10.mednarodnifestivalraÄunalniÅ¡kihumetnosti - ArtNetLab - Univerza ...
10.mednarodnifestivalraÄunalniÅ¡kihumetnosti - ArtNetLab - Univerza ...
10.mednarodnifestivalraÄunalniÅ¡kihumetnosti - ArtNetLab - Univerza ...
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festival<br />
arts<br />
računalniških<br />
festival Maribor<br />
1 1 .<br />
-<br />
1 5 .<br />
umetnosti<br />
www.mfru.org<br />
5. 0 4<br />
computer<br />
10. mednarodni<br />
10. international<br />
Maribor, Ljubljana, Zagreb,Graz<br />
IFCA
1<br />
2<br />
3<br />
4<br />
6<br />
7<br />
8<br />
10<br />
16<br />
- Predgovor (Vilma Štritof Čretnik), Uvodne besede (Dragica Marinič)<br />
- Foreword (Vilma Štritof Čretnik), Intro (Dragica Marinič)<br />
- Novomedijsko umetniško delo (Janez Strehovec)<br />
- English abstract of Janez Strehovec's book Umetnost interneta/The Art<br />
of Internet<br />
- Prihodnost računalniške umetnosti (Marina Gržinić)<br />
- The Future of Computer Arts (Marina Gržinić)<br />
- Selekcija Petra Weibla/Peter Weibel's Selection<br />
- Kolektivi/Collectives (kustos/curated by Simona Vidmar,<br />
izbor/selection: son:DA)<br />
- Izgubljeno s prevodom/Lost in Translation (kustosa/curated by Narvika<br />
Bovcon, Aleš Vaupotič)<br />
22- Video Match: Akademija za likovno umetnost , <strong>Univerza</strong> v<br />
Ljubljani/Academy of Fine Arts, University of Ljubljana (Prof Srečo<br />
Dragan) vs. Akademija umetnosti, Split/Arts Academy, University of<br />
Split (Prof Vlado Zrnić)<br />
23- Akademija za likovno umetnost in Fakulteta za računalništvo in<br />
informatiko, <strong>Univerza</strong> v Ljubljani/Academy of Fine Arts and Faculty of<br />
Computer and Information Science, University of Ljubljana (Prof Srečo<br />
Dragan)<br />
27 - Konceptualno (umetniške) prakse t4, Akademija za likovno umetnost,<br />
Dunaj/(Art) Practices at the Academy of Fine Arts Vienna (Prof Marina<br />
Gržinić)<br />
32- Študentski forum: izmenjava konceptov, razmišljanj in delovnih<br />
strategij/Students' Panel Presentastions: Exchange of concepts,<br />
thoughts and works'strategies<br />
34- Davide Grassi, Dominik Olmiah Križan<br />
36- Roboti/Robots (kustos/curated by Jože Slaček)<br />
37 - Marnix de Nijs & Edwin van der Heide (kustos/curated by Jurij Krpan)<br />
38- Narave/Natures (kustos/curated by Miloš Bašin)<br />
40- Magdalena Pederin (kustos/curated by Miloš Bašin)<br />
CIP - Kataložni zapis o publikaciji<br />
Narodna in univerzitetna knjižnica, Ljubljana<br />
7.01:004.946(082)<br />
7.038.53:004<br />
MEDNARODNI festival računalniških umetnosti (10 ; 2004 ; Maribor)<br />
[Deseti]<br />
10. mednarodni festival računalniških umetnosti, Maribor,<br />
Slovenija, 11.-15. 5. 2004 = 10th International Festival of<br />
Computer Arts, Maribor, Slovenia, 11-15 May 2004 / [uredili Narvika Bovcon, Jože<br />
Slaček, Aleš Vaupotič ; prevodi Doris Batelič, Alenka Bergant, Manca Gašperšič]. -<br />
Maribor : <strong>ArtNetLab</strong> - društvo za povezovanje umetnosti in znanosti : MKC, 2004<br />
ISBN 961-6154-05-2 (MKC)<br />
1. Bovcon, Narvika<br />
213505792
PREDGOVOR<br />
V kontekstu umetniške ustvarjalnosti gre v intermedijski najbrž za najbolj raznoliko in najbolj ekspanzivno umetniško produkcijo v<br />
sodobnem času. Po načinu distribucije in uporabi jezika je univerzalna in v tem smislu primerljiva z glasbo, najbolj univerzalno<br />
izmed vseh umetnosti. Žal pa ji onemogočajo nastanek in dostopnost nujni tehnični pogoji in visoko razvita orodja, ki jih za svoje<br />
delo potrebuje. Tako se prostor intermedijske ustvarjalnosti še zmeraj koncentrira na tehnično razvitejša okolja, temu pogoju pa se<br />
pridružujejo še kultura, jezik in finančne zmogljivosti.<br />
Mladi ustvarjalci na področju intermedije se soočajo s povsem različnimi in še izredno spremenljivimi pogoji. Močnejši in stabilnejši<br />
organizatorji in prireditelji različnih forumov in festivalov imajo možnosti, da pritegnejo k sodelovanju in udeležbi tudi tiste<br />
udeležence, ki ustvarjajo s preprostejšimi tehničnimi orodji in v hi-tech polju niso tako konkurenčni. Hkrati pa sodobne raziskave<br />
zlasti multimedijskega trga kažejo, da razvoj tehnologije rapidno raste in da razvoj vsebin zaostaja za njim. Mladi in ustvarjalni ljudje<br />
pa imajo vedno kaj povedati in izraziti. Prispevajo lahko vitalne premike v tehno kulturi in ustvarjajo nad- in mednacionalne<br />
povezave. Predstavljajo vire inovativnosti, povezane v umetniške platforme, virtualne mreže in raziskovalne laboratorije. To so prav<br />
gotovo ljudje, ki jih ne zadovoljuje zgolj fascinacija nad razvojem in zmogljivostmi sodobne tehnologije. Uporaba vse manjših in<br />
mobilnejših računalnikov, UMTS generacije mobilnih telefonov itd, spreminjajo družbeni kontekst in rišejo drugačen zemljevid<br />
našega planeta. Prav tu pa se kaže absurdna, malone že kar protislovna pozicija intermedijske umetniške ustvarjalnosti: hkrati ko<br />
uporablja najsodobnejša tehnična orodja, se obrača v smeri kritične, ironične distance do družbe in ves čas preizkuša in provocira<br />
njen družben kontekst.<br />
Kje sta torej njena vrednost in njen naboj Najbrž prav tam, kjer ostaja človeško živa: v svoji ostroumnosti, duhovitosti in izvirnosti.<br />
Tam, kjer je lahko osebna v izražanju stališč, kjer lahko pripoveduje zgodbe, kjer je lahko občutljiva in čustvena.<br />
Vilma Štritof Čretnik<br />
Ministrstvo za kulturo<br />
UVODNE BESEDE<br />
Letos praznujemo že 10. obletnico Mednarodnega festivala računalniških umetnosti (MFRU) in z velikim veseljem bi se ob tej<br />
priložnosti rada zahvalila vsem ključnim osebam, ki so bile idejni pobudniki tega mednarodnega dogodka, in so ga vsa ta leta<br />
vztrajno oblikovali ter sočasno preoblikovali njegovo vsebino in odprtost.<br />
Mladinski kulturni center Maribor - MKC Maribor, glavni organizatorji festivala in vsi tisti, ki so ga pomagali oblikovati, smo uspeli<br />
preživeti" vse tehnološke zahteve in potrebe, ki jih tak festival postavlja pred organizatorja, in obenem vsakič v teh desetih uspeli<br />
zbrati še dodatne moči ter finančne vire za samo izvedbo mednarodnega festivala. In če se ozrem nazaj, lahko samo ugotovim, da<br />
smo ravnali pravilno. Naj bo ob tej priložnosti jasno povem, da je mednarodni festival tolikšnih razsežnosti, - organiziran s strani tako<br />
majhne javne ustanove kot je MKC Maribor, ustanovljene s strani Mestne občine Maribor za potrebe izvajanja kulturnih aktivnosti<br />
mladih ter s temu primerno nizkim proračunom, - lahko samo plod dela izjemnih posameznikov, ki imajo svoja imena in obraze. Njim<br />
namenjam vse moje zahvalne misli.<br />
Jože Slaček je tisti, ki je prvi oblikoval idejo o organizaciji mednarodnega festivala, a le ideja brez predanega dela številnih sodelavcev,<br />
selektorjev in svetovalcev, ki so s svojim delom od prvega trenutka dalje sooblikovali program festivala, le-ta nikoli ne bi postal<br />
realnost, ki jo danes označujemo kot zgodovinsko in pionirsko delo na področju umetnosti in tehnologije v Sloveniji.<br />
Vsa zahvala gre torej tudi sledečim sodelavcem festivala: Marina Gržinić, Erkki Huhtamo, Mačiko Kusahara, Meta Gabršek-Prosenc,<br />
Aleksandra Kostić, Peter Tomaž Dobrila, Stelarc, Igor Štromajer, Kathy Rae Huffman, Srečo Dragan, Franc Solina, Jurij Krpan, Eva<br />
Ursprung in Simona Vidmar. Rada bi se zahvalila tudi celotnemu tehničnemu in administrativnemu osebju MKC Maribor, ki je<br />
pomagalo pri organizaciji.<br />
Posebna zahvala gre letošnjemu organizatorju festivala <strong>ArtNetLab</strong>u, društvu za povezovanje umetnosti in znanosti, ki je letos in bo v<br />
naslednjih dveh letih glavni producent in organizator festivala, skupaj s soorganizatorstvom MKC Maribor. Gre za dolgoletne<br />
sodelavce, ki so se organizirali v društvo, da bi se festival lahko ohranil v pogojih nove kulturne politike. <strong>ArtNetLab</strong> bo s svežimi<br />
močmi in produktivnim sodelovanjem prispeval k nadaljnjemu vedno bolj kvalitetnemu in obsežnemu festivalskemu dogajanju.<br />
Prav tako so bile v samo organizacijo festivala vključene tudi številne organizacije: Mestna galerija Maribor, MMC Kibla, Študentska<br />
organizacija Univerze v Mariboru, <strong>Univerza</strong> v Mariboru - Pedagoška fakulteta, Oddelek za likovno umetnost, Fakulteta za<br />
elektrotehniko, računalništvo in informatiko - FERI in še mnoge druge. Tudi vsem njim namenjam zahvalo za njihovo podporo in<br />
sodelovanje. Prav tako se zahvaljujem za sodelovanje vsem našim partnerjem v Ljubljani: Galeriji Kapelica, Maski Ljubljana,<br />
<strong>ArtNetLab</strong>u in Univerzi v Ljubljani, Akademiji za likovno umetnost - ALU ter Fakulteti za računalništvo in informatiko - Laboratoriju za<br />
računalniški vid. Partnerstvo vseh naštetih organizacij je bilo bistvenega pomena za naše organizacijsko delo.<br />
Zahvaljujem se tudi Mestni občini Maribor, Ministrstvu za kulturo RS, našemu glavnemu sponzorju - časopisni hiši VEČER, sponzorju<br />
Novi KBM, Uradu RS za mladino, ŠOUMu in donatorju KulturKontaktAustria. Zahvalila bi se tudi našim mednarodnim partnerjem:<br />
MaMa, Zagreb, Forum Stadtpark in ESC, Gradec. Zahvaljujem se tudi vsem množičnim medijem, ki so v vseh teh letih spremljali delo<br />
Festivala: Večer, Delo, Dnevnik, Mladina in Radio Televizija Slovenija ter druge TV in radijske postaje.<br />
Rada bi se zahvalila tudi dr. Marini Gržinić za njeno predano uredniško delo pri oblikovanju knjige ob 10. obletnici festivala z<br />
naslovom Prihodnost računalniške umetnosti, kakor tudi sozaložniku knjige Maski iz Ljubljane ter njenemu glavnemu uredniku Emilu<br />
Hrvatinu.<br />
In nenazadnje gre zahvala tudi mednarodni in domači srenji izvrstnih umetnikov, aktivistov, teoretikov in navdušencev sodobne<br />
računalniške in vizualne umetnosti, ki so s svojim sodelovanjem omogočili izvedbo vseh festivalov. Brez njihovega razumevanja,<br />
potrpežljivosti ter seveda izvrstnih in inovativnih projektov festivala ne bi bilo.<br />
Dragica Marinič, univ. dipl. ing.<br />
direktorica MKC Maribor
FOREWORD<br />
The contemporary intermedia world has the most diverse and expansive art productions. The<br />
distribution and a particular use of language make it universal. It can be compared with music, the<br />
most universal of all art expressions. Its development and accessibility is difficult because of<br />
necessary technical equipment and highly developed tools needed in the creative process. That is why<br />
the intermedia creative space is still restricted to more developed countries. An important role is<br />
played by culture, language and financial capacities.<br />
The young intermedia artists work in very different and changeable conditions. The strongest, more<br />
powerful festival and forum organizers have the possibility to attract and invite artists with less<br />
developed technical equipment and are not competitive in the hi-tech field. At the same time the<br />
contemporary research of the multimedia market shows that the development of technology is rapidly<br />
growing and that the contents do not follow its growth. Young, creative people have always something<br />
to say and express. They contribute to techno culture with vital moves and create national and<br />
extra-national connections, introducing innovative sources bound on art platforms, virtual nets and<br />
research laboratories. These are not people satisfied with the fascination of contemporary<br />
technology development and potential. The use of smaller, mobile computers, UMTS generations of<br />
mobile phones etc. change social contexts and draw a different map of our planet. This is where the<br />
absurd, almost contradictory intermedia art creativeness shows itself. It uses the most developed<br />
technical tools, turns to society with a critical, ironic distance, all the time challenging its<br />
very context.<br />
Where are its value and its energy They can be found where it is humanly alive: in its acumen, its<br />
wittiness and originality. It is a place where it can be personal in expressing points of view,<br />
telling stories, where it can be sensitive and emotional.<br />
Vilma Štritof Čretnik<br />
Ministry of Culture<br />
INTRO<br />
This year we are celebrating the 10th anniversary of the Mednarodni festival računalniških umetnosti (MFRU) or The International<br />
Festival of Computer Arts (IFCA) and it is my pleasure to thank the key individuals and organizations that first launched the<br />
International Festival and through all these years kept reshaping and remodeling its content and openness.<br />
The MKC Maribor (Mladinski kulturni center Maribor/The Maribor Youth Cultural Center), which is the main organizational<br />
institution, "survived" through all these years, keeping up with the demanding technological needs of the organization of the<br />
Festival, always finding at the last moment the additional strength and funds to organize the Festival. Looking back, all these<br />
efforts proved to be proper. So it must be clear that an International Festival of such a scale that is organized by a small<br />
public institution, which MKC Maribor is, established by the Municipality of Maribor for youth cultural activities, is always in<br />
the end the result of efforts by distinctive individuals. They bear names and faces and to them goes my sincerest appreciation.<br />
The idea to organize The International Festival of Computer Arts was initiated by Jože Slaček, but it was an idea that came to be<br />
a reality and is today seen as a historical and pioneering project in the field of arts and technology in Slovenia, only and<br />
solely because of the dedicated work, efforts and organizational investments of the numerous collaborators/selectors and advisors<br />
who shaped the program from its first moment on: Marina Gržinić, Erkki Huhtamo, Machiko Kusahara, Meta Gabršek-Prosenc,<br />
Aleksandra Kostić, Peter Tomaž Dobrila, Stelarc, Igor Štromajer, Kathy Rae Huffman, Srečo Dragan, Franc Solina, Jurij Krpan, Eva<br />
Ursprung and Simona Vidmar. I also would like to thank all the MKC Maribor's technical and administrative staff who helped with<br />
the organization.<br />
Special thanks goes to this year's organizer of the festival <strong>ArtNetLab</strong>, Society for connecting art and science, which is this<br />
year and will be in the following two years the main producer and organizer of the festival, in co-production with MKC. <strong>ArtNetLab</strong><br />
are our many years' collaborators that established a society, so the festival could prevail in the conditions of the new cultural<br />
politics. <strong>ArtNetLab</strong> will contribute to the higher quality and greater amount of the events and participants at the festival.<br />
There are numerous institutions involved in the organization of the festival in Maribor: The Maribor Art Gallery, MMC Kibla, the<br />
Student Organization of University of Maribor (Študentska organizacija Univerze v Mariboru), the University of Maribor: Faculty<br />
of Education, Department of Fine Arts (<strong>Univerza</strong> v Mariboru, Pedagoška fakulteta, Oddelek za likovno umetnost), The Faculty of<br />
Electrical Engineering and Computer Sciences (Fakulteta za elektrotehniko, računalništvo in informatiko - FERI) and etc, to all<br />
them go my thanks. As well I have to thank partners in Ljubljana: Gallery Kapelica, Maska, <strong>ArtNetLab</strong> and the University of<br />
Ljubljana: The Academy of Fine Arts (Akademija za likovno umetnost, ALU) and The Faculty of Computer and Information Sciences,<br />
the Computer Vision Laboratory (Fakulteta za računalništvo in informatiko, Laboratorij za računalniški vid), etc. All these<br />
institutions are of key importance, being our partners in organizing the Festival.<br />
My thanks go also to the Municipality of Maribor, the Ministry of Culture of Slovenia and to our main sponsors, VEČER, d.d.<br />
Maribor and Nova KMB, to the Office for Youth (Urad RS za mladino), to ŠOUM (Student Organization of University of Maribor), as<br />
well as to the sponsor KulturKontakt Austria. I would like to thank our international collaborators: MaMa, Zagreb, Forum<br />
Stadtpark and ESC in Graz. I would also like to thank the mass media for their continuous coverage of the International Festival<br />
of Computer Arts: Večer, Delo, Dnevnik, Mladina, Television Slovenia's cultural and news programs and numerous radio programs and<br />
stations in Ljubljana and Maribor.<br />
I would like to thank Dr. Marina Gržinić for her dedicated editorial work while preparing the book about the 10th edition of the<br />
Festival The Future of Computer Arts and as well the co-publisher Maska, Ljubljana and Maska's director, Emil Hrvatin.<br />
Last but not least all my thanks goes to the international and domestic community of excellent artists, activists, theoreticians<br />
and followers of contemporary computer and visual arts that made all the editions of the festival possible. Without their<br />
patience, understanding and excellent and innovative projects, the Festival would never have been possible.<br />
Dragica Marinič,<br />
Director of MKC Maribor
Dr. Janez Strehovec je organizator in moderator simpozija, predstavitev in okrogle mize<br />
z naslovom Umetnost novih medijev na 10. MFRU.<br />
Dr. Janez Strehovec is the organizer and moderator of the symposium, presentations and<br />
the round table with the title The Art of the New Media at the 10th IFCA.<br />
Janez Strehovec: Novomedijsko umetniško delo<br />
Tudi novi mediji (spletna stran, DVD, cederom, virtualna<br />
resničnost, posebni učinki, digitalni kino, hipertekst, računalniške<br />
igre itn.) podobno kot tradicionalni množični mediji (tisk,<br />
fotografija, film, radio, televizija, analogni video, popularna<br />
glasba), vplivajo na nastanek novih umetniških zvrsti in oblik,<br />
med katerimi naj opozorimo predvsem na spletno umetnost,<br />
softversko umetnost, generativno umetnost, digitalne inštalacije,<br />
računalniške igre kot umetnost, hipertekst in druge oblike<br />
tehnoliteratur, tehnoperformance in virtualno arhitekturo.<br />
Novomedijska specifika, povezana z virtualnostjo,<br />
kiberprostorom, teleprezenco, povezljivostjo, imerzivnostjo,<br />
interaktivnostjo in hipertekstnostjo, vpliva na posameznikovo<br />
izkušanje realnega in načine konstruiranje njegove identitete,<br />
skupnosti in utelešenja. Srečujemo se tudi z novimi oblikami<br />
predstavitve sveta in njegovih objektov (in sicer ne več samo na<br />
ravni podob, temveč v obliki potopitvenih trirazsežnostnih<br />
virtualnih okolij, v obliki interaktivne multimedije in virtualne<br />
arhitekture) ter z vzpostavitvijo mrežnih, povezljivih okolij in<br />
mreženja; osnovna enota kulturne dominante ob začetku<br />
21.stoletja ni več izolirani, "atomski" artefakt, temveč umetniška<br />
storitev, proces, izkušnja in mreža. Prav tako pa se z novimi mediji<br />
uveljavljajo novi modeli produkcije, distribucije in konsumpcije<br />
umetniških storitev, ti mediji pa generirajo tudi novo obliko<br />
publike, ki je novomedijsko pismena in sposobna percipiranja<br />
novomedijskih del v okoljih svetovnega spleta in tudi na lokacijah,<br />
ki se ločijo od prizorišč elitne kulture.<br />
Ob novih medijih se odpira tudi vprašanje remediacije<br />
tradicionalnih medijev (izraz avtorjev knjige o tej problematiki<br />
D.J. Bolterja in R. Grusina) v smislu njihovega spreminjanja in<br />
prilagajanja na zahteve novih (digitalnih in omreženih) medijev,<br />
kar vodi k nastanku hibridnih medijev kot so spletna televizija<br />
(video), digitalni kino (film), spletni radio, spletni časopis itn., za<br />
katere je značilna izrazita interaktivnost in spodbujanje tako<br />
vertikalne kot horizontalne komunikacije med producenti in<br />
sprejemniki oz. med sprejemniki samimi (ob uradnih spletnih<br />
straneh novomedijskih ustanov se pojavljajo tudi neodvisne<br />
spletne strani njihovih uporabnikov s klepetalnicami ipd.).<br />
Remediacija tudi relativira novost novih medijev, ki dejansko ne<br />
pomenijo popolnega preloma s tradicionalnimi, ampak pogosto<br />
le s pomočjo novih tehnologij in programske opreme<br />
radikalizirajo tisto, za kar so si prizadevali že umetniki-vizionarji,<br />
dejavni v tradicionalnih medijih, vendar jih je pri uresničevanju<br />
njihovih zamisli ovirala odsotnost naprednih, pametnih<br />
tehnologij.<br />
Pogled na različne usmeritve novomedijske umetnosti nam<br />
pokaže, da je materialni, stabilni aftefakt tudi v njej pod<br />
podobnim pritiskom kot nacionalna država v sodobni politiki,<br />
materialno, otipljivo bogastvo in izdelovanje artefaktov v novi<br />
ekonomiji in t.i. objektivna narava v tehnoznanostih. Tudi v<br />
novomedijski umetnosti gre vedno manj za izgotavljanje<br />
zaključenih izdelkov z naravo "kunstverkov" in vedno bolj za<br />
procese, nematerialne entitete, odnose, uprizoritve, performance,<br />
softver in storitve. Ta premik ni uresničen samo s sodobnimi<br />
umetniškimi projekti, ki niso nobena dela več v tradicionalnem<br />
smislu, ampak "kot-da-dela" (J. Strehovec, The Atmospheres of<br />
Extraordinary in Installation Art, 2000), temveč je dokumentiran<br />
tudi v teoriji (Heidegger, Benjamin, Danto, Groys) in v poetikah<br />
sodobnih ustvarjalcev (recimo Marca Napiera misel o umetnostni<br />
izkušnji, ki nadomešča artefaktsko umetnino). Srečujemo se torej<br />
z umetnostjo, ki se vedno bolj umešča onstran izdelovanja<br />
artefaktov in prehaja na področje, ki ga lahko poimenujemo kot<br />
umetnostna storitev, kar pomeni, da se del sodobne umetnosti<br />
(še posebno novomedijske) premešča na storitveni sektor (nove)<br />
ekonomije poindustrijskih, informacijskih, spektakelskih in<br />
softverskih družb; njene storitve so postavljene ob bok storitvam s<br />
področja izobraževanja, menedžmenta, svetovanja, financ,<br />
politike itn., torej dejavnostim, ki temeljijo na znanju in<br />
profesionalnosti ter so kar se da prilagodljive.<br />
Sodobna, predvsem novomedijska umetnost, artikulirana v<br />
umetnostnih storitvah, nas usmerja k vprašanju, kaj storitev sploh<br />
je Vsekakor to ni artefakt, zaključen izdelek, ampak je v svojem<br />
jedru aktivnost, praksa, proces, intervencija. Lahko se sicer<br />
usmerja tudi k izdelovanju določenih produktov (materialnih ali<br />
nematerialnih), vendar pa se njena narava ne izčrpa v<br />
izdelovanju, ampak je zanjo bolj bistvena določena naloga, ki jo<br />
je treba opraviti (lahko tudi po eksplicitnem naročilu), recimo kot<br />
poseg na stvareh, stanju in procesih. Bolj kot izdelovanje stvari je<br />
storitev proces preoblikovanja stvari, njenega premikanja,<br />
povezovanja in vključevanja v nove odnose, rekombiniranja in<br />
rekontekstualizacije, osmišljanja in klasificiranja. Storitev<br />
predpostavlja nek problem, izziv ali naročilo, ki ga je treba rešiti<br />
oz. izvesti. Konec storitve je zato veliko bolj neka rešitev<br />
problema (ali njegova odstranitev) kot pa izdelava predmeta.<br />
(Koncept "umetnostna storitev" tudi ni izključno domena<br />
novomedijske umetnosti, produktivno lahko deluje tudi v širšem<br />
razumevanju umetnosti; dejavnosti t.i. poustvarjalnih umetnikov<br />
in umetnikov v t.i. uprizoritvenih umetnostih imajo storitveni<br />
značaj. Ne le novomedijski umetniki-programerji, ampak tudi<br />
(baletni) plesalci, glasbeniki in igralci izvajajo med svojimi<br />
nastopi prav posebne storitve; podobno velja tudi za pisce<br />
različnih žanrov, koreografe, skladatelje itn.)<br />
Storitev, razumljena v smislu profesionalnosti, ki jo zahteva<br />
informacijska družba, vedno predpostavlja nek postopek, ki je kar<br />
se da racionalen, ekonomičen, razdeljen na faze, korake in ukaze,<br />
ki so potrebni za njegovo izvedbo. Takšnemu postopku, ki je<br />
eksaktno definiran, načrtovan in izpeljan v ekonomični sekvenci<br />
korakov, se reče algoritem. Slednji že dolgo ni več ekskluzivna<br />
domena matematičnih operacij, ampak je jedro vseh kvalitetno<br />
definiranih postopkov, ki so namenjeni opravljanju določenih<br />
nalog, reševanju problemov, raziskavi stanj stvari itn. Brez<br />
pretiravanja lahko tudi za novomedijske umetnostne storitve<br />
zapišemo, da so po svoji naravi algoritemske; v trenutku, ko se<br />
začne umetnost umeščati onstran estetskega in se usmerja k<br />
nalogam, raziskovanju in razreševanju problemov, je prisiljena v<br />
skrbno izdelavo postopkov in k definiranju ukazov, ki jih je<br />
potrebno izvesti, da se hitro in v ekonomičnih fazah pride do<br />
rešitve. In izrazito algoritemske so še posebno tiste umetnostne<br />
storitve, ki temeljijo na rabi računalniških tehnologij, namenjenih<br />
algoritemskem postopkom.Vrsto projektov novomedijske<br />
umetnosti zato lahko razumemo kot posege in storitve v različna<br />
stanja stvari, imajo algoritemsko naravo, in so pogosto<br />
spodbujeni tudi z zunajumetnostnimi motivi, recimo spričo<br />
političnih, raziskovalnih in komunikacijskih potreb in interesov.<br />
Algoritemska posebnost novomedijske umetnosti implicira tudi<br />
prehod k algoritemskemu mišljenju (kot obliki matematičnologičnega<br />
mišljenja) v umetnost; novi mediji so dejansko
spodbujevalci premikov in obratov tudi na konceptualnem in<br />
zaznavnem področju. Poudarek se pri njih seli od kontemplacije<br />
in odmaknitvenega percipiranja k interaktivni in imerzivni<br />
naravnanosti in usmerjenosti k raziskovanju, izvrševanju storitev,<br />
reševanju problemov, intervencijam itn.<br />
Okolje, v katerega posegajo, ga spreminjajo in se vanj umeščajo<br />
novomedijska umetniška dela, je predvsem medmrežje, ki je tudi<br />
rojstno mesto t. i. spletne umetnosti, ki opušča umestitve v beli<br />
galerijski točki in soobstaja na svetovnem spletu ob njegovih<br />
političnih, ekonomskih in družbenih vsebinah. Spletna umetnost<br />
izrablja prednosti spletnih tehnologij in njihove programske<br />
opreme, vendar pa je od njih tudi odvisna; nagle spremembe, ki<br />
potekajo na spletu po krivulji eksponentne funkcije, vplivajo tudi<br />
na umetniške "odgovore", zato v sedanjem trenutku že lahko<br />
opažamo zaton prve, zgodnje faze internetske umetnosti in<br />
razmah t.i. softverske umetnosti kot novega, z začetkom<br />
21.stoletja inštitucionaliziranega področja novomedijskih<br />
umetnosti (poleg posameznih razstav s tega področja so<br />
pomembne predvsem njene prezentacije v okviru Read_me<br />
mednarodnih festivalov in konferenc). Software art vključuje<br />
različne oblike umetniških softverskih projektov, bodisi da gre za<br />
izvirno pisane programe programerjev-umetnikov, oblikovanje<br />
umetniških brskalnikov (na začetku te usmeritve je projekt<br />
WebStalker iz leta 1997, delo britanske skupine I/O/D, ki prikazuje<br />
namesto formatiranih spletnih strani njihove kode in strukturo<br />
povezav), umetniške črve in viruse ter umetniške posege v<br />
obstoječe, komercialne programe v smislu njihovih modifikacij,<br />
adaptacij in nadgraditev (recimo umetniške izpeljanke znanih<br />
komercialnih računalniških iger kot sta Quake in Tomb Rider).<br />
Temeljna predpostavka te umetnosti je, da softver ni nevtralen,<br />
ne sme se ga sprejemati kot nekaj samoumevnega, prav tako se<br />
njegovo pisanje ne sme prepustiti izključno poklicnim<br />
programerjem. Sedanje stanje stvari na tem področju nam<br />
pokaže, da softverski umetniki večinoma uporabljajo že obstoječe<br />
programe, vendar postavljene v vlogo materiala, v katerega<br />
potem intervenirajo, ga manipulirajo, nadgrajujejo in<br />
rekontekstualizirajo. Pogosto gre za ready made dela, ki se jih<br />
umetniško preoblikuje in, recimo pri računalniških igrah,<br />
dekonstruira njihovo pogosto agresivno, mačistično ideologijo..<br />
Spremembe na področju sodobne internetske umetnosti spremlja<br />
tudi novomedijska teorija; tako Alexander Galloway ugotavlja:<br />
"Zgodnja internetska umetnost - skrajno konceptualnega<br />
obdobja, ki je poznano kot spletna umetnost - se je ukvarjala<br />
primarno z mrežo, medtem ko se kasnejša medmrežna umetnost,<br />
ki jo lahko poimenujemo kot korporativna ali komercialna faza,<br />
ukvarja predvsem s softverom". (A. Galloway, Protocol: How<br />
Control Exists After Decentralization, 2004) To razlikovanje je<br />
blizu tudi Levu Manovichu, ki tudi razmejuje spletno umetnost<br />
90. let prejšnjega stoletja od softverske umetnosti začetka<br />
21.stoletja, ki jo značilno opredeljuje generacija umetnikov, ki so<br />
dejavni tudi na področju programiranja v popularnem Flashu."Te<br />
generacije ne zanima več 'kritika medijev', s katero so se<br />
ukvarjali umetniki v zadnjih dveh desetletjih; nasprotno, usmerja<br />
se h kritiki programske opreme. Ta generacija piše svojo lastno<br />
programsko kodo, da bi oblikovala svoje lastne kulturne sisteme,<br />
namesto da bi uporabljala semple komercialnih medijev."<br />
(Manovich, L., Generation_Flash, 2002)<br />
Prehod v softversko umetnost pa vedno izraziteje spremlja<br />
komercialni kontekst, ki opredeljuje sodobne softverske kulture,<br />
tako da se srečujemo z umetnostjo, ki je vključena v sodobne<br />
globalizacijske tokove in jo je mogoče ustrezno razumeti le na<br />
podlagi njenih interakcij z novo ekonomijo, novo političnostjo<br />
(opredeljeno z nadnacionalnimi organizacijami in korporacijami),<br />
tehnoznanostmi in novimi življenskimi slogi. Gre za umetnost,<br />
katere dogajanje ni več nevtralno do dogajanja na svetovnih<br />
borzah, zato ni naključje, da je bilo v letu 2002 prav borzno<br />
trgovanje že predmet umetniškega projekta Michaela Goldberga,<br />
naslovljenega z Catching the falling knife, borza pa je referenca<br />
tudi v Borzi problemov (2001), projektu Igorja Štromajerja in<br />
Davida Grassija.<br />
(English abstract of Janez Strehovec's book Umetnost interneta/The Art of the Internet,<br />
Ljubljana: SOU, 2003)<br />
The beginning of the 21st century is being defined by new politics, new economy, information<br />
society, techno sciences, multiculturalism, globalisation and new lifestyles, all of which have<br />
some impact on art. Art is beginning to omit the nature of the stable artefact as well as the<br />
traditional functions of representation and embellishment and is becoming post-aesthetical<br />
and process-like. Because the key feature of the completed and stable artwork is not as<br />
important as it used to be, the ontological question about what art is has also become an issue<br />
of no great importance. Instead, the relation questions regarding the interaction between art<br />
and techno sciences, new technologies, new economy and new politics have arised.<br />
Consequently, art is beginning to act as a historical and, therefore, changeable phenomenon<br />
meaning that it has not been here from always and no one can say for certain that it is going to<br />
be here forever. A great number of the world's population (especially outside Europe and<br />
Americas) spend their lives never having any relationship with art whatsoever. Therefore, what<br />
is at issue now, regarding the contemporary art, is questioning about the conditions that need<br />
to be fulfilled in order that a certain object, process or event is ready to start functioning as<br />
artwork. Which are the institutions that decide for a certain product to be regarded as an<br />
artwork and some other, with the same material enframing, to be left in a dump full of profane<br />
products Instead "what is art" one needs to pose a question "when is art" This turning point<br />
in our questioning about matters and relations concerning art is having far-reaching<br />
consequences for the arts theory as well. The modality of social power is becoming more<br />
relevant thus it enables a certain artefact, event or process to become art. The reason being<br />
that the "art economy" and politics have pushed aside the traditional ontology of an artwork<br />
and, as a consequence, the ontological specificity of the artwork's mode of existence is no<br />
longer relevant.
