},[10253],{"__typename":4491,"html":10254},"\u003Cp>The artists’ joint double essay completes their year-long collaboration, which was based on a mutual dialogue through drawing\u002Ftext. The time-lapse document reflects both the urge to create and, above all, the need for dialogue, sharing and mutual care. This creative process proved to be particularly functional in the covid isolation, during which both artists sought space for new ideas and relationships. The scrapbook has the potential to become a lifesaving device when the drawing, in addition to its visual effect, fully manifests its magical power at the very moment it is being performed. Also thanks to the text, which the authors have pieced together from their communication with each other and which flows through both parts towards the center, KPZ sounds like a Cryptic Story of Rescuing each other.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":10256,"items":10257},{"cs":4,"en":4},[10258],{"title":10259,"content":10261,"content_nodes":10264},{"cs":10260,"en":4909},"Autorky",{"cs":10262,"en":10263},"\u003Cp>Hana Chmelíková je vizuální umělkyně a výzkumnice. Absolvovala Ateliér Grafika II na Akademii výtvarných umění v Praze, kde v současnosti pokračuje v doktorském studiu. Ve své tvorbě pracuje s kresbou, tiskem, textem, performancí a participativními formáty. Dlouhodobě se zabývá mezilidskými a rodinnými vztahy, vizuální komunikací a kresbou jako prostředkem sdílené zkušenosti.\u003C\u002Fp>\u003Cp>Radka Bodzewicz je česká malířka a sochařka. Vystudovala Akademii výtvarných umění v Praze a absolvovala stáž na Gray’s School of Art v Aberdeenu. Ve své tvorbě propojuje monumentální malbu s novými technologiemi, jako jsou virtuální a rozšířená realita, holografický obraz nebo 3D tisk. Inspiraci čerpá zejména z literatury, filozofie, psychologie a archetypálních témat.\u003C\u002Fp>","\u003Cp>Hana Chmelíková is a Czech visual artist and researcher. She graduated from the Printmaking II Studio at the Academy of Fine Arts in Prague, where she is currently pursuing her doctoral studies. Her practice encompasses drawing, printmaking, text, performance, and participatory formats. She focuses on interpersonal and family relationships, visual communication, and drawing as a means of sharing experience.\u003C\u002Fp>\u003Cp>Radka Bodzewicz is a Czech painter and sculptor. She graduated from the Academy of Fine Arts in Prague and studied at Gray’s School of Art in Aberdeen. Her practice combines monumental painting with new technologies, including virtual and augmented reality, holographic imagery, and 3D printing. Her work draws inspiration from literature, philosophy, psychology, and archetypal themes.\u003C\u002Fp>",{"cs":10265,"en":10268},[10266,10267],{"__typename":4491},{"__typename":4491},[10269,10270],{"__typename":4491},{"__typename":4491},{"title":10272,"description":10273,"canonical_url":10274,"og_title":10275,"og_description":10276,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fkpz",{"cs":10279,"en":10282},[10280,10281],{"label":28,"menu_url":29},{"label":10227,"menu_url":10277},[10283,10284],{"label":34,"menu_url":29},{"label":10227,"menu_url":10277},[10286],{"id":13,"name":14,"slug":10287},{"cs":16,"en":17},[],"2026-10-07 12:30:09",{"id":10291,"title":10292,"slug":10293,"description":4441,"file":10296,"image":10297,"year":7936,"authors":9737,"publisher":4476,"place_of_publication":91,"isbn":9738,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":9739,"eshop_link":10305,"info":10306,"content_blocks":10307,"seo":10372,"menu_url":10378,"breadcrumbs":10379,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":10388,"publicationTags":10391,"created_at":8566,"updated_at":10392},"3395","Journal for Art, Theory and Related Zones No. 31\u002F2021",{"cs":10294,"en":10295},"sesit-pro-umeni-teorii-a-pribuzne-zony-c-31-2021","sesit-pro-umeni-teorii-a-pribuzne-zony-c-31-2021-journal-for-art-theory-and-related-zones-no-31-2021","3396",{"id":10296,"caption":10298,"alt_text":4,"url":10299,"srcset":4,"media":10300,"conversions":10304,"created_at":8566,"updated_at":8566},"Sešit_31_2021","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1937\u002Fsesit-31-2021.jpg",{"id":10301,"name":10298,"file_name":10302,"mime_type":4592,"size":10303,"url":10299},"1937","sesit-31-2021.jpg",239664,[],"https:\u002F\u002Fknihy.artmap.cz\u002Fen\u002Fsesit-pro-umeni--teorii-a-pribuzne-zony-31-2021\u002F",[],[10308,10318,10335,10352,10367],{"__typename":4483,"background":4892,"heading":10309,"content":10310,"content_nodes":10313},{"cs":4,"en":4},{"cs":10311,"en":10312},"\u003Cp>Jednatřicátý Sešit je věnován tématu „Architektura a hlas lidu“ a texty do něj vybral hostující editor Hubert Guzik z Fakulty architektury ČVUT. Konkrétně se toto číslo zabývá tím, jak státně socialistické režimy pracovaly se sociologickými daty o bytových potřebách a přáních obyvatelů sídlišť. Autorské složení je mezinárodní a téma je zkoumáno prostřednictvím čtyř studií a jedné recenze.\u003C\u002Fp>","\u003Cp>The thirty-first volume is dedicated to the theme “Architecture and the Voice of the People” and the texts were selected by guest editor Hubert Guzik from the Faculty of Architecture of the Czech Technical University. Specifically, this issue deals with how state socialist regimes worked with sociological data on the housing needs and desires of housing estate residents. The authorship is international and the topic is explored through four studies and one review.\u003C\u002Fp>",{"cs":10314,"en":10316},[10315],{"__typename":4491,"html":10311},[10317],{"__typename":4491,"html":10312},{"__typename":4495,"background":4,"title":10319,"items":10320},{"cs":4,"en":4},[10321],{"title":10322,"content":10325,"content_nodes":10328},{"cs":10323,"en":10324},"Průzkumy bydlení v Polsku a Československu","Housing Surveys in Poland and Czechoslovakia",{"cs":10326,"en":10327},"\u003Cp>První je studie „Propaganda, Mission, and Public Opinion“, v níž se Krzysztof Mordyński věnuje anketě, kterou uspořádaly komunistické úřady počátkem 50. let mezi obyvateli socialisticko-realistické obytné čtvrti MDM ve Varšavě.\u003C\u002Fp>\u003Cp>O něco pozdějšímu, ale rozsáhlejšímu průzkumu v Československu se věnuje článek Evy Novotné „Sociologické průzkumy první poloviny šedesátých let a První celostátní diskuse o bydlení“; podobně jako Mordyński poukazuje na napětí mezi režimem a architekty, kteří se snažili zjištěné potřeby veřejnosti promítnout do svých záměrů.\u003C\u002Fp>","\u003Cp>The first is the study “Propaganda, Mission, and Public Opinion”, in which Krzysztof Mordyński examines a survey organized by the communist authorities in the early 1950s among residents of the socialist-realist residential district of MDM in Warsaw.\u003C\u002Fp>\u003Cp>A slightly later but more extensive survey in Czechoslovakia is the subject of Eva Novotná’s article “Sociological Surveys of the First Half of the 1960s and the First National Discussion on Housing”; like Mordyński, she points out the tension between the regime and architects who tried to translate the identified public needs into their plans.\u003C\u002Fp>",{"cs":10329,"en":10332},[10330,10331],{"__typename":4491},{"__typename":4491},[10333,10334],{"__typename":4491},{"__typename":4491},{"__typename":4495,"background":4,"title":10336,"items":10337},{"cs":4,"en":4},[10338],{"title":10339,"content":10342,"content_nodes":10345},{"cs":10340,"en":10341},"Sociologie a výzkum sídlišť","Sociology and Housing Estate Research",{"cs":10343,"en":10344},"\u003Cp>Z tohoto hlediska byla situace zvlášť obtížná v Rumunsku, kde docházelo k zákazům či výraznému omezování sociologie jako takové. Věnuje se tomu text „A Strained Relationship“ od Dragoṣe Dascălu.\u003C\u002Fp>\u003Cp>V poslední studii poukazuje Karolina Jirkalová na anachronická východiska průzkumu, který v 80. letech realizoval tým Jiřího Musila a jež byly následně publikovány v knize Lidé a sídliště.\u003C\u002Fp>","\u003Cp>In this respect, the situation was particularly difficult in Romania, where sociology as such was banned or severely restricted. This is the subject of the text “A Strained Relationship” by Dragoṣe Dascălu.\u003C\u002Fp>\u003Cp>In the last study, Karolina Jirkalová points out the anachronistic starting points of a survey carried out in the 1980s by Jiří Musil’s team, which were subsequently published in People and Settlements.\u003C\u002Fp>",{"cs":10346,"en":10349},[10347,10348],{"__typename":4491},{"__typename":4491},[10350,10351],{"__typename":4491},{"__typename":4491},{"__typename":4495,"background":4,"title":10353,"items":10354},{"cs":4,"en":4},[10355],{"title":10356,"content":10359,"content_nodes":10362},{"cs":10357,"en":10358},"Recenze historických monografií","Reviews of Historical Monographs",{"cs":10360,"en":10361},"\u003Cp>Číslo uzavírá recenze Mileny Bartlové na dvě historické monografie dotýkající se širších souvislostí našeho tématu – Architekti dlouhé změny (Kopeček a kol.) a Řídit socialismus jako firmu (Sommer a kol.).