Pixxelpoint 2017 - 18. international festival of contemporary art practices by Kulturni dom Nova Gorica

18. mednarodni festival sodobnih umetniĹĄkih praks 18th international festival of contemporary art practices 01

Resnično čaroben trenutek A Truly Magical Moment

18. mednarodni festival sodobnih umetniških praks 18th international festival of contemporary art practices Nova Gorica — Gorica, 1.—8. 12. 2017 Kurator/Curator: Božidar Zrinski www.pixxelpoint.org 1

Pixxelpoint 2017 – 18. mednarodni festival sodobnih umetniških praks Nova Gorica/Gorica, 1.–8. 12. 2017 Pixxelpoint 2017 – 18th International Festival of Contemporary art Practices Nova Gorica/Gorizia, 1.–8. 12. 2017 Organizacija festivala/Festival organized by: Kulturni dom Nova Gorica Kurator/Curator: Božidar Zrinski Vodja projekta/Festival manager: Pavla Jarc Koordinator projekta in stiki z javnostmi/Project coordinator and public relations: Mateja Poljšak Furlan Tehnični vodja/Technical director: Tadej Hrovat

Katalog izdal/Catalogue issued by: Kulturni dom Nova Gorica Zanj/Represented by: Pavla Jarc Ureditev kataloga/Catalogue edited by: Mateja Poljšak Furlan, Božidar Zrinski Pregled besedil/Language editing: Mateja Poljšak Furlan Lektoriranje/Slovene language revision: Denubis, jezikovne rešitve d.o.o. Prevodi/Translated by: Denubis, jezikovne rešitve d.o.o. Oblikovanje/Design: BridA/Tom Kerševan, Sendi Mango, Jurij Pavlica Tisk/Print: Tiskarna Present d.o.o. Naklada/Number of copies: 500 Nova Gorica, december 2017

Vsebina / Contents 5 Resnično čaroben trenutek 8 A Truly Magical Moment 13 Adam Basanta 18 Anna Ridler 20 ::vtol:: (Dmitry Morozov) 24 Julian Palacz 26 Vladimir Frelih 29 Marko Batista 30 Boštjan Čadež 32 Iza Pavlina 35 Tadej Vindiš 37 Valerie Wolf Gang 40 Nika Oblak in Primož Novak 45 Maja Smrekar 48 Ana Petrović 52 Štipendisti Grant recipients 53 Domen Dimovski 55 Tina Lanišek 57 Miha Godec, Laren Polič Zdravič 60 Anja Jurše, Anja Hauptman, Kristina Keber, Ivan Stanojevič in Mitja Cvetko

Resnično čaroben trenutek Božidar Zrinski

Naslov festivala Resnično čaroben trenutek je povzet po istoimenskem projektu Adama Basante, enega izmed sodelujočih umetnikov. Ta na najbolj primeren način označuje razstavo ter nastalo situacijo, ki predstavlja platformo za produkcijo novih projektov, kot tudi pomembno prizorišče za postprodukcijo že realiziranih projektov. Razstava ponuja naracijo znotraj predstavljenih del in se ne osredotoča na točno določeno konceptualno izhodišče. Umetniški projekti izpostavljajo razne vidike sodobne tehnološko zasnovane družbe, umetnosti in politike. Raziskujejo posameznikovo vpetost v socialno stvarnost družabnih omrežij, obdelovanja podatkovnih in vedno bolj pomembnih slikovnih arhivov, izpostavljajo posameznikovo čutno senzorično izkušnjo prostora, opredeljujejo se do zgodovine umetnosti in kulture ter postavljajo pod vprašaj realnost, ki jo živimo. Reality Is Out je kinetična video instalacija Nike Oblak in Primoža Novaka, ki nam dobesedno iz ekrana pomoli pred nos transparent z napisom reality in nas s tem na humoren način spomni na otroško dilemo o tem, ali so ljudje ujeti v televizijski ekran zares živi. Seveda je jasno, da niso, ampak napis, ki je bil prej del video posnetka, se resnično pojavi pred nami. Kako torej razumeti realnost, ki je pred nami? Čarovnija televizijske slike in njene pripovedne moči se je iz preproste narativnosti spremenila v čisto manipulacijo. Pravzaprav sta avtorja pokazala, da je naša realnost nenehno prepredena z virtualno izkušnjo, a ker je napis opredmeten pred nami kot stvarni dokument oziroma predmet, ga lahko ironično razumemo tudi kot nekaj, kar je preživeto in ni v trendu zato, ker je preprosto »out«. Tako kot so demode zmenki ali spogledovanje dveh oseb v živo. Adam Basanta nam ponuja doživetje tovrstnega trenutka, ko se naš video klic z drugo osebo spremeni v navidezni ples, ki svoj navdih išče v romantičnih situacijah popularne kinematografije. Uporabnost naprave, ki nam jo predstavlja, je v tem, da nam je zmožna pričarati oziroma ustvariti čaroben trenutek užitka in zamaknjene resničnosti, saj je svet, ki nas obkroža v trenutku vrtenja telefonov, neprepoznaven in zabrisan. Osredotočeni smo le na romantično glasbo in na pogled druge osebe. Nekoliko globlje v raziskovanje medosebnih odnosov v virtualnem svetu družabnih omrežij se je spustila Iza Pavlina s kompleksno multimedijsko instalacijo Pravilo 34, v kateri raziskuje manipulacijo pričakovanja eksplicitne spolne izkušnje. Prevzela je vlogo navdušenke nad neobičajnimi spolnimi fetiši in svoje video posnetke objavila na popularnih pornografskih spletnih straneh. Nikoli sicer ni eksplicitna, pa vendar dovolj privlačna, da je ustvarila krog sledilcev, oboževalcev in veliko pričakovanje mnogih uporabnikov. Zdi se, da je v množici dokumentov, ki so pricurljali v javnost s pomočjo spletnega mesta Wikileaks, presenetljivo čaroben trenutek spoznanja ta, da je v korespondenci o najrazličnejših občutljivih temah, možno zaslediti tudi ljubezensko zgodbo. Dopisovanje dveh oseb nam razkriva delo Anne Ridler, pri katerem s pomočjo iPada 5

