What is the message of the cruel love story in Kara Walker’s fairy-tale-styled video in the first exhibition hall? Why does The Otolith Group pay attention to the life and work of composer Julius Eastman and why did it name its audiovisual installation “Third Part of the Third Measure”?

Join us for the last guided tour of the Not Without Joy exhibition and listen to the commentary of its curator Petr Nedoma, director of Galerie Rudolfinum. The tour takes place on Saturday, February 12 from 6:00 pm. Admission is free. 

The guided tour is followed at 7:30 pm by a concert performance of the composition Crazy Nigger* by Julius Eastman in Dvořák Hall. The concert is organized by the Czech Philharmonic and Galerie Rudolfinum within the exhibition Not Without Joy. Tickets can be purchased online here, in case of free capacity at the gallery box office in the Rudolfinum hall and at the box office of the Czech Philharmonic. 

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Exhibition Not Without Joy is the first fundamental attempt at introducing the Czech public to work by artists who authentically live and reflect on highly diverse life situations, questions and issues whose importance far exceeds that of local and individual consideration. Read more here.

Before visiting Rudolfinum, please read the current hygienic rules. Participation in the concert and guided tour is only possible upon presentation of a lab confirmation stating you have recovered from covid-19 not older than 180 days on the day of the concert; a covid-19 vaccination certificate stating that you have had the last dose (second in the case of two-dose schemes and first in the case of one-dose schemes) at least 14 days ago; a covid-19 vaccination certificate stating that you have had the first dose of a two-dose scheme together with a negative RT-PCT test not older than 72 hours; for young people aged 12 to 18, a negative RT-PCR test not older than 72 hours. 

*This is the original title of the composer. Julius Eastman deliberately exposed the term as racist, drawing the attention of non-black people in particular to structural racism and verbal violence. We therefore decided to write out Eastman’s original title in the context of the performance of his works.