To Lose Something Every Day
Photograph, collage, fragment, layers, spaces, cut, animation, arm, gesture, movement, plot… The words mentioned are critical for Kateřina Zochová, because they embrace both her approach to several creative media as well as the poetic horizon of her handling of images. The composition of her photographs forms on the glass of a scanner. She regroups minor elements and layers them over one another. Bits of cut up photographs and abstract elements. After repeat scanning there are more and more of them, but the image information gradually dissipates. The more we wish to speak, the less we say.
- To Lose Something Every Day00:00:06.770
- 00:00:06.770
- Important is that everything displayed at the exhibition is00:00:20.620
- 00:00:20.620
- on the borderland between photography and animation00:00:24.329
- 00:00:24.329
- 00:00:24.329
- due to its organization.00:00:29.941
- 00:00:29.941
- Oscillation between these two mediums00:00:34.606
- 00:00:34.606
- is a formal specification of the whole work.00:00:37.118
- 00:00:37.118
- The exhibition is called To Lose Something Every Day00:00:48.619
- 00:00:48.619
- which lightly paraphrases a fragment from00:00:51.746
- 00:00:51.746
- the poem One Art by Elizabeth Bishop.00:01:02.275
- 00:01:02.275
- The poem comes from the collection called The Art of Losing.00:01:09.209
- 00:01:09.209
- When I was trying to define the animation,00:01:15.682
- 00:01:15.682
- which works with spaces00:01:21.786
- 00:01:21.786
- between individual film frames,00:01:24.661
- 00:01:24.661
- in fact it's an art of missing and when I formulated it,00:01:29.862
- 00:01:29.862
- Elisabeth Bishop whom I like very much,00:01:33.639
- 00:01:33.639
- came to my mind.00:01:36.583
- 00:01:36.583
- It's also important to say that everything00:01:48.123
- 00:01:48.123
- at the exhibition, both the photographs,00:01:50.116
- 00:01:50.116
- the fragments of animations displayed between the glass00:01:52.639
- 00:01:52.639
- and the animation itself revolves around animation.00:01:56.368
- 00:01:56.368
- The photographs are rather animations than photographs.00:02:02.921
- 00:02:02.921
- The spaces we speak about in animation00:02:08.886
- 00:02:08.886
- and we know from both animation and film,00:02:11.579
- 00:02:11.579
- get into the visual field of the photograph.00:02:14.275
- 00:02:14.275
- Perhaps it's necessary to view it as kind of00:02:23.448
- 00:02:23.448
- material dreaming or something like that.00:02:27.121
- 00:02:27.121
- In the glass there are fragments appearing in the animation,00:02:31.450
- 00:02:31.450
- they are used in different situations00:02:37.413
- 00:02:37.413
- and they are placed between glass layers.00:02:41.359
- 00:02:41.359
- The whole exhibition is a slow walk among layers,00:02:57.301
- 00:02:57.301
- it's a way to revelation conditioned by the loss.00:03:04.269
- 00:03:04.269
- The slide is a weird supplement00:03:17.944
- 00:03:17.944
- of the whole work.00:03:22.673
- 00:03:22.673
- A slide picture is a completely different form,00:03:26.135
- 00:03:26.135
- but it all refers to layers and passing among them.00:03:32.169
- 00:03:32.169
- Another building stone or element appearing there00:03:37.757
- 00:03:37.757
- is a black colour, dark, covering and00:03:43.245
- 00:03:43.245
- losing picture fragments or pieces of information.00:03:46.830
- 00:03:46.830
- The slide is a fine point which doesn't use black but light.00:03:55.342
- 00:03:55.342
- It could be a comment on a photograph development.00:04:05.085