Lubos Rezler, Franz Milec: Visions
Donnerstag, 28. Juli 2016 - 19:00 Uhr
Aa Collections
Milec and Rezler are 2nd year students of the Center for Audiovisual Studies at the Academy of Performing Arts in Prague. Although Rezler and Milec worked separately before, their have recently joined forces.
In their work, they often experiment with perception and its impact on body and identity, especially in the era when the human audiovisual field has been fully politicized and commercialized. As students of a film school, they are in constant discussion with cinema, and both of them tend to play around with science fiction tropes, yet manage to turn the spectacle inside out to create unexpected meditative experiences. The artists have experience with work in advertising, which left its considerable mark on their common aesthetic.
The narrative in their work is largely suppressed, but observed as a whole, it can be understood as a complex speculation on what the world might look like in a few years, or maybe even today, while somebody?s utopia is in the making. Their alternative realities are the ones that you, too, can see, but rarely notice; the ones that you hear, but never listen to.
Lubo? Rezler?s primary site of operation is the metropolis – he tries to grasp the phenomena of a "future" city that functions as a living organism. As a young filmmaker, he is influenced by the film language and reuses the tools of contemporary cinema to create a fusion of postdigital installations and videos. His fascination by new technologies leads to his work with the BLOK_4 collective, which does sitespecific, audiovisual installations, that aim to immerse the viewer and express narrative within light and time.
Franz Milec focuses on cities' peripheries and their blatant banality. Channeling the works of Edward Hopper, Robert Smithson, and David Lynch, he seeks beauty where people see none. He considers these places to be crucial in shaping his own creativity, while capturing their underlying feeling of alienation. Milec tends to work in as many media as possible, but for Visions he transferred from analog to full digital and completely abandoned nostalgia present in his previous works.