exhibition opening: 14. 4. 2022, 17:00<\/strong>\n<\/em>opening hours: 14. 4. \u2013 22. 5. 2022, Wednesday \u2013 Sunday, 11 am \u2013 7 pm<\/span><\/p>\ncurator: Nela Klajbanov\u00e1<\/span><\/p>\n<\/video><\/p>\n<\/video><\/p>\nVideo with sign language<\/button><\/div>\nThe space is \ufb01lled by sound. It guides us through a\u00a0three-bedroom apartment. The \ufb02oor creaks \u2013 it\u2019s\u00a0probably a\u00a0rental property. Sometimes, she remembers something. She makes coffee, turns the radio on. The sound in the exhibition works loosely with associations that come up when one remembers a\u00a0childhood apartment. The spoken word component, however, makes it clear that this is not a\u00a0nostalgic return but rather a\u00a0commentary on the attitude of the current generation towards housing availability and economic degrowth, a\u00a0term appearing with increasing frequency in recent times.<\/p>\nMartina Havl\u00ed\u010dkov\u00e1 Hol\u00e1\u2019s\u00a0work is characteristic in creating a\u00a0collage of sound and image that often searches for moments of initiation in the past that update the present. How does our memory in\ufb02uence our reality, and to what extent is the nature of our memory subjective? We examine old photographs and perhaps appropriate some experiences or memories. The voice brings us to a\u00a0house with a\u00a0rounded corner, to an apartment with crates made from oak wood. The stream of consciousness of our guide draws inspiration from YouTube videos that allow anyone to see how celebrities live in the beautiful, spacious houses they own. The sound reverberates in the gallery just like at a\u00a0viewing for an empty apartment. The script explores issues related to a\u00a0society of degrowth that the protagonist occasionally calls into question, arriving at absurd contradictions. We hear an economist\u2019s\u00a0commentary: \u201cBut what\u2019s\u00a0beautiful about the world today is that everyone can have as much of their degrowth as they like. I\u00a0think that\u2019s\u00a0nice \u2013 if they don\u2019t want to grow, or rather not in the way of measuring economically that they get richer every month, amassing property, they can, no problem, and they can still live a\u00a0nice \u2013 a\u00a0beautiful life.\u201d What is it like to have a\u00a0beautiful life today? To grow or not to grow? The exhibition considers various aspects of measuring quality of life in the time of the housing crisis, gentri\ufb01cation, or ecological threats, asking about the limits we are set by fateful realities and whether we are capable of changing them. As we listen, we observe a\u00a0collage of photographs and short videos in which we return to real memories; to phone archives, the most commonly used recording medium. It gradually becomes a\u00a0place where we put things aside, where the important mixes with the unimportant, where we save screenshots from e-shops, social networks, and maps, but also essential memories and feelings. The video collage works intuitively and associatively with the themes mentioned here, along with fragments of the past that include the pavement near the house with the rounded corner. Again, the overwhelming quantity makes the term degrowth relative in everything we do today.<\/p>\nAfter two years of pandemic-related restrictions, during which time we often found galleries empty, this exhibition returns to the need of not simply creating a \u201cthing for itself\u201d, instead of having its own purpose. More than anything else, the gallery, therefore, reminds us of an empty apartment, degrowth, the need to break away from being overwhelmed, a desire for simpli\ufb01cation, and the unspoken question of whether this is even possible in today\u2019s complicated world.