Exit Clause to Yugoslavia

This two-minute film, which thoroughly confuses the viewer’s senses, is dominated by the use of the split-screen technique – one possible way of working with video. The footage of ping-pong players from three different angles creates spatial paradoxes that are combined to create a continuous match in real time.

A documentary collage consisting of images of fields and housing estates, young people having fun, or a university setting and staged scenes filled with humour and hyperbole, accompanied by a voiceover recalling propagandistic socio-critical documentaries. Though banned in the Soviet Union, the film screened at several foreign festivals.

A conceptual black-and-white film without sound shows two young women floating above ground over a tennis court layout. Their jerky movements resemble a puppet dance. The specific effect making the impression of levitation was created by letting the girls jump and turn mid-air while capturing their movement.

Fragments of a home movie in which the filmmaker captures weekend strolls and tanks rumbling through the city. The visit to memorial places and open nature is an example of an amateur film in which the director places a clear emphasis on details and attempts to create distinctive compositions and augment normal home movie situations with unusual visual motifs.

This originally censored musical film is a satirical depiction of the inhabitants of Vojvodina, a rural region of Serbia characterized by its multi-ethnic population. Although it won two awards in Oberhausen, it was banned in Yugoslavia and Godina was long prevented from making experimental film. „I have always tried to find a new language or a form to implement into the film.” K. Godina

In a short miniature, the author concentrates on her own hands as the most natural creative instrument. Zoomed shots on 8 mm film material capture the filmmaker’s hands in the process of creation. Her hands are portrayed not only as the agent of her art expression, but they themselves become an object of art. 

A film recording of a performance by OHO involving the residents of Ljubljana in which the act of winking an eye is compared to the functioning of objects such as traffic lights or headlamps. The resulting film creates the impression that the Slovenian capital is a living being that interacts with people and responds to a winking person by winking back through seemingly lifeless objects.

Market is a time-lapse film capturing a busy market square in Łódź shot in 1970. The short film consists of photographs taken every five minutes over a nine-hour period and by doing so projects the busy market as a constant stream of movement and business.

In this film, the director appears in two roles – on a television screen as a young man and in a recording studio in the present day. By answering questions that he asked himself more than thirty years earlier, he bridges the chasm of time and discusses how our personal identity is formed.

Close-up details of sculptures and architecture in public spaces and shots of people on big city streets, set to music ranging from romantic tunes to jazz. The series of portraits and anthropological sketches shows one day in the life of Kyiv.

A view of the socio-political reality of the Republic of Latvia before it was liberated from Soviet domination. The monochrome collage subvert the symbols of totalitarian power, shatters and breaks down propagandistic images of workers and former political representatives, and reveals the emptiness of their fragile ideological convulsions.

Searching for Balance is an experimental silent video art project. Skala uses silhouettes of a woman's torso to frame the rapidly changing coloured filling along with altering the speed of footage to achieve his signature style.