(Dis)harmonija (Dis)harmony
Martin Bražina: Pegman’s World
Razstava nagrajencev IV. mednarodne likovne forme vive Maribor 2011 Exhibition of award winners of the IV. International Fine Arts’ Forma Viva Maribor 2011
Martin Bražina Ivan Petkov Silvia Alexandra Pintilie Viktor Vejvoda Kuratorka / Curator Alenka Domjan 19. junij – 6. julija 2013
Organizacija in produkcija / Organisation and production: KID/ACE KIBLA, Maribor, SI (Dis)harmonija / (Dis)harmony Martin Bražina, Ivan Petkov, Silvia Alexandra Pintilie, Viktor Vejvoda Razstava nagrajencev IV. mednarodne likovne forme vive Maribor 2011 / Exhibition of award winners of the IV. International Fine Arts’ Forma Viva Maribor 2011 Žirija / Selection board: Mojca Puncer, Samuel Grajfoner, Milena Zlatar in Aleksandra Kostič Kuratorica / Curator: Alenka Domjan Izobraževalni program in vodstva po razstavi / Educational program and guided tours: Tanja Grosman, Beno Soršak, Rafael Kurnik Postavitev razstave / Exhibition construction: Simon Sedmak Oblikovanje elektronskih in tiskanih medijev / Layout of electronic and printed media: Samo Lajtinger, Aleksandra Kostič Urejanje / Editing: Aleksandra Kostič Prevodi / Translation: Helena Fošnjar Lektura / Proof reading: Mirjana Predojevič, Cameron Bobro Izdajatelj / Publisher: KID / ACE KIBLA Ulica kneza Koclja 9, Maribor, Slovenija Zanjo / Represented by: Aleksandra Kostič Edicija / Edition: TOX vozni res po tri tisočih / time table through tree thousand, leto 18, št. 43 / year 18, No 43 Tisk / Print: Bograf d.o.o. Slovenija, 2013 Copies / Naklada: 500 Podpora / Support: Ministrstvo za kulturo Republike Slovenije / Ministry for culture of the Republic of Slovenia
Urad za mladino RS / Office of the Republic of Slovenia for Youth
Mestna občina Maribor / Municipality of Maribor
S pomočjo programa javnih del Zavoda Republike Slovenije za zaposlovanje / With support of Employment Service of Slovenia (public works) Zavod Republike Slovenije za zaposlovanje
V sodelovanju z Art kampom in Festivalom Lent. / In a collaboration with Art Camp and Lent Festival.
V okviru mednarodnega projekta EU-PA – European Public Art. / In a frame of international project EU-PA – European Public Art.
Izvedba tega projekta je sofinancirana s strani Evropske komisije. Vsebina publikacije je izključno odgovornost avtorja in v nobenem primeru ne predstavlja stališč Evropske komisije. This project has been funded with support from the European Commission. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.
