At the end of October the Festival of Film Animation will be introduced in Brno within the ECHO cycle (presentation of festivals) organized by UNTR, the local cultural base. Marie Meixnerová and Tomáš Javůrek will introduce PAF in both reminiscent and anticipatory way.
With regard to original grasp of moving image structure and content anticipation, the program will be entitled Tausendjahrekino.
Screen Saver Gallery
Screen Saver Gallery project, the gallery of contemporary digital art in screen savers, will be introduced by the Czech artist and pedagogue Tomáš Javůrek.
The unique exhibition concept has been developed since the March of 2013 and it has encouraged four contemporary artists so far. How does it feel to run a non-standard gallery? What is its ideological background? How did the works of art presented in this space look like? And what is going to happen next?
Perfectly Lost, Perfectly Found
The presentation and follow-up projection of digital videos from "Perfectly Lost" and "Perfectly Found" cycle by (c) merry.
The selection includes the cycle of digital videos proceeding from the crucial works of experimental film and Czech avant-garde reinterpreted by means of the power of mistake, coincidence and a creative genius of medium. Conceptually the works belong to guerilla curating.
ECHO: PAF Presents: DIGITAL ART / GLITCH ART
Tuesday 29 October 2013
from 8 pm to 10 pm
UNTR, Gorkého 12 Brno, Czech Republic
guest: Tomáš Javůrek, (c) merry (Mary Meixner)
Organized by UNTR Brno and PAF Olomouc
Supported by Visegrad Fund
Annotation for Perfectly lost, Perfectly found series:
Visual poems created not by a human author, but by the medium itself, stand on the boundaries of modern digital visual arts and classical cinematography.
This creative genius is often being ignored as a mistake and failure of digital technologies, however, many people intend to create it or even artificially copy it intentionally; they use glitch as animation technique by means of which they manage to achieve images of psychedelic qualities and stunning beauty. The newly-emerged scenes then cheekily and freshly encourage our deeply rooted stereotypes of audio-visual work perception.
The "true glitches" emerge naturally without human initiation, however, they involve another dimension. In the similar way as for structural and handmade films, which originate thanks to meticulous work with film material, the ontological dimension is typical for them. These mistakes and defects in image and sound records arise because of time, medium depreciation or transformation from one context to another. The work structure, which is suddenly almost as tangible as a film strip in hands of an experimental filmmaker, is coming to the foreground.
The digitized film does not disguise its real substance any more, but on the contrary, it profits on it. Powers of time and medium that are normally being suppressed by digital technologies give rise to new, beautiful and surprising structures.
The selection involves the series of digital videos proceeding from crucial works of experimental film and Czech avant-garde, reinterpreted by power of mistake, coincidence and a creative genius of medium.