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3 Mestna galerija Nova Gorica Galleria Metropolitana Trg Edvarda Kardelja 5 Via dei Leoni, 7 SI 5000 Nova Gorica I 34170 Gorica / Gorizia Slovenija / Slovenia Italija / Italy

T: +386 5 335 40 17 E: [email protected] W: www.mgng.net

Pixxelpoint 2010 – 11. mednarodni festival novomedijske umetnosti Pixxelpoint 2010 – 11th International Festival Nova Gorica / Gorica, 3. – 10. 12. 2010

Organizacija festivala / Festival organized by: Kulturni dom Nova Gorica Kuratorja / : Heiko Daxl, Ingeborg Fülepp Vodja projekta / Festival manager: Pavla Jarc Koordinator projekta / Project coordinator: Mateja Poljšak Furlan Tehnični vodja / Technical director: Blaž Erzetič

Katalog izdal / Catalogue issued by: Kulturni dom Nova Gorica Zanj / Represented by: Pavla Jarc Avtorji besedil / Texts written by: Heiko Daxl, Ingeborg Fülepp Ureditev kataloga / Catalogue edited by: Mateja Poljšak Furlan, Pavla Jarc, Heiko Daxl, Ingeborg Fülepp Lektoriranje / English language revision: Tadej Reissner Prevodi / Translated by: Tadej Reissner Oblikovanje / Design: Blaž Erzetič Tisk / Print: Tiskarna Petrič Naklada / Number of copies: 300

Nova Gorica, januar 2011

CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana

7:004.9(084)

MEDNARODNI festival novomedijske umetnosti (11 ; 2010 ; Nova Gorica / Gorizia) Pixxelpoint / [11. mednarodni festival novomedijske umetnosti, 3.-10. 12. 2010, Nova Gorica - Gorizia ; besedila Heiko Daxl in Ingeborg Fülepp ; uredili Mateja Poljšak Furlan, Pavla Jarc ; prevodi Prevajalska pisarna]. - Nova Gorica : Kulturni dom, 2011

ISBN 978-961-6783-07-1 1. Gl. stv. nasl. 2. Poljšak Furlan, Mateja 254356480

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Kazalo / Index

Triple Conjunction – Magija, miti in mutacije 8 Triple Conjunction – Magic, Myths and Mutations 14

Projekti / Projects:

Alo Allik - f(x) 22 Alen Floričić - Untitled No. 01/09 (Nenaslovljeno št. 01/09) 24 Stephen Hurrel - Beneath and Beyond (Vmes in preko) 26 Armin Wagner - The Lame Box 29 Timo Kahlen - UR 30 Umetniška skupina Videored / Art group Videored – Videored 32 Paul Magee - The Eye of God (Božje oko) 34 Yota Morimoto - bin2wav (v0.1) 36 Cécile Colle}{Ralf Nuhn - Exit-Wall (Izhodni zid) 38 Filipe Pais - The Bumblefish Effect (Efekt male ribe) 40 Andreas Sachsenmaier - Ultima Cena (Zadnja večerja) 42 Mikio Saito - Stripes too Stripes 44 Michael Saup - Cubus Niger - Incarnation cRdxXPV9GNQ (Cubus Niger – inkarnacija 46 cRdxXPV9GNQ) Michael Saup - Pyramis Niger - Incarnation Internet MMIX (Pyramis Niger – 46 inkarnacija Internet MMIX) Wolfgang Spahn - Stundenglass (Peščena ura) 48 Tina Tonagel - Planetarium (Planetarij) 50 Costantino Ciervo - Homologation (Homologacija) 52 Thorsten Fleisch - Energie! (Energija!) 54 Jino Park - Chrysanthemums (Krizanteme) 56

Videi / Videos:

Melanie Beisswenger - Follow Me (Sledi mi) 64 Noam Braslavsky - Undercover – N. B. L. (Pod krinko – N. B. L.) 65 Ulu Braun, Roland Rauschmeier - Maria Theresia and their 16 Children (Marija 67 Terezija in njenih 16 otrok) Arjan Brentjes - The 21st Century (21. stoletje) 68 Boris Eldagsen - Spam the Musical 69 Mihai Grecu - Centipede Sun (Sonce – stonoga) 71 Claudia Guilino - Abgesang, kupferfarben / Swan Song, coppery 72 Muhamad Hafiz Wan Rosli - Designatum 73 John Halpern - Joseph Beuys Transformer 75

6 James Higginson - TARANTULA and other Video Abstractions (TARANTULA in druge 76 video abstrakcije) Gavin Hodge - Zygosis: John Heartfield and the Political Image (Zygosis: John 77 Heartfield in politična podoba) Joanna Hoffmann - Hidden Dimension (Skrita dimenzija) 78 Joanna Hoffmann - Secret Life (Skrivno življenje) 79 Tony Hultqvist - North to South, Space for Memories (Od severa proti jugu, prostor za 80 spomine) Thomas Kutschker - Me, Myself and I in the age of download (Jaz, jaz in jaz v dobi 81 prenosov z interneta) Marius Leneweit, Rocío Rodríguez - Field-Records: Lasse-Marc Riek (Grünrekorder) 82 Antal Lux - Hypnosis (Hipnoza) 83 Roy Menahem Markovich - Untitled (Nenaslovljeno) 84 Marianna & Daniel O’Reilly - Longbridge 85 Richard O’Sullivan - Broken Windows (Razbita okna) 87 Bjørn Palmqvist - ATR_1 – a trip to the end of the world (ATR_1 – potovanje na 88 konec sveta) Michael Saup - Paradays (Rajski dnevi) 89 Alejandro Schianchi - Untitled (Nenaslovljeno) 91 Jan-Peter E. R. Sonntag - Bowling – a cycle of 5 films (Bowling – cikel petih filmov) 92 Nick Teplov, Alex Markov - Two Highways (Avtocesti) 95 François Vautier - BLADE RUNNER revisited >3.6 gigapixels (IZTREBLJEVALEC 96 priredba >3.6 gigapikslov) François Vautier - ANTS in my scanner > a five years time-lapse! (MRAVLJE v 97 mojem skenerju > po preteku petih let) André Werner - Mannaka No Ie (Hiša na sredini) 98 Zhang Biying - Sensation Series (Niz senzacij) 99 Zhang Biying - China (Kitajska) 100

Performansi / Performances:

Mia Makela, Mia Zabelka - Kaamos Trilogy (Trilogija Kaamos) 102 Heiko Daxl, Ingeborg Fülepp - Present doesn’t Equal Reality (Sedanjost ni realnost) 106 Marko Batista - Paralelne digitalne strukture 108 (Parallel Digital Structures) Cirkulacija 2 - Platforma za totalno umetnost 2010–2013 110 (Platform for Total Art 2010–2013)

Predavanja / Lectures:

Eva Schindling - Circuit Explorations (Raziskovanja vezij) 114 Isin Onol - Investigating the Invisible: Hidden Information within Shadows (Raziskovanje 116 nevidnega: Skrite informacije v sencah) Jan-Peter E.R. Sonntag - Borders and the Infinite (Meje in brezmejno) 2007–2010 119

7 Triple Conjunction* – Magija, miti in mutacije

Ta zgodba je lahko resnična ali neresnična Heiko Daxl in Ingeborg Fülepp (mediainmotion.de), november 2010

“Droben žarek svetlobe z oddaljene Pojmi, kot so iluzija, domišljija, navideznost zvezde, ujet v oko tirana iz davnih in obstajanje izgubljajo svojo enoznačnost. časov, je morda spremenil potek Objektivnost mnenja in obrazložitev njegovega življenja, vplival na usodo sta odvisna od aksioma subjektivnega celih narodov, preoblikoval površje gledišča. sveta – tako neverjetno kompleksni so procesi v naravi.” Zajeti umetniška dela medijske umetnosti (Nikola Tesla, O svetlobi in drugih ni vedno preprosto, saj se pogosto gibljejo visokofrekvenčnih pojavih, Filadelfija, zunaj jezikovnega prostora. Tu se umetnik 1893) svojega subjekta loteva z asociacijami, s kolaži in z lomljenjem, kot s pripovedova- Kako umetniki razmišljajo o letu 2010? To je njem. Leta 1965 je Joseph Beuys v leto, o katerem govorijo napovedi o koncu Düsseldorfu predstavil svoje delo “Kako sveta, katastrofah in naravnih nesrečah. razložiti sliko mrtvemu zajcu”. Na zače- S tesnobo, humorjem ali brezbrižnostjo? tku svojega performansa je Beuys zapahnil Ekološke, socialne in gospodarske vrata od znotraj in zaprl obiskovalce ven. razmere vplivajo na naše vsakodnevno Predstavo so lahko opazovali le skozi okna. dojemanje samih sebe, našega okolja in Glavo je imel popolnoma prekrito z zlato političnih sprememb. Umetniške refleksije folijo, zlatimi lističi in medom. Mrtemu zajcu v umetnosti medijev pogosto spodbudijo je začel razlagati slike: v eni roki je imel drugačno gledanje na naš planet in življenje. mrtvo žival in se z njo pogovarjal, medtem Že v šoli smo se pri matematiki naučili, da ko je zaokrožil po razstavnem prostoru, o sta si nedeljivost in vzporednost popolnoma objekta do objekta. Po treh urah je publika nasprotna pojma, saj sta po sami definiciji lahko vstopila. Beuys je sedel obrnjen na neskladna. Po neskončno natančnem trinožniku, s hrbtom obrnjen proti publiki, in izračunu se sprašujemo, ali projekcija točke v naročju držal zajca. v neskončnost lahko postane geometrijska raven. Po Einsteinovih teorijah in korenitih “Zame je zajec simbol utelešenja, ki ga spremembah strukturnih konceptov se je zajec zares doživi – to lahko človek stori le v naše praktično zaupanje v elementarne svoji domišljiji. Zarije se globoko, si zgradi znanosti omajalo in je vsak dan šibkejše. dom in hkrati izkoplje grob. Tako postane Znanost naš ustaljeni pogled na vesolje eno z zemljo. Samo to je pomembno. Tako postopoma spreminja v kompleksen sistem se mi zdi. Med na moji glavi je seveda soodvisnosti, ki ni le onkraj splošnega povezan z mislimi. Čeprav človeku ni dana razumevanja in opisovanja, temveč zajeda moč proizvajanja medu, pa ima vseeno že v same temelje absolutne dokazljivosti dar razmišljanja in ustvarjalnih idej. Tako matematike in fizike. Naključnost, dina- postáne in morbidne misli znova oživijo. mični, nepovezani dogodki, nestabilnost Med je zagotovo živa snov – tudi človeške in razkroj reda v kaos so sinonimi za misli lahko oživijo. Po drugi strani pa je to zmedo, nekakšno Heisenbergovo pretirano modrovanje lahko usodno za “razmerje neostrega” v vzročnosti. Naš misel: v akademskem svetu in politiki svet smo spremenili v ogromni laboratorij, lahko s filozofiranjem misel zamorimo do ki je bolj nenadzorovan kot nadzorovan. konca.” 8 V komercialni kinematografiji in televiziji rahljanje spon prikazanih resničnosti od prevladujejo konvencionalne literarne običajnih kontekstov pomena in časa. pripovedne strukture, pri katerih je Tako nastanejo novi pomeni v novih vizualno sporočanje osiromašeno in služi kombinacijah. Slika je prva surovina, le kot element ilustracije dramaturgije. ki prevzame pomen nove medijske Tako domišljija kot izvorni element tega resničnosti, potem ko se jo obdeluje v medija izgubi svojo samostojnost kot osami. Tako pridobi nova zaznanja in izrazni medij, ki je neodvisen od jezika. razumevanja. Vsilijo se norme. Znaki in Pripovedni film posamezne elemente pomenski konteksti se spodkopavajo. Med poveže tako, da je bistvo dela prikazano sliko in njenim izvornim dojemanjem se kot celotnost življenja, ki se je je popolnoma ustvari neskladje in postaneta nezdružljiva. mogoče naučiti in, četudi kot tako ne Na ta način se spodkopavajo in razkrinkajo obstaja v resničnosti, se poustvarja skozi zakonitosti razširjenih, ustaljenih ideologij. kinematografsko ter televizijsko industrijo v obliki časovno omejenega razvedrila. Tako Mojster fotomontaže John Heartfield, se odvije medijsko pokrivanje razprave o denimo, pri opisovanju procesa, kjer se pomanjkanju pravih usmeritev v današnji dva ločena elementa zlijeta ali povežeta družbi, ki preprečuje dostop do resničnosti v novo celoto, uporablja izraz iz biologije. z mehanizmi osamitve in odtujevanja. V tem S funkcijo rezanja in lepljenja se stvari kontekstu ta teater lažnega prikazovanja izvzamejo iz svojih običajnih funkcionalnih afirmira obstoječi vladajoči aparat, ki kontekstov. Posamezno tolmačenje tako usmerja tovrstno produkcijo podob. postane le ena od možnosti, posledična negotovost pa opazovalca spodbudi k Eksperimentalne produkcije že od nekdaj temu, da se znova udeleži performansa ohranjajo distanco do literarnega. Njihov cilj in si znova prilasti podobe. “DADA dvomi ni psevdo-reprodukcija resničnosti, ampak o vsem. Dada je pasavec. Vse je dada.

9 Pazite se dade. Antidadaizem je bolezen: Za družbo, ki vse bolj uporablja samokleptomanija, to osnovno stanje telekomunikacijska sredstva in ki življenje človeka, je DADA. A pravi dadaisti so doživlja vizualno abstraktno, je bolj proti DADI,” je zapisal Tristan Tzara zanimivo, če orodij za vizualiziranje ne v Dada manifestu o šibki ljubezni in prepušča velikim industrijam, ampak zagrenjeni ljubezni. Namesto normiranega njihove potenciale in omejitve raziskuje in razslojenega vizualnega doživetja je sama. Samo tako bodo v prihodnosti lahko ustvarjena neurejena in nestandardna obstale formalne, estetske ter kontekstne oblika vizualne komunikacije, saj, tako inovacije v vizualnih medijih in samo tako bo Rolan Barthes: “Film se začne tam, kjer zagotovljen tudi nadaljnji razvoj zgodovine se jezik konča.” filma in likovne umetnosti na splošno.

Pri teh izraznih oblikah je parafraziranje “Različne oblike in rabe naše likovne redko mogoče. Običajno z določanjem umetnosti so bile ustvarjene v zelo imen poznanim pojmom ne pridemo daleč. različnih časih, ustvarili pa so jih Nenavadnost eksperimentalnih umetniških ljudje, ki so imeli v primerjavi z nami posegov v medije se pokaže skozi omejitve bistveno manjšo moč udejstvovanja. običajnega. Gledalec mora razmisliti o sebi Vendar pa neverjetna rast naših in o lastni izkušnji, preden začne uživati v ustvarjalnih tehnik ter prilagodljivost in opazovanju; popolnega razkritja skrivnosti natančnost, ki so ju dosegle, zamisli in pa ni mogoče zagotoviti. navade, katerim botrujejo, z gotovostjo oznanjajo prihod korenitih sprememb “Ni dejstev, so samo tolmačenja.” v starodavni obrti Lepega. V umetnosti (Friedrich Nietzsche, Zapiski 1886–1887) obstaja fizična komponenta, ki je ni več mogoče obravnavati kot nekoč, Oblike, načini predstavljanja vsebin, ki ne more ostati nedotaknjena v luči tehnična sredstva in manifestne ravni se današnjega znanja in moči. V zadnjih vse bolj obračajo k eksperimentalnem dvajsetih let niti snov niti čas niti prostor medijskem ustvarjanju, kjer omejitve niso več to, kar so bili od pradavnine osnovnega materiala niso tako pomembne, naprej. Pričakovati moramo, da bodo v tem prostoru ni prevladujočega sloga, velike inovacije popolnoma preobrazile ampak so samo hibridi, mešanice oblik, ki likovno umetnost in vplivale na nič več ne spoštujejo omejujočih zakonitosti umetniško inovativnost samo ter tako dokumentarnega, celovečernega in v celoti spremenile naše dojemanje animiranega filma. Poznane oblike umetnosti.” se združijo z novimi oblikami, znane (Paul Valery, The Conquest of Ubiquity, vsebine se povežejo z novimi oblikami. 1928) “Ustvarjanje filmov je podobno kuhanju,” pravi eksperimentalni filmski ustvarjalec David Larcher. Recepti za sestavljanje se sicer zavračajo, a sestavine se reciklirajo, znova uporabijo, preuredijo in znova uporabijo pri kuhi. Pogosto je zaradi nedodelanost stvaritve potreben močnejši “vizualni angažma” gledalca, kar omogoča razpravo na višji ravni. Iz verižnega trčenja subkulture, uveljavljene oblike filmske avantgarde in likovnih umetnosti je nastala plodna podlaga za ustvarjanje, iz katere so zrasle številne nove ustvarjalne oblike in njihovi zametki.

10 Obstaja življenje in obstaja TV: “Prižgimo v katerem mnogi kontrasti pojmov, na TV in poglejmo, ali dežuje.” Mediji katere smo navajeni, lahko izgubijo predstavljajo napad na dojemanje pomen.” (Walter Benjamin, 1928) posameznika kot središča ene same resničnosti z enim samim glediščem. V tem smislu različnih oblik prezentiranja “Dodali smo umetno resničnost, v kateri in medijske izraznosti ne moremo in ne se lahko izgubimo, torej prostor med smemo gledati kot na med seboj ločene zasebnim jazom in umetno projekcijo elemente, ampak moramo upoštevati življenja.” (Margot Lovejoy) Pomanjkanje njihovo medsebojno stanje in vpliv. Skrivne izkušenj in zmožnosti posameznika, da povezave med jezikom eksperimentalnega je udeležen v medijski družbi, vodi v in avantgardnega filma, likovno umetnostjo resnično neresničnost. Ponovna realizacija ter tehničnimi inovacijami obstajajo že od trenutne resničnosti z zlitjem sodobnih nekdaj, morda se na prvi pogled zdi, da orodij s posameznikovimi izkušnjami lahko nastajajo na različne načine, vendar gre postane umetnikov odgovor na klišeje le za različne poglede na resničnost, ki se in postmodernistične dekonstrukcijske zunaj ustaljenih vizualnih in pripovednih strategije medijske družbe. Ob upoštevanju vzorcev ograjujejo od ideologij vladajočih mišljenja, po katerem “umetnost sama medijev in tako pridobivajo političen ni preslikava resničnosti, ampak je pomen. Izbor del za festival Pixxelpoint umetnost resničnost te preslikave,” kot 2010 ni tematsko zaključena celota, je nekoč rekel Jean-Luc Godard, umetnost ampak se z njegovo raznolikostjo odpira lahko doseže antipodni značaj, ki poraja širša razprava z “gibajočimi se” vizualnimi vprašanja in ne poskuša ponuditi odgovorov mediji in predstavlja širok nabor osebnih tam, kjer ni nobenih vprašanj. “Nahajamo interpretacij in izražanj. Izbrana dela se sredi gigantskega procesa, v katerem prikazujejo najrazličnejše medijske se (literarne) forme raztapljajo, procesa, tehnike, na primer domišljijski video,

11 prostorske instalacije, dela, ki temeljijo na Moderno avdiovizualno komunikacijsko glasbenih strukturah, in osebne asociacije, okolje, ki ga z industrializacijo ustvarja ter prikazujejo ustvarjanje časa s sredstvi tehnologija, povzroča krizo pomena, in pomeni svojega časa. ne le v osebnem življenju, ampak tudi v produkciji in doživljanju kulture kot celote. “Ali je mogoč obstoj subjektov brez S tem, ko novice in zabavne vsebine medijev?” se je leta 1977 vprašal Joseph postajajo vse bolj medsebojno zamenljive Beuys. Odgovor na to vprašanje je na mednarodnem nivoju, se v globalnih ugotovitev, da že mediji in nove tehnologije medijih razvijajo stereotipni kodeksi, ki same po sebi predstavljajo eno glavnih narekujejo, kako doseči najširše število tematskih področij našega časa. Sprožili gledalcev/potrošnikov. Tako se odpravljajo se bodo procesi spreminjanja, katerih razlike med posameznimi prostori in izvor, impulzi ter potencialne posledice so posledično njihove značilnosti. Težava še vedno razmeroma neskončni. To ne bo pri doseganju široke publike je, da se pri imelo vpliva le na obstoječo materialno tem izključi veliko ljudi, ki imajo drugačne ureditev sveta, ampak zlasti na vidike razloge za uporabo medijev in drugačne čutne zaznave, torej na sam temelj našega interese. Tako mrzlično poskušamo najti razumskega prepričanja. Skozi oblikovanje smisel, da se nam svet zdi nesmiseln, in časa s sodobnimi sredstvi se bodo tako hrepenimo po priložnostih, da se spodkopale ustaljene kategorije umetnosti, nam vse zdi dolgočasno. Oblikuje se nova zamajale se bodo predstave o čistosti in vrsta ustvarjalnosti. Gre za nekakšno slogu, o izvirniku in kopiji, kar predstavlja transverzalo, saj deluje v prostoru katastrofo smisla. Vendar pa Beuys znova med različnimi kategorijami in področji. pravi: “Na svetu je polno ugank, vendar “Nekdo, ki deluje transverzalno, lahko se rešitev teh ugank skriva v človeku.” ‘vzpon razuma’, ki je značilen za našo Ni treba, da se postavimo na glavo, če družbo, spozna mnogo bolje kot želimo spoznati ‘antipodno’ rabo modernih pa če bi leta preučeval sociološke, medijev v umetnosti, čeprav lahko ta kulturološke ali filozofske študije. In s včasih postavi na glavo naše dojemanje. tem interdisciplinarnim pristopom je Zlasti umetniki čutijo in se zavedajo, da mogoče najti rešitev starega filozofskega spremembe v elektronski dobi močno vprašanja, ki je značilno za naš čas, vplivajo na naš način razmišljanja, dela in namreč vprašanja, kako so lahko tako zaznavanja. raznoliki narodi – ta raznolikost usmerja dinamiko sodobnega časa – povezani, Medijska resničnost je vselej umetna kako je razum ob tako raznolikem resničnost, predstavljena skozi tehnološko razmišljanju sploh še lahko mogoč.” prizmo. Po začetnem šoku, ki ga je (Wolfgang Welsch). Razvozlavanje te povzročila magična slika v gibanju zmešnjave predstavlja izziv in priložnost, Lumierovih filmov, se je skozi medijsko da poiščemo nove perspektive v dobi socializacijo v nas vse bolj utrdilo osupljivih definicij. dojemanje prikazanih slik kot resničnosti in resnice. Našo sliko o svetu oblikujejo “Ko bo dokončno spoznana ta po tehnični sistemi mrež svetovnih medijskih nesreči odkrita in znanstveno dokazana korporacij, ki nam predstavljajo privid, da skrivnost, namreč da naš planet, v vsej gledamo skozi odprto okno v svet. Vendar svoji osupljivi veličini, za električne pa je ta svet vse bolj zasičen z globalnim tokove ni nič drugačen kot majhna hrupom in meja med ‘tukaj’ in ‘tam’ se kovinska krogla, in da so potemtakem briše. Ta svet ne postaja le globalna vas, mnoge možnosti, vsaka izmed njih kot jo opisuje Marshall McLuhan, ampak neverjetna in neizmerno pomenljiva, huje, postaja globalno predmestje brez popolnoma neizbežne; ko bo odprta centrov, brez zgodb in brez zgodovine. prva elektrarna in se bo izkazalo, da

12 je telegrafsko sporočilo, skoraj tako skrivnostno in neposredno kot misel, mogoče prenašati kamorkoli po svetu, ko bo človeški glas, z vsako intonacijo in naglasom mogoče nemudoma reproducirati kjerkoli na svetu, ko bo z energijo vode omogočeno proizvajanje svetlobe, toplote ali gibalne energije, kjerkoli – na morju ali kopnem ali visoko nad oblaki – bo človeštvo kot mravljišče, ki ga razrijemo s palico: priča ste prihajajočemu razburjenju!” (Nikola Tesla, Prenos električne energije brez žic, 1904)

Vendar pa je vse odvisno od človekove odgovornosti, da tehnologijo usmerja, kot je leta 1949 zapisal Allen Turing, eden izmed pionirjev umetne inteligence, v svojem delu Argument iz zavesti: “Dokler stroj ne bo mogel napisati soneta ali komponirati koncerta (in se tega zavedati) zato, ker bi mislil in občutil emocije, ne pa skozi naključno podajanje simbolov, se ne da pristati na to, da je stroj enak možganom.”

* Trojna konjunkcija je astronomski dogodek, pri katerem se dva planeta oziroma zvezda in planet trikrat srečata v kratkem časovnem obdobju, bodisi v nasprotnem položaju, bodisi pri inferiorni konjunkciji, ko je vpleten manjši planet. Vidno gibanje planeta ali planetov na nebu je torej napredno ob prvi konjunkciji, vzvratno ob drugi konjunkciji in znova napredno ob tretji konjunkciji.” (Wikipedia)

13 Triple Conjunction* – Magic, Myths and Mutations

The story may or may not be true By Heiko Daxl and Ingeborg Fülepp (mediainmotion.de), November 2010

“A single ray of light from a distant Heisenberg’s “relation of the unsharp” of star falling upon the eye of a tyrant in causality. Today we have turned our world bygone times may have altered the into a giant laboratory, more uncontrolled course of his life, may have changed than controlled. Notions like illusion, the destiny of nations, may have imagination, appearance and being are transformed the surface of the globe, loosing their distinctiveness. The objectivity so intricate, so inconceivably complex of opinion and explanation depends on the are the processes in Nature.” axiom of the subjective point of view. (Nikola Tesla, On Light And Other High Frequency Phenomena, Philadelphia, To catch media-artistic works in words is 1893) not always easy, because their positions often move in an “outer” linguistic area. An How do artists reflect the year 2010? It area which approaches his subject rather is the beginning year of predictions of by associations, collages and breaks than the end of the world, catastrophes and with narration. In 1965 Joseph Beuys natural destructions. With anxiety, humor performed in Düsseldorf his piece “How or indifference? Ecological, social and to Explain Pictures to a Dead Hare”. At economical positions are influencing our the beginning of the action Beuys blocked daily reconsideration of ourselves, our the door from the inside and let the visitors environment and political changes. Artistic outside. They could only observe the reflections in media art are often inspirations procedure only through the windows. His for an other view on our planet and our head was completely covered with gold lives. Already our school mathematics foil, gold-deaf and honey. He began to have taught us that the terms indivisible explain to the dead hare the pictures: With and parallel are clear contradictions, the animal on the arm, and obviously in the as by definition not congruent. After the conversation with it, he went through the infinitesimal calculation we wonder that a exhibition, from object to object. After three projection of a point into infinity can become hours the public was allowed to enter. a plane. And after Einstein’s theories and Beuys sat with the back to the public on a the fundamental changes of the structural stool, the hare on the arm. concepts our practical trust into the categories of elementary sciences is shaken “For me the Hare is a symbol of and is daily shaken further. Gradually the incarnation, which the hare really enacts sciences are transforming the conventional – something a human can only do in view on our universe into a complex imagination. It buries itself, building system of interdependencies, which is not itself a dwelling and a grave in the earth. only beyond the general understanding Thus it incarnates itself in the earth: and description, but is rattling the basics that alone is important. So it seems to of the absolute proof of mathematics and me. Honey on my head of course has physics. Random, chance, dynamic erratic to do with thought. While humans do developments, instability or quite generally not have the ability to produce honey, the dissolve from order to chaos are the they do have the ability to think, to synonyms for this confusion, a kind of produce ideas. Therefore the stale and 14 morbid nature of thought is once again this sham of false appearances turns out made living. Honey is an undoubtedly to be an affirmation of the existing ruling living substance – human thoughts apparatus for which this kind of imagery can also become alive. On the other production becomes available. hand intellectualizing can be deadly to thought: one can talk one’s mind to Experimental productions have always kept death in politics or in academia.” their distance from anything literary. The goal is not a pseudo-reproduction of reality Conventional literary narrative structures but the loosening of the shown reality from which subordinate the visual language as usual meaning and time contexts and their a visual factor of illustration to dramaturgy giving meanings to new combination. The dominate in the commercial cinema and on image is a first raw material which gains TV. Imaginary as an original element of the significance as a new media reality after medium thus looses its autonomy as a mean being worked alienated, thus referring to of articulation independent of language. perceptive and understanding functions The narrative film combines its individual and naming their conditions. Norms are parts in the way that the sense of the work infringed and the principle of signs and is reflected as a completely learnable contexts of meaning are undermined. totality of life, which, though this way it does There is a discrepancy between the image not exist in reality, is re-established by the and its original conception, and they are not cinema and television industry as a time longer compatible. Thus an undermining restricted leisure pastime. Thus, a covering and discamouflage of the conventions of of the discussion and lack of orientation of commonly established ideologies takes today’s society which prevents the access place. to reality by mechanisms of isolation and alienation takes place. In this context

15 The master of the photomontage John contents, known contents with new forms. Heartfield for example, refers to a term “Filmmaking is a bit like cooking,” said drawn from biology, describing the the experimental filmmaker David Larcher. process by which two separate elements Accordingly, recipes of construction are are united or yoked together to form a rejected, but the ingredients are receycled, new whole. Through cut-and-paste things misappropriated and combined for new are extracted from their usual functional menues. Frequently the sketchiness of context. An interpretation turns out to be realization requires a stronger “visual just one possibility among many, whereas work” of the spectator, thus evoking a the resulting precariousness activates the higher grade of discussion. The collision spectator to take part in the performance of subculture, established film-avant-garde and take again and personally possession and fine arts created a mutual fructification, of the images. “DADA doubts everything. the result being a multitude of various new Dada is an armadillo. Everything is Dada, forms and work starts. too. Beware of Dada. Anti-dadaism is a disease: selfkleptomania, man’s normal For a society which increasingly makes condition, is DADA. But the real dadas use of telecommunication and which are against DADA,” as Tristan Tzara experiences life in a visually abstract way, stated in Dada Manifesto on Feeble Love it is interesting not to leave the visualization and Bitter Love. Instead of a normed and tools to the major industries but to examine leveled visual experience an undetermined them to show their possibilities and limits. and not standardized visual communication Only this way there will still exist in the is the result, because, according to Roland future formal, aesthetic and contextual Barthes: “The film just begins where innovations within the visual media and language finishes.” thus a continuation of the film history and the fine art in general. Paraphrasing is seldom applicable to these forms of expression. We usually “Our fine arts were developed, their types don’t get on by naming recognized things. and uses were established, in times The strangeness of experimental artistic very different from the present, by men media interventions is shown by the limits whose power of action upon things was of the usual. The viewer has to think about insignificant in comparison with ours. But himself and his own experience before the amazing growth of our techniques, he enjoys regarding; nevertheless, there the adaptability and precision they have is no guarantee to disclose the secret attained, the ideas and habits they are completely. creating, make it a certainty that profound changes are impending in the ancient “There are no facts, only interpretations.” craft of the Beautiful. In all the arts there (Friedrich Nietzsche, Notebooks 1886– is a physical component which can no 1887) longer be considered or treated as it used to be, which cannot remain unaffected The forms, the conveyance of contents, by our modern knowledge and power. the technical means and the levels of For the last twenty years neither matter manifestation are turning more to an nor space nor time has been what it was experimental media work where the from time immemorial. We must expect limitation to the supporting material is not great innovations to transform the entire that important, where no dominant style can technique of the arts, thereby affecting be seen, but hybrids, mixed forms which artistic invention itself and perhaps even no longer pay regard to the limitations of bringing about an amazing change in our documentation, feature film and animation. very notion of art.” Known forms are combined with new (Paul Valery, The Conquest of Ubiquity, 1928)

