Sunday 7th of December 2014 at 7 pm were, during the PAF's closing ceremony, announced the winners of this year's competition Other Visions.
The winner of The Main Prize is Barbora Kleinhamplová with her work Reliable Relationship.
She also won the Audience Award.
The video title Reliable Relationship refers to the advertisement for a course in Neuro- Linguistic Programming (NLP) – coaching specifically intended for management training. In cooperation with Kristýna Bartošová, Barbora Kleinhamplová has created a twenty-minute edit from the NLP coaching workshop which took place in the conference hall of the Veletržní Palace in the National Gallery in Prague. A group of six actors, including the coach and the "authentic" participants who did not know that the situation was pre-arranged, participated in the workshop. The positions and behaviour of the participants serve as a parallel to the artistic operation on the axis of artist and recipient. (Marika Kupková)
River (58'' 2013)
This contribution to optical illusions originated from the connections between static and moving, square and spatial dimensions. Optical illusions, such as the viewers' need to provide a square image with spatial dimensions, are revealed by the author's straightforward and energetic gestures. The introductory static photography is simply destroyed by her own body when she jumps into a pool and reveals the lower hidden layer of rippling water into which the original image is folded and rolled. (Marika Kupková)
Verdict of the jury:
"We'll give the first prize to Reliable Relationship by Barbora Kleinhamplová, because of its simplicity and singular use of visual language to show human emotions, the rhetoric fragility of the speeches, and its triggering political position."
"There was an ambiguity to the work - was this a real session or staged, similarly was the technique fictional or actual. For me this was quite compelling and raised lots of questions.
The work also had a rather sinister undercurrent, the treatment of those attending the session for example suggested a potentially manipulative dynamic. And the one or two ethical concerns raised by the participants were almost unheard and not acknowledged by the person leading the session.
For me the work has a political resonance, the relationship between the leader of the session and the semi passive participants and raised issues about control and group dynamics.
In general when considering the selection of moving image works here the jury was aware that some were perhaps more suited to gallery installation contexts, and others to seated screenings. and the comparison of these different formats was an issue we discussed at some length.
The jury would also like to acknowledge Miroslava Vecerova's piece River."
The winner was discussed by the jury at secret meeting on Saturday December 6 2014.
The selection of final ten videos will be presented during the next year by PAF in Czech Republic as well as abroad as "Other Visions 2014".
In autumn 2015, there will be a solo show of the winner organized by PAF in cooperation with GAMU (Gallery of the Academy of Performing Arts) in Prague.
This year the competition entered 95 videos that met the conditions for submission (works not meeting these conditions had to be excluded). From them Marika Kupková, the curator of Other Visions for 2014, selected nine videos. She used her right as an independent curator to nominate a work by Roman Štětina – Red Herring – , into the competition.
The final ten was installed in the Attic Gallery at Konvikt as well as screened in classic cinema situation in the Theatre K3.
Symbolic prizes for the competition were donated by NAMU, Art + Antiques, PAF & Alexander Campaz and Olomouc tavern Kaštánek.
Curatorial text by Marika Kupková to her selection of Other Visions 2014
The title – Other Visions – is a bit problematic. What does "other" mean? What does this indefinitely manifest attribute stand against? And what can its functional content be for this year? 'Other' or 'different' stands against 'common' or 'predictable.' Therefore the condition of this definition is consideration and absorption of the common; from this point we reach its redirecting, commenting and criticism. Now I am getting to the dimension of 'otherness,' which may be supporting, and it is a selfreference. When I was thinking about a general curatorial conception, before selecting the Other Visions finalists, the idea of the connection with René Magritt's canonical picture Ceci n'est pas une pipe (This is not a Pipe) came to my mind. The reason is that it is defined by negation, warns about our preconditions and stereotypes of perception and incites the viewer to observe herself/himself. The videos from this year's finalists form a heterogeneous complex of media, formal and ideological approaches. They include classical animation methods as well as digital "magics", both narrative and abstract conceptions, traditions of visual conceptualism and cinematography, stylistic reminiscences and transformation of classical film genres, politically committed as well as lyrically introspective approaches. In many various meanings and cultural references we can observe one mutual self-reference level, in the sense that "it is not". "A pipe" may be replaced either by general media and genre categories, film or moving image. "A pipe" in fact represents the socio-cultural sphere of presenting videos within the Other Visions section. Those works are mostly created by visual artists who presuppose a gallery mode of installation rather than ready-made architecture and presentations in cinemas. Even if these videos are introduced in the form of an exhibition in the Attic of Konvikt, they are intentionally concentrated into the only full-length block which causes specific links and connections among them. (The projection order is my second curatorial output besides the selection of finalists.) The suggested presentational concept is complemented by this year's dramaturgical novelty in the form of the finalists' appearance – they will present their visions and views of the presentation and distribution of their works. It is not just an extension of the programme. Within this dramaturgical section, which includes an exhibition, a projection in a screening hall and a competition, the new functional content of Other Visions, consisting of an immediate confrontation of curatorial, distributional and artistic strategies, is acquired.