(prosinec, 2012)

V dílech Jana Pfeiffera je čitelné ztvárnění společenské zkušenosti s městským prostorem jako vytěsněné stopy z paměti konkrétních míst (měst, uměleckých děl ad.). Není tolik důležitá materiálová podstata médií, ale spíše rezonance, kterou výsledný záznam vyvolává, podobně jako je tomu na příkladu kreseb nebo animací měst, ve kterých autor ještě nikdy nebyl nebo ani nemohl být.



(July & November 2008, Vienna)

With few exceptions, Peter Kubelka does not write texts on principle. Since the second half of the 1960s he has been preoccupied primarily with lectures and the spoken word in general. The interview was made in Vienna in the course of July, shortly before Kubelka's two journeys, symbolical of some subjects of his work. The first journey was to Barcelona where he had been invited by chef Ferran Adrià, a representative of so-called molecular cooking. This, of course, is the opposite of what I am interested in. They use chemical substances and contemporary chemical knowledge to create their dishes. It is a phenomenon which you have to study. I'm curious myself but I do not have any preconceived idea. Indeed, the concept of Adrià is less of a lie than the one of the star Michelin cooks, because they make believe that we live in a world where everything and especially food is perfect. Another journey he planned was his more than two-month stay in Australia where he had been invited by the director of the » National Film and Sound Archives of Australia« Paolo Cherchi Usai.



(May, August 2012)

Jiří Kotrla's creative method is his movement between the Czech Republic and Portugal, revealing the forgotten sceneries and reshaping their surroundings by using moving images. Through the footage, new film environments emerge, created only by documentation or subtle styling during the process of filming. As a result, Kotrla's creative work in his "role of a foreigner" seems as rather non-violent articulation of forgotten, though by-civilization-inward language composed of traces of post-colonial imprints, and as literally physical work on the shots. The author uses more universal English expression as a title of his exhibition (rather than its more specific Czech equivalents, in translation "colloquial speech" or "commonly spoken language"), reflecting his intentional work with references and fragments of citations – in this case from the book The Practice of Everyday Life by French thinker Michel de Certeau.



In his projects, American visual artist Aaron Meyers has been dealing with the aspects of the visualization of sound and music. His freely available application Fieldlines, made as a supplement for the Flying Lotus record cover, functions as an interactive installation, and will be shortly discussed in the following interview.




SURF ON SURFACE (audiovisual performance, 35 mins)

Georgij Bagdasarov studied composition at the Music Academy in Moscow and film in St. Petersburg. In his musical career he has gone through stages ranging from punk and techno to free improvisation with found and prepared items. His audiovisual projects are reminders of reminiscences; he emphasises the material nature of the medium and works with references to the history of cinema.



Austrian visual artist and experimental filmmaker comes back to PAF to give premiere of his video Soft Palate, where he for the first time works with deconstruction of animated film. During the premiere he will also show thematically preceding video Shadow Cuts, which was made during this year.


peter greenaway

Cinema's New Possibilities – Cinema is Dead, Long Live Cinema

You have decided to show your film The Cook the Thief His Wife and Her Lover, which is very rich in a determination to use colour. You are still very interested in this kind of work in your recent projects - feature films, installations and VJing set ups - can we still speak about the determination of film colour?

The Cook the Thief His Wife and Her Lover was made way back in the 1980s - so is some 30 years old. We have made perhaps some 50 films since then, and all my cinema practice is experimental - searching to be alive and curious and very contemporary, push the cinematic boundaries to new places. My interests primarily have always been about form and language over content, seriously believing the medium is the message and we have seen a great many changes in cinema practice in the last 30 years - changes that primarily technically have moved from celluloid to tape which has changed everything - cinema distribution, cinema funding, cinema thinking - no longer are audiences content to sit in a dark cinema watching someone's else dreams - they want to make their own, break down the old criteria, invest in new narrativities, think in a non-linear way - such that if cinema is going to survive in any way that our grandfathers would still recognise it - it surely has to be interactive and multi-medial.  Youtube has broken amazing barriers - the middlemen are disappearing - film-makers can get to audiences swifter and more urgently. Few young people spend much time in the cinema any more in Western Europe - if they watch movies they are all down-loaded from broadcast TV or pirated - and we all know European Cinema is now finished - who is there now working in Europe with vision and identity?  There are now better things to do with our time.



I’d like you to introduce the process of you creation, the uniqueness you call Particips that you linearly line up and number since 1997…

I started to use the term “Particip” for two reasons. I wanted to, in the most precise, or at least the most fitting way, define the “cloud” within which I am moving and from which emerge something under my hands or in my head, and also the feature or power determinant for this setting. It was an intuitive attempt to connect up with and join on something, it was some kind of roughly defined interest in edges and framing and in how to be involved in the given situation, how to enjoy it. For example Pariticp No. 1 is a product of boredom in the room I was to use for one month as a studio. I fantasized I could just watch TV in that room, so I cut out the stencil of television set and sprayed it onto the wall… and then I just watched it, sometimes for a while, sometimes I just glimpsed at it. The wit as a stimulus for the birth of an idea has initiatory quality, I don’t underestimate it, but I don’t invocate it either. Though I know it does work. By the term “Particip” I was also trying to handle the bizarre situation when something came into being and after that you work on how to name it. Sort of “useless” continuation of process that has already been work off. Its title or name is already present in the work from the very beginning – let it be interjection, name or compound sentence. For me the problem is once for all solved by the term “Particip”. I just add the serial number and brief description.

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Josef Bolf / Interview
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The work of Josef Bolf (1971) is mainly accessible through his captivating paintings and drawings. At PAF, he will present five new videos that have been shown at his exhibitions over the last several years. Videos with motifs of performance, radio plays and classic puppet films are all part of Bolf’s artistic world, with various features of animation and stories within stories.