This book's key concern is the highlighting of the cultural turns, respectively, the shifts of<br />
paradigms which have, in these days of the Internet, techno sciences, new economy and<br />
globalisation influenced the new concepts and placements of the contemporary art and digital<br />
textuality. For this book pays a great deal of attention to digital texts especially to those which<br />
perform artistic scripts. The contemporary art is perceived as a field where the aspirations for<br />
autopoesis and self-reference are put forward (the art's social subsystem produces<br />
presumptions of its functioning by itself). However, the interaction between this field and its<br />
environment - new politics, new economy, new media and lifestyles - is becoming relevant. Art<br />
3.5 (technical term used for the contemporary art of processes, installations, computer games,<br />
events, artistic communications, performances and art worlds) is placed in life in a reality of<br />
6.1 version (another technical term) that has also mutated and undergone many changes.<br />
From the author's point of view the changes in the art field derive from the parallel changes in<br />
the art's subsystem of reality 6.1. Therefore, one can find out in the trendy reality at the<br />
beginning of the 21century that even techno sciences, new technologies, new means of<br />
communication, new politics and new economy have, in a way, become artistic. Even here do<br />
we encounter deterritorialization and movement towards some new functions. Their similarity<br />
to art 3.5 could be seen in destabilization of their basic traditional institution, that are national<br />
state (in terms of politics), nature (in terms of science) and material wealth (in terms of<br />
economy).<br />
Art functioning as an artistic-political activism and as a field of research creates its new user,<br />
meaning that it constitutes new, extremely active and engaged audience which widely differs<br />
from the audience brought up by the traditional art - art in, metaphorically speaking, a 1.0<br />
version. It is also essential that this art does not address our sensory apparatus overall but only<br />
to some extent and, thereafter, is not dealt with as an art variant of, according to Hegel, "das<br />
sinnliche scheinen der Idee" but it focuses on the ideas and concepts and, thereby, addresses<br />
the (critical) mind. Art 3.5 in a new role is, therefore, question of mind rather than that of<br />
sensory fascinations and stimuli.<br />
Art with its new (political and communication) functions is breaking off the demands of a<br />
modernistic autonomous art. It is not familiar with its own traditional Central-European selforganising<br />
on the basis of saying "no" to common social reality and claiming that "it can do<br />
everything". Autonomous art sprang up in a special historical world and had been functioning<br />
under special conditions, namely in a period when it had to fight against various attempts to<br />
get usurped by different totalitarian regimes. Nowadays, the conditions have completely<br />
changed. Modern states and international organisations (at least in developed world) do not<br />
attempt to appropriate the arts field and nothing great (in a social sense) is demanded from<br />
art anymore. Therefore, the contemporary art must deal with its self-definition and selfunderstanding<br />
differently and not by means of antithetic function towards contemporary<br />
public institutions.<br />
In the age of the Internet, new politics, techno sciences and new economy we are witnessing<br />
that the key features of texts are changing as well - digital texts are presented on a computer<br />
screen; computer as a smart device can cooperate in creating new texts; the collaborative<br />
authorship is present; texts are being formed by means of a netspeak which is a mixture of<br />
spoken and written language elaborated by a number of new components (abbreviations,<br />
acronyms and emoticons). In organizing new texts the space and time syntax are also<br />
important because texts are arranged in a multimedia mode and take place in a film-like<br />
manner. The perception of this kind of textuality is also original because it is far more complex<br />
than that of the perception of a linear reading. One has to be able to perceive the space and<br />
time syntax of a certain text and also its multimedia design, whereas the linear reading does<br />
not demand so much from the reader. We come across "the reading by means of a computer<br />
mouse" for words-images-virtual bodies often function as interfaces that open up (by the click<br />
on a mouse) the links to some other parts of a text or even activate a certain computer<br />
programme.<br />
Chapters about the Internet artwork and the Internet textuality are complemented by some<br />
other book's sections dealing with the following topics: critical view on the Internet (chapter<br />
The Dark Internet); the philosophical questions of computer games; and the<br />
phenomenological approach to the interface culture. The key concepts introduced in this book<br />
are the following: would-be-work-of-art; artistic service, communication function of art;<br />
something else taking the art's social place, artwork as art world, which enabled shared<br />
experience, the aesthetics of closeness, expanded concept of textuality, attitudes on the move,<br />
text as a loop, interactive "mouse" reading, the word-image-virtual body, digital kinetic poetry<br />
and the hybrid reader-listener-viewer.
Prihodnost računalniške umetnosti<br />
in zgodovina Mednarodnega festivala računalniških<br />
umetnosti, Maribor 1995-2004<br />
Uredila: Marina Gržinić<br />
Knjiga Prihodnost računalniške umetnosti je zasnovana kot teoretično-aktivistični dispozitiv, ki želi na eni<br />
strani obeležiti 10. obletnico Mednarodnega festivala računalniških umetnosti, ki se je začel leta<br />
1995 v Mariboru, in na drugi strani nastopati kot kritična in politična matrica stanja na področju<br />
računalniških umetnosti ter novih medijev in novih informacijskih/komunikacijskih tehnologij. Njen<br />
namen je postati temeljno branje na tem področju. Zgodovina Mednarodnega festivala<br />
računalniških umetnosti naj bi se tako odražala prek možne ideje o prihodnosti računalniških<br />
umetnosti kot tudi novih tehnologij v povezavi s sodobno umetnostjo.<br />
Knjiga je sestavljena iz treh delov.<br />
Odpre se s prostorsko-časovnim dispozitivom mišljenja, dela in delovanja z novimi mediji in novimi<br />
informacijskimi/komunikacijskimi tehnologijami, prek in onstran njih v smeri estetskega, političnega<br />
in družbenega. Ta dispozitiv se v knjigi sklicuje na delo Jacquesa Ranciera. Tak projekt je postal<br />
produktiven in učinkovit z natančno izbiro avtorjev; po mojem mnenju njihovi prispevki tvorijo in<br />
prikazujejo neposredno politično reartikulacijo in preizpraševanje informacij, novih medijev in<br />
računalniških tehnologij ter razmišljanje o njih. V prvem delu knjige najdemo tudi teoretične,<br />
politične in družbene povezave med aktivizmom, teorijo, življenjem, znanjem in delom. V prvem<br />
delu knjige je podan razmislek o možnem drugačnem svetu, ki bo spojen z novimi tehnologijami ne<br />
le zato, da bi služil in se prilegal krvoželjnemu kapitalističnemu stroju, ki je pripravljen v vsakem<br />
trenutku razlastiti vse in vsakogar. Iz tega prvega dela je jasno razvidno, da obstajajo številne<br />
zgodovine tehnologije, številne strategije za razvoj skupnosti in oblike kritične izmenjave in<br />
sodelovanja, kjer se lahko znanje uporablja za politične in strateške opcije.<br />
Prispevki:<br />
Konrad Becker<br />
0100101110101101.ORG<br />
Šefik Šeki Tatlić<br />
Armin Medosch<br />
Janez Strehovec<br />
Marina Gržinić<br />
Mojca Puncer<br />
Rosa Reitsamer<br />
Ralo Mayer in Philipp Haupt<br />
STELARC<br />
Srečo Dragan<br />
Franc Solina<br />
Narvika Bovcon in Aleš Vaupotič<br />
Dušan Zidar<br />
Izdala<br />
MASKA, Ljubljana<br />
MKC, Maribor<br />
Bralec bo skozi prvi del knjige prav tako seznanjen z načinom, na kakršnega naj bere, poveže in<br />
znova osmisli podatke in vizualno gradivo zbrano v drugem, obsežnem, arhivskem delu knjige, ki<br />
predstavlja zgodovino Mednarodnega festivala računalniških umetnosti v Mariboru (1995-2003). V<br />
drugem delu knjige se tako vrstijo imena avtorjev, ki so v vseh teh letih sodelovali na Festivalu. Za<br />
vsako leto festivala smo izpostavili reprezentativen izbor vizualnega gradiva. V preteklih letih je<br />
namreč festival razvil arhive, podobne nestalnim conam dejstev, podatkov in odločitev. Šele sedaj, ko<br />
so ti podatki zbrani in navedeni v knjigi, je dejansko mogoče dojeti vpliv tega, kar lahko pomeni izraz<br />
kritična masa dogodkov.<br />
Tretji del opisuje, analizira in dokumentira eno najpomembnejših strateških točk Mednarodnega<br />
festivala računalniških umetnosti, ki ni zgolj prostor predstavitve, temveč tudi prostor aktivne<br />
izmenjave, raziskav in povezovanja med študenti, profesorji, izobraževalnimi ustanovami in<br />
raziskovalnimi ustanovami. V tretjem delu knjige je predstavljena zgodovina, interpretacija in<br />
reartikulacija različnih študentskih projektov. Tretji del se začne z izjemno pomembnim<br />
zgodovinskim pregledom sodelovanj med Univerzo v Ljubljani: Akademijo za likovno umetnost -<br />
ALU in Fakulteto za računalništvo in informatiko, Laboratorijem za računalniški vid na eni strani in<br />
Mednarodnim festivalom računalniških umetnosti na drugi. Temu sledi predstavitev sodelovanja<br />
študentov z Univerze v Mariboru, Pedagoške fakultete in Oddelka za likovno umetnost na eni strani<br />
ter festivalom na drugi. Na koncu je prek predstavitve izbranih del in projektov, ki so jih razvili<br />
študentje smeri Konceptualne (umetniške) prakse z Akademije za likovno umetnost na Dunaju,<br />
vzpostavljena povezava domačega in mednarodnega študijskega prostora.<br />
Knjiga se konča torej z vzpostavitvijo prihodnjega sodelovanja med različnimi izobraževalnimi<br />
ustanovami in novimi generacijami študentov. Naš cilj je izmenjava, in oblikovanje mreže povezav<br />
ter spodbujanje "umetniške neodvisnosti in politične solidarnosti."<br />
Marina Gržinić
The Future of Computer Arts<br />
& The History of the International Festival of Computer Arts, Maribor<br />
1995-2004<br />
Edited by: Marina Gržinić<br />
The book The Future of Computer Arts has been conceived as a theoretical-activist dispositif that aims on one hand<br />
to reflect the 10th anniversary of the International Festival of Computer Arts, which began in 1995 in<br />
Maribor, and on the other as a critical and political matrix of the state of affairs in computer arts<br />
and new media and new information/communication technology. It aims to be a foundation reader in this<br />
field. The history of the International Festival of Computer Arts is therefore to be reflected through<br />
the possible idea of the future of computer arts and as well of new technology in relation to<br />
contemporary arts.<br />
The book consists of three parts.<br />
It opens with what I call, with reference to Jacques Ranciere, a spatio-temporal dispositif of thinking,<br />
working and acting with, through, and beyond the field of new media and new information/ communication<br />
technology, toward the esthetical, political and social. In the first part a structure of thinking and<br />
acting is brought together with an aim to consider a possible, different world. A world that will be<br />
embedded with new technology not only in order to serve and fit the bloodthirsty capitalist machine that<br />
is always ready to expropriate everybody and everything.<br />
The first part of the book clearly shows that there exist several histories of technology, numerous<br />
strategies for developing communities, open sources and exchange modes, where knowledge can be used for<br />
political and strategic options.<br />
In the first part of the book is to be found theoretical, political and social prosthesis or the socalled<br />
radical (not simply fashionable) interfaces with dangerous liaisons between activism, theory,<br />
life, knowledge and labor. Such a project is made productive and effective by means of the precise<br />
selection of writers; their contributions form and display, in my opinion, a direct political rearticulation,<br />
questioning and reflection of information, new media and computer technology.<br />
One can as well find a way in which to read, to reconnect and re-conceptualize the data and visual<br />
materials collected, as in one large archive, from all the nine editions of the International Festival<br />
of Computer Arts in Maribor.<br />
In the second part of the book hundreds of names and projects, artists and groups, fake names and world<br />
renowned stars from the new technological milieu are presented. For each year of the Festival a solid,<br />
but not at all comprehensive, selection of visual material is brought to the foreground. In past years<br />
the Festival developed archives more similar to unstable zones of facts, data and moves. Only now that<br />
all such data are listed together in the book is it really possible to see the impact of what such a<br />
critical mass of events means.<br />
The third part describes, analyzes and documents one of the most important strategic points of the<br />
International Festival of Computers Arts, being not just a space of representation, but a space of<br />
active exchange, research and connections between students, professors, educational and research<br />
institutions. In the third part of the book the history, interpretation and re-articulation of different<br />
student positions is presented. The third part opens with the extremely important history of<br />
collaboration between the University of Ljubljana: The Academy of Fine Arts (Akademija za likovno<br />
umetnost - ALU) and The Faculty of Computer and Information Sciences, Computer Vision Laboratory<br />
(Fakulteta za računalništvo in informatiko, Laboratorij za računalniški vid) and the International<br />
Festival of Computer Arts. This is followed by a presentation of collaboration by students from the<br />
University of Maribor: Faculty of Education, Department of Fine Arts (<strong>Univerza</strong> v Mariboru, Pedagoška<br />
fakulteta, Oddelek za likovno umetnost) and the Festival. In the end the process of thinking and<br />
building projects using imaging technology and a conceptual stance is displayed through the presentation<br />
of selected works and projects elaborated by students of Conceptual (Art) Practices from the Academy of<br />
Fine Arts in Vienna.<br />
In such a manner, the book closes with the opening of<br />
possible future international collaborations between<br />
different educational institutions and new generations<br />
of students. Our goal is to exchange, bridge and develop<br />
critical networking and to encourage "artistic autonomy<br />
and political solidarity."<br />
Marina Gržinić<br />
Texts by:<br />
Konrad Becker<br />
0100101110101101.ORG<br />
Šefik Šeki Tatlić<br />
Armin Medosch<br />
Janez Strehovec<br />
Marina Gržinić<br />
Mojca Puncer<br />
Rosa Reitsamer<br />
Ralo Mayer and Philipp Haupt<br />
STELARC<br />
Srečo Dragan<br />
Franc Solina<br />
Narvika Bovcon and Aleš Vaupotič<br />
Dušan Zidar<br />
Published by<br />
MASKA, Ljubljana<br />
MKC, Maribor
Selekcija Petra Weibla/Peter Weibel's Selection<br />
Koordinacija razstave/exhibition coordination: Narvika Bovcon, Aleš Vaupotič<br />
Constanze Ruhm: Liki X/RE(hers)AL<br />
X Characters/RE(hers)AL<br />
Video, 72 min, color, sound, 2004, German w. English subtitles.<br />
http://www.zkm.de/~ruhm/Xcharacters/rehersal<br />
"Ob branju ženskih potopisov je opazna odsotnost preteklosti. Ženske v odhajanju ne čutijo nostalgije. Hrepenijo po tem, česar niso imele, in to iščejo<br />
v prihodnosti. Hrepenenje ne povzema oblike 'povratka' temveč 'potovanja'. Nostalgijo nadomesti 'premestitev'."<br />
Paola Melchiori, povzeto iz: Giuliana Bruno, Atlas of Emotion (Atlas čustev), 2002<br />
RE(hers)AL povzame sedem ženskih likov iz sedmih filmov - vsaka od njih predstavlja svojevrstno ikono v zgodovini sodobne kinematografije - in jih<br />
združi kot skupino popotnic, ki obtičijo v letališki čakalnici, saj so vsi leti zaradi slabega vremena začasno odpovedani. Skupaj se torej znajdejo Alma,<br />
mlada medicinska sestra iz Švedske, ki rada skrbi za druge; Laura, uspešna modna fotografinja iz New Yorka z oslabljenim vidom; Rachael, Američanka<br />
v iskanju lastne preteklosti; Hari, rusko dekle brez spominov in določenega cilja; Bree, dekle na klic in neuspešna igralka iz New Yorka; Hana, privlačna<br />
Francozinja, ki se opiše kot "zabavljačica"; in Giuliana, nesrečna Italijanka, ki išče mesto, kjer se bo lahko "počutila bolje".<br />
Trenutek, ki ga preživijo skupaj, jih spremeni v partnerice, naključne sopotnice na potovanju, ki jih popelje v njihove lastne notranje svetove in psihe.<br />
Postanejo liki znotraj prostora večne preizkušnje, ki obtičijo v vesoljstvu zunaj izvirnih scenarijev in dodeljenih vlog. Namesto zgodbo o liku ženske in<br />
njenih izkušnjah poraja RE(hers)AL "zgodbo lika" kakor neprekinjeno produkcijo skozi sedem uvodnih sekvenc. RE(hers)AL izrisuje kozmos menjajočih<br />
se identitet, zgrajenih z glasovi likov, ki vznikajo in se oblikujejo v nasprotju z njihovimi izvirnimi vlogami in vzporedno s sodobnim konceptom<br />
medsebojnega združevanja filmskih in gledaliških scenarijev ter klepetanja.<br />
V teku enega leta se povabljene udeleženke redno srečujejo v klepetalnici, kjer znotraj imporvizacijskega okvira klepetalne skupine vsaka od njih<br />
uteleša svojevrsten lik. Razprave in dialogi se razvijejo okoli ustvarjenih tém in situacij. Udeleženke preoblikujejo in prilagajajo izvirne profile likov in<br />
tako delujejo v vrzeli med njihovimi lastnimi identitetami in hrepenenji njihovih likov. Dokumenti o teh "delavnicah" interakcije v živo so bili<br />
uporabiljeni kakor gradivo, na katerem je zasnovan scenarij projekta RE(hers)AL. Ta scenarij izrisuje pot tako prehoda junakinje kot ritualov zgodbe,<br />
svojo končno realizacijo pa je doživel v obliki video posnetka nastopa sedmih igralk.<br />
Scenarij in produkcija videa Liki X: RE(hers)AL je proces, ki sprevrača šablone likov v projekcijske zaslone, kanale hrepenenja, ki služijo kakor stikalna<br />
plošča za povezovanje zbirk komunikacijskih signalov, in spreminjajoče se identitete.<br />
Liki/The characters:<br />
Alma / Persona (Bibi Andersson; R: Ingmar Bergman, Š/S 1966). Bree / Klute (Jane Fonda; R: Alan J. Pakula, ZDA/USA 1971).<br />
Giuliana / Il Deserto Rosso (Monica Vitti; R: Michelangelo Antonioni, I 1964). Hari / Solaris (Natalya Bondarchuk; R: Andrei<br />
Tarkovski, SZ/USSR 1972). Laura / Eyes of Laura Mars (Faye Dunaway; R: Irvin Kershner, ZDA/USA 1978). Nana / Vivre sa vie (Anna<br />
Karina; R: Jean-Luc Godard, F 1962). Rachael / Blade Runner (Sean Young; R: Ridley Scott, ZDA/USA 1982)<br />
"Reading women's travel writing, one notices an absence of the past. Women who leave are<br />
not nostalgic. They desire what they have not had, and they look for it in the future. The<br />
desire does not take shape as 'return' but rather as 'voyage.' Nostalgia is substituted by<br />
dislocation."<br />
Paola Melchiori, quoted in: Giuliana Bruno, Atlas of Emotion, 2002<br />
RE(hers)AL releases seven female characters from seven different movies - each an icon from<br />
the history of modernist cinema - and joins them together as a gang of fellow travelers stuck<br />
in the boarding area of an airport, where they have to wait as all departures are delayed due<br />
to bad weather conditions: Alma, a young nurse from Sweden who likes to take care of<br />
others; Laura, a successful fashion photographer from New York with impaired vision;<br />
Rachael, an American woman in search of her past; Hari, a Russian girl with no memories<br />
and no specific destination; Bree, a call girl and unsuccessful actress from New York; Nana,<br />
an attractive French woman who describes herself as an "entertainer"; and Giuliana, a<br />
troubled Italian searching for a place where she will "feel better."<br />
This moment they share turns them into accomplices, involuntary fellow travelers on a trip<br />
which takes them into their interior worlds and psyches. They become characters in a space<br />
of eternal rehearsal, suspended in a universe outside of their original scripts and lines. As<br />
opposed to a story about a character and her experiences, the plot of RE(hers)AL scripts the<br />
"character's story" as an ongoing production through seven trailer formats. RE(hers)AL<br />
maps out a cosmos of shifting identities structured by voices of characters which emerge and<br />
shape in contradistinction to their original roles and along the contemporary notion of<br />
joining scripts between film, theater, and chat.<br />
Over the course of a year, invited participants met on a regular basis in a chat room where<br />
each embodied one character in the framework of an improvisational performance chat<br />
group. Discussions and dialogues were developed around moderated subjects and<br />
situations. The participants reconfigured and adapted the characters' original profiles, thus<br />
operating in the gap between their own identities and the characters' desires. The<br />
documents of these live "workshop" interactions were used as materials on which the script<br />
of RE(hers)AL is based. This script charts the movement of both the character's passage and<br />
the rites of the story, and was finally realized as a staged performance with seven actresses to<br />
be recorded on video.<br />
The script and production of X Characters: RE(hers)AL is a process that converts the character<br />
templates into projection screens, channels of desire that constitute a switchboard for<br />
networking sets of communicative signals and shifting identities.<br />
Samostojne razstave (izbrana dela)/solo exhibitions (selection):<br />
2004 Kunsthalle Bern. 2003 blindstorey/silencetracks, Sammlung Stift<br />
Admont (Avstrija/Austria). 2001 A Memory of the Players in a Mirror at<br />
Midnight, Version 1.0, Kerstin Engholm Galerie, Dunaj/Vienna; A<br />
Memory of the Players in a Mirror at Midnight, Entwistle, London<br />
Skupinske razstave (izbor)/group exhibitions (selection):<br />
2004 3. Berlinski bienale sodobnih umetnosti/ 3rd Berlin Biennale of<br />
Contemporary Art; Communautés, Institut d'Art Contemporain<br />
Villeurbanne, Lyon. 2002 Redirect, Künstlerhaus Stuttgart / haus.0;<br />
Uncommon Denominator: New Art from Vienna, MASS MoCa, North<br />
Adams, ZDA/USA; Future Cinema, ZKM, Karlsruhe, Nemčija/Germany;<br />
Limits of Perception, Fundacio Miro, Barcelona<br />
Kuratorski projekti/curatorial projects:<br />
2003 Fate of Alien Modes, Secession Vienna<br />
For the poster shot/fotografija na plakatu:<br />
Noshe. For the installation shot/fotografija<br />
z razstave: Marijan Murat. It has been<br />
screened for the first time during the 3rd<br />
Berlin Biennale. Video je bil prvič<br />
predstavljen na 3. berlinskem bienalu.<br />
Constanze Ruhm, Liki X / RE(hers)AL (2004),<br />
fotografija instalacije na 3. berlinskem bienalu<br />
sodobne umetnosti./<br />
Constanze Ruhm, X Characters / RE(hers)AL<br />
(2004), Installation views at the 3rd berlin<br />
biennale of contemporary art.
