FOLIO volume 3 / number 2 (2011) by KIBLA KIBLA

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ISSN 1855-8976 Ä&#x152;asopis za sodobno umetnost, kulturo in veselje do Ĺživljenja Magazine for contemporary art, culture and the joy of life Letnik 3 (2011) / Volume 3 (2011), No. 5 Maribor, Slovenia

Letnik 3 (2011) • Volume 3 (2011), No. 5, Maribor, Slovenia ISSN 1855-8976 Naslovnica • Cover: foto/photo Milivoj Kuhar Folio je vpisan v razvid medijev pod zaporedno številko 1455. • Folio magazine is entered in the mass media register under order No 1455. Folio izhaja v slovenskem in angleškem jeziku. • Folio is published in Slovenian and English language. Izdajatelj časopisa • Publisher: Kulturno izobraževalno društvo KIBLA Asssociation for Culture and Education KIBLA Zanjo • Represented by: Aleksandra Kostič, predsednica KID KIBLA • President of ACE KIBLA Copyright © 2011 ACE Kibla Photographs Copyright © Authors and ACE KIBLA Vse pravice pridržane. • All rights reserved. Urednica • Editor: Snežana Štabi Uredništvo • Editorial staff: Aleksandra Kostič, Snežana Štabi, Maja Škerbot, Margaretha Mazura, Miha Horvat, Dejan Pestotnik, Peter Tomaž Dobrila Prevodi • Translation: Alenka Ropret, Maja Ropret, Helena Fošnjar Lektura • Proof reading: Cameron Bobro, Mirjana Predojevič Prelom • Layout: Samo Lajtinger Tisk • Printing: KIBLA PP Naklada • Print run: 200 izvodov • 200 copies Tiskano v Sloveniji. • Printed in Slovenia. Finančna podpora • Supported by: Javna agencija za knjigo Republike Slovenije Ministrstvo Republike Slovenije za kulturo Mestna občina Maribor

ESS

“Operacijo delno financira Evropska unija, in sicer iz Evropskega socialnega sklada. Operacija se izvaja v okviru Operativnega programa razvoja človeških virov za obdobje 2007–2013, 2. razvojne prioritete “Spodbujanje zaposljivosti iskalcev dela in neaktivnih” 2.1. prednostne usmeritve “Spodbujanje zaposljivosti iskalcev dela in neaktivnih” v okviru programa “Spodbujanje zaposlovanja dolgotrajno brezposelnih oseb 2009/2010”

- v okviru javnih del -

Koprodukcija • Coproduction:

MARIBOR 2012 Evropska prestolnica kulture / European Capital of Culture

Obetavno leto 2011 … je pri koncu. Se je izkazalo? Če sodimo po FOLIU – DA! Naklada pohaja, edicija 2011 je bila zelo dobro sprejeta in odmevna. Zalogaj na 140 straneh velikega formata je bil z velikim vložkom prostovoljnega dela v prispevkih ali slikovnem gradivu ter z delnimi finančnimi podporami natiskan šele konec poletja in je v evropskih prestolnicah zakorakal v bogato jesen (Berlin, Linz, Dunaj, Beograd, Ljubljana …) in po mestih v Sloveniji Svoj drugi letošnji uvodnik pišem s pogledom v 2012, čeprav do načrtovanega sodelovanja z zavodom EPK in tiska skupne posebne številke ni prišlo. Zdaj konkuriramo s priročnim formatom mini folia in „no-dizajn“ konceptom ter mini naklado. Zato, ker nekatere uredniške odločitve in koncepti niso kar tako, brez razmisleka. Podnaslov je isti. Kulturno 2012! urednica

2011 – a promising year … has come to an end. Did it live up to the expectations? Judging by FOLIO – YES! The circulation supply is nearly finished, the 2011 edition was a great sucess and has received a lot of attention. The handful of this 140 pages-long large format was, with a significant input of volunteer work in writing or photographic materials and partial financial support, printed only at the end of summer and marched into a plentiful autumn across European capitals (Berlin, Linz, Vienna, Belgrade, Ljubljana, ...) and across the country. I am writing this year’s second editorial with a view into 2012, although the intended cooperation with the ECOC office and the printing of a joint special edition did not happen. We are now competing with a handy mini folio format and a “no-design” concept with a mini circulation. Because some editorial decisions and concepts are not just made lightly, without consideration. The subtitle of the magazine remains the same. editor

Kiblix 2011 (foto / photo Milivoj Kuhar)

Iva Tratnik Marko Jakše Bojni ples na bombardirani luni Battle dance on the bombarded moon Vsi smo bombardirane lune. Bojni ples ni spopad, temveč obred umiritve tvoje plašne srne in mojega prestrašenega zajca. Okostja pa so tako ali tako naši družabniki, če že ne prijatelji ... Iva Tratnik in Marko Jakše sta pri tem ciklusu slik izhajala iz grafike iz 17. stoletja “L’influence de la Lune sur la teste des femmes”, na kateri so upodobljeni moški, ki s svetilkami opazujejo “nore” ženske, ki so se zbrale ob polni luni in imajo “zasedanje” oziroma neki bojni ples, moški pa so v ozadju, previdni, češ, kaj te ženske naklepajo. Naslov je metaforičen v smislu njune dvojine, dueta in duela, bojnega plesa, ko sta skoraj dobesedno plesala ob slikah. “Včasih je dobro, da imaš ob sebi nekoga, ki ti lahko drži ogledalo. Ker ogledala ti v današnji družbi nihče ne more držati, vsaj meni ne. Za Ivo pa se mi zdi, da mi ga je.” Slike velikih dimenzij sta Marko Jakše in Iva Tratnik slikala sočasno in skupaj. Nekatere slike velikanke dosegajo velikost tudi do pet metrov in odlično delujejo prav v naravni velikosti. V golo platno sta slikarja »skupaj skočila in zaplavala«. Iva ima rada ploskev, odprte površine, ki dihajo, Marko pa bolj kiparstvo v slikarstvu, oblikuje, dela iluzijo, svoj 3D. “To gre Ivi mogoče malo na živce in mi da tudi vedeti, kdaj je preveč; potem lahko sledi tudi napad na sliko. Sam delam nek detajl, ga zmodeliram, da je ves okrogel in plastičen, potem pa ga ona kar preslika …”

+++eng+ We are all bombarded moons. Battle dance is no fight, it is the ritual of soothing Your timid deer and my frightened rabbit. And skeletons are our companions anyway, If not friends ... Iva Tratnik and Marko Jakše have based their work on the 17th century graphic work “L’influence de la Lune sur la teste des femmes”, portraying men holding lamps and observing the “mad” women that have gathered for the full moon. The women are holding a gathering of a kind, or a battle dance, while the men stay behind cautious, as if wondering what the women are up to. The title is metaphorical in the sense of their duality, duet, duel, a battle dance, within which they almost literally danced alongside their paintings. “Sometimes it’s good to have someone beside you to hold a mirror up to you. In today’s society no one can hold the mirror up any longer, at least not to me. But I really feel that Iva has.” Large format paintings were painted by Marko Jakše and Iva Tratnik simultaneously and together. Some giant paintings extend on as much as five metres, making an excellent impression in life-size. The painters “took the plunge and swam” into the naked canvas together. Iva likes planes, open surfaces that breathe, whereas Marko prefers sculpture in painting, therefore he forms, produces an illusion, his own 3D. “Maybe Iva finds this a bit irritating and she makes me know when it gets too much; then an attack on the painting might follow. I am working on a detail, modelling it, making it all round and plastic, and then she simply over-paints it ...”

