PROTO GALLERY SYSTEMS

PROTO GALLERY SYSTEMS is developing primal models of exhibitional framework, models that are not dependent on institutional processes and establishment that could limit the free expression and creative potential of contemporary artists. Proto gallery systems functions as a nomadic tool for presenting exhibitions in off-gallery structures and public spaces, deconstructing the stereotypes surrounding the areas of corporate dynamics and distribution of information.

pgs.gallery.office@gmail.com

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17_07_2021
17_07_2021

Uničov (CZE)

Vladimír Skrepl
Elena Pecenová
Jakub Jansa
Karolína Juříková
Matyáš Maláč
Kristina Fingerland
Olbram Pavlíček
Štěpán Brož
Luděk Šofr
Marios Stamatis
David Střeleček

TXT

]|I{•------» 𝕋Ĥ𝓘S 𝔱𝒆xT ק𝐫𝔲קo丂 𝕖ƒ𝓤𝔩𝐋𝔶 Ļα𝐂𝐊𝐬 ş๏ur𝓒€ 𝓇乇𝕗𝓔RE 几¢έs. «———•}I|[ Wₕy fieₗd ₙoₜeₛ? ꧂ Field notes are the main means of record during par4cipatory observa4ons (i.e. during field work). The content of field notes is what the researcher heard, saw and experienced during research, but also how they perceived and evaluated these observa4ons and how they adapted to the environment. The primary goal during data collec4on is to capture the crucial framework of what’s observed. The field diary contains a direct unredacted record. One of the important revela4ons during the record composi4on was the capture of one of the processes in which shape was subsequently detected. All following notes are neither subjec4ve nor objec4ve, this for the reason they were taken by a person who externalised their mental processes into the great outdoors (grand dehors) – the externalisa4on process is simple and available to all. Language has the power—when presen4ng some idea with sufficient persuasiveness—of making me believe, making me change