Published by JRP|Ringier. Edited by Fanni Fetzer. Text by Fanni Fetzer, Michal Hladík, Vladimír Kokolia, Ales Palám, Adam Szymczyk.
To develop her projects, which are usually made in collaboration with a community, Czech artist Katerina Seda (born 1977) uses media such as video, drawing and installation. Her art objects and idiosyncratic artist’s books document what would otherwise be ephemeral performance pieces. This catalogue is the first overview of her output to date.
Czech artist Katerˇna Seda's primary media are her friends, family and the community of her hometown. Seda (born 1977) uses performance, staged activities and public interventions to activate social discourse, often stimulating exchanges between involuntary participants. This book documents a project in which the artist traveled a residential area by hopping each unwitting neighbor’s fence, wall or bale of hay.
Published by JRP|Ringier. Edited by V't Havránek. Text by Jana Klusakova.
This book documents a complex long-term project, first seen at Documenta 12, that was realized in Seda's Czech home town. She mailed custom, matching shirts to inhabitants of a renovating housing project, breaking down conventions against addressing the art audience and stimulating exchange between the involuntary participants.
This well designed artist’s book in a box is Prague-based Katerina Seda's first. Ten folders contain eight years worth of documentation from her conceptually based work in the form of diagrams, graphs, drawings, texts, photographs and questionnaires. Seda, who was born in 1977 in the Moravian village of Ponetovice, stages interventions near her home town and in Prague, her current base. Through research into behavior and communication patterns in art and non-art communities, Seda--whose work was included in 2007’s Documenta XII--creates projects based on the contexts and social relationships between the individuals around her. “Nic tam není” (“There’s Nothing There”) (2003), involved the participation of all the inhabitants of Ponetovice: One Saturday, she was able to convince residents to synchronize all their activities according to a schedule she had devised for the day. In another project, she had her grandmother create several hundred drawings from memory, documenting the objects she had sold at the household goods shop where she’d worked her whole life.