(Dis)harmonija (Dis)harmony
Kako misliti gozd s sredstvi likovnega jezika, kako prebuditi estetska in etična stališča do narave ter hkrati voditi dialog s socialno težnjo po urbanem, so bile vodilne misli domačih in tujih umetnikov, ki so ustvarjali na IV. mednarodni likovni formi vivi v Mariboru leta 2011. Med trinajstimi deli, ki so nastala v Mestnem parku, je strokovna komisija v sestavi Mojca Puncer, Samuel Grajfoner, Milena Zlatar in Aleksandra Kostič na osnovi moči idejnega sporočila, vživetja umetniškega dela v lociran prostor, njegove interaktivnosti z gledalcem in izvedbe, za I. nagrado, ki jim je odprla prostor v galeriji KiBela v letu 2013, izbrali kar štiri avtorje: Martina Bražino (Češka), Ivana Petkova (Bolgarija/Avstrija), Silvio Pintilie (Romunija) in Viktorja Vejvodo (Češka). Razstavo smo poimenovali (Dis)harmonija. Vsebinska izhodišča, ki se dotikajo posameznika v sodobni družbi in njegovih čutnih vibracij do narave na eni in do psiho-socialnih okolij v urbanem prostoru na drugi strani, so nagrajenci, vsak na svoj način in posebej za to razstavo, aktualizirali in jih postavili v zanimiv umetniški kontekst. Usmerili so jih v odprto polje umetniške prakse – v soodnosnost različnih medijev, predvsem pa v intenco ultimativnega prizorišča resnice, ki odpira etična vprašanja o bivanju danes, predvsem pa o odnosu človeka do narave, do urbanega in njuni (dis)harmoniji. S sodelujočimi umetniki in naravo njihovega dela tako ustvarjamo prostor srečanja, kamor se naseljujejo vprašanja kot so: kako se posameznik danes odziva na družbeno okolje, na naravo in predmetni svet, kako intenzivno sprejema njune vibracije in kako močno zaznava njuna znamenja in zakonitosti? Zanimajo nas torej pogledi na nove pole in smisle družbenih vsebin, ki se s sodobno tehnologijo odpirajo v nezavidljive razsežnosti globalnih, tudi virtualnih svetov in s tem človeka odmikajo od naravnih, predmetnih prvin. Postavljajo ga v nov in drugačen življenjski položaj, ki se v gibljivem prostoru, kjer biva realno pred simbolnim in imaginarnim, in je hkrati neločljivo povezano z njima, ustvarjajo novi kanoni in zahteve percepcije. Ločnica med opazovalcem/gledalcem in umetnino danes iz-
ginja. Sodobno umetniško delo je oprto na intermedijskost in opazovalca/gledalca ne zapeljuje površinsko, niti ga ne privablja z globinskimi podzidavami, ampak njegovo prisotnost vsrkava v sam sistem dela, v dogajanje, v doživljanje. Postavlja ga v vlogo so-akterja in s tem umetniški produkt izmika kontemplaciji, značilni za tradicionalno umetnino, in poudarja njegovo bistvenost - interaktivno percepcijo. Kljub temu pa umetnina sodobnega časa, bodisi materialna ali nematerialna, ohranja čutnost, sentimentalno vezanost na čisto vsakdanje predmete, na družbeno okolje in na naravo. Čutno namreč povzroča nemir in v zavest vpisuje željo, ki kot sila prodira v globinske plasti duha in z ustvarjalnimi ritmi spodbuja dinamično atmosfero, v kateri nastajajo avtentične ideje za umetnost. Prav ta impulz preseka povrhnjico zunanjega, ki zmoti dojemanje realnega sveta in gledalčevo videnje pomakne v pretočno sfero simbolnega in imaginarnega. To še posebno velja za tista dela, ki niso zakodirana s simbolnimi sporočili, ampak komunicirajo skozi proces delovanja in se dotikajo enako močno vida, sluha in otipa; torej dela, ki vodijo k doživljanju, k nameri in cilju in se ukvarjajo s praktično posredniško vlogo v družbenih procesih. V tem kontekstu ustvarjajo tudi vsi štirje umetniki. Silvia Pintilie razmišlja o resnici, ki jo povezuje s kvaliteto človeške narave. Zagovarja ne-absolutno resnico in dejstvo, da nikakor ne moremo a prióri zavračati vsega, tako kot ne moremo živeti samo v absolutno čistem, lepem ali samo v umazanem, mračnem svetu. Njena zgodba se odvija v čisto vsakdanji življenjski situaciji in povzema zanimiv odnos do mimesis. Projekt sestavlja serija ročno izdelanih embalaž za hladno hrano, ki jih je, namesto s hrano, napolnila z risbami različnih jedi. Umetnica namreč skozi posnemanje realnosti ustvarja dvojno realnost: realnost artefakta kot predmetnega sveta in družbeno realnost. Kajti mali, prosojni artefakti razpi-
Silvia Pintilie: Dinner is ready!
