Homeperformance
video, 11:42 min
2011
Videos and Videoinstalation by Miroslav Hašek, student’s of Faculty arts and design a Faculty of art education to show us usual everyday activities, with their automaticity and repetition to became a sort of obsession or ritual. Miroslav Hašek benefit from his owm expenence of childhood memone’s and reflection of family produce enviroment. This enviroment stories and games with lives ther their own lives and rules. These rules unspolen, fixing custom, structured pictorial space and building storyline, Mirloslav kepp the distance and than this story vizualized with sense of understanding. This vizualization ofinternal scructures, memories and collection of habits gives his works a didactic or educational dimension in the general sense. That’s the reason why are waseh’s videos so comunicative across the audience spectrom. His wokrs also shows strong visual impact, dynamic image, editing and sound, those state shows Miroslav’s cvaftmanship. The impressiveness of Works not only ahows a number of domestic and foreign exibition, but also that he won the Homeperformance video installation at the end of 2011 award Exit, awarded every two years in an international professional jury composition. Worth mentioniny aleso is working with Libor Ptacnik. These common videos are more narative and seeh to explore the dassical boundaries of film and media.
Mgr. Vendula Fremlová, Ph.D.
KDTU FUD UJEP
Miroslav Hašek's video installations are fascinating thanks to their visual richness. The individual shots, which are appealing in terms of the colours used, and the way they are shot and edited, are complemented by pleasant music or by appropriate, self-explaining silence. However, they create traps, too. The actors featuring in the video installations perform common activities (getting undressed, going upstairs), which are, however, made more difficult by their personal disability. The effort to overcome this limitation and to come to terms with it in a dignified way is showcased here; it thus becomes almost a ritual, a paradoxical koan, resembling a children's game at times. What is certain though is that the spectator ends up wishing the actors luck, hoping that they will successfully complete their activities. Miroslav Hašek longs for the depiction of a perfect moment that, thanks to its simplicity, banality and commonplaceness, acquires the dimension of immortal eternity. Because no being is redundant, no affection is unimportant, no event is insignificant and no dream is unfulfillable. The traps, by means of which the artists captures us, remind us that hope is everywhere and that even impossible is possible. Right now..
Mgr. Eva Mráziková
KDTU FUD UJEP