Wild Eye - Annihilation of Space - Despite of Limitations

A passing landscape projected into a hypnotic pulsating structure explores time perception in relation to motion. The iridescent chain of trunks, branches and leaves zooming past creates counterpoint to the cyclically re-emerging ambient soundscape interspersed with beats by Evitceles, a Bulgarian experimental musician.

A poetic short portrait of the Ústí region of the Czech Republic. Using experimental means of expression, the director creates a hypnotizing study that combines natural and urban landscape motifs into a multi-layered dynamic collage. The film was shot on 16 mm stock and was created without the use of visual effects.Fascinations: Exprmntl.cz: Out of competition

Fascinations: Exprmntl.cz - Out of competitionThe common denominator of the videos is the theme of therapeutic or relaxation exercise, the goal of which is to release mental and physical tension. In each of these works, however, a critical sting can be observed, honed by the frustrations of man in today’s world – whether they’re related to politics, interpersonal relations, or pressures at work. The transfer of these videos from a gallery context into a cinema changes the viewers’ experiences: the viewer is confronted with the images more urgently, they feel the tension building and releasing, and hence empathy with those observed.The series of videos was developed in cooperation with the Jindřich Chalupecký Society. Curated by Tereza Jindrová (Jindřich Chalupecký Society) as part of her research while organizing the exhibition Healing, dedicated to the topic of health in contemporary art.Prezentovaná díla:Migra jóga / Migra YogaCzech Republic, 2012, 10 min.Director: Markéta MagidováPrvotní promluva / Primal SpeechUnited States, 2016, 12min.Director: Liz Magic LaserNěkdy se cítí skoro šťastně / Sometimes They Almost Feel HappyCzech Republic, 2015, 9 min.Director: Barbora KleinhamplováSpolečně 2017 / Together 2017United Kingdom, 2017, 10 min.Directors: Lucy Beech & Edward ThomassonDvě minuty / Two MinutesCzech Republic, 2016, 6 min.Director: Jakub Jansa

A video essay examining the consumption of information in the virtual environment and its influence on ethics and engagement. The subject wanders through an abandoned office building. Using reality broken down into pixels and the manifestation of text, he highlights the detachment, blindness, and alienation of man moving through social networks.

This personal essay relates the perception of space to the mental universe of screenwriter and director Pavel Juráček who found his “truly ideal place” in the town of Příbram. The sensitive combination of journal entries, intimate notes, and film fragments tries to break down conventional storytelling techniques to build an original world of timeless thinking.

When represented using 3D computer graphics, private artefacts become symbols showing home not just as a collection of iconic objects but above all as the personal stories associated with them. Through the ritual of, for instance, putting on slippers, home can be defined as an intimate private sphere that this act is meant to protect.

An archaeologically significant site diffuses its memory through levels of the myths, rituals, and folk tales in an essayist discourse on the forms of historical continuity. Absence of contact sound and minimalist music emphasizing the visual motifs of both alive and inanimate tracks in the landscape.

People’s limited view of the world often places the human perspective above the natural cycles. Visual details capture the egotism that often causes us to not see the essence of things, Together with an apt and uncompromising voiceover they call on us to become aware of the impact our actions have on our surroundings.

The philosophical dystopia presents warning outlines of the near future where modern technology will not be a sign of progress, but rather decline. Behind the layer of film images, there is a monster created by computer animation, whose abstract virtual body represents the invisible ideological administration.

This sound-generated animation gives the audible world an impressive visual form of moving geometric shapes or a starry sky. The Max For Live and Touch Designer visual programming languages turn an original soundtrack into space galaxies where the technical and the human, the earthly and the spiritual, and machines and poetry meet.

This journey in a static shot from Lubomír Lipský's Cirkus je cirkus (Circus Is Circus) explores the relationship between memory and visual history. A fragment from the visual database of the collective memory is accompanied by excerpts from an essay by Karel Kosík on the inability of Czechs to affect real politics through democratic elections.

A dialogue between audio and video reinterprets a scene from the movie The Stranger (1967, dir. Luchino Visconti), in which the condemned debates with a priest about the absurdity of life, death, and the non-existence of God. The debate is abstracted by the skewed image as seen through cut glass and the meanings of their words take on a certain timelessness.