introduction

#1 min Modry Duch

perex

#1 min Modry Duch

test clanek

#1 min Modry Duch

test clanek

#1 min Tea Záchová

test

#2 min Markéta Kinterová, Světlana Malinová

Its motivation is to give space to voices that primarily come from the eastern part of the old continent, which, in our experience, tend to go unheard. This is true on many levels, whether within the framework of the European or global artistic practice or doubtlessly also in social scientific debates on the topic of decolonisation, which are so crucial for understanding not only the past but also the ramifications we continue to experience to date.

#2 min Naomi Smolík, Adam Vačkář

#1 min Martin Mazanec

The darkened room slowly lights up with a slide-show, revealing at first some shrubbery, and eventually there emerges the urban landscape of a football stadium which has fallen into disrepair. Captions – in the form of sentences or verses – are screened in a faster sequence than the photographs. The second part of the gallery features light-colored tables, and lined up on them in rows are panoramic views depicting the landscape of empty, often almost arid football stadiums. While the panoramas, phased in sequences of photographs, feature locations from Santiago to Cairo and Priština, the slide-show – apart from the inter-titles and graphic screening marks – features a faded sign reading “Brno” in one of the images. The subject of the exhibition are two creative approaches and styles that share a common poetics in terms of the documentation of the immediate surroundings, and also in the ambition to narrate, or point out blank spaces in the interpretation of surrounding reality – both as something depicted and experienced. The urban landscapes of football arenas were presented as a sort of dual form of an “aimless walk”. Cenek embarks on a form of narration, changing the word order in his slide-show. As the pictures gradually reveal themselves, flashing out of the darkness, the meaning of the inter-titles shifts with the changing order of both photographs and text. In contrast, the terseness in the rendition of Dabernig’s photographs is revealed by the gap between the individual pictures within the sequence of panoramas. This gap, or “pause” in his record indicates not only a shift of perspective in the course of photographing, but also an occasional dual record within the horizon of seeing.

#5 min Martin Mazanec

On February 1, 1929, the Film Guild Cinema opened at 52 W. 8th St. in Greenwich Village, New York City. In the promotion materials, invitation and short press releases published on the occasion of its inauguration, it was billed as The First 100% Cinema in the United States. The exterior of the plain dark two-storey building with a raised ground floor was structured merely by windows and plastic geometric phasing. The latter was achieved by means of light prisms which formed the decorative construction of the facade. The opening of the cinema was attended by New York’s artistic and social elite of the period, including film director David W. Griffith, writer Theodore Dreiser and composer George Gershwin. With its hall seating 500 spectators, which was rather small for period conditions, the new building was commissioned by the Film Arts Guild. The Guild specialized in importing art films and experimental films from abroad, presenting them through American distribution. The investment in the new space was not linked to the vision of the transformation of the cinematographic system but rather to the increase of the number of cinemas in the city’s downtown and to the promotion of European modernism.