My visit to Prague PQ Festival/ Theatre Design Practices

During my visit to PQ festival in Prague i collected photographs from the scenography works and exhibitions i found more interesting. The practices of 'theatrical design' involve  the collection of diverse images and found objects, their dislocation in an other space(the space of the play), as well as their constant transformation over time.

Milon Kalis exhibition:

His sketches of the narrative, structure and characters reveal a process of work which invoves collaging: juxtaposition of diverse fragments substracted from reality and their original context, mixed with his own fantasy until they obtain a totally new meaning.

The following photos are from a students' exhibition. I apologize for not remembering the name of the college. Again what fascinated me was the surprising juxtaposition of different realities: true vegetation  grows and water runs on a floor made of tiles, a bathtab is turned into an armchair,...

The next photo is from a mural in one of the exhibition spaces. Interesting enough, it was not one of the exhibits.

Artist Mat Collishaw

The following images are taken from an interview that Mat Collishaw gave to Stephanie Cotela Tanner, for  the ArtBook (volume 17, issue 4, november 2010).
Collishaw says that ' elements such as fire, water, blood, and these very primitive elements are elements that i use in my work a little bit as well, such as using animals and birds to stand in for human beings.'
As Tanner captures his exact words, he continues saying about the interface he chooses to work:
'I do not like going to exhibitions and seeing straightforward video projections on walls or screens;...I try to create work in which the spirit of the video inhabits the inert nature of an object... It is a more interesting way of depicting the image and it also exaggerates the contrast between the modern video and old, inert, dead furniture.'
For me the most interesting thing is that his installations create the illusion of a 'fantasyland'; of a land of exotic animals and of beings kept in captivity; of another 'world' looming in the other side as he adds to his 'free-flowing narrative' the physicality of real windows and doorways. As Tanner mentions, he is' choosing to work between the interface of sculpture and film.'