concept

À la recherche de la bohème perdue

1.1. Summary of the project 

1.2. Exhibition dates and venues

1.3. Searching for the concept of the lost bohemian

1.4. Intended impact 

2. Practical implementation of the project 

2.1.The show at the CAN

2.2.1. Zürich

2.2.2. Ostrava

2.2.3. Wroclaw

2.2.4. Kolin stop (D.I.V.O. Institute) + symposium
2.2.5. Prague (Final exhibition)

1.1 SUMMARY OF THE PROJECT

This project follows a proposal of the D.I.V.O. Institute and will be realized together with the team of the CAN (Centre d’art, Neuchâtel). It offers a reflection on the interaction of the contemporary art scene and the counterculture in the Czech Republic and Switzerland since 1989.The long term goal of the project is to link up individual culture activists and institutions from both countries together and, by doing this, empower local scenes and raise public awareness towards art. The start of the project is a group show with a selection of artists from the Czech Republic and Switzerland. The works will be shown within the CAN and in the public space of the city of Neuchâtel. One part of this exhibition will consist of performative actions, in which a group of artists from both countries refurbish and decorate a vehicle and two large army tents. This action will take place over four days in a public space in the city of Neuchâtel. The tents and vehicle will function as a mobile cultural platform, the team of the CAN and the D.I.V.O. Institute will then embark on a month long journey to the Czech Republic. During this journey the mobile cultural platform will make a number of stops in 6 cities on the way. Each stop will involve encounters with the local scene and artists from abroad; it will be organized together with local cultural activists, artists and institutions. The tents will be set up on each stop and will serve as a backdrop for performances, discussions, workshops and concerts. In each city the local scene will be invited to contribute to the mobile platform. The installation will be enlarged stop by stop and will function as a growing exhibition. In the end the vehicles, tents, and all art pieces collected and created on the way will be shown in a Prague institution. The events happening at each stop will be documented on film and the public could follow the progress of the trip on a blog. A book about the whole trip will be published. It will be ready for the Prague exhibition and will serve as a catalogue presenting the works of all participants from Neuchâtel to Prague.

1.2 EXHIBITION DATES AND VENUES

May – July:

Start of Exhibition in CAN Neuchâtel: May 24th 2013 

(2nd event/opening of the tents : May 29th) 

Traveling Institution: May 31st until June 23rd 2013 

Start of Exhibition in NTK, Prague: September 2nd 2013 

Departure of mobile institution: May 30th 

Build up in Zürich: May 31st 

Action in Zürich for 3 days: May 31st until June 2nd 

Dismantling of tents in Zürich: June 3rd 

Build up of tents in Ostrava: June 6th 

Actions in Ostrava : June 9th until June 14th 

Opening of the new artspace in Ostrava : June 14th 

Dismantling of tents in Ostrava: June 15th 

Build up in Wroclaw: June 16th 

Action in Wroclaw for 3 days: June 16th until June 18th 

Dismantling of tents in Wroclaw: June 19th 

Build up in Kolin: June 19th 

Research in Kolin: June 20th until June 22nd

Final Party : June 22nd 

September: 

Opening in Prague: September 2nd 

End of show in Prague at the NTK Gallery : September 7th 

1.3 SEARCHING FOR THE CONCEPT OF THE BOHEME PERDUE

Before we start to take a look at the evolution of the contemporary art scenes in Switzerland and the Czech Republic since the fall of the wall in 1989, we should be aware which kind of approach each protagonist has towards the other in this day and age. For us in Switzerland, this means, working with institutions and artists from a so-called "ex east block country" or “former east”[1]. These terms are of course totally anachronistic labels, as they refer to a political block that no longer exists. Like always our point of view is defined from a situation, because if we are speaking of former east or soviet block countries or societies, why do we never refer to our country as former west or ex western block countries? Does this ghostly notion of the East persist only because of our inability to define new terms that are able to grasp the present? Or do we cherish nostalgia, hoping to indirectly connect to the spirit of long-gone ideologies? The first thing that went away after the fall of the soviet block was the fact that the world was divided into two systems which were separated by different ideological constructions. Because cultural exchange was prevented by the iron curtain, we started to acquire more and more nostalgic and feelings towards the places we would never be able to visit. Maybe this is the reason why we like to refer to the former east countries because it seems to us better than any cynical postmodern definition of the current state of affairs in these societies. And as long as we haven’t been able to invent something more positive or constructive than postmodernism, we’ll have to deal with our part in this nostalgia.

