The main themes are architectural freedom, defense of public space, unofficial structures and exceptional achievements (exhibitions, workshops, happenings, etc.). In addition to the presentation of personalities and events, there will be a focus on a particular situation of the period, historical, political and artistic context and the development of events or individual institutions and organizations and groups.
5 December, 2019 – 26 January, 2020
Galerie Jaroslava Fragnera
Betlémské nám. 169/5A, Praha-Staré Město
The shape of the exhibition will be based on a timeline showing individual themes and personalities or groups on three levels: for an common viewer, for an informed viewer and for those interested in detailed information. Due to the nature of this theme, the exhibition will be based on clear graphics, explanatory comments, communicative and visually attractive originals, copies, photographs, printed materials (official and dissident) and models. The exhibition will be accompanied by a publication guided tours, lectures, debates.
The basic theme – the moral consistency of the creators – will be reflected from several perspectives: depending on the type of the project (many creators have been simultaneously active on the field of moralizing activism and “spreading good” but also in controversial contracts for the totalitarian regime or controversial personalities), depending on time (many of the authors started their career as young, moralizing revolutionaries who do “everything in a different way”, but with increasing fame and responsibility, contract size and age, they have eventually moved into a standardized or predominantly commercial routine), depending on the nature of the particular work (in terms of defiance of the establishment and only the “simple” effort to do their work well and ethically) or the anticipated responses (to what extent the phenomena are monitored and reflected by the media, or to what extent they can be “evaluated” or exploited commercially and politically by the very establishment they are defining).
The curators are far from dividing the creators into “bad and good” or “right and harmful” events or performances, but they intent to show how interesting and powerful the stream of “islands of positive deviation” has been and what events (described only marginally or not at all) have been influential for the development of architecture, responded to pan-European trends (postmodernism, technology, interest in historic monument care, public space, ecology, theoretical works) and how the awareness of architects of their own influence on the form of public events and open spaces, social and pedagogical responsibilities is projected. At the same time, we want to draw the visitors into the dialog of a possibility of adding / writing “who I miss here”.