STUDY OF A YOUNG MAN

As the title suggests, the concept of the project is based on the study of a man. The study is focused on a particular individual and his physical characteristics, and is presented as a conceptual project not as a typologically scientific study.
The installation is not presented in the form of photography, which has been so characteristic for Brousil’s previous work, but in the form of “dynamic photography” in short video sequences. Brousil’s usual technique shifts from photography to other art forms and aims to distant itself from classical photography, typical for his earlier works. Video loops are either used as expression short cuts for particular themes stressed by the artist, or form a reaction connected to the unconscious and intuitive understanding of day to day life.
When entering the main exhibition space of Karlín Studios we are confronted with seven video projections and a slide show. Each projection is dedicated to a different study. Scenes are intentionally composed in a way, that the spectator is unable to identify the meaning of their content. This is also the reason why individual videos remain untitled. We are presented not only with a reference to the symbol of antique masculinity, mirrored in the video where a young man in a gym jumps on a trampoline, but also with an example of a soldier who has undergone a drug experiment, a gymnast – a member of Sokol, who has been put through a physical training up to the point of utter physical exhaustion, or even with the contemporary “pop” understanding of man as a tool acting in endless roles, and picturing an endless number of performances, abnormalities and abilities.
The only static photographic section is situated on the front wall of Karlín Studios. Although based on a sequence video format, the work is presented through the use of black and white slides, picturing a physical study of a model, who is continuously turning around his axis of 360 degrease. Nevertheless, in this moment the work is no more a scientific study as it engages in the relationship between photography, movement video sequences and the image resolution in film, which is however divided in to static patches in a way as if we would have cut apart a film negative celluloid and transformed it into individual photographs.
Brousil has decided to study a man and not a woman, as he perceives the presence of a woman in a image as a overly applied symbol. He is interested in the contemporary relationship between women and man in the current society. His preference of a male is closely connected to his understanding of man as the initiator of primary problems between him and his surrounding, which he is trying to react to.