1985, 4:29 min.
During the 1980s Michal Bielický experimented with techniques on how to creatively use the first digital video editing machines to alter, distort and rearrange his video material, akin to his mentor Nam June Paik's exhibition in 1963, when used magnets to distort his own television-set-based artifacts. Works like Four Seasons (1984), Circulus Viciosus (1985) and Paik-Hat (1986) are disturbing linear narrative traditions through editing techniques and stop motion, whereas Perpetuum Mobile (1986), Next Year in Jerusalem (1988) and Golem is Alive (1989) introduce digital editing techniques to create videos. In 1989, when Golem is Alive was released, Bielicky started to expand the two-dimensional video works into the exhibition space.
Michael Bielický (1955) lives in Germany since 1969. He studied fine arts at the Academy in Dusseldorf in Nam June Paik studio, with whom he later worked as an assistant. In 1991 he founded and directed the New Media Department at the Academy of Fine Arts in Prague. Since 2006, he has held the chair of Media Art at the University of Art and Design at the ZKM in Karlsruhe. Bielický is one of the first artists to develop work with electronic and digital technologies in the European and Czech environment. Most often he works with themes and tools of communication, navigation, video and VR technologies and in recent years also with web-based information in public space. His work has often been developed in collaboration with the ZKM in Karlsruhe, and presented at the Ars Electronica festival and in art museums such as the Centre Pompidou in Paris and MoMA in New York. Belongs to the circle of friends of Woody and Steina.