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Rehana Zaman
Considering the changing nature of work under global capitalism and the role of female labour, the film ‘Some Women, Other Women and all the Bittermen’ (2014, dir. Rehana Zaman) is a contentious and highly engaging adoption of the conventions of British soap opera place alongside footage documenting meetings of migrant women in the UK at the self-led organisation Justice for Domestic Workers in Leeds.
Martin Zet
I decided to go for the last option, making use of my present position of an art teacher, and so I decided to introduce works of our students from the Video studio. I hope the videos do not show any traces of my influence and I believe this will remain true also in the future.
The second part in ‘New Feminism’ programme brings together moving image works by London based artist Chooc Ly Tan and an essay by the curator, artist and researcher Julia Tcharfas. It links mythical stories about gender of celestial beings to invention of new words and language through the text of science fiction writer Ursula K. Le Guin, video collage and astrophysics.
The protagonists of Sikora’s similes are trivial animals, plants and mundane elements of material world in their simple state of being. He takes interest in marginal and repressed social phenomena and thinks about them visually.
Jenna Bliss
A series of five videos about closeness and distance, it addresses the contradictions of the people who influence us most: our fathers believing they resolved the Mystery of Women, grandmothers who embody woman’s physical decline and the women, like Weil, who we admire but who, unlike the men, weren’t just allowed to be.
Joska Skalník, František Hodonský, Jiří Sopko + 59 more
The initial idea behind this project was to show the work of artists who were not allowed to display their work freely before 1989 or who belonged to the semi-official art scene. Shortly after the aim was to transform the exhibition into a representative show of contemporary art.
Bohumil Vostal
The film shows the members of the art club of the Bedřich Václavek Community House in Třebíč with Antonín Kybal during their outdoor painting trip which took place in the countryside around Ptáčov in 1959. This club was founded in 1953 for mostly amateur painters and a number of professional painters were involved in their training and education.
Dušan Zahoranský
The final outcome from the workshop was to be a personal documentary from the location. I asked the tractor train driver to move the train in front of my camera. The train offered some amazing views of the museum. And that etude with a dog in the street at the end of the video happened completely by chance. I filmed and edited the video directly in the camera. Via my walkman I added background music that blared over the museum outdoor loudspeakers. A report on the museum park was created that did not feature any actual events, places or real people. No video could match the intensity of the experience though.
Janka Vidová
Janka Vidová made one of the first videos as a spontaneous student´s work when she was studying in the studio of new media at the Academy of Arts in Prague. The dream-like atmosphere evoked by the choice of archetypal motives (walking in the snow, white rabbits, old people, an idyllic landscape at dusk) was further enhanced by period visual effects (polarisation, colour manipulation, slow motion) and by music.
Jiří David
Jiří David created this film for entirely personal reasons: as a gift for his father (who had shot the original footage) in order to raise his spirits as he suffered from an incurable illness. “The film’s creation was entirely unplanned. I took my father’s 8 mm films and transferred them onto VHS in the simple conditions of our flat: i.e., by projecting them on a screen and filming it with a VHS camera.”
Jiří David
Marilyn Monroe comes back to life in the form of her frisky doppelganger. According to David, the slowed-down Arabic music that accompanies the video is “a kind of willful act, an Arabesque, perhaps like that ficus tree or whatever that thing is behind ‘Marilyn’, or like the naïve movements of her hands and body.” It can also be interpreted as a counterpoint highlighting the contrast between our view of woman and the Muslim view.
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