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We are presenting the monumental commission for the Iranian Shah in Teheran year 1977. Before the contract was unexpectedly terminated a year later due to the coup in Iran, Czechoslovakia managed to make great profit and the then Prime Minister Lubomír Štrougal acknowledged the economic contribution of Art Centrum, which was transferred in 1977 under the Federal Ministry of Foreign Trade and was thus saved from being closed down.
Ondřej Doskočil knows the weight of inherited political layers of the black metal genre as well as of the problems contained in musealisation and sensation craving colonization of subcultures by marketing ideology. As an insider and a musician he can also distinguish, untangle and give voice to the symbol systems inside of this extreme metal subgenre that would otherwise not speak to uninvolved people at all, or that would not even be heard over the all-encompassing noise. The format of the mobile phone shot "exhibition walkthrough" could confuse while detecting what is the medium he refers to.
The title Distressed refers not only to desperate working conditions and the condition of the workers, but maybe even to one actual product of textile- the sought after and fashionable „distressed denim". Jeans that are supposed to look used and worn out. In some sort of twisted logic people in rich countries, from where textile factories have been pushed in the competition for the cheapest labour, wear ripped jeans. They uncousciously show the true character of the conditions of its production. As if they were transparents of the impoverished, hung on the naked bodies of the narcissists of the richer part of the worlds.
Burning hair might not be available on the scale of instant scents yet. They bring critical unease into the reading of Lenka’s and Tania’s environment. Just as the camera work in a strangely voyeuristic video in which the loudest emotion besides breaking into the private zone is hopelessness. The authors gave up direct control over the camera shots and gave it to a vacuum cleaner that moves through the space on its own and cleans up.
In the second half of the 1970s, Ambroz was primarily engaged in performance, which he documented using the film besides texts and photographs, and in 1980, even using a video camera. For years, he was convinced that he had his own motion picture recording of his Air performance in 1976. But when the filmstrip was digitized in 2016, it turned out to contain something completely different.
The structure of the Tamagotchi video is based on the alternation of simple animations and texts. The animations remind us of early video games or simple computer games. For the texts he used the Chicago typeface which was designed for Apple Computer and was used between 1984 and 1997 in the operating system user interface. Unlike the main stream of Czech video making in the mid- 1990s, mostly based on performative elements or artistic unusualness, Mašín´s approach is radically different not only in terms of aesthetics but also conception.
Why did Jarmila B. disappear? And why should we be interested in it? Jarmila B. was a ceramist, who did not leave any interesting art work behind, only many rather messed up projects and involuntary, unexceptional compromises. What really matters is what she did not create – her radical visions, which are captured in her diaries (and which bear a striking resemblance to projects of some radical conceptual artists and performances of contemporary artists). In a way she was ahead of her time.
David Přílučík takes the viewer to a situation of a generic TED Talk presentation full of techno-optimistic rhetorics, an endless potetial and right decisions. Peter Davis, a creative professional, a manager and a bureaucrat from Silicon Valley is a mere fictional figure from the no longer existent corporation Worldwide Motion Pictures Group, established by Přílučík to be able to relativise utopian commitments of similar companies.
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