Iva Tratnik, Bojni ples na bombardirani luni / Battle dance on the bombarded moon (Boštjan Lah)

6 Marko Jakše, Črni metulji / Black Butterflies (DK)

Marko Jakše Črni metulji Black Butterflies Ciklus slik More freshest meat, nastalih v avstralski rezidenci, kjer je boleča izkušnja kontinentalnih aboridžinov Jakšetov ciklus obarvala z dominantno krvavo rdečo barvo in ostrim kritičnim nabojem do razrvanih sodobnih socialnih oblik človeške združbine, ki skozi zgodovino nenehno namaka prste in pere noge v krvi lastnih so–homo-sapiensov. Planetarna izkušnja sočutja se nadgrajuje v ciklusu slik, ki ga je Marko prvič delno razstavil v majšperški Tovarni umetnosti, nato v koprski Loži in v Kibeli v Mariboru z naslovom Črni metulji. Barva je skoraj čisto izginila, grisaille sivine konstruira v sliko velikih dimenzij in jo s svetlobnimi kontrasti prostorsko poglablja v skorajda neverjetne perspektive globine. Prostori so sanjska kombinacija fantastičnih in realističnih prepletov svetov, ki se spajajo v nove entitete. Te so strašno privlačne, če se za hip odmaknemo od njih, se nam zvrti, saj izgubimo intenzivni dovod adiktivnih sredstev navkljub ali prav zaradi tem bolnišnice in bolnikov kot stanja človeštva in tesnobni ujetosti živih bitij, »životinj« v prosojna tridimenzionalna telesa … ribe s sploščenimi usti do škrg, falusni modreci, zehajoči hipotamusi, prestrašene čvrste, protezi podobne čeljusti, ki paranoično prežijo na odrezane, posušene in obešene faluse kot umetne salame v prodajalni igrač ali trgovini za hišne ljubljenčke ... “Včeraj sem videl medvedko s tremi mladički, danes sem videl prvega metulja. Citrončka. Videl sem tudi jelene in košute. Pokra damona, kako so te živali lepe! Kako so vse te životinje čudovite. Lahko se samo čudim, občudujem. To so največji zakladi Zemlje. Dokaz za to je njihovo izginjanje. Lepota ne ostane dolgo s človekom. Človek hoče vso lepoto na novo ustvariti. Pa počasi vse spreminja v drek …” Iz pisma, Marko Jakše, Mohorje, sreda (marec 2011)

+++eng+ The series of paintings More freshest meat were made during his residence in Australia. There, the painful experience of continental Aborigines painted Jakše’s cycle with the dominant colour red and a sharp critical charge against the disturbed contemporary social forms within human community who have been soaking their toes and washing their feet in the blood of their fellow coHomo-Sapienses constantly throughout the history. The planetary experience of compassion is being upgraded in the new series of paintings, which was first shown partly in the Art Factory, Majšperk, then in Loža, Koper, under the title Črni metulji / Black Butterflies, and enhanced with new paintings in KiBela in Maribor. The colour has disappeared almost completely, yet the grisaille combines the shades of grey into a painting of large dimensions, its light contrasts deepening it spatially to almost unthinkable depths. The spaces are a dreamy combination of fantastic and realistic worlds intertwining and merging into new entities. The latter are horribly attractive. If you step away for a moment, though, you get dizzy due to losing the intense input of addictive agents despite the subject matter, or maybe just because of it, comprising hospitals and patients presenting the state of humanity, and the living things, creatures, being caught anxiously in translucent, threedimensional bodies... fish with flat mouths extending to their gills, phallic sages, yawning hippopotami, frightened solid, dentureslike jaws on the lookout paranoiacally for cut-off, dried phalli hung as artificial salami in a toy store or a pet shop... “Yesterday I saw a she-bear with three cubs, today I saw the first butterfly. The Brimstone. I also saw stags and does. Moly Hother, how pretty these animals are! How wonderful all these creatures are. I can only be amazed, admire. They are the earth’s greatest treasure. Which is proven by the fact they are disappearing. Beatuy does not linger with man. Man wans to create all the beauty anew. And slowly turns everything into shit ...” From a letter, Marko Jakše, Mohorje, Wednesday (March 2011)

Claudia Hirtl Christine Ljubanović YAM Val / Wave / Welle: Paris, Vienna, Jerusalem, Maribor

Razstava YAM avtoric Claudie Hirtl in Christine Ljubanović omogoča vpogled v vzpostavitev njunega sodelovanja od leta 1996 v Jeruzalemu (Izrael). V večletnem obdobju sta obe umetnici nadaljevali s projektom in svojo zamisel izražali prek različnih medijev in tehnik. 1996: povabilo na mednarodni gledališki in uprizoritveni festival Phenomena, Jeruzalem (Izrael), skupno načrtovanje performansa in razstave (ki traja šest dni), prilagoditev opusov Hirtlove in Ljubanovićeve (slikarska in grafična dela), znaki in pisave, slike s tempero “impressit”: Alphabets&Signs, Letters/Lands (Pisave in znaki, črke in dežele), izvirne tehnike tiska, video “W”, zasnova za prostor performansa: YAM kot sinonim za Jeruzalem: ocean / val, preveden iz štirih prevladujočih pisav v mestu: hebrejske, arabske, armenske in latinične, nočni performans v živo: “pisanje” s šablonami in barvnimi pigmenti, prenos v živo na festivalsko razstavišče. Knjiga YAM pa tudi video knjiga YAM temeljita na konceptu jezika in njegovih mnogih pomenskih in komunikacijskih plasti. Razstava YAM ponazarja, kako lahko interpretacije (pri čemer se pojem uporablja v najširšem pomenu) pisav, oblik, barv in različnih medijev poglobijo razumevanje določenega kraja in njegovih ljudi. Knjiga (leporello) YAM skupaj z videom “impressit” YAM zajema mesto in njegovo kulturo, ki obsega štiri jezike in pisave. Vsaka predstavitev koncepta YAM v njegovih dveh umetniških pojavnostih – knjigi in videu – prikazuje interaktivno dejanskost in njene izbire, hkrati pa konkretno odločitev, kaj je mogoče videti, zapisati in interpretirati. ‘YAM’ in ‘impressit W’ sopostavljata pisave:

latinično yam = morje / val, arabsko bachr = morje / val, hebrejsko yam = morje / val, armensko zov = morje / val z izvirnimi perforacijami v črkovni vrsti Garamont (Garamond) in ponazarjata zgodovino tiska z večplastno predstavitvijo, interpretacijo krajev, znakov in sledi obstoja. YAM kot krajšava za Jeruzalem, pa tudi “morje” – val je preko prevodov v druge jezike in v prevladujoče štiri pisave v Jeruzalemu, znake in tudi asociacije, postal grafičen, gestikularen in tekstualen medij. Šablonska “slika”, delo Claudie Hirtl, je nastajala v živo na veliki, ploščati strehi kot na odru pet večerov med festivalom Phenomena v Jeruzalemu. Kamera je z balkona nasproti strehe ure slikanja v obliki videa prenašala na veliki zaslon v razstavnem prostoru, tako da je občinstvo napredovanje slikanja lahko spremljalo v živo kot odrski performans, ponoči osvetljen z žarometi, v Institutu (Sam Spiegel Film Institute) ter zunaj in z balkonov. Video Christine Ljubanović “impressit W” (4 min.) v neskončni zanki (beta SP) je bil projiciran na manjši zaslon v razstavnem prostoru, v dvorani, kjer je hkrati potekala projekcija na velikem zaslonu. Na velikem zaslonu je bil predvajan prenos slikanja v šablonski tehniki, na manjšem zaslonu pa delovni proces perforiranja, graviranja, ročnega stavljenja ter zgodovine Imprimerie Nationale Paris. V dveh vitrinah so bili v eni razstavljeni barvni pigmenti, uporabljeni tisti dan, v drugi pa vezana knjiga: “impressit” Alphabets&Signs, Letters / Lands (Pisave in znaki, črke, dežele) avtorice Christine Ljubanović. Dolge in zapletene priprave za sodelovanje na festivalu Phenomena, težave, povezane z lokacijo, vloge različnih tehnikov, iskanje materialov povsod po mestu in s tem povezane komunikacijske ovire – če upoštevamo vse to, je YAM kompleksen projekt in skupno delo multimedijske skupnosti. Knjiga YAM in video YAM delujeta kot “medija mediacije”. YAM sestavljajo povezave in dialogi v štirih jezikih, znakih, topografijah in državah, ki ga

hkrati omogočajo (portret mesta in države), vse to pa združuje izjemno raznolike materiale, kot tudi odnose, komunikacijo in interpretacijo. +++eng+ Exibition YAM – Val / Wave / Welle: Paris, Vienna, Jerusalem, Maribor by Claudia Hirtl and Christine Ljubanović provides insight into the debut of the collaboration between artists that took place in Jerusalem, Israel, in 1996 in the context of the international theater and performance festival Phenomena. Over several years both artists have continued their project and have articulated their idea via different kinds of media and techniques. 1996: invitation to the international theater and performance festival Phenomena, Jerusalem (Israel), shared planning lasting for six days of a performance and exhibition, adaptation of the oeuvres Hirtl and Ljubanović (painting, graphic work), signs and alphabets, tempera painting “impressit”: Alphabets&Signs, Letters/Lands, original printing techniques, video “W”, design for space of performance, YAM as synonym for Jerusalem: Ocean / Wave translated from the four dominant alphabets of the city: Hebrew, Arabic, Armenian, and Latin, live performance at night: “Writing” via stencils and paint pigments and live broadcast to the exhibition space of the festival facility. YAM Artists Book as well as YAM Video Book is based on the concept of language and its many layers of meaning and communication. The exhibition YAM shows how interpretations – the term is used in its broadest meaning – of writing, form, color, and mixed media can deepen the understanding of a special place and its people. YAM book leporello together with YAM video “impressit” capture a city and its culture of four

