PAF 2017 Catalogue by PAF Edition

16 Festival of Film Animation andÂ Contemporary Art

16th Festival of Film Animation and Contemporary Art 7â&#x20AC;&#x201C;10 12 2017 PAF Olomouc www.pifpaf.cz

Catalogue PAF 2017 www.pifpaf.cz

Authors: Georgy Bagdasarov, Pavla Baštanová, Kamila Boháčková, Karel Císař, Eliška Děcká, Matyáš Dlab, Anne Duffau, Eva Filová, Miloš Henkrich, Alexandr Jančík, Tomáš Javůrek, Nela Klajbanová, Karina Kottová, Ján Kralovič, Ondřej Lasák, Dita Malečková, Martin Mazanec, Marie Meixnerová, Alexandra Morales, Jiří Neděla, Szilvi Német, Michal Novotný, Charlotte Procter, Pavel Ryška, Adéla Sobotková, Jaroslav Stehlík, Matěj Strnad, Petr Svárovský, Petr Šprincl, Jan Šrámek, Barbora Trnková, Vlastimil Vohánka Translators: Marie Meixnerová, Daniela Vymětalová, Eva Přílepková, Gabriela Podhajská, Jiří Žák, Kristýna Kubíčková, Martin Schweitzer, Václav Hruška, Elizabeth Woock

Acknowledgement

Petr Bilík, Martin Blažíček, Michal Blažíček, Martin Búřil, Alexandr Campaz, Eva Červenková, Gabriel Florenz, Anna Gáborová, Dominik Gajarský, Katarína Gatialová, Vladimír Havlík, Tomáš Chorý, Štěpánka Ištvánková, Jakub Jansa, Anna Jílková, Lucie Klevarová, Jakub Korda, Josef Kuba, Ondřej Molnár, Hana Myslivečková, Marco Orozsco, Jan Piskač, Čestmír Serafín, Radim Schubert, Kateřina Skočdopolová, Alžběta Smejkalová, Lenka Střeláková, David Suchý, Sylva Šafková, Barbora Ševčíková, Roman Štětina, Petr Vlček Audio-Video Department at the Faculty of Fine Arts of Brnu University of Technology, Department of Theatre and Film Studies at the Faculty of Arts of Palacký University Olomouc, FAMU’s Center for Audiovisual Studies Prague, Filmmuseum Wien, NAMU Prague, National Film Archive Prague, The University of J. E. Purkyně

Editor: Martina Bubíková Czech proofreading: Alena Veličková, Veronika Sellnerová, Lucie Pokorná, Martina Ignácová English proofreading: Elizabeth Woock, David Malcolm Richardson Cover and layout: Fiume Std (Filip Cenek) Graphic design and typesetting: Radim Měsíc PAF Edition 1st edition, Olomouc, 2017 Printed by: Profi-Tisk Group s.r.o. Number of copies: 500 ISBN 978-80-87662-19-9 Publisher: PAF, z.s. Wurmova 7 779 00 Olomouc www.pifpaf.cz

● english friendly

LSS MC | MCC BK VD

TNC XY | XY-1

GUM

CDS

Festival Venues: Antique Bookstore (AO) Bistrรก krรกva, bistro & coffee (BK) Civil Defense Shelter (CDS) Gallery U Mloka (GUM) Gallery XY (XY) Gallery XY-1 (XY-1) Metropol Cinema (MC) Metropol Cinema Cellar (MCC) Theatre Na Cucky (TNC) V lese (VL) Vertigo Club (VC) Vitrine Deniska (VD)

Konvikt (K): Atrium (A) Atelier of Intermedia (AI) Corpus Christi Chapel (CCC)

Univerzitní

CCC

Atelier of Graphic Design (AGD) Attic Gallery (AG) Café Tungsram Transit (CTT) Congregation Hall (CH) Film Auditorium (FA) Konvikt Press Centre (KPC) Theatre (T) ScreenSaverGallery (SSG)

Accreditation (1) Bookstor ArtMap (2) DJ / VJ stage (3) Guest Service (4) PAF Shop (5)

AGD

CTT

SSG KPC

AG 1

T FA

Content

25 other visions 28 Michal Novotný: Other Visions CZ 2017 30 Jury Other Visions CZ 2017 46 Eva Filová: Other Visions SK 2017 63 Charlotte Procter: Cinenova 64 Anne Duffau: Abraxas /// Αβρασαξ. I will create as I speak 65 Szilvi Német: Reality-per-dollar 67 abracadabra 76 Don Hertzfeldt: World of Tomorrow abracadabra screenings 77 Shahryar Nashat: Parade 78 Lawrence Lek: Geomancer, Sinofuturism (1839–2046 AD) 80 Jacky Connolly: Hudson Valley Ruins 81 Clemens von Wedemeyer: ESIOD 2015 82 Petr Šprincl: Vienna Calling 83 Martin Kohout: Slides 84 Veronika Vlková: Demi-Invisible, Demi-Brown 86 Magical Realism in Latin American Animation 88 Georges Méliès: A Trip to the Moon 89 Karel Zeman: The Sorcerer’s Apprentice 89 Gene Deitch: Teeny-Tiny and the Witch Woman 90 Zdeněk Smetana: Little Witch 91 Jan Švankmajer: Alice 92 John Korty, Charles Swenson: Twice Upon a Time 93 Hayao Miyazaki: Spirited Away 94 John Musker, Ron Clements: Aladdin 95 ABRACADABRA(F): Femaled Magic 96 Shana Moulton: Whispering Pines 97 Pauline Curnier Jardin: Grotta Profunda (the moody chasm) 98 Erica Magrey: Troubadour 98 Jennifer Juniper Stratford: Television Fantasy Studios

104 Shana Moulton: The Line Where Your abracadabra Appearance Flips Over Into Reality presentations 106 Daniel Rourke: #Additivism 107 Clemens von Wedemeyer: Vermin of the Sky 108 Gaika: The Spectacular Empire 109 BCCA System 110 Petr Svárovský: Reality Glitches 111 Jaroslav Stehlík: Dream.Digital 112 Dita Malečková: Bio / Brain Hacking: We Never Had Control? 113 Eliška Děcká: Witches in Animated Film and Pop Culture 120 Shana Moulton: This Organ Wants This, That Organ Wants That 121 0comeups 122 BCAA System + Olbram Pavlíček: Nova X-Process 124 Soda Plains 125 DJ Heroin 126 Gaika 127 Oliver Coates 128 Adam Matej, Jonatán Pastirčák: Decay 129 Jiří Suchánek: Atomtone 130 Jano Doe 130 Joanne Robertson & KOOL MUSIC 131 Jonáš Strouhal: Dr. Brain 132 Vendula Bělochová, Jan Tomšů: Veduty 133 DiStO 02: Theatre of the Static Object

abracadabra live

141 Pauline Curnier Jardin: Grotta Profunda (the moody chasm) 142 Krist Wood: Vulv 143 Petr Krátký: Howell St 144 Marie Hájková, Petr Šprincl: Genesis 145 Marek Delong, Anna Slama: Sugar Hunter’s Feast

abracadabra exhibitions

149 Camille Laurelli: Abracadabra 150 Petr Svárovský: Make Your Own Game in Two Days 150 Pavla Baštanová: Little Animators – Magic World

abracadabra workshops

153 aport animation 160 Eliška Děcká: AniScreen 164 Kateřina Karhánková, Barbora Halířová: Animated Forest 165 Emil Kubiš: Surrealistic Fantasies (Brno 16) 166 The Contemporary Czech Animated Documentary Films (FAMU, UMPRUM, UTB) 168 Georgy Bagdasarov, Alexandra Morales: Buenos Aires Experiment (AMU Press Prague) 169 Ülo Pikkov: Animasophy and Estonian Animation (AMU Press Prague) 170 Pavel Ryška: Svatopluk Pitra (PAF Edition) 171 Pavel Ryška, Jiří Havlíček: Krátký film (Artyčok.TV) 172 Monica Masucci: Kino Club (Bergamo Film Meeting) 175 indexes 176 Title Index 182 Name Index

PAF, z. s. PAF is a Czech cultural platform for film and contemporary art. Some of the leading topics and key terms PAF deals with in the long terms are: animation, archiving, media archaeology, audiovisual art, database, digital culture, experimental cinema, intermediality, cinematography, net art, moving image, remediation, video art and visual arts. The main activities of PAF include editorial and publishing activities within the editorial series Edition PAF, the presentation of Czech audio-visual art, the preparation of curated exhibitions, projections, workshops and seminars, as well as the year-round curatorial and dramaturgical work which culminates in the series of recurring festivals and events in the Czech Republic and abroad. 2000 saw the first edition of the homonymous festival PAF – Festival of Film Animation, which is the oldest festival of film animation in the Czech Republic. Since 2002, the festival has run annually in Olomouc, Czech Republic, in the Arts Centre of Palacký University, and from its 15th edition the festival is known as PAF – Festival of Film Animaton and Contemporary Art. Such title reflects the specific concern of the festival dramaturgy that consistently deals with a wide concept of animation in the context of cinematography and visual arts. Using the competition Other Visions, PAF has followed the contemporary production of Czech moving images and has dealt with issues relating to their archiving, distribution and presentation in the Czech Republic and abroad. PAF regularly cooperates with important galleries, curators and institutions in the

Czech Republic and abroad. Support and cooperation has been openly provided by a number of renowned organisations (Forma London, Filmmuseum Wien, Re:Voir Paris, Anthology Film Archives New York, Creative Time New York, Pioneer Works New York, Atelier Nord Oslo and others), festivals (Screen City Stavanger, Anilogue Budapest, Fest Anča Žilina etc.) and galleries (GAMU Prague, ScreenSaverGallery, Gallery U Mloka Olomouc). PAF’s minor achievements include awards given by prestigious competitions and festivals to art projects commissioned by PAF, to Other Visions competition finalists, and to PAF for its graphic design.

Year-long activity of the cultural platform PAF Year-long Activities: PAF ART – year-long exhibition programmes in the Czech Republic and abroad OTHER VISIONS – year-long presentations in the Czech Republic and abroad PAF EDITION – publishing activities PAF APORT – a platform for the distribution of the moving images PAF FASHION – fashion collection Periodic Events: PAF Olomouc – Festival of Film Animation and Contemporary Art, since 2000 PAF New York – AV festival in New York City, since 2011 LITR – book fair of authorial and artistic publications, since 2015 XY – walk with exhibition openings, exhibitions with a walk, since 2015 PAF at The End of Summer – music biennale in Ostopovice by Brno, since 2011

PAF 2017 – presentations 1 Dec 2016 – 5 Jan 2017 Alexandra Morales & Georgy Bagdasarov: (dis)play Vitrína Deniska | Olomouc | exhibition – installation, exhibition opening curator: Alexandr Jančík 1 Dec 2016 – 11 Jan 2017 Jozef Mrva: Body Armor U Mloka Gallery | Olomouc | exhibition – installation, exhibition opening curator: Viktorie Schrötterová 3 Jan – 7 Jun 2017 Zach Reini: Clover Leaf ScreenSaverGallery | internet | exhibition curator: Marie Meixnerová 24–26 Feb 2017 Other Visions SK 4 Živly | Banská Štiavnica | Slovensko projection and installation guests: Alexandr Jančík, Martin Mazanec, Marie Meixnerová, Jiří Neděla 14 Feb – 18 Apr 2017 Gallery Surfing No. 1 Monitor Gallery | Olomouc | installation curator: Marie Meixnerová 21 Mar – 15 Apr 2017 Johana Novotná & Laura Trenčanská: If you find yourself block me Vitrína Deniska | Olomouc exhibition – installation, exhibition opening, presentation curator: Nela Klajbanová 3 Apr 2017 Other Visions CZ 2016 Kino Art | Brno | screening curator: Karel Císař

3–28 Apr 2017 Zach Reini: Tilt Shift U Mloka Gallery | Olomouc | exhibition curator: Marie Meixnerová 5–30 Apr 2017 & (tomáš Javůrek & Barbora Trnková): Problem Generator® Industra Art | Brno | exhibition – exhibition opening curator: Marie Meixnerová 20 Apr – 20 May 2017 Richard Loskot: Prázdná / Empty Vitrína Deniska | Olomouc | exhibition – installation curator: Alexandr Jančík 20 Apr – 30 Jun 2017 Zdenek Svejkovský: Paleta barev / Color palette Monitor Gallery | Olomouc | installation curator: Marie Meixnerová 20 Apr 2017 XY 2017- Exhibition with walking tour, walking tour with exhibition opening Cooperative project of independent galleries XY Gallery, Na půdě / In the attic, HROB, Monitor Gallery, Vitrína Deniska, Hidden Gallery, W7 | Olomouc exhibitioners: Ivana Zochová, Richard Loskot, Vendula Prchalová, Tereza Haspeklová, Štěpánka Sigmundová, student studio of n atural materials at the University of John the Evangelist in Purkyně (Stella Hrádková, Marie Kuklíková, Terezie Málková, Veronika Palmová, Kateřina Šichanová, Jana Šulcová, Veronika Tilšerová, Tereza Tvrdíková, Josefína Vávrová, Kryštof Vitner), the group Nýbrž / But (Barbora Kicovová, Jakub Hrdlička, Barbora Páníková, Magdaléna Gurská, Monika Doležalová a Adéla Bierbaumer), Zdeněk Svejkovský, Juliana Höschlová, Štefan Pecko, Michaela Thelenová, Miroslav Hašek and Petr Pufler curatorial patrons: Monika Beková, Alexandr Jančík, Filip Kartousek, Jan Krtička, Nela Klajbanová, Marie Meixnerová, Radim Scholaster, Pavel Šuráň, Robert Vlasák

4 May 2017 Other Visions CZ 2016 Hraničář / Border Guard | Ústí nad Labem | screening curator: Karel Císař introduction: Karel Císař, Nela Klajbanová

8 Jun – 18 Sep 2017 Ivars Gravlejs: Tokarev showing the face of Varansov’s baby ScreenSaverGallery | internet | exhibition curator: Tomáš Javůrek, Barbora Trnková

16 May – 17 Jun 2017 Radim Měsíc: Bůh tě miluje / God Loves You TIC Kontext | Brno exhibition – installation, exhibition opening curator: Alexandr Jančík

1 Jul 2017 Matěj Smetana: V hlavní roli zvíře / Animals in the main role Fest Anča | Žilina | Slovensko screening, presentation curator: Matěj Smetana introduction: Matěj Smetana

29 May – 16 Jun 2017 DIALOGOS PART THREE Vitrína Deniska | Olomouc exhibition – installation, exhibition opening, presentation artists and curators: Simona Barbera, Alessandro Castiglioni, Ermanno Cristini, Ronny Faber Dahl, Vladimir Havlik, Carlo Miele, Giancarlo Norese, Chiara Pergola, Luca Scarabelli, Una Szeemann a Bohdan Stehlik, Miki Tallone This screening was made possible thanks to the cooperation of the Caesar Gallery. 21 Jun – 15 Jul 2017 Ivana Hrončeková: Still Motion Vitrína Deniska | Olomouc exhibition – installation, exhibition opening, presentation curator: Alexandr Jančík 27 Jun – 29 Jul 2017 (c) merry: Algoritmus TIC Kontext | Brno exhibition – installation, exhibition opening curator: Alexandr Jančík 30 Jun 2017 Jiné vize CZ 2016 Luhovaný Vincent | Luhačovice screening and presentation curator: Karel Císař introduction: Karel Císař, Lucie Rosenfeldová, Nela Klajbanová

31 Jul – 18 Aug 2017 Šimon Kadlčák: £20 Fine // The Work of Chaos Vitrína Deniska | Olomouc | exhibition – installation curator: Nela Klajbanová 8 Aug – 9 Sep 2017 David Bartoš: Enviromem TIC Kontext Brno exhibition – installation, exhibition opening curators: Alexandr Jančík, Marie Meixnerová 12 Aug 2017 Petr Šprincl: Morava, krásná zem, Morava, krásná zem II Moravia, Beautiful Land, Moravia, Beautiful Land II 4 ŽIVLY | Banská Štiavnica | Slovakia | screening introduction: Alexandr Jančík, Marie Meixnerová 17 Aug 2017 PAF Aport ANIBAR | Peja | Kosovo | presentation presentation: Jiří Neděla 20 Aug 2017 Animated Visions #1 ANIBAR | Peja | Kosovo | screening curator: Jiří Neděla introduction: Jiří Neděla

20 Aug – 15 Sep 2017 Bára a Barbora: Kolikrát jsi člověkem? How many times are you a person? Vitrína Deniska | Olomouc exhibition – installation, presentation, picnic curator: Nela Klajbanová 1 Sep 2017 PAF Aport Marienbad Film Festival | Mariánské lázně presentation: Jiří Neděla 2 Sep 2017 END OF SUMMER PAF Ostopovice u Brna | 4. Musical Biennale concerts: FatenojoyClub, Isama Zing, Ink Midget, Bonaventure, Lebanon, Slowmotiondancer, Joanne Robertson, Johuš Matuš, Untitled A/V, No.C, Dizzcock, Sir.Sour, Blazing Bullets 19 Sep – 21 Oct 2017 Radim Scholaster, Pavel Šuráň: RITUAL INVEST a.s. TIC Kontext | Brno exhibition – installation, exhibition opening curators: Alexandr Jančík, Pavel Šuráň 19 Sep – 6 Dec 2017 Petra Pětiletá: I like art that arouses questions ScreenSaverGallery | internet | exhibitions curators: Tomáš Javůrek, Barbora Trnková

22 Sep – 3 Oct 2017 Martin Zet: Denis Vitrína Deniska | Olomouc exhibition – installation and book launch curator: Alexandr Jančík 22–24 Sep 2017 Jan Šrámek: Zvláštní okolnosti Strange surroundings W7 Gallery | Olomouc | installation, presentation curator: Alexandr Jančík 22–24 Sep 2017 Animated Visions #1 LITR | Olomouc | screening, loop curator: Jiří Neděla 2 Oct 2017 Other Visions CZ 2016 KVU – Cinema of Fine Arts | Academy of Fine Arts Prague | screening curator: Karel Císař coordinators: Michal Blecha, Nela Klajbanová 8 Oct 2017 PAF Aport StopTrik | Maribor | Slovenia | presentation presentation: Jiří Neděla

22–24 Sep 2017 3 L I T R 2017 – Book Fair of Authorial and Artistic Publications W7 - Cultural and Community Space | Olomouc coordinators: Nela Klajbanová, Alexandr Jančík

11 Oct 2017 Other Visions IndieCork | Cork | Ireland | screening and presentation Animated Visions #1 curator: Jiří Neděla Petr Šprincl: Morava, Krásná zem, Morava, krásná zem II / Moravia, Beautiful Land, Moravia, Beautiful Land II presentation: Marie Hájková, Petr Šprincl

22 Sep – 27 Oct 2017 Tomáš Moravec: Palindrome #2 XY Gallery | Olomouc | exhibition – exhibition opening curator: Martin Mazanec

18 Oct 2017 Videogram 68 / Alexandr Jančík Prague | Brno | presentation and screening presentation: Alexandr Jančík

26–29 Oct 2017 PAF LONDON networking and organizing – LUX, RCA, A---Z London | United Kingdom participation: Alexandr Jančík, Martin Mazanec, Roman Štětina 28 Oct 2017 Animated Visions #1 Lukov Scar | Lukov | screening curator: Jiří Neděla 7–25 Nov 2017 Martin Fišr: Střed / The Middle TIC Kontext | Brno exhibition – installation, exhibition opening curator: Nina Michlovská 9 Nov 2017 Cross9 Prequel „Slime to Fill Blanks“ Budapest | Hungary | presentation and screening David Přílučík: Blind Bidding curator: Szilvi Német introduction: Nela Klajbanová 13 Nov – 2 Dec 2017 Žaneta Reková: Bombička / A Small Bomb Vitrína Deniska Olomouc | exhibition – installation, presentation curator: Markéta Polášková 7–18 Nov 2017 PAF New York 2017 New York | USA | presentation and screening presentation: Alexander Campaz, Jakub Jansa, Marie Meixnerová 21 Nov2017 The Death of Stalinism in Bohemia or Aspects of Propaganda as Viewed by Jan Švankmajer Etiuda & Anima | conference and festival | Krakow Poland | presentation presentation: Jiří Žák

29 Nov – 3 Dec 2017 Animated Visions #1 ANILOGUE | Budapest | Hungary | screening curator: Jiří Neděla introduction: Veronika Zýková 7 Dec 2017 – 5 Jan 2018 Marie Hájková, Petr Šprincl: Genesis Vitrína Deniska | Olomouc | exhibition – installation curator: Alexandr Jančík from 7 Dec 2017 Krist Wood: Vulv ScreenSaverGallery | internet | exhibition curator: Barbora Trnková 7–10 Dec 2017 16th PAF – Festival of Film Animation and Contemporary Art Olomouc | festival www.pifpaf.cz 12 Dec 2017 – 6 Jan 2018 Vladimír Havlík, Jan Krtička: Růže je TIC Kontext | Brno exhibition – installation, exhibition opening curator: Lenka Vítková 14 Dec 2017 – 21 Jan 2018 BLACK BOX, WHITE HAT GAMU | Prague | exhibition exhibiting: (c) merry, Martin Búřil, Martin Ježek, Jan Kulka, Kryštof Pešek prologue: Auguste a Louis Lumière, Damien Henry curator: Lenka Střeláková

PAF Edition PAF Edition has introduced the publishing activities of the Festival of Film Animation and Contemporary Art (PAF) since 2008. Monographs, anthologies, catalogues and authorial as well as artistic publications are released within the Edition. In PAF Edition has been so far released: Anthologies, monographs, translated publications: ------------------------------------------------------------------------Collective of authors. Jiné vize aneb Všechno, co jste kdy chtěli vědět o pohyblivém obraze, ale báli jste se zeptat v kině, v muzeu i v galerii Olomouc: PAF, z. s. 2016. Czech

This is a comprehensive publication on the issue of contemporary Czech moving image in film and video, in which PAF has been consistently engaged since 2007. The anthology is, on one hand, the result of ten years of intensive mapping of domestic production, and, on the other hand, it is based on public discussions with experts about curating, gallery operation, collectorship, and also the promotion and production of these works of art. Cooperation: Sylva Poláková, Martin Mazanec, Matěj Strnad, Terezie Nekvindová, Tomáš Svoboda, Martin Blažíček, Karel, Katherine Kastner, Marika Kupková, Andrea Slováková, Milena Kalinovská, Katarína Gatialová, Michal Bregant, Ondřej Chrobák and the curators and finalists of the competition Other Visions CZ, 2007–2016. ------------------------------------------------------------------------Collective of authors. K tvarozpytu montážních struktur. Olomouc: Pastiche Filmz, 2015. Czech

A Morphologists’ group was formed at the Department of Editing (FAMU, Prague) at the beginning of 2013. That year may also be considered the main creative period of the group in which the basic form of the book was outlined and in which their main thoughts were presented at morphological symposiums at Palacký University in Olomouc and at the University of South Bohemia in České Budějovice. The contemporary as well as former students of editing (Martin Čihák, Dominik Krutský, Martin Mlynarič, Tomáš Hoffmann Polenský, Ondřej Vavrečka) met in the Morphologist group.

MEIXNEROVÁ, Marie (ed.) # mm Net Art – Internet Art in the Virtual and Physical Space of Its Presentation. Olomouc: Pastiche Filmz, 2014. Czech or English

The anthology of texts on Internet art concisely introduces the development of this specific area of the 20th and 21st century art world. The essays, manifests and theoretical and historical articles in this book are placed in context, and follow Net art from its technological and conceptual origins to the present-day, with the merging of virtual and physical worlds and the arrival of so-called Post-Internet art in gallery spaces. ------------------------------------------------------------------------MAZANEC, Martin (ed.). Křehké kino. Brno: Galerie Mladých. Olomouc: Pastiche Filmz, 2013. Czech Křehké kino (Fragile Cinema) is related to Martin Mazanec’s one-year curatorial cycle of the same name which took place in Brno Youth Gallery. The publication is divided into three parts: Fragile Cinema Reconstruction – studying and documenting the exhibitions of Vojtěch Fröhlich, Lucie Sceranková, Dominik Gajarský, Jiří Kotrla and Vilém Novák, among others; Between Visible and Wonky Cinema – presenting Volker Pantenburg’s and Martin Mazanec’s theoretical texts; Interviews about Galleries and Cinemas – composed of interviews with Martin Arnold and Douglas Gordon. ------------------------------------------------------------------------HUDEC, Zdeněk (ed.). Gender Stereotypes in Walt Disney Animation: Ideology, Queer, Discursive Analysis. Olomouc: Pastiche Filmz, 2012. Czech or English The publication brings a set of studies dealing with gender structure in the selected Walt Disney animations, based on three fundamental methodical approaches: semiotic analysis, social constructivist theory and ideological criticism. It results in the fact that perceptions of men and women and gender roles are stereotypical and deeply grounded in Disney’s animation in a similar way to human society. -------------------------------------------------------------------------

mediabaze.cz (ed.) Catalogue of the Events of the Czech Moving Image I. Other Visions 2000–2010. Olomouc: Pastiche FIlmz, 2011. Czech/English mediabaze.cz (ed.) Catalogue of the Events of the Czech Moving Image II. Other Visions 2000–2010. Olomouc: Pastiche FIlmz, 2011. Czech/English

The catalogue of books involve the events that presented Czech moving image in various spatially-perceptive models between 2000 and 2010; its aim is to register the activities, presentations and distribution of Czech moving images and to find and describe individual dramaturgical conceptions of the past decade. ------------------------------------------------------------------------MAZANEC, Martin (ed.). Manifests of Moving Image: Color Music. Olomouc: Pastiche FIlmz, 2010. Czech/English The publication includes period testimonies about artists who thought about and described the origins of audio-visual images and their spatial projection on the basis of historical viewpoints connected to the development of the moving image medium. The selection of texts is divided into two parts – studies and an individual text with a manifestation character. ------------------------------------------------------------------------NEDĚLA, Jiří (ed.). Animace ilustrace. Olomouc: Pastiche Filmz, 2010. Czech The anthology Animation of Illustration offers nine profiles of well-known directors who either acquired reputations as illustrators, or were at least strongly inspired by illustrations, or they provided the stimulus for specific illustrations and illustrated books. The other part of the anthology regards the work of thirteen visual artists who act on the boundaries of various disciplines and work with various media. ------------------------------------------------------------------------SURMANOVÁ, Kateřina (ed.). Islands of Animation. Olomouc: Pastiche Filmz, 2010. Czech/English The anthology called Islands of Animation deals with animation in the concept of nations and ethnic groups

that have been marked by ideological, military and political oppression. The theme is discussed in five studies written by international theorists and scientists; the introductory text was written by the film theorist and journalist Kateřina Surmanová. ------------------------------------------------------------------------MAZANEC, Martin (ed.). Peter Kubelka. Olomouc: Pastiche Filmz, 2008. Czech/English The work of the Austrian filmmaker Peter Kubelka is characterised by an unreserved connection with film; its history, theory, technology, archives, restoration, promotion, curatorship and with film culture in general. The monograph is divided into four parts, all dealing with Kubelka’s work and introduces it in context. It is accompanied by a two-part interview by Martin Mazanec with Peter Kubelka which presents Kubelka’s creative personality and his filmography.

