When behaving as waves, [particles] can simultaneously pass through several openings in a barrier and then meet again at the other side of the barrier. This "meeting" is known as interference. Strange as it may sound, interference can only occur when no one is watching.

Wherever indeterminacy (apeiras) reigns, wherever there are no limits and no directions, whenever we are trapped, encircled or caught in inextricable bonds, it is, according to Detienne and Vernant, Metis who intervenes, who discovers stratagems, expedients, tricks, ruses, machinations, mechane and techne which allow us to move from the absence of limits to determinacy, from darkness to light. The kinship between Poros and Metis provides an indissoluble link between journey, transition, crossing, resourcefulness, expediency, techne, light and limits (peiras).

How does an artist live and work in isolation? How can he/she follow up on exhibition commitments? What kind of artistic strategies should be developed in order to maintain a presence and contact with the public in this situation? What would then be the role of the curator, and of the institution in general, in extreme situations where mobility is imperiled?

Under the motto "Freedom is My Home," the third annual international symposium dedicated to the work of Jiří Trnka takes place in October 2024. Alongside the symposium's expert program, various accompanying events for the general public will be organized at several locations in Plzeň.

In the context of our symposium, which focuses on dance, choreography, and performance, we also want to examine the implications of the concept of resonance for (physical) movement – and to what extent these resonances in movement can be linked to musical resonances.
