I love traveling to cities having no idea that a festival or event is even happening. I went to Prague a few years ago (read about it here here and here) and loved it and wanted to go again to cut the traveling time of my trip from Vienna to Berlin. Signal Festival or Festival of Lights happened to start the night before I was leaving and I totally geeked out and went to as many installations as I could in a few hours! There were pretty long lines for each installation so I could only make it to five but obviously I took enough pictures of each one to make up for it.
The installation Brocken 5.1 is based on a phenomenon called the Brocken Spectre or mountain spectre. This phenomenon appears high in the mountains when a climber stands with his back to the sun and gazes from the ridge into the mist, creating a gigantic shadow of the observer that is surrounded by a rainbow. In this installation the viewer enters an interactive object intersected by 60,000 holes that create the illusion of a flight through a starry sky. Brocken 5.1 also makes reference to the topic of absolute darkness, that is, a commodity that is altogether insufficient in large cities.
Brocken 5.1 was first presented as part of the DEPO2015 project in Plzen and subsequently at the BLIK BLIK 2016 festival. In both cases the installation gained great popularity with viewers. This interactive object is also influenced by daylight, and the installation can therefore be visited and tried out before night falls.
The Japanese artist Yasuhiro Chida originally studied architecture at Musashino Art University. His interests include specific topics such as spatial awareness or change of somatic perception. Part of his creative process involves nature, where he spends much of his time, and which he incorporates into his work. He allows various forces of nature to act upon his installations, such as the movement of the sun across the sky throughout the day.
Voice of Figures
This videomapping by Radugadesign transforms the façade of the Kinský Palace into vivid color. And yet there is more to this performance, which at first glance seems like a cheerful play of basic abstract shapes and saturated colors, than meets the eye. Radugadesign has taken the large volumes of data known in the world of computer technology as “big data” and converted them into a soundtrack. The initial confusion and cacophony of shapes represents the unorganized data the creators of the videomapping have used as their medium, which ultimately come together through the facade of the Kinský Palace into shapes that form a harmonic melody.Thus the patterns and sounds created through this technically challenging process serve as the end product of a range of figures and formulas.
Since its founding in 2007, the Russian media and design studio Radugadesign has managed to carry out an unbelievable 350 projects. As a result, the studio has established a leading position in Russia in the field of entertainment technologies and interactive installations, achieving renown beyond their homeland as well. Radugadesign has been featured, for example, in France, Belgium, Korea, and even at the North Pole. The wide range of their activities includes everything from audiovisual shows to interactive installations, using combinations of their primary specialties – space, technology, and design. They collaborate frequently with a range of experts across creative fields including architects, designers, artists, musicians, and even programmers. The collective efforts of these individuals have created projects that for almost ten years have resonated with audiences throughout the world.
Rezonátor combines elements of technology with a philosophical subtext, all derived from scientific understanding. As expressed by its title, it consists of a model of a resonator – that is, a fundamental component of the mechanism of a laser module. And yet the artist doesn’t stop at the technical aspects of this device, but also presents the resonator as a metaphor for human existence. In his view, each human being figuratively functions as a sort of sociocultural resonator. During our lives we perceive all possible external influences of society in the same manner as this device. In response to feedback and reactions within us we give forth our own “memetic light,” reacting most frequently in the form of spoken expression.
Czech visual artist Jan Hladil studied graphic design and subsequently supermedia at the Academy of Arts, Architecture, and Design in Prague. During his studies he worked intensively on mastering the entire process of creating video in all of its forms. For several years he has worked as a VJ and has worked on videoinstallations and created content for the audiovisual label Lunchmeat. He has also collaborated, for example, with Laterna Magika on the New Scene at the National Theatre. In his freestyle work he focuses on interpretations of social, cultural, and yet physical processes, converting their specific visual manifestations into an artistic form of understanding. He has presented his audiovisual works at the National Gallery, the DOX Centre for Contemporary Art, the Gallery of the Capital City of Prague, the Chemistry Gallery, and the Zdeněk Sklenář Gallery.
Five otherworldly beings have occupied the planet SIGNAL this year. These giant figures
created by Amanda Parer seem to have just landed on earth, and now explore their
surroundings with silent interest and awe. They curiously touch the ground, timidly observe the activity around them from behind a corner, or roll delightedly across the soft grass. At first glance they appear fearsome, but their viewers soon recognize them for the kindhearted visitors they are.
This monumental installation is inspired by the 1973 Czech/French animated film of the
same name (known in Czech as Divoká planeta). It represents an incomprehensibly remote future in which our planet is settled by giant futuristic beings, where humans are merely wild aborigines no more sophisticated than creatures of the forest.
The work of Australian artist Amanda Parer explores the world of nature in all its vulnerability, as well as the role of humanity within it. In all her works, whether paintings, sculpture, or installations in public spaces, the main role is played by all manner of unconventional beings and wild animals. Enthusiastic audiences the world over have encountered the installations of Amanda Parer at festivals from Sydney to Sweden. While she has already been introduced to neighboring Slovakia through the White Night festival, her work will be presented to the Czech Republic for the first time as part of her Fantastic Planet installation. The SIGNAL Festival therefore serves as the European premiere of this completely new installation.
The Monolith installation gives homage to the quiet and the noise of the city at night. This light object absorbs all surrounding light sources and transforms them into an engaging digital show. Through alternating landscapes and environments, the installation evokes the impression of a dynamic ride in Mercedes-Benz brand automobiles, providing its viewers with an original experience of night in the city full of light, energy, and elegance. An integral part of the installation is a hypnotic sound that was created specifically for the Monolith by world famous composer from Bosnia Billain.
This installation is composed of 3,328 LED bulbs. Each of them is an independent point of composition, capable of displaying the entire color spectrum. This technology ranks among the newest trends and is now appearing at SIGNAL for the first time ever.
Hyperbinary is the latest project by Amar Mulabegović, Jan Šíma, and Martin Pošta. This international studio for Experiential Design is devoted to the development and production of light installations and videomappings, as well as concept development and visual presentation for large-scale cultural events.
*All descriptions of the installations are directly from the Signal Festival website