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bjornolf-bjarki · 6 months ago

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Revamped Sigurd reference sheet(Hellsing AU Lore bits included) Mature content ahead btw

Name(s) of character and explanations:

1: Sigurd Fenryka Magnusson (primary full name given by his father Petr Odayev Aleksander, nicknamed Magnus, and his uncle Wayland Gunther)

2: Constantine Valdorius Pendraco (Secondary full name given by his mother Irene Adriana Pendraco and grandfather Anarawd Pendraco)

The reason for his two full names is that it's a Welsh cultural (at least for my au) norm for families/clans to name their child with two full names to confirm their union in a marriage once it bears a child, thus unifying the two families together.

Art Credit: @v4nt4bl4ck On tumblr as name is shown)

and this one from @cry-ptidd

Classification: Thor Class Supersoldier, Psychically gifted individual.

Species: Human, infected with a curse from a Varcolac (Werewolf/vampire hybrid creature)

Condition and medical treatments: Undiagnosed ADD/Autism, treated Rage addiction, werewolf/vampire hybrid curse with wolfsbane pills and UV light treatment to keep the beast(s) at bay, and a fully enacted super soldier implantations and treatments to help his body grow into the curse so his body wouldn't be ripped apart by physical mutation and enhanced growth.

Age: in 1999 he'd be 20 years old, birth date is January 7th, 1979.

Gender: Male (amab) pronouns being he/him. He's pretty comfortable with how he was born but he does have some oddities he's got in this sort of identity he's got.

Sexuality and Kinks: Considered himself straight for most of his life but realized he was Pansexual/Bisexual when one of his best friends came out to him and they started dating for a little while. He's discovering more about himself each day in that department, especially since he's a confident switch in the dynamics.

NSFT part: He's got a breeding kink, some light bdsm, brat taming, competitive sex, fight play, biting kink, exhibitionism, and other loosely tied kinks as well.

Voice claim: Aiden Caldwell from Dying Light 2

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Scars/body details: Incredibly chiseled and well muscled due to genetic modification, scars all over from scratches, deep cuts, stabs, gunshot wounds, notable scars on his face over his right eye and two parallel cut scars diagonally rising from his jaw to his nose, and a large bite wound at his side. He is also covered in Norse-style tattoo at the front of his body to help keep his powers in check and as a retelling of his life story since the 5 years of war beginning in 1994 after what he thought to be a temporary vacation when he met his first love Seras Victoria and was with her for a month while she was in the orphanage. Then he continued the rest of his trip with his older brothers to a huge medieval-themed festival in Kosovo and all the way to his oaths to avenge his oldest brother Joshua. Only for them to be dragged into the grim plans of millennium's schemes for their war against Alucard, England, and then the world. Years of conflict and loss painted his body with not just scars but with tattoos as well. Each rune recounted atoning for old shames and liberating lost lands from vampire hordes spurned on by rebellions in the Balkans. These things are how he bares his soul to those who truly begin to know him. He also has a wedding ring on his finger, though he won't talk much about it to anyone.

Personality: Strangely positive, yet still marked by a deep determination fueled by his grim past. He's also remarkably calm under most pressure he faces. He also feels very strongly about injustices against people and will vocally stand up for more vulnerable, oppressed people since he is deeply anti-authoritarian. He's also very gentle with most people since he still has a hard time gauging his own strength in some moments. He's also a massive adrenaline junkie too, often doing things like parkour in Urban environments if bored enough or maybe something like hunting dangerous games with minimal equipment in rural areas. He's overall a very casual, fun person to be around like Pip would be in Hellsing. Though, with people who would be his sexual/romantic partners, he is much more sensual in his mannerisms. For a morally grey-ish character, he's turned out better than most of the other characters in the Hellsing universe as a whole.

Powers/abilities: He's not only stupidly strong since he's a super soldier but he also has some psychic abilities. One is that he can instill panic/general emotional distress into people around him. It's almost like a full-power sonar blasted in a general area or directly aimed at a spot and you're underwater when it happens as a diver. It's not just loud, it's disorientating, literally to the point you get sick or possibly even die underwater from drowning. Sigurd's powers of course aren't exactly like that, but it's just a heavy, smothering presence in the air that makes you feel like walls are closing in around you. He's caused people to have heart attacks before at its worst. So not only can he bench press a whole-ass black bear and leg press one too, but he would also scare you half to death by getting a little frustrated at you. So he's had to really tone himself back from his angrier past. Another ability he has is being able to communicate to most animals due to his curse.

Professions: To put it bluntly this guy would put the famous doctor, surgeon, therapist, plumber, professor, mechanic, pizza delivery guy, etc Johnny Sins look like a chump. Sigurd's been a commander of entire armies before and more than that too. But he's also had a very humble background in more working-class jobs like being a butcher, factory worker, and construction worker, even tried working in fast food but quit after a week when calling a rude customer a "rambunctious hoe" and slapping his boss across the face for being a dick about it. He's also been a mercenary before for a short period of time during the beginning of the war he was in. He was also a sex worker of sorts after his 19th birthday. So yeah he's had a wild time. Finally, he's found a new job with Hellsing after a war in Italy when Alucard fought him to a near stalemate until Sigurd ran out of steam and surrendered after sending his soldiers away. And instead of being executed, he was spared to recruit him and see what he could do.

(more might be added soon since I posted this at 2:45 am or whenever, kinda going stir crazy)

#hellsing oc #oc ref #ref sheet #under construction-ish #not my art #Youtube #oc #my oc #sigurd my beloved #years of work now laid bare #hope y'all like it btw #hellsing

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kauma-kardia · 7 months ago

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THE WORLDS: Di'Xyne²

The Pyr Lands

The Pyr Lands are the largest nation of the 4 as during their industrialization era, they sought to expand their borders for resource rich areas before the other nations could catch up, hitting hard and fast with cutting edge weapons and warfare.

Since then, they’ve made themselves the capital leaders using mass production and their constant need for rapid technological advancement. On top of that, they have culled monsters nests and wildlands in order to rapidly urbanize as much of the continent as possible. Their imperial might is second only to the Petr Kingdom. Their capital is Pyrise, the most populated city on the planet, and sits close to the Volutan border.

It’s the highlight of modernity but with that comes problems ranging from 1st World woes, to systemic issues on a scale that your average layman knows nothing about. The major issues being the lack of updated worker’s rights and the resources needed to keep up this ideal of infinite growth interrupts the spiritual flow of nature in these areas, which leads to conflict with citizens and the colonies. One of the major controversies of note currently being the placement of Aether Reactors closer and closer to mainland settlements.

Even so, this land is still full of magic, just under the surface. Places yet untouched. Mysteries left to be found. And there are still quite a few who know just how to bring it forth. Much of it is hidden under roadways and scaling buildings but if you peel back the layers, you’ll find it.

#post ;; world building #realm. ;; reality

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lewis-mumfords-ghost · 10 months ago

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Aside from your urbanism book in your blog description, what are some of your favorite authors?

I'm currently reading through murray bookchin's bibliography so recommend him. As well, Jane Jacob's The Life and Death of Great American cities is a classic, though I probably wouldn't consider her a favourite cause I have some beef with The Economy of Cities.