rajo svojo notranjost le toliko, kolikor je potrebno, da spodbudijo percepcijo in gledalca popeljejo do referenčnega okvira, ki deli življenje, iluzijo in resnico. Na tej tanki percepcijski liniji se odvija prava predstava: povabilo k večerji, ki ga lahko razumemo kot simbolni pomen družabnosti, komunikativnosti in socialne topline. Vendar se v umetniškem produktu naseljuje paradoks: hitra in hladna industrijska hrana nima ničesar več skupnega z nekdanjim obredom večerje. Kajti njeni označevalci so prestopili mejo zasebnosti in v sodobni ekonomiji časa postali refleksija asocialne družbene situacije. Martin Bražina pogosto razpravlja o aktualnih socialnih pojavih, kot so samo-prehranjevanja in samo-preživetja. Skozi njih išče tudi priložnost za diskusijo o njihovi estetski naravi. Vendar pa se pri tem zaveda, da postaja naše življenje v času sodobnega kapitalizma in digitalne kulture vse bolj abstraktno in zapolnjeno z nematerialnimi podatki, ki nas silijo k procesu dematerializacije. Tisto, kar je bilo nekoč zavezano materialnemu, je danes s pomočjo sodobne tehnologije premeščeno v generativne forme. S tem pa objekt izgublja svojo notranjo, čustveno arhitekturo, a pridobiva na vizualni aktivnosti; tako kot umetnikov Pegman, ki potuje po prostranstvih sveta, med hribovjem in vasicami in se useda v globino naših misli. Vendar pa tovrstni digitalni zapis popotovanja ustvarja povsem lastno logiko percepcije. Podobe nas sicer presenetijo s svojo pojavnostjo, a tako hitro, kot se nam prikazujejo, tudi izginjajo. S tem pa izgubljajo doživljajsko in čustveno vrednost. Zato umetnik video delo Pegman tudi zastavlja kritično - preverja emocionalno polje občinstva, hkrati pa izpostavlja konceptualno refleksijo o podobi nekega prostora. Ivan Petkov posega v kontekst medijske psihologije in interaktivne umetnosti ter opozarja na proces izginjanja čutno zaznavnih kategorij, ki so nekoč gospodovale svetu duha, danes pa so naplavljene le še na robovih nujnega. Njegova instalacija, neke vrste časovna knjiga, se navezuje na čas kot temeljni princip za organizacijo v najširšem pomenu, na katerega so vezane vse oblike družbenega življenja in vedenja. Danes smo priča mnogim spremembam v časovni paradigmi, sledimo raznorodnim koncepcijam, povezanim z digitalno revolucijo, ki čas vodijo v odklone, v nepovezane časovne enote, ki na nek način proizvajajo shizofreno časovnost. Pri tem pa se ne spreminja samo trajanje zaznavanja, ki je najpomembnejša struktura za razumevanje časovnega modusa: preteklega, sedanjega in prihodnjega, ampak tudi prepoznavanje realnosti in berljivosti življenja, ki se pogosto izenačuje z irealnim. Tako kot Faucaultovo nihalo v zgodbi Umberta Eca, ki enakomerno niha sem ter tja med domišljijo
in resničnostjo ter ustvarja velikanski labirint očarljivih domišljij in bogatih ezoteričnih izročil. Viktorja Vejvodo privlači rob, kjer potekajo najmočnejše spremembe; kjer podobe izginjajo in nastajajo nove, kjer se odvija neskončen proces urbanih in socio-psiholoških menjav. Umetnik razume svet malih ljudi kot samoiniciativnost in erozijo neštetih statusnih simbolov. Predstavljeno delo Kiosk je hibridna arhitektura specifične identitete (začasna gradbena konstrukcija), ki nas usmerja v raziskovanje razmerij med skupnostjo nižjega razrednega sloja in njemu pripadajočemu organskemu