Viktor Takáč (1982) is generally interested in the parameters of a film work, as well as the “projection situation”, or the set of conditions that surround the actual showing of the film. So at exhibitions he does not relate to film only
at the relevant immaterial level, but also through the physical adjustments to the space that the projection impacts.
Viktor Takáč has been dealing with new spatial forms of the video moving image on a long-term basis. The viewer’s experience with the linearity of the narrative, as well as with the editing temporal sequences of scenes is substituted by combining various fluencies of dollies and animation of static photographs. In his works, Takáč literally remodels and gradually (re)discovers the spatial forms found
in his videos. His source material often includes documentary diary scenes and arranged studio situations designed for photorealistic record.
Milan Mazur (1989) is the creator whose visual language is constantly balancing the edge between the spectacularity of contemporary mass visuality and its questioning, including the critical and social subtext. His videos and films enter a wider installation framework in which the author often uses the contrast of common objects and expressive deconstruction. It constantly moves between the submissiveness of the artificial sweetener of consumer culture and hides ubiquitous existential anxiety. In Slovakia, the born artist is a graduate of the studio of inter-city confrontations of the Prague UMPRUM and currently lives and works in Prague.