SURVIVAL Prague 2019
Europe’s artists have been producing relevant imagery for over 3,000 years. The art pictures created by them have had a significant impact on European society as a reflection of political, economic and social concepts.
Artists involved were highly valued and paid - until the 19th century. The decline began, not only due to the introduction of new media such as photography but also by the economic-conceptual changes of liberal materialism. Now, "art" is becoming an "art market", a source of profit instead of a sacrifice of an economic surplus. Thus the ontological and religious context of art is lost: producing cheap - selling expensive is the new religion, also in the fine art sector.
In addition of the economic strain today's artists often exempt themselves from the social context, avoiding to talk about society. A society which is more focused on „digitalisation and robots“, not on reflection of socio-economic tendencies.
The media refuse to accurately present art as a basic feature of European life. The Church, once a leading patron, withdrew from this field surrendering to all kind of modernismes. Although Europe has never been so rich as today, most EU politicians are perfectly incompetent in this cultural-economic area. Last not least: the "Art Community" lacks political and conceptual endurance.
What are the perspectives for European art and artists in this context, what could be the role of artists in the future, in the face digitization and robotization along with rising production and global commerce?
The "Survival Prague 2019" symposium
The idea of SURVIVAL was launched by museum CAM Casoria in Naples three years ago, with its third edition in 2018.
Prague SURVIVAL 2019 continues this “tradition”. The symposium is organized by the Department of Fine Arts of the Academy of Arts, Architecture and Design in Prague, curator is Chris Herdel.
The aim of the event is to open an "ecumenical" dialogue between atomized groups of contemporary art representatives in Europe.
Although it is obvious that interests, tastes and approaches in specific areas of art (including interest in the history of his history) vary within the art world we must not miss that a majority of creative actors live and work under unsatisfactory conditions in Europe. Hence all tendencies of art creation deserve more care by the EU states both in form of communication means and funding.