Claudia Hirtl, Christine Ljubanović, YAM (Boštjan Lah)

languages and alphabets: Latin, Arabic, Hebrew and Armenian. Each presentation of YAM with its two artistic statements – book and video – depicts an interactive actuality and its choice and particular decision of what can be seen, written and interpreted. ‘YAM’ and ‘impressit W’ juxtapose writing in Latin: yam = sea / wave, Arabic: bachr = sea / wave, Hebrew: yam = sea / wave, Armenian: zov = sea / wave with original Garamont (Garamond) punch engraving and book-print history; a multi-layered presentation, interpretation of places, signs and traces of existence. YAM (short-hand for Jerusalem as well as “sea” – wave) became by virtue of translations into other languages – the predomi-

nant four alphabets in the City of Jerusalem, Hebrew, Latin, Arabic and Armenian – signs, and alphabets, as well as associations a pictorial, gestural and textual medium. The pochoir “painting” was performed live by Claudia Hirtl during five evenings, on a large, flat roof as a stage during the Phenomena Festival in Jerusalem. From a building balcony (Sam Spiegel Film Institute) opposite the roof, a camera transmitted the painting sessions by video-transmission onto a large-sized screen in the exhibition room, so the audience could also watch the evolution of the painting sessions “live” inside the Institute, and from the outside – balconies – like a stage performance (nighttime, spot-lights). The Christine Ljubanović video “impressit W” (4 min) video-loop (beta SP) is projected on a smaller monitor in the exhibition room (hall), simultaneously next to the big screen. On the big screen, we saw the live-transmission of the painting-pochoir technique, and on the smaller screen another working process, punch-engraving, hand letter press and history of Imprimerie Nationale Paris. Two showcases displayed the colour pigments used on the particular day and in the other the bound book “impressit” Alphabets&Signs, Letters/Lands by Christine Ljubanović. The long and difficult preparation for the participation in the Phenomena Festival, with its on-site problems, roles played by various technicians, searching of materials throughout the city, and the consequent communication obstacles: all these, when taken together make YAM a complex project, a composite work produced by the multimedia community. YAM – the artist books and the video YAM function as a “medium of mediation”. YAM consists of connections and dialogues in and by means of four languages, signs, topographies, and countries (portrait of a city and country), all highly diverse materials as well as attitudes, communication and interpretation. 10

Polonca Lovšin Nazaj v mesto Back to the city Nazaj v mesto je samostojna in pregledna razstava del, ki jih je avtorica ustvarila v zadnjih devetih letih. Razstavo sestavljajo sklopi njene umetniške produkcije, ki vključujejo invencije za okolje in vsakdan, videoanimacije, ki temeljijo na raziskavi mesta in podeželja ter serijo dinamo projektov. Kljub tej razdelitvi so dela medsebojno povezana in se osredotočajo na raziskavo okolja, infrastrukture, začasnih arhitekturnih rešitev in alternativni individualnih pristopov k reševanju le teh. Poudarek razstave je video-animacija Nazaj v mesto (2011), ki jo je Lovšinova naredila na podlagi daljše raziskave o čebelah in tematizira predvsem odnos človeka do okolja, hrane in narave v mestu in na podeželju. Z metodo stop-motion animacije, ki temelji na kolažih, je ustvarila zgodbo o čebelah, opraševanju, hrani in o tem, v kakšen odnosu je s tem človek. Ta animacija se pridružuje sklopu del, ki jih avtorica predstavlja s pomočjo video-animacijske metode, kjer statistične podatke, zgodovinska in fizikalna dejstva ter zakonodajo zaplete v narativno zgodbo, začinjeno s humorjem. V uspešnici Zakaj so slovenske hiše videti takole (2007) avtorica povezuje samograditeljstvo z zakonodajo in osebno zgodbo svojih staršev. Krave iz mesta iz leta 2008 so nastale kot rezultat raziskave usode obstoječih kmetij v mestu Ljubljani. Njene invencije in dinamo projekti predstavljajo inventivne in včasih absurdne rešitve reševanja alternativnih energetskih problemov. Objekte spremljajo videi, fotografije in risbe, ki objekte razlagajo in prikazujejo, kako delujejo. Iz teh projektov izhaja tudi serija dinamo projektov, ki povezujejo javni prostor, skupinski peformans in tehnologije. Sodelujoči prostovoljci pod vodstvom plesne koreografinje v skupinskem performansu proizvajajo elektriko. Dinamo ples z vrati

(Cambridge, 2009), Dinamo ulična svetilka (Ljubljana, 2010) in Naelektrene sanje (Gera, 2011) so trije projekti, ki sledijo tej ideji in se v izvedbi nekoliko razlikujejo. +++eng++ Back to the city is an independent retrospective exhibition of works created by the author over the past nine years. The exhibition comprises parts of her artistic production, including environment- and everydayinventions, video-animations founded on city and countryside research, and a series of dynamo projects. In spite of this division, the works are inter-connected and focus on the research of environment, infrastructure, temporary architectural solutions and individual alternative approaches to these issues. The emphasis of the exhibition is a videoanimation Back to the city (2011), created on the basis of a long-term research on bees, thematizing mostly man’s attitude towards the environment, food, and nature in cities and in the countryside. With the method of stop-motion animation, based on collages, the author has created a story about bees, pollination, food, and man’s attitude towards these. This animation forms part of an arrangement of works, presented through the use of a video-animation method,

whereby statistical data, as well as historical and physical facts and the legislation are incorporated into a humor-spiced narrative. Two of the author’s bestsellers are Zakaj so slovenske hiše videti takole (Why Slovenian houses look the way they do, 2007), linking the personal story of her parents to the issue of self-build houses and the legislation, and Krave iz mesta (City Cows, 2008) created as a result of research about the fate of existing farms in the town of Ljubljana. Her inventions and dynamo projects stand for inventive and sometimes absurd solutions to alternative energetic problem issues. Objects are accompanied by videos, photos and drawings, explaining the objects and demonstrating how they work. These projects are the foundation to the series of dynamo projects connecting public space, group performance and technologies. The participating volunteers led by a dance choreographer in a group performance, produce electricity. Dinamo ples z vrati (Dynamo door dance, Cambridge, 2009), Dinamo ulična svetilka (Dynamo street lamp, Ljubljana, 2010) in Naelektrene sanje (Electrified dreams, Gera, 2011) are three projects following this idea, with some differences in the execution.

Polonca Lovšin, Nazaj v mesto / Back to the city (Boštjan Lah)

Kapsula Capsule Project “Take Away” Mobile Institute je umetniška platforma, ki so jo ustvarili umetniki. Ni posebej vezana na določen prostor, gre za nekoliko bolj odprto platformo za razvoj umetnosti in njenih mnogih pojavnih oblik. Mobile Institute je dinamično stičišče: kot platforma je MI pobudnik mreženja. Ustvarja pogoje za umetniško produkcijo. Ta posebnost jim omogoča, da obstajajo kot struktura. MI razvija projekte in kot umetniška skupina sodeluje z uveljavljenimi institucijami in umetniki. Skozi svoje dinamično delovanje MI ustvarja specifične produkcije. Laboratorij je eksperimentalno področje, kjer utopična vizija in raziskave Mobile Instituta služijo kot generator projektov. Tako imenovana ‘Kapsula’ določi skupino. Oblikuje se izdelek škatlaste oblike ter specifično integrirano umetniško delo. Škatlo izdela Mobile Institute, umetniško delo pa gostujoči umetnik. Škatle so odlitki, narejeni iz poliestrske smole, plutovine in steklenih vlaken. Zaradi svoje oblike in formata (51 cm x 28 cm x 22 cm) so odporne in lahko prenosljive. Projekt Kapsula ponuja v razmislek produkcijske, oglaševalske in razstavne metode umetniških del. Sloni na sodelovanju med izbranimi umetniki, kulturnimi institucijami, posamezniki in Mobile Institutom. Izhodiščna točka projekta Kapsula so ploskovne omejitve škatle, tako na koncu predvideva mobilno in postopoma rastočo umetniško zbirko. Projekt Kapsula je sistem mreženja (networking) med številnimi institucijami, partnerji in umetniki. Ustvarja dinamičen način promoviranja skupnih 12 nosilcev projekta.

+++eng+ Mobile Institute is an art platform initiated by artists. It is not associated to a specific place and values a more open platform for art development and its various exhibited forms. MI is a flexible interface: as a Platform, MI is a catalyst for networking and creates the conditions in which artists can produce artwork. This specificity makes it stand as a network and a structure. MI develops Projects as an artist group, working in association with established institutions and artists. Through its dynamic behaviour, MI creates specific productions. The Laboratory is an experimental area where the MI utopian vision and research are used as a device for generating projects. The term Capsule designates a group formed by a box-like volume and a specifically produced and integrated artwork. The box is produced by Mobile Institute and the artwork by a guest artist. Each box is moulded out of resin (polyester), cork and fibre-glass. Its shape and reduced format (51 cm x 28 cm x 22 cm) makes it shock resistant and easy to transport. The Capsule Project suggests a reflection on producing, advertising and exhibition methods used for artworks. It relies on collaboration between selected artists, cultural institutions, various private entities and Mobile Institute. Taking as its starting point the formal constraints of a box, the Capsule Project delivers a mobile and gradually increasing art collection. The Capsule Project is a networking system between numerous institutions, partners and artists. It generates a dynamic way of promoting the mutual project stakeholders. Mobile Institute, Kapsula / Capsule Project (Boštjan Lah)

Preview Berlin, 2011 (C. Reister, M. Hitij)

Preview Berlin, The emerging art fair 2011

Na sejmu umetnosti Preview Berlin septembra 2011 so se predstavili slikarji Ksenija Čerče, Mitja Ficko, Aleksij Kobal in Arjan Pregl iz Slovenije ter kiparka in avtorica instalacij Barbara Caveng (Švica/Nemčija). Platforma za umetniške projekte Private View, kuratorica Maja Škerbot +++ Preview Berlin – The Emerging Art Fair in September 2011 showed works of Ksenija Čerče, Mitja Ficko, Aleksij Kobal and Arjan Pregl from Slovenia and a sculptor and instalation artist Barbara Caveng (CH/D). A platform for art projects Private View curated by Maja Škerbot

Another Marriage? Between the Narrative and the Abstract

Mednarodna skupinska razstave Another Marriage? Between the Narrative and the Abstract / Še ena poroka? Med pripovedjo in abstraktnim +++ International group exhibition Another Marriage? Between the Narrative and the Abstract with artists: Nándor Angstenberger, Claudia Barthoi,Vesna Bukovec, Peter Tomaž Dobrila, Barbara Caveng, Mitja Ficko, Jule Ja, Ilona Kalnoky, Matej Košir, Dieter Lutsch, Iztok Maroh, Arjan Pregl, Iris Schieferstein, Konstantin Schneider, Katja Sudec, Kei Takemura, Lotta Weigl, Sinta Werner, Markus Wüste, kuratorka / curator: Maja Škerbot Private View Berlin, 2011 (Maja Hitij, Jean-Marie Porté / Private View)

Vadim Fishkin Light Matters

Samostojna predstavitev Vadima Fishkina je zamišljena dialoško na več ravneh, saj je sledi dialoga mogoče opaziti v vseh segmentih nastajanja razstave – od začetne konceptualizacije ideje umetnika in kustosa, prek izbora umetniških del do njihove predstavitve v galeriji. Čeprav galerijska postavitev nekako sooča starejšo in novejšo produkcijo Vadima Fishkina, ne gre za klasično pregledno razstavo, saj je zasnovana problemsko in želi izpostaviti specifične vidike in značilnosti. Na tej točki gre izpostaviti predvsem tri, ki se med umetnikovim opusom nenehno pojavljajo in so bolj ali manj prisotni v vsakem njegovem umetniškem delu, ne glede na to, ali gre za raziskavo odnosa med gledalcem in umetniškim delom ali za preizpraševanje o funkciji tehnologije, njenemu absurdu in poetiki v kontekstu sodobne vizualne umetnosti. Predvsem pa gre za nekakšen razmislek o Fishkinovi konceptualistični tradiciji, ki se nenehno prepleta z novimi tehnologijami in znanostjo ter tako razkriva neomejene možnosti likovnega izraza. Izhodišče in nekakšen konceptualni nosilec postavitve razstave Vadima Fishkina je galerijski prostor, ki v popolnoma goli podobi, kot jo oriše tloris, spominja na tloris starokrščanskih bazilik in njihovih poznejših romanskih nadgradenj. Longitudinalen galerijski prostor je namreč strukturiran v razmerju 1 : 2 : 1 – gre za razmerje glavne ladje v odnosu do dveh stranskih ladij, ki sta od glavne ločeni s stebri. Za popoln vtis bazilike pa manjka najpomembnejši element, svetloba, ki so ga v romanskih bazilikah arhitektonsko reševali z izgradnjami celestorijev in s tem prostoru omogočali dodaten vir svetlobe. Ne gre za nikakršen arhitektonski poseg v galerijski prostor ali njegovo fizično transformacijo, temveč se postavitev osredotoča na umetniška dela Vadima Fishkina, ki temeljijo na mediju svetlobe in jo tako vnašajo v prostor. Umetniška dela v arhitektonsko strogo kodiran prostor brez svetlobe simbolično vnašajo nov pogled, svetlobo, in omogočajo simbolno transformacijo prostora. Svetloba

Vadim Fishkin, Light Matters (Boštjan Lah)

in efemernost že od nekdaj zaznamujeta avtorjev razmislek o umetnosti, saj je, kot sam pravi, svetloba ena tistih kategorij, ki je hkrati popolnoma efemerna in popolnoma fizična. Prav ta avtorjeva misel je vključena tudi v razstavo, saj svetlobna umetniška dela pravzaprav na novo definirajo prostor. Efemerno se iz obrobja prestavi v središče in začne soustvarjati celoto postavitve. Tudi tokrat umetniško delo in postavitev ne moreta obstajati brez razmerja materialno–nematerialno, brez napetosti, ki nastaja med njima; še več, svetloba materialni del umetniškega dela postavlja v soodvisno razmerje, gledalca pa nekompromisno sooča z dejstvi razmerij gledalec–umetniško delo– svetloba–prostor. Dialoški preplet umetniških del in galerijskega prostora vsekakor izpostavlja Fishkinove ključne formalne in vsebinske usmeritve

Kustos razstave Tevž Logar, umetniški vodja Galerije Škuc v Ljubljani. Produkcija umetniških del – DUM – Društvo Umetnikov. Z vednostjo Galerije Gregor Podnar. / Exibition Light Matters curated by Tevž Logar, artistic director Škuc Gallery in Ljubljana. Production of the works DUM – Društvo Umetnikov. Courtesy for the works Galerija Gregor Podnar.

ter tako zarisuje rdečo nit, ki se vije skozi njegovo umetniško prakso. Vseskozi pa formalno in vsebinsko komponento izjemno presunljivo povezuje poetika, kar umetniškemu delu omogoča nekaj več, saj ga ne zapira v hermetične diskurze, temveč ga odpira navzven – predvsem v smislu percepcije in razumevanja, ki se ne reducira na monolitno dojemanje formalnega ali vsebinskega, temveč med tema dvema komponentama ustvarja soodvisnost. +++eng+ Vadim Fishkin's solo presentation is intended dialogically on multiple levels, since traces of dialogue can be observed in all segments of the forming of the exhibition – from the initial conceptualization of the idea of artist and curator, through the selection of artworks, to their presentation at the gallery. Although the gallery organization is a kind of confrontation of the older and the more recent production of Vadim Fishkin, it is not a typical retrospective exhibition, for it is problem-based and wishes to address specific perspectives and characteristics. Three of them should be highlighted at this point, those that appear constantly in the artist's opus and are more or less present in all of his works, regardless of whether they explore the relationship between the spectator and the work of art, or re-examine the function of technology, its absurd and the poetics in the context of contemporary visual art. Most of all, it is a kind of thought on Fishkin's conceptualist tradition which is constantly intertwined with new technologies and science, thus exposing the unlimited possibilities of fine arts' expression. The starting point and conceptual operator to Vadim Fishkin’s exhibition organization is exhibition space, which is, in a completely stripped form drawn by the ground plan, reminiscent of ground plans of Old Christian basilicas and their later Romanesque

