Video-sampler

Marek Maran, one of the first studio graduates, who worked with robotics and virtual reality, starts us off with two continuous videos with two fundamental approaches; WHEEL is a purely formal optical experiment while FROM THE DARK is straightforward documentation of a performance where light is the clear symbol. These two principles are combined in the performance video OEDIV by Zdenek Zavodny a formal trick defines the action, similarly Jakub Deml in SOMEWHERE underlines the perfomance element through post-production. Matej Kolar, who figured among the most active and diversified of substantive performers is represented by typical physically demanding and time consuming projects, the contextual video-performance LAST SECONDS OF THE MILLENIUM, making use of time lapse photography with a striking audio-visual rythmic component and the slowed down rear projection taken from the continual recording of a shamanic-like performance HAVAL HEJOM. Petr Dvorak, an intentionally conceptual artist, presents the body performance MOVEMENTS documented by a static camera in contrast to his meditative minimalist zen-like media game TV TEA the reflection of a television screen in a cup of tea. THE LOOK by Nadja Slovak displays a distinct talent for observation, the phased recording of a social situation bordering on photography, accented with a feminine sensitivity, reveal human characters while I LOVE YOU by Petronela Tancekova represents a straightforward feminist performance and hallucinatory effective music video. A similar hardcore underground video is IGLAU IN BLAU by Petr Bradacek. The collaborative work by Zuzana Ruzickova and Ladislav Zelezny YOU AND I INCOGNITO, is a relational experiential tale of psychedelic culture in the form of a road movie. In her work MEN THINK STRANGE THINGS, Svetlana Kuliskova-Ruggiero expresses, through the help of editing live dialogue and paradoxical social events, a specifically gender-engaged, social and political critical narrative in complicated composed structures. Vit Kraus is her provocative opposite, intellectual experimenter, with his irony and sense of absurdity he figures as voyeur camerman-interviewer, posing intimate questions to a certain young lady named MONIKA. Petr Sestak; lively anti-formalist, is represented by a fragment from the hidden public performance TOBACCONIST where he is caught by a security camera counting the money in his till and coming up short and his home video WOOL from a series of his time based art brut performances (GRASSMAN). Milan Kincl works with a similar spontaneous energy, playfulness and sense of humor in his early music-perfromance video SATISFACTION. An excerpt from an expressive alternative punk video the live performance STEREO by David Burk and 1 MINUTE, a collage of documentation from performances (i.e. LIFTING), closes this section of distinct performances. The minimalistic video WE ONLY SEE WHAT WE WANT TO SEE by Josefina Slezakova is the antithesis to Zdenek Mezihoraks work which, in its early stages took the form of continual lengthy meditative recordings of time passing and light changing (see LAMP), and a multi-channel installation. Later his approach developed into a series of rhythmical remixes; DISTRICT 13, ALONG TRACES OF BLOOD, SPEJBL AND HURVINEK, using classical films. Later, using a different style, influenced by current political glossies, Fouzi Mohamed Salem from Libya used the confrontation of Hollywood films and archive style media documentaries in JURASSIC PARK REVISED. Filip Ceneks early STILL LIFE, a purely textual analytic study of a given theme, precedes his later experiments with hypertext video. In 3 X 2 MINUTES AFTER THE ASSASSINATION we see the digitally-analyzed sequence of a classic film. He is currently working on collaborative projects in the field of VJing, internet broadcasting and multimedia performance, with Jiří Havlíček and others; the animated films MELANIE and SOLARIS which represent a current animation trend, are presented here. The digital animation LITTLE PEOPLE by Lucie Peterkova falls into the same category.

Zuzana Růžičková (& Ladislav Železný)
"You & I incognito" 1998 (3´17'')

Světlana Kulíšková-Ruggiero
"Men Think Strange Things" 1996 (5´59'')

Vít Kraus
"Monika" 1998 (18´) ukázka 6'47''

Petr Šesták
"Tobacconist" 1996 (3'45'') ukázka 2´
"Wool" 1997 (6'11'')

Milan Kincl
"Satisfaction" 1995 (4´07'')

David Burk
"Stereo" 1995 (22´) ukázka 5'24''
"1 minute" 1995 (1´)

Josefína Slezáková
"We Only See What We Want To See" 1997 (1´19´´)

Zdeněk Mezihorák
"Lamp" 1995 (8'06") ukázka 2'01''
"District 13" 1998 (1´36´´)
"Along Traces of Blood" 1998 (1´56´´)
"Spejbl & Hurvínek" 1998 (1´29´´)

Fouzi Mohamed Salem
"Jurassic Park-Revised" 2002, ( 3'26'')

Filip Cenek
"Still life" 1994 (4´38")
"In 3 X 2 Minutes After The Assassination" 1998 (6´52")

Jiří Havlíček (& Filip Cenek)
"Melanie envoie des fuseé des yeux et sauve le soleil" 2002, ( 2'41'')

Lucie Peterková
"Little People" 2004 (35´ smyčka)