Authorial and artistic publications ------------------------------------------------------------------------MORAVEC, Tomáš. Index Olomouc: PAF, z. s., 2017. Czech/English

The authorial publication is a documentation of selected works by Czech visual artist Tomáš Moravec. It is focused on his works created between 2007 and 2017, including spatial installations, constructed situations, material objects, video recording devices and screenshots from individual videos. The book includes accompanying texts by visual arts theoreticians, describing Moravec’s production, contextualizing and comparing his work with attitudes of his generational counterparts as well as with wider area of contemporary spatial and intermedia art. ------------------------------------------------------------------------RYŠKA, Pavel (ed.). Svatopluk Pitra. Karikaturista, grafik, ilustrátor, výtvarník animovaných filmů. (2) Olomouc: PAF, z. s., 2017. Czech The second volume of Svatopluk Pitra summarizes in great details his activities at the turn of the 1950s, when he drew caricatures as well as advertising films, illustrated crime stories, humorous and satirical novels,

designed LP covers and visuals for Czechoslovakian trade shows. During this time he also collaborated with film director Jiří Brdečka and created puppets for animators formerly working for Jiří Trnka. The second Svatopluk Pitra Box is an attempt to commemorate that part of his legacy that was shown in cinemas and was published in books, newspapers and magazines. ------------------------------------------------------------------------ZET, Martin. Denis. Olomouc: PAF, z. s., 2017. Czech

During his walk through the Moldavian Chişinău, Czech sculptor and performer Martin Zet made a series of detailed photographs, capturing a high wall covered with distinct abstract patterns of quite uncertain origin. When he tried to capture the surface of the wall on another day, using better photo camera, the marks were almost invisible. The photo book entitled Denis – named after the one and only inscription on the wall – was issued on the occasion of Zet’s exhibition of the same name in Vitrína Deniska, Olomouc. ------------------------------------------------------------------------ŠRÁMEK, Jan. Zvláštní okolnosti. Prague: PageFive. Brno: FaVU VUT. Olomouc: PAF, z. s., 2016. Czech/English Jan Šrámek’s authorial book Zvláštní okolnosti (Special Circumstances) thematises the disappearance of sculptural implementations, which originated in the second half of the last century, from public space. Works by renowned artists as well as works by less known regional authors are, within the framework of the revitalisation and reconstruction of Czech towns, removed due to being obsolete and outdated. Yet they are still disturbing relicts of our recent past. Šrámek does not commemorate them with old photographs, but creates vector drawings based on them and draws his version of the original objects in the places where the originals used to exist. Computer graphic designs are introduced by Jana Kořínková’s text and accompanied by Veronika Vlková’s set of aquarelles. -------------------------------------------------------------------------

SLAMA, Anna. ORRO, Norman. Antipro. Olomouc: PAF, z. s., 2016. English

Antipro is the result of collaboration between the artist Anna Slama and graphic designer Norman Orro. The publication concerns the topic of utopian systems and post-Anthropocene and post-human futures from which Anna’s work and the documentation of her installations proceed. Norman develops their narrative by graphic and inanimate means and meanings. The visual section is mingled with short texts and quotes from several representatives of the current discourse of theory and from critics of contemporary art and philosophy. The cover of the publication includes parts of objects and Anna Slama’s 3D print. ------------------------------------------------------------------------GAJARSKÝ, Dominik. Carausius morosus. Prague: Prague City Gallery. Olomouc: PAF, z. s., 2016. English/Czech The publication Carausius morosus was published as accompanying material to the exhibition of the same name in the Prague City Gallery in the Golden Ring House (26 Jan – 20 Mar 2016). The catalogue, along with the reproductions of the Gajarský’s photos and photograms from the exhibition, also brings a theoretical reflection on his artistic practices. The text’s authors are the curator of the Prague City Gallery Jitka Hlaváčková, art theoretician Karel Císař and PAF programme manager Martin Mazanec. ------------------------------------------------------------------------RYŠKA, Pavel (ed.). Svatopluk Pitra. Grafik, ilustrátor a výtvarník animovaných filmů: (1) Tucet mých tatínků. Olomouc: Pastiche Filmz, 2015. Czech A reconstruction of Svatopluk Pitra’s (1923–1993) journey from the tube mills in Chomutov to Adolf Hoffmeister’s Studio of Animated and Puppet Film, the Academy of Arts, Architecture and Design, in Prague. Archival photographs, drawings and other items (opinions on the social role of caricature and the laws of animated film as manifest in the 1950s) are accompanied by fresh visual material of Vratislav Hlavatý, who was Pitra’s classmate with whom he

exhibited Caricatures and Other Inconveniences in the Gallery of Czechoslovak Writer (1957); he also contributed to Hofman’s “grotesque story with tragic point” called My Dozen Fathers (1959). ------------------------------------------------------------------------PĚCHOUČEK, Michal. Studio. Olomouc: Pastiche Filmz, 2013. Czech/English The pictorial catalogue captures the work of one of the most significant Czech visual artists, Michal Pěchouček and is accompanied by theoretical texts (M. Mazanec, S. Poláková, M. Škabraha, R. Wohlmuth, M. Zdeňková) that offer various interpretations of his work. ------------------------------------------------------------------------KOHOUT, Martin. Linear Manual. Olomouc: Pastiche Filmz. Berlin: TLTRPreß, 2012. English he publication explores the absurdity of the manual T concept. It accumulates theoretical, epic and visual contributions that show a fascination with objects, motifs and seemingly straightforward and hand-fitting needs. It presents two of Kohout’s artistic works and it is accompanied by the written and visual works by several artists, curators, theorists and thinkers. The overall theme of the publication is – stick. ------------------------------------------------------------------------ŠRÁMEK, Jan. Lost Perspective. Brno: Fiume Olomouc: Pastiche Filmz, 2012. 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. -------------------------------------------------------------------------

Organizers

Director – Alexandr Jančík Executive producer – Markéta Polášková Programme conception – Martin Mazanec, Marie Meixnerová, Alexandr Jančík Programme managers – Marie Meixnerová, Martin Mazanec (Abracadabra), Nela Klajbanová (Other Visions), Eliška Děcká, Jiří Neděla (Aport Animation) Graphic conception & trailer – Fiume Std (Filip Cenek) Audio jingle – Roman Štětina PR & Media management – Max Dvořák, Nela Klajbanová PR assistants – Eliška Charvátová, Anežka Medová, Veronika Zapatová On-line marketing & PAF Web – Rostislav Nétek, Jaromír Pražák Shipping – Nikola Krutilová Production assistants – Nela Klajbanová, Magdalena Petráková, Kristýna Kapinusová, Anežka Hrušková Editors and proofreaders – Martina Bubíková, Lucie Pokorná, David Malcolm Richardson, Alena Veličková, Veronika Sellnerová, Elisabeth Woock Translations coordinator – Elisabeth Woock Translators – Marie Meixnerová, Daniela Vymětalová, Eva Přílepková, Gabriela Podhajská, Jiří Žák, Kristýna Kubíčková, Martin Schweitzer, Václav Hruška, Elizabeth Woock Guest service – Adriana Belešová, Martina Černá Accreditation – Andrea Majerčíková Staff supervisor – Nela Beislová Technical support – Jan Tomšů Assistant technician – Václav Hruška, Jaromír Pražák, Tereza Papáčková, Jakub Frank, Martin Hamouz, Jan Jendřejek, Jakub Janča, Vendula Bělochová, Dita Stuchlíková, Martina Ignasová, Karolína Hruboňová, Vojtěch Samek, Jakub Grolmus, Vendula Calábková Coordination of Other Visions – Nela Klajbanová Coordination of introductions – Anežka Hrušková Coordination of transportation – Jan Lutera

Videodocumentation – Miroslava Janičatová, Janek Rous, Giulio Zannol, David Přílučík, Jiří Žák PAF 2017 documentary – Dana Balážová Photographers – Monika Abrhámová, Jakub Čermák, Tereza Darmovzalová, Tomáš Hrůza, Gabriela Knýblová, Marcel Skýba Photo administration – Barbora Fialová

Other Participants: Ajchon Bajzaková, Kristýna Balšánková, Vendula Bělochová, Monika Černíčková, Hana Dokoupilová, Tomáš Domín, Kristýna Dvořáková, Barbora Fialová, Laura Hejtmánková, Hana Hlaváčová, Nikola Horníková, Edita Hornová, Karolína Hostovská, Markéta Hruštičková, Eliška Charvátová, Veronika Janírková, Zhang Jiayi, Adam Jiříček, Jan Kaczmarczyk, Gabriela Knýblová, Michal Kobza, Marie Kocourková, Aneta Koňárková, Vendula Kopečná, Michal Kršňák, Renáta Krumpová, Nikola Krutilová, Skarlet Křížová, Martin Kučera, Robin Kutlák, Kateřina Kvapilová, Rebeka Leckie, Anežka Malčíková, Laila Malohlavová , Barbora Malovaná, Anežka Medová, Josef Navrátil, Jiří Neděla, Valeriia Nitschenko, Kateřina Nováková, Eliška Palečková, Daniel Pecha, Lukáš Penka, Viktoria Pisotská, Zdeněk Rychtera, Martin Schweitzer, Barbora Skoumalová, Barbora Skřivánková, Jiří Slavík, Anna Slámová, Jitka Sohrová, Šimon Svoboda, Hana Šormová, Natálie Šotnarová, Sylva Štafková, Eliška Šrubařová, Anna Tabášková, Jiří Urban, Adéla Alex Vele, Dominik Vontor, Anna Vytřísalová, Vít Zborník, Ondřej Zunt, Jiří Žák, Tereza Žišková

Introduction Festival of Film Animation and Contemporary Art is a slightly misleading name, and that has been the case since its foundation. Rather than animated classics, the festival focuses on marginal genres and technological innovations, on the overlap between film and fine or performance art, and on progressive art gestures with no surface connection with traditionally perceived animation. Time has shown that this course was visionary and, as PAF anticipated, these trends are now in full use. Contemporary art, together with the whole entertainment industry in general, is controlled by phenomena such as interactive performance. Cultural productions are now site-specific, 3D technology has greatly evolved, public events attract audiences with video mapping, and the sphere of amusement is dominated by CGI, virtual and augmented reality and computer games. These are the main reasons why people follow and participate in the Festival of Film Animation and Contemporary Art. Now sprinkle this with the unique pre-Christmas atmosphere, the community of the organisation team, snowy Olomouc and a healthy amount of unrepeatable experiences at the PalackĂ˝ University Art Centre. The festival deserves its unique position among the many cultural and artistic events that take place in the City of Olomouc. It does not pander to popular tastes, it merely sets a course. It is not visited by crowds of thousands, yet it forms a centre for contemporary audiovisual culture which is inspirational and has an almost global reach. I hope the Festival of Film Animation and Contemporary Art keeps these qualities and expands them even further. Petr BilĂk Vice-Rector for External Relations at PalackĂ˝ University

A programme full of installations, projections, performances, concerts and lectures is coming to Olomouc. PAF is a festival of film animation and contemporary art, but in its 16th year it also returns to the past, to the media experiments. Abracadabra is a word uttered by world-class artists, musicians and producers. I like the saying that PAF erases any boundaries that may exist between film festivals, galleries of contemporary art and music clubs. I am glad the statutory city of Olomouc has supported the festival from the beginning and that it has become an important event in our city. Radim Schubert Head of the Department of Culture of the Olomouc municipality

The magical consciousness, defined by the philosopher Vilem Flusser as the re-introduction of mass distributed images into people’s everyday life, and also as the victory of imagination over the discursive consciousness, has never seemed so up-to-date. With the expansion of new media there is a paradoxical situation of their absolute necessity and, at the same time, their total redundancy. Today, the audio-visual information is basically, on one side, a vital tool of communication at every possible level of human life. On the other, however, the ontological impact of technological conveniences is itself disputable, for they can be used and abused by anyone regardless of their age, political attitude, social status etc. Mainly through the internet, the moving image has succeeded in opening the channels which enable to eliminate the physical barriers, and through new technologies and virtual reality to mediate the parallel worlds, unsettling visions of future and new aesthetics enjoyments. An attempt to articulate this expanded field of possibilities is being made also through our main festival theme Abracadabra, in which the archaism of magic formulas intertwine with the contemplations of today’s man, for whom it is increasingly difficult to find their bearings in the environment of dissolving boundaries between the real and the artificial, original as well as appropriated. Alexandr Jančík Director of PAF

other visions

other visions Over the eleven years of the Other Visions CZ competition, the program section has undergone considerable development. In recent years, it has striven to create adequate conditions for the distribution and presentation of Czech productions of the moving image, as well as increasing the visibility of individual artists and their works in the Czech Republic and abroad. In the Czech Republic the annual selection of the Other Vision submissions has been well-regarded for several years and receives hundreds of works every year. The curatorial selection of the ten finalists is presented to both Czech and foreign audiences, often

other visions

with the physical presence of the curator and the artists over the following year. This helps to develop debate within the discourse on contemporary Czech audiovisual works which are mainly produced by visual artists. In 2015, our efforts culminated in the emergence of the PAF Aport distribution platform which, following the example of major foreign distribution companies, attempts to systematically spread the Czech art of the moving image in the Czech Republic and abroad. This year‘s selection for Other Visions CZ, curated by the director of the Prague gallery Futura and one of the most influential current curators Michal Novotný, will be evaluated by a three-member international jury as per tradition, and the jury will award the Main Prize to one of the ten films. This year’s jury will comprise Charlotte Procter, Anne Duffau and Szilvi Német. Charlotte Procter represents the international LUX platform, which supports artists engaged in motion pictures, and the nonprofit distribution network of feminist films and cinematography Cinenova, which the motion picture archivist will introduce in a presentation. In London, curator Anne Duffau runs the A---Z “Discovering Platform for Curatorship“, which is based in Studio RCA RiverLight, where she develops showcases, discussions, performances and screening programs. The trinity is completed by Hungarian curator Szilvi Német, the figure behind the Crosstalk Video Art Festival in Budapest and a wide range of other cultural events, including post-digital works. Each curator will introduce the curatorial screening series related to her activities.

Charlotte Procter will introduce Cinenova Distribution‘s feminist cinematographic work and she will present some of her own collection. Anne Duffau and A---Z will present a short screening of the pictures associated with the main festival theme Abracadabra. Szilvi Német will then present a selection from the RITES team from Budapest and the work of its members in the Reality-per-dollar series. The section will present, for the second year, the Slovak selection of Other Visions SK 2017, which is the Slovak competition of the moving image, and which is organized in cooperation with the Slovak festival 4 Elements. Curator Eva Filová has chosen a total of eight works which will be premiered in two blocks during this year‘s PAF. Michal Novotný’s selections for the Czech Other Visions CZ competition will be presented at the screening of the series in the cinema and will also be installed throughout PAF in the gallery located in the Atrium at Konvikt, where it will be freely accessible to the public during PAF. Nela Klajbanová

other visions

--------------------------------------------------------------7 Dec | 7 pm | A Other Visions CZ 2017 ● exhibition opening | Other Visions --------------------------------------------------------------8 Dec | 9 pm | FA Other Visions CZ 2017 ● screening of competition videos introduction – Nela Klajbanová, Michal Novotný (CZ) Other Visions --------------------------------------------------------------9 Dec | 6:30 pm | FA Other Visions SK 2017 I ● screening of competition videos introduction – Eva Filová (SK) | Other Visions --------------------------------------------------------------9 Dec | 10 pm | CH Other Visions SK 2017 II ● screening of competition videos introduction – Eva Filová (SK) | Other Visions --------------------------------------------------------------8 Dec | 1 pm | FA ● Charlotte Procter (UK): Cinenova screening, presentation | Other Visions --------------------------------------------------------------9 Dec | 3 pm | T ● Szilvi Német (HU): Reality-per-dollar screening, presentation | Other Visions

10 Dec | 3 pm | FA ● Anne Duffau (FR) / A---Z presents: Abraxas /// Αβρασαξ. I will create as I speak screening, presentation | Other Visions ---------------------------------------------------------------

other visions

Other Visions CZ 2017 The theme of this year‘s Other Visions emphasized by the names of selected video works, such as Shattered Epistemologist, Knot Capital, Blind Bidding, Ethnographic Study of Algorithms, Mind Goes Numb at Times Like These reflects on how quickly the euphoric experience of the Internet has plunged into a dystopian vision of a controlled reality. This manipulation, which we cannot see because it is implanted as part of our own perception, is reflected in the thematic content of the selected works: the notion of post-truth as a visually and emotionally impressive structure, rather than a coincidence of claims about reality; the accuracy of algorithmic calculations in predictions of our apparently “free” behaviour; chatbots, programs able to imitate human conversations and contributions to social networks and Internet forums, generating, among other things, automatic political propaganda; changes in the concepts of labour and capital in the attention economy, where we pay for “free”social networks by investing time and effort, generating a certain content, in which logic is increasingly subject to the concept of capital in erasing the differences between consumption and production. We also have “the burning fortress of Europe”: collisions between the seizure networks of nation states for those “elected“ in an increasingly interconnected world with deepening economic differences, often in itself a contradictory mixture of economic, religious, moral and other components, moreover contributing to the

general sense of loss of control, unexpected danger and the absence of traditional authorities, who would ensure the “correct“ solutions to crisis situations. This sudden, painful loss of the now obsolete user’s guide to the world – the horizon of the ground underfoot and the sky overhead, the onslaught of commercial, political and automatic messages into our senses, emotions and reason, and ultimately our minds, their understanding and the calculated anticipation of our reactions – all reflected in a certain disorientation of the camera, in sedimentation and erosion, and in a gradation and fragmentation of the image in sharp contrast to its otherwise completely professionally managed quality, editing and 3D animation. The programmed inconsistency and ambiguity of the narrative line, its skipping, genre and style changing are associated with the loss of content, excess and accessibility of information leading to amnesia, an inability to choose, and a paralyzing anxiety over the inability to make decisions. Emphasized, on the one hand, is the charismatically amateur found material, the often misused mark of truth, its graininess and shakiness, combined with super-realistic resolution and the glossy mirrored surfaces of 3D computer graphics. The emotional musical background alternates between anxiety and noise, the silence of the professional dubbing of anonymous actors, or a machine-generated, computer-generated voice. For the first time in the history of Other Visions, all the selected videos are in the global language – English. However, there is only uncertainty, ignorance,

other visions

impenetrability and disbelief. In the hypercirculation of digital images, which were always bound to the context of their production, in the evolutionary war of “picture” photo-banks of these images, which will survive in the flood of information from user clicks and continue to “multiply” in a declining spiral of dizziness from their own increasingly brave patheticity, the photo and the induced, the manipulated and the totally computergenerated film all become more like a skin, the envelope behind which, in another dimension, invisible and incomprehensible and as subject to our own laws as the nucleus of an atom, is concealed the reality that is seen only in some magical traces and in the reflections of invisible passing particles. Michal Novotný

other visions

Jury Charlotte Procter (1984, UK) – is an archivist and collection manager of LUX, the United Kingdom‘s most significant collection of artists’ moving image and the largest distributor of such work in Europe. As a member of the Cinenova Working Group she has curated exhibitions and programmed screenings in addition to contributing to the care and preservation of the feminist film and video collection Cinenova. She is part of the collective who founded volunteerrun arts space DIY Space for London where she has programmed numerous screenings and live events. She continues to work on collaborative projects foregrounding feminist and DIY cultures. Anne Duffau (1982, FR) – is a founder and producer of the experimental curatorial platform A---Z (www.abc-z.org). As a freelance curator, Anne has collaborated on various projects with ArtLicks, the Institute for Mathematical Sciences Project, V22, Danielle Arnaud, Please Stand By, or.bits.com, etc. She is currently working at the Royal College of Art as Curriculum and Special Projects Coordinator for the School of Fine Art and she also runs the StudioRCA Riverlight in Nine Elms.

Szilvi Német (1985, HU) – is a Budapestbased art historian, curator and critic currently working at Kitchen Budapest (media lab). She is the project leader of the annual Crosstalk Video Art Festival former project manager of Higgs Field artists-run space and ex-director of Dovin Gallery. She is regularly publishing at tranzitblog, Artlocator and Artmagazin. Her research topics stretch the post-digital practices and nationalism studies.

Jiří Žák, Shattered Epistemologist, 2017

Jozef Mrva, Knot Capital, 2017

David Přílučík, Blind Bidding, 2017

Johana Novotnรก, Youu, 2017

Dalibor Knapp, Ethnographic Study of Algorithms, 2017

Romana Drdovรก, Sand, 2017

MarkĂŠta MagidovĂĄ, Mind Goes Numb at Times Like These, 2017

Oleksandr Martsynyuk, NBA2K17, 2017

Ladislav Tejml, Everythingâ&#x20AC;&#x2122;s Gonna Be Alright 3, 2017

Daniela a Linda Dostรกlkovรก, Extensions, 2016

other visions

Jiří Žák The Shattered Epistemologist 17′55″ 2017

Jozef Mrva Knot Capital 5′40″ 2017

“Only what seems real to you is important. You have the right to use the objective meaning for your own purposes.” Žák’s video essay deals with the meaning of post-truth in the contemporary information smog and media manipulation. From the position of a consumer of the information explosion, accelerated by the social media and the strongly fuzzy function of the gatekeepers, it is harder and harder to find firm ground. While in the past one could find the truth through reason or senses, now we are facing problems of estrangement of the cognition processes and congestion of senses and reason.

The video Knot Capital captures an entangled ring with flowing balls and the inscription CONSIDER CAPITAL OUR 5TH DIMENSION. Monetary value is taken to be an universal mathematical value by Mrva, as with the three spatial coordinates, and time, which is considered to be the fourth dimension. Capital is taken as the fifth, anthropogenic dimension. The marbles resemble the visuality of the draw of television, although the marbles constantly rotate in the knotted ring. The video is part of a greater research into topology, the knotting theory and the non-linear camera; part of a PhD project by FaVU VUT in Brno.

other visions

David Přílučík Blind Bidding 18′38″ 2017

Johana Novotná Youu 7′25″ 2017

In his latest work Blind Bidding, Přílučík takes the viewer to the scene of a TED Talk presentation, one full of corporate rhetoric – unsuspected obstacles, superficial goals and techno-optimistic visions. Peter Davis, a typical creative manager and bureaucrat from Silicon Valley is, however, a fictitious character created by Přílučík so he could show the dark side of corporate utopias, such as the film industry and their desire to change the world through technology, which in this case offers to revive the long-dead Hollywood director Victor Fleming, the author of movie blockbusters The Wizard of Oz and Gone with the Wind.

An essayistic film from YouTube, in which the narrative is not suppressed but rather transformed into a narrative of another nature – a nasty, unrelated, suggestive content based on associations. Mixed genres and decades of video are also combined here. There are simple amateur home videos, created by YouTubers trying to gain internet glory through their followers, as well as professional video clips with tens of millions of views. A kind of sentimental, nostalgic atmosphere is created by the videos and they carry the context or the spirit of the time in which they were created.

other visions

Dalibor Knapp Ethnographic Study of Algorithms 5′18″ 2017

Romana Drdová Sand 5′18″ 2017

The Ethnographic Study of Algorithms draws on the form and practice of classical ethnographic films. The first part of the archive is from the perspective of white men and women, representatives of the colonial tradition, who observe black natives from their hiding places. This flow is interrupted by a scene modelled in 3D, where the author sees El Negro de Banyoles, a stuffed native exhibit which was on display at the Museo Darder until 1991. The classical ethnographic relationship of us versus them is changing, they are just algorithms that collect, categorize, record, and we are already being tracked.

Drdová’s simple, almost abstract video thematizes new approaches to feeling one’s own body and its borders. The texture of body folds, textiles and sand can be seen in this context as tissue and virtual grains, encircling, obtuse, gently crushing, falling and gripping our folds. Drdová‘s approach comes from an interest in our body in relation to material, non-material, cultural and technological systems, of which it is part of and from which it is also separated.

other visions

Markéta Magidová Mind Goes Numb at Times Like These 8′30″ 2017

Oleksandr Martsynyuk NBA2K17 4′18″ 2017

The video templates the atmosphere of fear, guilt and aggression in contemporary Europe. The text plane analyzes the thoughts, feelings and actions of people involved in an unexpected attack in a public space, and especially focuses on the separation of the mind from emotions. The visual composition mixes the performance situation in a former military fortress with a faculty of law, documentary footage from the city and footage of the growth and development of black plastic masses in different environments.

In NBA 2K17, real basketball players are converted into 3D models for user manipulation. The player thus experiences his own emotions through a foreign entity that he can develop further during the game. Martsynyuk has created a simple video animation of a non-existent basketball player experiencing an intense internal conversation through the voices of two commercials on the latest iPhone 7. One of the ads acts as a desirable drive mechanism, the second is more a passive listener. In the first ad, the authentic monologues on the phone‘s product design are preserved, but they are digitally manipulated into the inner voice of one’s own consciousness.

other visions

Ladislav Tejml Everything‘s Gonna Be Alright 3 5′01″ 2017

Daniela and Linda Dostálková Extensions 6′25″ 2017

Everything‘s Gonna Be Alright 3 is a metaphor for today‘s accelerated society. It is a swamp which we dive into, gasping through the manipulated GPS navigation of populism, confused by ubiquitous information fogs and virtual noise with the mechanical, but unceasing movements of automatic creations, and still hoping for the crystal visions of the lost utopia.

The video, shot in the open-air museum in Wallachia, works around the traditional psychological division between the „stage“ and “behind the scenes”, and between manipulated and “natural” behaviour in the environment. By introducing the scenographic “backstage” as well as the overall film scheme, the authors disrupt the idea of a stable universality of human physicality.

other visions

Other Visions SK 2017 After last year‘s initiation of Slovak participation in Other Visions, there is a second year and new excitement for what’s to come; how surprising it will be and who will be drawn into a vision of confrontation with the Czech environment. Scepticism, which Martin Kaňuch mentioned a year ago, persists, but that does not mean there is no creative potential in Slovakia. Although the sixteen pieces counted don’t add up to a windfall – there are still no names on the Slovak scene from the established middle -generation of visual artists – there is no need to hang one’s head, since a collection of young artists (up to 35 years old) has much to offer. I decided to select the eight videos for the final round with the main criterion being the conceptual clarity and compactness of the final work. Videos which were more like an exercise in a given topic and technique (self-portraiture, morphing, animation) were ruled out, I also ruled out too much descriptiveness or ideological emptiness, as well as attempts at a narrative genre which would better suit a different festival (for example, Brno‘s 16). In the final selection, we find (seemingly) simple and playful videos (Chaos/Order, Calibration) and formally mature artistic concepts (A Reason to Stay, Nylon Context), poetic-meditative considerations (Paradoxical Happiness 2) and space intervention (PRIVATe, With Valie). An overview of the submitted films and the assembled series offers interesting findings, such as the predominance of female artists. Chance? Or is it an area with overfeminized

culture and art behind it, as Jana Kapelová points out in her collective performance on this and its result: precarity. After all, artistic operation, the social sphere (volunteer, integrativeeducational, therapeutic, ...) (Daniela Krajčová) and identity, corporeality and body, even the virtual and non-biological (Dominika Koššová), are usually connected with the “typical female agenda”. They want to connect us with invisible nylon fibre. “Nylon moon, (s)he repeated, but this time it only meant PROJECT. Perhaps they are inviting her to implement the final version. And even if (s)he did not ... (S)he drummed on the frame, longing for a future pause and their good drafting tools. (S)he lit once more, and then, almost without a thought, looked up at the yellow sphere, the shape of all shapes.” (Jaroslava Blažková, E.F.) Eva Filová

other visions

9 Dec | 6:30 pm | FA Other Visions SK 2017 I ● screening of competition videos intruduction – Eva Filová (SK) | Other Visions ---------------------------------------------------------------

9 Dec | 10 pm | CH Other Visions SK 2017 II ● screening of competition videos intruduction – Eva Filová (SK) | Other Visions ---------------------------------------------------------------

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The Zoom World / Krajina zoomu dir. Martin Zlievsky | SK | 2017 | 14´

With Valie / S Valie dir. Dominika Koššová | SK | 2016 | 34´

--------------------------------------------------------------Paradoxical Happiness 2 dir. Milan Mazúr | SK | 2017 | 9´

--------------------------------------------------------------Nylon Context / Nylonové súvislosti dir. Jana Kapelová | SK | 2017 | 16´

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Chaos/Order dir. Kriss Sagan | SK | 2017 | 2´

PRIVATe / PRIVÁTe dir. Dominika Koššová | SK | 2017 | 13´

--------------------------------------------------------------Calibration dir. Andrea Uváčiková | SK | 2017 | 3´

--------------------------------------------------------------A Reason to Stay / Dôvod zostať dir. Daniela Krajčová | SK | 2016 | 52´

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Martin Zlievsky, The Zoom World, 2017

Kriss Sagan, Chaos/Order, 2017

Dominika Koššová, PRIVATe, 2017

Dominika Koššová, With Valie, 2016

Andrea Uváčiková, Calibration, 2017

Milan MazĂşr, Paradoxical Happiness 2, 2017

Daniela Krajฤ ovรก, A Reason to Stay, 2016

Jana Kapelovรก, Nylon Context, 2017

other visions

Martin Zlievsky The Zoom World / Krajina zoomu 13′11″ 2017

Kriss Sagan Chaos/Order 1′37″ 2017

By shooting and enlarging the surface of objects, Antonioni‘s film character – Thomas, the photographer, – attempted more than a half a century ago to discover what was hidden beneath them. Magnification revealed some secrets but at the same time it made things even more unclear. Analogue magnification with its characteristic grain noise was replaced by digital macro lenses with geometric computer pixels. Such is the landscape of Martin Zlievsky which, in the eyes of the viewer, flows like an electronic binary river or rain, and rotates and changes into mysterious geometric shapes.

