14th Festival of Film Animation 3–6 12 2015 Olomouc www.pifpaf.cz Catalogue PAF 2015 Acknowledgement: www.pifpaf.cz Danniela Arriado, Jiří Bartoník, Jana Bébarová, Petr Bilík, Petr Bielesz, Martin Blažíček, Michal Blažíček, Authors: Martin Búřil, Filip Cenek, Eva Červenková, Martin Čihák, Alexander Campaz, Martin Čihák, Eliška Děcká, David Katarína Gatialová, Marie Geierová, Vladimír Havlík, Helán, Miloš Henkrich, Alexandr Jančík, Tomáš Javůrek, Tamara Hegerová, Štěpánka Ištvánková, Jana Jedličková, Nela Klajbanová, Martin Mazanec, Marie Meixnerová, Alexandr Jeništa, Anna Jílková, Lucie Klevarová, Jiří Neděla, Jonatán Pastirčák,Tomáš Pospiszyl, Jakub Korda, Jana Koulová, Petr Krátký, Zdeňka Krpálková, Pavel Ryška, Matěj Strnad, Lenka Střeláková, Josef Kuba, Jiří Lach, Richard Loskot, Ondřej Molnár, Barbora Trnková, Veronika Zýková Hana Myslivečková, NAMU, Lenka Petráňová, Jan Piskač, Mari Rossavik, Radim Schubert, Kateřina Skočdopolová, Translators: Matěj Strnad, Barbora Ševčíková, Jan Šrámek, Petr Vlček, Magda Bělková, Nikola Dřímalová, Helena Fikerová, Kateřina Vojkůvková, FAMU Center for Audiovisual Studies, Václav Hruška, Karolina Chmielová, Jindřich Klimeš, Café Tungsram and Ondřej Pilát, Zuzana Řezníčková, Samuel Liška, Marie Meixnerová, Michaela Štaffová Audio-Video Department at the Faculty of Fine Arts of Brnu University of Technology, Department of Theatre and Film Editor: Studies at the Faculty of Arts of Palacký University Olomouc, Veronika Zýková The One Minutes, The University of J. E. Purkyně

Czech proofreading: Festival venues: Lucie Pokorná, Martina Víchová, Martina Vohralíková, Atelier of Graphic Design (AGD) Veronika Zýková Atrium (A) Attic Gallery (AG) English proofreading: Café Tungsram Transit (CTT) Magda Bělková, Lucie Klevarová, David Malcolm Richardson Congregation Hall (CH) Corpus Christi Chapel (CCC) Cover and layout: Film Auditorium (FA) Fiume Std (Filip Cenek) Gallery U Mloka (GUM) Konvikt (K) Graphic design and typesetting: Konvikt Press Centre (KPC) Radim Měsíc Theatre (T) Theatre of Music (TM) PAF Edition Vertigo Club (VC) 1st edition, Olomouc, 2015 Vitrine Deniska (VD) Wurmova 7 (W7) Printed by: Profi-Tisk Group, s. r. o.

Number of copies: 500 ks lectures/presentations in English language

ISBN 978-80-87662-11-3

Publisher: PASTICHE FILMZ, z. s. Neumannova 7 779 00 Olomouc www.pastichefilmz.org Content

19 Other Visions 2015 22 Lenka Střeláková: Differentiated Cinema and Other Visions 44 Differentiated Visions: David Helán: The Future Belongs to Helium (Cornpoetron) 45 Error Establishing a Database Connection 46 Distribution Situation - The State of Things 47 Ivan David: Copyright and Film Author

49 Wild ‘60s 59 We are Opening Svatopluk Pitra‘s First Box 60 In the Light of Laterna Magika 60 Czechoslovak Cartoon and Puppet Films Today 62 Neprakta = Kopecný + Winter 63 Neprakta in Film 64 To Agitate, to Experiment, to Amuse 65 Mr. Egg‘s Commercials 66 Socialistic Propaganda Leading to a Bigger Consumer Culture 67 What Might Have Been Tolerated as a Student‘s Prank? 68 TRIK Group 69 Workshop with Edita Plicková

71 Animation beyond Animation 80 Brothers James and John Whitney 82 Samson Kambalu 84 Samson Kambalu for The One Minutes: Nyau Cinema 85 Tomáš Pospiszyl: Something Somewhere (with Something) 86 Martin Arnold 88 Josef Bolf 90 Jonathan Monaghan 92 Greg Pope & Salvia 94 Takashi Makino 95 Jonáš Gruska 96 Pedro Maia & Vessel 98 Lars TCF Holdhus 100 Stanislav Abrahám 102 Lotic & Michal Pustějovský 103 Plain

105 Aport Animation 115 PAF Edition: #kg #mm Net Art 116 Alexander Campaz: PAF Fashion 117 Animated Shorts 2 118 AniScreen 120 Over Head and Ears in Moss 120 Heart of Tower 121 SK Young and Fresh 122 The Garden 123 Trnka‘s Garden 2 123 Film Adventurer Karel Zeman 124 Dark Train 125 Rememoried 126 Other Inside 126 Cafard 127 Song of the Sea 128 The Boy and the World 129 Ku! Kin-dza-dza 130 Shirley: Visions of Reality 131 Little Animators 131 Blue Daisy

133 PAF Art 142 The Artist has a Price 2015: Award from Vladimír Havlík 143 David Možný: Open Space 144 Marq Delong & Anna Slama: SANDBOX FRONTEX LITANY 145 Alexander Campaz: Infinity + 1​ 145 PAFScreenSaver: Animation beyond Animation 146 Jonathan Monaghan: Escape Pod 147 Samson Kambalu: The Unbearable Lightness of Nyau Cinema

149 INDEXES 150 Title Index 156 Name Index About the Festival

PAF is a unique Czech platform for film and the image, remediation, video art. During PAF, contemporary art of the moving image. It was thematically oriented programme sections are established as “Festival of Film Animation”, presented that are not only concentrated probes and has run annually in Olomouc in the Czech into visual culture, but also provide original Republic since 2002. PAF has gradually expanded answers to the PAF subtitle What is Animation? and improved the scope of its activities, which For nine years, using its competition Other have been year-long since 2008. Visions, PAF has mapped out the contemporary The main PAF team members’ work consists Czech production of moving images and has of editorial and publishing activities within PAF’s dealt with questions relating to their archiving own editorial series Edition PAF. They also work and distribution, while concentrating on their on the presentation of Czech audio-visual art presentation abroad. abroad, and the preparation of curated exhibitions, Among the events organized by PAF projections, workshops and seminars at home there is the music biennial PAF at The End of and abroad. Above all, their focus is on the Summer, held every two years in Ostopovice year-round curatorial and dramaturgical work U Brna, LITR – Independent Publishers Book Fair which culminates in the four-day festival of film in Olomouc and the festival of contemporary audio animation and contemporary art that has gained visual art in New York City PAF New York. PAF also an international reputation and is held every organises and gives its curatorial patronage to the year at the beginning of December in Olomouc: Olomouc exhibition space Vitrine Deniska. PAF – Festival of Film Animation (for short, PAF PAF regularly cooperates with important Olomouc). galleries, curators and institutions in the PAF – Festival of Film Animation remains Czech Republic and abroad. The support and the brightest star among the many other events cooperation has been openly provided by organized by PAF. Although it still keeps its original a number of renowned organisations (Forma name, the festival in the present days does not London, Filmmuseum Wien, Re:Voir Paris, profile itself as a traditional festival of animated Creative Time New York, Pioneer Works New films, but rather as a festival of film animation and York, Atelier Nord Oslo and others), festivals contemporary art. In its dramaturgy it consistently (Screen City Stavanger, Anilogue Budapest, deals with – it is the only one in the Czech Fest Anča Žilina, reVIZOR Veselí nad Moravou Republic who does – a wide concept of animation etc) and galleries (GAMU Prague, Tad Gallery in the context of cinematography, media studies Denton, ScreenSaverGallery, Gallery U Mloka and visual arts. The key word terms used in its Olomouc). Some of PAF’s minor achievements are leading topics are: animation, archiving, media considered to be the awards given in archaeology, audiovisual art, database, digital prestigious competitions and festivals to PAF’s culture, experimental cinema, intermediality, graphic design, art projects commissioned by PAF, cinematography, net art, presentation, moving and to Other Visions finalists.

PAF 2015 – presentations

1 Dec 2014 – 31 Jan 2015 24 Feb – 15 Mar 2015 Lorna Mills: GIF Saver Tomáš Hrůza: Instead of Something ScreenSaverGallery | exhibition Vitrine Deniska | Olomouc | exhibition, presentation curator: Marie Meixnerová curator: Alexandr Jančík

4 Dec 2014 – 5 Jan 2015 31 Mar – 20 Apr 2015 Viktor Takáč: It May Have Happened Dana Balážová, Jakub Kovařík: A Brief Flash of Vitrine Deniska | Olomouc | exhibition, performance Colour Over The Water With Steep Banks curator: Alexandr Jančík Vitrine Deniska | Olomouc | exhibition, presentation curator: Alexandr Jančík 14 Jan – 8 Feb 2015 Klára Doležálková: 1 Apr – 30 May 2015 I Can Barely See Her, But It Works Tereza Darmovzalová: SPACE Vitrine Deniska | Olomouc | exhibition, happening Gallery U Mloka | Olomouc | exhibition curator: Alexandr Jančík performance: Vladimír Havlík curator: Marie Meixnerová 14 Jan – 28 Feb 2015 Ways of Something 20 Apr – 30 May 2015 Gallery Dé | Olomouc | installation in showcases Dominik Podsiadly: Big Black curator: Marie Meixnerová ScreenSaverGallery | exhibition curator: Marie Meixnerová 27 Jan 2015 Opening & Happening Ways of Something 21 Apr 2015 opening Ways of Something | Gallery Dé | Olomouc Fresh Eye: Image versus Virtuality installation in showcases, happening Fresh Eye | Prague | presentation of PAF Edition closing David Přílučík: The Least Action and publication #mm net art Gallery U Mloka | Olomouc | exhibition presentation: Marie Meixnerová screening Ways of Something Intermedia Studio UC UP | Olomouc 23 Apr 2015 curator: Marie Meixnerová XY / Exhibitions during a walk / a walk during the exhibition 30 Jan 2015 a common project of Olomouc independent galleries: Other Visions 2014 Gallery Horká, Gallery Dé,Vitrine Deniska, Studio Béla | Prague | screening LaVor Gallery, Hidden Gallery, Gallery W7 | Olomouc presentation: Nela Klajbanová Tomáš Hodboď, Eva Jaroňová, Jana Kasalová, Vojtěch Máša, Panáčik, Václav Stratil, Veronika Vlková, Markéta 20 – 21 Feb 2015 Wagnerová, Anna Wolf reVIZOR curators: Monika Beková, Martin Cáb, Alexandr Jančík, Veselí nad Moravou Filip Kartousek, Jiří Sedlák, Pavel Šuráň, Petr Švolba, screening, concert, site specific installation Kamil Zajíček Ways of Something I, Ways of Something II, Site Specific Abstraction, Other Visions 2014, DJ Numan, Jan Šrámek, Martin Búřil 23 Apr – 15 May 2015 27 Jun 2015 Jana Kasalová: Screen & Saver God alone knows where I usually hide Fest Anča | Žilina, Slovensko Vitrine Deniska | Olomouc presentation of ScreenSaverGallery: exhibition Tomáš Javůrek & Barbora Trnková, Marie Meixnerová curator: Alexandr Jančík 10–12 Jul 2015 7 May 2015 Other Visions 2014 Other Visions 2014 LUHOvaný Vincent | Luhačovice | installation, geothermal spa Seljavellir | Iceland | site specific vernissage | presentation: Nela Klajbanová installation 12 Jul 2015 15 May 2015 Jiří Neděla: Dream As Second Life Tereza Darmovzalová – LUHOvaný Vincent | Luhačovice | lecture artist talk on her creative practice Museum Night | Gallery U Mloka | Olomouc 13 Jul – 5 Aug 2015 presentation Michal Cáb: Where Is Wally? curator: Marie Meixnerová Vitrine Deniska | Olomouc exhibition, picnic, presentation 16 May 2015 curator: Katarina Gatialová Other Visions 2014 Museum Night | Moravian Gallery | Brno | screening 22 Jul 2015 Tereza Darmovzalová: SPACE II 20 May – 15 Jun 2015 6PM Your Local Time Europe | Bělá pod Pradědem, Kateřina Kynclová, Vojtěch Vaněk: Internet | installation, happening, picnic Sleeping Chimneys curator: Marie Meixnerová Vitrine Deniska | Olomouc | exhibition, presentation curator: Alexandr Jančík 22 Jul 2015 Other Visions 2014 26 Jun – 2 Jul 2015 Summer theater TIC | Brno | screening Other Visions 2014 Tad Gallery | Denton, Texas, USA | installation 14 Aug 2015 Other Visions 2014 June 2014 Letiště – Open Air Festival | Hranice na Moravě Kinečko & PAF: Other Visions 2014 screening USB selection Other Visions 2014 25 Aug – 17 Sep 2015 23 Jun – 12 Jul 2015 Tomáš Javůrek & Barbora Trnková: HEMILOADER Martu: Those Birches Can See Vitrine Deniska | Olomouc It But They Will Not Tell exhibition, presentation Vitrine Deniska | Olomouc | exhibition, presentation curator: Marie Meixnerová curator: Katarína Gatialová 15 Sep – 12 Nov 2015 13 Oct – 4 Nov 2015 Yoshihide Sodeoka: Carbonated Formulas #2 Dominik Podsiadly: (:...)) ScreenSaverGallery | exhibition Vitrine Deniska | Olomouc | exhibition, presentation curator: Marie Meixnerová curator: Marie Meixnerová

12 Sep 2015 15–18 Oct 2015 PAF at The End of Summer Screen City Festival Ostopovice | concerts and AV performances Stavanger, Norsko BA:ZEL, Dizzcock & VJ Kolouch, dné, Ink Midget, Matěj Al-Ali, Martin Blažíček, Dan Gregor, Kateřina Isama Zing, Other Visions 2014, Slowmotiondancer Koutná, Tomáš Moravec, Jonatán Pastirčák, Greg Pope, Michal Pustějovský, Ján Šicko, Veronika Vlková ad. 12 Sep 2015 curators: Daniela Arriado, Martin Mazanec Jiří Neděla: Dream As Second Life Twisted Dreams of History: Subversiveness and 6 Nov 2015 Deformation in Animated Film from V4 Countries PAF New York 2015 international academic conference on animated film 59 E 4th St, 7th Floor Loft | New York City, New York, Bielsko-Biaľa | Poland | lecture USA Alexander Campaz, Filip Cenek, Milton Melvin 21 Sep – 10 Oct 2015 Croissant III, Nicholas O’Brien, Other Visions 2014, Zuzana Kantová: About Turn Singles (selection of Undervolt videos), Ziemba Vitrine Deniska | Olomouc exhibition, presentation 28 Nov 2015 curator: Alexandr Jančík Other Visions 2014 Anilogue | Budapest, Hungary | screening 29 Oct 2015 presentation: Jiří Neděla Greg Pope: What is Live Cinema? Intermedia Studio UC UP | Olomouc 3 Dec 2015 – 5 Jan 2016 public rehearsal presentation David Možný: Open Space Greg Pope, Veronika Vlková, Kateřina Koutná Vitrine Deniska | Olomouc | exhibition curator: Alexandr Jančík 9–11 Oct 2015 LITR – Independent Publishers Book Fair 3 Dec 2015 – 11 Jan 2016 Community and Cultural Space W7 | Olomouc Samson Kambalu: book fair, presentations, workshops, exhibitions, The Unbearable Lightness of Nyau Cinema concerts Gallery U Mloka | Olomouc | exhibition, presentation curator: Marie Meixnerová 9 Oct – 5 Nov 2015 V IKB 3–6 Dec 2015 Gallery W7 | Olomouc | group exhibition XIV. PAF OLOMOUC Anna a Dana Balážová, Michaela Zaoralová, & Eva Jaroňová, Magdalena Manderlová, PAF ART – Festival of the contemporary art Michaela Casková, Viktorie Schrötterová, Lukáš Bureš group exhibition – installation, vernissage curator: Alexandr Jančík UC UP Olomouc | Atrium | Gallery U Mloka | Vitrine Deniska | ScreenSaverGallery curators: Martin Mazanec, Marie Meixnerová, PAF – Festival of Film Animation Nela Klajbanová, Alexandr Jančík, Tomáš Javůrek, and Contemporary Art Lenka Střeláková, Barbora Trnková, Lumír Nykl Olomouc, Czech Republic December 3–6 2015 9 Dec 2015 www.pifpaf.cz Other Visions Animateka | Ljubljana, Slovenia During the project Festivals of Live Cinema the presentation: Eliška Děcká following art projects were commissioned:

Matěj Al-Ali, Tomáš Moravec: SILOS, 2015 7 May 2015 – 30 April 2016 site-specific intervention and mobile video sculpture, Festivals of Live Cinema Stavanger ------The Festivals of Live Cinema project was a unique Dan Gregor (INITI) & Michal Pustějovský: collaboration between Czech and Norwegian platforms Live Facade Projections Simulacra, 2015 for film and contemporary art of the moving image. site-specific projection and light intervention for Under the umbrella of the project, which lasted over Konserthus facade, Stavanger a year, and with the participation of a number of cooperation: Michal Pustějovský international artists, curators and scholars, Screen City ------and PAF have articulated the questions raised by the Ján Šicko, Jonatán Pastirčák (Pjoni), Nils Henrik so-called phenomenon of Live Cinema – today. Asheim: Project for Orgel Natt, 2015 Besides discovering national cinematographies, audio-visual project for Konserthus, Stavanger for many years PAF has presented projects related ------to contemporary visual art, cinematography and new Martin Blažíček: Binary Logic, 2015 technologies. During its fourteen-year history it has cinematographic performance introduced many international artists at Czech and world ------premieres and has produced significant works. These Greg Pope, Kateřina Koutná, Veronika Vlková: activities were followed by the international project Stone Horizon, 2015 “Festivals of Live Cinema” with similarly ambitious aims. cinematographic performance An international team of curators and artists has ------been participating in this project whose main outputs Ján Šicko, Jonatán Pastirčák (Pjoni): Plain, 2015 could be seen and heard in Stavanger (October) and audio-visual project for PAF Olomouc in Olomouc (December). Newly commissioned artistic ------works reacted to the genius loci of these cities and their Lars Holdhus (TCF): 40 FC 4A 83 F9 BD A8 30 3F particular buildings. F2 33 C3 0B 5E 34 50 04 9C D9 4C 93 59 BE 6D 2E 36 D6 B3 9A D7 34 39, 2015 Screen City presentation, lecture for PAF Olomouc Stavanger, Norway ------October 15–18 2015 The project “Festivals of Live Cinema – Collaboration of the www.screencity.no Czech (PAF) and Norwegian (Screen City) Platforms for Film and Contemporary Art of the Moving Image” was supported by grants from Iceland, Lichtenstein and Norway. PAF Edition

PAF Edition has introduced the publishing activities publication is divided into three parts: Fragile Cinema of the Festival of Film Animation (PAF) since 2008. Reconstruction – studying and documenting the Monographs, anthologies, catalogues and authorial exhibitions of Vojtěch Fröhlich, Lucie Sceranková, as well as artistic publications are released within the Dominik Gajarský, Jiří Kotrla and Vilém Novák, Edition. among others; Between Visible and Wonky Cinema – presenting Volker Pantenburg’s and Martin Mazanec’s theoretical texts; Interviews about Galleries and Anthologies, monographs, translated publications: Cinemas – composed of interviews with Martin Arnold ------and Douglas Gordon. Collective of authors. ------K tvarozpytu montážních struktur. HUDEC, Zdeněk (ed.): Gender Stereotypes in Walt Olomouc: Pastiche Filmz, 2015. Disney Animation: Ideology, Queer, Discursive Czech Analysis. Olomouc: Pastiche Filmz, 2012. Czech or English A Morphologists’ group was formed at the Department of Editing (FAMU, Prague) at the beginning of 2013. That The publication brings a set of studies dealing year may also be considered the main creative period with gender structure in the selected Walt Disney of the group in which the basic form of the book was animations, based on three fundamental methodical outlined and in which their main thoughts were presented approaches: semiotic analysis, social constructivist at morphological symposiums at Palacký University theory and ideological criticism. It results in the fact in Olomouc and at the University of South Bohemia in that perceptions of men and women and gender roles České Budějovice. The contemporary as well as former are stereotypical and deeply grounded in Disney’s students of editing (Martin Čihák, Dominik Krutský, animation in a similar way to human society. Martin Mlynarič, Tomáš Hoffmann Polenský, Ondřej ------Vavrečka) met in the Morphologist group. mediabaze.cz (ed.) Catalogue of the Events of the Czech Moving Image I. Other Visions 2000–2010. MEIXNEROVÁ, Marie (ed.) #mm​ Net Art – Internet Olomouc: Pastiche FIlmz, 2011. Art in the Virtual and Physical Space of Its Czech/English Presentation​. Olomouc: Pastiche Filmz, 2014. mediabaze.cz (ed.) Catalogue of the Events of the Czech or English Czech Moving Image II. Other Visions 2000–2010. The anthology of texts on Internet art concisely Olomouc: Pastiche FIlmz, 2011. introduces the development of this specific area of Czech/English the 20th and 21st century art world. The essays, The catalogue of books involve the events that manifests and theoretical and historical articles in this presented Czech moving image in various spatially- book are placed in context, and follow Net art from its perceptive models between 2000 and 2010; its aim is technological and conceptual origins to the present-day, to register the activities, presentations and distribution with the merging of virtual and physical worlds and the of Czech moving images and to find and describe arrival of so-called Post-Internet art in gallery spaces. individual dramaturgical conceptions of the past decade. MAZANEC, Martin (ed.). Křehké kino. ------Brno: Galerie Mladých MAZANEC, Martin (ed.). Manifests of Moving Olomouc: Pastiche Filmz, 2013. Image: Color Music. Czech Olomouc: Pastiche FIlmz, 2010. Křehké kino (Fragile Cinema) is related to Martin Czech/English Mazanec’s one-year curatorial cycle of the same The publication includes period testimonies about name which took place in Brno Youth Gallery. The artists who thought about and described the origins of audio-visual images and their spatial projection Authorial and artistic publications on the basis of historical viewpoints connected to ------the development of the moving image medium. The RYŠKA, Pavel (ed.). Svatopluk Pitra. selection of texts is divided into two parts – studies and Grafik, ilustrátor a výtvarník animovaných filmů: an individual text with a manifestation character. (1) Tucet mých tatínků. ------Olomouc: Pastiche Filmz, 2015. NEDĚLA, Jiří (ed.). Animace ilustrace. Czech Olomouc: Pastiche Filmz, 2010. A reconstruction of Svatopluk Pitra’s (1923–1993) Czech journey from the tube mills in Chomutov to Adolf The anthology Animation of Illustration offers nine Hofmeister’s Studio of Animated and Puppet Film, profiles of well-known directors who either acquired the Academy of Arts, Architecture and Design, in reputations as illustrators, or were at least strongly Prague. Archival photographs, drawings and other inspired by illustrations, or they provided the stimulus items (opinions on the social role of caricature and for specific illustrations and illustrated books. The other the laws of animated film as manifest in the 1950s) part of the anthology regards the work of thirteen visual are accompanied by fresh visual material of Vratislav artists who act on the boundaries of various disciplines Hlavatý, who was Pitra’s classmate with whom he and work with various media. exhibited Caricatures and Other Inconveniences in ------the Gallery of Czechoslovak Writer (1957); he also SURMANOVÁ, Kateřina (ed.). Islands of Animation. contributed to Hofman’s “grotesque story with tragic Olomouc: Pastiche Filmz, 2010. point” called My Dozen Fathers (1959). Czech/English ------The anthology called Islands of Animation deals with PĚCHOUČEK, Michal. Studio. animation in the concept of nations and ethnic groups Olomouc: Pastiche Filmz, 2013. that have been marked by ideological, military and Czech/English political oppression. The theme is discussed in five The pictorial catalogue captures the work of one of the studies written by international theorists and scientists; most significant Czech visual artists, Michal Pěchouček the introductory text was written by the film theorist and and is accompanied by theoretical texts (M. Mazanec, journalist Kateřina Surmanová. S. Poláková, M. Škabraha, R. Wohlmuth, M. Zdeňková) ------that offer various interpretations of his work. MAZANEC, Martin (ed.). Peter Kubelka. ------Olomouc: Pastiche Filmz, 2008. KOHOUT, Martin. Linear Manual. Czech/English Pastiche Filmz & TLTRPreß, 2012. The work of the Austrian filmmaker Peter Kubelka is English characterised by an unreserved connection with film; ​The publication explores the absurdity of the manual its history, theory, technology, archives, restoration, concept. It accumulates theoretical, epic and visual promotion, curatorship and with film culture in general. contributions that show a fascination with objects, The monograph is divided into four parts, all dealing motifs and seemingly straightforward and hand-fitting with Kubelka’s work and introduces it in context. It needs. It presents two of Kohout’s artistic works and it is is accompanied by a two-part interview by Martin accompanied by the written and visual works by several Mazanec with Peter Kubelka which presents Kubelka’s artists, curators, theorists and thinkers. The overall creative personality and his filmography. theme of the publication is – stick. ​------ŠRÁMEK, Jan. Lost Perspective. Brno: Fiume Olomouc: Pastiche Filmz, 2012. Czech The series of illustrations is a result of the cooperation between Jan Šrámek and Veronika Vlková. Two seemingly different worlds involved in the publication result in one topic – they present segments of apocalyptic visions. Fragile aquarelle painting depicting mythical figures is typical for Veronika Vlková and is combined with Jan Šrámek’s (VJ Kolouch) geometrical, vector and chased graphics using the same visual motifs.

