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Phoebe Apperson Hearst měla velmi úspěšného vlastního syna Williama, který byl ale více jako jeho otec: tvrdý obchodník. Našla však jemnou, uměleckou duši v malíři Orrinu Peckovi (1860–1921), který byl údajně gay a který ji, ještě za života své vlastní matky, začal oslovovat „má druhá mámo.“ Na základě podrobného výzkumu jejich vzájemné korespondence v Peckově pozůstalosti se můžeme ptát, jak moc si byla progresivní, bohatá žena 19. století, jakou byla Phoebe Hearst, vědoma Peckovy sexuality a pokud ano, jestli s tím neměla problém, nebo šlo o nevyřčené tajemství mezi nimi? Jejich příběh představí historik umění Ladislav Zikmund-Lender. Phoebe Apperson Hearst had a very successful son of William, but he was more like his father: a tough businessman. However, she found a delicate, artistic soul in the painter Orrin Peck (1860–1921), who was allegedly gay and who, while still his own mother's life, began to address her as “my second mother.” Based on a detailed study of their correspondence in Peck's estate, we may ask how much a progressive, rich 19th-century woman like Phoebe Hearst was aware of Peck's sexuality, and if so, if she had no problem with it, or was it an unspoken secret between them? Their story will be presented by art historian Ladislav Zikmund-Lender.

In autumn 2019, the Czech Republic celebrated the 30th anniversary of the 1989 Velvet Revolution, which ended four decades of communist rule in the former Czechoslovakia. New freedoms have made it easier for LGBTQ people to live their lives more openly in this Central European country, yet they still face significant challenges. Established in 2014, the Society for Queer Memory is the first Czech queer archives and museum. It now holds more than 1,000 objects. Art historian Ladislav Zikmund-Lender will discuss the work of the organization, providing insight into how the history of queer lives and experiences is being documented and presented in the Czech Republic. His talk will compare and contrast the ways that the path to queer emancipation in Central Europe has been distinct from the United States.

This article creates a cross section across artistic and artificial intelligence, providing the conceptual basis and examples of the implementation of the group exhibition project AI: All Idiots, which was part of the Other Knowledge exhibition series at the MeetFactory Gallery in Prague in 2021. The purpose of the project was to bring the subject of modern artificial intelligence to the attention of the general public while still being artistically stimulating. In lieu of the conventional strategy of curating a selection of artworks created by artists working with AI, we opted to start from scratch by gathering online digital copies of selected artworks by Czech artists, which served as a training dataset for our original AI software. The artists were also involved in the data’s interpretation. The experiment addressed the widespread use of AI for web content analysis, artists, curators, and the art community as a whole, as well as the question of whether AI operates as a source of information to generate stereotypical products that cannot do more than statistically confirm and continously repeat what is already known. The article sheds some light on the question of how art engages in a creative dialogue with a world co-created by digital technologies and learning algorithms with their own agendas, without falling prey to a mechanical confirmation of stereotypes. The source of artificial intelligence’s creativity draws from tuning expected and unexpected patterns and schemas. Like a sensitive photographic material, the architecture of art’s hidden structures is gradually revealed, intensifying the characteristics of the prejudices and habits we connect with art. If art is defined as revealing the invisible, then artificial intelligence is a useful artistic instrument.

Medieval devastation of forests led to the emergence of a forest profession. Today, the importance of this profession is enhanced by climate change. Despite this, foresters are often exposed to misunderstanding. Therefore, it is necessary to talk not only about the values of the forest, but also about the value of forestry work. One possibility is to offer an unconventional view of landscape elements created in connection with forestry. We can include these under the concept of natural, technical or building monuments. Reservations, transport systems, works of art, arboretum..., all this reveals the unsuspected breadth of forestry. These works not only document the ability of foresters to contribute to the creation and protection of the landscape, but are often also a contribution to the appreciation of its beauty. The system of declaring the world's natural and cultural heritage, which has been applied by UNESCO since 1972, offered inspiration in the attempt to use these values in presenting forestry. Its analogy in the conditions of Slovak forestry became the system of declaring "special forestry sites". This system, as an original way of protecting forestry history, has been implemented since 2007 by the state enterprise Lesy SR. So far, 58 special forestry sites have been declared. The guarantor of the system is the Forestry and Timber Museum in Zvolen. The idea grew into a permanent project, in which museum experts find not only an educational and popularizing effect, but also a tool for deepening forestry historical research. The most important part of this system is the increased protection, maintenance and often costly reconstruction of landscape monuments. Stredoveká devastácia lesov viedla k vzniku lesníckeho stavu. Význam tohto povolania dnes umocňujú klimatické zmeny. Napriek tomu sú lesníci často vystavovaní nepochopeniu. Preto je potrebné hovoriť nielen o hodnotách lesa, ale aj o hodnote lesníckej práce. Jednou z možností je ponúknuť netradičný pohľad na krajinotvorné prvky vytvorené v súvislosti s lesníctvom. Tieto môžeme zahrnúť pod pojem prírodných, technických alebo stavebných pamiatok. Tieto diela nielenže dokladujú schopnosť lesníkov prispievať k tvorbe a ochrane krajiny, ale sú často aj príspevkom k zhodnocovaniu jej krásy. Inšpiráciu pri snahe využiť tieto hodnoty pri predstavovaní lesníctva ponúkol systém vyhlasovania svetového prírodného a kultúrneho dedičstva. Jeho analógiou sa v podmienkach slovenského lesníctva stal systém vyhlasovania „významných lesníckych miest“. Tento systém, ako originálny spôsob ochrany lesníckej histórie, realizuje od roku 2007 štátny podnik Lesy SR. Doposiaľ bolo vyhlásených 58 významných lesnických miest. Garantom systému je Lesnícke a drevárske múzeum vo Zvolene. Myšlienka prerástla do trvalého projektu, v ktorom experti múzea nachádzajú nielen osvetovo – popularizačný efekt, ale aj nástroj prehlbovania lesníckeho historického výskumu. Najvýznamnejšou časťou tohto systému je zvýšená ochrana, údržba a často aj rekonštrukcia krajinných pamiatok, ktoré boli z úcty k histórii zaradené do siete významných lesnických miest.

