Tereza
Nováková






  1. SIT IN SMALL UNCOMFORTABLE CHAIR, CLOSE YOUR EYES AND THINK ABOUT CHAOS
  2. PICK YOU UP SOME INSPIRATION FOR PERSONAL ESCAPE                 
  3. USING GATHERER AS A PERSONAL ARCHIVE COULD HELP YOU ESCAPE AND GETTING LOST AS QUICKLY AS  YOU NEED
  4. IF YOU USE ALSO LINKS AS A MAP OF COLLABORATION, IT COULD YOU SLOWLY DISCOVER SOMETHING NEW NOW

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    DEDICATED TO MY FATHER TO LEARN HOW TO BE A GATHERER IN BEST WAY.

    Inspirations are not sorted analbethicaly. They are sorted associatively, following the subconscious. You can pick up from the pockett of the Gatherer some inspirations (mostly NOW there are 8 inspirations, which means the Infinity ∞. It looks like it should be growing, when you find some other inspiration. But it is maybe an unreal wish, it is up to you. Relax and continue..."
    The most imporant for NEW NOW is WOODEN WEB.


    Content

    1. Inspiration Wooden Web
    2. Inspiration Communication
    3. Inspiration Community research of today's topic
    4. Inspiration Deep research of a place - this is not the Experiment, but be experimental!
    5. Inspiration Identity of a place
    6. Inspiration Disrespectful? Eyes Down!
    7. Inspiration The Sweet Fear
    8. Inspiration Transdisciplinarity

    NEW NOW NEXT Inspiration The Gatherer - Tired Duality - Again and Again

    “We find ourselves in a time when we are forced out of public spaces and locked into private ones. Our apartment or room has become our refuge, our bunker, our hiding spot. We have reduced our movement on the streets to a minimum and thus every walk becomes a holiday. We pass by windows and try to catch a glimpse of the lives being lived on the other side of them. We spy on hidden worlds and hope to see something that will uplift us, excite us, stimulate us. In the shop windows we study our own reflection, foreign stories, even the street behind us. At this moment, who is watching and who is being watched? The shop window was a locked but nevertheless open space. Within reach, but its world cannot be touched through the thick glass. A different sort of intimacy in a world where touch has become dangerous.”

    We believe that the possibilities for exhibiting in the space we currently use solely to travel to work or the shop are unlimited and constantly expanding. We have taken works from the gallery environment and inserted them into the context of shop windows, which have the primary function of offering and selling. Of course many shop windows cannot momentarily fulfil their function under the current restrictions. Both artists and businesses are just scraping by. These worlds have come together.


    1. Inspiration Wooden Web 

    Identity of a place


    The mental mapping method also allowed us to discover what kind of attention people paid to particular places and what role artworks played in recognition and identification of urban space.

    Art in public space - The Image of Enclosure and the Identity of the Place. Cross enclosures between the Landscape and the City Center (termin new wild, suburbanized place).

    Now, at the conjuncture of a pandemic, racial justice uprisings, and a presidential election, suburbia has become legible as a defining national geography.

    City creative placemaking:

    What modes of artistic intervention are possible in landscapes of privatization and dispersal?



    2.  Inspiration Communication

    Deep research of a place  - this is not the Experiment, but be experimental!

    Genius loci - bring the art to strange places – try to change a thinking – art research – transdisciplinarity – performances - accompanying programmes – visualisating idea – community art – cooperation – between normality, illegality and science

    escape




    3.  Inspiration Community research of today's topic

    Community research of today's topic


    Art symposiums and festivals in the countryside could help You to keep a relationship between You and Nature. Thought to your mental health.

    Wandering – Celebration of moment a day – Rest, Laziness, Hazard, Fear and Danger, Escape, Amusement – Care about yourself, the others and the plants!


    9) Installation Friedrich on Symposium in the Garden, Löblhof & Artgrung, Czech rep. It is a perfect view to another horizont of the landscape, also another layer of your imagination. Quiz: Do you know which romantic German painter (who lives in this area) is dedicated to this installation? 




    4.  Inspiration Deep research of a place - this is not the Experiment, but be experimental!

    Disrespectful? Eyes Down!


    In the border of Your interest - in lost periphery - in enge of Your imaniganion, You can find a treasure (and words which may change your rejection to the cultural authority





    5.  Inspiration Identity of a place


    The Gatherer - Tired Duality - Again and Again


    Need a touch The speed world/slow world Work/

    Health Change of initiatives/ Activating

    This answer to the question of need to move/ The Movement/ The Role play/ gaming/ Back up to the roots is based on no belief in future or gods, no hope just fear is our society mood/wish.

    We can feel threatened, but saved at the same Time, because we FINALLY reach the chance to change. NEW NOW. no new / for new on new. Again and Again.

