Kostka performs one of the galleries at MeetFactory (Centre for Contemporary Art) in Prague, via a 360-degree film and playback device.
The gallery is shaped as a Cube (Cube = Kostka in Czech), converted from what used to be the boiler room of a technical glass manufacturing works.
The 360-degree motorized rig is placed in the centre of the gallery space and films the architectural site in daylight. The 360-degree rig turns both vertically and horizontally in synchronized time, the choreographed movement of the camera creating an exploration of perception of space, recording every detail of the architectural site. The footage of the gallery is then projected back into the same architectural space when the room is cleared and in darkness.
360-degree film (excerpt). As the camera moves down through the space, new architectural structures open up. The frame starts to reveal objects in the physical space, reassessing the frame and the viewer’s structuring of the real.
A single laser is attached to where the camera once filmed, as the rig turns the laser travels through the space, projecting a beam of light around the space, from ceiling to floor. The laser invites the audience to follow it in the darkness.
A variety of different rigs are made that explore this notion of the image/tracking device. In this rig a monitor is installed where the camera was once placed and then a laser is fixed to the opposite end, as the rig turns 360 degrees the laser tracks in physical space the image on the screen. This has potential, but in a large site it is difficult to locate yourself in relation on the small screen.
The footage is projected on a large floating screen, presented in the centre of the space when the room is cleared and in darkness. The represented image comes into critical conjunction with the actual space of the gallery and the pre-recorded sounds on speakers around the space amplify the acoustics in the room, without using pre-recorded material from elsewhere.
There is a split between attention to the ‘inside’ of the frame (the projection screen) and the ‘outside’ of the frame (the gallery space around the screen). The film on screen makes reference to the space around it, thus connecting the projected space with the architectural site. It serves to connect the image to the gallery space suggesting the spilling over of the image into the viewer’s space.
“The filming rig is used to make reference to the architectural site via a small laser pointer, attached where the camera has once been. This makes me equally aware of both the filmic space and the physical space in which I am standing”. (Audience feedback)
“I became part of space and film through a machine that recorded the space in the past and acted in the present (through its motion and sound, and through the laser pointer and the synchronized projection). The space was no longer a motionless entity that I could explore or passively inhabit, but it became
“activated”. (Audience feedback)
“I think the artist wanted to expose the space and wanted the audience to experience what happens if you magnify the sound of the room as it actually is. The space feels alive.” (Audience feedback)
“It would seem she constructs her machines, primes them, and steps away to allow them to complete her work as if they have an intelligence of their own.” (Audience feedback)
Kostka exposes the space sound itself and allows the audience to experience what happens when your attention is drawn to the actual sound of the room. Sound promotes the coherence of the visual representation of site and tells us what we feel about what we see. Field recording is more than simply recording sound in situ, it decontextualizes sound, lifting it out of place and sending it into wider circulation.