Samson Kambalu (MW/GB) / Interview
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Samson Kambalu (1975) is a native of Malawi, Africa. His life and his attitude towards art were formed by his early experience with the cinema of attractions, the solipsistic nature of the Chewa tribe and his father’s “philosophical lectures.”

As  an  author  he  is  active  within  various  media,  such  as  site­specific  installations, drawings,  paintings,  videos,  performances  and  literature.  His  work  typically  contains autobiographical elements and is strongly influenced by situationism, excess, humour and wit; all of which he uses  as tools for his  constant  examination of the boundaries of history,  art, human identity, religion and the freedom of the individual.

He  is  the  author  of  two  award­winning  publications,  an autobiographical  novel The Jive  Talker  or,  How  to  Get  a  British  Passport  (2008)  and  Uccello’s  Vineyard  (2012),  a fictitious narrative situated in the Middle Ages that is about photography and art and uses the detournement technique. Kambalu currently lives and works in GB.

Vessel & Pedro Maia / interview
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Portuguese filmmaker and visual artist Pedro Maia collaborates with numerous musicians across the rock and electronic scenes. He is a part of a younger generation that builds upon the tradition of Expanded Cinema and expands the aesthetic and technological “heritage” of classic film procedures of working with 16mm and 8mm material. Pedro Maia will present a selection of his work in an individual presentation and will perform with British musician Vessel on their audio-visual event, which is thematically connected to the recording Punish, Honey (Tri Angle, 2014). Slovakian musician Jonatán Pastirčák praises Vessel’s music for its “delicate production and disharmony. Every sound has its specific space and character. Maybe that is what adds the inimitable atmosphere to his compositions; it feels as if he accidentally found himself at the warehouse party gig of a band of robotic skeletons playing instruments handmade from various metal scraps and wires found in an abandoned factory.” Vessel publishes at Tri Angle Records and Young Echo.

Takashi Makino / interview
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Tokyo based artist Takashi Makino (1978) has studied in the atelier of the Quay Brothers in London. Creatively, he moves between exhibitions and film and music festivals. In his work, he combines both classic and digital film technologies. Besides his own musical production, he often collaborates with American musician and producer Jim O’Rourke, Dutch creator Machinefabriek and others. Space Noise 3D performance is created by combining and interweaving the visual outputs of a 16mm projector and a data projector. The effort to physically represent the image before it touches the screen flows through the noise performance, where the author also creates the sound. The viewers watch the resulting image via 3D glasses.

Lars TCF Holdhus / interview
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The Berlin-based Norwegian artist and musician Lars TCF Holdhus will perform aquadrophonic “composition” for a baroque chapel. Jonatán Pastirčák describes Holdhus’ work as “unpredictably flowing ambient soundscapes that meet abstract rhythmic structures, so as to create impressive sonic landscapes full of surprising moments and sound accidents.” The randomness of Holdhus’ music comes out of his fascination in encryption and computer algorithms – the name of every track is a sequence of numbers and letters, same as the name of the performance prepared for PAF itself. It is of no use to divide the piece Aedrhlsomrs Othryutupt Lauecehrofn into visual and musical projects, since they are very tightly connected, they develop on similar motifs and the only difference is the presentation media, similar to the anagram of the name.

Jonathan Monaghan / interview
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American animator and visual artist Jonathan Monaghan uses computer animation to further develop the bond between moving images and physically existing objects. His artworks are often created by combining 3D prints with noble materials. At PAF, Monaghan will present, in his own screening block Animated Worlds, a selection of videos that create a quite complex mythopoetic world. It is a world derived from the transformations of luxurious spaces, from the modified symbolism connected to animal archetypes and power. Motifs with elements of baroque and rococo ornaments subsequently appear in physically existing objects. Architecture of Fantasy is the title of the presentation in which the author will reveal his inspirational sources and work methods in more detail.

Greg Pope & Salvia / interview
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Greg Pope is a British filmmaker. At PAF he will introduce his own film production and a new live performance. The performance was created together with the Czech music project Salvia, which consists of the visual artist Veronika Vlková and Czech musician Kateřina Koutná (Makak). The performance is built on a sequence of permeating slides, which are divided according to the content into separate thematic chapters. An instrumental and vocal component of performance completes the overall, epic nature of the performance. In the long term, Greg Pope engages in performative approaches in the field of live cinema. Currently, he works in Oslo, Norway, and his film production involves the work with different technologies and materials.

Stanislav Abrahám / interview
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Artist and musician Stanislav Abrahám’s live performance will consist of the presentation of his last record Shapescapes, which combines synthetic sounds and ambient recordings, and the audiovisual project Spectral Scenery, based on a system of oscillating sound loops programmed by the artist and accompanied by images.

makak rozhovor
There are no translations available.

Ambientní hudební projekt violoncellistky Kateřiny Koutné (Teve, spolupráce s Paramount Styles, Hope Astronaut, Akne auf der Stirn) za doprovodu VJingu výtvarnice Anny Balážové. V roce 2014 Makaku vyšla první studiová nahrávka na kazetě s názvem Stromy.

Slowmotiondancer rozhovor
There are no translations available.

Dominik Gajarský (Table, Palermo) představí na PAFu svůj dosud studiový sólový projekt Slowmotiondancer. V roce 2014 vydal album Life is Fine, které navazuje na předchozí tvorbu s Palermo. Melancholické synthpopové melodie se zde mírně posouvají k electru, r'n'b a soulu.


PAF activities in 2017 have been supported by: The Ministry of Culture of the Czech Republic, State Cinematography Fund, The City of Olomouc, The Olomouc Region and International Visegrad Fund.

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