\u003C\u002Fp>","\u003Cp>The issue concludes with Milena Bartlova’s review of two historical monographs touching on the broader context of our topic - Architects of Long Change (Kopeček et al.) and Managing Socialism as a Company (Sommer et al.).\u003C\u002Fp>",{"cs":10363,"en":10365},[10364],{"__typename":4491},[10366],{"__typename":4491},{"__typename":4547,"background":4,"title":10368,"type":4,"display":4549,"links":10369},{"cs":4,"en":4},[10370],{"type":2824,"color":4552,"target":93,"link":4553,"url":4553,"page_id":4,"page":4,"file":4,"label":10371},{"cs":4555,"en":4555},{"title":10373,"description":10374,"canonical_url":10375,"og_title":10376,"og_description":10377,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fsesit-pro-umeni-teorii-a-pribuzne-zony-c-31-2021-journal-for-art-theory-and-related-zones-no-31-2021",{"cs":10380,"en":10385},[10381,10382],{"label":28,"menu_url":29},{"label":10383,"menu_url":10384},"Sešit pro umění, teorii a příbuzné zóny č. 31\u002F2021","\u002Fsesit-pro-umeni-teorii-a-pribuzne-zony-c-31-2021",[10386,10387],{"label":34,"menu_url":29},{"label":10292,"menu_url":10378},[10389],{"id":13,"name":14,"slug":10390},{"cs":16,"en":17},[],"2026-10-07 12:42:19",{"id":10394,"title":10395,"slug":10396,"description":4441,"file":10399,"image":10400,"year":8428,"authors":4606,"publisher":4476,"place_of_publication":91,"isbn":9738,"edition":91,"extent":91,"language":8705,"publication_type":4,"price":9739,"eshop_link":10408,"info":10409,"content_blocks":10410,"seo":10469,"menu_url":10475,"breadcrumbs":10476,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":10485,"publicationTags":10488,"created_at":9107,"updated_at":10489},"1737","Journal for Art, Theory and Related Zones 25\u002F2018",{"cs":10397,"en":10398},"sesit-pro-umeni-teorii-a-pribuzne-zony-25-2018","sesit-pro-umeni-teorii-a-pribuzne-zony-25-2018-journal-for-art-theory-and-related-zones-25-2018","1739",{"id":10399,"caption":10401,"alt_text":4,"url":10402,"srcset":4,"media":10403,"conversions":10407,"created_at":9107,"updated_at":9107},"Sesit25_300dpi.jpg","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1946\u002Fsesit25-300dpijpg.jpg",{"id":10404,"name":10401,"file_name":10405,"mime_type":4592,"size":10406,"url":10402},"1946","sesit25-300dpijpg.jpg",1228159,[],"https:\u002F\u002Fknihy.artmap.cz\u002Fen\u002Fsesit-pro-umeni--teorii-a-pribuzne-zony-25-2018\u002F",[],[10411,10420,10435,10452],{"__typename":4483,"background":4892,"heading":10412,"content":10413,"content_nodes":10415},{"cs":4,"en":4},{"cs":10414,"en":10414},"\u003Cp>This thematic issue, prepared by guest editor Pavlína Morganová, is devoted to exhibitions, their history, format, and role in contemporary cultural production. Since the nineteenth century, the exhibition has served as a medium for presenting artworks and an important intermediary in communication between artists and viewers. Its role in the art world grew throughout the twentieth century, and it has now become the principal medium through which visual art is perceived, legitimized, and institutionalized.\u003C\u002Fp>",{"cs":10416,"en":10418},[10417],{"__typename":4491,"html":10414},[10419],{"__typename":4491,"html":10414},{"__typename":4495,"background":4,"title":10421,"items":10422},{"cs":4,"en":4},[10423],{"title":10424,"content":10427,"content_nodes":10430},{"cs":10425,"en":10426},"Bienální přehlídky a nezávislé organizace","Biennials and Independent Organizations",{"cs":10428,"en":10429},"\u003Cp>Jednotlivé texty tohoto vydání se věnují tématu ve velké šíři od zájmu o formát a roli bienálních přehlídek v šedesátých letech, o nichž zde píše Terezie Nekvindová, až po definování nového typu nezávislých organizací, které ve svém textu navrhuje Ana Bilbao.\u003C\u002Fp>","\u003Cp>The texts in this issue address the topic broadly, ranging from an interest in the format and role of biennials in the 1960s, discussed here by Terezie Nekvindová, to the definition of a new type of independent organization proposed by Ana Bilbao in her text.\u003C\u002Fp>",{"cs":10431,"en":10433},[10432],{"__typename":4491},[10434],{"__typename":4491},{"__typename":4495,"background":4,"title":10436,"items":10437},{"cs":4,"en":4},[10438],{"title":10439,"content":10442,"content_nodes":10445},{"cs":10440,"en":10441},"Bytové výstavy a fotografie mimo galerie","Apartment Exhibitions and Photography outside Galleries",{"cs":10443,"en":10444},"\u003Cp>Mimo to najdeme ve dvacátém pátém Sešitu také text Pavlíny Morganové o dosud málo prozkoumaném fenoménu bytových privátních výstav sedmdesátých a osmdesátých let v Československu.\u003C\u002Fp>\u003Cp>Další ze zařazených studií je text Terezy Rudolf, která se na pozadí problematiky vystavování fotografie jako takové zabývá způsoby negalerijní prezentací fotografie u nás v sedmdesátých a osmdesátých letech.\u003C\u002Fp>","\u003Cp>The twenty-fifth issue of the journal also includes a text by Pavlína Morganová on the still largely unexplored phenomenon of private apartment exhibitions in Czechoslovakia during the 1970s and 1980s.\u003C\u002Fp>\u003Cp>Another contribution is a study by Tereza Rudolf, who considers the broader question of exhibiting photography while examining ways in which photography was presented outside galleries in Czechoslovakia during the 1970s and 1980s.\u003C\u002Fp>",{"cs":10446,"en":10449},[10447,10448],{"__typename":4491},{"__typename":4491},[10450,10451],{"__typename":4491},{"__typename":4491},{"__typename":4495,"background":4,"title":10453,"items":10454},{"cs":4,"en":4},[10455],{"title":10456,"content":10459,"content_nodes":10462},{"cs":10457,"en":10458},"Kurátorská praxe a bienální umění","Curatorial Practice and Biennial Art",{"cs":10460,"en":10461},"\u003Cp>Postavě kurátora jakožto spiritu agens se věnuje studie Jany Písaříkové o aktivitách Jiřího Valocha v Domě umění města Brna na přelomu šedesátých a sedmdesátých let.\u003C\u002Fp>\u003Cp>První z plánovaných dvou tematických čísel věnovaných výstavám uzavírá překlad inspirativního textu Jana Verwoerta „Podivuhodný příběh bienálního umění“.\u003C\u002Fp>","\u003Cp>The curator as a driving force is the subject of Jana Písaříková’s study of Jiří Valoch’s activities at the Brno House of Arts in the late 1960s and early 1970s.\u003C\u002Fp>\u003Cp>The first of two planned thematic issues devoted to exhibitions concludes with a translation of Jan Verwoert’s inspiring text “The Curious Case of Biennial Art.”\u003C\u002Fp>",{"cs":10463,"en":10466},[10464,10465],{"__typename":4491},{"__typename":4491},[10467,10468],{"__typename":4491},{"__typename":4491},{"title":10470,"description":10471,"canonical_url":10472,"og_title":10473,"og_description":10474,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fsesit-pro-umeni-teorii-a-pribuzne-zony-25-2018-journal-for-art-theory-and-related-zones-25-2018",{"cs":10477,"en":10482},[10478,10479],{"label":28,"menu_url":29},{"label":10480,"menu_url":10481},"Sešit pro umění, teorii a příbuzné zóny 25\u002F2018","\u002Fsesit-pro-umeni-teorii-a-pribuzne-zony-25-2018",[10483,10484],{"label":34,"menu_url":29},{"label":10395,"menu_url":10475},[10486],{"id":13,"name":14,"slug":10487},{"cs":16,"en":17},[],"2026-10-08 04:30:05",{"id":10491,"title":10492,"slug":10493,"description":4441,"file":10496,"image":10497,"year":8637,"authors":10506,"publisher":4476,"place_of_publication":91,"isbn":10507,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":7161,"eshop_link":10508,"info":10509,"content_blocks":10510,"seo":10548,"menu_url":10554,"breadcrumbs":10555,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":10564,"publicationTags":10567,"created_at":10505,"updated_at":10568},"1661","220 places AVU",{"cs":10494,"en":10495},"220-mist-avu","220-places-avu","1662",{"id":10496,"caption":10498,"alt_text":4,"url":10499,"srcset":4,"media":10500,"conversions":10504,"created_at":10505,"updated_at":10505},"20191004-0F2A9894","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1970\u002F20191004-0f2a9894.jpg",{"id":10501,"name":10498,"file_name":10502,"mime_type":4592,"size":10503,"url":10499},"1970","20191004-0f2a9894.jpg",929941,[],"2026-09-02 11:03:46","Anna Hrabáková, Zuzana Krišková, Pavlína Morganová, Dagmar Svatošová (eds.)","978-80-87108-93-2","https:\u002F\u002Fknihy.artmap.cz\u002F220-mist-avu\u002F",[],[10511,10521,10536],{"__typename":4483,"background":4892,"heading":10512,"content":10513,"content_nodes":10516},{"cs":4,"en":4},{"cs":10514,"en":10515},"\u003Cp>Průvodce po 220 místech spojených s historií a současností AVU vznikl při příležitosti 220. výročí založení Akademie výtvarných umění v Praze. Nabízí osm procházek či cyklistických tras v okolí školy a netradiční vhled do její historie doplněný originálními kresbami pedagogů, studentů a absolventů. Najdete zde popis uměleckých děl, domů, ateliérů, hospůdek či kaváren.