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Almost everyone has experienced the feeling that something has been haunting them incessantly, they are harassed by an unclear idea that they cannot dismiss, they do not know where it comes from, what it means and when it will be over; it often emerges at inappropriate times and at the least expected moments when it almost seemed that it would never come back again, that the mind had managed to overcome it and push it back into the subconscious. It seemed for a while that the compulsive feeling had disappeared completely, but some unknown force brings it back to the surface again in a new form with a different meaning. Some of Krištof Kintera’s works behave in a similar manner. They force themselves into our consciousness and demand attention. It is no easy task to resist their influence. They infringe on our thoughts when we are seeking peace and quiet, they wander around while we are sitting quietly trying to deal with our own thoughts. They behave more like humanoid objects, powered by electricity, or like quirky animals in need of care. Let us just mention one object out of many, whose real nature cannot be put across by a reproduction in a catalogue: an inverted plastic bucket, splashed with paint – it isn’t a metaphor about finishing cleaning the house or even the end of pictures hung on the wall, but, as shown by the preparatory drawings, it contains a mechanism which allows it to move in both smooth and jerky motions. It wanders around the room in all directions. While moving about like this it doesn’t have to be nearby to attract attention to its presence; the hollow, faint sound it makes carries out into the hallway. Although one can perhaps get used to it after some time, the bucket is hard to accept completely. It represents the clouding of the mind that prevents one from having a clear thought, located on the boundary between what is important and what is secondary. The impact is certainly ambiguous: the bucket helps one to focus and yet forces the eye to wander at the same time. The work, entitled A Bigger

Problem than Yours (2007), suggests that Kintera’s works have their own internal landscape and living space, which they occupy and fill. The works reveal the way the artist thinks. The clear insight in the works into the changing present gains a general, sometimes even a timeless legitimacy. Kintera is concerned with what he contains within himself and also with the world around him, what is a part of his personality and what belongs to the shared environment.

Before Kintera came to this position, in the second half of the 1990s he was attracted by the clash of contrasting spaces: external and internal, personal and collective, full and empty. For instance in the work About Us Without Us (1997) he developed a relationship between visual and auditory experience. Two bright black and white views into empty spaces, the first of the metro station at Náměstí Míru, the second a hall at the Main Post Office in Prague, is accompanied by an audio recording, recorded during peak operating hours in the public spaces. Kintera was attracted by the boundary conditions of everyday life: on the one hand being almost completely disembodied, on the other hand crowded with ordinary events. He placed them in stark contrast. In Broadcast (1998) he showed how far he could go in breaking the boundaries between the private and public spheres; on a street lamp on Krymská Street, where he lived, he hung up a screen, and broadcast a view of his private life for a period of one month. The screen was located near the author’s apartment so he could watch faces of random passers-by out the window as they wondered over what they were watching. They were captivated by the inexplicable plot, which – as they soon realized – did not belong to any television program, but they were unable to identify the source of the video. Kintera continued to push even more strongly into public space. Nor did he exclude the state art collections. In 1998 he put a camera under The Feast of the Rosary by Albrecht Dürer, placed in the Sternberg Palace of the National Gallery in Prague, which filmed the viewers looking at the painting. He transmitted the signal to a screen in the next room, where visitors to the gallery could watch their fellows viewing Durer’s work. Kintera was exploring how far he could go when approaching the personal space inside the public sphere without having the viewers know they were being monitored. These three works, creating a merger between the private and public spheres, determined one aspect of Kintera’s approach. In parallel with this, for several years he also focused on capturing the life and creating a dwelling for a strange creature called Plumbuman (1995–1998). The Plumbuman found its temporary home in the basement of the House At the Golden Ring, as a part of a long-term exhibition of a new generation of emerging contemporary artists. Plumbuman – as the name suggests – was an artificial being created from lead. Lead plates covered the walls, floor and ceiling of its room, but also everything in its everyday life. Also Plumbuman’s clothing was made of lead that he wore while walking in Prague. Plumbuman was almost autistic. Lead served as a protection for him against the outside world. He is said to have preferred the escalators in the subway the most. The evidence is a recording, projected on a television screen, also coated with lead.

Painting Is Watching You / Obraz se dívá, 1998

Plumbuman / Plumbař,1995–1998

IT IS NOT FUNNY, NOT FUNNYKAREL SRP

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Plumbuman, It seems to have been born to anonymous parents, and the actual creator of Appliances is not stated anywhere, only the logo of the manufacturer. Kintera is not Plumbuman, though he seems to have been the only one who could put on his suit and bring him to life, nor is he It, which he led around on a leash. As an artist, he exists somewhere in between, for a while on one side, for a while on the other, yet where precisely no one can say. This allows him to observe Plumbuman, It and Appliances from a distance, as if they were created by someone else. In the late 1990s Kintera was developing a dialogic model and introduced the theme of direct address which created an encounter between the work and the viewer; this was mostly done through the use of written text, pre-recorded voice, or, in some cases, just the title, which complimented the work. Through this use of direct address, Kintera intruded into the public space. He did so mostly anonymously. Very few people knew that he

was the creator of characters, spray-painted through a stencil, called collectively Elements (2001), which could be seen throughout Prague at the beginning of the new millennium. These Elements were characterized by a big head and a body with missing limbs. The forms were derived from an earlier work, two wall-mounted kinetic sculptures made of lead, called Relatives (1995). Sixty various Elements adopted a wide variety of physical positions, with a text explaining each gesture. In their directness they attempted to enter the viewer’s consciousness and become a natural part of it. They reflected on a wide range of contemporary opinion of the time and Kintera was establishing the basis for its future iconography. Elements represented the social framework in a simpler and clearer way than any other documents. Though some of the Elements stemmed from the use of well-known types (such as the Grim Reaper accompanied by the inscription “I Am With You”), for most of the works Kintera found a unique expression. Although they appeared in public areas, in their small size they were mainly focused on the consciousness of the individual observer. Elements prefigured the unmistakable Talkmen (1999–2003), male figures of small stature whose oval heads had no other features other than ears, dressed in smart or rustic clothing, which overwhelmed the viewer, as soon as he/she approached, with a number of both meaningless and urgent, shallow and serious questions,

