Катержина Шеда (1977) е чешка художничка, чието творчество е близко до т.нар. социална архитектура. В периода 1999 г. – 2005 г. тя учи в Академията за изящни изкуства в Прага, в класа на проф. Владимир Коколия.
В творбите си Катержина Шеда обръща внимание на събития със социална насоченост, често привличащи стотици участници, които по никакъв начин не са свързани с изкуството. Повечето събития се провеждат направо в селата или по улиците на градовете. Експериментирането с междуличностни взаимоотношения цели да отклони участниците от техните стереотипи или социална изолация. Художничката се опитва да предизвика постоянна промяна в тяхното поведение посредством собствената им (предизвикана) активност и употребата на ежедневни средства по нов начин.
Автор е на голям брой проекти със социална насоченост, които е реализирала в Чешката република и в чужбина. Получавала е покани за реализиране на индивидуални проекти, напр. от LIAF, Норвегия (2019), галерия Ikon, Бирмингам (2019), IHME, Хелзинки (2016), SF Moma, Сан Франциско (2013–2014), Tate Modern, Лондон (2011) , и много други. Участвала е в 16-то международно архитектурно изложение във Венеция (2018), MMOMA, Москва (2016), Триенале на изкуството EchigoTsumari 2015 в Япония, Биенале във Венеция (2013), Kunstmuseum Luzern (2012), музеят Mori, Токио (2010), New Museum, Ню Йорк (2009), Manifesta 7, Болцано (2008), 5-то биенале в Берлин (2008), „Ренесансовото общество“, Чикаго (2008) и Documenta 12, Касел (2007) и други.
Многократно е награждавана за творчеството си: „Архитект на годината 2017“ (Чешка република), „Magnesia Litera“ за журналистика (Чешка република), наградата за продукция на TAKU (Финландия), „Най-красивите чешки книги“ (Чешка република), награда на Обществото за съвременно изкуство (Великобритания), награда „Jindřich Chalupecký“ (Чешка република), награда „Fluxus“ (Германия), награда „Essl“ (Австрия) и др.
Катержина Шеда има публикувани над тридесет книги и публикации, подробно представящи нейните самостоятелни проекти. Тя изнася лекции върху творчеството си в училища, културни центрове и галерии, но също така и в малки населени места, като се стреми да запознае широк кръг хора със своята работа и по този начин да ги мотивира самите те да проявят активност. www.katerinaseda.cz
Vladiya Mihaylova is a curator and a cultural theorist. Since 2007 she has been part of the team of Sofia City Art Gallery as a curator at Vaska Emanouilova Gallery where she works with the programs for contemporary art and the museum archive of the gallery.
She is interested in cultural history, contemporary art, the social, political and educational aspects of the institutions for art. Mihaylova has collaborated as curator with artists for projects in public spaces, selfinstitutionalizing platforms, educational initiatives, etc.; among these were long-term projects receiving widespread public attention such as Project 0 by Kiril Kuzmanov (2010 – 2014) about the space of Kapana in Plovdiv, 0gms Gallery in a Drawer by Ivan Moudov (2010-2013); she is the initiator and the curator of the on-going project The 90s. The Beginning of the Myth (2015 -) about the popular culture of the transition period in Bulgaria. In 2015 she curated the Sofia Queer Forum edition under the motto “Sweet Union”. Vladiya participated in the main work group (Visual Arts field) which developed the Strategy for the free arts scene in Sofia – A Shared Vision (2016 – 2018). She is a graduate of the Cultural Management Academy of Goethe-Institut, Sofia, and Sofia Capital (Stolichna) Municipality (2015 – 2016). In 2017 she was the curator of Open Art Foundation anniversary celebration programme as part of the NIGHT/Plovdiv festival, as well as of the large-scale exhibition Shifting Layers. Young Art at the Museum, presenting young artists at Sofia City Art Gallery.
