RADIM LABUDA
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