“Mikrotopijos” – filmas sukurtas apropriacijos strategija, kai ant filmo vaizdo takelio klojamas garsas “iš kitos operos”, – taip susitinka skirtingi kontekstai.
Apie filmą menotyrininkas Kęstutis Šapoka:
“Videomenininkas, dokumentalistas, tapytojas Evaldas Jansas ir šį kartą imasi sau būdingų prieštaringų socialinių ir socioestetinių temų ir kaip visada „nevynioja į vatą“.
E. Jansas savo filme “Mikrotopijos” supriešina garso į ir vaizdo takelius, iš tiesų suklodamas vieną ant kitos, sukergdamas kardinaliai besiskiriančias tikroves ‒ socialinį užribį, marginalumą, „nenormalumą“ audiotakelyje ir parodomąją, dekoratyvinę, propagandinę tikrovę vaizdo takelyje, kuri paprastai retransliuojama per masinės komunikacijos priemones.
Taigi, kontrastuojantys garso ir vaizdo takeliai sukuria paradoksalaus, paranojiško erdvėlaikio įspūdį, kai nebeaišku kuri iš pateikiamų ‒ atpasakojamų ar vaizduojamų ‒ tikrovių yra „tikrovė“. Bet kokiu atveju, parodomoji, demonstracinė tikrovė, retransliuojama per masines komunikacijos priemones šiame filme apsireiškia kaip prasminė tuštuma, kuri atitinkamai didina ir nesustodama daugina ir egzistencines tuštumas.”
Projektą dalinai remia Lietuvos kultūros taryba ir Lietuvos respublikos kultūros mininsterija.
During the course of the exhibition Lithuanian Art 2012: 18 Exhibitions at the Contemporary Art Centre in Vilnius, the Los Angeles based artist Marcos Lutyens performed a hypnotic induction aimed at dematerialising the monument of Frank Zappa (erected by a community of artists in Vilnius in 1995). The project was made up of a targeted series of inductions that offered a pre-selected group of volunteers the experience of transformation and metamorphoses through hypnosis. Evaldas Jansas documented the inductions while simultaneously mixing video documentation of the exhibition and sound recorded from contact microphones and a special circuit for receiving ground signals placed on the Frank Zappa monument itself.
This film is based on the expedition to Latvia between the 3rd and 6th of May, 2012. The researchers visited the former Soviet military centre in Irbene with the world’s eighth-largest radio telescope and the Libava fortress, the most expensive and ambitious project of the Czarist Russian army on the Baltic sea, taken over by the Third Reich and then the Soviets.
Evaldas Jansas documentary film “Freedom to create” is about the prisoners, creating in places of detention. The film director listens attentively to the prisoners’ stories, where the leitmotifs of mistakes made in life, punishment and creative work, serving as a form of liberation, intertwine. Showing the world through the eyes of prisoners or social underworld, Jansas puts the spectator into such a context, which we normally do not want to know anything about – he treats us with a full-length portion of rich and specific contradictory reality not wrapped into glossy ideological paper, without imposing one truth or any in advance prepared responses.
This tricky musical documentary captures the director’s search for an idea of the proper soundtrack for his film. With a handful of diverse musicians, composers, producers and critics featured, the work effectively becomes an understated ode to Lithuania’s newly burgeoning music scene. Yet there is also a catch: the very abundance of options makes it nearly impossible to choose one, so the only actual soundtrack can be the documented soundscape of the search itself. The director is left standing on the “naked shore” mentioned in one of the songs, obsessively gathering pebbles and seemingly having lost a sense of direction.
Scissoring pictures of naked women, hearing gossiping on an unlucky neurosurgeon, viewing of a weather-forecast-lady pointing at a huge brain projection. Views and sounds merge provoking curiosity and versatility of interpretation: the movie is a mixed brain of a modern person, a mescal, an ironical view of the pop culture and its critics.
The creation of Evaldas Jansas “To Be on Show” („Būti išstatytam“) can be hardly applied any specific genre characteristics. Here one may find documental shots of Vilnius city detailed plan presented to the society, and day-to-day life of psycho-neurological pension home inhabitants with the intertwined “faked-up documentary” i.e. – the acted scenes and computer-edited effects. The entire plot of a tragic and auto-ironic fiction is accompanied by the narration of a stuttering hero, how he finds himself in a lunatic asylum.
It is the third work by Evaldas Jansas of “Anthropology” film series (previous ones: “Anthropology of Fake Documentation: Violence”, 2004; and “Anthropology of Abuse”, 2004). The narrative of the film is based on a very ‘personal story’ of the man (it could be fiction or not), and his reflection to the advertisement mediated society. The video work is constructed of documentary and animated images, whish stimulate a comic, ironic and farce like perception. The story by the artist is told in a particularly sincere manner, which reminds the strategy of suggestibility used in advertisement. It makes a contrast with objective images (inversion of advertisement strategies) and knocks out of experiencing the usual satisfaction. The question is: is it a contemporary capitalism which laughs at me, or it is me, making parody of it? (D.Tumpytė)