Principy dialogu
(2025)
author(s): Šárka Zahálková
published in: Research Catalogue
Ve své disertační práci zkoumám jak praktické, tak teoretické aspekty veřejného prostoru jako sociální hmoty a roli umění jako aktivního prostředníka potenciálních pozitivních změn v něm. Namísto fyzické podoby uměleckých děl, soustředím se na dynamiku komunikace na různých úrovních, které se podílejí na kolektivním utváření těchto prostorů v širším kontextu okolního světa. Můj přístup je založen na ekofeministickém a neantropocentrickém chápání sdíleného prostoru dialogu a vychází z mé dlouholeté kurátorské, umělecké i aktivistické praxe.
Principy akustické ekologie, vědomého naslouchání a chůze využívám jako nástroje pro zvyšování citlivosti vůči okolnímu prostředí. Z přírodních věd si půjčuji pojem ekoton, označující přechodovou zónu mezi různými společenstvy. Prostřednictvím této analogie reflektuji prostupnost komunit, odolnost, hierarchii, empatii a v neposlední řadě umělecké gesto rozprostřené v čase.
Akademie výtvarných umění v Praze, 2025
Ateliér: Intermédia 2
Školitelé: prof. Mgr. art. Dušan Zahoranský, doc. MgA. Pavla Sceranková Ph.D.
Konzultantka: Mgr. art. Magda Stanová Ph.D.
Prohlašuji, že jsem tuto práci vypracovala samostatně a uvedla všechny použité zdroje. Asistenti AI jako ChatGPT a DeepL byly použity pouze jako vyhledávací a překladatelské nástroje, nikoli pro vznik nového textu.
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In my PhD research, I examine both the practical and theoretical aspects of public space as a social substance and the role of art as an active mediator of potential positive transformations within it. Rather than focusing on the physical form of artworks, I concentrate on the dynamics of communication at various levels involved in the collective formation of these spaces within the broader context of the surrounding world. My approach is grounded in an eco-feminist and non-anthropocentric understanding of shared dialogic space and is informed by my extensive curatorial, artistic, and activist practice.
I employ principles of acoustic ecology, conscious listening, and walking as tools to enhance sensitivity to the surrounding environment. Borrowing the term ecotone from the natural sciences—where it describes the transitional zone between different communities—I use this concept to reflect on the permeability of communities, resilience, hierarchy, empathy, and, importantly, the artistic gesture unfolding over time.
Academy of Fine Arts in Prague, 2025
Studio: Intermedia 2
Supervisors: prof. Mgr. art. Dušan Zahoranský, doc. MgA. Pavla Sceranková Ph.D.
Consultant: Mgr. art. Magda Stanová Ph.D.
I declare that I have prepared this work independently and have listed all sources used. AI assistants such as ChatGPT and DeepL were used only as search and translation tools, not for the creation of a new text.
choreographies in deep time rhythms
(last edited: 2025)
author(s): Linda Bolsakova
This exposition is in progress and its share status is: visible to all.
This research investigates the possibility of dancing with the geological by understanding dance as the movement of bodies already entangled within deep-time rhythms. This is particularly pertinent in the context of the Anthropocene, where human actants have become part of the terraforming force. The work challenges the conventional boundary between the sculptural and the performative. Rather than fixed categories, it approaches this boundary as a site of porosity and an intra-active relational field in which bodies, materials, and temporalities continually reshape and co-constitute one another.
Developed as part of an MA research project in Iceland, the work emerges through engagement with ecofeminism, carnal hermeneutics, new materialism and ecological philosophy, as well as various practice-based investigations situated within specific geological environments such as glacier outlets, geothermal sites, and lava fields. Through these varied settings, the research engages geological matter as an active collaborator in the choreography, shaping both the conditions and the possibilities of movement.
This exposition includes video documentation of performances, process recordings, photographs and the evolving scores that shape both the on-site and installation practices. Together, these materials outline the iterative process through which the work took shape, offering insight into how geological matter, human bodies, and specific sites co-produced the methodologies and relational choreographies explored in the research.
MORASS
(last edited: 2025)
author(s): E.Reynolds
This exposition is in progress and its share status is: visible to all.
A moving image essay in three parts.
Animated Ecology
(last edited: 2025)
author(s): Lina Persson
connected to: Stockholm University of the Arts (SKH)
This exposition is in progress and its share status is: visible to all.
In these works I have explored how I can relate to my environment through my daily practices of teaching, eating, animating etc. I begun the project by improvising lectures for various audiences I wanted to have input from. I have lectured to all possible enteties in the ecosystem I am a part of, from blueberries to colleagues to films. Every time something new continues to take shape. The exposition include essays, paintings and animations.
A moving image essay in three parts.open exposition comments (0)
In these works I have explored how I can relate to my environment through my daily practices of teaching, eating, animating etc. I begun the project by improvising lectures for various audiences I wanted to have input from. I have lectured to all possible enteties in the ecosystem I am a part of, from blueberries to colleagues to films. Every time something new continues to take shape. The exposition include essays, paintings and animations.open exposition comments (0)