The woman on stage is discussing space simulations, which involve creating highly detailed reenactments of what it would be like to take a crew into space. Astrobiologist Michaela Musilová, known as an ‚analogue astronaut‘ and a ‚marsonaut,‘ has extensive experience in this field, having led numerous simulated missions to Mars and the Moon. She has collaborated with NASA and the European Space Agency (ESA) and has participated in over 30 simulated missions to extraterrestrial landscapes.
Despite the intense nature of her simulated missions, which are meticulously recreated in cramped, claustrophobic detail, Musilová’s talk at Signal Forum, a conference associated with the Prague-based festival of digital art, was not solely focused on space exploration. While creating simulations of Mars missions requires creativity, it is not traditionally considered ‚art‘ or ‚design‘ in the usual sense.
Some argue that science itself is an art form, with beauty found in various scientific and mathematical concepts that are intricately linked to art. The festival aims to bridge the gap between art and science, showcasing contemporary visual art, urban space, and modern technology through various installations across Prague.
The combination of art and technology at Signal Festival creates a magical atmosphere, particularly at night when the installations are illuminated. Public spaces, such as Prague Castle, provide a unique backdrop for these artworks, adding to the overall experience of the festival. After only an hour in the city, I left Jiří Příhoda’s fantastic show at Sternberg Palace and was surprised to stumble upon the Archbishop’s Palace illuminated by Filip Hodas‘ video mapping artwork and techno beats. The Archbishop’s Palace, with its Baroque architecture unchanged since the 17th century, was brought to life in a bombastic new way by Hodas‘ Eternal Recurrence. Reflecting on the festival, I realized that the most memorable works were those that were intricately connected to their specific location, much like Hodas‘ piece. Jiri Prihoda’s Capriccio at Sternberg Palace exemplified this site-specific approach, drawing on Renaissance concepts and Cartesian geometry to create an immersive and confrontational experience.
Laterna Magika’s Iron Horse: Fractured at Clam-Gallas Palace was a unique performance piece that combined modern technology and traditional theatrics. The multidisciplinary performance made viewers into voyeurs, peering into passing trains and witnessing fragmented scenes of romance and murder. Laterna Magika, a Prague National Theatre ensemble, has a long history of combining film projection and live performance to create a dynamic interconnection between on-stage action and projected film.