You can watch the films for free live in:
- Maribor from 8th till 12th of March in Black Box at GT22 (Glavni trg/Main Square 22).
- Ljubljana on 11th of March at 5 PM in PLAC (Linhartova 43). The Author will be present at the discussion.
The films are available for online streaming at Slovenian Film Database.

Mythology in the video works by Ema Kugler is inscribed in rituals of everyday life. This time it is the theme of Hydra with many facets. The theme is represented by the separate scenes featuring human figures in leather costumes (created by the artist herself) that constrain their movements, thus emphasizing their separation from nature. The last trace of their respective connection is shown in a ritual relationship between a man and a, bull, although even this relationship involves man’, deeply ingrained cruelty towards animals. But even this connection ends with the blood that symbolically floods the video image.

The artist insists on the duality of human nature: the same dreadfulness is part of both the mythical and the real world. The duality is explicitly presented by means of electronic effects that can petrify a human face, or wall up a human body in a few seconds. Human figures dressed in extravagant costumes are returned back to nature by means of electronic effects: a man in a costume reminiscent of a bird transforms into a real bird. The costumed and real birds are accentuated by the bird's eye view, which always emphasizes man's smallness and forlornness in his own world and within nature.

Taiga is a dark video landscape with human figures in menacing costumes, but it also includes two almost naked fighters and a drowning woman. Wax dogs add to the coldness of the video taiga; they actually melt away, while the electronic only serves to accelerate the process. The essence of taiga is the act of destruction or transition. The destruction of art form creates a new, entirely different pattern. The transition becomes an event with a message. Sculptures are the landmarks of the beginning and of the end.

The artist continues with her main preoccupations: the relationship between a man and a woman, the irruption of the mythical into the rituals of everyday life. The video film uses the numerous potentials of electronic manipulation of the picture. The finest scenes are those of morphing (electronic transformation), where a figure from a painted canvas turns into an identical figure on the video screen, or the latter freezes into a figure on a fixed picture. The artist once again insists on the real natural environment, but deforms and thus identifies it with the artificiality of video image.