In the centre of Martina Holá´s project The Dog´s Days lays the analysis of a lost dog case, which has recently been in the media spotlight. By this seemingly banal situation, the author pointed out the omnipresent risk of human tendency to fall for emotional illusions. Holá also speculates about various opinions on the event itself. By revealing this contradiction of perspectives, the author opens up questions about nature of the objective truth. At the same time, she searches for ideal construction of a metaphorical fable, which spreads as a present folk tale. A performing rescue fire brigade, an organised fall of rocks, an animated caricature of the main character in this story – the lost dog, all these are parts of mosaic of complex environment created in the space of gallery. The hyperbole is achieved by exaggerating the elementary animation principles, simple performative etudes and deconstructing of film medium. Its aim is to highlight the subjectivity of creating representations of reality and the distortion of human perception.
Black and white can be considered ghost colors – dead reminders of living colors. Colors that have faded away. All that remains is a memory in shades of grey. With light and shadow, we create doubles of reality. Mysterious reflections that have haunted our perceptions of the world for over 200 years. The photographic process as the art of ghosts, the conflict of phantoms. In Black Mirror, tour guide Katie explains to Cooper a new computer game she is testing: Welcome to the nineteenth century. No TV, no internet, no wi-fi. The fewer distractions, the more often people see ghosts. The continuity of visual stimuli produces a similar effect as the absence of it. Technical images glowing from monitors can induce visions just like a flame casting shadows on a wall. As technological innovations continually improve our ability to summon phantoms, the realm of the ghost expands. Hito Steyerl refers to low-quality, poor-resolution digital images as ghosts of an image.