<\/p>\nMartina Havl\u00ed\u010dkov\u00e1 Hol\u00e1 (*1987)<\/strong> graduated from the Academy of Fine Arts in Prague in the studio of intermedia. She is focusing mainly on the medium of moving image which she presents in galleries as well as at film festivals (MFDF Jihlava, PAF Olomouc). From 2015 she worked in the Czech radio research section where she created short videos from the radio archives called <\/span>Auditorium<\/span><\/i> and for the programme ArtCaf\u00e9 she prepared content about international contemporary art. In 2019 Hol\u00e1 participated in the conception and dramaturgy of the project <\/span>Stairs of Time<\/span><\/i> with Roman \u0160t\u011btina, in which they represented 30 years of freedom through sound memory. She is also the author of the radio documentary <\/span>Last News<\/span><\/i> which points out current events reviving our past. Lately, she works on a series about visual culture <\/span>Serviz<\/span><\/i> for the platform Arty\u010dok.TV.<\/span><\/p>\nsound engineer: Jon\u00e1\u0161 Ros\u016flek\n<\/span>voiceover: Marie \u0160vestkov\u00e1\n<\/span>production managers: Anna Davidov\u00e1, Tom\u00e1\u0161 Kaj\u00e1nek\n<\/span>installation: Anna Davidov\u00e1, Kate\u0159 Ture\u010dek, Ji\u0159\u00ed Havl\u00ed\u010dek, Tom\u00e1\u0161 Kaj\u00e1nek\n<\/span>graphic design: Nela Kl\u00edmov\u00e1\n<\/span>translation: Ian Mikyska\n<\/span>sign language translation: Mat\u011bj \u010cipera (Tich\u00fd sv\u011bt)<\/span><\/p>\nThe project was financially supported by the grants of the State Cultural Fund, Ministry of Culture of The Czech Republic and Prague City Hall.<\/span><\/p>\n>> INTERVIEW WITH MARTINA HAVL\u00cd\u010cKOV\u00c1 HOL\u00c1 (CZ)<\/a> <<<\/strong><\/span><\/p>\n
curator: Nela Klajbanov\u00e1<\/span><\/p>\n<\/video><\/p>\n<\/video><\/p>\nVideo with sign language<\/button><\/div>\nThe space is \ufb01lled by sound. It guides us through a\u00a0three-bedroom apartment. The \ufb02oor creaks \u2013 it\u2019s\u00a0probably a\u00a0rental property. Sometimes, she remembers something. She makes coffee, turns the radio on. The sound in the exhibition works loosely with associations that come up when one remembers a\u00a0childhood apartment. The spoken word component, however, makes it clear that this is not a\u00a0nostalgic return but rather a\u00a0commentary on the attitude of the current generation towards housing availability and economic degrowth, a\u00a0term appearing with increasing frequency in recent times.<\/p>\nMartina Havl\u00ed\u010dkov\u00e1 Hol\u00e1\u2019s\u00a0work is characteristic in creating a\u00a0collage of sound and image that often searches for moments of initiation in the past that update the present. How does our memory in\ufb02uence our reality, and to what extent is the nature of our memory subjective? We examine old photographs and perhaps appropriate some experiences or memories. The voice brings us to a\u00a0house with a\u00a0rounded corner, to an apartment with crates made from oak wood. The stream of consciousness of our guide draws inspiration from YouTube videos that allow anyone to see how celebrities live in the beautiful, spacious houses they own. The sound reverberates in the gallery just like at a\u00a0viewing for an empty apartment. The script explores issues related to a\u00a0society of degrowth that the protagonist occasionally calls into question, arriving at absurd contradictions. We hear an economist\u2019s\u00a0commentary: \u201cBut what\u2019s\u00a0beautiful about the world today is that everyone can have as much of their degrowth as they like. I\u00a0think that\u2019s\u00a0nice \u2013 if they don\u2019t want to grow, or rather not in the way of measuring economically that they get richer every month, amassing property, they can, no problem, and they can still live a\u00a0nice \u2013 a\u00a0beautiful life.