\u003C\u002Fp>","\u003Cp>The guide to 220 places connected with the history and present of the Academy of Fine Arts in Prague was created on the occasion of the 220th anniversary of the founding of the Academy of Fine Arts in Prague. It offers eight walking or cycling routes around the school and an unusual insight into its history, accompanied by original drawings by teachers, students and alumni. You will find descriptions of artworks, houses, studios, pubs and cafes.\u003C\u002Fp>",{"cs":10517,"en":10519},[10518],{"__typename":4491,"html":10514},[10520],{"__typename":4491,"html":10515},{"__typename":4495,"background":4,"title":10522,"items":10523},{"cs":4,"en":4},[10524],{"title":10525,"content":10526,"content_nodes":10529},{"cs":5031,"en":4909},{"cs":10527,"en":10528},"\u003Cp>Publikace vznikla pod vedením týmu Vědecko-výzkumného pracoviště AVU spolu se členy Katedry teorie a dějin umění, zaměstnanci Archivu AVU i externími odborníky.\u003C\u002Fp>\u003Cp>Kniha vychází v české i anglické verzi, v grafickém zpracování Terezy Hejmové a Štěpána Malovce.\u003C\u002Fp>","\u003Cp>The publication was created under the guidance of the AVU Research Department team together with members of the Department of Theory and History of Art, AVU Archives staff and external experts.\u003C\u002Fp>\u003Cp>The book is published in both Czech and English versions, with graphic design by Tereza Hejmová and Štěpán Malovec.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":10530,"en":10533},[10531,10532],{"__typename":4491},{"__typename":4491},[10534,10535],{"__typename":4491},{"__typename":4491},{"__typename":5119,"background":4892,"heading":10537,"images":10538},{"cs":4,"en":4},[10539],{"id":10540,"caption":10541,"alt_text":4,"url":10542,"srcset":4,"media":10543,"conversions":10547,"created_at":9336,"updated_at":9336},"1663","20191004-0F2A9900","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1969\u002F20191004-0f2a9900.jpg",{"id":10544,"name":10541,"file_name":10545,"mime_type":4592,"size":10546,"url":10542},"1969","20191004-0f2a9900.jpg",833732,[],{"title":10549,"description":10550,"canonical_url":10551,"og_title":10552,"og_description":10553,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002F220-places-avu",{"cs":10556,"en":10561},[10557,10558],{"label":28,"menu_url":29},{"label":10559,"menu_url":10560},"220 míst AVU","\u002F220-mist-avu",[10562,10563],{"label":34,"menu_url":29},{"label":10492,"menu_url":10554},[10565],{"id":13,"name":14,"slug":10566},{"cs":16,"en":17},[],"2026-10-07 17:40:53",{"id":10570,"title":10571,"slug":10572,"description":4441,"file":10575,"image":10576,"year":8637,"authors":9737,"publisher":4476,"place_of_publication":91,"isbn":9738,"edition":91,"extent":91,"language":8705,"publication_type":4,"price":9739,"eshop_link":10584,"info":10585,"content_blocks":10586,"seo":10652,"menu_url":10658,"breadcrumbs":10659,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":10668,"publicationTags":10671,"created_at":8636,"updated_at":10672},"1732","Journal for Art, Theory and Related Zones 27\u002F2019",{"cs":10573,"en":10574},"sesit-pro-umeni-teorii-a-pribuzne-zony-27-2019","sesit-pro-umeni-teorii-a-pribuzne-zony-27-2019-journal-for-art-theory-and-related-zones-27-2019","1734",{"id":10575,"caption":10577,"alt_text":4,"url":10578,"srcset":4,"media":10579,"conversions":10583,"created_at":8636,"updated_at":8636},"sesit_27_2019_obalka","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1948\u002Fsesit-27-2019-obalka.jpg",{"id":10580,"name":10577,"file_name":10581,"mime_type":4592,"size":10582,"url":10578},"1948","sesit-27-2019-obalka.jpg",216843,[],"https:\u002F\u002Fknihy.artmap.cz\u002Fen\u002Fsesit-pro-umeni--teorii-a-pribuzne-zony-27-2019\u002F",[],[10587,10598,10615,10630,10647],{"__typename":4483,"background":4892,"heading":10588,"content":10589,"content_nodes":10592},{"cs":4,"en":4},{"cs":10590,"en":10591},"\u003Cp>Ve dvacátém sedmém čísle Sešitu pro umění, teorii a příbuzné zóny se sešly texty tematicky velmi různorodé.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>The twenty-seventh issue of the Journal for Art, Theory and Related Zones brings together texts of very diverse themes.\u003C\u002Fp>",{"cs":10593,"en":10596},[10594],{"__typename":4491,"html":10595},"\u003Cp>Ve dvacátém sedmém čísle Sešitu pro umění, teorii a příbuzné zóny se sešly texty tematicky velmi různorodé.\u003C\u002Fp>",[10597],{"__typename":4491,"html":10591},{"__typename":4495,"background":4,"title":10599,"items":10600},{"cs":4,"en":4},[10601],{"title":10602,"content":10605,"content_nodes":10608},{"cs":10603,"en":10604},"Reflexe dějin umění a „ženské umění“","Reflections on Art History and “Women’s Art”",{"cs":10606,"en":10607},"\u003Cp>V úvodu najdeme recenzi Jitky Šosové na antologii textů Art and Theory of post-1989, která obsahuje překlady textů z našeho regionu spolu s úvody zahraničních badatelů. Dalším textem je úvaha Tomáše Pospiszyla o úkolech, které čekají na zpracování dějinami umění postsocialistických zemí. Oba příspěvky se tak vztahují k tématu reflexe naší historie.\u003C\u002Fp>\u003Cp>Marianna Placáková se věnuje problematickému pojmu „ženské umění“ od 80. let do současnosti.\u003C\u002Fp>","\u003Cp>The issue opens with Jitka Šosová’s review of the anthology \u003Cem>Art and Theory of post-1989\u003C\u002Fem>, which contains translations of texts from our region alongside introductions by international scholars. The next text is Tomáš Pospiszyl’s reflection on the tasks awaiting art historians of postsocialist countries. Both contributions thus address the theme of reflecting on our history.\u003C\u002Fp>\u003Cp>Marianna Placáková examines the problematic concept of “women’s art” from the 1980s to the present.\u003C\u002Fp>",{"cs":10609,"en":10612},[10610,10611],{"__typename":4491},{"__typename":4491},[10613,10614],{"__typename":4491},{"__typename":4491},{"__typename":4495,"background":4,"title":10616,"items":10617},{"cs":4,"en":4},[10618],{"title":10619,"content":10622,"content_nodes":10625},{"cs":10620,"en":10621},"Technologie, tělo a identita","Technology, the Body, and Identity",{"cs":10623,"en":10624},"\u003Cp>Další texty se vztahují k tématu identity: Lenka Veselá řeší otázku zásahů technologie do těla v podobě hormonálního designu a Tomáš Javůrek se zaměřuje na celkovou kybernetizaci naší identity skrze data (a umění), které produkujeme.\u003C\u002Fp>","\u003Cp>The following texts address the theme of identity: Lenka Veselá explores technological interventions in the body through hormonal design, while Tomáš Javůrek focuses on the broader cybernetization of our identity through the data (and art) we produce.\u003C\u002Fp>",{"cs":10626,"en":10628},[10627],{"__typename":4491},[10629],{"__typename":4491},{"__typename":4495,"background":4,"title":10631,"items":10632},{"cs":4,"en":4},[10633],{"title":10634,"content":10637,"content_nodes":10640},{"cs":10635,"en":10636},"Infra-mince a teze o konci umění","Infra-mince and the Thesis of the End of Art",{"cs":10638,"en":10639},"\u003Cp>Lucia Miklošková připravila studii o historii a užití pojmu infra-mince, který do kontextu umění přenesl Marcel Duchamp z oboru teoretické matematiky.\u003C\u002Fp>\u003Cp>Poslední studií v netematickém čísle je text Šárky Lojdové, která se zamýšlí nad známou tezí Arthura C. Danta o konci umění, speciálně se zamýšlí nad tím, jaké jsou zdroje Dantových úvah.\u003C\u002Fp>","\u003Cp>Lucia Miklošková contributes a study of the history and use of the term infra-mince, which Marcel Duchamp brought into the context of art from theoretical mathematics.\u003C\u002Fp>\u003Cp>The final study in this non-thematic issue is a text by Šárka Lojdová, who reflects on Arthur C. Danto’s well-known thesis of the end of art, focusing specifically on the sources of Danto’s thinking.\u003C\u002Fp>",{"cs":10641,"en":10644},[10642,10643],{"__typename":4491},{"__typename":4491},[10645,10646],{"__typename":4491},{"__typename":4491},{"__typename":4547,"background":4,"title":10648,"type":4,"display":4549,"links":10649},{"cs":4,"en":4},[10650],{"type":2824,"color":4552,"target":93,"link":4553,"url":4553,"page_id":4,"page":4,"file":4,"label":10651},{"cs":4555,"en":4555},{"title":10653,"description":10654,"canonical_url":10655,"og_title":10656,"og_description":10657,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fsesit-pro-umeni-teorii-a-pribuzne-zony-27-2019-journal-for-art-theory-and-related-zones-27-2019",{"cs":10660,"en":10665},[10661,10662],{"label":28,"menu_url":29},{"label":10663,"menu_url":10664},"Sešit pro umění, teorii a příbuzné zóny 27\u002F2019","\u002Fsesit-pro-umeni-teorii-a-pribuzne-zony-27-2019",[10666,10667],{"label":34,"menu_url":29},{"label":10571,"menu_url":10658},[10669],{"id":13,"name":14,"slug":10670},{"cs":16,"en":17},[],"2026-10-07 20:43:19",{"id":10674,"title":10675,"slug":10676,"description":4441,"file":10679,"image":10680,"year":8567,"authors":9737,"publisher":4476,"place_of_publication":91,"isbn":9738,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":9739,"eshop_link":10688,"info":10689,"content_blocks":10690,"seo":10759,"menu_url":10765,"breadcrumbs":10766,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":10775,"publicationTags":10778,"created_at":8769,"updated_at":10779},"1730","Journal for Art, Theory and Related Zones 28\u002F2020",{"cs":10677,"en":10678},"sesit-pro-umeni-teorii-a-pribuzne-zony-28-2020","sesit-pro-umeni-teorii-a-pribuzne-zony-28-2020-journal-for-art-theory-and-related-zones-28-2020","1731",{"id":10679,"caption":10681,"alt_text":4,"url":10682,"srcset":4,"media":10683,"conversions":10687,"created_at":8769,"updated_at":8769},"obalka_Sesit_28_2020","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1940\u002Fobalka-sesit-28-2020.jpg",{"id":10684,"name":10681,"file_name":10685,"mime_type":4592,"size":10686,"url":10682},"1940","obalka-sesit-28-2020.jpg",1223031,[],"https:\u002F\u002Fknihy.artmap.cz\u002Fsesit-pro-umeni--teorii-a-pribuzne-zony-28-2020\u002F",[],[10691,10703,10720,10739,10754],{"__typename":4483,"background":4892,"heading":10692,"content":10693,"content_nodes":10696},{"cs":4,"en":4},{"cs":10694,"en":10695},"\u003Cp>Dvacáté osmé číslo odborného recenzovaného časopisu Sešit pro umění, teorii a příbuzné zóny nabízí tentokrát poměrně užší rozptyl zaměření jednotlivých studií a recenzí knih, než bývá u netematických čísel zvykem.