https://alzbetabacikova.com Alžběta Bačíková Tue, 05 May 2026 14:56:34 +0000 https://alzbetabacikova.com en https://alzbetabacikova.com/Portraying-the-Other Mon, 18 Apr 2022 08:53:18 +0000 Alžběta Bačíková https://alzbetabacikova.com/Portraying-the-Other Portraying the Other Text was written by Maria Walsh for the Fotograf Magazine in 2020. While Alžběta Bačíková’s experimental approach to documentary puts the transparency of the filmic medium in parenthesis, this self-reflexive attitude does not operate at the expense of creating an empathic relation between artist and protagonist, subject and viewer. Over the past six years, Bačíková has been making films that could loosely be categorized as ‘portraits’. In her use of multiple screens and sound channels and with her cross-genre montage aesthetic, she questions the objectivity of the recorded image to represent her subjects. One of Bačíková’s strategies in relation to the problem in documentary of portraying others without reducing them to objects of knowledge is to use the installation format as an extension of her montage aesthetic. In her film installations, the spatial and temporal disjunctions of the image are accentuated by the intercutting and layering of on-screen sound, dialogue, voiceovers and musical scores that are often shown being composed on-screen. A good example of this is the 3-channel video installation Running Report 2017 which featured new iterations of three of Bačíková’s films: Heroes 2017, Correspondence 2016 and Doctors 2016. All three films are experimental documentary portraits of male protagonists: respectively, Eda, a tire factory worker who practices martial arts and writes martial arts fiction based on the wuxia genre; Oliver, a professional escort; and an elderly solitary Czech man whose persecutory delusions and conspiracy theories are recited by an actor in the film. These networked portraits are approximately 30 minutes in duration, the installation being synchronized to tune out each film’s sound at 10-minute intervals, giving the viewer the option of listening closely to the protagonists’ ‘stories’ as they circumnavigate the gallery. In its initial iteration, Heroes consisted of a double-sided single screen, the two sides showing different footage relating to Eda’s hobbies and work, while in Running Report, Bačíková juxtaposes two image tracks on a single screen. The shots range from static and handheld camera close-ups of Eda’s body and aspects of his life as well as online images from martial arts movies, the contrast between different classes of image being a characteristic of Bačíková’s work. Heroes also features a unique authorial inscription in that Bačíková pre-set Eda the task of writing a story about the Chinese feminist and revolutionary Qiu Jin (1875-1907). Enthusiastic about the task, Eda’s story recasts Qiu Jin as the object of a male warrior’s desire. As he reads his story, pornography is seen and heard playing on his computer, with Bačíková’s non-judgmental gaze allowing the viewer the time and space to observe the conditions under which stereotypes are both played with and affirmed in this complex portrait of different types of labor. In its first iteration, three image tracks in Doctors were displayed on monitors contained in a spatialized, open-grid structure. In Running Report, the three image tracks are arranged on one screen, the central channel being comprised of footage found on the data storage site Ulož.to, while the adjoining two enact the soundtrack: an actor in a recording studio performs the elderly Czech man’s testimony; two musicians compose the electronic score adding an eerie atmosphere to the speedily edited Internet footage showing health data, pills and DIY home security installation. As opposed to the observational performativity of Heroes, the presentation of the character in Doctors mirrors the overwhelming nature of online image capture, implying that the unseen protagonist’s paranoid fantasies, while having a particular post-Soviet resonance, are accentuated by immersion in this ‘Big Brother’ technology. Exploring how identities and relationships are propped on the pre-existent script of language, Correspondence 2016 consisted of a scenario in which two commissioned love letters written by professional writers are read and interpreted by a gigolo, Oliver and an actress. The 2017 iteration in Running Report only features Oliver, the camera’s focus on and cropping of his gestures being intercut with images from Bačíková’s personal image archive – recurring footage of a club, a street scene and waves breaking on the shore. Their inclusion both disrupts the viewer’s access to Oliver’s interiority and minimally signals an authorial inscription that appears more overtly in shots displaying Bačíková’s online contractual correspondence with him about the project. Bačíková’s deployment of documentary tropes could be said to echo Trinh T. Minh-ha’s description of her films as “interacting movements. The first is to let the world come to us through an outside-in movement – this is what some call ‘documentary’. The other is to reach out to the world from the inside out, which is what some call ‘fiction’”. This movement is more explicitly translated into a collaborative process in Encounter 2018, which features two protagonists, Alena Terezie who is blind and Mac who is deaf, both of whom contributed to the creation of the work. Exhibited in adjacent rooms, the installation consists of two channels of a film documenting Terezie’s and Mac’s ‘relationship’: one channel is sound only, the other is silent and shows the image, the separation of sound and image referring to film history – sound was added to image in 1927 - and to the protagonist’s sensory capacities. Encounter documents Terezie and Mac’s elaboration of how they could go about doing various activities together – going for a drive, doing an improvisational dance and attending a screening of From Saturday to Sunday (dir. Gustav Machatý 1931). While each channel is defined by each protagonist’s sensory capacity, Bačíková’s binary deployment of sound/image and blindness/deafness is less about opposition and more about understanding how our interpretations and judgments are always unstable regardless of sighted or hearing capacities. Due, however, to the overdetermination of the image in film, Terezie is more at risk of objectification as she cannot return the look that is deemed empowering in theories of representation. Almost in defiance of this, Bačíková shows Terezie applying mascara. She sits on the edge of her bath looking towards the wall above the sink where mirrors usually hang, but the mirror has been moved to a corner and angled so that its reflection of Terezie’s actions confronts the viewer as a resistance to the objectifying gaze. This is one of several scenes that challenge the simple form of empathy in which the other is construed as a victim or someone to be pitied. In Encounter, empathy arises from intersubjective exchange: during their experimental floor-based dance, the couple confront one another from opposite sides of the screen. An intimate sensing of the other, as well as a respectful distance that cannot