Fotograf Magazine

[ref]Text: Slovo jako slovo / Word as Word is used in Valoch’s own typescript of A4 size,Malá pocta Bohumile Grögerové / A Small Ode to Bohumila Grögerová, 1982.[/ref] From the start of Valoch’s active existence in the art world, his work has been inseparably tied to curatorial and theoretical activities; one de facto creates the other…

The starting point for minor observation and brief contemplation of the nature of Rudolf Sikora’s (1946) work could in fact be his self- portrait called, Ne! Ne! Ano? / No! No! Yes? (1980)…

In 2011, several artists and architects were invited by Hans Ulrich Obrist to meet at a round table discussion at Art Basel, on the subject of “The Artist as Urban Planner.” Over the course of the last decade, similar gatherings of eminent curators, critics and others working in the field of culture have become an almost mandatory part of art fairs, a sort of veneer of theory serving to veil the basic nature of the art business, the purpose of every “art festival…

The premise of the work of American artist Shannon Ebner is not based on Ed Ruscha, as was often noted, but rather on an interpretation of it by Yves-Alain Bois, presented in the early 1990s.[ref]Yves-Alain Bois, “Thermometers Should Last Forever”, in: Edward Ruscha: Romance with Liquids, Paintings 1966–1969, Rizzoli International Publications, Inc, 1993…

In the Enlightenment Era, a considerable influence on present-day reality, European thought imagined the body as an orderly, structured biological machine. The concept of the body has since undergone cardinal changes, even to the point of conceptualizing it as hollow, its surface coated with skin (“body without organs”)…

”If you were a conceptual artist in the late nineteen-sixties and early nineteen-seventies, it scarcely mattered what you did, as long as it wasn’t much, and you documented it,” critic Peter Schjeldahl once said…