PiRâMídas was produced by BBS, and it starts with dedications to Hermes, Lao Tse and Einstein, inter alia, which tells of the main sources of inspiration for this artist and of the detailed and long-lasting preparation. We should also not leave out Leonard da Vinci, whose doctrine concerning perspective (on the basis of the Last Supper) is transmitted literally into film. A start was made to this project in 1972, and was completed a full 12 years later. PiRâMídas is a geometrical time journey by train. It is determined by an immoveable/movable point in the time-space continuum. As Marijan Krivak writes: “In any event, this is a purely structural film, which in its set-up takes issue with the placing of the film camera, or examples of the reversed image. The film shows the relativity of perspective as basis of every work of art. The relations of up and down, left and right, forward and backward, here and there… are a lasting part of the authorial language of Galeta’s mystical creative coordinate system, in which he carries out experiments with the nature of the medium.
Riding down the rail, to a given spot in space and time, is the substantive element of the film. The same take-frame turns around its axis in four different positions, making a full circle through three hundred and sixty degrees. The ride is followed by the sound of a high-pitched female singing voice. (As the copy has been used, over the course of time, the sound has acquired uncommon features.) At a certain place in space and time, and at a moment of the film, the ride is projected backwards – to the starting point. From today’s perspective, the film evokes numerous associations, on the whole related to given chapters of world history of the avant-garde and alternative film. PiRâMídas 1972-1984 is also handy for showing the possibilities and consequences of the phenomenon that is called expanded cinema.”
Barbara Wurm says: “Other preliminary studies and diagrams attest to the importance of Galeta’s awareness of Pythagorean theory, Kabala, astrology, or simply his fascination with numbers, especially seven and nine. They culminate in a diagram that situates PiRâMídas 1972-1984 in a comprehensive cosmology between Jupiter, Saturn, Gilgamesh, and Osiris due to the numerical combinatorics lying at its foundations.” (Source: Zero-point landscape, Zagreb, MSU, 2011.)