asked with the artist’s voice, modified on a computer. The viewer’s response depended on the value they attributed to the work. The Talkmen appeal to the viewer’s conscience, they trouble his/her sleep, they unsettle the viewer, perhaps even provoking anger. Kintera asked about anything: he mixed the familiar with the personal, some of the questions were reflections on various contemporary topical discussions, while others touched on ideas which people have always dealt with throughout history. The mutual relationship of Plumbuman on the one hand and It, Appliances, and Talkmen on the other, could be compared to the contrast of positive and negative poles. They communicate the same ideas from various perspectives. In this way an oscillation between the subject and object comes into being, a situation in which one can reflect on the other in such a way that it becomes entirely eclipsed, as if the body had merged with the Plumbuman’s suit, while at the same time it is possible to leave this relation and open oneself to a third possibility, a neutral point, where the artist and the viewer can at least take an ambiguous position, similar to the one that occurs in the transition between an art work and an everyday object. The range between the subjective and the objective, between interiority and an elusive commonality, representing the artist’s own definition of “self”, is not complete. To go further, Kintera needed to find a point which would allow him to see both sides, a point whose centre of gravity lay neither in himself nor in the object that he was creating. The artist stepped out of himself so that he could become someone else and at the same time he let himself be pervaded by his surroundings. The infinite expansion of the world of consumerism is one of Kintera’s starting points, against which he continues to define his work. This includes products, forced upon us by contemporary megastores, and also areas such as the cultural, sports or banking industries. The artist has taken a critical stance in response to many of their features. At the same time he has an interest in artificial and extremely lively creatures. With Talkmen, as with other like-minded works, he did not hide the operating mechanism which allows them to function, and he has demonstrated the technology in catalogues and in dozens of documentary photographs and preparatory drawings, including detailed technical renderings of the spare parts. He has explained and clarified everything he possibly could. He has always been curious about what’s inside, but never without relation to the surface and the surroundings. Packaging often hides something inappropriate. Kintera filled a light blue bag from IKEA with raw viscera, and he put his own excrement in a Bata shoe box (this theme, but without any company name, was used on a poster for the exhibition Gross Domestic Product, which Kintera curated in 2007 for the Municipal Library in Prague). With his personal protest he questioned the role of brands in their control of the contemporary environment.

Through his choices, Kintera reveals his interest in a wide-range of materials, which oscillates from the highly artificial, like the polyurethane he used a little later, through to the domestic, as with his use of dough, to the extremely human, which was represented by the use of his own feces. Although Kintera is the creator of the shy Plumbuman, he cannot be directly identified with him. He lets the viewer look into Plumbuman’s abode, while Plumbuman prefers to wander somewhere in the city and only returns home after the opening hours of the gallery. When it seems that we could catch a glimpse of him, he disappears in front of our eyes. The shift in the artist’s focus, which Kintera had already begun in the work dealing with Plumbuman, was demonstrated quite significantly in another art piece called It (1996) in which he came to a meeting point between personal and shared space in one ambiguous and unnamable object, contrasting immediacy and the uncanny. The object It represented a concentration of Kintera’s intensity at the time. It almost became his third eye, his view of the world was related to this artificially-created oval object, resembling an egg, perhaps similar to the sculptures of Hans Arp. It moved around on attached wheels. The artist took it on walks in the city, as shown by a number of black and white photographs depicting his travels on public transportation, wandering in the streets, dry or wet from the rain, visits to exhibitions and men’s toilets. It was a major focus in documentary photos, whereas the people standing around were mostly shown from the waist down. Kintera treated it as a living being, as one of the members of his family. In his imagination It had its own memory and perceived the world around it like anyone else. While in the past It was more active, now, at least according to the photos,

it dwells in the artist’s living room under the drying rack. It was significant for Kintera that he never sold It though he did sell photographs featuring its life. However, he often lent it for various exhibitions, where it was placed on the ground and every visitor could “play” with it for a while. For Kintera it was intolerable that It would became lifeless, displayed on a stand topped by a perspex box, as is usually the case with such objects. In It (the title could be derived from a psychoanalytic dictionary) Kintera examined the border between living

and inanimate matter, but also between the purposeful and purposeless, between practical products and things that only resemble them in shape and function, yet which are purely aesthetic in nature. He considered the mutual overlap between art works and utilitarian objects. He made an extensive set of objects on the theme of this relationship, called collectively Appliances (1997–1998). The name was derived from their activity: the consumption of electricity, which powered them while serving no other purpose. Today the Appliances are exhibited in one room radiating an aura like precious works of art, but originally they passed through a marketing cycle surrounding their manufacture and sale. They were produced by the fictive Utitool company and Kintera gave each one its own name, for example Denor, Propero, Ultran. The artist wanted the appliances to enter daily life as soon as they were brought out. They were advertised on large billboards and placed on shelves between irons and electric kettles, and also presented in shop windows with other electrical appliances. Kintera primarily focused on the experience of random people who displayed interest in the appliances. When the shop assistant presents the appliance to the shopper, her/she suddenly realizes that the product doesn’t have any functional purpose, it can’t be used for anything in the home and, what’s more, it wastes electricity, which is increasingly expensive. The potential buyer realizes the fallacy immediately, that the appliance on offer is not what he/she had thought it to be, which creates a space for personal reflection on the nature of the object. Despite the fact that it has been produced and manufactured, the object will eventually come to be meaningless. Such reflection can lead to a transformation of the consciousness of the potential user who purchased the “object”, for which he/she must reserve a special place, as it belongs neither to the closet with other home appliances nor to the category of clearly-defined artistic works. Describing the conjunction of the utilitarian and aesthetic object, in both their similarities and differences, Kintera reinvigorated the analysis of the structuralists from the 1930s on the linguistic function; they focused on the divisions in the character of language, on the merging of the poetic and communicative functions. Kintera captured the similarities and differences, all the viable options, through which his “appliances” could interact with the opposite field from their own, he revealed transitions between ordinary things and the work of art. He studied the dividing line in which the two fields approached one another, and yet, at the same time, moved apart. The “appliances” became passages which terminate with mirrors reflecting their shape in a new social context. The decisive moment was the possible metamorphosis of the thinking of the unenlightened viewer who may have come to buy the “appliance”. With Plumbuman, It and Appliances, Kintera entered the ongoing debate about the role of the artist; one can only theorize about Kintera’s relationship with

Relatives / Příbuzní, 1995

Appliance / Spotřebič, 1997–1998

39

instalace, olovo, videoinstallation, lead, video

PLUMBAŘ / PLUMBUMAN 1995–1998

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42 43

62 63

lakovaný laminát, vibrační motor, analogový časovač, spínač, digitální tisk, karton, leskimo atd., 26 různých variantvarnished fiber-glass, vibrating motor, analog timers, switchers, digital print, cardboard, fake fur, etc., 26 variations

