Den otevřených dveří:
4/11 2015, Den otevřených dvěří Ateliéru intermédií FaVU VUT Brno, 13:00–19:00, Údolní 19.
První ateliérová schůzka je ve středu 23/9 13:00, místnost 316 (Údolní). Prosíme o dochvilnost!
Novým vedoucím ateliéru bude od 1. září 2015 umělec Pavel Sterec.
Přibližuji, zvětšuji | Getting closer, magnifying (Galerie Kabinet)
Přibližuji, zvětšuji | Getting closer, magnifying (Galerie Kabinet)Filip Cenek 3.3.2009
Filip Cenek, Radoslav Zrubec, Gabriel Abrantes j.h.: Přibližuji, zvětšuji. Galerie Kabinet, Brněnské kulturní centrum.
Recenze | Review (Flash Art): http://intermedia.ffa.vutbr.cz/priblizuji-brno
The initial theme of the installation is that of a school workroom both at the physical level and intellectual level. The “lab” serves either as a lecture workroom or a room to keep collections in. It evokes the ghosts of preparations, unfinished experiments and lost patents. One of the determining principles of a school lab is the reduced selection of the phenomena which can be metaphorically taken as drawing nearer and enlarging the phenomena via the general optics of our perception. — The spatial installation consists of projection and small objects. Projection from two slide projectors is concentrated into a single format. It combines static black-and-white slides and text captions. The rhythm of the projection by the two slide projectors is asynchronous. The image and text are not united in seamless sequences but form something of a dual syntax. The traditional accompanying role of captions fades and the text becomes an equally important and partly independent plane within the image. The projection is reminiscent of spontaneous images in our memory, imprints of image perceptions that linger, no longer intercepted by our senses, a mix of the reception of the world outside commented from the inside. — The execution of the projection refers to the “polyecran” (content-linked system of simultaneous or sequenced screening of photographic or cinematographic stills), in the Czech context they are especially connected with the progressive exhibition in the Czechoslovak pavilion at the World Exhibition in Montreal in 1967. This comparison contrasts with another unique feature of the installation – the relative absence of hi-tech spectacularity. The “disturbing” clicking of the slide projectors or the canvas framework tilted from the projection format distract the viewer from entering the diegesis (the universe where the story takes place), although the whole of the installation is provided with a seductive background musical composition on the moral relativity of friendship. — (Marika Kupková, press release; Getting closer, magnifying. The Cabinet Gallery, Brno)