\u201d What is it like to have a\u00a0beautiful life today? To grow or not to grow? The exhibition considers various aspects of measuring quality of life in the time of the housing crisis, gentri\ufb01cation, or ecological threats, asking about the limits we are set by fateful realities and whether we are capable of changing them. As we listen, we observe a\u00a0collage of photographs and short videos in which we return to real memories; to phone archives, the most commonly used recording medium. It gradually becomes a\u00a0place where we put things aside, where the important mixes with the unimportant, where we save screenshots from e-shops, social networks, and maps, but also essential memories and feelings. The video collage works intuitively and associatively with the themes mentioned here, along with fragments of the past that include the pavement near the house with the rounded corner. Again, the overwhelming quantity makes the term degrowth relative in everything we do today.<\/p>\nAfter two years of pandemic-related restrictions, during which time we often found galleries empty, this exhibition returns to the need of not simply creating a \u201cthing for itself\u201d, instead of having its own purpose. More than anything else, the gallery, therefore, reminds us of an empty apartment, degrowth, the need to break away from being overwhelmed, a desire for simpli\ufb01cation, and the unspoken question of whether this is even possible in today\u2019s complicated world.<\/p>\nMartina Havl\u00ed\u010dkov\u00e1 Hol\u00e1 (*1987)<\/strong> graduated from the Academy of Fine Arts in Prague in the studio of intermedia. She is focusing mainly on the medium of moving image which she presents in galleries as well as at film festivals (MFDF Jihlava, PAF Olomouc). From 2015 she worked in the Czech radio research section where she created short videos from the radio archives called <\/span>Auditorium<\/span><\/i> and for the programme ArtCaf\u00e9 she prepared content about international contemporary art. In 2019 Hol\u00e1 participated in the conception and dramaturgy of the project <\/span>Stairs of Time<\/span><\/i> with Roman \u0160t\u011btina, in which they represented 30 years of freedom through sound memory. She is also the author of the radio documentary <\/span>Last News<\/span><\/i> which points out current events reviving our past. Lately, she works on a series about visual culture <\/span>Serviz<\/span><\/i> for the platform Arty\u010dok.TV.<\/span><\/p>\nsound engineer: Jon\u00e1\u0161 Ros\u016flek\n<\/span>voiceover: Marie \u0160vestkov\u00e1\n<\/span>production managers: Anna Davidov\u00e1, Tom\u00e1\u0161 Kaj\u00e1nek\n<\/span>installation: Anna Davidov\u00e1, Kate\u0159 Ture\u010dek, Ji\u0159\u00ed Havl\u00ed\u010dek, Tom\u00e1\u0161 Kaj\u00e1nek\n<\/span>graphic design: Nela Kl\u00edmov\u00e1\n<\/span>translation: Ian Mikyska\n<\/span>sign language translation: Mat\u011bj \u010cipera (Tich\u00fd sv\u011bt)<\/span><\/p>\nThe project was financially supported by the grants of the State Cultural Fund, Ministry of Culture of The Czech Republic and Prague City Hall.<\/span><\/p>\n>> INTERVIEW WITH MARTINA HAVL\u00cd\u010cKOV\u00c1 HOL\u00c1 (CZ)<\/a> <<<\/strong><\/span><\/p>\n
<\/video><\/p>\n<\/video><\/p>\nVideo with sign language<\/button><\/div>\nThe space is \ufb01lled by sound. It guides us through a\u00a0three-bedroom apartment. The \ufb02oor creaks \u2013 it\u2019s\u00a0probably a\u00a0rental property. Sometimes, she remembers something. She makes coffee, turns the radio on. The sound in the exhibition works loosely with associations that come up when one remembers a\u00a0childhood apartment. The spoken word component, however, makes it clear that this is not a\u00a0nostalgic return but rather a\u00a0commentary on the attitude of the current generation towards housing availability and economic degrowth, a\u00a0term appearing with increasing frequency in recent times.