SPOTŘEBIČE / APPLIANCES 1997–1998

66 67

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PŘECE NENÍ PERPETUUM MOBILE. … ALE JAK DLOUHO, KOLIK? NA TO SE PTÁM! YOU KNOW WHAT? THE THING IS … DO YOU WATCH TV? A LOT? NO?… TO RELAX, TO SEE MOVING IMAGES, NICE GIRLS, STUPID TALKSHOWS, SOMETHING LIKE THAT, YOU KNOW. JUST TO SWITCH OFF … THIS IS HOW IT GOES. TE-LE-VISION. OK, THATS ALL … TE-LE-VISION … NOTHING TO SAY NOW. JUST SEE YOU, SEE YOU. HAVE A NICE DAY! VÍTE CO? ASI TAKHLE … DÍVÁTE SE NA TELEVIZI? HODNĚ? NE? … RELAX, POHYBLIVÝ OBRÁZKY, HEZKÝ HOLKY, BLBÝ TALKSHOW, NĚCO TAKOVÝHO, VÍTE CO. PROSTĚ VYPNOUT … TAK JE TO. TE-LE-VIZE. OUKEJ, TO JE VŠECHNO … TE-LE-VIZE … NENÍ CO DODAT. TAK SE UVIDÍME, NASHLE A HEZKÝ DEN! HI, HI, MY QUESTION THIS TIME IS … AND I AM INTERESTED IN THIS, OF COURSE … OTHERWISE … AND I WILL BE ASKING … NO, LISTEN. MY QUESTION IS … WHAT IS YOUR FAVOURITE COLOUR? IS IT PURPLE? IS IT PINK, IS IT GREEN? IS IT RED? IS IT BROWN? IS IT BLACK? IS IT WHITE?… OR BLUE? OR SOMETHING ELSE, EH? YEAH, JUST TELL ME, TELL ME, IT’S SIMPLE, FOR EXAMPLE MINE IS BLUE. THANK YOU VERY MUCH. NAZDAR, DNESKA SE VÁS ZEPTÁM … TOTIŽ, ZAJÍMÁ MĚ, SAMOZŘEJMĚ … JINAK … A ZEPTÁM SE … NE, POSLOUCHEJTE. PTÁM SE … JAKÁ JE VAŠE OBLÍBENÁ BARVA? JE TO FIALOVÁ? JE TO RŮŽOVÁ, JE TO ZELENÁ? JE TO ČERVENÁ? JE TO HNĚDÁ? JE TO ČERNÁ? JE TO BÍLÁ? … NEBO MODRÁ? NEBO NĚJAKÁ JINÁ, HE? JO, PROSTĚ MI TO ŘEKNĚTE, ŘEKNĚTE MI TO, JE TO JEDNODUCHÉ, NAPŘÍKLAD MOJE JE MODRÁ. DĚKUJI VELICE. HELLO HELLO. I WOULD LIKE TO ASK, ARE YOU AFRAID OF DYING? NO, DOBRÝ DEN, DOBRÝ DEN. JÁ BYCH SE CHTĚL ZEPTAT, JESTLI SE BOJÍTE VLASTNÍ SMRTI? NO, TAK PRÁVĚ TEDA … NE ŽE BYCH SE CHTĚL NĚJAK SVĚŘOVAT A ZROVNA VÁM TEDA, TO NIKOLI … NO ZKRÁTKA MOMENTÁLNĚ BY SE MŮJ PSYCHICKÝ STAV DAL PŘIROVNAT K JAKÉSI FUTUROLOGICKÉ SKEPSI. TAK, TAK … NO, NENÍ MI ZROVNA DO ZPĚVU. V ROCE 2020, TO JISTĚ VÍTE (NĚKDO TVRDÍ, ŽE V ROCE 2030, TY PROGNÓZY SE RŮZNÍ…), NICMÉNĚ BRZO NÁM DOJDOU PŘÍRODNÍ ZDROJE … ROPA, UHLÍ, NO, JE NÁS ČÍM DÁL VÍC, HM, HM, HM. ŠÍŘÍME SE JAKO RAKOVINOVÉ BUŇKY. MRAVENIŠTĚ UŽ ZAČÍNÁ BÝT TROŠIČKU … NEBOLI HUSTOTA OBYVATEL ZAČÍNÁ BÝT PONĚKUD PŘEDIMENZOVÁNA. HM, HM, HM, NO RADŠI NEPŘEMÝŠLET, ŽE? NO A TEĎKA, CO MÁM TEĎKON DĚLAT? CO MÁM TEĎKON DĚLAT, HM? NA TUTO OTÁZKU, NA TUTO OTÁZKU NENÍ ANI TAK DŮLEŽITÉ ODPOVÍDAT, JAKO SPÍŠE ČIN … ROZHODNĚ NEBYLO MÝM ÚMYSLEM VÁS NĚJAK ZNEKLIDNIT, CHRAŇPÁNBU! V KLIDU, V KLIDU, JO? DÁL SE VĚNUJTE SVÝM VŠEDNÍM POVINNOSTEM, ALE UVĚDOMĚLE, UVĚDOMĚLE! TOTO NENÍ AGITKA … ANI EKOAGITKA, ANI ŽÁDNÁ NÁBOŽENSKÁ AGITKA. CHRAŇPÁNBU! TO MĚL BÝT JEN TAKOVÝ MŮJ POCIT, PŘEDNESENÝ VÁM. JESTLI VÁS TO POPUDILO, VELICE SE OMLOUVÁM, NA SHLEDANOU, DĚKUJI, DĚKUJI… WELL, I’D SAY … I DON’T REALLY WANT TO CONFIDE IN ANYONE, AND TO YOU ON TOP OF THAT … TO MAKE IT SHORT, RIGHT, AT THE MOMENT, MY PSYCHIC STATE COULD BE COMPARED TO SOME KIND OF FUTUROLOGICAL SKEPTICISM. OH WELL … YEAH, I DON’T REALLY FEEL LIKE SINGING. IN 2020, AS YOU CERTAINLY KNOW (SOME SAY IN 2030, THOSE FORECASTS VARY …) WE WILL SOON RUN OUT OF NATURAL RESOURCES … OIL, COAL, YEAH, THERE IS MORE OF US EVERY MINUTE, HM, HM, HM. WE