be broached, is movingly portrayed. This sensibility describes Bačíková’s overall approach to film-making. Her investigation of how a subject can be disclosed without being objectified or pitied has led to installations that interrogate how we relate to others and how others present themselves through technological mediations that do not present the truth of the subject but instead enable us to imagine one another’s life worlds. Maria Walsh is Reader in Artists’ Moving Image at Chelsea College of Arts, London. She is the author of Therapeutic Aesthetics: Performative Encounters in Moving Image Artworks (forthcoming 2020) as well as numerous texts on art, moving image and critical theory. https://alzbetabacikova.com/An-imaginary-slightly-detached Mon, 18 Apr 2022 08:50:42 +0000 Alžběta Bačíková https://alzbetabacikova.com/An-imaginary-slightly-detached An imaginary slightly detached. Text was written by Vic Brooks for catalogue of the Jindřich Chalupecký Award in 2018. Following the release of the first major Hollywood talkie The Jazz Singer in 1927, the Society of Motion Picture Engineers discussed the potentials and pitfalls of various methods used to synchronize sound and image. One such engineer describes how “the microphone could not be located conveniently on the set” in a scene in the movie where the father enters the frame to tell his son “stop!”&nbsp; This technological obstacle required another actor to yell the word from off-stage as the father silently moved his lips on camera. The resulting displacement of the voice from the visual perception of the mouth would, however, remain imperceptible to the audience watching the film. The spatial gap was closed by synchronization during post-production, a method still regularly used both for dubbing vocals and by Foley Artists to isolate and heighten individual sounds for dramatic effect, much like the ‘punching-in’ of a cinematic close-up for emphasis. Much of Alžběta Bačíková’s work similarly seeks to heighten the tension between what we see, what we hear, and, subsequently, what we might believe. An opposite but comparable displacement is at the center of her new installation Setkání (Encounter), which amplifies our individual differences of perception, whether physical and/or psychological, through a process of deliberate de-synchronization. In the film, we follow a deaf actor and a blind actor through a series of five scripted scenarios in which they ‘perform’ their endeavor to communicate on their own terms, starting as strangers and ending as friends. However, although it is recognizably narrative in form, Setkání is not a straightforward work of movie fiction, as Bačíková quite literally separates the soundtrack from the video in Setkání’s presentation, reinscribing the operation of the spatial displacement of that off-camera yell from the set of The Jazz Singer. The audience thus experiences Setkání in two parts: first as a sound work (an imageless soundtrack experienced in a darkened room) and subsequently as a silent video installation, the light from the images accentuated by pale walls. The gallery, in essence, becomes a bisected cinema. This spatial, sonic, and visual displacement is more than a trick. Bačíková in essence deconstructs the physical apparatus that defines ‘cinema’ as we know it–projector, screen, loudspeakers, and audience sitting together within an auditorium in the dark–in order to disrupt the process of flattening that this naturalized understanding of perception engenders. In one section of Setkání, a radio broadcast from the car stereo describes the importance of the shift to sync-sound that first became publicly visible with The Jazz Singer. This technological breakthrough taught audiences a wholly new cinematic language, different from what they had become used to in the first few decades of watching movies. If this in one way transformed a relation of sound and image, the process quickly naturalized a new representation of such synchronization onscreen, tying cinematic experience directly to a more quotidian experience of listening and watching simultaneously. Where previously the narrative momentum of films was carried by inter-titles, dramatic physical gestures by the actors, and live musical accompaniment, sound films normalized the experience of movies as entirely pre-recorded and mechanically reproducible as whole objects, moving them further away from the stage practice of vaudeville and theater. Nonetheless, in the midst of precise historical detail, Bačíková’s works are never enacted as straightforward documentary inquiry. Rather she delves into the slipperiness of communication and, more specifically, of the (mis)translations between forms of human communicability. Setkání’s soundtrack opens with a sharp tone used by the visually impaired to recognize color. It is generated by a sensory substitution device (SSD) that measures the wavelength of light in order to interpret color, a sound also reminiscent of the bleep often inserted at the beginning of an audio edit so that the sound can be synchronized to the timecode of the image. We encounter the protagonists in a variety of locations, each uniquely ubiquitous sonic environments (a cafe, a car, etc.), as well as amongst other digital and analogue sounds of technological devises, such as the aforementioned SSD and the smart phone, which the blind protagonist has set to a level that speeds up the voiceover. The experience of listening to each sonic cue in sequence prior to the encounter with its visual counterpart has the potential to produce a psychoacoustic effect as we pre-stage the locations in our imaginations and based on our own experience, all of which immediately disappears, or is complicated, when we see the actual ones on screen. Like the radio show that mediates The Jazz Singer’s soundtrack by playing the songs without the accompanying projection, in the actors’ first meeting, a smart-phone becomes the interlocutor in which words spoken and heard are translated into visual language typed or generated onscreen, and vice versa. As the sweeping gestures of the blind actor’s fingers on the touch screen become increasingly analogous to the visual-manual modality of the sign language used by the deaf protagonist, Bačíková’s video and audio recordings of these staged interactions capture and spatially dramatize the acute potential of technological tools–of recording, communication, and distribution–to assist with translation across these perceptual gaps and sonic and visual silences. However, these visual and audio technologies also have the ability to produce the opposite effect. Rather than always serving as a tool of one-to-one communication and translation, they can transform our subjective ability to parse reality from fiction, reminding us that we don't or shouldn’t always believe what we see and hear onscreen. Uncertainty is generated not only by the performance of Bačíková’s subjects but her subsequent mediation of the recordings through montage and reframing. This ambiguity is foregrounded in a series moving image portraits made by Bačíková between 2016 and 2017 and which were subsequently re-edited and presented together as a synchronized