We can accept a little bit of nostalgia, but revealing ones own exoticism is something that seems to be a bit more dangerous. Exoticism always implies that one is endorsing the colonial inheritance and crude and vulgar concepts of orientalism, while assuming ones own position at the center of the universe. Denying our craving for exoticism, by covering it up behind a well-intentioned neo-humanist discourse will only make matters worse, and will never get us to a point were we can free ourselves from our western centered point of view. We are not going to criticize exoticism in itself, but we have to take a close look from where the exoticism stems and what it is linked to. Having an exotic idea of the former east while living in the former west, is an anachronic position and can’t be held up, as both systems are now one. When we refer to an exotic place in using the words “former” or “ex”, we place it within the past, so in fact our exotic terminology refers to what we were, not towards what the exotic society is today. So we end up with an anachronistic endo-exoticism, something that has also been called “interior exoticism”[2]. According to the principle of phenomenal existence, everything we do is based on representation, and that we conceive ourselves differently than we actually are. If our research is based on a passé geopolitical notion, we will end up with a blurred image of an individual exoticism. We came to know a lot about a world that would remain forever inaccessible, and through this the so-called east had a presence-absence. Are we forced to acknowledge an absence of absence?

Czechoslovakia’s counterculture before 1989 offered a fascinating array of different artists, and art forms. Again for geopolitical reasons the Czech underground groups like Plastic People of the Universe received extensive media coverage in the west, and dissidents like Vaclav Havel became household names. After the fall of communism, the protagonists of the counterculture movement moved into the highest offices. When the tables turned, the Prague underground scene lost its main figures to the institutions. This shift didn't empower the independent culture producers and artists, as the newly appointed culture officials had no interest in empowering critical voices around them. The most extreme example of this development is perhaps the curious case of the former dissident and fluxes artist Milan Knizak, who was appointed director of the national gallery, and because of his abuse of power became one of the most controversial figures among artists and the Czech public.

But there still is a lively and vibrant art scene in Prague that is mainly unknown to the western public. One of the missions of the project is to present and connect artists, activists and institutions that are shaping the Czech art scene to the Swiss public. Switzerland in turn is known to Czechs as the land of banks and cleanliness, things that are not usually associated with counterculture. But Switzerland had and has a strong underground scene, which has always been at the forefront of changes made within the setup of the society. Today a city like Zurich is ruled by a mayor who takes pride in saying that she was a member of the youth movement of the 80ties.The economic success story of Switzerland is also due to its open civil society, empowered by grass roots movements, which often questioned the authority of the state. The Zurich squatting scene is one of these movements, and is driven by artists and culture activists. On our quest for the lost bohemians, we would like to present the Czech public the techniques and persons of these groups.

The best way to start the nostalgic search for lost bohemianism is most likely a voyage by land, traveling slowly in a vehicle and stopping on the way. The CAN and the D.I.V.O. Institute intend to create a mobile art space, consisting of a refurbished bus, and two army tents. These tents will form the backbone of the so-called mobile inhabited sculpture and is a collaborative artwork to which other artworks can be added and subtracted. The inhabited sculpture is also the backdrop for any actions, and through its mixed authorship it defies the idea of art as just being a mere commodity for rich investors. During the journey the installation in and around the mobile platform will grow, and at each stop its appearance will change.

We will take the road to Bohême. The word Bohême (fr, the region “Bohemia”) in an explicit reference to the movement bohème (“bohemianism”) which was a French counterculture in the late 19th century. The movement of the bohème rejected romanticism, an idea which they considered to be the emanation of the bourgeois culture. Let us note that a first contradiction appears in our projects historical references: searching for the bohème perdue (“lost bohemianism”) on a journey is not exempt of romanticism (let us not forget that romanticism was developed from, amongst other things, Grand Tourists’ travelings of the eighteenth century). One of the main differences between these two types of travelers (bohémiens and Grand Tourists) was of course the amount of money that could be spent on a voyage. Our cultural pilgrimage will try to follow and avoid both these types of travel.

            

The bohème française (“French bohemianism”) strongly influenced authors such as Hermann Hesse. Hesse spent a lot of time researching an elsewhere that he was attempting to find between the Orient and Occident. In following different branches of influence reconstructed by historians, bohème would be one of the sources of Dadaism, another branch passing through Hesse, leading to the Wandervogel movement to then pass to the United States and the Beat Generation, to culminate in writers like William S. Burroughs or, a bit later, Philip K. Dick. Elsewhere in hence no longer the same, it is no longer between two cultures, political systems or regions. The search for elsewhere is found in the Inter-zone, the intermediary between fiction and reality.