in aplikacije za obogateno resničnost sledimo odkrivanju njune ljubezenske izpovedi. Baza podatkov, pravzaprav osebni filmski arhiv, je izhodišče za instalacijo Juliana Palacza z naslovom Algorithmic Search for Love. Avtor je naredil iskalnik po vzoru mnogih internetnih iskalnikov, vendar s to razliko, da njegov išče po filmski bazi podatkov. Tako se nam rezultati vnesenega iskalnega gesla prikažejo kot nekaj minutne povezane sekvence različnih filmskih prizorov, v katerih so bile uporabljene iskane besede ali gesla. Delo ponuja drugačno vizualno in informativno izkušnjo iskanih gesel ter tako pogumno raziskuje prihodnost obdelave in uporabe vedno bolj nepreglednih podatkovnih baz. Ana Petrović se v svojih multimedijskih instalacijah in delih ukvarja z estetsko izkušnjo gibljivih slik in filmov. Pravzaprav jo zanima estetika projekcije, ki jo z raznimi napravami in pripomočki spreminja v prostor estetske in doživljajske izkušnje, v katerih sledimo spremembam in učinkom svetlobe. Na inovativen način se z raziskovanjem in predstavljanjem vizualne zgodovine določenega obdobja in okolja ukvarja Valerie Wolf Gang. Pogled skozi merilno napravo puške nam odkriva posamezne vizualne detajle in zgodbe, ki so jih slovenski izseljenci doživljali med odkrivanjem Amerike. Vsak strel v odkrito podobo pa nam pričara natančnejši vpogled v odkrito vsebino z glasbo ali tradicionalnimi predmeti povezanimi s posameznimi zgodbami. Raziskovanje sledi, ki jih puščamo kot obiskovalci ali raziskovalci spletnega omrežja, je osrednje vodilo dela Vladimirja Freliha. Programirana spletna stran beleži vsak klik vsakega izmed obiskovalcev, vendar na način, da beleži le trenutno stanje, zato lahko obiskovalec strani pušča sledi, znake, stavke, slogane ali pa jih preprosto briše. Frelih prepusti urejanje in dostopnost vsebine vsakemu izmed nas, da presodimo, kaj je vredno ohraniti in kaj zamenjati ali spremeniti. Projekt aktualizira informacijsko vrednost svetovnega spleta in pomen najdene informacije, ki postane neobstojna in prepuščena uporabnikom. Boštjan Čadež se v svojem delu posveča mikrokozmosu površin, ki jih s pomočjo posebne aplikacije in računalniško vodene kamere spreminja v ozadja za realno časovno animacijo. Z delom opozarja na razne površine, ki s svojo strukturo in pomenom lahko postanejo okolja novih načinov sporočanja. Marko Batista se s svojim delom loteva raziskovanja analognega dojemanja in zvočnega mapiranja prostora. Izdelal je napravo v obliki čelade, ki s posebnimi dodatki oziroma zvočnimi ojačevalci spreminja običajno zvočno strukturo prostora. Podobno nas Adam Basanta s čepki za ušesa opozori, da lahko poslušamo tudi s telesom preko lobanjskih kosti in fizičnim občutenjem zvočnih vibracij. Ko sledimo njegovim natančnim navodilom za uporabo čepkov, smo pozorni na zvoke in vibracije okolja in lastnega telesa, ki jim sicer ne posvečamo posebne pozornosti. Stanje kaosa in harmonije oziroma uravnoteženosti zanima ruskega umetnika ::Vtol:: aka Dmitrya Morozova. Izdelal je posebno napravo, ki v času delovanja prehaja iz organizirane harmonije in uravnoteženosti v popolni kaos in s tem poudarja neke vrste shizofreno situacijo in željo po urejanju, a ko le to dosežemo, je kaos ponovno neizbežen. S projektom Hotspot Poet pa nam isti avtor odkriva možnosti neformalnih in neodvisnih mrež, preko katerih je mogoče prenašati informacije, kar je še posebej pomenljivo za prostor in čas, ko običajni svetovni splet ni dosegljiv, ne deluje ali je namenoma preprečeno njegovo delovanje. Mini oddajniki lahko na subverziven 6

način pošiljajo razna sporočila, a da bi oplemenitil njihovo vrednost, se je odločil, da preko njih pošilja poezijo štirih svetovno znanih pesnikov. Tadej Vindiš s projektom reconfigured zagrize v samo bistvo računalniške notranjosti. Tisto, kar nam je v večini primerov povsem nepomembno, kar poganja drobovje računalnika in omogoča njegovo delovanje, je za Vindiša jedro raziskave, ki temelji predvsem na iskanju povezav in komunikacije med raznimi sistemi, njihovem usklajevanju in medsebojnem dopolnjevanju. Z ojačenim zvokom delovanja sistema in povezanosti treh računalnikov na vizualno estetski ravni odkriva procesualno in zvočno drobovje stroja, ki poganja današnji svet in v marsičem vpliva na izgradnjo in ohranjanje medsebojnih ter širših družbenih in ekonomskih odnosov. Na meji visoko tehnološke umetniške produkcije, biološkega in znanstvenega eksperimenta ter intimne zgodbe o odnosu s sočlovekom je knjiga umetnice Maje Smrekar. Izjemen dokument, ki na svojevrsten način pripoveduje o njenem večletnem raziskovanju odnosa med človekom in psom. Knjiga je primer izvedbe, ki vizualno osmišlja večletno delo in ga dokumentira tako na estetski kot tudi pripovedni ravni. Festival Resnično čaroben trenutek prikazuje razvejano uporabo sodobnih tehnologij in njihov vpliv na umetnost, vendar hkrati ugotavlja, da fascinacija nad novimi tehnologijami v umetnosti ni več povsem v ospredju. Tehnološko kompleksno zasnovani umetniški projekti so pogosto težko razumljivi, saj njihovo bistvo izhaja iz specifičnih znanj, poglobljenega raziskovanja in osredotočanja na točno določen problem, zato mnogi avtorji svoje ugotovitve vse pogosteje predstavljajo v okviru enostavno zasnovanih zgodb, s katerimi lahko gledalcu, obiskovalcu ali uporabniku lažje ponudijo neposredno izkušnjo spoznanja in dojemanja svojih umetniških ambicij.