<\/p>\nMartina Havl\u00ed\u010dkov\u00e1 Hol\u00e1\u2019s\u00a0work is characteristic in creating a\u00a0collage of sound and image that often searches for moments of initiation in the past that update the present. How does our memory in\ufb02uence our reality, and to what extent is the nature of our memory subjective? We examine old photographs and perhaps appropriate some experiences or memories. The voice brings us to a\u00a0house with a\u00a0rounded corner, to an apartment with crates made from oak wood. The stream of consciousness of our guide draws inspiration from YouTube videos that allow anyone to see how celebrities live in the beautiful, spacious houses they own. The sound reverberates in the gallery just like at a\u00a0viewing for an empty apartment. The script explores issues related to a\u00a0society of degrowth that the protagonist occasionally calls into question, arriving at absurd contradictions. We hear an economist\u2019s\u00a0commentary: \u201cBut what\u2019s\u00a0beautiful about the world today is that everyone can have as much of their degrowth as they like. I\u00a0think that\u2019s\u00a0nice \u2013 if they don\u2019t want to grow, or rather not in the way of measuring economically that they get richer every month, amassing property, they can, no problem, and they can still live a\u00a0nice \u2013 a\u00a0beautiful life.\u201d What is it like to have a\u00a0beautiful life today? To grow or not to grow? The exhibition considers various aspects of measuring quality of life in the time of the housing crisis, gentri\ufb01cation, or ecological threats, asking about the limits we are set by fateful realities and whether we are capable of changing them. As we listen, we observe a\u00a0collage of photographs and short videos in which we return to real memories; to phone archives, the most commonly used recording medium. It gradually becomes a\u00a0place where we put things aside, where the important mixes with the unimportant, where we save screenshots from e-shops, social networks, and maps, but also essential memories and feelings. The video collage works intuitively and associatively with the themes mentioned here, along with fragments of the past that include the pavement near the house with the rounded corner. Again, the overwhelming quantity makes the term degrowth relative in everything we do today.<\/p>\nAfter two years of pandemic-related restrictions, during which time we often found galleries empty, this exhibition returns to the need of not simply creating a \u201cthing for itself\u201d, instead of having its own purpose. More than anything else, the gallery, therefore, reminds us of an empty apartment, degrowth, the need to break away from being overwhelmed, a desire for simpli\ufb01cation, and the unspoken question of whether this is even possible in today\u2019s complicated world.<\/p>\nMartina Havl\u00ed\u010dkov\u00e1 Hol\u00e1 (*1987)<\/strong> graduated from the Academy of Fine Arts in Prague in the studio of intermedia. She is focusing mainly on the medium of moving image which she presents in galleries as well as at film festivals (MFDF Jihlava, PAF Olomouc). From 2015 she worked in the Czech radio research section where she created short videos from the radio archives called <\/span>Auditorium<\/span><\/i> and for the programme ArtCaf\u00e9 she prepared content about international contemporary art. In 2019 Hol\u00e1 participated in the conception and dramaturgy of the project <\/span>Stairs of Time<\/span><\/i> with Roman \u0160t\u011btina, in which they represented 30 years of freedom through sound memory. She is also the author of the radio documentary <\/span>Last News<\/span><\/i> which points out current events reviving our past. Lately, she works on a series about visual culture <\/span>Serviz<\/span><\/i> for the platform Arty\u010dok.TV.<\/span><\/p>\nsound engineer: Jon\u00e1\u0161 Ros\u016flek\n<\/span>voiceover: Marie \u0160vestkov\u00e1\n<\/span>production managers: Anna Davidov\u00e1, Tom\u00e1\u0161 Kaj\u00e1nek\n<\/span>installation: Anna Davidov\u00e1, Kate\u0159 Ture\u010dek, Ji\u0159\u00ed Havl\u00ed\u010dek, Tom\u00e1\u0161 Kaj\u00e1nek\n<\/span>graphic design: Nela Kl\u00edmov\u00e1\n<\/span>translation: Ian Mikyska\n<\/span>sign language translation: Mat\u011bj \u010cipera (Tich\u00fd sv\u011bt)<\/span><\/p>\nThe project was financially supported by the grants of the State Cultural Fund, Ministry of Culture of The Czech Republic and Prague City Hall.<\/span><\/p>\n>> INTERVIEW WITH MARTINA HAVL\u00cd\u010cKOV\u00c1 HOL\u00c1 (CZ)<\/a> <<<\/strong><\/span><\/p>\n