prostoru. Zanimivo je, da Vejvoda nikoli ne zapade v kriticizem, ampak pripoveduje male zgodbe o človeku, katerega izkušnje niso vezane na kapital, ampak na preživetje. Njegovi projekti so, znotraj kapitalske moči in njene arhitekturne mogočnosti, družbeno, ekološko in kulturno ozaveščeni; predvsem pa so preprosta umetniška izjava, ki skozi krhko arhitekturo, enako spremenljivo kot je življenje, razkriva človeka z roba. Razstava je poezija realnosti. Umetniki pa, vsak v svojem umetniškem jeziku in mediju, z estetsko izkušnjo in s čustvenimi naboji predstavljajo svojevrstne vizualne kontekste. Alenka Domjan
ENG How to think the forest by means of visual language; how to evoke esthetic and ethical stands towards nature, while at the same time being able to foster a dialogue with the social tendency for the urban – these were the principle thoughts behind home-based and foreign artists creating the IV International Fine Arts’ Forma Viva in Maribor in 2011. Out of all the works created in the city park, based on the power of their ideas, the manner in which the artwork fits into the located space, its execution and interactivity with the viewer, we have chosen four authors as winners of the 1st prize, which opens the doors to KiBela gallery in 2013: Martin Bražina (Czech Republic), Ivan Petkov (Bulgaria/Austria), Silvia Pintilie (Romania) and Viktor Vejvoda (Czech Republic). The exhibition is entitled (Dis)harmony. In terms of content, the bases for the artworks refer to the individual inside modern society; their sensory vibrations towards nature on one side, and to psycho-social environments inside the urban space on the other. The award-winners, each in their own way and for this exhibition only, have touched upon these aspects and placed them inside an interesting artistic context. Their efforts were directed into the open field of artistic practice – into the co-dependency of different media, but mostly into the intention of an ultimate place of truth, which raises ethical questions about today’s existence, and mostly about the relationship of man towards nature, towards the urban, and their (dis)harmony. The participating artists and the nature of their work thus help to create a space for encounters, inhabited by questions like: how does the individual today respond to the social environment, to nature and to the material world; how strongly does he acknowledge their vibrations, and how much does he perceive their signs and rules? We are therefore interested in looking at new poles and new senses of social issues, which are spreading – by means of modern technologies – into unforeseen global and also virtual dimensions, and drive people away from the natural, material elements. In this way people are placed inside a new and different life situation; inside a mobile space where the real exists before the symbolic end the imaginary, yet at the same time it is inevitably connected to them, creating new cannons and new demands of perception. Today the divide between the observer/viewer and the artwork is disappearing. The contemporary artwork relies on intermediality; it does not seduce the observer/viewer in a superficial manner, nor does it try to attract him with in-depth developments, but rather absorbs his presence into the system of the work itself, into the happening and experiencing.