DVD, CD, VINYL ------ANIMATION NOW! FESTIVAL, PAF. Caution! Freshly Animated. [DVD]. Stowarzyszeniem A Kuku Sztuka, 2011. ------PJONI & INK MIDGET. [EP 12“]. Exitab, f341, PAF, 2011. ------TABLE. We Are No Longer the Same. [CD]. PAF, 2010. Festival Organizers

Director – Alexandr Jančík Coordination of Other Visions – Nela Klajbanová Executive producer – Michaela Šuhajová Coordination of introductions – Ksenia Stetsenko Programme conception – Martin Mazanec, Videodocumentation – Miroslava Janičatová, Marie Meixnerová, Alexandr Jančík Radim Labuda, Janek Rous, Giulio Zannol Programme managers – Marie Meixnerová, PAF 2015 documentary – Jiří Žák, David Přílučík Martin Mazanec (Animation beyond Animation, Photographers – Petr Bílek, Tereza Darmovzalová, PAF Art), Pavel Ryška (Wild ‘60s), Nela Klajbanová, Helena Fikerová, Tomáš Hrůza, Gabriela Knýblová Lenka Střeláková (Other Visions), Jiří Neděla Photo administration – Barbora Fialová (Aport Animation) Graphic conception & trailer – Fiume Std (Filip Cenek) Audio jingle – Roman Štětina PR & Media management – Marie Meixnerová, Max Dvořák, Barbora Bittnerová On-line marketing & PAF Web – Jakub Mazanec Other Participants: Shipping – Nikola Krutilová Michaela Bartoszová, Nela Beislová, Veronika Production assistants – Nela Klajbanová, Lukáš Košík, Benešová, Veronika Bezvodová, Petra Pánková, Magdalena Petráková, Zuzana Bílková, Kristýna Bročková, Michal Brtko, Barbora Přehnilová, Kateřina Váchová Lukáš Buchta, Henrietta Ctiborová, Nikola Dašková, PAF Archive – Květuše Soukupová Barbora Dostálová, Nikola Dřímalová, PAF Edition – Nela Klajbanová, Robert Jaworek Martina Foldynová, Šimon Gillar, Zdenka Gillarová, Milan Halaj, Lenka Hľadajová, Anetta Holaňová, Editors and proofreading – Magda Bělková, Anna Hrubá, Ondřej Hruška, Karolina Chmielová, Zuzana Bílková, Lucie Klevarová, Marie Meixnerová, Kristina Jochmannová, Tomáš Kachel, Lucie Pokorná, David Malcolm Richardson, Barbora Kavková, Naila Kerimova, Martina Víchová, Martina Vohralíková, Veronika Zýková Jindřich Klimeš, Michal Kršňák, Alexandra Kulová, Translations coordinator – Magda Bělková Radim Labuda, Nikol Láryšová, David Lekeš, Translators – Magda Bělková, Nikola Dřímalová, Samuel Liška, Vendula Mankovecká, Zuzana Václav Hruška, Karolina Chmielová, Jindřich Klimeš, Marešová, Jakub Masařík, Jana Mášová, Samuel Liška, Marie Meixnerová, Michaela Štaffová, Anna Mimochodková, Daniel Nosek, Pavla Paclíková, Helena Fikerová, Max Dvořák Tereza Papáčková, Alžběta Pečivová, Daniel Pecha, Tereza Píchová, Terezie Pilarová, Markéta Podolská, Guest service – Adriana Belešová, Ivana Formanová Markéta Polášková, Veronika Pourová, Tomáš Roztočil, Accreditation – Andrea Majerčíková Jiří Slavík, Ksenia Stestenko, Aneta Šebková, Staff supervisor – Milan Cyroň Zuzana Špániková, Michaela Štaffová, Technical support – Jan Tomšů Kateřina Šuhajová, Michal Švarc, Assel Torgayeva, Assistant technician – Kryštof Bloch, Lada Drdová, Tereza Tvrdá, Jakub Tymčík, Zuzana Vaidová, Václav Hruška, Jan Jendřejek, Martin Kazík, Klára Vašáková, Simona Vičarová, Lukáš Vlček, Ondřej Kazík, Ondřej Kratina, Josef Kuba, Markéta Vlková, Michaela Vodová, Milan Vojáček, Daniel Mrocek, Petra Pánková, Jaromír Pražák, Jiří Volejník, Tereza Vráblíková, Lukáš Vrajík, Giulio Janek Rous, Ondřej Tomšů, Jiří Žák Zannol, Veronika Zapatová, Matěj Žiak Introduction

It‘s nice to see innovative efforts become traditions The golden, sweet and wild ‘60s? Films, books, and without losing their original creed. Festival of Film visual arts and design are clear proof that they were. Animation belongs to this category, and for years it has The laid-back attitude in society provided art with valiantly uncovered the twists and turns of animation unlimited creativity and most of all, freedom. However, it as an art form, a philosophical and legal issue, and a didn’t last long because the natural development of the way of life. PAF follows the trends in a rapidly evolving then Czechoslovak Republic was cut off by the invasion industry, but doesn‘t forget the cultural roots from which of totalitarian armies. The word censorship changed animation is drawn, as in this year‘s reminiscence of the its meaning, freedom disappeared and creativity was 1960s phenomenon. We can only look forward to PAF purposefully supressed. Luckily, the regime changed properly stirring the miasma of poor mulled wine and after twenty-one years and because of that the Festival the rest of the city‘s kitschy Advent! of Film Animation in Olomouc had the chance to exist. PAF – Festival of Film Animation, is becoming more and Jiří Lach more recognized here in the Czech Republic and in the The Dean of Faculty of Arts world. Today, for its fourteenth year, it is returning to the Palacký University inspiration of the 1960s. I think this memory is certainly worthwhile.

Radim Schubert Department of Culture, Municipal Authority of Olomouc The year 2015 marks an essential phase in the history of PAF – Festival of Film Animation. For years, we have been trying to be much more than the name Festival of Film Animation may suggest. We see the name as being misleading in the context of the activities which we perform all year long and which are not always connected to the arduous manufacturing process accompanying the production of classic films shot frame-by-frame. For that reason we like to use the more neutral abbreviation of our Czech title (Přehlídka animováného filmu) which is more neutral, and more and more often the other variation of our name, PAF – Festival of Film Animation and Conteporary Art, which defines our activities more accurately. We view the animation in our name as part of a continuous process that is present in all our activities, be it exhibitions, publishing activities or the promotion and distribution of works of art, both here and abroad. In this sense, this year can be viewed as the most successful in our history, which began writing itself in the year 2000. In 2015, apart from about forty independent events, we have managed to kickstart new successful projects in Olomouc (first year of LITR – Book Fair of Authorial and Artistic Publications, XY – walk through openings in alternative galleries) and abroad (Czech-Norwegian project Festivals of Live Cinema, PAF New York 2015). If we include the large number of presentations and screenings, which have mainly been focussed on Other Visions (i.e. Texas, New York, Iceland, Slovakia, Hungary and the Czech Republic), the third year of the musical biennial in Ostopovice near Brno, PAF at the End of Summer and regular monthly exhibitions at Vitrine Deniska, we can confidently state that the year- long activities we claim are not just an ambition, but reality. So let this year’s December festival in Olomouc be the natural climax of these tendencies.

Alexandr Jančík Director of PAF

19 other visions

other visions

The Other Visions section has, through a gradual expansion of its activities, become a significant platform which is not only a festival competition, but also an important theoretical base that asks questions related to the manipulation of the moving image. It also tries to answer these questions. The activities of Other Visions continue all year round. This year they have had more than ten presentations in The Czech Republic and abroad (New York, Texas, Iceland and others.). The long-term trends are further research into the distributional possibilities and placing the works in different contexts and presentation modes. 20 other visions

Every year the Other Visions competition observe the individual projections in a thought- changes with the work of a new curator who out sequence, which will be interfered with by chooses the final ten competing videos the gallery custodian who will manually control according to their interests and preferences. the course of the exhibition. The emphasis is placed on the installation This year’s Other Visions selection represents layout. The curator of Other Visions 2015, film a distinct fusion of the spatial-perception modes theoretician Lenka Střeláková, in her authorial of the installation and the curator’s concept, concept, decided to use an unusual space which will take place in a specific time and for exhibiting individually installed works. The space. The curator’s concept this year also curator’s selection will be, according to a long includes supporting programme blocks linked tradition, screened in the cinema and in the with a narrated exhibition tour in the presence gallery space of the exhibition Differentiated of the curator, the architects of the spatial Visions. layout and the authors of the competing films. After the difficult logistical process of Along with the exhibition there will also be an installation layout we have managed to create, individual screening of the forty-minute long film in cooperation with the artistic duo Matěj Al-Ali Differentiated Visions: The Future Belongs to and Tomáš Moravec, one of the biggest and Helium (Cornpoetron) by David Helán, whose most technically demanding exhibitions of the trailer is among the competing videos. Helán’s moving image in Olomouc. After eight years, performance will also be part of the screening. the competition selection is moving from the This year the theoretical part of Other Visions is Galerie Podkroví to the ground floor Atrium, focused on the issue of inland digital databases, where ten videos of Czech production on the their development and purpose. This focus will borders of animation, experimental film and be in the form of a discussion round table called videoart will be introduced. Each piece of art is Error Establishing a Database Connection. The displayed separately, however, together they open discussion with guests will be led by artist form a thought-out unit, which is supported by and teacher Tomáš Javůrek. the curator’s intention and significant touch in Other discussions related to the situation and the architecture of the exhibition space. The practice of archiving, distribution and authorship exhibition offers a generous space for the will be led by Matěj Strnad at a round table by works, which are quite demanding in technical the name of Situation of distribution – state of and spatial terms, and at the same time it affairs. The guests will be foreign as well as creates an essential contrast between the works domestic artists, theoreticians and curators, arranged in a linear series. The implementation who are performing at PAF – Festival of Film of installations fundamentally changes the way Animation. we look at the presentation customs of the The FAQs related to the copyright law of displayed works. The audience can closely moving image’s production will be answered 21 other visions during the lecture of Ivan David, an advocate 5 Dec | 5 pm | CCC occupied with this branch of law. Differentiated Visions: David Helán: The Other Visions section is gradually The Future Belongs to Helium becoming not only an important way to solve (Cornpoetron) essential questions relating to the creation of the screening, performance | Other Visions moving image, but also a space for the authorial ------curatorship of film and video. This year’s 4 Dec | 4 pm | CCC visions are not different, but they are asking Other Visions 2015: Cosmological new questions and they are looking for other, Anthropology “differentiated” solutions. screening of competition videos introduction – Lenka Střeláková | Other Visions Nela Klajbanová ------5 Dec | 6 pm | T 3–6 Dec 2015 | A Distribution Situation – The State of Things Differentiated Visions round table – Matěj Strnad, Martin Arnold (AT), AV installation | Other Vision Janek Rous, Samson Kambalu (MW/GB), curator: Lenka Střeláková Ivan David, Lenka Střeláková | Other Visions architecture: Matěj Al-Ali, Tomáš Moravec ------5 Dec | 2:30 pm | CH Opening hours: Ivan David: Copyright and Film Author 3 Dec | 7 pm – 12 am 4 Dec | 3 pm – 12 am lecture | Other Visions 5 Dec | 3 pm – 12 am ------6 Dec | 3 pm – 8 pm 6 Dec | 2:30 pm | CCC ------Error establishing a database connection 3 Dec | 8 pm | A round table – Tomáš Javůrek, Matěj Strnad, Differentiated Visions Jana Písaříková, Barbora Linková, Martin vernissage | Other Visions Blažíček, Katarína Gatialová | Other Visions ------4 Dec | 5:30 pm | A Differentiated Visions narrated tour | Other Visions ------5 Dec | 4 pm | A Differentiated Visions narrated tour | Other Visions ------22 other visions

Differentiated Cinema and Other to the subject of Other Visions, figure the Visions same informational and communicational technologies which naturally determine the #Erosion of otherness: According to the media form of contemporary cultural techniques, theorist and philosopher Byung-Chul Han, we including the manipulation of the static as well are living in a time of paradigm change, in a time as the moving image. It is thanks to media- of transition from a disciplinary society towards technological convergence, the digitalisation of the society of performance. The individual socio- analogue resources and the origin of publicly political features by which this society manifests accessible platforms and networks for storage itself, such as the imperatives of transparency, and publication of digital data, that an image acceleration and immediate disposability, and was symbiotically attached to the database an excess of positivity, and, on the other hand, which does not know otherness, but rather social diseases such as burnout syndrome knows differences and functional tags, and and depression, are observed by Han. At the thus it became fully disponable on the level same time, he connects these features with of production, distribution, archiving and the media-technological development of the consuming. Work with the moving image, which Western society. One of the dramatic processes proceeds from this situation and reflects it by accompanying this transformation is – as he means of thematising new forms and functions states – the erosion of otherness. of image, its semantic as well as factual and ontological instability, a narrativity derived from #Difference: Otherness, which consists of changed forms of its perception, audience negativity (temporal, articulative and refusal), phenomenon and so called screen attachments is replaced by difference which emerges from thus became a widespread practice of visual the background of the same; comparable and artists – and this year’s Other Visions selection therefore also disponable and consumable. consciously emphasizes this creative line. The process in question moreover intervenes at all levels of the oriented relation to reality, #Discourse: It is not the first time in the history which means it dominates not only its semantic, of the moving image when a certain tension but also its logically connected temporal and fundamental hybridization between film interpretative framework (both future and past are and artistic discourse occurs. It involves a positively changed to an optimised, disponable commitment to re-thinking the question of their present and are grasped by the temporality of mutual relationship and to revise the traditional the same). or, more precisely, dominant linkage between the moving image and film institutions with #Database: In the background of this their conventional conditions of presentation. process, which is seemingly distant in relation A terminological and conceptual grasp of 23 other visions presentation, distribution and archiving of mediator of this ‘other’ (in an experimental sense) time-based media art, specifically the art of film in the Czech Republic due to his long- “new forms of motion image of film and video”, term pedagogical activities at universities and possibly “artists’ cinema”, is presented as the festivals, with a clearly defined focus on work with subject of intensive discussions which have light, film material and montage. Other Visions taken place on an international level and across are therefore connected with a historical situation various exhibitional, distributional and memory of more than symbolic meaning. However, they institutions since the beginning of the 21st exceed this situation and differentiate themselves century at the latest. In the Czech Republic this from the very beginning. The objects of their is, in the first place, represented by the PAF – concern – though each year’s curatorship is Festival of Film Animation and its competition always independent of the previous years – are section Other Visions, which originated in 2007 the films that would rarely be included in Čihák’s and explicitly concerns these topics. At the same “the subterranean river of cinema,” or more time the topics here are mutually interconnected, precisely in film avant-gardes conceived by him. which is quite exceptional. #Synchronicity: In December 2007 PAF – The #Naming: The canonisation of “otherness”, Festival of Film Animation in Olomouc introduced as a term closely connected to new forms of Other Visions for the first time. The main topic of moving image, happened because of the French the international short film festival in Oberhausen, film theorist and critic Raymond Bellour. By which took place in May of the same year, the early 1990s, Bellour was already dealing became the programme named Kinomuseum. intensively with film installations in gallery The main curator Ian White attempted to outline premises. Influenced by the great number of such a vision of differentiated cinema. His speculative installations occurring at the Venice Biennale concept thought through the borders between in 1999, he published the text called D‘un autre cinema and museum and between reproducible cinema (Of an other cinema). However, the and unique artistic artefact. With respect to the naming of Czech Other Visions has significantly nature of the moving image and artists’ cinema its own, internal history. It refers to 2003 at PAF, he asked the museum questions concerning when this term was used by the filmmaker and qualities that specify his main object of concern. pedagogue Martin Čihák during his lecture on He criticised the institutional conditions of animation in American experimental film. At that display and planned a new museum as a cinema time PAF introduced rather classical forms of based on different qualities; “the principles of animation. While the festival’s dramaturgy has impermanence, immediacy, the temporal and the changed a lot since then and has been opened temporary.” It is also important that the attempt to to new trends of image manipulation, Martin implement this concept took place at the festival, Čihák has become probably the most influential whose director, Lars Henrik Gass, perceived 24 other visions a festival format as a place to take responsibility For the whole period of the festival, the for abandoned and disappearing cinemas and at selected works are presented individually on the same time as a format that reacts to the crisis the festival premises, alternatively in a series of of museums through a programme with the aim several short films following one after the other of jointly forming “new cinema.” in an endless loop, i.e. in gallery mode (though without any specific installations of individual #Modes of presentation and distribution: works), while a block, composed with respect The demand for “the third place,” the place “in- to curatorship and intended for screening in a between,” “new cinema,” and the place “between cinema screening room, is presented within cinema and museum, differentiated cinema” the festival programme only once or twice. The is repeatedly emphasized at round tables, in reception of Other Visions at PAF therefore contributions at academic conferences and proceeds mostly by means of exhibition mode; by dramaturgists and curators. This demand is a host platform of the film festival, concentration accompanied by theoretical concepts, manifests and the immediate vicinity of cinema screening and live experiments with the idea of how this rooms determine the reception in a cardinal and place should look and function. Agreement necessary way. Besides the four days of PAF, is reached mostly on the fact that, due to the during the whole year, the competition selection conditions of relevant cultural techniques (ranging is presented and distributed mostly in the form of from production to archiving of work) that were a screened block, for understandable reasons. modified because of digitalization, the institution of Thus, in its base Other Visions are spread over cinema and museum fails to present in an ade- two different modes of presentation connected quate form the new type of moving image; great with various institutional assumptions that are hopes are pinned precisely on festival formats. logically softened due to the festival background. Other Visions consist of works that frequently If anything at all is characteristic of them, it is their originate within the framework of artistic – rather inner differentiation. than film – discourse. The modus operandi of cinema on one hand and museum/gallery on the #Collection: The selection of Other Visions other is presented as a topic which is inscribed finalists is – rather than with respect to content in a specific way, or more precisely by the and form – generally limited with respect to possibilities of their “functioning.” This functioning technique: besides the previously mentioned – balancing between projection and display – is, condition of two kinds of presentation, the works in this way, defined and conditioned by the very must not be older than 18 months and must have concept of Other Visions and responds to natural been produced in the Czech Republic. The output development in the area of the moving image: by in the form of a block, as another crucial factor, no means can it be perceived as the imprudent suggests a reasonable footage of individual diktat of PAF dramaturgy. works. Therefore the collection demonstrates 25 other visions the current production of “new forms of moving programme” which is not – in a similar way to the image of film and video” in the Czech Republic screening of the block itself – a mere attachment and the specific curator’s tastes and intentions. and exclamation mark for the incorrect privileging The privileged viewpoint, when selecting this of the selected authors.1 Instead it presents an year’s works, was connected with the intention to integral part of the whole programme which thematise and emphasize the above mentioned follows the works’ attitudes towards the needs of difference. Other Visions were perceived in their differentiated cinema. problematic setting, or more precisely, in their latent assumption of the festival as the “third #Representation: Due to the existence of a place” through works that, in a certain way, short annotation for each work, this competition demonstrate the meaning of the presentational section becomes a coherent part in the context context. This year’s Other Visions do not want to of the film world, in which annotations and be other, to relate to the imaginary whole of the genre identification are among the fundamental image universe and to examine otherness on the items of equipment of the power apparatus of dissolving margins. For this year Other Visions the cinematographic industry. The first of this are differentiated visions: they are composed year’s curator’s interventions – not only because of distinctive or internally differentiated works of balance, or more precisely a loosening of that, by means of their visuality, narrative this significant link to one specific mode of structure, a combination of the two or in other representation – consisted of a slight modification ways, have a leaning towards the space “in- to the application form: besides an existing column between”. Alternatively, through various formats intended for an annotation, a space for adding of presentation, they develop a different level of key words was included. This enables meaning, either supported by or connected with a different comprehension of the work and also a projection/installation situation. reveals the context of the author’s perception regardless of fulfilling the general idea of an #Installation: Therefore Other Visions 2015 also adequate form of annotation. As another thematic include works that not only enable presentations stratification of this year’s leading question of in their gallery mode, but – if they are not Other Visions, asking for various forms and modes intended to be reduced to “video in loop”, which of re/presentation, collected authorial texts (i.e. they are not in these surroundings – they also description and tags) are admitted and used as demand specific installation (Tereza Adámková, official informational resources which will be linked David Možný, Janek Rous), in one case even to individual works during the presentation and a performance (David Helán). For this reason distribution of Other Visions 2015. this year Other Visions takes place outside their traditional shelter in the attic, and also involves #Block: Compared to an exhibition mode, Differentiated Visions; an “accompanying when installation of each work can be arranged 26 other visions individually, any immediate links to other finalists and about authors being reinterpreted and can be minimalised and the presentation may be who, as cosmonauts, set out to experience eliminated from other works. A block of films is the zero gravity of space surrounded by the relentless in many respects: it counts the minutes sound of distorted signals. They speak about and it is too demanding of a viewer’s attention a demiurge with a pocket broadcasting device due to the necessary confrontation of individual and about liquidators and fighters who, for works and through the use of material as the first time, look into the core of their own metanarrative. The second crucial viewpoint for anxiety with horror and surprise: on the edge the selection of this year’s competition works was of an empty battlefield. They also speak about the possibility of their functional interconnection transforming bodies into bodies of synchronised in a block; this predetermined not only the order, formations, into compositions of post-industrial but finally also the choice of the Other Visions fotogeny, into phantom/fata morganic limbs, top ten. as well as someone’s memory being scattered on a mute horizon – but whose? They speak #Cosmological anthropology (dystopia, about incarnations into ideal worlds calmly model, video-essay, experiment, metafiction, flooding in a high gloss of their perversely memory of a body, reinterpretation, tubular smooth prefabricates and about the paradox of post, sci-fi, heliosis, end, light, fictitious standardised individualisation. They also talk documentary, existential sci-fi, fragment, about Beckett’s place without qualities and about deconstruction, constellation, rotation, one steady Bradburyan image of the world when probability, muted horizon, fata morgana, things work autistically and become live, even weightlessness, oasis, wilful digression, after humankind has disappeared. However, anonymity, time appropriation, utopia): instead of blackened silhouettes on the wall, While the individual works of Other Visions one abstract pattern and a voice without a body expand as solitary video-bodies of the moving remained. image into the physical and mental space of Ultimately, Other Visions 2015 – besides the PAF – The Festival of Film Animation, in the orbit message about contemporary forms of moving of a projection screen they form a feature film image of film and video and about transformed of speculative and science fiction processes qualities of otherness and difference – transmit which, by their very nature, occur in a time loop. an existential contribution to cosmological Because this has been said: time is a moving anthropology into a probable world and an image of eternity and circular motion is a motion appropriated future. of thoughts. Lenka Střeláková Being animated by a generous boom 1. After all, PAF’s audience is intelligent enough not to of hypnagogic sensations, they talk about become lapsed by a mere spatial and temporal spread of dispassionate views of communication rackets individual works, i.e. by the extent of their immersive effect. 27 other visions

Jury

Samson Kambalu (1975) – a conceptual Jonathan Monaghan (1986) – the American artist, performer, situationist and writer from artist who creates sculptures, prints and Malawi, Africa. He is currently completing his animated video installations that challenge the PhD thesis at the Chelsea College of Arts, boundaries between the real, the imagined, London. He is most famous for his own religious and the virtual. Drawn from wide-ranging philosophy – Hollybalism –, and Nyau Cinema sources such as science fiction and baroque – short audio-visual video clips (or rather film architecture, his work evokes collective fears, performances) that break down the stereotypes desires and anxieties. Jonathan received his of temporal and spatial experience through BFA from the New York Institute of Technology film; they intentionally deviate from the Western in 2008 and his MFA from the University of perception of time and break the linearity of Maryland in 2011. His work has been exhibited the contemporary narrative film. Playfulness, internationally, including the Sundance Film humour and optimism resulting from the Festival, the BFI Southbank in London and solipsistic-based Malawi culture are the main others. features of his work. Gabriel Florenz (1986) – born in Berkeley, Daniela Arriado (1982) – the independent California and raised in central Mexico in curator and producer of media art specializes a small artist community until the age of 14. in the moving image. She is a founder of He focuses on sculptural techniques including Art Republic platform which is focused on glass-working and ceramics. Later, he shared the relationships between interaction, new and managed two glass studios in Oakland, media and public space. Arriado deals with California as well as studying glass at SF development of new spheres and curatorial State. In 2009, he moved to New York City practices in video art, including the festival of and became studio manager for the sculpture the moving image at Screen City in Stavanger, Dustin Yellin. Subsequently, in 2012, he helped Norway and Video Art Channel, Berlin. She is Yellin found the experimental art institution an ambassador of PNEK (Production Network Pioneer Works in Brooklyn, NY. He led the for Electronic Art) in Norway – and she aspires renovation and design project, the development to make the Norwegian media art scene more of its programs, and is currently the director of accessible to foreign audiences. Pioneer Works. David Možný, Sleepless, 2014 Michal Cáb, Aleš Čermák, The Earth Trembles, 2015 Petra Lelláková, Vladimíra Večeřová, Marmotour, 2014 nasrat

Tereza Adámková, In the Same Breath, exhibition The CAS 2015 Graduates, AMU Gallery, photo: Tereza Adámková Petr Krátký, Camera exhibition Camera, 2014, Kabinet T. Gallery, photo: Viktor Čech Helush Yiraq, From Adult to Children Section, 2015 David Helán, The Future Belongs to Helium, 2014 Jakub Jurásek, Back To One #02, 2015 Janek Rous, Sound from the Desert exhibition Sound from the Desert, 2015, Kostka Gallery, photo: Tomáš Souček David Přílučík, PRESENT, PERFECT, CONTINUOUS, 2014 Matěj Al-Ali, Tomáš Moravec, Architectural design of Differentiated Visions exhibition, 2015 39 other visions

David Možný Michal Cáb, Aleš Čermák Sleepless The Earth Trembles 8′20″ 15′57″ 2014 2015

„…this place, if I could describe this place, Catastrophe is not something that either portray it, I’ve tried, I feel no place, no place threatens to happen in the close future or has round me, there’s no end to me, I don’t know already happened in the past – rather, we are what it is, it isn’t flesh, it doesn’t end, it’s like experiencing it right now. How long can the air…“ Samuel Beckett catastrophe exist without any new stimuli? What Manipulated video suggests deprivations and happens when no one comes up with something shifts in our perception, over which we have no surprising? control. With respect to visual form, it draws from The apocalyptic video-essay about the the banal interiors of the 1970s; their darkened fragility and collapse of systems portrays the atmosphere balances between triviality and omnipresence of catastrophe as a specific kind catastrophe, violence and tiredness, living room of permanent and subconscious anxiety of all and an interrogation room. mankind. The series of question marks about The video originated in artificially created human beings is based on the commentary and models of interiors. visualisation of OTCA metapixel automat (see Outer Totalistic Cellular Automaton Meta-Pixel; author Brice Due), which shows us the precise path of the general decline of life.

#dystopy #model #video-essay #digital animation #experiment #stop-motion animation #metafiction 40 other visions

Petra Lelláková, Vladimíra Večeřová Tereza Adámková Marmotour In the Same Breath 4′24″ 6′ 2014 2015

The authors set out together to the Carrara This work originated as a multi-channel quarry in which high-quality marble used to be installation, the arrangement of which mined and served as the raw material for many proceeded from the geometry of traditional iconic sculptures. They work with spectacular mass compositions. It was an attempt to bring settings which are used as a powerful visual the experience of mass physical exercise and contextual background; they create simple (All-Sokol gathering, Spartakiad) closer to the gestures based on this background. They let audience and to become a participant. Except the figures disappear on the horizon of stones; for the immersive situation, the video diverts they let them merge into the sculptural material; the attention in a different direction: to the sometimes they conversely revive them by their protagonists’ motions and expressions. own physical presence. The work thematises the historical development of mass compositions, the contemporary deviation from these kinds of exercises and the transformation of their social meanings. Therefore the protagonists are the oldest gymnasts who experienced many gatherings and Spartakiads. I see the memories that the gymnasts’ bodies retain, along with the traditional uniforms worn by Sokol members as an eloquent shortcut on the way to all similar topics.

