ANSWERED PRAYERS

• This exhibition is a collection of seven portraits00:00:13.385
• 00:00:13.385
• of people who had either reacted to my scipts,00:00:17.649
• 00:00:17.649
• or to my suggestions and questions.00:00:23.009
• 00:00:23.009
• I would not consider them documentary portraits,00:00:27.714
• 00:00:27.714
• it is rather my own view of those people.00:00:32.754
• 00:00:32.754
• Some parts - the interviews - are quite sharply cut00:00:37.480
• 00:00:37.480
• so my input is rather strong there.00:00:42.235
• 00:00:42.235
• Also, Matina Slovaková did the camera, which is also strongly personal.00:00:47.923
• 00:00:47.923
• I think that one important layer is atmospherical.00:00:52.178
• 00:00:52.178
• I wanted to do an exhibition which would draw00:00:58.156
• 00:00:58.156
• the viewer in by its atmosphere.00:01:02.598
• 00:01:02.598
• I wanted an audio-visual space where one00:01:10.638
• 00:01:10.638
• will be able to concentrate on the contents.00:01:15.142
• 00:01:15.142
• What is curious about portraits is that the painter00:01:20.783
• 00:01:20.783
• puts in a lot of himself, the way he sees the people.00:01:24.952
• 00:01:24.952
• I think it is not much different when it comes to my portraits,00:01:29.663
• 00:01:29.663
• that although some of those people communicate, or look, a certain way,00:01:33.991
• 00:01:33.991
• there is a strong element of how I perceive them.00:01:38.407
• 00:01:38.407
• These plates are in the second room.00:01:43.983
• 00:01:43.983
• They contain guides of sorts,00:01:47.920
• 00:01:47.920
• one being a quotation about the sadness of fulfilled desires,00:01:51.840
• 00:01:51.840
• and the second plate, contains seven hidden names00:01:56.174
• 00:01:56.174
• of seven people I have portrayed.00:02:00.353
• 00:02:00.353
• Some of those seven people tell their stories.00:02:05.327
• 00:02:05.327
• Some remain silent.00:02:09.579
• 00:02:09.579
• As I see it, they are people who have gone through some kind00:02:13.600
• 00:02:13.600
• of parabolic curve of great expectations,00:02:17.905
• 00:02:17.905
• cartain disappointment, and, perhaps, there is00:02:21.633
• 00:02:21.633
• a hint of something else, which could be, I don't know,00:02:26.491
• 00:02:26.491
• reconciliation, some way out of the disappointment.00:02:30.874
• 00:02:30.874
• That is the main story of my exhibition,00:02:36.465
• 00:02:36.465
• that I have sought those people out, trying to find00:02:41.547
• 00:02:41.547
• the best representative for me.00:02:45.474
• 00:02:45.474
• I had prepared this axhibition, after the award,00:02:50.403
• 00:02:50.403
• with quite a large degree of freedom,00:02:55.252
• 00:02:55.252
• now that I can, I am permitted, to do what I think is right,00:02:59.429
• 00:02:59.429
• also realizing many of my own mistakes,00:03:03.908
• 00:03:03.908
• perhaps also from the reactions to this exhibition.00:03:08.028
• 00:03:08.028
• Many of those concerned technical imperfections,00:03:14.142
• 00:03:14.142
• and that reminded me that I probably do not want to go00:03:19.382
• 00:03:19.382
• in the direction of technical perfectionism,00:03:24.558
• 00:03:24.558
• because it takes up so much time00:03:28.824
• 00:03:28.824
• away from my thinking00:03:33.281
• 00:03:33.281
• that I would rather devote it to the contents itself00:03:37.790
• 00:03:37.790
• while, at the same time, gaining even more freedom.00:03:41.866

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