If you are a writer or translator in the Czech Republic, then about the biggest accolade you can get is a Magnesia Litera award. The eighth annual Magnesia Litera was launched on Tuesday, with organizers saying they had more than 320 new Czech releases to read their way through and judge. Awards are given for the best new Czech fiction, poetry, children’s literature, and translation, with the Czech public also voting for their own favourite book of the year. The winners will be revealed at a glitzy ceremony in Prague next month, hosted by Czech
Ivo Anderle operates Prague’s two leading arthouse cinemas, Aero, in the Žižkov district of the city, and Světozor, a few metres from Wenceslas Square. In recent years he has entered the distribution business with Aerofilms, whose biggest success to date has been the documentary Citizen Havel, recently voted best Czech film of the last two decades by a poll of industry figures in Reflex magazine.
Ask practically any inhabitant of the capital for directions to Czech Radio and you'll be pointed to an imposing functionalist building, tucked just behind Wenceslas Square. In this, and the neighbouring buildings, hundreds of 'rozhlasáci' crouch over computers, talk on telephones and read reports such as this in one of the numerous studios. But, as well as the mothership on Vinohradská Street, Czech Radio owns a surprising number of other, smaller buildings, scattered all over the capital, which are overshadowed, perhaps sometimes unfairly, by
As well as his famous paintings of pop culture icons, the US artist Andy Warhol also made scores of films, often single, unedited shots of his favourite people, or even somebody sleeping for five hours. Now a number of those films are on show in an exhibition entitled Andy Warhol Motion Pictures at Prague’s Rudolfinum.
The trailer for the 2007 Karlovy Vary Film Festival is a highly kinetic and graphic introduction told through various typefaces. It was also the first – and so far the last – break with the festival’s traditional practice of using directed pieces with actors. The ad is exemplified by several things at once: immaculate decorum, for one – it is about film and nothing but film. Hyper-minimalism for another: the entire video uses exactly five words: “Karlovy”, “Vary”, “International”, “Film”, “Festival”. And last, symbolism and sound effects that convey
For this edition of Czechs Today I met octogenarian Zdeněk Mahler, born and raised in Prague’s Industrial Vysočany district. Over the last three quarters of a century, Mahler has repeatedly found himself involved in some of the country’s best-known cultural exports. He helped prepare the famous winning Czechoslovak exhibit at the Brussels Expo in 1958, and lived and worked with a certain Miloš Forman throughout the period of the Czech New Wave.
A recent opinion poll suggested that a majority of Czechs are so far satisfied with their government’s running of the EU presidency one month on – even its handling of the gas crisis and the conflict in Gaza. But one area the government apparently mishandled was its commissioning of artist David Černý’s Entropa, the controversial art work which surprised Europe when it was unveiled in Brussels roughly three weeks ago. Even now, it is apparent the work will not soon be forgotten. But was it appropriate? The artist and colleagues duped the Czech government
Czechs are reputed to be one of Europe’s most atheist nations. Yet in the course of its history, the nation has produced many outstanding religious thinkers, philosophers, writers and other personalities who left their mark on the development of theology and religion. In this edition of One on One, we talk to one of the country’s leading Catholic intellectuals, Martin C. Putna, a literary historian, specializing in Czech Catholic literature, who has recently become the head of the Václav Havel library. He recently hosted a popular TV show which
The commotion in recent weeks over David Černý’s Entropa exhibit in Brussels has made the sculpture one of the hallmarks of the Czech EU presidency. While its opponents deem its stereotypical depiction of the 27 member states a thing of antagonism, something between mockery and insult, its proponents have defended the work as a defining example of Czech humour and have asked what European representation means at all, if national humour is censurable. This week in Arts we’ll be taking a look at the wider context of Černý’s work, what could be called