Selekcija Petra Weibla/Peter Weibel's Selection<br />
Koordinacija razstave/exhibition coordination: Narvika Bovcon, Aleš Vaupotič<br />
David Link: Stroj za poezijo 2.0 Poetry Machine 2.0<br />
Instalacija/installation<br />
Obiskovalec vstopi v pridušeno osvetljen prostor. Na projekcijskem platnu teče besedilo brez avtorja. Tipke na tipkovnici<br />
se premikajo, kakor da jih upravlja nevidna roka. Monoton, mehanski glas bere ustvarjeno besedilo stavek za stavkom.<br />
Ko občinstva ni v bližini, sistem piše hitro in tekoče. Sproža ploho črk. Besede si nepretrgoma sledijo ena za drugo. Ko<br />
pa se občinstvo približa, začne stroj za tvorjenje besedila kolebati, omahovati in na vsake toliko povsem potihne. Sistem<br />
prepusti prostor obiskovalcu in ga vabi, naj vzame tipkovnico v svoje roke. Ko obiskovalec vnese besedilo, se slednje<br />
prikaže na zaslonu, tako kot se je pri stroju. Poetry Machine povzame obiskovalčevo besedilo in ga spoji s svojimi<br />
besedami. Tok besedil se v tej vzajemni igri med človekom in strojem odvija brez prekinitev.<br />
Če obiskovalčev vnos vsebuje besede, ki jih Poetry Machine ne pozna, program pošlje avtonomne "bote" na internet, da zbere<br />
ustrezne informacije. "Boti" nato ovrednotijo gradivo, ki ga najdejo na spletnih straneh, in dobljene rezultate pošljejo<br />
nazaj v sistem. Procesu iskanja informacij lahko obiskovalec sledi na drugem zaslonu, kjer so prikazane vse obiskane<br />
spletne strani, njihova ocena in najdeni dokumenti.<br />
Stroj za poezijo temelji na semantičnih mrežah. Njegov stvarnik ne ve, kaj stroj izraža. Pomen je določen s kopico povezav<br />
med besedami. Ko stroj prižgemo, je njegova zaloga podatkov prazna. Program spremeni besedilo v mreže semantičnih razmerij<br />
in abstrahira sintaktične strukture.<br />
The visitor enters a dimly lit room. On a<br />
projection screen runs a text that is<br />
written by nobody. The keys of the<br />
keyboard move as if by a ghost's hand. A<br />
monotone, mechanical voice reads out the<br />
generated text, sentence by sentence.<br />
Without the public nearby, the system<br />
writes quickly and fluently. When visitors<br />
approach, the text generator staggers,<br />
hesitates. The system leaves the scene to<br />
the observer and invites him to strike the<br />
keys himself. Poetry Machine takes up his<br />
text and associates starting from his<br />
words.<br />
If the user's input contains words that<br />
are unknown to the program, it sends<br />
autonomous "bots" into the internet to get<br />
appropriate information. They evaluate the<br />
material found and feed the resulting data<br />
back into the system. The search process<br />
of the "bots" can be followed on a second<br />
screen. Visited sites, their evaluation<br />
and the documents found are shown.<br />
Poetry Machine is based on semantic<br />
networks. What it expresses is unknown to<br />
its author. Meaning is defined by a<br />
cluster of links with other words. When<br />
the machine starts, its database is empty.<br />
The software transforms texts into<br />
networks of semantic relationships and<br />
abstracts syntactical structures.<br />
David Link, umetnik, pisatelj in programer. Živi in dela v Kölnu. Tekstovne generatorje razvija že od 1997.<br />
D. L., artist, writer and programmer. Lives and works in Cologne. Development of text-generators since 1997.<br />
Razstave/Exhibitions: "Charleroi Danses", Les Tanneurs, Bruselj/Brussels 1998; "Synworld", Public Netbase t0,<br />
Museumsquartier Dunaj/Wien 1999; "Wiretap 5.10", V2-Organisatie, Roterdam/Rotterdam 1999; "Red-Right-<br />
Wrong", Royal Flemish Theatre, De Bottelarij, Bruselj/Brussels 2000; "Interface5", Kunstverein Hamburg 2000;<br />
"Im Buchstabenfeld - The Future of Literature", Neue Galerie, Gradec/Graz 2001; "Typologie", Center for Art<br />
and Media Technology (ZKM), Karlsruhe 2002; "Artgenda", Hamburg 2002; "Deaf03 - Data Knitting", V2-<br />
Organisatie, Roterdam/Rotterdam 2003; "Belluard Bollwerk International", Fribourg, Švica/Switzerland 2003.<br />
Tehnična podpora/technical support: F18 Inst. f. Kunst, Information u. Technologie<br />
Produkcija/produced by: Neue Galerie, Graz; ZKM, Karlsruhe; Kunststiftung NRW<br />
Sponzor/supported by: KHM, Cologne
Kolektivi/Collectives<br />
Selekcija Simone Vidmar/Simona Vidmar's Selection<br />
V okviru sodobnih umetniških praks so me vedno bolj zanimale teme, manj izraz. teme v smislu raziskovanja nekega področja ali tudi iskanja<br />
problema. tematske razstave na drugi strani so me vedno precej odbijale, osnovna ideja mora biti vedno zelo preprosta in sugestivna in<br />
dogajanje mora biti horizontalno, da omogoča iskanje paralel. potem so tu kolektivi, skupine ustvarjalcev/ kreativcev, ki razvijajo neko njim<br />
zanimivo temo in se je lotevajo kompleksno. izmenjava idej, kontradikcije, nadgradnja, tudi paralele, vse se zgodi v procesu dela in ni končen<br />
rezultat. kar dobimo, je zelo insajderski, hkrati pa zaradi skupinskega dela shizofren produkt, ki neko temo vsili drugim in ne obratno.<br />
Če so bili na MFRU 2003 /dirty/, francoska skupina, ki se posveča predvsem >kraji< njim zanimivega glasbenega in vizualnega materiala z<br />
interneta, povabljeni, da postanejo selektorji, je to vlogo na MFRU 2004 dobila son:DA, slovenski tandem, ki eksperimentira in proučuje v<br />
medprostoru zvoka, prostora, filma in fotografije. selekcijo, ki jo je izvedla son:DA razumem kot rezultat dialogov in vplivov, ki so se<br />
vzpostavljali skozi leta njunega ustvarjanja.<br />
In the framework of contemporary artistic practices I was always attracted by the sheer theme and not so much by themes of expression in<br />
the sense of research within some other field or even search for the problem. I was also always repelled by thematic exhibitions, as in my<br />
opinion the basic idea should primarily be very simple, straightforward and suggestive, while the happening must be horizontal to enable<br />
parallel search. Then there are collectives, groups of artists or creators, that in all complexity tend to develop a theme that is of their interest.<br />
Exchange of ideas, contradictions, upgrading, also parallels - everything can happen in the process of such creation and it is not even the<br />
final product. What comes out of this process is a very insider and - at the same time, due to collective approach - a schizophrenic product<br />
that reinforces its theme to others instead of vice versa.<br />
At MFRU 2003, French artists group /DIRTY/, whose core interest is "stealing" interesting musical and visual materials from Internet, was<br />
chosen to be selectors. This role at MFRU 2004 was awarded to son:DA, the Slovenian tandem that experiments and studies the interspace of<br />
sound, space, film and photography. I comprehend their selection as a result of dialogues and influences that have been present during the<br />
years of their artistic work.<br />
Simona Vidmar<br />
kustusinja umetnostne galerije Maribor/Custodian of the Art Gallery Maribor<br />
_projekt "Di_alog" kot izbor, kot razstava, kot odprta platforma za diskusije<br />
Project Di_alogue as a choice, exhibition and open platform for discussions<br />
Zakaj Di_alog alias zanima me dialog z vami, dialog z izbranimi deli in umetniki, s festivalom, s publiko, z mestom.<br />
Umetnosti ne vidim zgolj kot družabna srečanja ob otvoritvah, kot potrebno dekoracijo družbe, kot področje bitk in vojn osebnega PR-a,<br />
kot kvalitetnega nastavljanja in prodajanja svojih idej, svojih ikon in lastnih izbruhov oziroma tako imenovanih performansov, ki so<br />
nastavljeni kot začetek dolge, uspešne kariere.<br />
In potem dramatičen zasuk.<br />
Umetnost vidim natanko tako.<br />
Vidim jo kot neizmerljiv egotrip posameznikov, kot sestavljanje varljivih konceptov, ki so bojda novi (kaj je novo) in nerazumljivi, ki so kot<br />
ideje, za katere moraš prebrati in poznati ducat knjig, ducat filozofov. Vidim jo kot likovna dela, ki funkcionirajo le ob razumevanju<br />
napisanega na priloženih listih papirja, vidim jo kot nesistematično sestavljanje svojega jezika, ki je kvaliteten sistem le dokler ne pride v<br />
stik z realnostjo prostora, dokler ne trči ob kontekst razstave, predstavitve, sporočila in namena. Koncept, ki funkcionira le s pomočjo<br />
izumetničeno oblikovanih vabil, super kvalitetno sestavljanjih dokumentacijskih map, kot površinsko razumevanje vseh prvotnih<br />
komponent dela, ki so za potrebo alias po potrebi za predstavitve v "dobri" galeriji artefaktu odvzete in pozabljene. Vse preveč podvrženo<br />
nenaprednemu hrepenenju po novem, ekonomskem oziroma konzumentskem načinu razmišljanja in dojemanja, podvrženo reklami,<br />
denarju, slavi.<br />
Nočem zveneti manifestativno, ker so manifesti bili in so padali, ker so šli v napačne smeri in bili nedosledno izvajani. Ampak dejstvo je, da<br />
sta svetovna situacija, da je naša družba in celotna energija tega planeta slaba, porazna in edina luč, ki jo vidim na koncu tunela, je<br />
dosledna stroka, kar pomeni umetnost, ki lahko družbi oziroma civilizaciji pomaga. Umetnost, ki se mora sama obrniti proti ljudem. Njeni<br />
predstavniki in zagovorniki morajo iz svojih izoliranih jam pogledati ven. Družbi in sistemu v oČi. Združeni, brez agresivnih izpadov,<br />
izbruhov, napadov.<br />
Zanima me dialog. In naj se začne.<br />
Why "Di_alogue" alias I am interested in a dialogue with you, a dialogue with selected artworks and artists, with the festival, with the<br />
audience, with the city<br />
I do not perceive art merely as a form of social meetings at openings, as a necessary embellishment for the society, as a means of waging<br />
battles and wars of personal PR campaigning, as effective posing and selling of one's own ideas, icons and eruptions, or the so-called<br />
performances, which are set as the beginning of a long and successful career.<br />
And now here comes the dramatic shift.<br />
I perceive art precisely as such.<br />
I perceive it as an immeasurable ego-trip practised by individuals; as concocting delusive concepts that are said to be new (but what is<br />
new) and as much beyond grasp as are those ideas for which you must first read and understand dozens of books, and dozens of<br />
philosophers. I perceive it as works of art that function only when one is capable to understand what is stated in the accompanying text; I<br />
perceive it as a non-systematic composition of one's own language which appears to be a quality system only insofar it does not confront<br />
the reality of space, insofar it does not clash with the context of an exhibition, presentation, message and purpose. I perceive it as a<br />
concept that is able to function only with the help of sophistically designed invitations and super-quality documentation folios, as a<br />
shallow understanding of all primary work components that are, by way of necessity alias for the purposes of an exhibition in a "good"<br />
gallery stripped off the artefact and thus forgotten. I perceive it as too subjected to non-innovative longing for the new commercially or,<br />
rather, consumerism-oriented way of thinking and comprehending, too subservient to propaganda, money and glory.<br />
I do not want to sound manifestatively, because manifestos were raised and failed in the pursuit of wrong goals, and what is more, they<br />
were even followed inconsistently. But the fact remains that the global situation - our society and the whole energy of this planet are<br />
negative and the only light I can see at the end of the tunnel is a consistent profession, which means art that will be able to help the<br />
society and civilisation; the art that will in itself be able to address the people. Its makers and representatives have to come out of their<br />
isolated caves, and look the society and the system straight in the eye. United, without aggressive escapades, eruptions or attacks.<br />
I am interested in the dialogue. Let it begin.<br />
Son:DA
Sibylle Hauert, Daniel Reichmuth:<br />
Instant City/Instantno mesto<br />
ein elektronischer musik bau spiel automat<br />
Ideja in zasnova: Sibylle Hauert in Daniel Reichmuth.<br />
Razvoj in realizacija: Sibylle Hauert, Daniel Reichmuth (oblikovanje, konstrukcija, elektronska strojna oprema in programi) in Volker Böhm (program "instant.tool").<br />
Razvoj strojne opreme in medijskega nadzora: i-art, Valentin Spiess.<br />
Glasbeniki in skladatelji: Stig Botterbloem, Geri Huber, Bernadette Johnson, Birgit Kempker, Tomek Kolczynski, Samy Kramer in Andri Freuler, Daniel Weissberg.<br />
Idea and Concept: Sibylle Hauert and Daniel Reichmuth.<br />
Development and Realization: Sibylle Hauert, Daniel Reichmuth (Design, Constructions, elektronic Hard- und Software) and Volker Böhm (Software "instant.tool").<br />
Hardware Development Mediacontroller: i-art, Valentin Spiess.<br />
Musicians and Composers: Stig Botterbloem, Geri Huber, Bernadette Johnson, Birgit Kempker, Tomek Kolczynski, Samy Kramer und Andri Freuler, Daniel Weissberg.<br />
Instant city (Instantno mesto) je elektronski gradbeno-glasbeni igralni avtomat oziroma igralna<br />
plošča za gradnjo glasbe. Eden ali več igralcev ob plošči lahko ustvarja arhitekturo s pomočjo<br />
polprozornih gradbenih kock in v tem procesu proizvaja različne zvočne module skladbe. Vsaka<br />
predstava je unikatna, saj so sekvence, čas in kombinacije popolnoma v rokah igralcev! Za vsako<br />
igro je izbrana ena skladba. Do danes je že osem različnih glasbenikov ustvarilo posebne<br />
skladbe, ki so gradbena glasbena osnova instantnega mesta.<br />
Izziv te interaktivne instalacije vidimo v privabljanju občinstva k aktivnosti, ne le pred<br />
monitorjem ali tipkovnico, marveč tudi v odnosu do fizično obstoječih, senzualno otipljivih<br />
predmetov. Ta dejavnost bi morala vplivati na ambient celotnega prostora in privabljati tudi<br />
druge obiskovalce k igranju ter poslušanju …<br />
Sama zasnova projekta je bila nagrajena poleti 2001 na vsakoletnem tekmovanju Freie<br />
Kunstprojekte, ki ga prireja Baselski Kunstkredits. V naslednjem letu in pol smo uspeli razviti<br />
in realizirati Instantno mesto. Projekt je bil predstavljen v Baslu, Linzu, Zürichu in<br />
Amsterdamu, nagrajen je bil tudi na Ars Electronica 03 v Linzu (častna omemba), bil nominiran za<br />
mednarodno nagrado za medijsko umetnino na ZKM 2003 v Karlsruheju in bil dobro sprejet na<br />
CYNETart Award 04 v Dresdenu ter na ACA Media Art Festivalu v Tokiu.<br />
is a music building game automat or game<br />
board. One or more players at the board can create<br />
architecture using semi-transparent building<br />
blocks and, in the course of this process, make<br />
different audible modular compositions. Every<br />
performance is unique since the sequence, timing<br />
and combination of possibilities are completely<br />
in the hands of the players! For each game, one<br />
composition is chosen. To date, eight different<br />
musicians have each produced special compositions<br />
which serve as the basic music building kits of<br />
the instant city.<br />
For us the challenge of this interactive<br />
installation lies in enticing the audience into<br />
action, not only in front of the monitor or with<br />
a keyboard, but also in relation to physically<br />
real, sensually graspable objects. This action, on<br />
the other hand, should influence the atmosphere of<br />
the total space inviting other people to play and<br />
listen…<br />
In the summer of 2001 the concept idea received an<br />
award in the "Freie Kunstprojekte", the annual<br />
competition organised by the Basel Kunstkredits.<br />
In the following one-and-a-half year, was fully developed and realised. It was<br />
shown in Basel, Linz, Zürich and Amsterdam, given<br />
the award by the Ars Electronica 03, Linz<br />
(honorary mention), nominated for the<br />
internationaler/medien/kunst/preis 03 ZKM,<br />
Karlsruhe, and well recognised by the CYNETart<br />
Award 04, Dresden, and the ACA Media Art Festival,<br />
Tokyo.