upgrades. Namely, the longitudinal gallery space is structured in a ratio of 1 : 2 : 1 – the ratio of the nave to the two side aisles, separated from the nave by pillars. However, for a perfect impression of a basilica, the most important element is missing – the light. In Romanesque basilicas the architectonic solution was provided by the building of clerestories that provided an additional source of light to the space. No architectonic intervention was made to the gallery space or its physical transformation; the organization focuses on the Vadim Fishkin’s works that are based on the medium of light and thereby bring light to the space. His works symbolically bring a fresh perspective, light, to a strictly encoded architectonic space with no light, enabling its symbolic transformation. Light and ephemerality have always marked the author’s thoughts on art, since light is, as he says himself, a category that is both completely ephemeral and entirely physical at the same time. This very thought is in fact included in the exhibition; as artworks of light actually redefine the space in a new manner. The ephemeral is transferred from the periphery to the center and begins to co-create the totality of organization. Once again, the artwork and the organization cannot exist without the relation between the material and the immaterial, without that tension that is formed between them; moreover, the light places the material part of the artwork into an interdependent relationship, while the spectator is confronted relentlessly with the facts of the spectator-artwork-light-space relations. The dialogic interlacement of artworks and gallery space definitely exposes Fishkin’s key formal and contents-directions and outlines a common thread running in his artistic practice. Throughout his work the formal and the content components are being dramatically connected by poetics, which adds that extra quality to a work of art, not closing it inside hermetic discourse, but opening it outwards – mostly in the sense of perception and understanding that is not reduced to a monolith apprehension of formality or contents, but creates an interdependence between the two components. Tevž Logar 15

Kiblix&MFRU, November 2011 (Boštjan Lah; Milivoj Kuhar)

ARS Electronica Linz 2011 (foto/photo: Peter Lubej)

Electropera postprodukcije: Operabil premestitev

Electropera postproductions: Operabil Relocation

Irena Tomažin, glas / voice Marko Košnik, rokovanje s prostorsko umeščenimi podobami v živo / live manipulation of topographic imagery

Operabil Relocation is an instrumental variant of the presentation of spatially located sequences, set by Marko Košnik in KIBLA in an interactive form with Ditopia, Zaslon in autumn 2009. A round number of two thou-

Irena Tomažin, Marko Košnik, Electropera postprodukcije / Electropera postproductions (Boštjan Lah)

Operabil Premestitev je instrumentalna inačica predstavitve prostorsko umeščenih sekvenc, ki jih je Marko Košnik v KIBLI postavil v interaktivni obliki z Ditopio Zaslon jeseni 2009. Okroglo dva tisoč fotografij, zajetih po korakih v prostorih KIBLE in okolice, predstavlja portret prostora, dejavnosti delavcev in sodelavcev in socialnega utripa v prostorih Narodnega doma in bližnje okolice. Znotraj interaktivne instalacije so pred dvema letoma preko video sledilnega sistema s podobami rokovali obiskovalci sami. Tokrat material interpretira Košnik z vmesnikom, ki mu omogoča interakcijo z improvizirano pevsko udeležbo Irene Tomažin. Ustvarjalca sta zasnovala konceptualno improvizacijo v skladu s topografskimi in znakovnimi kvalitetami zveznega materiala, s katero se predvsem opirata na telesni in prostorski spomin hoje po javnih prostorih. Inštitut Egon March tako nadaljuje tradicijo operabilov, izvedenih z glasbeniki in videoinstrumentalnimi improvizacijami, ki so tvorili jedro Electropere (2008–2011): Operabil Para Berlin (Nemčija), Operabil Para Istanbul (Turčija), Operabil Tomar (Portugalska), Operabil Hexpo (Estonija) in Operabil Helsinki (Finska).

sand photos, taken by steps on the location of KIBLA and its surroundings, represent a portrait of the space, activities, workers and colleagues, and the social atmosphere of Narodni dom and its near surroundings. Two years ago, the interactive installation allowed visitors themselves to handle the images by means of a video tracking system. This time the material is interpreted by Košnik, with the use of an interface that enables the interaction, and with an improvised singing support by Irena Tomažin. The artists have created a conceptual improvisation in accordance with topographical and sign qualities of the material, relying mostly on the bodily and spatial memory of walking in these public places. The Egon March Institute thus carries on the tradition of operabils conducted with musicians and videoinstrumental improvisations, that have formed the core of Electropera (2008– 2011): Operabil Para Berlin (Germany), Operabil Para Istanbul (Turkey), Operabil Tomar (Portugal), Operabil Hexpo (Estonia) and Operabil Helsinki (Finland). 19

Cameron Bobro, Peter Tomaž Dobrila, Ana Pečar

Ali naj verjamemo, da obstaja neka prirojena, samoumevna umetniška vrednost v razlikah in slišnih sosledjih zvokov, ki se pojavljajo skupaj? Saj pravzaprav ne moremo vztrajati pri tem, da je večina tega, čemur pravimo ‘glasba’, kaj več kot specifično, kulturno pogojeno gledališče zvoka, mnogo bližje jeziku kot vizualnim umetnostim; kar pomeni, da glasba ponavadi „govori o nečem“, „nekaj“ pomeni „nekaj več“. Kaj se zgodi, če torej vzamemo resno to govoričenje v glasbi, ideje kot so „čutiti“ in „duša“, in druge, in če želimo dati tem idejam obliko v materialih in modalitetah glasbe same, več kot samo to, da uporabimo nek specifičen jezik in podajamo te ideje tako, da samo govorimo o njih? Prva stvar, ki jo moramo narediti, je, da iztrgamo zvoke iz ustaljenih okov ritma in intonacije. Večina se nas najbrž zaveda, čeprav o tem nismo nikoli razmišljali na ta način, da je v zahodnem svetu najmogočnejši simbol „izraznosti“ v glasbi blues. In katere so elementarne materialne lastnosti blues glasbe? Kaj drugega kot raztrgani ritmi in t.i. ‘blue’ toni, mikrotonalni zvoki, ki niso razbiti v 12-tonsko mrežo enakomernega tempa. In kaj se zgodi, če z lestvice oklestimo veliko več materiala, v iskanju „nečesa več“ in naslanjanju na „nekaj manj“? Prav na to se nanaša Bizantinski kadilak.

Peter Tomaž Dobrila, Cameron Bobro, video Ana Pečar, vokalno in elektronsko umetniško delo v nastajanju / a vocal and electronic work of art in the making (Boštjan Lah)

Bizantinski kadilak / Byzantine Cadillac

+++eng+ Are we to assume that there is artistic meaning inherent in differences and audible consequences of sounds moving together, we cannot sanely maintain that most of what we call “music” is much more than culturespecific sound theater, far closer to language than to the visual arts, which is to say, music is usually “about” something, more is something. What happens if we take seriously that which is given lip-service in music, ideas such as “feeling” and “soul” and so forth, and wish to embody these things in the materials and modalities of the music itself, more than use a specific language to convey these things by “talking about them”? The first order of business is to unsnap sounds from inherited grids of rhythm and pitch. Most of us probably realize this already, even if we have not thought of things this way: in the western world, the very symbol of “expression” in music is the Blues. And what are the hallmark material features of the Blues? Why, the ragged (unsnapped) rhythms and the “blue notes”, microtonal tones not snapped to the grid of the 12-tone equal temperament. Now, what happens if we take far more material off the grid in our quest to embody more and “refer to” less? This is what Byzantine Cadillac is all about.