What ever became of the bohémien elsewhere in today’s contemporary art scene? We are obviously tempted to search within alternative or independent structures, in so called off spaces. In Switzerland there are many such places that proclaim themselves as counterculture. At the same time these same places receive grants from foundations such as Nestlé pour l’Art, the same organization that also funds museums, opera festivals and other large institutions showing high bourgeois culture. The term bobo[3], a contraction, of “bourgeois” and “bohème”, describes this contradiction, with a schizophrenic aftertaste. Counterculture and establishment view each other in similar way the opposing east and western blocks used to eye each other. Established institutions take elements from the counterculture, and the outcome of the discussions in museum and off spaces are often identical: contemporary art always should be critical and experimental.

In setting off à la recherche de la bohème perdue, we would like to take a look at the different contradictions of high and low, east and west, taking into account our endo-exotic side, nostalgic side, and maybe even the bobo character of our action. Thus, the first and third phase of the project will show one of these contradictions by confronting one exhibition of an institutional nature with an event that plays with counterculture’s accepted codes. The utopian goal of the project consists of creating a shock between the two, a shock that should allow the appearance of a fissure giving access to an inter-zone beyond our contradictions.

The CAN and Mark Divo

[1] The notion of “former west” was developed in a research project led by the BAK (basis voor aktuele kunst, Utrech). q.v. www.formerwest.org

[2] Victor Segalen in his « Essay on exoticism”, Claude Cahun, Jules de Gaultier, among others.

[3] The term bobo was coined by David Brooks to describe the descendants of yuppies in the 1990s.

1.4 INTENDED IMPACT

The project aims on one hand to connect Swiss and Czech institutions, activists, artists and musicians, and on the other side will promote Czech art in Switzerland and Swiss artists in the Czech Republic, Slovakia and Poland. How are we going to achieve this? First of all we will present protagonists of both countries to the Swiss public in a group exhibition at the CAN. To start a dialogue with the involved institutions we will make a journey through six central European cities. With a specially created mobile cultural platform we will travel and engage local institutions and art scenes. Each one of our six stops has its own local coordination team that will help us access local structures and scenes. Local artists will work along side invited guests from Switzerland and the Czech Republic. By working together the artists of both countries will have the possibility to connect with each other, and to make contacts with the institutions involved in the project. By inviting the all artists to the museum shows at the start and at the end of the project we hope to deepen already existing ties and contacts of all participants. By and by the amount of artworks traveling with the mobile platform will increase. During the stops we will offer a diverse program of discussions, workshops, concerts, performances and actions. The mobile platform will always be set up in public space; the exhibitions and happenings within are free of charge. By being situated in a central space of the town, the mobile platform should automatically receive a lot of attention by the general public. One of our goals is to engage the audience into a discussion, and like this to raise awareness towards local artists and cultural activists. All events and the developments around the trip will be advertised and documented on a blog by the team. On our stops we will use the contacts that the partner institutions have to the local media, to promote our events. At the end of journey there will be a meeting of the main collaborators of the trip at the D.I.V.O. Institute in Kolin. Here the impact and the conclusions of the trip will be reviewed within a 3 days long symposium. Finally the development of the journey, all artworks and artists presented in the show and during the trip will be documented in a publication and a blog. 

2. PRACTICAL IMPLEMENTATION OF THE PROJECT

À la recherche de la bohème perdue will begin in May 2013 in Neuchâtel. A group show consisting of eight Czech artists, and about ten artists from Switzerland will be opened on the 24th of May. The artists will be selected by Mark Divo and the team of the CAN. The artists from the Czech Republic will represent a cross section of the contemporary Prague art scene. Most of the invited artists are well known within their country, but none of them is known to the Swiss public. All the invited Czech artists have a specific and authentic approach to art, that always contains a humoristic critique of the catastrophic political and social situation of the ex soviet block states. Most of the invited Swiss artists are rooted in the subcultures around the many temporary cultural zones, which have sprung up all over Switzerland in the last 30 years.

