Other Visions
10 Short Films
from The 13th Festival of Film Animation
Přehlídka animovaného filmu (PAF) 2014
Olomouc, Czech Republic


Other Visions consists of 10 outstanding short films selected in the juried competition organized by The 13th Festival of Film Animation (PAF) in Olomouc, Czech Republic.

The festival took place on December 4 – 7, 2014 when Other Visions was presented and curated by Marika Kupková, visual art curator and film theorist. Referring to the films’ both formal and ideological approaches, Marika describes Other Visions as “a heterogeneous complex of media.” It encompasses “classical animation methods as well as digital “magics”, both narrative and abstract conceptions, traditions of visual conceptualism and cinematography, stylistic reminiscences and transformation of classical film genres, politically committed as well as lyrically introspective approaches.”

These 10 exceptional films represent the creative works by both amateur as well as established visual artists who have persistently and successfully pushed the boundaries of animation, video art and experimental film.

t A d is proud to showcase Other Visions (with English subtitles) to the audience here in Denton, Texas. We would like to sincerely thank PAF, as well as all the artists and producers involved. Most of all, our special thanks go to (c) merry and Nela Klajbanová for their initiative and efforts in bringing Other Visions to t A d.

Presented as an installation, the 10 films are successively projected onto a screen in a continuous loop. The concept of the installation and the sequence of the films follow, as faithfully as possible, the original intent of Other Visions’ curator, Marika Kupková.

Showing from May 26 through July 2, 2015.


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45” | 2014


The “situation” of a little room located in a clock tower with a view of the spectacular Slovak hill Kriváň is, in a way, Katarína Hládeková’s personal manifesto and selfportrait. The author has included an instruction with this video in which she suggests that the length of the projection be determined by the projectionist. (Only a projectionist, a so-called operateur, in the era of silent film was given so much independence and room for creativity.) In fact this requirement is apt evidence of the author’s approach, which connects extreme manifestations of analogue and digital technology. The animated gif refers to fundamental principles of animation and contrasts technically demanding puppet animations with the Internet animation format.


7′ | 2014

Markéta Magidová’s video poetically comments on the relationship between physical and virtual reality – we are moving from recollections of the real world to a present which is being lived in virtual reality. The author solves issues concerning the similarities between human memory and the digital, constantly re-written world. Reminiscences about the events experienced in the past and people’s behaviour in virtual space create an inseparable couple. The video is narrated with texts from Markéta Magidová and the poet Roman Boryczek.


20′31″ | 2014

The video title Reliable Relationship refers to the advertisement for a course in Neuro- Linguistic Programming (NLP) – coaching specifically intended for management training. In cooperation with Kristýna Bartošová, Barbora Kleinhamplová has created a twenty-minute edit from the NLP coaching workshop which took place in the conference hall of the Veletržní Palace in the National Gallery in Prague. A group of six actors, including the coach and the “authentic” participants who did not know that the situation was pre-arranged, participated in the workshop. The positions and behaviour of the participants serve as a parallel to the artistic operation on the axis of artist and recipient.


7′ | 2014

This film formulates the politically defined statement that radicalisation and sexualisation of desire, by which we are attracted to commodities, is a tool for the suppression of our compulsion to accumulate property. Its ideology paraphrases the 1932 book Sexual Struggles of Youth written by the psychoanalyst and Marxist Wilhelm Reich. The Czech translation was published by the Left Front and enjoyed great success. Among other issues Reich studied the relationship between sexual desire and the socialist revolution. The animation uses graphics made by 3D scanning; artefacts from the collections of the National Museum in Prague in zoomorphic and anthropomorphic form served as models for the virtual prints. The related theme of this film is that people are being objectified, while commodities are being anthropomorphized.


4′41″ | 2013

The video originated during the author’s residential stay in response to the new environment. Even the form of reflection, which is a (film) diary, corresponds with this situation. However, the author does not tell us the common and basic diary facts – the relationship between chronology and place does not correspond to the characteristics of a diary. The author’s commentary does not even use the past tense and does not register events in the form of memories, but he “only” brings a spontaneous print of the present.


videosmyčka 4′32″ | 2014

According to the author’s instruction this video should be played in a loop – the beginning and the end of the narration should not be obvious in the projection. In infinite apertures we look inside private post boxes in which letters, leaflets, magazines, etc. live (yes, “live”is the correct verb) in a standardized space. Due particularly to the form of recording, this voyeurism is unexpectedly full of emotion and tension.


27′36″ | 2014

Red Herring originated as secondary material when making Lost Case, with which Roman Štětina won the Jindřich Chalupecký’s Award. PAF visitors will be able to compare both these works, since even Lost Case will be screened during this year’s PAF. Maybe they will form the opinion that Red Herring changes the structure of the initial film material with a bigger formal radicalism.


50″ | 2014

The guiding motif of this video is the phased gesture of a hand when a palm catches a black object continuously “hanging” in the centre of the image. The animation of pictorial motifs in the foreground evokes the impression of a fall, but in fact it is caused only by the moving background. The media term “moving image”, which sometimes replaces technologically and culturally burdened categories of video and film, fits Kateřina Zochová’s video. However, the term “moving image” is made more accurate here: it particularly expresses the fragility of the boundaries between static and moving images.


2′16″ | 2014

The animation called Cartoon, based on the rhythmic and motion composition of abstract non-narrative images reminds one of modernistic film experiments of the 1920s (e.g. absolute film). Similarly it works with rhythmic replays of the same shot and uses animation to set the static image motifs into motion. What is fascinating about them is the way they move and change. Logically, the author speaks of diegesis as a landscape into which our dreams are projected.


58″ | 2013

This contribution to optical illusions originated from the connections between static and moving, square and spatial dimensions. Optical illusions, such as the viewers’ need to provide a square image with spatial dimensions, are revealed by the author’s straightforward and energetic gestures. The introductory static photography is simply destroyed by her own body when she jumps into a pool and reveals the lower hidden layer of rippling water into which the original image is folded and rolled.


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