A Truly Magical Moment Božidar Zrinski

The festival title A Truly Magical Moment is taken from the namesake project by Adam Basante, one of the contributing artists, and appropriately marks the exhibition and the resulting situation, which sets up a platform for producing new projects, as well as an important stage for postproduction of previously realized projects. The exhibition proposes a narration of the works presented therein, and does not focus on any clearly-defined conceptual foundation. The art projects highlight various aspects of contemporary technology-focused society, art and politics. They explore the individual’s place in the social reality created through social networks, data processing practices, and the increasingly important picture archives. They also point out the individual’s sensory experience of space, they present their views on art history and culture, and question the reality we inhabit. Reality Is Out is a kinetic video installation by Nika Oblak and Primož Novak, which literally pulls out a banner with the word reality out of the screen, a humorous reminder of that dilemma we used to have as children, wondering if the people trapped in the television screen are, in fact, alive. Clearly, they are not, but the text which was once part of the video clip, now takes on a physical form right in front of our noses. So how should one understand the reality before us? The magic of the TV picture and its strong storytelling potential changed from a purely narrative function and descended into pure manipulation. In fact, the authors showed us that the very fabric of our reality is constantly interwoven with the virtual experience, but since the text is in front of us is a physical manifestation, taking the form of a document or an object, we can also ironically see it as something outdated, something which has fallen out of trend, something that is, quite simply, “out” - just like dating or flirting in the physical world. Adam Basanta lets us experience this unique moment, turning a video chat into a virtual dance, inspired by the romantic situations often appearing in popular cinematography. The practical value of the device he presents to us lies in the fact that it is able to conjure up a magical moment of blissful and distorted reality, as the phones’ movement blurs out the world around us in a flurry. Our focus is fixed purely on the romantic music and the other person’s gaze. Iza Pavlian delved somewhat deeper into exploration of personal relationships within the virtual world of social networks in her complex multimedia installation Rule 34, in which she studies the manipulation of the anticipation of a sexual experience. She took on the role of a lover of unusual sex fetishes, and published her videos on a number of popular porn sites. The clips are never explicit, yet are intriguing enough to have created a following of fans and stoked the expectations of many porn site users. It seems that in the multitude of documents published on Wikileaks, the surprisingly magical moment of clarity lies in the fact that the correspondence on all sorts of sensitive subjects, one can find an unlikely romantic storyline. Anna Ridler’s work 8

presents a conversation thread exchanged between two individuals, where we can use an iPad and an augmented reality app to follow their story of romance. A database, or rather a personal video collection, is at the core of Julian Palacz’s installation entitled Algorithmic Search for Love. The author built a search engine which resembles the multitude of online search engines, the difference being that this particular tool allows users to search through the film database. Thus, the search results show up as short, several minute-length sequences of various film scenes in which the searched terms or phrases are used. The work offers a new visual and informative experience of searching for phrases, and in doing so bravely explores the future of data processing and the use of the increasingly-cluttered databases. In her multimedia installations, Ana Petrović explores the esthetic experience of the moving image and film. At the core of her interest lie the esthetics of projection, and she uses different devices and tools to create an esthetically pleasing and exhilarating experience, in which we follow changes and tricks of the light. Valerie Wolf Gang takes an innovative approach to exploring and presenting the visual history of a particular period and environment. A look through the scope mounted on a rifle reveals unique visuals and stories which Slovenian expatriates experienced during their explorations of America. Each gunshot we take at a shown image reveals a detailed insight into its content, through music or traditional objects related to individual stories. Exploration of the traces we leave behind as visitors or explorers of the internet is the fundamental concept underpinning the work of Vladimir Frelih. The programmed website records every click of the mouse initiated by the visitors, but it records only the current state of the image, so any visitor can leave behind traces, marks, sentences, slogans, or they can simply erase existing ones. Frelih leaves the editing and accessibility of the content to the viewer, letting each of us decide what is worth preserving and what should be changed or replaced. The project actualizes the information value of the world-wide web, and the meaning of the found information, which then becomes ephemeral and is left for the users to do with as they will. In his work, Boštjan Čadež deals with the microcosm of surfaces, which he changes into backgrounds for a real-time animation using a special application and computer-controlled camera. His work draws our attention to various surfaces, whose structure and significance allow us to recreate them into venues for new types of communication. Marko Batista’s work explores the concepts of analog understanding and spatial audio mapping. He created a helmet-like device which alters the normal structure of the environment using special effects and audio signal amplifiers. Adam Basanta employs a similar approach with his earplugs, reminding us that we can also use our own bodies to feel sound, transmitted through the bones of the skull and physically feeling the vibrations surrounding us. Closely following his precise user instructions for the earplugs, we become aware of the sounds and vibrations surrounding us, and those coming from our very own bodies, which we normally do not pay much attention to. Russian artist ::Vtol:: aka Dmitry Morozov’s work explores the concepts of chaos and harmony, and the balance between the two. He created a special device which swings from organized, balanced harmony into total chaos, inviting the viewer to acknowledge the somewhat schizophrenic situation 9

and a desire for order - yet once we reach that state, the onset of chaos is once again inevitable. With the Hotspot Poet project, the same author explores possibilities offered by informal and independent networks, which can be used to transmit information. This becomes particularly relevant at certain times and in certain places where we find ourselves either completely cut off from the internet, or at least with diminished access to it, either intentionally or otherwise. Mini transmitters can be used subversively to transmit various messages, but in order to enhance their value he decided to use them to spread the poetry of four world-famous poets. Tadej Vindiš’s project Reconfigured takes pokes at the very core of the internal world of computers. While they may seem completely irrelevant to us most of the time, the mechanisms powering the insides of the computers and allowing them to operate are what Vindiš considers to be at the core of his artistic research, which itself is based mainly on searching for the connections and communications between various systems, mutual coordination and collaboration. By amplifying the sound of the system and the connections between three computers, he explores the visual and esthetic aspects of the inner workings and sounds of the machine that underpin today’s world, and in many ways affect the way we build and maintain interpersonal and broader social and economic connections. The artist’s book of Maja Smrekar stands at the intersection of the highly technological art production, a biological and scientific experiment, and an intimate story about a relationship with another person. This exceptional document takes a unique narrative, a recounting of her years of researching the relationship between man and dog. The book is an excellent example of a piece which puts an effort spanning over many years into a visual context, which works both on the esthetic and narrative level. The festival A Truly Magical Moment presents the diversity of applications of contemporary technologies and their artistic impact, yet at the same time recognizes that the fascination with new technologies in art no longer takes the center stage. Since at their very core artistic projects are derived from highly specialized knowledge, in-depth research and focus on a specific aspect, they can often be difficult to fathom, which is why more and more authors are choosing to present their findings in the context of simple narratives, helping them give the viewer, visitor or user a direct learning experience and convey their artistic ambitions.