Sibylle Hauert<br />
born in 1966, Basel; lives and works in Basel<br />
Artist and performer in the field of new media installation and<br />
research with an educational and training background in theatre<br />
and music, since 1994, Sibylle Hauert has been creating computerbased<br />
compositional works. Since 2000, she has worked on selfbuilt<br />
electronic systems in connection with developable creative<br />
software programs to stage and provoke real movement and<br />
sensual perception through electronic installations or performative<br />
"Tools". Her research involves the area of interface design which<br />
she then creatively transfers into spatial settings or installations.<br />
Rojena 1966 v Baslu, kjer živi in dela.<br />
Umetnica in ustvarjalka na področju instalacij ter raziskav novih<br />
medijev z gledališko in glasbeno izobrazbo ter prakso. Sibylle<br />
Hauert ustvarja svoje računalniške skladbe ustvarja že deset let, od<br />
leta 2000 pa dela z elektronskimi sistemi, ki jih sama izdeluje ter<br />
povezuje z razvijajočimi se ustvarjalnimi programi za izdelavo in<br />
predstavitev realnih gibov ter senzoričnih percepcij skozi<br />
elektronske instalacije ali performativna "orodja". Njene raziskave<br />
obsegajo področje kreacije vmesnikov, ki jih lahko ustvarjalno<br />
uporablja v prostorskih postavitvah ali instalacijah.<br />
Daniel Reichmuth<br />
Born in 1964, Switzerland; lives and works in Basel.<br />
Artist and performer in the field of new media installation and<br />
research, Daniel Reichmuth has an educational and training<br />
background in theatre, movement and electronic engineering.<br />
Since 2000, he has worked on self-built electronic systems in<br />
connection with developable creative software programs to stage<br />
and provoke real movement and sensual perception through<br />
electronic installations or performative "Tools". His research<br />
involves the area of interface design that he then creatively<br />
transfers into spatial settings and installations.<br />
Rojen 1964 v Švici, živi in dela v Baslu.<br />
Umetnik in ustvarjalec na področju instalacij ter raziskav novih<br />
medijev z gledališko izobrazbo in prakso ter izkušnjami s področja<br />
giba in elektronskega inženiringa. Od leta 2000 se ukvarja z<br />
elektronskimi sistemi, ki jih sam izdeluje in povezuje z razvijajočimi<br />
se ustvarjalnimi programi za izdelavo in predstavitev realnih gibov<br />
ter senzoričnih percepcij skozi elektronske instalacije ali<br />
performativna "orodja". Njegove raziskave obsegajo področje<br />
kreacije vmesnikov, ki jih lahko ustvarjalno uporablja v prostorskih<br />
postavitvah ali instalacijah.<br />
1999-2004 Sibylle Hauert and Daniel Reichmuth Courses are<br />
visiting students at the Electronic Studio, College of Music in<br />
Basel: recording engineering, MAX/MSP/, Basic programming,<br />
introduction to hard- and software of micro-controlling<br />
technology, interactive systems and "digital sound processing‚<br />
with Wolfgang Heiniger, Department Head for Audio Design.<br />
Autodidactic training and experience in electronics and design,<br />
preparation-for-print, sensor technology and switchboard<br />
circuitry.<br />
1999-2004: Sibylle Hauert in Daniel Reichmuth prirejata seminarje<br />
za študente v Electronic Studio, College of Music v Baslu na teme:<br />
snemalni inženiring, MAX/MSP/, osnove programiranja, uvod v<br />
hard- in software tehnologije mikronadzora, interaktivni sistemi in<br />
"digitalna zvočna obdelava" (skupaj z Wolfgangom Heinigerjem,<br />
vodjem oddelka za Audio Design), avtodidaktični trening in<br />
izkušnje v elektroniki ter oblikovanju, priprava za natis in senzorska<br />
tehnologija.<br />
Beatrix Bakondy: Jaz sama/I Myself video, 3 min, 2003<br />
V videu Jaz sama se umetnica predaja neke vrste ekstatični vibraciji. Čeprav njeno telo vseskozi ostaja<br />
statična točka v središču podobe, se konstantno prelamlja po diagonali v obliki stroboskopskega reflektorja,<br />
ki se nenehno vklaplja in izklaplja kot sam okoli sebe krožeči element. Plastenje, pospeševanje in<br />
pomnoževanje postanejo določevalni faktorji v tej digitalni koreografiji. V resnični poplavi povečevanja<br />
hitrosti se nam njen obraz prikazuje kot naravnost statična podoba. Kot nekakšna začarana ogledalna ali<br />
konstantna prapodoba se kar vsiljuje gledalcu. Kot boleča senca umetnice, neprepoznavna zaradi naraščajoče<br />
hitrosti, se podoba osredotoči v samo središče projekcije. Njeni lasje, ki v jezni norosti padajo v ta<br />
notranji krog, so kot silovite poteze čopiča ali energične grafične črte. Toda to na videz nenadzorovano<br />
centrifugalno silo avtorica nenehno skrbno nadzoruje in usmerja. (Markus Wintersberger)<br />
"<strong>Univerza</strong>lna potreba umetnosti je človekova potreba dvigniti notranji in zunanji svet v svoji zavesti kot predmet, v katerem se ponovno<br />
prepozna. V tej podvojitvi samega sebe človek prikaže vse, kar je v njem, in to postavi na ogled sebi ter drugim." (G. W. F. Hegel)<br />
In the video I Myself, the artist subjects herself to a kind of ecstatic vibration. Although her body<br />
remains a static point in the centre of the image, it constantly breaks through diagonally, in the form of<br />
a stroboscopic reflector, switching on and off repeatedly, as an element turning on its axis. Layering,<br />
accelerating and multiplying become the determining factors in this digital choreography. In a veritable<br />
maelstrom of speed maximisation, her face assumes an almost static presence. A spellbound mirror image or<br />
a constant proto-image seems to downright obtrude upon the viewer. Like a painful shadow of the artist,<br />
rendered completely unrecognisable by the extreme acceleration, this image becomes concentrated in the<br />
centre of the projection. Her hair, lashing about this inner centre in a mad frenzy, resembles powerful<br />
brush strokes or energetic graphic lines. This seemingly out-of-control centrifugal force, however, is<br />
always consciously controlled and steered by the performer (Markus Wintersberger).<br />
"The universal need for art is man's rational need to lift the inner and outer world into his spiritual<br />
consciousness as an object in which he recognizes again his own self. In this duplication of himself, man<br />
brings what is in him into sight and knowledge for himself and others." G. W. F. Hegel<br />
Rojena leta 1978.<br />
2000 kot štipendistka Adllmullerjevega sklada študira na Univerzi za<br />
uporabno umetnost na Dunaju<br />
2001: Emerging artist, zbirka Essl, Avstrija<br />
2001: fe/male sensibility, Galerie Charim, Salzburg<br />
2001-2003: Moving gallery skupaj s Pilottanz, predstavljeno v<br />
Dresdenu, Salzburgu, Celovcu in na Dunaju<br />
2003: Individuelle Kosmologien. Shau-ST. A. LL, Amstetten<br />
Born in 1978<br />
2000: "Adllmuller Stipendium", University of Applied Arts Vienna<br />
2001: "Emerging Artist", Sammlung Essl, Austria<br />
2001: "fe/male sensibility", Galerie Charim, Salzburg<br />
2001-2003: "Moving Gallery" together with Pilottanz, performed in<br />
Dresden, Salzburg, Klagenfurt, Vienna<br />
2003: "Individuelle Kosmologien". Shau-ST.A.LL, Amstetten
Borjana Ventzislavova, Miroslav Nicić:<br />
Mislim, da Luis/Louis I Think<br />
nebudu@t0.or.at<br />
http://nebudu.net<br />
CD-rom Mislim, da Luis je posnetek dolgotrajnega, kot zanka oblikovanega potovanja po cesti iz rojstnih držav<br />
avtorjev (Srbije in Črne gore ter Bolgarije) v Avstrijo, kjer trenutno živita.<br />
Avtorja sta soočena z napornim in nepredvidljivim postopkom prečkanja mej v letih 1999 in 2000. Samo delo<br />
predstavlja osebno dokumentacijo potovanja, videno kot vrsto situacij, ki včasih prerastejo ali popolnoma<br />
spremenijo naše skupne vrednote in razumevanje "kompleksnosti" sveta; situacij, ki včasih daleč presegajo naše<br />
sposobnosti obvladovanja, kot sta npr. vojaška intervencija ali vojno stanje. Na njuni poti postopki postajajo<br />
realno življenje, v katerem je človeško bitje dvakrat preizkušano: po eni strani je nevtralni opazovalec - potnik, po<br />
drugi pa ne more ohranjati nevtralnosti in je prisiljeno reagirati ter igrati v skladu s pravili ali proti njim. V svojem<br />
hrepenenju po redefiniranju "realnega sveta" avtorja raziskujeta izkušnjo potovanja in ob tem ponujata bližnje<br />
srečanje z vmesnimi sekvencami običajnih in nenavadnih okoliščin, nekoliko nelineareno in naključeno združenih,<br />
tako da gledalcu omogočata sestavljanje sekvenc podob in situacij.<br />
"Luis, I think" CD-ROM is a record of a lengthy, loop-like road trip from the authors' birth countries (Yugoslavia<br />
and Bulgaria) to Austria, their present place of residence.<br />
The authors are confronted with the tedious and unpredictable border crossing routine in the period between<br />
1999 and 2000. The work itself represents a personal documentation of the journey, seen as a series of situations<br />
that can sometimes overgrow or completely redefine our common values as well as our understanding of the<br />
complexities of the world; a series of situations that sometimes by far exceed our possibilities to control them,<br />
such as any military intervention or state of war. On the road, real life becomes a conglomerate of procedures in<br />
which the human being is doubly tested, both from the perspective of a neutral observer - traveller and the<br />
opposite perspective of one that is not able to preserve neutrality, being forced to react and play by or against the<br />
rules. In their longing for a constant redefinition of the "real-world", the authors investigate the experience of<br />
travelling, while offering close encounters with intermediate sequences of ordinary as well as peculiar<br />
circumstances combined in a rather non-linear and random way, by enabling the viewer to compose a sequence<br />
of images and situations of his own.<br />
Borjana Ventzislavova, rojena 1976 v Sofiji, Bolgarija, je študirala<br />
informacijske tehnologije na Univerzi v Sofiji in na Dunaju.<br />
Trenutno študira vizualne medije na Univerzi za uporabno<br />
umetnost na Dunaju pri prof. Petru Weiblu in prof. Karlu<br />
Dudeseku. Je članica Dezentrale Medien Project (www.herein.at).<br />
Miroslav Nicić, rojen 1975 v Djakovici, Srbija in Črna gora, je<br />
diplomiral iz mednarodne ekonomije na Ekonomski fakulteti v<br />
Sofiji, Bolgarija. Trenutno študira vizualne medije na Univerzi za<br />
uporabno umetnost na Dunaju pri prof. Petru Weiblu in prof.<br />
Karlu Dudeseku.<br />
Oba živita in delata na Dunaju. Skupaj sta sodelovala pri več<br />
projektih, na razstavah in festivalih.<br />
Manifest Machinima video*, PAL, 04:44'<br />
Video je posnet s pomočjo programa, prvoosebne videoigre s streljanjem (UNREAL TOURNAMENT), ki je<br />
uporabljen kot virtualna scena za "snemanje". Vzporednice med snemanjem filma in snemanjem sovražnika (ali<br />
gledalca) med igro in igranjem segajo v samo bistvo pripovedne kinematografije. Akcija (mizanscena) na sceni v<br />
tem primeru ni vnaprej določena. Prepuščena je gonilnikom, ki s pomočjo AI nivoja in vnaprej določene<br />
sovražnosti (elementov urejevalnika igre), ki se skoraj kot v plesu, v taktu valčka izničujejo ter to svojo aktivnost<br />
znova in znova začenjajo, izbirajoč si vedno isti cilj, rez za rezom, ter pri tem postajajo popolni igralci, ki niso<br />
nikoli preutrujeni za še eno ponovitev posnetka.<br />
Vloga kamere na sceni spominja na predvajanje bitke v živo. Medijski umor, konec ene vloge in takojšnje<br />
vstajenje, ki vodi v ponovni medijski umor. Snemanje traja neskončno dolgo. Oko kamere sledi njihovim besnim<br />
gibom in kar nadaljuje s snemanjem. Obstoj "junaka", ki je tudi edini, s katerim upravlja človek, in njegova<br />
razumska dejanja so soočena z naključnostjo AI pogonov; njegova mirnost je soočena z njihovimi neprestanimi<br />
pobegi, in čeprav je prostorsko ločen od prizorišča snemanja, je še vedno del le-tega.<br />
Video nam ne daje odgovorov na situacije, s katerimi nas sooča, vendar nas nenehno spraševanje ves čas filma<br />
lahko zadovolji tudi kot odgovor. Sterilno čist umetni prostor, podaljšek virtualno vodene tehnologije, se sooča z<br />
zavestnim procesom samozavedanja. Kamera natančno preklaplja kadre in nas pušča na izhodišču - nad površino.<br />
(* Machinima je termin, s katerim opisujemo razvijajočo se tehnologijo ustvarjanja animiranih filmov, ustvarjeni s<br />
pomočjo na uporabnika naravnane realnočasne izvedbe 3D tehnologije igralnih naprav.)<br />
The video uses First Person Shooter software /UNREAL TOURNAMENT/ as the virtual set for the "shooting". The<br />
parallels between shooting a film and shooting an enemy /or spectator/, as well as between playing and acting,<br />
go deep into the essence of the narrative cinema. In this particular instance, the action (mise-en-scene) on the set<br />
is not pre-defined. It is rather left to the Bots, run at the AI level and motivated by pre-defined hostility (elements<br />
of the game editor), which in an almost dance-like, waltzing style annihilate each other, start their role over and<br />
over again, choose the same goal, cut after cut, and become the perfect actors never too tired to repeat the shot<br />
once again.<br />
The camera work on the set very much resembles a live coverage from the battlefield. Media kill, the end of one<br />
role and an instant resurrection leading to another media kill. Shooting that lasts forever. The camera eye follows<br />
their frantic movements and keeps rolling. The existence of the "hero", which is also the only actor controlled by<br />
man, together with his rational actions, is confronted with the randomness of the AI-run Bots, his stillness is<br />
challenged by their constant frantic fleeing, and although spatially isolated from the scene of shooting, he<br />
remains part of it.<br />
The video doesn't offer answers to the situations with which it confronts us, but the constant questioning<br />
throughout the entire film may nevertheless serve as an answer. The sterile clean artificial space, posing as an<br />
extension of a virtually driven technology, is confronted with the continuous process of self-recognition. The<br />
camera switches the outlines with great precision and leaves us at the very starting point, i.e. above the surface.<br />
(* Machinima is the term given to the emerging technology of generating animated movies made by using the<br />
client-oriented, real time 3D ambient scripted in game engines.)<br />
Borjana Ventzislavova, born in 1976, Sofia, Bulgaria. She completed her studies of Information<br />
Technology at the Universities of Sofia and Vienna; currently she studies Visual Media at the<br />
University of Applied Arts Vienna (under the tutorship of Prof. Peter Weibel and Prof. Karel Dudesek).<br />
She is a member of the Dezentrale Medien Project (www.herein.at)<br />
Miroslav Nicic, born in 1975, Djakovica, Yugoslavia. He completed his studies at the University of<br />
Economic Sciences, Sofia, Bulgaria, with a degree in International Economics; currently he studies<br />
Visual Media at the University of Applied Arts Vienna (under the tutorship of Prof. Peter Weibel and<br />
prof. Karel Dudesek).<br />
Both live and work in Vienna. Together they have participated in various projects, exhibitions and<br />
festivals.
Kerstin von Gabain: Prostor na soncu/A Place in the Sun<br />
animacija/animation, 2003<br />
Animacija Prostor na soncu je narejena v računalniškem 3D programu, simulira virtualni dan in traja 24 ur. Pogled<br />
kamere ostaja statičen; edini vidni spremembi sta tako spreminjajoča se dnevna svetloba in senca, ki kažeta na<br />
minevanje dneva. Gledalec teh sprememb ne more zaznati, saj so te za njegovo oko prepočasne. Animacija se namreč<br />
prikazuje v realnem času, kar pomeni simultano z realnostjo. Realni čas, npr. 12.00, je enak tistemu, ki ga<br />
prikazuje animacija. Naslov je povzet po istoimenskem ameriškem filmu z Mongomeryjem Cliftom, Elisabeth Taylor in<br />
Shelley Winters v glavnih vlogah. Gre za hollywoodsko klasiko o dvorazredni družbi, v kateri se protagonisti<br />
filma borijo za boljše življenje. Animacija se ukvarja z estetiko gibljive podobe, njeno vlogo in predstavitvijo v<br />
digitalni dobi.<br />
The animation 'A Place in the Sun' was made in a 3D computer program. It lasts 24 hours and simulates a virtual<br />
day. The camera view remains static, therefore the only visible difference is the one in changing daylight and<br />
the shadow altering as the day precedes. The viewer cannot percieve the animated motion taking place since it is<br />
far too slow for the human eye to register. The animation is shown in real time, which means that it runs<br />
parallel to reality. A real given time, e.g.: 12:00 pm, is the same as the time displayed in the animation. The<br />
title is taken from the American movie 'A Place in the Sun', dating back to 1951, with Mongomery Clift,<br />
Elisabeth Taylor and Shelley Winters. The movie is a Hollywood classic talking about a two-class society, where<br />
its protagonist is striving for a better life. The animation deals with the aesthetics of the moving image, as<br />
well as its role and representation in the digital age.<br />
1998-2001: študij na Akademie der bildende Künste na Dunaju,<br />
smer slikarstvo in grafika pri prof. Franzu Grafu<br />
2001-2003: študij smeri novi mediji pri prof. Peteru Koglerju<br />
2003: z odliko diplomirala<br />
2003: nadaljevanje študija na Technische Universität na<br />
Dunaju, smer medijska informatika<br />
1998 -2001 _ Akademie der bildende Künste Wien, Malerei und<br />
Grafik, Meisterklasse Franz Graf<br />
2001-2003 _ Neue Medien, Meisterklasse Peter Kogler<br />
2003 _ Magister Artium (mit Auszeichnung)<br />
2003 _ Technische Universität Wien, Medieninformatik<br />
iniciator melonova: Brez imena/No name<br />
instalacija/akcija / installation/action<br />
skylined.org<br />
1. tekst<br />
2. avtomat/interaktivni rezalnik<br />
3. umestitev v prostor, postavitev za uporabnike/soustvarjalce<br />
4. multilog, odprti razgovor/medgovor/večgovor<br />
5. skupno ustvarjanje vsebinskega platoja<br />
4. snemanje/zapisovanje/kopiranje<br />
3. prenos v avtomat/prehod v nelinearnost<br />
2. izpustiti/postati skupno/izgubiti nadzor in (ob)last<br />
1. tekst/vsebinski plato je svoboden<br />
Vzpostaviti želimo socialni algoritem, ki beleži, shranjuje in re-kreira<br />
vsebine in glasove, ki jih ustvarja kolektivna inteligenca. navidezno<br />
linearen skupinski diskurz se v procesu reciklira, postaja deklarativen<br />
in kaotičen, obenem pa ga lahko z naključno "kontrolo" vsi<br />
spremenimo. ostaja vprašanje, kateri citat, izrečena beseda ali ideja je<br />
moja, tvoja ali naša<br />
1. Text<br />
2. Automat / Interactive cutter<br />
3. Placing into space, installation for users / Co-creators<br />
4. Multilogue - an open dialogue for more than two participants<br />
5. Joint creation of the content plateau<br />
4. Taping / Recording / Copying<br />
3. Transfer to the automat / Crossing to non-linearity<br />
2. To leave out / To become common / To lose control and power<br />
1. Text / The content plateau is free<br />
We would wish to make a social algorithm that tapes, records and<br />
re-creates contents and voices, created by collective intelligence.<br />
During the process, seemingly linear common discussion<br />
becomes recycled, declarative and chaotic. At the same time, we<br />
all can change by exercising random "control". The question as to<br />
which quotation, uttered word or idea is mine, yours or ours -<br />
remains unanswered.<br />
Melonova sta melon in nova, ali Dunja Kukovec (r. 1975) in Luka Prinčič (r. 1977). Osredotočena sta na kreativno in odprto uporabo tehnologije, pri čemer ju zanima aplikacija le-te<br />
na socialno-družbene sfere. Skupaj sta delala na projektu Scanline - festival digitalne gibljive slike (2001) v Moderni galeriji Ljubljana, Music for Hard Disks v galeriji Kapelica (2002),<br />
na razstavi Open Beats v Bežigrajski galeriji II (2003) in Area Kolaborativa v ŠKUC-u (2004). V zadnjem času delujeta tudi v okviru Kiberpipe v Ljubljani. Ključni pojmi, ki ju povezujejo<br />
so: kreativnost, kriza reprezentacije, kritika kretenizmov, elektronska glasba, historicizem, parastrukture umetnosti, odprtost in svoboda.<br />
Melonova stands for "melon" and "nova", or Dunja Kukovec (born in 1975) and Luka Princic (born in 1977). Their primary focus is on the creative and open usage of technology and<br />
its application in social spheres. They cooperated in the project "Scanline" - The Festival of Digital Moving Pictures at the Modern Art Gallery, Ljubljana (2001); "Music for Hard<br />
Discs" at the Art Gallery Kapelica, Ljubljana (2002); the art exhibition "Open Beats" at the Bezigrad Art Gallery II, Ljubljana (2003); and the project "Area Kolaborativa" at the Škuc<br />
Gallery, Ljubljana (2004). Temporarily they also cooperate within the framework of the Kiberpipa cyber-centre, Ljubljana. The key points connecting them are: creativity, reproduction<br />
crises, critique to cretinism, electronic music, historicism, para-structures of art, openness and freedom.
son:DA z Miho Ciglarjem (računalnik) in Samom Pečarjem (bas)<br />
/with Miha Ciglar (computer) and Samo Pecar (bass):<br />
"Skladba za monitor, projektor, računalnik in bas" ali<br />
"Včeraj je tam bila rdeča točka"/"Composition for<br />
monitor, projector, computer and bass" or "Yesterday<br />
there was a red point"<br />
avdio-video performans/audio-video performance, 2004<br />
http://connected.mur.at/sonda<br />
.črni proti belemu.<br />
.zgodba.drama.boj.zivljenje.<br />
.usoda.<br />
.sodnik kot vrhovna avtoriteta.<br />
.sodnik kot bog, ki dela napake.<br />
.omejeno igrišče.<br />
.zakoni in pravila.<br />
.tehnika.<br />
.usodna napaka.<br />
zmagovalec in poraženec.<br />
.vedno znova.<br />
.zemlja se vrti.<br />
The black against the white<br />
Story. Drama. Fight. Life.<br />
Destiny.<br />
Judge as a supreme authority.<br />
Judge as God who makes mistakes.<br />
Limited playground.<br />
Laws and rules<br />
Technicks<br />
Fatal mistake.<br />
The winer and the loser.<br />
Again and again.<br />
The Earth is revolving.<br />
Miha Ciglar:<br />
Skladba za dva inštrumenta in saksofonista/<br />
A piece for two instruments and a saxophone player<br />
zvočni performans/sound performance<br />
The composition is based on the idea of bringing two musical instruments (in this case: saxophone (alto) and computer) face to face and point out their common<br />
characteristics in order to compensate the time gap between their inventions and hereby contribute to the acceptance and understanding of this wonderful extra feature<br />
(producing original sound) that comes with the computer, which prime function is rather different. The other goal is finding or inventing methods of communication,<br />
which would allow a single musician (a saxophone player) to control or play both instruments at the same time.<br />
Therefore I defined for each instrument three levels of use or "misuse" which are equivalent in pairs, and furthermore find themselves in constant interaction.<br />
Skladba je nastala z idejo združiti dva glasbena inštrumenta (v tem primeru alt saksofon in računalnik), ju soočiti in poudariti njune skupne značilnosti, katere bi<br />
premostile časovni prepad med njunima izumoma ter s tem pripomogle k sprejetju in razumevanju te krasne dodatne lastnosti (produkcije originalnega zvoka), ki<br />
prihaja iz računalnika, katerega primarna vloga je v tem primeru malo drugačna od običajne. Moj drugi cilj je bil najti oziroma iznajti metodo komunikacije, ki bo enemu<br />
samemu glasbeniku (saksofonistu) omogočala nadzorovati in igrati hkratno na oba inštrumenta.<br />
Za vsak inštrument sem oblikoval tri nivoje uporabe ali "zlorabe", ki so parno ekvivalentni, ter med seboj v neprekinjeni interakciji.
Izgubljeno s prevodom/Lost in Translation<br />
Selekcija Narvike Bovcon in Aleša Vaupotiča/Narvika Bovcon and Aleš Vaupotič's Selection<br />
Curating an exhibition means to configure an archival unity out of multiple<br />
singular elements. Where, on one hand, the archive is not simply the sum of the<br />
elements and on the other hand the elements must not be just representations of<br />
the archival essence. If they were, the relationships between the artistic<br />
projects would dissolve in the aesthetic rhythm of symmetry whereby they would<br />
annihilate their positivities. Theoretically speaking, the field of the archive<br />
would be reduced to an apolitical level of epistemology. Thus the level of<br />
discourse, i.e. the relations between the atoms of power-knowledge, would be<br />
ignored.<br />
Our consideration enables us to conceive the artistic exhibition as a field of<br />
relations that intervenes in the artistic statements of each project involved and<br />
also in the meaning of the exhibition as a whole, which in turn becomes an<br />
artistic installation. The archive is structured on two levels - on the<br />
"external" one, where the conceptual relations between projects are manipulated<br />
by means of their spatial positions, and the "internal" one, where the view into<br />
the archive is faced with the surface of an image or an object functioning as<br />
interface that is smart and at the same time impenetrable when approached by the<br />
addressee's entering.<br />
This model of the artistic exhibition isn't without any consequences. It<br />
implies the artwork as an archive, which is embedded in the social and political<br />
context of the present. Art is possible only if the author is consciously<br />
archiving the values that she/he discovers in the world around her/him. Her/his<br />
task is to look for something good and then protect it - not an easy task that<br />
often has to be performed on the limits of what is known and acceptable.<br />
Narvika Bovcon, Aleš Vaupotič<br />
Postavljanje razstave je vedno konfiguriranje arhivske enote iz več samostojnih<br />
singularnosti. Arhiv ni njihov seštevek, po drugi strani pa tudi elementi ne<br />
smejo biti zgolj reprezentacije arhivskega bistva. Če bi bili, bi se razmerja med<br />
posameznimi umetniškimi deli razblinila v estetskem ritmu simetrij ter s tem<br />
izničila njihove pozitivnosti. Teoretično rečeno, arhivsko polje bi se zvedlo na<br />
depolitizirano epistemološko raven in pri tem zanikalo diskurzivno raven razmerij<br />
med atomi oblasti-vednosti.<br />
Ta premislek nam omogoča, da se umetniška razstava vzpostavlja kot polje<br />
relacij, ki konstitutivno posegajo v umetniška sporočila posameznih projektov, pa<br />
tudi razstave kot celote, ki tako postane umetniška instalacija. Arhiv se<br />
strukturira skozi dve perspektivi - "zunanjo", ko se konceptualna razmerja med<br />
projekti manipulirajo s prostorskimi razmerji, in "notranjo", ko se pogled v<br />
arhiv sooča s površino podobe ali objekta kot vmesnika, ki pametno in obenem<br />
nepredirno odgovarja na prejemnikov vstop.<br />
Takšen pogled na umetniško razstavo pa ni brez posledic, saj predpostavlja<br />
umetniško delo kot arhiv, potopljen v socialno-politični kontekst vsakokratne<br />
sedanjosti, ki je mogoč zgolj v obliki umetnikovega zavestnega arhiviranja<br />
vrednot, ki jih odkrije okoli sebe. Njegova naloga je odkriti nekaj dobrega in<br />
to zavarovati; kar pa seveda ni lahka naloga in jo je pogosto treba izvajati na<br />
robu znanega in sprejemljivega.<br />
Artists: E-Cart, Barak Reiser, Johan Thom, YOlk Art, Alex Zika & Eftychia Shinas
E-CART<br />
www.e-cart.ro<br />
sodobna spletna revija o umetnosti<br />
contemporary online art magazine<br />
(Romunija)(Romania)<br />
August 2003: preview at the workshop Real Presence 3, Belgrade<br />
Visiting the biennials: Periferic 6 (2003, Iasi, Romania), Istanbul 8 (2003), Berlin 3 (2004)<br />
Collaborative projects: Sweden (throughout 2004), Austria (Format project - May 2004), Timisoara<br />
(permanent presentation of H.arta space since February 2004), Ljubljana (presentation of <strong>ArtNetLab</strong><br />
in June 2004)<br />
We would include e-cart website in a category of net spaces<br />
that are aiming at connecting and creating networks; this is<br />
what the internet is usually doing, however, our purpose is<br />
to transfer the real people, art works, art events, etc.,<br />
into the virtual space, which we experience at this moment<br />
as a more real, more consistent, more accurate - as it<br />
represents a way of creating (constructing) our freedom.<br />
By clicking on a city on our map, one can go directly to a<br />
page from the magazine; it is not just the map of our site,<br />
but also the map of the "real" world - which becomes more<br />
real (i.e. more accessible) for us in the virtual space.<br />
Our project relates to politics and the idea of having an<br />
independent attitude; between an instrument, a platform and<br />
the medium turned into message, at this moment the internet<br />
is for us a way of expressing this attitude.<br />
Internetno stran e-cart lahko vključimo v kategorijo spletnih<br />
prostorov, katerih namen je povezovati in ustvarjati omrežja;<br />
to internet običajno počne, naš namen pa je prenesti<br />
resnične ljudi, umetniška dela, dogodke itd. v virtualen<br />
prostor, ki ga v danem trenutku doživljamo kot mnogo<br />
realnejšega, doslednejšega in točnejšega, saj predstavlja<br />
način ustvarjanja (oblikovanja) naše svobode.<br />
S klikom na ime mesta na našem zemljevidu se lahko<br />
neposredno povežete s stranjo revije. To ni samo zemljevid<br />
naše spletne strani, ampak tudi zemljevid "resničnega" sveta,<br />
ki postaja za nas vse bolj realen (torej bolj dostopen) v<br />
virtualnem prostoru.<br />
Naš projekt je povezan s politiko in željo po neodvisnosti;<br />
med orodjem, prizoriščem in medijem kot sporočilom. Danes to<br />
neodvisnost izražamo z internetom.<br />
Madalin Geana<br />
Rojena leta 1981;<br />
Študij na Fakulteti za računalniške znanosti Univerze za politehniko v Bukarešti.<br />
Skrbnica spletnih strani revije e-cart<br />
Raluca Voinea<br />
Born: 1978<br />
1997-2001 - University of Arts in Bucharest, Faculty of Art History and Theory<br />
editor of e-cart magazine<br />
Eduard Constantin<br />
Rojen leta 1977;<br />
1998-2003: študij na Fakulteti za slikarstvo na Umetnostni akademiji Luceafarul v<br />
Bukarešti.<br />
Oblikovalec spletnih strani za revijo e-cart.<br />
*<br />
Eduard Constantin<br />
Born: 1977<br />
1998-2003 - Luceafarul Academy of Art in Bucharest, Faculty of Painting<br />
web designer for e-cart magazine<br />
Raluca Voinea<br />
Rojena leta 1978;<br />
1997-2001: študij na Fakulteti za umetnostno zgodovino in teorijo Univerze v<br />
Bukarešti.<br />
Urednica revije e-cart.<br />
*<br />
Madalin Geana<br />
Born: 1981<br />
Polytechnic University of Bucharest, Faculty of Computer Sciences<br />
web master for e-cart magazine<br />
Avgust 2003: uvodna predstavitev v okviru delavnice Real<br />
Presence 3 (Resnična prisotnost 3) v Beogradu;<br />
gostovanja na bienalih: Periferic 6 (2003, v Iasiju v Romuniji),<br />
Istanbul 8 (2''3), Berlin 3 (2004);<br />
kolaborativni projekti: Švedska (vse leto 2004), Avstrija<br />
(projekt Format, maj 2004), Temišvar (stalna predstavitev<br />
projekta H.arta space od februarja 2004 naprej), Ljubljana<br />
(predstavitev projekta <strong>ArtNetLab</strong>, junij 2004).
