Hynek Alt, Untitled (Clock Tower), 2018, Klementinum, Prague

Jasmina Cibic, The Flower Effect, 2018, National Museum, Prague

Viktor Dedek, Play today - courtyard ludology, 2018, Courtyard and passage between Spálená and Opatovická, Prague

Deniz Eroglu, A Vacation, 2018, Cellar of the Stone Bell House, Prague

Feld72, Proposals for the festival m3 / Art in space/ Kunsthalle Praha, 2018, Klárov, Malá Strana, Prague

Liam Gillick, Flatter Earthed, 2018, Poster campaign throughout the city

Anna Hulačová, The Touches of Gods and Other Zooms, 2018, Karlovo nám. 13, Nové Město, Entrance to the subway, Prague

Christian Jankowski, Playing Spree to Moldau, 2018, riverbank of Vltava, Prague 

Barbara Kapusta, We Make the Place by Playing, 2018, Theatre and Café NONA
Národní 4, Nové Město

David Maljković, Dead Ad, 2018, Hotel Elysee, rooftop, Václavské nám. 43,
Nové Město

Christoph Meier, Untitled, 2018, Church of Our Lady of the Snows/ Austrian Cultural Forum, Courtyard

Ute Müller, Untitled, 2018, Revoluční 30, Nové Město

Antonis Pittas, Who Cares, 2018, Náměstí Franze Kafky

Antonis Pittas, I will close my eyes and put my finger on the map, 2018, Zenger Transformer Substation, Pod Bruskou 147/3, 118 00 Malá Strana

Boris Ondreička, ABYSS, 2015 - 2018, Cellar of the Stone Bell House, Prague

Lisa Reitmeier, Public Paranoia, 2018, Cellar of the Stone Bell House, Prague

Sofie Thorsen, Excavation, 2018, Florentinum, courtyard, Prague

Hynek Alt, Matyáš Chochola, Jasmina Cibic, Viktor Dedek, Deniz Eroglu, Feld72
Liam Gillick, Anna Hulačová, Christian Jankowski, Barbara Kapusta, 
David Maljković, 
Christoph Meier, Ute Müller, Antonis Pittas, Boris Ondreička, 
Lisa Reitmeier, Sofie Thorsen

09.06.- 30.09.2018

VICE VERSA:
Our Earth is Their Moon, Our Moon is Their Earth

VICE VERSA: Our Earth is Their Moon, Our Moon is Their Earth”, is the title of this years m3 festival and a phrase borrowed from Ursula Le Guin's 1974 utopian Sci-Fi novel The Dispossessed it underlines a dual coexistence of two opposing, yet mutually dependent and intertwined civilisations. In the context of a festival of art in public space it relates to issues of a wide discrepancy between the general public and the professional art audience, questions regarding the various levels of social hierarchy in the population inhabiting the city, same as the peculiar relationship of local residents to short-term visitors.

The city centre of Prague vibrates with impulses of the constant tourist influx. Groups of visitors on their sightseeing tours, filling their phones and SD cards with endless amounts of images, spring break or stag night crews running around masked as pirates, genitals, or Soviet soldiers are plundering the streets and leaving unprecedentedly high tips in overpriced bars, where no residents would ever go to. Everything seems to be in order. Not much space for complaints anymore, since this is the way how the city has been developing since the radical post-communist transformation after the Fall of the Berlin Wall. Possibly one other shift is comparable to 1989, namely the introduction of cheap low-cost flights, remarkably enlarging the numbers of young visitors.

It's harder and harder to find any locals actually living in the centre, since the prices have rocketed skyhigh and it's even hard to talk about gentrification at this point, since everything seems to be orchestrated in mutual acceptance of the city itself, developers and smaller businesses, all profiting from the given conditions. Exploitation goes far beyond the scale of the touristic industry, the cultural and historical richness of the city is adapting to serve the fast pace of populistic requirements comparable to the strategies of a hollywood blockbuster.

Critical sensitivity rarely finds a place in the public discussion and a fact supported by the level of general lack of interest.

Nothing is completely lost though. The historical significance of the city, the richness of its cultural and subcultural movements are still there to a large extent, just out of sight of the global public. You have to look for hidden treasures, be patient and curious.

Such is the approach of VICE VERSA, carefully implementing on various scales and timelines a variety of approaches and artistic media into the fabric of the city taking shape as new site-responsive occurrences. Ranging from loud statements, to very subtle ones, some almost invisible interventions or commentaries relating to both historical and current and trying to assess a possible future of the city.

