Video was created for the show by the artist Kamila Ženatá Event horizon. Based on the scenario inspired by dreams of seven women who have undergone group self-knowledge experience.

Video, in which is focused on the theme of “desecrating the sacred box” – the magic box made by my father, whose hobby was magic and with which I played as a child and after father's death I cherished it as a precious relic. In another time the box in the hands of my child becomes a completely normal thing. The precious box is appropriated by cheap stickers featuring motif of tiny skeletons and skulls.

Piano player performing the song I may be standing from christian band eSPé.

Drummer performing the song I may be standing from christian band eSPé.

I doggedly sway back and forth in the wooden cradle, which has been used in our family for several generations and in which I was lying as a baby. It was made by one of my ancestors.

I have a snack on the furniture in the field, I kiss Jesus and leave.

In the video, filmed in front of a fresco showing St. Christopher’s feet in the Romanesque church in Bořitov I write with the stick in the air No one was born or has died in the universe.

A record of the scene after having placed the urn containing my deceased father into our family tomb in Černá Hora. I am walking in a Rococo costume away from the tomb and my knees go weak.

My ancestors purchased the tomb in front of the cemetery from nobility. Actors in historical costumes represent family constellation of my childhood. Each of them is repeating a typical statement. I am standing in the tomb sticking my tongue out.

I am lying at the bottom of the abyss Macocha – the abyss of suicides – on the wet icy concrete of a touristic pavement and singing a passage from a Catholic sermon: „Light to the darkness, warmth instead of fear.“

At the site where the Venus of Dolní Věstonice was discovered in the vineyard under Pálava, I let a woman spank her adult daughter. She is holding a unique object – a plaster-cast statute taken directly from the original Venus of Věstonice. In the next shot, in late afternoon, the daughter takes a walk through a forest monoculture and vents her aggression.

My Romany grandmother died in Auschwitz and left six children and a husband behind. One Romany folk singer, whose five children and husband died in Auschwitz, composed the strongest lyrics of her songs after a traumatic experience there. In the video I let her speak through the mouth of two young men standing near a monument to a decisive moment of World War II.

At the place where treasure was discovered last year, I take a voyeuristic recording of a robber who is looking for his hidden booty in vain. It’s the place where I met the ghost of a robber fifteen years ago. I am elaborating upon the story of the robber to the camera.

I am sitting here in an old room in Přerov nad Labem with a group of women figurines of all ages. After a while I get up and whisper an important message to one of them.

This is partly a remake of the famous video by Vito Acconci Undertone (1972), in which the author sits in front of the camera and describes his masturbation fantasies involving a girl rubbing his feet under the table. I am sitting behind the desk in my old house of birth and repeating in English that I am eating the flesh of my dead father. In the second part of the video I am eating wild boar meat.

In the first scene I’m lying in bed with an urn containing the remains of my dead father. In the second scene I’m lying next to my mother. We are lying there as the last Baráčkovi family and we are reciting poems by Josef Hora, who took the pseudonym of my deceased great-uncle from Černá Hora.

This video was created for the exhibition He painted a brain-twister (Galery NoD, curator: Tereza Severová). The theme of this exhibition is „fascination with cyclical processes and stories“. The curator approached the artist, who works with the principle of endless repetition. A projection of two restlessly hanging objects runs in an infinite loop. The axe spins, the tire-swing moves ceaselessly.

The video was created for the exhibition Black Hill as a quote and self-reflection of existing work of D. Baráčková and P. Herotová related to village Černá Hora, where both artists worked. The Black Hill legend is a specific “video-walk” around important places in this village.

The authors (Daniela Baráčková, Markéta Kubačáková, Šárka Telecká) and performers of the video created a picture about their fathers with help of rips of sentences or speeches that became shaping boundaries, from which the man painfully detaches himself to find his identity again and again. Here the artists with some exaggeration tried to reveal the self-construct through self-perception of the other.

View from the deathbed of my grandmother, who died in a nursing home in Černá Hora.