three-channel installation for her 2017 exhibition Running Report. Together these moving image works—Hrdinové (Heroes), Korespondence (Correspondence), and Lékaři (Doctors)—produce an active interrogation of how three different men choose to construct and perform identity. Bačíková fabricates a slippery, unstable reality for the viewer by presenting these ‘documentary’ subjects in either juxtaposition with, or in allusion to, categories of popular genre film and fiction, like romance, thrillers, and procedurals, that have remained deeply tied to the ideological framing of gender for the past century. Hrdinové centers on Eda, a Czech martial arts expert and obsessive fan of martial arts movies, while Korespondence focuses on male escort Oliver. In both, Bačíková takes a deliberately documentarian approach by inviting her subjects to be represented as themselves while she remains an ever-present interlocutor off-camera, deliberately entangling the plot lines of their real lives with those of their characters through scripted, visual, and sonic cues. The subsequent tension between the (woman) artist’s desire for a subject and the (male) protagonists’ desire to be framed by her camera delves into the multiplicity of pertinent questions that frame our cultural understanding of the documentary mode. In partially revealing the self-construction of her protagonists and her own reconstruction of them for the purposes of an artwork, Bačíková also foregrounds the fragile line between the director and the directed by testing the limits of believability inherent to the apparatus of the moving image. Although it might be obvious to refer to Erving Goffman’s famous 1950s sociological study The Presentation of Self in Everyday Life when discussing these artworks, in many ways Bačíková plays at the limits of what Goffman described as a “dramaturgy of everyday life” by collapsing the categories of quotidian social interaction with theatrical structures. It is apt, of course, that the Czech translation takes Goffman’s summary of the book “we all play-act” or “Všichni hrajeme divadlo” as its title. Gesturing towards the messy ‘truth’ of how we perform ourselves in order to project a certain image, the approach of the first two videos (whose social relations are clearly enacted through the interaction between subject and artist) is muddied by the third, Lékaři, that is structured around found-footage of an avid consumer of conspiracy theories, in turn presenting the evidence of his own perceived persecution. Originally shown on a series of monitors supported by a shelving system similar to the one visible alongside the onscreen elderly protagonist, the soft-montage effect that this array of screens produces alludes to both our experience of the internet’s multiplying windows as well as the image of surveillance rooms recurrently propagated by movies and television shows. In combination with this familiar visual framework, the intense, forensic delivery by the subject is juxtaposed with a video of Bačíková’s two musical collaborators producing the soundtrack for the artwork using the protagonist’s audio as source material. On first look, the carefully contrived ‘professional’ look of the ‘conspiracy theorist’ and his set reads first as fiction (perhaps designed by Bačíková), yet the soundtrack’s ‘making-of’ footage exposes that the moment of fictionalization actually lies in the composition of the artwork itself. Bačíková certainly approaches the formal construction of her audio-visual works with rigorous precision. This is particularly reflected through framing and composition, not only of each shot or spatial sonic environment, but also in how the artworks (as a combination of technology and content) are mediated by what is around them, whether that be the architecture of an exhibition space or each other. In both Korespondence and Hrdinové she heightens narrative tension by capturing her subject— body, architecture, or material process—with tight and medium shots, isolating gestures and accentuating them though classic montage or the juxtaposition of multiple channels at once. Her methodology is further extended by the overlay of subtitles and surtitles that at times entangle voice and image, or by complicating the documentary style of ‘talking heads’ with the emotive power of rousing film-music. These formal strategies work to draw out the conventions (and accompanying affective structures) not only more visibly at work in film style and genres but also built into the calibration and design of technologies for the production of images and sounds. With these strategies, Bačíková reveals how we use technology to mask, erase, and reframe reality. Her work points to a construction of reality that is deeply and necessarily subjective, and highlights our often complacent perception that certain categories of media production, for example the documentary or the news, represent truth, while cinema represents fiction. Bačíková essentially collapses the categories of documentary and fiction by projecting all her subjects as those who act, whether the role is themselves or fictional character. A recent video-portrait Bent Tiles (2017) goes even further with this and dissolves any obvious differentiation between reality and fiction for the viewer. Here Bačíková and her (other women artist) collaborators play with the construction of character that is collectively produced rather than an individual’s public performance of self. The work centers on a Czech ceramist who deliberately retreated from public view. In some ways the character stands in not only for those who have rejected the art world and its contradictions, but also for the numerous women artists who have been overlooked or forgotten. By presenting such a narrative within a biographical documentary framework, Bačíková takes aim also at the art market’s contradictory demand for the previously unknown, rediscovered, or missing older woman artist-genius. The two-channel video frames interviews with flawless shots of tiled architecture and ceramic material production in a deliberately cinematic style, resulting in a wry institutional critique that reveals the contradictions inherent in the very forum in which Bačíková’s own work is presented. In this way, Bent Tiles attempts to ‘re-vocalize’ the position of women. But like The Jazz Singer, a film marked by its fraught relationship to identity, straightforward re-vocalization is not the only displacement inherent to the production of Bačíková’s artworks. Alongside its aforementioned sonic and visual displacement, The Jazz Singer also literalizes the voice of the ‘other,’ as Jewish performer Al Jolson infamously represents an African American singer by ‘blacking-up’ for the role. This complex and racist legacy of minstrel blackface performance that characterized much of Jolson’s work (and that popularized Black music with white audiences) may seem far from central to Bačíková’s inquiry. However, it is ultimately related, as both The Jazz Singer (accidentally) and Bačíková’s work (intentionally) reveals the implicit societal structures through which only some people are allowed to be heard and seen, insofar as they don’t align