Barak Reiser<br />
(Nemčija/Izrael)(Germany/Israel)<br />
Dvojniki (2002-danes)<br />
Doubles (2002-Present)<br />
What you see is not what you see<br />
Am I the person I see each morning in the mirror<br />
It's a small lie I see in my mirror's reflection<br />
When I'm big will I be Big<br />
That's what I thought before<br />
Am I big already<br />
Asking myself while shaving<br />
searching carefully for the new wrinkles and white hairs<br />
didn't find any!<br />
It's a small lie I see in my mirror's reflection<br />
I should ask strangers in the subway what they see<br />
when they see my reflection through the window<br />
It's a small lie that they see my mirror's reflection.<br />
Third text from the series<br />
When I will grow up I will be<br />
1973: rojen v Haifi, v Izraelu.<br />
1994-98: študiral na Akademiji za umetnost in oblikovanje<br />
Bezalel v Jeruzalemu (Bezalel Academy of Art and Design).<br />
2000-04: študiral na Akademiji za umetnost Städelschule v<br />
Frankfurtu ob Majni.<br />
Elbuod je tisti, ki ga ljudje enačijo z mano. Tako kot jaz, gre lahko tudi on v Slovenijo,<br />
če jaz to želim.<br />
Originali ne obstajajo, torej tudi kopije ne obstajajo.<br />
Ta serija posterjev je nastala iz fotografij potnih listov ljudi, ki so mi podobni po<br />
obnašanju ali zunanjem videzu.<br />
Delo še ni končano.<br />
1973: Born in Haifa, Israel. 1994-98: studied at the Department of Fine Arts, the Bezalel<br />
Academy of Art and Design, Jerusalem.<br />
2000-04: studied at the Städelschule Art Academy, Frankfurt am Main.<br />
Elbuod is the one that people can identify as me; just like me, he can go to Slovenia if I want him to.<br />
There are no originals, therefore there are no copies.<br />
This series of posters is based on passport photos of people who I have been told resemble me in a<br />
certain way, either in their behaviour or in their appearance.<br />
This work is still on-going.
Every time our web site is being<br />
accessed a short simple clip of<br />
floating dust particles is being<br />
displayed and, simultaneously, that<br />
very same image is being projected<br />
onto the window of a building in<br />
Maribor. In addition, the projection<br />
will indicate the local time of the<br />
place from which the web site has<br />
been logged on to.<br />
The project is conceived to<br />
humorously underplay the promise of<br />
a limitless variety and<br />
accessibility of information,<br />
communication and spectacle through<br />
the Internet as well as to translate<br />
its propulsion and multiplicity of<br />
contents into an elusive image of<br />
transitory and disintegrating<br />
material beauty. The drifting debris<br />
alludes both to a state within a<br />
transformational cycle in which<br />
difference and sameness have become<br />
indiscernible and ominous, as well<br />
as representing a natural spectacle<br />
which we could be still witnessing<br />
with our naked eye. The work becomes<br />
something like a screensaver,<br />
randomly switched on by anonymous<br />
people, referring to a network of<br />
gaps or thinking spaces, void of<br />
advertisement, explanation or<br />
implemented content.<br />
Alexander Zika, Eftychia Shinas<br />
(Velika Britanija/Nemčija, VB/ZDA)<br />
(UK/Germany, UK/USA)<br />
Ne poznate nas<br />
You don't know us<br />
Vsakokrat, ko obiščete našo spletno<br />
stran, se na vašem ekranu prikaže<br />
lebdeči delček prahu. Istočasno je<br />
ta prizor projiciran na okno<br />
mariborske zgradbe, na ekranu pa<br />
lahko vidite lokalni čas dela<br />
sveta, v katerem se nahaja vaš<br />
računalnik.<br />
Projekt se humorno poigrava z<br />
obljubo o neskončnih zmožnostih<br />
dostopa do informacij, komunikacij<br />
in pogleda v svetovni splet. Njegovo<br />
zagonsko moč in številnost<br />
kontekstov prevaja v jezik<br />
spremenljive podobe, pokvarljive in<br />
minljive materialne lepote.<br />
Naplavina črepinj namiguje na stanje<br />
v notranjosti cikla sprememb, v<br />
katerem sta postali različnost in<br />
enakost neločljivi in zlovešči, ter<br />
kaže naravni spektakel, ki ga lahko<br />
izkusimo z golim očesom. To delo je<br />
podoba na računalniškem omizju, ki<br />
ga naključno vklapljajo anonimni<br />
obiskovalci spletne strani in<br />
spominja na mrežo črnih polj,<br />
miselnih lukenj, odsotnost reklam,<br />
pojasnil ali dodanih vsebin.<br />
Alexander Zika (*1975, München) in Eftychia Shinas (*1975, New York) živita<br />
in delata v Londonu. Sodelovala sta že pri projektu Nemo (separitat),<br />
London, 2003. Trenutno soustvarjata projekt agora, London, 2004.<br />
alex_zika@hotmail.com<br />
Alexander Zika (born in 1975, Munich) and Eftychia Shinas (born in 1975,<br />
New York)<br />
Both live and work in London. They have previously worked together on<br />
Nemo (separitat), London 2003 and currently collaborate on agora ,<br />
London, 2004.
Johan Thom (Južna Afrika)(South Africa)<br />
Labirint Labyrinth<br />
("Labyrinth" will form a part of the Minotaur Series; a new series of works still part of<br />
an on-going project entitled the "Exorcism Series", begun in 2001.)<br />
My work draws from my experience of everyday life in South Africa as well as from<br />
distinctly different cultural traditions (such as those presupposed by performance art<br />
groups like the Yomuri Independent, Fluxus, the Viennese Secessionists and various<br />
African ritual and ceremonial practices).<br />
By investigating the cathartic aspects of art-making and its reception I wish to reimagine<br />
the sublime, or what I like to term "the void": a space that cannot be<br />
accounted for by the limited possibilities of human logic and reason. However, "the<br />
void" is not a grand meta-text that exists outside the everyday experience of life - it is<br />
interwoven with it, continuously threatening to unravel the very fabric of our<br />
seemingly structured/meaningful existence. This conflict (between the void and<br />
human existence generally) is a shared space of human experience as all cultures<br />
have, in their own particular ways, attempted to minimise and to contain it. My work<br />
is about the possibility of rupture in this continuum of containment. By attempting to<br />
collapse opposing binary codes such as violence/happiness, I/other and purpose/play,<br />
I wish to re-establish open forms of communication along the axis of our shared<br />
experience as living beings. Thus, however violent, funny or disturbing my works may<br />
appear initially, they are all bound together by the notion of free play, of open<br />
communication and ultimately of the consequences resultant from even the most<br />
fleeting of interactions between us: whenever there is communication there is<br />
slippage (of meaning, intention, finality). But it is also this slippage that may allow us<br />
a momentary glimpse of the 'outside'.<br />
Thus far, my works have been incredibly personal, perhaps reflecting something<br />
about my country's troubled past, its difficult present and my own contradictory<br />
position in this narrative. The impossibility of 'speaking myself' without<br />
simultaneously speaking a history of exclusion and of containment has lead me to<br />
deliberate questioning of my identity and its seemingly oppositional relationship with<br />
the world: I have tried to re-imagine myself by consciously disturbing the various<br />
personal, social and ideological agencies which bind me to any single identity. This<br />
methodology is present in every work that I have produced for the "Exorcism Series"<br />
(a larger body of work currently spanning over the last three-and-a half years of my<br />
life, 5 individuals series' of works consisting of approximately 80-90 individual works<br />
comprising sculpture, painting, video, installation, performance art works and<br />
research publications and seminars).<br />
At present I am busy conceptualising a new series of works entitled the "Minotaur<br />
Series". The series will consist of various performances, videos and installations that<br />
will all be conceptually tied to the Greek myth of the Minotaur - the half human half<br />
animal borne from Minos' broken promise to Poseidon. However, I am not interested<br />
in pursuing the moral implications of the myth but rather in utilising it as a central<br />
principle from which to generate insights into what I have termed a "confrontation<br />
with the void": the existence of this abject being in the realm of Greek society was first<br />
"contained" (in the labyrinth built by Minos) and later "expelled" (his death at the<br />
hands of Theseus). Thus, one may state in deconstructive terms, ensuring the<br />
preservation of the Greek logos. Using African mythological and religious figures and<br />
practices, such as those manifested in the "tokkelosh", the Fon spirit masks, Bobo<br />
bush masks and the Egungun funerary masks I wish to reconstruct the myth of the<br />
Minotaur and place it in a contemporary context. Furthermore, the conflation of these<br />
various cultural myths are a deliberate act on my part, one that is intended to<br />
destabilise historically established meanings, models of interpretation and the various<br />
culturally distinct traditions that presuppose them. Thus, instead of ethnicity I wish to<br />
focus on the possibility of a transgressive hybridity manifested along the axis of missarticulation,<br />
silence, slippage, and the free flow of meaning and the admittance of the<br />
vastness of human experience.<br />
Johannes Frederick Thom, rojen 25. 1. 1976 v Johannesburgu, v Južni Afriki. Leta<br />
1999 je z odliko diplomiral na Univerzi v Pretoriji (študij teorije, vizualne<br />
komunikacije 400). Leta 2003 je na Fakulteti za tehnologijo in lepe umetnosti<br />
(Technikon Pretoria) z odliko zaključil magistrski študij lepih umetnosti. Danes<br />
dela kot umetnik in asistent na Univerzi za tehnologijo v Tswhanu, kjer predava<br />
kiparstvo, multidisciplinarne študije, teorijo umetnosti in oblikovanja.<br />
Johannes Frederick Thom, born in 1976-01-25, Johannesburg, South<br />
Africa. BA (FA) 1999 University of Pretoria (with distinction in the<br />
theoretical component, Visual Communications 400). M-Tech Fine Arts<br />
(Cum Laude) - 2003 - Technikon Pretoria. He is currently a full time<br />
artist and part time lecturer at the Tswhane University of Technology<br />
in Sculpture, Multi-disciplinary studies and Theory of Art and Design.<br />
(Labirint je del serije Minotaver, najnovejše serije del, ki sodijo<br />
v projekt, imenovan Exorcism Series. Projekt je začel nastajati<br />
leta 2001.)<br />
Moja dela nastajajo na podlagi izkušenj iz vsakdanjega<br />
življenja v Južni Afriki in drugih, izrazito različnih kultur in<br />
tradicij (denimo tistih, ki jih predpostavljajo umetniške skupine<br />
za performance, kot so Yomuri Independent, Fluxus, Viennese<br />
Secessionists, ter raznovrstnih afriških ritualov in obredov).<br />
Z raziskovanjem očiščevalnih vidikov ustvarjanja umetnosti in<br />
načina, kako jo sprejemamo, skušam prevrednotiti sublimno -<br />
ali čemur sam rad pravim - "praznino": prostor, ki ga ni moč<br />
razložiti z omejeno človeško logiko in razumom. Toda ta<br />
"praznina" ni nekakšen metatekst, ki obstaja onkraj<br />
vsakodnevnih izkušenj življenja, temveč se z njimi prepleta in<br />
nenehno grozi, da bo razparala tkanino, iz katere je narejen<br />
naš navidezno strukturiran/smiseln obstoj. Ta konflikt med<br />
praznino in splošnim človeškim obstojem je skupen prostor, v<br />
katerem se pretakajo izkušnje človeštva, in prostor, ki ga skuša<br />
vsaka kultura po svoje zmanjšati ali omejiti. V svojem delu<br />
raziskujem možnost prekinitve kontinuitete omejevanja. S tem,<br />
ko skušam razbiti nasprotujoče si binarne kode, kot so<br />
nasilje/sreča, jaz/drugi in namen/igra, skušam najti odprte<br />
oblike komuniciranja na oseh tistih izkušenj, ki si jih delimo kot<br />
živeča bitja. Čeprav se vam bodo moja dela sprva zdela<br />
nasilna, smešna ali celo moteča, naj povem, da so povezana s<br />
konceptom svobodne igre ter odprte komunikacije in<br />
nenazadnje predstavljajo tudi rezultat še tako bežne interakcije<br />
med nami: komunikacija povzroči zdrs (v smislu pomena,<br />
namere, končnosti). Pa vendar nam obenem prav ta zdrs<br />
omogoči pogled v "onstranstvo".<br />
Do zdaj so bila moja dela zelo osebna. Odražala so nemirno<br />
preteklost moje domovine, njeno težko sedanjost in moj<br />
nezavidljiv položaj v tej zgodbi. Nezmožnost govoriti o sebi, ne<br />
da bi hkrati predstavljal zgodovino izključevanja in omejevanja,<br />
me je privedla do temeljitega izpraševanja lastne identitete in<br />
njenega navidezno nasprotujočega si odnosa do sveta. Samega<br />
sebe skušam prevrednotiti s pretresanjem temeljev različnih<br />
osebnostnih, družbenih in ideoloških dejavnikov, ki me vežejo<br />
na posamezno identiteto. Ta metodologija je razvidna v vseh<br />
delih, ki sem jih ustvaril za serijo z naslovom Exorcism Series<br />
(obsežen kos mojega dela, s katerim se ukvarjam zadnja tri leta<br />
in pol; zajema pet samostojnih zbirk 80 do 90 del na področju<br />
slikarstva, kiparstva, videa, instalacij, performansov,<br />
raziskovalnih publikacij in seminarjev).<br />
Danes se ukvarjam s konceptualizacijo nove serije del z<br />
naslovom Minotaur Series. Obsegala bo razne performanse,<br />
videe in instalacije, konceptualno vezane na grški mit o<br />
Minotavru (pol človek, pol žival), rojenemu iz Minosove<br />
prelomljene obljube Pozejdonu. Ne zanima me moralna stran<br />
mita, temveč kako se lahko ta uporablja kot osrednji princip, ki<br />
ponazarja pogled v tisto, kar sam imenujem "soočanje s<br />
praznino". To zavrženo bitje je grška družba sprva "omejila"<br />
(na območje labirinta, ki ga je zanj zgradil Minos), nato pa<br />
"izključila" (smrt pod Tezejevim mečem). Iz dekonstrukcijskega<br />
vidika so tako ohranili grški logos. Z afriškimi mitološkimi ter<br />
verskimi liki in praksami, kot so tiste iz tokkelosha, s<br />
spiritualnimi maskami (Fon), grmičarskimi maskami (Bobo) in<br />
pogrebnimi maskami (Egungun) skušam rekonstruirati mit o<br />
Minotavru in ga postaviti v sodobni kontekst. Namen<br />
združevanja vseh teh različnih kulturnih mitov je zrušitev v<br />
družbi globoko zakoreninjenih pomenov, vzorcev interpretacij<br />
in raznih izrazito kulturno izključujočih si tradicij, ki le-te<br />
vnaprej določajo. Namesto na etničnost se tako skušam<br />
osredotočiti predvsem na transgresivno hibridnost, ki se kaže<br />
na osi napačne artikulacije, molka, zdrsov, prostega pretoka<br />
pomena in priznavanja prostranosti človekovih izkušenj.<br />
Video, editing/montaža: Andreas Schonfeldt.<br />
johanthom@hotmail.com
You are invited to take part in an entertaining and<br />
insightful tour of Maribor. We have searched the<br />
virtual realm to bring you the most interesting<br />
stories, amazing facts and highlights from the<br />
city's past and present.<br />
You will enjoy learning about the history and<br />
culture of this beautiful city from our professional<br />
tour guides, all the way from Nottingham, England.<br />
See how the tour develops throughout the festival,<br />
as we respond to our first physical experiences of<br />
Maribor.<br />
YOlk - all the way from Nottingham<br />
Vabimo vas, da se udeležite zabavnega in<br />
poučnega izleta po Mariboru. Iskali smo po<br />
virtualnem kraljestvu in za vas pripravili<br />
najzanimivejše zgodbe, presenetljiva<br />
dejstva in zanimivosti iz mestne zgodovine<br />
in sedanjosti.<br />
V spremstvu naših strokovnih vodičev boste<br />
vso pot od angleškega Nottinghama uživali<br />
v spoznavanju zgodovine in kulture tega<br />
lepega mesta.<br />
Spremljajte turnejo, ki bo potekala ves čas<br />
festivala, in naš odziv na izkušnjo<br />
Maribora.<br />
http://www.yolkart.org<br />
YOlk Art: DeTOURS<br />
(Velika Britanija)(UK)<br />
Ziggy Slingsby<br />
ziggyslingsby@hotmail.com<br />
YOlk Creating links and<br />
Promoting collaboration<br />
between the artistic<br />
communities of Nottigham and<br />
its twin cities. Ljubljana<br />
(Slovenia), Karlsruhe<br />
(Germany), and Ghent<br />
(Belgium), Minsk (Belarus).<br />
Yolk - izdelava povezav in promocija<br />
sodelovanja med umetniškimi skupnostmi iz<br />
Nottighama in pobratenimi mesti: Ljubljana<br />
(Slovenija), Karlsruhe (Nemčija) in Ghent<br />
(Belgija).<br />
Rebecca Beinart<br />
rbeinart@hotmail.com<br />
I make site-responsive<br />
work, in public places.<br />
I experiment with<br />
strategies for<br />
provoking action and<br />
involving 'audiences'<br />
in creative behaviour.<br />
I am interested in the<br />
power of art for reimagining<br />
situations<br />
and displacing<br />
expectations.<br />
Na javnih mestih izvajam projekte, ki so<br />
odziv na internetne strani. Eksperimentiram<br />
s strategijami, ki sprožajo odziv in vabijo<br />
"občinstvo" k ustvarjalnemu razmišljanju.<br />
Zanima me moč, ki jo ima umetnost pri<br />
podoživljanju situacij in spreminjanju<br />
pričakovanj.<br />
Elaine Speight<br />
elainespeight@hotmail.com<br />
I am interested in the role of Art within both local and wider European environments.<br />
Zanima me vloga umetnosti v lokalnem in širšem evropskem prostoru.
Video Match<br />
Selekcija Sreča Dragana in Vlada Zrnića/Srečo Dragan's and Vlado Zrnić's Selection<br />
Akademija za likovne umetnosti in Fakulteta za računalništvo in informatiko, <strong>Univerza</strong> v Ljubljani/<br />
Academy of Fine Arts and Faculty of Computer and Information Sciences, University of Ljubljana<br />
AKADEMIJA UMETNOSTI, UNIVERZA V SPLITU/ARTS ACADEMY UNIVERSITY OF SPLIT<br />
MATJAŽ VALENČIČ<br />
DARJA GUDAC<br />
ROK MARINŠEK<br />
MAŠA PEZDIRC<br />
EMINA DJUKIĆ<br />
MARIJA NABERNIK<br />
MARTIN PETRIČ<br />
BLAŽ SLAPAR<br />
MATEJ KOVAČIČ<br />
UROŠ POTOČNIK<br />
MILANKA FABJANČIČ<br />
LUIZA MARGAN<br />
ANDREJA ERŽEN<br />
TOMAŽ PRIMOŽIČ<br />
TANJA MAKUC<br />
MARK POŽLEP<br />
MIHA POLANC<br />
JURIJ SELAN<br />
NINA SLEJKO<br />
TEA<br />
CURK<br />
KLEMEN JERAŠA<br />
KARMEN BAJEC<br />
ANJA TOLAR<br />
NATAŠA MOŠKRIČ<br />
NATAŠA COLJA<br />
BARBARA KRALJ<br />
LILIJANA BARKOVIĆ<br />
MATEJ BABNIK<br />
MAJA SMREKAR<br />
MIHAJLO HODIN<br />
NEJA KUTIN<br />
MIHA ERMAN<br />
BARBARA JURKOVŠEK<br />
VESNA BLAGOTINŠEK<br />
LUKA LESKOVŠEK<br />
BOŠTJAN LAPAJNE<br />
JAKA DRŽANIČ<br />
SANELA JAHIĆ<br />
METKA ZUPANIČ<br />
Videoprodukcija Akademije za likovno umetnost, Ljubljana/<br />
Ljubljana Academy of Fine Arts Video Production 2003/04<br />
Videoprodukcija Akademije umetnosti, Split/<br />
Split Arts Academy Video Production 2002-04<br />
The works selected present the recent production of the Arts Academy, University<br />
of Split, Croatia, Department of Visual Communication Design, seminar for Media<br />
Art and Design. Some of the works were awarded the main prizes on the festivals<br />
in Croatia and also abroad.<br />
Izbrana dela predstavljajo najnovejšo produkcijo Umetniške akademije Univerze<br />
v Splitu, Oddelka za oblikovanje vizualnih komunikacij, smer Medijske umetnosti<br />
in oblikovanje. Nagrajena so bila z glavnimi nagradami na festivalih po Hrvaški,<br />
pa tudi v tujini.<br />
Vlado Zrnić<br />
GORAN SKOFIC:<br />
Kuca lutaka/Hiša lutk/House of Dolls<br />
5 min, eksperimentalni/experimental, 2002.<br />
LIZA ZUFIC:<br />
Moves<br />
5 min, eksperimentalni/experimental, 2003.<br />
GORAN CACE:<br />
Skver/Square<br />
22 min, dokumentarni/documentary, 2004.<br />
MATIJA DEBELJUH:<br />
La cantina di ferro<br />
12 min, kratki igrani/short, 2004.<br />
MARIJA PRUSINA:<br />
Uterus<br />
10 min, eksperimentalni/experimental, 2003.
NET VIDEO UMETNOST in UMETNOST ODPRTE KODE<br />
NET VIDEO ART and OPEN SOURCE ART<br />
Selekcija Sreča Dragana/Srečo Dragan's Selection<br />
Nove informacijske tehnologije, interaktivnost, re-copyright in imediatizacija realnosti so konceptualno programsko polje<br />
dodiplomskega in podiplomskega študija videa in novih medijev na Akademiji za likovno umetnost v Ljubljani. Ob novih<br />
možnostih gradnje vseh treh akademij - Akademije za likovno umetnost, Akademije za gledališče, film in televizijo ter Akademije za<br />
glasbo - na istem mestu, načrtujemo postavitev skupnega Laboratorija za intermedijsko umetnost - ArtLab.fri.uni-lj.si. Organiziran<br />
bo kot umetniško-raziskovalna entiteta znotraj Univerze v Ljubljani, ki se preko spleta povezuje z ostalimi digitalnimi laboratoriji<br />
doma in po svetu. Načrtujemo tudi podiplomski interdisciplinarni študij z novimi programi s področja umetniških, znanstvenih in<br />
digitalnih vsebin, ki naj bi bile zanimive tudi za tuje študente. Na jubilejnem X. MFRU-ju se študentje ALU-ja predstavljajo s<br />
projekti, ki jih lahko označimo kot raziskovalne, teoretske in politično-aktivistične. Obenem pa so to dela "flash generacije", ki<br />
samo sebe imenuje "novi novi medijski umetniki". Svoja dela bodo postavili tako v prostoru galerije kot v javni sferi mesta<br />
Maribor, in seveda v globalni spletni distribuciji.<br />
New information technology, interactivenes, re-copyright and the immediatisation of reality represent the conceptual<br />
programming scope of video and new media graduate and postgraduate studies at the Academy of Arts, Ljubljana. As all three Art<br />
Academies in Ljubljana will share the same location, we plan to build a common Intermedia Art Laboratory - ArtLab.fri.uni-lj.si. It<br />
will be organised as an art research entity operating within the University of Ljubljana as well as within the net of digital<br />
laboratories all over the world. Provisions are also made for the launching of multidisciplinary postgraduate studies with new<br />
artistic, scientific and digital contents that will be also attractive to foreign students. At the 10th jubilee MFRU festival, the<br />
students will present their scientific, theoretical and politically activist projects. These are the works of the so-called "flash<br />
generation" that considers itself as "new media artists". Their works will be exhibited in the gallery as part of Maribor's public<br />
sphere as well as in the global network distribution.<br />
prof. Srečo Dragan<br />
Academy of Fine Arts & Faculty of Computer and Information Science, Ljubljana<br />
Akademija za likovno umetnost in Fakulteta za računalništvo in informatiko, Ljubljana<br />
Franc Solina: Virtualni smuk/Virtual Downhill Race<br />
Programiranje/programming: Simon Knez, Žiga Janež, Marko Horvat, Rok Klančnik, Aleš Krivec.<br />
Interaktivna instalacija bo omogočila vizualno potopitev v občutke drsenja po snegu skozi zimsko pokrajino. Zimska<br />
pokrajina bo ustvarjena s pomočjo računalniške grafike in jo bo udeleženec opazoval s pomočjo stereoskopskih očal<br />
oziroma virtualne čelade. Hitrost spuščanja po bregu navzdol je v največji meri odvisna od zračnega upora telesa in teže<br />
smučarja. S spuščanje telesa v nizko prežo se bo povečal tudi občutek hitrosti premikanja skozi virtualno okolje. Presek<br />
telesa od katerega je odvisen zračni upor bo določen s kamero in tehnikami računalniškega vida, teža pa z elektronsko<br />
tehtnico. Podobno kot pri računalniških igrah, bo možno primerjati rezultate (najvišjo doseženo hitrost) udeležencev v<br />
instalaciji. The interactive installation enables us to visually immerge in feelings of sliding on snow on a winter landscape. It<br />
will be created with the help of computer graphic programs and will be looked at with stereoscopic lenses or virtual<br />
helmets. The speed of the descent depends mostly on the body's air resistance and the skier's body weight. Lowering his<br />
body will amplify the feeling of the speed of movements through the virtual environment. The cross-section of the skiers<br />
body on which depends all air resistance will be defined by a camera and computer vision techniques whilst the weight is<br />
measured with an electronic scale. As in computer games, the speed of all competitors will be measured.<br />
Reference avtorja: MFRU, Maribor, 2002; Finžgarjeva galerija, Ljubljana, 2002; MFRU, Maribor, 2003; Forum Stadpark, Graz, 2003; Galerija<br />
spomeniškovarstvenega centra, Ljubljana, 2003. Redni profesor na Fakulteti za računalništvo in informatiko v Ljubljani. Author's references:<br />
MFRU, Maribor, 2002; Finžgarjeva gallery, Ljubljana, 2002; MFRU, Maribor, 2003; Forum Stadtpark, Graz, 2003; Art Preservation Centre gallery,<br />
Ljubljana, 2003. Professor at the Faculty of Computer and Information Science, Ljubljana.<br />
Boštjan Kavčič: GlobalheART<br />
Programiranje/programming: Dejan Lavbič, Andrej Krevl, Matija Krajnc, Miloš Cigoj, Damjan Gerhold, Primož Likar<br />
GLOBALHEART je umetniški sistem, ki s pomočjo individualnih srčnih podatkov gradi<br />
virtualni spletni organizem. Na spletnem naslovu www.global.heart.mine.nu postane<br />
uporabnik sistema GLOBALHEART soustvarjalec umetnine.<br />
GLOBALHEART is an artistic system which builds up a virtual Internet organism with the<br />
help of individual heart data. At the following address: www.global.heart.mine.nu, the<br />
user of the GLOBALHEART system becomes an interactive collaborator in the work of art.<br />
Boštjan Kavčič, rojen 1973 v Šempetru pri Gorici. Diplomiral leta 2003 na Akademiji za likovno<br />
umetnost v Ljubljani, smer kiparstvo. Dobitnik univerzitetne Prešernove nagrade.<br />
Boštjan Kavčič was born in 1973, in Šempeter near Gorica. He graduated in Sculpture in 2003 from the<br />
Academy of Fine Arts in Ljubljana. He received the University Prešeren's Award.
