Most of my previous works reflect on an extractivism logic in which you transform anything – from human and non-human cognition, image, motion, time, death, environment – into usable material. I thus try to repeatedly connect these seemingly disparate fields, and transform their use value into subversive positions which step out of their original settings.
Any practice, and I include art, has its own limits, its own fields and forces of influence. It is good to explore and localize not only our own selves, but also our own institutions and other forms of social systems. The ambivalent status of art and art practice allows me to consciously co-create relationships which stand outside of the dominant patterns of thought. To contextualize and create local events, installations, performances, outputs of text or objects, and thus to disentangle myself from the regulations of normative givens and from the impacts which such systems have.
Currently, I am striving to implement this reflection, indexing and interpretation into a proactive form of co-creation. I no longer want to talk about but to work with. According to the Intergovernmental Panel on Climate Change, we have twelve years to prevent the warming of the planet above 1.5° Celsius. We are geological and ecological actors and it is necessary to find solutions how to deal with this fact. Environmentalism was never pure or an equivalent to good. The so-called conservation of the environment always was and (as long as we need outside sources to power our own bodies) will be connected to violence and tied to the question of negotiating these life conditions with the planet at the expense of what or whom.
When we say that plants think, it does not mean that they think like people.
We must ask what we can consider a thought to be.
In light of these topics, we revisit old questions to which I want to find new answers. This requires of me to be open to a diligent understanding of my own position, the dynamics of the processes of power and to move across uncharted trajectories of the inter-species biotope, without fetishizing profit, identitarianism, but also collectivity as messianic emancipatory mechanisms.
Apart from individual artistic projects, I am thus preparing, in collaboration with other people, a so-called ecological codex which would allow artists and artistic institutions to reflect on these facts as part of their operation.
David Přílučík (*1991) graduated from the Academy of Fine Arts in Prague. During his studies, he studied in the studios of Jiří Lindovský, Tomáš Vaněk, Ruth Noack and Simon Waschmuth. He also participated in an internship program in Israel - at the Bezalel Academy of Arts and Design. He is a member of the Studio Without Master and Artyčok TV association. His work has been exhibited not only in the Czech Republic, but also in several other countries (USA, Israel, Germany, Russia, Hungary). For his video – called Blind Bidding – Přílučík won the main prize in the Other Visions CZ competition at the 16th Festival of Film Animation and Contemporary Art, PAF Olomouc.