Viktor Vejvoda: Kiosk
It places the observer/viewer into the role of co-agent, thus pulling the artistic product away from contemplation that is so typical of traditional artworks, and highlights its essence – the interactive perception. Nonetheless, the contemporary artwork, whether material or immaterial, preserves a sensuality; a sentimental attachment to ordinary everyday objects, to the social milieu and to nature. This is because the sensual causes restlessness; it inscribes a desire into the consciousness, one that penetrates deep into the spirit with great force and stimulates a dynamic atmosphere with creative rhythms, where authentic artistic ideas are being born. It is this impulse that cuts through the skin of the exterior, which interrupts the perception of the real world and shifts the viewer’s perspective onto the fluid sphere of the symbolic and the imaginary. This applies especially to the works that are not encoded by symbolic messages, but communicate through the process of acting and appeal equally to sight, hearing and touch; i.e. the works that lead to experience, intention and goal and which deal with the practical intermediary role in social processes. The four artists in exhibition work in such a context as well. Silvia Pintilie ponders on the truth, and links it to the quality of human nature. She is an advocate of a non-absolute truth and the fact that we cannot reject everything a prióri, just like we cannot live exclusively in an absolutely clean and beautiful, or an entirely dirty and dark world. Her story is set in a most ordinary, everyday life situation and encompasses an intriguing attitude towards mimesis. The project comprises a series of hand-made food packages, but instead of food she
filled them with drawings of different dishes. By mimicking the reality the artist in fact creates a double reality: the reality of the artifact as the material world, and the social reality. The small, transparent artifacts only disclose their inside to such an extent that is needed to encourage perception and to take the viewer to a referential frame, which shares life, illusion, and truth. On this fine line of perception, the true show is taking place: there is a dinner invitation, which can be understood as a symbolic meaning of sociality, communicativeness and social warmth. However, there is a paradox that lies in the art product: the cold, industrial fast food has nothing in common with the ritual of dinner as we once knew it. Its markers have crossed the line of privacy and in the modern economy of time they have become a reflection of the typical asocial situation. Martin Bražina often discusses current social phenomena, like eating alone and living alone. He sees them as an opportunity to discuss their esthetic aspects. But he also realizes that our life in the age of modern capitalism and digital cultures is becoming increasingly abstract and filled with non-material information that forces us into the process of dematerialization. What used to belong to the domain of the material is being transferred to generative forms by means of modern technologies. This causes the object to lose its internal, emotional architecture, but at the same time it picks up on the visual activity; just like an artist’s Pegman, travelling the vastness of the world, through the hills and the valleys, he sinks deep into our thoughts. But this kind of digital journey record creates an entirely independent logic of perception. The images may surprise us with their manifestation, but they disappear just as quickly as they appeared. This is why they lose their experiential and emotional value. And this is precisely why the artist conceives his video work Pegman as critical – he wants to test the emotional ground of the audience and at the same time exposes a conceptual reflection about the image of a certain space. Ivan Petkov reaches to the context of the psychology of media and interactive art. He draws our attention to the disappearance of those sensory-perceptive categories that used to rule the world of the spirit, while today we only find them stranded on the borders of the necessary. His installation, a sort of a time book, refers to time as the basic principle for organization in the broadest possible sense – time, to which all forms of social life and behavior are connected to. Nowadays we are witnessing numerous changes in the temporal paradigm; we are following various conceptions connected to the digital revolution, which steer time into deviations
Ivan Petkov: Dan v našem življenju / A Day in our Life