softverska umetnost/software art<br />
Programiranje/programming: Tine Borovnik, Dejan Dular, Matej Guid, Staša Ilič, Rok Lenardič, Gregor Šoško, Jure<br />
Bratina, Sandi Humar, Jernej Ivančič, Matej Lavrič, Marko Ljubanović, Andrej Frelih, Luka Vrhovec, Sergej Panić, Uroš<br />
Ipavec, Mitja Žigante, Tomaž Bobnar.<br />
Naš projekt refiguracije arhiva skozi vzpodbude Nikolaja Kuzanskega in Michela Foucaulta bo<br />
omogočal dvoje. Najprej bo to seveda arhiv projektov študentov videa na ljubljanski Akademiji<br />
za likovno umetnost. Omogočal pa bo še nekaj več, vpogled v konstrukcijo družbenih identitet,<br />
ki ne nastajajo preprosto skozi nasilja ali indoktrinacije, ampak skozi hermenevtične kroge<br />
ustvarjanja pomenov. Our refiguration of the archive by considering ideas of Nicolaus Cusanus<br />
and Michel Foucault will enable two things. First, this will be the archive of the projects by<br />
students of video seminar at the Academy of Fine Arts in Ljubljana. Secondly, it will enable the<br />
view into the construction of social identities that are not evolved simply through violence and<br />
indoctrination, but rather through the hermeneutical circles of creating meanings.<br />
Narvika Bovcon, rojena 1976 v Novi Gorici. 2001 diplomirala iz oblikovanja vizualnih komunikacij, Akademija<br />
za likovno umetnost, <strong>Univerza</strong> v Ljubljani. 2003 magistrirala iz videa in novih medijev. Od 2003 doktorska<br />
študentka teorije novih medijev na ALU. Born 1976 in Nova Gorica, Slovenija. 2001 diploma in visual<br />
communications design, Academy of Fine Arts, University of Ljubljana. 2003 masters degree in video and new<br />
media. Since 2003 PhD student of theory of new media, Academy of fine Arts.<br />
Aleš Vaupotič, rojen 1975 v Ljubljani. 2001 diploma iz primerjalne književnosti, Filozofska fakulteta, <strong>Univerza</strong> v<br />
Ljubljani. Od 2001 magistrski študent primerjalne književnosti. Od 2002 magistrski študent videa in novih<br />
medijev na Akademiji za likovne umetnosti. Born 1975 in Ljubljana, Slovenija. 2001 diploma in comparative<br />
literature, Faculty of Arts, University of Ljubljana. Since 2001 graduate student of comparative literature. Since<br />
2002 graduate student of video and new media, Academy of Fine Arts.<br />
Klemen Gorup:<br />
Interaktivna animacija<br />
Programiranje/programming: Damjan Malis, Jernej Marinšek, Miran Mlakar, Saša Rink, Tomaž Sabo, Žiga Gantar.<br />
Interaktivna animacija je v računalniškem programu narejen projekt, v katerega so vključene iz zgodbe<br />
pobrane figuralne animacije, ki pa tu dobijo drugačne vloge. Gledalec postane s klikanjem na gumbe<br />
ustvarjalec novih in predvsem svojih animacij. Petim različnim osebam lahko spreminja velikost, smer gibanja<br />
in jih s puščicami svobodno premika po zaslonu ter jih postavlja na želena mesta. Pri vsakem ima na voljo<br />
nekaj zvočnih zapisov. Vse skupaj lahko popestri s spreminjanjem ozadij, ki se dajo premikati z miško, ter z<br />
mešanjem ambientalnih zvokov, ki spremljajo menjave. Da bi bile stvari kompozicijsko zanimivejše, je mogoče<br />
dodajati objekte in animirane osebe v prvi in drugi plan (te postanejo del ozadja); tudi te se da premikati z<br />
miško. Gledalec lahko poskuša ustvariti komunikacijo med posameznimi osebami, tako s kretnjami kot<br />
verbalno. Lahko pa razpoložljive elemente postavi v absurdne kombinacije. Kombinacij je res veliko, uživajte.<br />
Interactive animation is a project created in computer software which includes figural animations derived<br />
from stories, however, in this instance the figures play a different role. By clicking on different buttons, the<br />
spectator becomes the creator of new and, most importantly, his own animations. He can choose between<br />
five different characters which can be made bigger or smaller and moved around freely by arrows so that he<br />
can place them wherever he wants. Each character is accompanied by various sound tracks. The backgrounds<br />
can be changed and moved around by using the mouse and mixing the ambient sounds pertaining to them.<br />
To make the composition even more exciting it is possible to add objects and animated people to the first and<br />
second layers, which thus become a part of the background and can also be moved. The spectator can create<br />
a communication between characters by motion of their bodies or their speech. One other possibility for him<br />
is to create absurd combinations of all available elements. The combinations are countless, so enjoy!<br />
Klemen Gorup, rojen 1977 v Postojni. 2002: zaključek študija slikarstva na Akademiji za likovno umetnost v Ljubljani. 2003: vpis<br />
na magistrski študij video umetnosti.Born in 1977, Postojna, Slovenia. In 2002, he obtained his degree in painting at the<br />
Academy of Fine Arts in Ljubljana. In 2003, he started the postgraduate study of video and new media.<br />
Gašper Jemec, rojen 1975 v Kranju. 1998 diploma iz slikarstva na<br />
ALU, Ljubljana. 1998 podiplomski študij na Indiana University,<br />
ZDA. 2000 magisterij iz slikarstva na ALU. 2001 podiplomski<br />
študij kiparstva na Universität für Angewandte Kunst, Dunaj. Od<br />
2002 magistrski študij videa na ALU. Born in 1975 in Kranj. 1998<br />
diploma in painting from Academy of Fine Art (ALU) in<br />
Ljubljana. 1998 graduate study at Indiana University, USA. 2000<br />
masters degree in painting from ALU. 2001 graduate course of<br />
sculpture at the Universithät für Angewandte Kunst, Vienna.<br />
Since 2002 graduate study of video at ALU.<br />
Narvika Bovcon, Aleš Vaupotič:<br />
Mouseion Serapeion<br />
klemen977@hotmail.com<br />
ales@vaupotic.com narvika@bovcon.com vaupotic.bovcon.com<br />
black.fri.uni-lj.si/mouseionserapeion<br />
Gašper Jemec: O.JET/OXY:JET<br />
Projekt nadaljuje razvoj "potovalnih teles" oz. voyagerjev. O.JET/OXY:JET je virtualno telo, ki s svojo<br />
programirano naključnostjo gledalca postavlja v nezavedno interakcijo. Gledalec s pomočjo optičnega<br />
fizičnega pripomočka (očal) vstopa v polje interaktivnosti, vendar na razvoj dogodkov ne more<br />
vplivati, če ne odkrije zakonitosti interakcije. The project develops further the voyageurs project, the<br />
"travel bodies". O.JET/OXI:JET is a virtual body that with its pre-programmed randomness puts the<br />
viewer in an unconscious interaction. The viewer uses an optical appliance (the glasses) to enter the<br />
field of interactivity, but however he cannot influence the progression of events unless he/she<br />
discovers the rules of the interaction.
Metka Zupanič: Iskalci/Searchers<br />
Programiranje/programming: Klemen Pukl, Rok Pogačnik, Robi Očko, Aleš Kustrin.<br />
http://www.ljudmila.org/metkazupanic/<br />
Projekt ISKALCI sledi konceptualni liniji in je zasnovan na ideji manipulacije, katere funkcija je izpostavitev konkretnega problema - v tem<br />
primeru iskanje zaposlitve. Iskalci se predstavljajo s kratkimi video oglasi, na intimen način, in odgovarjajo na povsem drugačna vprašanja od<br />
ustaljenih. Čisto konkretno predstavijo segmente svojega življenja; predstavitve tako ne ustrezajo klasičnim, ki odgovarjajo na vprašanja o<br />
slabostih in kvalitetah posameznika, o usposobljenosti in zaupanju. Bistvenega pomena je zbiranje ponudb delodajalcev, saj so iskalci odprti<br />
za nasvete, predloge in sugestije.<br />
The project ''Searchers'' adheres to conceptual line and is based on the idea of manipulation, the function of which is to expose a concrete<br />
problem - in these case employment seeking. In short videos, the Searchers introduce themselves in a very intimate manner and give answers<br />
to questions which considerably differ from normative ones. They present concrete segments from their everyday lives, thus not conforming<br />
to classical presentations offering answers to questions on the individual's weaknesses and qualities, his/her competence and trustiness. An<br />
essential characteristic of the project is the ''collecting'' of offers made by employers, since the employment seekers invite the individuals to<br />
help them with their advice, suggestions and ideas.<br />
Rojena leta 1977 na Ptuju v Sloveniji. Leta 1977 je začela študirati na Akademiji za likovno umetnost v Ljubljani. Leta 2001 se je vpisala na Visoko šolo za umetnosti in oblikovanje (the<br />
National College of Art and Design) v Dublinu. V akademskem letu 2001/2002 je diplomirala. V akademskem letu 2002/2003 se je vpisala na podiplomski študij videa in novih medijev.<br />
Born in 1977 in Ptuj, Slovenia. In 1997 she enrolled into the Academy of Visual Arts in Ljubljana. In 2001 she started studying at the National College of Art and Design in Dublin. In<br />
2001/02 she obtained her degree in Visual Arts. In 2002/03 she enrolled into the postgraduate study of Visual Arts.<br />
Vedran Vražalić:<br />
Igrajmo se z geni<br />
Ta projekt je odgovor na sodobne raziskave<br />
gena in njihove spremembe. Gre za raziskave<br />
z namenom izboljšati različne tipe določenih<br />
osnovnih produktov, ki jih uporabljamo v<br />
vsakodnevnem življenju. Z uporabo različnih<br />
vizualnih objektov sem želel opozoriti na<br />
razsežnost tega problema in zastaviti<br />
vprašanje: Ali jih res izboljšujemo in kje so<br />
meje takšnih posegov<br />
This project is an answer to modern genetic<br />
researches and gene modification. It is about<br />
improving our quality of life by certain basic<br />
products, which we use everyday. With the<br />
use of various visual objects I try to point out<br />
the extension of this problem with asking a<br />
question: Is it really an improvement and<br />
where are the boundaries of this kind of<br />
interventions<br />
Vedran Vražalić, rojen 1975 v Sarajevu. Akademijo za likovno<br />
umetnost končal leta 2000 v Sarajevu. Leta 2002 sprejet na<br />
Akademijo za likovno umetnost v Ljubljani, podiplomski<br />
študij na oddelku za video. Vedran Vražalić, born 1975 in<br />
Sarajevo, Bosnia and Herzegovina. Academy of Fine Arts,<br />
section painting, finished in the year 2000 in Sarajevo. Since<br />
2002 postgraduate studies at video department, Academy<br />
of Fine Arts in Ljubljana, Slovenia.<br />
Nika Oblak, Primož Novak: Smeh/Laughing<br />
V interaktivni video instalaciji Smeh je gledalec ujet v<br />
nenavaden položaj. Je opazovan. Izpostavljen in obrnjen je<br />
konvencionalen odnos med gledalecem in umetniškim delom.<br />
In the interactive video installation Laughing the viewer is<br />
trapped in an unusual position. He/she is being observed.<br />
The installation thus exposes and reverses the conventional<br />
relation between the viewer and artwork.<br />
Primož Novak, rojen 1973, je diplomiral iz kiparstva na Akademiji za likovno<br />
umetnost v Ljubljani leta 2002. V šolskem letu 2000/2001 se je študijsko<br />
izpopolnjeval pri prof. K. Sieverding na Hochschule der Kuenste v Berlinu. Vpisan<br />
je na magistrski študij kiparstva na ALU-ju v Ljubljani. Asistent Marjetice Potrč na<br />
ALU-ju v Ljubljani.<br />
Primož Novak, born in 1973, graduated in sculpture from the Ljubljana<br />
Academy of Fine Arts in 2002. In the academic year 2000/2001 he was a<br />
visiting student in the class of Prof. K. Sieverding at the Hochschule<br />
der Kuenste, Berlin. He is currently a graduate student of sculpture<br />
at the Academy of Fine Arts, Ljubljana. At the same Academy, he<br />
works as an assistant to the Slovenian artist Marjetica Potrč.<br />
Vedran Vražalić, Litijska cesta 46, 1000 Ljubljana, Slovenija vvrazalic@bosna.ba gsm +386 31 796 585<br />
Nika Oblak, rojena 1975, je diplomirala iz slikarstva na Akademiji za likovno<br />
umetnost v Ljubljani leta 2002. V šolskem letu 2000/2001 se je študijsko<br />
izpopolnjevala pri prof. K. Sieverding na Hochschule der Kuenste v Berlinu.<br />
Vpisana je na podiplomski študij videa na ALU-ju v Ljubljani.<br />
Nika Oblak, born in 1975, graduated in painting from the Ljubljana Academy of<br />
Fine Arts in 2002. In the academic year 2000/2001 she was a visiting student in<br />
the class of prof. K. Sieverding at the Hochschule der Kuenste, Berlin. She is<br />
currently a graduate student of video arts at the Academy of Fine Arts, Ljubljana.<br />
nikaoblak@hotmail.com<br />
primoznovak@hotmail.com
www.kitch.org<br />
kitch shop<br />
V trgovini kitch TM so na zalogi kosi človeškega<br />
telesa in drugi mesni artikli. Ohlajeni, zapakirani<br />
in pripravljeni za takojšnjo uporabo. Akcija traja<br />
do poteka roka uporabe. Jejte dobro, bodite<br />
nečimrni, diskriminatorni in nevoščljivi - bodite<br />
kitch. The kitch TM shop has in store for you pieces<br />
of human body and other meat products. Chilled,<br />
packed and ready for immediate use. The<br />
discount campaign will last until the products'<br />
expiration date. Eat well, be vain, discriminatory<br />
to others and jealous - be kitch. You are free to go.<br />
In Kitch we Trust kitch TM smo publicisti,<br />
performerji, novinarji, kritiki, radijci, filologi, magistri<br />
umetnosti, tekstualci, hipertekstualci, intermedijci,<br />
arhitekti, oblikovalci, eksilanti. Mešano meso! kitch TM s<br />
svojimi projekti "posega v obči prostor, se poigrava z<br />
novo ekonomijo in predstavlja umetniško kodirano<br />
manipulacijo z resno zastavljenim interaktivnim<br />
pristopom" (strokovna komisija za intermedijske<br />
umetnosti Ministrstva za kulturo RS). kitch TM je kič od<br />
leta MCMXCIX. Ne pozabite, umetnost je trgov$ki<br />
artikel! kitch TM consists of publicists, performers,<br />
journalists, critics, radio people, philologists, masters of<br />
art, textuals, hypertextuals, intermedia people,<br />
architects, designers, exiles. Mixed meat! kitch TM<br />
projects "reach into community space, play games with<br />
new economy and presents artistically coded<br />
manipulation with seriously constructed interactive<br />
context" [Expert Intermedia Commission of the Ministry<br />
of Culture of the Republic of Slovenia]. kitch TM is kitsch<br />
since MCMXCIX. Do not forget: art is merchandi$e!<br />
Nadav Sagir: Utripajoča škatla/Jittery Box<br />
Projekt sestavlja več ponavljajočih se videov z dokumentarnimi prizori, kjer kamera raziskuje osebni prostor<br />
posameznikov. Video podoba je predstavljena kot mreža štiriindvajsetih pravokotnikov, od katerih vsak razkriva<br />
fragment celote. Mreža poudarja in pretirava nestabilno in nervozno gibanje video prizorov, kar jih naredi bolj<br />
pristne in prepričljive. Gledalec je v vlogi ustvarjalca celotne podobe s tem ko spreminja dele celote z delčki iz drugih<br />
prizorov, s tem pa ustvarja novo celoto. Gledalec, tako kot videi, je iskalec podobe, ki je celovita in realna.<br />
The project consists of several looping video scenes of a documentary nature, where the camera investigates a close<br />
personal world. The video image is presented as a grid, made of 24 boxes, each revealing a fragment of the whole.<br />
The grid emphasizes and exaggerates the unstable and nervous motion of the video scenes, rendering it more<br />
genuine and convincing. The viewer plays the role of creating the complete image by changing parts of the whole<br />
with fragments from other scenes, thus creating a new whole. The viewer acts, as do the videos, as a seeker of the<br />
complete or real image.<br />
Rojen 1976 v Izraelu, 1994 mednarodna matura v Amsterdamu, Nizozemska, s poudarkom na umetnosti in fotografiji. 1998 - 2002 študij fotografije, videa<br />
in računalniške podobe na Bazelel akademiji za likovno umetnost, Jeruzalem, Izrael. Trenutno je podiplomski študent videa in novih medijev na ljubljanski<br />
Akademiji za likovno umetnost. Born in 1976 in Israel, 1994 International Baccalaureate in Amsterdam, Holland with emphasis on Art & Photography, 1998-<br />
2002 Bachelor of Fine Arts in photography, video and computer imaging at the Bezalel Academy of Fine Arts, Jerusalem, Israel. Currently attending<br />
graduate studies of video and new media at the Academy of Fine Arts in Ljubljana.<br />
Martina Zelenika: Trip 02<br />
tisk na folijo/print on city-light foil<br />
Pri raziskavi geometričnih oblik in simbiotičnih korelacij z organskimi strukturami<br />
sem izdelala tretjo dimenzijo za obravnavane oblike (Instalacija - leteči<br />
objekti).Skozi obdelavo z vsemi mogočimi efekti sem prišla do novih detajlov<br />
(pogledov) v mojih fotografijah. Tema projekta je simbolizacija energije v svetu<br />
pete dimenzije, ki nastaja v vesolju in prostoru brez časa.<br />
In my exploration of geometrical forms in simbiotic corelationship with organic<br />
structure I have produced the third dimension of shapes (Instalation -flying<br />
object). With all possible options, physical and lighting effects, I discovered some<br />
new details (views) in my photos. The theme of the project is to simbolize energy<br />
in the world of fifth dimension caused by Universe and space without time.<br />
Rojena v Kutini, Hrvaška, 1978. Živi v Zagrebu. 2001 diploma na zagrebški Akademiji za likovno umetnost in<br />
Šoli za uporabne umetnosti (razred Anteja Kuduza). Od 2003 podiplomski študij videa in novih medijev na<br />
ljubljanski Akademiji za likovno umetnost. Born in Kutina, Croatia, 1978, lives in Zagreb. Graduated from the<br />
School of Applied Arts and from the Academy of Fine Arts in Zagreb, class of Mr. Ante Kuduz (2001). In 2003<br />
started postgraduate study at the University of Ljubljana, Academy of Fine Arts, The New Media - Video.
(Art) Practices at the Academy of Fine Arts in Vienna<br />
http://t4.antville.org/<br />
Selekcija Marine Gržinić/Marina Gržinić's Selection<br />
Razstava del študentov smeri<br />
Konceptualne (umetniške) prakse t4/<br />
Akademija za likovno umetnost, Dunaj<br />
Exhibition of students' works by<br />
The Conceptual (Art) Practices Class/t4<br />
@Academy of Fine Arts in Vienna<br />
The Conceptual (Art) Practices Class, which also bears the name t4 (short for tower 4, a system<br />
of rooms in the tower attic of the main building of the Academy of Fine Arts in Vienna, where<br />
the Conceptual (Art) Practices Class has space) is a unit of approximately 60 students. This<br />
class unit is perceived as a working, living and exchange platform that instead of having a<br />
simple class based structure insists on a project-seminar-modular teaching platform that is<br />
open to different interventions into art, community, technology and space. We are open to<br />
different spaces and to new technical and organizational infrastructures, as well as to a<br />
dynamic way of arranging the teaching process. A theoretical and art-critical research approach<br />
toward space, community and new technology is of crucial importance. Within such a framework,<br />
three projects are developed in parallel by the students of the class: t4-on-air, a monthly<br />
program for RadioOrange 94.0 free radio in Vienna, the digitalized archives and the magaZINE's<br />
semester platform related to different class projects.<br />
The idea of making a bridge between new media technology and conceptuality means that our<br />
engagement is not simply and solely bound to technology, but to the use of technology for<br />
developing politically critical and socially engaged topics, projects and concepts. Any context<br />
provider from pencil to computer is welcome. We try to rethink how the relation between art,<br />
society, culture and politics is established, and in what way artists can function within the<br />
new global world and use strategies of activist, theoretical and critical knowledge.<br />
Prof. Marina Gržinić, Academy of Fine Arts in Vienna/ Conceptual (Art) Practices/t4<br />
Otvoritev Mednarodnega festivala računalniških umetnosti<br />
11. maj 2004 začetek ob 22.00<br />
DJ-VJ Party s študenti smeri Konceptualne (umetniške) prakse/t4<br />
Akademija ta likovno umetnost, Dunaj<br />
"Glückwunsch, Münchhausen!"<br />
DJ-ji: izc, team manoa, verena dengler<br />
VJ-ji: azz, einiges, princs, team manoa<br />
11, May 2004 at 22.00<br />
Opening event of the International Festival of Computer Arts<br />
Powered by The Conceptual (Art) Practices/t4 /Akbild, Vienna<br />
"Glückwunsch, Münchhausen!"<br />
djs: izc, team manoa, verena dengler<br />
vjs: azz, einiges, princs, team manoa<br />
Selection of students' works on history, space and<br />
time, activity and meaning, computers and users,<br />
movements and cities, fiction and reality, antiglobalization<br />
movements and cheap technology:<br />
Smer Konceptualne (umetniške) prakse, ki nosi tudi ime t4 (krajše za<br />
tower 4, sistem sob na podstrešju stolpa osrednje zgradbe dunajske<br />
Akademije za likovno umetnost, kjer imamo svoje prostore) šteje<br />
približno 60 študentov. Študijska smer Konceptualne (umetniške)<br />
prakse je "prizorišče", ki podpira različne intervencije v umetnost,<br />
skupnost, tehnologijo in prostor. T4 podpira različne prostore ter<br />
nove tehnične in organizacijske infrastrukture, pa tudi dinamično<br />
ureditev procesa poučevanja. Izjemno pomemben je teoretičen in do<br />
umetnosti kritičen pristop ter nenehno raziskovanje prostora,<br />
skupnosti in novih tehnologij. T4 hkrati razvija tri skupinske projekte:<br />
t4-v-etru, mesečni program za neodvisni dunajski radio RadioOrange<br />
94.0, digitalizirane arhive in semestrsko zasnovo revije magaZINE, ki<br />
vizualizira različne projekte.<br />
T4 odpira vrzeli med medijsko tehnologijo in konceptualnostjo in se<br />
ne osredotoča zgolj na tehnologijo temveč tudi na njeno političnokritično<br />
in socialno uporabo. Naš namen je prevrednotiti odnos, ki se<br />
vzpostavlja med umetnostjo, družbo ter politiko, pri tem se<br />
poslužujemo strategij aktivističnega, teoretičnega in kritičnega<br />
znanja. Dobrodošel je vsakršen vmesnik, od svinčnika do<br />
računalnika.<br />
Prof. Marina Gržinić, Akademija za likovno umetnost Dunaj,<br />
Konceptualne (umetniške) prakse/t4<br />
Izbor del študentov na temo zgodovine, prostora in<br />
časa, dejavnosti in pomena, računalnikov in njihovih<br />
uporabnikov, gibanj in mest, fikcije in resničnosti,<br />
protiglobalističnih gibanj in cenene tehnologije:
1. Hannes Böck<br />
brd, 25 min., DVD, 2003<br />
The city space, its dynamic range and its<br />
aesthetics, are an integral leitmotif in the<br />
history of German modernization. By means of a<br />
voyage through some of the cities particularly<br />
ravaged in World War II and their hinterlands,<br />
the film brd contemplates these landscapes<br />
which encapsulate the special climate of West<br />
German capitalism. It examines the<br />
continuities in architecture and city planning<br />
from the 1920's through the Third Reich, to<br />
post-war reconstruction. (Erk Schilder)<br />
1. Hannes Böck<br />
brd, 25 min, DVD, 2003<br />
Mestni prostor je s svojim dinamičnim obsegom in estetiko v<br />
zgodovini nemške modernizacije v celoti prevzel vlogo vodilnega<br />
motiva. S potovanjem skozi nekatera izbrana mesta in njihova<br />
zaledja, ki jih je druga svetovna vojna še posebej prizadela, se film<br />
brd osredotoča tudi na klimo zahodnonemškega kapitalizma. Film<br />
preučuje kontinuiteto v arhitekturi in načrtovanju mesta, ki se je<br />
ohranila vse od 1920-ih, skozi obdobje Tretjega rajha in povojno<br />
obnovo. (Erk Schilder)<br />
2. Dorian Bonelli<br />
Photocopies, photographs, 2003<br />
The narrative moment creates the aesthetic<br />
appeal both of the written text and of<br />
photography. But it is not encapsulated in a<br />
written form, or in a picture.<br />
3. Alice Cannava and the D. B.<br />
supporting team<br />
DIGGITAL BOY: Your default friend<br />
www.diggitalboy.com<br />
Website, posters and flyers, 2004<br />
Question: Will technology ever be 100%<br />
reliable<br />
No.<br />
4. magaZINE no.1: CONCEPTUAL<br />
PROCESSES by t4, published in 2004<br />
Editors: Verena Dengler, David Kellner and<br />
Consuella Kunz<br />
The first issue (magaZINE no.1) is the<br />
beginning of an archivist printed<br />
work created by students of the Conceptual Art<br />
Class at the Academy of Fine Arts, Vienna. The<br />
magazine reflects the way a space can no longer<br />
function as an exclusive class system but as a<br />
platform open to participation. (V. Dengler)<br />
5. Sonja Draub<br />
I am an artist, ongoing project<br />
6. Eduard Freudmann and Ramon<br />
Grendene<br />
Perception of War - An Approximation in Six<br />
Fragments<br />
25 min, DVD, 2003<br />
1<br />
2. Dorian Bonelli<br />
Fotokopije, fotografije, 2003<br />
Pripovedni trenutek ustvarja estetsko privlačnost tako besedila kot<br />
fotografije, vendar hkrati ni ujet niti v pisno niti slikovno obliko.<br />
3. Alice Cannava in podporna skupina D. B.<br />
DIGGITAL BOY: Vaš programski prijatelj<br />
www.diggitalboy.com<br />
Spletna stran, plakati in letaki, 2004<br />
Vprašanje: Ali bo tehnologija sploh kdaj 100 % zanesljiva<br />
Ne.<br />
4. magaZINE št. 1: KONCEPTUALNI PROCESI<br />
objavljen leta 2004<br />
Uredniki: Verena Dengler, David Kellner in Consuella Kunz<br />
Prva številka (magaZINE št. 1) je raziskava arhiva in odseva miselno<br />
okolje, ki vzpodbuja sodelovanje. (V. Dengler)<br />
5. Sonja Draub<br />
Jaz sem umetnica, projekt v teku<br />
6. Eduard Freudmann and Ramon Grendene<br />
Dojemanje vojne - Približen prikaz v šestih segmentih<br />
25 min, DVD, 2003<br />
Z uporabo različnih tehnik (animacija, agitprop, montaža, najdeni<br />
posnetki, dokumentarno in digitalno procesiranje) je vojna uzreta z<br />
različnih perspektiv v šestih delih, ki se med seboj povezujejo.<br />
Using different techniques (animation,<br />
agitprop, montage, found footage, documentary<br />
and digital processing) the observation of war<br />
is viewed from different perspectives in six<br />
interrelated parts.
