At the exhibition in the gallery Jelení are presented two recent videos called The Scene. In the background, they are still inspired by pathos and overexposure and in the forefront gets Mira’s interest in formal and technical limits of a video medium and first of all the work with a deconstruction and different forms of authorial cooperation, interpretation and appropriation of an artistic material by another artist, as it is in case of the video “Sometimes we want to be everything and we never want to be nothing” (2010).

The work is a mosaic of six videos created by six artists the author asked to use and edit the material she had shot and never worked on. The only one criterion was the lenght of 2 minutes. The aim of the work was an attempt to present the variety of different approaches and procedures in the semantic and also edited compositions of the video. At the same time, the final works reflect the effort of each artist /Peter Barényi, Jana Kapelová, Lenka Klimešová, Martina Slováková, Ivan Svoboda, Maja Štefančíková/, although sometimes subconscious, to get into the spirit of Gáberová’s own thinking and technique, to understand what does it mean to be in her shoes and to create “her authentic” work, which is of course impossible and in the end each artist has to cope with his own attitude, his own way of working and the autonomous artistic identity of Mira Gáberová. Installation of the work in the form of “fragments” of compound video projection enhances this impossibility and a struggle to apprehend the work as a whole and work of one artist, as it is hard to keep looking at all scenes at the same time. But this time the viewer is tested.

The second video, which gave name to the exhibition “The Scene” is different from other Gáberová’s work, primarily by her deliberate departure from luxuriant visuality and tastefulness and she admits austerity of demonstrated surroundings. Noticable and new is a strong minimalistic attitute in the creative procedure, free from narration, lavishness a decorativeness and performative way, which was apparent in her earlier works /video Drama /2006/ and her performative painting /Love of Sisyphus /2010/. The artist herself appears in the video, her own part is admitted. Inspiration for the video, which polemizes about the ability to get used to somebody else’s role and to survive own “act” and perform specific situations and characters, was the world of strong theatre but also movie female characters, interpreted by the artist. She deliberately “adapts to and lives” their characters but also her own destiny on the stage – on her own, without a help and lonely, standing face to face to an empty auditorium, which paradoxically even more emphasizes the loneliness and separatedness of the performer. A central composition, identical in all scenes, the motionlessness of the artist and duration of each scene, is dominating the voluntarily involuntary “play”. An interesting moment is the connection of the pathos of surving each role and ordinariness of everyday reality /a hoovering cleaner, slowly snowing, a casual passer-by/, which provide the work with an ironic or self-ridiculing implication.

Katarína Slaninová

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