    Maybe all of you know this sacred mystery and You are  at the beginning of the story..but I feel I need to start also from the beginning...again and again. If dada is a reaction on...

    Re-visionism,re-writing,re-construction of new World/ Building/ Space/ Society/ Human being/ Apocalypse me/ Non human/ Archives/ Closerenest/ Re-vision of relationships/Under post (office) internet/ Change to reception

    Every key-word is old.

    We areNEW NOW (reborn or die), but we have to go back... to discover our Began - The Traditiion, local issues and problems.

    How do we use virtual reality? How could people live without Global Anger?

    What is not post-colonialism?

    Who is dada?


    Slow motion  - concentration to the details – sharing time and space – using daily rutines.

    Create a Sense.

    Content, you don´t need concentration.

    Using paralell words in cycles.


    It doesn't matter how fast you're going. If you're not changing your direction. If you're not changing your speed. The acceleration can be negative or positive. The one you choose is up to you.

    representation of our accelerate rhythm of life, of the accelerated rhythm in which the whole universe flows and moves. feel it moving, feel it speeding, feel it turn and twist... Stay on his back. Dictate the pace and the directions, dictate the speed.


    6.  Inspiration Disrespectful? Eyes Down!


    WOODEN WEB


    “All is permitted, including cheating...“where cheating is permitted, the reason to cheat is missing, if it is at all possible to cheat under such circumstances“.

    “Wooden web mentaly building community tries to have a function of “retarder” in the society, which causes slowdown. Finally it seems to be caused thanks to  lock-down, so look forward to the next post-truth activating.”

         7.  Inspiration The Sweet Fear

    Communication


    “(...) Visual art is not an ideal form for communicating and discussing difficult political, economic and social problems. There is no doubt that works of art can sometimes open up new ways of insight into difficult problems and situations of social existence, that sometimes they have the profound power to move consciousness - to stir, mobilize, motivate individuals and groups to morally active actions. But they can do so only by their specific means of expression, through (visual, tactile, kinesthetic, emotional, spiritual, intellectual) the experience which they provide in their form and which can be ideally facilitated by enlightened interpretation. If they are unable to do so, they remain merely propaganda or superficial commentary, infinitely less effective than other forms of public discourse on the evils and challenges of the contemporary world. (...).”





    8. Inspiration Transdisciplinarity

    The Sweet Fear

    The Curator Nicolas Bourriaud, casts human subjects on both increasingly ghostly, emphasizing limitations and subtleties, as well as more harmonized with the organic, strange, and sensual.





    Transdisciplinarity

    How can you tell if a difference in perception is really a cultural difference and isn't really based on an individual's thought patterns? Numerous discussions in the plenary eventually produced a unanimous result: our way of working, which dictates our subject matter, affects us more than our country of origin. For me, this meant taking a mediating role between disciplines in content production, working descriptively instead of interpretively, and ignoring my (European) opinion in interviews.



    OTHER DEFINITION OF THE GATHERER IN CZECH

    Onymacris unguicularis is a beetle known to have the ability to absorb fluids from fog. Before sunrise, he obtains water by standing on top of a sand dune with his ass up. Thanks to the black color, its body radiates heat more than the surrounding sand, thus the collector cools below the dew point temperature and air humidity condenses on its body. The drops then flow to his mouth.
    Stone collector machine for helping farmers with cultivating the Field before betting.
    Mushroom pickers usually wake up early and spend many hours walking along the forest (no danger here) with the Eye Down! Then eat really fat “smaženice” and dry on the heater the mushroom slides (often toxic too). It is a national tradition. Most people are afraid to go to the forest now, because they expect too many people. The mushroom needs silence.
    Strawberry picker is the most common summer part-time job for Czechs abroad, especially artists.

    „The coronavirus only accelerated and highlighted the disturbances and problems of our civilization circle that had been looking for a long time, but we all believed that they were manageable in some usual way without extraordinary changes.“



    WOODEN WEB





    One of the possible forms of creative work in contemporary participatory art is derived from online shared and gradually evolving visual communication on the internet.

    Phenomenon of network sharing from the position of a nonsense game, while it in no way gives up on the ambition of opening up and commenting on complicated, serious subjects concerning the relationship between man and society.

    The theme of internet-driven collaboration (during the past two years) having a common denominator of the “wooden web” move along the boundary of an original work of art, a curatorial action, community project and implementation of an art education programme, always reaching, with some of its parts, outside the official structures.

    “I consciously create a hybrid form or more precisely I make an effort towards it being created.”, says founder and performer artist and pedagog - Josef Daněk.