16 There is life and there is TV: “Let’s turn and articulation. The selected examples on the TV to see if it’s raining”. Media show most different approaches to the are an assault on the concept of the self as media, for example fictional video, spatial the centre of a single reality with a single installations, works according to musical viewpoint. “What has been added is an structures or personal associations and artificial reality capable of making us represent a creating of time with means lose of ourselves between the private self and meanings from their time. and an artificial representation of life.” (Margot Lovejoy) The lack of experience “Can there be subjects without media?” and individual ability of taking part in the Joseph Beuys asked in 1977. The answer creation of the media society leads to an to this question is the conclusion that media real unreality. The re-realization of current and the new technologies themselves reality, by merging modern tools with the are one of the great themes of our time. individual experience could become an Processes of changing will be set in motion artists’ respond to the clichés and the the origins and impulses of which as postmodernist deconstruction strategies well as their potential consequences are of the media-society. By understanding relatively indefinite still. This will not only “Art not as the reflection of reality, concern the existing material order of the but as the reality of that reflection,” world, but especially aspects of sensual as Jean-Luc Godard once said, art could perception, therefore the basis of our get to the antipodean character, which mental positioning as well. Shaping time provokes questions and does not try to give with contemporary means will undermine answers, where there are no questions. conventional categories of art, it will upset “We are in the midst of a vast process in terms of purity of style, of original and copy, which (literary) forms are being melted thus representing the catastrophe of sense. down, a process in which many of the But “the world is full of riddles, however, contrasts in terms of which we have for these riddles the human being is the been accustomed to think might loose solution,” says Beuys once more. It is not their relevance.” (Walter Benjamin, 1928) necessary to stand on one’s head to get an idea of the ‘antipodean use of modern In this context we can not and must media technology for artistic purposes not regard the most different forms of but the phenomenon can sometimes turn presentation and supporting media one’s ideas upside-down. Especially artists isolated from each other, but in their feel and express the awareness that the mutual condition and influence. Secret changes in the electronic era of our days channels between languages of the are strongly affecting the way one thinks, experimental and avant-garde film, of fine works and sees. arts and technical innovations have always existed, their immanent forming may turn Media reality is always an artificial reality, out to be different when being looked in a transmitted through a technological filter. superficial way, but they are just different After the initial shock caused by the magic ways of reflection on reality, which of the moving image in Lumiere’s films, outside of conventional visual patterns our media socialization has made us ever and narrations withdraw from the ruling more accustomed to regarding pictorial media ideologies and thus gain political reality as the reality and the truth. Our relevance. The selection for the 2010 picture of the world is produced by the Pixxelpoint Festival is not thematically technical systems of the world-wide media closed in itself, but shows in its variety company networks, which deliver the myth and difference a broad panorama in the of opening a window onto the world. But discussion with the “moving” visual media this view onto the world is more and more and a wide range of personal interpretation blurring into the global noise, abolishing

17 the contrasts between ‘here’ and ‘there’. metal ball and that by this fact many The world is not just becoming a global possibilities, each baffling imagination village in Marshall McLuhan sense of the and of incalculable consequence, word, but even worse, it becomes a global are rendered absolutely sure of suburb, without centers, without stories accomplishment; when the first plant and without history. The audio-visual is inaugurated and it is shown that a environment of the modem communication telegraphic message, almost as secret technology creates by industrializing and non-interfereable as a thought, the view a crisis of meaning, not only in can be transmitted to any terrestrial personal life but also in the production and distance, the sound of the human voice, experience of culture as a whole. As news with all its intonations and inflections, and entertainment become increasingly faithfully and instantly reproduced interchangeable at an international level, at any other point of the globe, the the global media complex is developing energy of a waterfall made available for stereotyped codes in order to reach a supplying light, heat or motive power, large number of viewers/consumers and anywhere – on sea, or land, or high in so eliminates the differences of space the air – humanity will be like an ant and thus, its qualities. Reaching a large heap stirred up with a stick: See the audience also excludes a large number of excitement coming!” people, which have other reasons to use (Nikola Tesla, The Transmission of Electric the medium and choose for the purpose of Energy Without Wires, 1904) interest. We are looking for so much order, that the world does appear senseless and But everything is lying in human for so much chance that it does appear responsibility in order to modulate its boring. A new mode of creativity is shaping direction as Allen Turing, one of the its form. This mode is a transversal one, pioneers of artificial intelligence stated because it is operating between the it in his Argument from Conciousness in faculties and categories. “It might happen 1949: “Not until a machine can write a for example that someone, who is used sonnet or compose a concerto because work transversal, is understanding the of thoughts and emotions felt, and not ‘ratio ascend’ of our presents society by the chance fall of symbols, could we much deeper, than by studying for years agree that machine equals brain – that sociological, culture-diagnostically is, not only write it but know that it had or philosophical writings. And that he written it.” might get through this interdisciplinary view to a solution of an old philosophical * A triple conjunction is an astronomical event, problem of our century, the problem, where two planets or a planet and a star how highly different rationality’s – this meet each other three times in a short period either in opposition or at the time of inferior difference is defining the dynamics of conjunction, if an inferior planet is involved. The modern times – are connected, how visible movement of the planet or the planets today in a diversity of rationality reason in the sky is therefore normally prograde at is still possible.” (Wolfgang Welsch). This the first conjunction, retrograde at the second complex confusion is a challenge and a conjunction and again prograde at the third chance to achieve new perspectives in a conjunction. (Wikipedia) time of staggering definitions.

“When the great truth accidentally revealed and experimentally confirmed is fully recognized, that this planet, with all its appalling immensity, is to electric currents virtually no more than a small

18 19 Heiko Daxl in Ingeborg Fülepp Heiko Daxl and Ingeborg Fülepp

Heiko Daxl, nemški medijski umetnik in Heiko Daxl a German media artist and kustos, ter njegova žena in partnerica exhibition and his wife and Ingeborg Fülepp, hrvaška umetnica, partner Ingeborg Fülepp, a Croatian univerzitetna profesorica, kustosinja ter artist, university teacher, curator and film filmska montažerka, sta priznana videasta editorand, are renowned video and media in medijska umetnika, ki živita med Berlinom artists who are at home in and in Zagrebom. Od leta 1991 ustvarjata and who are recognized in both skupaj kot umetniški par. Številna dela, ki cities. Since 1991 they work together as sta jih ustvarila, pričajo o njunem veselju an artistic couple. The numerous works do eksperimentiranja, pri čemer se stalno they have created bear witness to their gibljeta po robu neznanega. Z uporabo joy of experimenting, always moving on novih tehnologij raziskujeta različne, do the borderline to the unknown. Employing danes neznane optične in akustične pojave. new technologies, they investigate Opazovalčevi čuti, njegov sluh, vid in tip, so different, so far unknown optic and vselej zavestno vključeni in dražijo njegovo acoustic phenomena. The observer’s zaznavanje. Daxl in Fülepp predstavljata senses, his hearing, his sight and his nove načine umetniškega raziskovanja touch, are always consciously engaged, tehničnih možnosti ustvarjanja zvoka in irritating his perception. Daxl and Fülepp abstraktnih podob, ki prisilijo opazovalca show new ways in the artistic exploration k enotnemu dojemanju. Doseči poskušata, of the technical possibilities of creating da prejemnik razmišlja na umeten in sounds and abstract images which force tehničen način o realnosti, ki mu je dana. the observer to an integrated reception. They seek to make the recipient think Daxl in Fülepp delujeta od leta 1990 about the reality which is imparted to him pod imenom “mediainmotion” in “dafü®” in an artificial and technical way. na področju filma, video umetnosti, vizualne glasbe, CD-romov, DVD-jev, Daxl and Fülepp have worked digitalne umetnosti, grafike, fotografije, together since 1990 under the name instalacije in mešanih medijev. Z njunim “mediainmotion” and “dafü®” within film, poučevanjem in sodelovanjem na katedri video art, visual music, CD-Rom, DVD, za elektroakustično glasbo na Akademiji digital art, graphics, photo, installation and umetnosti v Berlinu (1995–2002) sta Mixed Media. Through their teaching and ustvarjala z sodobnimi skladatelji kot involvement with the electroacoustic music so Georg Katzer, Wolfgang Rihm, Milko department of the Akademie der Künste in Kelemen, Mona Mur, Jorge Reyes Berlin (1995–2002) they have worked with (glasbenik), Steve Roach (glasbenik), contemporary composers such as Georg Amnon Wolman, Dror Feiler, Masami Akita Katzer, Wolfgang Rihm, , (Merzbow), Zbigniew Karkowski, Elliott Mona Mur, Jorge Reyes (musician), Steve Sharp, Igor Kuljerić in Ensemble Modern. Roach (musician), Amnon Wolman, Dror Feiler, Masami Akita (Merzbow), Zbigniew Karkowski, Elliott Sharp, Igor Kuljerić and Ensemble Modern.

20 Projekti / Projects Alo Allik (Estonija / Estonia) tehis.net f(x)

Avdiovizualna instalacija, 2010 Audiovisual installation, 2010 f(x) je avdiovizualna študija tridimen- f(x) is an audiovisual exploration of zionalnih kontinuiranih prostorskih funkcij, 3-dimensional continuous spatial functions ki temelji na konceptu kontinuiranih derived from the concept of continuous vrednotenih celičnih avtomatov. Funkcije valued cellular automata. The functions tvorijo osnovo za preslikavo sintez zvoka form the basis for sound and visual in slike, iz česar nastane kompleksna in synthesis mappings that create a complex dinamična mreža parametrov. Zvok in and dynamic parameter network. The audio slika sta tako fizično kot konceptualno and the visuals are independent from each medsebojno neodvisna in recipročno other both physically and conceptually and učinkovanje se nelinearno giblje v obeh the reciprocal influence flows in both ways smereh. Segmentacija vizualnega prostora in a non-linear manner. The segmentation in akustičnega časa je pod nadzorom of the visual space and acoustic time is tako, da vpliva na delovanje sveta controlled in the performance by affecting avtomatov v realnem času, kar razkriva the behavior of the automata world in real kompleksne, organske, tridimenzionalne time to reveal the complex, organic three- vzorce in ustrezno spreminja prostor dimensional patterns and modifying the preslikave. Uprostorjevanje je bolj mapping space in response to them. The usmerjeno v oblikovanje in preoblikovanje spatialization concentrates on composition ambisoničnih polj kot na točkovne vire. and transformation of ambisonic fields Avdiovizualna sinteza in uporabniški rather than point sources. The audio and vmesnik sta bila oblikovana in izvedena z visual synthesis as well as the performance uporabo odprtokodne programske opreme interface have all been developed and (SuperCollider, liblo, OpenGL). implemented in open source software (SuperCollider, liblo, OpenGL).

Alo Allik (Estonija) je svoje kompozicije in živo glasbo predstavljal na koncertih Alo Allik (Estonia) has performed his po vsem svetu, med drugim na compositions and live electronic music Nizozemskem, Irskem, Madžarskem, v throughout the world including the U.S., the Nemčiji, Veliki Britaniji, Mehiki, ZDA in na Netherlands, Germany, the U.K., Ireland, številnih priznanih svetovnih festivalih, Hungary, and Mexico at a number of kot so Transmediale, NWEAMO, ICMC, renowned festivals including Transmediale, Sonorities, Todays Arts, Ultrahang, State-X. NWEAMO, ICMC, Sonorities, Todays Arts, Zaradi svojega muzikalično in geografsko Ultrahang, State-X to mention just a few. nomadskega načina življenja, se je Allik His musically and geographically nomadic preizkusil v zelo raznolikih glasbenih lifestyle has taken him through diverse scenah – med drugim kot underground musical worlds including underground drum drum and bass DJ na severozahodnem and bass dj-ing in the Pacific Northwest, Pacifiku, sodeloval je v živih elektronskih live electronic jams at the New York “jam session-ih” v newyorški digitalni Share digital community, electroacoustic skupnosti Share, kot predavatelj oddelka composition at the Sonology department

22 za sonologijo na Nizozemskem za področje in the Netherlands, and improv jazz scene elektroakustičnega skladanja, preskusil pa in Dublin. He belongs to the multimedia se je tudi na dublinski impro jazz sceni. Je collective ibitsu and has worked with a član multimedijskega kolektiva ibitsu, skozi number of diverse sound and visual artists svojo ustvarjalno kariero pa je sodeloval throughout his career. Alo has been hooked s številnimi avdio-vizualnimi umetniki. on SuperCollider for over 10 years and is Alo je že 10 let neločljiv od svojega currently working on his Ph.D. in the UK. SuperColliderja in trenutno pripravlja doktorsko disertacijo v Veliki Britaniji.

23 Alen Floričić (Hrvaška / Croatia) de.wikipedia.org/wiki/Alen_Floričić

Untitled No. 01/09 (Nenaslovljeno št. 01/09)

Talna video projekcija, 2009 Video installation projected on the floor, 2009 Po tleh se plazijo čudni stvori. Je to bitje brez okončin rezultat kloniranja človeka ali Very strange bodies are crabbing on gre za novo živalsko vrsto? the floor. Is this a cloned human without extremities or some new species?

Profesor na Šoli uporabnih umetnosti in oblikovanja v Pulju je od konca Professor at the School for Applied Arts devetdesetih let aktiven predvsem na and Design in Pula. From the end of the področju umetniških video instalacij. V nineties he works mainly in the field of svojih videih pogosto prikazuje preproste video art instalations. In his video pieces in “banalne” subjekte (najpogosteje v njih he often uses simple and “banal” subjects nastopa kar sam), ki služijo kot osnova (most often his own figure) as a starting različne manipulacije časa in video zapisa. point for multiple time/frame manipulation. Končni produkt, ki ga je vedno treba doživeti The final product, which is always meant v galeriji oziroma instalaciji, ima pogosto to be expirienced in a gallery/ installational močan prizvok humorja in samoironije, situation, although highly artificial and in četudi je zelo umeten in morda na nek some way autistic, often has strong taste način celo avtističen. of humor and self-irony.

Razstave (skrčen izbor): “To tell a story” Exhibitions (short selection): “To tell a story” in “Here tommorow”, dva večja pregleda and “Here tomorrow”, two major surveys hrvaške sodobne umetnosti, predstavljena of contemporary Croatian art held at the v Muzeju sodobne umetnosti v Zagrebu Museum of Contemporary Art in Zagreb in leta 2001 in 2002; “New video, New 2001 and 2002; “New video, New Europe”, Europe”, Renaissance Society, Chicago The Renaissance Society, Chicago (2004) (2004) / Trije hrvaški umetniki v P.S.1, New / 3 Croatian artists at P.S.1, New York York (2005), 51. beneški bienale, hrvaški (2005), 51. Biennale di Venezia, Croatian paviljon (2005). Pavillion (2005).

24 25 Stephen Hurrel (Velika Britanija / UK) www.hurrelvisualarts.com

Beneath and Beyond (Vmes in preko)

Instalacija seizmičnih zvokov A seismic sound installation

Delo Vmes in preko predstavlja zlitje Beneath and Beyond brings together znanosti in narave v edinstveni avdio- science and nature in a unique live-feed vizualni instalaciji z zvokom v živo. sound and visual installation. Tectonic shifts Tektonski premiki in nenehno premikanje and on-going movements beneath Earth’s pod površino Zemlje so osnova tega surface are the source for generating this umetniškega prispevka. artwork.

Posebna programska oprema posluša Specially developed software taps into, and in nenehno spremlja 100 seizmoloških continually monitors, 100 seismic stations postaj po svetu, ki so povezanae prek around the world via the Internet. These interneta. Vse te vibracije v obliki surovih collected vibrations, in the form of raw data, podatkov se nato pospešijo, tako da jih are speeded up to make them audible to lahko zazna človeško uho. Ti novi zvoki the human ear. These new sounds are se nato predvajajo v “realnem času” then experienced in ‘real-time’ along with skupaj z njihovo vizualno upodobitvijo – s their corresponding visual representations seizmološkimi grafi in z valovi – in projicirajo – seismic graph lines and waveforms – v galerijskem okolju. projected within the gallery space.

O ‘trojni konjunkciji’ Regarding ‘Triple Conjunction’

Gledalec se znajde sredi globalne The viewer is placed within a global ‘ecology’ “ekologije”, ki jo tvorijo naravni in tehnološki of Nature and Technology; whereby sounds elementi; medtem ko se Zemlja oglaša izpod of the Earth come from beneath their njegovih nog, se prenašajo tudi podatki iz feet and data is transmitted from beyond krajev onkraj horizonta, s pomočjo satelitov, their horizon; where satellites in space ki v orbiti sprejemajo podatke seizmoloških collaborate with seismic rods in the ground sond in beležijo, merijo, preračunavajo, to record, measure, calculate, transmit and oddajajo in sprejemajo izmerljive podatke. receive quantifiable information. Yet what is Vendar pa rezultat vsega tega ni logičen, actually produced is not a logical scientific znanstven rezultat. Podatki so odvrgli outcome. The data has been set free from okove znanstvenih modelov in so podvrženi scientific models to be experienced directly neposrednemu doživljanju gledalca v obliki by the viewer in pure sound and self- čistega zvoka in valovanja, ki se generira generating waveforms. In this form, a more samo. V tej obliki se gledalec lahko tesneje profound connection with the unseen and poveže z Zemljo in njenimi nevidnimi in unheard aspects of the Earth is possible neslišnimi pojavi in razmišlja o svojem and the viewer is able to reflect on their mestu znotraj tega velikega sistema, ki ga position within that larger unquantifiable ni mogoče izraziti s številkami. system.

26 Umetnikov komentar dela Vmes in Artists Statement on Beneath and preko Beyond

Ta razstava je nadaljevanje mojega Beneath and Beyond continues my enquiry raziskovanja naših povezav z naravnim into our relationship to the natural world svetom, medtem ko živimo v tehnološko whilst living in a technologically advanced, naprednem, a hkrati tudi ekološko as well as ecologically critical, period of ogroženem času. Ta razstava je izraz time. This piece extends my interest in the mojega zanimanja za koncept “sublimnega” idea of the ‘the sublime’ in nature and in v naravi in poskuse umetnikov, da to how artists have sought to represent it. I izrazijo. Vmes in preko je umeščena znotraj see Beneath and Beyond as existing within te tradicije in spodbuja razmišljanje s that tradition and extending that dialogue pomočjo “orodij” enaindvajsetega stoletja. by exploiting the ‘tools’ of the twenty-first century.

Stephen Hurrel je zaključil študij likovnih umetnosti na fakulteti Glasgow School Stephen Hurrel studied Fine Art at Glasgow of Art, Škotska (1985–89) in trenutno živi School of Art, Scotland (1985–89) and in ustvarja v Glasgowu. V svojih delih is currently based in Glasgow. His work raziskuje razmerja med ljudmi, kraji in explores relationships between people, tehnologijo. Zlasti ga zanima ‘vzajemno place and technology. He investigates učinkovanje’, ‘samogenerirani sistemi’ in instances of ‘feedback’, ‘self-generating ‘nezavedne kretnje’, tako v umetnih kot systems’ and ‘unconscious gestures’ in naravnih oblikah. Tako nastajajo umetniška both man-made and naturally occurring dela, ki prikazujejo sožitje ‘naravnih’ in forms. Through this he creates artworks ‘umetnih’ stanj. that display a co-existence of ‘natural’ and a ‘constructed’ states. Hurrel je gostoval na več akademskih ustanovah, med drugim dvanajst Hurrel has undertaken several residencies, mesecev v okviru gostovanja v Avstraliji including a twelve-month Scottish Arts pod pokroviteljstvom škotskega sveta Council funded Australian Residency. umetnosti. Prejel je tudi prestižno nagrado He also received a major SAC Creative SAC Creative Scotland, s katero je lahko Scotland Award that enabled him to work dve leti ustvarjal skupaj s programerjem. with a computer programmer over a two- Rezultat tega sodelovanja je projekt year period. ‘Beneath and Beyond – A ‘Vmes in preko – instalacija seizmoloških Seismic Sounds Installation’ was the zvokov’. Hurrel je bil gostujoči umetnik outcome of this award. Hurrel has been v mnogih ustanovah v Veliki Britaniji in visiting artist at many institutions in the UK drugih državah ter je poučeval na fakulteti and abroad and has taught at Glasgow Glasgow School of Art na Škotskem in School of Art, Scotland and Valand School Valand School of Art v mestu Gothenburg of Art, Gothenburg, Sweden, where he na Švedskem, kjer je bil tri leta vodja was Course Leader of ‘Context and Media študijskega programa ‘Kontekst in Mediji (MFA)’ for three years. (MFA)’. Exhibitions in 2008–2010 include: FestArte Razstave v letih 2008–2010 vključujejo: Video Art Festival, Spazio Monitor, FestArte Video Art Festival, Spazio Monitor, Museum of Contemporary Art, Rome. John Muzej sodobne umetnosti, Rim. : Musicircus, Tramway, Glasgow. Cage: Musicircus, Tramway, Glasgow. Understory, Devenport Gallery and Plimsoll Understory, galerija Devenport in galerija Gallery, Tasmania, Australia. Turbulent Plimsoll, Tazmanija, Avstralija. Turbulent Terrain: Manifestations of the Sublime

27 Terrain: Manifestations of the Sublime in Contemporary Art, Latrobe Regional in Contemporary Art, galerija Latrobe Gallery, Victoria, Australia. Art Geo: Drive Regional, Viktorija, Avstralija. Art Geo: to Reconnect the Cultural and the Natural, Drive to Reconnect the Cultural and the Cologne, Germany. Beneath & Beyond: Natural, Köln, Nemčija. Beneath & Beyond: Seismic Sounds, Tramway, Glasgow Seismic Sounds, Tramway, Mednarodni International Festival of Contemporary festival sodobnih vizualnih umetnosti v Visual Art 2008. Glasgowu 2008.

28 Armin Wagner (Avstrija / Austria) www.arminbwagner.com

The Lame Box

The Lame Box je sestavljen iz osmih The Lame Box exhibits eight blank por- praznih portretov, ki prikazujejo Garryja, traits representing Garry, Frank, Richard, Franka, Richarda, Michaela, Sarah, Michael, Sarah, Emily, Linda and Alice. Emily, Lindo in Alice. Na stereo zvočnikih Stereo speakers reproduce a synthesized sintetični glas pripoveduje neskončno voice unfolding the endless narrative of zgodbo o njihovih medsebojnih razmerjih. their relationship. The underlying model is Model temelji na povezavah med igralci based on the ties between the actors; a – gre za dinamično in zaprto “družabno dynamic and closed “social network” which omrežje”, ki se skozi čas računalniško gets computationally altered over time. predrugači.

A diploma on the Technischen Universität Diplomiral leta 2007 na dunajski Tehniški Wien about usage of metaphor in univerzi z nalogo O uporabi metafor v informatics in 2007. informatiki.

29 Timo Kahlen (Nemčija / Germany) www.staubrauschen.de

UR

Generativna spletna umetnost / interaktivno Generative net art / interactive sound work zvočno delo na www.staubrauschen.de/ur/ at www.staubrauschen.de/ur/

V delu UR površine in posode postanejo In UR surfaces and vessels become the nosilci nezaželenih šumov in motenj, ki jih containers of unwanted noise and dirt ustvarjajo tehnološki mediji in komunikacije. generated by technological media and Drobci zvokov mletja, škripanja, brnenja communication. Bits and pieces of grinding, in ventilatorjev ustvarjajo kompleksni creaking, humming sounds and white noise mikrokozmos, ki ga ustvarja gledalec, ko create complex microcosms, generated by se dotakne in drsi po določenih predmetih the viewer when he touches and rolls over s kazalnikom. the given objects with his cursor.

Razstavljeno v galeriji: Earcatcher, Ruine Exhibited at: Earcatcher, Ruine der Künste der Künste Berlin 2005 / Strictly Berlin, Berlin 2005 / Strictly Berlin, Berlin 2007 / Berlin 2007 / The Sonic Image, glasbeni The Sonic Image, Totally Huge New Music festival Nove glasbe Totally Huge New Festival, Perth (AUS) 2007. Music, Perth (AUS) 2007.

Sound sculptor and media artist Timo Oblikovalec zvoka in multimedijski umetnik Kahlen (*1966), nominated for the German Timo Kahlen (*1966), ki je bil nominiran za national “Sound Art Prize” (Deutscher nemško nacionalno nagrado Deutscher Klangkunst-Preis 2006), has presented Klangkunst-Preis 2006, je od osemdesetih his experimental media work in more let naprej svoja eksperimentalna than 90 solo and group exhibitions since multimedijska dela predstavil v več kot 90 the mid-1980s, including invitations to solo in skupinskih razstavah, povabljen pa the “60x60” project (New York 2009), to je bil tudi k sodelovanju na projektu “60x60” “MANIFESTA 7” (Italy 2008), to “Sound (New York 2009), k “MANIFESTI 7” (Italija Art 2006” (Marl, Cologne, Duisburg), to 2008), “Sound Art 2006” (Marl, Köln, “Wireless Experience” (Helsinki 2004), to Duisburg), “Wireless Experience” (Helsinki “Zeitskulptur” (Linz 1997) and to “Works 2004), “Zeitskulptur” (Linz 1997) in “Works with Wind” (Kunst-Werke, Berlin 1991). with Wind” (Kunst-Werke, Berlin 1991).

30 31 Umetniška skupina Videored / Art group Videored (Kolumbija / Colombia) Člani / Members: Camilo Cogua, Angelica Piedrahita & Jose Alejandro Lopez videored.org

Videored

Spletni projekt, 2010 Web project, 2010

Videored je spletna platforma, ki je bila Videored is a web platform created in ustvarjena leta 2010 in se neprenehoma 2010 and in permanent development. The razvija. Ta projekt spodbuja odprto rabo project proposes the open use of videos videa in informacij z umetniškimi cilji. Po and information with artistic objectives. eni strani gre za načrtovanje sestavljanja On one hand, plans the construction of videa na podlagi odgovorov publike; po video chains through the answers of the drugi strani pa za vizualno tolmačenje public; and on the other hand, the visual podatkovne baze teh videov. Videored interpretation of the database of those razmišlja o urejenosti in kaosu na področju videos. Videored reflects about order and usklajevanja in distribucije informacij. Med chaos in the conformation and distribution drugim temelji na zakonitostih entropije in of information. It is based, among others, nedeterminiranosti, ki so jo v umetnosti on the entropy law and the theory of uporabljali že skupine, kot so Fluxus ali indeterminacy, which have been used dadaisti, Videored pa jih aplicira zlasti v with artistic aims by groups like Fluxus or internetu. the Dadaists, and that Videored applies particularly to Internet.

Videored je rezultat raziskovanja na univerzi Pontificia Universidad Javeriana v Videored is a research result of the Bogoti, avtorji pa so Camilo Cogua, Jose Pontificia Universidad Javeriana in Alejandro Lopez in Angelica Piedrahita. Bogotá, developed by Camilo Cogua, Jose Alejandro Lopez and Angelica Piedrahita.

32 33 Paul Magee (Velika Britanija / UK) www.p000m0000.com

The Eye of God (Božje oko)

Računalniška grafika, 2005 Computer Based Art, 2005

Računalniški program in široki zaslon. Če Computer program and wide-screen je zaslon dolgo časa prepuščen samemu monitor. Left to itself for a very long but sebi, bo vsako sliko ustvaril v vse višji finite period, the screen would generate ločljivosti. Fotografije iz sanj ali nočnih every possible image at increasingly better mor, preteklih in prihodnjih – dejanske, resolution. Photographs from every dream mogoče in nepredstavljive. Celotni zaslon and nightmare, from all pasts and futures je na začetku en sam ‘piksel’. Program – actual, possible and inconceivable. nato prikaže vse mogoče kombinacije The whole screen starts as one ‘pixel’. RGB za ta osamljeni piksel. To pomeni vse The program goes through all possible kombinacije 256 rdečih, 256 zelenih in 256 combinations of RGB for this single pixel. modrih odtenkov, iz katerih je sestavljen That is to say, every combination of the 256 vsak piksel. Nato se zaslon prepolovi po reds, 256 greens and 256 blues that can horizontalni in vertikalni osi, vsak piksel na make up a pixel. It then splits the screen zaslonu pa se kombinira z vsakim drugim horizontally and vertically, and combines v vseh mogočih postavitvah, medtem ko each ‘pixel’ with every other ‘pixel’ on the je vsak piksel prikazan v vseh mogočih screen in all possible configurations – and kombinacijah RGB. Program nato znova in all of each pixels own possible RGB razpolovi zaslon, dokler ne pride do combinations. The program keeps splitting velikosti dejanskega piksla. the screen until it reaches the size of an actual pixel.