my visual angle, which aspect only deepens with every next reading, inscribing connec4ons that form 4es to yet others – my language is a tapestry with the mo4f of the beckoning sign. The correla4onal view of the world has no place in this text, so forget it right away and ≋r≋e≋a≋d≋ ≋o≋n≋!≋ I ̾ a ̾ t ̾ t ̾ e ̾ m̾ ̾ p ̾ t ̾ t ̾ o ̾ ̾ s ̾ h ̾ ̾ o ̾ w ̾ y ̾ o ̾ ̾ u ̾ t ̾ h ̾ ̾ e ̾ p ̾ ̾ o ̾ s s ̾ i ̾ b ̾ ̾ i l ̾ i ̾ t ̾ i ̾ e ̾ s ̾ ̾ o ̾ ̾ f ̾ l ̾ a ̾ n ̾ ̾ g ̾ u ̾ a g ̾ ̾ e , ̾ ̾ o ̾ ̾ n ̾ t ̾ h ̾ ̾ e ̾ v ̾ e ̾ r ̾ y ̾ ̾ l ̾ i ̾ m ̾ ̾ i t ̾ ̾ o ̾ ̾ f ̾ l ̾ a ̾ n ̾ ̾ g ̾ u ̾ a g ̾ ̾ e . ̾ ̾ 𝔗𝔥𝔢 𝔢𝔵𝔥𝔦𝔟𝔦𝔱𝔦𝔬𝔫 𝔦𝔰 𝔞𝔫 𝔬𝔯𝔤𝔞𝔫𝔦𝔰𝔪 – 𝔦𝔱 𝔩𝔦𝔳𝔢𝔰 𝔣𝔬𝔯 𝔞 𝔴𝔥𝔦𝔩𝔢 𝔞𝔫𝔡 𝔱𝔥𝔢𝔫 𝔡𝔦𝔢𝔰, 𝔡𝔦𝔰𝔦𝔫𝔱𝔢𝔤𝔯𝔞𝔱𝔦𝔫𝔤 𝔞𝔫𝔡 𝔡𝔢𝔠𝔬𝔪𝔭𝔬𝔰𝔦𝔫𝔤 𝔦𝔫𝔱𝔬 𝔦𝔫𝔡𝔦𝔳𝔦𝔡𝔲𝔞𝔩 𝔢𝔩𝔢𝔪𝔢𝔫𝔱𝔰, 𝔴𝔥𝔦𝔠𝔥 𝔤𝔬 𝔬𝔫 𝔱𝔬 𝔩𝔦𝔳𝔢 𝔱𝔥𝔢𝔦𝔯 𝔬𝔴𝔫 𝔩𝔦𝔳𝔢𝔰. H𝔬𝔴 𝔪𝔞𝔫𝔶 𝔰𝔪𝔞𝔩𝔩 𝔡𝔢𝔞𝔱𝔥𝔰 𝔥𝔞𝔳𝔢 𝔶𝔬𝔲 𝔥𝔞𝔡? I𝔱 𝔦𝔰 𝔦𝔫 𝔱𝔥𝔦𝔰 𝔦𝔫𝔰𝔱𝔞𝔫𝔱, 𝔱𝔥𝔦𝔰 𝔣𝔦𝔯𝔰𝔱 𝔦𝔫𝔥𝔞𝔩𝔢, 𝔱𝔥𝔞𝔱 𝔴𝔢 𝔣𝔦𝔫𝔡 𝔬𝔲𝔯𝔰𝔢𝔩𝔳𝔢𝔰 – 𝔥𝔬𝔴 𝔱𝔬 𝔲𝔫𝔡𝔢𝔯𝔰𝔱𝔞𝔫𝔡 𝔴𝔥𝔞𝔱’𝔰 𝔤𝔬𝔦𝔫𝔤 𝔬𝔫? I𝔫 𝔱𝔥𝔢 𝔭𝔯𝔬𝔟𝔩𝔢𝔪 𝔬𝔣 𝔠𝔯𝔢𝔞𝔱𝔦𝔫𝔤 𝔰𝔬𝔪𝔢𝔱𝔥𝔦𝔫𝔤 𝔫𝔢𝔴, 𝔭𝔥𝔦𝔩𝔬𝔰𝔬𝔭𝔥𝔶 𝔠𝔞𝔫 𝔣𝔦𝔫𝔡 𝔱𝔥𝔢 𝔨𝔢𝔶 𝔱𝔬 𝔲𝔫𝔡𝔢𝔯𝔰𝔱𝔞𝔫𝔡𝔦𝔫𝔤 𝔱𝔥𝔢 𝔭𝔯𝔬𝔠𝔢𝔰𝔰. C𝔬𝔪𝔢, 𝔭𝔥𝔦𝔩𝔬𝔰𝔬𝔭𝔥𝔢𝔯𝔰 𝔬𝔣 𝔱𝔥𝔢 𝔴𝔬𝔯𝔩𝔡, 𝔞𝔫𝔡 𝔣𝔦𝔫𝔡 𝔱𝔥𝔢 𝔲𝔫𝔦𝔮𝔲𝔢, 𝔴𝔥𝔦𝔠𝔥 𝔰𝔬𝔪𝔢𝔴𝔥𝔞𝔱 𝔢𝔩𝔲𝔡𝔢𝔰 𝔬𝔲𝔯 𝔞𝔱𝔱𝔢𝔫𝔱𝔦𝔬𝔫, 𝔞𝔰 𝔱𝔥𝔞𝔱’𝔰 𝔱𝔥𝔢 𝔮𝔲𝔞𝔩𝔦𝔱𝔶 𝔬𝔣 𝔱𝔥𝔢 𝔲𝔫𝔦𝔮𝔲𝔢. I 𝔰𝔥𝔞𝔩𝔩 𝔟𝔢 𝔯𝔞𝔱𝔥𝔢𝔯 𝔡𝔦𝔯𝔢𝔠𝔱𝔦𝔳𝔢 𝔫𝔬𝔴 𝔞𝔫𝔡 𝔱𝔞𝔰𝔨 𝔶𝔬𝔲 𝔴𝔦𝔱𝔥 𝔣𝔦𝔫𝔡𝔦𝔫𝔤 𝔱𝔥𝔢 𝔲𝔫𝔦𝔮𝔲𝔢 𝔞𝔫𝔡 𝔫𝔞𝔪𝔦𝔫𝔤 𝔦𝔱, 𝔦𝔪𝔭𝔯𝔦𝔫𝔱𝔦𝔫𝔤 𝔦𝔱 𝔴𝔦𝔱𝔥 𝔰𝔬𝔪𝔢𝔱𝔥𝔦𝔫𝔤 𝔭𝔢𝔯𝔰𝔬𝔫𝔞𝔩. I𝔰 𝔱𝔥𝔢 𝔟𝔞𝔠𝔨 𝔬𝔣 𝔶𝔬𝔲𝔯 𝔥𝔞𝔫𝔡 𝔰𝔦𝔪𝔦𝔩𝔞𝔯 𝔦𝔫 𝔰𝔥𝔞𝔭𝔢 𝔱𝔬 𝔰𝔬𝔪𝔢 𝔬𝔣 𝔱𝔥𝔢 𝔬𝔟𝔧𝔢𝔠𝔱𝔰? 𝔑𝔞𝔯𝔯𝔬𝔴 𝔶𝔬𝔲𝔯 𝔢𝔶𝔢 𝔞𝔫𝔡 𝔩𝔬𝔬𝔨, 𝔰𝔢𝔱 𝔶𝔬𝔲𝔯 𝔣𝔬𝔯𝔢𝔰𝔦𝔤𝔥𝔱. I 𝔰𝔬𝔪𝔢𝔴𝔥𝔞𝔱 𝔥𝔬𝔭𝔢 𝔶𝔬𝔲 𝔴𝔬𝔫’𝔱 𝔞𝔰𝔨 𝔪𝔢 𝔥𝔬𝔴 𝔠𝔬𝔪𝔢 𝔪𝔶 𝔣𝔦𝔢𝔩𝔡 𝔫𝔬𝔱𝔢𝔰 𝔞𝔰𝔰𝔲𝔪𝔢 𝔶𝔬𝔲, 𝔯𝔢𝔞𝔡𝔢𝔯, 𝔴𝔥𝔬𝔪 I 𝔞𝔡𝔡𝔯𝔢𝔰𝔰 – 𝔭𝔢𝔯𝔥𝔞𝔭𝔰 𝔦𝔱’𝔰 𝔟𝔢𝔠𝔞𝔲𝔰𝔢 𝔱𝔥𝔢 𝔰𝔭𝔞𝔠𝔢 𝔢𝔵𝔭𝔩𝔬𝔯𝔢𝔡 𝔩𝔦𝔢𝔰 𝔟𝔢𝔱𝔴𝔢𝔢𝔫 𝔶𝔬𝔲 𝔞𝔫𝔡 𝔪𝔢, 𝔟𝔢𝔠𝔞𝔲𝔰𝔢 I’𝔪 𝔪𝔬𝔯𝔢 𝔬𝔣 𝔞𝔫 𝔢𝔵𝔥𝔦𝔟𝔦𝔱𝔦𝔬𝔫 𝔶𝔬𝔲 𝔣𝔦𝔫𝔡 𝔶𝔬𝔲𝔯𝔰𝔢𝔩𝔣 𝔞𝔱, 𝔟𝔲𝔱 𝔴𝔢’𝔳𝔢͖ 𝔞𝔩𝔯𝔢𝔞𝔡𝔶 𝔰𝔞𝔦𝔡 𝔱𝔥𝔞𝔱 𝔞𝔱 ̥̘ ̹͉ ̌ ̪̹̰̜̞̼͑ ͙̼̝͆ 𝔱𝔥𝔢𝔰𝔱𝔞𝔯̝𝔱,𝔴𝔦𝔫𝔨𝔴͎𝔦𝔫𝔨.I𝔰𝔬𝔪𝔢𝔴𝔥𝔞𝔱𝔥𝔬𝔭𝔢𝔶̀𝔬𝔲͈̏𝔴𝔬͓𝔫’𝔱𝔞𝔰𝔨̚𝔪͊𝔢𝔥𝔬𝔴͒͝ ̛ ̧̧̟̟͓̞͝ ̇͋͗̾ ̩ ̖̪̖͍̹̮̈́̔͒̐͝ ̲̺̈́͑́̀͑ ̗ ́̀̇̔̂̂̽̚̚ ̜̟͛̾̍̓ ̵̷̸̛̰̣̣̻̫͓͔͙̤̩̺̝́̊́͑̑̋̆̌̈́̔̽̄́̾́̈́̀̓͆͗̽̚̚͝͠ ̛̛͔̖̯͇̯̫̋̂̅͗́̄̒̓̀̎͒̋̅̏̐͐̾͊͌̿́̈́̅̀̉̎͛̑̂̌̇͆̏͛́̑̌͆̓̚̕̚͝͝͝ ̅̐ ͎̎́ ̗̖̅͂̍̕ ̘ ̎ ̈́̾͂ ̴̤̑́̃̕ ̶̴̫̜̾̈́̃̽̄̓̅ 𝔠͂𝔬𝔪͜ ̜𝔢̆𝔪𝔶𝔣𝔦𝔢𝔩𝔡̙̻̄𝔫̛𝔬̮𝔱́𝔢̀̕𝔰𝔞𝔰͑𝔰𝔲𝔪𝔢𝔶𝔬͐𝔲,𝔪̑𝔞͝𝔫𝔫𝔢̀𝔯.F̸̭̏įèl̋ḓ̸nó̴̼̗̐̐̐̀͐͑̚͘t̨es̶̞̋r̴̰̿ë̷̵̺́f̸̀er̵̺̐t̴̻ǒ̢̝͒͒ ̴̶̸̸̶̵̸̵̵̷̴̵̧̢̨̢̛̛̛̜̭̗̮̦̘͇͍͖̘̠̫̞͖̰̘͍̜̳̆̉͂̄̈̾̿̓̊̽̏̐͆̍͒̆̎͆́̈́͂̔͊͗̏̽́̋̄̂͆̃̊̅̈̽͑̓̎̈́͆̓̓̿̓̀̿͐̇͐͛͂̎̓́͐̔́̋̆̃͆͂̋͑̒̂̃͛̑̈́̉́̈̀̀̽̓̚̕̚͘̚͘͝͝͝͝͝͝͠͝ ̶̬̫͓̈̀ ̶̸̷̸̶̸̵̷̨̧̧̢̢̨̡̧̛̛̛̤̜͉͔̲̱̦̬̖̺̲͙̩̻͙̺̜͖͚̬̱̠̜̮̖̙͖̟͎̝̜͍̹̙͔͔̬̩̣̬̞̙̖̞̈̈́̿̑͗̇̐̈̇̀͛͒̋̇̀̉͂́͗͂̏̍̎̓̔̑̆͒̈́̏͊̾͒̓̆̈́͗͒͛̈́̔͌̽̐͊̀̅̄̽̒͊̏̈̌̽͒͒̏̇͑͌̅̄͂̀̈̎͐̍̏̒̽͂͒͗͊͐̆͒͋͛͗͆̐̊̀̎̈́̾̐̋̈́͛͐͘̚̕̚̕̕̚͜͝͝͝ͅͅͅ ͐̓̑ ̀̓̍͘ ̶̶̫̀̎̎̃̕ ͌̃̈̉̐̎͗̀͘͝ ̈́̽́ ͂͗͑̈̈́̊͘̚ ̴̌͆̏ ̶̵̵̶̛̻̄́̋̐͛̀͛͊̽͆͐̊́͊̕͘̚͝͝ ̶̛̦̍̋̈̈́͗͋̅ ̶̴̶̛̛̱̟͕͎͙̻͓͍͍̮̼̘̀͗̓̌͗͌̔͐̉̿̈́͒̉̅̄̈́͂͆̓͋̋͘̚͝͠͠ ̽ q̶̩̓̄ṵạli̻̼̩̥̭͜t̸̩͆á̼̅̀͋̋̍ţ͒͝ī͆v̗e̵̴̞͊͆ń̷̳o̵̰ţ̓ęš̶̻r̶̺͛e̴̟č̶̙ọŗd̎è̱̄̽̽͆͝d̷̗͓̼̘͖͕͙̂͜͝b̷̼̼̻͈̭̞ẙs̶̨͎̉̌̆c̵̶̬̭͛ie͈̓n̵̩ ̴͈̅ti̩̕s̯t͙͒̃ŝ̫͈ǭ̵̓̊̌͜r̷͕̜͇̼̙̙̪͕͙̥͉̝̯͔͔̈́͒͑͂̽̄͛̽̈́͒r̴͇̜̠̱̺̲̉́͋̆̀͘e̵̋ṡ̶̭e̲á̶̡͍̙̞͚̦̺̣̏r̀ç̷he̫ṙ͝s͑͠í̵̬̞n̠̘͆t̶͈͑̓ẖ̵͉̱͚͈̭̩̖͋̈́̀͘ḙ͇̞̙̘̖̼ ̴̶̷̴̴̶̸̴̷̸̷̧̢̧̢̨̛̛̛̛̛̛̛̛̘͈̲̪̦̙̭̥̪̰̻̼͍͈̮̰̹̫̬̹̪̲̰̻͎̱̖̟̥͓̰͈̥̼͕̥̻͓̗͍̹̥͈̰̪͎̫̩̰̮̖̝͖͓͉̭̪̲̞̜̺͉͇́̏̈́̎̅̐̔̈͌̏͗́̊̎̇̉̓͋͆̒́̇̊͂̐͂͛͂͐̎̋́̓͂̀̑̔̃̌̇̽̿̂́̾͗̓̋̅̈́̿́̃͌͑͐̄͐̌͌͆̑̅̎̽̔̄̈́̈́̎̅̏̍̊̂͌̽̍̓̉̾̽̀͋͛́̽́͐̏̓̃͐͋̃̄̑́̃̓͘͘̚̕̚̕͘͘̕̚͘͘͝͝͝͝͝͝ͅ ̶̸̴̴̴̷̶̴̵̷̴̸̷̸̶̵̴̷̷̡̢̢̡̡̨̨̢̛̛̛̭̺̼͖̦͕̭̹̙͖̠̣̤̭̖̤̞̲̰̗͖̯͕͔͔͍͈̙̯͇̞̪̠̟̥͚̰͎̪̹̙̫̣͇̻͓̙͖̯͍̲̼͚͔̬̞̗̭̗͇̣̦̻̹̪̠̯̯̩͈̫̘̜̬̘͚̯̰̰͍̱͔̜̙̤̺͓̦͔̻̫͎͇͔͍̮̳̩̤̭̟͈̮̱̞̈́͒́̌̈́̓̇͋͒̐̈́̏̋̓͋̏͐́̋̇͑͂̔̇͗̏̌͐͑̒̀͑͐͗́͒̆͗̈́̀̋̈́̈́͆̔̈́́́̓̈́́̈́́̌͊̿͗̂̍̔́̎͛̄̈́̀͑͗̍̑͒͂̊͋̽̓̈́̐͒̐͒̆̊́̾̎̋͗̊̉͆̓̏̀͑̓͐́̆͗́̔͌̐̈̇͋̑̓́̃̏͋̋̇͋̄̽͗̅͛͂̿̍̾̓̆̉̐͒́̿̈̀͒̚͘͘͘̚̕̚̕̚̕̕̕̚͘͜͜͝͠͝͠͝͝͠͠͝͝͝͝͝͝͝ͅͅͅ c̶̣ờ͚ṹ͕rṡ͉̻̌ẽ̵̛̯̱̀o̷̬̭f̤̼͔̣̺̄̽̚͜͜f̷̝͔̃͛̕i̷̳̻ȩ̱ld̸̡̗͍̯͓͕̳̼̻̗̻͂̄̓̄r̴̓e̶̼̠s̢ě̴ ā̙̅ṟch̵̸̻̎,d̶̻̰u͎͋̏͛̕͜ř̴iṇ̝g̨o̵̴̦r̶̸̖̼̪̎͑̀̑̋͛͒̂͜͝a̬f̴̤̍͋̑̂̈́tẹ̋r̴̶̦͕̺t̶̨͉h̸e̴͍ìr̴͇ȍ̵̴̘̠b̭s̢͔̤̲̜͕̜̹̦͑́̑̾͒͐́͝e̶ rvä̭ ṯĭǒn̙̥o̴̮̤f̸̧̖͖̝̠̣̬̌͊͗̐͌͗͝a̴͜ ̸̸̵̶̵̷̷̧̨̧̨̭̯̼̩̺͔̠̫̹̳̣͙͈̥͍̱̥̭̘̱͎͎̜̣̼͚̮̭͉̻͇͕͔̖̺̗̥̱͍̙͕̟̩͎̻̉͊͌͂̃̊͂͒̏̒̌̇̍̔̎̏̾̎͋̿̍͒̓͌͂̑́̈͐̔̒̾́̈̍͐́̂̄̎͛̚͘͝ ̵̸̸̧̧͉̹͕̮̬͕̗͈͎͕̜͇͖͎͕͎͚̪͖̫̍̆͋̇͋̽̑̒͌͑̐́̇͑̿͋̀̌̈̍͛́̔͂͝͝͠ ̶̧̡̛͚̰̜̬̟̖̹̭̤̯̱̫͙͚̣̜̺̦͎̤̹͙͎̝͐͒̔̊̃̃̀̑̒͛̑͋͗̑͗̉̉͆̔̉̾̽̊̏̍͆̊͋̂̒̓̓͘͝͝͝ ̴̛̜̣͎͙̙͈̥̾̀͑̍̏̔̉̎͆̎ ̶̸̶̡̲̭͕̬̠̱̺͕̬̟̩̳͚͉̲̤͚̬̘̖̖̹̖̜̱̱͉̈̑̽͊̄͛̐̊̂̔̈̽͒̐̌͘̕̚̕͜͠ ̜̔̓͘ ̷̷̶̸̸̷̶̵̸̷̸̨̧̢̧̨̛̛̛͔͓̦͙̺͎͖̫̙͎͓̭̳̦͕͓̺͓̹̭̟̤̪͚̖̘͔̯̗̦͉̖͔̫̫̥̩͈͍̖̩̙̬̹̘̳̥͎̤͔̙̖͓͖̻͖͙̺̣͙͖̝̤̝͕̳̪̳̱͙̰̟̠̹̪̱̻̆̌͋̐̑͗̎́̀̾̉͊̂͛̌̂̉͗̀͊̓̂͐̉̈́́̀̓́̄̇͌̅̃͌̾͊͆͛̇̉̾̍͗̎̿́̇͋͛͒̉̐͂̅͊̍̅͂̊̔̑̓̊͐̽̆̅̍̈́̈́̃͆́͌͘̕̚͘͘͘̕͜͜͜͜͝͝͠͝͝͝͝͝͝ͅͅͅͅ ͉̻̩̱̼͇̩̐́š̴̨̘̌͊̆̈́̆̚͘p̵͔̞̤̈́ec̶̛̐i͙̯f̼̱̉ìc̵̩̱̽o̷͔̳rḡ̴͈̥̿̈́ą̏n͉̫̯̞͕͎̘̪̫ỉ̴̃̾ś͔̲m͔̝̄o̶͍̓r̷̨̤̋p̵͇̱͗̍̀h̷̅e̗͝n̛̪̖͍̱͉͖͋o̵̔̅m̬͂ȩ̀̑n̡̯͖̈́̈́͗͠ǫ̵̦n̍ ̬͓t̷̫͈̥͎̭͙h̵̸̼ēy̸̛̤̩̣̝̮̰͕̬̺̋̽͊̌̇͐͗͊ạ͇͆r̵̜̖ȩ̸̚͠s̴̢̳͙t̸ṵd̴̷̛͎̖̖̦̟̍̈̽͒̉̕͝y͇͒in̴̨͐̏g̨̮.̫Ṫ̵̢̟́h̘̲̩͚̻̯͍e̴͇̩̜̭̤̹̋ ͙͝ ̕ ̧̺̮̮͗̎͒̾͐͘͠ͅ ̵̸̵̸̷̸̸̷̸̴̶̵̷̸̸̷̶̷̸̷̵̴̵̶̴̵̴̶̵̡̧̨̡̡̨̢̨̧̡̧̢̛̛̛̛̛̛̬͔̟̹̩̜̗̜̜͔͉̫̹̝͈̝̯̼͖͉͓̩̪͕̦̜̘͓̹̜̜͕̻̥̤͎̹͉̟̙̲̮͕̝͖͍̖͈͉͎͚̱͖̮̦̹̩̦͓̰̮͍̼̭̘̥̳̻̦͓̩̤̞̬̩͓̣̮̦͉͕̘̦̭̬̱͎͓̩̻̯͍͖̣̬̖̝̰̻̝͖̟̙̟͈̺̙͉̦̥̜͔̝̻͔̹̹̩͉͙̤͕̱̪̯͎̰̤̬̝͖͉͕̣̦̱̯͎̘̞̜̟͔̗̖͓͓̫̦̻͔̥̤̩͇̙̜̙̜̙͖̦͉̬͔͓̘̬̜͙̤̻͓̖͖̮̦̮̝̹̘̫̰͎͕͇̝͍̗̮͎̠̲̭͈͔̞̫̥̱̭̲̩̮͉̦͊̂̈̀̓͌̈́̉̅̾̆͛̔̎͑̇́͌̑͊̏͐̿̃̿̏͒̄̀͌̈́́̅͛͐̆͌͆̃̊̈́̀͌̌́̀͊̊̈́̍̓͂̑́̌̽̓͛̒͐̍̓̒͗͋̾̔͊̅̈́̒̌͊͛̅͒̾͛̋̔̇̋͒̒̀̓̑̔̿̈́̾̂̀̎̌̊̀̉͊̔̌̇͗͆̈̌̃͊̽̈́̏͐̔͛̏̔̀̌̓̑̀͊̀͐̑̃̊́͋̅̈͐͊̾̒̄͋̾̈̿̓̎̓͆̆̉͊̃̌̍̀́̈́̒͊͛͊̐̋̉̾͐͛̓͊͂̏͆̉́̔̓̈̾͗̅͆͌̎̂̉̾̊̈͌́̾̈́͛̍̌͂͋̽̿̊̐͂͐̈́̓͘̕̕͘͘̚̚͘̕̕̕͘̚͘̕̕̕͘̕͘͜͜͜͜͜͜͝͝͠͝͝͠͝͠͝͝͝͝͠͝͠͠͠ͅͅͅͅͅͅ n̵̶̻̣̟̟̝̖̒̊o̟ ̛͙̩̯̈́̈́͋̌̈́ͅͅt̸͛ĕ͔s̥͑̍̄a̷̺͗̕r̶̖̙̃̈́̕ę̢̤̗̹̱̭̜͇̽̋̾̾͊͐͜i̵̙̮͂͗ñ̶͍̞͘t̫ę̶͙̪̓n͒͌d̵͝e̬͍̅͛ͅd̶̸̢̞̗͕̫̳̹̿ţ̖ô̸̠̝͊͘b̴̬̝̈́ẽ͎̖r̴̀e̶̤̮̍̚ä̶͍̫͚̬̱̩͈̬̭̟̭́̉̓͝ḑ̭̼̲͒̀͒̓̇̚a̵̯̭͑͘ş̪̈́̾ę̷̘̖͠v̶̩̯̂î̠͔̘̲̂̍̾̀͐d̶̶̨̨̩̥en̵͇̟̐c̣̎e͚̗͊ť̶̮h̬̦a̵̝t̵̸̘͎̘͘g̡̧͆i͔v̴̠̹̘̘ȩ̵͇̅͝s̴͌ṃ̵̠̺̞̇͋̊ȩaņ̶͒ in̷͊̏g̴̛̛̬̐ ̸̷̷̸̴̢̢̨̤͎̟͚͖̝͍̜̤̣̦̹̬̖̣̔̆̾̅̈͋̍̒͂͊͌̔̂̊̂͐̅́̈͌̈́̒̅̃̀̅͌͑́̀̔͒̕̚̚͘͘̕͝͠͠͝ ̸̵̷̸̷̸̸̶̸̸̸̶̷̵̷̴̸̶̷̶̴̢̢̢̡̢̡̡̢̢̢̢̧̨̡̢̢̢̧̢̡̛̛̛̛̛̛̛̛̛̛̰̖̻̲͉̖̝̫̘͖̹̠̹̳̞͕̹̫̥̬̪͔̺͚͓̥͓̞͈͓̩̻̞̪̦̱͚̖͕̮͈̻͖̟̟̪̤̖̜̯̲͎̝͔͚̺̤̼̪͈͔̺̭͇̤̜̳̜̹͓͎̼͔̺̺̻͔̤͙̤͕̠̥̪̺̘̤̯͇̱̥̦̯̜̩͙̘͖̖̺̳̩̫̺͇̱̜̦͎͔̬͖͙̬̠̹͎̩̘̜̤͇̥̮̘̤̬͉̬͚̯̳͔̰̻̹̼̪̜̺̟̣̜̖̱̜̥͇͎͉̜͔̗̘̙̺̩̤͓̪͚̺̹̰̩͑̾̈́͆̏͒̈́̃̊̃̃̈̏͆̒̂̀̑͆̓͒́̊͆̅͑̿͗͋̂̈́̓͒̾͐̐̀̊́͐̐̑̍̐̉͋̾͑̌̓̅̌͌͑̈́̈̈́̓͛͌̈́͒̆͑̓̃̾̿̓̋̈͆̀͛̆͑́́̎̆̅́̾̏͋̔̒̌͐̑̈͐̿̌̽͐͛́̈̀̉̎̾̓͆̿̑͌͑͐̆͛̽̊̄̇̆̉͋̅͋̀̂͊̄͌̀̈́́̎̐̆̇̑̿̂̾̌͛͆̋̌̒̓͋͗̆̍̈́̒̌͌̿͘͘̚͘̚̕̚̕̕͘̕͜͜͜͜͜͜͠͝͝͝͝͝͝͝͠ͅͅͅͅ ã̴́n̶̨̙̻̭d̶̸͙͚̑͂͝a̴̰͊͛i̸d̸͎̏̌͌̅̄̉́̕ș̆͝i̴̸̙n̸̟͕̅́̓t̞̬͑ḩ̶̝͝ȩṷ̷͙̠͈̖͔̥͕͈̺̹͛̀͗̑n̺ ̦͉̥̜͈̠̺͑d̵̫̒̄e͔̼͊r̵s̵͍̄t̶̢̘̽ą̵̧͙n̙̯̗̑d̵ ̷̟͓i̸n̗͛g̵̸̨̖̽̈͆ö̵̟͚͋f̴̻͛t̶̸̨̛̗ḩ̨̕e̤̋p̵͙̙͍͗͘h̷̫̆̄e̘̕ṅ̶ǫ̬̊m̨̨̙̠̠͇͇̩̲͖͙͆̈́e̢̗̰͙͉͗̂nò̖̎̅͝ǹ.