As well, I enjoy Petr Kropotkin's writings as they're the basis of modern anarchism. I'll also recommend Engin Isin's cities without citizens as an excellent look at Canadian cities, though I've not read his other works. Another author who I can only speak to a singular book of is Andy Merrifield and his work Metromarxism.

Outside urbanism and political theory though, I love Ray Bradbury. I have a complete collection of his short stories which I think are criminally underappreciated compared to Fahrenheit 451.

#ask #felosia #anarchism #marxism #peter kropotkin #urbanism #urban planning

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aijamisespava · 1 year ago

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One Final ESC 2023 Thought: Favorite Songs From Each Country (participating AND non-participating)!

AAAAA I'M SO SORRY FOR DISAPPEARING OFF THE FACE OF THE EARTH FOR A WHILE! I just...never got around to my finale before we get to some fun Junior Eurovision 2023/Eurovision 2024 stuff! So here is my finale: Where I share my favorite songs from each country in Eurovision from 2009 to the present.

So, how is this going to work? I'm going alphabetically because it's easier to do it like that. I'm giving you my top 2 from each country, but not the placements. If you want those, they're on the Eurovision website (I will put the year down though). Now, let's get to it!

Albania: "World" by Lindita (2017)/"Ktheju Tokës" by Jonida Maliqi (2019)

Andorra: "La Teva Decisió (Get A Life)" by Susanne Georgi (2009)

Armenia: "Future Lover" by Brunette (2023)/"Not Alone" by Aram MP3 (2014)

Australia: "Promise" by Voyager (2023)/"Sound Of Silence" by Dami Im (2016)

Austria: "Who The Hell Is Edgar?" by Teya & Salena (2023)/"I Am Yours" by The MakeMakes (2015)

Azerbaijan: "Hold Me" by Farid Mammadov (2013)/"Fade To Black" by Nadir Rustalmi (2022)

Belarus: "Forever" by Alekseev (2018)/"Eyes That Never Lie" by Petr Elfimov (2009)

Belgium: "Rhythm Inside" by Loïc Nottet (2015)/"The Wrong Place" by Hooverphonic (2021)

Bosnia & Herzegovina: "Korake Ti Znam" by Maya Sar (2012)/"Ljubav Je" by Jalal & Deen/Ana Rucner/Jala (2016)

Bulgaria: "If Love Was A Crime"/"Na Inat" both by Poli Genova (2016 & 2011 respectively)

Croatia: "Guilty Pleasure" by Mia Dimsic (2022)/"Tick Tock" by Albina (2021)

Cyprus: "Alter Ego" by Minus-One (2016)/"El Diablo" by Elena Tsagrinou (2021)

Czechia: "Lights Off" by Domi (2022)/"My Sister's Crown" by Vesna (2023)

Denmark: Øve Os På Hinanden" by Fyr og Flamme (2021)/"Only Teardrops" by Emmelie de Forest (2013)

Estonia: "Goodbye To Yesterday" by Elina Born & Stig Rastä (2015)/"Rändajad" by Urban Symphony (2009)

Finland: "Something Better" by Softengine (2014)/"Jezebel" by The Rasmus (2022)

France: "L'enfer et moi" by Amandine Bourgeois (2013)/"Évidemment" by La Zarra (2023)

Georgia: "Warrior" by Nina Sublatti (2015)/"Echo" by Iru (2023)

Germany: "Taken By A Stranger" by Lena (2011)/"Ghost" by Jamie-Lee (2016)

Greece: "Die Together" by Amanda Tenfjord (2022)/"Aphrodisiac" by Eleftheria Eleftheriou (2012)

Hungary: "What About My Dreams?" by Kati Wolf (2011)/"Running" by Andra Kallay-Saunders (2014)

Iceland: "Hear Them Calling" by Greta Salome (2016)/"10 Years" by Daði Freyr (2021)

Ireland: "Playing With Numbers" by Molly Sterling (2015)/"That's Rich" by Brooke (2022)

Israel: "Same Heart" by Mei Finegold (2014)/"Rak Bishvilo" by Moran Mazor (2013)

Italy: "La Mia Città" by Emma (2014)/"ZITTI E BUONI" by Måneskin (2021)

Latvia: "Aijā" by Sudden Lights (2023)/"Love Injected" by Aminata (2015)

Lithuania: "Stay" by Monika Linkyte (2023)/"Discoteque" by The Roop (2021)

*can't wait to see Luxembourg next year!!!*

Malta: "This Is The Night" by Kurt Calleja (2012)/"Je Me Casse" by Destiny (2021)

Moldova: "O Mie" by Aliona Moon (2013)/"Run Away" by Sunstroke Project & Olia Tira (2010)

Montenegro: "Adio" by Knez (2015)/"Breathe" by Vladana (2022)

Netherlands: "Arcade" by Duncan Laurence (2019) *CONGRATS ON 1B SPOTIFY STREAMS!*/"De Diepte" by S10 (2022)

North Macedonia: "Crno I Belo" by Kaliopi (2012)/"Jas Ja Imam Silata" by Gjoko Taneski (2010)

Norway: "Fairytale" by Alexander Rybak (2009)/"Queen Of Kings" by Alessandra (2023)

Poland: "Flashlight" by Kasia Moś (2017)/"River" by Ochman (2022)

Portugal: "Amar Pelos Dois" by Salvador Sobral (2017)/"Vida Minha" by Filipa Sousa (2012)

Romania: "Playing With Fire" by Paula Seling & Ovi (2010)/"Amnesia" by Roxen (2021)

*I would like to look into which artists do NOT support the war before sharing my favorites for Russia*

San Marino: "Adrenalina" by Senhit & Flo Rida (2021)/"Stand By" by Senhit (2011) *yes...same artist 10 years apart*

Serbia: "Samo Mi Se Spava" by Luke Black (2023)/"Goodbye (Shelter)" by Sanja Vučić ZAA (2016)

Slovakia: "Horehronie" by Kristina Pelakova (2010)/"Don't Close Your Eyes" by Max Jason Mai (2012)

Slovenia: "Carpe Diem" by Joker Out (2023)/"No One" by Maja Keuc (2011)

Spain: "Quedate Conmigo" by Pastora Soler (2012)/"Dancing In The Rain" by Ruth Lorenzo (2014)

Sweden: "Heroes" by Måns Zelmerlöw (2015)/"Popular" by Eric Saade (2011)

Switzerland: "Tout l'univers"/"Répondez-moi" both by Gjon's Tears (2021 & 2020 respectively)

Turkey: "We Could Be The Same" by maNga (2010)/"Dum Tek Tek" by Hadise (2009)

Ukraine: "Under The Ladder" by Mélovin (2018)/"Time" by O. Torvald (2017)

United Kingdom: "I Wrote A Song" by Mae Muller (2023)/"Never Give Up On You" by Lucie Jones (2017)

Thank you so much for joining me this year! Looking forward to the new year of Eurovision stuff!

