The first step of our project exploring the world of machines and its life energy. In one hand we are trying to recognize the machine within human and in the other life within machine. In according with the speculative theory of morphic resonance, we are trying to test any possibilities of artificial memorizing power.
The Invasion to the castles in the air contains four video installations (scenes) in the frame of security cameras and the film screenplay. The video installations used anamorphic perspective for creating the illusion for cameras and it was possible to see it on the screen in the lodge of building. On each scene you could find out part of screenplay. This work is something like a movie but movie is definitely missing. I've just kept the structure of the narrative and designed the installations like film scenes. In this situation men can watch it alike the video on website. It can be clicked on, You can jump over some parts and for example never see the end. The onlooker is moving inside the interactive environment which is defined by coder's script. I see the movement of watcher of this movie similar to the surfing on the internet.
The cameras are active, control protocol run but spam box of Big Brother is full and that's why Homo Ludens can exist. We cannot control the medium of mental projection. The castles in the air are untouchable for the present. I believe, we can appear on its threshold.
read screenplay of SCENE I.: CZ
read screenplay of SCENE II.: CZ
read screenplay of SCENE III.: CZ
read screenplay of SCEN IV.: CZ
download poster
This collaborative project grew up from the picture skepticism. In the light of devaluation the picture in general, we developed this tool for generating the icons – Madonnas – princesses. Source data for generating are kind of magic – the name and favorite color of any person. The value of human (machine) creativity multiply the possibility of purchasing generated picture.
Titan is an experimental short film. I experimented here with narrativity based on subjective but real connections. I used video material from my own archive, for example documentation from performance, short videos and so on in the first hand and in the other some downloaded videos from the sources like NASA, YouTube and some film archive – everything what I'm interesed in. This work is one of the sketches for Invasion to the Castels in the Air.
Boredom nevermore, would like to tell. Performer is an experiment how focus to joke. Where is the border when the joke is not joke more? How many repeating is joke able to carry? How to do the performance from video?
Performer flirts with advancement of irony – sarcasm – cynism and uses this tools in critical view to itself like artist, generally to medium.
How to access the "meta" level of real space? We executed a local wireless network in gallery, thus created an access hole to the "meta" gallery. Well, what do You want to do there? We developed basis for the strange communication game.
stills: application, zone sign, webcam still
Well, the sun will never go down. Simulator of the day light with the story inside. It was part of exhibition in the BKC Galerie mladých. The exhibition called slag and originated from collaboration with Alena Kazatelová. Our common project has been inspirated from the product of blast furnace. We searched relation between contemporary factory and works of the fine art.
foto: Michaela Dvořáková
When the sun goes down, stipulates value of any things. By the sun goes economical wave. In two hours, with sunset in the middle, are puting on the market cups with picture of actual position of sun and with the actual time. The value of cup with actual time is the highest, the cups with expired time are cheaper and cheaper. The sunset crush down the fixed value of future.
This piece is about a searching the clown inside art. Is possible to take the behavior of artist seriously? Who is the clown. The artist, onlooker, participant, situation or artpiece? Is it ok to ask this way? Is anybody clown? Exist a differnece between the clown and magus?
The sponge is the installation sucking surrounding atmosphere and projecting it back. It works like mirror standing against the other mirror and you can be between them. In one moment, if you are careful enought, you can see your 3D digital projection and look in your own eyes.
The work with the basic question: Is it possible, that we are sleeping now? contains three short videos and the text (sorry, only in czech). The videos could be sensed like one film or three individual works reaching the borders of performance-art, video-art and trick film. The text, which is wrotten like dramatic piece, compose with film the complex with internal subjective structure. This structure is growing from the basic question. The work wants to erase internal borders between the reality, dream and fiction.
Installation could simulate the backward projection. I am asking here: what is the miracle? I am finding the clown. He is the substantion of our reality and the miracle cannot be possible without him. Where is the truth?
It is site and time specific installation. We created an imitation of frost on gallery's shop window at january, while outside was freezing. Well, normal winter weather.
I used my last video experimentations and created a short flashback in one piece. I put everything together and abandoned to intermix. It created automatically new stories. I used some screen server principles in programing of application. It was exhibited in classic cinema KINO VYŠKOV.
The gallery space I left empty. There was nothing. I used just the windows for install black boxes. This balck boxes projected videos on the wall wich was outside. There was two video pieces played in loop. One of them contained any sound and black frames. The videos were with different duration, thus it created different stories in its relation. The pieces were called "japanese maple" and "waltz".
Spojíš sto devítivoltových baterií, do série. Tak dostaneš devět set voltů. To napojíš na běžnou dvacetipěti wattovou žárovku. Do okruhu dáš vypínač. Připevníš to všechno na sebe a jdeš do ulic.
How to anchor the nail in the whole wich is to big? I used the principle of "temporary solution" and tried to advance it to the aesthetic level.
I asked the carver for this piece, I wanted to create something like wooden photography, thus I installed it on the wall with part of "wooden street".
This videos belong to works explore the possibilities of performance and its recording. The core of this pieces is that we can hear something is happen but we cannot see it. There is a advance between voice and picture.
How to spend the energy from batteries was my basic question in this set of "unusual" objects.
Potřebuješ deset metrů nehoblovaných stavebních latí. Půl kila šesticentimetrových vrutů. Dvacet stovkových hřebíků a čtyřicet deka bavlny. Pilku, vrtačku, kladívko.
Orderly exploration of self memory.
The performance was created just for a camera. It is never ending loop of re-dressing from one shooting to the other.