with the ‘universal' white and male subject. By shattering the illusion of the neutrality or naturalization of standardized moving image technologies, Bačíková entangles the question of who is authorized to be represented with the question of how we represent ourselves. By just slightly displacing the threshold between projection and performance, between sound and image, and between reality and fiction, Bačíková’s installations produce a sensorial awareness that has the potential to open up that elusive space in which the viewer can construct a new reality from their encounter. She produces artworks that deliberately enact the same sort displacement that Roland Barthes described was necessary for cinematic critique (rather than full “cinematographic hypnosis”) in his essay Upon Leaving the Movie Theater: “I must be in the story… but I must also be elsewhere: an imaginary slightly detached.” https://alzbetabacikova.com/and-she-told-me-Cut-down-the-tree-sell-the-house-lay-your-father-to Tue, 05 May 2026 14:56:34 +0000 Alžběta Bačíková https://alzbetabacikova.com/and-she-told-me-Cut-down-the-tree-sell-the-house-lay-your-father-to …and she told me: “Cut down the tree, sell the house, lay your father to rest.” 2025Installation with 5-channel video performance /colour, sound/, objects, text and drawings&nbsp; The installation created for the G99 Gallery brings together a series of video performances, drawings, poetic texts, and embroideries made with antidepressants on household textile samples. It refers to imagined — yet, more importantly, faithfully rendered — places where taboo experiences pulse beneath the surface. The autofictional approach explores themes such as family memory, the healing of trauma, and the impossibility of escaping one’s origins. These subjects become catalysts for storytelling across multiple media. It was created as part of the artist residency and exhibition titled&nbsp;Trigger Witness&nbsp;within the Brno AIR program, with curatorial support from Barbora Trnková. Curator: Barbora Trnková Assistance Curator: Tereza Jindrová Editing and Video Dramaturgy: Kristýna BartošováChoreography Assistance: Michaela DaškováCamera: Alžběta Bačíková, Martin Dominik KratochvílImage Post-production: Artem BakhmutinSound Post-production: Michal KindernayInstallation Architecture: Savka Marenić, Alžběta Bačíková, Tereza Jindrová, Barbora TrnkováTranslation: Brian D. VondrakExhibition Production: Viktória Pardovičová, Jan Langer, Šimon Kadlčák The works in the exhibition were created with the generous financial support of the Ministry of Culture of the Czech Republic. <img width="1600" height="1067" width_o="1600" height_o="1067" data-src="https://freight.cargo.site/t/original/i/a1467baa94a18eb56fdc42b4ab33c04c1ef3432eff2dec4baf9578bd5c6ff2e8/trigger-bonus-3.jpeg" data-mid="247890239" border="0" src="https://freight.cargo.site/w/1000/i/a1467baa94a18eb56fdc42b4ab33c04c1ef3432eff2dec4baf9578bd5c6ff2e8/trigger-bonus-3.jpeg" /> <img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/ac9cc2de0b6d7fd1ed0135e14c0bb51bb5e5b83f62349fbb231938583cb72211/014_Trigger-Witness_P4A0292up.jpg" data-mid="247890233" border="0" src="https://freight.cargo.site/w/1000/i/ac9cc2de0b6d7fd1ed0135e14c0bb51bb5e5b83f62349fbb231938583cb72211/014_Trigger-Witness_P4A0292up.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/f84aa0556dc9a585e97afcdb91903ee6382f10cc9d7d5684ca4cd18ad692c52f/003_Trigger-Witness_P4A0266up.jpg" data-mid="247890224" border="0" src="https://freight.cargo.site/w/1000/i/f84aa0556dc9a585e97afcdb91903ee6382f10cc9d7d5684ca4cd18ad692c52f/003_Trigger-Witness_P4A0266up.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/61209ca94572dbd29197aee3e7217e8cd700b299c6a6a228cdbeb3614eaedecf/002_Trigger-Witness_P4A0267up.jpg" data-mid="247890223" border="0" src="https://freight.cargo.site/w/1000/i/61209ca94572dbd29197aee3e7217e8cd700b299c6a6a228cdbeb3614eaedecf/002_Trigger-Witness_P4A0267up.jpg" /> <img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/6fb07950060ec579ee971f967ef1d502f1334dbe3859b4585282271136779bff/012_Trigger-Witness_P4A0288up.jpg" data-mid="247890232" border="0" src="https://freight.cargo.site/w/1000/i/6fb07950060ec579ee971f967ef1d502f1334dbe3859b4585282271136779bff/012_Trigger-Witness_P4A0288up.jpg" /> <img width="1600" height="1067" width_o="1600" height_o="1067" data-src="https://freight.cargo.site/t/original/i/bfc9c855a0968441c8f0d70d570f14c0eee1e07a5ed2b5b9f0f84dd105a84d4c/trigger-bonus-2.jpeg" data-mid="247890238" border="0" src="https://freight.cargo.site/w/1000/i/bfc9c855a0968441c8f0d70d570f14c0eee1e07a5ed2b5b9f0f84dd105a84d4c/trigger-bonus-2.jpeg" /> https://alzbetabacikova.com/Shine-Your-Light-on-Me Sat, 01 Jan 2022 17:17:00 +0000 Alžběta Bačíková https://alzbetabacikova.com/Shine-Your-Light-on-Me Shine Your Light on Me 2021 Full HD video, 23'16'' /colour, sound/ The video installation Shine Your Light on Me speaks to the transformative experience associated with dance and movement. The vitality of global climate protests in New York City, traditional dance as a path to cultural belonging and the hedonism of dance parties are connected by the closeness and intimacy of physical gathering. Focusing on the embodied experience, in Shine Your Light on Me the artist’s body connected to a camera is turned into a narrative device and technological apparatus. In an exploration of sound, rhythm and breath, dance is both politics and pleasure, with the potential emergence of the collective always present. In this first installment of a long-term project, Bačíková examines possibilities of moving image and dance as a tool for projection, reflection, alienation but also as a tool of community building. Editor: Kristýna BartošováSound: Jakub JurásekMusic: Aid KidVoice: Lucie VítkováDramaturgy: Viola JežkováTranslation: Nathan Fields Curator of the exhibition at the Nevan Contempo gallery: Hana Janečková Production of the video Shine Your Light On Me was kindly supported by the artistic grant of the MKČR and the Nevan Contempo gallery. <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/08a62ad084c72a849833c482aecaf21bd3f430270daf8bffdc890ccf2fe07ffd/012.jpg" data-mid="128671794" border="0" src="https://freight.cargo.site/w/1000/i/08a62ad084c72a849833c482aecaf21bd3f430270daf8bffdc890ccf2fe07ffd/012.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/8a9a84f8fe1e05da426369687ebd7fec11b83548d91078807e7b47017200d613/007.jpg" data-mid="128671792" border="0" src="https://freight.cargo.site/w/1000/i/8a9a84f8fe1e05da426369687ebd7fec11b83548d91078807e7b47017200d613/007.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/256a60fdc8485d20deffd84b0f090a9a2536fc1a358a21d29bbcb481f57fa762/004.jpg" data-mid="128671791" border="0" src="https://freight.cargo.site/w/1000/i/256a60fdc8485d20deffd84b0f090a9a2536fc1a358a21d29bbcb481f57fa762/004.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/3318d4ff5a010eb0439aff99fc09feb51e3ba3eb0e87912d64662300c55ae262/09.jpg" data-mid="128671793" border="0" src="https://freight.cargo.site/w/1000/i/3318d4ff5a010eb0439aff99fc09feb51e3ba3eb0e87912d64662300c55ae262/09.