Duration : May 24th (opening) - July 7th

Jakub Adamec (cz)/ Arienne and Pascale Birchler (ch)/ 

August Blum (ch)/ Harold Bouvard (ch)/ Jérémy Chevalier (ch) / 

Lionel Ferchaud (ch)/ El Frauenfelder (ch)/ Jakub Hošek (cz)/

 Markéta Jáchimová (cz)/ Kassaboys (sl)/ Krištof Kintera (cz)/ 

Dominika Łabadz (pl)/ Carol May (ch) / Mickry 3 (ch)/ Milan Mikuláštík (cz)/
Petr Motyčka (cz)/Jakub Nepraš (cz)/Libor Novotny (cz)/ 

Pavel Pernicky (cz)/ Raphael Perret (ch)/Léopold Rabus (ch)/ 

Till Rabus (ch)/ Lukáš Rittstein (cz)/ 

Helena Sequens and Adam Stanko (cz)/ Tobby Landei (ch)/

 Sebastien Verdon and Renaud Loda (ch)/ Jana Zhorova (ch)/

2.1 PRODUCTION OF THE MOBILE INSTITUTION AS A PERFORMANCE

During the week after the opening of the exhibition we will take our first performative approach to the subject of the project. A group of Swiss and Czech artists will be invited to refurbish a vehicle and two army tents in a public space in Neuchâtel.The tents and the trailer will later form the core of the mobile institution. The production of the mobile institution will have the character of an art happening with concerts and performances of Czech and local artists.

Tents in the public space of Neuchâtel

Partner : Kiosk-Art

Place : within the harbor area of the Jeunes-Rives, Neuchâtel

Duration of action: 4 days (May 26th - May 29th) 

Opening and events: May 29th, 14:00 - 23:00

admission free

Artists involved :

Most of the artists participating in the CAN exhibition, and interventions, 

performances and concerts by : 

Martin Andersson (ch), Massimiliano Baldassarri (ch),

Štěpán Čapek (cz), Jérémy Chevalier (ch), 

Emmanuel Paxon Dupasquier (ch), Markéta Jáchimová (cz),

 JTNB (cz), Joe la Noïze (ch), Viktor Vejvoda (cz)

2.2. THE JOURNEY

After the completion of the mobile Institution the CAN’s and D.I.V.O. Institute’s teams, along with several artists, take the road in the direction of the Czech Republic. The mobile institution will make stops at centers for contemporary art on the way. At each juncture the tents and trailer will be set up in front or close to the institution and new artists and musicians will be invited to intervene and enlarge in the exhibition. During the day Workshops and discussions will be held by the invited artists. The individual stops will be organized in participation with local artists and institutions. The trip will bring us through Zurich, Wroclaw, Ostarva, Kolin and finally will end in Prague. At the end of the trip a 10 day symposium with 10 invited guests will take place in the D.I.V.O. Institute’ in Kolin. Here we will meet with the key players involved in the project to discuss and finalize the publication.

The partners for the individual stops will try to connect the mobile institution with the local scene, and organize events around the stops. At each stop the team of the CAN and the D.I.V.O. Institute will invite one or two artists or/and a band from Switzerland and one artists or/and a band from the Czech Republic to interact in an installation and performative way with the mobile platform. Each stop will have a specific theme that will be dealt with in an experimental way.

A blog will document the journey of the mobile Institution on its way through central Europe.

2.2.1 ZÜRICH

The city of Zürich has a long tradition of boehms and bohemian lifestyles. Zürich is the city in which the dadaistic movement started nearly 100 years ago, and has since this time been home to many subcultures. Since the 90s there has been a number of squats and independent culture initiatives, in which unconventional, alternative bohemian life concepts could be developed and lived up to.

In Zürich the project will make a stop at the Rote Fabrik. The Rote Fabrik as a former squat and 30 year old grass roots organisation is a good example of how artists initiatives become institutionalised. To understand the mechanism of free space, and temporary cultural zones we would like to invite activists, who have initiated cultural and social projects in their home cities, to a panel discussion. Further on we would like to create an actionistic discourse with invited artists around the theme of temporary cultural zones.