#esc #eurovision song contest #eurovision #esc 2023 #eurovision 2023 #esc2015 #esc2014 #esc2016 #esc2009 #esc2010 #esc2021 #esc2011 #esc2022 #esc2012 #esc2013 #esc2017 #esc2018 #esc2019 #esc2020

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newstfionline · 3 months ago

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Sunday, September 15, 2024

The disaster our cities are not prepared for (Washington Post) For days, residents of Houston struggled to survive as temperatures rose. They shared generators, filled buckets and bathtubs with ice, packed air conditioned hotels and emergency rooms. The most vulnerable struggled to get the care they needed. Many died. But in some ways, Houston was narrowly spared. Temperatures rose to the high 90s, but only for a couple of days. If the heat had stayed, the human toll could have been far worse. Experts warn this type of catastrophe—a combined power outage with a heat wave—is a scenario that cities and states are unprepared for. “I don’t think it’s likely—I think it’s an absolute certainty,” said Brian Stone, a professor and director of the Urban Climate Lab at the Georgia Institute of Technology. “I think it’s an absolute certainty that we will have an extreme heat wave and an extended blackout in the United States.” The Washington Post analyzed the risks of a prolonged, citywide blackout coinciding with a more severe heat wave. The results show that such a heat wave could kill between 600 and 1,500 people in the Houston metro area over five days. With the power grid working normally, the same heat wave would lead to around 50 deaths.

Mexico’s president asks Sinaloa cartel to act ‘responsibly’ as violence escalates in the north (AP) Mexican President Andrés Manuel López Obrador on Friday asked the warring factions of the Sinaloa cartel to act “responsibly” so no one else gets killed, after a week of escalating violence nearly paralyzed the Sinaloa state capital, Culiacan. Asked by a journalist if he trusted that the cartels would heed his call, López Obrador answered bluntly: “The president of Mexico is always listened to.” “Even by criminals?” pressed the journalist. “By everyone, more so if one has moral authority,” responded the president. The president, who leaves office on Sept. 30, has repeatedly refused to confront cartels, laying out various justifications for his “hugs, not bullets” strategy offering opportunities to youths so they won’t join cartels. The latest clashes in Culiacan are the latest example of the violence that continues to plague Mexico, where cartels employ increasingly sophisticated forms of warfare including roadside bombs or IEDs, trenches, home-made armored vehicles and bomb-dropping drones.

Seeking affordable housing in tourist hotspots (Reuters) Two European tourist and expat hot spots are trying different approaches to make housing affordable for their citizens. Greece will offer tax breaks to homeowners who convert their rentals to long term from short. Portugal is simply creating more supply by budgeting more than $2 billion to build 33,000 homes by the end of the decade.

Prague on high flood alert as central Europe faces torrential rain (AP) Prague was putting up flood defences in the city’s historic centre on Friday after Czech forecasters expanded a warning for extreme rainfall to areas of the country including the capital, which suffered catastrophic flooding more than 20 years ago. Heavy rain has pounded mostly eastern parts of the Czech Republic since Thursday, and the most affected areas may see more than a third of annual rainfall over four days by Sunday. Similar weather has been forecast around central Europe, including southern Germany and parts of Austria, Poland, and Slovakia over the coming days. “Data shows we are facing uneasy days,” Czech Prime Minister Petr Fiala told a televised briefing after a crisis committee meeting, adding that in some places water levels may exceed flooding coming on average once in 100 or more years.

Russia expels six UK diplomats as tensions rise over Ukraine missiles (Reuters) Russia’s FSB security service said on Friday it had revoked the accreditation of six British diplomats in Moscow after accusing them of spying and sabotage work, signalling the Kremlin’s anger at what it sees as London’s vital role in helping Ukraine. Britain described the accusations as “completely baseless”, saying it was a tit-for-tat action after the UK expelled the Russian defence attache and removed diplomatic status from several Russian properties in May. Russia announced the expulsions hours before British Prime Minister Keir Starmer met U.S. President Joe Biden at the White House, a crucial step towards winning the go-ahead for Kyiv to use long-range missiles against targets in Russia.

India’s top court releases New Delhi’s chief minister on bail after 6 months in jail (AP) India’s top court on Friday freed on bail Arvind Kejriwal, a prominent opposition leader and chief minister of New Delhi, who was arrested nearly six months ago ahead of national elections on charges of receiving bribes from a liquor distributor. Kejriwal is the leader of the Aam Aadmi Party, or Common Man’s Party, which governs New Delhi. He is one of India’s most influential politicians of the past decade and a fierce critic of Prime Minister Narendra Modi. Kejriwal was initially arrested in March, weeks before the national elections. He denied the accusations and called them a political conspiracy. Kejriwal’s party is part of a broad alliance of opposition parties called INDIA which was the main challenger to Modi’s Hindu nationalist Bharatiya Janata Party in the elections, which concluded in June.

Pope’s Asia Tour Points Toward a Less-Western Church (NYT) Over the last couple of weeks, Pope Francis hoisted himself up on sore legs dozens of times. As he crisscrossed large swaths of the Asia Pacific region, he shuffled from cars to his wheelchair, from the wheelchair to makeshift papal thrones and on and off many planes as hot, tropical winds blew on the tarmac. The trip amounted to the longest and farthest reaching yet for Francis, and at 87, some of his supporters fear it may be one of his last. But that he flew thousands of miles to Asian countries with relatively small Catholic populations, braving oppressive temperatures and high levels of humidity and pollution, underlined Francis’s commitment to building a church with a less Eurocentric future. “The long distance, the fatigue, the challenges,” said Cardinal Michael Czerny, a close aide to Francis. “They are part of the message.” His purpose, he has long made clear, is to emphasize outreach and inclusivity. As he visited remote, tropical villages in Papua New Guinea, he put in practice his pledge to embrace what he calls the church’s “peripheries,” faraway, minority or poorer Catholics.

China raises retirement age (CNBC) China will raise retirement age for the first time since 1978. The country’s top legislative body has approved proposals to “gradually raise” the retirement age from 60 to 63 for men, 55 to 58 for women in white-collar jobs and 50 to 55 for women in blue-collar jobs. The move aims at addressing China’s shrinking population and aging workforce. The policy change will be carried out over 15 years, starting in January 2025. China’s current retirement ages are among the lowest in the world.

Women in Iran are going without hijabs as the 2nd anniversary of Mahsa Amini’s death approaches (AP) On the streets of Iranian cities, it’s becoming more common to see a woman passing by without a mandatory headscarf, or hijab, as the second anniversary of the death of Mahsa Amini and the mass protests it sparked approaches. There’s no government official or study acknowledging the phenomenon, which began as Iran entered its hot summer months and power cuts in its overburdened electrical system became common. But across social media, videos of people filming neighborhood streets or just talking about a normal day in their life, women and girls can be seen walking past with their long hair out over their shoulders, particularly after sunset. This defiance comes despite what United Nations investigators describe as “expanded repressive measures and policies” by Iran’s theocracy to punish them—though there’s been no recent catalyzing event like Amini’s death to galvanize demonstrators.

Underage, Under Fire (AP) JENIN, West Bank—In the web of battered, sun-baked streets winding up the hillside, bloodshed is as unrelenting as the heat. So it is not hard to see why, when raid sirens and gunfire erupted yet again on a morning in late May, 15-year-old Mahmoud Hamadneh turned his bike down an alley that held out the promise of refuge. “He didn’t do anything. He only had his books and a pencil case,” says Amjad Hamadneh, whose son, a buzz-cut devotee of computer games, was one of two teens killed that morning in the opening minutes of a raid by Israeli forces. More than 150 teens and children 17 or younger have been killed in the West Bank since Hamas’ brutal attack on communities in southern Israel set off the war last October. Most died in nearly daily raids by the Israeli army that Amnesty International says have used disproportionate and unlawful force. At the same time, Israel, which has long jailed Palestinians from the West Bank without charge, has extended that practice to many more teens. After October, food deprivation, overcrowding of cells and other mistreatment escalated sharply, the recently released and advocates say.

