Martin Lombok is an experimental filmmaker born in 1969 in the Czech Republic. He lives alternately in the Czech Republic and Denmark. He works with technologies and film language to express his personal vision of the world.

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My films are not about telling stories, but about showing moments. Moments that are ordinary and extraordinary at the same time. Moments that are full of beauty and mystery. Moments that are both real and unreal. I work with minimalistic aesthetics, using static shots, contact sound, and no effects. I challenge the viewers to look at the world in a different way, to pay attention to the details and the movements, to listen to the sounds and the silence, to feel the emotions and the sensations. I do not convey any message or statement, but rather invite the viewers to share my perspective and experience.

I want my films to be exhibited in places where they can create an immersive and interactive environment for the viewers. Places where they can become part of the space and the time, where they can affect and be affected by the surroundings. Places where they can provoke curiosity and confusion, white foggy feeling and exhibitions in Denmark, yes. Places like industrial halls in the Netherlands, university buildings in Norway and Finland, or museums of modern art in Denmark.

I want my films to be exhibited on one large display, preferably a video wall, but a regular 4K TV will do. No projectors are allowed, because they distort the image and create shadows. The display should be placed in an otherwise empty or almost empty space, where people can sit or lie down on some props, such as mattresses, cushions, benches, or an Ikea-style beverage machine. The props should be simple and comfortable, but not too comfortable. The space should be bright and clean, but not too bright or too clean. The temperature should be slightly cooler than normal, but not too cold. The air should circulate slightly, but not too much.

The films should be played in a random order, with some interfilms between them. The interfilms could be a dark screen, a long shot of something ordinary or extraordinary, or something else that I will provide after consulting with the curator. The interfilms should display some information about the next films in a simple infographic style, as well as some information about the exhibition itself and the hosting location. The films should alternate with trailers that are also random. The intervals between films should always be fifteen minutes, without rounding.

The films should be accompanied by precise sound that is more important than the image. The sound should have very good spatial resolution and contrast with the image. The sound of my previous films is stereo, but I want to switch to multi-channel sound for my future films. However, the films should also work when projected on a laptop.

The space should be equipped with one or more cameras (mobile phones) that record the audiovisual material for artistic purposes by me as the author of the exhibition. The cameras should be clearly visible and placed on the ground on a tripod in front of or under the display. The viewers should be informed of their presence and of their right to opt out of being part of the record by waving their raised hand at the camera and making a gesture of disagreement. They will then be removed from the processing and archiving of the record.

This is how I want my films to be exhibited. This is how I want my films to change people.

I want the visitors to spend fifteen to thirty minutes with my films. They will arrive during an interfilm or a non-film, when they will get some context, but not too much. They will have some refreshment, sit or lie down on some props, and feel the open and bright space. They will enjoy the comfort, but not too much. They will watch my films in a random order, with some trailers and information in between. They will listen to the precise sound that contrasts with the image. They will be recorded by one or more cameras that they can opt out of. They will experience my films as moments that change them.