How would the colour spots that Len Lye once painted directly onto a reel of film look today? Would they be like computer figures dancing to the rhythm, not of Caribbean jazz, but of electronic, atmospheric, and even hypnotic music.

other visions

Dominika Koššová PRIVATe / PRIVÁTe 12′39″ 2017

Dominika Koššová With Valie / S Valie 34′ 2016

One apartment and several inhabitants. Community housing transposed into moving performance. Situations occur in crowded communal areas and even smaller private rooms. Where does public and private space begin and end?

Who does not know the Austrian visual artist Valie EXPORT and her body configurations from the 1970s, in which she copied parts of urban architecture with her body? Dominika Kosšová, as a “google user”, uses selected figures and liberates them from their original feminist context (a pliable female body subordinate to a mainly male-dominated public space) and through them examines the Internet interface. The video is part of a free triptych: With Marina (Abramović) and With Bruce (Nauman).

other visions

Andrea Uváčiková Calibration 3′04″ 2017

Milan Mazúr Paradoxical Happiness 2 8′08″ 2017

“‘Abstronics’ is something that Lewis Carroll would call a briefcase wordir. It comes from the first half of the word ‘abstraction’ and the second half of the word ‘electronics’. The letter ‘r’is a lucky coincidence, the hinge to both parts. The term, ‘abstronics,’ was recommended to me by Albert Tomkins and conveniently implies the following fact: today, an artist is able to aesthetically manifest and present the otherwise invisible events of the subatomic world, and to control and organize them through film into interesting and meaningful visual experiences.”

The author continues to look for paradoxical forms of happiness. He mixes his favourite shots of an F1 depot, simulated crashes with test dummies and wild beasts. At the same time he looks at tense, seemingly dangerous situations purely aesthetically. He puts them into a dream structure among sleeping or relaxed people. Meditatively slowed-down scenes appear to emerge from the stratosphere and evoke familiar scenes – from Warhol (Car Crash) and Marker (Rampa), through Kubrick (2001: Space Odyssey) and Cronenberg (Crash) to Trier (Melancholia).

other visions

Daniela Krajčová A Reason to Stay / Dôvod zostať 51′41″ 2016

Jana Kapelová Nylon Context / Nylonové súvislosti 15′52″ 2017

Six stories; six intimate portraits of male and female migrants seeking asylum in Slovakia. Daniela Krajčová has been dealing with the issue of social exclusion for a long time – based on participative activities, drawings and videos. She unfolds these stories in the form of animation, where she layers the character (their desires, hopelessness and loneliness) with the well-known urban (Bratislava) environment, creating a contrast between the inner and outer world with its façade being a difficult to overcome barrier with a complex bureaucratic system and prevailing distrust.

What is it like to live with art students and art historians? No, this is not a new part of a favorite TV series. Jana Kapelová focuses on institutional criticism (for example the video installation Kunsthalle – A Summary Report on the State of the Institution, 2011/2012), and this time she addresses the issue of precariousness – the economic uncertainty mainly experienced by women in over-feminized, socially and financially underestimated areas of culture. As in Kunsthalle, this consists of simulated dialogues and the real statements of women-colleagues shaped into the form of collective performance.

Charlotte Procter: Cinenova | Sandra Lahire, Arrows, 1984

A---Z presents: Abraxas /// Αβρασαξ I will create as I speak Chooc Ly Tan, Disobey to the Dance of Time, 2016

Szilvi Német: Reality-per-dollar | Gergő Kovács, Aesthetic Predator, 2016

other visions

Cinenova Cinenova was founded in 1991 following the merger of two feminist film and video distributors, Circles and Cinema of Women. Each was formed in the early 1980s in response to the lack of recognition of women in the history of the moving image. Both organisations, although initially self-organised and unfunded, aimed to provide the means to support the production and distribution of women’s work in this area, and played critical roles in the creation of an independent and radical media. Cinenova currently distributes over 500 titles that include experimental film, narrative feature films, artists’ film and video, documentary and educational videos made from the 1920s to the present. Cinenova holds a large collection of paper materials, books and posters related to works it distributes, and the history and politics of film and video production. The thematics in the work at Cinenova include oppositional histories, postcolonial struggles, domestic and care work, representation of gender and sexuality, and importantly, the relations and alliances between these different struggles. Faced with closure since 2001, Cinenova has been collectively organised by a volunteer working group dedicated to the constellation of films, histories and politics that make up the collection. The group believe in the necessity of keeping it autonomous and in active distribution, rather than dispersed into larger and more general archives. Charlotte Procter will give a short introduction to the history of the organisation,

its current structure and activities, followed by a screening of works from the collection. Charlotte Procter 8 Dec | 1 pm | FA ● Charlotte Procter (UK): Cinenova presentation, screening | Other Visions --------------------------------------------------------------Arrows dir. Sandra Lahire | UK | 1984 | 16′

--------------------------------------------------------------Back Inside Herself dir. S. Pearl Sharp | US | 1984 | 5′

--------------------------------------------------------------What does your Mother do? dir. Cine Mujer | CO | 1981 | 10′

--------------------------------------------------------------Scuola Senza Fine (excerpt) dir. Adriana Monti | IT | 1983 | 10′

--------------------------------------------------------------Hairpiece dir. Ayoka Chenzira | US | 1985 | 10′

--------------------------------------------------------------Tracks dir. Susan Stein | UK | 1985–89 | 28′

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other visions

Anne Duffau: A---Z presents: Abraxas /// Αβρασαξ I will create as I speak The origin of the word Abracadabra might be related to the deity Abraxas, referring to divinity and evil, as well as the driving forces of differentiation (the emergence of consciousness and opposites). “Abracadabra: a cabalistic formula derived from the name of the supreme god of the Basilidan gnostics, containing the number 365, the number of the days of the year, and of the heavens, and of the spirits emanating from the god Abraxas.” (Saleem Sinai, a character in Midnight‘s Children by Salman Rushdie.) A---Z (Anne Duffau) is pleased to present a short screening selected work from previous and new collaborators around the theme of the festival „Abracadabra“ with works by: Evan Ifekoya, Daniel Shanken, Chooc Ly Tan, Rehana Zaman, Laure Prouvost, Jon Rafman, Sara Procter, The Cure, Imran Perretta and Larry Achiampong. Each of these videos addresses the idea of differentiation, the other and its rise, with the aim of deconstructing pre-conceived/ imperialist knowledge, exploring themes of transgender, sci-fi and the post-human. A---Z is an exploratory curatorial platform. Taking the formula of the alphabet, A---Z uses words related to the idea of Entropy as a starting point to map out and test various unstable potentials. One letter, one experiment, twenty six times. Anne Duffau

10 Dec | 3 pm | FA ● Anne Duffau (FR): A---Z presents: Abraxas /// Αβρασαξ I will create as I speak screening, presentation | Other Visions --------------------------------------------------------------Relic 1 dir. Larry Achiampong | UK | 2017 | 14′

--------------------------------------------------------------Okun Song dir Evan Ifekoya | UK | 2016 | 3′

--------------------------------------------------------------Disobey to the Dance of Time dir. Chooc Ly Tan | UK | 2016 | 5′

--------------------------------------------------------------DESH dir. Imran Perretta | UK | 2016 | 6′

--------------------------------------------------------------The Pandrix dir. Sara Procter | UK | 2017 | 4′27″

--------------------------------------------------------------Into All That Is Here dir. Laure Prouvost | UK | 2015 | 9′42″

--------------------------------------------------------------Sticky Drama dir. Jon Rafman, Daniel Lopatin | CA | 2015 |10′

--------------------------------------------------------------VALS dir. Daniel Shanken | UK | 2017 | 10′

--------------------------------------------------------------Lullaby dir. The Cure | UK | 1989 | 4′19″

--------------------------------------------------------------Tell Me the Stories Of All This Things dir. Rehana Zaman | UK | 2016 | 22′47″

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other visions

Reality-per-dollar 2013 seemed to be the year when future came back – argues Adam Harper when speaking about the new underground aesthetic he defines as high tech. High tech claims to be a style and a natural consequence of its mode of production dependent on processing power and hardware capacity, the high-end material foundation of today’s technocapitalism. Compared to low technique, the procedural operations of high tech are able to communicate and simulate the complex “computational narratives” of post-digitality. Its decadent, paranoid, sleek and uncanny qualities informs us about the multiple and media-saturated realities that can be optimized, upgraded or even enhanced on the basis of realism-per-dollar. The selection of videos (and frozen gameplay renders) give an overview of the activity of the once Budapest-based, now scatteredly working RITES collective and the members’ individual productions. ZET (ZeroEnthropy) by Tamás Páll revises the Stuxnet attack on the Iranian power plant targeting Siemens industrial control systems by telling a story of degradation within the game’s inworld BOLICS is also a gameplay by Iván Rohonyi and Tomi Páll made up of semiartificial intelligence actors metabolizing the garbage of the western game-world, whose actions are fed from a common pool of open-sourced motions. Another artist on view is Gergő Kovács, his Lava Flows Through Vocaloid Paradise displays idiosyncratic 3D animations as if they were culturally signified symbols and references. Szilvi Német

9 Dec | 3 pm | T ● Szilvi Német (HU): Reallity-per-dollar presentation, screening | Other Visions ---------------------------------------------------------------

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abracadabra “The magician does everything in a rhythmical fashion as in dancing: and ritual rules tell him which hand or finger he should use, which foot he should step forward with. When he sits, stands up, lies down, jumps, shouts, walks in any direction, it is because it is all prescribed. Even when he is alone he is not freer than the priest at his altar. Apart from this there are some general canons which are common to both spoken and mechanical rites: these involve numbers and directions.“ Abracadabra, the magic incantation or spell in the title of this year‘s program refers to the transformations of the moving image, its manipulation and, of course, it’s evolution into

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animation under various technological, spatial and temporal conditions. The spell (or healing chant that was supposed to have revived the Golem) will serve as a tool for the many attempts to define the context of perception in the selected works and this will now become part of the ritual that is PAF which introduces an expansive program of art, cinematography and contemporary club scenes. Film, which today can be universalized in its mobility, dominates other forms of art through its natural illusion, and its development has long fulfilled futuristic visions of the world (artificial organisms, technological progress). The boundaries of visuality dissolve between aesthetic and ethical points of view, and the images of a transforming world are equally relevant and often hardly recognizable, if not directly interchangeable with reality. The relativisation of reality and the bipolarity of the real and the artificial has become one of the central themes of contemporary audiovisual art. Three lines of “help” for supernatural forces can be identified in the program – the first is different forms of image manipulation (from stop tricks to virtual reality), the second important link is the single, special moment of presentation and the third component is a direct illustration of the theme within associative archetypes and selected stories. The aim is not to investigate the roots of film art in ancient history, but to focus primarily on the phenomena that currently represents the essential processes, methods and ways of using audiovisual art, and which touch on the processing of works by various technological

means, similar to the ways in which geopolitical and social changes are commented on. Visions of the future of urban agglomerations and their dystopian or utopian development set aside nostalgia for city symphonies, just as the idea of a wizard or a witch living on the border between domestic esoterica and artificial intelligence is changing. “Movements and words must be repeated a number of times. Not any number of times, but according to sacred and magical numbers, such as 3, 4, 5, 7, 9, 11, 13, 20 etc. Moreover, words are pronounced or actions are performed facing a certain direction, the most common rule being that the magician should face the direction of the person at whom the rite is aimed. On the whole, magical ritual is extraordinarily formal and tends to become more and more so, to the point of extreme mystical preciosity – the tendency does not lie in the simplicity of everyday actions.” Alexandr Jančík (2017), Marcel Mauss (1902), Martin Mazanec (2017)

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abracadabra screenings

Don Hertzfeldt, World of Tomorrow II, 2017

Lawrence Lek, Sinofuturism (1839â&#x20AC;&#x201C;2046 AD), 2016

Martin Kohout, Slides, 2017

RenĂŠ Castillo, Antonio Urrutia, Without a Bra, 1998

Jacky Connolly, Hudson Valley Ruins, 2016

Erica Magrey, Tag Sale Cosmology, 2012/13

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Don Hertzfeldt: World of Tomorrow Don Hertzfeldt (1976) is an American of Swedish origin with a corresponding focus on existential horror intertwined with both cruel jokes and gentle wisdom. He is among the top twenty most influential animators of all time, according to the professional website Animation Career Review (2012). Despite this fact, it would take just over two hours to watch his (published) animation work. Everywhere we would see figures with hinted-at faces, with balloon heads and rod-shaped limbs. Hertzfeldt cannot draw any better. He drew most of his films by hand and then he completed them without the aid of digital tools. He produced and distributed them by himself or with the help of a few co-workers. He claims that he has always had to make films, even if they were unsuccessful, just as he has to visit the countryside. He includes questions in his films that are of the most interest to him at that moment. Almost every time there are so-called philosophical questions relating to: space, time, the purpose of life, death, absurdity, embarrassment, fear, love, memory, personal identity, technology, the place of conscious life in the universe. Clear answers are seldom suggested and as a rule he refuses to give his own explanations. For him, animation is actually just a cheap, well-known and most controllable form of story-telling. However, he does not resist using other forms. This was the case with digitization, and he praised the speed with which his tablet helped him while drawing up his two most recent films: World of Tomorrow I

(2015) and World of Tomorrow II (2017). He did not create them based on a ready-made screenplay and as usual he did not always use conscious or controlled logic. In the case of World of Tomorrow, however, along with his new commitment to not redoing various details until they are perfect, there is another, and it is just as demanding: his determination to use recordings of spontaneous voice speeches of his fouryear-old niece Winona, in order to add greater credibility to the child character. That is why the screenplays of both World of Tomorrows, roughly outlined before the planned meetings with her, had to be adjusted based on these recordings. Vlastimil Vohánka 8 Dec | 4:30 pm | MC ● World of Tomorrow I and II screening, introduction – Martin Bůřil Abracadabra --------------------------------------------------------------World of Tomorrow I dir. Don Hertzfeldt | US | 2015 | 17′

--------------------------------------------------------------World of Tomorrow II dir. Don Hertzfeldt | US | 2017 | 23′

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Shahryar Nashat: Parade Parade by visual artist Shahryar Nashat is a cinematic adaptation of a choreography by Adam Linder, which reinterprets Jean Cocteau’s ballet created in 1917 with scenographic designs by Pablo Picasso, choreography by Léonide Massine and music by composer Erik Satie. The adaption was inspired by the publicity “parades” staged in 1917 by three variety artists trying to entice passers-by into their ballet show. Building on Cocteau’s collaboration with artists, Linder gives Shahryar Nashat and Tobias Kaspar free reign with scenography and costume design. Linder’s reinterpretation of Parade premiered at HAU in Berlin in 2013, and it was only later that Nashat made a film based on it. In an interview for ATP Diary in 2015, Nashat explained the process of his work, in which he didn’t try to document each stage but to create an autonomous film: “Parade becomes an autonomous work, and translates the spirit of Adam’s reinterpretation of Cocteau’s ballet. The film adapts, whereas a documentation would merely capture. Adaptation involves editing the original material, using framing, foley, sound design, image editing and new material, all of which push the work further away from its original. This film also came about because of the surprising knowledge that choreographers often overlook the fact that their work will not exist outside the live performance. There is not enough creativity in the way choreographers extend the lives of their works, and usually the means with which they document them cannot

reflect the live experience because the medium of video is not exploited. Parade is one way to circumvent this deficiency, there are many other examples and I want to see more.” The film was handpicked by art theorist and PAF curator Karel Císař, who will introduce the screening. Martin Mazanec 9 Dec | 6:30 pm | MC ● Parade screening, introduction – Karel Císař Abracadabra --------------------------------------------------------------Parade dir. Shahryar Nashat | DE | 2014 | 40′

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Lawrence Lek: Sinofuturism (1839–2046 AD) / Geomancer Visual artist Lawrence Lek is labelled, with some hyperbole, the “simulator,” or the creator of simulations. He perceives these as a synthetic medium, allowing for the collageous processing of the world, both in time and space. For Lek, installations, exhibitions and videos are “only a fragment of a larger object (a speculative statue) that cannot be reduced to one of the representation modes.” Artificial intelligence, algorithms replacing thoughtful consideration, speculative theories of sinofuturism and interests in the conflicts of the present and in the future of urban areas within their digital models, is a very simplified list of the thematic and formal tools in Lawrence Lek‘s work. Examples of these simulations include the architectural models of buildings, city districts and works of art in public spaces, which Lek explores within the virtual world. Orientation is subordinated here only by our experiences and in recognition of symbols associated with the “plotted or modelled” simulated world, and by those who live in it. In the videoessay Sinofuturism (1839–2046 AD) a parallel is drawn with afro-futurism, which is associated with the robotic transformation of our black future. In contrast, the new face of sinofuturism, localized especially in Asia, refers to a future associated with artificial intelligence. This video combines elements of science fiction, documentary melodrama, social realism and Chinese cosmology, all in relation to a criticism of contemporary China and the people of its diaspora. By embracing seven key

stereotypes of Chinese society (Computing, Copying, Gaming, Studying, Addiction, Labour and Gambling), it shows how China‘s technological development can be seen as a form of Artificial Intelligence. Geomancer is a CGI film about the awakening of artificially intelligent aktivity – what is their motivation to feel unique and act as such? The film is about a satellite AI who follows the weather in South East Asia. On the eve of Singapore‘s 2065 Centennial, an adolescent satellite AI escapes its imminent demise by coming down to Earth, hoping to fulfil its dream of becoming the first AI artist. Faced with a world that limits its freedom, Geomancer must come to terms with its militarised origins; this involves a search that begins with a mysterious syndicate known as the Sinofuturists... Featuring HD video game graphics, a neural network-generated dream sequence, and a synthesised vocal soundtrack, Geomancer explores the implications of post-human consciousness. The work of Lawrence Lek will be presented at PAF in two videos complete with an audiovisual performance for which he has prepared a video from a first person perspective. The work will be accompanied by musician and composer Oliver Coates, who has often collaborated with Lek. Martin Mazanec

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8 Dec | 10:30 am | FA ● Sinofuturism (1839–2046 AD) screening, introduction – Martin Mazanec Abracadabra -------------------------------------------------------------Sinofuturism (1839–2046 AD) dir. Lawrence Lek | UK | 2016 | 60′

-------------------------------------------------------------9 Dec | 8 pm | T ● Oliver Coates (UK): Electronic and acoustic cello concert with a dystopian video in the first person by Lawrence Lek concert | Abracadabra -------------------------------------------------------------10 Dec | 2 pm | T ● Geomancer screening, introduction – Martin Mazanec Abracadabra -------------------------------------------------------------Geomancer dir. Lawrence Lek | UK | 2017 | 48′

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Jacky Conolly: Hudson Valley Ruins American artist Jacky Connolly is the creator of the 3D animations made for the The Sims 3 computer game engine. This is an extended method called machinima, where a user (usually the player and the artist in one person) uses the graphic environment of the game and creates backdrops and characters in his or her videos. This determines not only the visual side, but the overall game interface. The third and most sophisticated part of the life simulator of The Sims offers a wealth of possibilities based on the variability of the details that make up one’s everyday routine and the exciting adventures of the inhabitants of this virtual world. The video builder finds himself in the position of a director with absolute control over the mise-en-scène. At the same time, it has algorithms that give the game even hyperrealistic dimensions – the breathing of the characters, the weather and the alternating day and night cycles. However, Jacky Connolly‘s film is a far cry from the The Sims. Instead, it draws inspiration from such films as The Shining and Poltergeist. The name Hudson Valley Ruins is derived from a project of the same name by photographers Tom Rinaldi and Rob Yasinsak, and it maps valuable architectural complexes in the desolate periphery of the author‘s native landscape of New York. The outlying suburbs have become the subjects of ghost stories, one of which is told by the film, and it combines elements of gothic horror and melodrama. Jiří Neděla

8 Dec | 11:30 pm | CCC ● Hudson Valley Ruins screening | Abracadabra --------------------------------------------------------------Hudson Valley Ruins dir. Jacky Connolly | US | 2016 | 30′

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Clemens von Wedemeyer: ESIOD 2015 2051: After many years, a woman returns to Vienna to liquidate a bank account in which not only money, but also memories are stored. As the digital system prohibits access, she is required to do a “Memory Check” in which she reacts to images of the past. She is given access to the virtual safe and uses the contents to open a link to the past. This is a visually stunning surveillance dystopia — somewhere between post-apocalypse and a virtual high-tech world. In ESIOD 2015, Clemens von Wedemeyer has created a layer of dystopic science-fiction in which he projects the current financial crisis and the virtualization of work, life, and capital in the architecture of the “First Campus” – a construction project of the Austrian Erste Bank – into the not-too-distant future. His protagonist gets lost between the real and the virtual world and the film disintegrates into a cloud of pixels and becomes transparent. The author says: “The film is meant to play in a parallel future – a future that already exists. For many, the present remains incomprehensible in its political, economic and technical complexity. We supposedly already live as if we were in a science-fiction film. However, science-fiction films also age with time; the year 2015 in the title recalls an already bygone imagined future, and its distance to us in terms of time grows with every passing year. If we already live in the future, a sci-fi film can seem historical.” Karina Kottová

9 Dec | 5:30 pm | MC ● Clemens von Wedemeyer: ESIOD 2015 screening, introduction – Clemens von Wedemeyer, Karina Kottová | Abracadabra --------------------------------------------------------------ESIOD 2015 dir. Clemens von Wedemeyer | AT/DE | 2016 | 38′

--------------------------------------------------------------9 Dec | 9 pm | FA ● Clemens von Wedemeyer (DE): Vermin of the Sky presentation | Abracadabra ---------------------------------------------------------------

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Petr Šprincl: Vienna Calling “Whether you are a woman or a man, come and watch this film. You people who have bought sausages and shortbread biscuits today, do you think about death? Do you think you can escape it? Death will come to a baker, a prostitute, a minister and to Lucy who makes brushes. Do you doubt it? Do you want to hide behind the sausages and the shortbread biscuits? You can’t hide, death is everywhere. My name is Ondrej Jajcaj and I have illegally broken into thousands of tombs. You can call this documentary whatever you want; experimental, documentary, fiction, mysterious, whatever; but one thing is certain – I stole the teeth of two masters for you; Strauss and Brahms, so I can help you to overcome your fear of death. Remember, even if you are rich and beautiful, one day you too are going to be leaving ‘our’ world.” A fictional documentary and a mysterious road movie about the final journey of the dentures of two of the greats of classical music, Johann Strauss and Johannes Brahms. In 2002, these dentures were illegally exhumed from their graves in the Vienna Central Cemetery by Ondrej Jajcaj, a grave robber, self-claimed philosopher and artist. Jajcaj and his comrades travel along the Moravian-Slovak border in a shiny caravan looking for the fulfilment of their fate. To the rhythm of Falco, Vienna is calling for her sons to return to Heimat. Petr Šprincl, Matyáš Dlab

8 Dec | 5:30 pm | MC ● Vienna Calling screening, guests – Jakub Adamec, Matyáš Dlab, Jiří Havlíček, Ondrej Jajcaj, Jan Kovář, Tomáš Motal, Marek Novák, Pavel Pernický, Petr Šprincl | Abracadabra --------------------------------------------------------------Vienna Calling

dir. Petr Šprincl | CZ | 2017 | 67′

--------------------------------------------------------------7 Dec | 6 pm | VD ● Marie Hájková, Petr Šprincl: Genesis exhibition opening | Abracadabra --------------------------------------------------------------7 Dec 2017 – 5 Jan 2018 | VD ● Marie Hájková, Petr Šprincl: Genesis exhibition | curator – Alexandr Jančík Abracadabra --------------------------------------------------------------8 Dec | 8 pm | VC ● I Love 69 Popgejů concert | Abracadabra ---------------------------------------------------------------

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Martin Kohout: Slides Set in the not-so-distant future, Slides traces the lives of Bora and Asli, a young couple who separated by day and night, look to connect through the made up stories and games they play as they navigate London. In the imaginative, warping spaces of digital time, the city becomes a strange and wonderful backdrop to this portrait of remote relationships. Slides is a speculative narrative about private communication, related technologies, and the present future around us. The film follows how Asli and Bora, who have opposing sleep and wake schedules, keep in touch with each other when the other one isn‘t there to answer right away; how they narrate the surrounding reality to each other, and how they both struggle and solve all that it brings with it. A film by visual artist Martin Kohout was presented during the exhibition of finalists in the Jindřich Chalupecký Award 2017, which he won. The screening took place over regular half hour intervals in a dark room which simulated cinema operating rules. Cinematographic aspects of the film are also visible in its complex production, from the authorial music of Kareem Lofty to the poster graphics. PAF will introduce the film for the first time in a classic cinema screening. Martin Mazanec

10 Dec | 7 pm | FA ● Slides screening, introduction – Martin Kohout, Martin Mazanec | Abracadabra ---------------------------------------------------------------

Slides dir. Martin Kohout | DE/CZ | 2017 | 22′36″

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Veronika Vlková: Demi-Invisible, Demi-Brown The series of films Demi-Invisible, Demi-Brown by Veronika Vlková is a selection of the author‘s film work over the past decade. Vlková’s formal work spans a wide range of media. Beside paintings, which are her key technique, and working with the moving image, this also includes installations, objects, texts, audiovisual performances and sound experiments. The building of artistic cooperation has had a big influence on the work of the author. Creative dialogue has often resulted in the gradual blending of individual approaches leading to the emergence of a creative pair, where it is impossible to determine where one individual’s entry begins and where it ends. This means of working can be found in films created through cooperation with Magdalena Bažantová, in installations carried out with Radoslav Zrubec and in the complex cooperation with the author of this text. One important aspect of Veronica Vlková’s work is her interest in space, which we can define as an expanded field of animation. The principles of film and animation leave the canvas and are found throughout an entire exhibition space. This approach is most obvious with her gallery installations, where the exhibition narrative is articulated through a wide range of media into a single, complex language. Each fragment has a clearly defined location in the final installation, through which it affects the process and dynamics involved in reading the narrative. In recent projects, this principle

has often been accelerated through the use of interactive and mechatronic objects. Although gallery and film spaces differ in many essential respects, the films by this author work in both contexts. The films created as part of gallery exhibitions are often presented at film and animation festivals. The Demi-Invisible, Demi-Brown series can be divided into three imaginary parts. The films ABC Devil (2008), The Snow Queen (2009) and Detective (2009) are the first. The films originated from a variety of materials collected during the author’s stays in London and Iceland. Diary-like footage is combined with staged parts. The second imaginary part is the film Napůl neviditelný, napůl hnědý (Demi-Invisible, Demi-Brown, 2010). Vlková’s diploma thesis follows up on her previous works, and by using different parts of a picture the author succeeded in creating a more complex form, in which the alternation of seemingly inhomogeneous footage creates surprising connections. The last imaginary part of the series is made up of the animated films Kouzlo zapomnětlivosti (The Spell of Forgetfulness, 2013) and Ztrácení (Vanishing, 2015), both associated with installations and exhibitions of the same name. Jan Šrámek

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9 Dec | 5:30 pm | T ● Veronika Vlková: Demi-Invisible, Demi-Brown screening, introduction – Magdalena Bažantová Abracadabra --------------------------------------------------------------ABC Devil dir. Veronika Vlková, Magdalena Bažantová CZ | 2008 | 8′5″