#sokol #spartakiad #mass physical exercise #memory of a body #synchronic motion #seniors #devoted members #immersive installation #videoperformance #wide-screen projection 41 other visions

Petr Krátký Helush Yiraq Camera From Adult to Children Section 3′30″ 2′48″ 2014 2015

The video originated within a project based on I have sent a camera through a tubular post in a system which uses another artist’s material. the Motol Hospital in Prague. In my case I used Zuzana Žabková’s videos. The recontextualisation of her work by means of classical film structure did not work. Therefore I decided to work with a combination of two videos and their formal aspects: resolution, contrast, speed, rhythm and sound, and then combining the whole and the details. If Zuzana’s direction has the character of choreography, in which the filmed constellations of a figure serve as bearers of the meaning, then I took over her creative method and to a certain extent made a new choreography for the videos. In fact it is a kind of formalist montage. The figurative component of rhythmized, changing shots of a dancing figure is in contrast with the abstracting details of the second video, while the black areas refer to the structure of the film as a medium.

#re-interpretation #reediting #recycling #Zuzana Žabková #SK #tubular post 42 other visions

David Helán Jakub Jurásek The Future Belongs to Helium Back To One #02 3′27″ 4′43″ 2014 2015

I am entering the competition with a trailer of The title Back To One refers to film jargon. appropriate length. Let the application also It means to return to the beginning, to take include the final forty-minute film. I would like a starting position before the cameras are to introduce it performatively as a part of the turned on. This command enables the technical exhibition and in such a way that the projection staff to ensure material film production without will be disturbed as much as possible. Let The disturbing the film record. This is the moment Future Belongs to Helium be filled by an artist’s I am returning to, so that I can construct it once dream about star expansion. Let helium make again and in a different way. I reveal the world everything which is lightweight elevated. Let of film studios, but I do not dare to identify everyone, once they breathe it in, become myself with the film as usual. By depicting enthused and let them endlessly live their own situations behind the camera, I manipulate lives, though in sluggish mutation. a common perception of the film: the stability A specific kind of vicarious halo is provided by of our perception seems to be endangered. The a special form of heliosis in the form of a characters of a story do not secure reliability, science fiction film which will, at the festival, but they doubt what we can see and hear. represent an infectious form of an artistic, Confusion is intensified by the vague border and specific kind of sunstroke. Let the film be between the manipulation of image and sound, a transmitter of a sketch, even any general as we perceive them, and their natural form. enthusiasm whatsoever.

#Back To One #conceptual art #sci-fi #film production #heliosis #light #end #studio 43 other visions

Janek Rous David Přílučík Sound from the Desert PRESENT, PERFECT, CONTINUOUS 25′14″ 3′03″ 2015 2014

We observe the seemingly random movement “Things never conform to the ideas that we have of figures on a muted horizon. Who are they? about them; there is always something more to What do they convey? What actually is the them than what we are able to grasp. The world area into which they were thrown and in which does not fit into our own cognitive paradigms they are moving from nowhere to nowhere? and narrative modes of explanation. ‘Man’ Is their constellation random or do they have is not the measure of all things. This is why something in common? Sound from the speculation is necessary.” Steven Shaviro Desert balances on the borders of sleep and To cope with anonymity and prefabrication, wakefulness – the moment when we start to to find the real, to step out of the system and realize that the preceding events, though very thus inevitably create new systems – these are real, were just a dream. We are moving away our topics. from something very true and real, without being Who are we – users worried about the able to understand it well. Against the clock, we seriality of our dwelling which is still insufficient want to reconstruct an image of reality out of with respect to our preoccupied desire for self- the smashed fragments of context. We want to identification? provide testimony, however, we hardly believe it There are many of us and we want to know ourselves. the answer. But where is the mansion of the gods, where #film installation do all the beautiful things come from? What are #fictitious documentary the conditions of their origin? #existential sci-fi We do not know, we have never seen #fragment anything of those things you are asking about. #deconstruction #constellation #rotation #probability #muted horizon #fata morgana #weightlessness #anonymity #oasis #time appropriation #wilful digression #utopia 44 other visions

Differentiated Visions: The author thoroughly passes from detailed David Helán: The Future Belongs stylisation to a kind of historical character such as to Helium (Cornpoetron) Nostradamus; the film does not predict the future face of our deserted cosmic body, but it executes A performative introduction to the forty-minute a complete revision of the image of adjacent video. Some of the Other Visions finalists need cosmic space with a properly detached point of more space this year, some of them need more view, in consideration of social requirements cor- time, and David Helán needs more space, time responding to the present day. and visitors. Expect a visual presentation of the feature film The Future Belongs to Helium, the sense The theory of popcorn font follows from the of which is the elevation of mental processes observation that corn, in principle, does not have to the role of agents that are able to shape the more than thirty two different shapes when it is future form of the Universe. roasted. By means of an adjusted spatial scan- The project proceeds from the surname of ning device, corn kernels are vertically spread in its researcher – Helán. It is presupposed that grooves, in glass pipes emerging from test-tubes, the bearer of the name is vitally influenced by so that linearly scanned material, after being this project. If the word base occurring on the assigned its appropriate literary values, goes periphery of the term Helium is obligated to a through a correction of the programme created lightening of the human spirit, or more precisely, on the principles of a digital translator. System to permanently rejuvenating our approach to activity is supervised by a writing audio-machine. life, then the root of the word enthusiasm of up- On audio principle it verifies the sound track rooted microcosm of the spiritual system Helios accompanying the kernel explosion and it com- must be taken into consideration as a strategic pares and assigns it to the value according to spice of life, as deeply rooted as enthusiasm. the selection of all possibilities that the font has, I would use the domination of the helio-segment the last one is the artistic censorship of literary of a personality in the sociable correction of its performance. The form of the performance at the lightening. exhibition, interpreted in this way, is the science fiction film entitled The Future Belongs to Helium, David Helán with a total footage of forty minutes, presented by means of a projector. The whole film is spoken 5 Dec | 5:00 pm | CCC by a cybernetic voice. The film will be primarily Differentiated Visions: David Helán: disturbed by the technique of roasting the text The Future Belongs to Helium into popcorn, radio music, and the photographing (Cornpoetron) of individual visitors using flash. The presentation screening, performance | Other Visions will be in the form of work with light. ------45 other visions

Error Establishing a Database is IN-formed. It is the memory, it is know-how. Connection The reasons for preservation and processing are different. A discussion round table will focus on contem- Automatic data processing is perhaps a porary Czech databases – the crucial question “mere” motorised acceleration of our old inability concerns their form, origin and the practical pur- to perceive the continuum, or possibly the mo- pose of their functions. How well are we able to torised acceleration of human nature to classify, reconstruct experience based on data, or rather categorize, crush and atomize. But is it really “what is lost in translation”? To what extent is the sufficient to predict and to construct one’s own memory, delegated to an external storage, able history on the basis of atomized and discon- to determine our identity? tinuous data? What will be lost while archiving An open discussion with guests will be led and what is abundant when re-constructing? by the artist and teacher Tomáš Javůrek, who Who is archiving and why? Which role does the has been studying the environment of digital algorithm play when collecting and reconstruct- networks for many years and who works at the ing data? What do we lose when we lose the Academy of Fine Arts and Design, Bratislava. connection with the database? The guests at the round table will be Matěj Strnad, Jana Písaříková, Barbora Linková, Mar- Tomáš Javůrek tin Blažíček and Katarína Gatialová. We measure, observe, experience, perceive, 6 Dec | 2:30 pm | CH collect and preserve data. In protest against Error Establishing a Database Connection our own vagueness, we have formed the round table – Tomáš Javůrek, Matěj Strnad, world so that it is IN, which means IN-formed Jana Písaříková, Barbora Linková, Martin Blaží- (according to Vilém Flusser’s terms). Machine ček, Katarína Gatialová | Other Visions data processing was already developed by the ------1950s and made the dataset great, or more precisely, made the base smaller, the size of a mainframe computer. Data processing was delegated to this algorithm: here are the data and create something IN (How many people live in Oregon?). First of all people simply added up. Nowa- days everyone has metadata about relation- ships, wishes and desires in their data base. We preserve data about our history, life and social events, and in this way we preserve our culture. Human nature needs to be in a condition which 46 other visions

Distribution Situation – The State of authenticity and blueprints when it comes to of Things your work? How different or similar are the real and legal A follow-up on last year’s discussion called definitions of your work? Moving Archives, an exploration of practice and Do you back-up? Do you have a backup plan? situation. Are you organised, collected or collective? An open discussion with guests will be led by Are you networked and how are your works and Matěj Strnad, who currently studies at the Film audiences doing on the Net? and TV School of Academy of Performing Arts Do you sell to collectors, rent to audiences or – FAMU and works at the National Film Archive. give freely? The guests for the round table include foreign as well as Czech artists, theorists and curators: Matěj Strnad Matěj Strnad (CZ), Martin Arnold (AT), Janek Rous (CZ), Samson Kambalu (MW/GB), 5 Dec | 6 pm | T Ivan David (CZ), Lenka Střeláková (CZ). Distribution Situation – The State of Things round table – Matěj Strnad, Martin Arnold (AT), For the last eight years, PAF has been system- Janek Rous, Samson Kambalu (MW/GB), atically mapping the production of Moving Pic- Ivan David, Lenka Střeláková | Other Visions tures in the Czech Republic through the curator ------prepared contest, Other Visions. A similarly set selection of works which are on the boundary between visual art and “film” production, raises questions related not only to presentation, but also to the potential distribution and archiving of these works and their status in general.

How are moving images distributed in [ ]? Does the National Gallery of [ ] care about your work? And how? Does the [ ] Film Archive care about your work? And how? What kind of forms do your works take and would take in the future? Are there masters, slaves, prints, originals, exhibition copies, viewing copies, certificates 47 other visions

Ivan David: Copyright and Film Author

The lecture will focus on the impact of copyright on the creation of films, and will inform the audi- ence about the practical minimum amount of knowledge each film author should have about this legal area. The main principles of copyright in the Czech Republic (what is an authorial work, who is considered an author, what is co- authorship, when does copyright protection start and how long does it last, what does the regime of employee work and school work mean?, etc.) will be briefly summarised. A description of the specific concept of film copyright protection (the legal concepts of film production and distri- bution in the Czech Republic, the difference between the protection of a tangible medium, audio-visual work and audio-visual records, the difference between own audio-visual works and so called works and use of other audio-visual elements) will follow. Greater attention will be paid to exceptions from copyright protection that are crucial (not only) for film authors (free use – e.g. downloading films from the Internet, citation licence, irrelevant secondary use of the work, etc.). The lecture will also deal with the issues of found footage principles, i.e. the appropriation of already finished film material.

Ivan David

5 Dec | 2:30 pm | CH Ivan David: Copyright and Film Author lecture | Other Visions ------

49 wild ‘60s

wild ‘60s

The “golden” period of Czechoslovak new wave and the “sweet” moments preceding the bitter experience of Soviet occupation are among the attributes that have become set phrases closely connected to the 1960s. Both these attributes characterize the decade as a little island of artistic and civil freedom which occurred between the gloomy post-war era and normalization boredom. At the same time they gild iron faith in the ideals of socialism and sweeten the bitter facts that resulted from it. A more realistic and critical retrospective glance, however, will show many shadows in the light atmosphere of the 1960s; this atmosphere was then revealed to be an arena in which an 50 wild ‘60s open conflict between intellectual ferment and 3–6 Dec | K repressive authority took place. Mr. Egg The Wild ‘60s tolerate neither the descriptions loop | Wild ‘60s made by uncompromising ideologists, nor ------the descriptions of parties where miniskirts 5 Dec | 7:30 pm | CH and big beat played major roles. They search We are Opening Svatopluk Pitra’s First Box for uncommitted relationships between the presentation – Pavel Ryška, Anymade emerging consumer society and Communist Wild ‘60s cultural policy. The Party and Government ------apparatus’ efforts to gain the favour of “the 5 Dec | 2 pm | AGD people” by extending the offer of consumer 6 Dec | 11 am | AGD goods, services and amusements, as well as Workshop with Edita Plicková the citizens’ willingness to seek out amusement workshop | Wild ‘60s adequate to valid norms will be demonstrated ------through examples of drawn humour, animated film and economic promotion.

Pavel Ryška Eduard Hofman, TV Tips, Czechoslovakia, 1960s Bedřich Kopecký, PF...! 1970, Happy New Year, 1969 Zdeněk Miler, How the Puppy Wanted Small Dogs, 1960, Czechoslovakia Do not rest in piece, director Fedor Kaucký, designer Jiří Winter, Czechoslovakia, 1961 Shots from the medical agitprop How to Keep Slim?, director Jiří Brdečka, designer Svatopluk Pitra, Czechoslovakia, 1963 The Tom and Jerry Cartoon Kit / Building set / Tom a Jerry VIII., dir. Gene Deitch, an. Václav Bedřich, des. Bohumil Šiška, Czechoslovakia, 1961 Jiří Winter, Say “A”, drawing no. 43, Czechoslovakia, November 1949 Pavel Ryška (ed.), Svatopluk Pitra. Graphic designer, illustrator and designer of animated films, box design Anymade, 2015 59 wild ‘60s

We are Opening Svatopluk Vratislav Hlavatý exhibited Caricatures Pitra’s First Box and Other Inconveniences (1957) in the Czechoslovak Writer Gallery and contributed At the beginning of the 1950s Svatopluk Pitra to Eduard Hofman’s tragic cartoon My Dozen (1923–1993) worked as a drawer at the tube Fathers (1959). mills in Chomutov. As a reward for finding a significant mistake in a technical drawing, he Pavel Ryška was recommended for studying at university. As a result, in 1951 he started at Adolf Hofmeister’s 5 Dec | 7:30 pm | CH Studio of Animated and Puppet Film, the We are Opening Svatopluk Pitra’s First Box Academy of Arts, Architecture and Design, presentation – Pavel Ryška, Anymade in Prague. He did not avoid realistic drawing Wild ‘60s based on a model, however, at the same time ------RYŠKA, Pavel (ed.). Svatopluk Pitra. Grafik, ilustrátor he started to develop his own style based on the a výtvarník animovaných filmů: (1) Tucet mých tatínků. construction of figures using rulers and French Olomouc: Pastiche Filmz, 2015. curves. Although he became famous as a caricaturist, a promotional graphic designer and a designer of animated films at the end of the 1950s, his critical attitude towards the Czechoslovak political situation was predominant over his professional success. Craving for work in the free world, he took the opportunity while travelling to Cuba in 1963; he left the plane during a stop in Canada and applied for asylum. Even though he found employment with the National Film Board of Canada, he never achieved the position of art designer as he had in socialist Czechoslovakia. Nor did he manage to implement any of his own film projects. The animated films Pitra worked on at the Studio of Animated and Puppet Film represent the major part of the edition, the first of which has been now released. It includes projects from the late 1950s when he and his classmate 60 wild ‘60s

In the Light of Laterna Magika Czechoslovak Cartoon and Puppet Films Today

In our country Laterna Magika is associated with The block of animations that originated in the first the legendary participation of Czechoslovakia half of the 1960s in the Studio of Animated and in the world exhibition in Brussels in 1958, Puppet film1. The essential part of the films is and later with the theatre intended especially selected from the English catalogue Czechoslovak for foreign visitors to Prague. The lecture will Film Annual – Cartoon and Puppet Films1 that attempt to introduce the wider resources of this represented the Czech animation production art genre in the Czech environment, both in the abroad. area of avant-garde theatre and show business. The cultural policy mostly emphasized modern Highlighting the international context of Expo expression, an abundance of styles and the 58, the following questions will be discussed: diversity of themes. To the propaganda of socia- How was it different to the pavilion of the Philips listic cinematography, the success of artists and Company and other similar projects by Charles directors, who thus acquired worldwide reputati- and Ray Eames? Why was it formed as a tool of ons, served as an independent space in which the state and not as a base for the systematic the artists were freed from worries about material development of more experimental formats? security and could persistently experiment, search Finally, the lecture will introduce period and for original forms and invent new animation tech- contemporary interpretations of Laterna Magika niques. At the same time it was expected that the as a multimedia format, especially in relation results of the search would be attractive to an to the means of expression of progressive art. audience; they would be educative, tasteful and Why did the artistic search for Laterna Magika, moral. which lasted 60 years, bring such contradictory The Bratři v triku Studio pragmatically accepted results? To what extent is it possible to perceive lucrative commissions. Therefore the social satire, historical Laterna Magika in the context of the morality and agitprops of the 1960s may nowadays contemplation and practice of the contemporary be introduced alongside animated video clips multimedia artists? and drawn grotesques that were produced for the American market in Prague studios. Tomáš Pospiszyl Pavel Ryška

5 Dec | 4:00 pm | CH 1 ADAMEC, Oldřich (ed.). Czechoslovak Film Annual. Cartoon In the Light of Laterna Magika and Puppet Films. Praha: Čs. filmový ústav, 1964. The name lecture – Tomáš Pospiszyl | Wild ‘60s of this block as well as the English titles of the Czech films are based on this catalogue. The Czech names of the films, ------the titles of which are primarily in English, are taken from a list of Czechoslovak film production, see Jiří. Čs. filmové hospodářství VII. 1958–1962. Praha: SPN, 1964, p. 61–71. 61 wild ‘60s

4 Dec | 9:30 am | FA 5 Dec | 10 pm | FA Czechoslovak Cartoon and Puppet Films Czechoslovak Cartoon and Puppet Films Today I Today II screening | Wild ‘60s screening | Wild ‘60s ------When I Grow Up / Až já budu velký How to Keep Slim / Jak na to? dir. Václav Bedřich | des. Adolf Born | CS | 1963 | 8′ dir. Jiří Brdečka | des. Svatopluk Pitra | CS | 1963 | 11′ ------Pierrot and the Muse / Pierot a múza Laurels / Věnec dir. Jan Mimra | des. Boris Soukup | CS | 1963 | 12′ dir. and des. Zdeněk Smetana | CS | 1964 | 7′ ------For Smokers Only / Jediná radost Etudes in Marriage / Manželské etudy dir. and des. Zdeněk Smetana | CS | 1962 | 7′ dir. and des. Josef Kábrt | CS | 1964 | 10′ ------The Bottle / Láhev a svět The Start Off / Start dir. and des. Zdeněk Smetana | CS | 1964 | 7′ dir. and des. František Vystrčil | CS | 1964 | 8′ ------The Elephant / Slon Red Tape / Problém dir. and des. Josef Kábrt | CS | 1964 | 13′ dir. Jan Dudešek | des. M. Kratochvíl | CS | 1963 | 12′ ------The Ideal / Ideál Romance dir. and des. Břetislav Pojar | CS | 1963 | 14′ dir. and des. Břetislav Pojar | CS | 1962 | 14′ ------Drahoušek Klementýna / My Darling Clementine What Was in the Hat / Co bylo v klobouku dir. Jiří Brdečka | des. Vratislav Hlavatý | CS | 1959 | 6′ dir. Ludvík Kadleček | des. Ludvík Kadleček, Václav ------Dobrovolný | CS | 1963 | 12′ How to Live with a Neurotic Dog / Jak žít ------s neurotickým psem What is Happiness? / Být či nebýt dir. Gene Deitch | des. Jiří Šalamoun, Miluše dir. Pavel Hobl | des. Jan Brychta | CS | 1964 | 10′ Hluchaničová, Bohumil Šiška | CS | 1962 | 9′ ------It’s Greek to Me-ow! / Řecká kočka / Tom a Jerry II. Switchin‘ Kitten / Kočka a pes / Tom a Jerry dir. Gene Deitch | an. Václav Bedřich dir. Gene Deitch | an. Václav Bedřich des. Bohumil Šiška des. Bohumil Šiška CS | 1961 | 7′ CS | 1961 | 7′ ------Mouse into Space / Myš / Tom a Jerry III. Calypso Cat / Kalypso / Tom a Jerry VI. dir. Gene Deitch | an. Václav Bedřich | des. Bohumil dir. Gene Deitch | an. Václav Bedřich Šiška | CS | 1961 | 7′ des. Bohumil Šiška ------CS | 1961 | 7′ High Steaks / Kuchař / Tom a Jerry V. ------dir. Gene Deitch | an. Václav Bedřich | des. Bohumil The Tom and Jerry Cartoon Kit / Stavebnice / Tom Šiška | CS | 1961 | 7′ a Jerry VIII. ------dir. Gene Deitch | an. Václav Bedřich des. Bohumil Šiška CS | 1961 | 7′ 62 wild ‘60s

Neprakta = Kopecný + Winter so that they were able to accept nothing other than theses, formulae, stereotypical phrases, Bedřich Kopecný (1913–1972), an author etc. During socialism these old farts imagined whose work covered many themes, and Jiří a cultural and social life in which all kinds of Winter (1924–2011), the graphic artist, entered cultural events and amusements which people the 1960s as a successful “company” producing used to practise, would be stopped. As if being cartoon humour that was regularly used in cheerful and happy was a relic of a bourgeois 1 Czechoslovak newspapers and magazines. past and a symbol of westernism. Ten thousands hard copies of their book The laudatory evaluation of the former Motifs from Amphorae (Motivy z amfor, 1960) minister of culture had a double effect at the were sold from bookstores in a few weeks. beginning of the 1960s: it helped Neprakta’s An extensive exhibition of drawings for the press work to be shown in more exhibition halls and and television, opened in March of 1960 in the publishing houses, but it also obliged him to Liberec museum, was consequently re-shown participate in the exhibition For Other Victories in the Fronta Gallery, Prague. Winter entered for Socialism and Communism, organised on the photographs from the exposition in a Czech the occasion of the 40th anniversary of the caricature competition in the second year Communist party. of the Festival of Satire and Humour, Haškova Pavel Ryška Lipnice. The jury, chaired by Antonín Pelc, awarded both authors first prize. Afterwards 1 KAPLAN, Karel. Kronika komunistického Československa. the collection of Neprakta’s drawings was Doba tání 1953–1956. Brno: Barrister & Principal, 2005, p. 719. displayed in galleries, staff associations and cultural centres of the county as well as in regional towns. It was not only the general public 6 Dec | 4:30 pm | FA who showed their interest, but so did one Neprakta = Kopecný + Winter of the initiators of the event in Lipnice, the screening, lecture – Pavel Ryška | Wild ‘60s deputy prime minister Václav Kopecký ------(1897–1961); he mostly appreciated the chesty nymphs’ “naked buttocks.” By the mid-1950s, as a significant party ideologist, Kopecký had already publicly criticised the “greyness and gloominess” of the official art and the so-called “old farts” who were no longer people with normal human joys, desires, passions and demands of life, and were becoming mere machines that could be constantly restricted 63 wild ‘60s

Neprakta in a Film intended for Laterna Magika, has never been implemented. Winter’s drawings appeared on TV screens at the We can only guess what caused the decline very beginning of broadcasting. The most popular in directors’ interest in Winter’s drawings. What is one was about an angry man who was going to certain is that, except for several small exceptions, smash the telly with an axe. An image announcing no one else forced his thick contours to move. that the defect was not in the viewer’s device was More often they appeared as static pictures in broadcasted more than 5000 times. film decorations and during the credits at the Winter’s distinctive style, based on a thick end of films. They accompanied songs and TV contour, had all the prerequisites needed to contests and in the interludes between individual become an ideal art model for animated films. programmes they promoted such things as the Although Czech authors knew John Hubley’s state lottery Moonbird (1959) and Witold Giersz’ Mały western (1961), in which the main role was played by a Pavel Ryška colour stain, at the beginning of the 1960s they 1 still preferred firmly contoured drawings. Once Don Špagát, dir. Emil Radok, Jaromil Jireš, des. Pravoslav Sovák. this was even described as an “iron principle” of animated film by the director Jiří Brdečka. 4 Dec | 9:00 pm | FA Jiří Winter’s drawings were, for the first time, Neprakta in a Film enlivened in the animated video-clip Red Aero screening, lecture – Pavel Ryška | Wild ‘60s which was made by Eduard Hofman in 1960 ------using puppets and cut-out animation. It is a story Red Aero / Červená aerovka about a conflict of two worlds; positive values dir. Eduard Hofman | des. Jiří Winter | CS | 1960 | 5′ are represented by a smiling artist in a little old ------car, while the predatory capitalism is heading Message of King Jirik / Poselstvo krále Jiříka for disaster in a limousine driven by an arrogant, dir. Josef Kořán | des. Jiří Winter | CS | 1963 | 19′ elegantly dressed man wearing a top hat. ------Play for Oil / Hra o naftu Altruistic visions of a peaceful future were dir. Ladislav Čapek | des. Kamil Lhoták, Jiří Winter, a leitmotif of stories about the bloody history Michael Romberg, Karel Štrébl, Rudolf Holan | CS of black gold and about the Czech King Jiřík’s 1964 | 15′ diplomatic mission. The Kořán’s “documentary ------Prague bogeymen / Pražská strašidla historic report” about the Czech envoys’ journey to dir. Josef Kořán, des. Jiří Winter | CS | 1966 | 15′ the French king combined real shots of exteriors ------with drawings, similar to his toponymy of Prague bogeymen. An experimental production of a broadside ballad about Don Spagat, which was 64 wild ‘60s

To Agitate, to Experiment, will be speaking about how she cooperated on to Amuse Milers’ films about puppies. She will also present course of daily works on animated films from the Nowadays, the awareness of connections beginning of the 1960s and will lead a workshop between an agitprop calling for voluntary help which is open to everyone who wants to try in coal mines and stories about a cute puppy the work of an assistant animator in classical discovering the secrets of nature has faded. cartoons. However, in the 1960s these connections were Pavel Ryška typical of Zdeněk Miler’s films: beginning with 1 a millionaire who stole a sun and ending with a HLAVÁČEK, Luboš. K cestě našeho kresleného a loutkového filmu. Malíři spolupracují s filmem. puppy series. Programme experimentation was In: Film a doba, vol. V, no. 5, 1959, p. 308. connected to the promotion of new social values and subordinated to the demands of the political 5 Dec | 11:00 pm | FA system. To Agitate, to Experiment, to Amuse The polemic extent was formed, not only with screening, lecture – Pavel Ryška | Wild ‘60s respect to ideology, but also to formal elements guests – Edita Plicková, of film animation. Eduard Hofman, the graphic Jitka Barchantská-Turecká | Wild ‘60s designer, director and a prominent official ------of Czechoslovak post-war cinematography, Voluntary Job / Brigáda promoted such a form of movement which dir. and des. Zdeněk Miler | CS | 1950 | 13′ corresponded with the character of a specific ------A Moon History / Měsíční pohádka literary model, as opposed to the actions of dir. and des. Zdeněk Miler | CS | 1958 | 13′ standardised figures in American cartoons. With ------respect to these demanding requests, all Czech How the sun Returned the Water to the Small films were supposed to become prototypes. The Puppy / Jak sluníčko vrátilo štěňátku vodu economic aspect of this programme was rarely dir. and des. Zdeněk Miler | CS | 1960 | 9′ discussed; public discussions usually concerned ------How the Puppy Wanted Small Dogs / Jak štěňátko artistic intentions. Questions connected with chtělo malé pejsky finances were pushed aside with the statement dir. and des. Zdeněk Miler | CS | 1960 | 10′ that Czechoslovak animated film was freed from ------the necessity of earning money for itself1 by the How the Puppy Wanted Honey / Jak štěňátko dostalo chuť na med nationalization of cinematography. However, dir. and des. Zdeněk Miler | CS | 1961 | 10′ commissions for the American market were also ------processed in the Studio of Animated and Puppet About the Small Square and the Small Triangle / Film in Prague. Edita Plicková (1940) participated O Čtverečce a Trojúhelníčkovi in their production and as a guest of PAF, she dir. and des. Zdeněk Miler | CS | 1965 | 10′ 65 wild ‘60s

Mr. Egg’s Commercials 3 Dec | 9:00 pm | FA Mr. Egg’s Commercials By the 1st of September 1961, Czechoslovak screening, lecture – Pavel Ryška | Wild ‘60s Television had one million registered licensees. ------The Cybernetic Grandma / Kybernetická babička However, more than twice that number were dir. Jiří Trnka | CS | 1962 | 29′ sitting in front of TV screens every day, and TV ------broadcasting was becoming a more and more Trio influential medium for propaganda messages. dir. Eduard Hofman | CS | 1964 | 8′ Although the economic duties of socialistic ------commercials were of course connected with political topics1, there was a sharp line between 3–6 Dec | K so-called TV tips and other programmes of the Mr. Egg 1960s. Since 1967, this line was guarded by a loop | Wild ‘60s little figure called Mr. Egg. ------He looked like one of the two lads wrestling for young lady Earth’s favours in Eduard Hofman’s animated pantomime Trio (1964). However, Mr. Egg’s ancestry goes even further back. Preceding three little friends from The Cybernetic Grandma (1962) and commercial figures designed by the American graphic artist Sterling Sturtevant (1922–1962) in the 1950s, the family tree of this little egg stretches back to Emile Cohl’s animated stick figures. While the French filmmaker made his caricature drawing more simple because of technical issues, for Eduard Hofman, strict lines represented a very economical as well as visually radical solution which followed on from Czech animation fighting the plastic shapes of Disney’s cartoons.