 

STORYLINE:

Since the beginning of Autumn 2017, artists from different parts of the world have been coming to Prague for an extensive research of the city as a hub of both historical and contemporary issues followed and developed by the artists through their respective practices. Since the start of conceptual preparation of the festival, the intention of the curators has been since the start of conceptual preparation of the festival to bring various different perspectives from foreign and local artists, whose interests are creating a scale of possible approaches to pressing problems and downfalls of the current state of the city of Prague, same as to its richness and various historical treasures, those ones present in the broader public discourse, same as hidden, or forgotten ones. Each artist is formulating hers or his thoughts through a plethora of medias, spanning from a neon sign, underground mystic diagram and monumental sculpture to contemplative film or a wall text. Throughout the research itself, both the artists and the curators completely changed their perspective of the city, which they were either well acquainted with, or visited for the first time. Multiple layers of understanding were unfolded, folded again and revaluated to comprehend more personally the tangible presence of history on every single step during almost endless walks back and forth in the streets, squares, parks and hills, same as passages, cinemas, university lecture halls, exhibition spaces or underground tunnels. References to the local culture: architecture, fine arts, applied arts, literature and film are forming yet another plane of understanding translated into each single work. After all these experiences VICE VERSA is leaving a traditional and established format of presentations of art in public space, based on utilisation of primary outdoor public spaces and stepping largely into semi-public and semi-private areas, which are broadening, but at the same time focusing the curatorial intention, thus presenting not only a festival of sculptures and interventions, but also a presentation of complex thoughts and considerations of the local context.

 

 

 

Hynek Alt, Matyáš Chochola, Jasmina Cibic, Viktor Dedek, Deniz Eroglu, Feld72, Liam Gillick, Anna Hulačová, Christian Jankowski, Barbara Kapusta, David Maljković, Christoph Meier, Ute Müller, Antonis Pittas, Boris Ondreička, Lisa Reitmeier, Sofie Thorsen

09.06.- 30.09.2018

VICE VERSA:
Our Earth is Their Moon, Our Moon is Their Earth

VICE VERSA: Our Earth is Their Moon, Our Moon is Their Earth”, is the title of this years m3 festival and a phrase borrowed from Ursula Le Guin's 1974 utopian Sci-Fi novel The Dispossessed it underlines a dual coexistence of two opposing, yet mutually dependent and intertwined civilisations. In the context of a festival of art in public space it relates to issues of a wide discrepancy between the general public and the professional art audience, questions regarding the various levels of social hierarchy in the population inhabiting the city, same as the peculiar relationship of local residents to short-term visitors.

The city centre of Prague vibrates with impulses of the constant tourist influx. Groups of visitors on their sightseeing tours, filling their phones and SD cards with endless amounts of images, spring break or stag night crews running around masked as pirates, genitals, or Soviet soldiers are plundering the streets and leaving unprecedentedly high tips in overpriced bars, where no residents would ever go to. Everything seems to be in order. Not much space for complaints anymore, since this is the way how the city has been developing since the radical post-communist transformation after the Fall of the Berlin Wall. Possibly one other shift is comparable to 1989, namely the introduction of cheap low-cost flights, remarkably enlarging the numbers of young visitors.

It's harder and harder to find any locals actually living in the centre, since the prices have rocketed skyhigh and it's even hard to talk about gentrification at this point, since everything seems to be orchestrated in mutual acceptance of the city itself, developers and smaller businesses, all profiting from the given conditions. Exploitation goes far beyond the scale of the touristic industry, the cultural and historical richness of the city is adapting to serve the fast pace of populistic requirements comparable to the strategies of a hollywood blockbuster.

Critical sensitivity rarely finds a place in the public discussion and a fact supported by the level of general lack of interest.

Nothing is completely lost though. The historical significance of the city, the richness of its cultural and subcultural movements are still there to a large extent, just out of sight of the global public. You have to look for hidden treasures, be patient and curious.

Such is the approach of VICE VERSA, carefully implementing on various scales and timelines a variety of approaches and artistic media into the fabric of the city taking shape as new site-responsive occurrences. Ranging from loud statements, to very subtle ones, some almost invisible interventions or commentaries relating to both historical and current and trying to assess a possible future of the city.