--------------------------------------------------------------The Snow Queen dir. Veronika Vlková, Magdalena Bažantová CZ | 2009 | 13′07″

--------------------------------------------------------------The Detective dir. Veronika Vlková | CZ | 2009 | 5′13″

--------------------------------------------------------------Demi-Invisible, Demi-Brown Napůl neviditelný, napůl hnědý dir. Veronika Vlková | CZ | 2010 | 22′15″

--------------------------------------------------------------The Spell of Forgetfulness Kouzlo zapomnětlivosti dir. Veronika Vlková, Jan Šrámek | CZ | 2013 | 5′54″

--------------------------------------------------------------Vanishing / Ztrácení dir. Veronika Vlková | CZ | 2015 | 5′26″

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Magical Realism in Latin American Animation In Latin America animation began as an alternative to fiction films. In those years some visionaries spotted the potential of this more dynamic and free form of art, which was limited only by the imagination of its creator. They saw it as the perfect means by which to narrate the magical life they had been born into. Latin American culture is a fertile mixture of people and lands, with inexhaustible sources of primitive stories that mix visible and invisible worlds; the worlds of the dead and of the living, and those of humans and animals. The stories create fantastic beings and are full of metaphors. This is the creation of a cosmo-vision that becomes real by means of its constant repetition; myths, legends and stories told under moonlight, in front of a divine fire in the jungle, at the edge of the sea, on top of a mountain and in the solitude of the desert. Latin America is still deeply attached to all these stories. And this is why magical realism lives there. In Latin American animation we see reflections, not only of the brutal realism that ravages the continent, but also of that magical world that maintains the status of truth in Latin American societies. These are Latin American animatorsâ&#x20AC;&#x2122; conceptions of life; they grew up immersed in magical realism and surely many of them have experienced episodes of this nature themselves. Their stories tell us about the strong relationship between reality and imagination,

which can function as a form of survival. There is the man who does not accept death knowing that he is already dead, the creator devoured by his own creations, the last fantasy before dying as a denial of suffering and longing, a spiritual search in labyrinthine spaces, the invention of a mythical character to justify sexuality free from taboos, the magical animal that helps us deal with the death of a loved one, and the reinterpretation of a family history as an expiation of pain. The program contains all this and much more, and the audience will be able to catch a magical and â&#x20AC;&#x201C; at the same time â&#x20AC;&#x201C; realistic glimpse of the world of Latin American animation. Jair Salvador Flores Alvarez

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7 Dec | 10:30 pm | FA ● Magical Realism in Latin American Animation I screening, introduction – Luis Felipe Alaniz (MX) curator – Jair Salvador Flores Alvarez (MX) Abracadabra ---------------------------------------------------------------

10 Dec | 4:30 pm | T ● Magical Realism in Latin American Animation II screening, introduction – Luis Felipe Alaniz (MX) curator – Laura Delgado (CO/CZ) Abracadabra ---------------------------------------------------------------

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Santolo dir. Alejandro García Caballero | MX | 2012 | 5′ Rain in the Eyes / Lluvia en los ojos dir. Rita Basulto | MX | 2012 | 7′

--------------------------------------------------------------Filly the Little Lesbian Fairy Vênus – Filó a fadinha lésbica dir. Sávio Leite | BR | 2017 | 6′28″

--------------------------------------------------------------Sad House / Casa triste dir. Sofía Carrillo | MX | 2013 | 13′

--------------------------------------------------------------Esphere / Esfera dir. Luis Felipe Alaniz | MX | 2005 | 13′

--------------------------------------------------------------The Andes / Los Andes dir. Cristobal León Y Joaquin Cociña | CL | 2012 | 3′58″

--------------------------------------------------------------Blue Bile Gloomy Nectar / Azul hiel lúgubre néctar dir. Luis Felipe Alaniz | MX | 2007 | 10′

--------------------------------------------------------------Without Bra / Sin sostén dir. René Castillo, Antonio Urrutia | MX | 1998 | 4′

--------------------------------------------------------------Down to the bone / Hasta los huesos dir. René Castillo | MX | 2001 | 10′

--------------------------------------------------------------The Eight Day, the Creation El octavo día, la creación dir. Rita Basulto, Juan José Médina | MX | 2000 | 10′

--------------------------------------------------------------Martyris

dir. Luis Felipe Alaniz | MX | 2010 | 10′

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El delirio del pez león dir. Quique Rivera | PR | 2012 | 3′34″

El cuarto pequeño dir. Cristobal León | CL | 2009 | 2′20″

--------------------------------------------------------------Giz dir. Cesar Cabral | BR | 2015 | 8′20″

--------------------------------------------------------------Luis team of authors | CL | 2008 | 4′02″

--------------------------------------------------------------Tarik‘s puzzle dir. Maria Leite | BR | 2015 | 15′

--------------------------------------------------------------Fe dir. Juan Pablo Villegas | MX | 2012 | 2′36″

--------------------------------------------------------------La noria dir. Karla Castañeda y Luis Tellez | MX | 2012 | 7′33″

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Georges Méliès: A Trip to the Moon Georges Méliès occupies an exclusive place in the history of cinema. He saw the possibilities for the Lumière brothers’ invention and laid the foundations of film narration and special effects. In 1902 this first magician of film shot his most famous film, A Trip to the Moon. The success of the thirteen minute, black and white silent movie was immediate because the theme of space exploration was more than intriguing for people of that era. The popularity of the film is proven by the fact that it was the first film in history to be illegally copied. From the beginning, Méliès added colour to his films. But the coloured copies of A Trip to the Moon were thought to be lost, until the beginning of the 1980s when one copy was found, albeit with serious damage. After its complicated restoration, and at the cost of enormous patience and international cooperation, Méliès’ astronauts were able to land in full colour, specifically in Cannes in 2011. The celebration of this work was held on the 150th anniversary of its author’s birth, and so it was a great opportunity to tell the public about the extraordinary adventures of the film and its author. This task was carried out by the filmmakers Serge Bromberg and Eric Lang in their documentary film The Extraordinary Voyage. Méliès’ film is also an ode to creation. The combination of a reconstructed science fiction film and a spectacular documentary reminds us of the innocence which originally accompanied A Trip to the Moon. AČFK, Jiří Neděla

9 Dec | 11 am | MC A Trip to the Moon / The Extraordinary Voyage screening, introduction – Jiří Neděla | Abracadabra --------------------------------------------------------------A Trip to the Moon / Le Voyage dans la lune dir. Georges Méliès | FR | 1902 | 13′ ●

--------------------------------------------------------------The Extraordinary Voyage / Le voyage extraordinaire dir. Serge Bromberg, Eric Lange | FR | 2011 | 60′

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Karel Zeman: The Sorcerer‘s Apprentice Gene Deitch: Teeny-Tiny and the Witch Woman The story of a beggar boy ensnared by a sorcerer has its roots in 17th century Lusatian verbal art. However, as a source for his film adaptation of the topic, director Karel Zeman has chosen the version written by Otfried Preußler, a German author of children’s literature, such as The Little Witch. A short film by Gene Deitch, an American living in Czechia, Teeny-Tiny and the Witch Woman has a lot in common with The Sorcerer‘s Apprentice, with which it completes one screening block. This block is mainly concerned with the fairytale theme. The basic motifs of fairytales, passed down verbally through generations, absorbed specific features from folklore and historical variations from different parts of the world. Even so, with regard to the limited quantity of plot patterns repeating themselves across cultures, they often contain identical motifs, characters and locations, and from their roots in pre-religious myths they also have archetypes and metaphors. The three brothers in Teeny-Tiny and the Witch Woman get lost in the woods and are trapped by an evil force; in this case a man-eating witch (this variation of the Hansel & Gretel fairytale originates in Turkey). While the sorcerer’s apprentice Krabat, who serves with eleven other boys in the warlock’s mill, seeks rescue from an uneven competition with his master for the love

for an innocent girl the brothers have to help each other using their wits and courage, as shown by the youngest. The dangerous doom, which they face, is the punishment for entering the forbidden forest. The sorcerer’s apprentice, in contrast, finds himself in the clutches of hellish powers, which are the antithesis of love and faith, and in the film they are represented by motifs from Christian holidays. Both stories share a dark atmosphere, which especially comes from their artistic approach; trees with faces wrinkled into horrifying grimaces, the sorcerer’s animal transformations and ravens sitting on gallows. Both pictures are strongly expressive, but thanks to their emphasis on the landscape they are also lyrical. And both stories end well. Jiří Neděla 8 Dec | 12 am | FA The Sorcerer’s Apprentice / Teeny-Tiny and the Witch Woman screening, introduction – Jiří Neděla Abracadabra --------------------------------------------------------------The Sorcerer’s Apprentice / Čarodějův učeň dir. Karel Zeman | CS | 1977 | 72′

--------------------------------------------------------------Teeny-Tiny and the Witch Woman Mrňous a čarodějnice dir. Gene Deitch | US/CS | 1980 | 14′

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Zdeněk Smetana: Little Witch Little Witch, from the eponymous full-length animated film and the children’s television show, is one of the few multi-dimensional and active heroines in the field of Czechoslovak television animation. Most female / girl figures were left rather passively in the background, where they cared for the main male heroes (such as Josefka in O hajném Robátkovi a jelenu Větrníkovi / About Gamekeeper Robátko and Deer Pinwheel or Manka in the O loupežníku Rumcajsovi / About Robber Rumcajs series), or were part of a central pair such as Mach and Šebestová, Maxipes Fík and Ája, and Káťa and Škubánek. Even in the case of the Little Witch, it can be argued that she is accompanied by her male friend and housemate, Crow, on her journey to becoming a better witch, but in this case they are indeed rather supportive of each other. In the end, it’s really just the Little Witch who, through her own mistakes and experiences, gradually finds how to become a better witch and a better person. In addition, the script, based on Otfried Preuler‘s German masterpiece, is full of nice moral lessons, such as the fact that it is not important how someone looks on the outside, but what is on the inside, and that it makes no sense to blindly follow rules and not think about their consequences. In particular, the final message of the fairy tale is that, although we have been trying all year to please someone so that they accept us as one of their friends, as soon as we find out that

this was a mistake (thanks to witch aunties), it is time to quickly move on to plan B and say goodbye to them rather than to our values. Who wouldn’t find such a practical message useful in life? And surely it does no harm, as long as we haven’t read too much of (not only) the witches’ book, then such big decisions are always made easier. Eliška Děcká 9 Dec | 10 am | FA Little Witch screening, introduction – Eliška Děcká Abracadabra --------------------------------------------------------------Little Witch / Malá čarodějnice dir. Zdeněk Smetana | CS/NSR | 1984 | 89′

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Jan Švankmajer: Alice Lewis Carroll’s ground-breaking novel Alice‘s Adventures in Wonderland, a story about a young girl’s fantastic adventures in a dream world, has become an inspiration for many artists: those who have illustrated new editions of Carroll‘s books (Alice in Wonderland and the sequel Through the Looking-Glass, and What Alice Found There), the hippies who borrow its motifs for their psychedelic iconography (for example, the song White Rabbit by Jefferson Airplane) and various filmmakers. For his first feature film, Jan Švankmajer adapted from Alice in Wonderland not only its well-known motifs, but also the dream setting of the story. With an understanding of the surrealistic concepts in which reality and dreams are intertwined, he emphasized their inseparability in order to create a world where it is possible to behold that coveted surreality in which human life can become complete. If a dream is only a synthesis of the real and the surreal, then surrealists can find a similar connection in the magical and metaphorical thoughts of primitive nations or, as in Alice‘s case, in the thoughts of children. Like dreams, such displays manifest the groundwater which flows through the subconsciousness of the human psyche and reveals magical aspects of reality. Jan Švankmajer has the same goal. He brings to his movies a unique visuality which works with symbols, associations and a wide range of materials – sometimes as expressive as raw meat or animal skeletons; but more often

archaic: old walls, furniture, toys, tools, puppets and other objects that are and have a distinctive reflection of the past. Švankmajer approaches the process of their animation as a magical operation in which objects bear witness to events and people that they have encountered during their existence. And Alice is the movie in which he used this technique extensively. In the logical framework of the “magic of 35mm film material” will be as prefilm introduced film poem Tradition by Kateřina Turečková, telling the story of double tradition in South Moravian city of Kyjov: tradition of folklore and crystal meth. Jiří Neděla 9 Dec | 12 am | FA Alice screening, introduction – Jiří Neděla Abracadabra --------------------------------------------------------------Alice / Něco z Alenky dir. Jan Švankmajer | CS | 1988 | 86′

--------------------------------------------------------------Tradition / Tradice dir. Kateřina Turečková | CZ | 2017 | 5′

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Charles Swenson, John Korty: Twice Upon a Time The film Twice Upon a Time (1983) originated under extraordinary conditions and with the authorial help of some resonant names of American film. Among the experienced animation filmmakers were John Korty and Charles Swenson, Henri Selick, David Fincher (then a 20-year-old camera assistant), and even George Lucas who had a production credit. Charles Swenson made his debut with the short animation film The Magic Pear Tree (1968) and later produced the TV series Teenage Mutant Ninja Turtles (1987). John Korty received an Oscar nomination in 1964 in the category of short documentary film for his animated film Breaking the Habit. The work on Twice upon a Time was the result of the experience he acquired during the years spent creating TV advertisements and commercials. With a limited budget, but with a great measure of creative freedom, shooting took place in rough conditions in Korty’s house and the artists had a great deal of room for improvisation and free experimentation with graphic and animated forms. The film, which combines live action, photography and various forms of animation, including Korty’s own technique called “lumage”, was made in a number of versions, one of which was adults only. At the heart of the story about saving the world from a bad guy bombarding sleeping people with nightmares, there is the comical couple of Mum, a Chaplin-like butterfingers, and Ralph, a morphing animal and nerd. Their

adventures are full of gags, ironic and absurd humour and a musical atmosphere from the 80s. At the time of its distribution the film was not aimed at any particular target group, so after its commercial failure it no longer held the interest of distributors. It has become a cult film for a handful of devoted fans and now you can become one of them. Jiří Neděla 7 Dec | 12 am | T ● Twice upon a Time screening, introduction – Jiří Neděla Abracadabra --------------------------------------------------------------Twice upon a Time dir. Charles Swenson, John Korty | US | 1983 | 75′

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Hayao Miyazaki: Spirited Away The name of the Japanese animator Hayao Miyazaki has, since the beginning of his work, been associated with the creation of fantasy worlds full of ghosts, mythical gods and supernatural beings. In 2001, he took it further in this respect when he made Spirited Away. The film was awarded an Academy Award and a Golden Bear at the Berlinale festival and has received many other awards. The film is so popular and familiar that it was quoted in one episode of the American television series The Simpsons (Homer drinks too many sakes and in a drunken hallucination he finds himself in the streets of the enchanted city from the beginning of Spirited Away). The main character, Chihiro, is one of Miyazaki‘s typical child heroes – open, free of cynicism, prejudice and the greed of the adult world. The girl‘s parents, on the other hand, fit into that world perfectly. Through the entire movie, Chihiro tries to save them by breaking the curse of the evil witch Yubaba. Although Yubaba may resemble the noble elderly ladies of Victorian England with their perfect hair and modest clothes, her actions soon reveal her true and much darker self. In contrast, some of the other fantasy characters from Spirited Away, such as the mysterious stink spirit that visits Yubaba’s bath-house may at first, with their unusual appearance, scare or even repel, only to reveal the good heart under their extraordinary exterior. These deliberate visual (and moral) games, “inside versus outside”, are typical of Miyazaki and run through all of his work. Miyazaki

simply likes to play with the audience‘s usual expectations. Because of American family animated films, it is presumed that only the physically appealing characters are the good guys who are interesting or important. With Miyazaki, on the other hand, the important character is often initially quiet in the background, and overlooked, so that their importance can be revealed at the right time. Perhaps it is because of this simple, yet topical message, which is an attempt to destroy the superficiality and prejudice in our thinking, that Miyazaki‘s Spirited Away is still popular with both child and adult audiences, even after sixteen years. Eliška Děcká 10 Dec | 10 am | MC Spirited Away screening, introduction – Eliška Děcká Abracadabra --------------------------------------------------------------Spirited Away / 千と千尋の神隠し dir. Hayao Miyazaki | JP | 2001 | 124′

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John Musker, Ron Clements: Aladdin After the commercial success of The Little Mermaid in 1989, the Disney studio took advantage of the renaissance of the fairytale genre, and also re-evaluated the narrative stereotypes and gender characteristics of their feature films. They entered the 1990s armed with emancipated heroines, their self-centred male counterparts and other hyperbolized associated characters; humans, animals and even objects. The main focus was on more sophisticated relationships which the fairytale genre, mainly sourced from iconic old stories and often schematically straightforward, encouraged, while leaving the creators a considerable amount of freedom in editing the original fairytales. Despite a number of classic Disney films in the 90s, which featured main characters who were human, the biggest commercial hit of the studio was the musical adaptation of the story of Aladdin and the Genie of the lamp, from the Arabian collection of folk tales The Book of One Thousand and One Nights. Beside the main characters who undergo an emotional roller-coaster ride; the poor but kind-hearted thief Aladdin and the defiant princess Jasmine who is usurped by fundamental traditions, there are many other excellent characters, notably a duo of charismatic sorcerers. While the evil Grand Vizier Jafar and his parrot assistant Iago use illusionist tricks, hypnosis and disguises to become the sultan, the most powerful ruler of the world, Genie is a much more powerful magician and has an almost unlimited ability to make real

spells. However, he always remains the servant of his current master. Genie, as Aladdin’s servant, represents a showman, a bonvivan, a mentor and a friend, but under Jafar’s command, he becomes the dark side of power. Genie, with his characteristic blue colour, compensates for his lack of living space, as defined by the interior of the old lamp, by adopting an infinite number of disguises during his time of liberation. For animators these disguises provide unlimited room for creative visual metamorphoses that allow the inventive integration of contemporary elements into the Oriental environment, and they achieve surprising comic situations that, along with Disney‘s necessary happy-ending, still satisfy family audiences a quarter of a century after their creation. Alexandr Jančík 10 Dec | 3 pm | CCC Aladdin screening, introduction – Pavel Šuráň Abracadabra --------------------------------------------------------------Aladdin dir. John Musker, Ron Clements | US | 1992 | 87′

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ABRACADABRA(F): Femaled magic The clitoris is the direct line to the matrix. H.A.R.R.I.E.T. During the preparation for the Abracadabra section and the curatorial research into the magical formula, or more precisely, the declarative term Abracadabra as redefined by PAF (Festival of Film Animation and Contemporary Art) in a hypermedia space of contemporary animation, it just so happened and purely by accident, there was a group of female artists in the programme, whose works had remarkably communicated with each other. On closer look the reason for this transcendence could be seen in the significant recurrent motifs and common elements. Is the weird affinity of the parallel inventions, synchronicity and convergence the result of morphic fields, a question connected to a female sensitivity, or is it a sign of the times and the current stage of animation is a mere coincidence or just an “epidemy” of certain themes and visual aspects? If we can rationally and objectively attribute it only to the postmodern curator‘s over-interpretation (socalled curator‘s enchantment or Abracadabra) or to the curator‘s hysteria, then it is determined by the works of art themselves, which encourage one to reveal the inner delicate links and applications of multi-plurality of views and intuition. In the world of Abracadabra(f), everything is connected to everything and women are not what they seem to be.

Thus, an inner circle within the main programme section came into being, its alternative form of record points to the audiovisual works of Shana Moulton, Pauline Curnier Jardin, Jennifer Juniper Stratford and Erica Magrey. They are all established female videoartists in their middle years and they are also active performers, expressing themselves through making costumes and sculptures and adding their own music, which they often produce themselves. In their audiovisual works there are strong female heroines (often their own alter egos or real historical figures) who meet an outer magic or godlike power (christian god, esoteric New Age magic, technology, artificial intelligence and so on), and with whose contribution, mostly on the basis of feminine rituals and costumes, magic and miracles happen and they enter alternative worlds and dimensions through various portals. We come across magical and futuristic objects, magical preparations and doppelgangers. We see the location of feminine physicality, intelligence and the premise of the miracle of life (either natural or artificial), the soothing, mysterious power of the woods and the healing power of mother nature. However, there is also the fascination of the authors’ with (retro) technology, with the fetishism of the given media (analog or digital video, film) with the typical technological procedures attached to it, as well as with simple special effects. The function of the music is also distinctive; a soft female voice functions as an enchanting magic mantra through the recurrent sequence which stresses the ritual dimension. Marie Meixnerová

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Shana Moulton: Whispering Pines Through the surreal universe of the strangely dreamy Whispering Pines, American videographer and performer Shana Moulton has, for 15 years, been developing her alter ego; the character of tragicomic hypochondriac Cynthia. In her colourful world medical aids and decorative items have magical functions and open gates to other dimensions. 8 Dec | 7 pm | FA ● Shana Moulton (US): The line where your appearance flips over into reality presentation | Abracadabra(f) ----------------------------------------------------------------10 Dec | 5:30 pm | AI ● Shana Moulton (US): This organ wants this, that organ wants that AV performance | Abracadabra(f) -----------------------------------------------------------------

7 Dec | 9 pm | FA ● Shana Moulton (US): Whispering Pines I screening, introduction – Marie Meixnerová, Shana Moulton | Abracadabra(f) --------------------------------------------------------------Whispering Pines 1 US | 2002 | 1′55″

--------------------------------------------------------------Whispering Pines 2 US | 2003 | 3′58″

--------------------------------------------------------------Feeling Free with 3D Magic Eye Remix US | 2004 | 8′31″

--------------------------------------------------------------Whispering Pines 3 US | 2004 | 7′32″

--------------------------------------------------------------Whispering Pines 5 US | 2005 | 6′31″

--------------------------------------------------------------Electric Blanket Temple Altar US | 2005 | 5′05″

--------------------------------------------------------------Whispering Pines 6 US | 2006 | 6′25″

--------------------------------------------------------------Whispering Pines 7 US | 2006 | 4′26″

--------------------------------------------------------------Whispering Pines 8 US | 2006 | 7′34″

--------------------------------------------------------------The Mountain Where Everything is Upsidedown US | 2006 | 4′57″

--------------------------------------------------------------Whispering Pines 4 US | 2007 | 10′51″

--------------------------------------------------------------Sand Saga US | 2008 | 10′30″

--------------------------------------------------------------Repetitive Stress Injuries US | 2008 | 12′25″

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9 Dec | 1:30 pm | FA ● Shana Moulton (US): Whispering Pines II screening, introduction – Marie Meixnerová, Shana Moulton | Abracadabra(f) ---------------------------------------------------------------

Whispering Pines 9 US | 2009 | 9′48″ ------------------------------------------------------------------------The Galactic Pot Healer US | 2010 | 8′32″ ------------------------------------------------------------------------Decorations of the Mind II US | 2011 | 11′52″ ------------------------------------------------------------------------Lyrica US | 2012 | 4′53″ ------------------------------------------------------------------------Restless Leg Saga US | 2012 | 7′23″ ------------------------------------------------------------------------Unique Boutique US | 2013 | 9′19″ ------------------------------------------------------------------------Swisspering US | 2013 | 9′ ------------------------------------------------------------------------The Undiscovered Drawer US | 2013 | 9′18″ ------------------------------------------------------------------------MindPlace ThoughtStream US | 2014 | 11′56″ ------------------------------------------------------------------------Every Angle is an Angel US | 2016 | 6′19″ -------------------------------------------------------------------------

Pauline Curnier Jardin: Grotta Profunda (the moody chasm) Grotta Profunda is a stunning visual spectacle story about a deep cave in the French Pyrenees that would become the scene of the religious exaltation of the young nun Bernadette. After a vision of the immaculate conception of the Virgin Mary, she is flooded with an all-embracing love and thrown into the cave‘s womb, where she becomes the shocked witness to Pasolini‘s extravagant cosmogonic scenes, revealing the mystique and essence of humanity. Did she find herself in the divine womb or grotto of bodily sin? 9 Dec | 11:30 pm | T ● Pauline Curnier Jardin (FR): Grotta Profunda (the moody chasm) screening, introduction – Marie Meixnerová Abracadabra(f) --------------------------------------------------------------Grotta Profunda (the moody chasm)

dir. Pauline Curnier Jardin | FR | 2011 | 30′

--------------------------------------------------------------7 Dec | 4 pm | GUM ● Pauline Curnier Jardin (FR): Grotta Profunda (the moody chasm) exhibition opening | Abracadabra(f) --------------------------------------------------------------7.–21. 12. 2017 | GUM ● Pauline Curnier Jardin (FR): Grotta Profunda (the moody chasm) exhibition | curator – Marie Meixnerová Abracadabra Opening hours at Gallery U Mloka during PAF: Thu: from 4 pm Fri – Sut: 1 pm – 7 pm Sun: 1 pm – 4 pm Opening hours after PAF: Tue – Thu: 1 pm – 7 pm

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Erica Magrey: Troubadour In a typical connection of video art, futuristic costumes, music production, websites and sculptural physical objects, Magrey creates surrealist high-tech and trash environments populated with feminine alter egos, all of which creates magic and is created by magic, thanks especially to the enchanted technology of keying. Within Abracadabra(f), the formally and logically designed microcells form J. J. Stratford, P. C. Jardin and S. Moulton.

Jennifer Juniper Stratford: Television Fantasy Studios Telefantasy Studios was established in 2004 by Multidimensional Video Artist and Media Mogul Jennifer Juniper Stratford in search of new dimensions and otherworldly representations through the use of analog communication technologies scavenged from the ruins of the post-digital-apocalypse. Futuristic feministic hollywoodish 100% TV abracadabra.