Adam Basanta

Resnično čaroben trenutek, 2016

Interaktivna kinetična skulptura, 1 m x 1 m x 1 m 2 iPhona 4S, »selfie sticki«, aluminij, elektronika, čipi Bluetooth Ljubimca sredi plesišča. Skleneta roke in se začneta vrteti. Zazreta se v oči in soba se zamegli v vrtincu njunega gibanja. Ta klasična scena, ki je bila najbolj slikovito prikazana v epski mojstrovini Titanik iz leta 1997, se pogosto pojavlja v sodobnih romantičnih filmih, z značilno perspektivo iz prve osebe in snemanjem preko ramena. V delu Resnično čaroben trenutek obiskovalci to situacijo podoživijo s pomočjo sodobnega komunikacijskega orodja, ki ga zaljubljenci pogosto uporabljajo v razmerjih na daljavo: Applovega FaceTimea. Obiskovalci galerije in spletnega mesta lahko s svojimi iPhoni ali računalniki navežejo video pogovor s tema uporabnikoma storitve FaceTime. Ko se obiskovalca povežeta v virtualnem pogovoru na štiri oči, se skulptura začne vrteti okrog svoje osi. Ob spremljavi romantične glasbe se vrtiljak vrti vse hitreje, ozadje se zabriše in popači, medtem pa podoba soplesalca ostane ostra. Po eni »čarobni« minuti — »pristnega stika« s sočlovekom — se vrtenje postopoma ustavi, digitalni števec pa prikazuje skupno število »čarobnih trenutkov«, ki so nastali v času razstave. V delu odzvanjajo tropi iz sveta kinematografije in spleta (Chat Roulette, modificirani GIF-i iz filma Titanik), prežeti s humorjem in absurdom, kljub temu pa ostaja kibernetična skulptura nenavadno prepričljiva.

A Truly Magical Moment, 2016

Interactive kinetic sculpture. 1m x 1m x 1m. 2 iPhones 4S, selfie sticks, aluminum, electronics, bluetooth chips. Two lovers in the middle of the dance floor. They link arms and begin to spin. The room blurs as they stare deep into each other’s eyes. Most iconically captured in the 1997 epic, Titanic, the classic scene is found throughout modern romantic cinema, complete with over-the-shoulder and pointof-view cinematography. In A Truly Magical Moment, visitors re-enact this “Magical Moment” using the contemporary communication tool for many long-distance relationships: Apple’s proprietary FaceTime technology. Gallery visitors and online guests use their iPhones or computers to video chat the two FaceTime accounts. When two guests connect in a virtual face-to-face, the sculpture begins to spin. Reaching dizzying speeds as romantic music play, the background blurs and warps, while the image of your dance-partner remains in focus. After one “Magical“ minute - a wordless, “genuine connection” with another person the rotation slows to a standstill, while a digital counter keeps count of the amount of “Magical Moments” enabled throughout the exhibition. The work echoes cinematic and web-tropes (chat roulette, modified Titanic GIF‘s) with irony, humor, and absurdity, yet remains strangely genuine. 15

Adam Basanta

Čepki (Najpomembnejše je), 2016

Instalacija z mešanimi mediji, različne dimenzije, 1200 lasersko graviranih penastih ušesnih čepkov, navodila za performans Namen ušesnih čepkov je, da utišajo neželene zvoke. Pa vendar se z uporabo čepkov zvočna krajina telesa celo poudari: namesto, da bi naši bobniči zaznali zvoke, ki se prenašajo po zraku, slišimo vibracije, ki se prenašajo po kosteh v naši glavi. Delo Čepki (Najpomembnejše je) ustvarja dvojnost: tisto privlačnost samozadostnosti, ki ga pogosto pridiga popularna literatura za samopomoč, hkrati pa so to tudi navodila za sprehod po notranji zvočni krajini, ki se izriše obiskovalcem, ko raziskujejo svoj miselni svet.

Plugs (The most important thing is), 2016

Mixed media installation. Variable dimensions. 1200 laser engraved foam earplugs, performance instructions. Earplugs are meant to keep out unwanted sound. However, the process of plugging our ears serves to amplify the corporeal soundscape: rather than hearing air-borne sound through our eardrums, we hear vibration conducted through the bones in our skull. Plugs (The most important thing is) proposes a double entendre: an appeal for selfreliance which recalls popular self-help psychology literature, as well as instructions for an interior soundwalk in which visitors become aware of their own corporeal soundscape as they trace a mental path through it. 17

Anna Ridler

Wikileaks: Zgodba o ljubezni, 2016 Interaktivna instalacija

Pregledovanje spletnega mesta Wikileaks v iskanju nepričakovane zgodbe o ljubezni na delovnem mestu — v tej instalaciji so zbrani podatki iz resničnih elektronskih sporočil med dvema osebama, ki so sestavljeni v ljubezensko zgodbo, ki bralca popelje od romantičnih začetkov do dokončnega razpada odnosa. Instalacija je sestavljena iz več kot 10.000 strani dokumentov z Wikileaksa, ki se jih nato skenira z aplikacijo obogatene resničnosti na iPadu, s čimer se razkrije neka nova, »skrita« zgodba.

Wikileaks: A Love Story, 2016 Interactive installation

Scraping Wikileaks to find an unlikely story of love in the workplace, this installation uses data from real emails between two people to construct a romance from being in love to it falling apart. This installation takes the form of over 10,000 pages of documents from Wikileaks, which are then scanned by an iPad installed with an augmented reality app to reveal the “hidden“ story.