Pavel Ryška

1 Statutory duty of Czech Television was to present mass- political and educational works based on Communist Party policy. 66 wild ‘60s

1 HÄCKL, Bohuš. Propagační prostředky. Praha: Socialistic Propaganda Leading Vydavatelství obchodu, 1962, p. 11. to a Bigger Consumer Culture 2 This is how František Marvan, the head of advertising department of Czechoslovak Television, characterised American commercials in Hovoříme o televizi – Magazín At the end of the 1950s no one doubted the zajímavostí z televizního zákulisí programme, 1967. legitimacy of commercials in the socialistic economy. Sporadic criticism of “undignified 5 Dec | 8:30 pm | CH dealing” was answered by the increasing Socialistic Propaganda Leading to a Bigger influence of non-economic messages of Consumer Culture socialistic propagation, mostly represented screening, lecture – Pavel Ryška | Wild ‘60s by social, health and cultural agitprop. It was ------intended to contribute to the creation of new Flying Saucers / Létající talíře consumer habits, to support a healthier and dir. Ludvík Hájek | CS | 1958 | 1′43″ more cultural way of life and to make citizens ------understand what is tasteful and what is not, Philharmonic Radio / Rádio Filharmonie des. Zdeněk Seydl | CS | 1959 | 2′03″ what is suitable in terms of appearance and 1 ------shape, what is purposeful and practical. Sunday Lunch / Nedělní oběd A simple and true communication of reliable dir. Václav Bedřich | des. J. Novotný | CS | 1959 | 1′ information about the advantages of the goods ------on sale and about new services was shown in Kalorka dir. Václav Bedřich, Jaroslav Možíš | des. Karel Nepraš contrast with American and Western-European CS | 1960 | 2′44″ commercials, which were characterised as ------a bombastic and uncompromising attack on the Soft Drinks / Nealkoholické nápoje viewers’ feelings.2 Educating a citizen-consumer dir. and des. Jan Karpaš | CS | 1960 | 2′02″ in a creative and playful way in compliance with ------a centrally planned economy required ideology, About Housing and Furniture / O bydlení a nábytku dir. Josef Kluge | CS | 1960 | 3′40″ truthfulness, concreteness, wilfulness and ------system. When applying these theses practically, Where to Place Her / Kam s ní it was not possible to avoid the question of how dir. Václav Bedřich | CS | 1961 | 0′59″ to spread this good advice, so that it is attractive ------enough for the audience. Expert discussions Barbus – Elida dir. Oldřich Mirad | CS | 1966 | 1′34″ about the possibilities of a rejuvenation of ------socialistic propaganda by means of either Pilsner Urquell witty hyperbole or animated characters were dirr. and des. Karel Pekárek | CS | 1961 | 0′45″ occurred throughout the 1960s. ------Liko (Products of canning factory) / Liko (Výrobky Pavel Ryška konzerváren) CS | 1960s | 1′08″ 67 wild ‘60s

What Might Have Been Tolerated expression of student joy, fun and pranks in as a Student’s Prank? the documentary about the May Day of 1965 by FAMU (Film and TV School of Academy of May Day student celebrations used to be Performing Arts in Prague) students. However, considered a short-term, therefore kind of communist ideologists evaluated this event harmful amusement. However, during the May as an absolute failure of party and youth Fest of 1965, it turned out that it was possible to organisations. Their damaged reputation should clearly manifest one’s political views during the have been remedied by expeling Ginsberg from 2 jollification. the republic. After nine long years, Prague university Pavel Ryška students were officially allowed to attend the procession. Besides the approved banners 1 SVOBODA, Vladislav. Retro vzpomínka – Majáles 1965. condemning atomic weapons, US foreign policy [cit. 2015-11-06]. Accessible from WWW: and German revenge-seeking, an allegorical . float appeared in the form of a demolished, 2 For further information about Allena Ginsberg’s stay horse-drawn bus, with the sign: “This is the in Czechoslovakia see BLAŽEK, Petr. Vyhoštění krále Czechoslovak economy.”1 Students were majálesu. Allen Ginsberg a Státní bezpečnost. Paměť a dějiny, 2011, no. 2, p. 28–43. carrying banners with texts “What you learn SVATOŠ, Michal. Studentský majáles roku 1965 aneb in youth, you learn differently when you are Allen Ginsberg králem majálesu. In: Česká věda a Pražské jaro (1963–1970). Sborník z konference. (Praha 22.–23. old,” “For the higher quality of unyversities.” listopadu 2000) / [Ed.]: Zilynská, Blanka – Svobodný, They were also chanting: “Left, forward!” while Petr. Praha: Karolinum, 2001, p. 365–370. marching backwards. During the evening programme in the Julius 4 Dec | 3:00 pm | T Fučík Park of Culture and Leisure, big beat What Might Have Been Tolerated bands were playing, “near-naked women” as a Student’s Prank? appeared on the stage as well as an unshaven screening, lecture – Pavel Ryška | Wild ‘60s Allen Ginsberg. The American poet had ------arrived in Czechoslovakia before mid-February May Day 65 / Majáles 65 dir. Jiří Danda | CS | 1966 | 16′ 1965, after coming straight from “the island of ------freedom” from which he had been deported after his public support for Cuban gays and the legalisation of marijuana. During his stay in Prague he held discussions with students, recited poetry, attended many wild parties and became the king of the May Fest. The celebrations were characterised as an 68 wild ‘60s

TRIK Group 4 Dec | 12 pm | T TRIK Group If there are some individuals who would like to screening, introduction – Miloš Henkrich examine Czech (Czechoslovak) amateur animated Wild ‘60s film of the 1960s in closer detail, they definitely ------cannot leave out the TRIK Group, who, for many Semper idem CS | 1961 | 12′ years, defined the essence and style of Czech ------amateur animation. All this was accomplished Yesterday It Was Sunday / Včera neděle byla thanks to their achievements in the regional CS | 1961 | 5’ competitions, UNICA and Brno 16. ------The leading figure of TRIK was Antonín Quality Work / Kvalitní práce Skoták (1915–2010). He was the cameraman CS | 1962 | 8’ and sound technician. He started his journey as ------a film amateur in 1939 with the 8mm film format. The Essence of a Thing / Podstata věci CS | 1963 | 9’ He only changed to 16mm film in 1950, when, ------together with Jiří Čapek (1926, a builder and Transformations / Proměny architect by profession), they made their first CS | 1964 | 4’ puppet film Dona Conchita. In 1952 Skoták met ------the painter and amateur actor Jiří Scheuba (1923) Duo Jonglos and they created a parallel team. After several CS | 1965 | 6’ short performed sketches they made the film ------Psychosis / Psychóza Black Hand (1957). They followed its success in CS | 1966 | 9’ 1960 with the films The Most Beautiful Planet and ------Prague 20.05. Where You Will Find It / Kde to najdete All three of them (Skoták-Čapek-Scheuba) did CS | 1967 | 6’ not meet officially as the TRIK Group until 1961 ------when they worked on the film Semper Idem. Siren / Siréna By 1970 they had made ten films together – CS | 1967 | 2′30″ the sound dramaturgy was more and more ------demanding each time, so in 1965 they decided to extend their team and invited a sound engineer Ivo Dašek (1930–2015) to join them. The imaginary baton of the TRIK Group was taken over by the film studio FISK from Kladno, which has been organizing the biennial event Amatrik since 1967, but that is a story for another time… Miloš Henkrich 69 wild ‘60s

Workshop with Edita Plicková

Edita Plicková’s drawings (1940) illustrated fairy tales as well as educational film strips and comic books. She has been illustrating children’s books, textbooks and didactic materials for children for many years. Her first job involved work on animated film. At the end of the 1950s, after finishing art school, she worked in the Studio of Animated and Puppet Film in Prague. She was an assistant animator in the Klarov Studios. She set tracing paper on a foil with pegs, fastened to a translucent table, and put the images in motion, as suggested by an animator. She cooperated in the original design of the figure of puppy from Zdeněk Miler’s three- episode series: How the Sun Returned Water to the Puppy (1960), How the Puppy Wanted Little Dogs (1960), How the Puppy Felt Like Eating Some Honey (1961). Edita will not only speak about the production of animated film in the 1960s, she will also supervise the workshop at this year’s Festival of Film Animation – PAF. The workshop is intended for children older than 9, their older siblings, parents and grandparents, and all of those who want to draw motion.

Pavel Ryška

5 Dec | 2 pm | AGD 6 Dec | 11 am | AGD Workshop with Edita Plicková workshop – Edita Plicková | Wild ‘60s ------

71 animation beyond animation

animation beyond animation

Animation beyond Animation is not an outcry, just one more form of answer to the motto of PAF, which has the question “What is animation?” In terms of the dramaturgy of PAF, we view the animation category as a constant rediscovering of the meaning and interpretation of the words. In “the struggle of images”, French film theoretician Raymond Bellour writes about uncertainty–“the changes, transitions and crossings and passages that exist between what we call film and the thousand and one possibilities there are for the exhibition of images in the vague area we call art.”1 An imaginary walk through the passage is 72 animation beyond animation fascinating and, to a certain extent, it also Greg Pope), the current tendencies to convert works as the connection between different the properties of animation into objects or technological levels or periods of the formation sculptures (Jonathan Monaghan) and the of the moving image. Film served as a unique historical illustrations of the work with abstract moving image projection only for a generation images originating in front of the camera (the or two of viewers until television and later the Whitney brothers). Other examples are the internet was added. In spite of that, it seems that current understanding of the film manifesto keeping track of the walk through the passage (Samson Kambalu) and the development of starts to be more interesting than spending time projects that are connected to the live cinema inside without making any effort to describe the phenomenon (Takashi Makino, Vessel & Pedro entrance or the exit. Maia). All these are supported by live events In this sense, our concept is closer to the that aim to create the image that shows they interpretation of those thinkers who, in terms happened in a place resembling a cinema–the of the history of film, assumed that from the light play idea is being rediscovered (Plain, beginning of cinematography many filmmakers Lotic & Michal Pustějovský), and in contrast, saw the methods and circumstances of film the phenomenon of performance and concert presentation as more important than its capture. is being abstracted (TCF, Stanislav Abraham, Concentrating on the transitions between Jonáš Gruska). images and standing or sitting in the dark is thus maybe the most valuable situation that Martin Mazanec film “itself” has created. Today we can view the period of the formation of the first moving 1 BELLOUR, Raymond. Battle of the Images [2000]. images. The creation of the cinematograph In: Future Cinema. Cambridge, MA: The MIT Press, 2003, p. 56–57. and its current preparation in terms of paracinematography (compare Noam M. Elcott and Jonathan Walley etc.) can be viewed as a substantial period. The program block is conceived as an exhibition, without a defined presentation space. The invited artists, theoreticians, historians, filmmakers and musicians contribute to the four-day description of the moving image and animation on the level of presentations, screenings, film performances, exhibitions and concerts. We will demonstrate the role of darkness and the static image (Martin Arnold, Takashi Makino, Space Noise, 2013 Lars TCF Holdhus Stanislav Abrahám, Spectral Scenery, 2015 Pedro Maia, live visuals for Vessel, 2014 Samson Kambalu, Holly Ball, 2009 Ján Šicko, Jonatán Pastirčák (Pjoni), Nils Henrik Asheim, Project for Orgel Natt, 2015, Screen City Festival, Stavanger, photo: Hans Edward Hammonds Jonathan Monaghan, Mothership, 2013 80 animation beyond animation

Brothers James and John Whitney most original connections of image and sound in absolute film. In the years after that, John The work of James and John Whitney will be Whitney paid a lot of attention to the possibilities presented by Martin Čihák, film avant-garde of permutations of previously filmed material. historian and film editing morphologist. He He did it with the help of his copier, which puts the work of both filmmakers into one of allowed him to achieve numerous variations of the areas of absolute film, where the camera one shape by just turning the material upside and the film reel are used as recording media, down or flipping it from left to right. He also while the abstract world is created in front of the occupied himself with the construction of camera (Walter Ruttmann, Hans Richter, Oskar auxiliary, mechanical animation devices made Fischinger, Dwinell Grant, Jordan Belson, Hy from scrap. Around 1957, he bought parts Hirsh etc.). of an old decommissioned anti-aircraft gun; John Whitney made his first films using an M-5, including its operating unit, and he 8mm format during his stay in Paris before built a mechanical analogue proto-computer, WWII, without any knowledge of the abstract which allowed him to program the filming of tendencies of the European avant-garde of the animation. Whitney called it a cam machine or time. Only after returning to the USA did he an animation machine. familiarize himself with the work of Man Ray On his own, James Whitney shot the films and Oskar Fischinger, and he met the authors Yantra (1950–1955) and Lapis (1963–1966), in person. His central theme was the search which were influenced by spirituality and for analogies between the structure of film and eastern mysticism, and in which he reduced music, even language. Schönberg’s music, the basic building material to single points, which Whitney first encountered in Europe, potentially plain colour film frames. Allegedly, became an important source for his work. John “Yantra” means “a machine” in Sanskrit – was also a great technological innovator and meaning a huge cosmic machine. James, inventor. For his first attempts with 8mm film, he with the method of frame-by-frame animation, created his own optical copier, in which he used also used solarisation and other demanding colour filters to copy black and white originals to laboratory processing methods. His aim was to colour material. create a meditative film, similar to his later piece The first collaborative Whitney brothers films Lapis, whose name means the philosophers’ Five Film Exercises (1943–1944) are variations stone and which is a pure film mandala. For and permutations of simple shapes and their the implementation of this film, James Whitney compositional solutions, in terms of an image used the cam machine built by his brother John. plane appended to synthetic sound (the so- However, the work on this film exhausted him called Infrasonic sound) created on a special so much that after it he did not film anything for instrument built by John Whitney. It is one of the almost ten years. 81 animation beyond animation

The description of the work of John and James Whitney was Celery Stalks at Midnight taken from Martin Čihák’s book Ponorná řeka kinematografie dir. James Whitney | US | 16 mm | 1952 | 3′ (Prague 2013). ------compiled by Martin Mazanec Experiments in Motion Graphics dir. James Whitney | US | 16 mm | 1967 | 13′ 4 Dec | 12 pm | FA ------James and John Whitney: Projection II Osaka screening, presentation – Martin Čihák dir. James Whitney | US | 16 mm | 1970 | 3′ Animation beyond animation ------Matrix III Film Excercise n° 2–3 dir. John Whitney | US | 16 mm | 1972 | 11′ dir. James a John Whitneyové | US | 16 mm | 1944 | 4′ ------Lapis dir. James Whitney | US | 16 mm | 1963–1966 | 10′ ------Catalog dir. James Whitney | US | 16 mm | 1961 | 7′ ------Experiments in Motion Graphics dir. James Whitney | US | 16 mm | 1967 | 13′ ------Permutations dir. John Whitney | US | 16 mm | 1968 | 8′ ------

5 Dec | 2:30 pm | FA James and John Whitney: Screening II screening, presentation – Martin Čihák Animation beyond Animation ------Film Excercise n° 2–3 dir. James a John Whitney | US | 16 mm | 1944 | 4′ ------Yantra dir. James Whitney | US | 16 mm | 1950–1957 | 8′ 82 animation beyond animation

Samson Kambalu Samson Kambalu: The Unbearable Lightness Samson Kambalu (1975) is a native of Malawi, of Nyau Cinema Africa. His life and his attitude towards art were formed by his early experience with the cinema “Nyau Cinema employs the medium of film of attractions, the solipsistic nature of the Chewa and the psychology and geography of urban tribe and his father’s “philosophical lectures.” areas and their vicinities as catalysts for As an author he is active within various media, dramatic self-transformation where the self is such as site-specific installations, drawings, playfully reconceived as part of a larger scheme paintings, videos, performances and literature. of things, transcending the limitations and His work typically contains autobiographical conventions of everyday life.“1 elements and is strongly influenced by situationism, excess, humour and wit; all of which MM What is Nyau? he uses as tools for his constant examination SK Nyau is a philosophy of excess, found of the boundaries of history, art, human identity, among the Chewa peoples of Southern religion and the freedom of the individual. Africa. It is a whole philosophical cosmology He is the author of two award-winning encompassing all aspects of everyday life. Nyau publications, an autobiographical novel The is basically a gift – the surplus wealth and time Jive Talker or, How to Get a British Passport outside the world of work and necessity within (2008) and Uccello’s Vineyard (2012), a fictitious a given system – the energy you cannot use. narrative situated in the Middle Ages that is about The Chewa do not sell surplus, instead they photography and art and uses the detournement celebrate it in Nyau; sovereign activities which technique. Kambalu currently lives and works in include the arts and prodigious squandering GB. through spurious structures, gifts and feasts orchestrated by Nyau Masks – Gule Wamkulu Marie Meixnerová (literally The Great Play) – at festivals, initiations, funerals etc. within the social fabric of everyday life.

MM Allusions to early cinema seems to be quite important in your Nyau films... SK The immediacy of Nyau cinema shares many similarities with the “cinema of attractions” of the Lumière Brothers, where the audience was very aware of the present moment, and which was a process of watching the medium 83 animation beyond animation of film in an animated and visceral away – in 1 KAMBALU, Samson: Nyau Cinema. Stevenson catalogue 82, 2015 [online]. [cit. 2015-10-10]. Accessible from WWW: improvised cinema houses, cafes, even in . group at the Catholic church hall, the Kwathu Drama Group, under the spell of Nyau cinema, 3 Dec | 17:00 | GUM performed whole segments of their plays in Samson Kambalu (MW/GB): slow motion with sudden lurches into quickened The Unbearable Lightness of Nyau Cinema time. This is the sense of gifted time that also curator – Marie Meixnerová | vernissage inspired early avant garde film making and art, Animation beyond Animation from Cubism and Duchamp, to Picabia and ------the Situationists, who sought to reground the 3 Dec 2015 – 11 Jan 2016 | GUM experience of art including film, back into real Samson Kambalu (MW/GB): life. The Unbearable Lightness of Nyau Cinema exhibition | Animation beyond Animation MM I am also quite interested in your approach ------to medium... 5 Dec | 7:30 pm | FA SK Nyau manifests itself in many other ways in Samson Kambalu (MW/GB): Nyau Cinema my work beyond film – for instance in literature. presentation | Animation beyond Animation I have deployed the Nyau aesthetic in interactive ------installations such as the Sanguinetti Breakout 6 Dec | 11 am | T Area at the Venice Biennale 2015. Holyballism, Samson Kambalu for The One Minutes: a quasi-religion centred around Nyau Cinema a football plastered with pages of the Bible, screening | Animation beyond Animation was an attempt at a modern day Nyau religion ------– a revaluation of my Christian heritage where religion is approached as a creative play, Gule Wamkulu, and a form of gift giving. Like the Blues, Nyau comes out of nothing. In creative play, humour and excess are inevitable. Nyau cuts through hierarchy and medium, a destabilizing yet creative third term. It‘s the only kind of art I am aware of.

Samson Kambalu interviewed by Marie Meixnerová

the whole interview on www.pifpaf.cz/en 84 animation beyond animation

Samson Kambalu for The One Nyau cinema approaches film as a sovereign Minutes: Nyau Cinema activity. Making film becomes a way of escaping the limitations and conventions of everyday life, The One Minutes introduces twenty two where the self is playfully re-conceived as a part one-minute videos made in accordance with of a larger scheme of things. Nyau is a Chewa Nyau Cinema rules. The concept of a special word for “excess”. format of short film as a playful site-specific performance, as a leakage of limits and Nyau Cinema: The Rules conventions of everydayness and situationistic detournement was invented and developed by 1. Nyau film must be conceived as a clip the Malawian conceptual artist and writer “with no longer than a minute. British passport,” Samson Kambalu. He is the 2. Performance should be spontaneous and curator of the block which he will introduce in site/specific to found architecture, landscape, person at PAF. or object. The Amsterdam platform The One Minutes 3. There must always be a conversation between produces a new block of one-minute films every performance and the medium of film. month. It is called The One Minutes Series 5. Costume must be from everyday life. and is always prepared by a selected artist 6. Acting must be subtle but otherworldly, with distinctive creative style. The first time transgressive, and playful. PAF cooperated with The One Minutes was in 7. Editing must be limited to the aesthetics 2014 when the block Ways of Something was of primitive film and silent cinema. introduced. 8. Audio must be used sparingly, otherwise it must be performed live at film screenings. Marie Meixnerová 9. Screening of a Nyau film must be in specially designed cinema booths or improvised cinema Participating artists: Sjoerd Tanghe, Patrick installations that compliment the spirit of the film. Tjon, Jean Beining, Laresa Kosloff, Radek 10. Nyau cinema must encourage active Dabrowski, Fivefivefilms.com, Joana Pinho participation from audience. Neves, Barry van der Rijt, Bas van Wieringen, Roeland Otten and Alonso Vazquez, Sjaan Samson Kambalu, Klijnee, Alite Thijsen, Anne Hartog, David 26 Aug 2013 Djindjikhachvili, Thierry Mandon, Pablo Núñez Palma, Willehad Eilers a Sebastian, Christoffel, Samson Kambalu. Curated by Samson Kambalu for The One Minutes. 85 animation beyond animation

3 Dec | 17:00 | GUM Something Somewhere Samson Kambalu (MW/GB): (with Something) The Unbearable Lightness of Nyau Cinema curator – Marie Meixnerová | vernissage Film and its language have permeated the Animation beyond Animation culture of the 20th century. But how can this ------general statement be applied to actual cultural 3 Dec 2015 – 11 Jan 2016 | GUM artefacts and be used for their interpretation? Samson Kambalu (MW/GB): The lecture will concentrate on the collages by The Unbearable Lightness of Nyau Cinema Jiří Kolář from the turn of the 1940s. During their exhibition | Animation beyond Animation creation, the author worked with material from ------historical pictorial magazines, usually with only 5 Dec | 7:30 pm | FA a few connected photographs. The collages Samson Kambalu (MW/GB): Nyau Cinema of Jiří Kolář, as well as similar works of both presentation | Animation beyond Animation Czech and foreign authors, refer to the change ------of the principle of authorship and the methods 6 Dec | 11 am | T of artistic work which took place in the 20th Samson Kambalu for The One Minutes: century under the influence of technological Nyau Cinema advancements. Authors are shifted to the role of screening | Animation beyond Animation editors, processors and interpreters of existing ------material and they shift part of their traditional competences to the viewers of their works. Can the conclusions in this case study be generalised and extended? For example, is the Internet the film of the 21st century.

Tomáš Pospiszyl

4 Dec | 1:30 pm | CH Something Somewhere (with Something) lecture – Tomáš Pospiszyl Animation beyond Animation ------5 Dec | 4:00 pm | CH In the Light of Laterna Magika lecture – Tomáš Pospiszyl | Wild ‘60s ------86 animation beyond animation

Martin Arnold about six seconds. Traditional motion pictures, too, flicker, projecting 24 frames per second, At PAF in 2010, Austrian artist and filmmaker which are interrupted by 48 phases of complete Martin Arnold premiered a video called Soft darkness. Sitting in the dark recesses of a movie Palate. At that time it was an animation analysis theatre, watching the images fluttering across the and a reworking of a motif from a Disney film. screen, the lid’s blinking reflex sets in, uniformly, Since then, he created a free series derived with about half of the audience, in keeping with from the anatomy of cartoons–the author tackled the events depicted. The matter so projected questions connected to the subconscious is, therefore, not only collectively viewed but perception of various phenomena found in the also collectively overlooked. (…) The exhibition gaps between film frames as well as the visible gathered together artistic positions that display anatomy of Pluto and Mickey. In comparison to a common interest in the joy of recognition films from the end of the 1980s and the beginning and the failure to recognise, in perception and of the 1990s, a time when Arnold was following misperception, appearance and disappearance, up on structural film in the context of Hollywood in a word – in blinking.” appropriations, he now works methodically with This year he published an authorial publication interventions into individual film frames. It could Gross Anatomies (2015), the name is borrowed be said that this animation series stands on the from a discipline dealing with visible phenomena frontier of sight analysis and the creation of a in anatomy. Near the end of an interview with projective test for audience analysis. At PAF, curator Angela Steif, he answers questions Martin Arnold will mainly present the basis and connected to the psychoanalytic interpretation the context which led to the beginning of videos of his works and, more generally, his stance on derived from animation. psychoanalysis. “In practice, psychoanalysis In 2010, Arnold curated an exhibition called does not look for the truth but rather wants Blinking (Galerie Martin Janda). Along with the analysand to be happy. There is this joke: moving pictures about blinking, he included After completing a therapy a patient meets his his own cartoons and films by the structuralist psychoanalyst in the street and the latter asks filmmaker Owen Land and contemporary artist him how he is doing, to which the patient replies: Runa Islam. The starting point for the exhibition „I am still wetting the bed, but now I am having was, besides a Japanese study on blinking, fun doing it.“ Similartly, my cartoons do not know also a question: “Can a history of seeing be the truth either; rather they are very small stories told without taking cognisance of the history of that leave plenty in the dark, and not only in the overlooking?”, which is followed by Arnold’s own dark phases of film screenings or blinking. These text: “People tend to blink between 8 and 41 works include a lot of darkness and many blanks times per minute. This means that, during this on the screen as well. I tell the stories quasi from time frame, a person is, on average, blind for the off (off-screen, unspoken, unseen…) How 87 animation beyond animation do you interpret what you do not or cannot see? In the synchronization in the loop art a mutual temporary perception loss? Many years ago I found a quotation by Georges Bataille in which he speaks of a big black hole that connects us all. And in the course of my further research I was surprised to find that he mean the pupil and not the anus.”