8 Dec | 3 pm | CCC ● Erica Magrey (US): Troubadour screening, introduction – Marie Meixnerová Abracadabra(f) ---------------------------------------------------------------

9 Dec | 12:30 pm | FA ● Jennifer Juniper Stratford (US): Television Fantasy Studios screening, introduction – Marie Meixnerová Abracadabra(f) ---------------------------------------------------------------

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Blob Sac Transform / No Witness US | 2011/12 | 9′ Troubadour US | 2005/6 | 27′

--------------------------------------------------------------Own This US | 2011/13 | 10′

--------------------------------------------------------------Tag Sale Cosmology US | 2012/13 | 11′05″

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The Future Crew US | 2016 | 13′52″ MoCA Lotion US | 2014 | 7′

--------------------------------------------------------------Off Hollywood: Christy Marx US | 2015 | 11′57″

--------------------------------------------------------------Model View Controller (Phase I) dir. Jennifer Juniper Stratford, Erica Magrey US | 2013 | 6′22″

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abracadabra presentations

Petr Svárovský, Reality Glitches

Shana Moulton, Whispering Pines 10, 2012

Daniel Rourke, #Additivism

BCAA System

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Shana Moulton: The line where your appearance flips over into reality Through her performances, videos and installations, Californian videographer and performer Shana Moulton (1976) has created her own compact and creative world which sits at the crossroads between reality and absurdity, catharsis and cliché, material and spiritual; it’s a world inhabited by Cynthia, a tragicomic fictional character and the author‘s hypochondriacal alter ego. The impulse which led to her birth was originally an art project involving a collection of clothes which incorporated medical aids. Not only did this project create a slightly psychedelic wearer of indefinite age, but also a whole unique universe called Whispering Pines. Shana Moulton will present her lifelong project at PAF in a variety of ways. There will be a couple of screening sections and a mapping of her videography from 2002 to the present. On this occasion the individual works of art are not ordered thematically. This is because the world of Whispering Pines and its iconography not only includes the ten-part video series with a title which refers to David Lynch‘s Twin Peaks and to the place of Shana‘s childhood – a caravan town for the elderly near Yosemite, California –1 with which we will also become acquainted with in the selection, but it also includes Shana‘s entire creative work in which she has been systematically developing this absurdly surreal world for the last fifteen years. The divide between the two screening sections

is the technological breakthrough of SD and HD Chroma key technology, along with simple computer animations made in postproduction, create magical auras for the objects and characters in the videos. At the same time they are the source of humorous exaggerations commenting on the medium and its principles and on the ways we perceive reality and what is beyond. As an ordinary, slightly asocial New Age girl who is insecure about her health and herself, Cynthia practices minor rituals that transform themselves, through the power of moving pictures and computer animation, into what every person who hysterically longs for a small self-perfecting miracle wishes for. Moulton focuses on the portrayal of this longing and the promises with which the consumer culture and contemporary belief systems, including various esoteric movements, respond to it. The magic of moving pictures lends itself to medical aids, cosmetic wellness products, colorful pseudonew-age amulets and a totemic teleshopping power which can open doors to other worlds and hidden levels of presence. Prescription drugs, cosmetic products and spiritual principles have equal weight here, and thanks to the magical power of commercial objects, Cynthia finally finds the missing contact in her life through the comfort of nature. However, just like her, the healing power that leads to selfimprovement and self-healing seems to be just a simulacrum. Moulton has devoted a number of gallery installations to this particular issue, including other objects and situations from the

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iconography of Whispering Pines, and from the foremost of her many performances, ranging from small performances of Moulton alone with her video footage and using chroma key technology. This involves many performers and musicians – as in the case of Whispering Pines 10. Moulton will bring to PAF her trademark “portable performance” using the video This organ wants this, that organ wants that and her presentation The line where your appearance flips over into reality. Marie Meixnerová 1

https://vimeo.com/25039353

8 Dec | 7 pm | FA ● Shana Moulton (US): The line where your appearance flips over into reality presentation | Abracadabra(f) --------------------------------------------------------------10 Dec | 5:30 pm | AI ● Shana Moulton (US): This organ wants this, that organ wants that AV performance | Abracadabra(f) --------------------------------------------------------------7 Dec | 9 pm | FA ● Shana Moulton (US): Whispering Pines I screening, introduction – Marie Meixnerová, Shana Moulton | Abracadabra(f) --------------------------------------------------------------9 Dec | 1:30 pm | FA ● Shana Moulton (US): Whispering Pines II screening, introduction – Marie Meixnerová, Shana Moulton | Abracadabra(f) ---------------------------------------------------------------

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Daniel Rourke: #Additivism In March 2015, Morehshinem Allahyari and Daniel Rourke released “The 3D Additivist Manifesto”; a call to push the 3D printer and other creative technologies to their absolute limit and beyond, into the realm of the speculative, the provocative and the weird.The word Additivist is composed of the words activism and additive. It is a movement born out of the criticism of new radical technologies from contemporary labs, workshops and industrial operations on a social, environmental and global scale. Both artists developed this idea in their follow-up projects, such as the The 3D Additivist Cookbook; a large artistic catalogue of digital forms, post-human methods, materials, actions and observations leading to the question of whether it‘s possible to change the world without changing ourselves. Daniel Rourke is a British born artist and theoretician currently based in London. In his work he uses collaborative platforms and theoretical tool sets for exploring the intersection of digital materiality, art and posthumanism. These frameworks often hinge on speculative elements taken from science, science-fiction and pop culture, using fictional figures and fabulation that might offer to humanities a glimpse of a radical “outside”. His writing, lecturing, and artistic profile is extensive, including work with the AND Festival, The V&A London, FACT, Centre Pompidou, Transmediale, Tate Modern and Sonic Acts Amsterdam. He has also published in the HOLO, Media-N, Alluvium and AfterImage magazines. He is

a regular contributor to Rhizome.org and Furtherfield.org servers. Daniel Rourke 8 Dec | 3 pm | FA ● Daniel Rourke (UK): #Additivism presentation | Abracadabra ---------------------------------------------------------------

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Clemens von Wedemeyer: Vermin of the Sky The German artist Clemens von Wedemeyer, in his work in the field of conceptual moving images and audiovisual installations, often deals with (film) archives and historical and symbolic references, while adding engaging commentary, and thereby linking archived material to current questions. For his first independent exhibit in the Czech Republic, created at the invitation of the Jindřich Chalupecký Company, he has created a new exhibition project called Vermin of the Sky for the Moravian Gallery in Brno. The installation consists of a video and an intervention in the permanent exhibit in the Pražák Palace, where the author works with a subjective selection of statues from the collection of this institution. During a surreal encounter in space, digitized sculptures engage in dominance and submission exercises. A bust of a locally accomplished general, the mask of the patron saint of Bohemia, and Prometheus‘ head become mere physical matter as part of the newly re-written Space Odyssey. The work builds on the previous research of the artist on the theme of the discursive, social and symbolic value of a statue in relation to film, actors and audience. Wedemeyer has previously dealt with this topic in the exhibit The Cast at the National Museum of the 21st Century Arts MAXII in Rome (2013) and later as a part of the project Cast Behind You The Bones Of Your Mother introduced by the KOW Gallery in Berlin in 2015. Clemens von Wedemeyer will introduce his work during his presentation at the PAF festival

in Olomouc, where his feature film ESIOD 2015 (2016) will also be shown. Von Wedemeyer is a guest at the exhibit of the Jindřich Chalupecký Award finalists, prepared by curators Karina Kottová and Tereza Jindrová. The project was generously supported by IFA (Institut für Auslandsbeziehungen eV) and the CzechGerman Future Fund. Karina Kottová 9 Dec | 9 pm | FA ● Clemens von Wedemeyer (DE): Vermin of the Sky presentation | Abracadabra --------------------------------------------------------------9 Dec | 5:30 pm | MC ● Clemens von Wedemeyer: ESIOD 2015 screening, introduction – Clemens von Wedemeyer, Karina Kottová | Abracadabra --------------------------------------------------------------ESIOD 2015 r. Clemens von Wedemeyer | AT/DE | 2016 | 38′

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Gaika: The Spectacular Empire Gaika’s work is about the city – its darkness, its loves, its injustices. His brooding sound takes the sounds of South London and moves them to a unique, alien realm. It is the soundtrack to a future city which is falling apart. That was the opinion of editors of the internet cultural platform Dazed&Confused. In autumn, the Londonbased musician Gaika (Warp) announced through this platform news of his latest project called The Spectacular Empire, with the subtitle “What happens when Authority is Destroyed? When a City Falls and is Taken Over? This is an explosive history of the future.” Spectacular Empire is a platform that should act as a secondary imaginary space – a place where it is possible to imagine 50 years into the future to a time when the world has irrevocably changed. At the end of the extensive essay which is accompanied by videos, Gaika finishes his thoughts in the year 2057, when “the old alliances fall away, leaving a period of poorly recorded and misunderstood post-apocalyptic chaos in Europe. It is known that the remnants of the various battle-hardened militias who swore allegiance to the old motorcycle gangs joined forces under a unified code of conduct, heavily influenced by the unique garrison culture that some have called ‘The Spectacular Empire’. It’s said that this fearsome army used the technology salvaged from the garrisons, and the years of support and training they had received from foreign intelligences, to create a nomadic, motorised and militarised apocalyptic cult entirely closed off from the outside world.”

Spectacular Empire is a platform that should act as a secondary imaginary space – a place where it is possible to imagine 50 years into the future. “What happens when Authority is Destroyed? When a City Falls and is Taken Over? This is an explosive history of the future.” Martin Mazanec 10 Dec | 12:30 pm | T ● Gaika (UK): The Spectacular Empire presentation | Abracadabra --------------------------------------------------------------9 Dec | 11 pm | CCC ● Gaika (UK) concert | Abracadabra ---------------------------------------------------------------

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BCAA System / Soda Stream BCAA System is an online audiovisual platform for music, visuals, talks and artist projects connected with new technologies and contemporary world. Based in Prague but reaching beyond whatever frontiers can be found, we want to be part of a worldwide soul by both the content and the audience. We connect musicians with visual artists in streams with virtual environment – we upload podcasts – we organise talks – we run a hybrid gallery between our studio and the internet (non)space. Things we do are not separated entities, they can combine, overlap and merge together in whatever new way of expression imagined. Via live streams on Youtube and Facebook BCAA System have been able to broadcast a DJ set by the artist Jan Vorisek aka R.A.T., a set with the DJs KRY from the Polish collective Intruder Alert, a DJ set by Finnish producer 111X and a live rap show from the Roma musical act PRYNC feat. GHEEZ, and many others. The key words or factors responsible for the functioning of BCAA System are friendship, equivalence, openness, and positivity. BCAA System is also closely associated with the Blazing Bullets DJ team. Examples of their exhibitions include 360° video Sinovation Ltd, The Super Psychonaut Tour + talk between Dustin Breitling,Casey Carr and Vít Bohal. At a certain point in time BCAA also began working as a label – some of their previously released albums include Bilej Kluk – lovetape ft. 93echoesandsirens, dzurillah and McLaren Surface / Youtube environment bootleg.

The Nova X-Process project, developed in collaboration with the artist Olbram Pavlíček as part of PAF, is the first major event to be fully directed by the collective and its guests, who include NEW MAGIC MEDIA (Adéla Sobotková), DJ, VJ, art artist and music journalist Echo AS, who is a presenter on Radio Wave, which maps contemporary and experimental forms of club-not-club music and identity. Adéla Sobotková 9 Dec | 1:30 pm | T ● BCAA System / Soda Stream presentation | Abracadabra --------------------------------------------------------------7 Dec | 10 pm | CDS ● BCAA System + Olbram Pavlíček: Nova X-Process club performance | Abracadabra ---------------------------------------------------------------

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Petr Svárovský: Reality Glitches In his work, Petr Svárovský (1962) focuses on the relationship between art, technology and human consciousness. He began his career in the 1990s as part of the famous new media collaborative platform, Silver. At that time, most of his work was in the field of sound installations and detailed virtual reality, looking at the Internet as a new medium, and he created art projects using cell phone technology. He currently identifies himself primarily as a game developer. In 2012, he founded a company called Carrot Pop, which quickly became famous for its controversial applications. During this period, he ceased to call his work art and began to develop apps that led users to unusual physical experiences. He is most well-known for the controversial cell phone game S.M.T.H. (Send Me To Heaven) and the most downloaded app in the Czech App Store Fold Swalow. He has also had much success at international festivals, including participation in the Venice Biennale and Ars Electronica. Recently, he has been educating artists at the Oslo National Academy of the Arts. At PAF he will explain the game environment during a lecture dedicated to his creative work. He will also deal with “reality glitches” of gaming apps and video games, where a user’s absorption in a game’s rules can be likened to a deepening hypnosis, and can resemble the practices of dark magic with control over people, either by the program developer or another

player which, in addition to an absolute physical experience, can also lead to physical danger. Marie Meixnerová, Petr Svárovský 9 Dec | 4 pm | FA Reality Glitches lecture – Petr Svárovský | Abracadabra --------------------------------------------------------------9–10 Dec | 10 am – 3 pm | AGD Petr Svárovský: Make Your Own Game in Two Days workshop | Abracadabra ---------------------------------------------------------------

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Jaroslav Stehlík: Dream.Digital After ten years of working as a professional photographer, Jaroslav Stehlík co-founded the gaming studio Silicon Jelly, which focused on the development of games for mobile phones. With Michal Berlinger, he programmed the world-renowned game Mimpi Dreams for Silicon Jelly and won the Apple Best Game award in China. He then co-founded studio DIVR Labs, which specializes solely in developing games for virtual reality. Jaroslav has co-authored and programmed the game Blue Effect VR for HTC Vive and Oculus Rift. The game received a great response and was featured on the main page of Oculus Store. Finally, Jaroslav made his dream become reality when he created his own studio Dream. Digital, which specializes in educational entertainment games and helps selected companies make their processes more effective with the help of virtual reality. His first project, which he is developing by himself, is Bohemia VR. The tour maps Czech historical monuments through the use of photogrammetric technology. Thanks to this virtual reality you can visit castles and chateaux and gain access to places that are usually inaccessible. The player, as a time traveller, must find a certain amount of evidence in each location and has to solve some mysteries which happen in castles. Due to the fact that virtual and augmented reality is a very new field, Jaroslav Stehlík has decided to popularise it by hosting lectures. He has created a YouTube channel where he brings the field of virtual reality closer to the wider

public. He was invited to PAF with a similar goal in mind. Jaroslav Stehlík, Jiří Neděla 9 Dec | 11:30 am | T Dream.Digital lecture – Jaroslav Stehlík | Abracadabra ---------------------------------------------------------------

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Dita Malečková: Bio/ Brain Hacking: We Never Had Control? The main focus for the preparation of PAF’s programming theme, with the magical-illusionist undertone of Abracadabra, was our bewitchment by technology (from the initial consternation, the inability to understand the background processes and “read” them correctly, all the way through to fascination) and the manipulation of reality, including virtual and augmented reality, film and video tricks, etc. In connection with the installation of Dr. Mozek / Dr. Brain, by Jonáš Strouhal, and the general atmosphere of the main section, we contacted Dr. Dita Malečková of New Media Studies in the Faculty of Arts at Charles University in Prague. She lectures on contemporary philosophy, visual culture and art in the context of new media, and we asked her to prepare a lecture. Dita Malečková studied philosophy and information science at Charles University and in her professional activities she mainly deals with the philosophical aspects of media and the intersection of art and technology. The lecture, which she has prepared exclusively for PAF on the theme Abracadabra, will address biological and digital boundaries, with a particular focus on the nervous system: from neurofeedback methods developed since the early 20th century, to various forms of technological control and support for brain functions. It will explore the relationship between the biological and the digital, not as two evolutionary stages or essentially opposite domains, but rather as regards their

mutual endless mirroring and intermingling: the dreams of spiritualists and posthumanists, cybernetic rituals, machine (un)consciousness, ghosts in the machinery and machines in the soul. Dita Malečková, Marie Meixnerová 8 Dec | 4:30 pm | T Bio / Brain Hacking: We Never Had Control? lecture – Dita Malečková | Abracadabra --------------------------------------------------------------7–10 Dec | AG ● Jonáš Strouhal: Dr. Brain installation, performance | Abracadabra Office hours: 7 Dec | 7:30 pm – 10 pm 8 Dec | 1 pm – 4 pm, 5 pm – 8 pm 9 Dec | 1 pm – 4 pm, 5 pm – 8 pm 10 Dec | 1 pm – 4 pm, 4:30 pm – 7 pm

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Eliška Děcká: Witches in Animated Film and Pop Culture This lecture with pictorial and film examples will look at the witchcraft phenomenon from a historical point of view. It will reflect on its beginnings and historical changes, and then it will mainly focus on the present and on the pop culture which takes advantage of witches and witchcraft for various economic and ideological purposes (that are more or less transparent). The lecture will present a typology of the most frequent female stereotypes used in pop culture, as compiled by the artistic group Guerilla Girls, and it will include the role of witches within this system. It will also deal with language and the changes in linguistic context as regards such terms as witch and other related expressions, such as witch hunt, baba Yaga etc. Considering the programme theme of this years’ PAF, we will work with several examples from animated work: starting with the popular Czechoslovak character called Malá čarodějnice (Little Witch), and then looking at witches in full-length family films by Walt Disney, and at their very diverse colleagues in works by the Japanese animator Hayao Miyazaki. We will also pay special attention to teen witches and the problems of adolescence that are linked with the witchcraft phenomenon in general. It is no coincidence that this (somehow vague) age group is the one most connected with witchcraft in pop culture. We will also deal with an aspect of witchcraft that is largely related to gender stereotypes in traditional fairytale narratives in

general (including so-called modern fairytale narratives such as romantic comedy etc.). Last but not least we will analyse the individual supernatural powers most often attributed to witches, including their origins and ideology, because in pop culture nothing just magically appears on its own. Eliška Děcká 8 Dec | 1 pm | CH Witches in Animated Film and Pop Culture lecture – Eliška Děcká | Abracadabra ---------------------------------------------------------------

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abracadabra live

Jano Doe

Vendula Bělochová, Jan Tomšů, Veduty

Gaika

Oliver Coates

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Shana Moulton: This organ wants this, that organ wants that Since 2002 Shana Moulton, a California performer and video artist, has been systematically developing the absurdly surreal world of Whispering Pines which has often, due its atmosphere, been likened to the original Lynch Twin Peaks and Alice in Wonderland. Whispering Pines is home to the protagonist; a tragi-comic hypochondriac named Cynthia. We also meet this slightly psychedelic protagonist, who is partly a fictional figure and partly the artist’s alter ego, in the This organ wants this, that organ wants that performance. Cynthia is characterized by her quest for happiness and health within the boundaries of an enclosed micro-world filled with wellness advertisements and health and decorative products that have the character of magic tools. “I do not think of her as a character. It‘s just me; It’s me in the bathroom; it’s me worried about ageing; it’s me looking at a beauty magazine.” Moulton describes her characteristic performance format as “portable video performances”, chamber études for one performer and a projection screen, where Shana-Cynthia‘s physical presence in front of the projected video image can be perceived as a metaphor for the chroma key compositing technique she uses extensively in her videos. Chroma key effects and simple post-production computer animations create magical auras around the objects and characters in Shana Moulton‘s videos and, at the same time,

they are a source of humorous exaggeration commenting on the medium and its principles, and also on our means of perceiving reality and what is behind it. In recent years she has involved other artists in her increasingly ambitious performances, such as singers and musicians in the opera Whispering Pines 10. The opera will be one of the topics at the presentation of her artwork, which in the PAF programme, is set for Friday afternoon. Marie Meixnerová 10 Dec | 5:30 pm | AI ● Shana Moulton (US): This organ wants this, that organ wants that AV performance | Abracadabra(f) --------------------------------------------------------------8 Dec | 7 pm | FA ● Shana Moulton (US): The line where your appearance flips over into reality presentation | Abracadabra(f) -------------------------------------------------------------7 Dec | 9 pm | FA ● Shana Moulton (US): Whispering Pines I screening, introduction – Marie Meixnerová, Shana Moulton | Abracadabra(f) --------------------------------------------------------------9 Dec | 1:30 pm | FA ● Shana Moulton (US): Whispering Pines II screening, introduction – Marie Meixnerová, Shana Moulton | Abracadabra(f) ---------------------------------------------------------------

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0comeups So far the only album released by the London experimental magician, under the moniker 0comeups, is a five-track EP, One Deep, which he wrote just after he paradoxically decided to finish with music production. It was released last year on the New York-based talent-scout label PTP (formerly known as Purple Tape Pedigree). “It‘s probably the first time I‘ve had so much faith in my work ... because it’s sincere,” he wrote about the release on social networks. More than a few reviewers immediately pointed out that he was clearly inspired by American producer Oneohtrix Point Never and his, at the time fresh album, Garden of Delete. But then the Norwegian artist and musician Lars Holdus, aka TCF, who also has a place in the history of PAF, shared on Facebook that the more familiar trope of the inspiration being taken by lesser known artists is not always automatically valid, unfortunately it is often the opposite. 0comeups‘ older work from that time, when he was still called DYNOOO, is still traceable on soundclouds. 0comeups makes non-music for the present non-human reality, although it may seem like a kind of nostalgia that has grown out of a time when vapour wave and echoes of trance have returned, and the rough carbon of heavy-metal guitar solos has slowly formed into the polished surface of diamonds. Listening to One Deep is like reading a disoriented research report on the chemical composition of dreams and the physical properties of memories. Epic collages of synthesizer lines, layered vocal samples,

and sonic textures of unknown origin bring together a strangely disturbing experience that can even cause doubts as to whether delirium isn’t actually the most natural / original state of mind. The new single, Yat Wound, does not have too much of this “setting”, but it is perhaps an even more crystallized essence of the 0comeups style. For PAF, this mysterious artist has prepared a special live set, which will, in all likelihood, re-consecrate the desecrated Corpus Christi Chapel. Adéla Sobotková 9 Dec | 10 pm | CCC ● 0comeups (UK) AV performance | Abracadabra -----------------------------------------------------------------

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BCAA System + Olbram Pavlíček: Nova X-Process This special event directed by the BCAA team is largely built around the artist and musician Olbram Pavlíček, aka 93echoesandsirens. The site-specific installation-enviroment is dominated by a giant leather gong which vibrates in obscure ciphers and functions as a bearer and amplifier of information, and as a totem for the tribes of one of the future Chthulucenes. The community looks to him as a symbol of the unending continuity and belief in one’s own ability and survival. But it‘s hard to tell if it‘s not more like the Monolith rather than something from Stargate … #TRASH #FLESH #DECONSTRUCTED #PARTSOFPRODUCTS #ETERNALCAVEMAN #UNTITLED #FUNCTIONX #ORTHODOXCAVEMAN #SHUTDOWN #TECHNOLOGICALDETERMINISM #TECHNOSTRESS #ORGANIC #SYNTHETIC #BPM #MYTH #SOUL-DRAIN The BCAAs have designed the space to resemble a civil defence bunker, and it is embedded in an unspecified post-apocalyptic future where fragments of current technologies and materials are present in abundance. However, they are only fragments of the past, kept in operation through partial knowledge of their original technology. Objects often play the role of multifunctional modules because they have a major task in preserving life in an isolated

bunker environment. Society does not consider technology to be an obvious component of its life, but more as something that maintains itself in the interests of our survival. In their aesthetic, the original design is blended with tribalreligious elements. Fragments of a cult appear throughout the environment in various forms and media. BCAA: “It could be said that this is a world not very different from the one in which we currently live – technologies are idols and a necessity for survival (or at least for the preservation of our current status), even today. Here however, they have suddenly lost their original context and become more like a magical fetish of unknown or unclear ‘power’. Yet this is not the first criticism of the current evolutionary stage of society, but rather one of the most natural scenarios for us: a world where even in the ruins of some future disaster it will still be possible to dance. We also consider this project to be a search for ways to link our musical and artistic activities (which we have been doing for a long time within the BCAA project), but here we are moving for the first time into the AFK (away from keyboard) world, which allows us to explore the possibilities of exhibiting outside the gallery context – in a party setting – and vice versa: the possibilities of musical production outside the classical party environment.” #POST-APO #ECOTOXIC #TRIBAL #POSITIVE #SUSTAINABLE The BCAA System is a collection of longtime friends and a live online digital platform, whose

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studio is based in Prague’s Vršovice. Live streaming DJ sets, artistic and social science talks, running an URL/IRL gallery, uploading podcasts, all with a highly sophisticated visual identity. Adéla Sobotková 7 Dec | 10 pm | CDS ● BCAAsystem + Olbram Pavlíček: Nova X-Process club performance | Abracadabra Bilej Kluk – Michal Plodek, EVA01 – David Střeleček, NEW MAGIC MEDIA – Adina So/Adéla Sobotková, NOEMI – Noemi Purkrábková, MMA_OFFICIAL – Jiří Sirůček, Irako Seigen – Ivo Kováč, 93sirensandechoes – Olbram Pavlíček --------------------------------------------------------------9 Dec | 1:30 pm | T BCAA / Soda Stream performance | Abracadabra ---------------------------------------------------------------

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Soda Plains Soda Plains is an electronic producer and composer. He was born in Hong Kong and grew up in the UK, but for the time being his place to live and work is in the capital of Germany. Undoubtedly he is one of the most exciting creators in the unrestricted territory of today‘s organically-changing post-club music. He has had a remarkable evolution, from the striking debut album Rushes and the abrasive, cold and architecturally accurate post-grime recording Kickbacks to his recordings of today. With the song She Has All Kinds of Temperatures / Rodeo, Soda Plains has achieved a distinctive and baroque lace style of composition, where flowery melodies and powerful atmospheres play the main role, rather than a more deconstructive approach. The producer is established in Berlin and is preparing a new live performance for PAF which will, for the first time, be combined with a moving picture visual. However, he has already worked with some forms of “stage design” and visuality in his performances. His last act, the quirky In Tongues album, was a form of reactive collaboration between him as a composer and his close friend, a Brazilian dancer and producer with the pseudonym Negrom. In Tongues therefore created live sets and dance performances with its motif appeal to the phenomenon of xenoglossy – the ability to speak spontaneously in an unknown language. The choice of this thematic base isn’t just about a moment of creative and artistic dialogue between different creative personalities, but it certainly has to

do with the paraphrasing of collective memory or collective experience. This is present, specifically but not exclusively, and certainly very intensely, during dancing and the sharing of musical experiences together. Adéla Sobotková 8 Dec | 10:30 pm | T ● Soda Plains (UK/DE) AV performance | Abracadabra ---------------------------------------------------------------

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DJ Heroin DJ Heroin is the pseudonym of a German producer and DJ from Cologne. His music, which is on the border between dance music and the abstracted beats of rap, has been captured by leading international agencies and clubs. Concerning his provocative and, to a certain extent, “childish” pseudonym, he adds that it was an apathetic response to events a few years ago, when he was sixteen years old and working in his room on the first beats of rap music, and he basically didn’t care who might be listening to his work. MM Is deconstruction one of the main themes of contemporary club music, with some specific names and publishers and with social and political themes? DJ Heroin When I look at this newly emerging island of music, I do not see “deconstruction”, but rather a sense of curiosity that connects tropes and genres which are still considered to be distinct. This leads to rich and exciting sounds and at the same time to copying in the worst way. I don’t feel part of any “sphere” or movement, but I still refer to names like WWWINGS, SWAN MEAT, HNRK, W.I, Symbols and others. MM Rap Beats and their offshoots seem to be one of your main inspirations; can you bring us closer to your production process? DJ Heroin I grew up primarily on rap beat production and I still get great inspiration from classic beatmaking, but at the moment I almost

don’t listen to rap at all, and most of it is moving in a direction that’s not really for me. So, I do not produce as many rap beats as I used to, I’m trying to disengage from as many of my projects as possible. But it will always be an essential component of my “audio repertoire”. MM Your pseudonym is cynical and provocative from several angles… DJ Heroin I came up with the name at the age of sixteen, when I produced rap beats without caring whether anyone would listen to it. I don’t like getting stupid questions about it, so I’m going to change it soon. But good artists’ names are relative, and they sound rather stupid when one thinks them over. My name still inspires anxious questions in me. I want to make “serious” music, or at least music that people will not take to be an inside joke (although I think the music speaks for itself). I will have to decide if I will change it. But I’m just thinking about it … Interview between Martin Mazanec and DJ Heroin 8 Dec | 9:30 pm | CCC ● DJ Heroin (DE) concert | Abracadabra --------------------------------------------------------------9 Dec | 12 am | CTT ● Ink Midget b2b Pjoni b2b DJ Heroin DJ set ---------------------------------------------------------------

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Gaika The unique musical style of singer and performer Gaika, which he calls “ghettofuturism”, blends British explosive grind, garage and sensual dancehall. His performance exceeds all expectations with its intensity and enigmas, and it will be hard to erase it from your memory afterwards. The bizarre sounds of his mixtap and EPs flickers through the streets of night-time London and smoulders up from the sewers, luring all into the sweaty underworld. Gaika‘s music is primarily about the city; not just his love for it and his dystopian visions of future conglomerations, but mainly about its darkness, violence and injustice in the era of late capitalism. His work is strongly political and it has never been and never will be otherwise. Gaika’s doomsday flow preaches explicit social criticism, and calls for an overthrow of authority and a takeover of the government of his own city, world, life. That was already the case on his first mixtape Machine, which came out on the diasporic label and manifesto all-in-one NON WORLDWIDE, and on a later mixtape Security, which was created by the neodancehall label Mixpak, and by the sharp Spaghetto, where he strengthened his bulletproof position on the label Warp. The sharp ideological edges have not interfered with the progress of his career, in fact, it is the opposite. In addition to his artistic activities, he has regularly published in Dazed&Confused magazine, in the Politics section. In September, he announced his new Spectacular Empire project, entitled “What Happens When Authority is Destroyed? When the City Falls and is Taken Over? This is

an explosive history of the future.” Spectacular Empire is a platform acting as a secondary imaginary universe – a place where the next fifty years can be imagined, during which the world will change irreversibly. “In the case of Power, there is no morality, only its effects. Authority is relative, I want to question authority, I want everyone to do it.” Adéla Sobotková 9 Dec | 11 pm | CCC ● Gaika (UK) concert | Abracadabra ----------------------------------------------------------------10 Dec | 12:30 am | T ● Gaika (UK): The Spectacular Empire presentation | Abracadabra -----------------------------------------------------------------