Over the years, she has been attending various curatorial courses and has explored the work of contemporary authors in Sweden, Austria, Italy, Germany and elsewhere. Vladiya Mihaylova is the author of numerous articles published in authors’ catalogues, biennial catalogues, art editions and the cultural press in Bulgaria and abroad. Part of these are: Portal and Kultura newspaper, the Marginalia website for human rights, Flash Art International, KubaParis, etc. In 2012 she received The Essential Reading for Art Writers Award for critics of the Institute of Contemporary Art, Sofia, for articles dedicated to the topic of young artists in Bulgaria –“The Global Generation”. Her texts on art after 1989 in Bulgaria have been published in academic magazines and publications of Sofia University and New Bulgarian University.
My largest public project to date was “There’s Nothing There,” a community game involving most of the residents of the Moravian town of Ponětovice. The results of a questionnaire I distributed to the town’s inhabitants showed that most families would spend their Saturdays doing similar things. My second finding was that the villagers harbored a certain skepticism: they thought anything important would be taking place in cities (they would say “there’s nothing here” when talking about their village). My task was to put their everyday life on display. I drew from the questionnaire to formulate a Schedule for a Day – an obligatory program for Saturday, May 5, 2003 – and tried to convince all of the town’s people to stick to it. So,everyone got up out of bed, went shopping (everyone bought the same thing for a symbolic, sponsored price), swept their walkways, had a lunch of tomato sauce and dumplings, went out for a beer and then all turned out their lights at the same time. This simple game helped show people that big things can happen in a small town too: you just all have to do them together. (Kateřina Šedá, 2003)
THERE IS NOTHING THERE
Production: 2003
Site: Ponětovice, Czech Republic
Participants: Residents of the village of Ponětovice
Drawings: Kateřina Šedá
Graphic design: Kateřina Šedá
Photography: Vít Klusák, Kateřina Šedá
Production team: Kateřina Šedá
The project originated as a year-end assignment (3rd year) for Prof.
Vladimír Kokolia at the Academy of Fine Arts in Prague
My largest public project to date was “There’s Nothing There,” a community game involving most of the residents of the Moravian town of Ponětovice. The results of a questionnaire I distributed to the town’s inhabitants showed that most families would spend their Saturdays doing similar things. My second finding was that the villagers harbored a certain skepticism: they thought anything important would be taking place in cities (they would say “there’s nothing here” when talking about their village). My task was to put their everyday life on display. I drew from the questionnaire to formulate a Schedule for a Day – an obligatory program for Saturday, May 5, 2003 – and tried to convince all of the town’s people to stick to it. So,everyone got up out of bed, went shopping (everyone bought the same thing for a symbolic, sponsored price), swept their walkways, had a lunch of tomato sauce and dumplings, went out for a beer and then all turned out their lights at the same time. This simple game helped show people that big things can happen in a small town too: you just all have to do them together. (Kateřina Šedá, 2003)
THERE IS NOTHING THERE
Production: 2003
Site: Ponětovice, Czech Republic
Participants: Residents of the village of Ponětovice
Drawings: Kateřina Šedá
Graphic design: Kateřina Šedá
Photography: Vít Klusák, Kateřina Šedá
Production team: Kateřina Šedá
The project originated as a year-end assignment (3rd year) for Prof.
Vladimír Kokolia at the Academy of Fine Arts in Prague
My largest public project to date was “There’s Nothing There,” a community game involving most of the residents of the Moravian town of Ponětovice. The results of a questionnaire I distributed to the town’s inhabitants showed that most families would spend their Saturdays doing similar things. My second finding was that the villagers harbored a certain skepticism: they thought anything important would be taking place in cities (they would say “there’s nothing here” when talking about their village). My task was to put their everyday life on display. I drew from the questionnaire to formulate a Schedule for a Day – an obligatory program for Saturday, May 5, 2003 – and tried to convince all of the town’s people to stick to it. So,everyone got up out of bed, went shopping (everyone bought the same thing for a symbolic, sponsored price), swept their walkways, had a lunch of tomato sauce and dumplings, went out for a beer and then all turned out their lights at the same time. This simple game helped show people that big things can happen in a small town too: you just all have to do them together. (Kateřina Šedá, 2003)
THERE IS NOTHING THERE
Production: 2003
Site: Ponětovice, Czech Republic
Participants: Residents of the village of Ponětovice
Drawings: Kateřina Šedá
Graphic design: Kateřina Šedá
Photography: Vít Klusák, Kateřina Šedá
Production team: Kateřina Šedá
The project originated as a year-end assignment (3rd year) for Prof.
