OTHER VISIONS/ #paf2014
In the last eight years PAF has been making efforts to systematically map the production of the moving image in the Czech Republic through its only competition section, Other Visions. The section enjoys the interest of amateur as well as established visual artists who register their works in the competition every year. Other Visions has thus become a platform for activities which help to clarify the direction of moving image production and visual arts and which are introduced to the general public.
The selection of ten works on the boundaries of animation, video art and experimental film is always unique especially in respect to each curator's different interests and preferences – this year it is the visual curator and film theorist Marika Kupková. The Other Visions selection will be first accompanied by the block of presentations entitled Ideal Visions within which the authors of individual works will answer questions concerning their personal approach to presentation, distribution and audience. The finalists' work will, as is tradition, be installed in a gallery for the whole festival and will also be screened independently in a screening hall. The winner will be elected by the International Jury and by the visitors who can vote for their favourite video during the festival.
Other Visions is no longer just a competition,it also has the long term aim of presenting a selection of contemporary works from
border genres that are not part of any common cinema distribution. It is the question of the potential distribution of such works which we want to thoroughly focus on through newly established programme blocks. The individual lecture block prepared by the artist and curator Nicholas O'Brien, entitled Alternative Models of Ownership and Distribution, will study the distribution of media art and will introduce several alternative models of shared ownership. The presentation of The Association of Animated Film (ASAF) will focus on the promotion and distribution of Czech animated film production. The Association implements the significant international project, the Visegrad Animation Forum (VAF), by means of which the networking of authors and producers is mediated, and its aim is to successfully sell their own animated projects.
This year's Other Visions section will culminate in a round table discussion with representatives of Czech and international
institutions that deal with distribution. The open discussion will be led by Matěj Strnad, a theorist and methodologist of archiving who is currently studying at the Film and TV School of the Academy of Performing Arts in Prague and also works at the National Film Archive. The discussion, whose participants include such significant international festival guests as Nicholas O'Brien (US), Rebecca Salvadori (IT), Azucena Losana (MX) and Anna Batistová (CZ) from the National Film Archive, aims to introduce and compare current distributional and archive models in both a Czech and an international context and to deepen discussion on how to use the moving image.
Mark Fell (1960)
The British visual artist and representative of the electronic music scene. His creative approach is influenced by the traditions of experimental cinema and video art. He has been engaged in sound analysis and the moving image since his studies at Sheffield Polytechnic in the late 1980s. One of the major themes in Fell's work is sound "organisation" in a space and, more generally, the relation between the sound and light sources. In the field of techno music, his collaboration with Matt Steel and their joint musical project snd is significant. Fell's albums are released under such music labels as Mille Plateaux, Mego, Raster Noton and Alku.
Pablo Mazzolo (1976)
Studied visual and sound design at the University of Buenos Aires. He deals with the theme of perception and its limits in film. Self-made optical instruments such as an improvised film printer are typical distinctive elements which he uses to explore the boundaries of film material. He emphasizes the relationship between image and sound, which he brings to the extreme. His films have appeared at festivals in New York, Rotterdam and Hamburg. Besides his film work he is involved in the supervision of workshops of perception and video experiment for disabled and psychiatric patients. He is one of the founders of the Regional Archive of Amateur Film (A.R.C.A.) which is focused on the collection, preservation and projection of local amateur film records.
Nicholas O'Brien (1985)
The American netbased artist, curator, and writer. His work has appeared and featured in several publications including ARTINFO, Rhizome at the New Museum, Junk Jet, Sculpture Magazine, Dazed Digital, The Creators Project, DIS, Frieze d/e, San Francisco Art Quarterly, the Brooklyn Rail, and the New York Times. His work has also been exhibited at The Museum of Moving Image, Eyebeam, the Museum of Contemporary Art Chicago, the Portland Art Museum, Copenhagen Place in London, Western Front in Vancouver Canada, the Baryshnikov Art Center, the Sandberg Institute in the Netherlands, and numerous online venues. Currently he teaches as a visiting artist professor and gallery director for the Department of Digital Art at the Pratt Institute in Brooklyn.
45'' | 2014
The "situation" of a little room located in a clock tower with a view of the spectacular Slovak hill Kriváň is, in a way, Katarína Hládeková's personal manifesto and selfportrait. The author has included an instruction with this video in which she suggests that the length of the projection be determined by the projectionist. (Only a projectionist, a so-called operateur, in the era of silent film was given so much independence and room for creativity.) In fact this requirement is apt evidence of the author's approach, which connects extreme manifestations of analogue and digital technology. The animated gif refers to fundamental principles of animation and contrasts technically demanding puppet animations with the Internet animation format.
7′ | 2014
Markéta Magidová's video poetically comments on the relationship between physical and virtual reality – we are moving from recollections of the real world to a present which is being lived in virtual reality. The author solves issues concerning the similarities between human memory and the digital, constantly re-written world. Reminiscences about the events experienced in the past and people's behaviour in virtual space create an inseparable couple. The video is narrated with texts from Markéta Magidová and the poet Roman Boryczek.
20′31″ | 2014
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.
7′ | 2014
This film formulates the politically defined statement that radicalisation and sexualisation of desire, by which we are attracted to commodities, is a tool for the suppression of our compulsion to accumulate property. Its ideology paraphrases the 1932 book Sexual Struggles of Youth written by the psychoanalyst and Marxist Wilhelm Reich. The Czech translation was published by the Left Front and enjoyed great success. Among other issues Reich studied the relationship between sexual desire and the socialist revolution. The animation uses graphics made by 3D scanning; artefacts from the collections of the National Museum in Prague in zoomorphic and anthropomorphic form served as models for the virtual prints. The related theme of this film is that people are being objectified, while commodities are being anthropomorphised.
4′41″ | 2013
The video originated during the author's residential stay in response to the new environment. Even the form of reflection, which is a (film) diary, corresponds with this situation. However, the author does not tell us the common and basic diary facts – the relationship between chronology and place does not correspond to the characteristics of a diary. The author's commentary does not even use the past tense and does not register events in the form of memories, but he "only" brings a spontaneous print of the present.
videosmyčka 4′32″ | 2014
According to the author's instruction this video should be played in a loop – the beginning and the end of the narration should not be obvious in the projection. In infinite apertures we look inside private post boxes in which letters, leaflets, magazines, etc. live (yes, "live"is the correct verb) in a standardized space. Due particularly to the form of recording, this voyeurism is unexpectedly full of emotion and tension.
27′36″ | 2014
Red Herring originated as secondary material when making Lost Case, with which Roman Štětina won the Jindřich Chalupecký's Award. PAF visitors will be able to compare both these works, since even Lost Case will be screened during this year's PAF. Maybe they will form the opinion that Red Herring changes the structure of the initial film material with a bigger formal radicalism.
50″ | 2014
The guiding motif of this video is the phased gesture of a hand when a palm catches a black object continuously "hanging" in the centre of the image. The animation of pictorial motifs in the foreground evokes the impression of a fall, but in fact it is caused only by the moving background. The media term "moving image", which sometimes replaces technologically and culturally burdened categories of video and film, fits Kateřina Zochová's video. However, the term "moving image" is made more accurate here: it particularly expresses the fragility of the boundaries between static and moving images.
2′16″ | 2014
The animation called Cartoon, based on the rhythmic and motion composition of abstract non-narrative images reminds one of modernistic film experiments of the 1920s (e.g. absolute film). Similarly it works with rhythmic replays of the same shot and uses animation to set the static image motifs into motion. What is fascinating about them is the way they move and change. Logically, the author speaks of diegesis as a landscape into which our dreams are projected.
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.