 

STORYLINE:

Since the beginning of Autumn 2017, artists from different parts of the world have been coming to Prague for an extensive research of the city as a hub of both historical and contemporary issues followed and developed by the artists through their respective practices. Since the start of conceptual preparation of the festival, the intention of the curators has been since the start of conceptual preparation of the festival to bring various different perspectives from foreign and local artists, whose interests are creating a scale of possible approaches to pressing problems and downfalls of the current state of the city of Prague, same as to its richness and various historical treasures, those ones present in the broader public discourse, same as hidden, or forgotten ones. Each artist is formulating hers or his thoughts through a plethora of medias, spanning from a neon sign, underground mystic diagram and monumental sculpture to contemplative film or a wall text. Throughout the research itself, both the artists and the curators completely changed their perspective of the city, which they were either well acquainted with, or visited for the first time. Multiple layers of understanding were unfolded, folded again and revaluated to comprehend more personally the tangible presence of history on every single step during almost endless walks back and forth in the streets, squares, parks and hills, same as passages, cinemas, university lecture halls, exhibition spaces or underground tunnels. References to the local culture: architecture, fine arts, applied arts, literature and film are forming yet another plane of understanding translated into each single work. After all these experiences VICE VERSA is leaving a traditional and established format of presentations of art in public space, based on utilisation of primary outdoor public spaces and stepping largely into semi-public and semi-private areas, which are broadening, but at the same time focusing the curatorial intention, thus presenting not only a festival of sculptures and interventions, but also a presentation of complex thoughts and considerations of the local context.

 

 

 

Hynek Alt, Matyáš Chochola, Jasmina Cibic, Viktor Dedek, Deniz Eroglu, Feld72, Liam Gillick, Anna Hulačová, Christian Jankowski, Barbara Kapusta, David Maljković, Christoph Meier, Ute Müller, Antonis Pittas, Boris Ondreička, 
Lisa Reitmeier, Sofie Thorsen

09.06.- 30.09.2018

VICE VERSA:
Our Earth is Their Moon, Our Moon is Their Earth

VICE VERSA: Our Earth is Their Moon, Our Moon is Their Earth”, is the title of this years m3 festival and a phrase borrowed from Ursula Le Guin's 1974 utopian Sci-Fi novel The Dispossessed it underlines a dual coexistence of two opposing, yet mutually dependent and intertwined civilisations. In the context of a festival of art in public space it relates to issues of a wide discrepancy between the general public and the professional art audience, questions regarding the various levels of social hierarchy in the population inhabiting the city, same as the peculiar relationship of local residents to short-term visitors.

The city centre of Prague vibrates with impulses of the constant tourist influx. Groups of visitors on their sightseeing tours, filling their phones and SD cards with endless amounts of images, spring break or stag night crews running around masked as pirates, genitals, or Soviet soldiers are plundering the streets and leaving unprecedentedly high tips in overpriced bars, where no residents would ever go to. Everything seems to be in order. Not much space for complaints anymore, since this is the way how the city has been developing since the radical post-communist transformation after the Fall of the Berlin Wall. Possibly one other shift is comparable to 1989, namely the introduction of cheap low-cost flights, remarkably enlarging the numbers of young visitors.

It's harder and harder to find any locals actually living in the centre, since the prices have rocketed skyhigh and it's even hard to talk about gentrification at this point, since everything seems to be orchestrated in mutual acceptance of the city itself, developers and smaller businesses, all profiting from the given conditions. Exploitation goes far beyond the scale of the touristic industry, the cultural and historical richness of the city is adapting to serve the fast pace of populistic requirements comparable to the strategies of a hollywood blockbuster.

Critical sensitivity rarely finds a place in the public discussion and a fact supported by the level of general lack of interest.

Nothing is completely lost though. The historical significance of the city, the richness of its cultural and subcultural movements are still there to a large extent, just out of sight of the global public. You have to look for hidden treasures, be patient and curious.

Such is the approach of VICE VERSA, carefully implementing on various scales and timelines a variety of approaches and artistic media into the fabric of the city taking shape as new site-responsive occurrences. Ranging from loud statements, to very subtle ones, some almost invisible interventions or commentaries relating to both historical and current and trying to assess a possible future of the city.

 

STORYLINE:

Since the beginning of Autumn 2017, artists from different parts of the world have been coming to Prague for an extensive research of the city as a hub of both historical and contemporary issues followed and developed by the artists through their respective practices. Since the start of conceptual preparation of the festival, the intention of the curators has been since the start of conceptual preparation of the festival to bring various different perspectives from foreign and local artists, whose interests are creating a scale of possible approaches to pressing problems and downfalls of the current state of the city of Prague, same as to its richness and various historical treasures, those ones present in the broader public discourse, same as hidden, or forgotten ones. Each artist is formulating hers or his thoughts through a plethora of medias, spanning from a neon sign, underground mystic diagram and monumental sculpture to contemplative film or a wall text. Throughout the research itself, both the artists and the curators completely changed their perspective of the city, which they were either well acquainted with, or visited for the first time. Multiple layers of understanding were unfolded, folded again and revaluated to comprehend more personally the tangible presence of history on every single step during almost endless walks back and forth in the streets, squares, parks and hills, same as passages, cinemas, university lecture halls, exhibition spaces or underground tunnels. References to the local culture: architecture, fine arts, applied arts, literature and film are forming yet another plane of understanding translated into each single work. After all these experiences VICE VERSA is leaving a traditional and established format of presentations of art in public space, based on utilisation of primary outdoor public spaces and stepping largely into semi-public and semi-private areas, which are broadening, but at the same time focusing the curatorial intention, thus presenting not only a festival of sculptures and interventions, but also a presentation of complex thoughts and considerations of the local context.

