Cena Oskára Čepana 2014 – Matěj Smetana

• It's quite funny being here,00:00:11.768
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• in the flat where I lived since had been born till I was some four years old.00:00:15.860
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• I used to come here, one floor lower, to watch...00:00:20.033
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• I called it 'watching toy-cars', together with my cousin.00:00:24.215
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• I saw the glass brick sort of segmented into tiny 'toy-cars'.00:00:28.598
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• During my residency at FAVU in the Studio of Drawing00:00:37.906
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• in the third year of my studies I started to work on an animation,00:00:42.095
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• I have been retracing frames of a horror movie, and I quite enjoyed it;00:00:47.351
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• it was like a three months long R&R.00:00:51.680
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• The outcome was a series entitled "It's Just a Movie."00:00:55.848
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• But I don't see myself as an animator,00:01:14.559
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• it's merely an interest in the possibilities animation offers.00:01:18.969
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• Regarding animation, the essential matter for me is that in comparison to video00:01:23.448
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• or, say, capturing of reality, one can actually choose00:01:27.986
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• what of the reality he will use and what he suppresses.00:01:32.214
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• When you draw,00:01:36.406
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• or animate a character smoking00:01:40.679
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• then it's a character that is smoking and not a specific person00:01:45.048
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• who is, in reality, an actor or whatever.00:01:49.701
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• But you can choose what of the reality will you decide to renounce or to highlight,00:01:53.708
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• which is, let's say, actually the essence of style.00:01:58.180
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• I like to work with political messages00:02:02.562
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• in a specific, say, ignorant way,00:02:06.861
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• that is by belying00:02:11.932
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• the original content, re-combining and using it00:02:16.153
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• to create something weird.00:02:20.526
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• About the Taylorism, I am very much fascinated by the fact00:02:24.785
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• that some process that was originally meant to accelerate production00:02:28.883
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• by dividing complex actions into many simple and mechanic ones,00:02:32.974
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• a process that is basically the same in animation.00:02:39.262
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• Even in animation there is a division of singular phases00:02:43.621
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• of the work process and also with the finished film or animation00:02:48.053
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• there are frames that follow one another in fast sequence00:02:52.478
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• - the principle is similar to Taylorism.00:02:57.087
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• It's actually a plasticine movie,00:03:05.379
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• the kind of movie I know nothing about how it is made, I have no experience with it,00:03:09.769
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• and therefore it looks so weirdly distorted, sort of fatigued even.00:03:14.033
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• I wanted to make something utterly subjective, something that is not rationally motivated.00:03:18.241
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• Nevertheless there appear some conceptual elements,00:03:23.274
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• like an animation within animation,00:03:27.837
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• which is something I have always wanted to try out.00:03:32.095
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• Here there is a main character who wants to do an animation using a fan,00:03:36.429
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• but the fan is not stopping at a regular, fixed place,00:03:40.731
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• therefore it ends up generating merely this distorted circle-shaped smudge,00:03:44.935
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• and that's what makes the main character to stick his finger in the fan00:03:49.264
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• and make it stop abruptly and repeatedly just like in camera00:03:53.551
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• - it's called Maltese cross.00:03:57.780
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• For some time now I have been interested00:04:01.864
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• in working with objects that, in some way, refer to movement,00:04:05.838
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• like the star-shaped clock with each of hands transformed into cross,00:04:10.046
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• which means there are three crosses combined and turning on top of one another00:04:14.488
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• so that the star looks different every time.00:04:18.792
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• And what I like about these references to movement00:04:22.777
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• is the sequentiality.00:04:27.019
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• In this interview for Labyrint Revue00:04:38.572
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• I have said it all: that I am not interested in art00:04:42.922
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• understood as a tool either of political change or of anything else00:04:47.098
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• and that the power of art lies in much more fundamental and enjoyable reasons.00:04:53.944

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