Grácie
(ve spolupráci s Jakubem Ročkem)
Internet, kyberprostor a biotechnologie s sebou přinesly řadu otázek, s nimiž se snaží jejich uživatelé vyrovnat – synkretismus, simulaci, absence tělesnosti, ztrátu identity atd. Reflexe proměny společnosti vlivem nových technologií se v umění až do 90. let vyvíjela spíš v utopických a technooptimistických vizích. Marie Lukáčová naopak zpracovává ve videokolážích vidinu bezcenného vývoje aktivismu a pesimistický obraz společnosti podvolující se diktátu ze strany neživé architektury. Vychází v nich z pojmu junkspace, tak jak jej definuje nizozemský architekt Rem Koolhas. Dvě video projekce tvořící fluidní screeny s rozměry širokoúhlé obrazovky stojí na „metaforicky pravdivém podloží “(MJ) – olejomalbách zobrazujících zašedlé snové krajiny. Videomontáž je kombinací nasnímaných objektů z autorčina blízkého prostředí (pohovka, přehoz) a struktur z pseudo „přírodních prostor“ v office buildings (vertikální zahrady, jezera, umělé skály). Do tohoto prostředí jsou “zasazeny” mladé aktivistky – grácie, které zastupují různá hnutí a názorové skupiny a jsou ochotny předčítat autorčiny dystopické povídky.
Zuzana Janečková
- Activist works appear among registered exhibition projects very sporadically00:00:03.889
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- and this doesn't apply only to the Gallery Mladých.00:00:08.589
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- The inter-media exhibition of Marie Lukáčová called The Belles00:00:11.620
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- bases on the visuality of a classic oil painting and new media.00:00:14.620
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- Everything is mingled with a spoken word00:00:17.497
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- which creates a theatre scene with a critical accent.00:00:20.818
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- The stagecraft is connected with dramatization, overstating and staging.00:00:24.734
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- The author based the texts and the video scene on00:00:28.680
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- the principle of a visual collage and a text symbolism.00:00:31.287
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- A spatial video construct is created from found textures and structures.00:00:34.614
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- The props are chosen with a clear intention to00:00:38.726
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- stage a situation which was made up in advance.00:00:41.622
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- The video installations with an oil painting scent.00:00:44.725
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- The shot structures come from private places00:00:47.832
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- and they are all of a different character.00:00:51.648
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- A frozen lake in a shopping mall in Špilberk Office Center in Brno,00:00:54.206
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- a vertical garden in the Danube House River City in Prague.00:00:59.432
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- They are both beautiful but impersonal.00:01:02.716
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- On the other hand, private objects of the author bear retro aesthetics:00:01:04.845
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- the book, blanket, sofa, the performers' clothes,00:01:10.717
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- it all looks homely and cosily.00:01:14.014
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- There are young women reading Marie Lukáčová's authorial texts.00:01:16.275
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- Dystopian sci-fi texts are written in a cyberpunk style00:01:23.320
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- and take place in the near future.00:01:27.068
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- An important aspect of the videos and the texts are references to00:01:29.949
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- the architecture and aesthetics of junk space00:01:34.195
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- formulated by the Dutch architect Rem Koolhaas.00:01:36.181
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- The videos and texts broadly base on the project House00:01:40.377
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- the author published also in a book form.00:01:43.064
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- One of the texts appears in the video with the sofa.00:01:45.424
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- The sofa automatically evokes Sigmund Freud00:01:49.106
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- and the interpretation leads to a psychoanalysis.00:01:52.411
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- The fact it fades away in one of the passages isn't coincidental.00:01:55.021
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- When the brain's memory becomes overloaded it simply stops working.00:01:59.090
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- The heart, lungs and liver.00:02:03.436
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- It depends on which part is overloaded first.00:02:04.993
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- But as soon as you clean it out,00:02:07.961
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- save it on a disc or in a state library,00:02:09.683
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- you will not only become younger and everything will become better,00:02:11.857
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- but you can also play your ideas back again.00:02:14.386
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- A visual reset in the installation comes up when the video ends00:02:16.997
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- and we can see what it was projected on.00:02:21.582
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- On a classic oil painting depicting a dreamy landscape.00:02:24.276
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- The young women were chosen because they are activists in00:02:28.540
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- their private lives but each of them00:02:32.365
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- belongs to a different organization.00:02:34.662
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- A fictional theatre situation in the main video is very aesthetic00:02:36.767
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- and it reminds of a cold and sterile post-internet environment.00:02:40.700
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- Three young female activists are placed into the roles of modern belles,00:02:44.385
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- the goddesses of charm and beauty.00:02:48.747
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- The author purposely went for romanticizing clothes with00:02:51.074
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- floral motives contrasting with the activist text they read out.00:02:54.246
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- The belles are sitting in a tailor seat on00:02:59.729
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- a patterned blanked spread on a frozen lake.00:03:02.292
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- It looks as if they levitated.00:03:06.286
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- Two of them are in profile and one is turned back.00:03:09.929
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- A classic composition of belles.00:03:13.061
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- With respect to the issue of activism,00:03:14.658
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- fundamental is the fact we can not see the face of one of them.00:03:17.050
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- The privacy protection is common for practical reasons in that case.00:03:20.753
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- The Guma Guar art group created a series of photographs for the Futura Gallery in 208800:03:26.168
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- depicting actual anarchistic, anarcho-feminist and00:03:31.423
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- anti-fascist activists called Zbigniew Libera and Guma Guar.00:03:34.316
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- They were all photographed in informal clothes, from behind and in public spaces.00:03:38.682
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- The question the author asks is:00:03:42.946
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- Is activism needed to reach unity, equal rights and freedom in the society?00:03:45.018
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- In the course of time it can become a fanaticism which00:03:49.573
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- has nothing to do with equal rights and liberty any more.00:03:52.412