SPREAD LIKE CANCER CELLS. THE ANTHILL STARTS TO BE LITTLE BIT …, I MEAN, THE DENSITY OF THE POPULATION IS BEGINNING TO BE SOMEWHAT OVERSIZED. HM, HM, HM, IT’S BETTER NOT TO THINK ABOUT IT, RIGHT? AND NOW WHAT? WHAT AM I SUPPOSED TO DO? WHAT ON EARTH AM I SUPPOSED TO DO, HM? THE ANSWER IS NOT AS IMPORTANT AS THE ACT … I DEFINITELY DIDN’T MEAN TO UPSET YOU, LORD FORBID! CALM DOWN, CALM DOWN, OK? KEEP ON PAYING ATTENTION TO YOUR EVERYDAY DUTIES, BUT CONSCIOUSLY, CONSCIOUSLY! THIS IS NOT PROPAGANDA, NOR IS IT ECOPROPAGANDA, NOR RELIGOUS PROPAGANDA. LORD FORBID! IT WAS JUST MY SORT OF FEELING, COMMUNICATED TO YOU. IF I UPSET YOU, I AM REALLY SORRY, GOOD BYE, THANK YOU, THANK YOU. HELLO, HELLO, IT JUST OCURRED TO ME, WHAT IF ALL THE MONEY DISAPPEARS. SOME PEOPLE TAKE IT PRETTY SERIOUSLY, COULD YOU LEND ME SOME? I CAN GIVE IT BACK TO YOU TOMORROW OR IN A WEEK, THANKS AND I REALLY APPRECIATE IT… YEAH, HELLO, HELLO, EXCUSE ME, YEAH, SORRY BUT I WOULD LIKE TO KNOW HOW MUCH MONEY YOU HAVE GOT WITH YOU IN YOUR POCKET RIGHT NOW … CASH … HAHAHA … YEAH, OF COURSE IT IS ALWAYS IMPORTANT! … MONEY, MONEY, MONEY … WE HAVE TO PAY FOR EVERYTHING, SURE, BUT DO YOU THINK IT IS THE ONLY WAY TO DEAL WITH LIFE? …. BY USING MONEY? … DO YOU THINK THERE MIGHT BE SOME OTHER WAY TO DO IT? DO YOU THINK WE CAN EXIST WITHOUT MONEY? ALL RIGHT, IMAGINE THAT MONEY WOULD DISAPPEAR AT THIS MOMENT, RIGHT NOW, IN A SECOND ALL THE MONEY WILL DISAPEAR … OF COURSE EVEN YOUR MONEY FROM YOUR POCKET AND FROM YOUR ACCOUNT … CLICK … WHOOPS … AND THERE IS NO MONEY! HAHAHA … CAN YOU IMAGINE SUCH A HUGE CATASTROPHE? INTERESTING, HA? I THINK SO… NAZDAR, NAZDAR, TAK MI NAPADLO, CO KDYBY VŠECHNY PRACHY ZMIZELY. NĚKDO TO BERE DOCELA VÁŽNĚ, NEMOHL BYS MI NĚJAKÝ PUČIT? VRÁTIL BYCH TI TO ZEJTRA. NEBO ZA TEJDEN, DÍKY, MOC JSI MI POMOH’…NAZDAR, NAZDAR, PROMIŇTE, SORRY, ALE RÁD BYCH VĚDĚL, KOLIK ZROVNA TEĎ MÁTE U SEBE PENĚZ … V HOTOVOSTI … CHACHACHA … NO, JE TO DŮLEŽITÝ. … PRACHY, PRACHY, PRACHY … VŠECHNO NĚCO STOJÍ, JASNĚ, ALE MYSLÍTE SI, ŽE JE TO JEDINÝ ZPŮSOB, JAK VĚCI VYŘEŠIT? … PRACHAMA? … MYSLÍTE SI, ŽE BY TO ŠLO JEŠTĚ NĚJAK JINAK? MYSLÍTE, ŽE BYCHOM BEZ PENĚZ MOHLI ŽÍT? TAK JO, PŘEDSTAVTE SI, ŽE BY PENÍZE NAJEDNOU ZMIZELY, VE VTEŘINĚ BY VŠECHNY PRACHY BYLY PRYČ … ANO, I TY VAŠE, CO MÁTE U SEBE A NA ÚČTĚ … KLIK … ULALA … A PRACHY NEJSOU! CHACHACHA … DOVEDETE SI PŘEDSTAVIT TEN OBŘÍ KOLAPS? ZAJÍMAVÉ, NE? JÁ BYCH ŘEKL, ŽE ANO… NO, HELE, TAK MĚ NAPADLO MOMENTÁLNĚ … CO KDYBY, CO KDYBY VŠECHNY PENÍZE TEĎKON ZMIZELY … SAMOZŘEJMĚ I Z TVOJÍ PENĚŽENKY I S TVOJÍ KAPSY. TO BY BYL KOLAPS! … MĚ BY ZAJÍMALO, JESTLI JE MOŽNÝ TENHLETEN FINANČNÍ SYSTÉM NĚJAK SUPLOVAT. NO ASI BYSME MĚNILI ZA NĚCO JINÝHO … ČLOVĚK FURT NĚCO MĚNÍ … KDYŽ BY TO NEBYLY PENÍZE, TAK BY TO BYLO NĚCO JINÝHO, A ZAS BY Z TOHO BYLY PENÍZE … JE TO TAKOVÁ HRA, NEPŘIJDE TI? HRAJEM HRU, NĚKDO JI BERE HODNĚ VÁŽNĚ, ŽE JO, JO, NO FAKT NEZNÁM NIKOHO, KDO BY V TOM ASPOŇ TROCHU NEJEL … VOPRAVDU NE … JSOU VÝJIMKY, TO JSOU BUĎ VOD PŘÍRODY MAGOŘI, TĚM JE TO ASI FAKT FUK, ALE KDO NENÍ VOD PŘÍRODY ÚPLNEJ IDIOT, TAK V TOM JEDE … MONEY MONEY MONEY … KOLIK MÁŠ U SEBE? NEPUČIL BYS MI? POŘEBOVAL BYCH SI TADY NĚCO ZAŘÍDIT … DVĚ KILČA STAČEJ … ZEJTRA VRÁTÍM … JO? FAKT HODNEJ, DÍKY… HEY, YOU SEE, I WAS JUST WONDERING RIGHT NOW … WHAT IF ALL THE MONEY DISAPPEARED ALL OF A SUDDEN … I MEAN EVEN YOUR MONEY, FROM YOUR WALLET AND FROM YOUR POCKET. WHAT A CATASTROPHE! … I WONDER IF WE COULD SOMEHOW FIGURE OUT HOW TO CHANGE OUR FINANCIAL SYSTEM. I GUESS, WE WOULD HAVE TO CHANGE IT FOR SOMETHING ELSE … ONE KEEPS CHANGING THINGS ALL THE TIME … IF IT WASN’T MONEY, THEN IT WOULD BE SOMETHING ELSE AND MONEY WOULD COME OUT OF IT NATURALLY … IT IS SUCH A GAME, DON’T YOU THINK? WE PLAY A GAME, SOME TAKE IT SERIOUSLY, RIGHT, YEAH, REALLY, I DON’T KNOW ANYBODY WHO WOULDN’T RIDE IN IT AT LEAST A LITTLE … I REALLY DON’T … THERE ARE EXCEPTIONS, THEY ARE EITHER FREAKS BY NATURE, THEY PROBABLY DON’T CARE, BUT WHO IS NOT A COMPLETE IDIOT THEN HE RUNS IN IT … MONEY, MONEY, MONEY … HOW MUCH DO YOU HAVE WITH YOU? WOULD YOU LEND ME SOME? I NEED TO MANAGE SOMETHING … TWO HUNDRED BUCKS WOULD DO IT … I’LL GIVE IT YOU TOMORROW, ALL RIGHT? THANKS, YOU’RE NICE, REALLY. EXCUSE ME, EXCUSE ME. MY QUESTION NOW … IS ABOUT GUNS. WHAT DO YOU THINK ABOUT HAVING A GUN? DO YOU HAVE A GUN WITH YOU? ANY KIND. A KNIFE OR A PISTOL, WHAT DO YOU THINK ABOUT IT? DO YOU THINK IT IS NECESSARY TO HAVE A GUN AND DO YOU FEEL SAFER WHEN YOU HAVE IT WITH YOU? DO YOU FEEL SAFE? WELL, THINK ABOUT IT … WHAT DOES IT MEAN TO YOU TO HAVE A GUN? PLEASE, PLEASE, DO IT … AND DON’T TAKE IT TOO PERSONALLY. I DON’T WANT TO ATTACK YOU. NOT AT ALL, OF COURSE, OF COURSE. BYE, BYE, THANK YOU. P R O M I Ň T E , PROMIŇTE, CHCI SE ZEPTAT … NA ZBRANĚ. CO SI MYSLÍTE O NOŠENÍ ZBRANĚ? MÁTE S SEBOU ZBRAŇ? JAKOUKOLI. NŮŽ NEBO STŘELNOU ZBRAŇ, CO SI O TOM MYSLÍTE? MYSLÍTE SI, ŽE JE TŘEBA MÍT U SEBE ZBRAŇ A CÍTÍTE SE JISTĚJI, KDYŽ JI MÁTE S SEBOU? CÍTÍTE SE V BEZPEČÍ? PŘEMÝŠLEJTE O TOM … CO TO PRO VÁS ZNAMENÁ MÍT U SEBE ZBRAŇ? PROSÍM, NEBERTE SI TO MOC OSOBNĚ. NECHCI VÁS NIJAK NAPADAT. TO VŮBEC NE, SAMOZŘEJMĚ, DĚKUJI A NA SHLEDANOU. HEY, HEY, COME HERE!… I KNOW YOU ARE CONCENTRATING ON SOMETHING COMPLETELY DIFFERENT, I KNOW, SURE… BUT I WOULD LIKE TO KNOW HOW MANY FRIENDS DO YOU HAVE THESE DAYS? I MEAN REAL, REAL FRIENDS. HOW MANY PEOPLE WOULD YOU CALL A REAL FRIEND IN YOUR LIFE? IN NUMBER, BECAUSE I AM INTERESTED IN NUMBERS. JUST SAY: ONE, TWO, THREE, FOUR, MAYBE TEN? MAYBE YOU HAVEN‘T GOT ANY FRIENDS … WHO KNOWS? SO, THEN SAY ZERO OR JUST DON’T SAY ANYTHING … YEAH , YOU DON’T HAVE TO TELL ME. YOU JUST LISTEN TO THE QUESTION AND THAT’S ALL, YOU DON’T HAVE TO ANSWER. YEAH, YOU DON’T SAY ANYTHING. OF COURSE. NOBODY‘S PUSHING YOU. THAT’S ALL. SO, THANK YOU VERY MUCH FOR LISTENING. HALÓ, HALÓ, POJĎTE SEM! … JÁ VÍM, ŽE TEĎ MÁTE NA PRÁCI NĚCO ÚPLNĚ JINÉHO, VÍM, JASNĚ … ALE CHTĚL BYCH VĚDĚT, KOLIK TEĎ ZROVNA MÁTE PŘÁTEL? TOTIŽ, OPRAVDOVÝCH, DOOPRAVDICKÝCH PŘÁTEL. KOLIK LIDÍ VE SVÉM ŽIVOTĚ BYSTE MOHLI NAZVAT SVÝMI PŘÁTELI? ČÍSLOVKOU, PROSÍM, MĚ TOTIŽ ZAJÍMAJÍ ČÍSLA. PROSTĚ ŘEKNĚTE: JEDEN, DVA, TŘI, ČTYŘI, MOŽNÁ DESET? MOŽNÁ ŽE NEMÁTE ŽÁDNÉ PŘÁTELE … [přepis monologu / transcript of a monologue]