Tanja Vujinović Supermono 2 Tanja Vujinović se je s projektom v produkciji Ultramono in Kiblini koprodukciji predstavila na sejmu Kinetica v Londonu, kjer vsako leto razstavijo izbrane prodajne kose historičnih primerov 60. in 70. do najsodobnejše tehnološke ustvarjalnosti “premikajočih se” ali mobilnih umetniških objektov in performansov. Tanja Vujinović še naprej razvija diskretne objekte v glasni sferi in povezuje različne medije, ki komunicirajo izven galerijskih

+++eng+ Tanja Vujinović presented her project produced by Ultramono and co-produced by KIBLA at Kinetica fair in London, which hosts select sale items from historical 1960s and 1970s cases to latest technological creations of “moving” or mobile artistic objects and performances. Tanja Vujinović continues to develop discreet objects in the noise scene and integrate various media communicating outside the exhibition spaces, approaching the viewer interactively. Supermono 2/3 is a tactile and sonic environment. It consists of a multitude of Kinetica London, 2011 (Simon Sedmak)

prostorov in interaktivno na gledalca. Supermono 2 je taktilno in zvočno okolje. Sestavlja ga množica objektov, ki vključujejo po meri narejeno elektroniko in mehanske komponente. Te poosebljajo lastnosti sodobnih igrač v smislu poenostavljenih ljubkih oblik, tesnega osebnega stika z uporabniki in gradnje mikrosvetov na podlagi modularnosti in omejene, večinoma na zvoku utemeljene odzivnosti. Supermono 2 je del razvijajočega se ciklusa del po imenu Discreet Events in Noisy Domains, ki ga sestavljajo taktilnizvočni objekti ali okolja, osnovani na podlagi večkratnih nelinearnih video in zvočnih sistemov, ki dogodke ponovno kodirajo v hrupne avdiovizualne podatkovne tokove.

objects incorporating custom electronic or mechanical components. They embody the features of contemporary toys by means of simplified cute shapes, close personal contact with users, and the construction of micro-worlds through modularity and limited, mostly sound-based responsiveness. Supermono 2 is part of a series of works in development, entitled Discreet Events in Noisy Domains, composed of tactile-sonic objects or environments based on multiple non-linear video and sonic systems, which re-code events into noisy audiovisual data currents. 21

Skupina Cultural Policy Group je nastala v začetku poletja 2010, ko sta Bo Karsten, direktor Šole za umetnost Maa, in Johanna Fredriksson, producentka, ki deluje v helsinški veji omrežja X-OP, nekaj umetnikov povabila na srečanja v projektni prostor Maa-Tila. Glede na prvotni načrt je bil namen srečanj, da bi osnovali umetniški program za tedaj bližnji festival X-OP, ki so ga organizirali tako, da se je prekrival s srečanjem X-OP v Helsinkih. Na sestankih se je izkazalo, da je bolj nujno razpravljati o trendih v finski kulturni politiki kot predlagati posamezna umetniška dela za festival. Tedanja pereča vprašanja so bili načrti za popolno preoblikovanje Finskega sveta za umetnost (kar se ni zgodilo, delno zaradi močnega nasprotovanja umetniških združenj) in načrti Ministrstva za izobraževanje in kulturo glede nove kulturne politike, ki so jo pripravljali za dolgoročni doseg naslednjih 35 let (načrt so objavili prejšnjo zimo). Poleg tega so z resno zaskrbljenostjo spremljali splošni premik proti neoliberalizmu v finskem kulturnem diskurzu in ozračju. Del tega so izjemno odmevni projekti vlade, mest in zasebnega sektorja, v katerih je umetnost 22 zgolj orodje za znamčenje sosesk, mest

in države. Poleg tega je za neoliberalizem značilno, da se institucionalna raven nagiba h komercialno usmerjenim dejavnostim, kot so umetnostni sejmi, zasebne galerije in svetovalne agencije, namesto da bi podpirala ustvarjanje znanja v muzejih in raziskovalnih središčih. Umetniki, ki sodelujejo v X-OP skupini za kulturno politiko so Tatu Engeström, Kalle Hamm, Ritva Harle, Minna Henriksson, Mikko Lipiäinen, Antti Majava in Tero Nauha. Umetnost jim predstavlja orodje za sodelovanje v družbenih debatah in razpravah, ne pa kanal za avtonomno in zasebno izražanje samih sebe, kar pomeni, da se v svojih delih ukvarjajo z dejanskimi lokalnimi družbenimi in političnimi vprašanji. Vseeno pa ta skupina umetnikov ni homogena skupina prijateljev niti kolektiv, temveč ohlapna skupina, ki jo delno opredeljuje trenutna geografska lokacija njenih članov. Njihove tematike, pa tudi njihov vizualni jezik in umetniški mediji se močno razlikujejo. O tem, kaj naj bi se izvedlo v okviru skupine, nimajo enotnega mnenja. Lansko jesen so se v skupini odločili, da napišejo manifest, ki naj bi ga poslali različnim finskim časopisom. Vendar manifesta niso nikoli poslali

X-OP Cultural Policy Group, Platforma Maribor (Boštjan Lah)

X-OP Cultural Policy Group Platforma Maribor Platform Maribor

časnikom, ker skupini ni uspelo opredeliti in ubesediti skupnih vprašanj. V okviru skupine ni bilo konsenza, kaj je osnovni problem v nedavnem dogajanju na področju finske kulturne politike, proti kateremu naj bi se borili in upirali, in za kaj naj bi se borili. Nekaterim je glavni problem predstavljalo omejevanje umetniške svobode, prisotna je bila tudi skrb glede vse bolj omejene svobode govora. Drugim se je zdelo, da gre za vprašanje umetniške odgovornosti, in namesto da bi jokali za svoboščinami, bi se moral vsak umetnik bolj vključevati v reševanje družbenih vprašanj, ki nujno potrebujejo pozornost. Skupna skrb v obeh primerih pa je bil upor proti instrumentalizaciji umetnosti in umetnikov zaradi gospodarskih koristi. +++eng+ The group was formed in the early summer 2010 when Bo Karsten, director of Art School Maa, and Johanna Fredriksson, producer working in the Helsinki-leg of X-OP network invited some artists for meetings in Maa-Tila project space. According to the initial plan the purpose of the meetings was to come up with an artistic program for the then forthcoming X-OP Festival, which was organized to coincide with the X-OP meeting in Helsinki. In the meetings more urgent, than to propose individual artworks to the festival, seemed to be discussing the trends in the cultural policy of Finland. At the time acute issues were the plans to completely restructure the Finnish Arts Council (but partly due to strong opposition by artist unions it did not happen), and the new cultural policy plan of the Ministry of Education and Culture, which was being prepared with a long-term span of the next 35 years (the plan got published last winter). Also strong concerns were directed toward the overall shift in the cultural discourse and atmosphere in Finland toward neo-liberalism. Parts of this are high profile projects by the government, the cities and the private sector, where art is merely a branding tool of neighbourhoods, cities and the country. Also char-

acteristic to neo-liberalism are preferences on an institutional level toward commercially oriented activities such as art fairs, private galleries and consulting agencies rather than supporting of knowledge production in museums and research centres. Artists participating in the X-OP Cultural Policy Group are Tatu Engeström, Kalle Hamm, Ritva Harle, Minna Henriksson, Mikko Lipiäinen, Antti Majava and Tero Nauha. What is common with all of these artists is that for them art is a tool for participating in debate and discussion in the society, rather than a channel for autonomous and personal self-expression, and therefore in their work they are dealing with actual local social and political issues. But nevertheless this group of artists is not a homogenous group of friends, or a collective, but a loose group partly defined with the current geographic location of its members. Their subject matter as well as visual language and artistic media vary greatly. Neither do they completely share the opinion of what is to be done within the group. Last autumn the group decided to write a manifesto, which was to be sent to different newspapers in Finland. But the manifesto was never sent to papers as the group failed to define and articulate the common issues. For one there was not a consensus within the group on what is the main issue to fight against and resist in the recent developments in cultural policy in Finland, and what should be fought for. For some the main issue was about limiting artistic freedom, and there were concerns of diminishing freedom of speech. For others it was a question of artistic responsibility, and instead of crying after liberties, each artist should engage more in addressing social issues, which need urgent attention. But in both cases, what was a common concern was the resistance toward instrumentalization of art and artists for the economic benefits. 23

Avdio balerine / Audio Ballerinas (Matej KristoviÄ?)

Avdio balerine, video pavi in druga elektroakustična oblačila Audio Ballerinas, Video Peacocks and other electro-acoustic clothes Benoit Maubrey je vodja v Berlinu zasnovane umetniške skupine Die Audio Gruppe, ki ustvarja in nastopa z elektronskimi oblačili. V osnovi gre za elektro-akustična oblačila in obleke (opremljene z ojačevalci in zvočniki), ki preko tematske in akustične interakcije s svojim okoljem proizvajajo zvok. Avdio balerine med ostalimi elektronskimi instrumenti uporabljajo svetlobne senzorje, s pomočjo katerih lahko skozi interakcijo svojih gibov in svetlobe iz okolice kreirajo zvoke (peeper koreografija). S pomočjo senzorjev gibanja lahko tudi sprožijo elektronske zvoke, ki so nato koreografirani, ali ‘orkestrirani’ v glasbene kompozicije v obliki ‘avdio baleta’ (yamaha koreografija). Številni drugi elektronski instrumenti (mini računalniki, samplerji/predvajalniki zvočne podlage, kontaktni mikrofoni, kasetofoni in MP3 predvajalniki ter radijski sprejemniki) jim omogočajo delo z zvoki, površinami in topografijami prostora okrog njih, v številnih samostojnih ali skupinskih koreografijah. Pri novejšem projektu avdio pavi (peacocks) nosijo performerji elektroakustične instrumente v obliki pavjega repa, pahljače iz perja, ki zaradi svoje oblike lahko natančno usmerja zvok v prostor kot ogromen satelitski krožnik. Tako kot se pav na dvorišču šopiri pred samico in jo vabi s svojim predirljivim krikom, tudi ‘avdio pav’ zalezuje svojo arhitekturno domeno – zvok uporablja kot skalpel, ki zareže skozi zrak in ga oblikuje. Avdio pav lahko ojača ali spremeni svoj lastni glas ali elektronske instrumente s pomočjo mikrofona, samplerja/predvajalnika zvočne podlage in filtrov (loop + pitch), predvaja že posnete zvoke, ali sprejema zvoke preko oddajnika in sprejemnika.

