RADIM LABUDA on Artyčok

Médium videa využívá Radim Labuda různými způsoby, které podvědomě propojuje se svými vlastními, osobními příběhy. Své záběry komponuje téměř jako malby. Na první pohled jsou všední a pomíjivé, někdy v sobě skrývají vyprávění a jindy jsou téměř abstraktní.

I'm a bit jet-lagged right now00:00:41.877
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from last night's flight from the USA.00:00:44.657
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I spent there 6 weeks00:00:48.453
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for the money I got from the Chalupecký Award.00:00:51.100
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It was nice.00:00:54.742
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I did what I usually do in an unknown setting:00:00:56.262
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I watched everything through my camcorder.00:01:00.862
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This gave birth to a collection of videos.00:01:04.374
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I call this approach by a term00:01:09.934
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I found somewhere - flânerie.00:01:13.609
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It means "wandering".00:01:17.651
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It was one of the topics for Baudelaire,00:01:20.969
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as analyzed by Walter Benjamin.00:01:24.973
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Another possible parallel can be found00:01:28.002
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in the term that situationist artists00:01:32.881
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used for aimless wandering - dérive.00:01:36.140
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I like looking for objects.00:01:41.944
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And when I do, it's usually with a camcorder.00:01:44.426
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A very important part of my work00:01:49.358
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consists in looking for objects and situations.00:01:53.341
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After that, I work with material00:01:57.385
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I find on my camcorder.00:02:01.385
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I try to discover the associations00:02:04.372
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that the image can evoke00:02:06.675
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and the way I can use it for further work.00:02:09.072
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At first, when I started to regard my work as art,00:02:23.193
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I tried to find some themes00:02:27.303
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but later I preferred to get rid of them00:02:30.514
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because they were conscious themes.00:02:37.069
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And I think such themes are only "pseudothemes".00:02:40.573
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Now I prefer to analyze things00:02:45.641
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that intrigue me not as an artist00:02:47.880
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but as a member of the society00:02:50.444
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who is confronted with the world.00:02:54.595
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So I think my themes have emerged gradually,00:02:57.678
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like during psychoanalysis.00:03:01.830
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It's something I found out00:03:05.078
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thanks to other people's observations.00:03:08.197
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They would say that I'm obviously00:03:11.768
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interested in corporeality, which is something00:03:14.627
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I was never aware of considering.00:03:17.741
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But it's true that the analysis00:03:20.523
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of my body in a context is important for me.00:03:23.208
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Not only my body but also other people's,00:03:26.694
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the way in which people feel their bodies00:03:29.561
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in the society, in a psychological space.00:03:33.228
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These are the reasons00:03:43.080
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why I like to assume the voyeuristic position.00:03:45.666
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This is why I often observe other people00:03:50.189
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when they can't see me.00:03:57.325
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I'm interested in their behavior00:03:59.898
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when they are not aware of being filmed.00:04:02.507
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Hidden observation becomes00:04:05.468
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an anthropological study.00:04:08.277
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Another of my topics is fetish.00:04:12.786
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A fetish is a partial object,00:04:16.227
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an object that is deadened00:04:19.302
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and devoid of its function,00:04:23.637
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according to Slavoj Žižek.00:04:26.621
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This idea, among others, led me00:04:28.980
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to organizing the event00:04:32.717
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with five tied up men in the gallery.00:04:34.616
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They were reduced to objects - objectified.00:04:37.542
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They became objects instead of living bodies.00:04:43.495
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And that's how the visitors perceived them.00:04:47.289
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This was the situation I created there.00:04:51.234
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Maybe it's important to emphasize00:04:55.706
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that what happened at the vernissage00:05:00.209
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in the Dům pánů z Kunštátu gallery in Brno00:05:04.466
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was not a performance,00:05:07.558
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rather a recording of a situation.00:05:10.028
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The presence of the visitors00:05:15.275
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was very important to me.00:05:17.780
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They allowed me to observe the way00:05:21.677
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they treated the tied up men.00:05:25.032
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The pattern of behavior of the visitors00:05:28.692
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at the vernissage00:05:36.261
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reflected their typical attitude to art.00:05:38.002
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They walk around, they watch,00:05:41.312