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>The twenty-eighth issue of the peer-reviewed journal “Journal of Art, Theory and Related Zones” offers a relatively narrower range of focus for individual studies and book reviews than is usual for non-thematic issues.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":10697,"en":10700},[10698],{"__typename":4491,"html":10699},"\u003Cp>Dvacáté osmé číslo odborného recenzovaného časopisu Sešit pro umění, teorii a příbuzné zóny nabízí tentokrát poměrně užší rozptyl zaměření jednotlivých studií a recenzí knih, než bývá u netematických čísel zvykem.\u003C\u002Fp>",[10701],{"__typename":4491,"html":10702},"\u003Cp>The twenty-eighth issue of the peer-reviewed journal “Journal of Art, Theory and Related Zones” offers a relatively narrower range of focus for individual studies and book reviews than is usual for non-thematic issues.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":10704,"items":10705},{"cs":4,"en":4},[10706],{"title":10707,"content":10710,"content_nodes":10713},{"cs":10708,"en":10709},"Experimentální umění a cenzura","Experimental Art and Censorship",{"cs":10711,"en":10712},"\u003Cp>Uvádíme jej recenzí knihy Networking the Bloc (2019) od Klary Kemp-Welch, Jan Wollner se zaměřuje na to britská badatelka přistupuje k experimentálnímu umění 60.–80. let.\u003C\u002Fp>\u003Cp>V další ze studií píše Johana Lomová o závažnější stránce „zlatých šedesátých“, když zkoumá, jak fungovala cenzury v dobových výtvarných časopisech.\u003C\u002Fp>","\u003Cp>The issue opens with a review of Klara Kemp-Welch’s book \u003Cem>Networking the Bloc\u003C\u002Fem> (2019), in which Jan Wollner examines the British scholar’s approach to experimental art of the 1960s–1980s.\u003C\u002Fp>\u003Cp>In another study, Johana Lomová explores the more troubling side of the “golden sixties,” examining how censorship operated in art journals of the period.\u003C\u002Fp>",{"cs":10714,"en":10717},[10715,10716],{"__typename":4491},{"__typename":4491},[10718,10719],{"__typename":4491},{"__typename":4491},{"__typename":4495,"background":4,"title":10721,"items":10722},{"cs":4,"en":4},[10723],{"title":10724,"content":10727,"content_nodes":10730},{"cs":10725,"en":10726},"Architektura, stavebnictví a design","Architecture, Construction, and Design",{"cs":10728,"en":10729},"\u003Cp>Kritickému přemýšlení o úloze architektury se věnují další tři studie. Michaela Janečková píše o konceptu energetismu, jak jej chápal Karel Janů.\u003C\u002Fp>\u003Cp>Karolina Jirkalová rozebírá dopady a dosahy tzv. Usnesení č. 333\u002F1982 Sb. o stavebnictví.\u003C\u002Fp>\u003Cp>O současných hranicích a možnostech architektury a designu pak píše Klára Peloušková.\u003C\u002Fp>","\u003Cp>The next three studies critically consider the role of architecture. Michaela Janečková discusses the concept of energetism as understood by Karel Janů.\u003C\u002Fp>\u003Cp>Karolina Jirkalová examines the impacts and implications of the so-called Resolution No. 333\u002F1982 Coll. on construction.\u003C\u002Fp>\u003Cp>Klára Peloušková then explores the current limits and possibilities of architecture and design.\u003C\u002Fp>",{"cs":10731,"en":10735},[10732,10733,10734],{"__typename":4491},{"__typename":4491},{"__typename":4491},[10736,10737,10738],{"__typename":4491},{"__typename":4491},{"__typename":4491},{"__typename":4495,"background":4,"title":10740,"items":10741},{"cs":4,"en":4},[10742],{"title":10743,"content":10746,"content_nodes":10749},{"cs":10744,"en":10745},"Recenze antologie architektonického myšlení","Review of an Anthology of Architectural Thought",{"cs":10747,"en":10748},"\u003Cp>Číslo uzavíráme recenzí antologie Euroamerické architektonické myšlení (2018) od slovenského teoretika architektury Mariana Zervana.\u003C\u002Fp>","\u003Cp>The issue concludes with a review of the anthology \u003Cem>Euroamerické architektonické myšlení\u003C\u002Fem> [Euro-American Architectural Thought] (2018) by Slovak architectural theorist Marian Zervan.\u003C\u002Fp>",{"cs":10750,"en":10752},[10751],{"__typename":4491},[10753],{"__typename":4491},{"__typename":4547,"background":4,"title":10755,"type":4,"display":4549,"links":10756},{"cs":4,"en":4},[10757],{"type":2824,"color":4552,"target":93,"link":4553,"url":4553,"page_id":4,"page":4,"file":4,"label":10758},{"cs":4555,"en":4555},{"title":10760,"description":10761,"canonical_url":10762,"og_title":10763,"og_description":10764,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fsesit-pro-umeni-teorii-a-pribuzne-zony-28-2020-journal-for-art-theory-and-related-zones-28-2020",{"cs":10767,"en":10772},[10768,10769],{"label":28,"menu_url":29},{"label":10770,"menu_url":10771},"Sešit pro umění, teorii a příbuzné zóny 28\u002F2020","\u002Fsesit-pro-umeni-teorii-a-pribuzne-zony-28-2020",[10773,10774],{"label":34,"menu_url":29},{"label":10675,"menu_url":10765},[10776],{"id":13,"name":14,"slug":10777},{"cs":16,"en":17},[],"2026-10-07 19:49:04",{"id":10781,"title":10782,"slug":10783,"description":4441,"file":10786,"image":10787,"year":8567,"authors":9737,"publisher":4476,"place_of_publication":91,"isbn":9738,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":9739,"eshop_link":10795,"info":10796,"content_blocks":10797,"seo":10862,"menu_url":10868,"breadcrumbs":10869,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":10878,"publicationTags":10881,"created_at":8769,"updated_at":10882},"1728","Journal for Art, Theory and Related Zones 29\u002F2020",{"cs":10784,"en":10785},"sesit-pro-umeni-teorii-a-pribuzne-zony-29-2020","sesit-pro-umeni-teorii-a-pribuzne-zony-29-2020-journal-for-art-theory-and-related-zones-29-2020","1729",{"id":10786,"caption":10788,"alt_text":4,"url":10789,"srcset":4,"media":10790,"conversions":10794,"created_at":8769,"updated_at":8769},"obalka_29_2020","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1939\u002Fobalka-29-2020.jpg",{"id":10791,"name":10788,"file_name":10792,"mime_type":4592,"size":10793,"url":10789},"1939","obalka-29-2020.jpg",783496,[],"https:\u002F\u002Fknihy.artmap.cz\u002Fsesit-pro-umeni--teorii-a-pribuzne-zony-29-2020\u002F",[],[10798,10810,10825,10842,10857],{"__typename":4483,"background":4892,"heading":10799,"content":10800,"content_nodes":10803},{"cs":4,"en":4},{"cs":10801,"en":10802},"\u003Cp>Tematické číslo odborného recenzovaného časopisu Sešit pro umění, teorii a příbuzné zóny se tentokrát zaměřuje na aplikaci a reflexi marxistických přístupů k dějinám umění i samotnému umění. Hostující editorka Milena Bartlová vybrala do čísla na základě open-callu texty, které se k tématu přibližují z různých pozic.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>This thematic issue of the peer-reviewed journal, Journal of Art, Theory and Related Zones, focuses this time on the application and reflection of Marxist approaches to art history and art itself. Guest editor Milena Bartlová has selected for the issue, based on an open call, texts that approach the topic from different positions.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":10804,"en":10807},[10805],{"__typename":4491,"html":10806},"\u003Cp>Tematické číslo odborného recenzovaného časopisu Sešit pro umění, teorii a příbuzné zóny se tentokrát zaměřuje na aplikaci a reflexi marxistických přístupů k dějinám umění i samotnému umění. Hostující editorka Milena Bartlová vybrala do čísla na základě open-callu texty, které se k tématu přibližují z různých pozic.\u003C\u002Fp>",[10808],{"__typename":4491,"html":10809},"\u003Cp>This thematic issue of the peer-reviewed journal, Journal of Art, Theory and Related Zones, focuses this time on the application and reflection of Marxist approaches to art history and art itself. Guest editor Milena Bartlová has selected for the issue, based on an open call, texts that approach the topic from different positions.