::vtol:: (Dmitry Morozov) Pesnik s hotspotom, 2016

Avtonomna mikro naprava oddaja lažni signal brezžičnega omrežja, ki ga zaznavajo elektronske naprave, kot sta pametni telefon in prenosni računalnik. Naprava svoje omrežje vsakih 10 sekund samodejno preimenuje, imena pa črpa iz kitic pesmi različnih znanih pesnikov. Naprava uporablja informacijski kanal, ki je viden in dostopen vsem uporabnikov mobilnih naprav, in tako postane svojevrsten medij za posredovanje poezije. Na to omrežje se ni mogoče povezati (naprava sama namreč ni povezana z internetom), sporočilo pa se skriva v samem imenu omrežja. Uporabniki mobilnih naprav lahko s spremljanjem menija za nastavitve brezžičnega omrežja postopoma preberejo vse pesmi, ki so programirane v napravo, kitico za kitico. Delo sestavljajo štiri naprave, od katerih vsaka vsebuje poezijo enega pesnika: Basho, Goethe, Pasternak in Petrarka. Naprava je pravzaprav ironičen medij, ki je svoj navdih črpa iz duha hacktivizma, koncepta iskanja novih načinov posredovanja informacij v javnih prostorih. Teoretično je te naprave mogoče programirati, tako da v določenem prostoru prenašajo sporočila s poljubno vsebino in se osvežujejo, tudi če vsa država izgubi dostop do interneta. Te naprave lahko imenujemo tudi generatorje omrežnih/ informacijskih šumov, ki pravo omrežje nadomestijo z lažnim, pri tem pa zasledujejo določen estetski cilj. Doseg delovanja modula je nekaj deset metrov. Imena omrežij se na različnih napravah prikazujejo različno. Na primer: na določenih sodobnih Android napravah se kitice poezije prikazujejo kot eno samo omrežje, ki se stalno in hitro osvežuje; na iOs napravah se pojavi novo omrežje, medtem ko so prejšnja imena še vedno vidna, a novejša imena sčasoma nadomestijo starejša; na računalnikih serije Mac pa se vsa imena omrežij pojavljajo po kiticah in ostanejo vidna, vse dokler kurzorja ne premaknemo z menija za izbiro omrežja. Posebej za internetni trg Yami-Ichi @ Polytech Fest, Moskva, 2016. Posebni zahvali: Anastasia Tolchneva, Anastasia Alekhina

Hotspot Poet, 2016 An autonomous micro-device which distributes wi-fi masked as a wireless network, visible to any gadget - such as a smartphone or a laptop. The device automatically renames its network every 10 seconds, taking as its name various lines of poems by famous poets. The device uses an information channel which is accessible and visible to everyone through mobile devices, thus being a non-standard transmitter of poetry. There is no possibility to connect to this network (which is actually a dummy, disconnected from the internet) - the message being the name of the network itself. If one would leave the wi-fi settings menu open, then gradually, line by line, all the poems programmed into the object will be revealed. There are four objects in the set, each of them contains poems by one of the poets: 20

Basho, Goethe, Pasternak and Petrarka. In fact, the apparatus is an ironic medium which draws inspiration from the spirit of hacktivism, searching for alternative ways of distribution of information in the public spaces. Theoretically, these devices can be programmed to transmit messages with any content, they will be visible in a certain space and will be refreshed even if the whole country is disconnected from Internet. These devices can be also called generators of network/information noise which displaces the real network by a fake one, but with a certain aesthetic aim. The operating range of the module is a few dozen meters. The names of networks are shown in a bit different ways on different gadgets: for example, on certain modern android devices, poetic lines are visible only as one network, which is continuously and quickly refreshed; on ios devices there appears a new one, while a few previous ones are still visible, but gradually the new ones replace the old ones; and on mac computers, all names are appearing line after line, and they stay there until the arrow is removed from the network selection menu. Special for Internet Yami-Ichi market @ Polytech Fest, Moscow, 2016. Special thanks: Anastasia Tolchneva, Anastasia Alekhina

::vtol:: (Dmitry Mororzov) Stupa, 2017

Mehanska zvočna instalacija

Med enomesečno rezidenco na Ljudmili, je Dmitry Mozorov ::vtol:: v seriji novih projektov, v katerih raziskuje in prevprašuje teme, kot so težnost, harmonija, kaos in samoorganizacija, ustvaril prvi stroj, imenovan Stupa. Stroj deluje v dveh različnih načinih — harmonija in kaos. Takoj, ko naprava vstopi v fazo harmonije, začne prehajati v bolj nestanovitno, kaotično fazo, nato pa se postopek ponovi. Tako je delovanje stroja ujeto v zanko, v kateri se fazi izmenjujeta v neskončnost. V napravi je vgrajen digitalni giroskop, ki sistemu daje informacije o položaju v prostoru ter pretvarja gibanje v zvočni signal. Instalacija je nastala med enomesečnim bivanjem v sklopu skupnega programa umetniških rezidenc Zavoda Projekt Atol in Društva Ljudmila v septembru 2017.

Stupa, 2017

Mechanical sound installation During his one month residency at Ljudmila Dmitry Morozov ::vtol:: produced the first machine called Stupa as part of a new project series which explores and engages topics such as gravity, stability, chaos and self-organization. The machine itself operates in two different states - stability and chaos. As soon as the machine reaches stable phase, it changes to the unsteady chaotic phase, and vice versa, keeping the machine in a continuous loop between these two stages indefinitely. The machine is a equipped with a digital gyroscope, which provides the system with information about its position in space and translates the machine’s movements into sound. The installation was created in September 2017, during the artist’s one-month residency organized as a collaborative program of Projekt Atol Institute and Ljudmila Association.

Julian Palacz

Algoritmično iskanje ljubezni, 2010

Multimedijska instalacija Iskalnik, filmski arhiv, uporabniški vmesnik, projekcija Julian Palacz je razvil iskalnik, ki omogoča iskanje po govorjenem besedilu iz osebnih zbirk filmov in videoposnetkov. Individualna filmska zbirka tako postane baza ključnih besed, po katerih je mogoče iskati vse izgovorjene besede ali fraze, ki se pojavljajo v določenem kadru. Izbor ključnih besed tako določa proces preoblikovanja nizov slikovnega in zvočnega zapisa v filmskem gradivu. Algoritmično iskanje ljubezni ustvari algoritem, ki gledalcu odpre nove možnosti za avdiovizualno pripovedništvo.

Algorithmic search for love, 2010

Multimedia intallation Search algorithm, Film Collection, input interface, projection In a time in which digital cultural assets far outweigh analog, the ease with which we can now amass and exchange material has resulted in large personal collections of media data (music, films, series etc.). Julian Palacz has devised and developed a search engine that is able to enter text to search personal film and video archives for spoken language. An individual collection of films thus becomes a database of keywords and every spoken word or phrase in the archives can be searched. By entering a sentence like “I love her”, all film or video clips with this phrase will be shown in sequence. The selection of keywords therefore determines the process of resequencing image and sound in the film material. Algorithmic search for love creates an algorithm that unfurls for the viewer new possibilities for audiovisual narratives.