Vladimír Kokolia at the Academy of Fine Arts in Prague
My largest public project to date was “There’s Nothing There,” a community game involving most of the residents of the Moravian town of Ponětovice. The results of a questionnaire I distributed to the town’s inhabitants showed that most families would spend their Saturdays doing similar things. My second finding was that the villagers harbored a certain skepticism: they thought anything important would be taking place in cities (they would say “there’s nothing here” when talking about their village). My task was to put their everyday life on display. I drew from the questionnaire to formulate a Schedule for a Day – an obligatory program for Saturday, May 5, 2003 – and tried to convince all of the town’s people to stick to it. So,everyone got up out of bed, went shopping (everyone bought the same thing for a symbolic, sponsored price), swept their walkways, had a lunch of tomato sauce and dumplings, went out for a beer and then all turned out their lights at the same time. This simple game helped show people that big things can happen in a small town too: you just all have to do them together. (Kateřina Šedá, 2003)
THERE IS NOTHING THERE
Production: 2003
Site: Ponětovice, Czech Republic
Participants: Residents of the village of Ponětovice
Drawings: Kateřina Šedá
Graphic design: Kateřina Šedá
Photography: Vít Klusák, Kateřina Šedá
Production team: Kateřina Šedá
The project originated as a year-end assignment (3rd year) for Prof.
Vladimír Kokolia at the Academy of Fine Arts in Prague
My largest public project to date was “There’s Nothing There,” a community game involving most of the residents of the Moravian town of Ponětovice. The results of a questionnaire I distributed to the town’s inhabitants showed that most families would spend their Saturdays doing similar things. My second finding was that the villagers harbored a certain skepticism: they thought anything important would be taking place in cities (they would say “there’s nothing here” when talking about their village). My task was to put their everyday life on display. I drew from the questionnaire to formulate a Schedule for a Day – an obligatory program for Saturday, May 5, 2003 – and tried to convince all of the town’s people to stick to it. So,everyone got up out of bed, went shopping (everyone bought the same thing for a symbolic, sponsored price), swept their walkways, had a lunch of tomato sauce and dumplings, went out for a beer and then all turned out their lights at the same time. This simple game helped show people that big things can happen in a small town too: you just all have to do them together. (Kateřina Šedá, 2003)
THERE IS NOTHING THERE
Production: 2003
Site: Ponětovice, Czech Republic
Participants: Residents of the village of Ponětovice
Drawings: Kateřina Šedá
Graphic design: Kateřina Šedá
Photography: Vít Klusák, Kateřina Šedá
Production team: Kateřina Šedá
The project originated as a year-end assignment (3rd year) for Prof.
Vladimír Kokolia at the Academy of Fine Arts in Prague
My largest public project to date was “There’s Nothing There,” a community game involving most of the residents of the Moravian town of Ponětovice. The results of a questionnaire I distributed to the town’s inhabitants showed that most families would spend their Saturdays doing similar things. My second finding was that the villagers harbored a certain skepticism: they thought anything important would be taking place in cities (they would say “there’s nothing here” when talking about their village). My task was to put their everyday life on display. I drew from the questionnaire to formulate a Schedule for a Day – an obligatory program for Saturday, May 5, 2003 – and tried to convince all of the town’s people to stick to it. So,everyone got up out of bed, went shopping (everyone bought the same thing for a symbolic, sponsored price), swept their walkways, had a lunch of tomato sauce and dumplings, went out for a beer and then all turned out their lights at the same time. This simple game helped show people that big things can happen in a small town too: you just all have to do them together. (Kateřina Šedá, 2003)
THERE IS NOTHING THERE
Production: 2003
Site: Ponětovice, Czech Republic
Participants: Residents of the village of Ponětovice
Drawings: Kateřina Šedá
Graphic design: Kateřina Šedá
Photography: Vít Klusák, Kateřina Šedá
Production team: Kateřina Šedá
The project originated as a year-end assignment (3rd year) for Prof.
Vladimír Kokolia at the Academy of Fine Arts in Prague