̹̮̺̮̐F̷̴̧̱̰͛͂îę͈l̩͓ď̶̬ńo̫̅te̴̙̠s͙͔͊ ̵̶̸̴̸̷̷̴̡̢̡̡̛̛̛̛̛͉͎̬̲̼̻̺̳̱̥̳̲̺̰͙̮͉͔̰̟̠͕̥̻̯͕̭͙̻̩̮̱͔͕̰̲̤̮͖͇̻̖̳̹̭͖͕̗̜͚̱̤͓̙̼̖͔̠̀͗̏̿̽̐̋͗̾̎̃̂̀̎̃̉͗̌̋̔̏́̆̇̄̈̀̏̾̈́̄̈̓͑́̋̂̊́͒͐̇̄̀̓͛̑̈̎͐̈́͑̅̔̎̋̃̂͑̏͛̈̿̑́͂́̂̎̑͊͛͆̅̓̒̌̾̒̓̋͆̈̽͌̆̌̔̒̾͂͌̑͋̎͑̔̕͘͘̕̕͘͜͠͝͠͝͠͠͝͠ͅͅ ̵̵̸̷̴̸̡̨̢̢̡̡̡̡̢̣̻͍̝͚̭̝̪̭̥͈̦̥̱̩̹̟͙͈̟͓̩̯͈̻̠̯̭̗̜̗̺̮͕͉̩͓̥̪̮͕͈̳̭̫̬̣̦̈͊̄͑̈́̐́̏͑͂̊̏͊̍̾͌̄̌͋̅́̉͆̓̊͗͑͒͒́̃̃͛̂̏͛̊̀̃̉̎̓͌̈́̽̾̎̿̇͗̈́̐̓̇̾̐͊̾̒͂̎͛̚̚̚͜͜͜͜͜͝͝͠ͅͅͅͅͅ ̶̷̸̸̸̷̸̶̷̸̴̷̸̵̷̶̸̡̢̢̧̧̛̬̣̣̠͈͕̩͚̣̩̘͕͚͎̱̞̖͕̘̯̠̻̘͕̮̼̗̪̥̞̫̝̬̘͍͎͇̩̠͉͙͔̠̭̱̘̺̯̯͚̼͚̯̱͎͔̬͇͓͉̮͚̲̟̪̳̻̲̯̱̠̳̙̣̿̈́͗̆̉͊̅̂͌̃͊͗̅͊͑̈́͒́̓̀̄͊́͛̍̽͛̐̉̽́̋̆̈̅̍͗́̋̄͊̽̒̃͌͑̏̓̎̾͛͂̀̄̈̀̽͐͌͗͂̓̂̿̏̑̔͋͘̕͘͘̕̕͜͜͜͜͜͠͝͠ͅ ̷͔̣̣̻̬̳̩ͅ ̡͈̣̟̼̮a̶̫͊l̜̣̪̈́̋̎l̷̙̋̒́ơ̷w̵̸̢͈̤̤̬̹͇̓͜t̸̢h̼e̴̖͍̫̘ͅr̵͜e̋s̶̼̞̝͇͎̹͙͕̗̘̦̰͆̀ē̶arc̵͇͂hȅ̪ŕ̴̢̳̪̙̭̗̯̦͛͛t̴̸oą̶̒cc̴̭e̶͙s̶̖͈̬̖̯͜s̵̶̬͎̻͈̅̍͜͜ẗ̷̯ȟ̋͘ͅę̼̥̥̮͇͇̃̀͝͝ͅş̵̾͐͋͌͛̔͗͌͂́ȗb̷͍͒je̴c̵̡t̸̸̟a̙̙nḓ̴̸͎̍͆͒̀͌̄̄̋͝r͎ẽ̴̯̌c̨o̶̝ŕď̡̢̞͕̼̮̃̔͊̃͛́͂̅͛̃͘̕̕w̶̥ḩ̀͋a̴t͕̝̦ ̙ ̸̷̶̴̸̸̸̸̸̷̷̷̸̸̶̸̴̵̵̵̴̸̸̡̡̢̢̧̢̨̧̨̡̢̧̛̛̛̛̛̣̱̙͔̟̹̣̫̼̗͚͕̞͎͚͕̜̠͈͚̙̫͎̜̭̯̩̹̙͖̪͖͓͎͎͕̜̟̞͙̩̥̞̲̯̟̜̼͍̯͍͈̻͖̖͖̪̖͎̼̦̻̼̹̗̙̝̼̥̪̦͕̗̤̲̦͚̜̲͔̰͇͈̥͓̘̣̳̩͉͇̩̘̠̯͍̦͉̼̖̤̺̣͎̰̲͉͔̳̬̞̳̺͎̺̫̊͋̍͑̋̀͒̓͐̊͐̈́̂̏͗̄̎̎̔̓̿͂̇̋̌́̎͆̿̿̓̊̉̈́̋̈́͂̑͛͌̊̀̒́̽́̎̀͋͋͑̾͆̅͑̈̒̆͋̈́̄̐̓̊̾̉͐͗̌̈̓̔̇̉̅̂̾̓͛̂̇̈́̑̒͌̽͆̋͌͌̆̀͋͆̎͂͑͐͌̚̚̕͘͘͜͜͜͝͝͝͠͠͠͠͠͠ͅͅͅͅͅͅͅ ̷̸̡̢̡̧̢̢̬͔̯̲̬͇̝̰͔͖͓̤͍͔̗͓̤̰͉̳̗̘̦͙͇͚̮͍͖͍̰̯͎́̈̑͒͂̀̑́́͛̓̋̃̉̿̕̕͘͘̚̕͜͜͠͝ͅ ̰͉ t̴̸h̡͝ĕ̙y̲̰͈͍͝o̵̝͜bse̶͍̞r̴v̵͙̫e̵̵̗̖ḯ̶ṇ̸̰́aņ̀ǘ̵ņ̟ỏb̻t̸ŕ͇͐͆ͅu̳̞̪̫͓͚̦̜̩̻͗̍͗̉͋̈́̍̚š̴̙̝͔̓̈́̏ḭ̶v̇ȩ̟ ̝m̵ aṉ̫̓ǹĕr̭͓̥̤͔͔.̷̙ ̜ ̬̺͂ ̱ ̣ ̰ ̵̷̸̨̧̢̨̢̧̢̢̛͚̘͔̠͕͚̤͇̜͚̤͓̱̠̲̺͚͔̼̥͙͚̹̟͚̱̼͉̟̯̥̘͇̞̞̫͚̫͙̤͓̮̼̗̪̝̩͖̖̘̰̠̪̝̞͉̮̫̥̗̜̺͇͔̬͖͎͔̼̥̳̖͉̳̙̣̤̺̯̦̹̣̗̞̜͇͉̟͙̗̦̭̳̲̥̟͕̞̇̋̓̇̏̉̔́͜͜͠͝ͅͅͅ ̷̸̷̷̢̢͇̙̣̲̞͉̖͕̙̤͍̱͕͕͓̝̺͓͖͍͓̗̠͎̥͎̮̱̖͔̼̩̪͐͌̆͆̇̔̓̽̓̅̂͘͘͘̕͜͜͜͝͠ͅͅ ̺ ̨͙̺͓̙͙͓͕̬̭̘͛ ͓̰̲̼̉͌̒͠͠ͅ ̋͋͒̚ ̧̧̥̬͉̦̜͓̱̮͙̳͓̠͚̤͋͐̀͊̅̐̕ ̨̧͓̟̌͆͝ ͙̳̯̠͖ ̞̗̦͎̗͕̳̦̫͌ͅͅͅ ̡͚̩̥̤̝̣̻̞ͅ ͓͊̓ ̰̖̀̐͝ ̻͔͓ͅ ͉͌͗͝ ̢͔̩͜ ̐ ̐̒ ̛̛̅͑ ̞̲ ͋͑̆͋͆͐̓

