What can a countdown be? Just a row of numbers steadily decreasing? Or also the pulse of a city, a luminous breath, and an invitation to pause for a moment and listen to the future?
The audiovisual work ZERO was originally created as a countdown to the year 2026, when Trenčín became the European Capital of Culture. From the very beginning, however, it was more than just a technical object. It breathed, flashed, and counted down the time to a moment that is changing our city.
ZERO was designed by Slovak architect Alan Prekop, who brought to the work a sensitivity to space, rhythm, and visual simplicity. Thanks to this, the audiovisual piece feels like a natural part of the city. The object did not merely count down time; it showed that Trenčín 2026 European Capital of Culture was not some distant idea, but something happening here and now — right before our eyes.
The powerful atmosphere of the work was further enhanced by its audiovisual layer. The video and sound for ZERO were created by a team consisting of camera: Emma Lea Nikodýmová, editing: Adam Kubala, music: Juraj Marikovič. The work depicts the city’s landmarks and engages sensitively with its architecture, linking time and space.
Later, ZERO transformed into a canvas for another urban story. The work featured a video of the city brought to life through motion and illustration, inviting audiences to the Opening Weekend on 13–15 February 2026. In it, the city moved with lightness and playfulness, as though it had set out for a walk through its own imagination. The video was based on illustrations created for Trenčín by Jozef Glaba. His distinctive style brought playfulness, lightness, and a memorable character to the visual identity. Using AI tools, Emma Lea Nikodýmová and Adam Kubala set the illustrations in motion and turned them into a story. Thanks to them, the invitation to the opening weekend took on a form that was vibrant, approachable, and full of imagination.
In April 2026, ZERO gained yet another layer. During the Light Art Festival on 10 and 11 April, it became part of the interactive work Scarelings by artist Matej Mazák. The countdown suddenly became a space for play, sound, and direct encounter.
