2007

video, 7:20 min

2 versions:

3 channel video 2160 x 576 + stereo sound

1 channel video HD 1920×1280 + stereo sound

hardware/player: HDMI compatible player /raspberry pi + software/ + flash disc

ready to play on devices with HDMI input

Exhibited:

Frisbee, Contemporary Czech Videoart And New Media, Výstavní síň Sokolská 26, Ostrava, CZ, curator: František Kowolowski (2007) /1st early version/

Rahova, G99, Dům umění města Brna, CZ, curator: František Kowolowski, (2008) * solo exhibition

Review: Artalk

ATOMIZED, De Veemvloer, Amsterodam, NL, curator: Radek Waanja, (2008)

Videos Europa, Le Fresnoy, Tourcoing Cedex, FR, (2009)

20 Years After, MOYA, Vídeň, AT, (2009)

Mikulov Art Symposium, Mikulov, CZ, curator: Petr Zubek, (2009)

Erased Walls, Freies Museum, Berlín, DE, curator: Juraj Čarný, (2009)

PAF – Přehlídka animovaného filmu, kategorie: Other Visions, Olomouc, CZ, 1. místo – cena poroty, 1. místo – cena diváků, (2010)

Mutating Medium, photography in czech art 1990–2010, Galerie Rudolfinum, Prague, cz, curator: Pavel Vančát, (2011)

Rahova, SPACE Gallery, Bratislava, SK, curator: Katarína Slaninová, (2011) * solo exhibition

Atlantis 11, in the framework of Biennale di Venezia, Benátky, IT, (2011)

Index Festival, New York, USA, (2011)

Rahova, National Museum of Contemporary Art (Romania) MNAC, Anexa, Bukurešť, RO, curator: Oana Tanase, (2012) * solo exhibition

Cinema Total, Collegium Hungaricum Berlin, Berlín, DE, (2013)

Mass and Mess, Collegium Hungaricum Berlin, Berlín, DE, curator: David Szauder, (2013)

Panel Story, Galéria mesta Bratislavy, Bratislava, SK, curators: Lucia Miklošková, Lucia Štrbáková, (2013)

Review: Artalk

“I think we are living in limbo. We are not livin in the past, we are not living in the future; we are

living in-between.” Steve McQueen, interview with Hans-Ulrich Obrist and Ageline Sherf

Video is based on records taken in Rahova housing estate in Bucharest, Romania. It was chosen

as the place at the end of utopia. Not just the failure of certain way of urbanistic thinking, but the

failure of reality itself, the non-place, the limbo. It meets all the features of Baudrillards definition of

simulacra: fake, mass production and simulation /e.g. the rounded balconies, loggias and decorations

simulating the classical forms of fancy architecture/.

The video recycles and deconstructs the familiar scenery turning it into the distraction. The precast

70’s architecture – ghting with its own decay – is facing the digital desintagration. Camera

slowly ows through the the blocks of houses, the place is empty, just the surface of the concrete

housing machine.Through the digitalasing the place, which so deeply roots in its own heavyweight

rational reality, it is turned into the fragile dreamy construction.