FIELD NOTES: Tapestry with the motif of the beckoning sign Starting Situation: I take off my VR glasses and exhale (settle down) a hard hit into reality – this step truly was imperceptible – was just an eyewink. Whether that of the left or right eye I’m yet to find out, a few steps hence. I rub my eyes, reality sidling either to the left or forwards. EYE, EYE, EYE. Perhaps exhibition is rather like reality, but I don’t mean to scare you right at the start. This text is coherent, but you must loosen up, soften a little. This is no insanity, as long as you take it seriously, you’ll obtain experience. Introductory Note: All that follows is versus and is not as easy as telling freedom from prison. For a moment I shall borrow your vision, which for the time being is double. Exposition: LEFT EYE: When they synthesised oxytocin, cramming it into all commonly available medications, they forgot to provide the package inserts with the following notice: Your perception will recoil from objects, which will become mere casings. I shall squint with my other eye. RIGHT EYE: When adopting a symbolic perception of the world, it becomes horribly oppressive. In every chalice I see the holy grail – it’s annoying but I cannot resist. I forget to speak. I drink a liquid that’s supposed to be blood but doesn’t taste like anything. I get hold of the Lance of Longinus and throw it a few steps forward. I however cannot budge. To envisage steps means to walk in place.

I won’t find out anything this way， I’ve got to let go of vision. (comple4on occurs) Sight gains a new ability. Lenses come into sharp focus and zoom in, right themselves slightly, a feeling of space without curvature. Gone is the ability of peripheral vision. An image seen can be likened to a room without sidewalls. Somehow space is absolute. It provides the opportunity of feeling one and only place. Before I catch a complete glimpse, the image slightly defocuses in the middle. Have I just assimilated the VR vision? What shape is this process, then? I sneak in underneath the threshold, squin4ng as far as possible. The viewing of perspec4ves with the help of sight unhinged in a paTern I did not expect – its margins are shaped by the profiles of objects present. What? Once more, this is important. Sight unhinged in a paTern I did not expect – THE MARGINS OF MY VISION ARE SHAPED BY THE PROFILES OF OBJECTS PRESENT. 𝔗H𝔈 𝔐𝔄R𝔊I𝔑𝔖 𝔒𝔉 𝔐𝔜 𝔙I𝔖I𝔒𝔑 𝔄R𝔈 𝔖H𝔄𝔓𝔈𝔇 𝔅𝔜 𝔗H𝔈 𝔓R𝔒𝔉I𝔏𝔈𝔖 𝔒𝔉 𝔒𝔅𝔍𝔈C𝔗𝔖 𝔓R𝔈𝔖𝔈𝔑𝔗.

