Fotograf Magazine

Photographer Zdeněk Porcal and multi-media artist Lukáš Hájek cast aside their individual artistic identities exclusively in order to undertake work with public space. Their joint projects in the past included the planting of dummy explosive devices (in reality these were just bundles of wires) in several locations around Brno, with a rather disagreeable aftermath spent in court (2004) or the Bombananas kiosk (2004) from which they offered passers-by bananas for sale with recommendations regarding their usage. A departure from the political slant evident in their social projects was announced with a series of events tapping into the geo-caching community and exploiting it as a distribution channel for the spreading of audiovisual material (2009–2010). The material involved always came from different artists, with Porcal and Hájek taking on the role of curators for each “presentation”. By using different patterns, they inserted digital works of art into a system of hidden caches, the coordinates of which are known to participants in the geo-caching culture. This work also retained a social dimension in the sense that it targeted members of a community outside of the art scene, who either kept the work in question or in turn inserted it in one of the caches.