2. We Are People Who Understand Flexibility Has Its Widespread Benefits
Boneless arm, representative of a precarious society
Silicone cast, object, 2015
3. Sometimes They Almost Feel Happy
The installation maps the nature of contemporary society
from the perspective of human emotion that always violates
social norms and requirements.
I was searching for a way to talk about the precarious society
and its problems: anxiety, fear, excessive emotions and the
virtual environment where people spend most of their time.
Inevitably, I deal with the theme of the body, the virtual body
in particular, in connection with a certain affect and therapy
that have become a part of our world.
installation
(plazma TVs, stands, extension cords, projection, text)
take-away text, 2015
4. Sometimes They Almost Feel Happy
installation (plazma TVs, stands, extension cords, projection, text), 2015
8. The Labour of the Eye
“The Labour of the Eye” is inspired by a research of Jan Evangelista Purkyně, the 19th century
experimental scientist, who dedicated his research to eyesight and its relation to experience
and very essence of vertigo feelings brought about by rotating movements. His experiments using
merry-go-round or see-saw served for therapeutical procedures. Under the category of vertigo he
included illusions as well as fallacies.
The vertigo theme is framed by an experience of corporate sector. The camera is rotating inside
an open office, it evokes a sense of heaviness and confusion. Whispering voices that accompany
the camera`s movement tell a story of bemused clerk who, frustrated and lost all alone with his
feelings, wanders around the office.
video (7’, audio)
In collaboration with Zbyněk Baladrán, 2014
9. Sleepers’ Manifesto
Sleepers’ Manifesto is a project about sleep as a symptom of our current society. It expresses revolt against late-capitalist society which
is running only too fast without knowing where, which celebrates action for its own sake and whose heroes are those who sacrifice
sleep for success. It expresses a desire for a different world where sleep and rest are valuable in themselves.
video (11’, audio)
In collaboration with Tereza Stejskalová, 2014
11. Sleepers. A three-act play with six actors.
We fall asleep when we want to be awake and we cannot sleep when
we would wish nothing else.
performance / theatre play (40’)
In collaboration with Tereza Stejskalová, 2014
12. Reliable Relationship
I’m interested in a paradoxical relationship between seemingly contradictory logic of the art and the economics.
In the simplified scheme imaginable on the one hand imagination and irrational instincts and on the other
exactness, logic, reason. In the confrontation between the two spheres, however, the gap between them suddenly
seem less overwhelming, economics becomes irrational and art is inseparable from economics. This work is based
on the confrontation of these seemingly unrelated disciplines, rationality and esoterics.
performance 1,5 hour
video (20’, audio; filmed by Kristýna Bartošová), 2014
15. Fieldwork on the Human Kind
In the twentieth century machines replaced human labor;
now they are displacing human perception. In the light
of an impending ecological disaster, a new perspective
opens, which shows the story of the modern human as
a finished chapter. A radically alienated, distant, technical
look at humans swarming like insects offer a possible
artistic strategy which can help us understand what we
have come to.
installation, 2015
16. I Love Things, Silent Comrades
The installation consists of five pairs of different
technological devices - e.g., smartphones, TVs,
notebooks. Each set reproduces a dialogue between
a therapist and a person/object in trouble.
The form of the performance is inspired by
the rubric Letters to Sally in the Mlady svět
magazine in 1970s and 1980s in Czechoslovakia.
The section was quite popular at that time
especially among young people as it dealt with
their personal problems without bias.
In our piece Sally has to respond to
complaints and grievances related to
the intimate and traumatic relationship
between people and technological devices.
In the performance-installation technological devices
face each other and transmit the actors voices.
Actors are present but only as silent assistants.
In collaboration with Jiří Skála &Tereza Stejskalová, 2015
17. Circle of Confusion
I focused on „debt“ as an individual’s obligation to society. The case of the murderess Olga
Hepnarová can be understood as an extreme example of the conviction that it is society
which owes to individuals. Hepnarová drove into a group of unknown people with a lorry
truck because she assumed they represented the society which was indebted to her and
which could not meet its obligation to her. Her act was in fact a monstrous instance of debt
collection (repossession).
installation, 2013
18. Thoughts in Circles
Installation in Cube Gallery was meant to be a free interpretation of spiritist photographs from the 1920s.
I was looking for a possible connection between a spiritist séance and today’s “Homo economicus/ Homo
consumericus”. White shirts were free to be taken away by the visitors symbolizing ghosts that thus came
to life.
installation, 2012