Tomáš Pospiszyl

4 Dec | 7 pm | FA Martin Arnold (AT): Black Holes lecture | Animation beyond Animation ------5 Dec | 6 pm | T Distribution Situation – The State of Things round table – Matěj Strnad, Samson Kambalu (MW/GB), Ivan David, Lenka Střeláková, Martin Arnold (AT), Janek Rous | Other Visions ------88 animation beyond animation

Josef Bolf MM What served as the impulse to shoot a puppet film? The work of Josef Bolf (1971) is mainly JB The immediate impulse to make the first film accessible through his captivating paintings was a series of paintings, or actually one work and drawings. At PAF, he will present five new from 2008. I felt like more is happening in it than videos that have been shown at his exhibitions the image is able to communicate and that is over the last several years. Videos with motifs calling for motion and film time. The second of performance, radio plays and classic puppet impulse was then the opportunity to present films are all part of Bolf’s artistic world, with something new at the Prague Biennale 2008, various features of animation and stories within curated by Karel Císař. It was a project following stories. up on the previous biennale, concentrating on the changes in the work of selected artists. MM I remember one of your exhibitions, for which the source of inspiration was the film MM From a craft point of view, the work Total Recall. Do you work directly with film with puppets interests me, both during their compositions or mise-en-scene which you then manufacture and the shooting itself. Have you “transpose” into paintings or drawing cycles, or worked with puppeteers, film productions? are these more random or free associations, JB At first, I wanted to create the puppets derived from film themes or citations? myself, but in the end I left this task to JB I work with film associations quite often. professional puppeteers from Minor (Bára I am, however, not always sure what type of film Čechová). I found that during the manufacture, or what type of composition will influence my you have to keep many rules and facts in work. These references are more like elements mind, and I did not really want to occupy of my work process; many things emerge from myself with those. The puppets were operated automatic drawings that are influenced more by actors (Tomáš Běhal, Buchty a loutky). It by photography than film. It can be said that was convenient for me to perceive how the by mixing these two sources, certain mise-en- environment, which I only knew as a flat image, scenes emerge. Links and references are just turned into a coherent world. Since the shooting part of my visual memory and experience, with was actually a recording of live action, I did use which I can work further. A sentence from Total something like film production (building the set, Recall fascinated me with the confidence with lighting it). With the first film, I took care of it which it unambiguously hammered our basic myself together with photographer Jiří Málek; experience: “You are not you, you are me.” It with the second one, it was taken care of by was meant more as an ironizing allusion for the Prague Quadriennale (Jakub Matějka) and I whole exhibition, accenting a personal subject. cooperated with the photographer Darko Stulič. 89 animation beyond animation

MM Your last video, Heavy Planet was made by 6 Dec | 1:30 pm | FA overpainting a picture. Do you ever write down Josef Bolf: Heavy Planet notes or stories that later become models for presentation | Animation beyond Animation paintings or videos, or do you just work with the ------idea of the painting that originates during the Living Room / Obývací pokoj process of painting as well as the overpainting? CZ | 2008 | 10′04″ JB Sometimes I do work with text, but I do not ------see it as an explanation or commentary for You / Ty my paintings, usually an independent whole is CZ | 2010 | 15′48″ created, such as Golden Age (2000), the text ------You, which is also a part of the eponymous Corridor / Chodba video from 2008, Unfinished days (2014), CZ | 2011 | 15′37″ published in the Galerie Na shledanou ------magazine) and the collaboration with Ondřej Destruction / Destrukce Štindl on the novel Mondschein. Plus the text for CZ | 2011 | 14′12″ the voice over in Heavy Planet actually was the ------first one. Heavy Planet / Těžká planeta I regularly write down my dreams. CZ | 2015 | 10′28″ Sometimes I make notes from a text I am ------reading or from what I hear. Texts describe images, ideas… They inspire my work a little bit, but they do not always match the result.

Josef Bolf interviewed by Martin Mazanec 90 animation beyond animation

Jonathan Monaghan meanings in the work, but also in the medium. Furthermore the work is rendered in a photo- American animator and visual artist Jonathan realistic quality, which further complicates these Monaghan uses computer animation to further boundaries. My entire body of work operates in develop the bond between moving images and some liminal place in between all of these spaces. physically existing objects. His artworks are often created by combining 3D prints with noble MM Most of your videos are based on materials. At PAF, Monaghan will present, in his architectural or spatial themes. Do you refer to own screening block Animated Worlds, some specific houses and floor plans? a selection of videos that create a quite complex JM Some of the architectural spaces are derived mythopoetic world. It is a world derived from from magazine advertisements (the luxurious the transformations of luxurious spaces, from walk-in closet in Escape Pod), some are from the modified symbolism connected to animal specific buildings (the Hotel Monte Carlo in archetypes and power. Motifs with elements of Mothership) and some are idealized versions baroque and rococo ornaments subsequently of ubiquitous commercial spaces (The Duty appear in physically existing objects. Architecture Free shop in Escape Pod). Every virtual space of Fantasy is the title of the presentation in which is planned and meticulously crafted, and while the author will reveal his inspirational sources and they are all idealized and fantastical, they do have work methods in more detail. a certain plausible structure in them, which is important to me. MM I am tempted to label your work as a tension between an animation processes and tangible MM Is the visual design of computer games objects. Have you ever thought about such important influence on your work with moving connection during your process of work? image? JM I think the boundary between what is real JM Yes, I think of my animated films as some- or tangible and the virtual is increasingly being where in between a video game and cinema. blurred. I like to play with this and draw attention With Escape Pod, there are no cuts or edits, its to it. While I produce physical objects in various a continuous looping camera shot, much like flying materials (gold, marble, plastic), the forms all through a video game world. originate in the computer and are produced using I started to be involved in computer graphics at a various digital fabrication processes. The prints young age, initially because I wanted to make video I make also originate in the computer. games. I began by designing environments for first- So I am using the same virtual space to person-shooter games while in high school. conceive of prints, physical sculpture and films. I think this highlights the mutability of things in the Jonathan Monaghan interviewed digital age. There is a fluidity in the imagery and by Martin Mazanec 91 animation beyond animation

4 Dec | 5:30 | FA Jonathan Monaghan (US): Animated Worlds presentation | Animation beyond Animation ------Rainbow Narcosis 2012 | 8′48″ ------Mothership 2013 | 14′52″ ------Office 2013 | 4′32″ ------Dauphin 007 2011 | 3′11″ ------French Penguin 2009 | 2′34″ ------Alien Fanfare 2014 | 13′ ------

5 Dec | 1 pm | T Jonathan Monaghan (US): Architecture of Fantasy presentation | Animation beyond Animation ------3–6 Dec 2015 | AG Jonathan Monaghan (US): Escape Pod installation | Animation beyond Animation ------3 Dec | 8:30 pm | KPC, AG, K A Tour Around the Vernissages PAF Art 92 animation beyond animation

Greg Pope & Salvia Super 8 multi-screen, multi-projector live pieces (as Situation Cinema), we had the idea that we Greg Pope is a British filmmaker. At PAF he were inventing this concept, which of course will introduce his own film production and was not true, but we felt we were out on our own a new live performance. The performance doing this type of manifestation. was created together with the Czech music project Salvia, which consists of the visual artist MM Your presentation modes and set ups Veronika Vlková and Czech musician Kateřina deal a lot with re-animatiom methods and with Koutná (Makak). The performance is built on a usage of light or/and static photograhs. a sequence of permeating slides, which are Is pre-cinematography your main background? divided according to the content into separate GP I always felt it was incredibly exciting thematic chapters. An instrumental and vocal and profitable to look back in order to move component of performance completes the forward. From the very beginning of my overall, epic nature of the performance. In the interest in moving image, I was immersed in long term, Greg Pope engages in performative the work of early pioneers, especially Méliès approaches in the field of live cinema. and his contemporaries – who seemed to Currently, he works in Oslo, Norway, and his find a natural link (which I also believe in) film production involves the work with different between film and alchemy, the occult, magic, technologies and materials. hallucination and trickery. I also started to look further into pre-cinematic technologies, the MM At the time you started to work on live film magic lantern methods of creating movement performances, was it still in a close connection and also Javanese shadow puppets, which to the English movement Expanded Cinema? were integrated into much of my work with GP I started this whole expanded/para/perfor- Loophole Cinema in the 1990s – and still form mance cinema journey in the mid 1980s. My a cornerstone of what I create now. In the blind references were much more in GB performance rush into a digital utopia, there is still an amazing theatre such as Welfare State and IOU Theatre amount of unexplored territory left behind, and and the 1960s happenings in the US and this is the landscape where I like to wander and of course the Dada movement and Cabaret wonder. Voltaire then the GB expanded film scene, which was anyway more or less extinct by the Greg Pope interviewed time I became interested in the area. All those by Martin Mazanec 1970s expanded film artists had moved on to Project Stone Horizon was created for the Festivals of Live making more conventional work that could be Cinema. First realized for Screen City Festival, Stavanger, broadcast on the new TV channels (Channel 4, 2015. etc). At the beginning, when we were doing 93 animation beyond animation

4 Dec | 8 pm | T Greg Pope (GB) & Salvia (CZ): Stone Horizon AV performance | Animation beyond Animation ------5 Dec | 5:30 pm | FA Greg Pope (GB): The Shadow Trap presentation | Animation beyond Animation ------Maas Observation | 16mm, black and white | 1997 | 11′ Lofoten | video | 2000 | 3′ Moonwalk | video | 2001 | 1′ Incidence Room sound by Benedict Drew | video | 2003 | 9′ Prole Art Threat | 35mm | 2010 | 3′ Shot Film | 35mm | 2009 | 4′ Shadow Trap | 35mm | 2007 | 8′ 94 animation beyond animation

Takashi Makino I can’t make music, then I have to ask my favorite musician. For example, my latest film’s Tokyo based artist Takashi Makino (1978) has [Cinema Concrete] soundtrack is made by studied in the atelier of the Quay Brothers Machinefabriek. in London. Creatively, he moves between exhibitions and film and music festivals. In his MM I have read somewhere, that you studied work, he combines both classic and digital music and lighting design in the atelier of the film technologies. Besides his own musical Quay Brothers. Was this experience important production, he often collaborates with American for your moving images based on texture? musician and producer Jim O’Rourke, Dutch TM Yes, their advice about how to collaborate creator Machinefabriek and others. with musicians had a real impress on me, but Space Noise 3D performance is created by they said I should use my experimental mind for combining and interweaving the visual outputs more commercial films. Maybe I will try, in the of a 16mm projector and a data projector. The future. effort to physically represent the image before it touches the screen flows through the noise Takashi Makino interviewed performance, where the author also creates the by Martin Mazanec sound. The viewers watch the resulting image via 3D glasses. 4 Dec | 3 pm | FA Takashi Makino (JP): Film MM You create your own sound and music presentation | Animation beyond Animation during the performance, using synthesizers for ------video and audio outputs. Is the starting point 4 Dec | 11 pm | T for your collaboration with other musicians Takashi Makino (JP): Space Noise 3D or sound artists on your films and videos an AV performance | Animation beyond Animation improvisation? ------EVE | music by Makino Takashi | 2002 | 3′ TM The video I will play is already prepared. Still In Cosmos | music by Jim O‘Rourke | 2009 | 17′ I also project 16mm projector on the same Humming Fields | music by COLLEEN | 2013 | 4′ Ghost of OT301 | music by Inconsolable Ghost | 2014 | 9′ screen. Image of video and film will be joint on KONTRAST | music by Makino Takashi, the screen to create deep 3D abstract images. poem by Sytse Jansma | 2015 | 15′ In this time, I will play music by myself. During 2005–2011, I collaborated with many of great musician and video artist, but from 2012, I started making music by myself. Because if I find the clear concept about sound for new film, then I can make sound. But if I find that 95 animation beyond animation

Jonáš Gruska: A set 5 Dec | 11:30 pm | T Jonáš Gruska: A set Jonáš Gruska (1990), also known as Mrkva and audio performance Binmatu, is probably one of those people who Animation beyond Animation never sleep or he has several identical clones. ------That must be how he manages to do so many things. He is a musician – he works for example with ground records, he created a composition for a glockenspiel in Kamenné Square in Bratislava, and he performed by using the air ventilation system at Prádelna in Bohnice. He has his own music label LOM which is focused on the central and eastern European experimental music scene. Under this label he publishes (not only) his own music. He created JONO music software inspired by the modular synthesizer and he constructed his own, real modular synthesizer. He has invented and developed an Elektrosluch device that scans and transforms sound into electromagnetic radiation. He either sells Elektrosluch or provides for free a blueprint for its manufacture. He also organizes workshops during which the participants construct an Elektrosluch themselves. Currently the fourth version – Elektrosluch Mini – is on rele- ase. Gruska also leads workshops for the ground recording of sound as well as for work with a SuperCollider. He accompanies his works with his own designs and sometimes it is even a big success. Jonáš Gruska is one of the significant personalities of the contemporary scene and he does not suffer from a lack of confidence. Even if he is not very happy to hear that.

Katarína Gatialová www.jonasgru.sk www.lunar.audio www.zvukolom.org 96 animation beyond animation

Pedro Maia & Vessel met in person when he returned to play at Berlin Atonal Festival. Since then we stayed in touch Portuguese filmmaker and visual artist Pedro changing ideas and references. We decided Maia collaborates with numerous musicians what we both want to avoid and that the visual across the rock and electronic scenes. He work need to be dark and sinister, but that it has is a part of a younger generation that builds to be clear that it is not overly serious or upon the tradition of Expanded Cinema and po-faced. Our idea was to explore a strong expands the aesthetic and technological element of self-depreciation and also sex, but “heritage” of classic film procedures of working not in a “sexy” way. As humans, we experience with 16mm and 8mm material. Pedro Maia sexual desires in strange, unpleasant, extreme will present a selection of his work in an ways that are entirely subjective. Then I was also individual presentation and will perform with talking with Harry Wright, who did the album British musician Vessel on their audio-visual art-work and Vessel’s video Red Sex, and all the event, which is thematically connected to the idea/work come together. Our collaboration was recording Punish, Honey (Tri Angle, 2014). to be only the live cinema (AV show) that was Slovakian musician Jonatán Pastirčák praises done with Super 8 shooting I did in Berlin for this Vessel’s music for its “delicate production and live AV with extra footage shoot by Harry for Red disharmony. Every sound has its specific space Sex, but after premiering the show at Unsound and character. Maybe that is what adds the 2014 we decided also to make the Drowned in inimitable atmosphere to his compositions; Water and Light video and tour the show. it feels as if he accidentally found himself at the warehouse party gig of a band of robotic MM Your work is based a lot on classical film skeletons playing instruments handmade from material. Is this choice because of the aesthetic various metal scraps and wires found in an aspects of the image, or is it more about apparat abandoned factory.” Vessel publishes at Tri itself and processes of projection used during Angle Records and Young Echo. performance or installation? PM I study cinema and since I was 16 I’ve MM You worked on visuals for Vessel. Was there worked at a film festival in Portugal where some theme or content that was discussed in I got in contact with a wide variety of films. advance with Vessel? Since then, I have spent hours watching and PM Everything started when I saw Vessel discussing films. Luckily, that festival main focus playing in Berlin before Punish, Honey was is experimental and avant-garde film, so since released where he was already playing that the beginning, I was interested in that kind of material. On the same night I wrote to his filmmaking. I have gradually discovered great manager saying that I really would like to do filmmakers/artists that use celluloid film as part something with him and after a few months we of their work and not only as a medium. So the 97 animation beyond animation cinematic apparatus was always something a collaboration I always need to think that my important (and this before digital projection and work could also work on a cinema room without good video cameras). Thenceforward, I was the musician apparatus. And for me, in that very fascinated by the special way of working case, when you add the image to the music with celluloid film, and the respect that comes it will be really strong and will always have with this work. As time passed by, I got more something to add. focused on the so called “Analogue” Cinema. It started to play a big role in my work. And Pedro Maia interviewed the further exploration of the potentiality of the by Martin Mazanec medium is something that I’m focusing on. 5 Dec | 9 pm | TM MM You work a lot with different musicians on Vessel (GB) & Pedro Maia (PT) visuals. Can we say about some contemporary AV performance | Animation beyond Animation live audiovisual sets, that started to be more ------about relation between film and soundtrack 6 Dec | 3 pm | FA and this experience modify club scene into the Pedro Maia (PT): Imperfect Film cinema existence? presentation | Animation beyond Animation PM I think that nowadays there is almost ------a forced necessity that all the shows need to Memory | 2007 | 7′ Arise (Zona) | 2009 | 10′ have a video component. I think the AV term is Plat in my Head | 2014 | 11′ being overused. In most of the cases, the visual Live Excerpts | 10′ total work is not necessary at all and can really ruin Shackleton & Nisennenmondai | 2015 the show. I can just tell, from my experience of Shxcxchcxsh | 2015 Max Loderbauer & Jacek Sienkiewicz | 2015 course, but I really don’t like to see when Craig Leon & Sinfonietta Cracovia | 2014 a visual work is not related to music, or when Jacaszek & Kwartludium | 2013 it does not add anything to the show. I have Exhibition documentation + Excerpts seen many good shows that became bad Wasteland | 8′ total because of the visual work. I have already Love and Light | Sandro Perri | 2011 | 4′ refused some collaborations myself, because Drowned in Water Light | Vessel | 2014 | 5′ I thought that the show was strong enough to You and I | Gala Drop | 2014 | 4′ work without visuals, and that what I would add nothing to it, and in the end, to use visual work as something like moving wallpaper, I think, is terrible. But I think that all of this came because of my background, which is more related to filmmaking, not to visual art. So when I do 98 animation beyond animation

Lars TCF Holdhus MM You are preparing some visual part for your live performances. Can you describe a little bit The Berlin-based Norwegian artist and the idea behind? musician Lars TCF Holdhus will perform a LH The idea is a sort of a feedback loop of quadrophonic “composition” for a baroque references that relates to specific parts of my chapel. Jonatán Pastirčák describes Holdhus’ artistic practice in general. I’ve been hesitant work as “unpredictably flowing ambient about pairing my live performances with my soundscapes that meet abstract rhythmic video works, but I’m feeling more and more structures, so as to create impressive sonic confident that this can be done. landscapes full of surprising moments I like when all my work gets recontextualized and sound accidents.” The randomness of and I feel this is a good way to do that. The Holdhus’ music comes out of his fascination content will stretch from personal moments to in encryption and computer algorithms – documentation I’ve been filming. Most of the the name of every track is a sequence of material is shot by me with the help of Matthijs numbers and letters, same as the name of Diederiks and Lukas Bohnenstengel. the performance prepared for PAF itself. It I’m interested in moving away from “vj’ing is of no use to divide the piece Aedrhlsomrs visuals” and go in the direction of live scoring my Othryutupt Lauecehrofn into visual and musical own film right in front of me. projects, since they are very tightly connected, they develop on similar motifs and the only MM Your work is based a lot on cryptograms. difference is the presentation media, similar to They are used as titles for your songs or art the anagram of the name. works. Is there still a possibility to find a key, how to “read” a song or print through this titles MM We have talked about a hybrid form of or we just read some signs from quite a closed presentation of your music and art projects. system? Do you find a musical club discourse less LH It’s a closed system for now. In that way comfortable nowadays for you? I create a private space that moves around in LH I’m not really involved in the club scene public. There’s a possibility to find out what all anymore. My artistic output ranges from of these codes means but I won’t be easy. It’s installations to music and hardly anything club a system that I like to maintain for myself while related. While there are elements from club it’s widely spread around the world. music, in some of my music I have my own set Spreading bits and pieces of me online as of references to those particular sounds. a potential value opens up a rereading of my At the moment, I hardly go out to clubs because work later on. I want to focus on my work. Martin Mazanec’s interview with Lars TCF Holdhus 99 animation beyond animation

3 Dec | 11 pm | CCC Lars TCF Holdhus (NO): 40 FC 4A 83 F9 BD A8 30 3F F2 33 C3 0B 5E 34 50 04 9C D9 4C 93 59 BE 6D 2E 36 D6 B3 9A D7 34 39 performance | Animation beyond Animation ------100 animation beyond animation

Stanislav Abrahám: Its role is rather to assure the listener that the Shapescapes & Spectral minimalist character of the sound output is Scenery deliberate. Even when working just with stereo, Artist and musician Stanislav Abrahám’s live I always try hard to create an imaginary world performance will consist of the presentation of between the left and the right speaker. A world his last record Shapescapes, which combines that has its breadth, depth and contour lines. synthetic sounds and ambient recordings, Accompanying the less minimalist sound and the audiovisual project Spectral Scenery, output with an image would, in my view, based on a system of oscillating sound loops diminish the imaginative potential of such programmed by the artist and accompanied by a world. I sometimes have the feeling that images. image is too authoritarian a medium. It offers too much to the listener. I would like to aid MM You have been focusing on the relationship the listener in entering the realm of their own between image and sound for a long time, fantasies rather than lead them to a labyrinth when collaborating on theatre, film and diverse of additional layers of personal interpretation. audio-visual projects and also in your own original works. You will perform two pieces at MM Your last record Shapescapes is also PAF, one of which uses both sound and image. based on ambient recordings. Were they When do you decide on the synaesthetic chosen randomly? interconnection of these forms? SA I choose ambient recordings for my SA The project Spectral Scenery, which has sound compositions according to the same a visual component, creates an imaginary criteria that apply to the classic (rhythmic and sound landscape through improvisation using tonal) music material. I do not listen to these a loop software that I have programmed for this recordings as I would listen to a record/imprint purpose. The sound output is rather minimalist of the original environment or situation; I do not and abstract and in such a case, it seemed work primarily with their original relationship to me that it would benefit from a visual to the moment when they were captured and component, which is, naturally, also minimalist I do not wish to mediate the feeling coming and deliberately monotonous in order to avoid from the original emotion or the significance of multi-layered illustration of the sound. In fact, the recording. I am interested in the spectral image is only a tool to facilitate the perception composition and above all, the dynamics of of the fundamental story line of the set and the movement in the recordings because represented by imaginary horizontal movement the latter two are qualities more difficult to through the sound landscape. Thus it does handle when working with synthetic sound, not offer any complicated meaning structure. where one might not even want to take them 101 animation beyond animation into account. So the choice of recordings is not accidental; I make it based on the purely aesthetic requirements of a particular composition.

Stanislav Abrahám interviewed by Martin Mazanec

5 Dec | 10:30 pm | T Stanislav Abrahám: Shapescapes & Spectral AV performance | Animation beyond Animation ------102 animation beyond animation

Lotic & Michal Pustějovský and simultaneously make their resulting tone independent is a part of the dramaturgical In the long term, Michal Pustějovský uses conception of PAF. “generated” image and light as his primary means of expression. His objects are far from Martin Mazanec the border forms of utility “light” design. In 4 Dec | 4:30 pm | TM kinetic and light installations, he uncovers the Michal Pustějovský: Generated image “traditional” relationships between motion, Presentation | Animation beyond Animation light, matter and space. In an almost modernist ------style, tendencies towards presentation space 4 Dec | 9 pm | TM dematerialization can be found in Pustějovský’s Lotic (US) & Michal Pustějovský (CZ) work. He works with his own projectors and their AV performance | Animation beyond Animation modifications, while the projection itself and its ------source have become the starting point for his present work. Pustějovský states: “Projection technology still fascinates me. Right now, I am really interested in the projector itself. Where are its boundaries, where does the image begin and where does it end. ” Before the evening concert with American musician J’Kerian Morgan, who performs under the name Lotic, a presentation will take place of a light-space situation that Pustějovský will set up in the Theatre of Music. Jonatán Pastričák describes Lotic’s music as “sound structures that stretch somewhere between chaos and harmony. The contrast between these two states becomes the main denominator. His music is full of tension and fragile emotions. Without exaggeration, it can be said that Lotic is one of the brightest talents of today’s electronic club scene.” In Olomouc, Lotic will present his latest record Agitations (Janus Berlin, 2015), while the collaboration with Pustějovský is specifically for the given space. The effort to isolate music shows from the club environment 103 animation beyond animation

PLAIN the arising landscape, take up various relative positions in time. They range from harmonic The new audiovisual project PLAIN will be mingling to the creation of opposing polarities. introduced by its creators – musician Jonatán Pastirčák (Pjoni, Isama Zing) and visual Martin Mazanec artist Ján Šičko (DevKid). This autumn, the Project PLAIN was created for the Festivals of Live Cinema, authors have also cooperated, in the context PAF Olomouc and Melo Ethos Bratislava. First realized as Light Courtain (Pjoni, Ján Šicko, Niels Henrik Asheim) for of the development and preparation of a Screen City Festival, Stavanger, 2015 project based on the decentralisation of the viewer´s perception of sound and image, on 5 Dec | 4 pm | FA the implementation of the site specific AV PLAIN performance Light Curtain for the Norwegian presentation – Ján Šicko & Jonatán Pastirčák festival ScreenCity. Instead of an installation Animation beyond Animation solution which uses lighting and a quadraphonic ------sound system to fill the whole presentation 6 Dec | 8 pm | T space, which is typical for PLAIN, the authors PLAIN used a different method for Light Curtain. AV performance | Animation beyond Animation It was a model situation of an image projected ------onto a ‚treated screen‘ divided into a grid of twenty vertical strips, with the sound consisting of a sampled and live organ operated via MIDI controller. PLAIN is, according to its authors, an electro- acoustic spatial landscape created in real time. The viewer becomes a part of the scene, which can be actively perceived from different perspectives. Therefore, the experience is individual for each viewer. The image is created by minimalistic and abstract elements. The emphasis is put on working with light in space and experimenting with peripheral perception. The sound composition consists of fragments, unconventional acoustic material and sampling, which creates ambient and rhythmical sequences in contrast with the raw digital sounds. Image and sound, the cornerstones of