 

 

 

Hynek Alt, Matyáš Chochola, Jasmina Cibic, Viktor Dedek, Deniz Eroglu, Feld72
Liam Gillick, Anna Hulačová, Christian Jankowski, Barbara Kapusta, 
David Maljković, 
Christoph Meier, Ute Müller, Antonis Pittas, Boris Ondreička, 
Lisa Reitmeier, Sofie Thorsen

09.06.- 30.09.2018

VICE VERSA:
Our Earth is Their Moon, Our Moon is Their Earth

VICE VERSA: Our Earth is Their Moon, Our Moon is Their Earth”, is the title of this years m3 festival and a phrase borrowed from Ursula Le Guin's 1974 utopian Sci-Fi novel The Dispossessed it underlines a dual coexistence of two opposing, yet mutually dependent and intertwined civilisations. In the context of a festival of art in public space it relates to issues of a wide discrepancy between the general public and the professional art audience, questions regarding the various levels of social hierarchy in the population inhabiting the city, same as the peculiar relationship of local residents to short-term visitors.

The city centre of Prague vibrates with impulses of the constant tourist influx. Groups of visitors on their sightseeing tours, filling their phones and SD cards with endless amounts of images, spring break or stag night crews running around masked as pirates, genitals, or Soviet soldiers are plundering the streets and leaving unprecedentedly high tips in overpriced bars, where no residents would ever go to. Everything seems to be in order. Not much space for complaints anymore, since this is the way how the city has been developing since the radical post-communist transformation after the Fall of the Berlin Wall. Possibly one other shift is comparable to 1989, namely the introduction of cheap low-cost flights, remarkably enlarging the numbers of young visitors.

It's harder and harder to find any locals actually living in the centre, since the prices have rocketed skyhigh and it's even hard to talk about gentrification at this point, since everything seems to be orchestrated in mutual acceptance of the city itself, developers and smaller businesses, all profiting from the given conditions. Exploitation goes far beyond the scale of the touristic industry, the cultural and historical richness of the city is adapting to serve the fast pace of populistic requirements comparable to the strategies of a hollywood blockbuster.

Critical sensitivity rarely finds a place in the public discussion and a fact supported by the level of general lack of interest.

Nothing is completely lost though. The historical significance of the city, the richness of its cultural and subcultural movements are still there to a large extent, just out of sight of the global public. You have to look for hidden treasures, be patient and curious.

Such is the approach of VICE VERSA, carefully implementing on various scales and timelines a variety of approaches and artistic media into the fabric of the city taking shape as new site-responsive occurrences. Ranging from loud statements, to very subtle ones, some almost invisible interventions or commentaries relating to both historical and current and trying to assess a possible future of the city.

 

STORYLINE:

Since the beginning of Autumn 2017, artists from different parts of the world have been coming to Prague for an extensive research of the city as a hub of both historical and contemporary issues followed and developed by the artists through their respective practices. Since the start of conceptual preparation of the festival, the intention of the curators has been since the start of conceptual preparation of the festival to bring various different perspectives from foreign and local artists, whose interests are creating a scale of possible approaches to pressing problems and downfalls of the current state of the city of Prague, same as to its richness and various historical treasures, those ones present in the broader public discourse, same as hidden, or forgotten ones. Each artist is formulating hers or his thoughts through a plethora of medias, spanning from a neon sign, underground mystic diagram and monumental sculpture to contemplative film or a wall text. Throughout the research itself, both the artists and the curators completely changed their perspective of the city, which they were either well acquainted with, or visited for the first time. Multiple layers of understanding were unfolded, folded again and revaluated to comprehend more personally the tangible presence of history on every single step during almost endless walks back and forth in the streets, squares, parks and hills, same as passages, cinemas, university lecture halls, exhibition spaces or underground tunnels. References to the local culture: architecture, fine arts, applied arts, literature and film are forming yet another plane of understanding translated into each single work. After all these experiences VICE VERSA is leaving a traditional and established format of presentations of art in public space, based on utilisation of primary outdoor public spaces and stepping largely into semi-public and semi-private areas, which are broadening, but at the same time focusing the curatorial intention, thus presenting not only a festival of sculptures and interventions, but also a presentation of complex thoughts and considerations of the local context.