HEY! HEY, YOU DON’T SEE ME OR WHAT? HAHAHA! YEAH, I’M HERE AS WELL AS YOU! AND I’M GONNA ASK YOU … I’M GONNA ASK YOU ABOUT … HA, YEAH, YOU ARE IN A GALLERY … WHERE DID YOU COME FROM? WHERE DID YOU SLEEP LAST NIGHT? HAHAHA, OK, THAT’S A JOKE … I GOT A MORE IMPORTANT QUESTION IN MY MIND. WHAT DO YOU EXPECT HERE? DO YOU EXPECT TO SEE SOMETHING INTERESTING, OR WHAT? YOU KNOW THIS IS A GALLERY SPACE. OR ARE YOU JUST WATCHING AND YOU’RE GOING SOMEWHERE ELSE? TO ANOTHER GALLERY OR SOMEWHERE ELSE? BY THE WAY, WHERE ARE YOU GOING NOW? AFTER YOU ARE FINISHED WITH THE VISIT HERE? … YEAH, YOU GONNA SEE ANOTHER ARTWORK. OK, THAT’S GOOD. SOME OF THEM ARE VERY INTERESTING AND SOME OF THEM I DON’T KNOW, OK, I DON’T KNOW WHAT TO THINK ABOUT THEM. BUT IT’S JUST MY OPINION ABOUT THEM, IT’S ALWAYS SUBJECTIVE, YA KNOW. YOU WILL LIKE THEM … MAYBE YOU WILL LIKE ALL OF THEM OR MAYBE NONE OF THEM. I’M KIDDING NOW, EXCUSE ME, BUT I JUST WANT TO CHECK OUT, WHAT DO YOU EXPECT TO SEE, WHERE ARE YOU GOING AND WHERE DO YOU COME FROM, OK, OK, VERY NICE. NICE TO MEET YOU! NICE TO SEE YOU, BYE, BYE! AND HAVE A NICE DAY! ENJOY THE SHOW! ENJOY THE SHOW! YES, IT’S A VERY INTERESTING SHOW, IT’S A VERY GOOD PROJECT, INTERESTING, HM. HELE, HELE, NEVIDÍTE MĚ NEBO CO? CHACHACHA! JSEM TADY ZROVINKA JAKO VY! A HNED SE VÁS ZEPTÁM … HNED SE VÁS ZEPTÁM … ANO, TEĎ JSTE V GALERII … ODKUD JDETE? KDE JSTE SPALI VČERA V NOCI? CHACHACHA, TAK JO, TO BYL JENOM VTIP … CHCI SE ZEPTAT NA NĚCO MNOHEM DŮLEŽITĚJŠÍHO. CO SI OD TOHO TADY SLIBUJETE? MYSLELI JSTE SI, ŽE TU UVIDÍTE NĚCO ZAJÍMAVÉHO NEBO CO? VÍTE PŘECE, ŽE JE TO GALERIE. ANEBO JEN PROCHÁZÍTE A TAK SE DÍVÁTE? TŘEBA JDETE DO NĚJAKÉ DALŠÍ GALERIE NEBO TAK. A MIMOCHODEM, KAM JDETE? AŽ SI TO JAKO TADY PROHLÍDNETE? … JO, JDETE SE MRKNOUT NA NĚJAKÝ DALŠÍ UMĚNÍ, TAK JO, V POŘÁDKU. NO, NĚCO JE ZAJÍMAVÉ, U NĚČEHO NEVÍM, TOTIŽ, NEVÍM, CO SI O TOM MYSLET. ALE JE TO JEN MŮJ NÁZOR, TEN JE VŽDY SUBJEKTIVNÍ, VŠAK VÍTE. MOŽNÁ ŽE SE VÁM TO BUDE LÍBIT … TŘEBA SE VÁM BUDE LÍBIT ÚPLNĚ VŠECHNO A TŘEBA NIC. JENOM TAK KECÁM, ODPUSŤTE, ALE CHTĚL JSEM SI JEN OVĚŘIT, CO OD TOHO TADY ČEKÁTE, KAM KRÁČÍTE A ODKUD PŘICHÁZÍTE, JO JO, MOC HEZKÉ. RÁD JSEM VÁS POZNAL! TĚŠILO MĚ, PA PA! A HEZKÝ ZBYTEK DNE! AŤ SE VÁM VÝSTAVA LÍBÍ! HEZKOU PODÍVANOU! ANO ANO, VELMI ZAJÍMAVÁ VÝSTAVA, DOBRÝ PROJEKT, ZAJÍMAVÉ, HM HM. MYSLÍTE, ŽE BYSTE DOKÁZAL ŽÍT OD NYNĚJŠKA ÚPLNĚ SÁM? DOSLOVA, NA PUSTÉM OSTROVĚ. OD NYNĚJŠKA, NESPATŘIT ČLOVĚKA, JEDINÉHO ČLOVĚKA. DOKÁZAL BYSTE TO? … HM, MĚ BY TO ZAJÍMALO… DO YOU THINK YOU COULD LIVE COMPLETELY ALONE FROM NOW ON, I MEAN LITERALLY, ON A DESERT ISLAND. FROM NOW ON, NOT TO SEE A SINGLE HUMAN BEING, COULD YOU DO IT? … HMM, I JUST WANT TO KNOW… JO, HELE TAKHLE … NĚKDO, NĚKDO PREJ SPOČÍTAL, ŽE KDYBY VŠICHNI ČÍŇANI NAJEDNOU VYSKOČILI A VE STEJNEJ OKAMŽIK DOPADLI ZPĚT NA POVRCH ZEMSKÝ, TAK BY DOKÁZALI VLASTNĚ VYCHÝLIT PLANETU Z JEJÍ ORBITÁLNÍ DRÁHY, COŽ BY MĚLO DOPAD NA VEŠKERÝ DĚNÍ – ASI BY SE TO MUSELO ODEHRÁT V JEDNOM BODĚ. BYL BY TO DOCELA DOBREJ HAPPENING, VELKÁ AKCE S VELKOU PRODUKCÍ, ALE TO ASI NIKDO NEUDĚLÁ, TO BY BYLA DŘINA. Y E A H , LOOK I’LL PUT IT THIS WAY … THEY SAY SOMEBODY FIGURED OUT THAT IF ALL THE CHINESE JUMPED UP IN THE AIR AT THE SAME TIME AND FELL BACK ON THE GROUND AT THE SAME TIME THEY COULD ACTUALLY DEFLECT THE PLANET FROM ITS ORBIT. AND THAT COULD AFFECT THE COURSE OF ALL EVENTS – IT WOULD PROBABLY HAVE TO HAPPEN IN ONE MOMENT. IT WOULD BE A PRETTY GOOD HAPPENING, A BIG ACTION WITH A BIG PRODUCTION, BUT NO ONE IS GOING TO DO THAT, THAT WOULD BE TOO HARD. HI, HI, HI, HELLO … OK … THERE’S SOMETHING I WOULD LIKE TO TALK ABOUT. EHM. HOW SHALL I PUT IT … OK, HAS ANYTHING HAPPENED IN YOUR LIFE THAT YOU WOULDN’T WANT TO GO THROUGH AGAIN? ANYTHING? HAS THERE BEEN A MOMENT WHICH YOU KNOW YOU NEVER EVER WANT TO HAPPEN AGAIN? … ARE THERE THINGS IN YOUR LIFE YOU WOULD AVOID OR WOULDN’T LET CATCH UP WITH YOU? WELL, I MEAN, WE ARE TALKING HEAVY STUFF HERE, PREDESTINATIONS AND FATE AND DETERMINATIONS … I REALLY DON’T WANT TO GO DEEP DOWN INTO THAT, BELIEVE ME. … I WAS JUST WONDERING … LET ME GO BACK TO MY ORIGINAL QUESTION, SO THAT WE DON’T GET TOO MIXED UP BECAUSE IT’S A PROBLEM OF MINE, I ALWAYS KEEP GETTING STUFF MIXED UP TOO MUCH … I MEAN, HAVE THERE BEEN MOMENTS IN YOUR LIFE YOU WOULDN’T WANT TO GO THROUGH AGAIN. THANKS A LOT. BYE, BYE. NAZDAR, AHOJ … OK … CHTĚL BYCH S VÁMI O NĚČEM MLUVIT. EHM. JAK BYCH TO JEN ŘEKL … JE VE VAŠEM ŽIVOTĚ NĚCO, CO BYSTE VYLOŽENĚ NECHTĚLI PROŽÍT ZNOVA? ALE VYLOŽENĚ ZA ŽÁDNOU CENU! JSOU, EXISTUJOU TAKOVÝ OKAMŽIKY, KDY PŘESNĚ VÍTE, ŽE BYSTE NECHTĚLI, ABY SE UŽ OPAKOVALY? … MYSLÍTE SI, ŽE SE, EHM, DÁ V ŽIVOTĚ URČITEJM VĚCEM VYHNOUT NEBO PŘEDEJÍT? TO UŽ SE TEDA ZAČÍNÁME BAVIT HODNĚ O PREDESTINACI A O OSUDU A DETERMINACI, A JÁ BYCH DO TOHO NECHTĚL PŘÍLIŠ ZABŘEDÁVAT, OPRAVDU NE … JENOM JSEM SE CHTĚL … VRÁTÍM SE K TÝ PŮVODNÍ OTÁZCE, ABYCH TO NEZAMOTAL, PROTOŽE TO BÝVÁ ČASTO MŮJ PROBLÉM. JÁ HODNĚ VĚCÍ TAKHLE JAKO ZAMOTÁVÁM … NO, ZKRÁTKA JESTLI EXISTUJOU CHVÍLE, KTERÝ UŽ BYSTE NECHTĚLI NIKDY PROŽÍT. DÍK A NASCHLE. EHM … SORRY, SORRY, EXCUSE ME … CAN I ASK A QUESTION ABOUT YOUR SHOES? THOSE ARE VERY FUNNY SHOES, I MEAN, I’M SORRY ABOUT THAT! … WHY DID YOU WEAR THESE SHOES TODAY? THESE RIDICULOUS SHOES?