7. Priska Graf<br />
No title, 15 min., video, 2004<br />
7. Priska Graf<br />
Brez naslova, 15 min., video, 2004<br />
8. Christian Sperl<br />
The Caithness Project, 8'05 min., DV, 2003<br />
Music: Mimi Secue; Language: German<br />
The Caithness Project analyses the staging of<br />
the nuclear plant of<br />
Dounreay against the background of the<br />
landscape at the northern coast of<br />
Scotland.<br />
9. Moira Hille, Katharina Lampert, Ralo<br />
Mayer & Dragicevic<br />
Example "Celica," YOUTH HOSTEL Metelkova,<br />
Ljubljana:<br />
Adaptation of a military prison, integration<br />
of art, gentrification of the area<br />
The text and the illustration are the result<br />
of a research trip by the Conceptual (Art)<br />
Practices Class to Ljubljana in 2003. The work<br />
was already published in dérive magazine no.<br />
14, Vienna, 2004.<br />
The state-supported renovation of the prison<br />
building was finished in May 2003.<br />
The opening of the building in June 2003<br />
received extensive media coverage, and even<br />
Austrian newspapers praised the Slovenian<br />
creativeness. By supporting the renovation,<br />
officials have tried to raise the value of<br />
Metelkova ulica (street) again. The renovation<br />
of the block into a shiny youth hostel theme<br />
park is a pioneer project: for the last decade<br />
the area of Metelkova has been a space for<br />
alternative culture in Ljubljana, and at the<br />
same time, for the hegemonic public Metelkova<br />
was a code word for a phantasm of leftist<br />
chaos, the punk scene and drug abuse. When<br />
international visitors now enter the youth<br />
hostel "Celica" (cell) as paying guests, they<br />
bring with them also the virus of creeping<br />
economization into an alternative space. The<br />
goal of such a policy is to reestablish subtle<br />
control over partially autonomous spaces<br />
without open police force, creaming off the<br />
surplus of a developed alternative network.<br />
10. ivan & laura, chris gierlinger<br />
project: Kill All Dreams!<br />
11. David Kellner<br />
"I am a TV junkie" once said Everyman<br />
Most people pay much more attention to their<br />
sacred television than to their own partner.<br />
TV gives security and a bitter break-up in<br />
such a relationship occurs only rarely. Even<br />
parents will disappear out of one's life<br />
earlier than the telly.<br />
7<br />
8. Christian Sperl<br />
Projekt Caithness, 8'05 min., DV, 2003<br />
Glasba: Mimi Secue; Jezik: nemški<br />
Projekt Caithness analizira gradnjo jedrske elektrarne v Dounreayju v<br />
pokrajini obalnega pasu na severu Škotske.<br />
8<br />
9. Moira Hille, Katharina Lampert, Ralo Mayer<br />
& Dragičević<br />
Primer: "Celica", mladinski hotel na Metelkovi ulici v Ljubljani:<br />
Prenova prostorov nekdanjih vojaških zaporov, integracija umetnosti,<br />
oplemenitenje bližnje okolice<br />
Besedilo in slikovno gradivo sta plod raziskovalne ekskurzije<br />
študentov smeri Konceptualne (umetniške) prakse v Ljubljano leta<br />
2003. Raziskovani projekt je bil že objavljeno v dérive reviji št. 14,<br />
Dunaj 2004.<br />
Obnova zaporov na Metelkovi je bila s finančno podporo države<br />
končana maja 2003. Otvoritev junija 2003 je bila deležna velike<br />
medijske pozornosti, slovenska ustvarjalnost pa je požela glasen<br />
odmev celo s strani avstrijskih časnikov. S podporo obnove zgradbe<br />
so državni uradniki želeli Metelkovi ulici dvigniti vrednost. Obnova<br />
kompleksa v blesteč tematski park z mladinskim hotelom v svojem<br />
jedru je pionirski projekt: zadnje desetletje predstavlja Metelkova<br />
ulica prizorišče delovanja ljubljanske alternativne kulture, hkrati pa<br />
označuje tudi levičarski kaos, pankersko sceno in zlorabo mamil.<br />
Toda tuji obiskovalci, ki zdaj vstopajo v Celico kakor gostje, s seboj<br />
prinašajo virus ekonomizacije, ki se počasi začenja zajedati v<br />
alternativni prostor. Cilj takšne politike je torej ponovna vzpostavitev<br />
subtilnega nadzora nad deloma avtonomnimi prostori brez očitne<br />
policijske navzočnosti, in odstranitev presežka razvite alternativne<br />
mreže.<br />
10. ivan & laura, chris gierlinger<br />
Projekt: Ubijte vse sanje!
12. Lilla Khoor<br />
Interview with a Hungarian specialist on<br />
prehistoric sculpture, video, 2004<br />
Ok, The point of this art is that there is not<br />
only one solution. So,<br />
it's not like ancient sculpture (a Discobolos<br />
or a Venus) because you never<br />
know what it is that you are holding in your<br />
hands. (From an interview with Miklos Khoor, a<br />
Hungarian specialist on prehistoric sculpture,<br />
2004 Budapest.)<br />
13. Koloman Kann<br />
Bitte nicht stören, video installation,<br />
2002/2003<br />
14. Consuela Kunz<br />
The curtain in front of my deformed faces has<br />
only one sentence - "sogenannte sachzwänge, die<br />
aus Zielvorgaben resultieren."<br />
11<br />
11. David Kellner<br />
"Jaz sem odvisnik od teveja" je nekoč rekel Vsakmož<br />
Večina ljudi posveča veliko več pozornosti posvečenim televizijskim<br />
zaslonom kakor svojim partnerjem. TV nas navdaja z občutkom<br />
varnosti in grenak razdor v tovrstnem razmerju je velika redkost. Še<br />
staršev se bomo hitreje znebili kakor ljubega televizorja.<br />
12. Lilla Khoor<br />
Intervju z madžarskim strokovnjakom za prazgodovinsko kiparstvo,<br />
video, 2004<br />
Dobro, poanta tovrstne umetnosti je, da je vedno možnih več rešitev.<br />
V tem se torej razlikuje od antičnega kiparstva (Metalec diska ali<br />
Venera), saj nikoli ne veš, kaj pravzaprav držiš v rokah. (Odlomek iz<br />
intervjuja z Miklošem Khoorjem, madžarskim strokovnjakom za<br />
prazgodovinsko kiparstvo, 2004, Budimpešta)<br />
13. Koloman Kann<br />
Bitte nicht stören, video instalacija, 2002/2003<br />
14. Consuela Kunz<br />
Na zastoru pred mojimi deformiranimi obrazi je zapisan le en stavek -<br />
"sogenannte sachzwänge, die aus Zielvorgaben resultieren."<br />
15. Christian Mayer<br />
Zabavajte nas, 32 min., video, 2001.<br />
Lego kitarist stoji v veliki blagovnici za stekleno ploščo, v kateri se<br />
vidi odsev mimoidočih. Tu in tam, ko pride do stika, začne na zelo<br />
mehaničen način igrati kitaro. Poleg izvirnega zvoka blagovnice se<br />
sliši tudi moški glas računalniškega programa sinteze govora (text-tospeech),<br />
ki bere besedila nekaterih najbolj znanih rock in pop skladb.<br />
14<br />
15. Christian Mayer<br />
Entertain us, 32 min., video, 2001.<br />
A Lego guitarist is standing in a big shopping<br />
mall behind a glass plate in which the passersby<br />
are reflected. From time to time, when a<br />
contact is triggered, he starts to play his<br />
guitar in a very mechanical way. In addition to<br />
the original sound of the mall, a male computer<br />
voice of a "text-to-speech" program reads<br />
lyrics of some of the best-known rock and pop<br />
classics.<br />
15<br />
16. Muzej Gothenburg N.B.<br />
Ralo Mayer in Philipp Haupt<br />
Izhajajoč iz dveh različnih kristalizacij, t.j. protestov v Gothenburgu<br />
leta 2001 in Constantovega Novega Babilona, raziskujeva politiko<br />
vizualizacije informacij in njeno vlogo v sodobni strukturi moči.
16. The Museum of Gothenburg N.B.<br />
by Ralo Mayer and Philipp Haupt<br />
17. Dokumentarec o Karlu-Heinzu Brandu<br />
Eduarda Freudmanna in Henninga Schorna<br />
Starting from two distinct crystallizations, the<br />
protests in Gothenburg 2001 and Constant's New<br />
Babylon, we are investigating the politics of<br />
information visualization and its role in<br />
today's power structure. The installation as a<br />
3d-spatialization of our excursive studies -<br />
think of cheap .vrml, pinned copies, rendered<br />
google, or a lecture-as-space in a wire-framedisplay.<br />
17. A documentary on Karl-Heinz Brand<br />
by Eduard Freudmann & Henning Schorn<br />
The Story: In April 2003 Karl-Heinz Brand got a<br />
hint from his father's (a former<br />
SS-member) last will about documents from the<br />
Nazi era that were hidden after the war which<br />
gave details about a secret operation in<br />
1944.These documents have meanwhile been<br />
authenticated and verify that Himmler, who was<br />
the most fanatic of the high ranking Nazis,<br />
whenever "Blut und Boden," cult and ancestors,<br />
rites and myths, were in question, ordered<br />
Aleister Crowley, the British occultist, to be<br />
abducted and taken to the Wewelsburg, the mystic<br />
center of the SS Order. A transcript of a<br />
conversation between Himmler and Crowley was<br />
found along with the records of Erwin Brand, the<br />
finder's father. In these records he talks about<br />
the part he played as leader of the operation,<br />
explaining the details of kidnapping Crowley and<br />
the meeting with Himmler.These two historic<br />
persons, both bound to their non-wordly<br />
interpretation of reality, offer the opportunity<br />
for further discussion about the phenomenon of<br />
constructed personal reality.<br />
18. Achim Stiermann and Roland Seidel<br />
Man OS v 1.1., DVD, 2004<br />
In this work the internal processes of a<br />
computer system are shown in a real environment.<br />
It is a stage on which the interior of a<br />
computer is reconstructed on its surface.<br />
Image Explorer: Screenshot of "Extraordinateur<br />
- a Personal Computer"<br />
19. Julia Wagner<br />
Art As a Barrier, photographs, 2003<br />
Zgodba: Aprila 2003 Karl-Heinz Brand v oporoki svojega očeta<br />
(nekdanjega SS-ovca zasledi podatek o listinah iz nacističnega<br />
obdobja, ki jih oče po vojni skril in ki podrobno izpričujejo potek<br />
neke tajne operacije v letu 1944. Pristnost listin je medtem potrjena,<br />
iz njihove vsebine pa postane razvidno, da je Himmler, najbolj<br />
fanatičen med visokimi predstavniki nacistične Nemčije, vsakokrat ko<br />
je na dan prišla najmanjša omemba v zvezi s kultom, predniki in miti,<br />
ukazal ugrabiti Aleisterja Crowleyja, britanskega okultista in ga<br />
privesti v Wewlsburg, mistično središče reda SS. Prepis pogovora, ki<br />
je potekal med Himmlerjem in Crowleyjem, je bil najden skupaj z<br />
zapisi Erwina Branda, najditeljevega očeta. Slednji v teh zapisih<br />
pripoveduje o vlogi, ki jo je odigral kot vodja operacije, in pojasnjuje<br />
o podrobnostih v zvezi s Crowleyjevo ugrabitvijo ter njegovim<br />
srečanjem s Himmlerjem. Ti dve zgodovinski osebnosti, obe ujeti v<br />
iluzionarno dojemanje resničnosti, ponujata priložnost za nadaljnjo<br />
razpravo o fenomenu skonstruirane osebne resničnosti.<br />
18. Achim Stiermann in Roland Seidel<br />
Man OS v 1.1., DVD, 2004<br />
V tem projektu so notranji procesi v računalniškem sistemu prikazani<br />
v realnem okolju. Gre za prizorišče, na katerem je notranjost<br />
računalnika rekonstruirana na njegovi površini.<br />
18<br />
19. Julia Wagner<br />
Umetnost kakor pregrada, fotografije, 2003<br />
Umetnost se lahko predstavlja na različnih mestih. Obenem pa<br />
obstaja tudi veliko razlogov, zakaj se določena umetnina predstavi na<br />
določenem mestu. Projekt Umetnost kakor pregrada tako obravnava<br />
natanko določeno mesto na Dunaju - ameriško ambasado, ki stoji na<br />
ulici Boltzmanngasse. Slednja je bila prvotno običajna ulica v 9.<br />
okrožju (ali "Alsergund"). Toda v le nekaj letih je življenje na ulici iz<br />
varnostnih razlogov postalo podvrženo vse večjim omejitvam. Na<br />
obeh straneh ambasade so bile dvignjene velike pregrade.<br />
There are many possible places for the<br />
presentation of art. There are on the other hand<br />
many reasons why a piece of art is presented at<br />
a certain place. Art As a Barrier deals with one<br />
specific place in Vienna: the US-Embassy, which<br />
is located in Boltzmanngasse. Originally it was<br />
an ordinary street in the ninth district<br />
("Alsergrund"). Within a few years street life<br />
has become more and more restricted for security<br />
reasons. Extensive barriers have been built on<br />
both sides of the embassy.<br />
19
Students' Panel Presentations:<br />
Exchange of concepts, thoughts and works' strategies<br />
12, May 2004 Starting at 14.00<br />
Študentski forum: Izmenjava konceptov,<br />
razmišljanj in delovnih strategij<br />
12. maj 2004 začetek ob 14h<br />
Ralo Mayer and Philipp Haupt (Vienna)<br />
Project: The Museum of Gothenburg N.B.<br />
Starting from two distinct crystallizations, the protests in Gothenburg 2001 and Constant's New<br />
Babylon, we are investigating the politics of information visualization and its role in today's<br />
power structure. The installation as a 3d-spatialization of our excursive studies - think of<br />
cheap .vrml, pinned copies, rendered google, or a lecture-as-space in a wire-frame-display. The<br />
Museum of Gothenburg N.B. is based on an ongoing research project at the Manoa Free University.<br />
http://manoafreeuniversity.org/gothenburg_nb<br />
Ralo Mayer in Philipp Haupt (Dunaj)<br />
Projekt: Muzej Gothenburg N.B.<br />
Jeder Augenblick der Zukunft ist ein Gedanke an vorher<br />
Izhajajoč iz dveh različnih kristalizacij, t.j.<br />
Laibach, Life is life<br />
protestov v Gothenburgu leta 2001 in<br />
Constantovega Novega Babilona, raziskujeva<br />
politiko vizualizacije informacij in njeno vlogo v<br />
sodobnih strukturah moči. Instalacija je<br />
Salon de Fleurus<br />
A. Barr's Museum of Modern Art predstavljena kot tridimenzionalno uprostorjenje<br />
Goran Djordjevic<br />
Constant's New Babylon<br />
Gšteborg Juni 2001<br />
najinih študij v svet cenenih, (s)kopiranih in<br />
Architectural Utopias<br />
Postfordist Capitalism New Social Movements<br />
spremenjenih dejavnikov - na primer, ceneni<br />
.vrml, pripete kopije, spremenjeni google ali<br />
predavanje predstavljeno kot prostor v<br />
omrežnem prikazovalniku. Muzej Gothenburg<br />
Laser Forensics<br />
N.B. je del raziskovalnega projekta, ki poteka v<br />
okviru projekta Manoa Free University.<br />
Parallel of Life and Art<br />
Smithsons, Henderson, Paolozzi<br />
3d / VR Environments<br />
Time Crystal<br />
Achim Stiermann and Roland Seidel (Vienna)<br />
Project: Man OS v 1.1., DVD, 2004<br />
In this work/project the internal processes of a computer system are shown in a real<br />
environment. It is a stage on which the interior of a computer is reconstructed on its surface.<br />
The processor is a human being who is running the operating system and programs. He executes<br />
orders from the User, which is represented by a mouse flash. Digital processing and human<br />
behaviors collide and find a common sense in their possibility of failure.<br />
Achim Stiermann in Roland Seidel (Dunaj)<br />
Projekt: Man OS v 1.1., DVD, 2004<br />
V tem delu/projektu so notranji procesi v<br />
računalniškem sistemu prikazani kot da se dogajajo v<br />
realnem okolju. Gre za performativno-tehnološkoprizorišče,<br />
ki omogoča da se notranjost računalnika<br />
rekonstruira na njegovi površini/zaslonu. Procesor je<br />
tukaj človeško bitje, ki upravlja z operacijskim<br />
sistemom in programi. Izvršuje ukaze uporabnika, ki ga<br />
predstavlja optična 3D miška. Digitalno procesiranje in<br />
človeško obnašanje se križata in najdeta skupni smisel<br />
v možnosti, da oba odpovesta.
Narvika Bovcon, Aleš Vaupotič (ALU, Ljubljana)<br />
Projekta: VideoSpace, interaktivni CD-ROM s<br />
tridimenzionalno virtualno realnostjo, 2003;<br />
Mouseion Serapeion, pametni arhiv<br />
na DVD-ROM-u, 2004<br />
Umetniško delo kot arhiv je vzvratna projekcija predstave, da je<br />
svet pravzaprav polje diskurzov, ki jih raziskujemo s Foucaultovo<br />
arheološko metodo. Projekt VideoSpace je prevedel trojico<br />
samostojnih projektov v konceptualno enovit umetniški arhiv, ki<br />
optimizira umetniško "rabo" izraznih sredstev video iger s<br />
tridimenzionalnim virtualnim prostorom. Druga možnost<br />
razmisleka o umetniškem projektu kot arhivu, projekt Mouseion<br />
Serapeion, se osredotoči na problem komunikacije z arhivom, ki<br />
jo lahko primerjamo s komunikacijo med ljudmi. Inteligenco<br />
tokrat zamenja umetna inteligenca, vgrajena v vmesnik, skozi<br />
katerega vstopamo v arhiv.<br />
archive as TERRITORY<br />
node territory<br />
trajectory<br />
archive as INTERFACE<br />
project archive<br />
reception<br />
archive list<br />
Narvika Bovcon, Aleš Vaupotič (Academy of Fine Art, Ljubljana)<br />
Projects: VideoSpace, interactive CD-ROM with 3D virtual reality, 2003;<br />
Mouseion Serapeion, smart archive on DVD-ROM, 2004<br />
The art piece as an archive is a reverse projection of the notion that the world is actually a<br />
field of discourses, which we explore by means of the Foucault's archaeological method. The<br />
VideoSpace project translated a triad of self-standing art projects into a homogeneous artistic<br />
archive that also optimises the artistic "usage" of the language of the videogames with 3D<br />
virtual space. The second possibility, embodied in the project Mouseion Serapeion, is focused<br />
on the problem, how to communicate with an archive - this communication is comparable to the<br />
human interaction. The intelligence is replaced by the artificial intelligence that is built in<br />
the interface, which is the actual point of entrance into the archive.<br />
Boštjan Kavčič (ALU, Ljubljana), Matija Krajnc (Fakulteta za računalništvo in informatiko,<br />
Ljubljana) Projekt: globalheART 2004<br />
- globalheART je umetniški sistem, ki se gradi s pomočjo individualnih srčnih podatkov.<br />
- Uporabnik sistema postane interaktiven soustvarjalec računalniške animacije, ki se na naslovu<br />
www.globalheart.mine.nu razrašča v spletni globalni organizem.<br />
- globalheART je inteligenten avtonomni konstrukt, ki proizvaja umetnine brez avtorjevega delovanja.<br />
Sestavljajo ga:<br />
- spletna stran / strežnik / podatkovna<br />
baza, ki vsebujejo modul za vizualizacijo<br />
informacij kot interaktivni generator<br />
avdio-vizualnih podob,<br />
- interaktivna avtopromocijska naprava,<br />
postavljena v urbanih nakupovalno<br />
komunikacijskih središčih hodnikov,<br />
podhodov, čakalnic...<br />
- vstop v sistem je omogočen domačemu<br />
uporabniku z uporabo generatorja<br />
naključja, naprednejšim uporabnikom pa<br />
hARTi vmesnik omogoča še dodatno<br />
interaktivno medijsko potopitev.<br />
Boštjan Kavčič (ALU, Ljubljana), Matija Krajnc<br />
(Faculty of Computer and Information Sciences,<br />
Ljubljana) Project: globalheART 2004<br />
- globalheART is an art system built by means of individual heart data.<br />
- The system user becomes an interactive co-creator of computer-based animation that branches out into a global organism on the<br />
website www.globalheart.mine.nu.<br />
- globalheART is an intelligent autonomous construction producing artwork independently from the author's intervention.<br />
It comprises the following:<br />
- website / server / base containing the information visualisation module as an interactive generator of audio-visual images,<br />
- interactive auto-promotion machine, set up in urban shopping and communication centres, halls, subways, waiting rooms etc.,<br />
- domestic users have guaranteed access to the system via random generator; advanced users employing hARTI interface are also<br />
ensured further interactive media immersion.
Ste novi medijski ustvarjalec<br />
Ali ste že poskusili zaprositi za sredstva<br />
machinaZOIS je prvi elektromehanični pokrovitelj, ki umetnikom nudi<br />
finančno podporo za izvajanje njihovih del. Ta interaktivni<br />
samostoječi umetniški artefakt je pravzaprav igralni avtomat, katerega<br />
igra se imenuje "Možnosti in strategije pridobivanja sredstev za<br />
sodobno umetniško produkcijo". Igralec se prijavi v vlogi sodobnega<br />
umetnika in zbira finančno pomoč za svoje ustvarjalno delo tako, da<br />
se prijavlja na različne finančne vire. Umetnik mora torej izpolniti<br />
prijavni obrazec, priložiti vse zahtevane dokumente in ga poslati.<br />
Strokovni svet nato pregleda prispele prošnje in se odloči za pozitiven<br />
ali negativen odgovor. Medtem se mora igralec ukvarjati tudi s tisoči<br />
drugih birokratskih postopkov, ki se nanašajo na njegov proces<br />
umetniškega ustvarjanja, ter seveda na druge pomembne družbene<br />
dejavnike, kot so lobiranje, zapeljevanje predstavnikov Strokovnega<br />
sveta ipd. Le-to mu omogoča uporaba posebnih ikon, gumbov,<br />
gibljivih tarč ter napisov, ki jih najde na igralnem polju. Igralcu, ki v<br />
času razstave machineZOIS zbere najvišji rezultat, pripade glavni<br />
dobitek. Vsota je namenjena za podporo njegovemu ustvarjanju in<br />
mora zatorej biti porabljena izključno za ta namen.<br />
Poglavitne prednosti mZ v vlogi alternativnega finančnega vira za<br />
umetniško in kulturniško produkcijo so:<br />
1) mZ ne zahteva prijav, računov, finančnih poročil ali kakršnekoli<br />
druge birokracija...<br />
2) plačilo je izvršeno nemudoma in v gotovini...<br />
3) plačilo ni obdavčeno...<br />
4) je zelo demokratičen in transparenten način financiranja:<br />
najboljši zmaga! Osebne zveze ne igrajo nobene vloge...<br />
MachinaZOIS je bila ustvarjena leta 2002 tako, da sem razstavil,<br />
predelal ter spremenil star igralni avtomat.<br />
Močan družbeni značaj tega projekta, polemike in kritike glede<br />
sistema ter načinov sofinanciranja sodobne umetniške produkcije so<br />
razvidni iz pravil machineZOIS<br />
(http://www.aksioma.org/machinazois/rules.htm).<br />
Ker gre za denar, je bila leta 2003 ustvarjena tudi machinaZOIS 2.0<br />
VTC (Virtual Training Centerhttp://www.aksioma.org/machinazois_vtc/index.htm),<br />
ki ponuja<br />
umetnikom možnost vadbe neposredno od doma in s tem izjemno<br />
povečuje njihove možnosti za zmago na machiniZOIS ali z drugimi<br />
besedami - pridobite si podporo svojega Elektromehaničnega<br />
podpornika!<br />
Are you a new media artist<br />
Have you ever tried to apply for funds<br />
machinaZOIS is the first Electromechanical Patron that financially<br />
helps artists to produce their work. This interactive stand-alone art<br />
piece is a pinball machine whose game theme is "possibilities and<br />
strategies of fundraising for contemporary artistic productions<br />
nowadays." The player identifies himself with the role of a<br />
contemporary artist and has to raise financial subventions for his<br />
work by applying to different financial sources. The artist has<br />
therefore to prepare an application, attach all required documents to<br />
it and send it. A Committee of Experts then decides whether to<br />
approve or deny it. At the same time the player has to take care of<br />
thousands of other bureaucratic aspects related to the production of<br />
his artistic work as well as very important social aspects such as<br />
lobbying, flirting with a member of the Committee of Experts etc.<br />
He does so thanks to a special set of icons, bumpers, drop and<br />
moving targets, displays, located on the playfield. The player that,<br />
throughout machinaZOIS's exhibition period, gains the absolute<br />
higher score gets the entire jackpot. This sum has to be intended as a<br />
financial contribution for his actual artistic production and, therefore,<br />
be used solely for this purpose.<br />
The main advantages of mZ as an alternative financial source for<br />
artists and cultural producers are:<br />
1) mZ doesn't demand applications, bills, financial reports, or<br />
bureaucracy of any kind...<br />
2) It pays off immediately and in cash...3) It is tax-free...<br />
4) It is very democratic and transparent: the best win! No matter<br />
personal connections...<br />
machinaZOIS was created in 2002 by deconstructing, hacking and<br />
modifying an old pinball machine.<br />
The strong social character of this project, its polemics and critic<br />
towards the system and the policy of funds for contemporary art are<br />
evident in the rules of machinaZOIS<br />
(http://www.aksioma.org/machinazois/rules.htm).<br />
Since it goes for money, in 2003 it was established also machinaZOIS<br />
2.0 VTC (Virtual Training Centerhttp://www.aksioma.org/machinazois_vtc/index.htm)<br />
offering the<br />
artist the possibility to train directly from home and therefore arise<br />
enormously his chances to win the machinaZOIS's jackpot or, in<br />
other words…get supported by his Electromechanical Patron!<br />
Davide Grassi:<br />
machinaZOIS -<br />
Vaš elektromehanični pokrovitelj!<br />
/machinaZOIS -<br />
Your Electromechanical Patron!<br />
o machinaZOIS 2.0 VTC<br />
http://www.aksioma.org/machinazois_vtc<br />
Avtor: Davide Grassi<br />
Produkcija: Aksioma, 2003<br />
Tip: internetni projekt<br />
Podporniki: Ministrstvo za kulturo RS in mesto Ljubljana<br />
Premiera: Multimedijski center Cyberpipe, Ljubljana.<br />
o machinaZOIS - Vaš elektromehanični pokrovitelj!<br />
http://www.aksioma.org/machinazois<br />
Avotr: Davide Grassi<br />
Produkcija: Boter, 2002<br />
Ko-produkcija in distribucija: Aksioma<br />
Tip: Intermedia<br />
Podporniki: Ministrstvo za kulturo RS in mesto Ljubljana<br />
Premiera: novoletni sprejem Ministrstva za kulturo RS v<br />
kulturnem in kongresnem centru Cankarjev dom v Ljubljani.