Izobrazba: Slade School of Fine Art, 2008– 2010 MFA; 2001–2005 BA; 2000–2001 Education: Slade School of Fine Art, 2008– Chelsea School of Art, fundacija. 2010 MFA; 2001–2005 BA; 2000–2001 Chelsea School of Art, Foundation. Razstave: 2010 No Explanation, Galeria Arsenał, Poznań, Poljska; 2009: URBAN Exhibitions: 2010 No Explanation, Galeria (R)EVOLUTIONS #2: URBAN STILLS, Arsenał, Poznań, Poland; 2009: URBAN festival Miden, Kalamata, Grčija; 2008: (R)EVOLUTIONS #2: URBAN STILLS, CAC 2, Museo de Arte Moderno, Toluca Festival Miden, Kalamata, Greece; 2008: City, Mehika. Slow Art, SIGGRAPH, Los CAC 2, Museo de Arte Moderno, Toluca Angeles, ZDA; 2008: soundOBJECTS, City, Mexico. Slow Art, SIGGRAPH, Los festival Digital Media, Valencia, Španija; Angeles, USA; 2008: soundOBJECTS, Computer Art Congress 2, Museo de Digital Media festival, Valencia, Spain; Arte Moderno, Toluca City, Mehika; Computer Art Congress 2, Museo de 2007: Festival Piksel 2007, galerija 3.14, Arte Moderno, Toluca City, Mexico; 2007: Bergen, Norveška; 2006: 151206, Oko/ Piksel 2007 festival, 3.14 Gallery, Bergen, Ucho Galeria, Poznań, Poljska; Sleep, Norway; 2006: 151206, Oko/Ucho Galeria, Galeria Anex, Poznań, Poljska; 2004: Poznań, Poland; Sleep, Galeria Anex, Mladi umetniki v Cernu, CERN, Ženeva, Poznań, Poland; 2004: Young Artists at Švica; Mladi umetniki v Cernu, Institute of CERN, CERN, Geneva, Switzerland; Young

34 Education, London, Združeno kraljestvo; Artists at CERN, Institute of Education, Reading Spaces, Galeria Plastyfikatory, London, UK; Reading Spaces, Galeria Lubon, Poljska; Untitled, Galeria Naprzeciw, Plastyfikatory, Lubon, Poland; Untitled, Poznań, Poljska; 2002: Critical Curtain, Galeria Naprzeciw, Poznań, Poland; 2002: Bloomsbury Theatre, London, Združeno Critical Curtain, Bloomsbury Theatre, kraljestvo. London, UK.

35 Yota Morimoto (Nizozemska / Netherlands) yota.tehis.net/works/bin2wav-v0.1/ bin2wav (v0.1)

Spletni projekt, 2010 Web project, 2010 bin2wav (avdiovizualna instalacija, mono, bin2wav (audio-visual, monaural, 16:9 zaslon 16:9) je stroj, ki samostojno screen) is a machine that autonomously preračunava podatke in rezultat pretvarja computes data and renders the result v zvok. Njegovo binarno notranjost as sound. Its internal binary state is predstavlja 10 vrst črtne kode, ki se nenehno represented in 10 rows of barcode posodablja. S klikom na zaslon lahko constantly being updated. By clicking uporabnik prekine postopek in povzroči on the screen, the user can interrupt spremembe stanja preračunavanja. the process and cause changes in the Pričujoče delo poskuša v novi luči prikazati computational condition. The work tries to mehanizme in dinamiko, ki se skrivajo v bring light to the mechanism and dynamics naši vsakodnevni izkušnji z računalniki, s hidden in our daily experience of using pomočjo preračunavanja in upodabljanja computers, through rendering flashing binarnih vzorcev in slišnih pulzov. Eden binary patterns and audible pulses. One najpogosteje uporabljanih primerkov of the most common software in use – the programske opreme – spletni brskalnik web-browser – becomes a window through – postane okno, v katerem opazujemo which the underlying computational računalniško dinamiko, avtonomija tega dynamics is observed, and the autonomy postopka pa se zagotavlja tako, da lahko of that procedure is guaranteed by the fact uporabnik vanj posega le s klikanjem. that the user can only perform clicking.

Yota Morimoto (*1981) je japonski Yota Morimoto (*1981) is a Japanese skladatelji, rojen v Sao Paulu, Brazilija. composer born in Sao Paulo, Brazil, Trenutno izvaja raziskave na Sonološkem currently undertaking a research at The inštitutu na Nizozemskem. V svojih delih Institute of Sonology in The Netherlands. raziskuje neobičajne načine proizvajanja His works explore unconventional in prenašanja zvoka ter vgrajuje modele approaches to generating and transmitting hrupa, turbulence in uporablja abstraktne sound, implementing models of noise, stroje. Predstavljal se je na festivalih in turbulence and abstract machines. He has konferencah, kot so: TodaysArtFestival performed in festivals and conferences (Haag), NWEAMO (Mehika), Transmediale such as TodaysArtFestival (Den Haag), (Berlin), ISEA (Ruhr), ICMC (Belfast) in NWEAMO (Mexico), Transmediale SMC (Porto). Poleg naštetih aktivnosti je (Berlin), ISEA (Ruhr), ICMC (Belfast), sodeloval tudi z glasbeniki, kot so Frances- and SMC (Porto). Beside those activities, Marie Uitti, Tatiana Koleva, Masato he has collaborated with musicians such Suzuki, Akane Takada, Keiko Niimi in Luc as Frances-Marie Uitti, Tatiana Koleva, Döbereiner. Masato Suzuki, Akane Takada, Keiko Niimi and Luc Döbereiner.

36 37 Cécile Colle}{Ralf Nuhn (Francija / France) imiteme.com

Exit-Wall (Izhodni zid)

Modularna instalacija, 2010 Modular installation, 2010

Material: 200 električnih znakov za izhod, Material: 200 electric exit signs, permanent permanentni magneti, razdelilniki toka, magnets, multi-sockets, metal structure; kovinska struktura; dimenzije: 4 m (š) x dimensions: 4 m (width) x 2.25 m (height) 2,25 m (v) x 0,1 m (g) x 0.1 m (depth)

Izhodni zid je modularna instalacija, Exit-Wall is a modular installation sestavljena iz več sto neonskih svetlobnih comprising hundreds of illuminant exit znakov za izhod, ki so pritrjeni s signs assembled by means of permanent permanentnimi magneti. Običajno se magnets. Usually the signs are used ti znaki uporabljajo na javnih mestih in in public spaces to indicate, in case označujejo zasilni izhod, pot evakuacije v of emergency, an escape route to the primeru nevarnosti. Nasprotno pa so v tej outside. By contrast, we are employing instalaciji znaki za izhod uporabljeni kot the exit signs like bricks of a wall to build zidaki pregrade, ki obdaja zaprt prostor. a barrier within a space. For us, the Prav paradoks takšne postavitve – ta izhaja paradoxical nature of this assemblage – iz semantičnega nasprotja sestavnih delov originating from the contradiction between (znaki za izhod) in fizične prepreke, ki jo the linguistic meaning of its constituting zid predstavlja – v nas zbudi razmišljanje parts (the exit signs) and the physical o dvoumnosti različnih omejitev v “realnem obstacle it poses in reality – evokes the življenju”: arhitekturnih, političnih, kulturnih, inherent ambiguities of different limits in psiholoških, tehnoloških ... “real life”: architectural, political, cultural, psychological, technological... Ta projekt je tesno povezan z njunim stalnim raziskovanjem novih (nez)možnosti The project relates strongly to their izmenjave, ki jih ponuja tehnologija. Njuno continuous research about the new (im) delo se zlasti navezuje na dvoumnost possibilities of exchange proposed by vmesnika, ki po eni strani odpira dostop technology. In particular, their work do novih teritorijev, po drugi strani pa nas revolves around the inherent ambiguity of ograjuje od drugih delov realnosti. Enako the interface, providing both access to new kot vmesnik tudi njun zid daje “obljubo” territories and simultaneously separating izhoda, hkrati pa pred nas postavlja fizično us from other parts of reality. Like an prepreko. interface, their wall “promises” an exit, an access to the other side but at the same Glejte tudi: http://imiteme.com/english/en- time constitutes a physical separation. photopages/en-lemur.htm. See also: http://imiteme.com/english/en- Video predstavitev, v kateri se pojavlja tudi photopages/en-lemur.htm. Izhodni zid, je bila prikazana na festivalu Dover’s BBC Big Screen v obdobju A video piece featuring the Exit-Wall has september/oktober 2010. Video je na voljo been screened on Dover’s BBC Big Screen na naslednjem naslovu: during September/October 2010. The video

38 http://www.imiteme.com/english/en- can be viewed here: moviepages/en-mp-wall.htm. http://www.imiteme.com/english/en- moviepages/en-mp-wall.htm. Cécile Colle, rojena leta 1974 v mestu Lyon, živi v mestu Roubaix (Francija). Leta 1999 je zaključila študij z diplomo Diplôme Cécile Colle, born 1974 in Lyon, lives National Supérieur d’Etudes Plastiques in Roubaix (France). She has obtained na šoli Ecole Nationale des Beaux-Arts a Diplôme National Supérieur d’Etudes (Bourges). Plastiques at the Ecole Nationale des Beaux-Arts (Bourges) in 1999. Ralf Nuhn, rojen leta 1971 blizu mesta Kassel (Nemčija), živi med mestoma Ralf Nuhn, born 1971 near Kassel Roubaix in London. Trenutno je gostujoči (Germany), lives between Roubaix and raziskovalec na inštitutu Lansdown Centre London. He is currently a Research Fellow for Electronic Arts v Londonu, kjer je v letu at the Lansdown Centre for Electronic Arts 2007 tudi doktoriral. in London where he has also obtained a PhD in 2007. Umetnika sta leta 2003 začela ustvarjati skupaj. Svoja dela sta razstavljala na Since 2003 the two artists have developed mednarodnih razstavah, med drugim v a shared practice. Their work has been Tajvanskem muzeju likovnih umetnosti, shown internationally, including the ZKM – Center za umetnost in medije National Museum of Fine Arts (Taiwan), (Nemčija), V&A – Nacionalni muzej otroštva ZKM – Center for Art and Media (Germany), (London), galerija CASO (Japonska), Haus V&A – National Museum of Childhood am Lützowplatz (Berlin). (London), CASO Gallery (Japan), Haus am Lützowplatz (Berlin).

39 Filipe Pais (Francija / France) www.la-neige-en-ete.net/filipe/

The Bumblefish Effect (Efekt male ribe)

Instalacija, 2010 Installation, 2010

Uporabljeni materiali: računalnik, Material Used: Computer, Amplifi er, Sub- ojačevalnik, nizkotonski zvočnik, spletna woofer, Web camera, Aquarium, Aquarium kamera, akvarij, akvarijska oprema, support, Bumblebee fish, Table, Tea set. riba “bumblebee”, miza, čajni pogrinjek. Dimensions and Weight: variable. Dimenzije in teža: niha. A small bumblebee fish causes a tea table Mala riba bumblebee povzroča različno to tremble with different degrees of intensity močne tresljaje čajne mize v sorazmerju s in relation with the ground of the aquarium. podlago akvarija. Neznatni gibi se pretvorijo Small movements are transformed into v veliko maso energije, kar povzroči a big mass of energy, simulating a small simulirani učinek potresa v nekem drugem earthquake effect in another environment, okolju, na čajni mizici. Napetost temelji the tea table. A moment of tension arises na razmerju med močjo in hrupom, ki ga from the relation between the strength ustvarja elegantno in harmonično gibanje and noise provoked by the delicate and ribice. harmonious movements of the fish.

Filipe Pais (*1983) raziskuje načine, kako Filipe Pais (*1983) has been interested in tehnologije vplivajo na človeške zaznave the ways technologies affect human senses in vedenje, in pri svojem ustvarjanju and behaviors, developing some works uporablja nove medije. Trenutno je študent using new media. At the moment he’s a doktorskega študija digitalnih medijev, s Digital Media PhD student at the University podporo fundacije FCT (Fundação para of Porto, supported by FCT (Fundação para a Ciência e a Tecnologia), raziskovalec v a Ciência e a Tecnologia), a researcher at organizaciji DRII (Dispositifs Relationnels: DRII (Dispositifs Relationnels: Installations Installations Interactives), v Ensadu, Parizu, Interactives), at Ensad, in Paris and also in tudi študent programa SPEAP, ki ga vodi a student from the SPEAP program Bruno Latour pri Science Po, Pariz. conducted by Bruno Latour at Science Po, Paris.

40 41 Andreas Sachsenmaier (Nemčija / Germany) www.a-sachse.de/jo/index.php

Ultima Cena (Zadnja večerja)

Instalacija s stensko projekcijo, 2004 Installation with projection on the wall, 2004 Video projekcija prikazuje podobo Da Vincijeve “Zadnje večerje” iz cerkve Santa A video projection shows an apparent Maria delle Grazie v Milanu. Ob dolgi mizi image of “The Last Supper“ by Leonardo sedijo in stojijo različne ženske figure, da Vinci in the church Santa Maria delle vse so dobro znani prototipi, ki jih vidimo Grazie in Milan. Different female figures vsak dan v medijih. Okoli ženske različice are sitting and standing at a long table, all Jezusa izvajajo ponavljajoče se gibe, well-known prototypes, which we can see njihovo sporočilo pa se hkrati zdi znano in daily in the media. Around a female Jesus nenavadno. they act in repetitive movements, whose message appears familiar and strange at Ultima Cena: velikost cca. 80 x 50 x the same time. 10 cm, 1 LCD zaslon formata 16:9 z malim črnim okvirjem, okvir za montažo Ultima Cena technique: Size 36“ (ca. 80 s komponento YUV/DVI, 1 predvajalnik x 50 x 10 cm) 1 flat screen, format 16:9 DVD-jev/pomnilniških kartic FlashCard s with a small black frame, mounting rack komponento YUV/DVI, 2 mala zvočnika with YUV-Component/DVI, 1 DVD-player/ z ojačevalnikom (pravilno sta nameščena FlashCardPlayer with YUV-Component/ tako, da sta skrita za monitorjem). DVI, 2 small loudspeakers with amplifier (proper position is unvisible behind the monitor). Andreas Sachsenmaier se je rodil leta 1967 v Schweinu. Od leta 2001 živi in dela v Berlinu in Schwerinu; 1992–93 študent Andreas Sachsenmaier was born in 1967 in na univerzi za tehnologijo, poslovne Schwerin. He has lived and worked in Berlin vede in oblikovanje v Wismarju; 1988–91 and Schwerin since 2001. 1992–93 studied Tehnična šola za uporabne umetnosti at University of Technology, Business Heiligendamm. and Design Wismar; 1988–91 Technical College of Applied Arts Heiligendamm.

42 43 Mikio Saito (Japonska / Japan)

Stripes too Stripes

3-kanalska video instalacija, 9’44”, 11’9”, 3 channel video installation, 9’44”, 11’9”, 6’37”, neskončna zanka, 2009 6’37”, loop, 2009

Predniki kinematografa (optične The ancestors of cinema (optical toys, igrače, zgodnje projekcijske naprave in early projection devices, and visual raziskovanje vizualnih pojavov pred časom research at the pre-cinema time) had kinematografa) so uporabljali preproste, simple but indispensable factors for today’s a nepogrešljive metode, ki jih uporabljajo visual devices, and they are magical and tudi današnje naprave za vizualizacijo. Te mysterious, though we are very used to metode so čarobne in skrivnostne, četudi seeing motion pictures. Constant repetitive smo dandanes že navajeni na gledanje motion of stripes are under the basic gibljivih sličic. Konstantno, ponavljajoče se concept of recreating a sense of primitive gibanje prog spada med temeljne koncepte motion pictures. Repetitive motion itself obujanja občutka starinskih gibljivih sličic. were one of the important factors in moving Samo po sebi je bilo kontinuirano gibanje image since pre-cinema time, for example, pomemben dejavnik razvoja gibljive slike the optical toy Thaumatrope, which has v časih pred kinematografi, na primer two pictures, appeared to combine into pri razvoju taumatropa, optične igrače z a single image due to an effect known dvema sličicama, ki se zlijeta v eno samo as persistence of vision. And the horse’s podobo zaradi persistence vida. Tudi sequential photographs shot with multiple zaporedno posnete fotografije konja, ki jih je cameras by English photographer E. posnel fotograf E. Muybridge z zaporedno Muybridge are one of the earliest examples sproženimi fotoaparati, predstavljajo eno of motion picture with a loop structure. As prvih gibljivih slik s strukturo neskončne for the film viewing device Kinetoscope of zanke. Tudi pri kinematoskopu Thomasa Thomas Edison, the machine itself was Edisona je sama naprava uporabljala a loop structure. Saito tried to produce strukturo neskončne zanke. Saito je the characteristic analog movement, and poskušal zajeti značilno analogno gibanje reproduce the illusion which moving image in znova ustvariti občutek optične iluzije, na originally had in pre-cinema times. kateri je gibljiva slika temeljila pred časom kinematografa. 1978 born in Sapporo, Japan, where he lives and works; 1996–2000 Study at Rojen 1978 v mestu Sapporo, Japonska, University of Waseda in Tokyo; 2000–2002 kjer živi in dela; 1996–2000 študiral na Study at Waseda art and architecture school univerzi v Waseda v Tokiju; 2000–2002 in Tokyo; 2002–2006 Study at Hochschule študiral na fakulteti Waseda za umetnost in für Bildende Künste Städelschule in arhitekturo v Tokiju; 2002–2006 študiral na Frankfurt, Germany; 2002–2004 Class fakulteti Hochschule für Bildende Künste Prof. Monika Schwitte; 2004–2007 Class Städelschule v Frankfurtu, Nemčija; 2002– Prof. Mark Leckey; 2007 Master of Fine 2004 študij pri prof. Moniki Schwitte; 2004– Arts by Prof. Mark Lecky, Hochschule für 2007 študij pri prof. Marku Leckeyju; 2007 Bildende Künste Städelschule in Frankfurt, magisterij likovnih umetnosti pri prof. Marku Germany. Leckyju, Hochschule für Bildende Künste Städelschule v Frankfurtu, Nemčija.

44 45 Michael Saup (Nemčija / Germany) particles.de

Cubus Niger – Incarnation cRdxXPV9GNQ (Cubus Niger – inkarnacija cRdxXPV9GNQ)

C-print, Aludibond, 100 x 100 cm, 2010 C-print, Aludibond, 100 x 100 cm, 2010 Z dovoljenjem Michaela Saupa | Gefördert Courtesy Michael Saup | Gefördert von von ZNE ZNE Izvirna fotografija Rita Willaert Original photograph by Rita Willaert

Lignitna kocka s stranico tri metre, A lignite coal cube with a side length of ustvarjena s količino električne energije 3 meters created by the electrical power enega milijona ogledov napovednika filma consumption of one million views of the “Avatar” na YouTube-u. “Avatar”-movie-trailer on YouTube.

Pyramis Niger – Incarnation Internet MMIX (Pyramis Niger – inkarnacija Internet MMIX) C-print, Aludibond, 100 x 100 cm, 2010 C-print, Aludibond, 100 x 100 cm, 2010 Z dovoljenjem Michaela Saupa | Gefördert Courtesy Michael Saup | Gefördert von von ZNE ZNE Izvirna fotografija Ricardo Liberato Original photograph by Ricardo Liberato

Lignitna piramida s stranico podlage 1.422 A lignite coal pyramid with a base side metra in višino 905 metrov, ustvarjena s of 1,422 meters and a height of 905 količino električne energije interneta v letu meters created by the electrical power 2009, v seštevku 1.000.000.000.000 kWh. consumption of the Internet in 2009, Če bi jih postavili v vrsto, bi lignitni zidaki totaling 1,000,000,000,000 kWh. The tlakovali razdaljo, ki je 1,5-krat daljša od lignite briquettes would create a line 1.5 oddaljenosti Zemlje od Sonca. times as big as the distance between Earth and Sun.

Michael Saup se je rodil marca 1961 v Hechingenu v Nemčiji. Je priznan Michael Saup was born in March 1961 in vizualni umetnik, snemalec in glasbenik. Hechingen, Germany. He is a recognized V devetdesetih letih je dosegel ugled kot visual artist, filmmaker and musician. During eden najpomembnejših protagonistov the 1990s he developed a reputation as one digitalne umetnosti v Evropi. Njegova of the foremost protagonists of digital art dela, ki običajno nastanejo v sodelovanju in Europe. His work, often in cooperation z drugimi uveljavljenimi umetniki, so with other established artists, has been bila predstavljena na mnogih razstavah, shown widely in exhibitions, festivals and festivalih in odrih po vsem svetu. Trenutno on stages around the world. He currently živi in dela v Berlinu. lives and works in Berlin. Michael Saup je študiral glasbo, Michael Saup studied music, computer računalniško znanost in vizualno science and visual communication at the komunikacijo na Dominikanski univerzi v Dominican University of California, San 46 Kaliforniji, San Rafael, ZDA, na Univerzi Rafael, USA, the University of Computer za računalniško znanost v Furtwangnu in Science in Furtwangen and the Offen- bach na Akademiji za umetnost in oblikovanje v Academy of Art and Design in Germany. Offenbachu, Nemčija. In 1980, while enrolled at the Dominican Ko se je vpisal na Dominikansko univerzo University, Michael Saup studied music leta 1980, je študiral glasbo in računalniško and computer science and started to znanost in postopoma začel kombinirati combine both fields with an algorithmic obe področji. Leta 1987 je ustvaril Flicker, approach. In 1987, he created “Flicker”, his svojo prvo računalniško vodeno svetlobno first computer-generated light installation, instalacijo, ki je napolnila galerijski prostor which immersed a gallery space with z izmenično utripajočimi lučmi, ki so permutations of pulsing light to show an prikazovale širitev realnosti. Od leta 1989 expanding reality. From 1989 onwards, dalje Saup eksperimentira s preobrazbami Saup began to experiment with real time zvoka in slike v realnem času in tako transformations of sound and image, pomaga utirati pot razvoju programske helping pioneer the development of opreme kot obliki umetnosti. software as an artform.

47 Wolfgang Spahn (Nemčija / Germany) www.wolfgang-spahn.de

Stundenglass (Peščena ura)

Video instalacija Video installation

Na prvi pogled se zdi, da instalacija govori The installation pretends to be about time, o času, a v resnici govori o težnosti. but it is really about gravity.

Peščena ura je naprava, ki meri čas s An hourglass is an instrument that pomočjo sile težnosti, ki vpliva na pesek measures time by using the effect of v njeni notranjosti. Ko jo obrnete, steče gravity on the sand in the glass. When pesek navzdol. S spremembo težnosti se you turn the clock around the sand drains v videu obrne peščena ura in učinek se downwards. Changing gravity, in effect, postavi na glavo. Ujeta v neskončno zanko rotates the hourglass in the video and turns se peščena ura obrača in na koncu pesek the effect upside down. In an endless loop, odteka navzgor. Za namene snemanja the hourglass rotates and in the end the videa je bilo treba skupaj s peščeno uro na sand runs upwards. For the recordings it glavo obrniti celotni studio. was necessary to rotate the whole studio together with the hourglass.

Wolfgang Spahn (*1970) je vizualni umetnik, ki živi v Berlinu. Njegov ustvarjalni Wolfgang Spahn (*1970) is a visual artist opus obsega video, projekcije, diapozitive, living in Berlin. His work includes Video, slike in interaktivne instalacije. Študiral je Projections, Slide-paintings and interactive matematiko in sociologijo v Regensburgu Installations. He had studied mathematics in Berlinu. Je ustanovitelj studia za sitotisk and sociology in Regensburg and Berlin. v hiši umetnosti Tacheles in je sodeloval He was founder of the Screen-printing- na umetniških projektih Schokoladen studio in the art house Tacheles and Mitte in Meinblau Berlin. Predstavil se je managed and worked for the art projects tudi na številnih mednarodnih razstavah, Schokoladen Mitte and Meinblau Berlin. kot so: 2000 Biennale der jungen Kunst He participates in many international v Genovi, 2005 Praški bienale, 2010 exhibitions like: 2000 Biennale der jungen Biennale der Miniaturkunst, Beograd in na Kunst in Genua, 2005 Biennale in Prag, nekaterih festivalih medijske umetnosti, 2010 Biennale der Miniaturkunst in Belgrad kot so: PIXEL09 v Bergnu, Internationales and in some media festivals like: PIXEL09 Klangkunstfest 2008 v Berlinu, OHpen in Bergen, Internationales Klangkunstfest Surface 2009 v mestu Malmö, media- 2008 in Berlin, OHpen Surface 2009 in scape 2010 v Zagrebu. Malmö, media-scape 2010 in Zagreb.

48 49 Tina Tonagel (Nemčija / Germany) www.tinatonagel.de

Planetarium (Planetarij)

Kinetična instalacija, 2009 Kinetic Installation, 2009 (grafoskop, LCD zaslon, steklene plošče, (Overhead Projector, LCD Display, Glass steklene leče, motorji, kamera) Sheets, Glass Lenses, Motors, Camera)

Tri steklene plošče, vsaka pritrjena na Three sheets of glass, each connected motor, so zložene na kup na stekleni plošči to a motor, are stacked upon the stage grafoskopa in se po njej počasi premikajo. glass of an overhead projector; they move Na vsako ploščo je položenih več leč. To slightly and slowly upon the projector. postavitev od zgoraj snema kamera in Several glass (magnifying) lenses have sliko prenaša na LCD zaslon, ki je vgrajen been placed on each of these sheets. A v projektor. V projekciji opazovalec vidi camera films this set-up from above and sliko leč, ki je projicirana čez video zapis. transfers the image to an LCD display that Tako neprestano nastajajo nove podobe, is built into the projector. In the projection, ki dajejo vtis organizma, kot tekočina ali one sees the superimposition of the video celice. image with the overhead projected image of the lenses. As a result of the movement, new superimpositions continuously form; Tina Tonagel (*1973) je študirala medijsko they appear organic, like fluid or cells. umetnost na akademiji za medijske umetnosti v Kölnu. Pri svojem delu raziskuje kinetično energijo, risbe, zvoke Tina Tonagel (*1973) studied Media Art in različne oblike projekcije. Trenutno at the Academy of Media Arts Cologne. pri svojem ustvarjalnem delu večinoma In her work she focusses on kinetics, uporablja grafoskope, mehansko predelane drawings, sound and different forms of v projekcijske naprave v realnem času. projection. She currently works mostly with Živi in ustvarja v Kölnu, kjer od leta vodi overhead projectors converted into real- umetniško galerijo “Maxim” skupaj z Anjo time moving image projection devices by Kempe in Robertom Kraissom. way of mechanical constructions. Je tudi pobudnica festivala grafoskopske She lives and works in Cologne, where projekcije in prostora za nastopanje “Kunst she has been running the exhibition space und Musik mit dem Tageslichtprojektor”, “Maxim“ with Anja Kempe and Robert ki ga je ustanovila skupaj s Christianom Kraiss since 2004. Faubelom in Ralfom Schreiberjem. She’s also the initiator of the overhead- Nedavno je začela s solo avdiovizualnimi based festival and Performance- nastopi z grafoskopi in glasbenimi outfit “Kunst und Musik mit dem instrumenti, ki jih je izdelala sama in so Tageslichtprojektor” with Christian Faubel razporejeni na projektorskih zaslonih. and Ralf Schreiber. Recently she’s working on audiovisual Solo- Razstave (izbor): Art of the Overhead, Performances with Overhead Projectors Malmö; Kunstverein Cuxhaven; Museum and self-made musical Instruments Schloss Moyland, Bedburg Hau; arranged on the screens of the Projectors. Brückenmusik, Köln; Skulpturenmuseum Glaskasten Marl ; Monitoring, Kulturbahnhof Exhibitions (selection): the Art of the

50 Kassel; lab30, Augsburg; Festival Overhead, Malmö; Kunstverein Cuxhaven; evropske medijske umetnosti, Osnabrück; Museum Schloss Moyland, Bedburg Hau; Stuttgarter Filmwinter, Stuttgart; Comtec Brückenmusik, Köln; Skulpturenmuseum Art, Dresden. Glaskasten Marl; Monitoring, Kulturbahnhof Kassel; lab30, Augsburg; European Media Art Festival, Osnabrück; Stuttgarter Filmwinter, Stuttgart; Comtec Art, Dresden.

51 Costantino Ciervo (Italija / Italy) www.ciervo.org

Homologation (Homologacija)

Okenska instalacija, 19’44“, 2006/7 Window installation, 19’44“, 2006/7

Kapitalizem je moral zapustiti sfero znotraj Capitalism is forced to leave a sphere, within državnih meja, kjer se je počutil varnega, national borders, in which it felt safe, to in oditi v sfero, ki je bolj kompleksna, head into a sphere which is more complex, nepredvidljiva, gnetljiva in nestanovitna. unpredictable, pliable, and insecure. Ta sfera je mednarodni trg, v katerem This sphere is the international market, meje niso jasno začrtane, ni središča in where there are no certain landmarks, no ni obrobja. Predmet obravnave je oblast center and no periphery. The object is the in nadzor nad omrežjem proizvodnje na governance and control of the network of celotnem planetu. To ni cilj ene same production on the entire planet. This is not države ali skupine držav, temveč je to cilj the objective of a single state or a group of multinacionalk, ki nadzorujejo kapital v states, but of the multinational corporations svetu, ne glede na teritorialni interes. which act to control capital in the world regardless of territorial interest.

Rojen je bil leta 1961 v Neaplju, Italija. Živi v Berlinu. 1975–1980 srednja šola – smer: Born 1961 in Napoli (Italy), Lives in elektronika. 1980–1982 študij ekonomije Berlin; 1975–1980 Secondary School – in politologije na Univerzi za ekonomijo in concentration in electronics; 1980–1982 poslovanje v Neaplju. 1993 udeležba na Studies for economics and politics at Beneškem bienalu v Italiji. the University of Economics and Trade, Naples; 1993 Participation on the Venice Biennale, Italy.

52 53 Thorsten Fleisch (Nemčija / Germany)

Energie! (Energija!)

Glasba: Jens Thiele Music: Jens Thiele Okenska instalacija, 5’3“, 2007 Window installation, 5’3“, 2007

Meditacija na temo hitrosti. Ko se skulptura A meditation on speed. The ephemeral hitrosti poda na pot po avenijah prostora- phenomenon becomes palpable as a časa, kratkotrajni fenomen postane otipljiv. speed sculpture begins a relativity drive along space-time avenues lined with TV/video zaslon zaživi s popolnoma uncertainty trees. tehničnega vidika s pomočjo nadzorovanih žarkov elektronov v katodni cevi. Za From a mere technical point of view the TV/ nastanek Energije! je potrebna sprostitev video screen comes alive by a controlled nenadzorovane visoke napetosti 30.000 beam of electrons in the cathode ray tube. voltov, ki osvetli številne kose fotografskega For Energie! an uncontrolled high voltage papirja, ti pa so nato razporejeni v času in discharge of 30,000 volts exposes multiple ustvarijo nov vizualni sistem organizacije sheets of photographic paper which are elektronov. Čeprav je rezultat abstrakten, then arranged in time to create new visual predstavlja univerzalno zgodbo, starejšo systems of electron organization. Even od samega sveta. though the result is abstract it tells a universal story older than the world itself.