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":10811,"items":10812},{"cs":4,"en":4},[10813],{"title":10814,"content":10817,"content_nodes":10820},{"cs":10815,"en":10816},"Marxistické dějiny umění a teorie architektury","Marxist Art History and Architectural Theory",{"cs":10818,"en":10819},"\u003Cp>Celé číslo uvádí studie, v níž sama editorka shrnula dosavadní marxistické koncepce dějin umění. Následuje studie Tomáše Hříbka o Karlu Teigem a jeho originálním marxistickém příspěvku k teorii architektury.\u003C\u002Fp>","\u003Cp>The entire issue is introduced by a study in which the editor herself summarizes the existing Marxist conceptions of art history.This is followed by a study by Tomáš Hříbek on Karel Teige and his original Marxist contribution to architectural theory.\u003C\u002Fp>",{"cs":10821,"en":10823},[10822],{"__typename":4491},[10824],{"__typename":4491},{"__typename":4495,"background":4,"title":10826,"items":10827},{"cs":4,"en":4},[10828],{"title":10829,"content":10832,"content_nodes":10835},{"cs":10830,"en":10831},"Muzejní edukace a teorie fotografického aktu","Museum Education and the Theory of the Photographic Nude",{"cs":10833,"en":10834},"\u003Cp>Třetí recenzovaná studie pochází z pera polské historičky umění Agaty Pietrasik a přibližuje edukační strategie Muzea moderního umění v Lodži, které v letech 1935–1965 vedl Marian Minich; text je publikován v původním anglickém znění.\u003C\u002Fp>\u003Cp>V pořadí poslední studií je podrobný rozbor teorie aktu v československé fotografii 50. a 60. let, který sepsala Marianna Placáková.\u003C\u002Fp>","\u003Cp>The third reviewed study comes from the pen of Polish art historian Agata Pietrasik and presents the educational strategies of the Museum of Modern Art in Łódź, which was headed by Marian Minich from 1935 to 1965; the text is published in its original English version.\u003C\u002Fp>\u003Cp>The last study is a detailed analysis of the theory of the nude in Czechoslovak photography of the 1950s and 1960s, written by Marianna Placáková.\u003C\u002Fp>",{"cs":10836,"en":10839},[10837,10838],{"__typename":4491},{"__typename":4491},[10840,10841],{"__typename":4491},{"__typename":4491},{"__typename":4495,"background":4,"title":10843,"items":10844},{"cs":4,"en":4},[10845],{"title":10846,"content":10849,"content_nodes":10852},{"cs":10847,"en":10848},"Recenze publikací o socialistickém realismu","Reviews of Publications on Socialist Realism",{"cs":10850,"en":10851},"\u003Cp>Číslo pak uzavírá recenze dvou knih zabývajících se uměním socialistické realismu na Slovensku; jedná se o Prerušenou pieseň Alexandry Kusé a Súmrak doby Bohunky Koklesové. Pro Sešit publikace zrecenzovaly Johana Lomová a Hana Buddeus.\u003C\u002Fp>","\u003Cp>The issue concludes with a review of two books dealing with the art of socialist realism in Slovakia; these are Alexandra Kusé’s Interrupted Song and Bohunka Koklesová’s The Twilight of Time. Johana Lomová and Hana Buddeus have reviewed the book for the Journal.\u003C\u002Fp>",{"cs":10853,"en":10855},[10854],{"__typename":4491},[10856],{"__typename":4491},{"__typename":4547,"background":4,"title":10858,"type":4,"display":4549,"links":10859},{"cs":4,"en":4},[10860],{"type":2824,"color":4552,"target":93,"link":4553,"url":4553,"page_id":4,"page":4,"file":4,"label":10861},{"cs":4555,"en":4555},{"title":10863,"description":10864,"canonical_url":10865,"og_title":10866,"og_description":10867,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fsesit-pro-umeni-teorii-a-pribuzne-zony-29-2020-journal-for-art-theory-and-related-zones-29-2020",{"cs":10870,"en":10875},[10871,10872],{"label":28,"menu_url":29},{"label":10873,"menu_url":10874},"Sešit pro umění, teorii a příbuzné zóny 29\u002F2020","\u002Fsesit-pro-umeni-teorii-a-pribuzne-zony-29-2020",[10876,10877],{"label":34,"menu_url":29},{"label":10782,"menu_url":10868},[10879],{"id":13,"name":14,"slug":10880},{"cs":16,"en":17},[],"2026-10-07 20:05:10",{"id":10884,"title":10885,"slug":10886,"description":4441,"file":10889,"image":10890,"year":7936,"authors":9737,"publisher":4476,"place_of_publication":91,"isbn":9738,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":4478,"eshop_link":10898,"info":10899,"content_blocks":10900,"seo":10966,"menu_url":10972,"breadcrumbs":10973,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":10982,"publicationTags":10985,"created_at":9107,"updated_at":10986},"1726","Journal for Art, Theory and Related Zones 30\u002F2021",{"cs":10887,"en":10888},"sesit-pro-umeni-teorii-a-pribuzne-zony-30-2021","sesit-pro-umeni-teorii-a-pribuzne-zony-30-2021-journal-for-art-theory-and-related-zones-30-2021","1727",{"id":10889,"caption":10891,"alt_text":4,"url":10892,"srcset":4,"media":10893,"conversions":10897,"created_at":9107,"updated_at":9107},"Sesit_30_2021_obalka","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1945\u002Fsesit-30-2021-obalka.jpg",{"id":10894,"name":10891,"file_name":10895,"mime_type":4592,"size":10896,"url":10892},"1945","sesit-30-2021-obalka.jpg",820659,[],"https:\u002F\u002Fknihy.artmap.cz\u002Fsesit-pro-umeni--teorii-a-pribuzne-zony-30-2021\u002F",[],[10901,10912,10929,10946,10961],{"__typename":4483,"background":4892,"heading":10902,"content":10903,"content_nodes":10906},{"cs":4,"en":4},{"cs":10904,"en":10905},"\u003Cp>Třicáté číslo Sešitu pro umění, teorii a příbuzné zóny přináší texty na značně různorodá témata.\u003C\u002Fp>","\u003Cp>The thirtieth issue of the Journal for Art, Theory and Related Zones brings together texts on a wide variety of topics.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":10907,"en":10909},[10908],{"__typename":4491,"html":10904},[10910],{"__typename":4491,"html":10911},"\u003Cp>The thirtieth issue of the Journal for Art, Theory and Related Zones brings together texts on a wide variety of topics.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":10913,"items":10914},{"cs":4,"en":4},[10915],{"title":10916,"content":10919,"content_nodes":10922},{"cs":10917,"en":10918},"Umění, demokracie a krize modernity","Art, Democracy, and the Crisis of Modernity",{"cs":10920,"en":10921},"\u003Cp>Nejprve Sabrina Muchová v článku nazvaném „Umění a demokratizace“ analyzuje pojem estetické syntézy ve filozofii Albrechta Wellmera a v návaznosti na tohoto představitele kritické teorie se zamýšlí, jak mohou tvorba a recepce uměleckých děl posilovat demokratickou kulturu.\u003C\u002Fp>\u003Cp>Pod názvem „Města na kraji nemocnic“ se skrývá rozsáhlá studie Vojtěcha Märce o tzv. geopatogenních zónách; autor mj. zkoumá, jak se v tomto fenoménu odrážela dobová nespokojenost s pozdně socialistickým přístupem k bydlení, ale i obecnější krize určitého typu modernity.\u003C\u002Fp>","\u003Cp>Firstly, Sabrina Muchová analyses the notion of aesthetic synthesis in Albrecht Wellmer’s philosophy in an article entitled “Art and Democratization” and, following this representative of critical theory, considers how the creation and reception of artworks can strengthen democratic culture.\u003C\u002Fp>\u003Cp>Under the title “Cities on the Edge of Hospitals” lies Vojtěch Märc’s extensive study of so-called geopathogenic zones; the author examines, among other things, how this phenomenon reflected contemporary dissatisfaction with the late socialist approach to housing, but also a more general crisis of a certain type of modernity.\u003C\u002Fp>",{"cs":10923,"en":10926},[10924,10925],{"__typename":4491},{"__typename":4491},[10927,10928],{"__typename":4491},{"__typename":4491},{"__typename":4495,"background":4,"title":10930,"items":10931},{"cs":4,"en":4},[10932],{"title":10933,"content":10936,"content_nodes":10939},{"cs":10934,"en":10935},"Videoart a umělecké vzdělávání","Video Art and Art Education",{"cs":10937,"en":10938},"\u003Cp>Třetí a poslední recenzovanou studií Sešitu 30\u002F2021 je ohlédnutí Markéty Jonášové za výstavním projektem Frisbee (2004–2006), zasazující tuto prezentaci českého videoartu do kontextu globalizace.\u003C\u002Fp>\u003Cp>Charakter diskusního příspěvku či polemické eseje má text Jozefa Kovalčika „Kde kolidujú súčasné akadémie a umelecká prax?“, v němž autor kriticky reflektuje způsob uměleckého vzdělávání založeného na tradici „mistrovských tříd“.\u003C\u002Fp>","\u003Cp>The third and last reviewed study in the 30\u002F2021 Collection is Markéta Jonášová’s look back at the Frisbee exhibition project (2004-2006), which places this presentation of Czech video art in the context of globalization.\u003C\u002Fp>\u003Cp>Jozef Kovalcik’s text “Where do contemporary academies and art practice collide?” is a discussion paper or polemical essay, in which the author critically reflects on the way of art education based on the tradition of “master classes”.\u003C\u002Fp>",{"cs":10940,"en":10943},[10941,10942],{"__typename":4491},{"__typename":4491},[10944,10945],{"__typename":4491},{"__typename":4491},{"__typename":4495,"background":4,"title":10947,"items":10948},{"cs":4,"en":4},[10949],{"title":10950,"content":10953,"content_nodes":10956},{"cs":10951,"en":10952},"Recenze publikace o architektuře","Review of a Publication on Architecture",{"cs":10954,"en":10955},"\u003Cp>Číslo pak uzavírá recenze Jiřího Tourka na knihu Petera Eisenmana a Elisy Iturbe Lateness, jejímž tématem je „pozdnost“ jako nástroj kritiky v současné architektuře.