Pod imenom video pavi – kiber ptice (video peacock – cyber-birds), odete v bele ‘kože’ iz pleksi stekla, te elektroakustične ptice delujejo v bolj omejenem prostoru, v zatemnjenem okolju. Njihovi avdio kostumi se podvajajo v obliki mobilnih projekcijskih ekranov: kadarkoli se njihove poti križajo s svetlobo iz video projektorja, se kostumi preobrazijo v večbarvne zaslone. Barvite vizualizacije (filmi, slike, internetni dnevniki, računalniško ojačane podobe in posnetki s kamer zaprtega kroga) so ‘prežarčene’ nanje, medtem ko igrajo svoje zvoke. Kot multifonična instalacija je pot teh ‘kiber ptic’ koreografirana nasproti projektorjem v arhitekturnem prostoru. +++eng+ Benoît Maubrey is the director of Die Audio Gruppe, Berlin-based art group that build and perform with electronic clothes. Basically these are electro-acoustic clothes and dresses (equipped with amplifiers and loudspeakers) that make sounds by interacting thematically and acoustically with their environment. The audio ballerinas use – among other electronic instruments – light sensors that enable them to produce sounds through the interaction of their movements and the surrounding light (peeper choreography). Via movement sensors they can also trigger electronic sounds that are subsequently choreographed – or “orchestrated”– into musical compositions as an “audio ballet” (yamaha choreography). A variety of other electronic instruments (mini-computers, samplers, contact microphones, cassette and MP3 players, and radio receivers) allow them to work with the sounds, surfaces, and topographies of the space around them in a variety of solo or group choreographies. In the more recent audio peacocks project performers wear electroacoustic instruments shaped into a peacock’s fan-like plumage that is highly directional – projecting the sound into a space like an oversized radar dish. Much in the same way that the

courtyard peacock “strutts his stuff” in front of a pea-hen and imposes with his awesome cry, so does the audio peacock stalk his architectural domain – using sound as a scalpel that cuts through air and sculpts it. An audio peacock can either amplify and alter its own voice or electronic instruments using a microphone, sampler, and filters (loop + pitch), play pre-recorded sounds, or

Avdio pav / Audio Peacock (Boštjan Lah)

receive sounds via transmitter/receiver. As video peacock cyber-birds (wearing white plexiglass “skins”) these electroacoustic birds patrol a more limited space and darkened environment. Their audio costumes double as mobile projection screens: whenever their paths intersect the light of a video projector the costumes metamorphasize into multi-colored screens. Colorful visualizations (movies, pictures, internet blogs, computer-enhanced images and closed circuit camera views) are “beamed” onto them as they play their sounds. As a multi-phonic installation the parcours of these “cyber-birds” is choreographed vis-avis to the emplacement of the projectors in the architectural space.

Chris Sugrue Osnova 8 / BASE 8 Med virtualnim in realnim prostorom ni jasne ločnice, ki bi človeškim možganom sporočala razliko med snovnim svetom in svetom utvare. Očesno zrklo je prepuščeno nenavadnemu nizu naključij, ki je le deloma odvisno od fizikalnih lastnosti materialov. Zaznavo neprestane spremljajo motnje in popačenja, odvisna od izjemno fleksibilnih lastnosti očesa, ki zdaj izostri zdaj zamegli predmet gledanja. Vsaka nova izkušnja sproži niz asociacij, spominov in naučenih sistemov kategoriziranja. Umetnica in programerka Chris Sugrue razvija interaktivne instalacije, zvočno vizualne performanse in eksperimentalne vmesnike, s katerimi raziskuje polje navidezne realnosti v odnosu do fenomenologije telesa. Njena interaktivna instalacija Osnova 8 je, kot pravi, »sistem, ki proučuje negativni prostor med prsti in sledi gibanju dlani in rok«. Idejo o negativnem prostoru – v geometrijskem smislu in ne kot nasprotje pozitivnega prostora – je razvila iz razmišljanja o številskih osnovah za sisteme štetja, ki izhajajo tudi iz različnih lingvističnih struktur. Kako misliti svoj svet izven binarnega polja ničel in enk, kako šteti izven desetiške osnove, kako misliti duodecimalno štetje antičnih civilizacij? Osnova 8 črpa navdih iz tistih jezikov, ki so razvili osmiško številsko osnovo, ko so namesto telesne mase šteli prostore med prsti. Kaj se spremeni v naši zavesti, če mislimo obratni prostor, če snovnost postane nepomembna, če izostrimo pogled drugače kot smo vajeni? Instalacija Osnova 8 je generativno okolje, ki spominja na hologram. Projekcija ni dejansko tridimenzionalna, čeprav se perceptivno zelo približa temu učinku. Pri gradnji objekta si je umetnica sposodila optično utvaro, imenovano Pepperjev duh, iz sredine 19. stoletja. Konstrukcijo za iluzionistični trik so tedaj uporabljali za uprizoritev srhljivih scen, v katerih so steklene pregrade delovale kot polprosojna odsevna ogledala. Ne da bi nas želela strašiti, je prilagodila stari gledališki trik in v instalacijo vstavila obarvano steklo pod naklonom, ki odbija projekcijo iz LCD ekrana na naše dlani. Pozicijo in razdaljo do

Chris Sugrue, Osnova 8 / Base 8 (Boštjan Lah)

dlani v instalaciji zaznava kamera za prepoznavanje globine v prostoru. Računalniški program, napisan v jeziku C++, procesira in analizira video podobo, da bi zaznal konture rok in poiskal vmesne prostore med prsti. Generirana animacija na dvodimenzionalni ploskvi se prilagaja mapiranju teh vmesnih prostorov, ki se prilagajajo fizičnemu gibanju. Program hkrati računa globino gibajočega se objekta in določa sredinsko privlačnost »premikajočih se struktur in abstraktnih geometrijskih oblik, ki se pojavljajo med prsti ali rastejo iz dlani in rok ter tako sestavljajo odzivno organsko okolje«. Delo Chris Sugrue določa čista, minimalistična estetika in preplet organskih oblik, ki jih spreminjajo sledilni programi in algoritmi za animirano vizualizacijo. Projicira abstraktne svetlobne oblike, na katere se telo odziva z igrivo fascinacijo nad subtilnimi digitalnimi elementi. Telo je soočeno z magičnimi možnostmi digitalne tehnologije, s fiktivnimi svetovi na meji med virtualnim in fizičnim telesom. Eden od osrednjih motivov umetničinih interaktivnih instalacij so dlani – tisti del telesa, ki prvi sproži človekovo zavedanje o samem sebi. Dlani niso le tisti organ, ki ga najpogosteje gledamo, so tudi organi neverbalnega govora, ki pogosto razkrijejo več kot govorčeve besede. Umetnico navdušuje presenetljiva prilagodljivost možganov in človekove percepcije, ki se sooči z optičnimi zankami. V raziskovalnem procesu je med

drugim naletela na presenetljive rezultate psiholoških poskusov pri proučevanju odnosa med možgani in telesom. Meritve so pokazale, da ljudje v določenih okoliščinah prepoznajo umetno roko kot svojo lastno – čutijo bolečino, hlad, vročino, – kadar je njihova roka skrita za zastor ali ogledalo. Sinteza in prehajanje med digitalnim in organskim svetom v njenih instalacijah sproža oprijemljiv občutek razširjene realnosti, a prehajanje v virtualni prostor ni invazivno kot so tridimenzionalne simulacije, ki preplavijo cel zaznavni spekter, temveč so rahločutne in negrozeče. Digitalni prah se raztresa po dlaneh kot subtilni podaljšek ali dodatek. Ob stiku z razširjeno realnostjo svojega telesa nastopi magični trenutek. +++eng+ There is no definite boundary between real and virtual space that would inform the human brain when it perceives the difference between the material world and the world of illusion. The eye’s pupil is left to a strange set of coincidences that are only partially dependent on the physical properties of the materials. Perception is constantly altered by distractions and deformations that arise from the extremely flexible characteristics of the eye which sharpens and then blurs the viewed object. Each new experience triggers a set of associations, memories, and learned categorisation systems. 27