Thorsten Fleisch je bil rojen v Koblenzu v Nemčiji leta 1972. Z eksperimentiranjem Born in Koblenz, Germany in 1972 Thorsten na super 8-milimetrskem filmu je pričel že Fleisch began experimenting with super 8 v srednji šoli, kjer je tudi predstavil svoj prvi film while still at highschool where he also film, super 8-milimetrska zanka (spodaj). exhibited his first film, a super 8 loop (see Po končani srednji šoli in delu v korist below). skupnosti v ustanovi za duševno bolne je After highschool and community service šel v Marburg študirati umetnost, glasbo in in an institution for the mentally ill he went medije na univerzi Phillips Universität. Leto to Marburg to study art, music and media kasneje je zamenjal ta študij s študijem at Phillips Universität. One year later he filma na Städelschule v Frankfurtu pri changed to the Städelschule in Frankfurt Petru Kubelki. Tukaj je začel snemati na in order to study film with Peter Kubelka. 16-milimetrski film. There he started working with 16mm film. Kmalu po zaključku študija na Städelschule Shortly after his studies at the Städelschule je posnel “Blutrauch / Bloodlust”, ki mu ni he made ‘Blutrausch / Bloodlust’ which not prinesla samo veliko pozornosti, ampak only got him a lot of attention but also the tudi nagrado Ann Arbor Filmcoop Award. Ann Arbor Filmcoop Award. Od leta 2001 je Thorsten Fleisch član Since 2001 Thorsten Fleisch is a member Odbora umetniških vodij Mednarodnega of the Board of Artistic Directors of The festivala eksperimentalnih filmov (festivala International Experimental Cinema TIE). Exposition (or TIE). Prejel je nekaj priznanj, med njimi tudi He received several grants among them priznanje združenja Filmbüro NW in a grant from the Filmbüro NW and a

54 priznanje Muzeja sodobnih filmov. grant from the Museum of Contemporary Za Gestalt je prejel pohvalo Honorary Cinema. Mention na festivalu Prix Ars Electronica, For Gestalt he received an Honorary vodilnem festivalu za umetnost povezano Mention at the Prix Ars Electronica the z računalništvom. number one festival for computer related Njegov film Energie! so predvajali na več art. kot 150 festivalih, prinesel pa mu je številne His film Energie! was screened at more nagrade. than 150 festivals and received numerous Njegove filme so predvajali na filmskih awards. festivalih po vsem svetu, tudi na His films have been screened at film Newyorškem, Sarajevskem in Milanskem festivals worldwide including New York Film filmskem festivalu ter na Mednarodnem Festival, Sarajevo Film Festival, Milano filmskem festivalu v Rotterdamu, Film Festival, Int. Film Festival Rotterdam, Evropskem festivalu novih medijev, European Media Art Festival, Melbourne Mednarodnem filmskem festivalu v Int. Film Festival and many more. Melbournu in mnogih drugih. Recently he worked for Gaspar Noé’s Nedavno je sodeloval pri ustvarjanju filma film Enter The Void and made visuals for Gasparja Noeja Enter The Void (Vstopite Basement Jaxx’s live tour in 2009. v praznino) in prispeval vizualne efekte za He lives and works in Berlin. koncertno turnejo skupine Basement Jaxx His films are distributed by Canyon Cinema leta 2009. (USA), Lightcone (France) and Arsenal Živi in ustvarja v Berlinu. Experimental (Germany). Za distribucijo njegovih filmov skrbijo Canyon Cinema (ZDA), Lightcone (Francija) in Arsenal Experimental (Nemčija).

55 Jino Park (ZDA / USA) www.parkjino.com

Chrysanthemums (Krizanteme)

1’35” 1’35”

To je delo na temo ničevosti in ponižnosti. This work is about vanity and humility.

Nekega dne lanske pomladi oz. pozne One day, last spring or late winter, I decided zime sem se odpravil na sprehod po parku. to go for a walk around the park. I went Ven sem šel z nahrbtnikom. Bilo je izjemno outside with my backpack. It was bitter cold; mrzlo, vendar je bil kljub temu lep zimski but even so, it was such a good winter day dan za sprehod, saj je sonce močno sijalo to take a walk since the sun shone brightly in ni bilo vetra. Nekoliko kasneje mi je v and the wind was still. After awhile an misli prišla podoba prelepe rože živih barv. image popped into my head, that of an of Ko sem se poigraval v mislih s sliko rože, beautiful bright flower. As the image played ki se nežno uklanja vetriču, sem naenkrat in my head, the flower gently bending to videl, kako se je roža prepolovila od zgoraj the breeze, I suddenly saw the flower cut navzdol. Čutil sem, da se je to zgodilo v in half from top to bottom. I felt it happen trenutku, vendar je vse skupaj potekalo suddenly, but, in fact, it was extremely izjemno počasi. Od ustja cveta do stebla slow, from the flower’s lips and to the stem, so v zrak pršele kapljice krvi kot majhne drops of blood sprayed into the air like a lebdeče žoge. Prizor je bil žalosten, a small balls floating. It was sad looking and hkrati osupljivo lep in čuten. Ko so podobe at the same time stunningly beautiful and preletavale moje misli, se je roža prelevila sensual. As the images overlapped in my v golo žensko. Prav tako kot odzvanjajoča head, the flower became a woman nude. melodija v glavi se je podoba “rezanja Just as we can hear a melody replay in rože” zarezala v moj pogled. Podobno our heads, this “flower cutting” image izkušnjo sem doživel s še eno podobo. was etched into my sight. I had a similar Pred modrim zaslonom sem videl pojavo experience with another image. In front moškega z glavo iz šopka rož. Za trenutek of a blue screen, I saw the apparition of je sedel, preden je vstal in šel plesat. Ko je a man who had bouquet of flowers for a glasba postajala vse hitrejša in hitrejša, je head. He sat for a moment before standing povečal tempo in začel plesati kot blazen. up to dance. As the music played faster Nato se je naenkrat ustavil in se usedel na and faster, he increased his pace to the svoj stol. Ta podoba “plešočega moškega fevered dance of a lunatic; and then all at z glavo iz šopka rož” je prav tako obstala once he stopped and eased into his chair. v moji glavi. This image of “dancing flower-head-man” too stuck in my mind. Nekdo je nekoč dejal, da je človek bitje, katerega delovanje pelje k smrti. To je obče Somebody once said that man is a being dejstvo, ki ne velja le za človeka, temveč who working towards death. It’s a common za vse na tem svetu. Vse na svetu izginja, view that this is not only true for man but for celo mogočna in negibna gora. Vse se ruši all things. Everything in the world, even a v vsakem trenutku. Celo vsaka beseda tega mountain looking strong and stable, is in the besedila ni enaka besedi, ki ste jo prebrali act of disappearing. Everything is falling at pred nekaj trenutki. Vse se spreminja. every moment. Even each word of this very

56 Nič ne more ubežati krogu rojevanja in text is not the same word that you read a few smrti. Gre torej za naravno racionalizacijo seconds ago. Everything is transforming. sprejemanja smrti kot dela življenja. S It is not free from the cycle of birth and sprejetjem nas samih kot dela vesoljnega death. It is a natural rationalization then to sistema bi naj našli svoj notranji mir. S tem accept death as a part of life. By accepting mnenjem se popolnoma strinjam. Vendar ourselves as a part of the system of the sem zaenkrat še živ in želim, da ostanete universe, we are supposed to find peaces tudi vi! Če bi bil čas razdeljen na na zelo of mind. I agree 100% with this opinion. But, tanke koščke, bi lahko videli soočenje after all, I’m alive and I want to stay that rože z nožem, ki s svojim rezilom zareže way! If time were cut into very thin slivers, v ustje cveta. Lahko bi videli, kako se je we could see the flower’s encounter withe roža upirala vse do trenutka, ko je izdihnila the knife, as it pushes the blade with its ob vbodu v srce. To je zelo nenavadno. flower lips. We would be able to see that

57 Zakaj tako močno verjamem, da moški z flower resist until the moment it sighed with glavo iz šopka rož pleše? Zakaj vztrajam a cut to its heart. It’s very strange. Why do pri tem, da je roža prepolovljena? Najbolj I believe so strongly that the flower head nenavadno je, da sta podobi “rezanja rože” man is dancing? Why do I insist that the in “plešočega moškega z glavo iz šopka flower be cut? The oddest thing is, I believe rož” v bistvu ena in ista podoba. both of those images of the “flower cutting” and “dancing flower-head-man” are one and the same. Jino Park je študiral slikarstvo na hongiški Univerzi v Seulu, Južna Koreja, uprizoritveno umetnost na pariški Ecole Jino Park studied painting at Hongik Nationale Superieure d’Art v Cergyju University in Seoul, Korea, performance in video prav tako na Ecole Nationale art at Ecole Nationale Superieure d’Art Superieure d’Art v Parizu. Danes živi in Paris – Cergy, and video at Ecole National dela v Pensilvaniji v ZDA. Superieure des Arts Decoratifs in Paris. V letu 2010 je bil izbran za sodelovanje na Today, he lives and works in Pennsylvania 26. vsakoletni državni razstavi sodobne in the United States. umetnosti v galeriji Barrett Art Center In 2010 he was selected to participate in the Galleries; The Big Light Show v centru za 26th Annual National Juried Contemporary umetnost Anderson Ranch Arts Center; Art Exhibition at the Barrett Art Center projekt the Arts in the Air Project, ki ga je Galleries; The Big Light Show at Anderson organiziral Bread Board v zgradbi Clown Ranch Arts Center; the Arts in the Air Project Lights Tower podjetja PECO v Filadelfiji; organized by Bread Board at PECO’s razstava “Umetnost in okolje” v Centru za Clown Lights Tower in Philadelphia; and umetnosti Interlochen v Michiganu. the “Art and the Environment” Exhibition V svojem delu skozi risanje, video in druge at Interlochen Center for the Arts in medije opisuje tok spomina. Michigan. Njegovo delo pripoveduje zgodbo o stvareh, His work describes the flow of memory ki rastejo, živijo, umirajo in izginjajo. through drawing, video and other media. His work tells the story of things that grow, live, die and disappear.

58 Videi / Videos Melanie Beisswenger - Follow Me (Sledi mi) Noam Braslavsky - Undercover – N. B. L. (Pod krinko – N. B. L.)

Ulu Braun, Roland Rauschmeier - Maria Theresia and Arjan Brentjes - The 21st Century (21. stoletje) their 16 Children (Marija Terezija in njenih 16 otrok)

Boris Eldagsen - Spam the Musical Mihai Grecu - Centipede Sun (Sonce – stonoga)

Claudia Guilino - Abgesang, kupferfarben / Swan John Halpern - Joseph Beuys Transformer Song, coppery

60 James Higginson - TARANTULA and other Video Gavin Hodge - Zygosis: John Heartfield and the Political Abstractions (TARANTULA in druge video abstrakcije) Image (Zygosis: John Heartfield in politična podoba)

Joanna Hoffmann - Hidden Dimension (Skrita Joanna Hoffmann - Secret Life (Skrivno življenje) dimenzija)

Tony Hultqvist - North to South, Space for Memories Thomas Kutschker - Me, Myself and I in the age of (Od severa proti jugu, prostor za spomine) download (Jaz, jaz in jaz v dobi prenosov z interneta)

Marius Leneweit, Rocío Rodríguez - Field- Antal Lux - Hypnosis (Hipnoza) Records: Lasse-Marc Riek (Grünrekorder)

61 Roy Menahem Markovich - Untitled Marianna & Daniel O’Reilly - Longbridge (Nenaslovljeno)

Richard O’Sullivan - Broken Windows (Razbita Bjørn Palmqvist - ATR_1 – a trip to the end of the okna) world (ATR_1 – potovanje na konec sveta)

Michael Saup - Paradays (Rajski dnevi) Alejandro Schianchi - Untitled (Nenaslovljeno)

Jan-Peter E. R. Sonntag - Bowling – a cycle of 5 Nick Teplov, Alex Markov - Two Highways films (Bowling – cikel petih filmov) (Avtocesti)

62 François Vautier - BLADE RUNNER revisited François Vautier - ANTS in my scanner > a five >3.6 gigapixels (IZTREBLJEVALEC priredba >3.6 years time-lapse! (MRAVLJE v mojem skenerju > gigapikslov) po preteku petih let)

André Werner - Mannaka No Ie (Hiša na sredini) Zhang Biying - Sensation Series (Niz senzacij)

Zhang Biying - China (Kitajska)

63 Melanie Beisswenger (Avstrija / Austria) www.deepdreams.de

Follow Me (Sledi mi)

Video: Melanie Beisswenger Video: Melanie Beisswenger Glasba: Kevin Macleod Music: Kevin Macleod 1’ 29“, 2010 1’ 29“, 2010

Podobe in zvoki se stekajo in nemirno Images and sounds flow together, like švigajo skozi misli. Ion našega hitrega fleeting thoughts shooting through the življenja, nove urbane resničnosti, ki smo mind. A ion of our life on the fast lane, the jih oblikovali in ki nas spreminjajo. Ta new urban realities that we have shaped eksperimentalni film združuje podobe, and which reshape us. This experimental gibanje in zvok v utripajočo enoto, ki nas video combines images, movement and popelje na potovanje v neznano. sound to a pulsating unit, taking on a journey into the unknown.

Melanie Beisswenger je animatorka, režiserka in učiteljica z več kot desetimi leti Melanie Beisswenger is an animator, producentskih izkušenj na področju igranih director and educator with over a decade filmov in televizijskih oglasov. Med njene of production experience on feature films dosežke lahko štejemo animacijo likov v and TV commercials. Her credits include z oskarjem nagrajenem animiranem filmu character animation on the Academy Happy Feet (Vesele nogice), stereoskopski Award winning feature filmHappy Feet, the 3D animirani igrani filmFly Me to the Moon stereoscopic 3D animated feature film Fly (Muhice osvajajo Luno) in televizijski Me to the Moon and the BioShock Game napovednik izida igre BioShock. TV launch trailer. Po triletnem imenovanju za docentko After a 3 year appointment as Asst. na Fakulteti za umetnost, oblikovanje in Professor at the School of Art, Design and medije na Tehnološki univerzi Nanyang v Media, NTU in Singapore building their Singapurju, ter oblikovanju dodiplomskega Animation BFA curriculum and teaching študijskega programa Animacija in 3D Character Animation, Animation poučevanju predmeta Animacija tridi- Development and Film Making, Melanie menzionalnih likov, se Melanie vrača k is now returning to hands on feature film animiranim igranim filmom. animation.

64 Noam Braslavsky (Izrael/Nemčija / Israel/Germany)

Undercover – N. B. L. (Pod krinko – N. B. L.)

8’, 2008 8’, 2008

Ta film je samoterapevtski in hedonistični This film is a self-therapy ritual and obred umetnika, ki je odraščal v Izraelu bacchanalia made by an artist who grow v ateističnem duhu in se je imel za up in Israel as an atheist, and liked to internacionalista ter človeka svobodnega think of himself as an internationalist and duha, a se je v evropski družbi nenehno free spirit, but who in European society soočal z dejstvom, da je Žid. constantly found himself confronted by the fact of being Jewish. Po petnajstih letih življenja in umetniškega ustvarjanja v Nemčiji je občasno obiskoval After 15 years of living and working as Poznan, rojstno mesto njegovega dedka an artist based in Germany, he made (ta je moral zaradi nemškega državljanstva occasional visits to Poznan, the city where leta 1918 mesto zapustiti). Njegovi his grandfather was born (and had to leave poljski prijatelji umetniki so mu pokazali in 1918 because he was a German citizen). “Poznanski čudež”, sinagogo, ki so jo His Polish artist friends took him to see the nacisti leta 1941 spremenili v kopališče. “miracle of Poznan”: a synagogue which Po tem, ko je po krajšem raziskovanju the Nazis had converted to a swimming odkril, da je prav v tej sinagogi njegova pool in 1941. After brief research revealed družina molila in da je bil tukaj obrezan that it was the synagogue where his njegov dedek, se je soočil s čustvi, ki jih family used to pray and his grandfather je tlačil vse življenje: prevzela sta ga želja was circumcised, he was confronted with po spoznavanju svojih korenin in občutek feelings which he had rejected all his life: pripadnosti. V procesu samospoznavanja curiosity about his roots and a sense of je odkril, da je bila njegova židovska belonging. In a process of self-examination, identiteta sestavljena iz klišejskih he found that his Jewish identity was made predstav, s katerimi se je moral soočati largely of clichés that he had to confront v času svojega bivanja v Evropi, in ki so during his time in Europe, floating in his plavale v njegovi podzavesti, pomešane s subconscious and mixing with the anti- protipravoslavnimi klišejskimi predstavami, orthodox clichés that he had exported ki jih je prinesel s seboj iz Izraela. Spoznal from Israel. And that the path toward real je tudi, da je bila njegova pot k resničnemu knowledge of and identification with this spoznanju o židovstvu in poistovetenju memorial of Jewish life was blocked by s tem spomenikom židovskega življenja the fact that he could not believe in God or preprečena, ker ni mogel verjeti v Boga ali have nationalist feelings. razviti čustev pripadnosti narodu. eN Bi eL means in Hebrew: I have no God eN Bi eL v hebrejščini pomeni: Nimam Boga (or Noam Braslavsky’s Limitations :-). (ali Omejitve Noama Braslavskyja :-). The film was made as an video clip toa Film je nastal kot videospot k molitvi, prayer, haben-yakirli that managed to imenovani haben-yakirli, ki je postala become a pop song in the non-religious popevka v posvetni kulturi Izraela v 70. culture of 1970s Israel, comparing God’s letih 20. stoletja, in primerja božjo ljubezen love of the people of Israel to a father’s

65 do Izraelcev z očetovsko ljubeznijo do love of his darling, spoiled little son. The svojega ljubega, razvajenega sinčka. words have been changed to become Besedilo pesmi je bilo spremenjeno v a non-religious lament of detachment posvetno žalostinko o izgubi povezanosti from religion. The film is loaded with little z vero. Film je poln majhnih simboličnih symbolic gestures, and it is as unclear as potez in je približno tako nejasen, kot če a visit to a dark corner of the subconscious bi obiskali kak temačen kotiček podzavesti level of European and Jewish relations. odnosov med Evropejci in Židi. Umetnik The artist used the technique of subliminal uporablja tehniko vstavljanja 2 sličici dolgih 2 frame flashing images, one that is illegal subliminalnih sporočil, ki je v oglaševanju in advertising because it does not give the prepovedana, saj jih naši možgani sicer mind a chance to sort and filter, instead zaznajo, vendar jih ne morejo izločiti in going directly to the unconscious. filtrirati in tako neposredno vstopijo v našo podzavest. The film was made with volunteer Polish actors and financed by Volkswagen Poznan Film je nastal v sodelovanju s prostovoljnimi under the aegis of the Jewish community poljskimi igralci, finančno pa je projekt podprl of Poznan; thus, the making of this film was Volkswagen Poznan s podporo židovske not only a ritual of self-therapy for the artist skupnosti v Poznanu. Tako snemanje himself, it also contributed to the second filma ni bilo le samoterapevtski obred za generation’s process of digesting history. umetnika, temveč je s tem prispeval tudi k procesu prebolevanja zgodovine v drugi povojni generaciji. Born in Israel in 1961; 1981–1984 Art studies at the Art Academy “Bezalel”, Jerusalem/ Israel; 1985–1986 Film studies at the Rojen v Izraelu leta 1961; 1981–1984 Acadamy of Film and Theatre “Beit Zvi”: študij umetnosti na jeruzalemski Akademiji Ramat Gan/Israel; 1990–1995 Art studies za umetnost Bezalel, Izrael; 1985–1986 at the Art Academy Düsseldorf, Germany študij filma na Akademiji za film in at the video/multimedia department of Nam gledališče Beit Zvi v Ramat Ganu, Izrael; June Paik and Nan Hoover. 1990–1995 študij umetnosti na oddelku Solo exhibitions: 1998 Magic as Existential za video in multimedijo na Akademiji za Need, Tel Aviv/Israel; Hamumche umetnost v Düsseldorfu v Nemčiji, skupaj Alternative Art Space; 9 interactive z umetnikoma Namom Junejem Paikom in installations; 1996 The Freedom to Nanom Hooverjem. Choose – Systems of Manipulation, Berlin/ Samostojne razstave: 1998 Magic as Germany; Aktions Galerie Berlin-Mitte, Existential Need v Tel Avivu, Izrael; Center 12 interactive installations; 1993 Creator alternativne umetnosti Hamumche, 9 of the Worlds, Gdansk/Poland; Laznia interaktivnih instalacij; 1996 The Freedom Alternative Art Space; 15 interactive to Choose – Systems of Manipulation v installations; 1992 Shelter I, Düsseldorf, Berlinu, Nemčija; Aktions Galerie Berlin- Germany; Produzentengalerie; installation; Mitte, 12 interaktivnih instalacij; 1993 1989 Enlightened Darkness, Tel Aviv, Creator of the Worlds v Gdansku, Poljska; Israel; Zman Amiti Alternative Art Space; Center alternativne umetnosti Laznia, 15 12 installations . interaktivnih instalacij; 1992 Shelter I v Since 2003 artistic director Gallery der Düsseldorfu, Nemčija; Produzentgalerie, Künste Berlin. instalacija; 1989 Enlightened Darkness v Tel Avivu, Izrael; Center alternativne umetnosti Zman, 12 instalacij. Od leta 2003 je umetniški vodja Galerije umetnosti v Berlinu.

66 Ulu Braun, Roland Rauschmeier (Nemčija / Germany) www.ulubraun.com, www.rolandrauschmeier.com

Maria Theresia and their 16 Children (Marija Terezija in njenih 16 otrok)

31’09”, 2010 31’09”, 2010

V tem videu so predstavljene izmišljene This video work shows fictional biographies življenjske zgodbe otrok Marije Terezije. of the children of Maria Theresa. Kolonializem se sreča s skrivnostno Colonialism meets the secret enrichment obogatitvijo dunajske pitne vode z LSD- of the Viennese drinking water by LSD, and jem, cesar Jožef Havajska srajca povzroči Emperor Joseph Hawaiian shirt undermines tragično smrt svoje matere v somornici. Z the tragic death of his mother in the brackish delitvijo habsburškega aparata oblasti se water. The division of the Habsburg power ustvari brezvladje, v katerem je mogoče apparatus creates an anarchic environment ponovno ovrednotiti avstrijsko dinastijo v in which a revaluation the Austrian dynasty kontekstu globalizacije. in the context of globalization is possible.

Ulu Braun was born 1976 in Schongau, Ulu Braun se je rodil leta 1976 v Schongauu Germany. Lives and works in Berlin, v Nemčiji. Živi in ustvarja v Berlinu v Nemčiji Germany and Helsinki, Finland . in v Helsinkih na Finskem. 1996–1999 studies of Painting and 1996–1999 študij slikarstva in , University of Applied eksperimentalnega filma na Univerzi Arts with Prof. C. L. Attersee and Prof. uporabnih umetnosti pri profesorju C. L. Wolfang Herzig, Vienna, Austria . Altersee in profesorju Wolfgangu Herzigu 1999. Scholarship, Academy of Fine Arts na Dunaju v Avstriji. / Time and Space Department, Helsinki, 1999 štipendija, študij na helsinški Finland. Akademiji za likovno umetnost na katedri 2001–2006 studies of Animationfilm at za čas in prostor, Finska. the Babelsberg Film University, Potsdam 2001–2006 študij animiranega filma na Germany. Collaboration with Roland Univerzi za film Babelsburg, Potsdam, Rauschmeier as BitteBitteJaJa (BBJJ) and Nemčija. Sodelovanje z Rolandom YKON. Rauschmeierjem pod imenom BitteBitteJaJa (BBJJ) in YKON. Roland Rauschmeier was born 1974 in Augsburg, Germany. 1996–1999 studied Roland Rauschmeier se je rodil leta 1974 analitical philosophy in Munich and Berlin. v Augsburgu, Nemčija. 1996–1999 študij 1999–2004 studied Painting and graphic, analitične filozofije v Münchnu in Berlinu. concept art by professor Reneé Green and 1999–2004 študij slikanja in grafike, Marina Grcinic, Akademie der bildenden konceptualne umetnosti pri profesorju Künste Wien. Graduated in 2005. Reneéju Greenu in Marini Grcinic na Akademiji upodabljajočih umetnosti na Dunaju. Diplomiral je leta 2005.

67 Arjan Brentjes (Nizozemska / Netherlands) arjanbrentjes.nl

The 21st Century (21. stoletje)

Scenarij, režija, igra, animacija, urejanje in Written, directed, acted, animation, editing glasba: Arjan Brentjes and music: Arjan Brentjes Kamera: Klaas Pek Camera: Klaas Pek 3’30“, 2010 3’30“, 2010

V stilu propagandnih filmov iz 50. let 20. In the style of 1950’s propaganda films stoletja nam dr. De Vries pripoveduje o Dr. De Vries talks to us about present sodobnem razvoju in bližnji prihodnosti day developments, and the near future of človeštva. mankind.

Nizozemski umetnik Arjan Brentjes (*1971) Dutch artist Arjan Brentjes (*1971) worked je deloval kot slikar v letih 1996–2007. as a painter from 1996 until 2007. Then Nato je pričel snemati filme, saj nekaterih he started making video works because občutkov ni mogel izraziti na platnu. Arjan there were things he couldn’t express Brentjes gleda na aktualne dogodke skozi in his paintings. Arjan Brentjes looks at oči 12-letnega otroka, ki veliko bere stripe the current events through the eyes of a in gleda stare pustolovske in fantazijske 12 year old kid, who reads a lot of comic filme. V njegovem pogledu ni sivine med books and watches old adventure movies črnim in belim, nevarni deli sveta pa so polni and monster movies. In this vision there is razburljivih pustolovščin. Ali je to le iluzija, no gray between the black and white, and ki mu omogoči pobeg pred resničnostjo? the dangerous places of the world are filled with exciting adventures. Or is it an illusion that he can escape from reality? The Plot Thickens (Zgodba se zaplete) je razstava petih umetnikov, ki so naleteli na ta problem v svojem delu: Martijn Veldhoen, The Plot Thickens is an exhibition by five Sebastian Díaz Morales (oba iz Argentine), artists, who encounter this problem in their Sonja Wyss, Arjan Brentjes in Michael work: Martijn Veldhoen, Sebastian Díaz Coombs (Velika Britanija). Delujejo na meji Morales (Arg.), Sonja Wyss, Arjan Brentjes med filmi in razstavami. V tej predstavitvi en Michael Coombs (UK). They work on the vsak zase išče lastno pot privabljanja border between cinema and exhibitions. In obiskovalcev razstave k s filmi povezanim this presentation they each search their stvaritvam. own way to invite the exhibition audience into cinema related work.

68 Boris Eldagsen (Nemčija / Germany) www.eldagsen.com

Spam the Musical

Trenutno so posneti trije enokanalni videi, Currently three single-channel videos še več jih je v nastajanju. Vsak izmed have been produced with more to come. šestminutnih filmov ima dva dela. Prvi del je Each of the 6-minute videos is divided into ironična, privlačna interpretacija specifične two parts. The first part is an ironic, luring neželene e-pošte. Deluje kot “trojanski interpretation of a specific email spam. It konj”, v katerem se pritihotapi drugi del serves as a “trojan horse” for the second filma – “izbrisani prizor”. Ta “izbrisani prizor” part, “deleted scene”. This “deleted scene” obrne zabavo na glavo, saj ustvari podobo turns the entertainment around, creating realnosti, ki ponuja vpogled za kulise in an image of reality that looks behind the deluje kot hladen tuš v primerjavi s prvim scenes and works like a cold shower delom. compared to the first part.

1. The Lonely Girls (Osamljena dekleta), 1. The Lonely Girls, 4’39” 4’39” is based on three emails by a Russian, je nastal na osnovi treh e-pošt nekega Polish and African girl that are looking for a ruskega, poljskega in afriškega dekleta, ki boyfriend. Imagine a teenage sleepover of si iščejo fanta. Predstavljajte si pižama parti three competing girls vying for our attention. treh najstnic, ki med seboj tekmujejo, da bi The deleted scene shows a broken woman, si pridobile vašo pozornost. Izbrisani prizor a puppet on a string, moved by anonymous prikazuje zlomljeno žensko, marioneto, ki male hands, forcing her to sing a warped jo premikajo roke neznanega moškega in version of a rock song. jo silijo k prepevanju popačene različice rockovske pesmi. 2. The Lottery, 5’01” is based on one email that claims you are 2. The Lottery (Igra na srečo), 5’01” the winner of an online-lottery, promoting je nastal na osnovi e-pošte, ki vam sporoča, globalisation, the internet and the 2010 da ste zmagovalec spletne igre na srečo, ki soccer worldcup in South Africa. Imagine promovira globalizacijo, internet in svetovno a gameshow, a host on speed and asexy prvenstvo v nogometu 2010 v Južnoafriški assistant cheerfully screaming out lucky republiki. Predstavljajte si televizijski numbers. The deleted scene brings us back kviz, zadetega gostitelja in neprivlačno to reality, where the voices in our heads tell pomočnico, ki navdušeno vzklika izžrebane us that we are nothing but a loser. srečne številke. Izbrisani prizor nas odpelje nazaj v realnost, kjer nam glasovi v naših 3. The Dying Widow, 6’19” glavah govorijo, da smo navadne zgube. is based on one email by a 59 year old woman, supposedly dying of cancer and in need of your 3. The Dying Widow (Umirajoča vdova), bank account details to support “the Lord’s 6’19” good work”. The first part is an opera aria, je nastal na osnovi e-pošte 59-letne overdramatised and utilising plastic crabs, gold ženske, ki domnevno umira za rakom in bi and glitter. As a contrast, the deleted scene potrebovala podrobnosti vašega bančnega puts the viewer into the harsh environment of a računa, da s tem podprete “Gospodovo hospital deathbed. The sound of monitors and dobro delo”. Prvi del sestavlja operna machines takes over.