 

 

 

Hynek Alt, Matyáš Chochola, Jasmina Cibic, Viktor Dedek, Deniz Eroglu, Feld72, Liam Gillick, Anna Hulačová, Christian Jankowski, Barbara Kapusta, 
David Maljković, 
Christoph Meier, Ute Müller, Antonis Pittas, Boris Ondreička, Lisa Reitmeier, Sofie Thorsen

09.06.- 30.09.2018

VICE VERSA:
Our Earth is Their Moon, Our Moon is Their Earth

VICE VERSA: Our Earth is Their Moon, Our Moon is Their Earth”, is the title of this years m3 festival and a phrase borrowed from Ursula Le Guin's 1974 utopian Sci-Fi novel The Dispossessed it underlines a dual coexistence of two opposing, yet mutually dependent and intertwined civilisations. In the context of a festival of art in public space it relates to issues of a wide discrepancy between the general public and the professional art audience, questions regarding the various levels of social hierarchy in the population inhabiting the city, same as the peculiar relationship of local residents to short-term visitors.

The city centre of Prague vibrates with impulses of the constant tourist influx. Groups of visitors on their sightseeing tours, filling their phones and SD cards with endless amounts of images, spring break or stag night crews running around masked as pirates, genitals, or Soviet soldiers are plundering the streets and leaving unprecedentedly high tips in overpriced bars, where no residents would ever go to. Everything seems to be in order. Not much space for complaints anymore, since this is the way how the city has been developing since the radical post-communist transformation after the Fall of the Berlin Wall. Possibly one other shift is comparable to 1989, namely the introduction of cheap low-cost flights, remarkably enlarging the numbers of young visitors.

It's harder and harder to find any locals actually living in the centre, since the prices have rocketed skyhigh and it's even hard to talk about gentrification at this point, since everything seems to be orchestrated in mutual acceptance of the city itself, developers and smaller businesses, all profiting from the given conditions. Exploitation goes far beyond the scale of the touristic industry, the cultural and historical richness of the city is adapting to serve the fast pace of populistic requirements comparable to the strategies of a hollywood blockbuster.

Critical sensitivity rarely finds a place in the public discussion and a fact supported by the level of general lack of interest.

Nothing is completely lost though. The historical significance of the city, the richness of its cultural and subcultural movements are still there to a large extent, just out of sight of the global public. You have to look for hidden treasures, be patient and curious.

Such is the approach of VICE VERSA, carefully implementing on various scales and timelines a variety of approaches and artistic media into the fabric of the city taking shape as new site-responsive occurrences. Ranging from loud statements, to very subtle ones, some almost invisible interventions or commentaries relating to both historical and current and trying to assess a possible future of the city.

 

STORYLINE:

Since the beginning of Autumn 2017, artists from different parts of the world have been coming to Prague for an extensive research of the city as a hub of both historical and contemporary issues followed and developed by the artists through their respective practices. Since the start of conceptual preparation of the festival, the intention of the curators has been since the start of conceptual preparation of the festival to bring various different perspectives from foreign and local artists, whose interests are creating a scale of possible approaches to pressing problems and downfalls of the current state of the city of Prague, same as to its richness and various historical treasures, those ones present in the broader public discourse, same as hidden, or forgotten ones. Each artist is formulating hers or his thoughts through a plethora of medias, spanning from a neon sign, underground mystic diagram and monumental sculpture to contemplative film or a wall text. Throughout the research itself, both the artists and the curators completely changed their perspective of the city, which they were either well acquainted with, or visited for the first time. Multiple layers of understanding were unfolded, folded again and revaluated to comprehend more personally the tangible presence of history on every single step during almost endless walks back and forth in the streets, squares, parks and hills, same as passages, cinemas, university lecture halls, exhibition spaces or underground tunnels. References to the local culture: architecture, fine arts, applied arts, literature and film are forming yet another plane of understanding translated into each single work. After all these experiences VICE VERSA is leaving a traditional and established format of presentations of art in public space, based on utilisation of primary outdoor public spaces and stepping largely into semi-public and semi-private areas, which are broadening, but at the same time focusing the curatorial intention, thus presenting not only a festival of sculptures and interventions, but also a presentation of complex thoughts and considerations of the local context.

 

 

 

this exhibition is generously supported by