Asides from a sense for the illusionary nature of expression, Aleš Brázdil’s paintings are also characterised by the presence of a certain sense of visual irritation. Observation of the artist’s paintings arouses a feeling of profound unease. To transform one’s artistic abilities into a visual form – registering among observers as dynamic, of free-flowing substance, and that can freely continue to be further reshaped, manipulated, and reformed according to particular needs – the author offers an examination of an analogical world of a reproduced record, in which the static medium of both classic and digital photography, and the
configurational time-based media of video, film, digital capture, and documentation are utilised. Brázdil is fascinated by the notion of a time capsule, fixed within the medium of choice, and which can be returned to at will. 2 But what are the hidden motivations that lie behind the artistic “mining” that yields such reproductions?

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text: Petr Vaňous

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Catalog from the BADOKH edition