69 arija, ki je pretirano dramatična in vsebuje Berlin-based artist Boris Eldagsen was plastično navlako, pozlačene predmete in born 1970 in Pirmasens, Germany. He bleščice. V nasprotju s tem pa izbrisani studied philosophy and fine arts in Cologne prizor postavi gledalca v kruto bolnišnično and Mainz (Germany), Prague (Czech okolje s smrtno posteljo. V ospredje stopi Republic) and Hyderabad (India). His work zvok monitorjev in naprav. revolves around the idea of losing yourself, from the metaphysical to the erotic. Boris’ work has been shown internationally V Berlinu delujoči umetnik Boris Eldagsen in institutions such as Fridericianum je bil rojen leta 1970 v Pimasensu v Nemčiji. Kassel, Deichtorhallen Hamburg, Centre Študiral je filozofijo in likovno umetnost v of Contemporary Photography Melbourne Kölnu in Mainzu (Nemčija), Pragi (Češka), and Australian Centre for Photography in Hyderabadu (Indija). Njegovo ustvarjanje Sydney to a range of festivals and biennales se vrti okoli ideje o izgubljenosti človeka v such as the European Media Art Festival svetu, od metafizičnega do erotičnega. Osnabrück, the International Photography Borisove stvaritve so bile mednarodno Festival Leipzig, the Videonale Bonn, predstavljene v ustanovah, kot so Optica Festival Spain, Edinburgh Art Fridericianum Kassel, Deichtorhallen Festival, Athens Video Art Festival, Kuyre Hamburg, Center sodobne fotografije International Video Festival Istanbul, Melbourne in avstralski Center za Media Forum Moscow, Media Art Biennale fotografijo Sydney, kot tudi na raznih Wroclaw, Biennale Le Havre and Biennale festivalih in bienalih, kot so Evropski festival of Electronic Arts Perth. novih medijev v Osnabrücku, Mednarodni Eldagsen works as a multi-media consultant fotografski festival v Leipzigu, Videonale v and an arts lecturer at the Centre for Ideas Bonnu, španski Optica, Edinburški festival / VictorianCollege of the Arts and Music, umetnosti, Festival video umetnosti v Melbourne and the PSC Melbourne. He is Atenah, Mednarodni video festival Kuyre v represented for his collaborative practice Istanbulu, Medijski forum v Moskvi, Bienale by Yasha Young Gallery Berlin / New York. medijske umetnosti v Wroclawu, francoski Bienale Le Havre in Bienale elektronskih www.spamthemusical.com umetnosti v Perthu. Eldagsen deluje kot svetovalec za multimedijo in predavatelj umetnosti v Centru za ideje na Victorian College of Arts and Music v Melbournu in na Kolidžu fotografskih študij (PSC) v Melbournu. Poznan je po svojih sodelovanjih z Yasha Young Gallery v Berlinu in New Yorku. www.spamthemusical.com

70 Mihai Grecu (Romunija / Romania)

Centipede Sun (Sonce – stonoga)

Režija: Mihai Grecu Director: Mihai Grecu Glasba in zvok: Herman Kolgen Music/sound: Herman Kolgen Slika: Enrique Ramirez Image: Enrique Ramirez Montaža: Momoko Seto Editing/montage: Momoko Seto Produkcija: Mathematic Studio, Mihai Production: Mathematic Studio, Mihai Grecu, Arcadi, SCAM Grecu, Arcadi, SCAM

Očarljiva videopesnitev na temo A mesmerizing video poem on transforming spreminjanja pokrajin: zbirka metafor landscapes: series of metaphors of izolacije, rušenja in meja ozemlja, isolation, deconstruction and the limits of primernega za bivanje, ki ustvarijo the inhabitable territory create a unique edinstven pogled na sodobno stanje view of the contemporary environmental okolja. condition.

Opomba režiserja Director’s note

Ta projekt je nastal v povezavi z odkritjem The birth of this project is due to the pokrajine Altiplano v Čilu. Simbol izolacije discovery of the Altiplano region in je še bolj poudarjen zaradi očarljive Chile. Symbol of isolation, doubled by pokrajine in kompleksnega duhovnega the sublime landscape and the complex ozadja. Ta pokrajina je osrednji lik spiritual background, this region is the main tega filma. Predstavlja samozadosten character in the film. It represents a self- obstoj in film je portret tega obstoja. Te sufficient being, and the film is this being’s nadrealistične preobrazbe postanejo portrait. The surrealistic transformations logični podaljški veličastne nenavadnosti become a logical extension of the pokrajin. Ti kraji, znani po odsotnosti magnificent strangeness of the landscapes. kakršnekoli oblike življenja daleč naokoli, These places known for the absence of prestanejo simbolično preobrazbo, ki jim any form of life on huge distances undergo daje notranjo, abstraktno obliko življenja. a symbolic metamorphosis that provides To je geografsko, rudninsko in veličastno them an internal abstract form of life. It is a življenje, ki temelji na elementih, ki so geographical, mineral, colossal kind of life, izredno neprimerni za obstoj živih bitij. based on elements which are extremely inhospitable to biological existence.

Mihai Grecu se je rodil v Romuniji leta 1981. Po študiju umetnosti in oblikovanja Mihai Grecu was born in Romania in 1981. v Romuniji in Franciji je nadaljeval z After studying art and design in Romania umetniškim raziskovanjem v studiu and France, he has been pursuing his sodobnih umetnosti Fresnoy. Ponavljajoče artistic research at the Fresnoy Studio of se teme, kot so okolje, voda, mestno Contemporary Arts. Recurring topics such življenje in vojna, povezujejo njegovo as environment, water, city life and war celotno raziskovanje nenavadnih in articulate the whole of his exploration of podzavestnih začetkov. Ta vizualna in mysterious and subconscious beginnings.

71 pesniška popotovanja združujejo nekaj These visual and poetic trips, mix several tehnik in slogov, na katere je moč gledati techniques and styles and may be seen kot na načrt za nove podzavestno as propositions for a new dream oriented vodene tehnologije. Njegovo delo je technology. His work has been shown bilo predstavljeno na številnih festivalih in numerous film festivals (Locarno, (Locarno, Rotterdam, Festival novega filma Rotterdam, Festival of New Cinema in v Montrealu) in razstavah (“Dans la nuit, Montreal) and exhibitions (“Dans la nuit, des images” v Grand Palais, “Labyrinth of des images” at the Grand Palais, “Labyrinth my mind” v Le Cube, “Studio” v galeriji Les of my mind” at Le Cube, “Studio” at “Les Filles du Calvaire itd.). Filles du Calvaire” Gallery, etc).

Claudia Guilino (Nemčija / Germany)

Abgesang, kupferfarben / Swan Song, coppery

Ideja / realizacija: Claudia Guilino Idea / realisation: Claudia Guilino Produkcija: Parallel-vision, Berlin, 2009 Production: Parallel-vision, Berlin, 2009 Glasba: Ich geh jetzt, v izvedbi skupine Music: Ich geh jetzt performed by Einstürzende Neubauten Einstürzende Neubauten Scenarij: Blixa Bargeld, Andrew Chudy, Written by Blixa Bargeld, Andrew Chudy, Jochen Arbeit, Rudi Moser; s cenjenim Jochen Arbeit, Rudi Moser; with friendly dovoljenjem Freibank Musikverlag GmbH permission of Freibank Musikverlag GmbH Na umazanih oknih republiške palače vzhodnoberlinski TV stolp odseva poslednji In the messy windows of the Palace of ples te zgradbe kot tudi celotnega, z the Republic the East Berlin TV Tower njim povezanega režima. S spremljavo is reflecting the building’s death dance pesmi skupine Einstürzende Neubauten – and so that of the whole associated (Collapsing New Buildings). regime. Accompanied with a song from the Einstürzende Neubauten (Collapsing New Buildings). Kot grafična oblikovalka in oblikovalka spletnih strani je Claudia Guilino začela obiskovati predavanja o filmih med Working as a graphic and webdesigner dvoletnim bivanjem v New Yorku leta CG started filmclasses during a 2 year 2000. Od takrat je posnela različne long stay in New York in 2000. Since then eksperimentalne kratke filme, videe in various experimental shortfilms, video and dokumentarne filme. docus.

Izbrana filmografija: Sugar and Air (2001), Filmograpy (Selection): Sugar and Air A Seadragons Dream of Love (2002), (2001), A Seadragons Dream of Love Härtetest (2006), Transit (2007). (2002), Härtetest (2006), Transit (2007).

72 Muhammad Hafiz Wan Rosli (Malezija / Malaysia) muhammadhafiz.com

Designatum

Interaktivna instalacija Interactive installation (video dokumentacija) (video documentation)

Designatum je interaktivna instalacija, ki Designatum is an interactive installation, potrebuje vložek uporabnika, da izgradi using input from users to build random naključna prostorska omrežja iz nekakšne spatial networks out of its web-like internal notranje mrežne strukture. Ko uporabnik structure. As a user enters a sentence (via vnese stavek (preko priključene tipkovnice), the attached keyboard), a microcontroller mikrokontrolor obdela podane informacije: processes their given information: stavek razdeli na posamezne besede. breaking the sentence into its individual Nato premeša besede in ustvari nov words. It then scatters the words within naključen vzorec iz elektroluminiscentnih itself, creating a new and random pattern žic, ki povezujejo zaslone LCD, na of electro-luminescent wires, connecting katerih so prikazane besede iz izvornega the LCDs displaying the words of their stavka – prvotni kontekst je zastarel in original sentence — the original context zavržen. V stanju odsotnosti Designatum is discarded as obsolete. When idle, samodejno kroži med naključnim Designatum cycles automatically between svetlikanjem in usmerjenim križanjem a random flickering and a directed traversal elektroluminiscentnih žic, kar ustvari of the electro-luminscent wires — creating vizualni učinek, ki pritegne pozornost a visual interest that attracts the users’ uporabnika. attention.

Linearna pripovedka, ki jo je ustvaril The linear narrative created by the user uporabnik, je razdelana, njen prvotni pomen is deconstructed, it’s initial meaning and in kontekst pa se izgubita. Z naključnim context withdrawn. Randomly generating a ustvarjanjem prostorske skladnje, ki je spatial syntax illuminated by the connectivity razsvetljena s povezanostjo med besedami between the displayed words, Designatum na zaslonu, daje Designatum dokaz o illustrates a manifestation of cyberspace. obstoju kibernetičnega prostora. S tem, ko As cyberspace draws symbolic patterns kibernetični prostor prevzema simbolične from random connections between the vzorce iz naključnih povezav med besedami words and symbols we use in daily life, in simboli, ki jih uporabljamo v vsakdanjem Designatum dares us to find new meanings življenju, nas Designatum poziva k iskanju in our deconstructed sentences. novih pomenov naših razdelanih stavkov. Designatum shows us that meaning Designatum nam prikazuje, da lahko obsta- can exist in the arbitrary connections ja pomen v poljubnih povezavah med našimi between our symbols, independent from simboli, neodvisno od njihove kontekstne their contextual arrangement. Our words ureditve. Naše besede so kvantni simboli, are quantum symbols, signifiers, given označevalci, z danim pomenom samo, meaning only when observed: creating kadar jih proučujemo: ustvarjajo koncepte, concepts that only exist while pausing ki obstajajo samo, kadar se za nekaj časa beside our physical reality. ustavimo ob naši fizični realnosti.

73 Muhammad Hafiz Wan Rosli je leta 2010 MFA 2010 Computer Art School of Visual dokončal magistrski študij likovne umetnosti Arts, NY, BFA 2007 New Media Universiti na fakulteti Computer Art School of Visual Sains Malaysia, Penang, Malaysia, Area Arts v New Yorku, 2007 je diplomiral iz of specialization: Interactive Installation; likovne umetnosti na New Media University Awarded full scholarship (masters Sains Malaysia, Penang, področje degree) by the Ministry of Higher specializacije: interaktivna instalacija; Education (Malaysia) Awarded the Paula štipendija za doktorat malezijskega Rhodes Memorial Award for outstanding Ministrstva za visoko šolstvo, nagrada achievement by SVA. Paula Rhodesa za posebne dosežke, ki 2008–2010 Library Manager (School of jo podeljuje SVA (Fakulteta za vizualne Visual Arts – MFACA). umetnosti). 2009 Production Assistant (Federico 2008–2010 vodja knjižnice na Fakulteti za Muelas INC), assists Federico Muelas vizualne umetnosti (MFACA). in his public art piece (Flor Azul) for the 2009 pomočnik producenta (Federico George Pearl Hall Building, School of Muelas INC), pomaga Federicu Muelasu pri Architecture and Planning at the University nastajanju dela javne umetnosti (Flor Azul) of New Mexico, Albuquerque. za stavbo George Pearl Hall Building, Šole 2009 3D Artist Internship (Tiny Mantis za arhitekturo in načrtovanje na Univerzi Entertainment); provides the team with New Mexico, Albuquerque. concept art for upcoming games, and as a 2009 praksa na področju 3D tehnologije game tester. (Tiny Mantis Entertainment); ekipi 2007–2008 3D Artist (Asia Pacific Videolab); predlaga umetniške koncepte prihajajočih worked with a group of animators and računalniških iger, preizkuša igre. offline/online editors. 2007–2008 umetnik na področju 3D tehnologije (Asia Pacific Videolab); sodeluje s skupino animatorjev in z uredniki spletnih in tiskanih publikacij.

74 John Halpern (ZDA / USA) www.beuysfilm.com

Joseph Beuys Transformer

Režija, produkcija: John Halpern Director, producer: John Halpern Izvirna glasbena podlaga: Original score: Michael Galasso Michael Galasso Video design concept: Les Levine Koncept oblikovanja videa: Les Levine 60’, 1988 60’, 1988 In Transformer, one of the greatest legends V filmu Transformer, Joseph Beuys, of contemporary art, avant-garde German avantgardni nemški umetnik in eno največjih artist Joseph Beuys, speaks in great imen sodobne umetnosti, prvič in zadnjič depth for the first and last time, about his podrobno spregovori o svoji edinstveni unique sculpture and actions. Filmed on tehniki kiparjenja in delih. Film je bil location at his spectacular 1979 New York posnet leta 1979 na njegovi spektakularni Guggenheim Museum exhibition, Beuys newyorški razstavi v muzeju Guggenheim, leads the viewer through a private tour of kjer Beuys pelje gledalca na zaseben his personal life and its relationship to his ogled njegovega osebnega življenja in controversial works, aesthetic and political njegovega odnosa do svojih kontroverznih theories and actions. We experience how del, estetskih in političnih teorij ter dejanj. his life changed when the Russians shot Občutimo lahko, kako se je njegovo down his German fighter plane during World življenje spremenilo, ko so Rusi razstrelili War II and hear his philosophy and candid njegovo nemško bojno letalo v času druge opinions about mankind, ecology and the svetovne vojne in slišimo njegovo filozofijo state of the world. In the documentary, in odkrita mnenja o človeštvu, ekologiji in Beuys takes film director John Halpern stanju v svetu. V dokumentarnem filmu on a journey through his artworks, as he popelje Beuys režiserja Johna Halperna na personally installs and narrates the most potovanje skozi svoja umetniška dela, kjer complete and intricate assembly of his work pred kamero sam postavi in pripoveduje o to date before the camera. Beuys’ unique najbolj dodelani in zapleteni zbirki svojih statements and intimate thoughts about del do tedaj. Beuyseve edinstvene izjave his life and work form a highly unusual, in intimne misli o njegovem življenju in delu compelling and dynamic portrait. oblikujejo izjemno nenavaden, očarljiv in energičen portret. “Halpern adapted Video Technology to Beuys’ Theories on Aesthetics, Politics “Halpern je prilagodil video tehnologijo and Spirituality to Create a Sensational Beuysovim teorijam estetike, politike in Visual Adventure.” (Dr. Harold Szeemann, duhovnosti, da je ustvaril senzacionalno Director, Venice Biennale) vizualno pustolovščino.” (Dr. Harold Szeemann, vodja Beneškega bienala) “This Documentary Captures the World of an Artist at the Pinnacle of His Fame.” “Ta dokumentarec je zajel svet umetnika na (Forrest Spencer, N.Y. Times All Movie vrhuncu njegove slave.” (Forrest Spencer, Guide, 2007) N.Y. Times All Movie Guide, 2007)

75 John Halpern snema dokumentarce, živi in John Halpern is a documentary filmmaker dela v New Yorku. Sodeloval in snemal je s living and working in New York City. He priznanimi umetniki in filmskimi ustvarjalci, has collaborated with and filmed renowned kot so Jospeh Beuys, Martin Scorsese, artists and filmmakers like Joseph Beuys, Oliver Stone, Bernardo Bertolucci in Les Martin Scorsese, Oliver Stone, Bernardo Levine. Osvojil je nagrade švicarske vlade Bertolucci, and Les Levine. He’s won in priznanja s strani New York Council awards from the Swiss government and on the Arts, Migros Culture Percentage, grants from the New York Council on the fundacij Merian Foundation, Harlekin Arts, the Migros Culture Percentage, Foundation in Cultural Departments iz the Merian Foundation, Harlekin Arts Berna in Basla, v Evropi, sponzoriral pa Foundation and the Cultural Departments ga je tudi New York Foundation for the Arts of Bern and Basel, in Europe, and is (NYFA) iz Manhattna. sponsored by New York Foundation for the Arts (NYFA) in Manhattan.

James Higginson (ZDA/Nemčija / USA/Germany)

TARANTULA and other Video Abstractions (TARANTULA in druge video abstrakcije)

16’53“, 2010 16’53“, 2010

Ameriški umetnik James Higginson American artist, James Higginson presents predstavlja svoje video kompozicije his video abstractions together under pod skupnim imenom TARANTULA. the title TARANTULA. Each abstraction Vsaka kompozicija raziskuje prostor explores a space between contrasting, med kontrastnimi, zrcalnimi elementi, mirrored elements conjuring visuals ki pričarajo podobe, ki spominjajo na reminiscent of imagined insects, arachnids, izmišljene žuželke, pajke ali nezemljane iz or aliens from a real or imagined time. resničnega ali izmišljenega časa.

James Higginson (*1957) lives and works James Higginson (*1957) živi in dela v Los in Los Angeles, California and Berlin, Angelesu v Kaliforniji in Berlinu v Nemčiji. Germany. Svojo publiko sooča in draži s podobami, Confronts and provokes his audience ki razkrivajo še neizrečeno v današnjem using images that Reveal the unspoken of svetu, sveto in posvetno, duhovno in today¹s world, the sacred and the profane, materialno. the spiritual and the material.

Higginsonova umetniška dela so bila Higginson’s artworks have been exhibited razstavljena v ZDA, Evropi in Aziji. Med in the US, Europe, and Asia. drugim tudi v C/O Berlin, muzeju Ernst Including, C/O Berlin, Ernst Museum, Museum v Budimpešti in muzeju Sala Budapest, and Sala Museale del Museale del Baranacca v Bologni, Italija. Baranacca, Bologna, Italy.

76 Gavin Hodge (Velika Britanija/Nemčija / UK/Germany)

Zygosis: John Heartfield and the Political Image (Zygosis: John Heartfield in politična podoba)

Režija: Gavin Hodge Director: Gavin Hodge Producent: Tim Morrison, Gorilla Tapes Producer: Tim Morrison, Gorilla Tapes Produkcija: British Film Institute (BFI) v A British Film Institute (BFI) production in sodelovanju s televizijsko postajo Channel association with Channel Four television, Four 26’, 1991 26’, 1991 The dictionary definition of “Zygosis” with Slovarska definicija zigoze, s katero Gavin which Gavin Hodge and Tim Morrison begin Hodge in Tim Morrison začenjata film o their video about the photomontage artist umetniku fotomontaže Johnu Heartfieldu, John Heartfield, refers to a term drawn from uporablja pojem, ki izhaja iz biologije in biology, describing the process by which označuje proces, v katerem se združita oz. two separate elements are united or yoked povežeta dva ločena elementa in skupaj together to form a new whole. In a similar tvorita novo celoto. V podobnem smislu spirit, Hodge and Morrison’s tape attempts poskuša Hodgeov in Morrisonov posnetek to marry video art and TV documentary, združiti video umetnost in televizijski and operates (mostly) successfully on both dokumentarni slog, kar mu (večinoma) of these levels. uspeva na obeh ravneh.

Gorilla Tapes was the collective name of Gorilla Tapes je skupno ime britanskih British Scratch Video artists Jon Dovey umetnikov, Jona Doveya (*1955), Gavina (*1955), Gavin Hodge (*1954) and Tim Hodgea (*1954) in Tima Morrisona Morrison (*1955). “Scratch” is the art of (*1955), ki ustvarjajo video kolaže. Kolaž “sampling” and repeating found images je umetnost vzorčenja in ponovne uporabe and sounds, thereby making a new work. najdenih podob in zvokov, s čimer nastane With simple video editing equipment and novo delo. S preprosto opremo za urejanje images recorded from television, during posnetkov in slik, posnetih s televizije, je the mid 1980’s Gorilla Tapes made sharp skupina Gorilla Tapes v osemdesetih letih satirical and political videos collaged from prejšnjega stoletja ustvarila ostre satirične old film footage and the TV news imagery of in politično obarvane posnetke iz arhivskih the mid-Thatcher years. Gorilla Tapes have posnetkov in posnetkov televizijskih poročil exhibited internationally in solo and group iz sredine let vlade Margaret Thatcher. exhibitions. Highlights include participation Člani skupine Gorilla Tapes so razstavljali in Tate Britain’s A Century of Artists Films v mnogih državah, tako na samostojnih kot (2003). Gorilla Tapes was founded in na skupinskih razstavah. Višek njihovega 1984 by Gavin Hodge, Tim Morrison, John delovanja je bila udeležba v galeriji Tate Dovey and Jean McClements, to develop Britain na retrospektivi A Century of Artists innovative approaches to the artistic use Films leta 2003. Skupino Gorilla Tapes of Video in entertainment, documentary so leta 1984 ustanovili Gavin Hodge, Tim and dramatics forms. Their first production Morrison, John Dovey in Jean McClements Death Valley Days pioneered and z namenom razvijati inovativne pristope developed the editing style and techniques k umetniški rabi posnetkov v zabavni, of Scratch Video.

77 dokumentarni in dramski obliki. Njihov prvi They have since produced programmes izdelek Death Valley Days je bil pionirski ranging through non-broadcast, corporate izdelek in je razvil slog urejanja in tehnike and educational videos to magazine video kolažev. strands, drama, arts, documentary and Od takrat naprej so ustvarili programe, ki entertainment programmes for the BBC, segajo od neobjavljenih in izobraževalnih ITV, Sony, Channel Four, The British Film videov do vrste revij, dramskih, umetniških, Institute and the former Greater London dokumentarnih in zabavnih programov za Council. BBC, ITV, Sonny Channel Four, Britanski filmski inštitut in nekdanji Greater London Council.

Joanna Hoffmann (Poljska / Poland)

Hidden Dimension (Skrita dimenzija)

Glasba: Yashas Shetty Music: Yashas Shetty 11’42”, 2010 11’42”, 2010

Po teoriji superstrun, ki predstavlja up According to the superstring theory – the sodobne fizike, ima naš svet več dimenzij, hope of contemporary physics – our world zmanjšanih do subatomskih razsežnosti contains extra dimensions, compactified in nevidnih naši prostorski zaznavi. to the subatomic level and hidden from Potemtakem naša telesa vsebujejo our 3D perception. Then, our own bodies dimenzije, nedostopne našim zaznavam. may carry dimensions inaccessible to our Smo prostori, sestavljeni iz različnih svetov. perception; we are spaces comprising Hidden Dimension (Skrita dimenzija) manifold universes. Hidden Dimension ponuja navidezno potovanje skozi enega offer an imagery journey through one of izmed teh svetov. them.

Ena sama beljakovinska molekula postane Here a single protein molecule becomes a mehurček prostora in časa; makro se spoji bubble of space and time; macro merges s podatomskim, znanstveno z vsakdanjim, with subatomic, scientific with everyday, razumno s čutnim. Besedilo v filmu rational with intuitive. The text used in the predstavlja delček pesniškega dela Ocean film is a fragment of Ocean of Forms by of Forms Rabindranatha Tagoreja. Rabindranath Tagore.

“Potopim se v globine / oceana mnogih “I dive down into the depth / of the ocean of oblik / v upanju, da najdem popoln biser / forms/ hoping to gain the perfect pearl / of brez oblike./ (...) In sedaj / si želim / umreti the formless./ (…) And now / I am eager / / v nesmrtnosti.” to die / into the deathless.”

78 Joanna Hoffmann (Poljska / Poland)

Secret Life (Skrivno življenje)

Glasba: Dave Lawrence Music: Dave Lawrence 11’, 2008 11’, 2008

Film se dotakne skrivnostnosti življenja, The film touches the mystery of life that ki združuje mikro in makro ravni našega brings together micro and macro levels vesolja. Nanaša se na iskanje življenja v of our Universe. It refers to the quest for nam najbližjih in najbolj oddaljenih okoljih. life in our closest and far off environments. V pesniškem smislu Secret Life (Skrivno In a poetic way, Secret Life combines življenje) združuje mikro in makro podobe micro and macro images with everyday z vsakdanjimi izkušnjami, znanstvene experiences, scientific data with personal podatke pa z osebnimi opažanji. Filmsko observations. The soundtrack composed glasbo je zložil Dave Lawrence in vključuje by Dave Lawrence uses among others posnetke iz italijanskega observatorija material from the Neutrino Mediterranean Neutrino Mediterranean Observatory in Observatory, Italy and Whale & Seabird kanadskega centra za raziskovanje kitov Research Station Inc. New Brunswick, in morskih ptic Whale & Seabird Research Canada. Station Inc. iz New Brunswicka. The life is full of secrets but the biggest Življenje je polno skrivnosti, a največja med secret is the life itself. We have been njimi je življenje samo. Na našem malem scrutinizing it on our small planet and planetu smo jo temeljito preiskovali in jo looking for it beyond the Sky. iskali visoko nad nami.

Joanna Hoffmann lives in Berlin and Joanna Hoffmann živi v Berlinu in Poznanu. Poznan. She is a professor (Dr hab) at the Je habilitirana profesorica na Univerzi za University of Arts in Poznan, Poland. umetnost v Poznanu na Poljskem. Author of 25 solo shows among others at: Avtorica petindvajestih samostojnih the Centre for Contemporary Art in Warsaw; predstav, med drugim v: Centru za sodobno Kingsgate Gallery in London; Commercial umetnost v Varšavi, Kingsgate Gallery v Gallery in London; Potocka Gallery in Londonu, Commercial Gallery v Londonu, Cracow; Labyrinth State Gallery in Lublin Potocka Gallery v Krakovu, Labyrinth State (Poland); XX1 Gallery Warsaw; OBF Gallery v Lublinu (Poljska), XX1 Gallery Gallery, Monterrey (Mexico); Bereznitsky v Varšavi, OBF Gallery v Monterreyu Gallery in Berlin. (Mehika), Bereznitsky Gallery v Berlinu.

79 Tony Hultqvist (Švedska / Sweden) www.tonyhultqvist.se

North to South, Space for Memories (Od severa proti jugu, prostor za spomine)

Režija: Tony Hultqvist (Fabel) Directed by: Tony Hultqvist (Fabel) Produkcija: Fabell Kommunikation v Production by: Fabel Kommunikation in sodelovanju s Compagnia Rodisio in Atelier colaboration with Compagnia Rodisio and Culture Projects in s podporo Evropske Atelier Culture Projects, supported by kulturne fundacije (ECF) European Cultural Foundation (ECF)

Pripovedi se borijo za našo pozornost. The narratives compete for our attention. Zavedno ali nezavedno potujejo kot trosi Consciously or unconsciously they travel med mislimi razsvetljenega državljana. like spores between the minds of the Soseske v Italiji, na Malti in na Švedskem enlightened citizen. The neighbourhood of se spojijo v eno in zgodba se nadaljuje v Italy, Malta and Sweden merge into one as neskončnost. the never-ending story continuous.

Tony Hultqvist je zaposlen kot umetniški Tony Hultqvist works as artistic director vodja pri Fabel Kommunikation. Ukvarja at Fabel Kommunikation. He works with se s fotografijo, 3D animacijo in grafičnim photo, 3-D animation and graphic design. oblikovanjem. Ima znanje s področja He is educated within the field of fine arts likovne umetnosti, ki jo je študiral na Wiks at the Wiks Folkhögskola. Folkhögskola. www.fabel.se www.fabel.se www.atelierculture.com www.atelierculture.com www.rodisio.it www.rodisio.it

80 Thomas Kutschker (Nemčija / Germany) filmischesberlin.de

Me, Myself and I in the age of download (Jaz, jaz in jaz v dobi prenosov z interneta)

4’14”, 2010 4’14”, 2010

Me, Myself and I in the age of download Me, Myself and I in the Age of Download (Jaz, jaz in jaz v dobi prenosov z is an entertaining exercise researching interneta) je zabaven projekt, ki se ukvarja on the phenomena of digital copying and z raziskovanjem pojava digitalnega downloads from the Internet. Video was kopiranja in prenosov z interneta. Film je presented in 2010 at European Media Art bil predstavljen leta 2010 na Evropskem Festival, Osnabrück, 6th MIT European festivalu novih medijev v Osnabrücku, Short Film Festival, Boston (USA) and 19th 6. evropskem festivalu kratkega filma na Document Art, Neubrandenburg. Tehnološkem inštitutu Massachusettsa v Bostonu (ZDA) in na 19. Dokument Artu v Neubrandenburgu. Born in 1963 in Mannheim (Germany) A-level apprenticeship in photography; Lette-Verein, Berlin professional freelance Rojen leta 1963 v Mannheimu, Nemčija. photographer working in the film business Najvišja raven praktičnega fotografskega as electrician, camera assistant and usposabljanja v poklicno-izobraževalnem camera man film projects as director and centru Lette-Verein v Berlinu. Je poklicni d.o.p. (documentary and experimental samostojni fotograf. Delal je v filmski films), freelance cameraman for cinema industriji kot električar, pomočnik snemalca and TV. in snemalec. Režiser in direktor fotografije Diploma in Audio Visual Medias; 1996 First pri filmskih projektih (dokumentarni film in Prize of the state governement for young eksperimentalni film), samostojni snemalec directors and DOP ́s stipendium for artists za film in televizijo. by the state governement. Diplomiral je na področju avdio-vizualnih Postgraduate study at the Academy of medijev; 1996 prva nagrada zvezne države Media Arts / Cologne. za mlade režiserje in direktorje fotografije, Lectures about film theory and documentary štipendija za umetnike, ki jo podeljuje film at the Humboldt-Universitiy in Berlin, zvezna država. University of arts, Berlin, Academy of Podiplomski študij na Akademiji za me- Arts, Düsseldorf and at the FH Dessau dijske umetnosti v Kölnu. (Bauhaus). Predava teorijo filma in dokumentarnega filma na Humboldtovi univerzi v Berlinu, Univerzi za umetnost v Berlinu, na Akademiji za umetnost v Düsseldorfu in na fakulteti FH Dessau (Bauhaus).

