2015 © Anderwald + Grond
Reenactment in Istanbul of Mieko Shiomi's work event for the late afternoon performed in Okayama, Japan, 1964. (http://www.moma.org)
When we are not looking, the world is acting completely crazy. But as soon as we turn around, it pretty much acts as normal.
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).
This etymological kinship with water seems to be another hint to the watery depths through which we have to make our “way”, our “poros”, when we experience dizziness.
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.
The series focuses, in feature films and short films or with video and performance, on future concepts beyond apocalyptic catastrophes or technical utopias that develop positive action patterns of social and economic coexistence.