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Oliver Coates Oliver Coates is a composer, cellist and electronic music producer based in London. He has performed in many countries around the world and has cooperated with many national orchestras. Apart from the fact that he is a sought-after concert soloist, he has been through many musical collaborations, the list of which (Actress, MF DOOM, Mica Levi, Elysia Crampton, Johnny Greenwood and Radiohead) may almost seem obscure. This is because the clasically educated musician, who graduated from the Royal Academy of Music with distinction, has very disparate musical tastes and the ability to participate in many different projects. This has influenced his unorthodox approach to classical music. If you only listen to his use of an acoustic instrument in order to create his own radical forms of electronic music, as heard on his last solo album Unstepping, you will hear a perfect example of Coates’ open-minded and experimental nature. Coates’ playful compositions oscillate between contemporary classic (projects HELIOTONE and Shoreline, both 2017), trance and ambient, and from the fusions of techno and footwork (Upstepping, 2016) to pop avant-garde and movie soundtracks (There Will Be Blood, award-winning Under the Skin with Mica Levi or Lawrence Lek videos). His work is also pervaded by various bodily regimes and rituals connected with listening to and perceiving different kinds of music. It is said of Oliver Coates that his conscious musical idealism and passion for work is contagious. Visitors to

this year’s festival can be infected by Coates’ musical positions, and not just once but, thanks to the dramaturgy of the festival, twice. The first occasion is in the form of an acoustic tonal performed in the Corpus Christi Chapel and the second is a performance with a cello and a dystopic visual from long-term collaborator Lawrence Lek, whose two most recent works will also be presented at this year’s PAF. Adéla Sobotková 9 Dec | 8 pm | T ● Oliver Coates (UK): Electronic and Cello Concert With Lawrence Lek First Person Dystopian Video concert | Abracadabra --------------------------------------------------------------10 Dec | 6 pm | CCC ● Oliver Coates (UK): Acoustic Tonal Set concert | Abracadabra --------------------------------------------------------------

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Adam Matej, Jonatán Pastirčák: Decay Decay is an audiovisual performance by Jonatán Pastirčák (Pjoni, Isama Zing) and Adam Matej (Ink Midget). It is a joint project that goes beyond the scope of club production, where both Slovak musicians are very popular. The event will be preceded by field sound recording in an undisclosed and closed-off nearby space. “It‘s a meditation and an intense physical experience based on the process of slowly turning down the sound. At the same time it is like a game for the brain which automatically, when the sound and light are weakened to the brink of perception, begins to produce imaginary sound and vision. There is only a thin line between actual and perceived reality.” Jonatán Pastirčák and Adam Matej are PAF club residents and the traditional Saturday night at the Café Tungsram belongs to them. Their current activity is best characterized by the name of their own club night in Bratislava and, since 2015, it is also their music label: Mäss. This neoplasm refers to the blending of two English words (mass and mess), as well as the deconstruction and “tribal” ritualization of the sound of the contemporary club scene. The Decay project was supported by PAF. Martin Mazanec

8 Dec | 11:30 pm | T ● Jonatán Pastirčák, Adam Matej (SK): Decay AV performance | Abracadabra --------------------------------------------------------------9 Dec | 12:00 pm | CTT ● Ink Midget b2b Isama Zing b2b Dj Heroin (DE) DJ set | Abracadabra ---------------------------------------------------------------

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Jiří Suchánek: Atomtone Jiří Suchánek‘s audio (visual) performance is based on the sonification of emission lines of atoms. In a musical experiment he examines the microtonal harmonic relations, logic and aesthetics based on the chemical and physical structure of atoms and their internal proportions. The source for the creation of sounds is a database of light frequencies from the spectral lines of elements (in THz), divided into audible frequencies for tens to hundreds of additive synthesis oscillators (note: synthesis where the sum of many sine waves of different frequencies and phases generates the resulting new differently shaped wave). Each element therefore generates a unique sound spectrum that is an imprint of the light – colour spectrum but is still invisible to the human eye. Only the numbers from the Mendeleyev Periodic Table of Elements are used to set the parameters for the modulation processes of the drone sound. Jiří Suchánek exaggeratingly describes this spectral project as “atomic music”, which has its inner – atomic logic, and which is quite different from ordinary tone systems. Jiří Suchánek is a Ph.D. student. His topic of research is “Sonification in Music Composition and SoundArt”, and this project is his practical research, in which he attempts to discover how to make sound (until now) from known data, based on the nature of matter, and then to create experimental music from the sounds and search for/examine hopefully new, aesthetic terrains. The concert will be performed using an à la acousium surround sound system designed for

maximum listening experience. The project is possible thanks to the use of his own software, which he has long been programming for this specific purpose and which allows sonification of the starting material – dataset – and the manipulation, transformation, destruction and “spatialization” of the sound... improvisation! Jiří Suchánek is a multimedia artist with a focus on sound and lighting installations and experimental music. He last appeared at PAF in 2007 as part of the Mateřídouška duo, who was presented as part of a comprehensive program focused on live animation. Martin Mazanec, Jiří Suchánek 8 Dec | 8:30 pm | CCC ● Jiří Suchánek: Atomtone AV performance | Abracadabra ---------------------------------------------------------------

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Jano Doe Katar9na Gatialová aka Jano Doe is a musician, coder, curator, designer of musical instruments and director of a section of the non-audio-visual collections of the Czech National Film Archive. In addition to acting in the noise projects Inocenc and Augiáš‘s Sonic Barn with a live coding association called Kolektiv and with the Belgian digital retoucher Wim Dehaen, she mainly works on solo improvisation using a modular synthesizer of her own production, which she lovingly calls “wash-tub”. In her solo work, Jano Doe explores the limits of human hearing through extreme use of sound frequencies and ridiculous noise emissions. Her urgent improvisations on the noise scene are notable above all for her aversion to high tones and the peculiar hypnotic nature of the disturbingly passing rhythms that through their illogicality force the listener into a physical reaction resembling dance. Ondřej Lasák 9 Dec | 9:30 pm | CCC ● Jano Doe concert | Abracadabra ---------------------------------------------------------------

Joanne Robertson & KOOL MUSIC Joanne Robertson is a British songwriter and artist, whose work in many ways builds on “classical” insular folk. She is associated with a circle of collaborators who, alongside partner Jasper Baydala, include Dean Blunt, who also contributes to the album. Jasper Baydala, aka KOOL MUSIC, is a Canadian musician living in Glasgow, a writer and occasional video creator (working with Joanne Robertson, Mac DeMarco, etc.). His work is also associated with the Canadian label Arbutus Records – he has created cover art for both Grimes and Sean and Nicholas Savege. Joanne Robertson performed at the PAF Ostopovice Music Biennial in 2017, where joint preparations for the Olomouc “Advent Concert” stood on the border of classical singing, free jazz and noise. Martin Mazanec 10 Dec | 8:30 pm | CCC ● Joanne Robertson & KOOL MUSIC (UK/CA) concert | Abracadabra ---------------------------------------------------------------

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Jonáš Strouhal: Dr. Brain 1.

#Brainwaves: our brain is electrically charged wetware, the activity of which can be measured in real time: in this way we can observe the amplitude of brainwaves during various types of mind activity: focusing, relaxing, thinking logically or utilising language systems. #Feedback: biofeedback and neurofeedback are methods of positive organism hacking. Thanks to feedback, the simplest and still the most successful system of learning, we can acquire and extend the ability to influence our own bodies and minds. #Creativity: creating is an activity we may easily submerge ourselves in, forgetting the world around us and focusing only on one complex issue: on transferring inspiration into a certain media for example. This is why creation, painting in this case, is an ideal type of feedback: we keep our brainwaves at a certain level in a non-violent, playful manner.

Dr. Brain is a laboratory, a medical office and a studio where you can try to hack into your own brain. When Jonáš Strouhal started this project he connected a computer, into which he was sending data from his own brain, to a dried out tree in a forest, using a reel. When his attention started to slip or he was feeling nervous, the rope would pull the tree to the ground. In the current version, cutting the trees has been replaced by a process of image creation: using eye movement, the subject paints an image in virtual space. If their attention slips, the line is interrupted as if it has run out of colour. However

the brain wants to finish the artwork, especially in such cases as closed shapes or writing: not finishing things make our brain angry, so it strives to get back to a level where it can continue working. The neurofeedback method has been used for therapeutic purposes for quite a long time. It has been used in the Czech Republic since the 1990s, yet the methods of providing feedback are still dull: letting a toy car drive but never arrive anywhere is nothing but frustration. This makes the Dr. Brain project revolutionary. It might very well be announcing a new era in which tuning our brain will be as normal as going to the gym. The mind is not (merely) a mysterious phenomenon, always fatally unreachable and unfathomable: it is something that can be trained and enhanced. This is not only to increase performance, but also to encourage the abilities of relaxation, good sleep and something we might call the ability to be happy. This would be just like the cat, whose sensomotor rhythms inspired the development of neurofeedback methods. Dita Malečková 7–10 Dec | AG ● Jonáš Strouhal: Dr. Brain installation, performance | Abracadabra Office hours: 7 Dec | 7:30 pm – 10 pm 8 Dec | 1 pm – 4 pm, 5 pm – 8 pm 9 Dec | 1 pm – 4 pm, 5 pm – 8 pm 10 Dec | 1 pm – 4 pm, 4:30 pm – 7 pm

--------------------------------------------------------------------8 Dec | 4:30 pm | T Bio / Brain Hacking: We Never Had Control? lecture – Dita Malečková | Abracadabra ---------------------------------------------------------------------

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Vendula Bělochová, Jan Tomšů: Veduty This project of scenographer and visual artist Vendula Bělochová originated as a semester project for students from the Department of Alternative and Puppet Theatre at DAMU in Prague. Bělochová and scenographer and musician Jan Tomšů prepared a performance meant for a single audience member. In Veduty, the visitor becomes both the audience and the performer, a passive and active factor in the creation of an altogether new landscape. At the same time, the whole process continues without articulated words but through written text, tactile perceptions, motions, gestures, images and mutual interactions. Playing with light and almost unrecognisable objects sets in motion a silent dialogue which maps a typical journey through a landscape but with no obvious aim. After a visual voyage, the passive onlooker sets off on the road to new, tactile scenery, which he or she intuitively completes with the author according to predetermined rules. Until the end, the game is shrouded by the anonymity of the protagonists, while at the same time it evokes an intimate feeling of togetherness and closeness which, for the time being, remains only visual for the passive onlooker. The continuity of the individual landscapes creates a chain of spectators, who communicate through a common image. Once you set out on a journey, there is no coming back. A reservation is required. You can make a reservation at the PAF accreditation centre

in Konvikt, in the café at Theatre na cucky or through an online form, which you can find at www.pifpaf.cz. Nela Klajbanová 8–10 Dec | 11 am – 2 pm, 4 pm – 7 pm | XY-1 ● Vendula Bělochová, Jan Tomšů: Veduty performance | Abracadabra ---------------------------------------------------------------

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DiStO 02: Theatre of the Static Object The project Theatre of the Static Object originated from a discussion between visual artists Martin Piaček and Matěj Smetana and art historian Ján Kralovič. They shift their timelimited presentations of objects, which are drawn from their experience of assembling group exhibitions, into the form of a theatre performance. For the presentations, the keys are concentration and the mysterious transformation of the exhibited objects. “We can talk about the presentness of an object, during which an onlooker realises the moment of here and now. Static objects carry a certain urgency. They have to make do with perception. An object requires perception in order to be complete. The meaning of the sentence ‘to be seen’, however, shifts more to the statement ‘to be seeing’. The onlooker’s ‘metamorphosis’, his/her persistent look, is essential.” In the case of the Olomouc edition, the objects “seen” will come from the artistic duos of Jesper Alvaer & Isabella Grosse and Jan Boháč & Anna Ročňová, as well as from individual Czech and Slovak artists Matej Gavula, Petra Herotová, Pavla Sceranková and Jan Turner. Theatre of the Static Object took place for the first time in spring 2017 in Bratislava with a different group of artists. Selecting different artists, who work with their own interpretations of the “Manifesto of the Static Object”, is one of the rules of the concept’s authors. This is the manifesto’s concluding part: “The endeavour to implement a project that would return to

an object its ‘place’ and the endeavour to reflect a static sculptural / artistic object as a form that studies its own (subjective) form of perception, have also been kindled by the creation of the anti-theatrical format of timelimited presentations. On the initiative of Martin Piaček and Matěj Smetana, a space was created that allows the use of theatrical means (separation of the stage from the auditorium, the form of exposition, time limitation, the theatre hall environment) and for the concentration of attention on objects which surpass the performative (kinetic, processual, medially diffusional) mode and which ‘stubbornly’ dwell on the characteristic of unchangeability. Temporality finds its place in continuance. Is metamorphosis a matter of the subject? Is looking an improvement on boredom or a form of meditation? What has changed over this time? The answers are linked once again to the subject.” Ján Kralovič, Martin Mazanec 7 Dec | 8 pm | T ● 8 Dec | 7 pm | T ● DiStO 02: Theatre of the Static Object objects – Jesper Alvaer and Isabella Grosseová, Jan Boháč and Anna Ročňová, Matej Gavula, Petra Herotová, Pavla Sceranková, Jan Turner concept – Ján Kralovič, Martin Piaček, Matěj Smetana | Abracadabra ---------------------------------------------------------------

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abracadabra exhibitions

Marie Hájková, Petr Šprincl, Genesis, 2017

Krist Wood, Siirm Aeruah, 2012-2013

Pauline Curnier Jardin, Grotta Profunda (the moody chasm), 2011

Marek Delong, Anna Slama, Sugar Hunterâ&#x20AC;&#x2122;s Feast, 2017

Petr Krátký, Howell St, 2017

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Pauline Curnier Jardin: Grotta Profunda (the moody chasm) Grotta Profunda is an absorbing visual story that tells of the deep cave in the French Pyrenees that was the scene of the religious exaltation of a young nun. After a vision of the immaculate conception of the Virgin Mary, she is flooded with an all-embracing love and thrown into the cave‘s womb, where she becomes a shocked witness to Pasolini‘s extravagant cosmogonic scenes, which reveal the mystique and animal essence of humanity. This narrative is inspired by the story of Bernadette Soubiro (1844–1879), known for her revelation of the Virgin Mary. She lived in the Massabielle cave near Lourdes and in 1933 she was canonized as a saint by Pope Pius XI. Given that the first women to be somewhat famous were religious figures: Joan of Arc, the Virgin Mary, the goddess Demeter, etc., Jardin‘s key character is the liturgical figure of a woman, with her social status and her earthly dimensions. Artwork by Pauline Curnier Jardin has the characteristics not only of cinematic work, but also of a diorama; a showcase of sophisticated surreal costumes and a series of watercolours, all beautifully presented at the Biennial in Venice in 2017, where critics collectively named Grotta Profunda one of the best works of the year. As part of the film installation in the underground gallery U Mloka, with its spatial disposition and red, broken walls which are not unlike those of a cave, the work will be presented in the French original with English subtitles, as part of the projection in Theater with English and

Czech subtitles. This will be followed in the Abracadabra(f) series by visual artists Shana Moulton, Jennifer Juniper Stratford and Erica Magrey. Marie Meixnerová 9 Dec | 11:30 pm | T ● Pauline Curnier Jardin (FR): Grotta Profunda (the moody chasm) screening | Abracadabra(f) --------------------------------------------------------------Grotta Profunda (the moody chasm) FR | 2011 | 30′

--------------------------------------------------------------7 Dec | 4 pm | GUM ● Pauline Curnier Jardin (FR): Grotta Profunda (the moody chasm) exhibition opening | Abracadabra(f) --------------------------------------------------------------7–21 Dec 2017 | GUM ● Pauline Curnier Jardin (FR): Grotta Profunda (the moody chasm) exhibition | Abracadabra(f) curator: Marie Meixnerová Opening hours during PAF: Thu: 4 pm – 7 pm Sat: 1 pm – 7 pm Sun: 1 pm – 4 pm Opening hours after PAF: Tue-Thu: 1 pm – 7 pm

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Krist Wood: Vulv Whether Krist Wood’s approach is pure, or metaphorically pure, his works of art are, in the positive sense of the word, traditional, yet they exist in the field of new internet technologies. He is a Renaissance man who works in the fields of fine art, poetry, music and science. He currently works at Harvard and completed his doctoral studies in the Department of Molecular, Cellular and Developmental Biology of Yale University. On the internet, Wood has been artistically active since the 1990s and is the founder of the important platforms such as Computers Club and Begin Records. One of his most visible creative lines is a minimalist web site with digitally painted images featuring sensual scenes of highly idealized landscapes occupying a space somewhere halfway between dreams, the internet, and maybe some other place. In addition, these spaces are often engraved with interlinking and populated by Wood himself, whether in the form of a character, a mirror, or in wildcard representations. A pearly rainbow spectator’s participative identity emerges, beginning somewhere in the flow of a naive surfer‘s experience, and ending in the tickled neglected paths and ditches that we associate with our supposed virtual bodies and limbs. Wood uses virtual reality like Bastien in the second, unfilmed part of the Neverending Story, in which, carried by his wishes, he creates new worlds. The work Vulv, from 2014, can be included in a series of videos and images of mysterious

and idealized landscapes with enigmatic lighting effects, such as Akhiishm iii, (2014), Siid (2012) and Siirm Aeruah (2012–13). In an artificial, abstract gallery room, where the image from which he flows is levitating, he climbs out and all the colours of the spectrum flow into him in a vulva-like shape, which could equally well be an expression of asexual disembodiment in the suffocating vacuum of virtuality; a self-ironic demonstration of the fetishism of content when long-since-trimmed artistic works have been reduced to the role of screensaver. Barbora Trnková 7–10 Dec | KPC from 15 Nov | SSG ● Krist Wood (US): Vulv exhibition | curator – Barbora Trnková Abracadabra ---------------------------------------------------------------

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Petr Krátký: Howell St Howell Street is located in the College Hill neighborhood in the city of Providence, Rhode Island. In 2011, it was the scene of events centred around house no. 199, which resulted in a series of film footage that directly related to Petr Krátký. The cinematographic installation in the new Gallery XY at 42 Lower Square in Olomouc, which PAF was involved in creating, plays with the supernatural by literally materializing the phenomenon of watching (or viewing) with just a hint of horror, in the freshest sense of the word. In his videos, he is often featured as a protagonist or at least a guide. Besides performative events, the artist also creates curatorial concepts, systematically giving his opinion for instance on classic painting. “Across media, I have always been fascinated by their formal criteria, limitations and givens that also often become the subject of works in which they meet, complement or exclude each other. In fact, I am interested in the same thing, be it in a painting, video, sculpture or an exhibition, which I also consider to be a distinctive artistic medium.” His works have won the Szpilman Award and others have also been shortlisted (Chimera Art project). He has won the Other Visions (PAF) competition and has received a number of other awards. His work is disseminated through the distribution platform of the Czech moving image PAF Aport. Krátký is a graduate of the Studio of Intermedium Confrontation at the Academy of Arts, Architecture and Design in Prague. He completed internships at the Rhode Island

School of Design in Providence, USA (2011), the Willem de Kooning Academy in Rotterdam (2010) and at the Studio of Monumental Art at the Academy of Fine Arts in Prague (2009). Petr Krátký, Marie Meixnerová, Martin Mazanec 7 Dec | 5 pm | XY ● Petr Krátký: Howell St exhibition opening | Abracadabra --------------------------------------------------------------7 Dec 2017 – 31 Jan 2018 | XY ● Petr Krátký: Howell St exhibition | curators – Martin Mazanec, Alexandr Jančík | Abracadabra Opening hours of Gallery XY during PAF: 10 am – 7 pm Opening hours after PAF: Mon-Fri: 10 am – 7 pm Sat: 1:30 pm – 7 pm Sun: closed

--------------------------------------------------------------Focusing of Peter Campus CZ | 2011 | 5′

--------------------------------------------------------------Descending a Staircase CZ | 2011 | 25″

--------------------------------------------------------------Magical Performance CZ | 2011 | 2′03″

--------------------------------------------------------------Swing Motion CZ | 2011 | 5′30″

--------------------------------------------------------------Rear Window CZ | 2011 | 2′

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Petr Šprincl, Marie Hájková: Genesis Petr Šprincl and Marie Hájková started working together during their studies under Václav Stratil in the Studio of Intermedia at the Faculty of Fine Arts of Brno University of Technology. Currently they are a well-known creative team with a distinctive signature style. Their movies are notable for the disturbing poetics which draw inspiration from the dark sides of reality and from their experience with 8 mm film and VHS technology. Šprincl and Hájková objectify, aesthetize and fetishise the characteristics of the respective VHS material, particularly the image errors, which are usually caused by wear or distortion of the tape. The audiovisual feature of their work is usually complemented by a rich iconography which transcends the medium of the motion picture and allows the authors to present their work at gallery installations and fashion shows as the creative platform Flash & Brain. The work of Šprincl and Hájková hovers between fiction, documentary and experiment, and their common feature is the exploration of various social forms of evil which are often hidden under the fragile façade of everyday reality. That certainly applies to the movie Warped Ján (Čapatý Ján), for which they won the grand prize at the PAF Other Vision competition in 2013, as well as to the documentary grotesque about grave robber Ondrej Jajcaj Vajcaj, the apocalyptic vignette 99 about hockey player Wayne Gretzky and the dark American postmodern crime thriller Blue Box, featuring shots of the Ku Klux Klan. It applies even more to the ongoing episodes of a series about

Moravia called Moravia, Beautiful Land, in which, even more than in their other works, ethnographic elements full of archetypal symbolism and, in this case, the dark side of South Moravian folklore, play a prominent role. Futhermore, South Moravia is examined in the installation Genesis at the gallery Vitrína Deniska. It is the birth of a new folk costume and a new nationalism which will lead to the destruction of all Moravia, i.e. the world. The new costume, which refers to the upcoming third part of the endless series Moravia, Beautiful Land III: Genesis, is a showpiece which is for sale, exhibited in a display case, a.k.a nationalism on sale. To quote Czech politician Zdeněk Škromach: “Ignite the fire, no one will take our wine and cracklings from us!” Petr Šprincl, Jiří Neděla, Marie Meixnerová 7 Dec | 6 pm | VD ● Marie Hájková, Petr Šprincl: Genesis exhibition opening | Abracadabra --------------------------------------------------------------7 Dec 2017 – 5 Jan 2018 | VD ● Marie Hájková, Petr Šprincl: Genesis exhibition | curator – Alexandr Jančík Abracadabra --------------------------------------------------------------8 Dec | 5:30 pm | MC ● Petr Šprincl: Vienna Calling screening | Abracadabra --------------------------------------------------------------8 Dec | 8 pm | VC ● I Love 69 Popgejů concert | Abracadabra

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Marek Delong, Anna Slama: Sugar Hunter’s Feast The concept of this video is based on a text by theoretician and curator, Keilu Krikmann. Artworks were used for the animation – “dolls” created by several invited artists, including Isabella Rodriguez, Wally Petrushenko, Leon Eisermann and Bora Akinciturk. The authors describe the concept of “ritual animation” as a very romantic idea based on the question of whether we still remember a treehouse and its’ magical world of eternal holidays. “For us, the art object is filled with emotions and energy, it contains the remnants of where it was created, the atmosphere, the feeling ... In the way it mediates an arteterapeutical experience, it tells the story filled with fantasy, drama and peace, it has overlook and pulsing energy, sometimes it smells little bit funny. That‘s why we do not want to tear them out and throw them into the laboratory environment, the impersonal space where they are waiting for some organized meanings. It‘s a figure of itself not just a representation. Our thoughts are coming from the idea of shamanism or voodoo art, such as an undigenous or religious object – which intent is to change some reality or its part. Like a potions, rituals, protective amulets or “dolls” – to bring happiness, fortune, health, love but also the negative events. We can think about these rituals and incantations mostly in astral forms but their power is growing more and more inside of an object where we concentrate our energy, which we maintain by just talking to them, or

thinking about them. We really want them to influence their victims or make them to believe so.” Marek Delong and Anna Slama are an artistic duo whose artworks and installations are focused on work with materiality and the emotional charges of objects, and this has led to their current thinking about the aesthetics of “craftsmanship”. The premiere of the video took place during an installation at the Konstfack Gallery in Stockholm in November 2017. PAF collaborates with this duo who started in 2015. This project was supported by the Festival of Film Animation and Contemporary Art (PAF). Marek Delong, Anna Slama, Martin Mazanec 8 Dec | 3:30 pm – 8 pm | MCC ● 9 Dec | 4:30 pm – 8 pm | MCC ● Marek Delong, Anna Slama: Sugar Hunter’s Feast installation | Abracadabra --------------------------------------------------------------Sugar Hunter’s Feast

dir. Marek Delong, Anna Slama | CZ | 2017 | loop

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Camille Laurelli: Abracadabra Artist Camille Laurelli was born in 1981 and grew up with TETRIS during the golden age of the 80s and 90s video games. He has witnessed the lack of imagination of programmers and seen how consoles such as ATARI 2600 almost managed to ruin the fun. There was an economic war being fought among video game producers in Western Europe and in Japan and it was caused by the North American video game crash of 1983. It is thanks to Mario, and because Nintendo didn’t call their first machine a video game, that the playful future was saved. A hedgehog called Sonic from a company called SEGA gave video games a new lease of life and launched a technological competition that still has no end in sight. At that time in Eastern Europe, the market was flooded by cheap copies and clones of these game machines. But that is another story. “Through an invisible side of art, I will try to put into perspective two aspects of my working environment. My practice could be related to something referred to as ‘l’économie du peu’, by professor of economy and lecturer Virginie Monvoisin. This term translates as ‘economy of the few’. It is an economy where the resources applied are not determined by calculations but rather by necessity and future satisfaction. It could be close to amateurish practices or domestic approaches, hand craft and home improvement. It is something that Michel de Certeau calls ‘the practices of everyday life’. It is held in an environment that I would call ‘positive externalities’; a term developed by the theoretician Yves Citton in L‘avenir des

humanités. It can be the intangible capital of a company, such as the pleasant times employees have outside of their working time. The difference here is that I play videogames in my working time.” During Abracadabra everyone will be able to play or test games and consoles from the golden age of the video game in this temporary museum. Tomáš Javůrek 8 Dec | 12 pm | AGD ● Camille Laurelli (FR): Abracadabra presentation, workshop | Abracadabra ---------------------------------------------------------------

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Petr Svárovský: Make Your Own Game In Two Days

Little Animators: Magical World

During a two-day course, the participants will learn how to create their own video games compatible with computers, tablets and cell phones. They will create their own brand, choose a target group, design and develop a game and acquire users, while finding methods for gaining popularity. Basic knowledge and skills will be gained by the students during the process of creating their own games. We will use freely available online tools and JavaScript libraries to quickly and easily develop games. We will discover the individual talents of all students and support their creative thinking. The workshop is designed for children from 10 to 15 years of age and does not require any prior programming knowledge. Participants only need their own computer. The total length of the workshop is twelve hours run over two days. The workshop is in Czech. Petr Svárovský 9–10 Dec | 10 am – 3 pm | AGD Make Your Own Game In Two Days workshop | Abracadabra --------------------------------------------------------------9 Dec | 4 pm | FA Reality Glitches lecture – Petr Svárovský | Abracadabra ---------------------------------------------------------------

The workshop was created in collaboration with the Theatre Na cucky and PAF, and it will focus on stop motion animation. Children will create a scene in a fictional, magical world using a variety of objects and hand-made decorations. The individual objects will move in front of the camera. The film scene will become a place of unexpected encounters between imaginary creatures, and the details of each moment will create the basis for filmed material. During creative work, it is important for the children to have a personal experience that will show them the difficulty and the playfulness of animation. The teamwork of all those involved in the short film plays an equally important role. The teacher, Pavla Baštanová, has already conducted similarly oriented animation workshops in past PAFs and at the LITR Book Fair. In addition to animation, she also works on illustrations, graphics and scenography. She is also involved in making videos for the Theatre Na cucky, which regularly hosts creative workshops for children called “Little Ones at Na cucky” and “Little Animators”. The one and a half hour workshop will produce a short soundtrack, which the instructor will send to the parents‘ email addresses after processing. The capacity of the workshop is limited. Pavla Baštanová 10 Dec | 2 pm | TNC Little Animators: Magical World workshop, lecturer – Pavla Baštanová Aport Animation | Abracadabra

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aport animation The Aport Animation section has established itself over the years as a platform for phenomena firmly connected to the artistic operations surrounding animated film. It‘s not just about the pictures themselves, but about thinking and writing about them, as well as about stimulating events where they gain space. In this respect, a number of longterm collaborators are strongly involved in the formation of Aport Animation, and they have done a great job this year. Eliška Děcká introduces energy in parallel with pedagogical and practical activities and initiates a number of projects. One of these is AniScreen, an alternative and original

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way of introducing animated films by placing projections in an environment where the short films thematically match the space. In addition to six AniScreen design blocks this year, Eliška has also prepared a selection of animated documentaries. Another personality involved is Miloš Henkrich, a screenwriter from the Brno 16 festival, which traditionally unveils portraits of animators with no professional experience but who have created their own films, and the number of technical and financial limitations means that they can be creatively flexible to the benefit of their work. This year Miloš will introduce the rebellious filmmaker Emil Kubiš, who works on the border between experimental film and the underground. The teacher and creator Pavel Ryška is devoted to the long-term mapping of aspects of visual culture from the Czechoslovakian past (including used graphics, illustrations and advertisements) set against a backdrop of the political weight of the time. There is a methodological survey of individual decades (the fruit of which was, among other things, last year‘s publication Pioneers and Robots) and the life and work of prominent artists. In this respect, Pavel will build on the previous year’s block which was dedicated to Svatopluk Pitra, and will launch the second part of the PAF publication of this outstanding artist. Pavel Ryška and Jiří Havlíček authored another project with cognitive value; the documentary Krátký film. It is devoted to the history of the cultural institution of the same name (“Short Film”).

