Alpy in vranním sluníčky 18

• Stage lighting is part of every classical theater or even a club.00:00:30.039
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• When there is no sound or lighting, you can as well go play music00:00:35.007
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• on a bridge. At the small theaters, apart from theater performances,00:00:39.195
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• they also organize concerts, which is what is going to00:00:43.330
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• happen here today. I don't know who is playing,00:00:47.051
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• I just know that it is jazz and a bit of rock.00:00:50.122
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• Lighting depends on the music. It is very important00:00:52.578
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• whether you will do the classic style or you will do00:00:56.293
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• what they call "light design". The most important feature of today's concert00:01:00.010
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• are footlights which are purely decorative, they do not illuminate anything.00:01:07.680
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• It is a filtered lighting, it is blue at the edges, orange,00:01:17.130
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• red and white in the middle. It makes effects.00:01:21.771
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• The musician is standing here and playing00:01:26.139
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• and the light flow is pointed at him.00:01:29.155
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• There is a smoke generator in the back which produces a smoke screen.00:01:31.692
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• The lights illuminate the smoke so that cones of light emerge.00:01:36.142
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• And then I also prepare other effects beforehand. These should move00:01:39.964
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• in the rhythm of the music. There are various strategies00:01:46.373
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• to adjust the lights to the rhythm of the music.00:01:50.326
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• The basic element are the footlights, contra lights are in the back00:01:55.403
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• at head level and then at the sides there are other lights that illuminate00:02:00.880
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• the musical instruments and create the overall composition.00:02:06.740
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• To light the actors, the side lights and top lights are used.00:02:11.571
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• An electrician in a boiler suit with lamps was necessary,00:02:21.560
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• without a screwdriver it was impossible tu switch the lights on.00:02:28.238
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• I still remember older men, one of them was called Pepa Samšiňák00:02:30.975
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• who still remembered using gas lights. I am joking a bit.00:02:36.609
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• He was a perfect electrician but was gifted enough00:02:42.442
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• to be able to do theater. And this is still true even today.00:02:46.859
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• But today the devices are so sophisticated00:02:51.616
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• and user-friendly and the lighting desk00:02:55.260
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• is five times smaller than it was twenty five years ago.00:02:59.528
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• It is more about the image, about the communication with the director,00:03:03.295
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• the artist, so it is really a different matter.00:03:06.770
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• When a director is a bit older, he will do the lights00:03:13.165
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• like it was done fifty years ago.00:03:20.940
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• Now it is much simpler, it takes only a moment and00:03:22.972
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• it is more about the actors, costumes, props, colors00:03:27.722
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• and then you just light the stage.00:03:33.835
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• Film lighting is something quite different,00:03:36.696
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• film lighting is taught at FAMU, it is a different00:03:38.397
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• lighting, quite expensive.00:03:42.973
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• With film or television, there is no space for improvisation.00:03:45.421
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• I have been doing it for six years, before that00:03:49.301
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• I was a classical photographer of grandmothers, children,00:03:51.048
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• cakes, occasional weddings. When people started to00:03:55.306
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• work with digital photography, there was less work, so I thought00:04:00.008
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• it would be just two or three months before I find a different job00:04:03.403
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• or have my own studio and in the meantime I'd join the theater.00:04:06.385
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• I ended up as a light technician and I found out it was a great job,00:04:09.458
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• very creative, it's a work with light, image...00:04:13.783
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• Art Critics' Gallery00:04:38.336
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• Originally it was a baroque concept, but it is also a metaphor00:04:40.062
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• of the world as a stage on which we are moving.00:04:46.625
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• Related to it is the selection of the artists.00:04:51.020
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• The gallery is focused on painting, we also organize00:04:53.618
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• a young painters competition.00:04:57.721
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• I wanted to do a show of figurative painting and sculpture00:05:00.884
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• as allowed by the space of the gallery.00:05:07.247
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• The show is not comprehensive because I focused on a particular tendency.00:05:10.720
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• I was not interested in descriptive figuration,00:05:21.199
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• in a faithful picture of reality, which is not even possible.00:05:26.260
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• I did not want descriptive painting, I did not want expressive painting either.00:05:31.267
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• Because what is on display here is something internal,00:05:37.115
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• it's an internal expression but at the same time00:05:40.054
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• it is impersonal, it represents an impersonal perspective.00:05:43.098
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• And I am interested in the perspective of the world, of the stage.00:05:46.192
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• One thing is that it is impersonal, another is that00:05:50.377
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• all of the things on display be it painting or sculpture00:05:54.271
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• are focused on the composition and texture of the image.00:05:59.222
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• What I am lying on is a good example as it is a combination00:06:03.828
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• of laminate with nut shells and all of the artists here00:06:08.641
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• - once we speak about the world as stage -00:06:13.684
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• work with their own naturalness, for example Michal Novotný00:06:15.777
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• or Petra Valentová who even have little cows here.00:06:21.526
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• There the rustic spirit mixes with the urban spirit.00:06:25.869
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• In Petra Valentová's work it is quite evident - in India00:06:30.916
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• where she often stays, cows are sacred animals00:06:34.392
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• but they are not really kept clean and you can see them00:06:38.590
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• in the city streets and this is how she wanted it.00:06:43.238
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• So even the sound accompanying the show recalls00:06:46.253
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• the howling of an Indian faquir. In Michal Micl's work00:06:52.222
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• the combination of rustical images and urban landscape00:07:01.011
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• is quite natural. The landscape here complements00:07:06.308
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• the majority of portrait art so I think that everything here00:07:09.859
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• is sort of figurative, figurative painting.00:07:17.196
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• This exhibition is a bit out of ordinary.00:07:56.113
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• With my collaborator professor Hájek we saw the show as a00:07:59.436
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• painting composition of different types of artists00:08:06.819
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• who share classical painting and sculpture techniques00:08:15.111
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• that we as a gallery specialize in in a long term.00:08:24.610
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• Except for Lukáš Miffek, all of the artists come from Zdeněk Beran's studio.00:08:27.806
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• We selected types of art works that are not often shown together.00:08:35.002
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• The last time these artists had a group exhibition together was in 200700:08:41.172
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• which is quite surprising. The galleries do not provide them with opportunities.00:08:49.754
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• The show is focused on realist or hyperrealist painting,00:08:54.073
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• however, there is not much of the strictly hyperrealist art.00:08:59.939
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• We tried to show that contemporary painting is closely related with00:09:06.609
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• the -isms of the previous era. At the same time, it is not00:09:12.664
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• an imitation of reality. What's at stake is recycling of experience and00:09:18.139
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• attitudes inserted into the works by individual artists.00:09:25.697
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• So the imitation of reality is not an imitation or hyperreality;00:09:31.316
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• it merely resembles it. So this is the concept00:09:36.703
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• of the exhibition, but we wanted to make it a bit more loose than00:09:41.130
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• the sculptural exhibitions organized here during the previous year.00:09:45.028
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• The gallery has been running since 2003 but the concept was a bit different.00:09:48.936
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• A year and half or even two years ago, we changed it radically.00:09:55.137
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• Now we prefer young artists, sculptors in particular.00:10:00.415
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• This year we exhibited Martin Kocourek, Lukáš Rais, Tomáš Medek,00:10:05.120
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• and many others like David Moješčík.00:10:12.086
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• So we presented a wide range of classical sculptural art00:10:16.007
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• These artist do not use the new media00:10:24.666
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• but turn to bronze or classical way of thinking00:10:28.686
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• about art as it is developed in certain studios.00:10:36.143

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