    “What I am trying to initiate, partly formulate and organize, often with a huge energetic input, is not only my work, as the essence of the project implies the need for collaboration with other artists and with other people in general.
    But it is not a curated exhibition in the traditional sense of the word, although I choose in some way and invite professionally erudite artists and students of university art courses, and it is definitely not an exhibition of a group defined by a programme, although the circle of participants to a certain extent forms a loosely coherent community in which each artist in his/her own way elaborates on the commonly accepted basic idea.“

    The Wooden Web project consists of a line of serialized meetings, collective exhibitions and other communal activities held at different locations and in different countries (the Czech Republic, the Netherlands, Ireland, South Korea, France and Cyprus).



    These and other countries are also home to the participating artists. The whole is perceived as a sequence or system of serialized rounds of a game, in which the individual collaborators called upon by the author of the concept perform as themselves in a similar way as artists publishing on a social network while at the same time they become part of a structurally working mechanism of the whole, initially determined by an absurdly formulated guiding idea. The whole of the project can therefore be always approached in several ways including one where it can be read as an original work by the initiator of the activity, built as a conceptually set out field of meanings affecting the role and partly the form and way of reading the works by the other participants.

    The core of the participating group is made up of a relatively  stable circle of regular collaborators (some of them have appeared in events organized by Daněk since the establishment of the former Frozen Academy (2007–2010) or even further back), others may participate in only one particular event based on a coincidence which led them to the project. The mechanism of the increase or personal rotation in the group of participants will be dealt with later as the principle based on which the changes are made is a well thought-out component of the whole activity and it will be interesting to return to it at a later stage.




    The basic motif of the Wooden Web project is the nonsensical idea of building together a wooden internet, i.e. a more or less complicated, hand-made device or object, created mainly of intertwined branches and other wooden material.

    The resulting artefact can be a material installation, artistic visualization or a model of a network, or even the DIY wooden hardware of a working communication system. Elements of an absurd play with the imagined, or real non-functionality of the system under construction, or possibilities of its quasi-operational use, make it possible to draw attention to the general problems connected with running commonly used communication systems and strategies.




    ”The Wooden Net has a great advantage. It is possible to hang things on it which cannot be hung on the cybernetic internet network. The real branches of the wooden web can carry objects which have weight, smell and perhaps even taste. Objects, which one physically touched, and by doing this adopted them, in an irreplaceable way, as his and removed them from the domain of the impersonal, act here as evidence of human presence, as a warranty of the natural magic reality of mutual coexistence.
    There is no need to deny that there are also disadvantages, rather limits, which need to be accepted. In the first place, there is the necessity of physically rebuilding the whole web at each location. Every piece of information has to be placed on the net by hand, or suspended and one must always také into account that a wooden web is incapable of transferring information remotely.
    A solution to this “cardinal insufficiency” can be postponed to the ideal future by way of religiously or otherwise motivated utopias, appeased with a promise of a dawning time awaited with hopes which will capitalize on our seemingly vain effort and miraculously resolve technical problems merely thought to have existed in connection with the imperfect state of the development of our device.
    Nevertheless, we are now even more tempted by the idea of openly admitting that a wooden web, to put it bluntly, does not and will never work.”

    Everything that is undertaken within the offered space therefore makes and does not make sense. There are rules, but in principle they do not apply unreservedly and are constantly changing, from meeting to meeting, from moment to moment. All is “consistently inconsistent“, only hardly or conditionally, partially determinable, yet at the same time in every moment very simple and elementary, thanks to the easily readable, albeit absurd, intent represented by building a wooden net.


    As a whole the Wooden Web is, simply, a product of a creative game, which freely combines individual aspects, often lifted out of context, and elements of communication strategies, derived from the lived experience in digital technology and navigating the web environment.
    It responds to the fact that the dizzying speed of the exchange of information is part of everyday practice in the Euro-American environment and that the interpretation and mere reception of “post-media situations” inadvertently gets out of control. It should however be noted that the spirit of the wooden web is completely free of any suggestion of avant-gardist intolerance. After all, the Wooden Web preferably wants to offer space for developing the authentic inner impulses of the participating artists, rather than to define and fulfil artistic programmes. It may be intentionally post internet turned upside down, definitely questioning the meaning of the elitist and exclusive and instead of busying itself with showy visualisation of a high tech or low-tech solution it tries, regardless of the form, to evoke and thematize the actual fact of being interconnected by a network and the undecipherable experience of it.

    Where, in the background of the Wooden Web, we do detect knowledge of certain literally or theoretically formulated ideas the author of the project rather relates to generally respected texts and theories taken today to be classic. The natural influence of the thoughts of J. L. Borges, U. Eco, G. Deleuze, J. Baudrillard and M. Foucalt, which is generally, consciously and subconsciously reflected by the concepts of exhibitions and art projects of the last decades, and can be undoubtedly tracked down here as well, just as we can run into a conscious reference, for example, to the spectacle of G. Debord and the omnipresent influence of the classic of the media, M. McLuhan.


