Ivan Ladislav Galeta

Documentary about the life and work of Ivan Martinac (1938-2005), avant-garde & experimentalist filmmaker from Split, Croatia.

"A one-minute split-screen goof" from Yugoslavian artist Ivan Ladislav Galeta.

A video letter, created during the years of war in Croatia when communication with the rest of the world was difficult. It is addressed to the author's Hungarian and British friends. The author is sending electronic flashes with his hands, and his voice delivers the message in Hungarian and English.

With research that spans the work of philosophers Gilles Deleuze and Martin Heidegger to modern mythologies in which time reversal plays a crucial role — such as failed time machines, speed of light travel, and occult practices involving speech — Stracke combines science and philosophy in an attempt to defy death through cinema and the notion of time reversal.

"A one-minute split-screen goof" from Yugoslavian artist Ivan Ladislav Galeta.

A video letter, created during the years of war in Croatia when communication with the rest of the world was difficult. It is addressed to the author's Hungarian and British friends. The author is sending electronic flashes with his hands, and his voice delivers the message in Hungarian and English.

A video letter, created during the years of war in Croatia when communication with the rest of the world was difficult. It is addressed to the author's Hungarian and British friends. The author is sending electronic flashes with his hands, and his voice delivers the message in Hungarian and English.

Ivan Ladislav Galeta's first experimental film displays a narrative structure and a philosophic/mystical idea – we begin nowhere and we end in nothing, at the starting point. From a hidden position, the camera follows a man in a black coat who approaches passers-by asking directions without taking his hands out of his pockets. The passers lift their hands and point their fingers at the direction he uses to continue his way.

Ivan Ladislav Galeta's first experimental film displays a narrative structure and a philosophic/mystical idea – we begin nowhere and we end in nothing, at the starting point. From a hidden position, the camera follows a man in a black coat who approaches passers-by asking directions without taking his hands out of his pockets. The passers lift their hands and point their fingers at the direction he uses to continue his way.

Ivan Ladislav Galeta's first experimental film displays a narrative structure and a philosophic/mystical idea – we begin nowhere and we end in nothing, at the starting point. From a hidden position, the camera follows a man in a black coat who approaches passers-by asking directions without taking his hands out of his pockets. The passers lift their hands and point their fingers at the direction he uses to continue his way.

A short experimental film; "An hommage to silent movies".

A delightful experiment in sound, using classical music. Galeta iconoclastically subverts the romantic score of a Chopin waltz by manipulating three out of four performances by pianist Fred Dosek.

A delightful experiment in sound, using classical music. Galeta iconoclastically subverts the romantic score of a Chopin waltz by manipulating three out of four performances by pianist Fred Dosek.

A short experimental film dedicated to Polish artist Wacław Szpakowski (1883–1973).

One film projected two times with a difference of a couple of seconds.

A video that uses Finnegans Wake as a structuring device to create a portrait of the farm Galeta retreated to in his final decade, where he focused on making the study of permaculture his ultimate 'artistic landscape'.

A piano player is able to perform a Chopin piece backwards and Galeta will film it backwards and forwards creating four different variations of a movement bound to time.

A piano player is able to perform a Chopin piece backwards and Galeta will film it backwards and forwards creating four different variations of a movement bound to time.

Ivan Ladislav hides a true chamber of wonders behind the clear, mathematically abstract structure of his films and videos, meticulously compiled rhythmically frame for frame, each work likewise presenting an analysis of the film medium. Concealed therein, culled from deep in the medium’s prehistory, are hermetic parallel universes in whose number ranges and symbolic spaces, Galeta’s precisely constructed film compositions find a formalist anchor.

Playing with the recording of a water polo match, Galeta creates a kind of Copernicus twist in the structure and perception of this sports game. The ball still motivates the movements of players, but it is no more a dynamic element, but the fixed center of the image.

An early video work by Ivan Ladislav Galeta that underlines the perceptual presumptions of video-media.