and disconnected temporal units that in a way produce a schizophrenic temporality. However, this does not affect just the duration of perception, which is the vital structure in the understanding of the temporal modus: the past, present, and future; but also affects the recognition of reality and readability of life, which is often equated with the unreal. Just like Foucault’s Pendulum in Umberto Eco’s story, steadily swinging back and forth between reality and fancy, creating a giant labyrinth of charming fantasies and rich esoteric traditions. Viktor Vejvoda is drawn to the edge, where the most significant changes occur; where images are disappearing and new ones are being created; where an endless process of urban and socio-psychological changes take place. The artist sees the world of little people as self-initiative and an erosion of countless status symbols. The presented work Kiosk is a hybrid architecture with a specific identity (a temporary building construction), which directs us into the exploration of relationships between the lower-class community and its corresponding organic space. It is interesting that Vejvoda never falls into criticism, but rather tells the story of men, whose experiences are related to survival, not to capital. His projects are socially, ecologically and culturally conscious inside the capital’s power and its architectural mightiness; but above all they are a simple artistic statement that, by means of a fragile architecture, as inconstant as life itself, reveals the man on the edge. The exhibition is a poem of reality. In their own artistic language and medium, with an esthetic experience and emotional charge, each of the artists presents their own particular visual context. Alenka Domjan
Martin Bražina Pegmanov svet 2013, video loop, različne dimenzije / dimensions variable
On je fantom bližnje pokrajine; nežno zbira svet, kos za kosom. Ampak ali lahko razkrije globoke skrivnosti in zaklade vsake pokrajine? Jih bo delil kot vse druge? Ni duha brez duha. Ni pokrajine brez človeka, ki mu je zanjo mar. Pegman’s World He’s the phantom of the surrounding landscape, gently he collects the world piece by piece. But can he reveal deep secrets and treasures of every landscape? Will he share them like the others? There’s no spirit without spirit. There’s no landscape without a man who cares about it. MB (1987 Čeladná na Češkem / Czech Republic). Živi in ustvarja v Pragi. He lives and works in Prague. Leta 2007 je zaključil srednjo umetniško šolo za grafiko v Jihlavi in od leta 2008 študira na Akademiji za likovno umetnost (Akademie výtvarných umĕní) v Pragi. In 2007 he finished the High School for Graphic Art in Jihlavé and since 2008 he studies at the Academy of Fine Arts (Akademie výtvarných umĕní) in Prague. Kontakt/contact: www.martinbrazina.cz www.blackmedia.eu
Ivan Petkov Trpljenje pomeni živeti čas do podrobnosti, trenutek za trenutkom, 2012, instalacija, E. M. Cioran: The New Gods (Novi bogovi) Ob sončnem vzhodu prve strani prazne knjige obrne pihljaj. Opoldne se količina obrnjenih strani približno ujema s tistimi, ki so še preostale. Ob sončnem zahodu pridemo do konca knjige. Medij knjige zaznamujejo konotacije modrosti, kulture, zakona ali religije. To so konteksti, v katerih ljudje ustvarjajo knjige, z namenom učenja, zapisovanja, zabave, pa tudi za določanje ali zavarovanje zatiralnih političnih režimov. V instalaciji opazujemo nepričakovan način uporabe knjige. Knjiga je prazna, a še vedno jo lahko beremo – na intuitiven način, brez mučne natančnosti znakov, s pomočjo nevidne moči vetra. Razkriva nam čas, ki je pretekel od jutra in čas, ki še preostane do mraka. Spominja na pretekle čase, ko je k aktivnemu življenju spadal samo svetli dan dneva. Suffering makes you live time in detail, moment after moment, 2012, Installation, E. M. Cioran: The New Gods During sunrise, the first pages of an empty book are being flipped by an airflow. At midday, the amount of the pages which have been turned roughly equals the ones which are still left. At sunset, the end of the book is reached. The medium book carries connotations to wisdom, culture, law or religion. In these contexts humans create books, with the purpose to teach, to record, to amuse but also to determine or secure oppressive political regimes. An unexpected use of the book takes place in this installation. It is blank and still can be read - in an intuitive way, without the torturous precision of the signs and through the invisible power of the wind. It reveals the time passed from the morning and the time left till dusk. It reminds of a bygone era in which only the bright part of the day belonged to the active life. IP (1976, Gabrovo, Bolgarija / Bulgaria) Ivan Petkov živi in ustvarja v Linzu. Magisterij je končal na državni akademiji v Sofiji ter na umetniški univerzi v Linzu. Deluje na področjih kiparstva, interaktivnih instalacij in animacije. Njegova dela so bila prikazana na festivalih kot so Crossing Europe Linz, VIDEOHOLICA International Video Art Festival Varna ter Video Art Festival Miden Kalamata. S svojimi kipi in instalacijami je sodeloval na več umetniških simpozijih in razstavah v Avstriji, Nemčiji, Sloveniji in Španiji. Ivan Petkov lives and works in Linz. He received his MA at the National Art Acadamy Sofia and at the Art University Linz. He works in the fields of sculpture, interactive installations, and animation. His films were shown at festivals like Crossing Europe Linz, VIDEOHOLICA International Video Art Festival Varna and Video Art Festival Miden Kalamata. He participated in art symposiums and exhibitions with sculptures and installations in Austria, Germany, Slovenia and Spain.
