Promítáme v Ponrepu
úvodní slovo: Matevž Jerman (Slovenska kinoteka) a Jurij Meden (Österreichisches Filmmuseum)
Program zaměřený na slovinskou stopu v dějinách experimentálního filmu a videoartu představí historii filmové a umělecké praxe, která se v době socialismu odehrávala mimo oficiální kulturu. Uchování těchto filmů z let 1945–1991 bylo až donedávna nejisté, dokud se jím cíleně nezačala věnovat Slovinská kinotéka.
Výběr z této unikátní kolekce představí její iniciátoři, filmoví historici a kurátoři Matevž Jerman a Jurij Meden. Pásmo slovinských experimentálních filmů, videoperformancí a videoartu ukáže na tematické a formální rozpětí, jaké zahrnovala neoficiální filmová praxe na území bývalé Jugoslávie. Jednalo se o daleko rozsáhlejší aktivity, než jak tomu bylo ve stejné době v Československu, ale přesto nesou i společné rysy, jakými jsou: existence tvůrčích komunit, ale i solitérů a v neposlední řadě smysl pro subverzivní humor.
Program ve spolupráci se Slovinskou kinotékou a Velvyslanectvím Slovinské republiky v Praze.
English only
Experimental Film and Video Art – The Slovenian Trail
Introduction by Matevž Jerman (Slovenian Cinematheque) and Jurij Meden (Österreichisches Filmmuseum)
A programme tracing the Slovenian trail across experimental film and video art will present the history of film and artistic practice that took place outside official culture during the socialist era. The preservation of these films from the years 1945–1991 had been uncertain until relatively recently, when the Slovenian Cinematheque began to address it in a systematic and dedicated manner.
A selection from this unique collection will be presented by its initiators, film historians and curators Matevž Jerman and Jurij Meden. The programme of Slovenian experimental films, video performances and video art will demonstrate the thematic and formal range encompassed by unofficial film practice in the territory of the former Yugoslavia.
These activities were far more extensive than what was happening in Czechoslovakia at the same time, yet they also share common features, such as the existence of creative communities as well as solitary artists, and not least a sense of subversive humour.
Prague Spring (Praška pomlad, Vinko Rozman, 1969, 11’)
A contemplation between Ljubljana and Prague in 1969 and a unique elegy for Jan Palach and the Prague Spring.
Nokturno (Vasko Pregelj, 1965, 14')
Nocturne explores the possibilities of black-and-white 8mm film through still-life compositions, associative montage, the multiplication of images by means of multiple exposure, and the direct translation of inexpressible, fragile feelings of melancholy and loneliness into the language of images.
Danse macabre (Ples mask, Franci Slak, 1971, 9')
A mysterious, playful group performs an unusual dance macabre in gas masks in front of a local church, while in the background smoke-belching chimneys pierce the sky. The film captured the spirit of its time and shocked the Yugoslav underground film scene with its unique blend of psychedelic playfulness and dark dystopian imagery.
The Gratinated Brains of Pupilija Ferkeverk (Gratinirani mozak Pupilije Ferkeverk, Karpo Godina, 1970, 12’)
A collage of scenes shot in different light. Each scene carries an individual tendency and a tremendous yearning for freedom.
Dislocated Third Eye Series: Next Movie – High Noon (Hommage To Fred Zinnemann’s High Noon) (Frančiška Knoblehar (OM produkcija), 1983/84, 14’)
The camera becomes an extension of body and spirit—a literal and symbolic “third eye” that sees beyond ordinary vision. The film plays like an adrenaline rush: it breaks free from the steering wheel, spirals wildly around a speeding car, captures watercolor-like pastel light, and ultimately returns to its point of origin.
Bite Me. Once Already. (Ugrizni me. Že enkrat., Davorin Marc, 1980, 1’)
The cult film by Davorin Marc was created by biting eight-millimeter film stock and raises questions about how the material nature of film can be rethought when it comes into contact with teeth and saliva; and how biting and materiality ultimately emerge as image.
The programme is presented in collaboration with the Slovenian Cinematheque and Embassy of The Republic of Slovenia in Prague.