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Program

23 Nov 2005 00:00 - 00:00

LUX Salon: Martin Blažíček & Recent Works from Prague

Prague based artist Martin Blažíček has been making films since 1996 and is a leading figure in Czech experimental film. He is a founding member of the film group F.A.G. and V_LTRA, he has been making abstract and structural films using hand-made techniques some of which are fused with live performances.

 

Martin Blažíček will present a selection of his recent work together with work by his contemporaries Vit Pancir and Ondrej Vavrecka from the Czech Republic, Gyula Nemes from Hungary and Andreas Wurz from Germany. The artists in this program are unified through their mutual connections with the artistic scene in Prague. The work fuses abstract film with experimental documentary and shows the vitality and creativity of Central European work and the artistic scene in Prague.

 

Martin Blažíček will introduce the screening and be joined by Gyula Nemes to discuss the work afterwards.

 

Admission free, booking essential

 

To book a place please email salon@lux.org.uk with your name(s) please only book if you intend to come, spaces are very limited so it deprives others.


At LUX OFFICE, 3rd Floor, 18 Shacklewell Lane, London E8 2EZ. See www.lux.org.uk/about/index.html for directions.

 

 

Programme:

 

Screen Hatching - Ondrej Vavrecka, CZ, 2005, 4.5min, silent

The Threshold of Transience - Gyula Nemes, HU, 2003, 10min, sound

Study 9 - Martin Blažíček, CZ, 2003, 4.5min, silent

LeMans - Andreas Wutz, G, 2003, 9.5min, sound

On The Snow Dog - Vit Pancir, CZ, 2003, 14min, sound

Image Description - Martin Blažíček, CZ, 2003, 11min, sound

 

Screen Hatching

(Šepsování plátna, dir. Ondřej Vavrečka, Czech Rep. 2005, 4.5min app., color, 16mm, no-sound)

 

Each of his films investigates method or means of cinematographic process. This particular preparatory film study is questioning the nature of projection screen. Clumsy translation of Czech word „plátno“ (this word signifies both projection screen and canvas for painting) denotes conception of   the phenomenon in question: white screen is raw canvas that is to be (or: the director wants it to be) gessoed before proper painting. Its surface must be smooth and shiny to ensure the best possible projection (e.g. painting by a beam of Light) of following films. Therefore the pre-film Šepsování plátna should be projected at the very beginning of a show. Painting on gessoed canvases is highly recommended in every literature on painting. For gessoing the director used Bolex camera and reality: each frame of film is a single camera movement up, down, left or right. In order to keep the layer of gesso homogene the author decided to touch every smallest part of canvas just once. This special attention supported by a Kaderplan designed by the director shows a trajectory of a brush spreading gesso. The process of  shooting Šepsování plátna was actually punctual walk around small village called Lidice that was, together with another village called Ležáky, completely demolished by nazi army during World War II as a vengeance to the assassination of Reinhardt Heidrich (the head of Protektorat Böhmen und Mähren) by Czech paratroopers. This assassination was carried out by…shooting.

 

The Threshold Of Transience

(A mulandosag gatja, dir.Gyula Nemes, Hungary 2004, 13min, b/w, 16mm to dvd, sound)

 

photography: Balasz Doboczi, Mark Gyori

editing, sound: Martin Blažíček

 

Three years of the Kopaszi dam under a demolition order. The sunlight spindle camera, the scratches and flashes of the expired raw material and the cut in the camera breathe together with nature and the people living there. The film’s sound material is an orchestra’s rehearsal in which a brass band is trying to play the Egmont overture. Film has no dialogue; words have only the function of feeling.

 

Study 9

(Studie 9, dir.Martin Blažíček, Czech Rep. 2003, 16mm to dvd, 4.5min, silent, b/w)

 

Originally 3-screen performance on 16mm. The film consists of light scanning slowly the borders of a screen, expanding into space and finally exploding into great fireworks. Original footage of this film is a short hand-painted abstract b/w film loop, projected through a set of lenses hanging in front of the camera. A round shape in front of projector lenses creates partially focused broken beams. This image was re-shot on 16mm camera and multiplied onto 3 screens.

 

Le Mans

(dir.Andreas Wutz, Germany 2002-03, 16mm to dvd, 9.5min, b/w, sound)

 

Experimental film on an extremely ambient feeling, a mixture of fear and elation, experienced during the loneliness of a night race (“The 24 Hours of Le Mans”). The night shots are combined with the asynchronically edited sound of the race cars and associated with pictures of Charles Lindbergh’s transatlantic airplane or quotations of Antoine Saint-Exupéry’s “Night Flight”.

 

On The Snow Dog

(Na sněhu pes, Czech Rep. 2003, dir.Vít Pancíř, 14min, b/w, S8 to dvd, sound)

 

Just like other Vít Pancíř's films, also this one is a very specific film poem – sketch, in this case represented by a black dog on the snow. However the main theme of the film is a dialogue of painted animation and peculiar qualities of film material. A number of personal references make the film both a poetic diary and creative study on contrasts of film picture.

 

Image Description

(Popis obrazu, dir.Martin Blažíček, Czech Rep. 2002-03, 16mm to dvd, 11min, sound, b/w)

 

Cooperation: Jindrich Biskup, Marcus Godwyn, Hedvika Hansalova, Sergej Kotov, Zydrone Krasauskiene, Annie MacDonell, Frantisek Wirth

 

Linguists operetta in 6 languages. Image material creates a background for language action. 7 people answer simple questions about the way they get oriented in a city and they describe certain city areas using the same terms in different languages. The answers were edited to create new relations between the sound and meanings of the words in these languages. The sound track connects phonemes and meanings into a interlingua collage, linking the single sentences, words and its fragments. Image material describes development from still frame; map - iconographic description of the space - motion picture - motion picture multiplied and superimposed. Film is in Lithuanian, Czech, English, Russian, Portuguese and French.

 

 

 

Venue:

116 Long Acre
WC2E 9PA London
United Kingdom

Date

23 Nov 2005 00:00 - 00:00

Organizer:

LUX


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