HANDA GOTE RESEARCH & DEVELOPMENT
8. 6. 2021-11. 7. 2021
7. 6. 2021at 6 pm
About the exhibition:
After severl month of interception, Gallery NTK, which is located in the building of the National Library of Technology, is coming back to its exhibition programme with the retrospecitive show of Prague artistic and theatre collective Handa Gote. Exhibition is outlined as "cabinet of curiosities" or humorous variation at ethnological, technical or natural museum. Yiu can find here wooden machine gun, plastic bag suit, electric strobilus or hand axe made of tv screen. The central exponate of the huge whale body is flowing over the heads of the visitors.
By the exhibition at Gallery NTK, Handa Gte collective is celebrating its fifteen anniversary. Versatility of the activities brings the members of the group - Veronika Švábová, Jakub Hybler, Tomáš Procházka, Jonáš Svatoš, Jan Dőrner a Robert Smolík - close to the humanist renaissance artist.s tradition. They are well known in the subculture of contemporary theatre and dance, but active as well in the area of visual art and last but not least experimntal music. Their projects Federsel, Radio Royal or B4 got deserved audience..
The exposition focus mainly on the physical substance of the collective's work, which comprise lets of diversified objects presented on teh vitrines and on pedestals - following the model of classical museum expositions. Some of the exhibited objects belongs to the sphere of scenography, reprsenting relics of performances, some of the objects should be classified as autonomous artworks. We will find here extensive collection of festival masks, absurd costumes from extraordinary materials, archetypal tools with enigmatic purpose, technological fossils, weapons appointed to anything but fight, musical instruments made of the unexpected things. Natural materials are organically mixing with artificial ones, the old merges with the new, romantical inspiration by science is confronted with pataphysical iracionality.
At some points we can find "work stations", laboratory corners. emphasizing the experimental background of the collective's work. Each of that work stations is comprising a table, covered completely under the flood of objects, tolls, and gears, refering to some of the chosen topics - photolaboratory, kniting workshop, musical studio, travelers cabinet…
Ecology and its realtion to technologicl achievements of modern society is occupying the key place in. the work of the collectice Handa Gote. In that meaning - we can connect the work of the group to contemporary trends - archaeology of media, geology of media, or influential theory of anthropocne. Common denominators of the variety of objects are poetical humor and specific nostalgy refering to japan tradition of Mono no aware – cultivated ability to perceive and acknowledge the simplicity and beauty with the parallel conscience of upcomming unevitable conclusion. Even the name of the group Handa Gote is derived from Japan culture - it means "solder". It nicely express another important aspect of the group's work - DIY (Do it yourself) playfulnes, sensual absorbing of the materials and creative recyclation. Important source of inspiration is the folk culture, including non european or non-western manifestations , and also the prehistoric cultures. Hybrid form of some of the exhibited objects is influenced by Cargo cult, which developed on the Pacific islands after the meating of the natives with the technologicaly developed American army.
"Almost all works of Handa Gote are somehow connected to fenomenon of death, memory, forgotten and disappearing things, phenomenons, traditions...." the group members are saying to describe their artistical foundations and strategies..
Distinctive poetical world of the Handa Gote group is filled by strange objects and obscurities and at the sae time is fascinated by the banality of everydaness with boundless potential of exploring the magical. The outcome of that obsessive activity is materialized message about the state of our civilisation containing both the element of hope and dystopic question mark.
Handa Gote members:
Cooperation ofJedefrau.org and Gallery NTK.
