One day in Paris, Anabela Zigova accumulated garbage from the Ecole Nationale Superieure des Beaux-Arts and stockpiled it in the studio until its odor became disturbing to be around. She then distributed flashy gift bags filled with garbage to people strolling around the fancy boutiques and art galleries of the surrounding Saint Germain des Pres neighborhood.

She repeated this performance in Prague, former Czechoslovakia where she was born and where both the reaction and socio-economic situation were vastly different (in year 2000.)

In this performance work, Anabela Zigova posed questions to the ‘reality’ behind an image, the mechanics behind the façade that we see, and asked “what do we perceive as having value…?”

Since then, Anabela Zigova has invested herself further in the process of creating content of an image from inside out. She has developed from scratch several short film works and a feature film screenplay.

Anabela Zigova explores film narrative as a separate language with its own syntax. She sees in film language mainly a potential to create emotional experience complicated by individual perceptions.

At the same time, because of its inherent complexity, filmmaking as process sustains levels on which a fine art medium can easily speculate; the sheer difficulty of actually making a film entails serious confrontation with real economic, social and political issues.
And by the very nature of the casting, the film medium automatically brings up “uncomfortable” questions of ethnicity and class…

So in constructing her current films, separate layers of Anabela Zigova’s work draw on extensive collaboration. The film is based on texts, socio-political research and structured authorship as well as subjective notes and preparatory drawings.

Her work with both actors and social activists aims to be unconstrained and it proposes an open format that cultivates its own visual language from within.