<\/video><\/p>\nVideo with sign language<\/button><\/div>\nThe space is \ufb01lled by sound. It guides us through a\u00a0three-bedroom apartment. The \ufb02oor creaks \u2013 it\u2019s\u00a0probably a\u00a0rental property. Sometimes, she remembers something. She makes coffee, turns the radio on. The sound in the exhibition works loosely with associations that come up when one remembers a\u00a0childhood apartment. The spoken word component, however, makes it clear that this is not a\u00a0nostalgic return but rather a\u00a0commentary on the attitude of the current generation towards housing availability and economic degrowth, a\u00a0term appearing with increasing frequency in recent times.<\/p>\nMartina Havl\u00ed\u010dkov\u00e1 Hol\u00e1\u2019s\u00a0work is characteristic in creating a\u00a0collage of sound and image that often searches for moments of initiation in the past that update the present. How does our memory in\ufb02uence our reality, and to what extent is the nature of our memory subjective? We examine old photographs and perhaps appropriate some experiences or memories. The voice brings us to a\u00a0house with a\u00a0rounded corner, to an apartment with crates made from oak wood. The stream of consciousness of our guide draws inspiration from YouTube videos that allow anyone to see how celebrities live in the beautiful, spacious houses they own. The sound reverberates in the gallery just like at a\u00a0viewing for an empty apartment. The script explores issues related to a\u00a0society of degrowth that the protagonist occasionally calls into question, arriving at absurd contradictions. We hear an economist\u2019s\u00a0commentary: \u201cBut what\u2019s\u00a0beautiful about the world today is that everyone can have as much of their degrowth as they like. I\u00a0think that\u2019s\u00a0nice \u2013 if they don\u2019t want to grow, or rather not in the way of measuring economically that they get richer every month, amassing property, they can, no problem, and they can still live a\u00a0nice \u2013 a\u00a0beautiful life.\u201d What is it like to have a\u00a0beautiful life today? To grow or not to grow? The exhibition considers various aspects of measuring quality of life in the time of the housing crisis, gentri\ufb01cation, or ecological threats, asking about the limits we are set by fateful realities and whether we are capable of changing them. As we listen, we observe a\u00a0collage of photographs and short videos in which we return to real memories; to phone archives, the most commonly used recording medium. It gradually becomes a\u00a0place where we put things aside, where the important mixes with the unimportant, where we save screenshots from e-shops, social networks, and maps, but also essential memories and feelings. The video collage works intuitively and associatively with the themes mentioned here, along with fragments of the past that include the pavement near the house with the rounded corner. Again, the overwhelming quantity makes the term degrowth relative in everything we do today.<\/p>\nAfter two years of pandemic-related restrictions, during which time we often found galleries empty, this exhibition returns to the need of not simply creating a \u201cthing for itself\u201d, instead of having its own purpose. More than anything else, the gallery, therefore, reminds us of an empty apartment, degrowth, the need to break away from being overwhelmed, a desire for simpli\ufb01cation, and the unspoken question of whether this is even possible in today\u2019s complicated world.