The sweet success of banana wine (BBC) A small-scale farmer in northern Malawi, Emily Nkhana used to discard over-ripe bananas or just let them rot, but she has now found a profitable use for them—banana wine. Extreme heat was causing bananas to ripen too quickly, resulting in heavy losses for Ms Nkhana and many other farmers who live in Karonga district. “Then we discovered how to make banana wine,” she tells the BBC, as she peels lemons that would be used to preserve the taste of bananas at the processing plant of Twitule Cooperative Group. For the farmers, it is not just about making wine—but also survival, resilience, and embracing the new possibilities that come with a changing climate. The banana pulp misture is left to ferment for several weeks, transforming the banana pulp into a potent, aromatic wine, containing 13% alcohol—similar to wine made from grapes. “It’s smooth and light, almost like a dessert wine,” says Paul Kamwendo, a local wine enthusiast who has become one of the biggest fans of banana wine in Karonga. “I had no idea one could make wine out of bananas.”

Harvest Moon (Space.com) Look up on September 17! The Harvest Moon, the full moon closest to the fall equinox, will experience a slight lunar eclipse, a foretaste of the ring eclipse of the sun on October 2. The name “Harvest Moon” comes from a time before electricity and agricultural machinery, when farmers relied on the moonlight to harvest crops through the night and work more when their cultivations were the most bountiful.

Studies on pigeon-guided missiles, swimming abilities of dead fish among Ig Nobels winners (AP) A study that explores the feasibility of using pigeons to guide missiles and one that looks at the swimming abilities of dead fish were among the winners Thursday of this year’s Ig Nobels, the prize for comical scientific achievement. Held less than a month before the actual Nobel Prizes are announced, the 34th annual Ig Nobel prize ceremony at the Massachusetts Institute of Technology was organized by the Annals of Improbable Research magazine’s website to make people laugh and think. Winners received a transparent box containing historic items related to Murphy’s Law—the theme of the night—and a nearly worthless Zimbabwean $10 trillion bill. Actual Nobel laureates handed the winners their prizes.

#headlines #news

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how-much-for-a-whump · 2 years ago

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Zoo (22)

#czech #czech series #whump #passing out #bleeding #fear of needles #wound suturing #unconscious #zoo #Petr Kříž #Robert Urban #Viktorie Janečková #Eva Burešová

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thingsdavidlikes · 2 years ago

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by Gioacchino Petronicce https://flic.kr/p/qo6Vze

#photography #gioacchino #petronicce #black #white #mood #street #urban #Gioacchino Petr

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architectuul · 4 years ago

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Demolitions

for Czechoslovakia’s architectures between 1960s–1980s is a controversial subject. The public may still regard it negatively, owing to a lack of information or an adverse experience with the country’s regime before the Velvet Revolution.

Omnipol Building by Zdeněk Kuna, Zdeněk Stupka, Milan Valenta, Josef Zdražil, Ladislav Vrátník (1974–1979) | Photo © Kamil Warta, National Gallery Prague

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Erosion of Transgas (2020) by NGP/Loom on the Moon

Helena Doudová, the curator of the exhibition NO DEMOLITIONS! Forms of Brutalism in Prague, presents Brutalism buildings in Prague that prominently enter the urban scene. The nearly two hundred and fifty original architectural plans, photographs and models come mostly from the Architecture Collection of the National Gallery Prague. The examples of the most progressive architecture works feature the Kotva Department Store, the former Central Telecommunications Building at Žižkov (marked for demolition), the former Federal Assembly, Hotel Intercontinental and Barrandov Bridge and the recently demolished Transgas complex.

“No Demolitions!” is a quite straightforward title for an exhibition. What is happening in Prague and the Czech Republic, that led you to organize this exhibition and choose this title?

With the exhibition we intended to highlight the values of late modern and brutalist architecture in Prague that becomes either demolished or refurbished beyond the point of recognition. Some of the buildings ceased to exist throughout the one year since we started working on the topic. We intended to show that the buildings by the architects like Karel Prager, Karel Filsak, the husband-and-wife team Machoninovi and Šrámkovi have built edifices, which are comparable with the most prestigious architecture production of the former Western Europe and the US.

Center of Home Design by Věra Machoninová, Vladimír Machonin (1971–1981) | | Photo © Kamil Wartha, National Gallery Prague

The Trade Fair Palace is an exclusive choice for an architectural exhibition; why did you choose this location?

It is a building with strong symbolic meaning, a real jewel of functionalist architecture but at the same time it is difficult to present an exhibition due to technical parameters as light because paper plans and photography are very sensitive to it. The gallery floor plan worked quite well in a sequence, so the exhibition concept fit quite well. Ondřej Císler created vitrines with colored large plans and prints from the architecture collection of the National Gallery in Prague. Plans are contrasted with the photography of the deteriorated state of the buildings by Olja Triaška Stefanović.

In many countries of the former East Bloc, protecting Late Modern architecture creates a specific challenge, as these buildings are widely associated with the negative perception of the political era they were created in. This can very easily lead to iconoclastic gestures, as we have seen in the case of Skopje 2014. What can art history, museology and the wider profession do against this phenomenon?

The negative public opinion toward these buildings is a cluster of multiple problems. One general problem not only in the Central or Eastern Europe is the poor long term maintenance, which makes the buildings appear even more brutal than intended in the architecture design. As the exhibition shows, the architects were thinking of the public space around these buildings, inserted artworks and parks, as a number of designs show.

Secondly, the political associations are difficult, but also controversial to me. I very much think that the socialist state invested into large public buildings before 1989 and did provide socially accessible culture programs, sports, etc. So to me the brutalist buildings are valuable and authentic through their aim to belong to the community but also undercover propaganda. One can’t change people's memories or their experience with communism, but it’s not the fault of buildings that were ironically planned in the golden sixties in the time of the political détente in Czechoslovakia.

The exhibition | Photo © Katarína Hudačinová, the National Gallery Prague

In comparison, no large public building in Prague has been built since 30 years, what shows the shift of the capital flow with privatization. Nowadays, the real estate investors misuse the negative public opinion to demolish high quality buildings to acquire lucrative plots in the city centre for private investment. In many cases it would have been possible to reuse the brutalist buildings at a lower expense, like for example the Embassy of CZ in Berlin.

The National Gallery seems to be a prestigious place for the exhibition about the architecture of an era that is widely disputed and is also a strong institutional statement; how are Czech academics and professionals reacting to the events around the architecture of the 1960s, 1970s, 1980s?

I very much believe in the power of the exhibition as a tool for mediation and education, but also bringing up controversial or uncomfortable topics. That is the position the National Gallery has. Its architecture collection is centred around post-1945 architecture so it is logical to present it in an innovative perspective. Brutalism has received international acclaim in architecture history since 2010s, so we have had many academic discussions, but to me it is important to bring the phenomenon to the public. It is interesting that the expression is the same in former East and West, the only difference is that in the former West the buildings like the MET Breuer are celebrated, while in the former East these buildings are admired by the professionals and despised by the wide public.