Partner : Konzeptbüro Rote Fabrik

Place : Seeufer hinter der Roten Fabrik

Seestrasse 395 / 8038-Zürich

Duration of action : 3 days (May 31st - June 2nd)

Opening : 31.05.2013, 18:30 - 22:00

Exhibition : 31.05 - 02.06.2013 

Opening hours : 14:00-20:00

admission free

Artists and performers :

Habib Afsar (ch), Darina Alster (cz), Jana Babincová (cz), 

Matěj Barták (cz), Michail Bukovjan (cz), Hynek Chmelař (cz), 

Emmanuel Paxon Dupasquier (ch), Anežka Hošková (cz), Stina Kasser (ch), Mayo Irion (ch), Carol May (ch), Jakub Nakládal (cz), Marc Ohne (ch), 

Noah Oliel (ch), Jitka Rufferová (cz), Markéta Soukupová (cz), 

Petr Švolba (cz), Elis Unique (rus), Viktor Vejvoda (cz), Wald (ch), 

Anna Zelinkova (cz)

Open Research-

Special guests from Prague and activists from Zürich tour of temporary Cutural Zones in Zürich

Start of tour : 14:00 

Meeting point: Entrance of Xenix Bar at the Kanzleiflohmarkt ,Kanzleistrasse 56, 8004 Zürich

admission free

Guide: Mark Divo

special guests and activists:

Esther Eppstein (Message salon, Zürich)

Anežka Hošková (AM 180 Gallery, Prague)

Kyros Kikos (Konzeptbüro Rote Fabrik, Zürich)

Mark Ohne (White squat, Zürich)

Nico Ruffo (Wäscherei, Zürich)

Dan Vlcek (Meetfactory, Prague) 

Grand Finishing in the Fabriktheater of Rote Fabrik : 2.06.2013

Door : 19:00

Start of bands : 20:00

End : 2:00

Cover charge : 7 sFr

Bands and performers: 

JTNB. - Ježíš táhne na Berlín ( Jesus marches on Berlin) (cz), 

Die verkehrte Hintertür - Ajana Dracula und Lena Scheiwiller (ch), 

Teppichmode (ch), Joe la Noïze (ch), Miki DJ (cz), DJ Bagira (cz)

2.2.2 OSTRAVA

In Ostrava we will again set up the tents in a central square within the city. Here we will return to researching the concept of nonprofit cultural zones and offspaces in a city that has lots of empty buildings, but where virtually no structures of this kind exists. Our aim is to spark a discussion about culture centers that are run by collectives. This will be the first step to pave the way for such a place. The building is already chosen and will be arranged during our stay for its first exhibition. The artspace will go on afterwards and be led by an artist collective from Ostrava.

During our stay we would also hold a number of workshops in the tents and lead actions in the city.

Partner : Art academy (OSU fakulta umění) + Libor Novotny, Jana Zhořová

INTERVENTION 1

Duration of action : 9 days (June 6th - 14th )

Place : In the park next to dum umeni, Střední, Ostrava 702 00

Intervention in the public space in tents: 09 - 12.06.2013

Opening hours : 14:00 - 20:00 daily

admission free 

Exhibition with: 

Daniel Cherbuin  (CH), Emmanuel Paxon Dupasquier  (CH), 

Libor Novotný (CZ), Jana Zhorova (CZ), Hynek Chmelař (CZ), 

Jakub Nakládal (CZ), Jitka Rufferová (CZ), Markéta Soukupová (CZ), 

Anna Zelinkova (CZ)

and also showing works of the following artists : 

Habib Afsar (PAK), Darina Alster (CZ), Harold Bouvard (CH), 

Štěpán Čapek  (CZ), Jérémy Chevalier (CH), 

Kateřina Dobroslava Drahošová (CZ), Emmanuel Paxon Dupasquier (CH),

Lionel Ferchaud (CH), El Frauenfelder (CH), Jakub Hošek  (CZ),

Anežka Hošková (CZ), Mayo Irion (CH), Markéta Jáchimová (CZ), 

Kassaboys (SK), Dominika Łabadz (PL), Carol May (CH), Mickry 3 (CH),  

Milan Mikuláštík (CZ), Jakub Nepraš  (CZ), Joe la Noïze (CH)

Libor Novotný (CZ), Marc Ohne (CH), Noah Oliel (CH)

Raphael Perret (CH), Leopold Rabus (CH), Till Rabus (CH)

Helena Sequens and Adam Stanko (CZ), Petr Švolba (CZ)

Tobby Landei (CH), Viktor Vejvoda (CZ), 

Sebastien Verdon and Renaud Loda (CH), Ajana Dracula (CH)

Reasearch tours with selected guides : 10 - 11.06.2013

meeting point at the tents: 14.00

admission free

INTERVENTION 2

Opening Kunsthalle Ostrava 14.06.2013 : 18:00 - 1:00

Vítkovická 3335, 702 00 Ostrava – Moravská Ostrava

More program to be anounced - see : www.kunsthalleostrava.org

VIP-Preview party 

Wednesday 13.6.2013 

door 18:00 until late

cover charge 70.- czKr.