    “Humour works as the safety valve of common sense and is therefore a regular strategy, particularly in situations where in a confusing multitude of contexts and relations we lose the distance necessary for us to reliably test the genuineness of individual opinions and attitudes. Laughter has a verification value. Under certain circumstances it is capable of separating, in a single moment, the true from the false.

    Humour creates distance, and as such may be an obstacle to a romantically true feeling, but on the other hand it may serve as a communication code with many possible applications. With its assistance we may overcome and tear down boundaries of styles and genres and provide space for the merry safety of the unserious, which can be (albeit only temporarily) shared even by people with contradicting opinions”.



    “Art Is Elsewhere“. (Jiří Valoch – concretist – avantgarde, minimalism) – to be “in“, predict the future, be on place while the real, “other” essence needs to be searched for somewhere else, behind us, beyond us. Staying on the Wooden Web can be taken as a taste of such “being elsewhere”.

    The method of selecting collaborators may seem random and simply lacking a concept. It is true that it usually responds to the current situation and the principles of selection are organically soft, as everything related to the Wooden Web, or formulated as a paradox, such as when one position in the team is obligatorily reserved for a child (baby or toddler), whose task is to impede and distract attention from working on the web, nevertheless Daněk’s work diagrams and visualizations of the relationship schemes, with the help of which he deliberates and partly documents his organizational activities, reveal systematic interest that he dedicates to the group of participants, rather than relying on a chance, although he may not admit it.


    The concentric annuli determining the basic form of the scheme represent bands with different measures of participation increasing towards the centre. The measure of the participant’s interest manifested by the energy put into the shared effort spontaneously shifts him towards the imagined centre of the project. The initiator, from a position at the edge of the centre field (at the base of the grey “foundation“ triangle), creates, mediates and enables a situation which can be entered. He builds an autonomous space permeable inwards and outwards, which attains a new meaning and a new form with every participant who enters it but, at the same time, which exists as a dream of the possibility of establishing a connection even in the case that nobody attempted to use it.

    “A precondition for a creative act is freedom from a practical purpose, and this must always be required, verified and sometimes even by tricking society, whose controlling systems have a tendency to become overdeveloped, serve its own purposes and lose sight of the significant reason for which they had been established. The proclaimed non-meaningfulness of the game is an open manifestation of this kind of prank, and the laughter strategies that art has used since time immemorial and to which art resorts whenever it feels itself to be trapped by the state, economy or bureaucratic legal bondage, so that it can claim freedom “still on good terms“ and with a smile.“

    Disinterest in the aesthetic qualities of the installation does not sound credible. He is sure to take into account how impressive the material construct is, but admittedly it is not the only thing that matters.
    The multi-layered nature of the extensive installation urges its use as more complicated, composed whole content- wise, conceived as “an image of an image”, “a game of a game” or “a model of a model” thematizing itself, just like the modelled phenomena.
    This context is quite natural for the working of Horálek’s plywood model of his own web pages, Libor Novotný’s sophisticated natural-wood object, or the fake-wood “W“ model by White and Carty, that the artists “hung” on the web as part of the most recent, extensive installation built in the spaces of the Galerie Sýpka in Vlkov in Moravia.

    The Wooden Web installation at Sýpka also served as an environmental prop in the making of staged photographs and video films for the first stage production of the Participation Refusal project, or for the theatrical kinetic play of the “mechanical ballet“ in the neo-modernist installation by Petra Hudcová and her five female collaborators.


    Concerted de-installation as a component part of the work

    The succinctly formulated form attains a neo-utilitarian principle, usually inconspicuously hidden in the whole wooden web enterprise, through the tradition of public de-installation, which as a regular component of the exhibition event is presented to visitors at the very beginning (and at the same time the end) of the formal exhibition opening, or alternatively it is performed in private by the artists themselves, soon after completion of the work.

    The frenzied atmosphere of finishing the installation is after the passage of a single short moment of “duration” replaced by an equally intensive rush, the result of which is going to be an empty space. The artefact which only a short while ago emerged from non-being will again dissolve in non-being in just a few minutes. It will become a more or less documented past. While during the opening speech the project initiator will for a moment depart from the sensible tone and let his voice soar in the spirit of his ecstatic, mytho-poetical declamation, everything behind his back and all around him disappears irretrievably into nothingness: Everything which had been created
    during several days of work and even longer preparations for the one moment in which an ephemeral spatial image of mutual co-existence, a model of the Wooden Web “lasted“.



    SPECIAL THANKS FOR THE COLLABORATION TO:

    GRAPHIC DESIGNER: MgA. Veronika Halašková (logotypes)
    PHILOSOPHER AND ARTIST: doc. Mgr. Josef Daněk (Wooden Web founder)
    PHOTOGRAPHERS: Ondřej Besperát, Pavel Matoušek - author´s archive from facebook and instagram.