Vladimir Frelih Area2017, 2017

www.area2017.com

Spletno delo Area, ki v prevodu pomeni prostor, je nastalo iz osnovne predpostavke, da mi vsi, zlasti pa umetniki(ce) neizmerno želimo za seboj pustiti trajno sled. Area je virtualni prostor, kjer lahko obiskovalec pusti svojo sled, bodisi v obliki malega pravokotnika, ustvarjenega z enim klikom miške, bodisi v obliki besedila ali drugega vizualnega sporočila. S teoretskega vidika je to »večno«, – oziroma traja vsaj tako dolgo, kot bo trajal www. Po drugi strani lahko vsak novi uporabnik s svojo »sledjo« prepiše predhodne sledi (tako svoje kot tuje), s preprostim klikom na že obstoječe vsebine. Oblikovalec programa: Zlatko Petrović

Area2017, 2017

www.area2017.com The online piece Area was created from the idea that all of us, and artists in particular, seek to leave our mark on the world. Area is a virtual space, where anyone can leave a mark, whether in the form of a small rectangle created with a single click of the mouse, a piece of text, or some visual message. Theoretically speaking, this is a mark which will last for “eternity”, or at least as long as the www exists. On the other hand, each new user leaving their trace can also destroy the previous entries (both their own and other people’s), simply by clicking on the existing content. Program designer: Zlatko Petrović

Marko Batista Kibomatic, 2017

“Kibomatic“ je projekt, ki na humoren način gledalca preobrazi v analognega prosto hodečega kiborga, saj mu s posebej izdelano čelado omogoči svojevrstno zvočno izkušnjo galerijskega prostora. Z akustično čelado se lahko prosto giblje po prostoru in po želji tudi sproži zvok ter signalizira ostalim prisotnim opazovalcem. Nove tehnologije so postale del našega vsakdana in svojevrstni podaljški naših teles, zato je projekt zanimiva reminiscenca analognega časa, ko visoko tehnološki dodatki niso bili potrebni, da bi ustrezno doživljali okolje, v katerem živimo in delamo.

Kibomatic, 2017 “Kibomatic” is a project which humorously transforms the viewer into an analog, walking cyborg, giving them a unique audio experience of the gallery environment with the help of a special helmet. The acoustic helmet allows the viewer to freely move around the room and allows them to emit sounds and signal to other viewers present. New technologies have become part of our daily lives and act as unique extensions of our bodies, making this project an interesting opportunity to reminiscence about the analog age, a time when such high-tech artistry was not required in order to fully experience the environment in which we live and work.

Boštjan Čadež Abecedna juha, 2017

Avdio-vizualna instalacija

Abecedna juha je avdiovizualna instalacija, sestavljena iz pet-osne CNC kamere, reliefnega kolaža, računalnika, projektorja, avdio samplerja in zvočnikov. Računalnik naključno premika kamero, ki z makro lečo snema miniaturno pokrajino reliefa. Na sliko kamere superimpozira v realnem času generirana “bitja”, prikazana kot znaki abecede, ki s pomočjo dveh tipal otipavajo svetlost slike in se na podlagi zaznav odločajo za smer in hitrost gibanja. Informacije o gibanju vseh “bitij” skupaj tvorijo zapis zvočnega signala, ki se sešteje z zvokom motorjev, zajetim z indukcijskim mikrofonom, in predvaja preko zvočnikov.

Alphabet Soup, 2017 Audio-visual installation

Alphabet Soup is an audio-visual installation, which consists of a five-axis CNC camera, a relief collage, a computer, a projector, an audio sampler, and a set of speakers. The computer randomly moves the camera filming a miniature relief landscape through a macro lens. Over the camera feed, “creatures” are superimposed in real time, shown as characters from the alphabet. Two sensors are used to read the image brightness level, and the readings determine the direction and speed of the camera’s movements. Information about the movements of all these “creatures” is transformed into an audio signal, which is then merged with the sound of motors, captured using an induction microphone, and played over the speakers.

Iza Pavlina Pravilo 34, 2017

Multimedijska instalacija Pravilo 34 (2017) je umetniški projekt, ki raziskuje povezovanje umetnosti in seksualnosti znotraj virtualnega. Avtorica je v studiu posnela številne inscenirane situacije, kjer je z uporabo lastne podobe kot medija uprizorila različne vrste neobičajnih spolnih fetišizmov, kot so na primer: zoofilija, eksofilija, agalmatofilija itd. Ustvarjeno gradivo se kljub svoji seksualni naravi razlikuje od običajnih pornografskih materialov, saj je zanj značilna popolna odsotnost eksplicitnih vsebin. Umetnica je v nadaljevanju svoje posnetke objavila na popularnih pornografskih spletnih straneh ter z njihovimi uporabniki vzpostavila neposreden dialog, ki je kasneje postal del multimedijske instalacije. Produkcija: Aksioma – Zavod za sodobne umetnosti, Ljubljana, 2017 Projekt je nastal v okviru U30+ – iniciative za podporo mladih umetnikov. Mentor: Janez Janša (produkcija) Tehnična podpora: Rok Borštnar Video produkcija: Studio Atlas Fotograf in snemalec: Rok Tržan Zahvale: MGML / Mestna galerija Ljubljana Iza Pavlina, Courlophilia, 2017, fotografija, 48 x 32 cm, fotografiral Rok Tržan. Iza Pavlina, Courlophilia, 2017, photograph, 48 x 32 cm, photographed by Rok Tržan.

Iza Pavlina, Injury, 2017, fotografija 48 x 32 cm, fotografiral Rok Tržan. Iza Pavlina, Injury, 2017, photograph 48 x 32 cm, photographed by Rok Tržan.

Iza Pavlina, Pravilo 34 / Rule 34, 2017, multimedijska instalacija, postavitev v Projektnem prostoru Aksioma (april 2017), fotografiral Janez Janša / Aksioma. Iza Pavlina, Rule 34, 2017, Multimedia installation, Installation in the Aksioma Project Space (April 2017), photographed by Janez Janša / Aksioma.

