A conversation with Tereza Jindrová, Artport’s curator in residence and Czech artist Tomáš Kajánek on their practices and trends in contemporary Czech art.
Tereza Jindrová (born 1988 in Prague, Czech Republic) is an art critic and curator based in Prague. She is generally interested in methods of creating curatorial ‘frames’ to layer different interactions between artists, artworks and the public. Recently she is focused on the topic of rational and irrational aspects of healing, irrational beliefs and magic, and gender stereotypes in the context of artistic creativity.
Currently, she works as the Curator and Manager of Public Programs for the Jindrich Chalupecky Society. She cooperates with the Educational Department of the National Gallery in Prague, with online platform Artyčok.TV and with the Czech Radio. Since 2014, she has been the co-curator of the Entrance Gallery in Prague and has been a board member of Skutek, a Czech association connecting artists and other cultural producers with a focus on institutional politics and the conditions of artistic production. Her previous experiences include working as the Fine Arts editor at A2 magazine, working for Flash Art magazine Czech and Slovak Edition, the Prague Biennale and Meetfactory – Centre of Contemporary Art in Prague.
She studied History of Art at the Charles University and Theory and History of Design and New Media at the Academy of Arts, Architecture and Design in Prague. She was awarded with Věra Jirousová’s Award (2013) for art criticism for young authors. In the past two years, she curated/co-curated Healing at Czech Centre Berlin; performance project of Barbora Kleinhamplová at Art in General, New York; Hanky Panky at Fotopub Festival, Novo Mesto; Apparatus for a Utopian Image at EFA Project Space, New York; Monument – A School of Gestures at CCC Gallery, Beijing; and GIRLFRIEND at National Gallery, Prague.
Tomáš Kajánek (lives and works in Prague) primarily employs the media of photography, video and performance. His actions embody current issues to make them a matter of concern. While his early work usually deals with the question of agency – the individual’s capacity to act within rigid social structures, Kajánek recently moved on to possibilities of new technologies that may change recently known infrastructure. In particular, he is focused on an implementation of 3D printing that was named as a new industrial revolution. Application of 3D printing contributed to a collapsing distinction of digital data and physical objects and it also brought urgency in matters of liberty. Democratization of manufacturing present new scenarios of society that are the basis for his recent work.
Recent selected solo shows include: Liberate Me, Nitrianska galéria, Nitra (SK); The Last Step for the Consecration of the Union between a Man and a Firearm, Croxhapox, Gent (BE); I Don’t See Colour: Series of Retouched Photography, Het Wilde Weten, Rotterdam (NL) Recent selected group shows include: Ripple Effect, Futura Gallery, Prague (CZ); Vienna Biennale, Performing Public Art 2015, AIL, Vienna (AT); OFF2 BIENALLE, National Gallery, Prague (CZ). Kajánek was a resident artist at AIR Antwerpen in Belgium (2017) and at HWW in Rotterdam, the Netherlands (2016).