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/2d690151a5929156c739e0349e284608a675066791aba0910f7b480a06827e12/03-bn.jpg" data-mid="128671789" border="0" src="https://freight.cargo.site/w/1000/i/2d690151a5929156c739e0349e284608a675066791aba0910f7b480a06827e12/03-bn.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/d9ca3bf43be9719e5d7b29633908df4213e6950a51afd96f8952656c88e9bd22/003.jpg" data-mid="128671790" border="0" src="https://freight.cargo.site/w/1000/i/d9ca3bf43be9719e5d7b29633908df4213e6950a51afd96f8952656c88e9bd22/003.jpg" /> <img width="2520" height="1680" width_o="2520" height_o="1680" data-src="https://freight.cargo.site/t/original/i/607c7c8b00c9c328d31fd0dcc411594b07ca155ebb2bc29a1333dbed27b0e48c/Bacikova1928_n.jpg" data-mid="167022406" border="0" src="https://freight.cargo.site/w/1000/i/607c7c8b00c9c328d31fd0dcc411594b07ca155ebb2bc29a1333dbed27b0e48c/Bacikova1928_n.jpg" /> <img width="2520" height="1680" width_o="2520" height_o="1680" data-src="https://freight.cargo.site/t/original/i/67c6feced873a65fd2857c99dd9acbd557b5ba874c5ed2477be91244007347a8/Bacikova1946_n.jpg" data-mid="167022408" border="0" src="https://freight.cargo.site/w/1000/i/67c6feced873a65fd2857c99dd9acbd557b5ba874c5ed2477be91244007347a8/Bacikova1946_n.jpg" /> <img width="2520" height="1680" width_o="2520" height_o="1680" data-src="https://freight.cargo.site/t/original/i/f00391fcb85c009e6c3d638c86fbc6f6592387244d3aad6ac3e02d8252ec13c5/Bacikova1986_n.jpg" data-mid="167022411" border="0" src="https://freight.cargo.site/w/1000/i/f00391fcb85c009e6c3d638c86fbc6f6592387244d3aad6ac3e02d8252ec13c5/Bacikova1986_n.jpg" /> <img width="2520" height="1680" width_o="2520" height_o="1680" data-src="https://freight.cargo.site/t/original/i/7c2215df8163a91a59d61d3f502949c83ab4b9569b4f504ca92b2bc3f2d29661/Bacikova1967_n.jpg" data-mid="167022410" border="0" src="https://freight.cargo.site/w/1000/i/7c2215df8163a91a59d61d3f502949c83ab4b9569b4f504ca92b2bc3f2d29661/Bacikova1967_n.jpg" /> <img width="2520" height="1680" width_o="2520" height_o="1680" data-src="https://freight.cargo.site/t/original/i/8c592a3611431b602ff349ff6ac0ceebc2cb66f33eb93269a1759917a224e3f2/IMG_5793_n.jpg" data-mid="167022412" border="0" src="https://freight.cargo.site/w/1000/i/8c592a3611431b602ff349ff6ac0ceebc2cb66f33eb93269a1759917a224e3f2/IMG_5793_n.jpg" /> https://alzbetabacikova.com/Lavish-Issue Sat, 01 Jan 2022 17:20:46 +0000 Alžběta Bačíková https://alzbetabacikova.com/Lavish-Issue Lavish Issue 2020 Film, Full HD, 14’30’’ /colour, sound/ The film Lavish Issue presents the Romany political scientist and human rights activist Edita Stejskalová through a staged visit to the Müller Villa in Prague in which the filmmaker creates a dialogue between her protagonist and Adolf Loos’s famous modernist house – today a national cultural monument. The building’s interior and exterior design offer the possibility of a symbolic interpretation. The subdued facade, contrasted with its richly decorated interior, forms an excellent foundation for exploring the relationship between public and private. The villa and its luxury interior thus represent a high standard of living, while the fact that this originally private space is open to the public opens up questions regarding the accumulation or redistribution of cultural and other forms of wealth. The building’s status as a monument of cultural heritage forces us to consider questions related to the sharing of goods and societal values. Visitors cannot touch anything or move it. The fact that the house cannot be used functionally because of its status as a museum only further encourages the imagination. The staged video presents its protagonist in a ceremonial role. She is given an opportunity to give a short speech inside the villa in which she explores issues of social status, forms of social inequality, and the individual experience of moving through spaces with different cultures and languages. Protagonist: Edita Stejskalová Voice of the guide: Ivana Vostárková Cinematographer: Štěpán Pech First Assistant Camera: Michal Blecha Drone operator: Tomáš Mertlík Editor: Kristýna Bartošová Sound: Jakub Jurásek Music: Jakub Janšto Costume design: Pavel Berky Make-up: Eva Svobodová Location: Vila Müller in Prague <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/00d0e862ed4b029f8e5044dd84d3bba1d6b83ed06788d052ec98e345c04fcade/001_slavnostni_problem_portolio_VVUMOA_bacikova_0090_resized.jpg" data-mid="128672330" border="0" src="https://freight.cargo.site/w/1000/i/00d0e862ed4b029f8e5044dd84d3bba1d6b83ed06788d052ec98e345c04fcade/001_slavnostni_problem_portolio_VVUMOA_bacikova_0090_resized.jpg" /> <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/925ae4ca4ab0acf3cf764558756b3c7c72c54e9a396585df5e01a3102065b914/002_slavnostni_problem_portolio_VVUMOA_0030_resized.jpg" data-mid="128672331" border="0" src="https://freight.cargo.site/w/1000/i/925ae4ca4ab0acf3cf764558756b3c7c72c54e9a396585df5e01a3102065b914/002_slavnostni_problem_portolio_VVUMOA_0030_resized.jpg" /> <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/da09da7fcadea1d18c0df5a095119019eacdf25f1cfd878480d6927719efa782/003_slavnostni_problem_portolio_VVUMOA_0320_resized.jpg" data-mid="128672510" border="0" src="https://freight.cargo.site/w/1000/i/da09da7fcadea1d18c0df5a095119019eacdf25f1cfd878480d6927719efa782/003_slavnostni_problem_portolio_VVUMOA_0320_resized.jpg" /> <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/4db295378c8b61183b7bce162b54e25cc0520d4fc8dba932b2895a3f7aa0bd8f/004_slavnostni_problem_portolio_VVUMOA_bacikova_0330_resized.jpg" data-mid="128672513" border="0" src="https://freight.cargo.site/w/1000/i/4db295378c8b61183b7bce162b54e25cc0520d4fc8dba932b2895a3f7aa0bd8f/004_slavnostni_problem_portolio_VVUMOA_bacikova_0330_resized.jpg" /> <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/b39e61bf779e2813336300006250e11d24a874b4bdc02fca6dd947ae7e8f7fda/05_slavnostni_problem_bacikova_resized.jpg" data-mid="128672516" border="0" src="https://freight.cargo.site/w/1000/i/b39e61bf779e2813336300006250e11d24a874b4bdc02fca6dd947ae7e8f7fda/05_slavnostni_problem_bacikova_resized.jpg" /> <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/ce82956fe644fbc8276857eba79e17fe708632266c722b7a1031679175843f8f/005_slavnostni_problem_portolio_VVUMOA_0250_resized.jpg" data-mid="128672517" border="0" src="https://freight.cargo.site/w/1000/i/ce82956fe644fbc8276857eba79e17fe708632266c722b7a1031679175843f8f/005_slavnostni_problem_portolio_VVUMOA_0250_resized.jpg" /> <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/8f8cfb874a7f73b6563d3e497940baf644ad879b13b9bb577f37d6fbfa801e4e/006_slavnostni_problem_portolio_VVUMOA_bacikova_0050_resized.jpg" data-mid="128672518" border="0" src="https://freight.cargo.site/w/1000/i/8f8cfb874a7f73b6563d3e497940baf644ad879b13b9bb577f37d6fbfa801e4e/006_slavnostni_problem_portolio_VVUMOA_bacikova_0050_resized.jpg" /> <img width="3840" height="2560" width_o="3840" height_o="2560" data-src="https://freight.cargo.site/t/original/i/abd50f0166078af09926679a765be2f2c26e727f23e0db1194648bdef5c11cb8/Ve-veci-umeni-5578-c-Tomas-Soucek_resized.jpg" data-mid="128672520" border="0" src="https://freight.cargo.site/w/1000/i/abd50f0166078af09926679a765be2f2c26e727f23e0db1194648bdef5c11cb8/Ve-veci-umeni-5578-c-Tomas-Soucek_resized.jpg" /> https://alzbetabacikova.com/DJ Thu, 16 Dec 2021 21:45:56 +0000 Alžběta Bačíková https://alzbetabacikova.com/DJ DJ 2020Full HD video, 8’ 30’’ /colour, silent/ The project is based on a collaboration with a Deaf protagonist Mac Henzl. In a short video situated in a dark dance club, Mac performs excerpts taken out of his autobiographical book entitled Fuchsia, in which he reflects his moving from Prague to London and the period of time he had spent there. As the Czech sign language is his native tongue, the fact that he has moved to a foreign country means that he is immediately confronted by situations where comprehension is truly complicated. Selection of scenes underlines motives of adaptation to certain social, sensual or contextual conditions, as he temporarily stays at unknown places or is on the move. Mac’s story gives us an idea how he manages to get around the world where sound is important if you want to understand reality correctly but as well a world where imagination can sometimes offer us different perspectives which might be more joyful. He remembers emotionally charged situations such as when he hangs out with other Deaf friends dancing at a party, or perceives the sound of sea. Nevertheless the story tells us also about the tough moments of uncertainty at his new place of stay. Mac, whose identity is defined by belonging to two minorities - being Deaf and gay, tries to find a job, love and background to live a meaningful life where his creativity and talent may flourish. As a narrator of the video, he brings us experience in a new mix of descriptions and dreaming, one alternating the other. Actor: Mac Henzl Cinematography: Štěpán Pech, Michal Blecha Editing: Kristýna Bartošová Light design: Jan Slanina Czech sign language interpreter: Naďa Hynková Dingová English translation: Brian Vondrak Graphic design: Vojtěch Cejnek Make up: Eva Svobodová Video was commissioned by Centre for Fine Arts BOZAR in Brussels and supported by artistic grant of the Ministry of Culture Czech Republic. <img width="4000" height="2385" width_o="4000" height_o="2385" data-src="https://freight.cargo.site/t/original/i/f91b01eaaccc218ed0b1035d6ad8e3c2c7daee597a9e8f8c34ca5888c0feb96c/01_DJ_Bacikova_resized.jpg" data-mid="127620393" border="0" src="https://freight.cargo.site/w/1000/i/f91b01eaaccc218ed0b1035d6ad8e3c2c7daee597a9e8f8c34ca5888c0feb96c/01_DJ_Bacikova_resized.jpg" /> <img width="4000" height="2250" width_o="4000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/ab3bf7867f54439cb6b49888825966ed940f0a4745ce54c986db561e38db55e7/02_portfolio_Artikl_DJ_510_resized.jpg" data-mid="127620394" border="0" src="https://freight.cargo.site/w/1000/i/ab3bf7867f54439cb6b49888825966ed940f0a4745ce54c986db561e38db55e7/02_portfolio_Artikl_DJ_510_resized.jpg" /> <img width="4000" height="2250" width_o="4000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/fa3fedfe4172e719c058661d69ecbc348bfebacc33fc23022f6d205580cd417a/03_portfolio_Artikl_DJ_920_resized.jpg" data-mid="127620395" border="0" src="https://freight.cargo.site/w/1000/i/fa3fedfe4172e719c058661d69ecbc348bfebacc33fc23022f6d205580cd417a/03_portfolio_Artikl_DJ_920_resized.jpg" /> <img width="4000" height="2250" width_o="4000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/5e90b55b314684fb8905764e5e1709763ff133ad4190c3da9889a82f93a0fafd/04_portfolio_Artikl_DJ_310_resized.jpg" data-mid="127620396" border="0" src="https://freight.cargo.site/w/1000/i/5e90b55b314684fb8905764e5e1709763ff133ad4190c3da9889a82f93a0fafd/04_portfolio_Artikl_DJ_310_resized.jpg" /> <img width="4000" height="2250" width_o="4000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/09d90bca36ca0c374b9fcfab7244dc66ca00bb706e82f2852f3f92259444d246/05_portfolio_Artikl_DJ_610_resized.jpg" data-mid="127620398" border="0" src="https://freight.cargo.site/w/1000/i/09d90bca36ca0c374b9fcfab7244dc66ca00bb706e82f2852f3f92259444d246/05_portfolio_Artikl_DJ_610_resized.jpg" /> <img width="4000" height="2250" width_o="4000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/9cf4b92d3333bde13104cbe309ce44972cee5a82652096649bc7264510067164/06_DJ_Bacikova_resized.jpg" data-mid="127620399" border="0" src="https://freight.cargo.site/w/1000/i/9cf4b92d3333bde13104cbe309ce44972cee5a82652096649bc7264510067164/06_DJ_Bacikova_resized.jpg" /> <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/9050f62bc6084d804af496fd2ca591a41b12a6373432ca167f611b57db7bb910/Installation-views-BOZAR_HOTEL-BEETHOVEN-c-Philippe-De-Gobert-51_resized.jpg" data-mid="127620400" border="0" src="https://freight.cargo.site/w/1000/i/9050f62bc6084d804af496fd2ca591a41b12a6373432ca167f611b57db7bb910/Installation-views-BOZAR_HOTEL-BEETHOVEN-c-Philippe-De-Gobert-51_resized.jpg" /> https://alzbetabacikova.com/Encounter Thu, 16 Dec 2021 19:38:27 +0000 Alžběta Bačíková https://alzbetabacikova.com/Encounter Encounter 2020 Full HD video, 13’ 20’’ /colour, sound/2018Audiovisual installation, 30’ /sound 15’, silent video 15’/ The main question tabled by this project is how can audiovisual work adapt to a visually impaired protagonist or a participant with a hearing loss. I concentrated especially on developing script based on the idea of meeting and relationship between two people – one is Deaf and the other is blind. Although these characteristics seem to create barriers in their communication, the audiovisual work contrarily shows situations when they communicate, spend time together and do various activities – from watching cinema to dancing or driving a car. Plot of the script refers to historical beginnings of sound film in several moments. The initial moments when sound and image began to be used synchronously appear metaphorically in the artwork which opposes this “audio–visual friendship” and tries to narrate in both – sound and image – separately. Sequence of represented situations is the same but each protagonist is more introduced and present in the channel which can be perceived by his or her. Installation version (2018) is based on split of audio and video – they’re installed in separate rooms. Cinema version (2020) connects these two channels and challenges attention in the moments when information perceived by sight and hearing overlaps. Cast Terezie — Alena Terezie Vítek Mac&nbsp;— Mac Henzl Audio description – Zuzana Stivínová Interpreter – Naďa Hynková Dingová Camera: Martin Štěpánek Sound: Jakub Jurásek, Ian Mikyska Editing: Kristýna Bartošová Piano and vocals: Ráchel Skleničková Music and lyrics for Pretty Hands Pretty Face: Ian Mikyska Dance scene choreography: Mish Rais Written by: Alžběta Bačíková and Mac Henzl in collaboration with other video participants Translation and revision of Czech Sign Language: Naďa Hynková Dingová English translation: Ian Mikyska Image correction: Tomáš Hájek The work features excerpts from Gustav Machatý’s film From Saturday to Sunday (1931). The scenes from Villa Rothmayer were shot by courtesy of the City of Prague Museum. Project was made for the exhibition Jindřich Chalupecký Award 2018 at the National Gallery in Prague. The cinema version was prepared for the Fotograf Festival 