documentary strategy 27 výsledků

documentary strategy
Jesper Alvaer
Jesper Alvaer's videos in a compilation from 1999-2004 make up a compact unit following alike motifs and themes. The short films show everyday reality which the author designs or just simply records. They are related by matching the camera eye, a game in which a simple slit through the objective creates a new autonomous event.
Pavel Jestřáb
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.
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.
Jan Ságl
The camera on a tripod recorded women, men and children coming up on an escalator from the subway at Wenceslas Square from the then still non-existent underground station Můstek. Their faces reflect everyday commonness and their passive bodies are brought up to the surface in a continual stream on an escalator. Through those people Ságl showed the resignation of Czech society during the normalization period.
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.
Lucie Rosenfeldová, Matěj Pavlík
The two-year artistic research project deals with the role of the protest image and its possible impact on real social, political, and economic changes. Through its individual outputs, the project offers multiple perspectives on the use of visual or audiovisual documentation as a possible emancipatory tool of the people.