Externíal cooperators of group Handa Gote 2005–2020:
Anna Ouřadová, Radka Mizerová, Kateřina Housková, Leoš Kropáček, David Freudl, Pavel Kopřiva, Roman Mikeš, Radomír Vosecký, František Antonín Skála, Mikoláš Zika, Jan Brejcha, Tereza Havlová, Lukáš Jiřička, Martin Ježek, David Singer, Anežka Kalivodová, Jan Kalivoda, Ondřej Mašek, Jana Novorytová, Petra Pellarová (Púčiková), Martin Janíček, Pasi Mäkelä, Georgij Bagdasarov, Vojtěch Procházka, Miloš Šejn, Ken Ganfield, Angela Nwagbo, Papis Nyass, Michael Pospíšil, Martin Búřil, Lukáš Valiska, Tomáš Morávek, Michael Měřička, Martin Vosáhlo, Michal Cáb, Andrej Boleslavský, Tomáš Choura, Janek Rous, Nataša Bednářová (Mikulová), Boris Jedinák, Adam Pospíšil, Pavel Šturma, Ondřej Volman, Vojtěch Horálek, Vojtěch Švejda
Maria Cavina, Jakub Hrdlička, Pamela Kuťáková, Roman Mikeš, Tomáš Mitura
Objects production colaborators:
Jan Brejcha, Michal Brunclík, Tereza Havlová, Jitka Hudcová, Kateřina Housková, Martin Janíček, Martin Lhoták, Roman Mikeš, Radka Mizerová, Jan Niesyt, Edita Procházková, František Antonín Skála, Martin Vosáhlo, Radomír Vosecký Lukáš Valiska, Mikoláš Zika
Prvious exhibitions of Handa Gote:
Hladomor, Musaion, letohrádek Kinských, Praha, 2020
Vedúca skamenelina, Nová synagóga, Žilina, 2019
Hladomor, Galerie Lauby, Ostrava, 2017
Prasvět/Urwelt, Papírna, Plzeň, 2016
Chata/The Hut, Pražské Quadriennale, Praha, 2015
Jak nic nechtít, (účast na společné výstavě), Festival 4+4 dny, Praha, 2015
Výstava Bohumil Filip, Designblok, 2015
Výstava Ondřej Havránek, Galerie Školská 28, Praha, 2013
Skleněná industrie, Městské muzeum, Ostrava, 2011
Semi-found objects, things and tools used in performing art, Galerie Ferdinanda Baumanna, Praha, 2011
Arma Homini, Festival Kukačka, Ostrava, 2011
Likvidátor nepůvodních druhů, Galerie České spořitelny, Praha, 2010
Still-life, MeetFactory, Praha, 2009
Z výletu: Semifound objects, Regionální muzeum a galerie, Jičín, 2009
Loft, Designblok, Praha, 2009
Vzpomínky na Togoland (2021)
Čtvrtá opice (2019)
Dva sešity (2019)
Johan Doktor Faust (2018)
Die Rache (2017)
Kdož sú boží bojovníci (2016)
Mutus Liber (2015)
Svěcení jara (2014)
Safírová hlava (2014)
Metal Music (2010)
Pan Roman (2010)
Rain Dance (2009)
Red Green Blue (2005)
Computer Music (2005)
The Best of 1960s and 1970s Architecture in the Czech Republic
12. 10. 2020-15. 1. 2021
About the exhibition:"The Best of 1960s and 1970s Architecture in the Czech Republic" is an exhibition resulting from a long-term project of the National Heritage Institute focusing on the values of modern architecture of the 1960s and 1970s as part of the national and cultural identity of the Czech Republic. It captures the beauty and uniqueness of both well-known and neglected or forgotten creative works of the time. A distance of more than fifty years from the creation of these works provided adequate space and sufficient oversight not only to professionally assess and record their values, but also to justify why they should remain a part of our urban or open landscape and why some of them should be institutionally protected. The formal changes in post-war architecture are globally based on the search for style and on the development of materials and construction technologies. These formal changes are linked to political changes in the Eastern bloc countries. The buildings and their sets created in the 1960s and 1970s represent an important phase in the history of Czech architecture, when – after a period of post-war stabilisation and the adoption of Soviet models with their 'historicising' forms in the 1950s – there was a temporary political relief and a significant boom in architectural creation searching for its form and reflecting international trends. Architecture and constructions became a showcase for socialism representing the latest trends and possibilities through their variety of materials, structures and shapes in many cases. The purpose of the project and exhibition is to show that even this architecture, often simplistically referred to as ideological, often presents high formal, architectural and material values, and that efforts to preserve these values for future generations as evidence of tangible and cultural witness of the times are meaningful and justified. The current often unsightly state of buildings from this period is mainly caused by the absence of regular maintenance and in many cases by insensitive utilitarian modifications.