\u003C\u002Fp>","\u003Cp>The issue concludes with Jiří Tourk’s review of Peter Eisenman and Elisa Iturbe’s book Lateness, whose theme is “lateness” as a tool of criticism in contemporary architecture.\u003C\u002Fp>",{"cs":10957,"en":10959},[10958],{"__typename":4491},[10960],{"__typename":4491},{"__typename":4547,"background":4,"title":10962,"type":4,"display":4549,"links":10963},{"cs":4,"en":4},[10964],{"type":2824,"color":4552,"target":93,"link":4553,"url":4553,"page_id":4,"page":4,"file":4,"label":10965},{"cs":4555,"en":4555},{"title":10967,"description":10968,"canonical_url":10969,"og_title":10970,"og_description":10971,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fsesit-pro-umeni-teorii-a-pribuzne-zony-30-2021-journal-for-art-theory-and-related-zones-30-2021",{"cs":10974,"en":10979},[10975,10976],{"label":28,"menu_url":29},{"label":10977,"menu_url":10978},"Sešit pro umění, teorii a příbuzné zóny 30\u002F2021","\u002Fsesit-pro-umeni-teorii-a-pribuzne-zony-30-2021",[10980,10981],{"label":34,"menu_url":29},{"label":10885,"menu_url":10972},[10983],{"id":13,"name":14,"slug":10984},{"cs":16,"en":17},[],"2026-10-07 06:16:35",{"id":10988,"title":10989,"slug":10990,"description":4441,"file":10993,"image":10994,"year":8637,"authors":9737,"publisher":4476,"place_of_publication":91,"isbn":11002,"edition":91,"extent":91,"language":8705,"publication_type":4,"price":4731,"eshop_link":11003,"info":11004,"content_blocks":11005,"seo":11022,"menu_url":11028,"breadcrumbs":11029,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":11038,"publicationTags":11041,"created_at":8636,"updated_at":11042},"1724","The Journal Reader. The First Ten Years of Notebook for Art, Theory and Related Zones 2007–2017",{"cs":10991,"en":10992},"the-reader-the-first-ten-years-of-notebook-for-art-theory-and-related-zones-2007-2017","the-journal-reader-the-first-ten-years-of-notebook-for-art-theory-and-related-zones-2007-2017","1725",{"id":10993,"caption":10995,"alt_text":4,"url":10996,"srcset":4,"media":10997,"conversions":11001,"created_at":8636,"updated_at":8636},"Obalka_READER001","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1949\u002Fobalka-reader001-scaled.jpg",{"id":10998,"name":10995,"file_name":10999,"mime_type":4592,"size":11000,"url":10996},"1949","obalka-reader001-scaled.jpg",599716,[],"978-80-87108-92-5","https:\u002F\u002Fknihy.artmap.cz\u002Fen\u002Fthe-sesit-reader---the-first-ten-years-of-notebook-for-art--theory-and-related-zones\u002F",[],[11006],{"__typename":4483,"background":4892,"heading":11007,"content":11008,"content_nodes":11011},{"cs":4,"en":4},{"cs":11009,"en":11010},"\u003Cp>Sešit pro umění, teorii a příbuzné zóny je český recenzovaný časopis zaměřený na interdisciplinární reflexi moderního a současného umění v širším teoretickém a společenském kontextu. Výběr textů z prvních deseti let Sešitu nabízí jak ucelený přehled proměn české kultury od druhé světové války, tak příspěvky k aktuálním mezinárodním debatám v oblasti umění a teorie.\u003C\u002Fp>\u003Cp>Úvodní texty Viktor Misiano, Sven Spieker.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>The Journal for Art, Theory and Related Zones is a peer-reviewed Czech journal specializing in interdisciplinary reflections upon modern and contemporary art within a broader theoretical and social context. The selection of texts from the first ten years of the Journal offers both a comprehensive overview of the transformations to have taken place in Czech culture since the Second World War and contributions to current debates taking place on an International level in the sphere of art and theory.\u003C\u002Fp>\u003Cp>Introductory texts by Viktor Misiano, Sven Spieker.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":11012,"en":11017},[11013,11015],{"__typename":4491,"html":11014},"\u003Cp>Sešit pro umění, teorii a příbuzné zóny je český recenzovaný časopis zaměřený na interdisciplinární reflexi moderního a současného umění v širším teoretickém a společenském kontextu. Výběr textů z prvních deseti let Sešitu nabízí jak ucelený přehled proměn české kultury od druhé světové války, tak příspěvky k aktuálním mezinárodním debatám v oblasti umění a teorie.\u003C\u002Fp>",{"__typename":4491,"html":11016},"\u003Cp>Úvodní texty Viktor Misiano, Sven Spieker.\u003C\u002Fp>",[11018,11020],{"__typename":4491,"html":11019},"\u003Cp>The Journal for Art, Theory and Related Zones is a peer-reviewed Czech journal specializing in interdisciplinary reflections upon modern and contemporary art within a broader theoretical and social context. The selection of texts from the first ten years of the Journal offers both a comprehensive overview of the transformations to have taken place in Czech culture since the Second World War and contributions to current debates taking place on an International level in the sphere of art and theory.\u003C\u002Fp>",{"__typename":4491,"html":11021},"\u003Cp>Introductory texts by Viktor Misiano, Sven Spieker.\u003C\u002Fp>",{"title":11023,"description":11024,"canonical_url":11025,"og_title":11026,"og_description":11027,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fthe-journal-reader-the-first-ten-years-of-notebook-for-art-theory-and-related-zones-2007-2017",{"cs":11030,"en":11035},[11031,11032],{"label":28,"menu_url":29},{"label":11033,"menu_url":11034},"The Reader. The First Ten Years of Notebook for Art, Theory and Related Zones 2007–2017","\u002Fthe-reader-the-first-ten-years-of-notebook-for-art-theory-and-related-zones-2007-2017",[11036,11037],{"label":34,"menu_url":29},{"label":10989,"menu_url":11028},[11039],{"id":13,"name":14,"slug":11040},{"cs":16,"en":17},[],"2026-10-07 20:51:56",{"id":11044,"title":11045,"slug":11046,"description":4441,"file":11049,"image":11050,"year":8567,"authors":11058,"publisher":4476,"place_of_publication":91,"isbn":11059,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":11060,"eshop_link":11061,"info":11062,"content_blocks":11063,"seo":11097,"menu_url":11103,"breadcrumbs":11104,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":11113,"publicationTags":11116,"created_at":8636,"updated_at":11117},"1721","Exhibition as a Medium. Czech Art 1957–1999",{"cs":11047,"en":11048},"vystava-jako-medium-ceske-umeni-1957-1999","exhibition-as-a-medium-czech-art-1957-1999","1722",{"id":11049,"caption":11051,"alt_text":4,"url":11052,"srcset":4,"media":11053,"conversions":11057,"created_at":8636,"updated_at":8636},"obalka_lic","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1950\u002Fobalka-lic.jpg",{"id":11054,"name":11051,"file_name":11055,"mime_type":4592,"size":11056,"url":11052},"1950","obalka-lic.jpg",383129,[],"Pavlína Morganová, Terezie Nekvindová, Dagmar Svatošová","978-80-88366-13-3",1900,"https:\u002F\u002Fknihy.artmap.cz\u002Fen\u002Fvystava-jako-medium-ceske-umeni-1957-1999----pavlina-morganova--terezie-nekvindova--dagmar-svatosova\u002F",[],[11064,11080],{"__typename":4483,"background":4892,"heading":11065,"content":11066,"content_nodes":11069},{"cs":4,"en":4},{"cs":11067,"en":11068},"\u003Cp>Jak se výstavy výtvarného umění promítají do jeho psaných dějin? A jak by vypadaly dějiny českého umění druhé poloviny 20. století, pokud bychom se na ně dívali právě z tohoto pohledu? Zatímco tradičně bývají dějiny umění koncipovány jako dějiny stylů a zaměřují se na jednotlivé osobnosti a díla, v publikaci Výstava jako médium jsou pojímány z pohledu tzv. exhibition histories, které se na Západě na přelomu milénia staly novou uměnovědnou disciplínou. České umění druhé poloviny 20. století je tak představováno na pozadí přelomových výstav, které v letech 1957–1999 spoluformovaly jeho vývoj.\u003C\u002Fp>\u003Cp>Publikace na více než 1000 stranách rekonstruuje 60 pečlivě vybraných výstav, a to jak skrze texty, tak obrazovou dokumentaci. Výstava je v knize chápána jako autonomní formát kulturní produkce, ale zároveň i jako nástroj k prosazení určitých podob umění, jeho funkcí a veřejné legitimizace. Archiv rozdělený do pěti období uvádějí tři samostatné studie, které sledují metodologii aktuálního výstavního diskurzu, dějiny výstav a proměňující se institucionální podmínky vystavování daného období i dosud nezpracované téma autorů a organizátorů výstav, později označovaných jako kurátoři\u002Fkurátorky. Kniha přináší nové pohledy na dosavadní interpretace vývoje českého výtvarného umění po roce 1957. Přestože se zabývá historií, klade si otázky, které bezprostředně vycházejí z podoby současného umění a jeho aktuálních problémů.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>How are art exhibitions reflected in the written history of art? And what would the history of Czech art in the second half of the 20th century look like if we looked at it from this perspective? While art history is traditionally conceived as a history of styles and focuses on individual personalities and works, in the publication Exhibition as a Medium, it is conceived from the perspective of so-called exhibition histories, which became a new discipline of art history in the West at the turn of the millennium. Czech art of the second half of the 20th century is thus presented against the background of the groundbreaking exhibitions that co-shaped its development between 1957 and 1999.