2020. <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/3be25fa6b806a17d4b2711819d10a031240dec0e5127d44f6bc784d9686cb801/01_encounter_resized.jpg" data-mid="127620144" border="0" src="https://freight.cargo.site/w/1000/i/3be25fa6b806a17d4b2711819d10a031240dec0e5127d44f6bc784d9686cb801/01_encounter_resized.jpg" /> <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/763d10fcf6050cebdc72b7f9ab4943253d5649e5a93379d286e4e26d85d2e8a0/03_encounter_resized.jpg" data-mid="127620146" border="0" src="https://freight.cargo.site/w/1000/i/763d10fcf6050cebdc72b7f9ab4943253d5649e5a93379d286e4e26d85d2e8a0/03_encounter_resized.jpg" /> <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/79613b217d597b596754db49657d6a522238c58ce4f2b6c906615ad422a70aca/04_encounter_resized.jpg" data-mid="127620148" border="0" src="https://freight.cargo.site/w/1000/i/79613b217d597b596754db49657d6a522238c58ce4f2b6c906615ad422a70aca/04_encounter_resized.jpg" /> <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/911f99458c41d5619e942fb1b02e879a24a47f3003f5a7a3b1f036615184a233/05_encounter_resized.jpg" data-mid="127620149" border="0" src="https://freight.cargo.site/w/1000/i/911f99458c41d5619e942fb1b02e879a24a47f3003f5a7a3b1f036615184a233/05_encounter_resized.jpg" /> <img width="3840" height="2560" width_o="3840" height_o="2560" data-src="https://freight.cargo.site/t/original/i/767568038408c9e0c57876ad0830e78463f282b7e3851a03d78ee7f858c0ee2f/06_encounter_instalace_CJCH_2018_resized.jpg" data-mid="127620150" border="0" src="https://freight.cargo.site/w/1000/i/767568038408c9e0c57876ad0830e78463f282b7e3851a03d78ee7f858c0ee2f/06_encounter_instalace_CJCH_2018_resized.jpg" /> <img width="3840" height="2560" width_o="3840" height_o="2560" data-src="https://freight.cargo.site/t/original/i/35ffc288be0f6edf6d12e332ed40a68c8b17346cd6e539337064fb6ccec9adc6/07_encounter_instalace_CJCH_2018_resized.jpg" data-mid="127620151" border="0" src="https://freight.cargo.site/w/1000/i/35ffc288be0f6edf6d12e332ed40a68c8b17346cd6e539337064fb6ccec9adc6/07_encounter_instalace_CJCH_2018_resized.jpg" /> <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/3c48910910f39a0566e477bdb72a5d73973a67fadeaf6878464bdd3e904d1b67/09_encounter_instalace_CJCH_20182_resized.jpg" data-mid="127620156" border="0" src="https://freight.cargo.site/w/1000/i/3c48910910f39a0566e477bdb72a5d73973a67fadeaf6878464bdd3e904d1b67/09_encounter_instalace_CJCH_20182_resized.jpg" /> <img width="3840" height="2560" width_o="3840" height_o="2560" data-src="https://freight.cargo.site/t/original/i/a75d5a50546bd7376001d118cd2f9af0018ab382ffc0c6e99bdef115341e3a3f/10_muj-pohled--tvuj-obraz-muj-obraz--tvuj-pohled--8526_resized.jpg" data-mid="127620158" border="0" src="https://freight.cargo.site/w/1000/i/a75d5a50546bd7376001d118cd2f9af0018ab382ffc0c6e99bdef115341e3a3f/10_muj-pohled--tvuj-obraz-muj-obraz--tvuj-pohled--8526_resized.jpg" /> <img width="3840" height="2560" width_o="3840" height_o="2560" data-src="https://freight.cargo.site/t/original/i/148e047f6a5cd63363ad0224d21c26e7097e7a22f5251f779a12d14f330eb06a/11_muj-pohled--tvuj-obraz-muj-obraz--tvuj-pohled--8545_resized.jpg" data-mid="127620159" border="0" src="https://freight.cargo.site/w/1000/i/148e047f6a5cd63363ad0224d21c26e7097e7a22f5251f779a12d14f330eb06a/11_muj-pohled--tvuj-obraz-muj-obraz--tvuj-pohled--8545_resized.jpg" /> https://alzbetabacikova.com/Running-Report Sat, 01 Jan 2022 17:27:14 +0000 Alžběta Bačíková https://alzbetabacikova.com/Running-Report Running Report 2017Video installation, three Full HD videos, 31‘ 30‘‘ /colour, sound/ Synchronized 3-channel video installation combines portraits of three men: Oliver the professional male escort, anonymous internet paranoid, and Eda the martial arts enthusiast. The three videos alternate and intertwine in the gallery space, so that the visitor has the ability to always fully concentrate on one of them, while the others create a sound and picture background. The portraits alternate in ten minute variants with a voice-over, which narrates and helps to interpret the images. For the rest of the footage – in reduced passages – they are accompanied only by a musical accompaniment where portraits are being pictured freely and associatively. The installation was realized at the Entrance Gallery in Prague. <img width="3840" height="2560" width_o="3840" height_o="2560" data-src="https://freight.cargo.site/t/original/i/2166c1c33b20c1338c924fc35244a57b8f583a0e073669c6e3389852e8b503e1/1_prubezna_zprava_instalace_resized.jpg" data-mid="128672750" border="0" src="https://freight.cargo.site/w/1000/i/2166c1c33b20c1338c924fc35244a57b8f583a0e073669c6e3389852e8b503e1/1_prubezna_zprava_instalace_resized.jpg" /> <img width="3840" height="2560" width_o="3840" height_o="2560" data-src="https://freight.cargo.site/t/original/i/6dded42561f46774b91529149084a8aaee7574f32bc2f134526c9f4ce0d2115f/2_prubezna_zprava_IMG_1730_instalace_resized.jpg" data-mid="128672759" border="0" src="https://freight.cargo.site/w/1000/i/6dded42561f46774b91529149084a8aaee7574f32bc2f134526c9f4ce0d2115f/2_prubezna_zprava_IMG_1730_instalace_resized.jpg" /> <img width="3840" height="2560" width_o="3840" height_o="2560" data-src="https://freight.cargo.site/t/original/i/1c3aa2b1e044114581aff891da2a6938f68d55e8e6e03782a1ddc2adc8ef8632/3_prubezna_zprava_IMG_instalace_resized.jpg" data-mid="128672760" border="0" src="https://freight.cargo.site/w/1000/i/1c3aa2b1e044114581aff891da2a6938f68d55e8e6e03782a1ddc2adc8ef8632/3_prubezna_zprava_IMG_instalace_resized.jpg" /> <img width="3840" height="2560" width_o="3840" height_o="2560" data-src="https://freight.cargo.site/t/original/i/7ada51b60620d4b22f2181de02bc6a07deb1d3834d5257d3752abe2e109a1f5d/4_prubezna_zprava_IMG_1660_instalace_resized.jpg" data-mid="128672761" border="0" src="https://freight.cargo.site/w/1000/i/7ada51b60620d4b22f2181de02bc6a07deb1d3834d5257d3752abe2e109a1f5d/4_prubezna_zprava_IMG_1660_instalace_resized.jpg" /> <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/ace7c8f747a54785629be65e0f9a5f36b40d406a97fad98f8286d7b13a9b3186/5_prubezna_zprava_IMG_1660_videostill_resized.jpg" data-mid="128672762" border="0" src="https://freight.cargo.site/w/1000/i/ace7c8f747a54785629be65e0f9a5f36b40d406a97fad98f8286d7b13a9b3186/5_prubezna_zprava_IMG_1660_videostill_resized.jpg" /> <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/026da558022c5b28c81a1c78379dcd79dc048ba1ee2ef74187707143e082e7c4/6_prubezna_zprava_IMG_1661_videostill_resized.jpg" data-mid="128672763" border="0" src="https://freight.cargo.site/w/1000/i/026da558022c5b28c81a1c78379dcd79dc048ba1ee2ef74187707143e082e7c4/6_prubezna_zprava_IMG_1661_videostill_resized.jpg" /> https://alzbetabacikova.com/Heroes Sat, 01 Jan 2022 17:34:13 +0000 Alžběta Bačíková https://alzbetabacikova.com/Heroes Heroes 20172-channel Full HD video, 0:23:30, /colour, sound/, two-sided wooden projection screen An experimental documentary portrait follows Eda, a laborer in a tire factory and a passionate martial artist and Chinese culture enthusiast. This amateur author of the so-called wuxia genre – short fantasy lyrics, including stories about kung-fu masters – is being asked to write a story about Chinese feminist and revolutionary Qiu Jin. The characteristics of the protagonist are plotted through his writing and confrontation with the historical figure. The two-channel projection, designed