Silvia Pintilie Prevratniški prijatelji in druge odlične pošasti / Poglavje: Večerja je pripravljena! Zamrznjena hrana ne prodira samo v naše domove, pač pa tudi v naše družbene navade. Ostaja le še bleda senca tega, kar je nekoč predstavljalo skupnost in družino v času večerje. Vse skupaj je prišlo tako daleč, da celo Coca-Cola, ki je resnično prava znamka globalizacije, organizira kampanje, ki oglašujejo druženje med člani družine in prijatelji – tako kot v starih dobrih časih. Umetnica želi raziskati kaj je še ostalo od osnovne potrebe po komunikaciji in potrebe po tem, da nekaj delimo. Pri tem odkrije, da je eden izmed odgovornih, hkrati pa ikoničnih objektov oz. dekonstruirana zbirka bistvenih elementov, pravzaprav prazna posoda, v katero je zataknjen kos papirja. Uporabi jo na inovativen način – vanjo nariše slastne, dobre stare jedi, s tem pa ustvari metaforo uravnovešenega vedenja, ki se je tekom časa nekako izgubilo. Smola, v katero so bile risbe odlite, predstavlja umetno zamrznjeno družbo, ki vase zaklepa čas in čustva ter jih nikoli ne izpusti. Subversive friends and other delicious monsters / Chapter: Dinner is ready! Refrigerated food not only invades our homes, but also our social habits. There is a pale image left of what was supposed to represent the communion with the family during dinner time. This issue has arrived to the point where even Coca Cola, a brand of true globalization, organizes campaigns to gather family and friends together, for old time’s sake. Judging in this direction, the artist attempts to discover what is left of this primary need for sharing and communicating, and discovers that one of the responsible and concurrently iconic objects, moreover a deconstructed collection of main products, is the empty water casserole with a sheet of paper stuck on it. Employing it in a resourceful manner and drawing whole old and good fashioned dishes on them, as an image of a possible result, she creates a metaphor of a balance behavior that somehow, along the way, seized to happen. The resin material in which the drawings were casted is chosen to represent an artificially frozen society that capsules time and feelings, and never lets go. SP (1985, Iasa, Romunija / Romania) Živi in ustvarja v Iasi. She lives and works in Iasa. Med 2004–2008 je obiskovala Državno umetniško univerzo, Fakulteto za dekorativne umetnosti in oblikovanje, Oddelek za stensko slikarstvo; med 2008–2010 Državno univerzo Al. I. Cuza v Iasi, Fakulteto za filozofijo in socio-politične študije, magistrski program (MA) v uporabni filozofiji
in kulturnem menedžmentu; med 2008–2010 je opravljala podiplomski študij na Državni umetniški univerzi, na Fakulteti dekorativnih umetnosti in oblikovanja v Bukarešti (v razredu prof. dr. Ionu Stendl-u). Od leta 2010 je zaposlena na Umetniški akademiji George Enescu v Romuniji, kjer je leta 2011 tudi doktorirala. Umetnica raziskuje teme tradicionalnega objekta in vedenja, kontekstualiziranih znotraj sodobne kulture. Silvia Pintilie je delovala tudi kot glavna urednica revije ArtClue Eastern European Contemporary Art Magazine, kjer je opravila številne intervjuje z umetniki in kustosi s področja video umetnosti, performansa in slikarstva. Aktivno sodeluje pri kulturnem razvoju mesta, kjer se vključuje v interdisciplinarne dejavnosti ter svoje strokovno znanje ponuja na razpolago tudi nevladnim organizacijam in kulturnim ustanovam. Trenutno je zaposlena kot lastnica in vodilna umetnica studia Inland Projects, specializiranega za zidne poslikave, notranje oblikovanje, projektiranje javnih in zasebnih prostorov. BFA 2004-2008 National University of Arts in Bucharest, Faculty of Decorative Arts and Design, Mural Arts Dept.; MA 2008-2010 National University Al. I. Cuza Iasa, Faculty of Philosophy and Socio - Political Studies, Masters Program (MA) in Applied Philosophy and Cultural Management; MFA 2008–2010 National University of Arts in Bucharest, Faculty of Decorative Arts and Design, Public Arts Masters Program (MFA), class of prof. dr. Ion Stendl; PhD 2010 – present George Enescu Art University of Iasi, Romania. Silvia Pintilie is researching the theme of traditional object and behaviour contextualized in the contemporary culture. She is occupied the editor-in-chief position at the ArtClue Eastern European Contemporary Art Magazine, interviewing various artists and curators in the fields of video art, performance and painting. She actively engages in the cultural development of the city, involving herself in interdisciplinary activities and offering her proffesional expertise to NGO’s and cultural associations. Presently, she is the owner and leading artist of Inland Projects, a mural arts and interior design studio specialized in planning public and private spaces.