81 Marius Leneweit, Rocío Rodríguez (Venezuela)

Field-Records: Lasse-Marc Riek (Grünrekorder)

Mešalec zvoka: Jim Colominas Sound mix: Jim Colominas 13’11”, 2009 13’11”, 2009

...niland 1 nastane na mestu, ki ločuje ...niland 1 is built on the separating line of vodo in zrak, katerega središče je človek both water and air, the center of which is v postopku preoblikovanja z dvigovanjem the man in adaptation by a rise of the sea morske gladine. level.

...niland 1 oblikuje nove pokrajine na morju ...niland 1 builds new landscapes on the med vodo in vrtinčenjem tornadov, kjer sea between water and tornades currents, poteka bitka za zrak, ki jo prekine silovit a fight for air being interrupted by a mere dvig morske gladine, pri čemer zasije rise of the water level, allowing the shining vodna površina. ...niland nerazumno of the water surface line ...niland 1 tells pripoveduje skozi slike in nam pusti, da si unreasonably through pictures, lets us oblikujemo lastne predstave o dogodkih ter imagine events, persists on searching and tako vztraja pri iskanju in ostaja nejasen. remains uncertain.

Marius Leneweit je rojen leta 1975 v Marius Leneweit was born in 1975 in Hamburgu, Nemčija. Diplomiral leta 2006 Hamburg, Germany. Graduated in 2006 na Univerzi Lüneburg, na katedri za in Universität Lüneburg, Department uporabne družbene študije v Lüneburgu, of Applied Social Studies, Lüneburg, Nemčija. Izbrana dela: uprizoritev Mensch Germany. Selected works: Mensch Erde, Erde, Brodner Ufer, Nemčija; Über-Ich, Performance, Brodner Ufer, Germany; analiza S. Freuda, Hamburg, Nemčija; Über-Ich, Analysis S.Freud, Hamburg, Scuola, integracijski projekt, Hamburg, Germany; Scuola, Integration Project, Nemčija. Hamburg, Germany.

Rocío Rodríguez je rojena leta 1979 v Rocío Rodríguez was born in 1979 in Caracasu, Venezuela. Caracas, Venezuela. 2005 magistrski študij digitalnega 2005 MA in Digital Performance, performansa na Univerzi Doncaster University Doncaster College, UK; 2000 College, Velika Britanija; 2000 študij Video studies, Centro de Estudios Punt videa na fakulteti Centro de Estudios Multimedia, S.G.A.E, Spain; 1996 Dance Punt Multimedia, S.G.A.E, Španija. 1996 diploma, Escuela Ballet Arte, Venezuela. diploma iz plesa na fakulteti Escuela Ballet Awards 2009 Entre aigua 1 GRUP CASSA Arte, Venezuela. 2009 nagrada Entre aigua FUNDACIO. 1 GROUP CASSA FUNDACIO.

82 Antal Lux (Madžarska / Hungary)

Hypnosis (Hipnoza)

3’50”, 1993–2004 3’50”, 1993–2004

Moja desna roka je zelo, zelo težka. My right arm is heavy, really heavy. Vse je popolnoma tiho in sproščeno. Completely quiet and relaxed. Osredotočen sem na desno roko, ki je zelo, My attention is in my right arm and my right zelo težka. arm is heavy, really heavy. Pozornost preusmerim z desne roke na I draw my internal attention from my right levo roko. Čutim levo roko, ki počiva na arm to my left arm I perceive my left arm naslonjalu ali mojem stegnu. and can feel my left arm lying on the Moja leva roka je zelo, zelo težka. armrest or on my thigh. Moja leva roka je tako neverjetno težka. My left arm is heavy, really heavy. Sem popolnoma miren in sproščen. My left arm is heavy, absolutely heavy. Moja desna roka je zelo, zelo težka. I am completely calm and relaxed. My right arm is heavy, really heavy. Vsi ljudje imamo notranjo potrebo, da se osvobodimo vseh vrst dela in potrebe po All human beings have an urgent need to odgovornem odločanju. free themselves from all kind of action and from the necessity to make responsible Ker ta potreba v vseh ljudeh ni enako decisions. razvita (oziroma enako dobro ohranjena), je nekatere od nas lažje hipnotizirati, drugi Because this need is not as developed (or se hipnozi predajo le deloma, tretjih pa as well preserved) in every one, some of sploh ni mogoče hipnotizirati. us are more easily hypnotized, while others surrender only superficially to the hypnosis Hipnoza ima terapevtsko moč. Znotraj and some cannot be hypnotized at all. “varnega prostora”, ki je hermetično zaprt in ločen od svetlobe in zunanjega sveta, Hypnosis has therapeutic elements. Inside oseba sedi pred zaslonom. the “Safe“ – in this hermetically sealed space away from all light and the outside Po eni strani se v opazovalcu ustvarja world – person is sitting opposite the napetost zaradi ujetosti v temnem zaprtem monitor. prostoru, po drugi strani pa se z ogledom videa in recitiranja besedila doseže On one hand the room produces tension in absolutna sprostitev. Neskladje med a viewer due to the dark and closed space, obema stanjema opazovalca postavi v while on the other hand absolute relaxation posebno čustveno stanje. will be achieved by watching the video and reciting the text. This discrepancy between two opposite dispositions puts the viewer in a unique emotional state.

83 Rojen 1935 v Budimpešti; 1956 zbeži v Born in 1935 in Budapest; 1956 fled to Nemčijo; 1960–65 študira slikarstvo in Germany; 1960-65 studied painting and grafiko na Akademie der Bildenden Kün- graphics at the Akademie der Bildenden ste, Stuttgart; od 1960 razstavlja in sodeluje Künste, Stuttgart; from 1960 exhibitions na festivalih; od 1980 umetniško ustvarja and festival participation; from 1980 na področju videa in slikarstva; živi in dela artistic work at the same time as video and v Berlinu. painting; lives and works in Berlin.

Roy Menahem Markovich (Izrael / Israel)

Untitled (Nenaslovljeno)

4’30”, 2010 4’30”, 2010

Nekaj “mini prizorov konca sveta” zbranih Several “Mini End of the World” scenes are na enem mestu. Katastrofe – majhne brought together into one place. Desasters in neželene nesreče, ki se vam lahko – small and annoying accidents – things that pripetijo na počitnicah. Vse je narejeno iz might happen to your vacation. Everything cenenih materialov. Reči so zgrajene, da is made of cheap materials. Things built to se zrušijo. collapse.

Rojen leta 1979. Živi in dela v Tel Avivu Born in 1979. Lives and works in Tel in Berlinu. Diplomiral je na Fakulteti za Aviv and Berlin. He is a graduate of umetnost Hamidrasha na kolidžu Beit Berl “Hamidrasha school of art” – Beit Berl v Izraelu. Med mesta njegovih razstavnih college, Israel. Among his exhibition’s dosežkov štejemo galerijo Tate Modern credits are the Tate Modern – London, v Londonu, muzej sodobne umetnosti museum of contemporary art – Barcelona, v Barceloni, Moskovski bienale 2009, Moscow Biennale 2009, Israel museum izraelski muzej sodobne umetnosti, muzej of contemporary art, Herzliya museum of sodobne umetnosti Herlzilya, ART-TLV contemporary art, ART-TLV 2008, JULI.M 2008, galerijo JULI.M Tel Aviv in Center gallery Tel Aviv and CCA Tel Aviv. He sodobne umetnosti CCA Tel Aviv. Sodeloval participated in video, cinema and music je na video, filmskih in glasbenih festivalih v festivals in Barcelona, New York, Torino, Barceloni, New Yorku, Torinu, Thessaloniki Thessaloniki and more. And won the in drugih. V študijskem letu 2006/2007 je Sharett Fund Scholarship (The Israel – dobil štipendijo Sharret Fund Scholarship America Cultural Fund) 2006/7 and the izraelsko-ameriškega kulturnega sklada in Haifa university – “anonymous exhibition” štipendijo “neznana razstava” Univerze v scholarship. Haifi.

84 Marianna & Daniel O’Reilly (Velika Britanija / UK) mariannaanddaniel.co.uk

Longbridge

Inštitut za filmske in video študije, The Institute of Film and Video Studies Kopenhagen Copenhagen 15’, 2009 15’, 2009

“Karkoli je popolno, ne dopušča “Whatever is perfect suffers no dokazov ...” witnesses ...”

Copenhagen, na dan Sv. Jurija, 2008. Copenhagen, St George’s Day 2008. The Na Inštitutu za filmske in video študije so Institute of Film and Video Studies produced posneli dokumentarni film o skrivnostnem a documentary about a mysterious case primeru požiga, ki je na nek način of arson somehow connected to the povezan z naključnim srečanjem treh coincidental encounter of three individuals posameznikov na znamenitem mestu v at the famous landmark of Longbridge. Longbridgeu. Dokumentarni film prikazuje The documentary presents original footage izvirne posnetke z edinega preostalega from the only surviving piece of evidence-a dokaznega materiala – videokasete, ki video tape recorded by the arsonist who jo je posnela požigalka. Ta je dolga leta was compiling a video archive spanning dopolnjevala arhiv posnetkov osebnih years of private surveillance of the citizens nadzorov prebivalcev Kopenhagna. of Copenhagen.

“Tukaj smo, da interpretiramo film, ki ga “We were brought in to interpret the video je posnela gospa Sørensen, saj se je created by Madam Sørensen because ta upirala prizadevanjem policistov, da she was apparently resisting efforts by the poda motiv za svoj zločin. Preučili smo police to extract a motive for her crime. posnetke njenih izjav in ugotovili, da je Having studied the tapes of her deposition podrobno opisala, kako je zanetila požar, she explained at length how she started vendar ni nikjer omenila, zakaj je to the fire, but at no point did she say why she storila. Prav tako je bila skopa pri razlagi did it. She was also very frank in explaining svojega dela s kamero, kako je ponaredila her activities with the video camera; how osebne dokumente, podpise in črke, kako she forged identity papers, signatures, je pod krinko zasledovala ljudi, mnoge and letters; how she used disguises to celo zavajala, da bi zavarovala posnetke, follow people about – even seducing a vendar pa na vprašanje zakaj je vse to number of people to secure footage, but storila, ponovno nismo dobili odgovora. Ne when asked ‘why’ she did it, again there morem si misliti drugega kot to, da je bilo was no answer. I can’t help thinking that pomanjkanje motiva na nek način večjega this absence of motive was in some way pomena zanjo kot za policijo.”* of greater significance to her than it was to the police.”* * Del intervjuja z Inger Lund, višjo predavateljico postfeminističnih študij * Taken from an interview with Inger Lund, na Inštitutu za filmske in video študije v Senior Lecturer in Post-Feminine Studies, Kopenhagnu. Institute of Film and Video Studies, Copenhagen.

85 Marianna O’Reilly: Marianna O’Reilly: 1999–2002 dokončan magistrski študij 1999–2002 Royal Academy Schools, likovne umetnosti na Royal Academy London, Postgraduate Diploma in Fine Art Schools, London. 1996–1999 University of Brighton, BA 1996–1999 diploma druge stopnje, (Hons) Fine Art Painting (First Class) pridobljena na Univerzi v Brightonu, diploma prve stopnje iz slikarstva. Daniel O’Reilly: 2001–2002 Chelsea College of Art and Daniel O’Reilly: Design, London, MA Fine Art 2001–2002 študij magisterija likovne 1998–2001 Winchester School of Art, umetnosti na Kolidžu za umetnost in Winchester, BA (Hons) Fine Art (First oblikovanje, Chelsea, London. Class) 1998–2001 diploma druge stopnje na Fakulteti za umetnost v Winchestru, Exhibitions (selection): diploma prve stopnje iz likovne umetnosti. 2010 Izbor razstav: ‘Mediations Biennale’, ConcentArt, Berlin, Germany 2010 ‘New Media, Sex, and Culture in the 21st ‘Mediations Biennale’, ConcentArt, Berlin, Century’, Museum of New Art, Detroit, Nemčija USA ‘New Media, Sex, and Culture in the 21st ‘Freedom Sparks Video Festival’, Visual Century’, Muzej novih umetnosti, Detroit, Voice Gallery, Montreal, Canada ZDA ‘AVI Film and Video Festival’, Podgorica, ‘Freedom Sparks Video Festival’, Galerija Montenegro Visual Voice Gallery, Montreal, Kanada ‘Crosstalk Video Art Festival’, Budapest, ‘AVI Film and Video Festival’, Podgorica, Hungary Črna gora ‘The Pursuit of Happiness Project’, Arsenal ‘Crosstalk Video Art Festival’, Budimpešta, Gallery, Poznan, Poland Madžarska ‘Davis Feminist Film Festival’, University of ‘The Pursuit of Happiness Project’, galerija Davis, California, USA Arsenal Gallery, Poznan, Poljska ‘Fundada Artists’ Film Festival, Halifax, UK ‘Davis Feminist Film Festival’, Univerza v Davisu, Kalifornija, ZDA 2009 ‘Fundada Artists’ Film Festival, Halifax, ‘Alternative Film and Video Festival’, Velika Britanija Belgrad, Serbia ’37 Festival Der Nationen’, Ebensee, 2009 Austria ‘Alternative Film and Video Festival’, ‘Evolution’ (Lumen) Media Art Festival, Beograd, Srbija Leeds, UK ’37 Festival Der Nationen’, Ebensee, ‘Zemos98’ Audio-Visual Festival, Seville, Avstrija Spain ‘Evolution’ (Lumen) Media Art Festival, ‘CologneOFF 5’ Cologne Online Film Leeds, Velika Britanija Festival ‘Zemos98’ Audio-Visual Festival, Sevilla, Španija ‘CologneOFF 5’ Festival spletnih filmov v Kölnu

86 Richard O’Sullivan (Velika Britanija / UK)

Broken Windows (Razbita okna)

5’14”, 2010 5’14”, 2010

Broken Windows (Razbita okna) sestavljajo Broken Windows consists of the last footage še zadnji posnetki narejeni z digitalnim shot with a digital camcorder: these are the kamkorderjem: to so poslednji izdihljaji te dying breaths of the camera. On one level, kamere. Po eni strani deluje izdelek kot the piece might serve as a de-mystification razjasnitev digitalne slike, degradacija of the digital image; the degradation of the posnetkov se v širšem nanaša na postopke, footage broadly implies the processes by v katerih je realnost interpretirana v which the real world is interpreted as video. obliki videa. Sestava sveta kot slike, Video’s constitution of the world as image kot ga prikazuje video, je pojasnjena. is laid bare, and it is disconcerting to see Vznemirjujoče je videti mučen propad the torturous decay of the material as the materialov v boju kamere za ohranitev camera fights to maintain its simulation of svojega navideznega prikazovanja sveta. the world.

Po drugi strani pa se izdelek nanaša na On another level, however, the piece implies neverjetno skrivnostnost večine tehnologij the impossible mystery of most technology za večino gledalcev. Delovanje kamere for most viewers. The functioning of the je opazno na posnetku samo, kadar ta camera, evident in the image only when it ne uspe, tako kot tukaj, in je nekaj, česar fails as here, is something which most of us nas večina ne more ali ne želi razumeti. can’t – or don’t want to – understand. We Tehnologijo razumemo tako slabo, da se comprehend technology so little, that we moramo z njo soočiti zgolj na estetski ravni, must engage with it on a purely aesthetic kot virom čarovnije ali čudeža. level as a source of magic or wonder.

Richard O’Sullivan je novomedijski Richard O’Sullivan is an new media artist. He umetnik. Magistriral je iz likovne umetnosti graduated from the M.F.A. program in Film v programu filmske produkcije in režije Production/ Direction at U.C.L.A Film School na Fakulteti za film Univerze v Kaliforniji, in Los Angeles (University of California at Los Angeles in na Univerzi v Warwicku. L.A.), and from the University of Warwick. Njegovi videi raziskujejo pomene krajev in His videos explore the meanings of place, se osredotočajo na neenotnost kalifornijske and have focused on the contradictions pokrajine. V svojih drugih delih je raziskoval of the Californian landscape. Other works vizualno zaznavo in video tehnologijo. have explored visual perception and video Umetnik je posnel tudi dokumentarne filme, technology. The artist has also produced ki sledijo osebnim pripovedim. Delovanje documentaries, which follow personal na tem področju vključuje celovečerni narratives. Work in this area includes the film Cradle (Zibelka), ki je nastal pod feature-length Cradle, the production of mentorstvom Marine Goldovskaye. which was undertaken with the mentorship Trenutno poučuje predmet Eksperimentalni of Marina Goldovskaya. He currently mediji in produkcija medijev na Univerzi teaches Experimental Media and Media Aberystwyth v Veliki Britaniji. Production at Aberystwyth University, UK.

87 Bjørn Palmqvist (Danska / Denmark)

ATR_1 – a trip to the end of the world (ATR_1 – potovanje na konec sveta)

Slika (zasnova, animacija, oblikovanje): Visual (Concept, animation, sculpturing): Bjørn Palmqvist Bjørn Palmqvist Fotografije skulptur: Thomas Busk Photos of sculptures: Thomas Busk Zvok: Bjørn Palmqvist (glasba in produkcija) Audio: Bjørn Palmqvist (composition and in Janne Solvang (glas in glasba) production) and Janne Solvang (vocal and Besedilo: molitev Ave Marija v latinščini composition) 9’49”, 2010 Text: Latin version of the prayer Ave Maria 9’49”, 2010 ATR_1 – trip to the end of the world (ATR_1 – potovanje na konec sveta) je prvi izmed ATR_1 – a trip to the end of the world is sedmih prizorov filma ATR, nastalega v the first of seven scenes from Palmqvist produkciji Palmquist Audio. Audio’s movie ATR. Delo je nastalo kot navdih za preučevanje The work has been created to inspire človeškega razuma in njegovih nezavednih for contemplation of the mind and it’s energetskih sil. Delo je dobilo navdih v undercurrents of energetic forces. Inspired molitvi Ave Marija in poskuša upodobiti by the Ave Maria prayer, ATR seeks to izkušnjo sveta. ATR_1 je v bistvu uvodni portrait the world experience. The prologue, del in predstavi shemo, ki se v nadaljnjih which ATR 1 is, paints up a scheme which delih popolnoma razkrije. will be fully revealed in the episodes to Glasba je nastala v sodelovanju z operno come. pevko Janne Solvang. Film je zvočna The score is created together with the interpretacija molitve Ave Marija. classical soprano Janne Solvang. It’s Uporabljeni računalniški programi: an audio interpretation of the prayer Ave Photoshop, Final Cut, Aftereffects, Logic Maria. Pro, Adobe Media Encoder, Quicktime. Programs in use: Photoshop, Final Cut, Aftereffects, Logic Pro, Adobe media encoder, Quicktime. Palmqvist Audio je umetniško ime skandinavskega skladatelja in oblikovalca zvoka, Bjørna Palmqvista. Čeprav bi se Palmqvist Audio is the artist name of sam najverjetneje opisal kot skladatelj the Scandinavian composer and sound in glasbenik, se je njegov interes za designer Bjørn Palmqvist. Though he would premikajoče in računalniško obdelane probably describe himself as composer slike večal, in tako obvlada programiranje and musician, the interest for the moving in avtomatizacijo vrednosti v računalniških and computer generated visuals have programih za obdelavo zvoka, kot je Logic been expanding, and interacts well with the Pro. programming and automation merit from Poleg obstoječega projekta ATR, Palmquist Audio programs such as as Logic pro. Audio trenutno snema album s soneti Besides the ongoing ATR project, Palmqvist Williama Shakespeara. Audio is for the time beeing composing and producing an album with the sonnets of William Shakespeare.

88 Michael Saup (Nemčija / Germany) 1001suns.com, m-pire.com

Paradays (Rajski dnevi)

Igralci: Achim Wollscheid, Doris Raabe Actors: Achim Wollscheid, Doris Raabe Kamera: Anna Saup, Michael Saup Camera: Anna Saup, Michael Saup Glasba: Maria Koval, Michael Saup Music: Maria Koval, Michael Saup Posebni učinki: Ralf Drechsler, Das Werk, Mirage: Ralf Drechsler, Das Werk, Frankfurt, Nemčija Frankfurt, Germany Oprema: Bibo TV, Bad Homburg, Nemčija Hardware: Bibo TV, Bad Homburg, Glasovi: P. B. Shelley, J. G. Bennett, Zener, Germany David Larcher, Eugenia Fulkerson Voices: P. B. Shelley, J. G. Bennett, Zener, Mediji: 16 mm, video Super8, računalniška David Larcher, Eugenia Fulkerson grafika Mirage, Quantel Paintbox Media: 16 mm, Video Super8, Mirage Video format Betacam SP PAL Computer Graphics, Quantel Paintbox 7’30”, 1989 Video format Betacam SP PAL 7’30”, 1989 “Glattes eis ein paradeis für den der gut zu tanzen weiß.” “Glattes eis ein paradeis für den der gut zu “Gladek led je raj za tiste, ki obvladajo tanzen weiß.” drsanje.” (F. Nietzche) “Smooth ice is paradise for those who dance with expertise.” (F. Nietzsche) (Govori J. G. Bennet) Podreditev, disciplina, delo, življenje. (Voice of J. G. Bennet) Delo! Submission, discipline, work, life. Disciplina! Work! Podreditev, disciplina, delo, življenje. Discipline! Prihodnost! Submission, discipline, work, life, Podreditev, disciplina, delo, življenje. Future! Življenje! Submission, discipline, work, life. Life! (Govori Eugenia C. Fulkerson) Sedaj sem jaz tista z vprašanji. (Voice of Eugenia C. Fulkerson) Imam tudi odgovore, vendar sedaj imam Now i’m the one with questions. vprašanja. I have answers, too, but now I have Tako je, krog ima odgovor. questions. That’s true, the circle does have an (Govori David Larcher) answer. Veš, zavedati se moraš, (slika: dvoje pravih očes) (Voice of David Larcher) veš, zavedati se moraš, You know, you have to realize, (image: 2 da je krog sklenjen! real eyes) you know, you have to realize, (Besedilo: P. B. Shelley: Esej o življenju the circle is complete! (izvleček)) (Text by P. B. Shelley: Essay on Life (excerpt))

89 Življenje. Life. Kaj so menjavanja oblasti, razpadi dinastij What are the changes of empires, the v primerjavi z mnenji, ki jih podpirajo? wreck of dynasties with the opinions which Kaj je rojstvo in propad religioznih in supported them, what is the birth and the političnih sistemov, kaj sta kroženje Zemlje extinction of religious and political systems, in delovanje elementov, iz katerih je ta what are the revolutions of the globe and sestavljena, v primerjavi z življenjem? the operations of the elements of which it is composed, compared with life. Kaj je vesolje zvezd in sonc, katerega del je ta obljudena Zemlja, njihovo gibanje in What is the universe of stars and suns of njihova usoda v primerjavi z življenjem? which this inhabited earth is one, and their Življenje – velik čudež, ki ga ne cenimo, motions, and their destiny compared with ker je tako čudežen. Dobro je, da nas na ta life? Life, a great miracle, we admire not, način razumevanje tistega, kar je naenkrat because it is so miraculous. It is well that tako gotovo in težko dojemljivo, varuje pred we are thus shielded by the familiarity of osuplostjo, ki bi sicer prevzela in zastrašila what is at once so certain. delovanje tega, kar je njen namen. If any artist, I do not say had executed, but Če je kak umetnik, ne ustvaril, temveč had nearly conceived in his mind the system v svojih mislih le doumel sistem sonca, of the sun and the stars and had painted to zvezd in planetov, ki ne obstajajo, in nam us in words, the spectacle now afforded by z besedami ali na platno naslikal prizor, the nightly cope of heaven: great would be ki nam ga ponuja nočni nebesni obok, in our admiration. Truly we should have been to razložil z znanjem astronomije, potem astonished, and it would not have been bi občudovali veličastnost. Resnično bi a vain boast to have said of such a man: morali biti osupli, o takem človeku pa ne “Non merita nome di creatore, se non iddio bi bilo odveč dejati: “Non merita nome di ed il poeta.” (Translation: None merits the creatore, se non iddio ed il poeta.” (Prevod: name of creator but god and the poet). Nihče si ne zasluži naziva stvarnika, razen boga in pesnika.) But now these things are looked on with little wonder, and to be conscious of them Vendar na te reči gledamo nekoliko with intense delight, is esteemed to be začudeno, zato je zavedanje teh reči z the distinguishing mark of a refined and največjo zavzetostjo cenjena lastnost extraordinary person. imenitne in izjemne osebe. The multitude of man, the multitude of man Mnogo ljudi te reči ne zanimajo. In tako je care not for it. It is thus with life. tudi z življenjem. That, which includes all. Življenje, ki zajema vse. That, which includes all. Življenje, ki zajema vse. A video about the most fragrant symbols of Video o najbolj prepoznavnih simbolih 70. the 70’s used by brave scientists. let 20. stoletja, ki so jih uporabljali priznani znanstveniki. lucysphere.com/www/m-pire.com/video/ saup/MSaupBio.pdf lucysphere.com/www/m-pire.com/video/ saup/MSaupBio.pdf

90 Alejandro Schianchi (Argentina)

Untitled (Nenaslovljeno)

4’, 2010 4’, 2010

Projekt prikazuje nastanek abstraktnih The project involves the creation of abstract podob in zvokov, ki jih ustvarja računalniški images and sounds generated completely program z zaporednim preoblikovanjem. by code with successive deformations. The Prvi oblikuje s tremi osnovnimi dimenzijami, first one with basic 3D shapes, and the drugi pa z modulacijami valov. Računalniški second with wave modulations. The code program postane tako pomemben kot becomes as important as the resulting nastale podobe in zvoki, in ga razstavlja images and sounds, exhibiting it beside ob izdelku ne le zato, da se ve, kako the work not only to know how were made, so nastali, temveč tudi zato, da ustvari but also to create variations (remixes), variacije (preoblikovanja), in predvsem kot and mainly as an alternative distribution of alternativno razporeditev avdiovizualnih audiovisual works. del.

Doing a Master in Electronic Arts, graduate Poleg opravljenega magisterija iz from the University of Cinema in B. A. in elektronskih umetnosti, opravljene diplome Cinematography, Alejandro Schianchi has iz kinematografije na Univerzi za film v also an Electronic Technician in Computers. Buenos Airesu ima Alejandro Schianchi Professor in several fields in the Electronic pridobljen naziv elektronskega tehnika v Arts career at the University of Tres de računalništvu. V svoji karieri je poučeval na Febrero, has also taught at University of različnih področjih elektronske umetnosti Buenos Aires in the Faculty of Architecture na Univerzi Tres de Febrero, kot tudi na and Design, University of Cinema, and Univerzi v Buenos Airesu na Fakulteti za University Maimónides. Has made arhitekturo in oblikovanje, na Univerzi installations, videos, photographies, video za film in Univerzi Maimónides. Je avtor sculptures, performances, and has shown instalacij, videov, fotografij, video skulptur his works in Germany, USA, Canada, in uprizoritev. Svoje delo je predstavil v Spain, Rumania, Peru, Brazil, and in the Nemčiji, ZDA, Kanadi, Španiji, Romuniji, most well know places in Argentina. Won Peruju, Braziliji in v večini znanih mest v a mention in the Limbo award of Electronic Argentini. Prejel je pohvalo na podelitvi and New Media prize in conjunction with nagrad Limbo za elektronske in nove the Espacio Fundación Telefónica and the medije skupaj z Espacio Fundación Buenos Aires Museum of Modern Art. Telefónica in Muzejem moderne umetnosti v Buenos Airesu.