105 aport animation

aport animation The grey tones of running watercolour clouds, the wind pulling at bare trees’ brushstrokes, a silhouette of a dog done in Indian ink and human figures stretched out for a throw. The dog runs after the thrown piece of wood at the speed of twenty-four frames per second, and by that movement, the command “aport!” (Czech equivalent for “Fetch!”) was issued. Aport is animation in the traditional sense, especially in comparison to the often very uncommon ways in which other festival sections of PAF understand it. Aport is also, however, animated film as a form of live culture; animated film in its current form, both in a Czech context and abroad. As such, it is also the vanishing point for artistic operations, which includes festivals, the study of animation art at universities and independent production companies as an alternative form of financing. Last, but not least, Aport is an intersection of creation and game playing. In childhood, both of 106 aport animation these are in the same category of activities, and Aport is also a space dedicated to new or for many, they blend into adulthood as well. For recent feature films–ones that have already been the luckiest ones, the creative process and play shown in domestic distribution and which are remain linked for their whole lives, and for them, art worth remembering for their superior qualities. still remains an act whose purpose lies in itself and Festival hits and films which will premiere at PAF it is a joy for them – a shared joy, since the viewers are, however, also shown. This year’s films Song of can also experience it through the screen. the Sea, The Boy and the World and, a picture so PAF is engaged in long-term collaboration far unknown to European audiences, Cafard, will with festivals of animation in the Visegrad Group be screened. states. For that reason, a block of videos from Aport is hand-drawn and digital animation, the previous year of the Other Visions section but it is not just a privilege of film media–it can is regularly included in their programmes. The deliver an artistic dimension to a computer game organizers of Slovakian, Polish, and Hungarian as well. This year, that will be proved by three festivals (mainly Fest Anča, StopTrik, Anilogue) presentations on upcoming and completed reciprocate by bringing, or at least sending, games: Dark Train, Rememoried and Other Inside. selections from their own programmes. A different aspect of the game fenomenon will be This year, we will be able to see five short films shown by Matyáš Trnka in his presentation of the under the name SK Young and Fresh, which interactive exhibition Trnka’s Garden 2, which, as mainly originated in partnership with the BFILM well as a five-episode series by Břetislav Pojar, production company. The authors of the selected draws from the famous children’s book by Jiří films include Matej Smatana, Joanna Kożuch and Trnka. Thus the opportunity arises to compare two Daniela Krajčová. It could be said that the Czech different approaches, two different adaptations of equivalent of BFILM is the nutprodukce company, the same motif. with whose support, the puppet film called Over Pojar’s Garden is a nostalgic return to the Head and Ears in Moss by Filip Pošivač and golden age of Czech animation. Tomáš Hodan’s Barbora Valecká, was created. documentary Film Adventurer Karel Zeman Many young authors come back to PAF. One is a similar return, only with a different taste of such guest is Peter Budinský, who will present his nostalgia. On the other hand, #mm Net Art, is upcoming feature film Heart of a Tower. One of a matter both current and contemporary. It is the two screening blocks prepared by Eliška Děcká, first Czech self-contained anthology dedicated in which short films by students of Czech, to Internet art, edited and co-authored by Marie Hungarian and Finnish schools are compared, Meixnerová and which is also a fresh publication will also be part of the Visegrad echoes. under the PAF Edition. Another block of student films which originated at FAMU, UMPRUM and UTB was arranged by Jiří Neděla producer Petra Ptáčková into a collection called Animated Shorts 2. Alexander Campaz, Infinity + 1, 2015, PAF New York 2015, New York City, photo: Alexandr Jančík Alê Abreu, The Boy and the World, 2015 Sini Pietiläinen, Anni Oja, Markus Tervola, Taru Riskilä, The Table is Set, 2015 Filip Pošivač, Barbora Valecká, Over Head and Ears in Moss, 2015 Paperash, Dark Train, 2015 Petr Budínský, Heart of a Tower, 2015 Georgij Danělija, Ku! Kin-dza-dza, 2013 Marie Meixnerová (ed.) ​#mm Net Art – Internet Art in the Virtual and Physical Space of Its Presentation, 2014, photo: Dominik Gajarský 115 aport animation

PAF Edition: #kg #mm net art The fifth chapter is simply called Archiving and is dedicated to the archiving and preservation of The first coherent Czech anthology devoted Internet art (Dieter Daniels, Gunther Reisinger, to Internet art (net art) was released within Matěj Strnad). The author of the epilogue is PAF Edition in November. Net art is nowadays Lumír Nykl, a Czech theorist of post-internet and perceived as a significant field of contemporary a curator. visual art which is being researched by experts. The editor of the publication and author of In the course of its more than 25-year long several texts is the curator and theorist Marie history, it was, however, considerably changed. Meixnerová, who has been systematically Forms of theoretical, critical and authorial com- dealing with Internet art since 2011. At PAF the prehension of Net art were also developed. book will be introduced in the form of a critical The publication ​#mm Net Art – Internet Art in performative review by the curator, graphic the Virtual and Physical Space of Its Presenta- designer, occasional coder and head of the tion, may serve as the first introduction to this Department of Digitalisation and New Media at specific area of the artistic world in the 20th and the National Museum, Katarína Gatialová 21st centuries. However, the selection of texts is intended for experienced readers. Those Marie Meixnerová readers will find information that has not been published before as well as special viewpoints 4 Dec | 4:30 pm | CH on the net art phenomenon. It includes and puts Edice PAF: #kg #mm Net Art into context, period texts, manifestos and both presentation – Katarína Gatialová theoretical and historical articles in which net Aport Animation art is traced from its technological as well as ------MEIXNEROVÁ, Marie (ed.) ​#mm net art – Internet Art in the ideological origins to the contemporary moment Virtual and Physical Space of Its Presentation​. of syncretic connection of virtual and physical Pastiche Filmz: Olomouc, 2014. worlds and the steps of so-called post-internet art into gallery premises. The anthology is divided in five thematic ar- eas that are derived from significant moments in Internet art genealogy: Web 1.0 (Katarína Rus- náková, Dieter Daniels, Marie Meixnerová); Net. art (net-dot-art) (Domenico Quaranta, Natalie Bookchin, Alexej Šulgin); Web 2.0 (Domenico Quaranta, Piotr Czerski, Brad Troemel, Artie Vierkant, Ben Vickers, Marie Meixnerová) and Postinternet (Jennifer Chan, Gene McHugh). 116 aport animation

Alexander Campaz: PAF Fashion to adjust the design of fabric, so that the original T-shirts and sweatshirts à la Alexander Campaz Alexander Campaz is a fashion designer who can be made. Although it will not be possible lives and creates in Brooklyn. Since 2012 he to sew the T-shirts on the spot, the participants has been in close cooperation with the Festival will learn how to prepare everything in order to of Film Animation (PAF). For the festival fashion make a designer T-shirt. series – PAF Fashion – he has designed T-shirts (2012) and scarves (2014); in both cases their Marie Meixnerová designs developed from the graphics of the cur- www.alexandercampaz.com rent year of the festival. Campaz started to deal with fashion design 3 Dec | 8:30 pm | KPC, AG, K at very young age. He became a professional A Tour Around the Vernissages | PAF Art during his studies at Cooper Union in New ------York. His work is characterised by the use of 5 Dec | 11 am | AGD recycling and organic materials, a combination Alexander Campaz (CO/US): PAF Fashion of coloured wedges and fragments of fabric, and workshop | Aport Animation all-over prints. He is continually developing his ------own fashion collection of design T-shirts, sweat- 3–6 Dec 2015 | K shirts and pelerines. For his last project, My Bro Alexander Campaz (CO/US): Infinity + 1 collection, Campaz introduced 32 sports jerseys installation | PAF Art inspired by the football World Cup that were ------designed for the smallest breeds of dogs. In cooperation with the Festival of Film Animation (PAF), Campaz has prepared a new, absolutely unique artistic project – an exclusive limited collection of designer T-shirts; Infinity + 1, developed from the philosophical concept of Hilbert’s paradox of the Grand Hotel. At PAF this collection will also be introduced in the form of an exhibition of the same name. The first time Campaz appeared at PAF was in 2012, when he focused mostly on the history and genealogy of his work. This time the pres- entation will concentrate on his most current projects; within his Saturday workshop he will clarify his creative methods and will explain how 117 aport animation

Animated Shorts 2 6 Dec | 9:30 am | FA Animated Shorts 2 After last year’s presentation of Animated Shorts screening, introduction – Petra Ptáčková, 2014, here is the second block intended for Orlin Stanchev | Aport Animation children. This time, it will provide not only a film ------Kitchen Tales / Kuchyňské pohádky that originated in the Animation Studio, Tomáš dir. Vojtěch Domlátil | UMPRUM | CZ | 2013 | 7′25″ Baťa University in Zlín, but also films from the ------Film and TV School of Academy of Performing How Pumphat Played Hell with the Devil Arts – FAMU and there is one contribution from Jak Pumpot s čertem zatočil the Academy of Arts, Architecture and Design dir. František Dečman | FMK UTB | CZ | 2015 | 10′05″ in Prague (UMPRUM). This year’s selection ------The Robbery / Přepadení presents films made using various animation dir. Jan Saska | FAMU | CZ | 2012 | 1′30″ techniques (e.g. computer and manual ------animation, animation of objects) and which Alien / Cizinec develop interesting stories. The block, which dir. Martin Máj | FAMU | CZ | 2013 | 7′ is not just for children, is characterised by its ------humour. However, more serious topics are also The New Species / Nový druh dir. Kateřina Karhánková | FAMU | CZ | 2013 | 7′ involved. How will an Alien manage in a place ------where nobody understands him and he can’t Naturals understand them? What if three children find dir. Viktor Svoboda | FMK UTB | CZ | 2015 | 1′39″ the bone of a mystery animal and each of them ------imagines The New Species? Another film shows Chronicle / Kronika dir. Vojtěch Dočekal | FMK UTB | CZ | 2015 | 7′21″ how memories and events recorded in ------a Chronicle can differ. The modern world, which 4 Inches / 4 palce has shrunk to the size of a mobile’s 4 Inches, dir. Jiří Machů | FMK UTB | CZ | 2015 | 4′17″ will be reflected too. The selection, which is ------rich with respect to the genre, also involves a Ecodenge grotesque about an unsuccessful bank Robbery dir. Denizcan Yuzgul | CZ | 2012 | 2′50″ as well as a return to the world of myths and ------On the Origin of Beer / Jak vzniklo pivo legends, whether from the Šluknov region or dir. Eliška Chytková | FMK UTB | CZ | 2015 | 2′45″ ancient Mesopotamia. But it is not necessary ------to go far – even a seemingly ordinary place, Chaa such as grandmother’s kitchen, can become an dir. Filip Diviak | FAMU | CZ | 2015 | 3′34″ extraordinarily busy world full of action scenes. ------

Veronika Zýková 118 aport animation

AniScreen FAMU (Film and TV School of Academy of Per- forming Arts in Prague), UMPRUM (Academy Two series of AniScreen – Turku Arts Academy of Arts Architecture & Design in Prague) and and MOME Budapest – will introduce the latest UTB (Tomas Bata University in Zlín) students. creations of domestic animated student pro- All of this under the curatorial leadership of the ductions in the context of students‘ animation nonprofit organization AniScreen, which strives around the world. In our selection from to promote independent authorial animation last year, we focused on Canada and Japan – with a special focus on new young animators two programme blocks contained a mixture and students. of Czech student animation and short animated films from Concordia University in Montreal Eliška Děcká and the Tokyo University of Arts. The AniS- creen curator’s choices for this year are 3 Dec | 10 pm | T the Hungarian MOME Budapest and AniScreen: Turku Arts Academy Finnish Turku Arts Academy. screening, introduction – Eliška Děcká In recent years, both animation schools Aport Animation have collected many festival awards and not ------Turistit / The Tourists only in student categories. They belong to the dir. Olli Laamanen | 2009 | TAA | 4′07″ most progressive universities in Europe, where Hopscotch it is possible to study authorial animation. Both dir. Pavel Soukup | 2015 | UMPRUM | 0′23″ schools pride themselves on their support for ------the strong individual authorship of their future Stage Fright dir. Elina Minn | 2008 | TAA | 1′53″ animators, and possibly because of that the ------animated films, which come from their produc- Light tion, are diverse and distinctive. dir. Pavel Soukup | 2015 | UMPRUM | 0′33″ Despite this fact, if we still try to find some ------recurring narrative patterns or visual styles, Espresso Doppio dir. Mika Koskinen 2015 | TAA | 3′54″ we can simply say that the animated films of MOME are often intentionally very provoca------Orfea tive and there creators like to work with strong dir. Michaela Hoffová | 2015 | FAMU | 11′27″ pastel colours, while the Finnish students’ ------works often fall into the melancholic and darker Trick Collection corners of the human soul, which they often dir. Ester Nemjóova | 2015 | UMPRUM | 2′00″ visualise with unusual puppets. ------Paska kuningas / Good-for-nothing King This year the films of our foreign guests will dir. Jenni Rahkonen, Heta Bilaletdin | 2009 | TAA | 8′00″ be thoroughly combined with the animations of ------119 aport animation

What the Bears Like / Co medvědi rádi We Have a Problem / Máme problém dir. Veronika Zacharová | 2015 | UTB | 2′23″ dir. Rozálie Kirschová | 2015 | UMPRUM | 2′29″ ------Benigni Frusztráció / Frustration dir. Elli Vuorinen, Jasmiini Ottelin, Pinja Partanen | 2009 dir. Milán Kopasz | 2014 | MOME | 3′23″ TAA | 7′49″ ------Saturday Afternoon / Sobota odpoledne Pimple / Pupínek dir. Šimon Mészáros | 2015 | FAMU | 9′20″ dir. SangEun Won | 2015 | FAMU | 8′37″ ------Karawane Pöytä on katettu / The Table is Set dir. Dániel Pucz | 2015 | MOME | 3′30″ dir. Sini Pietiläinen, Anni Oja, Markus Tervola, Taru ------Riskilä | 2013 | TAA | 4′26″ On the Origin of Beer / Jak vzniklo pivo ------dir. Eliška Chytková | 2015 | UTB | 2′46″ Jam / Marmeláda ------dir. Jana Černohorská | 2015 | UTB | 4′49″ Mese / Tale ------dir. Attila Bertóti | 2014 | MOME | 7′35″ Viikset / Moustache ------dir. Anni Oja | 2015 | TAA | 3′36″ A vörösbegy / Robin ------dir. Carlos Rufas | 2014 | MOME | 6′43″ Magic Trick / Magický trik ------dir. Anna Tomanová | 2015 | UMPRUM | 1′24″ Raven Mother/ Krkavčí matka ------dir. Noemi Valentíny | 2015 | UTB | 7′58″ Viis varpaista / No time for toes ------dir. Kari Pieska | 2013 | TAA | 7′57″ Sellökonzerv / Canned Mermaid ------dir. Eva Darabos | 2014 | MOME | 0′48″ ------5 Dec | 7:30 pm | CCC When I Play / Když si hraju dir. Linda Retterová | 2015 | UMPRUM | 1′20″ AniScreen: MOME Budapest ------screening, introduction – Eliška Děcká Otthon / Heart Aport Animation dir. Gelley Bálint | 2012 | MOME | 5′50″ ------The More I Know / Čím víc vím The Želivka River / Želivka dir. Marek Náprstek | 2015 | FAMU | 7′43″ dir. Klára Břicháčková | 2015 | FAMU | 7′23″ ------Social Animals dir. Buda Florán Anna, Gyulai Anna, Koska Zoltán, Szász Eniko, Timár Anna | 2014 | MOME | 4′30″ ------Outdated dir. Martin Máj | 2015 | FAMU | 9′45″ ------120 aport animation

Over Head and Ears in Moss Heart of a Tower

In their creative work Filip Pošivač and Barbora Slovak artist and animator Peter Budinský is Valecká are mainly concerned with illustration the author of three short films – Alfonz’s Fly and animation. They both have light and playful (2009), Birds of Prey (2009) and tWINs (2011). styles, and a liking for the poetics and charm Budinský’s style is based on expressivity and of a forest. As well as talent they both have dark humour. His style has been borrowed valuable professional experience, such as their in several films by other young authors, not participation in the production of Jan Balej’s film only from Slovakia. However, his forthcoming Little from the Fish Shop (2015). children’s feature film entitled Heart of Tower will Over Head and Ears in Moss is their first be of an entirely different nature and it will have authorial project together. The production of its own sophisticated fictional world. this twenty minute long film was arranged Animations for Heart of Tower are gradually by the nutprodukce company (e.g. Pandas, being created based on the plot of a fairy tale. Gottland, Mr. Spider’s anatomy, Burning Bush) A nine-year old boy called Riki receives a and it raised funds in an active way, combining gemstone which he believes is the heart of his crowdfunding, pitching forums and grants. It is mother, and she becomes lethargic when she now in the final stages of production. doesn’t have the gemstone with her. Furthermore, Detailed, adorned settings, clean art and Riki meets a girl called Ema who takes him to a animator work, work with puppets, computer parallel world; the fantastic country of Goluta. In post-production and, mainly, imagination – Goluta the gemstone is also needed, as nothing these are the pillars of this charming story about else can save the country from the evil usurper Josefka and Bertík, two children living in the and from gradually becoming frozen. Riki finds woods where they grow mushrooms. The film out that the destructive frost of Goluta is even creators will present some of the scenes, they spreading to his home world. So he and Ema will talk about the curiosities of making this film decide to take a dangerous trip. and they will also put it into the context of their In his presentation, Budinský will reveal the other creative activities. They will also reveal the story in greater detail; he will present Goluta’s concept for their next upcoming puppet film – scenery and inhabitants, he will show some this time a full-length one. unfinished extracts and he will talk about Jiří Neděla strategies related to the financially challenging production of this project. 5 Dec | 5 pm | T Jiří Neděla Over Head and Ears in Moss 4 Dec | 11 am | CH presentation – Eva Kameníková, Filip Pošivač Heart of a Tower Aport Animation presentation – Peter Budinský | Aport Animation 121 aport animation

SK Young and Fresh Michaela Čopíková and Veronika Obertová create their work under the label Ové Pictures. BFILM – Slovak production company led by Peter As one of the themes for their film Nina (2014), Badač has prepared a selection of five short films they chose child phobias and how to overcome for the Festival of Film Animation. The selection them. is not exactly a comprehensive overview of con- The last but definitely not the least of the five temporary Slovak animation, but it does deliver films is Stability (2015) by Daniela Krajčová. a certain message about it, mostly good and The film was created by means of the unusual interesting. Besides other things, this is thanks to technique of chalk animation. Through countless the strong representation of the female author- visual metaphors, the film tells the story of animator element and to the mutual collaboration a young woman trying to find her inner freedom of the artists involved. and balance. The film Fongopolis (2013) by Joanna Kożuch tells the story of a violin virtuoso trying to find the Jiří Neděla right platform in a crowded train station. From this particular platform, he must set off for a venue 4 Dec | 1:30 pm | CCC where he will play his dream concert. It may be SK Young and Fresh a satirical depiction of the inability to orientate screening, introduction – Daniela Krajčová, in the real world, which is typical for geniuses. Martin Smatana, Joanna Kożuch However, it is also a Kafkaesque nightmare in Aport Animation which a man lost in a labyrinth desperately fights ------Fongopolis against time. dir. Joanna Kożuch | SK | 2013 | 13′ Viera Čakányová created a film called the ------Flying Horse (2014). The film is based on one of The Flying Horse the chapters of Gottland by Mariusz Szczygiel. dir. Viera Čakányová | SK | 2014 | 30′ It discusses the fate of Eduard Kirchberger, a ------Rosso Papavero pulp fiction writer who joined the State Security dir. Martin Smatana | SK | 2014 | 6′ (StB). The film captures Kirchberger’s daughters ------remembering their father, it shows records from Nina the State Security files and an adventure of a dir. Michaela Čopíková, Veronika Obertová SK | 2014 | 17′ character from one of his short stories. ------Rosso Papavero (2014), a student film by Martin Stability Smatana, is a dreamy puppet miniature. It tells dir. Daniel Kabir | SK | 2015 | 17′ the story of a boy who witnesses a night perfor------mance of the “Circus of the Red Poppy” in the middle of a meadow. 122 aport animace

The Garden Animations of spatial and semi-plastic puppets and sometimes drawn animations were used in In the topography of spaces where artistic works these films. This is how, with thanks also to the are shown, a garden represents a place which animators Boris Masník and Jan Klos, Czech is within the circle of known, safe and protective animated film still came alive and magic works territory of a house. However, it is excluded from in The Garden. this territory due to its own life, which is not only controlled by a human’s will. Once the life dis- Jiří Neděla appe a house which has lost its occupants, then it wakes up and spreads all over the garden. A 5 Dec | 9:30 am | FA clearly organised terrain becomes brushwood The Garden with unknown twists and the once organised screening | Aport Animation space acquires depth and a touch of mystery. ------Animal Lover / Milovník zvířat The Garden is the only literary work by Jiří dir. Břetislav Pojar | des. Miroslav Štěpánek Trnka, who was also the illustrator. The book CS | 1974 | 15′ was transformed into a series of short anima------tions by Břetislav Pojar. Pojar met Trnka in 1945 About the Thick Fog / O té velké mlze dir. Břetislav Pojar | des. Miroslav Štěpánek while working in the newly created Bratři v triku CS | 1975 | 14′ Studio. Two years later he started working in ------the Studio of Puppet Film where he progres- How to Catch a Tiger / Jak ulovit tygra sively became Trnka’s main animator. From the dir. Břetislav Pojar | des. Miroslav Štěpánek CS | 1976 | 17′ beginning of the 1950s he also strove for his ------own, distinctive style of directing. By 1974, when Elahw the Whale / Velryba – Abyrlev the first part of The Garden called The Animal dir. Břetislav Pojar | des. Miroslav Štěpánek Lover originated, he had already made Hey, CS | 1977 | 14′ Mister, Let’s Play and his masterpiece A Drop ------About Mice in Tinfoil / O myších ve staniolu Too Much. The spirit of Trnka’s illustrations was dir. Břetislav Pojar | des. Miroslav Štěpánek brought into The Garden by the artist Miroslav CS | 1977 | 14′′ Štěpánek through his own expression. Štěpánek ------had been accompanying Pojar since 1960 and together they made Cat’s Word and Painting is 5 Dec | 11 am | T for the Cats. Trnka’s Garden 2 The Animal Lover, which was created by presentation – Matyáš Trnka | Aport Animation ------using stop-motion animation, was followed by About the Thick Fog, How to Catch a Tiger, Elahw the Whale and About Mice in Tinfoil. 123 aport animace

Trnka‘s Garden 2 Film Adventurer Karel Zeman

The young artist Matyáš Trnka was introduced Tomáš Hodan’s film Film Adventurer Karel to PAF two years ago. This year he will provide Zeman presents the life and work of one of the a view into Trnka’s Garden 2, an interactive play- most internationally famous Czech filmmakers. ground based on a famous book by his grandfa- The renowned artists Terry Gilliam, Tim Burton ther. Besides a five-episode series, made during and others speak about being inspired by the 1970s by Břetislav Pojar, Trnka’s Garden 2 Zeman’s films. Those who had the opportunity (with the subtitle The Original Cyberscope) is to work with Karel Zeman speak about his the second adaptation based on the book. outstanding personality and creative practices. The impulse for its origin was the approach- The attention is focused on Zeman’s work and ing anniversary (2012) of Jiří Trnka’s birth. Not the way he created charming and enduring only Trnka’s grandson Matyáš, but also his son sequences in films such as Journey to the Jan, participated in the preparations. However, Beginning of Time and The Fabulous Baron they took a long time, so the first opportunity Munchausen. Interesting details are revealed by to view the result was no sooner than this year. the director’s daughter Ludmila Zemanová. The It happened in Plzeň, where Trnka was born in film also captures how the young generation 1912. Besides his illustrations, which were put of students of animation in Zlín coped with the into motion by means of interactive animation, original methods and technology of film tricks: the the exhibition included audio-visual attractions students reconstruct three scenes from named according to the creatures from the Karel Zeman’s films, using the original proce- original Garden – dwarfscope (trpaskoskop), dures. Film Adventurer Karel Zeman includes elephantgraph (slonograf), bark-recorder many examples of film and archive materials that (štěkafon), etc. show us the beginnings of his professional career Matyáš Trnka’s presentation does not have concerning his work in the Baťa Company and the same large extent of interactivity as Trnka’s the individual peaks of his work associated with Garden 2, however, it will be possible to learn the film studios in Zlín. everything about its origins, starting with spe- Veronika Zýková cific inspirational resources and ending with the struggles with technological difficulties. 4 Dec | 7 pm | CCC Film Adventurer Karel Zeman Jiří Neděla screening, introduction – Tomáš Hodan, Ondřej Beránek | Aport Animation 5 Dec | 11 am | T ------Trnka’s Garden 2 Film Adventurer Karel Zeman / Filmový dobrodruh Karel Zeman presentation – Matyáš Trnka | Aport Animation dir. Tomáš Hodan | CZ | 2015 | 102′ 124 aport animation

Dark Train motivations and instincts. It has many qualities (including access to the inventory, mimicry and The computer game Dark Train is an ambitious the ability to change eye colour) that specify the project that may even be labelled a steampunk sphere of the player’s possibilities and therefore adventure. But in fact the game defies clas- determine the means with which to control the sification. And this is not only due to its gaming game. principles, environment and system of control, Dark Train is the result of the authors’ desire but mostly due to its distinctive aesthetic quali- to exceed the limits of their existing artistic ties. The game was developed by Paperash media. Therefore it is certain that the playing Studio, specifically by Vojtěch Vaněk, a graduate experience will be powerful and artistic. of Intermedia, the Faculty of Fine Arts BUT, and Kateřina Kynclová who graduated in Graph- Jiří Neděla ics and Illustration at the Academy of Arts, Architecture and Design in Prague. Their visual 5 Dec | 6 pm | CH symbiosis resulted in, among other things, Dark Train the short films A Match (2011) and Little Box presentation – Paperash | Aport Animation (2012), in which they used the stop motion ------animation technique which is also used in the Dark Train game. Paper is not only a medium for drawing here; it is an essential substance, the main construc- tion material, an imitation of other materials and even an exclusive source of the sounds contained in the game. The dominant technique is to cut out paper segments and successively compose them into the overall game environ- ment which is divided into three main levels. A dark, four-wagon train moves through the three levels. Inside the wagons there are fanci- ful, sombre landscapes out of which a player – and here is the subject matter of the game – is supposed to create a functional, autonomous world. Their only tool is a cursor in the form of a mechanical giant squid which is dependent on the player’s will and the physical laws of the current environment as well as on its own 125 aport animation

Rememoried squares of deliberate graphical errors (glitch). Even hallucinatory sensations may occur when A game is determined by clearly defined rules playing, and at the same time, the realization that are obligatory for all participants. These that Rememoried is not the kind of game during rules proceed from the principle of the game which we can rely on our old videogame in- and its system, and also are specified by the stincts. The greater effect it has is as an interac- style and kind of game and by the topic the tive audio-visual work with a strong emphasis on game deals with. an aesthetic experience. The overall expression The topic of the Rememoried game is a is intensified by the fact that the whole game dream as a psychological phenomenon, the was developed in the Hangonit studio, which “rules” of which are professionally recorded and involves only one person – the creator Vladimír quite satisfyingly described. Dreaming, as all Kudělka. of us know it, can take many forms, but no one would think of it as something that follows many Jiří Neděla rules. However, the manner in which dream ele- ments emerge from the subconscious is driven 6 Dec | 12 pm | FA by deep-rooted laws of our psyche, though a Rememoried certain degree of randomness is involved too. presentation – Hangonit | Aport Animation A frequent occurrence in the dream process ------is instability, the changeability of dreamy set- tings, characters and story. The setting of Rememoried is represented by a simplified, virtual model of the human subconscious, or more specifically – by a visually potent, surrealistic landscape that subordinates to changes in a similar way as the imaginary area of a dream. And all these changes must be followed by a player who thus searches for a key to advance to the next level. In the manner of a walking simulator, the player moves through a mostly black and white background, an open cosmic space full of levitating picture frames, shining trees, particles grouped in complex geometric structures and pulsating luminous tunnels. Sometimes an image is either refracted by a kaleidoscopic effect or crumbled into little 126 aport animation