Viktor Vejvoda Mastni kiosk Želel sem zaščititi majhne in nemočne, zato sem ustvaril majhne, subverzivne gradnje. Krhke arhitekture so konstrukcije (gradnje), ki obstajajo v neposrednem nasprotju z nedostopnimi trdnjavami iz jekla, stekla in betona. Mastni kioski so v glavnem nameščeni na zanimivih strateških lokacijah, ki jih zaznamujeta svoboda in prostost. Vsakodnevno strežejo hitro hrano, časopise, zelenjavo, itd. – so delavske postojanke. Kisoke pogosto gradijo lastniki sami ali jih izdelajo iz vnaprej narejenih gradbenih delov. Ostajajo in vztrajajo navkljub spremembam režimov, časa in razvojnim spremembam. Kartiranje in ohranjanje položaja teh krhkih gradenj omogoča
medij izrezovanja, ki vsakomur omogoča možnost izdelave svojega lastnega kioska. So improvizirane. So grde. So lahko uničljive. So pobarvane. So človeške. So cenene. So punkerske. So mastne. So zapuščene. So nekonvencionalne. So nezaželene. So tolerirane.
They are improvised. They are ugly. They are easily destructible. They are colored. They are human. They are cheap. They are punk. They are greasy. They are left. They are unconventional. They are unwanted. They are tolerated.
Greasy Kiosk With need to protect small and fragile I aimed on tiny subversive constructions. Fragile architecture are constructions which exist in direct opposition to inaccessible fortresses made from steel, glass and concrete. Greasy kiosks are mostly situated in interesting areas with an essence of liberty. As part of their daily routine they serve fast-food, newsagent, foodstuff, greengrocery; they are blue-collar pubs. The kiosks are often self-built by the owners or constructed from prefabricated segments. They stay and resist through changes of regimes, times and developers’ intentions. Mapping and preserving situation of such a fragile construction is done with the medium of cut-out and gives everyone the chance to construct his own private kiosk. http://utopia.comlu.com/index.php?/fragile-architecture/ VV (1983, Praga, Republika Češka / Czech Republic). Živi in ustvarja v Pragi. He lives and works in Prague. V letih 2004–2006 je bil študent Univerze Charles (Fakulteta za humanistiko) v Pragi. Od 2006 do 2009 je obiskoval šolo za grafično oblikovanje Hellichova (oddelek za grafično oblikovanje in tiskarsko produkcijo). Od leta 2009 je študent na Akademiji za likovno umetnost (oddelek za nove medije) v Pragi. During 2004–2006 he was a student at Charles University (Faculty of Humanities) in Prague. From 2006 to 2009 he attended College of Graphic Design Hellichova (department of graphic design and printing production). Since 2009 he is a student at the Academy of Fine Arts (department of new media) in Prague. Kontakt / Contact Web site: utopia.comlu.com, http://www.ducato.webuda.com/ http://vimeo.com/user4966699
Viktor Vejvoda: Kiosk