… HAHA HAHA. DO YOU FEEL GOOD IN THESE SHOES? RIDICULOUS, PERFECT, PERFECT, CONGRATULATIONS, BYE BYE, EXCUSE ME AND HAVE A NICE DAY. EHM, PROMIŇTE, SORRY, DOVOLTE … MŮŽU SE VÁS ZEPTAT NA TY BOTY? SRANDOVNÍ BOTY. TOTIŽ, PROMIŇTE! … PROČ JSTE SI JE DNESKA VZAL? TAKOVÝ NEMOŽNÝ BOTY? … CHACHA, CHACHA, JE VÁM V NICH DOBŘE? SMĚŠNÝ, PERFEKTNÍ, DOKONALÝ, BLAHOPŘEJI, PA PA, PROMIŇTE A MĚJTE SE. HI, BONJOUR, BONJOUR! HI, HI, HELLO, I JUST WANT TO KNOW, ARE YOU AFRAID OF ANYTHING IN YOUR LIFE? DO YOU HAVE ANY FEARS? YA KNOW, I’D LIKE TO KNOW. BECAUSE I THINK EVERYBODY HAS A LITTLE FEAR IN HIS HEAD … IT CAN REALLY BE A STUPID THING. OR DO YOU THINK YOU REALLY ARE THAT STRONG? YOU DON’T FEEL ANYTHING? YOU ARE A REAL FUCKING MAN, YOU CAN FUCK WITH ANYBODY … THINK ABOUT YOUR FEARS IF YOU HAVE SOME … OF COURSE I HOPE YOU DON’T HAVE ANY, THEN IT’S OK. SORRY FOR BOTHERING YOU. YOU CAN GO NOW, PLEASE. THANK YOU. HÁJ, BONŽŮR, BONŽŮR! NAZDAR, NAZDAR. JENOM SE CHCI ZEPTAT, BOJÍTE SE V ŽIVOTĚ NĚČEHO? MÁTE NĚKDY STRACH? VÍTE, JENOM SE TAK PTÁM. KAŽDÝ PŘECE MÁ NĚKDY STRACH … I KDYŽ JE TO NĚJAKÁ ÚPLNÁ BLBOST. ANEBO SI MYSLÍTE, ŽE JSTE SILNÝ? VŮBEC NECÍTÍTE STRACH? MYSLÍTE, ŽE MŮŽETE S KAŽDÝM JEN TAK VYFAKOVAT? PŘEMÝŠLEJTE HEZKY, JESTLI MÁTE Z NĚČEHO STRACH … SAMOZŘEJMĚ, ŽE VÁM PŘEJU, ABYSTE ŽÁDNÝ NEMĚLI, PAK JE VŠE OUKEJ. PROMIŇTE, ŽE JSEM OTRAVOVAL. POKRAČUJTE, PROSÍM. DĚKUJI. HELLO, HELLO, HAHA, YOU KNOW, JUST A STUPID QUESTION, A REALLY STUPID QUESTION, SO … DON’T EVEN LISTEN TO THIS QUESTION … I JUST HAVE IT IN MIND AT THE MOMENT BECAUSE I WOULD LIKE TO GET MYSELF A CUP OF COFFEE. DO YOU LIKE COFFEE? DO YOU DRINK COFFEE A LOT? CAN YOU IMAGINE YOUR LIFE WITHOUT COFFEE? OR DO YOU HATE COFFEE? I AM JUST CHECKING OUT THE SITUTATION ABOUT YOUR ATTITUDE TO COFFEE. OK, THANK YOU. THANK YOU VERY MUCH. BYE, BYE. HELOU, HELOU, HAHA, VÍTE, TAKOVÁ PITOMÁ OTÁZKA, VOPRAVDU BLBÁ OTÁZKA, KDYŽTAK MĚ VŮBEC NEPOSLOUCHEJTE … JEN JSEM SI TAK ZROVNA ŘÍKAL, PROTOŽE BYCH SI RÁD DAL KAFE, MÁTE RÁD KAFE? PIJETE HODNĚ KAFE? UMÍTE SI PŘEDSTAVIT VÁŠ ŽIVOT BEZ KÁVY? ANEBO KAFE NESNÁŠÍTE? JENOM SI TAK OŤUKÁVÁM, JAKÝ JE VÁŠ VZTAH KE KÁVĚ. OUKEJ, DÍKY. DĚKUJI VÁM VELICE A NA SHLEDANOU. KDYBY JSTE SE MUSELI STÁT ZVÍŘETEM, A TÍM MYSLÍM TEĎ A TADY, BĚHEM VTEŘINY, JAKÉ ZVÍŘE BY PRO VÁS BYLO NEJVHODNĚJŠÍ, PODLE VÁS. HM, TO BY MĚ ZAJÍMALO, JÁ NAPŘÍKLAD, NO … A TO SE MUSÍM ZAMYSLET NA CHVILIČKU … MOMENTÍČEK… IF YOU HAD TO BECOME AN ANIMAL, I MEAN RIGHT NOW, THIS SECOND, WHAT ANIMAL WOULD FIT YOU THE MOST, WHAT DO YOU THINK? HMM, I’D LIKE TO KNOW, I, FOR EXAMPLE, WELL … I HAVE TO THINK ABOUT IT FOR A MOMENT … JUST A SECOND… HI, HI, HELLO, COME HERE, PLEASE, PLEASE, JUST LISTEN TO ME JUST A SECOND. REALLY JUST A SECOND. WOULD YOU LIKE TO CHANGE SOMETHING? YEAH, I MEAN TO CHANGE SOMETHING IN YOUR LIFE? COULD YOU TELL ME WHAT YOU WOULD LIKE TO CHANGE IN YOUR LIFE? AND IF IT’S TOO PERSONAL, JUST THINK ABOUT IT, OR IF THERE’S NOTHING YOU WOULD LIKE TO CHANGE, THEN YOU MUST BE A REALLY LUCKY PERSON, MAN! ANYWAY, THANKS FOR LISTENING TO ME. BYE AND HAVE A NICE DAY, BYE! HALÓ, HALÓ, POJĎTE SEM, PROSÍM, PROSÍM, POSLOUCHEJTE, JENOM NA CHVILKU. OPRAVDU JENOM NA CHVILIČKU. CHTĚLI BYSTE NĚCO ZMĚNIT? ANO, MYSLÍM NĚCO ZMĚNIT VE SVÉM ŽIVOTĚ? ŘEKLI BYSTE MI, CO BYSTE CHTĚLI ZMĚNIT VE SVÉM ŽIVOTĚ? JESTLI JE TO JAKO MOC OSOBNÍ, TAK O TOM JEN PŘEMÝŠLEJTE, ANEBO JESTLI BYSTE NEMĚNILI NIC, TAK TO TEDA MUSÍTE MÍT KLIKU, PÁNI, NO TEDA! NO NIC, DĚKUJI, ŽE JSTE MĚ VYSLECHLI. PA PA A MĚJTE SE! JUST A SMALL QUESTION. THE QUESTION IS: DO YOU BELIEVE IN ANYTHING? WELL …? THANK YOU. THANK YOU. JENOM OTÁZEČKA. OTÁZKA JE NÁSLEDUJÍCÍ: VĚŘÍTE V NĚCO? EHM …? DĚKUJI, DĚKUJI EXCUSE ME, EXCUSE ME, BUT HAVE YOU EVER THOUGHT HOW LONG THE SUN CAN SHINE. IT’S QUITE A QUESTION … HOW LONG … IT WON’T LAST FOREVER … I WANT TO KNOW HOW LONG? THAT’S MY QUESTION. THANK YOU. PARDON, PARDON, ALE PŘEMÝŠLELI JSTE NĚKDY O TOM, JAK DLOUHO MŮŽE SLUNCE SVÍTIT? JAK DLOUHO TAHLE ŠÍLENÁ KOULE MŮŽE JEŠTĚ PRACOVAT? TO