In most of our countries we see the profession and the public speaking out to protect some of these buildings, in Hungary this happened by the proposed demolition of Zoltán Gulyás’ Chemolimpx office building in the early 2010s, and more recently when the government announced the demolition of Csaba Virág’s soc-hi-tech Electric Power Distribution Center. There are similar stories in Czechia and Poland - how do you explain the public being so involved in these cases?

Yes, there is an entire movement of active architecture historians, architects and interested public. David Crowley, the head of arts department of the NCAD in Dublin, is a great observer of these shifts, which demonstrate a renewal of the consciousness for public sphere and public spaces in general. So far the protests have been unsuccessful in confrontation with the investment pressures, a culmination point was the demolition of the Transgas building, public protests accompanied the demolition of Hotel Praha, and eventually rescued railway station in Havířov. Crowley says this a unique trait in Central Europe as he has not seen such engagement in the UK or Ireland. In Germany, the heritage protection of post-war buildings is really advanced by now, but there are not such strong public initiatives to me...

Transgas Complex by Ivo Loos, Jindřich Malátek, Václav Aulický, Jiří Eisenreich, Jiří Kozák, Jan Fišer (1966–1978) | Photo © Kamil Wartha, National Gallery Prague

Why did you choose brutalism as a specific style to sum up these buildings? Strictly speaking, the term is quite well defined and confined to a specific group of mostly British and American buildings, what is brutalism in your definition?

The usual association is béton brut, with the main inspiration of Le Corbusier. At the same time, I took at hand Rayner Banham, who speaks about three criteria, in short – the figure, the revealed construction and authenticity of material, which would better comply with the notion of brutalism in variety. Also brutalism has been changing from the expression of the Smithson's Hunstanton school, to let's say Paul Rudolph. In such way brutalism became an international expression with multiple specifics.

Hotel Intercontinental by Karel Filsak, Karel Bubeníček, Jiří Louda, Jaroslav Švec a kol. (1968–1974) | Photo © Kamil Wartha, National Gallery Prague

The notion of brutalism has been a subject of a dispute in the curatorial team with Petr Vorlík, Klára Brůhová (CTU Prague) and Radomíra Sedláková (NG Prague). We assumed the Czech architecture was influenced by brutalism, to a smaller or larger extent depending on every architect. Architecture of late modernism in Czech shows finer handling of material such as glass, mosaics, of wooden cladding, a variety of bright colours, that do not particularly express the notion of brutalism associated with rough concrete. The houses do in a way respect the scale of the surrounding city, are most often broken down in a composition of smaller volumes, reference bay windows of surrounding houses, etc.

PZO Centrotex Building – Václav Hilský, Otakar Jurenka (1972–1978) | Photo © Kamil Wartha, National Gallery Prague

At the same time the label brutalism is in public drawn to all kinds of buildings, which have with little or nothing to do with late modernism, actually, are clad in stone. So as architecture historians we strived to differentiate and raise public awareness on the topic.

Is there a specific Czech brutalism? Are there any national or regional characteristics in this era?

This is not an easy question. Brutalism was a global and a local phenomenon. Interestingly, in the Czechoslovak architecture we see magazines that iconic brutalist buildings were published, like La Tourette, or the architecture by Stirling in the 1960s and 1970s. So the information iron curtain was more semi-penetrable in terms of architecture knowledge and expression, like Ákos Moravánszky says. The regional specifics construction processes, the quality and variability of materials, which was lower in the former Eastern block, and also the public opinion which incorrectly associates the buildings with state socialism.

We are talking about the architectural production of an era that produced an incredible amount of buildings. How is it possible to create a canon for such a recent past and what do you think about the monumental protection regarding these buildings? What should be protected and how? Can you also name a few example, interesting buildings (and interiors) from Czechia?

A unique example is the already heritage protected Kotva Department Store by architect's team Věra and Vladimír Machoninovi.

Kotva department store in Prague. | Photo © Olja Triaška Stefanović

The former Federal Assembly is another iconic example of a daring construction originally intended for bridges. It encloses the former classical modernist stock exchange building and complements the ensemble anew. Interiors have unfortunately been refurbished and only very few items are present in the museums.

Former Federal Assembly Building Prague. | Photo © Olja Triaška Stefanović

A unique example is the Czech embassy in Berlin with intact interiors. A contested interior reconstruction is currently Hotel Thermal by Machoninovi in Karlovy Vary. At least five outstanding buildings have been demolished in Prague, countless have been refurbished. Only two above-named brutalist buildings are heritage protected, other like Hotel Intercontinental by Filsak, or Centrotex by Hiský, Motokov by Kuna should become protected as unique works of art and architecture.

___

Interview by Dániel Kovács and first published in Epiteszforum.

Photo © Jan Faukner

Helena Doudová is curator of the Architecture Collection of the National Gallery Prague. She gained curatorial and museum experience as research and curatorial fellow of the International Museum Program in the German Museum of Books and Writing in Leipzig in collaboration with the University of Erfurt and the German Federal Cultural Foundation 2016/2017, as a Robert Bosch Fellow at Architecture Museum of the TU Munich – Pinakothek der Moderne (2011–2012) and as an intern in the German Architecture Centre DAZ in Berlin (2013–2014). She initiated and curated NO DEMOLITIONS! Forms of Brutalism in Prague, Baugruppe ist super!, Image Factories: Infographics 1920-1945: Fritz Kahn, Otto Neurath. She is a PhD candidate at the Institute of Art History of the University of Zurich. She was awarded DAAD research scholarship and Aktion Österreich scholarship.

***

NO DEMOLITIONS! Forms of Brutalism in Prague

From 6.3.2020 to 22.11.2020 at the Trade Fair Palace – 3rd floor Dukelských hrdinů 47, 170 00 Praha 7 Map

Curator: Helena Doudová Collaborating experts / co-curators: Klára Brůhová (FA CTU in Prague), Radomíra Sedláková (NGP), Petr Vorlík (FA CTU in Prague)

#interview

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densvartaambulansen · 4 years ago

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The Exploding Cactus

There’s this urban legend going around about a person buying an exotic plant as a decoration for their home. Unfortunately, the plant comes with a dangerous surprise in the form of spiders, a snake, or other unpleasant critters hidden inside. The kinds of the plant and animals vary among different versions of this urban legend and they may vary even within one country.

Bengt af Klintberg uses an example story sent to him by a reader in 1990. The informant is from Trondheim and retells a story which he heard from his friend, who heard it from her hairdresser’s acquaintance.

The hairdresser supposedly bought a potted palm tree in an unspecified store. Upon bringing the palm home and watering it, the palm bent down as if it was thanking her for the water. The hairdresser’s friend also wished to have such a palm tree and ringed the store asking for “that one which bows down and thanks its owner”. But instead, the store sent a team of men in hazmat suits to take care of the hairdresser’s palm because this behaviour wasn’t normal. They sprayed the palm with poison and pulled it out of the pot. A long snake fell out of the trunk. It presumably hatched out of an egg in the tree while it was being transported to Norway and then hid in the tree. The movement of the trunk was caused by the movement of the snake inside.

The Czech example provided in Petr Janeček’s collection of urban legends is quite similar.

It’s introduced as a story told by a friend of a friend about an exotic plant – this time a banana tree – bought in a local Baumax. The tree was making strange movements but the owners disregarded it as hallucinations caused by the drugs they took that day. However, the owners got a phone call from the police asking about the tree and soon a pest control team came. In the tree roots they found a tarantula guarding a bunch of eggs.