Rule 34, 2017

Multimedia installation The art project Rule 34 (2017) explores links between art and sexuality in a virtual setting. The author filmed a number of manufactured situations in a studio, using her own image as a medium in order to portray different forms of unusual sex fetishes such as zoophilia, exophilia, agalmatophilia etc. Despite the work’s sexual nature, the resulting material is different from common pornographic content in that it shows absolutely no explicit content. The artist went on to publish her videos on popular pornography websites, and established direct conversations with viewers, which later became part of the multimedia installation. Production: Aksioma - Institute for Contemporary Art, Ljubljana, 2017 The project was created in the context of U30+ - an initiative supporting young artists. Mentor: Janez Janša (production) Technical support: Rok Borštnar Video production: Studio Atlas Photographer and cameraman: Rok Tržan Acknowledgments: MGML / City Art Gallery of Ljubljana

Tadej Vindiš Reconfigured, 2017

Multimedijska instalacija

Instalacija temelji na treh omreženih strojih, ki dostopajo drug do drugega, pri drug drugem iščejo binarne/sistemske datoteke in jih izvajajo na zaslone. Tisto, kar se zdi kot napaka, projicirana na ekran, je dejansko nezmožnost stroja za prevajanje teh datotek v človeku razumljiv ASCII. S prevajanjem strojne obdelave podatkov v človeku razumljiv diskurz lahko skozi napake in kompleksnost dobimo bežen vpogled v obseg in strukturo informacij, ki so zunaj našega dosega in se skrivajo v računalniških sistemih sodobne digitalne kulture. Zvok je neposredna amplifikacija strojnega procesiranja skozi magnetne mikrofone, vgrajene v vsakem stroju. Projekt je nastal v okviru magistrskega študija Interaktivni mediji: Kritična teorija in praksa na univerzi Goldsmiths, University of London, podprt pa je s štipendijo Javnega sklada RS za razvoj kadrov in štipendije.

Reconfigured, 2017

Multimedia installation The installation is based around three interconnected network devices interfacing with one another, searching through each other’s binary/system files and executing them on-screen. What looks like an error displayed on the screen is in fact the machine’s inability to translate these files into an ASCII format readable to the human eye. By translating machine processing into an expression conceivable by the human mind, the errors and complexities allow us to catch a passing glimpse of the scale and structure of information contained within the computational systems used in contemporary digital culture, yet beyond our reach. The sound is a direct amplification of machine processing passed through the magnetic microphones installed in each device. The project was created as part of the Master’s degree study program Interactive Media: Critical Theory and Practice at Goldsmiths, University of London, and was supported by the Public Scholarship, Development, Disability and Maintenance Fund of the Republic of Slovenia.

Valerie Wolf Gang

Lovljenje Amerike (Hunting for America), 2017 Multimedijska instalacija

Avtorica se je med ustvarjanjem v ZDA osredotočala na problematiko zasebnosti in iskanje identitete izseljencev. Rezultat te raziskave je interaktivno delo, ki razkriva nezakonit nadzor in kršitve zasebnosti, občinstvo pa vabi k neposrednemu sodelovanju z lastno udeležbo. S tem delo omogoča, da gledalec na lastni koži preskusi občutke, ki se porajajo, ko je oseba nadzorovana, hkrati pa onkraj osnovne video plasti odkriva nov svet, ki se skriva v ozadju in namiguje na simboliko iskanja identitete izgubljene domovine. Orožje v tem primeru ne ubija, temveč ustvarja luknje, skozi katere je mogoče vstopiti in iskati simboliko, ki se generira glede na prostor in čas, v katerem stoji instalacija. Avtorica: Valerie Wolf Gang Programer: Christof Ressi Asistentka: Urša Bonelli Potokar Naratorja: Danny Ban, Jody Smith Produkcija: KUD Mreža Zahvala: Kateřina Lenzová, Eriz Moreno, Jadranka Plut, Nevena Aleksovski, Anabel Černohorski, Ana Grobler, Sebastian Krawczyk, Danijela Zajc

Hunting for America, 2017 Multimedia installation

During her years of working in the USA, the author focused on researching issues dealing with privacy and expatriate identity. The result of her research is an interactive work which uncovers the unlawful surveillance and violations of privacy, and invites the audience to become personally involved through direct interaction. This allows the viewer to sense the feelings which emerge when a person is subjected to surveillance, and at the same time discover a new world underneath the base video layer, invoking a faint sense of the symbolic search for the identity from a lost homeland. In this case, the weapon does not kill, but instead creates holes, gateways which can be traversed in order to search the symbolic universe, generated depending on the time and place in which the installation happens to be. Author: Valerie Wolf Gang Programmer: Christof Ressi Assistant: Urša Bonelli Potokar Narrators: Danny Ban, Jody Smith Production: KUD Mreža Acknowledgements: Kateřina Lenzová, Eriz Moreno, Jadranka Plut, Nevena Aleksovski, Anabel Černohorski, Ana Grobler, Sebastian Krawczyk, Danijela Zajc

Nika Oblak in Primož Novak Resničnost je zastarela, 2012 Kinetična video instalacija

Resničnost je zastarela je instalacija, ki združuje video performans Nike Oblak in Primoža Novaka, pnevmatični mehanizem in kartonast znak, ki na videz zapušča kader videa in vstopa v fizični razstavni prostor. To delo predstavlja kontinuum njunega umetniškega raziskovanja odnosa med resničnim in domišljijskim svetom. Kot pravi Žižek, je današnja resničnost prevzela strukturo domišljijskega.

Reality is Out, 2012 Kinetic video installation

Reality is Out is an installation, which combines Nika Oblak & Primož Novak‘s performance video, pneumatic mechanism and the actual cardboard sign, which appears as if exiting video frame and literally entering exhibition space. The work is a continuum of Oblak and Novak‘s exploration of relationship between reality and fiction. As according to Žižek, today‘s reality has appropriated a fictional structure.

Nika Oblak in Primož Novak

Vklop / izklop (Stikalo za izklop planeta Zemlja), 2016 Instalacija

Leta 1961 je Piero Manzoni ustvaril Temelj sveta (Socle du Monde), leta 2004 pa je Peter Weibel svetu dodal še ročaj (Die Erdkugel als Koffer). Leta 2016 sta se Nika Oblak in Primož Novak odločila, da je zdaj pravi čas, da se doda še stikalo za izklop našega planeta.