dominik.krizan@siol.net<br />
Dominik Olmiah Križan:<br />
Prednosti in slabosti sodobne informacijske tehnologije/<br />
Advantages and Weaknesses of Modern Information<br />
Technology<br />
oddaja Polnočni klub, Uredništvo informativnega programa TV Slovenija, 2003/<br />
TV talk show "Midnight Club", TV Slovenia Informative Programme editorial board, 2003<br />
avtorski poseg v prostor TV-medija/authorial intervetion into TV media space<br />
Televizijski voditelj kot avtor, individuum, ustvarjalni subjekt, ki s<br />
svojimi razmišljanji in ugotovitvami kot enakovreden sogovornik oblikuje<br />
pogovor. Voditelj tako dobi dvojni ontološki status, saj hkrati zavzema<br />
neko avtoritarno pozicijo, skozi katero lahko manipulira. Dvojna vloga<br />
razširi razumevanje vloge voditelja in s tem avtorsko označi podobo<br />
oddaje.<br />
A TV host is a person who, as an author, individuum, creative subject,<br />
equal partner, through his thought and determination, sets the ground for<br />
a discussion with his guests. A TV host, however, may acquire a double<br />
ontological status, since at the same time he takes on a certain<br />
authoritarian position through which he can manipulate. The notion of a<br />
doubled status extends the understanding of the TV host's role and thus<br />
defines the image of the show in an authorial manner.<br />
Prenosni telefoni in internet, medmrežje, sta postala neločljiv način živetja, preživetja, trgovanja in komuniciranja. Kdor ga nima, ga ni, kdor se ne<br />
potrudi sprejeti in obvladovati novih tehničnih sredstev komunikacije, se ne more iti zraven. Vse je prepleteno s kabli, žicami in radijskimi,<br />
radarskimi, in še kakšnimi signali, ki jih ne čutimo neposredno in se nam zato zdi, kot da jih ni. Internet, medmrežje ali splet je svet, in kot da bi bil<br />
peskovnik, v katerem se uspešni lahko le nekateri otroci, z lopatko in kanglico, vsi drugi pa so, smo zunaj. A komunikacija ni zgolj posredovanje<br />
besed, podatkov, je tudi prenos stvari in ljudi. In mreže so nekaj v kar smo lahko tudi ujeti. Smo to kar je naše okolje, povej mi s kom se družiš, pa<br />
ti povem kdo si. Kako živimo Pripomočki za govor, robotski nastavki za hojo, ... a tisto kar je nekomu lahko nujna in dobrodošla pomoč pri<br />
vključevanju v skupnost, lahko ustvari tudi nenavadnejše vizije, predstave o prihodnosti. Vsak od nas ima izkušnje z otroci, kot pedagog, oče ali<br />
mati, ali bomo morda prenosne telefone v obliki mikrobiočipov vgrajevali otrokom že pri rojstvu Koliko narava čuti nas Ali živali, ptice, ribe in<br />
žuželke zaznavajo našo tehnologijo, našo civilizacijo tudi na področjih sevanj energijskih valov ter ali zaradi tega spreminjajo svoje vedenje Ali<br />
obstajajo podatki o teh vplivih. Znanost in tehnologija nas vodita v vesolje, nam lajšata življenje, a čemu potem lahko opazimo tako popularnost<br />
različnih t.i. mejnih znanosti, zamisli nove dobe, teorije naravnih sevanj, avre, bioenergije, alternativne medicine, naravozdravilstva Če bi ne bili<br />
navajeni na sodoben način živetja, tehnološke pripomočke, jih morda nebi pogrešali.
Roboti/Robots<br />
Selekcija Jožeta Slačka/Jože Slaček's Selection<br />
Doma izdelani roboti/Home produced robots<br />
Borbe robotov/Robo-fights<br />
Ideja organiziranih tekmovanj robotov, ki se med seboj borijo dokler ne ostane le zmagovalec, je iz Velike Britanije prišla še na Hrvaško.<br />
Pobudnik tekme bojevanja je Vedran Relja, ki deluje v skupini robotikov pri Zajednici za tehničku kulturo v Zaprešiću. Robote izdeluje sam,<br />
za kar porabi dveleti dela, načrtovanja, zbiranja sredstev in mesec dni za montažo. V boju pa je ta robot lahko uničen v par minutah.<br />
Roboti so daljinsko krmiljeni, opremljeni so z vrtalniki, ostrimi konicami in žagami. Cilj boja je, da nasprotnika izrine iz arene ali pa ga se<br />
močno poškoduje.<br />
Branko Zupan samostojno izdeluje robote, garažna produkcija, doma za svoje zadovoljstvo. Veliko skrbi posveča gibanju<br />
mehanizma, pa naj bo to šest ali dvonožni robot. Prosto hodeči roboti so v svetu predmet raziskav prestižnih inštitutov, Zupan pa z lahkoto<br />
ustvarja privlačne in uspešne modele. Prvi resno zasnovani robot je poimenoval Biba, ki je sprva je bil krmiljen z čisto navadnim TTL vezjem.<br />
Bibo je kasneje izpopolnjeval.<br />
Voziček mu služi za preizkušanje vseh mogočih vezij in programov. Robot se samostojno izogiba oviram, z oddajnikom pa ga je mogoče<br />
daljinsko krmiliti. Program v procesorju je napisan tako da imajo senzorji prioriteto in s tem se preprečil zaletavanje v oviro. Robot potuje po<br />
prostoru samostojno, vendar ga je mogoče v katerem koli trenutku z oddajnikom usmerjati. BigFoot je malo večji robot, ki se premika na<br />
dveh nogah. Ima vgrajene IR senzorje za izogibanje ovir. Na nogah (stopalih) pa ima mikrostikali za slučaj če je ovira prenizka in je IR<br />
senzorji ne zaznajo. Robot Čriček je še v razvoju. Poganjajo ga trije servomehanizmi. Prvi premika srednji nogi gor in dol, druga dva pa levi<br />
in desni prednji in zadnji nogi. S tem se dosež, da se robot lahko obrača na mestu, v hoji naprej in nazaj. Izziv pri tem robotu je program,<br />
saj ima robot velike možnosti gibanja in izogibanja ovir<br />
The idea to organise a competition of robots that fight each other until only the winner stays on the<br />
scene came from Great Britain and quickly found followers in Croatia. The Croatian initiator of such<br />
fights was Vedran Relja, an active member of the robotics group at Association for Technical Culture<br />
in Zapresic. He develops his robots alone and needs good two years of planning, fundraising and work<br />
as well as a month for final construction of one of his robots. In the fight such a robot could be<br />
destroyed within a few minutes.<br />
All robots are equipped with remote controls, drills, sharp points and saws. The aim of the fight is<br />
to damage the opponent seriously or to drag it from the fight arena.<br />
Branko Zupan is producing robots in his garage for his own pleasure only. He devotes his main attention to movement of the<br />
mechanism, be it two or six-legged robot. Free walking robots are the objects of research of all important institutes around the globe while<br />
Zupan manages to create attractive and successful models on its own and with a great ease. The first seriously designed model called "BIBA"<br />
was initially controlled by ordinary TTL integrators and has been later largely improved.<br />
He uses a robot called "The Carriage" for all possible integrators and programme testing. The robot is able to move freely and knows how to<br />
avoid obstacles. It is also possible to direct it with the remote control. Its programme in the processor is written in such a way that prioritises<br />
the inbuilt sensors and with this prevents bumping into a possible obstacle. The robot moves in the space completely independently and is<br />
at the same time able to be remotely re-directed in any moment. "BigFoot" is a bit bigger robot that moves on two legs. It has inbuilt IR<br />
sensors for avoiding obstacles and additional micro switches on his feet in case the obstacle is too low for IR sensors to be detected. The<br />
robot called "The Cricket" is still in the developmental phase. It is driven by three servomechanisms. The first is moving the two middle legs<br />
up and down while the other two moves left and right front and back feet. With this structure the robot can turn on the spot while walking<br />
forward or backward. The real challenge at this model is programming as it has huge possibilities of movement and avoiding obstacles.
Kapelica<br />
Selekcija Jurija Krpana/Jurij Krpan's Selection<br />
Galerija Kapelica, Kersnikova 4, Ljubljana, Otvoritev instalacije: četrtek, 6. maja 2004, ob 21.uri, 6. - 21. maj 2004<br />
Kapelica Gallery, Kersnikova 4, Ljubljana, Opening: Thursday, 6th May 2004, at 9pm, Duration: 6th - 21st May 2004<br />
Marnix de Nijs & Edwin van der Heide<br />
(Nizozemska/Netherlands)<br />
Prostorski zvoki (100dB pri 100km/h)<br />
Spatial Sounds (100dB at 100km/h)<br />
"Spatial Sounds (100dB at 100km/h)" is an interactive audio<br />
installation by Marnix de Nijs and Edwin van der Heide. In<br />
this engine-powered installation, a speaker is mounted onto<br />
a rotating arm that is several meters long. Like a watchdog,<br />
the machine scans the surrounding space for visitors. Closer<br />
investigation would be tempting fate, with the rotating arm<br />
swinging so powerfully round. You hear the impressive<br />
sound of the mighty motor revving up, turning faster and<br />
faster. You can feel the displacement of air as the speaker<br />
whizzes past you, and you had better step back, out of reach.<br />
The machine slows down and, when the shock wears off, you<br />
start exploring the space, with your movements<br />
manipulating the sound it produces. Just don't get too close!<br />
"Spatial Sounds (100dB at 100km/h)" builds up a physically<br />
tangible relationship with the visitor, since it is the game of<br />
attracting and repelling between machine and visitor that<br />
determines its sound and movement.<br />
Spatial Sounds won the first price of Artfuture 2000 as the<br />
best international media-art piece. Artfuture is an<br />
international media-art competion organised by Acer Digital<br />
Arts Center in Taiwan. In 2001 it was Honorary Mentioned at<br />
Transmediale Award in Berlin (D) and was also Honorary<br />
Mentioned at Prix Ars Electronica in Linz (AU).<br />
Avtorja odzivne (responsive) avdio instalacije "Spatial Sounds (100dB at 100km/h)" sta<br />
nizozemska umetnika Marnix de Nijs in Edwin van der Heide. Stroj je narejen kot štirimetrska<br />
horizontalna rotirajoča roka, na katero je na enem koncu montiran precej močen zvočnik (100<br />
dB), na drugi pa protiutež, ki drži roko uravnoteženo horizontalno. Elektromotor na sredini<br />
vrti zvočnik okoli centralne osi v odvisnosti sonarja, ki določa razdaljo med obiskovalci ali<br />
objekti v prostoru in zvočnikom. Sonar tipa za ljudmi v bližini in nanje reagira s pretečim<br />
zvokom. V prostoru je še dodatno ozvočenje in stroboskopska luč, ki v trenutkih vrtenja še<br />
povečuje občutek grožnje. Projekt "Spatial Sounds" je zanimiv zaradi brutalnosti same naprave,<br />
saj jo skozi nevarnost situacije, ki jo z vrtenjem povzroča, doživimo dobesedno fizično.<br />
Občutek, ki nam ga daje, je kot bi stali pred podivjanim psom na verigi, pa vendar nam pri<br />
razumevanju situacije ne pomaga "živalska psihologija" temveč zelo dobro razumevanje strojne,<br />
računalniške in programske logike.<br />
Projekt je dobil prvo nagrado na Art Future 2000 (Tajvan) kot najboljši mednarodni intermedijski<br />
projekt. Art Future je mednarodno tekmovanje na področju intermedijskih umetnosti, ki ga<br />
organizira Acer Digital Arts Center na Tajvanu. V letu 2001 pa je bil projekt deležen častne<br />
omembe (Honorary Mention) na podelitvi nagrad Transmediale Award v Berlinu (D) in prav tako<br />
omenjen (Honorary Mention) na Prix Ars Electronica v Linzu v kategoriji intermedijskih<br />
umetnosti.
Narave/Natures<br />
Bežigrajska galerija 2, Vodovodna 3, Ljubljana<br />
Prireditelj/Organizer<br />
Bežigrajska galerija, Ljubljana, Slovenija<br />
Kustos razstave/Curator of the exhibition<br />
Miloš Bašin<br />
Besedilo/Text: Miloš Bašin<br />
Mestna galerija Ljubljana<br />
Mestni trg 5<br />
Slovenija<br />
1000 Ljubljana<br />
Tel. +386 1 24 11 770<br />
Fax. +386 1 24 11 782<br />
e-mail: mestna. galerija-lj@ siol.net<br />
www.mestna-galerija.si<br />
Enota/Unit:<br />
Bežigrajska galerija 2<br />
Vodovodna 3<br />
1000 Ljubljana<br />
Slovenija<br />
Tel. +386 01 436 69 57, 436 40 57<br />
Fax. + 386 01 436 69 58<br />
www.mestna-galerija.si<br />
Bežigrajska galerija®, Dunajska 31,<br />
Ljubljana, Slovenija<br />
Razstava/Exhibition: 6 / 2004,<br />
Narave/Natures<br />
Bežigrajska galerija 2<br />
6. - 13. maj 2004<br />
6 - 13 May 2004<br />
Narave so podobe iz narave, podobe žive narave, podobe narave, v katerih se<br />
razblinja mit o vsemogočnosti, o bivanju človeka v njej. O njegovi prisotnosti, o<br />
njegovem gledanju sebe v njej, o njegovi prisotnosti v njej kot zaznamovanju<br />
človeškega gibanja in bivanja. Človek je v delih, ki jih gledamo, njen opazovalec in<br />
prebivalec. V delih, ki jih gledamo, človek kot umetnik ne spreminja narave same.<br />
Narava je zaznamovana samo z njegovim videnjem in posegi, ki jih omogoča tudi<br />
računalniška tehnologija. Dela niso nasilna v smislu, da bi naravo spreminjala<br />
vizualno do neprepoznavnosti ali da se v njih ne bi ohranjalo njeno vizualno<br />
bistvo. Podobe narave niso popačene. Umetnine z razstave predstavljajo naravo hkrati<br />
v njeni in umetniški trenutnosti. Narave so zaznamovane z ljudmi v njej in njihovimi<br />
naravami. Ko izginja narava, izginja z njo človek in tudi njegova umetniška dejanja.<br />
V naravi je vse naravno. Sožitje človeka z njo ni vselej naravno. Umetnost, ki<br />
narave ne vključuje v svoja dela, postaja socialna. Ko ljudje ustvarjajo umetnost<br />
brez sožitja in sobivanja z realnim in navideznimi svetovi, ni več življenja v<br />
njegovem bistvu in ga ni več v lepoti opazovanj in bivanj tu in onkraj. V filmu, ki<br />
je lahko tudi računalniška umetnost. Ko opazuješ, zaznamuješ, ko izrečeš, lahko<br />
zapišeš. Umetnost, ki bo ostala in obstala, bo umetnost, ki bo odsev njenega<br />
realnega videza in njenega OPAZOVANJA, njene narave skozi preoblikovanje ljudi in<br />
ustvarjanja poustvarjanja umetnikov.<br />
V času, ko umetniki ustvarjajo filme, video filme in računalniška umetniška dela s<br />
predvsem socialno tematiko, je narava v Naravah antipod umetnostnim praksam.<br />
Miloš Bašin<br />
Razstava/Exhibition 7 / 2004<br />
Magdalena Pederin<br />
Ime je anagram /<br />
The Name is an Anagram<br />
5 - 26 maj 2004<br />
5 - 26 May 2004<br />
Natures present images drawn from living Nature illustrating the disappearance of the myth of man's existence and<br />
omnipotence within Her. They convey the images of man's perception of himself in Nature and his presence as a<br />
sign of human movement and existence. In the artwork at hand, man is presented as Nature's inhabitant and<br />
observer. Here, man as artist does not alter Nature but rather defines Her with an observing eye and interventions<br />
enabled by computer technology. However, such interventions are not forcible in the sense that man strives to alter<br />
Nature visually to a point of irrecognisability or in the sense that his works fail to preserve the essence of Nature's<br />
visual peculiarities. Quite on the contrary, Her imagery remains undistorted. The exhibited artwork presents Nature<br />
in Her realistic as well as artistic momentariness. Natures are determined by people existing in Nature, as well as<br />
their own respective natures. Disappearing of Nature leads to fading away of man and his artistic production.<br />
In Nature, everything is inartificial, which cannot always be true of man's relation with Her. Art which fails to<br />
integrate Nature into its substance gradually becomes exclusively social work. Artistry created in the absence of<br />
harmony and co-existence with real as well as virtual worlds, is bereft of life in its very essence and fails to convey<br />
the beauty of observation and existence here as well as on the other side. In a film which can as well represent<br />
computer art. Observation facilitates denotation; utterance facilitates written expression. The only form of art that is<br />
going to persevere will the one serving as a sheer reflection of Nature's real image and genuine OBSERVATION true<br />
to its very essence and nature through the transformation of people and reproduction of artists.<br />
However, in the time when artists create films, videos and computer artwork that, above all, treat social topics,<br />
Nature in Natures keeps serving as antipode to art practices.<br />
Andrej Zdravič:<br />
Heartbeat 2000, 9.05 min, zvok, 16mm/Beta SP
Miha Vipotnik:<br />
Gazele/Gazelles,<br />
1 /4.48 min 3 /5.04 min, 6 /4.06 min<br />
TV Slovenija, 2001<br />
Mark Požlep, Hana Vodeb: Issa - Vis<br />
2004, 3.35 min<br />
Primož Seliškar: Drevo/Tree<br />
Glasba/music: Andrej Žibert. 2oo3, 40 min<br />
waterprimoz@hotmail.com<br />
Vidic Urša: Mrene/Membranes<br />
Karmen Tomšič: Fraktali/Fractals<br />
2002, 6.35 min<br />
Karmen Tomšič: …<br />
2002, 1.20 min<br />
Mateja Starič, Osmosa/Osmosis<br />
2003<br />
Aleksandra Gruden: "Oninta" v snegu/"Oninta" in Snow 2004<br />
V kratkem enominutnem videu se ukvarjam z idejo dveh polov - nebesnega in zemeljskega, sanjskega in realnega, notranjega in zunanjega,<br />
ženskega in moškega; oba se združita in postaneta možno eno. "Zgodba" se dogaja v zimskem času, ko pogled v nebo nudi belo, počasi padajočo<br />
snežno zaveso in drugo dinamično, temnejšo podobo padanja snega. V tem se znajdeta drevesi in mlad poganjek ...<br />
In this short one-minute video, I deal with the dualistic idea of poles - celestial and terrestrial, dream and real, inner and outer, as well as male and<br />
female - uniting and merging into a single entity. The "story" unravels in wintertime when the view of the sky offers white, slowly descending snow<br />
curtain, on the one hand, and a dynamic and darker image of falling snow flakes, on the other. In the middle of this scene, focus shifts to two trees<br />
and a young offshoot ...<br />
Barbara Jurkovšek: Spomin vode/Memory of Water 1984, 5 min<br />
Voda obdaja ta svet. Je izvor življenja. Če je voda onesnažena, postane tudi obstoj živih bitij vprašljiv.<br />
Voda ima sposobnost shranjevanja misli in čustev tako kot človek. Kvalitetna voda kristalizira v obliki šesterokotnika, v obliki, podobni snežinkam.<br />
Ena od lastnosti vode je prehajanje na različne nivoje, višje ali nižje. Kljub temu, da različne vode na Zemlji začnejo kristalizirati z enakim kristalnim<br />
vzorcem, v naravi ne najdemo dveh povsem enakih vzorcev. Estetski vidiki kristalizacije nakazujejo, da na spreminjanje vode vpliva prav vse v njeni<br />
okolici - zrak, svetloba, temperatura, pritisk, zvok, pa vse do bolj subtilnih vplivov naših dejanj, občutkov, misli, napisanih besed ... (dr. Masaru<br />
Emoto: Sporočilo vode, 2004)<br />
Water covers the entire planet. It is the source of life. Any pollution of water renders the existence of all living creatures questionable.<br />
Just as man, water has the ability of memorising thoughts and emotions. Quality water forms hexagonal snowflake-like crystals. It can also traverse<br />
different levels - higher or lower ones. Although various types of water on Earth form equal crystal patterns, it is impossible to find two identical<br />
crystals in Nature. The aesthetic aspects of crystallisation show that the changes in water influence every single segment in its surrounding<br />
environment: air, light, temperature, pressure, sound, and even the subtlest nuances of our states and actions, such as feelings, thoughts, written<br />
words … (Dr Masaru Emoto: Water Message, 2004)<br />
smileybarbi@hotmail.com<br />
Nataša Skušek, Urban Velkavrh: Vrt/Garden<br />
Video instalacija/video installation. Dolžina/duration: 6 min 17 sek. Tehnika/technique: 3D računalniška animacija, video/3D computer animation,<br />
video. Objekt/ object: 50 x 100 x 100 cm, rastline/plants, zemlja/soil, les/wood.<br />
Negovanje vrta je silno podobno igri Tetrisa, pri kateri smo razpeti med inherentnim naraščanjem entropije in naporom, da bi obdržali najmanj<br />
trenutno stanje. Vprašanje, s katerim se ukvarja pričujoča animacija, je, kdo dejansko igra Tetris, kdo je roka, ki usmerja bloke raznih oblik, in kdo je<br />
blok. Gre za splet miselnih vzorcev in občutij, porajajočih se v interakciji med vrtom v naravi, naravo vrta v njegovi digitalni manifestaciji, v obliki<br />
igre, in aktivnega gledalca, ki nastajajo na strani vseh vpletenih.<br />
Tending the garden is much like playing a game of Tetris combining the inherent increase of entropy and endeavours to maintain at least status<br />
quo. The question dealt with by the animation at hand is: Who actually plays Tetris, whose hand guides multi-shaped blocks and who is the block<br />
It is a conglomerate of thought and sensation patterns that stem from the interaction between the garden in nature and the nature of the digitally<br />
manifested garden (i.e. manifested in the form of a game), on the one hand, and the active observer, on the other.<br />
edvina.podrebernik@uvworx.com<br />
Matej Košir: In the Field<br />
Video je rezultat ustvarjalnega sodelovanja Špele Sterle in Mateja Koširja. Služi kot scenografija za koreografijo Špele Sterle. Ples, glasba, kostumi in<br />
video skupaj tvorijo celostno delo, t. i. Gesamtkunstwerk.<br />
Video is the final product of creative efforts joined by Špela Sterla and Matej Košir. It serves as a scenographic platform for choreography made by<br />
Špela Sterle. Dancing, music, costumes and video altogether constitute unified artwork or the so-called Gesamtkunstwerk.<br />
matejkosir@hotmail.com
Lisa Jevbratt: Infome Imager Lite<br />
2004, USA/Sweden<br />
http://jevbratt.com/infome_imager/lite/<br />
Bežigrajska galerija 1, Dunajska 31, Ljubljana 5.-26.5.2004<br />
Magdalena Pederin: Ime je<br />
anagram/The Name is an Anagram<br />
Razstava svetlobnih objektov in DVD projekcija/Exposition of light<br />
objects and a DVD projection<br />
Prostorska postavitev Magdalene Pederin iz Zagreba sodi med<br />
multimedialne razstave Bežigrajske galerije 1, kjer se na razstavah<br />
prepletata literarna in likovna umetnost. Ideja o zasnovi razstave izhaja<br />
iz spreminjanja imena in priimka avtorice v številne različice, skrite v<br />
besedah, ki se jih lahko rešuje kot anagram. Hkrati s projekcijo lahko<br />
poslušamo tudi izgovarjavo vseh anagramov.<br />
Spatial setting by Magdalena Pederin from Zagreb belongs to<br />
multimedia exhibitions of the Bežigrad Gallery 1, where the<br />
exhibitions combine fine arts with belles-lettres. The idea about the<br />
design of the exhibition is based upon the changing of the author's<br />
name and family name into several variations hidden in the words<br />
that can be solved as anagrams. At the same time, the projection also<br />
gives us the opportunity to listen to the articulation of all anagrams.<br />
DVD, 54 min. DVD programiranje/programming: Ivan Marušić Klif.<br />
Produkcija/production Kid Kibla.
10. mednarodni festival računalniških umetnosti, Maribor, Ljubljana, Gradec, Zagreb, 11. - 15. 5. 2004/10th International<br />
Festival of Computer Arts, Maribor, Ljubljana (Slovenia), Graz (Austria), Zagreb (Croatia), May 2004.<br />
www.mfru.org<br />
Uredili/Edited by: Narvika Bovcon, Jože Slaček, Aleš Vaupotič.<br />
Založila/Published by: <strong>ArtNetLab</strong> društvo za povezovanje umetnosti in znanosti, Mladinski kulturni center Maribor.<br />
<strong>ArtNetLab</strong>, Društvo za povezovanje umetnosti in znanosti, Trubarjeva 76a, 1000 Ljubljana<br />
tel. ++ 386 41 222 380<br />
http://black.fri.uni-lj.si/ http://www.chp.uni-mb.si/mkc<br />
MKC Maribor, Ljubljanska 4, 2000 Maribor, Slovenija<br />
tel. + 386 2 300 29 90, 300 29 95<br />
fax + 386 2 300 29 92<br />
mkc.maribor@guest.arnes.si<br />
Zanju/Presented by: Dušan Bučar, Dragica Marinič.<br />
Lektorji/Proof reading: Katja Klopčič (slovenščina/Slovene), Manca Gašperšič (angleščina/English).<br />
Prevodi/Translations: Doris Batelič, Alenka Bregant, Manca Gašperšič.<br />
Oblikovanje/Design: Narvika Bovcon, RII.<br />
Tisk/Print: Romeo Štrakel.<br />
Naklada/Number of copies: 2000.<br />
Organizator si pridržuje pravico do spremembe programa.<br />
The organizer has the right to change the program.<br />
<strong>ArtNetLab</strong><br />
Društvo za povezovanje umetnosti in znanosti