<\/p>\nMartina Havl\u00ed\u010dkov\u00e1 Hol\u00e1 (*1987)<\/strong> graduated from the Academy of Fine Arts in Prague in the studio of intermedia. She is focusing mainly on the medium of moving image which she presents in galleries as well as at film festivals (MFDF Jihlava, PAF Olomouc). From 2015 she worked in the Czech radio research section where she created short videos from the radio archives called <\/span>Auditorium<\/span><\/i> and for the programme ArtCaf\u00e9 she prepared content about international contemporary art. In 2019 Hol\u00e1 participated in the conception and dramaturgy of the project <\/span>Stairs of Time<\/span><\/i> with Roman \u0160t\u011btina, in which they represented 30 years of freedom through sound memory. She is also the author of the radio documentary <\/span>Last News<\/span><\/i> which points out current events reviving our past. Lately, she works on a series about visual culture <\/span>Serviz<\/span><\/i> for the platform Arty\u010dok.TV.<\/span><\/p>\nsound engineer: Jon\u00e1\u0161 Ros\u016flek\n<\/span>voiceover: Marie \u0160vestkov\u00e1\n<\/span>production managers: Anna Davidov\u00e1, Tom\u00e1\u0161 Kaj\u00e1nek\n<\/span>installation: Anna Davidov\u00e1, Kate\u0159 Ture\u010dek, Ji\u0159\u00ed Havl\u00ed\u010dek, Tom\u00e1\u0161 Kaj\u00e1nek\n<\/span>graphic design: Nela Kl\u00edmov\u00e1\n<\/span>translation: Ian Mikyska\n<\/span>sign language translation: Mat\u011bj \u010cipera (Tich\u00fd sv\u011bt)<\/span><\/p>\nThe project was financially supported by the grants of the State Cultural Fund, Ministry of Culture of The Czech Republic and Prague City Hall.<\/span><\/p>\n>> INTERVIEW WITH MARTINA HAVL\u00cd\u010cKOV\u00c1 HOL\u00c1 (CZ)<\/a> <<<\/strong><\/span><\/p>\n
The space is \ufb01lled by sound. It guides us through a\u00a0three-bedroom apartment. The \ufb02oor creaks \u2013 it\u2019s\u00a0probably a\u00a0rental property. Sometimes, she remembers something. She makes coffee, turns the radio on. The sound in the exhibition works loosely with associations that come up when one remembers a\u00a0childhood apartment. The spoken word component, however, makes it clear that this is not a\u00a0nostalgic return but rather a\u00a0commentary on the attitude of the current generation towards housing availability and economic degrowth, a\u00a0term appearing with increasing frequency in recent times.<\/p>\n
Martina Havl\u00ed\u010dkov\u00e1 Hol\u00e1\u2019s\u00a0work is characteristic in creating a\u00a0collage of sound and image that often searches for moments of initiation in the past that update the present. How does our memory in\ufb02uence our reality, and to what extent is the nature of our memory subjective? We examine old photographs and perhaps appropriate some experiences or memories. The voice brings us to a\u00a0house with a\u00a0rounded corner, to an apartment with crates made from oak wood. The stream of consciousness of our guide draws inspiration from YouTube videos that allow anyone to see how celebrities live in the beautiful, spacious houses they own. The sound reverberates in the gallery just like at a\u00a0viewing for an empty apartment. The script explores issues related to a\u00a0society of degrowth that the protagonist occasionally calls into question, arriving at absurd contradictions. We hear an economist\u2019s\u00a0commentary: \u201cBut what\u2019s\u00a0beautiful about the world today is that everyone can have as much of their degrowth as they like. I\u00a0think that\u2019s\u00a0nice \u2013 if they don\u2019t want to grow, or rather not in the way of measuring economically that they get richer every month, amassing property, they can, no problem, and they can still live a\u00a0nice \u2013 a\u00a0beautiful life.\u201d What is it like to have a\u00a0beautiful life today? To grow or not to grow? The exhibition considers various aspects of measuring quality of life in the time of the housing crisis, gentri\ufb01cation, or ecological threats, asking about the limits we are set by fateful realities and whether we are capable of changing them. As we listen, we observe a\u00a0collage of photographs and short videos in which we return to real memories; to phone archives, the most commonly used recording medium. It gradually becomes a\u00a0place where we put things aside, where the important mixes with the unimportant, where we save screenshots from e-shops, social networks, and maps, but also essential memories and feelings. The video collage works intuitively and associatively with the themes mentioned here, along with fragments of the past that include the pavement near the house with the rounded corner. Again, the overwhelming quantity makes the term degrowth relative in everything we do today.<\/p>\n