Art historian Ladislav Zikmund-Lender will discuss qriting and performing queer art history in Central European context, providing insight into how the history of queer lives and experiences is being documented and presented in the Czech Republic. His talk will compare and contrast the ways that the path to queer emancipation in Central Europe has been distinct from the United States.

Before the end of nineteenth century universal exhibitions, specialised shows and trade fairs became inherent part of both local economy and social and cultural life in Bohemian and Moravian cities. The temporary exhibition grounds where such events were staged from the beginning were gradually replaced by permanent exhibition grounds, and later in the interwar period, major part of the cities in Czechoslovakia either established permanent exhibition venues, or had at least some place reserved for events. Exhibition venues as well as events themselves were affected by the outbreak of WW II and subsequent change of the regime. Their further development in following decades reflected the realities of centrally planned economy and cultural and social life organised and supervised by state authorities. Then the end of the Cold War brought the collapse of planned economy and outset of liberalisation, which often led to rapid changes in the cities and unrestrained transformations of urban structure, exhibition venues included. Future research pertaining the exhibition grounds should cover their historical development and explain how the exhibition grounds and venues can be described and specified in regional spatial plans and other documents. The outcomes of such research should be of importance to heritage care and protection as well. Regarding the interdisciplinary character of the subject, the research is to be carried also in related fields, e.g. art history, economy history, event management, regional studies and the like. Pořádání všeobecných i specializovaných výstav se ke konci devatenáctého století stalo neodmyslitelnou součástí hospodářského a společenského života v řadě menších českých a moravských měst. Po dočasných areálech následovala první stálá výstaviště, a později v meziválečném období se výstavní areály staly běžnou součástí městské vybavenosti. Změna režimu po druhé světové válce československé výstavnictví zásadně poznamenala, což mělo druhotně dopad také na podobu sítě regionálních výstavišť v republice. Další zásadní proměna oboru výstavnictví souvisela v devadesátých letech s rozpadem socialistického bloku, globalizací ekonomiky a nástupem nových komunikačních technologií. V této době docházelo někde k neřízeným a živelným transformacím území a nevratnému ničení nerozpoznaných kulturních hodnot. Budoucí výzkum výstavních areálů by se v oblasti urbanismu měl soustředit na komplexní zmapování prostorového vývoje výstavišť v jednotlivých městech a na způsob jejich ukotvení v územně plánovací dokumentaci. Závěry tohoto výzkumu by pak posloužily jako vodítko pro péči o historické výstavní areály a případně jako podklad pro návrh jejich ochrany. Vzhledem k mezioborovému charakteru výstavnictví by související výzkum měl probíhat také v souvisejících oborech jako hospodářské dějiny, dějiny umění, teorie architektury nebo event management a cestovní ruch.

The paper introduces understanding architecture as a mental image, an imprint of a physical space in collective memory. It focuses on the urban qualities of the Žižkov district, a late 19th century housing development in Prague, acknowledged in discussions over its replacement by a prefabricated housing estate in late 1980s. A theoretical concept introduced by Maurice Halbwachs is applied in order to propose a perspective indicating that these qualities developed gradually over time, as Žižkov was becoming a framework of collective memory.

The book shows the possibilities of interventions in the landscape and the rules that these interventions must follow. The landscape is presented as a complex environment for people's lives in specific natural, economic and social conditions. The text focuses on the development of rural landscape in terms of its formation, types, planning, composition and historical development. The book reflects the belief that not a single author - a professional, a planner, but the users of the landscape are its true designers. Kniha prezentuje možnosti zásahů do krajiny a zákonitosti, kterými se tyto zásahy musí řídit. Krajina je představována jako komplexní prostředí pro život lidí v konkrétních přírodních, hospodářských a společenských podmínkách. Text se zaměřuje na rozvoj rurální (venkovské) krajiny z pohledu jejího utváření, členění, plánování, kompozice i historického vývoje. Kniha odráží přesvědčení, že nikoliv jediný autor - profesionál, projektant, ale uživatelé krajiny jsou jejími pravými tvůrci.