for installation at the Jelení Gallery in Prague, was synchronized and linked by a shared sound. Double-sided canvas was intended for circumvention, with each side offering a different image composition. Artyčok.tv <img width="3840" height="2560" width_o="3840" height_o="2560" data-src="https://freight.cargo.site/t/original/i/7f811d909d38a164940641677370600f79ef0a6b07fb026627c6614ef262b4c3/2_IMG_5603_instalace_resized.jpg" data-mid="128673246" border="0" src="https://freight.cargo.site/w/1000/i/7f811d909d38a164940641677370600f79ef0a6b07fb026627c6614ef262b4c3/2_IMG_5603_instalace_resized.jpg" /> <img width="3840" height="2560" width_o="3840" height_o="2560" data-src="https://freight.cargo.site/t/original/i/263ff9670fd6cdfbe093659cd66a62b1bed2c1be80909bc77cba9ba815ef0b3e/1_IMG_5687_instalace_resized.jpg" data-mid="128673226" border="0" src="https://freight.cargo.site/w/1000/i/263ff9670fd6cdfbe093659cd66a62b1bed2c1be80909bc77cba9ba815ef0b3e/1_IMG_5687_instalace_resized.jpg" /> <img width="3840" height="2560" width_o="3840" height_o="2560" data-src="https://freight.cargo.site/t/original/i/0499330ada36e2451ebe1393a3bf17d5b18658921ac0efab44eba456d3f0b4c3/3_IMG_5680_instalace_resized.jpg" data-mid="128673236" border="0" src="https://freight.cargo.site/w/1000/i/0499330ada36e2451ebe1393a3bf17d5b18658921ac0efab44eba456d3f0b4c3/3_IMG_5680_instalace_resized.jpg" /> <img width="3840" height="2560" width_o="3840" height_o="2560" data-src="https://freight.cargo.site/t/original/i/8f4a48ef7c0612c6a44a28f19311aa25fd46a40bc82f101b0c8750ce5f319b96/4_IMG_5601_instalace_resized.jpg" data-mid="128673237" border="0" src="https://freight.cargo.site/w/1000/i/8f4a48ef7c0612c6a44a28f19311aa25fd46a40bc82f101b0c8750ce5f319b96/4_IMG_5601_instalace_resized.jpg" /> <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/95ab9aff47df841fd7ff26d9a5a2e4156c2e271cf244ae905a45f16aa701d6fb/6_03aa_videostill_resized.jpg" data-mid="128673238" border="0" src="https://freight.cargo.site/w/1000/i/95ab9aff47df841fd7ff26d9a5a2e4156c2e271cf244ae905a45f16aa701d6fb/6_03aa_videostill_resized.jpg" /> <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/d14817e5862b0aee4843f534bbf22c164d8434f8ce0847a23dd1207aba8a704c/7_prubezna_zprava_IMG_1661_videostill_resized.jpg" data-mid="128673251" border="0" src="https://freight.cargo.site/w/1000/i/d14817e5862b0aee4843f534bbf22c164d8434f8ce0847a23dd1207aba8a704c/7_prubezna_zprava_IMG_1661_videostill_resized.jpg" /> <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/afc367d26bce65745eac0a0729830c4e847701c065db319b2bee9758741bd4d9/8_Hrdinove_2017d_videostill_resized.jpg" data-mid="128673286" border="0" src="https://freight.cargo.site/w/1000/i/afc367d26bce65745eac0a0729830c4e847701c065db319b2bee9758741bd4d9/8_Hrdinove_2017d_videostill_resized.jpg" /> https://alzbetabacikova.com/Bent-Tiles Sat, 01 Jan 2022 17:42:34 +0000 Alžběta Bačíková https://alzbetabacikova.com/Bent-Tiles Bent Tiles 2017Synchronized 3-channel video projection, three Full HD videos, 0:22:22 /colour, sound/ The documentary reconstruction of the biography of the disappeared Czech ceramist Jarmila B. is built especially around the author‘s deliberate retreat, which was a significant gesture confirming her attitudes towards art. Jarmila B. has been the author of relatively conventional realizations of spa interiors since the late 1960s, but her parallel work in sketches and writings gives insight into a totally different kind of practice with overlapping into performative or conceptual planes. Close friends speaks of the missing author; while the narrative is being accompanied by shots of preserved and dying spa architecture. On one of the projections you can watch the emergence of the musical component. The project is playing against the boundaries of reality and fiction. It was created with the contribution of several female artists. For more information about collaborators and the video with English subtitles see the following link: Artyčok.TV Bent Tiles Project was supported by Artyčok.TV and Arts and Theatre Institute in collaboration with Ministry of Culture a ESAC in Český Krumlov. Exhibition was realized at the TIC Gallery in Brno. <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/a8e272f154829bc58f65c479b682686d3446ad2a7cb2861a0415dfd96131b7ab/01-bent-tiles-bacikova-screenshot-1_resized.jpg" data-mid="128673576" border="0" src="https://freight.cargo.site/w/1000/i/a8e272f154829bc58f65c479b682686d3446ad2a7cb2861a0415dfd96131b7ab/01-bent-tiles-bacikova-screenshot-1_resized.jpg" /> <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/e801d6b860ad369584ab4664b504030b2ecccfb6a7508978f7cda311003c6ae0/02-bent-tiles-bacikova-screenshot-2_resized.jpg" data-mid="128673577" border="0" src="https://freight.cargo.site/w/1000/i/e801d6b860ad369584ab4664b504030b2ecccfb6a7508978f7cda311003c6ae0/02-bent-tiles-bacikova-screenshot-2_resized.jpg" /> <img width="3840" height="2564" width_o="3840" height_o="2564" data-src="https://freight.cargo.site/t/original/i/5b242ba0c22ed9d54b689647250acc246a269198e8b7a3799bab96564ed08ca4/03_DLAZBA014_instalace_resized.jpg" data-mid="128673578" border="0" src="https://freight.cargo.site/w/1000/i/5b242ba0c22ed9d54b689647250acc246a269198e8b7a3799bab96564ed08ca4/03_DLAZBA014_instalace_resized.jpg" /> <img width="3840" height="2564" width_o="3840" height_o="2564" data-src="https://freight.cargo.site/t/original/i/67774b14e6332c1b4c1dabc6428ad57fb52c8fc1fa28369a48a0d9bb7082d5da/04_DLAZBA008_instalace_resized.jpg" data-mid="128673579" border="0" src="https://freight.cargo.site/w/1000/i/67774b14e6332c1b4c1dabc6428ad57fb52c8fc1fa28369a48a0d9bb7082d5da/04_DLAZBA008_instalace_resized.jpg" /> <img width="3840" height="2564" width_o="3840" height_o="2564" data-src="https://freight.cargo.site/t/original/i/6d18607c2767ff45a4a9ffd509bfecb0f03a1f3d3b92bc764ed33ac80072205d/05_DLAZBA002_instalace_resized.jpg" data-mid="128673580" border="0" src="https://freight.cargo.site/w/1000/i/6d18607c2767ff45a4a9ffd509bfecb0f03a1f3d3b92bc764ed33ac80072205d/05_DLAZBA002_instalace_resized.jpg" /> <img width="3840" height="2564" width_o="3840" height_o="2564" data-src="https://freight.cargo.site/t/original/i/c972536601021c70ea9ecf56deb6a7a1569d580e8b14f2a2985891b576ae39fb/06_DLAZBA012_instalace_resized.jpg" data-mid="128673582" border="0" src="https://freight.cargo.site/w/1000/i/c972536601021c70ea9ecf56deb6a7a1569d580e8b14f2a2985891b576ae39fb/06_DLAZBA012_instalace_resized.jpg" /> <img width="3840" height="2613" width_o="3840" height_o="2613" data-src="https://freight.cargo.site/t/original/i/b19d2c9381ac75ed58b8c551ab9c84195ff06697c1cd9d1a3fcb30b8510dab26/08_instalace_Nachod_resized.jpg" data-mid="128673584" border="0" src="https://freight.cargo.site/w/1000/i/b19d2c9381ac75ed58b8c551ab9c84195ff06697c1cd9d1a3fcb30b8510dab26/08_instalace_Nachod_resized.jpg" /> <img width="2563" height="3840" width_o="2563" height_o="3840" data-src="https://freight.cargo.site/t/original/i/b4b26a15d9df1115bce791ab1a4e0ca70a64f15cb8a1fb17ab4aca645b589a4e/07_Prohnuta_dlazba_2017a_resized.jpg" data-mid="128673583" border="0" src="https://freight.cargo.site/w/1000/i/b4b26a15d9df1115bce791ab1a4e0ca70a64f15cb8a1fb17ab4aca645b589a4e/07_Prohnuta_dlazba_2017a_resized.jpg" />