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.