Care for Architecture: Asking the Arché of Architecture to Dance
The Venice Biennale 2016
Reinstallation and Accompanying Program at the DOX Centre for Contemporary Art
March 6 – March 12, 2017
Architectural Solution for Reinstallation: Martin Stoss
Musical Interpretation 1: Ladislav Soukup, Martin Janíček
Musical Interpretation 2: Pavel Fiedler
Choreographic Interpretation: Farma v jeskyni of Viliam Dočolomanský, Concept: Viliam Dočolomanský, Monika Mitášová, Min Hieu Nguyen. Interpretation: Min Hieu Nguyen, Andrej Petrovič /dance/ and Vít Halška /percussion/. The project is realized in cooperation with Lenka Flory.
Round Table: Rostislav Švácha, Petr Kratochvíl, Petr Hájek, Marian Zervan, Monika Mitášová
The exhibition Care for Architecture - Asking the Arché of Architecture to Dance is not merely a relocation of the architectural exhibition of the Pavilion of the Czech and Slovak Republics from the 15th International Architecture Exhibition in Venice to DOX in Prague. It is, in the true sense of the word, a re-installation. It is not only a rearrangement of the model and a single installation wall with diagrams and visual documents. It is more complex. Some components that were in Venice only textual and catalog-based become part of the visual whole as originally intended. The re-installation also develops and enriches the key line of dance with musical and choreographic interpretations of the Slovak National Gallery premises – one of the most significant and at the same time most controversial buildings of the second half of the 20th century in Slovakia by architect Vladimír Dedeček. It emphasizes and deepens the meaning of the entire exhibition, which rests on the conviction that the struggles for this – but also for any architecture – cannot be fought in clashes between supporters and opponents of architecture – whether they represent any camps and positions. On the contrary, struggles must be transformed into a dance of projects and a renewal of architectural language, without which any care – including heritage preservation – and any provisioning would be meaningless. It is precisely the concern for architecture, for its dance – joyful architecture itself – that can, through its own means and creative processes, help solve pressing issues and bring architectural questions back to the center of social interest. This is the legacy of Dedeček's premises, and this re-installation could contribute to that.
March 6 – March 12, 2017
Architectural Solution for Reinstallation: Martin Stoss
Musical Interpretation 1: Ladislav Soukup, Martin Janíček
Musical Interpretation 2: Pavel Fiedler
Choreographic Interpretation: Farma v jeskyni of Viliam Dočolomanský, Concept: Viliam Dočolomanský, Monika Mitášová, Min Hieu Nguyen. Interpretation: Min Hieu Nguyen, Andrej Petrovič /dance/ and Vít Halška /percussion/. The project is realized in cooperation with Lenka Flory.
Round Table: Rostislav Švácha, Petr Kratochvíl, Petr Hájek, Marian Zervan, Monika Mitášová
The exhibition Care for Architecture - Asking the Arché of Architecture to Dance is not merely a relocation of the architectural exhibition of the Pavilion of the Czech and Slovak Republics from the 15th International Architecture Exhibition in Venice to DOX in Prague. It is, in the true sense of the word, a re-installation. It is not only a rearrangement of the model and a single installation wall with diagrams and visual documents. It is more complex. Some components that were in Venice only textual and catalog-based become part of the visual whole as originally intended. The re-installation also develops and enriches the key line of dance with musical and choreographic interpretations of the Slovak National Gallery premises – one of the most significant and at the same time most controversial buildings of the second half of the 20th century in Slovakia by architect Vladimír Dedeček. It emphasizes and deepens the meaning of the entire exhibition, which rests on the conviction that the struggles for this – but also for any architecture – cannot be fought in clashes between supporters and opponents of architecture – whether they represent any camps and positions. On the contrary, struggles must be transformed into a dance of projects and a renewal of architectural language, without which any care – including heritage preservation – and any provisioning would be meaningless. It is precisely the concern for architecture, for its dance – joyful architecture itself – that can, through its own means and creative processes, help solve pressing issues and bring architectural questions back to the center of social interest. This is the legacy of Dedeček's premises, and this re-installation could contribute to that.
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