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not knowing what to think.00:05:43.513
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Except that in this case, the exhibits00:05:46.062
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were living people00:05:49.587
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reduced to lifeless objects.00:05:52.011
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For me, the purpose of all this00:05:54.970
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consisted in the resulting video recording.00:05:58.186
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I allowed myself to play the trick00:06:01.963
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on the visitors of the first vernissage00:06:05.608
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because I knew00:06:09.460
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that there would be a two-step vernissage,00:06:11.330
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first the opening and then the announcement of winners.00:06:14.629
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This allowed me to "cheat" people00:06:19.947
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during the first vernissage.00:06:23.126
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I manipulated them into a situation00:06:25.918
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where they became objects of observation.00:06:29.084
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I think that later I started to work00:06:39.824
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in a simpler way.00:06:43.028
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I realized the importance of a loop00:06:45.699
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in a video.00:06:51.542
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You may have seen my exhibition00:06:54.825
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at Entrance Gallery in 2006.00:06:59.500
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There was a black guy moving like this,00:07:02.291
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rotating.00:07:05.860
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I made this loop00:07:07.753
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to create a constantly oscillating object.00:07:11.984
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I think it's a very simple, yet powerful,00:07:15.629
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way of working with time.00:07:19.074
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Now I often exhibit videos with loops.00:07:22.224
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It's an important thing to think about.00:07:25.808
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I like videos dealing with this concept,00:07:28.633
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created without a beginning and an end.00:07:33.667
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My next project will be a Rover00:07:49.319
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that I'm going to dismantle,00:07:54.569
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which represents a process of examination00:07:56.979
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of the object00:08:00.388
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and what it can bring.00:08:02.059
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I regard the car as a fetish00:08:04.110
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because cars are fetishes par excellence.00:08:07.128
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They are among the most widely available00:08:10.704
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fetishes of consumerism.00:08:14.429
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An interesting part of this project00:08:17.109
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is also the cashflow that it brings about.00:08:20.245
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At the beginning, I spent the money00:08:24.539
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I got as a grant from the Chalupecký Award00:08:27.286
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for a trip to Britain where we travelled a bit,00:08:33.271
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we bought a car.00:08:38.253
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Now I'm thinking about what to do00:08:40.199
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with this car, this object,00:08:43.348
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from the financial perspective.00:08:45.832
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The objects bring me some money back,00:08:49.413
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they can be exchanged for something else...00:08:55.249
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This economic aspect is interesting.00:09:01.456
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This was also the reason why I entered00:09:04.882
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into some economic relationships.00:09:08.360
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That's what I did in Brno00:09:13.335
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with the tied up men:00:09:17.032
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I used the money I got for the realization00:09:19.792
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to hire that Filipino boy00:09:23.433
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for a thing that was absolutely useless.00:09:25.933
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I practically gave him the money for free.00:09:29.483
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I wanted to emphasize this situation00:09:34.504
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where all the tied up men00:09:37.815
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were volunteers,00:09:40.075
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they did it only for a personal experience.00:09:42.222
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That was important for me00:09:45.538
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when I organized the project.00:09:48.321
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We live in a situation of excess,00:09:51.244
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so we can afford a luxurious use of time.00:09:54.454
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We can spend it doing nothing.00:10:07.106
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I hate art that is "about something"00:10:18.927
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because it makes the artist determine00:10:22.033
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the set of explanations of what they've done.00:10:25.947
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The viewers are not accorded any freedom.00:10:30.698
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And I think that it's essential to let00:10:34.564
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the viewers interpret the works freely.00:10:38.476
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I think that's the approach I seek00:10:47.721
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in my works.00:10:51.323
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I want them to allow free interpretation00:10:54.804
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for receptive viewers.00:10:59.497
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But some may find my works too vague,00:11:01.917
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without any meaning.00:11:06.361
ning.00:11:06.361

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