\u003C\u002Fp>\u003Cp>The book, which covers more than 1000 pages, reconstructs 60 carefully selected exhibitions through both texts and visual documentation. In the book, the exhibition is understood as an autonomous format of cultural production, but also as a tool to promote certain forms of art, its functions and public legitimation. Divided into five periods, the archive is introduced by three separate studies that trace the methodology of current exhibition discourse, the history of exhibitions and the changing institutional conditions of exhibiting in a given period, as well as the hitherto untreated topic of authors and exhibition organizers, later referred to as curators. The book brings new perspectives to existing interpretations of the development of Czech visual art after 1957. Although it deals with history, it asks questions that are directly based on the shape of contemporary art and its current problems.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":11070,"en":11075},[11071,11073],{"__typename":4491,"html":11072},"\u003Cp>Jak se výstavy výtvarného umění promítají do jeho psaných dějin? A jak by vypadaly dějiny českého umění druhé poloviny 20. století, pokud bychom se na ně dívali právě z tohoto pohledu? Zatímco tradičně bývají dějiny umění koncipovány jako dějiny stylů a zaměřují se na jednotlivé osobnosti a díla, v publikaci Výstava jako médium jsou pojímány z pohledu tzv. exhibition histories, které se na Západě na přelomu milénia staly novou uměnovědnou disciplínou. České umění druhé poloviny 20. století je tak představováno na pozadí přelomových výstav, které v letech 1957–1999 spoluformovaly jeho vývoj.\u003C\u002Fp>",{"__typename":4491,"html":11074},"\u003Cp>Publikace na více než 1000 stranách rekonstruuje 60 pečlivě vybraných výstav, a to jak skrze texty, tak obrazovou dokumentaci. Výstava je v knize chápána jako autonomní formát kulturní produkce, ale zároveň i jako nástroj k prosazení určitých podob umění, jeho funkcí a veřejné legitimizace. Archiv rozdělený do pěti období uvádějí tři samostatné studie, které sledují metodologii aktuálního výstavního diskurzu, dějiny výstav a proměňující se institucionální podmínky vystavování daného období i dosud nezpracované téma autorů a organizátorů výstav, později označovaných jako kurátoři\u002Fkurátorky. Kniha přináší nové pohledy na dosavadní interpretace vývoje českého výtvarného umění po roce 1957. Přestože se zabývá historií, klade si otázky, které bezprostředně vycházejí z podoby současného umění a jeho aktuálních problémů.\u003C\u002Fp>",[11076,11078],{"__typename":4491,"html":11077},"\u003Cp>How are art exhibitions reflected in the written history of art? And what would the history of Czech art in the second half of the 20th century look like if we looked at it from this perspective? While art history is traditionally conceived as a history of styles and focuses on individual personalities and works, in the publication Exhibition as a Medium, it is conceived from the perspective of so-called exhibition histories, which became a new discipline of art history in the West at the turn of the millennium. Czech art of the second half of the 20th century is thus presented against the background of the groundbreaking exhibitions that co-shaped its development between 1957 and 1999.\u003C\u002Fp>",{"__typename":4491,"html":11079},"\u003Cp>The book, which covers more than 1000 pages, reconstructs 60 carefully selected exhibitions through both texts and visual documentation. In the book, the exhibition is understood as an autonomous format of cultural production, but also as a tool to promote certain forms of art, its functions and public legitimation. Divided into five periods, the archive is introduced by three separate studies that trace the methodology of current exhibition discourse, the history of exhibitions and the changing institutional conditions of exhibiting in a given period, as well as the hitherto untreated topic of authors and exhibition organizers, later referred to as curators. The book brings new perspectives to existing interpretations of the development of Czech visual art after 1957. Although it deals with history, it asks questions that are directly based on the shape of contemporary art and its current problems.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":11081,"items":11082},{"cs":4,"en":4},[11083],{"title":11084,"content":11085,"content_nodes":11088},{"cs":10260,"en":4909},{"cs":11086,"en":11087},"\u003Cp>Pavlína Morganová je historička a teoretička umění, kurátorka a pedagožka. Působí na Akademii výtvarných umění v Praze, kde vede Vědecko-výzkumné pracoviště a přednáší dějiny českého umění 20. století. Ve svém výzkumu se zaměřuje především na české umění druhé poloviny 20. století, akční umění a dějiny výstavnictví.\u003C\u002Fp>\u003Cp>Terezie Nekvindová je historička umění a vědecko-výzkumná pracovnice Akademie výtvarných umění v Praze. Specializuje se na moderní a současné umění, dějiny výstavnictví a kurátorství. Ve svém výzkumu se věnuje také institucionálním podmínkám prezentace umění ve 20. století.\u003C\u002Fp>\u003Cp>Dagmar Svatošová je historička umění a vědecko-výzkumná pracovnice Akademie výtvarných umění v Praze. Ve svém výzkumu se zaměřuje především na dějiny výstav, výstavu jako médium a dějiny kurátorství. Je spoluautorkou publikace \u003Cem>Výstava jako médium. České umění 1957–1999\u003C\u002Fem> a editorkou knihy \u003Cem>Výstavy mají historii. Výbor z textů\u003C\u002Fem>.\u003C\u002Fp>","\u003Cp>Pavlína Morganová is an art historian, theorist, curator, and educator. She heads the Research Centre at the Academy of Fine Arts in Prague, where she also lectures on the history of 20th-century Czech art. Her research focuses primarily on Czech art of the second half of the 20th century, action art, and exhibition histories.\u003C\u002Fp>\u003Cp>Terezie Nekvindová is an art historian and researcher at the Academy of Fine Arts in Prague. She specializes in modern and contemporary art, exhibition histories, and curatorial practices. Her research also examines the institutional conditions surrounding the presentation of art in the 20th century.\u003C\u002Fp>\u003Cp>Dagmar Svatošová is an art historian and researcher at the Academy of Fine Arts in Prague. Her research focuses primarily on exhibition histories, the exhibition as a medium, and the history of curatorial practice. She is a co-author of \u003Cem>The Exhibition as Medium. Czech Art 1957–1999\u003C\u002Fem> and editor of \u003Cem>Exhibitions Have a History. A Selection of Texts\u003C\u002Fem>.\u003C\u002Fp>",{"cs":11089,"en":11093},[11090,11091,11092],{"__typename":4491},{"__typename":4491},{"__typename":4491},[11094,11095,11096],{"__typename":4491},{"__typename":4491},{"__typename":4491},{"title":11098,"description":11099,"canonical_url":11100,"og_title":11101,"og_description":11102,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fexhibition-as-a-medium-czech-art-1957-1999",{"cs":11105,"en":11110},[11106,11107],{"label":28,"menu_url":29},{"label":11108,"menu_url":11109},"Výstava jako médium. České umění 1957–1999","\u002Fvystava-jako-medium-ceske-umeni-1957-1999",[11111,11112],{"label":34,"menu_url":29},{"label":11045,"menu_url":11103},[11114],{"id":13,"name":14,"slug":11115},{"cs":16,"en":17},[],"2026-10-07 17:28:28",{"id":11119,"title":11120,"slug":11121,"description":4441,"file":11123,"image":11124,"year":8428,"authors":11132,"publisher":4476,"place_of_publication":91,"isbn":11133,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":11134,"eshop_link":11135,"info":11136,"content_blocks":11137,"seo":11162,"menu_url":11168,"breadcrumbs":11169,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":11176,"publicationTags":11179,"created_at":5183,"updated_at":11180},"1719","Šárka Trčková",{"cs":11122,"en":11122},"sarka-trckova","1720",{"id":11123,"caption":11125,"alt_text":4,"url":11126,"srcset":4,"media":11127,"conversions":11131,"created_at":5183,"updated_at":5183},"obalka_trckova","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1895\u002Fobalka-trckova.jpg",{"id":11128,"name":11125,"file_name":11129,"mime_type":4592,"size":11130,"url":11126},"1895","obalka-trckova.jpg",20090,[],"Vladimír Kokolia (ed.)","978-80-87108-81-9",580,"https:\u002F\u002Fknihy.artmap.cz\u002Fen\u002Fsarka-trckova\u002F?srsltid=AU7gw4VfqLnncM0Z7Mpst6JM82HkoLaTFjARvTwgg_LikHxMBKW9VA4_",[],[11138,11149],{"__typename":4483,"background":4892,"heading":11139,"content":11140,"content_nodes":11143},{"cs":4,"en":4},{"cs":11141,"en":11142},"\u003Cp>Monografie představuje grafické a malířské dílo Šárky Trčkové, které se předčasně uzavřelo v roce 2015. Obsahuje výběr 150 grafik, kreseb a akvarelů Šárky Trčkové z více než tří desítek let její tvorby, přičemž díla jsou reprodukována jak v celkovém pohledu, tak i v působivém detailním přiblížení.