This urban legend it quite widespread in Europe. Its earliest roots go back to mid-1970s, when a story known as The Spider in the Yucca appeared. In September 1975 the Swedish evening newspaper Expressen reported a story about a spider hidden in a cactus bought somewhere abroad, and in 1977 a similar report came from Vienna. However, it was mainly in Sweden and Finland where this story was spreading fast. In 1983, Göteborgs-Posten, another Swedish newspaper, reported about a venomous spider hidden in a yucca plant and warned people about the possible dangers of buying exotic plants. Similar reports later emerged in Åbo and Stockholm.

Other countries where this story got popular were for example France, United Kingdom, and the Netherlands. In the UK, the seller of the dangerous plant was usually the Marks & Spencer chain. Other reported chains include Baumax, Obi, or Hornbach.

What happened in the story is of course not true. These exotic plants are grown in European greenhouses and undergo regular check-ups. The main source of this urban legend is a man’s mistrust for the foreign, and fear of possibly dangerous critters, such as spiders, and snakes.

Sources:

AF KLINTBERG, Bengt. Den hövliga palmen. Den stulna njuren. Norsteds förlag AB, 1994, s. 53-57. ISBN 91-1-949042-9.

JANEČEK, Petr. Zelené nebezpečí. Černá sanitka: To nejlepší ze současných pověstí a fám. Prague: Plot, 2009, s. 144-145. ISBN 978-80-7428-014-6.

#urban legend #urban legends #urban myths #creepypasta

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filmycz21-blog · 4 years ago

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Sledujte Zde 🎬▶ https://server.dreams47.com/movie/642695/zaklet-prko.html

Aninka žije na statku se dvěma nafoukanými sestrami, kterým musí sloužit. Jednoho dne najde pírko, jehož pomocí si přivolá prince Vítka, zakletého do ptačí podoby. Když zlé sestry zjistí, že se Aninka schází s pohledným mladíkem, pírko jí vezmou, zničí a Vítek zmizí. Jedinou možností, jak zlomit prokletí, je, že ho Aninka najde kdesi ve světě. A tak se dívka vydává na cestu za záchranou svého milého. Jejím průvodcem se stává vodník, jehož na počátku putování zachrání před zlým sedlákem. Společně prožijí řadu dobrodružství i legrace. A přestože vodnická kouzla dokáží Anince pomoci, jak k uzdravení nemocných, tak na obranu proti loupežníkům, k záchraně Vítka bude potřeba především pravá láska

Režie: Zdeněk Troška Scénář: Marek Kališ, Zdeněk Troška Kamera: David Ployhar Hudba: Miloš Krkoška Hrají: Anastasia Chocholatá, Sara Sandeva, Lukáš Pavlásek, Šárka Vaculíková, Lucie Polišenská, Marek Lambora, Václav Svoboda, Martin Stránský, Dana Syslová, Jitka Smutná, Petr Urban, Jakub Volák, Václav Duchek, Andrea Hoffmannová, Michal Miki Grepl, Ladislav Dostál, Antonín Mašek, Jiří Bláha, Aneta Procházková, Viktorie Kožíšková, Zuska… (více) (další profese)

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#Zakleté pírko online #Zakleté pírko online cely film #Zakleté pírko #2020 #cz

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kritikycz · 5 years ago

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Pohádka Zakleté pírko představuje hrdiny

Sara Sandeva – poprvé u Zdeňka Trošky v záporné roli Nová pohádka Zdeňka Trošky Zakleté pírko vstoupí do kin 2.ledna 2020, ale již v průběhu letošního prosince se uskuteční řada mimořádných předvánočních předpremiér. Hlavní role vytvářejí Anastasia Chocholatá jako Aninka a Lukáš Pavlásek, který hraje vodníka. Sara Sandeva se tentokrát představí jako zlá princezna Ebenie. Pro Saru je…- Více na https://www.kritiky.cz/pohadka-zaklete-pirko-predstavuje-hrdiny/

#Filmové a televizní aktuality #Anastasia Chocholatá #Andrea Hoffmannová #Dana Syslová #Jakub Volák #Jitka Smutná #Lucie Polišenská #Lukáš Pavlásek #Marek Lambora #Martin Stránský #Petr Urban #Sara Sandeva #Šárka Vaculíková #Václav Duchek #Václav Svoboda #Zdeněk Troška

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freshfrompoland · 5 years ago

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THE FIRST EDITION OF PAPERLUST PHOTOBOOKS FEST IS OVER!

IT COULD NEVER HAVE HAPPENED WITHOUT OUR PARTNERS, GUESTS, ARTISTS, VOLUNTEERS AND GUESTS. THANK YOU ALL!

by Fresh From Poland & Paper Beats Rock, funded by International Visegrad Fund

24.05 – 14.06.2019, Kraków

Paperlust Photobook Fest is a new biennial on the map of photographic events in Europe, stemmed from love to paper. Fest focuses on regional collaboration and aims to present the local self-publishing scene to the wider audience. The motivation behind the festival is to allow discovery while encouraging artistic exchange and explore the power of self-publishing as an offline medium, co-existing in the era of the Internet. PAPERLUST programme is formed of exhibitions, talks, book signings, panel discussion, workshop, photobook fair, reading room (chill zone and library) and dummy review. We invite small publishers, makers and established artists to present their practices, ranging from self-made publications and zines to book objects, albums, and photobooks published by the established institutions. As a reoccurring event, the festival aspires to become a photobook hub in Central and East Europe.

First edition – PAPERLUST Photobook Fest 2019. Art and self-publishing as a tool for social change is focused on the Visegrad region and has been created in close collaboration with the festival’s partners from Slovakia, Czech, and Hungary. It intends to gather local institutions, publishers, non-profit organizations and makers together to increase the visibility and exposure of the artists using photobooks to tell their stories, as well as strengthen, connect and empower the local art scene.

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PAPERLUST PHOTOBOOK FEST OPENING & PHOTOBOOK. ASSET EXHIBTION OPENING GALERIA I!, KRAKÓW, 24.05.2019

PHOTOBOOK. ASSET EXHIBTION GALERIA I!, KRAKÓW, 24.05.2019

Exhibition Asset focuses on the economic and prestige aspects of art publications. An artistic book has become a tool for the emancipation of artist-maker. Having printed publication allows in an almost automatic way to get into the field of the world of art, or rather the history of art. It is often made with the purpose of creating a unique object, that might become a cultural asset.

Except for the context criterion, we do not have any other criteria for evaluation, what is a work of art and what is not. In any case, however, we need legitimacy – perhaps as time passes, distribution of power and who has the legitimacy to evaluate and give the status to a work of art will change. However, traditional, institutional bodies are still holding a strong position. Even though artists, as well as publishers, say that books are overproduced, that there is no environment, not enough audiences or market, publishing an art book still seems to be amongst the best ways to build up one’s position in the art world.

The exhibition presents the selection of books made with a purpose to become an asset, a self-standing piece of art, to bring an income or to became a valuable, collectable object.