91 Jan-Peter E. R. Sonntag (Nemčija / Germany)

Bowling – a cycle of 5 films (Bowling – cikel petih filmov)

Zamisel in koncept: Space/Installation, Idea & concept by Space/Installation and Remiks: Jan-Peter E. R. Sonntag remix: Jan-Peter E. R. Sonntag Didaskalije: Peter Carp Direction on Stage: Peter Carp Programiranje videa: Thomas Plöntzke Video programming: Thomas Plöntzke Vir fotografij: zbirka šestih razglednic iz Visual source: a collection of 6 postcards Arezza iz 60. let 20. stoletja from Arezzo from the sixties Glasba/kompozicija/zvočno ozadje Music/Composition/Soundscape tenor pozavna, bas pozavna: Marsyas Tenor-/ Bassposaune: Marsyas Kontrabas: Andre Neygenfind Kontrabass: Andre Neygenfind Kitara: Harry Kügler Guitarre: Harry Kügler Bobni: Oliver Sonntag Drumset: Oliver Sonntag Elektronsko programiranje in produkcija: Electronic programming and Production: Sonntag Sonntag Studii: N-Solab (Berlin), Musikplant Studios: N-Solab (Berlin), Musikplant (Lübeck) (Lübeck) Vsa zvočna ozadja so bila posneta junija All Soundscapes were recorded in june 2003 v Arezzu na izvirnih mestih. 2003 in Arezzo at the original places. Produkcija: Carp / Sonntag 2003/2005 Production: Carp / Sonntag 2003/2005 Koprodukcija: Steirrischer Herbst (Gradec), Co-production: Steirrischer Herbst (Graz), hARTware-Projekte (Dortmund), Gare du hARTware-Projekte (Dortmund), Gare du Nord (Basel) Nord (Basel) S podporo Kulturstiftung des Bundes in Supported by Kulturstiftung des Bundes TMA, Festspielhaus Hellerau (Dresden) and TMA, Festspielhaus Hellerau Odrska produkcija: THEATER LUZERN (Dresden) 2005 Stage production: THEATER LUZERN 2005 Začetek instalacij predstavljajo italijanske razglednice s stanovanji iz 60. let 20. The starting point of the installations stoletja, šansoni italijanske pevke Mine, are Italian postcards showing housing posneti v istem desetletju, in besedila estates of the 1960s, chansons by the Michelangela Antonionija – načrti za film Italian singer Mina, recorded in the same niso bili nikoli narejeni. Razglednice so decade, and texts by Michelangelo skenirali in jih z elektronsko obdelavo Antonioni – sketches for films never made. preoblikovali v virtualno filmsko sceno, The postcards were scanned and, by umetno ustvarjen prostor, v katerem se electronic processing, transformed into a lahko giblje kamera. S čustveno drastičnim virtual film set, an artificial space, in which razvijanjem digitalno obdelanih pesmi a virtual camera can move. According to pevke Mine, se ti elementi v filmu izgubijo the emotionally drastic development of (posnetki, delo kamere, rezi, urejanje) v the digitally processed songs by Mina, pripovednih nadaljevanjih filma, vendar they are cinematically dissolved (clips, brez protagonistov, saj na razglednicah camera work, cut, editing) up to apparently ni ljudi. Preprosta in nekoliko dolgočasna narrative film sequences, only without stanovanja so v popolnem nasprotju s protagonists, since there are no people

92 klišeji v pesmih, polnih čustvenosti in in the postcards. The banality and partial hrepenenja. Instalacija zgolj z uporabo dullness of the housing estates is set in zvoka in zapuščenih slik pripoveduje na contrast to the clichés in the emotional videz čustveno zgodbo. Igralci razvijejo and yearning songs. Using only sound čustvene odnose drug z drugim skozi and deserted pictures, the installation tells njihovo fizično prisotnost. Njihova besedila a seemingly emotional story. The actors opisujejo sobe, kraje in ljudi na teh mestih; have an emotional relationship with each so besedila Michelangela Antonionija, other through their physical presence. začetki morebitnih filmov, ki pa se vedno Their texts describe rooms, places, and začnejo z opisi sobe ali kraja. Oblikovalec the people in these places; they are texts zvoka je akustično dopolnil zapuščene by Michelangelo Antonioni, beginnings of filmske posnetke razglednic, slišimo lahko possible films but always starting with the na primer glasove nevidnih ljudi. Trideset description of a room or place. The sound let kasneje smo se odpravili v Arezzo, da designer acoustically accomplishes the bi našli izvirna mesta vizualnih posnetkov. deserted film clips of the postcards, i. e., Tukaj smo posneli filmsko glasbo. we hear the noise of invisible people. 30 Bowling am Tiber se ukvarja s čustveno years later we went to Arezzo to find the platjo krajev, stavb, prostorov ter odnosov original places of the visual shots. There med ljudmi in vesoljem; z besedili we rekorded the soundtrack. Antonionija nas vselej napeljuje k občutku Bowling am Tiber deals with the emotional osamljenosti. content of places, buildings, rooms and the Zaradi izjemno visoke ločljivosti je mogoče relationship between human beings and približati pogled točno v najmanjši del space; with Antonioni it always leads to the vzorca na tiskovini – dekorativni površini feeling of loneliness. – in nadalje na digitalno strukturo slikovnih Due to the extremely high resolution it pik brez vmesnih faz. Abstraktni barvni is possible to zoom right into the grain prostori se razvijejo iz sprva navideznega pattern of the offset printing – ornamental semantično konkretnega vizualnega surfaces – and further on into the digital gradiva. Vzporedno se ukvarjamo z pixel structure without any intergradations. izjemnim upočasnjevanjem zvočnega Abstract colour spaces develope out of gradiva – neke vrste zvočni vložek, ki at first apparently semantically concrete omogoča zamrznitev filmske/glasbene visual material. Parallel we work with an dramaturgije v obliki “abstraktnega” zvoka extreme slowdown of the sound material - oz. svetlobnih/barvnih prostorov. Pojavijo some kind of acoustic interpolation letting se prostori, ki so odprti za projekcijo the cinematic/musical dramatugies freeze čustev, ki se razvijejo v filmski pripovedi. as “abstract” acoustic as well as light/colour Približevanje pri bližinskem slikanju spaces. Spaces emerge that are open for skozi predmet zamrzne v prekomernem the projection of the feelings developed razširjanju zvoka v stanje mirovanja, s čimer in the cinematic narration. The close-up je dosežena “brezčasnost”; prekomerno zooming through the subject-matter is razširjanje v pripovedni čas. congealed in the overexpansion of sound Jan-Peter E. R. Sonntag into standstil, thus becoming “devoid time”; an overexpanded in-between of narrated BOWLING, hARTware-Projects, Dortmund, time. 2004 Jan-Peter E. R. Sonntag

BOWLING, hARTware-Projects, Dortmund 2004

93 Jan-Peter E. R. Sonntag, rojen leta 1965 Since 1989 Jan-Peter E. R. Sonntag (born v Lübecku, se že od leta 1989 večinoma 1965 in Lübeck) has mostly been working ukvarja z instalacijami, namenjenimi za on site-specific installations based on točno določene lokacije, katerih osnova sound and bio mass but also specifically sta zvok in biomasa, ustvarja pa tudi na on monochrome gas discharge light which projektih z enobarvno plinsko svetlobo, he developed in his own lab in cooperation ki jo je razvil v lastnem laboratoriju v with light companies. Sonntag has an sodelovanju s tovarnami svetil. Sonntag je academic background in instrumental pridobil akademsko izobrazbo na področju music, fine art, (new media), instrumentalne glasbe, likovne umetnosti, music theory, composition, philosophy zgodovine umetnosti (novi mediji), teorije and cognitive science which he studied glasbe, kompozicije, filozofije in kognitivne at various universities with the following znanosti, kar je študiral na različnih teachers: Rudolf zur Lippe, Ivan Illich, univerzah pri naslednjih profesorjih: Rudolf Umberto Maturana, J. P. S. Uberoi, Gertrud zur Lippe, Ivan Illich, Umberto Maturana, Meyer-Denkmann, Gustavo Becerra J. P. S. Uberoi, Gertrud Meyer-Denkmann, Schmidt. Worksshops u.a. bei V. Globokar, Gustavo Becerra Schmidt. Obiskoval je J. Cage, A. Lucier. Since the mid 1990s he delavnice pri V. Globokarju, J. Cageu in A. has gained a number of grants and prizes, Lucierju. Od srede 90. let dalje je osvojil collaborated on performances for instance številna priznanja in nagrade, sodeloval with Franz Erhard Walther, worked as a pri uprizoritvah, npr. s Franzem Erhardom, curator (for Stiftung Weimarer Klassik) Waltherjem, delal kot kurator (pri Stiftung as well as co-founded artist groups like Weimarer Klassik) in soustanovil umetniške “unerhört” (Bremerhaven) and “oh ton” skupine, kot sta “unerhört” (Bremerhaven) (). In 1991 Jan-Peter E. R. and “oh ton” (Oldenburg). Leta 1991 je Sonntag founded the small press Edition Jan-Peter E. R. Sonntag ustanovil majhno HORCH together with Jens P. Carstensen. tiskarno Edition HORCH skupaj z Jensom In 1998 he was the assistant of Maurizio P. Carstensnom. Leta 1998 je delal kot Kagel and also co-founded hARTware pomočnik Maurizia Kagla in ustanovil Projekte (Dortmund). In 2008 Sonntag hARTware Projekte v Dortmundu. Leta was awarded the Capital Cultural Fond 2008 je dobil nagrado Capital Cultural Berlin for /e-topia/, the German Sound Art Fond Berlin za projekt /e-topia/, nagrado Prize as well as the CYNETart Award. The German Sound Art Prize, kot tudi nagrado performance of his work /sonArc::ema/ CYNETart. Uprizoritev njegovega dela was played at the opening ceremony of /sonArc::ema/ so izvedli na slavnostni last year’s ars electronica in Linz. otvoritvi lanskoletnega festivala Ars Electronica v Linzu.

94 Nick Teplov, Alex Markov (Rusija / Russia)

Two Highways (Avtocesti)

Risbe in slike: Boris “Bob” Koshelokhov Drawings and paintings: Boris “Bob” Režija: Alexander Markov in Nick Teplov Koshelokhov Vizualna zasnova in oblikovanje: Nick Directed by Alexander Markov & Nick Teplov Teplov Kamera: Mikhail Klyuev Visual concept and design: Nick Teplov Urejanje videa in zvoka: Vadim Teterin Camera: Mikhail Klyuev Računalniška grafika: Nick Teplov, Vadim Editing & sound editing: Vadim Teterin Teterin, Dmitry Groshikov Computer graphics: Nick Teplov, Vadim Glasba in zvok: MONO(jp), Boris Teterin, Dmitry Groshikov Filanovsky, Vlad Petrov, Ilya Seletsky Music and noises: MONO(jp), Boris Video posnetki: Мaxim Katushkin, Nick Filanovsky, Vlad Petrov, Ilya Seletsky Teplov, Alexander Markov, Kirill Kuzmichev Video footage: Мaxim Katushkin, Svetovanje in podnapisi: Thomas Campbell Nick Teplov, Alexander Markov, Kirill Podpora: Kirill Kuzmichev in Pavel Kuzmichev Pavlovsky Consultant & subtitles: Thomas Campbell 26’50”, 2008 With the support of: Kirill Kuzmichev, Pavel Pavlovsky Guru leningrajske avantgardne umetnosti, 26’50”, 2008 Boris “Bob” Koshelokhov si je zamislil načrt ustvariti eno največjih del v zgodovini The guru of the Leningrad underground, umetnosti: sliko v velikosti 5000 kvadratnih Boris “Bob” Koshelokhov has come up with metrov. a plan to create one of the biggest works in the history of art: a 5000 square meter Dokumentarni film o uglednem painting. petrograjskem umetniku Borisu “Bobu” Koshelokhovu. Guru leningrajske avant- Documentary on prominent Petersburg gardne umetnosti Boris Koshelokhov je artist, Boris “Bob” Koshelokhov. The guru preživel povojni čas brez staršev, izkusil of the Leningrad artistic underground, potepuško življenje, menjal veliko delovnih Boris Koshelokhov survived the post- mest, prestal politično preganjanje in kljub war orphanage, vagabond life, swapped temu ustvaril spektakularne stvaritve. Sedaj numerous occupations, endured political si mora izmisliti samo še načrt, kako ustvariti persecution, but nonetheless produced a eno največjih del v zgodovini umetnosti: spectacular body of works. Now he has sliko v velikosti 5000 kvadratnih metrov. come up with a plan to create one of the Pripravljalne faze njegovega projekta so biggest works in the history of art: a 5000 zaključene. Sedaj mora najti samo še dovolj square meter painting. The preparatory veliko steno ... stages of his project are finished. Now it’s Petrograd, 2008 a just a matter of finding a wall that’s big enough ... Nick Teplov je ruski umetnik in grafični Saint Petersburg 2008 oblikovalec iz Petrograda. Diplomiral je leta 2005 na Inštitutu za tiskane umetnosti in Nick Teplov is an artist and a graphic je od takrat dalje zaposlen kot samostojni designer based in Saint-Petersburg,

95 oblikovalec. Ukvarja se s fotografijo in Russia. Graduated from the graphic design snemanjem (dokumentarni in kratki filmi). department at the Institute of Printing Arts in 2005 and has been employed as a freelance designer since. Photography. Filmmaker (documentary and shorts).

François Vautier (Francija / France)

BLADE RUNNER revisited >3.6 gigapixels (IZTREBLJEVALEC priredba >3.6 gigapikslov)

Vir: Blade Runner, film režiserja Ridelya Source: Blade Runner by Ridley Scott (the Scotta (končna različica) final cut) Trajanje: 1h 51 min 52s 19 stotink Runtime: 1h51mn52s19i > 167819 frames sekunde > 167.819 sličic >> >> Ena slika v obliki PSB : 60.000 × 60.000 One picture / format psb: 60 000 X 60 000 : 3.540.250.000 slikovnih pik >> 3,5 : 3 540 250 000 pixels >> 3.5 gigapixels gigapikslov sound > from the original score by Zvok: izvirna glasbena podlaga, Vangelis Vangelis Sestava / programska oprema: Combustion. Compositing: Combustion. Mac pro 2X Mac pro 2X 2.26 GHz Quad-Core Intel 2.26 GHz Quad-Core Intel Xeon. number Xeon. število plasti: 1! of layers: 1! 4’13”, 2009 An experimental film in tribute to Ridley Eksperimentalni film v čast legendarnemu Scott’s legendary filmBlade Runner (1982). filmu Ridleya Scotta Blade Runner iz This film was made as a unique picture leta 1982. Film je bil posnet v edinstveni with a resolution of 60.000 x 60.000 pixels ločljivosti 60.000 × 60.000 slikovnih pik (3.6 (3.6 gigapixels). It was made with 167,819 gigapikslov). Uporabili so 167.819 sličic iz frames from ‘Blade Runner’. filma “Blade Runner”. 1> first step: the “picture” of the film 1> prvi korak: zamisel o filmu I extracted the 167,819 frames from Blade Izločil sem 167.819 sličic iz filma Blade Runner (final cut version,1h 51mn 52s 19i) Runner (končna različica, 1h 51 min 52 s then I assembled all these images to obtain 19 stotink sekunde). one gigantic image of colossal dimensions: Nato sem zbral vse te sličice in dobil a square of approximately 60,000 pixels on gigantsko sliko ogromnih dimenzij: kvadrat s one side alone, 3.5 gigapixels (3500 million približno 60.000 slikovnimi pikami na samo pixels) eni strani, skupno pa 3,5 gigapikslov). 2> second step: an illusion 2> drugi korak: iluzija I placed a virtual camera above this big Nad to veliko sliko sem postavil virtualno picture. So what you see is like an illusion, kamero. Tako je to, kar vidite, kot iluzija, saj because contrary to appearances there je v nasprotju z videnim samo ena slika. Gre is only one image. It is in fact the relative 96 v bistvu za relativno premikanje virtualne movement of the virtual camera flying kamere, ki preletava ogromno sliko in over this massive image which creates ustvari animirani film, kot projektirani film. the animated film, like a film in front ofa projector.

ANTS in my scanner > a five years time-lapse! (MRAVLJE v mojem skenerju > po preteku petih let)

1’52”, 2009 1’52”, 2009

Pred petimi leti sem v svoj skener naselil I installed an ant colony inside my scanner kolonijo mravelj. five years ago. Vsak teden sem mravljišče skeniral. I scanned the nest each week. Glasba: Franks – Infected Mushroom. Music: Franks – Infected Mushroom.

Po opravljeni diplomi iz likovne umetnosti After graduating from Fine Arts, François je François Vautier sodeloval z galerijami Vautier worked with contemporary art sodobne umetnosti v Parizu. V času galleries in Paris. Returning briefly to kratke vrnitve v akademsko življenje, ko academic life to obtain his masters in je opravil magistrski študij stereoskopije Stereoscopics at University of Paris na Univerzi v Parizu II, je srečal Guya II, he met Guy Saguez where he then Sagueza, začel sodelovati s televizijsko embarked upon a collaboration with ARTE hišo ARTE (evropsko televizijsko omrežje) (a European television network) to become in tukaj postal eden najbolj nadarjenih one of their most talented designers. oblikovalcev. Skupaj sta ustvarila številne Together, they produced a number of oddaje za francoske televizijske postaje. broadcasts for French television stations. Skupaj z Raphaelom Nadjarijem je Connecting with Raphael Nadjari he ustanovil “A Bout Portant” in “Filmmaker founded “A Bout Portant” and “Filmmaker Factory”, kjer je nadaljeval z ustvarjanjem Factory” whereby he continued to produce izjemno domiselnih naslovnih špic in highly creative opening titles and his prvega celovečernega filma: triler Le P’tit first feature film: the thriller Le P’tit Bleu. Bleu. V nadaljevanju svojega raziskovanja Continuing his research in design, François v oblikovanju, je François začel z delom expanded on new processes of shooting na področju odkrivanja novih postopkov in virtual studios. His second feature film snemanja v virtualnih studijih. Njegov drugi Déjà Vu is a science fiction film. The story celovečerni film je znanstvenofantastični of a teenager in a futuristic fable where filmDéjà Vu. Zgodba najstnika v futuristični the reality merges with the virtual. He pripovedi, kjer se realnost zlije z virtualnim. then prolongs the exploration of “Parallel Nato nadaljuje z raziskovanjem vzporednih Worlds” in the realization of Twenty Show, svetov v izvedbi filmaTwenty Show, prvega the first user generated film (co-directed by filma, ki ga ustvarja uporabnik (režija v Godefroy Fouray). sodelovanju z Godefroyem Fourayem).

97 André Werner (Nemčija / Germany) placebokatz.blogspot.com

Mannaka No Ie (Hiša na sredini)

Japonščina z angleškimi podnapisi Japanese with English subtitles “Jokajoča lastovka leti ob zori” “The crying swallow flies at dawn” Čista japonska poezija, v celoti posneta v Pure Japanese poetry, entirely filmed in the puščavah Nevade. deserts of Nevada. Besedilo: Izuru Deguchi (vzeto iz filma Lyrics: Izuru Deguchi, taken from Tenshi no Tenshi no kôkotsu, režiserja Kojija kôkotsu by Koji Wakamatsu Wakamatsuja) 7’50”, 2006 7’50”, 2006 About the lyrics used in Mannaka No Ie O besedilu v filmuMannaka No Iev (The House in the Middle) The lyrics are Besedilo pesmi prepeva v izvirni izvedbi originaly sung by a bar girl in the movie natakarica v filmu Tenshi no kôkotsu Tenshi no kôkotsu (Ecstasy of the Angels) (Ekstaza angelov), režiserja Kojija by Koji Wakamatsu, writing credits Izuru Wakamutsuja, odjavna špica: Izuri Deguchi. Deguchi. About the footage used in Mannaka No O posnetkih v filmuMannaka No Ie Ie

Leta 1954 je ameriški Zvezni urad za In 1954 the Federal Civil Defense civilno zaščito (Federal Civil Defense Administration of the USA released The Administration) izdal film The House in House In The Middle,co-sponsored by the Middle, katerega izdajo je podprla tudi the National Paint, Varnish and Lacquer organizacija National Paint, Varnish in Association, a lobby for the american paint Laquer Association, lobi ameriške slikarske industry. industrije. In an attempt to demonstrate “atomic heat’s V poskusu prikaza “učinkov atomske effects on American homes,” miniature toplote na ameriške domove” so v Nevadi houses are built in the Nevada desert and zgradili miniaturne hiše in jih izpostavili exposed to atomic blasts. atomskim eksplozijam. An optimistic narrator of the National Clean Optimističen govorec iz urada National Up – Paint Up – Fix Up Bureau explains Clean Up – Paint Up – Fix Up Bureau trdi, that a fresh coat of paint can prevent your da lahko svež nanos barve zaščiti dom home from being burnt to a crisp in an pred popolnim uničenjem hiše v požaru, ki atomic blast! ga povzroči atomska eksplozija. Certainly a surreal civil defense film to Gotovo je to nadrealen film o civilni zaščiti, puzzle future generations. ki zbega prihodnje generacije. André Werner was born in Berlin and lives there. Study of fine arts at the HdK Berlin, André Werner se je rodil in živi v Berlinu. graduated 1986. Since the mid-eighties

98 Diplomiral je iz likovne umetnosti na HdK v exhibitions, video-installations, videos Berlinu leta 1986. Od srede 80. let razstav- and works in the public space. Since 89 lja, postavlja video instalacije, ustvarja conception/realisation of group-exhibitions videe in javno deluje. Leta 1989 si je and video-screenings focused on video- zamislil in nato realiziral skupinske razstave art and room-installations. Founder and in video uprizoritve, ki se osredotočajo na artistic director of the A&O Gallery Berlin. video umetnost in prostorske instalacije. Since 92 art-mediation, conception/ Je ustanovitelj in umetniški vodja A&O publishing of art-publications. Since 97 Gallery v Berlinu. Od leta 1992 se ukvarja z computeranimation, screen-animation for umetniškim posredovanjem, snovanjem in tv and movie-productions conception and izdajo umetniških publikacij, od leta 1997 authoring of digital art-publications and pa z računalniško animacijo, televizijsko computer-installations. Initiator and artitstic animacijo in snovanjem filmskih produkcij director of , an open ter izdelavo digitalnih umetniških publikacij platform for contemporary art and media, in računalniških instalacij. Je pobudnik in founded in 2005. umetniški vodja Directors Loungea, leta 2005 ustanovljene odprte platforme za sodobno umetnost in medije.

Zhang Biying (ZDA / USA) www.biyingzhang.net

Sensation Series (Niz senzacij)

Filmi o človečnosti Films about humanity 9’53“, 2009 9’53“, 2009

Navdaja me izjemno zanimanje za I have an overwhelming interest in humanity človečnost, ki jo izražam skozi fizično as expressed through physical consistency stanovitnost in variacijo površin. and variation of surfaces. I expose the Izpostavljam zunanje plasti kože s external layers of skin through observations pomočjo opazovanj, ki delno razkrivajo that partially reveal an unpredictable nepredvidljivo povezavo med notranjim connection between the internal world svetom in zunanjimi površinami, ki so and external surfaces blemished and popačene in spremenjene v drugače degenerated in an otherwise predictable predvidljivi fizični naravi. Okolja, ki so nam physical nature. Surroundings which might znana, nenadoma postanejo tuja in ostajajo have been familiar suddenly feels foreign, kot takšna tudi v tem kontekstu. and remain as such in this context.

99 China (Kitajska)

4’03”, 2010 4’03”, 2010

16. azijske igre so bile novembra 2010 v The 16th Asian Games were held in Guangzhou, Guangzhouju na Kitajskem. Guangzhou je China in November 2010. Guangzhou was bil poleg Pekinga, kjer so bile igre leta 1990, the second city in China to host the games drugo mesto na Kitajskem, ki je gostilo te after Beijing in 1990. 2010 games were the igre. Tokratne Azijske igre so bile največje largest Asian Games ever. This documentary do sedaj. Dokumentarni film se loteva ozadja goes behind the publicly exposed scenes of javno izpostavljenih prizorov tega tekmovanja this competition, revealing the disruptions and in razkriva razdore in okoljske spremembe environmental transformations of redevelopment ponovnega razvoja in rekonstrukcije and reconstruction in Guangzhou prior to this v Guangzhouju pred to pomembno, a important yet short-lived pan-Asian event. kratkotrajno vseazijsko prireditvijo. Medtem While the event itself is publicly celebrated as ko prireditev javno slavijo kot simbol sožitja a symbol of harmony within and between the v in med azijskimi državami, je spektakel countries of Asia, the spectacle of an esteemed izjemnih predstavitev pomembnejši od presentation takes propriety over the domain vprašanja prebivalcev in zaščite stabilnega, of inhabitants and the security a stable, known poznanega urbanega okolja. urban environment.

Zhang Biying se je rodila na Kitajskem. V letu Zhang Biying was born in China. She lives and 2008 je diplomirala na Akademiji za likovno works in USA. umetnost v Pekingu. V letu 2011 pa se je Education: Bachelor of Fine Arts, 2008. Central izpopolnjevala na School of the Museum Academy of Fine Arts, Beijing, China. Master of of Fine Arts v Bostonu. Področja njenega Fine Arts; anticipated graduation, 2011. School zanimanja so: slikarstvo, umetnostna of the Museum of Fine Arts, Boston. Areas of zgodovina, zvočna umetnost, film. Živi in Concentration: Drawing/Painting, Art History, ustvarja v ZDA. Sound Art, Film.

Razstave v letu 2010: Exhibitions in 2010: PixelPops 2010 razstava digitalne umetnosti, PixelPops 2010 digital art exhibits, New York / New York/New Jersey metropolitan New Jersey metropolitan area. Asian Hot Shots area. Asian Hot Shots Festival, Berlin. Festival in Berlin, Germany. The Super 8 Festival The Super 8 Festival Détours Sotorini, Détours Sotorini, Greece. VIDEOHOLICA Grčija. VIDEOHOLICA, Mednarodni International Video Art Festival 2010, Varna, festival videoumetnosti, Varna, Bolgarija. Bulgaria. Art Student Exhibition 2010, ISE Študentska razstava 2010, ISE CULTURAL CULTURAL FOUNDATION, New York. FOUNDATION, New York. CologneOFF VI CologneOFF VI festival, Cologne, Germany. festival, Köln. The FREEDOM SPARKS, The FREEDOM SPARKS, LightCubeVideo’s festival videa in filma LightCubeVideo’s, Video and Film Festival, Visual Voice Gallery, Visual Voice Gallery, New York. TRANSFERA New York. TRANSFERA TV & MADATAC TV & MADATAC FESTIVAL, 2. edicija FESTIVAL, the II Edition of the Open Festival festivala sodobne avdio in vizualne umetnosti of Contemporary Audio-Visual Art (MADATAC), (MADATAC), Madrid. DEATH DOES THE Madrid, Spain. DEATH DOES THE POPSICLE, POPSICLE, GASP Gallery, Brookline, MA. GASP Gallery, Brookline, MA. Process Impact, Process Impact, Eagle Murray Eagle Art Gallery Murray State University State University 604 Doyle Fine Arts, Murray, 604 Doyle Fine Arts, Murray, KY. 5th Annual KY. 5. letna študentska razstava na Boston Student Show, Rubin-Frankel Gallery at Boston University Hillel Center, Boston. University Hillel Center, Boston.

100 Performansi / Performances

101 Mia Makela, SOLU (Finska / Finland) www.solu.org Mia Zabelka, posebna gostja / special guest (Avstrija / Austria) www.miazabelka.com

Kaamos Trilogy (Trilogija Kaamos) Video performans v živo, 1 ura, 2007 Live video performance, 1 hour, 2007

Mia Makela (SOLU) je finska umetnica na Mia Makela (SOLU) is a Finnish media+live področju medijev in žive kinematografije cinema artist, teacher, investigator and (live cinema), učiteljica, raziskovalka curator. Her trajectory has led her from in kustosinja. Njena pot jo je vodila od shamanistic studies to art. From art to raziskovanja šamanstva do umetnosti. media art and design. From media art to Od umetnosti do multimedijske umetnosti organization of events and workshops in oblikovanja. Od multimedijske on contemporary digital culture. As part umetnosti do organiziranja dogodkov of fiftyfifty.org collective (until 2002), she in delavnic o sodobni digitalni kulturi. V organized Hacker Techniques workshops, okviru umetniškega kolektiva fiftyfifty.org Gameboy Sound Lab and Playtime event (katerega članica je bila do leta 2002) je med amongst other activities. drugim organizirala delavnice o hekerskih Since 2001 she has performed live cinema, spretnostih, audio laboratorij Gameboy under the artist name SOLU, around the Sound Lab in dogodek Playtime. globe: ARS ELECTRONICA (Linz), SONIC Od leta 2001 je pod psevdonimom SOLU ACTS (Amsterdam), SONAR (Barcelona), ustvarjala dela live cinema po vsem svetu: TRANSMEDIALE (Berlin), BANFF ARS ELECTRONICA (Linz), SONIC CENTER (Banff), ZAGREB BIENNALE ACTS (Amsterdam), SONAR (Barcelona), OF MUSIC, CIMATICS (Brussels), AVIT TRANSMEDIALE (Berlin), BANFF (Birmingham), MAPPING (Geneve), CENTER (Banff), GLASBENI BIENNALE TRANSIT_MX (Mexico City), Live Cinema V ZAGREBU, CIMATICS (Bruselj), AVIT Nights (San Jose), Pixelache (Helsinki), (Birmingham), MAPPING (Ženeva), BYTEME (Perth), MONKEY TOWN (NYC), TRANSIT_MX (Mexico City), Live Cinema STATE OF IMAGE (Arnhem), FESTIVAL Nights (San Jose), Pixelache (Helsinki), POMLADI (Ljubljana), LARM (Stockholm), BYTEME (Perth), MONKEY TOWN (NYC), NATIONAL MUSEUM OF WOMEN IN STATE OF IMAGE (Arnhem), FESTIVAL THE ARTS (Washington D.C) etc. She POMLADI (Ljubljana), LARM (Stockholm), has collaborated with many experimental NATIONAL MUSEUM OF WOMEN IN THE musicians including Mia Zabelka, ARBOL, ARTS (Washington D.C) itd. Sodelovala je Heidi Mortenson, Dj Rupture and worked z mnogimi eksperimentalnimi glasbeniki, with theaters (Conservas, Dani Panullo med drugim: Mia Zabelka, ARBOL, Heidi Dance theater). Her work has been Mortenson, Dj Rupture. Sodelovala je tudi described as “a dark delirium of images, a z gledališči (Conservas, plesno gledališče disintegrated vision on a complex world – Dani Panullo). Njeno delo so opisovali a digital version of William Blake’s poetry”. kot “temačni delirij, poln srhljivih prikazni, Her style ranges from minimal abstractions slika kompleksnega sveta, ki se razkraja – to multilayered compositions following a digitalna različica poezije Williama Blaka”. dreamlike narrative audiovisual journey. Njen slog sega od minimalne abstrakcije She processes her visual material with na eni strani do večplastnih kompozicij s MAX/MSP/JITTER, Isadora and Modul8. pripovedno avdio-vizualnim popotovanjem, She has given lectures and written articles

