The exhibition entitled OUTER SPACE is based on several author´s work, which are united by studying and passing out photography at FAMU, also works with single theme using different author´s approaches.

It seems to be constructed the phrase of „photography of space” as a specific theme if only because any work based on visual scanning of existing in a specific area, in the case of this exhibition this is a major connecting element.

The space same as the time or movement is one of the omnipresent values, which determine every human achievement and its perception in a certain ways.

Photography are a medium which, given their static principles, compose movement and time into certain unity, for which the physical space is a visual border.

Often contrasting conception of intentionally photographed space is highlighted at this exhibition.

The space is getting out of the post of surroundings into a position of object, whether it´s centralised or representing author´s opinion - statement.

Seeing how specific media recording time photography is there is an imaginatory point in which time and space merge into one.

This general constellation provides the possibility of deliberately interfere a sense of temporal flow, as well as site specificity may be obscure.

Thus we can make an abstraction of photography, which diverges from historical context of description, information and argumentativeness.

Metaphysical impression, which is developed in Jáchym Kliment´s photographs are taking primary information about location, time period etc, anyhow they are including it.

Visualism, which provides tools such as flattening of the space itself, or unidentifiable timelessness, is side-effect of the author’s personal opinion, emotions.

The space called landscape and its mutation which Tereza Příhodová finds in her intimate themed reproductions, originally mostly analog recording.

Tereza abstraction is through post-production technology.

Whether it is a direct interference into negatives, slides or digital manipulation with data, peculiar fantastic world penetrates to captured “reality” spontaneously, contactly and ravenously.
Space as a factor of beginning of a new meaning based on contrast plays main role in Klára Žitňanská photography.

Conflict of everyday exterior reality with element, which finds itself at unexpected place coming from the inside of houses, apartments, shopping centres etc. blurs the distinction between “inside” and “outside” while pointing out the obvious need for a definition of space as well as logic of previous physical manipulation.

Extraction television lounge from the space of living-room, can refer to the Czech tradition of surrealism and poetism, as well as it forces the suspect whether it´s really a random walk of one object from one place to another, depend on its function, the owner, or it´s just event of yesterday´s night.
The space in connection with a man may be a field, author in the middle heading object-lens to object, which can be anything outside, even him.

Man handling straightly with an object of space, rating this activity as authorised, and so mechanically creating space in same ways as a castle can be made by cubes…this is a topic of Adéla Leinweberová installation.

Sound system design, acting even as instructional video works conceptually with the metaphor of human understanding of living space, handling, and concrete results.

Tereza Havlínková reaches the impression of the subjective perception of humans, formally through the environment and its artistic manifestations.

Elusiveness, glow flicking as unclear use of detail and context amplifies and transmits the impression of attempting to capture the tension, to seize and observe.

Area within the meaning of distance between the object and the author creates a barrier, which evokes the felt presence of voyeurism.
Outer space can therefore be seen as a way of defining the author and purlieu, collaboration, targeted manipulation, the area in which we construct our own reality.  Space, and reactions to it, is an inevitable part of natural existence, as well as the ideological background reflection, feeling, or visual works.

Ela Hasselstern