\u003C\u002Fp>","\u003Cp>The monograph presents the graphic and painting work of Šárka Trčková, which ended prematurely in 2015. It contains a selection of 150 prints, drawings and watercolors by Šárka Trčková from more than three decades of her work, with the works reproduced both in general view and in impressive close-up.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":11144,"en":11146},[11145],{"__typename":4491,"html":11141},[11147],{"__typename":4491,"html":11148},"\u003Cp>The monograph presents the graphic and painting work of Šárka Trčková, which ended prematurely in 2015. It contains a selection of 150 prints, drawings and watercolors by Šárka Trčková from more than three decades of her work, with the works reproduced both in general view and in impressive close-up.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":11150,"items":11151},{"cs":4,"en":4},[11152],{"title":11153,"content":11154,"content_nodes":11157},{"cs":5031,"en":4909},{"cs":11155,"en":11156},"\u003Cp>Průvodní text Radka Wohlmutha reflektuje proměny a konstanty v práci Šárky Trčkové, která byla také dvacet let odbornou asistentkou ateliéru Grafika 2 na Akademii výtvarných umění v Praze. Šárčina osobnost je navíc zpřítomněna v desítkách fragmentů vzpomínek jejích studentů a kolegů. Editorem knihy je Vladimír Kokolia.\u003C\u002Fp>","\u003Cp>The accompanying text by Radek Wohlmuth reflects on the changes and constants in the work of Šárka Trčková, who was also for twenty years an assistant professor at the Graphics 2 studio at the Academy of Fine Arts in Prague. Šárka’s personality is also reflected in dozens of fragments of memories of her students and colleagues. The editor of the book is Vladimír Kokolia.\u003C\u002Fp>",{"cs":11158,"en":11160},[11159],{"__typename":4491},[11161],{"__typename":4491},{"title":11163,"description":11164,"canonical_url":11165,"og_title":11166,"og_description":11167,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fsarka-trckova",{"cs":11170,"en":11173},[11171,11172],{"label":28,"menu_url":29},{"label":11120,"menu_url":11168},[11174,11175],{"label":34,"menu_url":29},{"label":11120,"menu_url":11168},[11177],{"id":13,"name":14,"slug":11178},{"cs":16,"en":17},[],"2026-10-08 04:39:43",{"id":11182,"title":11183,"slug":11184,"description":4441,"file":11186,"image":11187,"year":8567,"authors":11195,"publisher":4476,"place_of_publication":91,"isbn":11196,"edition":91,"extent":91,"language":4607,"publication_type":4,"price":5712,"eshop_link":11197,"info":11198,"content_blocks":11199,"seo":11225,"menu_url":11231,"breadcrumbs":11232,"is_published":36,"status":37,"parentNodePage":4,"publicationCategories":11239,"publicationTags":11242,"created_at":9107,"updated_at":11243},"1716","Centones",{"cs":11185,"en":11185},"centones","1717",{"id":11186,"caption":11188,"alt_text":4,"url":11189,"srcset":4,"media":11190,"conversions":11194,"created_at":8769,"updated_at":8769},"obalka_lic_Stetina","https:\u002F\u002Fadmin.avu.cz\u002Fstorage\u002F1943\u002Fobalka-lic-stetina.jpg",{"id":11191,"name":11188,"file_name":11192,"mime_type":4592,"size":11193,"url":11189},"1943","obalka-lic-stetina.jpg",250296,[],"Roman Štětina","978-80-87108-87-1","https:\u002F\u002Fknihy.artmap.cz\u002Fen\u002Fcentones-roman-stetina\u002F",[],[11200,11212],{"__typename":4483,"background":4892,"heading":11201,"content":11202,"content_nodes":11205},{"cs":4,"en":4},{"cs":11203,"en":11204},"\u003Cp>Roman Štětina převádí své práce založené na textu zpět do slov. Čtyři performance, tři videa, tři audio nahrávky, dva texty a jedna výstava. Adaptace adaptace. Jako předlohu pro původní díla často využívá cizí texty, jejichž vyznění posouvá pomocí různých interpretačních nebo prezentačních strategií. Vedle sebe najdeme vysílání rádia, odborné studie, úryvky románu a divadelních her, volné myšlenkové asociace, pozorování vlastního těla, zápisky všedního dne, recitace básní nebo dětské popisy. Recyklace jako nový realismus. Jednotlivé žánry a promluvy se přepisem dostaly na stejnou úroveň. Podobně jako modernistická typografie nepoužívala velká písmena, protože při mluvení je nikdo nevyslovuje. Absence hierarchie nabízí nové čtení. Metoda, která vede až k domněnce, že skrze věci vidíme podstatu života, a proto nás věta z rádia dojímá přinejmenším tak, jako věta nějakého básníka.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","\u003Cp>Roman Štětina converts his text-based works back into words. Four performances, three videos, three audio recordings, two texts and one exhibition. Adaptation of adaptation. He often uses foreign texts as a model for his original works, shifting their meaning through various interpretive or presentational strategies. Side by side we find radio broadcasts, scholarly studies, novel and play excerpts, free thought associations, observations of one’s own body, accounts of daily life, recitations of poems, and children’s descriptions. Recycling as a new realism. Individual genres and speeches have been brought to the same level by transcription. Similarly, modernist typography did not use capital letters because no one pronounces them when speaking. The absence of hierarchy offers a new reading. A method that leads one to believe that we see the essence of life through things, and therefore a sentence from the radio moves us at least as much as a sentence from a poet.\u003C\u002Fp>\u003Cp>\u003C\u002Fp>",{"cs":11206,"en":11209},[11207],{"__typename":4491,"html":11208},"\u003Cp>Roman Štětina převádí své práce založené na textu zpět do slov. Čtyři performance, tři videa, tři audio nahrávky, dva texty a jedna výstava. Adaptace adaptace. Jako předlohu pro původní díla často využívá cizí texty, jejichž vyznění posouvá pomocí různých interpretačních nebo prezentačních strategií. Vedle sebe najdeme vysílání rádia, odborné studie, úryvky románu a divadelních her, volné myšlenkové asociace, pozorování vlastního těla, zápisky všedního dne, recitace básní nebo dětské popisy. Recyklace jako nový realismus. Jednotlivé žánry a promluvy se přepisem dostaly na stejnou úroveň. Podobně jako modernistická typografie nepoužívala velká písmena, protože při mluvení je nikdo nevyslovuje. Absence hierarchie nabízí nové čtení. Metoda, která vede až k domněnce, že skrze věci vidíme podstatu života, a proto nás věta z rádia dojímá přinejmenším tak, jako věta nějakého básníka.\u003C\u002Fp>",[11210],{"__typename":4491,"html":11211},"\u003Cp>Roman Štětina converts his text-based works back into words. Four performances, three videos, three audio recordings, two texts and one exhibition. Adaptation of adaptation. He often uses foreign texts as a model for his original works, shifting their meaning through various interpretive or presentational strategies. Side by side we find radio broadcasts, scholarly studies, novel and play excerpts, free thought associations, observations of one’s own body, accounts of daily life, recitations of poems, and children’s descriptions. Recycling as a new realism. Individual genres and speeches have been brought to the same level by transcription. Similarly, modernist typography did not use capital letters because no one pronounces them when speaking. The absence of hierarchy offers a new reading. A method that leads one to believe that we see the essence of life through things, and therefore a sentence from the radio moves us at least as much as a sentence from a poet.\u003C\u002Fp>",{"__typename":4495,"background":4,"title":11213,"items":11214},{"cs":4,"en":4},[11215],{"title":11216,"content":11217,"content_nodes":11220},{"cs":5790,"en":4},{"cs":11218,"en":11219},"\u003Cp>Roman Štětina je český vizuální umělec. Ve své tvorbě pracuje především s videem, zvukem, textem a instalací. Zabývá se jazykem, komunikací a médii a často využívá existující textové či zvukové materiály, které prostřednictvím apropriace a reinterpretace zasazuje do nových souvislostí.\u003C\u002Fp>","\u003Cp>Roman Štětina is a Czech visual artist. His practice primarily encompasses video, sound, text, and installation. He explores language, communication, and media, often working with existing textual or audio materials, which he places in new contexts through appropriation and reinterpretation.\u003C\u002Fp>",{"cs":11221,"en":11223},[11222],{"__typename":4491},[11224],{"__typename":4491},{"title":11226,"description":11227,"canonical_url":11228,"og_title":11229,"og_description":11230,"robots":4,"og_type":4,"twitter_card":4,"image_id":4,"image":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},{"cs":4,"en":4},"\u002Fcentones",{"cs":11233,"en":11236},[11234,11235],{"label":28,"menu_url":29},{"label":11183,"menu_url":11231},[11237,11238],{"label":34,"menu_url":29},{"label":11183,"menu_url":11231},[11240],{"id":13,"name":14,"slug":11241},{"cs":16,"en":17},[],"2026-10-07 17:34:00",[],{"total":74,"currentPage":74,"lastPage":74,"count":74}]