THIS IS A MUSEUM OF SAVERS-



NOD GALLERY, NOD, PRAGUE, CZ



Museum of savers

Video NOD, Prague, 2016, CZ

(360° videopanorama with Tomáš Benadík )



A vision of escape to external worlds apperars on the display grid. The most intently observed constellation of the whole universe, one on which we keep our sights trained daily, is the social network. A panoramic videoinstallation is presented here as an observatory for the present-day nocturnal predator oscillating between the universe of cafés and the profoundities of abstractions of reality. Man was a strong personality in the Romantic period, plagued by early industrial alienation. He voluntarily rejected traditional social norms and found his escape from everyday life in his inner ideas, which were most easily formed due to the particular nature of nature. Especially places and phenomena beyond human scale and senses have become a means of expressing romance, noble and melancholy. The first monumental depiction, known from prehistoric caves, is also related to nature. After the creation of class societies, the central motif of monumental art realizations began to accentuate the scenes associated with the life of the ruler, the ruling layer, the ideology and achievements of society. It depicts the depiction of postneolithic use of nature, in virginity it serves in public and semi-public spaces for decorative purposes. Despite the partial anthropocentric reversal of modernism, industrial victory over the wilderness did not allow a change in the set motif hierarchy at the beginning of the 20th century (Bart van der Leck - WokrsatDock, 1916). Even in the case of monumental realizations, abstraction appears as a democratic universe, but idealized figurative scenes are preferred, especially in a totalitarian environment. We find the reaction already in early antiutopia, for example in one of the housing scenes of the novel Mechanic Orange (1962), which Anthony Burgess puts on an anachronistic scene of working life, complemented by vulgar graffiti of a sexual nature. Decadent and melancholic motifs on a monumental scale also appear in the 1980s graffiti as an expression of subversive folk creativity. In the neo-romantic wave, these feelings develop under the influence of post-industrial environment. In relation to the domestic environment, a significant film by Anton Corbijn seems to have been made by Prague with Depeche Mode in 1988. Even in the case of monumental realizations, abstraction appears as a democratic universe, but idealized figurative scenes are preferred, especially in a totalitarian environment. We find the reaction already in early antiutopia, for example in one of the housing scenes of the novel Mechanic Orange (1962), which Anthony Burgess puts on an anachronistic scene of working life, complemented by vulgar graffiti of a sexual nature. Decadent and melancholic motifs on a monumental scale also appear in the 1980s graffiti as an expression of subversive folk creativity. In the neo-romantic wave, these feelings develop under the influence of post-industrial environment. In relation to the domestic environment, a significant film by Anton Corbijn seems to have been made by Prague with Depeche Mode in 1988.