Artists: Petr Fabo, Ivars Gravlejs, Agata Grzybowska, Blanka Győri and Máté Labu, Hubert Humka, Dominika Jackuliakova, Libuse Jarcovjakova, Martin Kochan, Wawrzek Kolbusz, Peter Kollanyi, Martin Kollar, Wojtek Mazan, Peter Puklus, Łukasz Rusznica, Michał Siarek, Jakub Stanek, Krystyna Jędrzejewska-Szmek & Łukasz Gniadek, Beatrix Szörényi, Milan Tittel, Tereza Zelenkova

PHOTOBOOK. STORYTELLING EXHIBTION

ZNACZY SIĘ, KRAKÓW, 24.05 – 14.06.19

The show is a part of the series that focuses on various aspects of the photobook. A carefully designed exhibition presents the most interesting samples of the photobooks from the Visegrad region, that have been made out of the need to convey, usually a personal, story. Most of the presented works are either self-published or published in small editions, including hand-made or low-cost printed zine publications.

A book, as depicted in the show, becomes the means for communicating one’s personal experience, a cultural experience and the same time becomes an instrument protecting such experience from oblivion. The leitmotiv of a narration underlines the role of the recipient as an active participant/interpreter of the work of art.

Low-cost self-publishing is here a starting point for a polemic about the nature of the medium. The dissemination using the most economic and least demanding means gives it the power of an independent statement. The questions asked by the authors are an attempt to reflect on the phenomena of this type of publications on the Central European market, their role, ways of production and presentation, as well as expectations of the recipient.

Artists: Tabori Andras, Ewa Behrens, Eva Benkova, Stanislav Briza, Radek Brousil, Jan Brykczynski, Magda Buczek, Kateřina Držková, Peter Fabo, Viola Fátyol, Lucia Gamanová, Aurélia Garová, Agnieszka Gotowała, Anna Hornik , Tomoya Imamura, Zuzana Ivašková, Tereza Kabůrková, Ines Karčáková, Joanna Margarethe Kischka, Deana Kolencikova, Jan Kolský, Viktor Kopasz, Paulina Korobkiewicz, Andrea Kurjakova, Katarzyna Ewa Legendź, Tomasz Liboska, Michał Loba, Alicja Łabądź, Maciej Moskwa, Boris Németh, Anna Orłowska, Krzysiek Orłowski, Ivana Paleckova, Igor Pisuk, Marcin Płonka, Piotr Pytel, Krzysztof Racoń, Kaja Rejczel Rata, Anka Sielska, Jakub Stanek, Juraj Starovecký, Dorota Stolarska, Eva Szombat, Budha Tamás, Jiri Thyn, Balázs Varju Tóth, Ondrej Urban, Imrich Veber, Dorotteya Veykony, Ján Viazanička, Lukasz Wierzbowski, Karolina Wojtas, Adrian Wykrota, Ficsór Zsolt, Kasia Zolich, KWAS (Karolina Wojtas, Agnieszka Sejud)

PHOTOBOOK. PROCESS EXHIBTION

NOŚNA GALLERY, KRAKÓW, 24.05 – 14.06.19

In this exhibition, we treat objects of art as a consequence and as an event. We explore the medium of a book as a work in progress submerged in group work, culture, and its own particularities. The exhibition investigates photobooks as a constantly evolving medium in relation to its potentiality. It includes drafts, dummies, sketches, and excerpts from different stages of the work that cannot be completed.

Referring directly to the activities related to the book in a political context, here also the core idea is an artistic prosumer activity, or more precisely its aspect pertaining to work with an art object, that is done by a particular group/ collective. The work created in this way is a result of the vision and ideas of all those involved in the creation process. We want to open a dialogue on the role of a photo editor in photographic publications. We want to define the route which the author- photo editor relation is going through and tension it generates through the choice of photographs, arrangement, strategy – a cycle of events related to the photographic book.

Process exhibition emphasizes a special presence and interactive lecture by Viktor Kopasz and his lifelong process of creating Diaries.

Kopasz’s works become a starting point to think about a book in terms of a multidimensional process. The process can be considered from the perspective of an artist, as a work that can be presented synchronously – from idea to implementation – or asynchronously, as a kind of spiral, which concentrically returns to the centre, and can be looked at from different positions. By disrupting the order of the beginning and the end, the book appears as a final product of the process, enters into a new cycle – that varies depending on the adapted presentation and distribution strategy.

It is a more specific kind of self-publishing, in the context of the previous examples, as it functions as a work of art on the border of the avant-garde, ready-made and niche, crafted publications. Kopasz consciously plays with the medium, its content, and formal potential.

Artists: Jakub Bors, Kuba Dabrowski, Tomoya Imamura, Viktor Kopasz, Tomasz Laczny, Konstancja Nowina Konopka Książki twórców indywidualnych: Anna Ádám, Milan Adamčak, Hynek Alt, Aleksandra Vajd, Ján Ballax, Jakub Chromiński, Krystian Daszkowski, Peter Fabo (Petr Black FaBox), Lukas Hofmann, Nat Marcus, Alek Janicki, Karolina Jonderko, Ines Karčáková, Barbora Klímová, Paulina Korobkiewicz, Markéta Magidová, Barnabás Neogrády-Kiss, Lucia Nimcova, Lucia Papčová, Monika Pascoe Mikyskova, Tomas Pospech, Peter Puklus, Maciek Przemyk (Maciek P Myk), Catarina Simão, Anna Małgorzata Stankiewicz, Marta Szymanowska, Paweł Szypulski, Martina Šárovcová aka Kosmo Nauty – stories, Jan Sipocz, Bartłomiej Talaga, Konrad Trzeszczkowski, Imrich Veber, Karolina Zajaczkowska Książki grup twórczych: Časopis X o súčasnej kresbe, Hurrikan Press, If I saw that in a gallery I would say, this is art, Paper Beats Rock workshop dummies

VIKTOR KOPASZ. PROCESS. PROLONGED IDENTITY. OPEN STUDIO

APTEKA GALLERY, KRAKÓW, 25.05 – 27.05.19

Our ambition is to involve the artist in the process of creating. Therefore, for a limited time, we want to change the gallery’s window into an artist’s studio. Artist, being present, will allow the viewers to look at a photographic book as part of a broader phenomenon. The artist is working for 3 days in the window of the gallery. The temporary display changes every day. It might be a radical move or a subtle shift of meaning that we can follow alongside the process.

The presentation of the works and performative character of the exhibition by Viktor Kopasz allows placing the contemporary phenomenon of the book boom in a historical context while creating an experience of the process itself in real time.

TOMASZ ŁĄCZNY. PROCESS. C18FE7N18. OPEN STUDIO

APTEKA GALLERY, KRAKÓW, 01.05 – 02.06.19

A live book-making process. The artist creates a hand-made photography artbook using traditional photography techniques with elements of improvisation (taking advantages of technical errors of wet plate photography). It’s the final step of the personal project “It All Is. And Nothing”. The audience has an opportunity to experience work in progress in the experimental stage of the process.

OPEN LIBRARY & CHILL ZONE + KIDS ZONE

MOCAK LIBRARY, KRAKÓW, 24.05 – 14.06.19

If you would like to explore art books in a quiet and peaceful space, Chill Zone is a place to sit down and discover our reading room. It is located in a beautiful and bright MOCAK Library. Presented publications – zines, photobooks, small editions’ publications from Visegrad countries – come from the MOCAK and Paper Beats Rock collections, private collectors, artists and the open call.

