Error stage v 5 vrstvách
Umelecká dvojica Majolenka (Lenka Klimešová a Maja Štefančíková) (*2009) narába s nájdeným materiálom, site-specic, s gendrovou konštrukciou tela a feministickým diskurzom. Videoinštalácia Error Stage v 5 vrstvách pozostáva zo štvorkanálového videa – navzájom prepojených videí, ktoré obkolesujú návštevníka expozície a priamo s ním komunikujú, navodzujú pocit divadelnej scény, na ktorej sa návštevník ocitol v krížovej komunikácii. Hlavnými protagonistkami sú samotné autorky, ktoré formou dialógu komentujú proces tvorby, kreujú dielo, pre ktoré je príznačná procesuálnosť, zároveň im však kontrujú hlasy nadvedomia, zneisťujú ich status, sebavedomie, zmysel ich kreatívnej činnosti. Vzájomnú konfrontáciu ega a superega, autorky odlišujú dvomi typmi záberov (detail a celok), volia formu premenlivej identity: maškarády a cross-dressingu. Superegá reprezentujú sebakritiku, autocenzúru, ale tiež parodujú inštitúciu kurátorstva. Autorky si zvolili divadelné prostredie ako metaforu výtvarnej scény – autorského konštituovania, obsadzovania rolí (diváka, režiséra/autora, kritika/kurátora) a princíp divadelnej hry s aristotelovskou štruktúrou tragédie. Pohrávajú sa s fázami umeleckého procesu – od tvorivej krízy, k nápadu, konceptu, realizácii, cez recepciu hotového umeleckého diela až po jeho kritickú refexiu. S dávkou irónie si priamo z praxe prepožiciavajú terminológiu hodnotenia umeleckého diela, pri ktorom často zaváži aspekt ambivalentnosti a viacvrstvovosti.
- Do you have an idea?00:00:05.434
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- Yes, I do.00:00:09.371
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- Great, so do I.00:00:10.556
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- Let´s go to expose.00:00:16.179
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- What will we start with?00:00:19.298
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- These installations "Errors stage in 5 layers"00:00:22.396
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- are made by an artistic pair MAJOLENKA (Maja Štefančíková a Lenka Klimešová).00:00:25.928
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- They consist of four-channel videos00:00:31.077
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- mutually connected situated around viewers,00:00:33.534
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- who they communicate directly with.00:00:37.232
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- They look like a stage where visitors have come00:00:41.619
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- and become a part of it, a point of cruciate communication.00:00:45.205
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- The authors have chosen stage as a metaphor00:00:48.248
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- of an art setting, an art scene.00:00:53.872
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- It is a search of a place on this scene, of an authorship building.00:00:57.821
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- It deals with casting, viewers´perception,00:01:05.231
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- the role of an author, director, or critic, curator.00:01:11.067
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- Errors stage is divided into acts like a play.00:01:16.484
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- The artists play with the phases of the art process.00:01:22.604
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- From artists´s crisis, ideas and their realization00:01:27.587
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- to viewers´perception and criticism.00:01:32.047
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- We can choose: aesthetic quality, concept,00:01:38.799
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- personal experience, technical side of work, activistic element and righteousness.00:01:43.167
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- So we had a concept, eventually.00:01:58.048
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- Do you speak about the script?00:02:00.624
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- Yes, the script that is not the script.00:02:04.870
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- The authors lend the criticism terminology and they use it a bit ironically,00:02:08.759
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- which causes ambivalence and stratification.00:02:16.502
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- Yet we miss something that is usually formed in the process.00:02:20.371
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- They use a dialogue to comment the process of creation,00:02:26.175
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- simultaneously, they are confronted with the voices of the superego,00:02:29.464
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- which dispraise their status, self-confidence and the sense of creative work.00:02:35.437
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- The mutual confrontation of ego and superego00:02:38.244
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- is distinguished by two types of scenes, by whole and detail.00:02:42.775
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- Superego representing here self-criticism, autocensorship, and also parodying curators00:02:47.085
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- is depicted by the form of changeable identity - masquerade.00:02:54.583
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- Girls, you are masochists.00:03:02.677
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- And you do not even have anything from it.00:03:05.171
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- The time is running.00:03:11.693
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- I´d know how to help you.00:03:15.340
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- To be more precise me and my friend.00:03:18.976
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- The authors step out from their artistic and generic invisibility.00:03:23.176
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- They are not only a passive object, on the contrary, their view is active.00:03:28.987
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- They activate viewers, they communicate with them.00:03:34.341
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- And you?00:03:39.017
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- Do you want it too?00:03:40.477
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- Errors stage must me seen not only from the theatrical perspective,00:03:45.139
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- in the sense of errors on stage,00:03:49.796
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- but from the perspective of computer interface.00:03:52.529
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- I have a good feeling about it.00:03:56.041
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- We did a good job.00:03:58.112
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- I hope somebody will appreciate it.00:04:03.987
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- The viewers here, or there.00:04:05.625