Other Inside Cafard

The game development team Vicious Mime The word “cafard” has two main meanings in from Olomouc and its members; Jiří Gerat, French: cockroach and dejection. Both meanings David Konečný, Henrich Lauko and Tomáš Pela, are metaphorically connected with the narrative of haven’t quite come to the attention of the general the movie and the main character. On the verge of public. However, this could change in the near the First World War a Belgian, Jean Mordant, wins future, and the upcoming computer game Other the title of World Wrestling Champion. At the same Inside should help them achieve that. time back home, his daughter Mimi is raped by a It’s the first larger project the team members group of German soldiers. Jean wants to avenge of Vicious Mime have started, and it is about her so he enrols in the armoured division and with to enrich the Czech video game scene with naive ideas about an early return; he sets out on an original platformer, including the elements the journey. But it transforms into an odyssey of of an exploration and an adventure game. disillusion, despair and a struggle for survival. It is The protagonist is a mime, lost in his own his tenacity that helps him to handle the depress- subconscious, trying to find himself. On his ing absurdity of the destructive global conflict. journey, he encounters logic puzzles and his The director Jean Bultheel made this film in own memories, and has to react to the coproduction among Belgium, France and the challenges of the game environment. Each Netherlands. He selected for his movie an unusual reaction further develops his character and graphic style consisting of rough contours of the the plot, and therefore has an impact on the anatomy of a figure, polygons instead of circular outcome of the game. The authors of the game objects and other features which are the explicit pay meticulous attention to the story itself, which antithesis of the mainstream efforts to obtain branches into many different paths. The same maximum credibility. diligence has been applied to the controls, Cafard (2015) evokes the retro mood of the 3D which depend on the skills possessed by the PC games from the turn of the millennium, such as protagonist. Alone in the Dark (1992) and Mafia (2002), and for These aspects and more will be uncovered the first time, it will be presented in the cinemas of during the presentation of the game Other Central Europe. Inside; perhaps even its expected completion Jiří Neděla and release dates. Jiří Neděla 5 Dec | 12 am | FA Cafard 4 Dec | 17:30 pm | CH screening | Aport animation Other Inside ------Cafard presentation – Vicious Mime | Aport animation dir. Jan Bultheel | BE, FR, NL | 2015 | 92′ 127 aport animation

Song of the Sea ornaments and mandalas take an important place in the collective film The Prophet (2014), People have been waiting for Song of the Sea, where Moore worked as one of the nine authors. the second feature film by the Irish artist and Even though the Song of the Sea takes place filmmaker Tomm Moore, ever since they saw his in a closer unspecified present, the attributes debut The Secret of Kells (2009). The absolutely of the modern time occur sporadically and unique style, strong story and precisely mastered the story creates an impression of mythical craft revealed such a distinctive talent, that it timelessness. The animated film then becomes almost raised fears about whether he could a tool for updating the legends about the mythical develop further. However, the result has shown creatures called selkies that once belonged to that all that is needed is “just” to tell a different the field of oral folk literature. story with the same tools. The poetics of Celtic myths, with which he has also continued to Jiří Neděla work in the Song of the Sea, will never lose their attraction in his interpretation, just like the 6 Dec | 1 pm | CCC handwriting, which in comparison with the style Song of the Sea of big studios (DreamWorks, Pixar) retains the screening | Aport Animation charm of hand animation. ------Song of the Sea Tomm Moore studied classical animation at dir. Tomm Moore | IR | 2014 | 94′ the Dublin Ballyfermot College. Afterwards he ------returned to the little town of Kilkenny, where he grew up and later co-founded the Cartoon Saloon studio. By doing so he gained world respect for Irish animated films. Besides the next key figures of Cartoon Saloon (director and animator Nora Twomey and producer Paul Young), the form of Song of the Sea was also considerably influenced by the artists Adrien Merigeau and Ross Stewart. The final form of the film is complex and and we can see the influences of Paul Klee, Wassily Kandinsky and ornamented Celtic folk creations, after which the waves of the sea, tree roots and signs engraved on stones were shaped. In a similar manner, the caligraphy of early medieval illuminations is reflected in the landscape of The Secret of Kells and the Arabic 128 aport animation

The Boy and the World rary parable of an existence uprooted. However, it also offers consolation, no matter how ab- The Brazilian filmmaker Alê Abreu has been stract, in the form of a mythical loop connecting producing animated films since the first half the beginning to the end of the story. of the 1990s, when he debuted with his short film Sírius (1993) at the Anima Mundi festival . Jiří Neděla The great success of the film was followed up in another short film Espantalho (Scarecrow, 4 Dec | 10:30 pm | CCC 1998). He made his first feature film in 2007 – The Boy and the World Garoto Cósmico (Cosmic Boy). While Abreu screening | Aport Animation was already well known due to his participation ------The Boy and the World / O Menino e o Mundo in international festivals (and winning awards), dir. Alê Abreu | BR | 2013 | 80′ the real sensation was his next film O Menino e ------o Mundo (The Boy and the World, 2013) which won recognition at the international festivals of film animation in Ottawa and Annecy. However, the general public avoided The Boy and the World. The reason for this is, para- doxically, the same reason it was so popular with festival audiences: in this film the spoken word is replaced by poetic speech of images and music through which a message about the destructive impact of globalisation is presented. It is the story of a boy called Cuca and his search for his father, who had left their native village and gone to a big city to look for a job. At the beginning the atmosphere of the film is joyful and full of watercolours and pastel shades. However, the deeper Cuca infiltrates into the heart of the dehumanised agglomera- tion, the more the bright colours are replaced by a monotonous grey photo-collage. The more people he meets on his journey who are slaves to the struggle for their daily bread, the more he learns about the world in its disillusioned form. The Boy and the World is a purely contempo- 129 aport animation

Ku! Kin-dza-dza through various aspects of the mysterious world, that the film is an allegory for contempo- Georgiy Daneliya is an eighty five year old Rus- rary Russia. sian film director. He has been part of the Rus- sian cinema scene for over fifty years, during Jiří Neděla which time he has developed a distinctive style 4 Dec | 12 am | FA that links the genres of drama, comedy and Ku! Kin-dza-dza sci-fi. For his last film, he chose a topic which screening | Aport Animation he had already used in his film Kin-dza-dza! ------Ku! Kin-dza-dza (1986). To make a remake of your own film dir. Georgiy Daneliya | RU | 2013 | 100′ is quite unusual and the reasons for doing so ------can be various, such as ideological, as in the case of Otakar Vávra’s film The Dark Sun (1980), which retells the story of the film Krakatit (1948), or, as in the case of the films Funny Games (1997 and 2007) by Michael Haneke, the director wanted to repeat his suc- cess with a brilliant cast. But what Daneliya did was more than just add one syllable to the title. The form of the film Ku! Kin-dza-dza (2013) is dramatically different to that of its predecessor and it is obvious why: in an animated film it is possible to depict a story that takes place in a foreign galaxy in a much more colourful way, without an extremely large budget. And so it happens that in a street in Moscow a snobbish cellist meets a young layabout. They get teleported to a different planet where the language consists almost entirely of one syllable „ku!“ and the most valuable commod- ity is matches. The comical couple tries to find their way home and wander through a dry wasteland where they encounter the bizarre inhabitants of the planet and find themselves in many absurd situations. The closer they get to their goal, the more obvious it becomes, 130 aport animation

Shirley: Visions of Reality which come from a visualisation of the thoughts and feelings which may only be assumed from The Austrian architect Gustav Deutsch (1952) Hopper’s film. This painter, who was inspired has only dealt with experimental and essay- by cinematography, among other things, was documentary film during his thirty-year career. himself the inspiration for many famous filmmak- He broke this habit in 2013 when he made his ers. The famous house in Hitchcock’s Psycho most recent film Shirley: Visions of Reality. It is (1960), which was based on the painting House definitely not just a conventionally narrated film by the Railroad (1925), serves as the most strik- with a clearly readable story. Thirteen paintings ing example. Actually, it served as such – until of a great American realistic painter of the 20th Shirley: Visions of Reality was made. century, Edward Hopper, which were painted over the course of three decades – from the be- Jiří Neděla ginning of the 1930s to the mid-1960s – served as a model for Deutsch’s film. 3 Dec | 12 am | FA Many crucial events happened during this Shirley: Visions of Reality period of history: beginning with the Great screening | Aport Animation Depression, the dropping of the atomic bomb, ------Shirley: Visions of Reality the Cold War and ending with the Vietnam War. dir. Gustav Deutsch | AT | 2013 | 92′ The main female character of the film (because ------Hopper mainly cast women in his films) is an emancipated, politically-conscious actress. She reflects on the historical events by means of thoughts and emotions expressed in inner dia- logues. The director set limits on the actress as well as himself, which did not allow them to start an action. With static shots he tries to match the compositions of Hopper’s paintings as faithfully as possible, with their contrasts of light and shadow, cool and warm colours, and sophisti- cated geometry. In fact, it is a kind of tableaux vivant in which static images acquire a temporal dimension. In this regime, he only shoots short cuts and camera moves which end with close ups, and thus the whole concept of the film re- mains on the minimalistic level. Even so, the film is imbued with dynamics and delicate tension 131 aport animation

Little Animators Blue Daisy

The workshop of animation, supervised by Pavla Kwesi Darko, aka Blue Daisy, is a London- Baštanová (Academy of Arts, Architecture and based English producer, musician and rapper. Design in Prague), will be focused on a basic He debuted with the song called Space Ex, knowledge of stop motion animation. Children on which he collaborated with French singer will create three-dimensional puppets LaNote and which was later named best new made of Plasticine and two-dimensional ones track by the American music website Pitchfork. made of paper and then they will make them His debut album The Sunday Gift (2011), move in front of the camera. The children’s own which gained attention and positive reviews, experience is the most important aspect and mainly from music critics, soon followed. It was through it they will recognize that it is a demand- released on the Black Acre label, the same as ing, but playful form of art. They will try to get the his later singles. most out of the limited time of two hours. During Kwesi also works on his music with other the first hour, all participants will create their fig- musicians (Anneka, Heidi Vogel etc.), and he ures. Fantasy is unlimited, however, children will often utilizes vocal manipulation, with various be familiarized with the principles of shooting, degrees of deformation. His music oscillates which they will have to consider when creating between hip-hop, ambient, rock and blues. This their figures. During the second part of the work- is mainly true of his last album Darker Than shop, a team will be formed to make one short Blue, whose main motif is an almost mythical animated film. The important aspect will be team contrast between dark and light, good and evil, cooperation, which is an inseparable part of which is reflected equally in his lyrics and music. film-making. The completed film, accompanied Soundwise, the album is very original thanks to by sound, will be sent to the children’s parents Kwesi’s work with acoustic recordings of drums, via e-mail. guitars and string instruments in combination The workshop is a part of the children’s with dirty analogue processing. It is no surprise workshops in the Na Cucky Theatre which take that it was released under the legendary label place every Sunday. This cycle enables children R&S Records. to experience various artistic disciplines con- nected with theatre and to develop inspiration Jonatán Pastirčák and creativity. Nela Klajbanová Veronika Zýková 6 Dec | 9 pm | CCC 6 DEC | 2 pm | W7 Blue Daisy Little Animators concert | Aport Animation workshop – Pavla Baštanová | Aport animation

133 paf art

paf art

Over the course of PAF – Festival of Film Animation, PAF Art offers a programme that reacts to the display and installation possibilities of the Konvikt building and allied Olomouc and virtual galleries. PAF invites the artists, who are asked to present their work or to make other kinds of active demonstrations within the main festival sections. Whereas Aport Animation prefers projects related to classical cinematography, PAF Art more significantly leans towards the installation practices of the visual arts and this year it has a close connection with the programme section Animation beyond Animation. Thus the parts of PAF Art are installation projects, often closely associated with moving pictures. From the standpoint of PAF’s long-term tendencies, the most significant interference to the architecture of Konvikt this year is the exhibition of the Other Vision’s competition block 134 paf art called Differentiated Visions. This year, Other refers to the infinite diversity and interconnection Visions, under a new “differentiated” name, will of the colour palette, for the first time in New York move to the Atrium after six years spent in the in November of 2015 under the patronage of PAF. attic where they were presenting in the form of The cooperating virtual gallery fragmented installation variations that retained ScreenSaverGallery will, after three years, the projection aspects of a classical cinema virtually connect Konvikt in Olomouc with setting. In the open ground floor, outside the main personal and work computers all around the festival season and in a much more problematic world. Guest curators Tomáš Javůrek & Barbora space, the most complex exhibition so far in Trnková chose the model of competition and the the history of Other Visions was set up. It is name for the exhibition, which refers to one of the complex in terms of technological solutions and main programme sections of the festival. With installation, all thanks to the curatorial concept of that they “hacked“ not only the physical space Lenka Střeláková. Individually displayed works of the festival, but also the unique first place of including several multichannel video installations the competition Other Visions within PAF, as well can be stored in a single space designed as the conceptual unity of the section Animation according to a sophisticated projection plan. The beyond Animation and, ultimately, with their individual works will then be activated at strict creative-artistic approach, their own roles as intervals by trained personnel. The architectonic curators. layout was prepared and implemented by the The playfulness, humour and optimism which visual artists Tomáš Moravec and Matěj Al-Ali. come from the solipsistically based Malawi In 2011, on the occasion of the fifth anniversary culture are the main features of the work of the of the competition Other Visions, they created conceptual artist, performer and Situationist the special exhibition project Revizor which Samson Kambala, who deviates from everyday looked at the previous competition years from the life with his “psychogeographical exclamations” perspective of pre-cinematographic projectors. according to the cheerful principles of Nyau. In the relaxed attic space, the American artist Kambala´s exhibition Unbearable Lightness of Jonathan Monaghan will present the one channel Nyau Cinema will be on public display in the digital animation Escape Pod. The attic will also U Mloka Gallery until January 16, 2016. offer sanctuary to the Czech artists Marq Delong The multimedia artist, winner of Other Visions & Anna Slama for their postinternet installation 2010 and finalist in this year‘s selection, David SANDBOX FRONTEX LITANY, as well as Možný, has prepared his new project Open Space to Alexander Campaz, the New York fashion for the last exhibition of this year in the street designer and, since 2012, the creator of PAF‘s gallery Vitrína Deniska. He installed a reduced designer fashion collection. He presented his office interior into the serried space behind the latest art project Infinity + 1, the concept for which glass, as one of the characteristic symptoms comes from Hilbert‘s paradox of a hotel room and of modern society, in accord with his “favourite” 135 paf art topics of dystopia and civilizational anxieties. 3 Dec | 7 pm | CCC The essential event of this year is the award The Artist has a Price 2015: for the most influential contemporary Czech Award from Vladimír Havlík artist over 35, initiated by the activity Artist Has presentation of Award at PAF 2015 opening an Award. The award for an artist over 35 is ceremony | PAF Art given every year as a gesture of recognition by ------our young artists and theoreticians to the artists 3–6 Dec 2015 | AG of the older generation. The last laureate was Jonathan Monaghan (US): Escape Pod a performer, artist and teacher from Olomouc installation | Animace beyond Animation Vladimír Havlík. He will lead the opening ------ceremony, and with his art formation Ostrý zub, 3–6 Dec 2015 | K he will present the award to the laureate for the Marq Delong & Anna Slama: year 2015. SANDBOX FRONTEX LITANY Every year more than five hundred people exhibition | PAF Art from all around the Czech Republic participate in ------the choice of the laureate, who, at the time of the 3–6 Dec 2015 | K vote, must be older than 35 and nominated by two Alexander Campaz (CO/US): Infinity + 1 artists from the older generation. Havlík became installation | PAF Art the 8th laureate after Jiří Kovanda, Vladimír Skrepl, ------Adriana Šimotová, artistic duo Lukáš Jasanský 3–6 Dec 2015 | KPC and Martin Polák, Václav Stratil, Dalibor Chatrný, PAFScreenSaver: Animace animace Vladimír Kokoliov and Martin Zet. exhibition | PAF Art ------Alexandr Jančík 3 Dec 2015 – 11 Jan 2016 | GUM Marie Meixnerová Samson Kambalu (MW/GB): The Unbearable Lightness of Nyau Cinema 3–6 Dec 2015 | A exhibition | Animation beyond Animation Differentiated Visions ------AV installation | Other Visions 3 Dec 2015 – 5 Jan 2016 | VD curator: Lenka Střeláková David Možný: Open Space architecture: Matěj Al-Ali, Tomáš Moravec exhibition | PAF Art Opening hours: ------3 Dec | 7 pm – 12 am 4 Dec | 3 pm – 12 am 3–6 Dec 2015 | K 5 Dec | 3 pm – 12 am Mr. Egg 6 Dec | 3 pm – 8 pm loop | Wild ‘60s ------Vladimír Havlík, I Cut My Hair Remake, 1983, 2013 Mr. Egg Commercials, 1960s David Možný, Open Space, 2015 Jonathan Monaghan, Escape Pod, 2015 Samson Kambalu, Bacchus, 2013 exhibition PAFScreenSaver: Animation beyond Animation, Konvikt Press Centre 142 paf art

The Artist has a Price 2015: tor Tereza Záchová and visual artists Barbora Award from Vladimír Havlík Kleinhamplová and Štěpánka Sigmundová. The winner of the vote for the work of the year as The ceremonial presentation of the award for well as the most valuable group and individual artists older than 35 years. This year’s award exhibitions that took place last year in the Czech bears the name of the laureate of 2015, Vladimír Republic will be announced. . Havlík – a performer, pedagogue and visual artist living in Olomouc. The finalists of the “Award from www.laureat.cz Vladimír Havlík” are: Zbyněk Baladrán, Milena Dopitová, Jaromír Novotný, Jiří Surůvka and 3 Dec | 7 pm | CCC Dušan Zahoranský. Artist Has a Price 2015: The award is presented as a gesture by the Award from Vladimír Havlík younger artists and theorists to acknowledge presentation of Award at PAF 2015 artists of the older generation. Every year more opening ceremony | PAF Art than five hundred people from all over the Czech ------Republic, who are younger than 35 at the time of 3 Dec | 12 am | CTT the vote, participate in the voting; each of them Ostrý zub nominates two artists over 35. A group of five concert | PAF Art to seven finalists is decided on the basis of the ------votes. In the second phase, the laurate is chosen by a jury which is different every year. Their selection is based on meeting the finalists in their studios. The activity known as Artist Has a Price origi- nated in 2007 out of the need to highlight an artist who is an authority for the younger generation and who has their respect. Jiří Kovanda, Vladimír Skrepl, Adriena Šimotová, the artistic duo Lukáš Jasanský and Martin Polák, Václav Stratil, Dalibor Chatrný and Vladimír Kokolia were, in 2014, followed by Martin Zet who decided to symbolically dedicate the award to Karel Malich. In accordance with the jury’s decision, this year’s laureate is Vladimír Havlík. The members of the jury selecting the 2016 laureate are: art historian Anna Remešová, cura- 143 paf art

David Možný: Open Space At the end of last year, Možný drew our atten- tion with the exhibition and video-installation Open Space – a reality cut-out was prepared by Sleepless (this year, it has been shortlisted for the David Možný, a Brno based audio-visual artist, for Other Visions competition 2015) in U Dobrého the last exhibition of the year in Vitrine Deniska. In pastýře gallery in Brno, where, in the spirit of his his original work David Možný, known internation- previous work, he presents a distinctly stylised ally for his music videos, often covers themes of deconstruction of a flat, which strongly evokes the urbanism, interior design, social dystopia and the 1970s and 1980s. Open Space, unlike Sleepless, DIY phenomenon. He has previously presented turns its back on stylization and moves towards his work at PAF in 2006, in the emerging not-yet- the smothering banality and seriality that the competition section Other Visions. Four years “open office” environment often offers. In this later, his video Rahova (2009) triumphed in the space, Možný draws the outlines of everydayness, Other Visions section – it received the main prize absurdly shrunk and cut into a space only a few and the audience award. centimetres wide; in David Možný’s own words, Možný’s artistic outputs are not numerous, “with the anxiety of a call centre worker on the which is not surprising due to the technological periphery”. complexity of his projects. Be it an exhibition or film work, he is always adamant about the Alexandr Jančík precise, often spectacular architectonic solu- tions to his installations. His work shows artistic 3 Dec 2015 – 5 Jan 2016 | VD precision, sharp shapes in changing in-shot David Možný: Open Space configurations, geometrical concentration and curator – Alexandr Jančík | exhibition | PAF Art an absolute enthusiasm for flawless image ------composition. 3 Dec | 6 pm | VD His work, influenced by the literary legacy of David Možný: Open Space absurd drama and existentialism, convincingly vernissage | PAF Art mediates the disturbing visions of reality and its ------non-cohesiveness, the estheticized greyness of monumental architecture and residential, deeply familiar surroundings that tell us more about the dark recesses of civilization. On the other hand, the author is undeniably captivated by the play- ful poetics of his generation of film creators – often associated with the fragmentary narration and structure of music video aesthetics – such as Michel Gondry and Spike Jonze. 144 paf art

Marq Delong & Anna Slama: world through variable and constantly reproduc- SANDBOX FRONTEX LITANY ing inner as well as outer boundaries that are determined by their names. The violent charac- Units of an objective, artificial and artistic ter of requisition of safety is already present in environment are usually listed in the descrip- the language communication. For an unfulfilled tion of a work as material preconditions of a corporate concept, its agents look for discordant submissive status towards the eventual whole. elements that could embrace this concept and, Human experience may appear in a different through their emptiness, transform disagree- way if we interpret these (e.g. Perspex, banana, ment into a seemingly neutral, transparent list of Anna Slama, ABS plastics, stuccoed console, features. In a safely bordered world these state- De Long, load covering, wooden joist) as Latour ments work as a litany, the enchanting function litany. of which is to draw us into a “safety threat.” The philosophically-enchanting method es- Alien-techno-animism is a threat to humans, tablished by Ian Bogost is interpreted as a “list, a game-changer in a play in which one is or a group of items loosely joined, not by logic protected to the detriment of the other. He is an or power or use, but by the gentle knot of the invader probing under the surface of seemingly comma.” A simple list of objects should attract exhausted “brown” art. our attention more carefully. In such lists human names have the same place as names of plants, Lumír Nykl labelling materials and all other objects. The term human here is a subset of non-human. 3–6 Dec 2015 | K Sandbox may be perceived in a similar way – Marq Delong & Anna Slama: playing a free motion in an “open world” which SANDBOX FRONTEX LITANY has, however, closed borders. Communication exhibition | PAF Art proceeds and flows through things, the function ------of which cannot be abstracted in a system 6 Dec | 12 pm | CH in which they are anchored. If an observer Marq Delong & Lumír Nykl: looks through the device at his feet in such a SANDBOX FRONTEX LITANY determined environment, he would not register presentation | PAF Art anything. Non-subjective meaning appears no ------sooner than during the exploration of a free ar- 3 Dec | 8:30 pm | KPC, AG, K rangement of units, which an observer is a fluid A Tour Around the Vernissages component of. The popularity of philosophical PAF Art genres of theoretical fiction puts the art into the ------role of the creator of a basis for practical reality and action. The category of safety treats the 145 paf art

Alexander Campaz: Infinity + 1 PAFScreenSaver: Animation beyond Animation Infinity + 1 is a project that considers the rela- tionship between the finite and the infinite, as It is already the second ScreenSaverGallery, illustrated by the philosopher Hilbert, through “a net art project on your computer,” happening a hypothetical example titled the Grand Hotel on computer screens in the festival press centre. paradox, and how the limits and rules of this This time the curators are Barbora Trnková and paradox inform the boundaries of knowledge. Tomáš Javůrek (&), the authors of the concept of Hilbert describes the complete/incomplete para- the gallery in screensavers and also the curators dox by creating a hypothetical hotel, which has of this experimental on-line exhibition space, an infinite number of occupied rooms. When a which reaches the whole world. hypothetical new guest arrives the previous most The exhibition, prepared exclusively for PAF recent guest is moved one room over and and responding to one of main festival themes, a new room is created for the new arrival. Thus will introduce authorial preloaders by several all rooms are filled to capacity with the capabil- foreign and Czech artists who answered the ity of admitting new guests ad infinitum. It is open call. During the festival, visitors will be able within the space of this concept, the awareness to vote for their favourite preloader, whose author and boundaries of an enclosed infinity, that a will have the opportunity to prepare an exhibition relationship arises between the person and the in the ScreenSaverGallery. idea. Considering the paradoxical answer Hilbert At the exhibition it is possible to observe how establishes, Infinity +1 lays out this observation a preloader, in the role of a screensaver, ironically by illustrating the infinity gradations between the animates certain artistic strategies and visual limits of the colours white and black. methods. ScreenSaverGallery may be downloaded and Alexander Campaz installed on http://screensaver.metazoa.org/.

3–6 Dec 2015 | K Barbora Trnková & Tomáš Javůrek Alexander Campaz (CO/US): Infinity + 1 installation | PAF Art 3–6 Dec 2015 | KPC ------PAFScreenSaver: 5 Dec | 11 am | AGD Animation beyond Animation Alexander Campaz (CO/US): PAF Fashion exhibition | PAF Art workshop | Aport Animation ------3 Dec | 8:30 pm | KPC, AG, K 3 Dec | 8:30 pm | KPC, AG, K A Tour Around the Vernissages A Tour Around the Vernissages | PAF Art PAF Art 146 paf art

Jonathan Monaghan: 3–6 Dec 2015 | GP Escape Pod Jonathan Monaghan (US): Escape Pod installation | Animation beyond Animation The animation flows in a single shot while ------following a golden deer, which moves through 3 Dec | 8:30 pm | KPC, AG, K various environments connected to the western A Tour Around the Vernissages way of life (halls, lobbies, shops, living rooms, PAF Art etc.). The deer hunting or chasing starts with ------a circular walk through a duty free shop, the 4 Dec | 5:30 | FA aseptic environment with expensive as well as Jonathan Monaghan (US): Animated Worlds second-rate goods which define diverse societal presentation | Animation beyond Animation interests. Surreal panoptical buildings and ------organic mutations of body parts become, to- 5 Dec | 1 pm | T gether with the deer chasing, the leitmotif of this Jonathan Monaghan (US): artificial space. In effect, the golden deer’s anus Architecture of Fantasy is the actual story-forming motif, the symbolic presentation | Animation beyond Animation passage between worlds. In the video’s theme, ------Jonathan Monaghan draws from the archetypal position of the animal itself, when “in mythology, the deer represents an unreachable creature from another world. In Nordic mythology, the deer guards the passages to other dimen- sions and worlds. My worlds are these kinds of dimensions, which in itself is a metaphor of how digital technologies create our reality.” The 20-minute animation installed in a loop is also one of the few videos that will be presented at the Sundance film festival next year.