The artist and programmer Chris Sugrue develops interactive installations, audio-visual performances and experimental interfaces through which she explores the field of virtual reality in relation to the phenomenology of the body. Her interactive installation BASE 8 is, as she puts it: “a system that examines the negative spaces between the fingers and the motion of the hands and arms.” She came to the idea of working with negative space – in the geometrical sense not as an antonym of the positive space – while thinking about the numeric bases for counting systems which vary in different linguistic structures. How can we think about our world outside of the binary field of ones and zeros, count without using the decimal system, or consider the duodecimal counting system used by ancient civilizations? BASE 8 is inspired by languages that developed the octal numeric base by counting the spaces in-between the fingers rather than the body mass itself. What changes in our consciousness when we observe the reverse space, when materiality becomes insignificant, when we focus our gaze in a different way than the one we are used to? The installation BASE 8 is a generative environment reminiscent of a hologram. However, the projection is not three-dimensional even though perceptively it comes relatively close to it. When constructing her installation the artist adopted a 19th century optical illusion called “Pepper’s Ghost” which uses translucent glass screens that function as deflective mirrors for enacting eerie scenes in illusionist tricks. Sugrue has adjusted the old theatrical trick and installed tinted glass at a right angle, so that the projection from an LCD monitor is deflected onto our hands. A depth-sensing camera is used to detect the position and distance of the hands. Software written in C++ analyses the video image, detects the contour of the hand and locates the space between the fingers. The generated animation projected on the two-dimensional plane adjusts to the mapping of these in28 between spaces and follows the physical

movements. The software also calculates the depth of the moving object and defines the centralised gravitational pull of the “moving structures and abstract geometric forms that begin to appear in-between the fingers or grow out from the hands and arms thus creating a reactive organic environment.” The work of Chris Sugrue is defined by clean, minimalist aesthetics and intertwined organic shapes that are a result of tracking programs and algorithms for animated visuals. She projects abstract light forms with subtle digital elements to which the body reacts with playful fascination. The hands are one of the central motifs in the artist’s interactive installations – they are one of the first parts of the body that activate the consciousness of oneself. The hands also play an important role in nonverbal language, which often reveals more about a speaker than one’s actual words. Sugrue is fascinated by the amazing adaptability of the human brain and its subsequent perception as it faces optical loops. During her investigative process the artist came across some remarkable results from psychological experiments that had researched the brain-body relation. Tests have shown that in certain circumstances people recognise a fake limb as their own – they feel pain, cold, heat – if their arm is hidden behind a screen or mirror. In her installation the synthesis of the transition between the digital and organic world initiates a tangible sense of augmented reality. However, the transition into the virtual space is not invasive as can be the case with three-dimensional simulations that might overwhelm the entire spectrum of senses; rather, it is much more delicate and nonthreatening. The digital dust spills into the space between the fingers like a subtle extension or an appendage. The magical moment occurs through the contact with the augmented reality of one’s own body. Ida Hiršenfelder Base 8 was developed by Chris Sugrue at Ljudmila’s Artist at Residence program. Production: Ljudmila, Ljubljana Digital Media Lab at KUD France Prešeren Trnovo

Risarski moduli / Drawing Modules

Risba seva skozi umetniška dela treh kipark Saše Bezjak, Aleksandre Gruden in Polone Maher ter slikarke Simone Šuc. Risba je neke vrste modul, ogrodje, definicija ujetosti materiala in linearne svobode hkrati. Vse štiri jo vzpostavljajo v drugem umetniškem mediju, bodisi v vezenini, videu, sliki, ploskovitih in tridimenzionalnih skulpturah. Aleksandra Gruden skozi avdio-vizualni medij obravnava prostor in linije premikajoče se vode, kjer svetloba zarisuje različne risbe kot linearne tokove, ki nizajo eno podobo v drugo. Vezene risbe na platna Saše Bezjak v repetitivnem mediju ohranjajo neposredne, ekspresivne, „zamrznjene“, toda še vedno povsem žive izjave ženske, vpete v agonijo medsebojnih človeških odnosov. Tradicionalni medij v prosojnosti pleksi stekla poudari krhkost in zaokroženost linije Simone Šuc. Polona Maher s poliuretanskimi izrezanimi ploskimi skulpturami in tridimenzionalno strukturiranimi krinolinami neopazno napolnjuje volumen razstavnega prostora in v nasprotju s slednjimi naniza tudi drobne preprosto animirane risbe, ki v drobno tekočih transformacijah podob in njenih zgoščevanj delujejo kot kip. Ne glede na člen, ki jih povezuje, je vsaka v svojem izraznem svetu, vsaka ga prevaja s sebi lastno poetiko linij, strnjeno v enkratno umetniško izjavo. Popolnoma ujeto in popolnoma svobodno hkrati. Lepo. +++eng+ The drawing radiates through the art works of three sculptors Saša Bezjak, Aleksandra

Gruden and Polona Maher, and painter Simona Šuc. Drawing is a kind of module, a framework, a definition of the entrapment of material and linear freedom at the same time. It is established by the four authors in different art media, whether in embroidery, video, painting, two- or three-dimensional sculptures. Through the use of the audiovisual medium, Aleksandra Gruden deals with space and lines of moving water, with the light sketching a variety of drawings as linear streams, stringing one image into another. In a recurrent medium, the linen-embroided drawings of Saša Bezjak preserve the straightforward, expressive, »frozen« but still very much living statements of a woman, integrated inside the agony of interpersonal human relationships. In the transparency of plexiglass, the traditional medium stresses the fragility and wholesomeness of Simona Šuc’s line. Polona Maher uses cut-out polyurethane flat sculptures and 3D-structured crinolines to discreetly fill up the volume of the exhibition space, and, unlike the latter, strings tiny, simply animated drawings which give the impression of a sculpture through the minuscule image transformation flow and its density. Regardless of the connecting link, each of them inhabits a separate world of expression, each translating it with a personal line poetics of their own, compressed in a unique artistic statement. Perfectly captured and perfectly free at the same time. Beautiful. 29

(Boštjan Lah)

Polona Maher, Saša Bezjak, Simona Šuc, Aleksandra Gruden

MED

Maribor elektronska destinacija Maribor electronic destination Festival MED se vzpostavlja kot platforma omogočanja prečenja delitev med akustičnim in elektronskim glasbenim izrazjem na eni strani ter raziskujočim in igrivim aspektom muziciranja na drugi. In ker je festivalsko dogajanje razumljeno kot ena najboljših oblik za omogočanje neposredne dosegljivosti novih kulturnih vsebin in vzbujanja zanimanja zanje, je to tudi zelo pozitivno za samo stanje lokalnega miljeja. Delujemo namreč v smeri približevanja čim bolj alternativnih glasbenih pristopov, hkrati pa želimo na ta način delovati v smeri opaznejšega tukajšnjega etabliranja celotne sfere tovrstnega ustvarjanja.

24. 2. 2012: Jóhann Jóhannsson, Evil Madness, Ule Nakova, Mint 25. 2. 2012: Stefan Betke aka pole, Yanoosh, DJ Kozmonavt

MED festival is established as a platform to enable crossing the divisions between the acoustic and electronic music expression on the one hand, and the exploring and playful aspect of making music on the other. As the form of a festival is considered one of the best options to make new cultural contents directly available and raise interest in them, it is also very contributing to the situation in the local environment. This is because we have been working towards merging alternative approaches to music, and at the same time trying to increase the visibility of establishing a comprehensive scene of such creativity on a local basis. Tsar Poloz – Live, MED 2011 (Boštjan Lah)

dr. Mladen Dolar, Tjaša Koprivec, Peter Andrej, Dragan Živadinov, Narvika Bovcon in Miha Turšič, Dušan Čater, Godalika in personal, Simona Kopinšek, Dani Marinič in Tilen Turk., Dušan Jovanovič, Mojca Kumerdej, Andrej Medved, Marko Samec (foto/photo: Boštjan Lah)

Zabeležite v svojem koledarju 20. do 22. april 2012 Make a note April 20–22, 2012 in your calendar!

Festival ljubezni, Negovski grad / Negova Castle, April 2011 (Boštjan Lah, Matej Kristovič)