PAF‘s annual guests, artists and external curators Georgy Bagdasarov and Alexandra Morales, will present a new book, Buenos Aires Experiment and a new translation of the book, Animasophy; a theoretical text from the pen of Estonian animator Ülo Pikkov. A small but substantial section has been reserved for the presentations of European animated film festivals. This year Italian Bergamo Film Meeting will be featured. The animated film section is designed with great importance placed on its educational function. Jiří Neděla

John Ruskin, I Met the Walrus, 2007

Pavla Baštanová , I´m Going Out / Jdu ven, 2015

Martinus Daane Klemet, Ă&#x2022;hus, 2009

Heta Jäälinoja, Penelope, 2016

Petra Feňďová, Our Space, 2017

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AniScreen AniScreen is a non-profit organisation striving to popularise and raise awareness of independent animation which is almost inaccessible for the usual audiences of traditional cinema distribution. With the use of thematic sitespecific screenings, AniScreen endeavours to lure new audiences that may (should the surroundings not be so extraordinary) not normally see short animations. Since its foundation, AniScreen has screened in such places as a hair salon (short animated films about hair), a Japanese restaurant (Japanese animation), a former military shelter (animated films about the underground and darkness) and many more original locations, attracting fans of animation and of the locations. AniScreen has successfully cooperated with the PAF festival for several years. This year, we will screen in several new beautiful sites in the city of Olomouc. One of them is the new design hostel Long Story Short, founded earlier this year, and which caught our attention thanks to its name – aptly and yet unknowingly capturing the magic of the animated film medium. Inspired by the name of this unique place, the audience will be able to watch a series of short and very short films (one minute or two). Another new space for this year’s AniScreen is the popular Olomouc-based bistro Bistrá kráva. An experiential screening topped up with local refreshments will, in line with the name of the bistro (which would translate as Bright Cow with a punnily incorporated “bistro” in it), focus on animated stories with clever animals in the lead

roles. The Vertigo Club and the secondhand bookshop Antikvariát Olomouc on Univerzitní Street have now become traditional venues for the PAF festival. While the theme of the screening in the bookshop is the power of the word and storytelling, Vertigo Club will present a selection of the most bizarre, more or less alcohol-induced animated films that have come into our hands over the last year. The audience may often wonder if what they see is but a dream and whether they have had too much to drink. As with every year, all screenings will include the most recent works by Czech students, and they form the core of the dramaturgical interest of AniScreen. Their goal is also to familiarise the audience with films made by the up and coming Czech generation of animators, people who rarely have the opportunity for public presentations. This year’s AniScreen programme will have one new feature: the final Sunday screening of the best of the site-specific screenings, and it will take place in the heart of the festival Art Centre. The audience will have the opportunity to fully enjoy the best films in the best technical cinema quality possible. Eliška Děcká

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8 Dec | 6:30 pm | VC ● AniScreen in the Vertigo Club screening, introduction – Eliška Děcká Aport Animation ---------------------------------------------------------------

9 Dec | 2 pm | AO ● AniScreen in the Antikvariát Bookshop screening, introduction – Eliška Děcká Aport Animation ---------------------------------------------------------------

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Luke & Lotta dir. Renata Gasiorowska | PL | 2012 | 8′37′′ Woo – hoo! dir. Dávid Štumpf | CZ | 2017 | 6′53′′

--------------------------------------------------------------Pineapple Calamari dir. Kasia Nalewajka | UK | 2014 | 9′21′′

--------------------------------------------------------------A Christmas Tale of Sales Assistants Příběh vánoční o prodavačce dir. Matouš Valchář | CZ | 2017 | 2′26′′

--------------------------------------------------------------Hot Dog Hands dir. Matt Reynolds | US | 2016 | 6′41′′

--------------------------------------------------------------Here in this Place / Tu a Tady dir. Michaela Mihalyiová | CZ | 2017 | 2′22′′

--------------------------------------------------------------Fabia Trap dir. Mikuláš Suchý, Vojta Kočí | CZ | 2017 | 3′57′′

--------------------------------------------------------------Prague – A Foreigners Perspective Praha očima cizinců dir. Daria Kascheeva | CZ | 2017 | 4′35′′

--------------------------------------------------------------Penelope dir. Heta Jäälinoja| EE/FI | 2016 | 4′20′′

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Insatiable / Otesánek dir. Linda Retterová | CZ | 2017 | 5′25′′

I Don´t Think Much / Já přemejšlím velice málo dir. Eva Dvořáková | CZ | 2017 | 2′06′′

--------------------------------------------------------------Mirror Labyrinth / Labyrint zrcadel dir. Martin Nábělek | CZ | 2017 | 1′10′′

--------------------------------------------------------------Egon Bondy – On Philosophy and Such Egon Bondy – O filosofii a vůbec dir. Veronika Zacharová | CZ | 2017 | 2′14′′

--------------------------------------------------------------Klementhro dir. Ben Mitchell | US | 2016 | 3′50′′

--------------------------------------------------------------Night Ocean / La noche del océano dir. María Lorenzo | ES | 2015 | 10′59′′

--------------------------------------------------------------Innervies dir. Chen Winner | IL | 2015 | 4′36′′

--------------------------------------------------------------Snow / Sneh dir. Ivana Šebestová | SK | 2013 | 18′25′′

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9 Dec | 6 pm | BK ● AniScreen in the Bistrá kráva Bistro screening, introduction – Eliška Děcká Aport Animation ---------------------------------------------------------------

9 Dec | 7:30 pm | LSS ● AniScreen in the Long Story Short screening, introduction – Eliška Děcká Aport Animation ---------------------------------------------------------------

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Oh My Dog! dir. Chloé Alliez | BE | 2013 | 6′27′′

What Bears Like / Co medvědi rádi dir. Veronika Zacharová | CZ | 2015 | 2′23′′

--------------------------------------------------------------Catherine dir. Britt Raes | FR | 2015 | 11′51′′

--------------------------------------------------------------The Little One / Malá dir. Diana Cam Van Nguyen | CZ | 2017 | 9′52′′

--------------------------------------------------------------I´m Going Out / Jdu ven dir. Pavla Baštanová | CZ | 2015 | 1′39′′

--------------------------------------------------------------Creatures Inside Us / Tvoři v nás dir. Ester Nemjóová | CZ | 2017 | 6′59′′

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You are not the strongest / Tú no eres el más fuerte dir. Emilio Yebra | ES | 2016 | 1′

--------------------------------------------------------------Pineapple Calamari dir. Kasia Nalewajka | CZ | 2014 | 9′21′′

--------------------------------------------------------------Espresso dir. Alexandr Gratzer | DE | 2015 | 5′21′′

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Mush Room / Houbeles dir. Kateřina Hubená | CZ | 2017 | 2′18′′

Swimming Pool / Bazén dir. Marie Urbánková | CZ | 2017 | 3′43′′

--------------------------------------------------------------Birthday / Narozeniny dir. Ivan Štrobl | CZ | 2016 | 0′58′′

--------------------------------------------------------------Yellow / Žltá dir. Ivana Šebestová | SK | 2017 | 6′28′′

--------------------------------------------------------------Grandma / Bába dir. Bety Suchanová | CZ | 2017 | 1′32′′

--------------------------------------------------------------Oasis / Oáza dir. Daria Kascheeva | CZ | 2017 | 2′26′′

--------------------------------------------------------------39 Weeks, 6 Days / 39 týždňov, 6 dní dir. Joanna Kozuch | SK | 2017 | 7′51′′

--------------------------------------------------------------Hootchu dir. Jung Hyun Kim | KR | 2015 | 0′37′′

--------------------------------------------------------------Mycocosmic Symphony / Mykokosmická symfonie dir. Seun Lee | CZ | 2017 | 3′12′′

--------------------------------------------------------------Flavour of The Month dir. Samantha Palmer | US | 2015 | 1′20′′

--------------------------------------------------------------Mukumu dir. Pavla Baštanová | CZ | 2017 | 7′44′′

--------------------------------------------------------------Swim Meet dir. Samantha Maurer | US | 2015 | 1′16′′

--------------------------------------------------------------Under Water / Pod vodou dir. Andrea Szelesová | CZ | 2017 | 1′56′′

163 Sorry Film Not Ready dir. Janet Perlman | CA | 2010 | 0′58′′

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10 Dec | 12:30 pm | FA ● The Best of AniScreen screening, introduction – Eliška Děcká Aport Animation --------------------------------------------------------------The Little One / Malá dir. Diana Cam Van Nguyen | CZ | 2017 | 9′52′′

--------------------------------------------------------------Pineapple Calamari dir. Kasia Nalewajka | UK | 2014 | 9′21′′

--------------------------------------------------------------Yellow / Žltá dir. Ivana Šebestová | SK | 2017 | 6′28′′

--------------------------------------------------------------Penelope dir. Heta Jäälinoja | EE/FI | 2016 | 4′20′′

--------------------------------------------------------------39 Weeks, 6 Days / 39 týždňov, 6 dní dir. Joanna Kozuch | SK | 2017 | 7′51′′

--------------------------------------------------------------Insatiable / Otesánek dir. Linda Retterová | CZ | 2017 | 5′25′′

--------------------------------------------------------------Hot Dog Hands dir. Matt Reynolds | US | 2016 | 6′41′′

--------------------------------------------------------------Mycocosmic Symphony / Mykokosmická symfonie dir. Seun Lee | CZ | 2017 | 3′12′′

--------------------------------------------------------------Fruits of Clouds / Plody mraků dir. Kateřina Karhánková | CZ | 2017 | 10′29′′

--------------------------------------------------------------Espresso dir. Alexandr Gratzer | DE | 2015 | 5′21′′

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AniScreen In Forest, Animated Forest Kateřina Karhánková is one of a handful of the up and coming generation of Czech animators who have decided to aim their work predominantly at a young audience. Her unique films have won several awards at various festivals. The newest, Plody mraků (Fruits of Clouds), received an accolade at the Anifilm festival in Třeboň and was selected for the main competition at the prestigious Annecy Festival. Karhánková proves that children’s animation can be original, clever and have a high artistic level, even today in the era of strong commercial pressure. After all, one of the specifics of her artwork is that for each of her films she cooperates with different authors, focusing primarily on the message of the film and on directing. “This allows me to keep a distance and see the bigger picture, which I need. It gives me the necessary space to get the work on the screen exactly how I want it, fulfilling its goal. From the beginning I usually have a clear vision of what I want a film to look like. That is why I do not try to push myself into the position of the artist if I do not think my artistic style would be the right one for the piece,” she explains her artistic decisions. The artists she cooperates with include many outstanding people from the world of art, such as Filip Pošívač Nový druh (The New Species), Ester Nemjóová Tonda a Bacil (Tonda and Mr Illness), and Alžběta Skálová Plody mraků (Fruits of Clouds). The screening and the subsequent workshop, as prepared by the non-profit organisation AniScreen, will be located in the inspiring

wooden “forest” surroundings of the Olomouc coffee shop and in the children’s playroom V lese (In the Forest). They will be led by the animator Katřina Karhánová and her colleague Bára Halířová. Eliška Děcká 10 Dec | 9:30 am | VL Aniscreen In Forest, Animated Forest screening, workshop, instructors – Kateřina Karhánková, Barbora Halířová | Aport Animation --------------------------------------------------------------New Species / Nový druh dir. Kateřina Karhánková | CZ | 2013 | 6′18′′

--------------------------------------------------------------Tonda and Mr Illness / Tonda a bacil dir. Kateřina Karhánková | CZ | 2014 | 4′16′′

--------------------------------------------------------------Fruits of Clouds / Plody mraků dir. Kateřina Karhánková | CZ | 2017 | 10′29′′

--------------------------------------------------------------Hurrah for Blueberries! / Hurá na borůvky dir. Alexandra Hetmerová, Kateřina Karhánková CZ | 2017 | 6′39′′

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Surreal Fantasies of Emil Kubiš The block of experimental films by Emil Kubiš shows one of the transformations of so-called amateur cinematography into the underground scene, which stayed true to the analogue, despite the fashionable fascination with video. The 8mm pictures shown were shot under amateur conditions (using a Quartz DS8-M camera with colour and black and white Super8 material, and home-made animation apparatus) and by rights they belong to the “submerged river of cinematography”. The creative beginnings of the rebellious filmmaker Emil Kubiš (1924-2007) were in the first half of the 1950s, when he was part of the Factory Club of the Julius Fučík Electro-Technical Works. With his brother Ludvík, he shot instructional and promotional videos on topics such as the rules of correctly using a forklift and also on various recreational reports for the workers. Kubiš used part of the assigned film material for his own work, using family members and friends as actors. Until the 1980s, Kubiš used an Admira 8D camera. Instead of random documentation, he played with narration and used tricks created by the camera (double-exposure, lap dissolution, animation, stop-tricks etc.), while creating an outstanding collection of family films. The Velvet Revolution meant a distinct creative divide for Kubiš. In 1990, and for the first time, he presented his animated collages (shot on the Quartz DS8-M), and they had a social and socio-critical overlap towards ecology; this made him part of Czech film underground and experimental cinematography.

The films of Emil Kubiš from the 1990s still fascinate viewers thanks to their unexpectedly contemporary and well-chosen soundtracks, as well as their intentionally plain animation and Kubiš’s original artistic speech and rhythms. Miloš Henkrich 9 Dec | 10:30 pm | FA Surreal Fantasies of Emil Kubiš screening, introduction – Miloš Henkrich Aport Animation --------------------------------------------------------------The Mystery of the Marvel Castle Tajemství hradu Marvel CS | 1991 | 10′37″

--------------------------------------------------------------Journey to the West / Cesta na západ CS | 1990 | 3′11″

--------------------------------------------------------------Prayer for Marta / Modlitba pro Martu CS | 1990 | 3′42″

--------------------------------------------------------------Windstorm / Vichr CS | 1990 | 12′29″

--------------------------------------------------------------One more night CS | 1991 | 4′07″

--------------------------------------------------------------Autogeddon CZ | 1996 | 6′24″

--------------------------------------------------------------Black + Home CZ | 2000 | 10′26″

--------------------------------------------------------------Planetora CS | 1961 | 8′14″

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The Contemporary Animated Documentary Films Animated documentary film is increasingly playing an important role in the field of animated film – the specific genre appears not only at festivals, but also in television broadcasts, school lessons and more. Despite the impression that fictional animated worlds do not have much in common with the documentary reality, it turns out that the opposite is true and that, with confident authorial direction, these two seemingly different formats can work in an interesting symbiosis. One of the many benefits of an animated documentary is being able to get rid of one frequent problem of documentaries; the so-called talking heads. “Because animated film is not forced to resemble reality, which it presents, it has the freedom to mask the identity of the speaker and to interpret the words of the people interviewed; to illustrate and further expand on their words and the topics discussed as well as the film itself,” states Annabelle Honess Roe, British theoretician, in her book Animated Documentary, in which she comes up with the concept of so-called vocalic bodies in an animated film, where viewers are linked to reality only through the voice of the speaker and they are not distracted or interpretatively influenced by his/her physical form. All the student films from the Czech animation departments of FAMU (Film and TV School of Academy of Performing Arts in Prague), UMPRUM (Academy of Arts, Architecture and Design in Prague) and TBU (Tomáš Baťa University in Zlín) work like this, when they

are based on the real sound recordings of the protagonists’ utterances. Sometimes we hear significant people from our culture, such as Adriana Šimotová, Ladislav Fuks and Egon Bondy (see the TBU school exercise), and sometimes we hear the witnesses to an important historical event as in the case of the Czechoslovak hockey players interviewed for the documentary film Štvanice (The Hunt) by Michaela Režová from UMPRUM. But often the protagonists of the animated documentaries could be so-called ordinary or unknown individuals who show the viewers, through the recordings, new perspectives on issues, such as the Nový Prostor (“new space”) magazine seller and the foreigners who had been spoken to for the film Praha očima cizinců (Prague – A Foreigners Perspective). After the screening there will be a discussion with the authors. Eliška Děcká

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9 Dec | 4 pm | CCC The Contemporary Animated Documentary Films screening, introduction – Eliška Děcká Aport Animation --------------------------------------------------------------Historic Line No. 41 / Historická linka č. 41 dir. Anna Paděrová | CZ | 2017 | 4′17′′

--------------------------------------------------------------Here in this Place / Tu a Tady dir. Michaela Mihalyiová | CZ | 2017 | 2′22′′

--------------------------------------------------------------Our Space / Náš prostor dir. Petra Feňďová | CZ | 2017 | 2′54′′

--------------------------------------------------------------Prague – A Foreigners Perspective Praha očima cizinců dir. Daria Kascheeva | CZ | 2017 | 4′35′′

--------------------------------------------------------------DODEK freedom within the limits of the law DODEK svobodný v mezích zákona dir. Nora Štrbová | CZ | 2017 | 4′12′′

--------------------------------------------------------------Smog dir. Betty Suchanová | CZ | 2017 | 2′53′′

--------------------------------------------------------------The Hunt / Štvanice dir. Michaela Režová | CZ | 2017 | 11′33′′

--------------------------------------------------------------Hypnagogia dir. Magdaléna Kvasničková | CZ | 2017 | 4′54′′

--------------------------------------------------------------The Definitiveness of the Line / Definitivnost čáry dir. Aliona Baranova | CZ | 2017 | 1′15′′

--------------------------------------------------------------I Don´t Think Much / Já přemejšlím velice málo dir Eva Dvořáková | CZ | 2017 | 2′06′′

--------------------------------------------------------------Just My Conscious and Nothing More Pouze moje vědomí a nic jiného dir. Veronika Kuncová | CZ | 2017 | 2′39′′

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Buenos Aires Experiment In seven essays by various authors, the book Buenos Aires Experiment looks at the current conditions for the fragile practices in experimental film in Buenos Aires, and reflects on this in the context of the works of local artists and filmmakers. There has been intense activity in the field of experimental film in the Argentine metropolis for the last decade, and it goes beyond the traditional reception, production and media frameworks. Beams of film projections intersect with the domestic improvisation scene; associated with the musical underground, the exhibition spaces of art galleries, the cinemas of traditional institutions and the walls along the streets. However, this is not the first time Buenos Aires has seen experimental production in the photochemical film medium. The current young generation of creators is looking back at artists from the late 1960s to the early 1980s, some of whom, like Narcisa Hirsch and Claudio Caldini, are still active on the modern stage. The book attempts to capture this relationship and therefore deals with the subject of experimental film in two parts. The first is devoted to the artistic environment just before the military dictatorship in Argentina. The second attempts to capture the features and conditions of the experimental scene which began to form in the period after the economic crisis of 2001, and when work in the medium of film was a natural concomitant. The collective sense in the community, together with the confirmation of the civic and creative autonomy of local artists involved in this scene, has led to a questioning of the existing dis-

courses in politics, economics and technology. Experimental film in Buenos Aires after 2001 was reborn somewhere between deficiency and freedom, implying the deconstruction not only of the audiovisual dispositives but also of the power infrastructure. Is it then possible in Argentina to consider some continuity between the generation formed in the shadow of the military dictatorship and that of the wild first decade of the 21st century? Georgy Bagdasarov, Alexandra Morales BAGDASAROV, Georgy. MORALES, Alexandra (et al.). Buenos Aires Experiment. Prague: Academy of Performing Arts In Prague, 2016.

9 Dec | 2:30 pm | CH Buenos Aires Experiment book launch, presentation â&#x20AC;&#x201C; Georgy Bagdasarov, Alexandra Morales | Aport Animation ---------------------------------------------------------------

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Animasophy of Ülo Pikkov and Estonian Animation This series, exclusive to this year‘s PAF, will present the recently released Czech translation of the flagship book Animasophy: Theoretical Writings on Animated Film by the Estonian animator, teacher and animation theorist Ülo Pikkov. We will show eight short contemporary Estonian animated films which are released on a DVD accompanying the book and are analyzed by the author in Animasophy. Pikkov‘s award-winning book was published in Estonian and English in 2010, and in addition to his attempts to define animation and outline its prehistory, he tries to capture in eight chapters the specifics of animated films, such as time, characters, sound, space and narrative. He discusses the credibility of animated characters and the effect of realism in an animated film. Pikkov concludes each chapter with a case study in which he demonstrates a selected theoretical problem in specific Estonian films. He is the author of two of these films: Gone with the Wind and Dialogues. Animasophy developed from Pikkov‘s lectures at the Estonian Academy of Arts. The neoplasm “animasophy” is, according to the author, an attempt at a “philosophy of animation”. The release of Animasophy is an extraordinary event in the Czech environment, as it is essentially the first complete theory of animation that has been published here, if we do not include partial studies or overviews such as the FAMU (Academy of Performing Arts) scripts, etc. Especially for the Czech translation of Animasophy, the film theorist and teacher Eliška Děcká has written a study that puts Pikkov‘s way of thinking into the current stream of animation studies, for

which, among other things, the connection between theory and practice (which is also the case with the animator and theoretician Ülo Pikkov) is typical. The book was recently published by AMU Press and will be presented by its editor, Kamila Boháčková. Kamila Boháčková PIKKOV, Ülo. Animasophy: Teoretical Writings on Animated Film. Prague: Academy of Performing Arts In Prague, 2017.

8 Dec | 2 pm | CH Animasophy and Estonian Animation I book launch, screening – Kamila Boháčková, Jan Heller | Aport animace --------------------------------------------------------------Gone with the Wind / Silmviburlane dir. Ülo Pikkov | EE | 2009 | 1′34″

--------------------------------------------------------------Laika dir. Märt Kivi | EE | 2007 | 4′

--------------------------------------------------------------Crocodile / Krokodill dir. Kaspar Jancis | EE | 2009 | 16′54″

--------------------------------------------------------------Kitchen Secrets / Köögi Dimensioonid dir. Priit Tender | EE | 2008 | 18′23″

--------------------------------------------------------------9 Dec | 8 pm | CH Animasophy and Estonian Animation II screening, introduction – Kamila Boháčková Aport animace --------------------------------------------------------------Little House / Väike maja dir. Kristjan Holm | EE | 2008 | 6′21″

--------------------------------------------------------------In the Air / Õhus dir. Martinus Daane Klemet | EE | 2009 | 8′37″

--------------------------------------------------------------Dialogues / Dialogos dir. Ülo Pikkov | EE | 2008 | 4′47″

--------------------------------------------------------------Divers in the Rain / Tuukrid Vihmas dir. Priit a Olga Pärnovi | EE | 2010 | 23′21″

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Opening of the Second Svatopluk Pitra’s Box Two years ago, First Box, which documents Svatopluk Pitra’s (1923–1993) journey from Chomutov’s Tube Mill to the special atelier of animated and puppet film of Adolf Hoffmeister at UMPRUM in Prague, was published in the PAF edition. Now we are presenting a follow-up, which thoroughly summarizes Pitra’s work from the turn of the 1950s when he was drawing caricatures and advertisment films. He even illustrated detective short stories, comedies and satirical novels, and designed the graphics for the Czechoslovak trade fair exposition. He also cooperated with director Jiří Brdečka and made 2D and 3D puppets for the former animators Jiří Trnka – Břetislav Pojar, Stanislav Látal, Jan Karpaš and Bohuslav Šrámek. At a time when many graphic designers were influenced by the elegant and playful lines of Saul Steinberg, Pitra stood out with his carefully constructed characters. Some of them, in the Saturnin illustrations for instance, can be surprising, even hard to digest for present-day readers. Pitra did not take the literary description of characters as a binding starting point, and his sharply cut figures are more a result of the strict view of things that the good-natured humour of Zdeněk Jirotka benevolently rounded off. One of the favourite themes of Pitra’s drawings was seductive women and felons being pursued by the police. He also became an “outlaw” after he migrated to Canada. In Czechoslovakia, he was sentenced to three years in jail, his personal property was forfeited

to the state and most of his works are still missing. Thus Pitra’s second box is an attempt to remember works from his legacy, many of which were screened in cinemas or printed in books, newspapers and magazines. Pavel Ryška RYŠKA, Pavel (ed.). Svatopluk Pitra. Caricaturist, graphic designer, ilustrator, author of animated films. (2) Olomouc: PAF, z. s., 2017

9 Dec | 12:30 pm | CH Opening of the Second Svatopluk Pitra’s Box book launch, presentation – Pavel Ryška Aport Animation --------------------------------------------------------------Three Men / Tři muži dir. Vladimír Lehký | CS | 1959 | 6′05″

--------------------------------------------------------------Three Men Fishing / Tři muži na rybách dir. Vladimír Lehký | CS | 1962 | 5′13″

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Krátký film The extended edition of the documentary Krátký Film (Short Film), which was produced as part of a series of shows for Artyčok TV, deals with the questionable privatization of film enterprise Krátký Film and its modern consequences. While it was still a government monopoly, Krátký Film produced hundreds of cartoons and puppet animations, thousands of documentary programs, instructional and advertising films, and more than one and a half million newsreels. When Jan Knoflíček, a former economic deputy at the Central Directorate of Czechoslovak Film proposed the transformation of the enterprise into a joint stock company in 1990, his proposal was approved despite the fact that it was extremely flawed – it included neither property inventories nor a way to deal with production rights. Krátký Film a.s. did not succeed in the new market conditions. By the end of the 1990s, the company’s debts exceeded CZK 400 million and it could not boost its film production. The insurance company Česká Pojišťovna was the majority owner of Krátký Film at that time but they lost control of the company to the financial group PPF, which sold the leveraged company to businessman Richard Beníšek for less than CZK two million in 2005. Not only did a crisis manager appropriate the entire film library, which held over 50,000 films, but he also took film puppets and other artifacts from Kratochvíle Chateau which were part of Czech animation history. At that time the value of the collection was estimated to be between CZK 90 million and 135

million. The current owner of Krátký Film does not operate any exhibitions or screening rooms which are open to the public. His profits mainly come from the sale of the broadcasting rights to all the legendary animated films, while he is under no obligation whatsoever to pay fees to the State Fund of Cinematography. Pavel Ryška 8 Dec | 12 pm | T Krátký film screening, introduction – Pavel Ryška, Jiří Havlíček | Aport Animation --------------------------------------------------------------Krátký film dir. Jiří Havlíček, Pavel Ryška | CZ | 2017 | 45′