Martin Mazanec 147 paf art

Samson Kambalu: The Unbear- 3 Dec | 17:00 | GUM able Lightness of Nyau Cinema Samson Kambalu (MW/GB): The Unbearable Lightness of Nyau Cinema An authorial selection of films made in accord- curator – Marie Meixnerová | vernissage ance with the rules of Nyau Cinema. In the same Animation beyond Animation way as Nyau films communicate with their audi------ence and challenge them to actively participate, 3 Dec 2015 – 11 Jan 2016 | GUM their installations communicate with the specific Samson Kambalu (MW/GB): space for which they are intended. Nyau films The Unbearable Lightness of Nyau Cinema break down the stereotypes of temporal and exhibition | Animation beyond Animation spatial experience through film: they intentionally ------move away from the western perception of time 5 Dec | 7:30 pm | FA and deviate from the linearity of contemporary Samson Kambalu (MW/GB): Nyau Cinema narrative film. presentation | Animation beyond Animation The most famous art works by conceptual ------artist, writer and Situationist Samson Kambalu 6 Dec | 11 am | T include Holly Ball (2000) – a soccer ball plastered Samson Kambalu for The One Minutes: with pages from the Bible which challenges the Nyau Cinema audience to “exercise and exorcise”. He is the screening | Animation beyond Animation author of his own religious philosophy – Hollybal------Opening hours during at Gallery u Mloka during PAF: ism –, and Nyau Cinema – a special genre of film Thu: 5 pm – 7 pm, Fri – Sun: 1 pm – 7 pm and site-specific performance, which comes from Opening hours after PAF: his experiences with the culture he was brought Mon – Fri: 1 pm – 7 pm up in. Based on Nyau philosophy, his interactive installation Sanguinetti Breakout Area was shown Christmas Holidays (closed): 23 Dec 2015 – 1 Jan 2016 at the 2015 Venice Biennial and because of it he ended up in a trial. The first exhibition by Samson Kambalu in the Czech Republic will take place in Gallery U Mloka and it will run until November 6, 2016. At PAF, Kambalu will introduce his work during the Saturday lecture, and will present his curatorial selection of videos made by others following the Ten Rules of Nyau Cinema.

Marie Meixnerová

149 indexes

indexes 150 indexes

Title Index Big Black 8 Binary Logic / Binární logika 11 # Birds of Prey 120 #mm net art 8, 12, 106, 114, 115 Black Hand / Černá ruka 68 (:...)) 10 Brigade / Brigáda 64 4 Inches 117 Burning Bush / Hořící keř 120 40 FC 4A 83 F9 BD A8 30 3F F2 33 C3 0B 5E 34 50 04 9C D9 4C 93 59 BE 6D 2E 36 D6 B3 C 9A D7 34 39 11, 99 Cafard 106, 109, 126 Calypso Cat / Kalypso / Tom a Jerry VI. 61 A Camera / Kamera 32, 41 A Brief Flash of Colour Over The Water With Canned Mermaid / Sellökonzerv 119 Steep Banks / Krátky barevny záblesk nad Carbonated Formulas #2 10 vodou se strmymi břehy 8 Caricatures and Other Inconveniences / A Drop Too Much / O skleničku víc 122 Karikatury a jiné nepříjemnosti 13, 59 A Match / Sirka 124 Cat’s Word / Kočičí slovo 122 A Moon History / Měsíční pohádka 64 Catalog 81 About Mice in Tinfoil / O myších ve staniolu 122 Celery Stalks at Midnight 81 About the Small Square and the Small Triangle / Cinema Concrete 94 O Čtverečce a Trojúhelníčkovi 64 Cosmic Boy / Kluk z vesmíru 128 About the Thick Fog / O té velké mlze 122 Craig Leon & Sinfonietta Cracovia 97 About Turn / Čelem vzad 10 Czechoslovak Film Annual - Cartoon and Aedrhlsomrs Othryutupt Lauecehrofn 98 Puppet Films 60 Agitations 102 Alfonz‘s Fly / Alfonzova Mucha 120 Č Alien / Cizinec 117 Česká věda a Pražské jaro (1963–1970) 67 Alien Fanfare 91 Čs. filmové hospodářství VII. 1958–1962 60, 63 Alone in the Dark 126 Anatomie Pavouka 120 D Animal Lover / Milovník zvířat 122 Dark Train 106, 124 Arise Zone 97 Darker Than Blue 131 Dauphin 007 91 B Destruction / Destrukce 89 Back To One #02 35, 52 Don Spagat / Don Špagát 63 Barbus – Elida 66 Dona Conchita 68 Benigni 119 Dream As Second Life / Sen je druhy život 9, 10 151 indexes

Drowned in Water Light 96, 97 GIF Saver 8 D‘un autre cinéma (Of an other cinema) 23 Ghost of OT301 94 Duo Jonglos 68 God alone knows where I usually hide / Občas se skryvám bůhvíkde 9 E Good-for-nothing King / Paska kuningas 118 Ecodenge 117 Gottland 120, 121 Elahw the Whale / Velryba – Abyrlev 122 Gross Anatomies 86 Escape Pod 90, 91, 134, 135, 140, 146 Espantalho 128 H Espresso Doppio 118 Heart / Otthon 119 Etudes in Marriage / Manželské etudy 61 Heart of a Tower / Srdce veže 106, 120 EVE 94 Heavy Planet / Těžká planeta 89 Experiments in Motion Graphics 81 HEMILOADER / POLOLOADER 9 Hey, Mister, Let’s Play / Pojďte pane, budeme F si hrát 122 Festivals of Live Cinema / Festivaly živého High Steaks / Kuchař / Tom a Jerry V. 61 kina 11 Holly Ball 82, 147 Film a doba 64 Hopscotch 118 Film Excercise n° 2–3 81 House by the Railroad 130 Film Adventurer Karel Zeman / Filmový How Pumphat Played Hell with the Devil/ Jak dobrodruh Karel Zeman 106, 112, 123 Pumpot s čertem zatočil 117 Five Film Exercises 80 How the Puppy Wanted Honey / Jak štěňátko Flying Saucers / Létající talíře 66 dostalo chuť na med 64, 69 For Smokers Only / Jediná radost 61 How the Puppy Wanted Small Dogs / Jak Fongopolis 121 štěňátko chtělo malé pejsky 64, 69 French Penguin 91 How the Sun Returned the Water to the Small Fresh Eye: Image versus Virtuality / Fresh Eye: Puppy / Jak sluníčko vrátilo štěňátku vodu 53, Obraz versus virtualita 8 64, 69 From Adult to Children Section / Z dospělého na How to Catch a Tiger / Jak ulovit tygra 122 dětské 33, 41 How to Keep Slim / Jak na to? 61 Frustration / Frustráció 119 How to Live with a Neurotic Dog / Jak žít Funny Games 129 s neurotickým psem 61 Humming Fields 94 G The Garden / Zahrada 106, 122, 123 Garoto Cósmico 128 152 indexes

CH L Chronicle / Kronika 117 Lapis 80, 81 Laurels / Věnec 61 I Light 118 I Can Barely See Her, But It Works / Téměř ji Liko (Products of canning factory) / Liko nevidím, ale drží to 8 (Výrobky konzerváren) 66 The Ideal / Ideál 61 LITR – Independent Publishers Book Fair In Moss Up to My Ears / Až po uši v mechu 106, / Knižní veletrh autorskych a uměleckych 120 publikací LITR 10 In the Same Breath / Jedním dechem 31, 40 Liitle Box / Krabička 124 Incidence Room 93 Little from the Fish Shop / Malá z rybárny 120 Infinity + 1 116, 134, 135, 139, 145 Living Room / Obývací pokoj 89 Instead of Something / Místo něčeho 8 Live Excerpts 97 It May Have Happened / Možná už se to stalo 8 Live Facade Projections Simulacra 11 It’s Greek to Me-ow! / Řecká kočka / Tom Lofoten 93 a Jerry II. 61 Love and Light 97

J M Jacaszek & Kwartludium 97 Maas Observation 93 Jam / Marmeláda 119 Mafia 126 Journey to the Beginning of Time / Cesta do Magic Trick / Magický trik 119 pravěku 123 Mały western 63 Marmotour 30, 40 K Matrix III 81 Kalorka 66 Max Loderbauer & Jacek Sienkiewicz 97 Karawane 119 May Day 65 / Majáles 65 67 Kinečko & PAF: Other Visions 2014 / Kinečko & Memory 97 PAF: Other Visions 2014 9 Message of King Jirik / Poselstvo krále Jiříka 63 Kitchen Tales / Kuchyňské pohádky 117 Mondschein 89 KONTRAST 94 Moonbird 63 Krakatit 129 Moonwalk 93 Kronika komunistického Československa. Doba Mothership 90, 91 tání 1953–1956 62 Motifs from Amphorae / Motivy z amfor 62 Ku! Kin-dza-dza 129 Mouse into Space / Myš / Tom a Jerry III. 56, 61 Moustache / Viikset 119 My Bro 116 153 indexes

My Darling Clementine / Drahoušek Ponorná řeka kinematografie 81 Klementýna 61 Prague 20.05. / Praha 20.05. 68 Prague Bogeymen / Pražská strašidla 63 N PRESENT, PERFECT, CONTINUOUS 37, 43 Naturals 117 Project for Orgel Natt / Projekt pro Orgel Natt 11 Nina 121 Prole Art Threat 93 No Time for Toes / Viis varpaista 119 Propagační prostředky 66 Nyau 9, 27, 82, 83, 84, 85, 134, 135, 147 Psycho 130 Psychosis / Psychóza 68 O Office 91 Q On the Origin of Beer / Jak vzniklo pivo 117, 119 Quality Work / Kvalitní práce 68 Open Space 10, 134, 135, 138, 143 Opening & Happening Ways of Something 8 R Orfea 91 Rahova 143 Osaka 81 Rainbow Narcosis 91 Other Inside 106, 126 Raven Mother / Krkavčí matka 119 Other Visions 2014 / Jiné vize 2014 8, 9, 10, 11 Red Aero / Červená aerovka 57, 63 Outdated 119 Red Sex 96 Red Tape / Problém 61 P Rememoried 106, 107, 125 PAF at The End of Summer / PAF na konci Retro vzpomínka – Majáles 1965 67 léta 10 reVIZOR 8 PAF New York 2015 10 Revizor 134 Painting is for the Cats / Malování pro kočku 122 Romance 61 Paměť a dějiny 67 Rosso Papavero 121 Pandas / Pandy 120 Permutations 81 S Philharmonic Radio / Rádio Filharmonie 66 SANDBOX FRONTEX LITANY 134, 135, 144 Pierrot and the Muse / Pierot a múza 61 Sanguinetti Breakout Area 83, 147 Pilsner Urquell 66 Saturday Afternoon / Sobota odpoledne 119 Pimple / Pupínek 119 Scarecrow / Espantalho 128 Plain 11 Screen & Saver 9 Plat in my Head 97 Screen City Festival 10 Play for Oil / Hra o naftu 63 Self-Portrait as Nietzsche 77 poem by Sytse Jansma 94 Semper idem 68 154 indexes

Shackleton & Nisennenmondai 97 106, 128 Shadow Trap 93 The Cybernetic Grandma / Kybernetická Shapescapes 100, 101 babička 65 Shirley: Visions of Reality 130 The Dark Sun / Temné slunce 129 Shot Film 93 The Earth Trembles 29, 39 Shxcxchcxsh 97 The Elephant / Slon 61 SILOS 11 The Essence of a Thing / Podstata věci 68 Siren / Siréna 68 The Fabulous Baron Munchausen / Baron Prášil Sírius 128 123 Site Specific Abstraction 8 The Flying Horse / Letiaci kôň 121 Sleeping Chimneys / Spící komíny 9 The Future Belongs to Helium / Budoucnost Sleepless 28, 39, 143 patří heliu 34, 42, 44 Social Animals 119 The Future Belongs to Helium (Cornpoetron) / Soft Drinks / Nealkoholické nápoje 66 Budoucnost patří heliu (Cornpoetron) 20, 21, 44 Song of the Sea 106, 127 The More I Know / Čím víc vím 119 Sound from the Desert / Zvuk z pouště 36, 43 The Most Beautiful Planet / Nejkrásnější SPACE / MÍSTO 8 planeta 68 SPACE II / SPACE II 9 The New Species / Nový druh 117 Space Ex 131 The Prophet / Prorok 127 Space Noise 3D 94 The Robbery / Přepadení 117 Spectral Scenery 100 The Secret of Kells 127 Stability / Stabilita 121 The Sunday Gift 131 Stage Fright 118 The Start Off / Start 61 Still In Cosmos 94 The Table Is Set / Pöytä on katettu 109, 119 Stone Horizon 11, 92, 93 The Tom and Jerry Cartoon Kit / Stavebnice / Studentský majáles roku 1965 aneb Allen Tom a Jerry VIII. 56, 61 Ginsberg králem majálesu 67 The Unbearable Lightness of Nyau Cinema / Sunday Lunch / Nedělní oběd 66 Nesnesitelná lehkost filmů Nyau 10 Those Birches Can See It But They Will Not T Tell / Martu: Tie briezy to vidia, no nikomu Tale / Mese 119 nepovedia 9 Tereza Darmovzalová – artist talk on her creative Total Recall 88 practice / Tereza Darmovzalová – přednáška Tourists / Turistit 118 autorky o vlastní tvorbě 9 Transformations / Proměny 68 The Bottle / Láhev a svět 61 Trick Collection 118 The Boy and the World / O Menino e o Mundo Trio 65 155 indexes

Trnka’s Garden 2 / Trnkova Zahrada 2 106, 122, 123 My Dozen Fathers / Tucet mých tatínků 59 tWINs 120 You / Ty 89

U Unfinished Days / Nehotové dny 89

V V IKB 10

W Wasteland 97 Ways of Something 8 We Have a Problem / Máme problém 119 What is Happiness? / Být či nebýt 61 What is Live Cinema? / Co je to živé kino? 10 What the Bears Like / Co medvědi rádi 119 What Was in the Hat / Co bylo v klobouku 61 When I Grow Up / Až já budu velký 61 When I Play / Když si hraju 119 Where Is Wally? / Kde je Wally? 9 Where You Will Find It / Kde to najdete 68

Y Yantra 80, 81 Yesterday Remake 136 You and I 97

Z Golden Age / Zlaté časy 89

Ž The Želivka River / Želivka 119 156 indexes

Name Index Bohnenstengel, Lukas 98 Bolf, Josef 88, 89 A Bookchin, Natalie 115 Abrahám, Stanislav 72, 75, 100, 101 Born, Adolf 61 Abreu, Alê 128 Brdečka, Jiří 55, 61, 63 Adamec, Oldřich 60 Brychta, Jan 61 Adámková, Tereza 25, 31, 40 Břicháčková, Klára 119 Al-Ali, Matěj 10, 11, 20, 21, 38, 134, 135, Buda, Flóra Anna 111, 119 Anneka 128, 131 Budinský, Peter 106, 120 Arnold, Martin 12, 21, 46, 72, 86, 87 Bultheel, Jan 126 Arriado, Daniela 27 Bureš, Lukáš 10 Asheim, Niels Henrik 11, 103 Burton, Tim 123 Búřil, Martin 8 B Badač, Peter 121 C Baladrán, Zbyněk 142 Casková, Michaela 10 Balážová, Anna 10 Cáb, Martin 8 Balážová, Dana 8, 10 Cáb, Michal 9, 29, 39 Balej, Jan 120 Campaz, Alexander 10, 116, 135, 139, 145 Baštanová, Pavla 131 Cenek, Filip 10 Bataille, Georges 86 Císař, Karel 88 BA:ZEL 10 Cohl, Émile 65 Beckett, Samuel 26, 39 Croissant III 10 Bedřich, Václav 56, 61, 66 Czerski, Piotr 115 Beková, Monika 8 Běhal, Tomáš 88 Č Beining, Jean 84 Čakányová, Viera 121 Bellour, Raymond 23, 71, 72 Čapek, Jiří 68 Belson, Jordan 80 Čapek, Ladislav 63 Beránek, Ondřej 123 Čechová, Bára 88 Bertóti, Attila 119 Čermák, Aleš 29, 39 Bilaletdin, Heta 118 Černohorská, Jana 119 Binmatu 95 Čihák, Martin 12, 23, 80, 81 Blažek, Petr 67 Čopíková, Michaela 121 Blažíček, Martin 10, 11, 21, 45 Bogost, Ian 144 157 indexes

D F Dabrowski, Radek 84 Fischinger, Oskar 80 Daisy, Blue (Kwesi Darko) 113, 131 Danda, Jiří 67 G Danělija, Georgij 129 Gass, Lars Henrik 23 Daniels, Dieter 115 Gatialová, Katarína 9, 21, 45, 115 Darabos, Eva 119 Gelley, Bálint 119 Darmovzalová, Tereza 8, 9 Gerat, Jiří 126 Dašek, Ivo 68 Giersz, Witold 63 David, Ivan 20, 21, 46, 47, 87 Gilliam, Terry 123 Děcká, Eliška 11, 106, 118, 119 Ginsberg, Allen 67 Dečman, František 117 Gondry, Michel 143 Deitch, Gene 56, 61 Grant, Dwinell 80 Delong, Marq 134, 135, 144, Gregor, Dan 10, 11 Deutsch, Gustav 130 Gruska, Jonáš 72, 95 Diederiks, Matthijs 98 Gyulai, Anna 111, 119 Dizzcock 10 Djindjikhachvili, David 84 H DJ Numan 8 Häckl, Bohuš 66 dné 10 Hájek, Ludvík 66 Dobrovolný, Václav 61 Han, Byung-Chul 22 Dočekal, Vojtěch 117 Haneke, Michael 129 Doležálková, Klára 8 Hartog, Anne 84 Domlátil, Vojtěch 117 Havelka, Jiří 60, 63 Dopitová, Milena 142 Havlík, Vladimír 135, 136 Drop, Gala 97 Helán, David 20, 21, 25, 34, 42, 44 Dudešek, Jan 61 Hilbert, David 116, 134, 145 Due, Brice 39 Hirsh, Hy 80 Hitchcock, Alfred 130 E Hlaváček, Luboš 64 Eames, Charles 60 Hlavatý, Vratislav 59, 61 Eames, Ray 60 Hluchaničová, Miluše 61 Eilers, Willehad 84 Hobl, Pavel 61 Elcott, Noam M. 72 Hodan, Tomáš 106, 112, 123 Hodboď, Tomáš 8 Hoffmeister, Adolf 13, 59 158 indexes

Hoffová, Michaela 118 Karhánková, Kateřina 117 Hofman, Eduard 51, 59, 63, 64, 65 Karpaš, Jan 66 Holan, Rudolf 63 Kartousek, Filip 8 Holdhus, Lars TCF 11, 74, 98, 99 Kasalová, Jana 8, 9 Hopper, Edward 130 Kirchberger, Eduard 121 Hrůza, Tomáš 8 Kirschová, Rozálie 119 Hubley, John 63 Klajbanová, Nela 8, 9 Klee, Paul 127 I Kleinhamplová, Barbora 142 Ink Midget 10 Klijnee, Sjaan 84 Isama Zing 10 Klos, Jan 122 Kluge, Josef 66 CH Kokolia, Vladimír 135, 142 Chan, Jennifer 115 Kolář, Jiří 85 Chatrný, Dalibor 135 Konečný, David 126 Christoffel, Sebastian 84 Kopasz, Milán 119 Chytková, Eliška 117, 119 Kopecký, Václav 62 Kopecný, Bedřich 62 J Kořán, Josef 63 Jasanský, Lukáš 142 Koska, Zoltán 111, 119 Jančík, Alexandr 8, 9, 10, 11, 135, 143 Koskinen, Mika 118 Javůrek, Tomáš 9, 11, 20, 21, 45, 134, 145 Kosloff, Laresa 84 Jaroňová, Eva 8, 10 Koutná, Kateřina 10, 11, 92 Jireš, Jaromil 63 Kovanda, Jiří 135 J‘Kerian, Morgan 102 Kovařík, Jakub 8 Jonze, Spike 143 Kożuch, Joanna 106, 121 Jurásek, Jakub 35, 42 Krajčová, Daniela 106, 121 Krátký, Petr 8, 32, 41 K Kratochvíl, M. 61 Kábrt, Josef 61 Krupa, Karel 123 Kadleček, Ludvík 61 Kudělka, Vladimír 107 Kambalu, Samson 10, 21, 27, 46, 72, 77, 82, Kynclová, Kateřina 9 83, 84, 84, 87, 134, 135, 141, 147 Kandinsky, Vasilij 127 L Kantová, Zuzana 10 Laamanen, Olli 118 Kaplan, Karel 62 LaNote 131 159 indexes

Lauko, Henrich 126 Možíš, Jaroslav 66 Lelláková, Petra 30, 40 Možný, David 10, 25, 28, 39, 134, 135, 138, 143 Lhoták, Kamil 63 Mrkva 95 Lotic 72, 102 N M Náprstek, Marek 119 Machinefabriek 94 Neděla, Jiří 9, 10 Machů, Jiří 117 Nemjóová, Ester 118 Maia, Pedro 72, 96, 97 Nepraš, Karel 66 Máj, Martin 117, 119 Neves, Joana Pinho 84 Máša, Vojtěch 8 Novotný, J. 66 Makak 92 Novotný, Jaromír 142 Makino, Takashi 72, 73, 94 Nykl, Lumír 11, 115, 144 Málek, Jiří 88 Malich, Karel 142 O Manderlová, Magdalena 10 O’Brien, Nicholas 10 Mandon, Thierry 84 O’Rourke, Jim 94 Marvan, František 66 Obertová, Veronika 121 Martu 9 Oja, Anni 119 Masník, Boris 122 Ottelin, Jasmiini 119 Mazanec, Martin 11 Otten, Roeland 84 McHugh, Gene 115 Meixnerová, Marie 8, 9, 10, 11, 12, 15, 82, 85, P 106, 114, 115, 147 Palma, Pablo Núñez 84 Melvin, Milton 10 Panáčik 8 Merigeau, Adrien 127 Partanen, Pinja 119 Mészáros, Šimon 119 Pastirčák, Jonatán 10, 11, 96, 98, 102, 103 Miler, Zdeněk 53, 64, 69 Pekárek, Karel 66 Mills, Lorna 8 Pěla, Tomáš 126 Mimra, Jan 61 Pelc, Antonín 62 Minn, Elina 118 Perri, Sandro 97 Mirad, Oldřich 66 Pieska, Kari 119 Monaghan, Jonathan 27, 72, 79, 90, 91, 134, Pietiläinen, Sini 119 135, 140, 146, Písaříková, Jana 21, 45 Moore, Tomm 110, 127 Pitra, Svatopluk 13, 52, 55, 58, 59, 61 Moravec, Tomáš 10, 11, 20, 21, 38, 134, 135 Plicková, Edita 64, 69 160 indexes

Pjoni 11 Sebastian Podsiadly, Dominik 8, 10 Sedlák, Jiří 8 Pojar, Břetislav 61, 106, 122, 123 Seydl, Zdeněk 66 Polák, Martin 135, 142 Shaviro, Steven 43 Pope, Greg 10, 11, 72, 76, 92, 93 Scheuba, Jiří 68 Pošivač, Filip 106, 120 Schmieg, Sebastian 137 Přílučík, David 8, 37, 43 Schönberg, Arnold 80 Ptáčková, Petra 106, 117 Schrötterová, Viktorie 10 Pucz, Dániel 119 Sigmundová, Štěpánka 142 Pustějovský, Michal 11, 72, 102 Skoták, Antonín 68 Skrepl, Vladimír 135, 142 Q Slama, Anna 135, 144 Quaranta, Domenico 115 Slowmotiondancer 10 Quay, Stephen 94 Smatana, Martin 121 Quay, Timothy 94 Smatana, Matej 106 Smetana, Zdeněk 61 R Smyczek, Karel 123 Radok, Emil 63 Sodeoka, Yoshi 10 Rahkonen, Jenni 118 Soukup, Boris 61 Ray, Man 80 Soukup, Pavel 118 Reisinger, Gunther 115 Sovák, Pravoslav 63 Remešová, Anna 142 Stewart, Ross 127 Retterová, Linda 119 Stief, Angela 86 Richter, Hans 80 Stratil, Václav 8, 135, 142 Rijt, Barry van der 84 Strnad, Matěj 20, 21, 45, 46, 87, 115 Riskilä, Taru 119 Střeláková, Lenka 11, 20, 21, 46, 87, 134, 135 Romberg, Michael 63 Sturtevant, Sterling 65 Rous, Janek 21, 25, 36, 43, 46, 87 Surůvka, Jiří 142 Rufas, Carlos 119 Svatoš, Michal 67 Rusnáková, Katarína 115 Svoboda, Vladislav 67 Ruttmann, Walter 80 Svoboda,Viktor 117 Svobodný, Petr 67 S Svolinský, Karel 63 Salvia 92, 93 Szász, Enikö 111, 119 Santos De Los, Luis Szczygieł, Mariusz 121 Saska, Jan 117 161 indexes

Š Vávra, Otakar 129 Šalamoun, Jiří 61 Vazquez, Alonso 84 Šicko, Ján 10, 11, 103 Večeřová, Vladimíra 30, 40 Šimotová, Adriena 135, 142 Vessel 72, 96, 97 Šiška, Bohumil 56, 61 Vickers, Ben 115 Šrámek, Jan 8 Vierkant, Artie 115 Štěpánek, Miroslav 122 VJ Kolouch 10 Štindl, Ondřej 89 Vlková, Veronika 8, 10, 11, 92 Štrébl, Karel 63 Vogel, Heidi 131 Štulič, Darko 88 Vuorinen, Elli 119 Šulgin, Alexej 115 Vystrčil, František 61 Šuráň, Pavel 8 Švolba, Petr 8 W Wagnerová, Markéta 8 T Walley, Jonathan 72 Takács, Barbara 111, 119 White, Ian 23 Takáč, Viktor 8 Whitney, James 72, 80, 81 Tanghe, Sjoerd 84 Whitney, John 72, 80, 81 Tervola, Markus 119 Wieringen, Bas van 84 Thijsen, Alite 84 Winter, Jiří 57, 62, 63 Tímár, Anna 111, 119 Wolf, Anna 8 Tjon, Patrick 84 Won, SangEun 119 Tomanová, Anna 119 Wright, Harry 96 TRIK 68 Trnka, Jan 123 Y Trnka, Jiří 106, 122, 123 Yiraq, Helush 33, 41 Trnka, Matyáš 106, 108, 122, 123 Yoshihide, Sodeoka 10 Trnková, Barbora 9, 11, 134, 145 Young, Paul 127 Troemel, Brad 115 Yuzgul, Denizcan 117 Twomey, Nora 127 Z V Zahoranský, Dušan 142 Valecká, Barbora 106, 120 Zacharová, Veronika 119 Valentíny, Noemi 119 Zaoralová, Michaela 10 Vaněk, Vojtěch 9, 124 Záchová, Tereza 142 Vášáryová, Magda 123 Zajíček, Kamil 8 162 indexes

Zemanová, Ludmila 123 Zet, Martin 135, 142 Ziemba 10 Zilynská, Blanka 67

Ž Žabková, Zuzana 41