The Czech Republic has kept quite a low profile since it came out from behind the Iron Curtain, split with Slovakia and joined the European Union a few years ago. I can probably count on one hand the number of times I’ve seen the Czech Republic making the news as I was growing up. But even I can remember the diplomatic incident a couple of years ago that caused this quietly prospering state to make headlines around the world.
Each year, the presidency of the European Union passes to a different member country. Per tradition, the presiding state commissions an artwork to adorn the EU headquarters in Brussels for the year. The resulting installation is generally bland, inoffensive, and unimpeachably PC.
In 2008, it was the Czech Republic’s turn at the presidency. They decided to commission a work addressing the mission statement of their tenure: “Europe without barriers”. And they chose David Černy, a Czech sculptor, as the visionary for the project.
Černy is one of the most controversial artists in Europe today, and his fingerprints are all over the Czech capital city of Prague. He likes to take advantage of his country’s willingness to laugh at itself. Case in point: Miska Republika, a statue installed in front of the Kafka Museum, in which two men with motorised pelvises pee all over a map of the Czech Republic.
There is even a small plaque at the base of the statue explaining that by SMS-ing a certain number, you can have the pissers spell out a message for you. (I had stupidly left my phone at the hotel. D’oh!) Can you imagine this installation lasting even a week in Washington DC? I don’t think so.
So… you can imagine that Černy didn’t take the, ahem, expected approach to this very visible EU-sponsored project. He told the Czech government that he was collaborating on a nice, pretty artwork with one artist from each of the other member states. But behind the curtain, he was working on something a lot more provocative.
To the abject horror of diplomats across the continent, Černy splashed the crassest stereotypes of each EU nation on a 16x16m, six-tonne installation right across the front of Europe’s halls of power. Germany was depicted as a maze of autobahns laid out in the shape of a swastika. Sweden was flat-packed inside a big Ikea cardboard box. Portugal was a cutting board containing slabs of meat in the shape of its former colonies.
Černy addressed the theme of removing barriers, all right. He just decided to do it in a very confronting way. He called his work Entropa, with the subtitle Stereotypes are barriers which must be removed.
Černy’s intent was to provoke people, and in that respect at least, he was wildly successful. The response to the unveiling of Entropa was loud and livid. The government of Bulgaria, which was depicted as an interconnected web of squat toilets, was particularly furious. The Czech government was in damage control.
In the end, the artwork was taken down several months early. It was attracting attention to Brussels, certainly, but for all the wrong reasons.
When I was planning my trip to Prague, I found out that Entropa had been brought back to Černy’s home city, and was being displayed at the newly-opened DOX museum. After following all the kerfuffle on the news, there was no way I could leave the city without seeing this sight for myself.
It was a bit of an adventure trying to find this contemporary art gallery tucked away in the suburbs of Prague. After following some bad tram directions from my hostel receptionist, I ended up in a random Prague suburb that was nowhere to be found on either of the maps I was carrying. My grasp of the Czech language is for all practical purposes non-existent. Although it didn’t seem like a shady area, it was rather lonely and I had only a very high-level idea of where I was.
With some targeted wandering, I found a real estate agency that had a more comprehensive city map in the window. As I was finding my bearings on that map, three cops happened to walk past. Using a combination of my sign language and badly-pronounced street names, and one policeman’s fragmented knowledge of English, I managed to have them walk me to the area where the map I was carrying started. And then I was back in business.
When I finally got to DOX, I made a beeline for the courtyard which is now home to the notorious Entropa.
The photo gives you an idea of the imposing scale, but in person, Entropa has more than just a static visual impact. It’s a whizzing, whirring, howling blur of colourful, moving parts. The cars on the German autobahn actually move. Romania, which is depicted as a Dracula theme park, emits ghostly wails every now and then. And the bagpipes sticking out of Northern Ireland actually play too. (Btw – I thought bagpipes were Scottish…)
Other, ahem, “highlights”:
- France simply has a big banner across it reading “GRÈVE!” (STRIKE!)
- The Netherlands is completely flooded. The only structures tall enough to stay above water are minarets.
- Luxembourg is a golden nugget with a “For Sale” sign sticking out of it.
- Cyprus has been jigsawed almost completely in two, with one half swinging precariously in the wind.
- Denmark is built out of Lego, with the colours forming a turbaned face that looks suspiciously like the Prophet Muhammed – although the artist denies that this was intentional. Yeah, right!
- There’s an empty space where England’s meant to be, ‘cos they’re such Eurosceptics.
- And the Czech Republic itself? It’s a neon sign flashing up very controversial quotes from a former president, who Černy likes to refer to in interviews as the dick.
My first thought on seeing this in person: this guy has got balls the size of small planets. I can’t imagine a more effective way of saying “f#%* you” to an entire continent than using its taxpayers’ money to produce something like this.
Černy has been accused many times in the past of simply being an attention whore. And I have to say, some of his ideas certainly seem controversial for the sake of being controversial. For example, he proposed to install a pissing giant on the roof of Prague’s National Theatre, a plan which was shot down by the city council. He told the the council that they were pussies for not going through with the idea, but didn’t really have a good explanation for how the public consciousness would be enriched by a overgrown plexiglass man bestowing 24/7 golden showers on the national theatre.
(And, well, the guy just seems to have a disturbing preoccupation with peeing in general. In Entropa, Lithuania is depicted as a brown field with three hobbits pissing off the side of it. Why so much urinating, Davo? Why?!)
On the other hand, maybe the guy has a point with Entropa. As confronting as the stereotypes depicted are, they do exist subconsciously in the minds of even the best of us, I think. (Yes, I realise I just put words in the mouths of an entire continent of people.) If the EU really does dream of bringing Europe together, they need to win over public opinion to make that happen. And if the continued failure of EU-related referenda is anything to go by, Europeans are still extremely suspicious of about bringing down the barriers that currently separate them. Do deep-seated, subconscious stereotypes play a role in that? They must, to some degree.
So I’m not sure how history will record this little diplomatic furore in fifty years’ time. Maybe Černy will be remembered as just another celebrity-seeking provocateur. Or maybe he’ll be hailed as a genius. But I think that will take a while.
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Wow – second post in a row about art. I must be turning into an arty-farty European… oh look Mum, another stereotype!