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Monica Masucci: Bergamo Film Meeting: Kino Club The 35th annual Italian Bergamo Film Meeting, which featured over one hundred and sixty films divided into eleven sections, took place this year. One of these sections was the Kino Club (“Cinema Club”); a program of screenings of classic and contemporary animated pictures selected primarily for children and adolescents, with the aim of developing media literacy, the ability to understand the language of film art and an awareness of the heritage of audiovisual culture. The curriculum for this educational program is compiled by curator Monica Masucci, who also created a selected block of films from the Kino Club for PAF. It reflects all the sub-sections that make up the Kino Club: short films nominated for an Oscar (or having possibly received an Oscar), including the famous I Met the Walrus by John Ruskin and The Bigger Picture by Daisy Jacobs. A collection of films delivered by the partner Dutch film festival KlooseterKino includes the Estonian film Penelope, the Finnish picture Sore Eyes For Infinity and the domestic piece James Bones, il cangiante corpo vuoto. The Bergamo Film Meeting also annually presents an introduction to the chosen animator. This year Estonian artist Chintis Lundgren was featured and his productions include Jäälind and Manivald. However, the Kino Club is not limited to the screening of films. It also offers workshops, discussions and meetings with prominent

animated filmmakers. The details of this project will be presented at PAF by Monica Masucci in person. Jiří Neděla 8 Dec | 6 pm | CH ● Bergamo Film Meeting: Kino Club screening, presentation – Monica Masucci (IT) Aport Animation ----------------------------------------------------------------I Met the Walrus dir. John Ruskin | CA | 2007 | 5′56″

----------------------------------------------------------------The Bigger Picture dir. Daisy Jacobs | UK | 2014 | 8′

----------------------------------------------------------------Penelope dir. Heta Jäälinoja | EE | 2016 | 4′

----------------------------------------------------------------Sore Eyes for Infinity dir. Elli Vuorinen | FI | 2016 | 11′

----------------------------------------------------------------Jäälind dir. Chintis Lundgren | EE | 2014 | 4′12″

----------------------------------------------------------------Manivald dir. Chintis Lundgren | EE | 2017 | 13′

----------------------------------------------------------------James Bones, il cangiante corpo vuoto team of authors | IT | 2014 | 2′05″

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Title Index (dis)play 12 #Additivism 102, 106 £20 Fine // Praxe Chaosu 13 360° video Sinovation Ltd.: The Super Psychonaut Tour + talk between Dustin Breitling, Casey Carr and Vít Bohal 109 39 Weeks, 6 Days / 39 týdnů, 6 dní 162, 163 3D Additivist Cookbook, The 106 A A---Z 14, 26, 27, 30, 61, 64 ABC Devil 84, 85 About Gamekeeper Robátko and Deer Pinwheel / Hajný Robátko a jelen Větrník 90 About Robber Rumcajs 90 Abraxas /// Αβρασαξ 61, 64 Abstronika 58 Aesthetic Predator 60 AfterImage 106 Akhiishm iii 142 Aladin 94 Algoritmus 13 Alice 91 Alice in Wonderland and the sequel Through the Looking-Glass, and What Alice Found There 91 Alluvium 106 Andes, The / Los Andes 87 Animasophy: Theoretical Writings on Animated Film 154, 169 Animated Documentary 166 Antipro 18 Arrows 62, 63 Atomtone 116, 129 Autogeddon 165

indexes

B Back Inside Herself 63 The Bigger Picture 172 Bilej Kluk – lovetape ft. 93echoesandsirens, dzurillah 109 Birthday / Narozeniny 162 Black 165 Blind Bidding 14, 28, 33, 42 Blob Sac Transform / No Witness 98 Blue Bile Gloomy Nectar / Azul hiel lúgubre néctar 87 Blue Box 144 Blue Effect VR 111 Body Armor 12 Bohemia VR 103, 112 BOLICS 65 Bombička 14 Breaking the Habit 92 Buenos Aires Experiment 154, 159, 168 Bůh tě miluje 13 C Calibration 46, 47, 52, 58 Car Crash 58 Carausius morosus 18 Cast, The 107 Cast Behind You The Bones Of Your Mother 107 Catherine 162 Chaos / Order 46, 47, 49, 56 Christmas Tale of Sales Assistants, A / Příběh vánoční o prodavačce 161 Circles a Cinema of Women 63 Clover Leaf 12 Color Palette / Paleta barev 12 Crash 58 Creatures Inside Us / Tvoři v nás 162

177

Crocodile / Krokodill, 169 Cross9 Prequel „Slime to Fill Blanks“ 14 D Decay 128 Decorations of the Mind II 97 Definitiveness of the Line, The / Definitivnost čáry 167 delirio del pez león, El 87 Demeter 141 Demi-Invisible, Demi-Brown / Napůl neviditelný, napůl hnědý 84, 85, 179 Denis 14, 18 Descending a Staircase 143 DESH 64 Detective, The 84,85 DIALOGOS PART THREE 13 Dialogues / Dialogos 169 Disobey to the Dance of Time 61, 64 DiStO 02: Theatre of the Static Object 02 / DiStO 02: Divadlo statického objektu 133 Divers in the Rain / Tuukrid Vihmas 169 DODEK freedom within the limits of the law / DODEK svobodný v mezích zákona 167 Down to the bone / Hasta los huesos 87 Dr. Brain / Dr. Mozek 112, 131 E Egon Bondy – On Philosophy and Such / Egon Bondy – O filosofii a vůbec 161 Eight Day, the Creation, The / El octavo día, la creación 87 Electric Blanket Temple Altar 96 Empty / Prázdná 12 Enviromem 13 ESIOD 2015 81, 107

indexes

Espresso 162-163 Ethnographic Study of Algorithms 28, 35, 43 Every Angle is an Angel 97 Everything‘s Gonna Be Alright 3 39, 45 Extensions 40, 45 Extraordinary Voyage, The / Le voyage extraordinaire 88 F Fabia Trap 161 Fe 87 Feeling Free with 3D Magic Eye Remix 96 Filly the Lesbian Little Fairy / Vênus – Filó a fadinha lésbica 87 Flavour of The Month 162 Focusing of Peter Campus 143 FoldSwalow 110 Fruits of Clouds / Plody mraků 163 Future Crew, The 98 G Galactic Pot Healer, The 97 Gallery Surfing No. 1 12 Garden of Delete 121 Genesis 15, 82, 136, 144 Geomancer 71, 78, 79 Giz 87 Gone with the Wind / Jih proti Severu 42 Gone with the Wind / Silmviburlane 169 Grandma / Bába 162 Grotta Profunda (the moody chasm) 97, 138, 141 H Hairpiece 63 Hansel & Gretel, The 89

178

HELIOTONE 127 Here in this Place / Tu a Tady 167 Historic Line No. 41 / Historická linka č. 41 167 HOLO 106 Home 165 Hootchu 162 Hot Dog Hands 161, 163 Howell St 140, 143 Hudson Valley Ruins 74, 80 Hunt, The / Štvanice 166, 167 Hypnagogia 167 I I Don’t Think Much / Já přemejšlím velice málo 161 I like art that arouses questions 14 I Met the Walrus 155, 172 I’m Going Out / Jdu ven 156, 162 If you find yourself block me 12 In the Air / Õhus 169 In Tongues 124 Innervies 161 Insatiable / Otesánek 161, 163 Into All That Is Here 64 J Jäälind 172 James Bones, il cangiante corpo vuoto 172 Journey to the West / Cesta na západ 165 Just My Conscious and Nothing More / Pouze moje vědomí a nic jiného 167 K Kitchen Secrets / Köögi Dimensioonid 169 Knot Capital 28, 32, 41 Kolikrát jsi člověkem? 13

indexes

Krátký film 154 Kunsthalle – A Summary Report on the State of the Institution 59 L Laika 169 Lava Flows Through Vocaloid Paradise 65 line where your appearance flips over into reality, The 96, 104, 105, 120 Little Animators: Magical World / Malí a na cucky 150 Little House / Väike maja 169 Little Mermaid, The / Malá mořská víla 94 Little One, The / Malá 162, 163 Little Witch, The / Malá čarodějnice 90, 113 Luis 87 Luke & Lotta 161 Lullaby 64 Lyrica 97 M Machine 126 Magic Pear Tree, The 92 Magical Performance 143 Magical Realism in Latin American Animation I., II. 86, 87 Magical World / Kouzelný svět 150 Make Your Own Game in Two Days / Magie tvorby videoher 110, 150 Manifesto of the Static Object / Manifest statického objektu 133 Manifests of Moving Image: Color Music 17 Manivald 172 Martyris 87 McLaren Surface/youtube environment bootleg 109

179

Media-N 106 Melancholia 58 Middle, The / Střed 14 Midnight‘s Children 64 Mimpi Dreams 111 Mind Goes Numb at Times Like These / V takových časech mysl ustrne 37, 44 MindPlace ThoughtStream 97 Mirror Labyrinth / Labyrint zrcadel 161 MoCA Lotion 98 Model View Controller (Phase I) 98 Moravia, Beautiful Land / Morava, krásná zem 13, 14 Moravia, Beautiful Land II / Morava krásná zem II 13, 14 Moravia, Beautiful Land III: Genesis / Morava, krásná zem III: Genesis 144 Mountain Where Everything is Upsidedown, The 96 Mukumu 162 Mush Room / Houbeles 162 Mycocosmic Symphony / Mykokosmická symfonie 162, 163 N NBA2K17 38, 44 Negrom 124 Neverending Story 142 New Species, The / Nový druh 164 Night Ocean 161 Noria, La 87 Nova X-Process 109, 122, 123 Nylon Context / Nylonové súvislosti 47, 51

indexes

O Oasis / Oáza 162 Off Hollywood: Christy Marx 98 Oh My Dog! 162 Okun Song 64 One Deep 121 One more night 165 One Thousand and One Nights 94 Our Space / Náš prostor 167 Own This 98 P Palindrom #2 14 Pandrix, The 64 Parade 72, 77 Paradoxical Happiness 2 46, 47, 53, 58 Penelope 158, 161, 163, 172 Pineapple Calamari 161, 162, 163 Pioneers and Robots 154 Planetora 165 Poltergeist 80 Prague – A Foreigners Perspective / Praha očima cizinců 161, 166, 167 Prayer for Marta / Modlitba pro Martu 165 PRIVÁTe 46, 47, 50, 57 Problem Generator® 12 R Rain in the Eyes / Lluvia en los ojos 87 Rampa 58 Reality Glitches / Díry v matrixu 100, 110, 150 Rear Window 143 Reason to Stay, A / Dôvod zostať 59 Relic 1 64 Repetitive Stress Injuries 96 Restless Leg Saga 97

180

RITUAL INVEST a.s. 14 Rushes 124 S S.M.T.H. (Send Me To Heaven) 110 Sad House / Casa triste 87 Sand 36, 43 Sand Saga 96 Santolo 87 Saturnin 170 Scuola Senza Fine 63 Security 126 Shattered Epistemologist / Rozštěpený epistemolog 28, 31, 41 She Has All Kinds of Temperatures / Rodeo 124 Shining, The 80 Shorelines 127 Siid 142 Siirm Aeruah 142 Simpsons 93 Sims, The 80 Sinofuturism (1839–2046 AD) 78, 79 Slides 72, 83 Smog 167 Snow 161 Snow Queen, The 84, 85 Sorcerer’s Apprentice, The / Čarodějův učeň 89 Sore Eyes for Infinity 172 Sorry Film Not Ready 163 Space Odyssey 58 Spectacular Empire 108, 126 Spell of Forgetfulness, The / Kouzlo zapomnětlivosti 84, 85 Sphere / Esfera 87 Spirited Away 93 Sticky Drama 64

indexes

Strange Surroundings / Zvláštní okolnosti 14, 18 Sugar Hunter’s Feast 139, 145 Svatopluk Pitra. Karikaturista, grafik, ilustrátor, výtvarník animovaných filmů. (2) 17, 157, 170 Swim Meet 162 Swimming Pool / Bazén 162 Swing Motion 143 Swisspering 97 T Tag Sale Cosmology 98 The Mystery of the Marvel Castle / Tajemství hradu Marvel 165 Teeny-Tiny and the Witch Woman / Mrňous a čarodějnice 89 Television Fantasy Studios 98 Teenage Mutant Ninja Turtles 92 Tell Me the Stories Of All This Things 64 There Will Be Blood 127 This organ wants this, that organ wants that 96, 105, 120 Tilt Shift 12 Tokarev showing the face of Varansov’s baby 13 Tonda and Mr Ill-Ness / Tonda a bacil 164 Tracks 63 Trip to the Moon, A / Le Voyage dans la lune 88 Troubadour 98 Three man / Tři muži 170 Three Men Fishing / Tři muži na rybách 170 Twice Upon a Time / Kdysi hodně dávno 92 Twin Peaks 104, 120 The Eight Day, the Creation / El octavo día, la creación 87

181

U Under the Skin 127 Under Water / Pod vodou 162 Undiscovered Drawer, The 97 Unique Boutique 97 Upstepping 127 V Vanishing / Ztrácení 84, 85 Vajcaj 144 VALS 64 Veduty 132 Vermin of the Sky 81, 107 Videogram 68 14 Vienna Calling 75, 82, 144 Vulv 15, 137, 142 W Warped Ján / Čapatý Ján 144 White Rabbit 91 Windstorm / Vichr 155, 165 With Valie / S Valie 46, 47, 57 Without Bra / Sin sostén 87 Wizard of Oz, The / Čaroděj ze země Oz 42 What Bears Like / Co medvědi rádi 162 What Does Your Mother Do? 63 Whispering Pines 96, 97, 105, 120 Woo – hoo! 161 World of Tomorrow I 76 World of Tomorrow II 70, 76 Y Yat Wound 121 Yellow / Žltá 162, 163 You Are Not the Strongest 162 Youu 34, 42

indexes

Z ZET (ZeroEntropy) 65 Zoom World, The / Krajina Zoomu 47-48, 56

182

Name Index & 12 (c) merry 13, 15 0comeups 117, 121 93echoesandsirens 109, 122 A Abramović, Marina 57 Adamec, Jakub 82, 184 Achiampong, Larry 64 Actress 127 Akinciturk, Bora 145 Alaniz, Luis Felipe 87 Allahyari, Morehshin 106 Alliez, Chloé 162 Alvaer, Jesper 133 Alvarez, Jair Salvador Flores 86-87 Antonioni, Michelangelo 56 Arnaud, Danielle 30 Augiášův sonický chlév 130 B Bagdasarov, Georgy 12, 154, 159, 168 Banyoles, El Negro de 43 Bára a Barbora 13 Baranova, Aliona 167 Barbera, Simona 13 Bartoš, David 13 Baštanová, Pavla 150, 162 Basulto, Rita 87 Baydal, Jasper 130 Bažantová, Magdalena 84-85 BCAA 109, 122-123 Beková, Monika 12, Bělochová, Vendula 20, 132

indexes

Benýšek, Richard Berlinger, Michal 111 Bierbaumer, Adéla 12 Bilík, Petr 3, 22 Blazing Bullets 13, 109 Blažková, Jaroslava 46 Blecha, Michal 14 Blunt, Dean 130 Bohal, Vít 109 Boháč, Jan 133 Boháčková, Kamila 169 Bonaventure 13 Bondy, Egon 166 Brahms, Johannes 82 Brdečka, Jiří 17, 170 Bromberg, Serge 88 Búřil, Martin 15 C Caballero, Alejandro García 87 Cabral, Cesar 87 Caldini, Claudio 168 Campaz, Alexander 15 Carrillo, Sofía 87 Carroll, Lewis 58, 91 Castañeda, Karla 87 Castiglioni, Alessandro 13 Castillo, René 87 Certeau, Michel de 149 Chenzira, Ayoka 63 Cinenova Working Group 26, 30, 60, 63 Císař, Karel 12-14, 18, 77, Citton, Yves 149 Clements, Ron 94 Coates, Oliver 78-79, 127 Cociña, Joaquin 87

183

indexes

Conolly, Jacky 80 Cocteau, Jean 77 Crampton, Elysia 127 Cristini, Ermanno 13 Cristobal, León 87 Cronenberg, David 58 Cure, The 64 Curnier Jardin, Pauline 95, 97, 138, 141

Feňďová, Petra 166-167 Filová, Eva 26-27, 46-47 Fincher, David 92 Fišr, Martin 14, 185 Flash & Brain 144 Fleming, Victor 42 Fučík, Julius 165 Fuks, Ladislav 166

D Davis, Peter 42 Děcká, Eliška 90, 93, 113, 153, 166-167 Dehaen, Wim, 130 Deitch, Gene 89 Delong, Marek 139, 145 DeMarco, Mac 130 Disney, Walt 16, 94, 113 DiStO 02 118, 133 Dizzcock 13 Dlab, Matyáš 82 Doe, Jano 130 Doležalová, Monika 12 Dostálková, Daniela 40, 45 Dostálková, Linda 40, 45 Drdová, Romana 36, 43 Duffau, Anne 26, 27, 64 Dvořáková, Eva 20, 161, 164, 167 DYNOOO 121

G Gajarský, Dominik 16, 18 Gasiorowska, Renata 161 Gatialová, Katarína 16, 130 Gavula, Matej 133 Gratzer, Alexandr 162-163 Gravlejs, Ivars 13 Greenwood, Johnny 127 Gretzky, Wayne 144 Grimes 130 Grosseová, Isabella 133 Guerilla Girls 113 Gurská, Magdaléna 12

E Eisermann, Leon 145, Export, Valie 57 F Faber Dahl, Ronny 13 FatenojoyClub 13

H Hájková, Marie 14-15, 82, 136, 144 Halířová, Barbora 164 Harper, Adam 65 Haspeklová, Tereza 12 Hašek, Miroslav 12 Havlíček, Jiří 82, 171 Havlík, Vladimir 15 Heller, Jan 169 Henkrich, Miloš 154, 165 Henry, Damien 15 Herotová, Petra 133 Hertzfeldt, Don 70, 76

184

Hirsch, Narcisa 168 Hlaváčková, Jitka 18 Hoffmeister, Adolf 18, 170 Holdus, Lars aka TCF 121 Holm, Kristjan 169 Honess Roe, Annabelle 166 Höschlová, Juliana 12 Hrádková, Stella 12 Hrdlička, Jakub 12 Hrončeková, Ivana 13 Hubená, Kateřina 162 I Ifekoya, Evan 64 Ink Midget 13, 19, 125, 128 Inocenc 130 J Jäälinoja, Heta 161, 163, 172 Jacobs, Daisy 172 Jajcaj, Ondrej 82, 144 Jančík, Alexandr 12-15, 68, 82, 94, 143-144 Jancis, Kaspar 169 Jansa, Jakub 15 Javůrek, Tomáš 12-14, 149 Jefferson Airplane 91 Ježek, Martin 15 Jindrová, Tereza 107 Jirotka, Zdeněk 170 Johanka z Arku 141 Juniper Stratford, Jennifer 95, 98, 141 K Kadlčák, Šimon 13 Kaňuch, Martin 12, 46 Kapelová, Jana 46-47, 55, 59

indexes

Karhánková, Kateřina 163-164 Karpaš, Jan 170 Kaspar, Tobias 77 Kartousek, Filip 12 Kascheeva, Daria 158, 161-162, 166-167 Kicovová, Barbora 12 Kim, Jung Hyun 162 Kivi, Märt 169 Klajbanová, Nela 12-14, 20, 26, 132 Klemet, Martinus Daane 169 Knapp, Dalibor 35, 43 Knoflíček, Jan Kočí, Vojta 161 Kohout, Martin 18-19, 83 Kolektiv 130 Korty, John 92 Koššová, Dominika 46-47, 50-51, 57 Kottová, Karina 81, 107 Kovács, Gergő 62, 65 Kováč, Ivo 123 Kovář, Jan 82 Kozuch, Joanna 162-163 Krajčová, Daniela 46-47, 54, 59 Kralovič, Ján 133 Krátký, Petr 140, 143 Krikmann, Keil 145 Krtička, Jan 12, 15 Kubiš, Emil 154-155, 165 Kubiš, Ludvík 165 Kubrick, Stanley 58 Kuklíková, Marie 12 Kulka, Jan 15 Kuncová, Veronika 167 Kvasničková, Magdaléna 167

185

indexes

L Lahire, Sandra 60, 63 Lange, Eric 88 Laurelli, Camille 149 Lasák, Ondřej 13, 130 Látal, Stanislav 170 Lebanon 13 Lee, Seun 162-163 Lehký, Vladimír 170 Leite, Maria 87 Leite, Sávio 87 Lek, Lawrence 71, 78-79, 127 León, Cristobal 87 Levi, Mica 127 Linder, Adam 77 Lopatin, Daniel 64 Lorenzo, María 161 Loskot, Richard 12 Lotfy, Kareem 83 Lucas, George 92 Lumière ,Louis 15, 88 Lumière, Auguste 15, 88 Lundgren, Chintis 172 Lye, Len 56 Lynch, David 104

Mateřídouška 129 Matuš, Johuš 13 Maurer, Samantha 162 Mazanec, Martin 12, 14, 16-18, 79, 83, 143 Mazúr, Milan 47, 53, 58 Médina, Juan José 87 Meixnerová, Marie 12-13, 16, 95-98, 105 Méliès, Georges 88 Měsíc, Radim 13 MF DOOM 127 Michlovská, Nina 14 Miele, Carlo 13 Mihalyiová, Michaela 161, 167 Mitchell, Ben 161 Miyazaki, Hayao 93, 113 Monvoisin, Virginie 149 Monti, Adriana 63 Morales, Alexandra 12, 154, 159, 168 Moravec, Tomáš 14, 17 Motal, Tomáš 82 Moulton, Shana 73, 95-98, 101, 104-105, 120, 141 Mrva, Jozef 12, 32, 41 Mujer, Cine 63 Musker, John 94

M Magidová, Markéta 37, 44 Magrey, Erica 95, 98, 105, 141 Malečková, Dita 112, 131 Málková, Terezie 12 Marker, Chris 58 Martsynyuk, Oleksandr 38, 44 Massine, Léondide 77 Masucci, Monica 172 Matej, Adam 128

N Nábelěk, Martin 161, 164 Nalewajka Kasia 161-163 Nashat, Shahryar 72, 77 Nauman, Bruce 57 Neděla, Jiří 12-15, 17, 88-89, 91-92 Negroma 124 Német, Szilvi 14, 26-27, 30, 62, 65 Nemjó, Ester 162, 164 Nguyen, Diana Cam Van 156, 162-163

186

No.C 13 Norese, Giancarlo 13 Novák, Marek 82 Novák, Vilém 16 Novotná, Johana 12, 34, 42 Novotný, Michal 26-27, 29 Nýbrž 12 O Oneohtrix Point Never 121 Orro, Norman 18 P Paděrová, Anna 167 Palmer, Samantha 162 Palmová, Veronika 12 Páll, Tamás 65 Páníková, Barbora 12 Panna Marie 97, 141 Pärn, Olga 169 Pärn, Priit 169 Pastričák, Jonatán 128 Pavlíček, Olbram 109, 122-123 Pecko, Štefan 12 Pergola, Chiara 13 Perlman, Janet 163 Pernický, Pavel 82 Perretta, Imran 64 Pešek, Kryštof 15 Pětiletá, Petra 14 Petrushenko, Wally 145 Piačik, Martin 133 Picasso, Pablo 77 Pikkov, Ülo 154, 169 Pjoni 19, 125, 128 Plodek, Michal 123

indexes

Pitra, Svatopluk 17-18, 154, 157, 170 Pius XI. 141 Pojar, Břetislav 170 Polášková, Markéta 14 Pošivač, Filip 164 Prchalová, Vendula 12 Preuβlera, Otfrieda 89-90 Přílučík, David 14, 33, 42, 127 Procter, Charlotte 26-27, 30, 60, 63 Procter, Sara 64 Prouvost, Laure 64 Pufler, Petr 12 Purkrábková, Noemi 123 R Radiohead127 Raes, Britt 162 Rafman, Jon 64 Reini, Zach 12 Reková, Žaneta14 Retterová, Linda 161, 163 Reynolds, Matt 161, 163 Režová, Michaela 166-167 Rinaldi, Tom 80 RITES 26, 65 Rivera, Quique 87 Robertson, Joanne 13, 130 Ročňová, Anna 133, 141 Rodriguez, Isabella 145 Roe, Annabelle Honess 166 Rohonyi, Iván 65 Rosenfeldová, Lucie 13 Rourke, Daniel 102, 106 Rushdie, Salman 64 Ruskin, John 172 Ryška, Pavel 17-18, 154, 157, 170-171

187

S Sagan, Kriss 47, 49, 56 Satie, Erik 77 Savege, Sean Nicholas 130 Scarabelli, Luca 13 Sceranková, Pavla 16, 133 Seigen, Irako 123 Selick, Henri 92 Shanken, Daniel 64 Sharp, S. Pearl 63 Scholaster, Radim 12, 14 Schrötterová, Viktorie 12 Schubert, Radim 22 Sigmundová, Štěpánka 12 Sináí, Salím 64 Sir.Sour 13 Sirůček, Jiří 123 Skálová, Alžběta 164 Slama, Anna 18, 139, 145 Slowmotiondancer 13 Smetana, Matěj 13, 133 Smetana, Zdeněk 90 Sobotková, Adéla 123 Soda Plains 119, 124 Soda Stream (VR_cz) 109, 123 Soubirus, Bernadette 141 Stehlik, Bohdan 13 Stehlík, Jaroslav 103, 111 Stein, Susan 63 Steinberg, Saul 15 Stratil, Václav 144 Strauss, Johann 15 Strouhal, Jonáš 112, 131 Střeláková, Lenka 15 Střeleček, David 123 Suchánek, Jiří 116, 129

indexes

Suchanová, Bety 162, 167 Suchý, Mikuláš 161 Svárovský, Petr 100, 110, 148, 150 Svejkovský, Zdenek 12 Swenson, Charles 92 Szeemann, Una 13 Szelesová, Andrea 162 Šebestová, Ivana 161-163, 90 Šichanová, Kateřina 12 Šimotová, Adriena 166 Škromach, Zdeněk 144 Šprincl, Petr 13-15, 75, 82, 136, 144 Šrámek, Bohuslav 170 Šrámek, Jan 14, 18-19, 84-85 Štrbová, Nora 167 Štrobl, Ivan 162 Štumpf, Dávid 161 Šulcová, Jana 12 Šuráň, Pavel 12, 14 Švankmajer, Jan 15, 91 T Tallone, Miki 13 Tan, Chooc Ly 61, 64 Tejml, Ladislav 39, 45 Tellez, Luis 87 Tender, Priit 169 Thelenová, Michaela 12 Tilšerová, Veronika 12 Tomkins, Albert 58 Tomšů, Jan 132 Trenčanská, Laura 12 Trier, Lars von 58 Trnka, Jiří 170, 17 Trnková, Barbora 12-15, 142 Turečková, Kateřina 91

188

Turner, Jan 133 Tvrdíková, Tereza 12 U Untitled A/V 13 Urbánková, Marie 162 Urrutia, Antonio 87 Uváčiková, Andrea 47, 52, 58 V Valchář, Matouš 161 Vávrová, Josefína 12 Villegas, Juan Pablo 87 Vítková, Lenka 15 Vitner, Kryštof 12 Vlková, Veronika 18-19, 84-85 Vlasák, Robert 12 Vohánka, Vlastimil 76 Vorisek, Jan 109 Vuorinen, Elli 172 W Warhol, Andy 58 Wedemeyer, Clemens von 81, 107 Winner, Chen 161, 163 Wood, Kris 15, 142, 137 Y Yebra, Emilio 162 Yasinsak, Rob 80 Z Zacharová, Veronika 161-162 Žák, Jiří 15, 31, 41 Zaman, Rehana 64 Zeman, Karel 89

indexes

Zet, Martin 14, 18 Zing, Isama 13, 128 Zlievsky, Martin 47, 48, 56 Zochová, Ivana 12 Zrubec, Radoslav 84 Zýková, Veronika 15

16 Festival of Film Animation andÂ Contemporary Art