We invite kids to spent time in our Kids Zone, space prepared specially for youngest fans of paper.

PHOTOBOOK DUMMY REVIEW

TYTANO, KRAKÓW, 02.06.19

Paperlust Photobook Dummy Review is a project intended for emerging artists working with the medium of photography and art books. Event will allow to connect young talents with professionals, publishers and curators from different countries.

The Tytano space will open for one day for face-to-face discussions over the photobooks in progress. Submissions are open to everyone over 18 years old. Selected artists will be invited to meet four of our international experts. Handmade dummies are in focus, although digital projects and small self-published editions are also taken under consideration. The main aim of the event is to help artists to develop the ideas they are already working on.

On Saturday, 1st June, we invite all of the Participants and Experts of Photobook Dummy Review to join the Portfolio Evening, a special joint event organised by Krakow Photomonth and Paperlust Photobook Fest.

Our Experts: Franek Ammer, Stanislav Briza, Zsolt Ficsor, Zuzana Flaskova, Gábor Arion Kudász, Wiktoria Michałkiewicz, Tereza Rudolf, Olija Triaška Stefanovič

STILL ‘TIS DEVILS MUST PRINT – ARTIST TALKS

MILK, KRAKÓW, 01.06.19

Series of 3 talks focusing on different aspects of the photobook and self-publishing in Visegrad Group countries will take place at Milk Studio. Subjects TBA.

Self-publishing practices in Hungary in the post-digital era/ Beata Istvánkó

The notion of artists’ publishing activities has changed over the past decades, in particular with

the expansion of the art market and the globalization of artistic practices, combined with the advent of the digital era and the introduction of new modes of production and circulation. Print and digital projects employ experimental formats and blur distinctions between art press, curatorial

experiments, and other publishing enterprises. The aim of the presentation is to summarize the history of independent art publishing in Hungary after 2000 through the activity of the Budapest based ISBN books+gallery.

The ISBN is a contemporary art bookstore and a gallery space established in 2017. The name of the gallery was obtained from the 13-digit identification number for publication, the ISBN-number (International Standard Book Number). The most important mission of the ISBN books+gallery is to map, collect, exhibit and distribute the domestic and regional, Hungarian and foreign language, new and second-hand contemporary art publications, exhibition catalogues, zines, art books, photobooks and theoretical publications.

Young scene of photobook makers in Slovakia/ Olja Triaška Stefanović

Five years ago students from the Department of Photography and New Media at the Academy of Fine Arts and Design, Bratislava, Slovakia showed great interest in making photobooks within their visual researches. Olja Triaška Stefanović, together with her colleague Juraj Blaško from Visual Communication department, realized that it is necessary to open new and interdisciplinary course, that will link two departments and prepare students to make more professional photobooks. They created and started together to teach, PHO BO – Creation of Photobook where the main part of the course is focused on teaching a wide range of technological processes together with visual dramaturgy and storytelling. The author will be focused on the presentation of youngest generations of authors from Slovakia, their production of photobook and how they can improve the self-publishing market in Slovakia. Triaška Stefanović will present their books, zines and introduce to the audience how they work within the PHO BO, what is the course methodology and how they prepare students for professional work after graduation.

I shout „That’s Me!” Stories of Czech fanzines from the ’80s till now // Miloš Hroch & Pavel Turek // presentation of the book

The book ‘I shout “That‘s me!” Stories of Czech fanzines from the 80s till now’, published by PageFive, for the first time takes its readers through uncharted waters of the Czech fanzine scene, that is of unofficial amateur magazines. It brings to light stories of those who fell for computer games or wrote sci-fi stories, who obsessively compiled their own metal music charts, who were driven to street demonstrations by hardcore punk music or who wanted to change the standing of women in society. And about those who then wrote about it freely in their magazines. „This type of publication has the advantage that you can wave it around and shout ‚That’s me!’” – a photographer, a protagonist of the youngest fanzine trend of photozines, explains the essence of fanzines in one of the chapters of the book. And while there is the talk of the decline of printed media, the microcosm of independent printing is constantly expanding.

LET’S TALK ABOUT SELF-PUBLISHING – PANEL DISCUSSION

MOCAK, KRAKÓW, 31.05.19

Panel discussion at MOCAK with invited experts from the Visegrad group countries is orientated toward various aspects of the photobooks and self-publishing. The event has an informative and educational character, but also intends to encourage local collaboration.

The debate is focusing on the current situation of self-publishing the Eastern and Central Europe, its role and potential. Guests will discuss the phenomenon in the current socio-political context, its recent trends and how the role of self-publishing evolved in the era of the Internet.

The discussion at MOCAK Musem will be moderated by Michał Sita (Pix.House), and the speakers are Olja Triaška Stefanovič (Academy of Fine Arts and Design, Bratislava), Stanislav Briza (Bflmpsvz publishing) and Beáta Istvánkó (ISBN books+gallery, Budapest).

COLLABORATION NOW! SELF-PUBLISHING WORKSHOP

MOCAK, KRAKÓW, 30.05 – 02.06.19

Workshop …. Collaboration Now! International self-publishing workshop.. . is a unique formula designed for PAPERLUST Photobook Festival. As a participant you will gain basic knowledge about photobook creation from the scratch, including craft, design, editing and its function in the wider perspective of the art market. You will have a unique opportunity to work with internationally recognized artists from V4 region. Prepare for an intense experience where you will work in a group as well as directly with workshop leaders and other participating artists. You will progress by presenting your work, participating in round-table discussions and one-to-one sessions.

As a result every participant will create a dummy. This workshop will allow us to develop knowledge and consciousness about the medium of photography, photobooks, editing and narration and the use of visual language and self-expression through art. We believe visual is political and we intend to put it into the process. We will encourage emerging artists and amateurs (participants) to create visual stories, develop real skills and preserve the craft of producing a printed body of art, especially photobook.

Workshop leaders:

Katarzyna Ewa Legendź PBR| PL

Katarzyna Zolich PBR|PL

Leader from Hungary – Gábor Arion Kudász

Leader from Slovakia – Jan Sipocz

Leader from Czech Republic – Teresa Zelenkova

COLLABORATION NOW! SELF-PUBLISHING WORKSHOP

MOCAK, KRAKÓW, 30.05 – 02.06.19

Workshop leaders:

Katarzyna Ewa Legendź PBR| PL

Katarzyna Zolich PBR|PL

Leader from Hungary – Gábor Arion Kudász

Leader from Slovakia – Jan Sipocz

Leader from Czech Republic – Teresa Zelenkova

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Organisers: Fresh From Poland Foundation, Paper Beats Rock Foundation

Strategic partners: FOTOGRAF Magazine (CZ), The Studio of Young Artists’ Association / FKSE (HU), ISBN könyv+galéria (HU), Hardness &Blackness (SK)

Programme curators: Katarzyna Legendź, Katarzyna Zolich

Exhibitions curators: Katarzyna Zolich, Katarzyna Legendź, Gosia Fricze, Grażyna Siedlecka, Katarzyna Roniek, Beata Istvánkó, Markéta Kinterová, Slavomíra Ondrušová

The project is co-financed by the Governments of Czechia, Hungary, Poland and Slovakia through Visegrad Grants from International Visegrad Fund. The mission of the fund is to advance ideas for sustainable regional cooperation in Central Europe.

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