ABOUT THE ARTIST
This young artist (born 1982) is a careful analyst of film. His videos sometimes arise in response to accidentally-found bizarre places and situations, and sometimes they are planned precisely and composed. Takac painstakingly analyzes and places scenes box after box into new films. Just like a detective searching for causes, Victor is able to observe seemingly secondary details, such as inert objects and beings, actions falling from the composition, and extremely long or short time intervals. This video-experimenter is currently returning from trips to faraway Australia, to offer his fans a glimpse into the endlessly changing landscape on the other side of the globe.
Viktor Takac entered the Czech art scene with "discovery" of a specific panoramic video film (BACK-WARD 2005, Pano-run-ma 2005). He refers to the aesthetic and artistic principles of related Michal Pechoucek (PRAM ROOM 2004, THE PASSANGER TRAIN 2005). Cooperation of both authors has resulted in installation such as "TAKE" (2011) where they re-definined the gallery spaces (Collectors "The Czecho-Slovak Pavilion" / Brot Kunsthalle, Vienna 2010 and Lessons of Art / City Municipal Gallery Gallery Prague 2011).
Takac´s panoramic work is sometimes based on static digital photography (ARE YOU TELLING ME, THE FUTURE CONTINUES IN THE PAST? 2008). Other works came out of found situations (BACK-WARD, Mr MOBIUS LIVES ON THE SECOND FLOOR 2007). The viewer is situated in to the imaginary central viewpoint. Circular scene is constructed through the movie. Action with repeating layers creates new meanings (such as in work Pano-run-me out 2005). In the first-mentioned installation a stroboscopic effect causes a "counter-rotation" effect. The frequency of the projected images create a similar impression as "the beam wheel effect " (the wheel of a car seems to turn the car backwards). The author points to the very autonomous space-time of a moving image.
Discovering invisible structures within visible images is Viktor Takac ´s main focus point. Even the current video (WHITE IS WHEN 2012 - 2013) analyses relationship between events inside and outside the screen. As what is on the canvas, the way it is presented the viewer is carefully apportioned by author. The compositional limits also formulates message about the remote location and time. What is missing in the image, irritate our curiosity and keeps our attention. Not just a sequence of projected images, but just exactly what absents defines "movie viewer" identity.