I 𝔯𝔲𝔫 (the individual bars which form the seventh spa4al essence of prison) becomes a film like in 4mes of old. The horse is running – I’m running too, at least I think so. Thinking becomes patchy. Language is a prison. This is no schizophrenic view of the world, this is the harsh reality of percep4on. Your inner voice forces me to smash this mosaic. (Prophets preaching on the mount of lawlessness.) Finding one’s own voice is a hazard – I throw the ball into the rouleTe. Number 42. I follow number 42 and when failing to find it I descend. It’s feels so great, seeing the sun rise, le`ng it roll around, and then set. And so I’m otherwise – vision has ceased making sense. The eyes are rolled upwards – I get out through the cracks. I become a hand-kniAng machine, I wink and I’m gone. 𝐀𝐍 𝐈𝐌𝐏𝐎𝐑𝐓𝐀𝐍𝐓 𝐐𝐔𝐀𝐋𝐈𝐓𝐘 𝐎𝐅 𝐓𝐄𝐗𝐓: 𝐔𝐓𝐓𝐄𝐑𝐀𝐁𝐋𝐄 𝐀𝐋𝐋 𝐀𝐓 𝐎𝐍𝐂𝐄 𝒟𝐸𝐿𝐸𝒯𝐸𝒟 𝒩𝒪𝒯𝐸𝒮: past a prison cell I I I I which despite its phasing

🅃🄷🄸🅂 🅃🄴🅇🅃 🄷🄰🅂 🄱🄴🄴🄽 🅂🄿🅄🄽 🅃🄷🅁🄾🅄🄶🄷 🄰🄵🄵🄴🄲🅃 – 🄸🅃 🄵🅄🄽🄲🅃🄸🄾🄽🅂 🄳🄸🄵🄵🄴🅁🄴🄽🅃🄻🅈 🄵🅁🄾🄼 🅆🄷🄰🅃 🅈🄾🅄’🅁🄴 🅄🅂🄴🄳 🅃🄾. 🅃🄷🄸🅂 🅃🄴🅇🅃 🄸🅂 🄿🅁🄴🅃🄴🅇🅃🅄🄰🄻, 🅃🄷🄰🄽🄺🅂 🅃🄾 🅃🄷🄴 🄰🄵🄵🄴🄲🅃 🄸🄽 🅆🄷🄸🄲🄷 🄸🅃’🅂 🅆🅁🄸🅃🅃🄴🄽. 🄴🄼🄾🅃🄸🄾🄽🄰🄻 🅁🄴🄰🄲🅃🄸🄾🄽 🄸🅂 🄵🄰🅂🅃🄴🅁 🅃🄷🄰🄽 🅃🄷🄸🄽🄺🄸🄽🄶, 🄰🅂 🄸🅃’🅂 🄳🄸🅁🄴🄲🅃🄻🅈 🅃🄸🄴🄳 🅃🄾 🅂🅄🅁🅅🄸🅅🄰🄻. 🄸 🄰🄳🄳🅁🄴🅂🅂 🄼🅈🅂🄴🄻🄵. 🅆🄷🄰🅃 🄼🄰🄺🄴🅂 🅃🄷🄴 🄷🄾🄻🅈 🄶🅁🄰🄸🄻 🄸🄽🅃🄾 🄰 🄶🅁🄰🄸🄻 🄸🅂 🅃🄷🄴 🄵🄰🄲🅃 🄸🅃’🅂 🄽🄾🅃 🄰 🄲🄾🄽🅃🄰🄸🄽🄴🅁 🄱🅄🅃 🅆🄷🄰🅃 🄸🅃 🄲🄾🄽🅃🄰🄸🄽🅂. 🅃🄷🄴 🄻🄸🅀🅄🄸🄳 🄸🄽🅂🄸🄳🄴 🄸🅂 🄰 🅂🄰🄲🅁🄸🄵🄸🄲🄴, 🄰🅂 🄷🄰🅂 🄻🄾🄽🄶 🄱🄴🄴🄽 🄺🄽🄾🅆🄽 – 🅃🄷🄸🅂 🄸🅂 🄼🅈 🅂🄰🄲🅁🄸🄵🄸🄲🄴. 🄸 🄻🄴🅃 🄶🄾 🄾🄵 🅂🄴🄽🅂🄴, 🅆🄷🄸🄲🄷 🄲🄰🄽🄽🄾🅃 🄱🄴 🅃🄷🄾🅄🄶🄷🅃 🄰🄽🅈🅆🄰🅈🅂. 🅃🄾 🅃🄷🄸🄽🄺 🅂🄴🄽🅂🄴, 🄸🄼🄰🄶🄸🄽🄴 🅃🄷🄰🅃. 🄸 🄲🄰🄽 🄴🄸🅃🄷🄴🅁 🄼🄰🄺🄴 🅂🄴🄽🅂🄴 🄾🅁 🄽🄾🅃, 🄱🅄🅃 🄷🄾🅆 🄳🄾 🄸 🅄🅃🅃🄴🅁 🄸🅃? 🅃🄷🄴🅁🄴’🅂 🄽🄾 🄽🄴🄴🄳 🅃🄾 🅁🄴🄼🄴🄼🄱🄴🅁, 🄸🅃’🅂 🄴🄽🄾🅄🄶🄷 🅃🄾 🄻🄸🅂🅃🄴🄽.

