The Last Call is an audiovisual installation we have created for the Czech Pavilion at EXPO 2025 Osaka. Responding to the Expo’s theme “Designing Future Society for Our Lives,” the work explores how our (in)ability to communicate shapes our collective future. The installation transforms a narrow, winding corridor into a fragmented soundscape. Directional speakers and custom LCD displays envelop visitors in shifting voices and visuals, evoking the confusion and dissonance of group video calls. As you move, the audio landscape morphs—whispers, interruptions, and anonymous monologues drift in and out, mirroring the chaos of digital communication. There’s no clear dialogue or resolution; instead, The Last Call stages a scenario where urgent messages are lost in noise, self-absorption, and performative confidence. Rather than offering answers, visitors are left with an open question: How do we deliver vital messages in a world saturated with information, distraction, and uncertainty?

The Grief of Misfit Cathedrals is an audiovisual artwork exploring the phenomenon of abandoned industrial objects, which, having lost their original function, become solitary presences in urban space. This experimental project is based on precise 3D scans of places that exist in separation from the regular rhythms of urban life. Their raw yet fragile beauty thus becomes preserved despite the surrounding entropy. The melancholic atmosphere evoked by the film’s immersive format and augmented by its spatialized multi-channel sound design draws inspiration from the Japanese concept of “mono no aware”, which centres on coming to terms with transience and finding beauty in death and impermanence. A similar emotional charge permeates the art of European romanticism, with scenes often set against a backdrop of classical and medieval ruins. This artwork was commissioned by the Kunsthalle Praha and presented in 2023 as a large-scale installation in its Gallery 3. Installation was included in the Signal Festival 2023 gallery zone as well.

Zdeněk Pešánek's interwar artistic practice, centered on the idea of color music, served as a loose inspiration for the audiovisual installation The Quality of Being Inconsistent. The project explores electricity through minimalist means, represented by the fourth state of matter—plasma. While the glass tube is composed of components similar to those Pešánek used in his work, it significantly pushes the boundaries of electricity’s artistic application. By employing contemporary techniques in musical composition and shifting emphasis from the object's mass and shape to the very nature of the light discharge, artist Jakub Pešek expands the possibilities within which Pešánek's inventive work operated nearly a century ago.

We have collaborated with acclaimed Czech visual artist Ondřej Michálek to craft a VR experience that redefines contemplative space within digital realms. Our process began with Michálek’s evocative graphic drawings. His quiet, rigorous structures, inspired by organic landscapes and the anxieties of modern life, served as the starting point for our work in the digital environment. Rather than simply animating these graphics, we aimed to transform them into spatial, atmospheric environments.

To deepen the sense of immersion, original music for the experience was created by Aid Kid. Composed in ambisonic sound the music envelops visitors from all directions, enhancing the feeling of presence and contemplation.

As we believe that immersive technology can be a vessel for reflection, not just entertainment, we have designed "Unexpected Territories" to be experienced, not solved. There are no levels, missions, or required actions. Instead, it is a zone of stillness where visitors are invited to slow down and simply "be".