The video shows constructed monologs of the characters in parter of the tower blocks situated next to Prague river Vltava. The characters deliver quotations from postmodern period critical theories and studies on the topic of the city life and urbanism from the given period in Western Europe confronted with contemporary situation in Prague (2011).

The video monitors one view from the seventh floor window. It presents a series of diverse behavior of the residents of the street in connection with fire in the opposite block of flats showing the variety of relations and attitudes towards the incident.

A mother in a role of father affected by the global aphasia leads a dialogue with her daughter who reacts on unintelligible speech using contra-manipulative statements.

Video of a series of previously experienced situations,  staged with the model of the house I designed in the background. The choice of situations was inspired by family photos. In these pictures, there are my relatives or me together with them. They were all taken in places, that played an important role both in my life and in „the case of Černá Hora“ (see the theme of exhibition Černa Hora in The Gallery of Young). I have had all six situations according to my own scenery reproduced here. I have put comments related to suffering into all protagonists’ mouths. The sources of these comments are mostly texts about medical ethics, philosophy and the history of medicine. They are lifted out of the original context, reordered, embodied and put into protagonists’ mouths in individual situations.

This video was shown at Gask Artfest festival in Kutná Hora, section Art in Public Space, named “Place and Formula”. It is made of pairs of shots which record an identical action – calling series of ambiguous sentences from the roof of an Art-Noveau annex roof of a railway station in the direction of a birch which was wildly growing on a balcony of the opposite Kutná Hora mayor’s house. The video was shown in an endless loop creating an infinite mantra right on the glassed-in annex connected to the waiting-room and the ticket office of the railway station.

Authentic video installation which partly covered up the projection identical with the record. When the viewers looked beyond the restrictions of the projection they found the same restrictions of the record. On the record I chant slogans related to my native town, pretending to be a Černá Hora fan.

I slide pregnant on the railing in the Young Artist’s Gallery and at the jump off I always say one word that is written in Czech with “-y-”, until I name them all. I change the ways if sliding down and omit those words that are not related to my exhibition.

Dialogue from the animated film acted out in naive costumes at the parking lot in front of the Village Cinema at night.

While two men are holding a girl’s outstretched arms and legs on a school playground, where they came before and she yield to them, an inconspicuous fire starts burning on a roof. I run to put out the fire from the starting sprinter position.

The scene takes place at a garage where my “anarchist crew” had a clubroom and make-do bar. I amateurishly show a magic with a political undertone which I found in my father’s magical handbook. Me and my assistant are wearing a bomber jacket.

I cut and stab with a sword around myself in a waiting room of Prague’s Bulovka hospital.

A riddle with illustrative dance recited with a  Chinese sword in a hand in front of hospital reception at Prague’s Bulovka hospital.

A documentary record of an exceptional boy, who is listening to the radio, aspens, and a legendary house. The surroundings of the socialistic buildings and scene from the movie “Kinoautomat: A Man and his House”. The boy swings with the aspens in their rhythm.

I play an imaginary organ on a wall in front of a Černá Hora graveyard. There is a tomb of the Baráček family – my family - in the forefront of the graveyard. On the wall, the photos of recently deceased people are shown. It is an imitation of what I used to do here as a child.

A Černá Hora elementary school pupil recites a poem about her home on an indifferent road. It is shot during an unveiling of a plaque to Josef Pilnáček, late Černá Hora historian.

I slap a sculptural group of children strictly and without any explanation.

In this staged video, my grandmother is shown, giving a series of statements while working in her garden. It was the first time she spoke English. She retells fragments of my dialogue with an Egyptian jewellery shop assistant about global problems.

Naive, bilingual narration of a story of a place where I am standing. Non-existing buildings and child’s experience.

Chaotic image and sound which emerged while I was wearing a rubber boot and jumping over a brook. One situation, one day, one record.

At Times Square in New York, I am remaking a performance that Jiří Kovanda performed on Wenceslas Square in Prague in 1976.

A static shot of a parrot displayed in a pet shop in a Prague’s shopping mall.

I am mowing grass between two walls that concur in an acute angel until I get to the corner.