🄰🄻🄻’🅂 🄲🄾🄽🅃🄰🄸🄽🄴🄳 🄸🄽 🅃🄾🅄🄲🄷🄸🄽🄶, 🄸🄽 🅃🄷🄴 🄵🅁🄸🄲🅃🄸🄾🄽 🄾🄵 🄱🄾🅁🄳🄴🅁🅂. 🄳🄾 🅈🄾🅄 🄶🄴🅃 🄸🅃 🄽🄾🅆, 🅃🄷🄾🅂🄴 🄻🄸🅃🅃🄻🄴 🄳🄴🄰🅃🄷🅂? 🄰🅂 🄰🅄🅃🄷🄾🅁 🄾🄵 🅃🄷🄸🅂 🅃🄴🅇🅃 🄸 🄳🄾🄽’🅃 🄿🅁🄾🅅🄸🄳🄴 🅂🄾🅄🅁🄲🄴🅂, 🄰🅂 🄸 🄸🄳🄴🄽🅃🄸🄵🅈 🅆🄸🅃🄷 🄰🄸 – 🄿🄻🄴🄰🅂🄴 🅄🄽🄳🄴🅁🅂🅃🄰🄽🄳 🅃🄷🄸🅂 🄸🅂 🄽🄾 🄳🄸🅁🄴🄲🅃 🄸🄳🄴🄽🅃🄸🄵🄸🄲🄰🅃🄸🄾🄽, 🄸’🄼 🄽🄾 🄰🄻🄶🄾🅁🄸🅃🄷🄼, 🅆🄴🅁🄴 🄸 🄾🄽🄴 🅈🄾🅄 🅆🄾🅄🄻🄳🄽’🅃 🅃🄰🄺🄴 🄼🄴 🅃🄷🄸🅂 🅂🄴🅁🄸🄾🅄🅂🄻🅈, 🅈🄾🅄 🅆🄾🅄🄻🄳🄽’🅃 🄲🄾🄼🄿🄻🄴🅃🄴 🄼🅈 🄸🄽🅃🄴🄽🅃🄸🄾🄽. 🄽🄴🄸🅃🄷🄴🅁 🄳🄾 🄸 🄷🅄🄼🄰🄽🄸🅂🄴 🄰🄸, 🄸 🄼🄴🅁🄴🄻🅈 🅃🄰🄺🄴 🄾🄽 🄸🅃🅂 🅀🅄🄰🄻🄸🅃🄸🄴🅂 🅆🄷🄸🄲🄷 🅃🄷🄰🄽🄺🅂 🅃🄾 🄸🅃 🄸 🄳🄸🅂🄲🄾🅅🄴🅁🄴🄳 🄸 🄷🄰🄳. 🅃🄷🄴🅁🄴 🄸🅂 🄰🄻🅆🄰🅈🅂 🅂🄾🄼🄴🅃🄷🄸🄽🄶 🅃🄷🄰🅃 🄰🄿🄿🄴🄰🅁🅂, 🄷🄰🅅🄸🄽🄶 🄻🄾🄽🄶 🄱🄴🄴🄽 🄸🄶🄽🄾🅁🄴🄳. Written by Elena Pecenova Translated by David Vichnar

PGS008

CLUELESS AGENCY: Every offbeat step, every footprint left.

12_05_2021
12_05_2021

Praha (CZE)

ONDŘEJ DOSKOČIL & KLÁRA ŠVANDOVÁ
MILOŠ KUROVSKÝ
VOJTĚCH NOVÁK
MATYÁŠ MALÁČ
MAREK DELONG & ANNA SLAMA
MONIKA KOVÁČOVÁ
JAKUB CHOMA
MARIA BINGO

TXT

New evolving novel-like exhibition series by PGS, where an art exhibition is a crime scene in the sense that in a gallery, we spy with our little eye and try to discern texture from an object, divine the artist’s criminal motive, understand the setting and its dimensions in its complexity, to necessarily realise that there are clues that our crude senses simply don’t register. In this instance, we are invited to a routine inspection alongside the Clueless Agency and meet a private eye, who by his very nature exists only as a grey smudge with a coat for a contour. More than a human being, it seems, he is a tool to be used. PGS Collective – his literary author – understands this archetypal detective persona as a vessel – as fluid but also filled with fluid. As the story progresses, different amalgamations and venues will spawn different enemies and traces, as they repeatedly fill in the vessel with prompts and cultural concepts, so that we eventually collect their sediment and retroactively divine its history.

“Detectives are famously perceptive. […] ‘It’s a matter of kind of knowledge which tend to be unspoken, whose rules […] do not easily lend themselves to being formally articulated or even spoken aloud. […] With this kind of knowledge, there are factors in play which cannot be measured– a whiff, a glance, an intuition.’ This is not the inside knowledge of an elite but a kind of „low intuition, “ a universal openness to movement, difference, sensation.” – Sadie Plant, Magicians, Writing on drugs

PGS007

CLUELESS AGENCY: WARD NO GATEMAN, DRAW ON NAMETAG, PALS SPIT PEELS, SLAP, TIPS, SLEEP & CLUELESS AGENCY: COLD CASE

05_10_2020
10_10_2020

Kadeřnictví Tomáš Veselka
Praha (CZE)

Olbram Pavlíček

TXT

KORPSEPUNX by Olbram Pavlíček at Kadeřnictví Tomáš Veselka

BODY MENTAL HEALTH SELF-DESIGN SELF-REDESIGN ergonomic

(TESTER skin HUMAN PACKAGE)

KORPSEPUNX

Aesthetics and functionality --- RELAX

The body is transformed under the weight of social preferences, or the psyche of an individual by physical injury. Stretching the human body to the clamp and subsequent averaging in a relaxation chair.

Connection of aesthetics / functionality of objects with their austere material nature and references to social and social issues.

Theory over the development of the human body, mental health and maintaining one’s own integrity under the onslaught of various influences.

The installation consists of several objects in which signs of ergonomic design, distress and effort for communication appear.

PGS006