102 podobnih sanjam, na drugi. Svoja vizualna on various themes including live cinema, gradiva obdeluje z MAX/MSP/JITTER, VJng, robots, audiovisual and digital culture Isadoro in Modul8. and tactical sound. In 2006 she published V preteklosti je predavala in pisala članke her thesis on LIVE CINEMA language and na različne teme, med drugimi tudi o elements, (Media Laboratory, Helsinki živi kinematografiji, VJ-anju, robotih, University of Art and Design) which gathers avdiovizualni in digitalni kulturi ter o her experience on real-time visuals. The taktičnem zvoku. Leta 2006 je objavila svojo following year she edited widely distributed disertacijo na temo jezika in elementov, ki se special issue on LIVE CINEMA for a:minima uporabljajo v živi kinematografiji (medijski publication. Her latest workshop on live laboratorij Helsinške univerze za umetnost cinema took place in Canada, Mexico, in oblikovanje). V tem delu so zbrane njene Spain, Germany, Belgium, Holland and izkušnje z vizualijami v realnem času. V Finland. naslednjem letu je bila urednica posebne številke publikacije a:minima na temo žive kinematografije, ki je imela veliko naklado. Mia Zabelka is an electric violinist, Zadnja delavnica na temo kinematografije multimedia artist and curator, lives and v živo se je odvijala v Kanadi, Mehiki, works in Vienna, studied music, the violin, Španiji, Nemčiji, Belgiji, na Nizozemskem composition, electro-acoustic music and in Finskem. journalism in Vienna, Cologne, Berlin and New York. Numerous concerts and intermedial performances in Austria and Mia Zabelka, električna violinistka, abroad, in addition to CD, video, radio and multimedijska umetnica in kustosinja živi in TV productions. “Composer in Residence” dela na Dunaju. Študirala je muzikologijo, at the Kunststation St. Peter in Cologne, violino, skladateljstvo, elektroakustično numerous concerts and performances in glasbo in novinarstvo na Dunaju, v Kölnu, Europe, America and the former USSR. Berlinu in v New Yorku. Številni koncerti Guest of the DAAD’s (German Academic in multimedijski nastopi v Avstriji in drugih Exchange Service’s) international artists’ državah ter CD, video, radijske in TV programme, scholarships and funding produkcije. “Rezidentna skladateljica” v from prominent organizations and national kölnskem umetniškem zavodu Kunststation offices (Ministry for Art & Education, St. Peter, številni koncerti in nastopi po Fulbright Commission), three-time winner Evropi, Ameriki in nekdanji Sovjetski of the Ars Electronica prize (1988, 1993, zvezi. Gostujoča umetnica programa za 1994), winner of the WDR competition mednarodne umetnike DAAD’s (akademske for composition. Commissioned works for izmenjave Nemčije), prejemnica štipendije Ars Electronica, steirischer herbst, Wiener in sredstev uglednih ustanov in nacionalnih Festwochen, Bonner Tage für Neue Musik, uradov (Ministrstvo za umetnost in šolstvo, Alte Oper Frankfurt, Inventionen Berlin, Fulbrightova komisija), trikratna dobitnica Stiftung Akademie der Künste Berlin, nagrade Ars Electronica prize (1988, 1993, New Music America, The Kitchen, Wiener 1994), zmagovalka nagrade WDR za Konzerthausgesellschaft and Transit. skladatelje. Pri njej so bila naročena dela za Performances at the Festival Synthese Ars Electronico, Steirischer Herbst, Wiener Bourges, Ars Electronica, Frankfurt Feste, Festwochen, Bonner Tage für Neue Musik, Inventionen Berlin, Steirischer Herbst, Alte Oper Frankfurt, Inventionen Berlin, New Music America, Museum Moderner Stiftung Akademie der Künste Berlin, Kunst Wien and at the ORF state studios New Music America, The Kitchen, Wiener in Innsbruck, Dornbirn and Salzburg, at Konzerthausgesellschaft in Transit. the Documenta in Kassel, the Biennale in Nastopila je na festivalih, kot so: Festival Venice, the Kunsthaus in Graz, the Mediale Synthese Bourges, Ars Electronica, in Hamburg and the Intermediale in

103 Frankfurt Feste, Inventionen Berlin, Munich, the H?rg?nge and at De Ijsbreker Steirischer Herbst, New Music America, in Amsterdam. Museum Moderner Kunst Wien in državni Artistic director of the Klangturm in St. Pölten studio ORF v Innsbrucku, Dornbirnu in from 1996 to 2000. Initiator (with Karin Salzburgu, Documenta v Kasslu, Beneški Schorm / cbb-projects) of the “Engelspfad” biennale, graški Kunsthaus, hamburški project in Vienna, which took place annually Mediale and in münhenški Intermediale, from 1998 to 2001. Numerous prizes and H?rg?nge in amsterdamski De Ijsbreker. awards from international music festivals. Umetniška direktorica Klangturma v mestu Zabelka makes music with John Zorn, St. Pölten v obdobju od 1996 do 2000. David Moss, Fernando Grillo, Eliot Sharp, Začetnica (skupaj s Karin Schorm / cbb- Wolfgang Mitterer, Fred Frith and Joe projects) projekta “Engelspfad” na Dunaju, Zawinul. She works with the DJs Gerhard ki se je odvijal vsako leto med 1998 in Potuznig, Robin Rimbaud and Electric 2001. Številne nagrade in priznanja na Indigo, amongst others. Her work has been mednarodnih glasbenih festivalih. inspired by her acquaintance with Pauline Zabelka ustvarja glasbo skupaj z Johnom Oliveros, Alvin Curran, Andres Bosshard Zornom, Davidom MOssom, Fernandom and Malcolm Goldstein. Grillom, Eliotom Sharpom, Wolfgangom Mitetererjem, Fredom Frithom in Joem Mia Zabelka plays an electric violin from Zawinulom. Med drugimi sodeluje z DJ- ZETA-Systems. ji Gerhardom Potuznigom, Robinom Rimbaudom in Electric Indigo. Navdih za njeno delo izvira iz časa, ko je spoznala Pauline Oliveros, Alvina Currana, Andresa Bossharda in Malcolma Goldsteina.

Mia Zabelka igra električno violino ZETA- Systems.

104 105 Heiko Daxl, Ingeborg Fülepp (Nemčija / Germany) mediainmotion.de

Present doesn’t Equal Reality (Sedanjost ni realnost)

Izbor videov, 120’ 1990–2010 Video selection, 120’ 1990–2010

… mehurčki na površini … iz brezna … bubbles on surface … from the abyss of spomina … se razblinijo, da izginejo … memory … burst to disappear …

Kino – Vlak – Potovanje – Znanje – Spomin Cinema — Train — Travel — Knowledge – Zaznavanje, to so besede iz opisov — Memory — Perception, these are terms videofilmov Heika Daxla in Ingeborg Fülepp. from descriptions of video films by Heiko Na kratko bi lahko dejali: vse je povezano Daxl and Ingeborg Fülepp. In a nutshell, z vizijo. Kako se je človeška vizija, ali bolje one could say: it all concerns vision. rečeno vizualno zaznavanje, spremenilo z How has human vision, or rather visual izumom filma in kasnejšim razvojem vseh perception, changed since the invention of prihajajočih vizualnih naprav? Obstaja cinema and the later developments of all the razlog, zakaj se ta program prične prav forthcoming image machines? There is a s filmom “Le Cinema – Le Train” (Kino – reason, this program starts with the film “Le Vlak), kjer filmski ustvarjalci primerjajo Cinema — le Train”, where the filmmakers pogled skozi okna vlaka med potovanjem, make the analogy between the views out kot je to opisal Victor Hugo (1837), in of the train windows while travelling, as izkušnjo filma: “Rože na obrobjih polj so Victor Hugo was describing it (1837) and barvne pike, ali bolje rečeno rdeče in bele the experience of film: “The flowers on črte; pike izginejo, vse se spremeni v črte. the edge of the fields are colour spots, or Žitna polja postanejo rumene proge, polja better saying red and white stripes; there detelje so videti kot dolgi zeleni trakovi.” are no dots any more, everything turns into stripes. Crop fields become yellow streaks, Z načinom, kako umetnika polnita svoje clover fields appear as long green braids.” “slikovne naprave” z besedili, postane jasno, da dojemata predstavo oz. “gledanje” In the ways the two artist feed their zelo resno: obstaja povezava z mnenji, “image machines” with texts, it becomes doumevanji, gledišči in zaznavami, saj imajo obvious they take vision, or ‘viewing’ as te besede v nemščini isti koren v videnju serious matter: there is the connection ali gledanju (Ansichten, Anschauungen, with opinions, conceptions, point of Standpunkte in Sichtweisen). Množinske view and perceptions, all of which in oblike so tukaj uporabljene namenoma, kot German language have a root in seeing pri Flusserju, in je moč reči, da kamera ne or viewing (Ansichten, Anschauungen, omogoča ideološkega mišljenja, saj se ne Standpunkte und Sichtweisen). The plurals ujema z enim samim glediščem. Videti je, are intentional here, as with Flusser, it da Daxlov in Füleppin ustvarjalni postopek is possible to say that the camera does dosledno sledi temu konceptu, saj skoraj not allow ideological thinking, as it is not z vsakim novim filmom preizkušata nove compatible with a single point of view. The perspektive. To je postopek, ki se ne art practise of Daxl and Fülepp seems to omejuje na fotografske posnetke, temveč follow those lines accordingly, as almost posega v abstraktnost, kompozicijo in with every new video work they experiment prilagojen zajem slike. Viri teh podob with new perspectives; a practise that is

106 izvirajo iz potovanj, izjav in opazovanj, te not constrained to camera images but pa so podrobno obdelane v postprodukciji. that expands to abstractions, compositing Če se pojavijo v obliki privida, kot and generated imaging. The sources of simulirani svetovi, potem ne morejo nastati those images originate in travels, quotes brez kritičnega, včasih tudi ironičnega and observations, while they are being oddaljevanja. Zato postane jasno, da processed heavily in post-production. If je za temi podobami še vedno nekaj they appear as simulacra, as simulated drugega. Včasih je nekaj, kar se lahko worlds, then in does not happen without a izgubi, ali ravno nasprotno, kar je še vedno critical sometimes ironic distancing. Thus it dosegljivo, in kar ne more biti prikazano becomes clear that there still is something na drug način. Kljub vsemu s Heikom in z else behind those images. Something Ingeborg še vedno ostajamo v tem svetu: possibly lost, or conversely, still to be če povemo to v Wittgensteinovi prirejeni achieved, and which cannot be shown izjavi: “Če nečesa ni moč upodobiti na sliki, otherwise. Still, with Heiko and Ingeborg, si tega ne smemo poskušati predstavljati.” we keep staying very this-worldly: to say it with an adapted quote of Wittgenstein, Tako nas umetnika pustita v protislovnosti “whereof one cannot portrait in an image, med fascinantnimi svetovi podob in ironično thereof one must not try to picture.” oddaljenostjo ter svobodo izbire, katere poglede na svet in katere vrste realnosti Thus, the two artists leave us in ambivalence bomo prevzeli iz filmov. between fascinating image worlds and ironic distance, and the liberty of choices of Kar je še treba omeniti je, da delo obeh which perspectives onto the world, which umetnikov, ki ustvarjata neodvisno in kinds of reality we take on from the films. vendar skupaj, si večinoma prizadevata za sodelovanje s skladatelji iz glasbenih zvrsti What is left to mention is that for their work New Music ali Noise in tako vidita svoje both artist, who work both independendly stvaritve kot zvočno-slikovne kompozicije and togother, mostly seek for collaborations nastale v sodelovanju z drugimi. with composers from New Music or Noise background, and thus see their works as (Klaus W. Eisenlohr, 2009) collaborative sound-image compositions.

(Klaus W. Eisenlohr, 2009)

107 Marko Batista www.aksioma.org

Paralelne digitalne strukture (Parallel Digital Structures)

Eksperimentalni intermedijski performans Experimental intermedia performance

Produkcija: Aksioma – Zavod za sodobne Production: Aksioma – Zavod za sodobne umetnosti, Ljubljana umetnosti, Ljubljana

Intermedijski performans se s pomočjo This intermedia performance, using sodobnih tehnologij osredotoča na modern technologies, focuses on audio zvočne modulacije in vizualne strukture, modulations and visual structures that ki preko heterogenih okolij in subvertiranja through heterogeneous environments sočasnih prenosov podatkov s spletnih and the subversion of simultaneous data digitalnih video komunikacijskih sistemov transfers from internet-based digital video vstopajo v polje umetniške intervencije. communication systems enter the field of Avtor z različnimi programskimi rešitvami artistic intervention. Using various software posega v kreativni proces in oblikuje solutions, the author intervenes in the digitalno manipulirane teksture, projicirane creative process, thus forming digitally na treh vizualnih zaslonih. Skupaj z manipulated textures projected on three zvočnim spektrom, internetno povezavo, visual screens. Together with the sound računalniškimi komponentami ter manjšimi spectrum, Internet connection, computer kontrolnimi objekti se tako oblikuje aktivna components and small control objects infrastruktura za živo manipuliranje s they form an active infrastructure for live prispelimi digitalnimi paketi in paralelnimi manipulation with arrived digital packets signali, pomembnimi za ustvarjanje and parallel signals relevant for creating an zvočno-vizualne kompozicije. audio-visual composition.

Celoten performans presega klasične The whole performance exceeds the metode ustvarjanja audio-vizualnih classical methods of creating audio-visual kompozicij ter se eksperimentalno loteva compositions, experimentally taking on the iskanja novih izraznih sredstev v polju search for new means of expression in the umetnosti in tehnologije. Proces prenosa field of art and technology. The process v intermedijski strukturi lahko opišemo z of transfer in the intermedia structure can distančnimi premiki kodiranih paketnih be described by distance shifts of coded signalov na časovni premici in relevantnimi packet signals on a time line and relevant statističnimi variacijami, ki pa v podatkovnih statistical variations, which, however, kanalih izgubijo določene informacije. Prav lose certain pieces of information in data na tem mestu avtor inovativno posega v channels. And it is here that the author, kode tehnologije, saj z dodatnimi sredstvi through additional means, inventively izrablja manjkajoče ali nepopolne člene, intervenes in the codes of technology, jih generira, spaja ter distribuira v ločene exploiting missing or imperfect elements, kompozicijske elemente. generating, joining and distributing them into separate compositional elements.

108 Marko Batista je v Ljubljani diplomiral iz Marko Batista is Ljubljana-London based slikarstva, magistriral pa na University mixed-media artist. Together with Miha of the Arts London / Central Saint Horvat (son:DA) he founded the multimedia Martins v Londonu (2006–2007). Je group KLON:ART:RESISTANCE. so-ustanovitelj multimedijske skupine Several projects researching the field of KLON:ART:RESISTANCE. digital image transformation processes, Z AV performansi in video deli se je networking data, displaced sound-scapes udeležil preko štirideset festivalov in and hybrid structures have been presented skupinskih razstav, kot so 10. Bienale at festivals, galleries and different urban mladih ustvarjalcev Evrope in Mediterana places. v Sarajevu; razstava »95-05« v Moderni galeriji Ljubljana; Center za sodobne www.aksioma.org/parallel/index_slo.html umetnosti v Glasgowu; festival Izolenta 07 v St. Petersburgu; 10. Istanbul Bienale, Turčija; Media Art Friesland Festival 2007 na Nizozemskem; Visual Deflection festival, London; BIX-Facade Kunsthaus Graz. Imel je samostojno razstavo v londonski Empire Gallery, lani se je udeležil prestižnega festivala Ars Electronica ter z razstavo otvoril bienale na Dunaju. www.aksioma.org/parallel/index_slo.html

109 Cirkulacija 2

Platforma za totalno umetnost 2010–2013 (Platform for Total Art 2010–2013)

V svoji že tretji koncentrirani pojavni obliki In its third condensed form in 2010 within v letu 2010 v okviru festivala Pixxelpoint se Pixxelpoint festival the expanded platform razširjena platforma iniciative Cirkulacija 2 Cirkulacija 2 was again testing the gap zopet sooča z razkorakom med trenutkom between the momental and constructed in konstruiranim časom – naturo in kulturo – time – the nature and culture – the process med procesom in strukturo – in pri tem trdi, and structure – and claiming that every da je vsak proces, ki ima za cilj umetniško process that has an aim to build up an art strukturo – umetniško dejanje. Platforma structure – is an action of art. The platform kot umetniško delo. Zdi se, da ima as an art work. It seems that art field has a umetniško polje to enkratno zmožnost, da unique potential to suck in all basic areas of vsrkava vse osnovne vrste človeških hotenj human activities – creativities – those that – kreativnosti. Torej tistih, ki nimajo drugih do no have other agendas – transpositions agend – prenosov na druga strukturna to other structural fields – e.g. economy polja – npr. ekonomije (igra za ekonomski (the profit game) or politics (the power dobiček) ali politike (igra za moč). game).

Raziskovanje učinkovitih drugačnih Exploration of the alternative effective ways načinov medčloveškega sobivanja je eno of human co-existance is one of such areas od teh hotenj – na drugem koncu pa seveda – on the other side is of course again the slejkoprej tudi kreiranje / harmoniziranje search and creation/ harmonisation of the samega sebe in osebne podobe o svetu. individual self and the individual reflection Zato tudi cela vrsta novih oblik umetniškega of such space of co-existance. Therefore izraza znotraj sodobnoumetniških praks. the vast number of new forms of artistic Od aktivizma, odprtokodnih principov, expression that emerge constantly within do-it-yourself pristopov in drugih načinov the contemporary art area. From activism, neposrednejšega – živega javnega nasto- open-source-code principles, do-it-yourself panja. approaches and other ways of less representional = more direct approaches Torej: interaktivnost, ki je razumljena kot – the public live artistic events. medčloveški princip in ne kot tehnološko- umetniški žanr. Metaforika simbolov naj So: interactivity, understood as the se neposredneje – trdneje pokaže v basic inter-human principle and not as umetniškem delu / delovanju. Umetniško technological and artistic genre. The delo lahko nemara precizneje spregovori metaphorics of the symbols should be skozi umetnika, ki ga je ustvaril. Konec able to present itself in a much clearer malikovanja, nepotrebnih mistifikacij? way in an art piece / art work. An art work Zato tudi odločitev za večdnevno javno might speak more precisely through the dogajanje z velikim številom neposredno mouth of an artist, that created it. The prisotnih avtorjev. end of mistifications / the end of idolatry? Therefore the deceision for condensed Socialna struktura je participatorna, week long public events with a larga nehierarhična in znotraj individualnih numbner of artists / authors present. izrazov sodelujočih interdisciplinarna,

110 ali kot raje rečemo: antidisciplinarna – The social structure is defined as torej proti ločevanju v discipline / red. participatory, non-hierarchic and – Na vseh področjih uspešno sestavljena within the individual expressions of the platforma postane umetniško delo, kadar participators – interdisciplinary, or as vzbudi pri udeležencih pozitivne občutke we prefer to call it: antidisciplinary – so: in pusti pečat. Konjunkcija = zlepljenje against the division into disciplines / order. časa in prostora z živim mesom človeške A platform – successfully combined on prisotnosti. all levels – becomes an art work, when it provides positive feelings and a longer Sodelujoči: Boštjan Leskovšek, Ksenija term memory. Conjunction = the merging Čerče, Stefan Doepner, Neven Korda, of time and space with the living flash of Bojan Andjelković, Elisa Ulian, Petra Kapš, human presence / awareness. Dennis Tan, Borut Savski in drugi. Participating: Boštjan Leskovšek, Ksenija Čerče, Stefan Doepner, Neven Korda, Bojan Andjelković, Elisa Ulian, Petra Kapš, Dennis Tan, Borut Savski and others.

111 112 Predavanja / Lectures

113 Eva Schindling (Avstrija/Kanada / Austria/Canada) www.evsc.net

Circuit Explorations (Raziskovanja vezij)

Predstavitev / performans Presentation / performance

Delo Circuit Explorations, ki črpa navdih iz Inspired by the rules and finely-tuned pravil in skrbno uravnoteženih konstant, ki constants governing our universe, Circuit vladajo našemu svetu, je poskus stvaritve Explorations is an attempt at creating a kompleksnega sistema od začetka. Enaka complex system from scratch. Identical analogna elektronska vezja so urejena analog electronic circuits are assembled tako, da sestavljajo omrežje, pravila into a arbitrary network and its interaction medsebojne interakcije pa so določena rules are tuned in a manual search process. v postopku ročnega iskanja. To iskanje The search for complexity – guided by kompleksnosti – s pomočjo vizualizacije visualization and sonification – becomes in sonifikacije – je obsojeno na propad, a doomed performance as the space of saj je nabor možnih konfiguracij sistema possible system configurations turns out to ogromen in nepregleden. be vast and overwhelming.

Eva Schindling (*1981) je zaključila magisterij Eva Schindling (*1981) received a MSc. in iz umetnosti in tehnologije na švedski Art and Technology from Chalmers Univer- univerzi Chalmers in pridobila diplomski sity in Sweden and a degree in Interaction naziv iz študijskega programa Interakcija in and Media Design from FH Joanneum oblikovanje medijev ustanove FH Joanneum in Austria. She creates hardware and v Avstriji. V interdisciplinarnem prostoru nekje software solutions in the interdisciplinary med umetnostjo, znanostjo, tehnologijo in zone between art, science, technology oblikovanjem avtorica ustvarja programske and design. Driven by a fascination for the in strojne rešitve. Pri raziskovalnem delu jo emergence of complexity and the nature vodi zanimanje za nastanek kompleksnosti of reality her research puts a focus on the in naravo resničnosti, s poudarkom na dynamics of non-linear processes. Her dinamiki nelinearnih procesov. V svojih delih work ranges from embodied evolutionary obravnava področja, ki segajo od evolucijske robotics, algorithmic pattern formation to the robotike, formiranja algoritemskih vzorcev visualization of otherwise invisible sound do vizualiziranja sicer nevidnih zvočnih waves and has been shown at the Japan valovanj. Razstavljala je na festivalu Media Arts festival, Hong Kong’s Museum medijskih umetnosti Japan Media Arts, of Art, Finland’s Live Herring exhibition and hongkonškem umetnostnem muzeju, na the Ars Electronica. Recently she worked razstavi Live Herring na Finskem ter na as a research assistant at the Banff New festivalu Ars Electronica. Pred kratkim je Media Institute in Canada, exploring the sodelovala kot raziskovalka asistentka na emergence of complexity from electronic kanadskem institutu za nove medije Banff, circuits, rapid prototyping possibilities for kjer je raziskovala nastanek kompleksnosti data visualizations and encounters with the v elektronskih vezjih, možnosti hitrega fourth dimension in a virtual reality CAVE. prototipiziranja vizualizacije podatkov ter srečanja s četrto dimenzijo v okolju virtualne resničnosti CAVE.

114 115 Isin Onol (Turčija/Avstrija / Turkey/Austria)

Investigating the Invisible: Hidden Information within Shadows (Raziskovanje nevidnega: Skrite informacije v sencah)

Povzetek Abstract

“Umetniško delo podaljšuje in presega „An artwork prolongs, and goes beyond, običajne zaznave. Umetniško delo zajame common perception. What common samo bistvo tistega, kar običajna zaznava perception trivializes and misses, an trivializira in spregleda.” artwork apprehends in its irreducible (E. Levinas, Reality and Its Shadow essence.‟ (Resničnost in njena senca)) (E. Levinas, Reality and Its Shadow)

Zasnova: Kot izvira že iz grške mitologije, Concept: Having its basis on the Greek svetloba v zahodni ideologiji igra osrednjo Mythology, light has been a major vlogo in se tesno povezuje s pojmi, kot phenomenon of Western Ideology that is so “resnica”, “spoznanje” in “čistost”. very much related with “truth”, “knowledge” Tema in senca se po drugi strani vedno and “purity”. Darkness and shadow, on uporabljata kot metafori za antipod tem the other hand, has always been used as pojmom. Koncepti, kot so “demokracija”, metaphors as oppose to these notions. “svoboda izražanja”, “človekove pravice” so The conceptions of “democracy”, “freedom se znotraj te ideologije preoblikovali skozi of speech”, “human rights” were reshaped celotno obdobje razsvetljenstva. Danes, within this ideology throughout the Age of v dobi komunikacije, se zanesljivost teh Enlightenment. Disclaiming the reliability konceptov postavlja pod vprašaj, če sledimo of these concepts, today, in the era of informacijam, protislovjem, teorijam zarote, communication, following each piece nasprotovanjem, ki se prav tako hitro širijo. of given information, the controversies, Vsaka država ima svojo vlado v senci, conspiracy theories, contradictory svojevrstno državo znotraj države, v vsaki oppositions are as well spread rapidly. Each ekonomiji je tudi senčna ekonomija. Nerešeni nation has its own shadow government umori, nenadni državni udari, bankrotirane as a deep state, each economy has a države, nepričakovani upori, odcepitve shadow economy. Unsolved murders, držav ... V ozadju teh dejstev lebdijo teorije abrupt military coups d’état, bankrupting zarote, tako vseprisotne kot sence in tako countries, unexpected rebellions, divisions tudi spregledane, saj so tako običajen del of countries ... All the conspiracy theories našega življenja, da nanje gledamo enako behind all these facts are floating on the kot na sence. air, as pervasive as shadows, and with their omnipresence, they are being normalized V luči tega mnogi umetniki ustvarjajo dela s and ignored as we treat shadows. skritimi pomeni, skušajo vsaj na prvi pogled prikriti smisel namesto odkrito izraziti svojih Reflecting on these facts, numerous artists namenov. Nekateri sence uporabljajo kot are producing their work with hidden orodje, s katerim se odzivajo na nezanesljivost connotations, aiming to keep the meaning razširjanja “resnic”, ki so prikazane v zelo invisible, at least at the first glance, rather jasni luči. than projecting their intentions explicitly. Some use shadows as a tool to respond to the unreliability of spread “truths” that are offered under very sharp light. 116 Opis projekta Outline of the project

Ta projekt je poskus raziskovanja mogočih This project aims to investigate the possible političnih konotacij, sugeriranih z uporabo hidden political connotations suggested senc in podobnih metod prikrivanja v through the use of cast shadow and similar umetniškem ustvarjanju. methods of invisibility in art practices.

Predlaga analizo možnih preoblikovanj It suggests an analysis of possible spomina, prostora in časa, z uporabo senc kot transformations for memory, space and sledov izkušenj in ujetih trenutkov. Pod vprašaj time by considering shadows as traces postavlja mejo med dejansko in umetnostno of experiences and temporal captures. izkušnjo, razmerje med resničnostjo, vizualno It questions the border between actual zaznavo in senco, ter raziskuje dvojnost and art experience, relationship between prikazanega in prikritega v umetniškem reality, visual perception and shadow and delu. Prizadeva si odpreti prostor, v katerem analyses the duality between what is shown bi bilo mogoče raziskovati izkušnjo sence, and what is hidden in a work of art. It aims primerjati njeno lastnost z lastnostjo objekta, to open a space to explore the experience ki senco meče ter opredeljuje obstoj sence of shadow comparing its identity with the kot časovno omejeno in nematerializirano identity of the object casting it and proposes umetniško delo. Predlaga raziskovanje praks the existence of shadow as a temporal namenskih senc v sodobnih umetnosti, pri and non-material object of art. It suggests katerih je senca neodvisna slika in obstaja investigating the practices of intended fizična povezava med umetniškim delom in shadow in contemporary art, considering razstavnim prostorom. shadow as an independent image and as a physical connection between the art object and the exhibition space.

117 Raziskuje socio-kulturološke in politične The socio-cultural and political analyses analize sence in njene povezave s teorijami of shadow and its possible relations with zarote, ki se ustvarjajo v različnih kulturah. conspiracy theories that are created by Osrednji fokus projekta so bili umetniki, ki different cultures have been researched. prihajajo iz držav, kjer je svoboda izražanja Artists that are coming from the countries omejena in / ali umetniška dela, ki govorijo where freedom of speech is problematic, o teh temah. and/or artworks referring to these issues have been the main focus. Filozofski vidik gledanja in dekonstrukcija vidnega/nevidnega je bil analiziran skozi The philosophical aspect of the perception prizmo Derridajeve “Memoarje slepih” v and deconstruction of visible/invisible have smislu pristopa k pojmom “oprijemljivosti” in been analyzed through Derrida‟s “Memoirs “začasnosti”, ki ju pod vprašaj postavljata of the Blind” in relation to the approaches to Merleau-Ponty in Levinas. “corporeity” and “temporality” as questioned by both Merleau-Ponty and Levinas. Ključne besede raziskave so med drugim resnica, vizualna zaznava, zarota, Truth, illusion, visual perception, oprijemljivost, napačno razumevanje, conspiracy, false image, memory, time, zavajanje, lažno predstavljanje dejstev. temporality, corporeity, misunderstanding, misinformation, misrepresentation are some of the keywords of this research.

118 Jan-Peter E. R. Sonntag (Nemčija / Germany)

Borders and the Infinite (Meje in brezmejno) 2007–2010

Video predavanje za Transmediale07 v A video-lecture for the Transmediale07 at berlinski Akademiji za umetnost in znova the Academy Of Arts in Berlin reloaded for prikazano na festivalu CYBERFEST v the CYBERFEST at the Hermitage in St. muzeju Hermitage, Sankt Peterburg 2010 Petersburg 2010

“Ne 5. december 2010, ampak 6. januar “And it is not December 5th, 2010, instead 2007 ob 0:11 uri sta datum in ura, ki ju January 6th 2007, 0:11 a. m. is the date prikazuje moj prenosnik, kamor sem zapisal and time displayed by my laptop on which I prve vrstice, ki ste jih pravkar slišali, in jih v wrote the first lines which have just sounded, svojem umu projiciral do njihovega prvega projected them in my imagination to the javnega branja v tem trenutku. Tako je opisan point now of their first public reading. Thus metrični interval med dvema točkama v času, is described the metricized interval between ki se je iztekel pravkar in v katerem bom zbral two points in time which lapsed just now, in ter zapisal svoje misli v angleškem jeziku in which I will compile, write with fountain pen zlasti v nemščini – saj razmišljam pretežno v and on the laptop in English and above all in nemščini, tako da je to, kar sedaj poslušate, German – for I think mainly in German, so that predelava prevoda in skrajšanja. what you are now hearing is the reworking of (...) a translation and abridgement. Omejitve umetnosti z elektronskimi, digitalnimi (...) sistemi, so deloma tehnične narave in so The boundaries of an art with electronic, povezane s formati – formati že sami po sebi digitally coding and decoding systems are omejujejo: velikost pomnilnika, procesorska in part of a technical nature and lie in the moč in zlasti ločljivost in kompresija ter formats – formats in themselves confine: in praktične lastnosti in omejitve vmesnika, te memory size, processor speed and above omejitve pa se pokažejo tudi pri interakciji z all in resolution and compression and the našim sistemom zaznavanja, torej postanejo physics of the interface and these boundaries, tudi fiziološke in kognitivne. To vpliva na način mirrored – also emerge in interaction with our zaznavanja oblik in vzorcev, sistem aktivno sensory system as something physiological filtrira in kompresira, da bi izluščil tisto, kar and cognitive. Depending on which forms je domnevno bistveno – in vse to se dogaja and patterns are perceived, the system podzavestno. actively filters and compresses in order to Tako se znajdem v distopiji.” arrive at what is supposedly essential – and Jan-Peter E. R. Sonntag all this beneath our consciousness. I locate myself in dystopia.” Jan-Peter E. R. Sonntag

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