After two years of pandemic-related restrictions, during which time we often found galleries empty, this exhibition returns to the need of not simply creating a \u201cthing for itself\u201d, instead of having its own purpose. More than anything else, the gallery, therefore, reminds us of an empty apartment, degrowth, the need to break away from being overwhelmed, a desire for simpli\ufb01cation, and the unspoken question of whether this is even possible in today\u2019s complicated world.<\/p>\n
Martina Havl\u00ed\u010dkov\u00e1 Hol\u00e1 (*1987)<\/strong> graduated from the Academy of Fine Arts in Prague in the studio of intermedia. She is focusing mainly on the medium of moving image which she presents in galleries as well as at film festivals (MFDF Jihlava, PAF Olomouc). From 2015 she worked in the Czech radio research section where she created short videos from the radio archives called <\/span>Auditorium<\/span><\/i> and for the programme ArtCaf\u00e9 she prepared content about international contemporary art. In 2019 Hol\u00e1 participated in the conception and dramaturgy of the project <\/span>Stairs of Time<\/span><\/i> with Roman \u0160t\u011btina, in which they represented 30 years of freedom through sound memory. She is also the author of the radio documentary <\/span>Last News<\/span><\/i> which points out current events reviving our past. Lately, she works on a series about visual culture <\/span>Serviz<\/span><\/i> for the platform Arty\u010dok.TV.<\/span><\/p>\nsound engineer: Jon\u00e1\u0161 Ros\u016flek\n<\/span>voiceover: Marie \u0160vestkov\u00e1\n<\/span>production managers: Anna Davidov\u00e1, Tom\u00e1\u0161 Kaj\u00e1nek\n<\/span>installation: Anna Davidov\u00e1, Kate\u0159 Ture\u010dek, Ji\u0159\u00ed Havl\u00ed\u010dek, Tom\u00e1\u0161 Kaj\u00e1nek\n<\/span>graphic design: Nela Kl\u00edmov\u00e1\n<\/span>translation: Ian Mikyska\n<\/span>sign language translation: Mat\u011bj \u010cipera (Tich\u00fd sv\u011bt)<\/span><\/p>\nThe project was financially supported by the grants of the State Cultural Fund, Ministry of Culture of The Czech Republic and Prague City Hall.<\/span><\/p>\n>> INTERVIEW WITH MARTINA HAVL\u00cd\u010cKOV\u00c1 HOL\u00c1 (CZ)<\/a> <<<\/strong><\/span><\/p>\n
sound engineer: Jon\u00e1\u0161 Ros\u016flek\n<\/span>voiceover: Marie \u0160vestkov\u00e1\n<\/span>production managers: Anna Davidov\u00e1, Tom\u00e1\u0161 Kaj\u00e1nek\n<\/span>installation: Anna Davidov\u00e1, Kate\u0159 Ture\u010dek, Ji\u0159\u00ed Havl\u00ed\u010dek, Tom\u00e1\u0161 Kaj\u00e1nek\n<\/span>graphic design: Nela Kl\u00edmov\u00e1\n<\/span>translation: Ian Mikyska\n<\/span>sign language translation: Mat\u011bj \u010cipera (Tich\u00fd sv\u011bt)<\/span><\/p>\nThe project was financially supported by the grants of the State Cultural Fund, Ministry of Culture of The Czech Republic and Prague City Hall.<\/span><\/p>\n>> INTERVIEW WITH MARTINA HAVL\u00cd\u010cKOV\u00c1 HOL\u00c1 (CZ)<\/a> <<<\/strong><\/span><\/p>\n
The project was financially supported by the grants of the State Cultural Fund, Ministry of Culture of The Czech Republic and Prague City Hall.<\/span><\/p>\n>> INTERVIEW WITH MARTINA HAVL\u00cd\u010cKOV\u00c1 HOL\u00c1 (CZ)<\/a> <<<\/strong><\/span><\/p>\n
>> INTERVIEW WITH MARTINA HAVL\u00cd\u010cKOV\u00c1 HOL\u00c1 (CZ)<\/a> <<<\/strong><\/span><\/p>\n
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