106 107

vrtačka, vysavač, mikročipové řízení, prodlužovačka atd. drill, hoover, microchip controller, extension cord, etc.

STŘET ZÁJMŮ / CONFLICT OF INTERESTS 2004

125

elektromechanický systém, mikročipové řízení, kovová konstrukce, polyuretan, šaty atd. electromechanical system, microchip controller, metal structure, polyurethane, clothes, etc.

REVOLUCE / REVOLUTION 2005

126 127

128 129

138 139

4 x 3 x 2 m, 6 dekonstruovaných jízdních kol6 deconstructed bicycles

THERE IS NO WAY TO GO NOW [HNED TAK NEPOJEDEM] 2007

140 141

3 x 1,7 x 1,5 m, polyuretanpolyurethane

RED IS COMING [ČERVENÁ TEČE] 2007

146 147

zvuk, pohybový mechanismus, mikročipové řízení, kbelíksound, movement mechanism, microchip contoller, bucket

VĚTŠÍ PROBLÉM, NEŽ MÁŠ TY / A BIGGER PROBLEM THAN YOURS 2007

154 155

170 171

barel, 24 kt zlato, časovač, kouřostrojbarrel, 24 ct gold, timer, smoke machine

SVATÝ DUCH VYPUŠTĚN / HOLY SPIRIT OPENED 2008

186 187

188 189

výška 320 cm, použitá svítidla, kabely atd.height 320 cm, used lamps, cabels, etc.

MY LIGHT IS YOUR LIFE – SHIVA SAMURAI (5 KW / 50 HZ) [MÉ SVĚTLO JE TVŮJ ŽIVOT – ŠIVA SAMURAJ (5 KW / 50 HZ)] 2009

192 193

226 227

50 x 245 x 35 cm, polyuretan, lyžařská botapolyurethane, ski boot

I WANNA GO HOME, TAKE OFF THIS UNIFORM AND LEAVE THE SHOW [CHCI JÍT DOMŮ, SUNDAT SI UNIFORMU A ZMIZET ZE SCÉNY] 2011

232 233

60 x 120 x 70 cm, polyuretan, kancelářská židlepolyurethane, office chair

LÍDA 2011

60 x 90 x 75 cm, polyuretan, kancelářská židlepolyurethane, office chair

VENUŠE / VENUS 2011

240 241

???

TRŮN

248 249

???

LÍNÁ VŮLE

220 x 75 x 50 cm, polyuretan, lyžařská botapolyurethane, ski boot

LÍNÁ VŮLE / LAZY WILL 2011

254 255

výška 330 cm, koberec, epoxid, polyester, beton, kovová konstrukceheight 330 cm, carpet, epoxy, polyester, concrete, metal structure

výška 140 cm, koberec, epoxid, polyester, beton, kovová konstrukceheight 140 cm, carpet, epoxy, polyester, concrete, metal structure

RESUREKCE I / RESURRECTION I 2011 RESUREKCE II / RESURRECTION II 2011

256 257

35 x 25 x 40 cm, polyuretanpolyurethane

NIC DOBRÉHO / NOTHING GOOD 2011

Krištof Kintera

Editoři / Editors Mariana Serranová, Karel SrpAutoři textů / Authors of the texts Karel Srp, Krištof Kintera, Mariana SerranováPřeklady / Translation Magdalena & Lawrence WellsRedakce anglických textů / English texts editor Magdalena WellsFotografie / Photography Martin Polák a archiv autora / and the archive of the artistFotografie na stranách / Photography on the pages 46–49 Martin Marenčin, 50–58 Petr Hudeček, 183 Eugenio Percossi, 222–223 Ondřej Němec, 226 a 230–231 Rastislav JuhásGrafická úprava a příprava pro tisk / Graphic design and typesetting Markéta KinterováOdpovědný redaktor / Executive editor Lev Pavluch

Vydalo nakladatelství Arbor vitae v Řevnicích roku 2012 / Published by Arbor vitae in Řevnice in 2012 Tisk / Printer T. A. Print v Praze / in PragueVydání první / First edition

Publikace vychází u příležitosti výstavy Krištof Kintera – Výsledky analýzy v Galerii hlavního města Prahy – Městské knihovně (kurátor Karel Srp) konané ve dnech 29. 2. až 13. 5. 2012 / The book is published together with the exhibition Krištof Kintera – Analysis Results (curator Karel Srp) being held at the City Gallery Prague – Municipal Library from February 29 to May 13, 2012

Kniha byla vydána za laskavé podpory Skupiny ČEZ / The present book is published with the kind assistance of the CEZ Group

Poděkování autora / The artist would like to thank

Letuška, Rastislav II. Juhás, Richard Wiesner, Markéta Kinterová, Milan Guštár, Jakub Hybler, Pa3k Sedlák, Tomáš Džadoň, Rudolf Samohejl, Maxim Langer, Ďuro Novotný, Filip Nízký, Stephan Kuderna, Martin Souček, Petr Krušelnický, Kees Reedijk, Meet Factory, Libuše Kinterová, Vladimír Kintera, Nikola Böhmová, Libuše Böhmová, Jiří Bělohlav, Luboš Fišer, Petr Lorenc †, Roman Mikeska, Jan Kratochvíl, Libor Svoboda, Honza Fabián, Martin Mareček, Irena Perclová, Petr Sakař, Martin Polák, Roman Černý, Petr Hudeček, Tomáš Souček, Ignác Říha, Alenka Pivoňka, 4 + 4 dny v pohybu, Helena Kvintová, Armando Mariño, Chris Moore, Petr Borkovec, David Máj, Jiří Málek, David Černý, Mariana Serranová a další / and others

Redakční poznámka

Vzhledem k tomu, že publikace je česko-anglická a některá díla Krištofa Kintery mají pouze anglické názvy, zvolili jsme dvojí formální podobu popisků k reprodukcím. Tam, kde existují i české názvy, je nejdříve uveden český název a za lomítkem anglický, u případů, kdy byla díla dosud prezentována pouze pod anglickými názvy, řadíme první řádek popisku takto: anglický název a za ním v hranatých závorkách informativní překlad do češtiny, jejž však nelze považovat za oficiální název díla. Totéž platí pro úvodní titulky k jednotlivým kapitolám.Výjimku představují popisky k malým obrázkům u úvodního textu Karla Srpa; tam jsme u české verze ponechali jednotný model český název / anglický název, zatímco u anglické verze naopak, tj. anglický název / český název (s ohledem na jazykovou příslušnost čtenáře), ale u nezavedených českých názvů zůstávají tyto i zde v hranatých závorkách.

Note from the Editor

As the present book is published in both Czech and English while some works by Krištof Kintera have only an English title, the editors have opted for a dual form of captions for the images used. Where a Czech title exists, we cite the work as follows: Czech title – slash – English translation; in the event that the works have been presented exclusively under English titles, the citation is instead English title – slash – informative Czech translation in brackets – even though this cannot be regarded as an official title of the given work. The same applies to chapter headings.One exception to this are those captions relating to the small-format illustration which accompany the introductory essay by Karel Srp, where we use instead the uniform pattern of Czech title / English title from the Czech version, and the reverse in the event of an English version (i.e. English title / Czech title, respecting the linguistic orientation of the reader); the unofficial titles however remain in brackets.