with:

František Kowolowski (CZ) - Performance

Zuzana Trumplová (CZ), Pavlína Gajdošíková (CZ), Kristýna Lišková(CZ) - Prezidentky / Theatre

At bona fide (CZ)- psychedelic-surf

The sin of lilith  (CZ)- emo-hadrcore

Noissue (CZ) - downtempo-eletronica

Grand opening

Friday 14.6.

door 17:00 until late

cover charge 30.- czKr.

opening speech:

Jiří Surůvka (CZ)

artists : 

The WickwarAlbert complex (CZ)-live music

Harold Bouvard (CH) - fine art

Daniel Cherbuin  (CH) - fine art

Jérémy Chevalier (CH) - performance

Emmanuel Paxon Dupasquier (CH) - performance

Tom Kotík (USA) - fine art

Klára Zahrádková (CZ) - fine art

Miki DJ  (CZ) - best DJ

Michail Bukovjan (CZ) - perfomance

a show curated by:

D.I.V.O Institute (Mark Divo) and CAN (Centre d’art Neuchâtel, Arthur de Pury, Marie Villemin, 

Marie Léa Zwahlen, Julian Thompson )

more information on the project under  www.kunsthalleostrava.org

http://bohemeperdue.blogspot.ch/ 

2.2.3. WROCLAW

In Wroclaw the project will take place at the BWA avangarda, a large institution in the centre of the city. The tents will be set up within the gardens of this museum. Simultaneously we will show two artists from the Czech Republic and Switzerland in the off space «galleria entropia». During our stay in the BWA we will host a series of dinners in the tents for local and invited artists and curators.

Partner : BWA - Wroclaw

Duration of action : 3 days (June 16th - June 18th)

Place : In the garden of BWA - Awangarda Gallery

Wita Stwosza 32, 50-149 Wrocław 18 

Installations,actions and wellness around a tent and a bus : 

11:00 - 18:00 

entrance free

Artists and performers :

Jérémy Chevalier (ch), Emmanuel Paxon Dupasquier (ch),

 Miss Sulfuric (ch), Svenja Plass (ch), Krystian Truth Czaplicki (pl)

Opening with concert :

18.06.2013 

18:00-22:30

Kurnik (cz)

2.2.4. KOLIN

In Kolin the tents will be set up in the garden of the D.I.V.O. Institute. For 3 days the invited researchers will review the journey, and after a series of partially public discussions. The results of these discussions will later form the main part of art critical texts within the publication.

Duration: 3 days (June 20th - 22nd)

Place : d.i.v.o Institute o.s.

Na Petrine 24

CZ-28002-KOLIN

Symposium of involved activists and artists in Kolin on June 21st

14:00 - 19:00 

admisson free

Researchers :

Alena Boika (cz), Anežka Hošková (cz), 

Kyros Kikos (ch), Lenka Kukurová (cz), 

Dominika Łabądź (pl), Milan Mikuláštík (cz), 

Dan Vlček (cz), Jana Zhorova (cz) 

Final party : 

Opening June 22nd at 18:00

Artists:

Kateřina Dobroslava Drahošová (cz), Petr Švolba (cz)

Music and performances : 20:00 - 23:00

Veronika Vlková (cz), Kateřina Koutná (cz), Antonín Koutný (cz), 

vj Kolouch (cz), Martin Evžen Kyšperský (cz)

Cover charge : 50 czKr.

2.2.5. Prague final stop + exhibition at the NTK Gallery

The third phase of the project will take place at the NTK (National Technical Library) Gallery in Prague. The mobile Institution, along with materials collected on the journey will be set up inside the NTK Gallery. The show will also consist in a documentary and theoretical retracing of the whole trip. Individual works of the Swiss and Czech artists involved in the project will be shown within a white cube setting. The publication will be launched at the opening. 

Duration : 9 days (September 2nd - September 7th)

Place : NTK Gallery, Technická 6, Prague 6-Dejvice

Exhibition : 03 - 07.09.2013

Opening : 02.09.2013, 18.00 - 23.00

Opening hours: Mon - Fri, 10.00 - 6.00, Sat 10.00 - 4.00

admisson free

Artworks of all artists who took part of the exhibition at the CAN and of each stop of the trip.

Performance and music at the opening: 

Joe la Noize (ch),  Sonja Neverstop (cz)