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        <div id="content-top1">Page 57 - The Black Box Book</div>
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    <pre style="white-space:pre-line"><code>an artistic program, or at least an approach to be actively encouraged.   convey it in the usual modus operandi, i.e., in the form of an exhibition,
 It is incredible how close the global crisis was. Except perhaps for     curatorial interpretation, discussion or another public event? Motivational
 the spread of the HIV virus that causes AIDS in the 1980s, the pandemic   posts on social media cannot solve this. There was only one option: to
 was not on the register of catastrophic threats that local society faced.   give individual support in the form of creative scholarships. However, this
 The current threat of climatic collapse was preceded by the fear of nuclear   is not standard gallery practice, as only two financial transactions be-
 war, which had weighed heavily on the generation of Husák’s children    tween galleries and artists are standard so far: either purchases of works
 7
 and which has recently been revived with the outbreak of war in Ukraine.   for collections or support for the creation of artworks for exhibition in
 Pandemics did not figure in the catastrophic models but were relegated   the respective gallery. Scholarships for creative work are, by the way,
 to history, to third-world countries, or to the subjects of action thrillers .     a relatively neglected genre in the Czech environment , and yet they
                                                                          9
 8
 The belief in the omnipresent power of medicine and the self-evident sense of    should be one of the pillars of public support for the visual arts, which
 the inviolability of ‘our advanced civilisation’ prevailed in society, and such
 dangers were somehow not accepted.

 ONLY ARTISTS WILL SURVIVE        9  The Ministry of Culture of the Czech Republic awards creative schol-
                                  arships with the paradoxical condition that the applicant is only allowed
                                  to use them twice in their lifetime. Municipalities or regions do not grant
 In March 2020, when the first lockdown was announced, we began   similar scholarship support at all, and their only activity in this area is
                                  the quite exceptional offer of subsidized studios within municipal
 to experience something unprecedented: fear, constant uncertainty   properties.
 and enforced loneliness as a consequence of anti-pandemic measures.
 Some, however, also took this forced shutdown as a unique opportunity
 to experience the desired slowdown, to learn the concept of no growth,
 and to experience spring, which was particularly lovely that year. Others,   Figure 3: Self-help sewing of
 aware of the failures of public institutions, threw themselves into help-  masks (2020). Vojtěch Kundrát’s archive
 ing the needy in every way imaginable and saw this period as proof of
 the vitality of civil society. In the costume shops of theatres and some
 galleries, masks were being sewn, of which there was an acute shortage
 in the Czech Republic then. My colleagues and I met in the empty building
 where our gallery was located and thought about what to do next. Is it
 necessary to find sewing machines and learn to sew? How can the art we
 do in our various professional capacities be useful in these times? And
 can it be beneficial at all?
 Consequently, we proceeded to reassess what the content and mis-
 sion of curatorial work and cultural institutions should be. We realized that
 if art is an important tool for understanding the world, then we do not only
 need epidemiologists and economists to understand or accept the cur-
 rent situation but also artists. What then is the task of the contemporary
 art gallery in this situation? First of all, is it to signal to artists that their
 work (or profession) is demanded even in these exacerbated conditions?
 Or rather, that it is required right now? But how to communicate this
 attitude at a moment when we cannot officially meet anyone, let alone



 7  “Husák’s children” is a name given to the generation born during
 the period of the so-called political normalization, when Czechoslovakia
 was led by President Gustáv Husák. This phase of the 1970s and 1980s,
 following the occupation of Czechoslovakia by the Warsaw Pact forces
 in 1968 and the subsequent end of social reforms, is characterized by
 a sharpening of power and ideological surveillance.


 8  Contagion (2011) Official Exclusive 1080p HD Trailer – YouTube
 56                                             57</code></pre>
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