Wonderland series( Wonderland, Urbania Jones, Save it for a rainy day, Spring-cleaning)

The actions in the videos are highly effective at demonstrating particular ideas- they combine a site specific intervention with a clear message that is easily grasped by an audience. They also strike an interesting balance-

they appear not to let the author nor the audience "off the hook" with making a parody of the subject matter: the author does not make "fun of something" creating a joke out of the situations he presents us with. He uses irony in a way that is highly effective that provokes us to think further about the implications that his interventions create.

This work is highly consistent- in a positive manner: each video builds on the previous one. The videos tend to be short actions- I would be curious about whether they could be made into a kind of larger video with more of a storyline as one possible way to explore and sustain some of the ideas.

"The WONDERLAND series " an appropriate title that had me anticipating what to expect from each short video. Debt is not exclusively financial and you seem to have captured the negativity associated with the word as a tribute through whimsical titles, cynically portraying the actions. However, I would like to encourage you to perhaps on a formal level edit certain aspects of the audio track an"The WONDERLAND series " an appropriate title that had me anticipating what to expect from each short video. Debt is not exclusively financial and you seem to have captured the negativity associated with the word as a tribute through whimsical titles, cynically portraying the actions. However, I would like to encourage you to perhaps on a formal level edit certain aspects of the audio track and the video so their relationship as a series is stronger. In your video "Save it for a rainy day" your actions and justification is understood — but why stop there? What about a site mark? How do you mark this territory where you may return to? It may give an opportunity for visual dialog that could ideally challenge your viewer or provoke them. "Urbania Jones" has this essence but you may want to revisit the editing. "Wonderland" kept me intrigued, first with the background audio giving clues to the narrative and then the figure seamlessly blending with its landscape similar to "Spring Cleaning" which is an intervention that just masks the issues you so eloquently state in your written statement and through your video.

I would imagine you may have already thought about how your work is presented in Valencia — I would be eager to see the response you get, specially from within the communities. I believe it is vital that you provoke and leave all your videos open to discourse and not a social commentary on the subject. Your intentions from what I see and read is moving in the same direction. Well done Vladimír.d the video so their relationship as a series is stronger. In your video "Save it for a rainy day" your actions and justification is understood — but why stop there? What about a site mark? How do you mark this terittory where you may return to? It may give an opportunity for visual dialog that could ideally challenge your viewer or provoke them. "Urbania Jones" has this essence but you may want to revisit the editing. "Wonderland" kept me intrigued, first with the background audio giving clues to the narrative and then the figure seemlessly blending with its landscape similar to "Spring Cleaning" which is an intervention that just masks the issues you so eloquently state in your written statement and through your video.

I would imagine you may have already thought about how your work is presented in Valencia — I would be eager to see the response you get, specially from within the communities. I believe it is vital that you provoke and leave all your videos open to discourse and not a social commentary on the subject. Your intentions from what I see and read is moving in the same direction. Well done Vladimír.

Each discrete video piece works as a poignant metaphor and criticism of key aspects of capitalist society. The visual staging and photography work very well in each individual piece, and complemented by the physical, embodied, intervention, the videos becomes viscerally poetic, in spite of (or perhaps because) the almost banal context.

The complementary text you have provided alongside your videos contextualises them very well, and provides strong argumentation for your performances and approach. I really appreciate the radical subversion of norms of public space, and the norms of how we are supposed to act within them. And the critique of the "public art" of the schools is also very important.

But I do wonder how effective the works were as public interventions? For example, would the drivers of the cars really have the opportunity to be affected by the actions? Was there a public on hand during the interventions? You mention you spoke to people on the street, what was the feedback you received?

Seen as a series, the project as a whole becomes even more poignant. The characterisation of the figure starts to come into play and a more complex reflection is engendered. The overall feeling is consistent, and the critique is quite powerful. I am curious to see the work in an exhibition context, and wonder how that might play out.

As a triptych, and in isolation, the work begins to evoke more questions than it offers answers or solutions, and in this quality it succeeds par excellence. The activities, or lack there of, ask us questions of useful work vs. useless toil; remediating vs. camouflaging debt/damage; comfort vs. unease - all while in urban spatial realities we are both familiar with, yet have not experience as they presented to us through these shorts.

As the succinctness of each short commands an intense but brief engagement, I'm immediately left wondering about the intervention of the footage itself into another environment - not a festival or gallery, but as a live event written over top of another context to gain critical traction from the friction of radically different spatial qualities against one another.

Spring Cleaning screened above a row of garbage bins.

While this opposition may lack the sophistication of the initial thought, the abrupt nature of the communication takes the communication out of the realm of constructed event into the public realm of (re)action.

The simplicity of the footage, and the manner in which they reveal themselves is consistent and direct - crossing the threshold between commentary and intervention might just extend the value of these shorts from filmic moments to more engaged interactions with the viewer.

Lastly, there is a sense of dedication to the serial nature of these situations and the human actors/actions that mark their narrative progression. Would a simultaneous screening be of benefit? Doug Aitken applied this strategy to great effect in his work 'Interiors' which was both serial and simultaneous, allowing the experience of multiple points of view at once depending on the viewer's orientation to the projecting surface.

A pleasure to watch. This is very simple, highly intelligent work. For me the intelligence and effectiveness is not in any kind of conceptual sophistication, rather the gentle paradox of negating futility with deliberately futile gestures. The comedic outcome is an antidote and critique of the bluster and cynicism of commercial mass media and the art market.

To do this convincingly is actually very, very difficult. So many subtle decisions result in a genuine charm. The spirit of these actions then is just as meaningful as the rhetorical content.

The relationship to the Festival's theme of Debt is indirect but present. Critical creative expression here is ingenious public protest.