On / Off (Switch to Turn Off Planet Earth), 2016 Installation

In 1961 Piero Manzoni made a Base of the World (Socle du Monde) and in 2004 Peter Weibel added a handle to the world (Die Erdkugel als Koffer). In 2016 Nika Oblak & PrimoĹž Novak thought itâ&#x20AC;&#x2DC;s a good time to also make a switch to turn this planet off. 44

Maja Smrekar

Knjiga umetnice: K-9_topologija, 2017 Serija projektov, 2014–2017

K-9_topologijo sestavlja serija projektov, izvedenih med leti 2014 in 2017. Ti skozi kulturološka presečišča človeškega in živalskega ustvarjajo možnosti za razmišljanje o družbi, ki bi temeljila na bolj uravnoteženem sobivanju človeka z obdajajočim ga ekosistemom. Knjiga umetnice v formatu 70 x 90 cm, je zasnovana v omejeni ediciji, pri čemer je razstavljena verzija prva v seriji (1/10). Brez besedil uteleša neverbalni hommage optocentrični kulturi, ki jo je človeška žival razvila kot posledico paralelne evolucije s psi. Vsebine so več let nastajale v specifičnih produkcijskih in življenjskih pogojih, pri čemer osnovni okvir sledi procesu štiriletnega opusa projektov K-9_topologija. Ta je pospremljen z avtorskimi deli priznanih domačih in mednarodnih fotografov, ter z avtoričinimi likovnimi prispevki. Fotografije v knjigi upodabljajo nekatere utrinke umetničinega življenja, ki so se pričeli že pred njenim rojstvom, hkrati pa mozaik vsebin sestavljajo v hibridni družinski album, ki reflektira spomin na post humanistično prihodnost. V njej pasje-človeški volkodlak biva kot reminiscenca izumrle človeške vrste, torej kot sugestija, da je naša lastna živalskost tista, ki nas dela najbolj človeške. Stojalo za knjigo formalno izhaja iz oblike za napravo, s pomočjo katere vzreditelj nauči psa specifične drže, ki jo v skladu s predpisi za posamezno pasmo ocenjujejo na kinoloških lepotnih tekmovanjih. Koncept in uredništvo: Maja Smrekar, Jurij Krpan, Boris Balant Oblikovanje: HUMAN1ST Fotografije: Maja Smrekar, Manuel Vason / Berlin, 2016, Borut Peterlin, Miha Fras, Gjino Šutić, Branko Smrekar, Marija Smrekar, Amar Belmabrouk / Bandits Mages, Veronique Gerault / Louve Des Carpates, Miha Krofel / SloWolf Stran št. 23 / vir: https://twitter.com/PNationale Kolaži: Maja Smrekar Vezava knjige: Meta Kojc Tisk: OKVIR d.o.o., Ljubljana, avgust 2017 Produkcija: Galerija Kapelica, Ljubljana, 2017 Izvršna produkcija: Sandra Sajovic Projekt je podprlo Ministrstvo za kulturo Republike Slovenije.

Artist’s book: K-9_topology, 2017 Series of projects, 2014–2017

K-9_topology consists of a series of projects produced between 2014 and 2017. These projects explore the cultural intersections between human and animal perspectives to promote reflection about a society which would be based on a more balanced coexistence between humankind and its surrounding ecosystem. The 70 x 90 cm artist’s book is printed as a limited edition, the exhibited piece being the first of in the series (1/10). Containing no words, it represents a non-verbal homage to the optocentric culture which the human animal developed as a result 45

of its parallel evolution with canines. The presented materials were produced over a number of years under specific production and living conditions, where the basic concept follows the four-year creative process of the K-9_topology series. It is enriched with creative works of renowned Slovenian and international photographers, and with the authorâ&#x20AC;&#x2122;s own creative contributions. The photographs featured in the book portray some moments from the artistâ&#x20AC;&#x2122;s own life, which began before she was even born, and at the same time the mosaic of content combines into a sort of hybrid family album, which reflects on the memory of a post-humanist future. In the book, the caninehuman werewolf acts as a reminder of the extinct human race, a suggestion that it is in fact our very animal nature which makes us the most human. The physical form of the bookstand is derived from a device a dog breeder uses to

teach the dog to assume a specific posture, which is subsequently graded for each dog breed at dog shows. Concept and editing: Maja Smrekar, Jurij Krpan, Boris Balant Design: HUMAN1ST Photographs: Maja Smrekar, Manuel Vason / Berlin, 2016, Borut Peterlin, Miha Fras, Gjino Ĺ utiÄ&#x2021;, Branko Smrekar, Marija Smrekar, Amar Belmabrouk / Bandits Mages, Veronique Gerault / Louve Des Carpates, Miha Krofel / SloWolf Page 23 / source: https://twitter.com/PNationale Collages: Maja Smrekar Book binding: Meta Kojc Print: OKVIR d.o.o., Ljubljana, august 2017 Production: Kapelica Gallery, Ljubljana, 2017 Executive production: Sandra Sajovic The project was produced with support from the Slovenian Ministry of Culture .

Ana Petrović ProtezaLIFRAM, 2013

Delo ProtezaLIFRAM je naprava, ki generira gibljive slike. Izdelano je v obliki očal, ki imajo namesto stekel vgrajene video monitorje, povezane s predvajalniki datotek MP3, na vsakem pa se predvajajo komplementarne abstraktne animacije. Končni rezultat je skupna slika, ki jo na podlagi individualnih sposobnosti in navad ustvari naš vidni aparat iz različnih vizualnih signalov, ki se predvajata na monitor za levo in desno oko. Delo je del serije LIFRAM (ang. light (svetloba) in frame (kader, sličica), ki ustvarja osnovne zaznave in črpa iz temeljne lastnosti, na katero smo pozorni pri opazovanju likovnega dela — svetlobe. Z ekstremno redukcijo vizualnih elementov in opazovalčevo bližino praga vidljivosti samega dela, ta »naprava za gledanje« skozi nemogočo borbo odpravlja opazovanje vizualne umetnosti in hkrati ustvarja nove oblike vizualnosti.

LIFRAMProthesis, 2013 LIFRAMProthesis is a device which generates moving images. It takes the form of a pair of eyeglasses with a pair of monitors connected to MP3 players, each playing complementary abstract animations for each eye. The result is an amalgamated image created by our visual apparatus based on our individual abilities and habits, produced by different signals displayed on the monitors for each eye. The work is part of the LIFRAM series (derived from the words light and frame), which creates basic perceptions and is based on the fundamental property we perceive when observing visual art - light. Through extreme reduction of visual elements and the observer’s proximity to the threshold of visibility of the work itself, this “looking device” utilizes the impossible struggle to eliminate the perception of visual art and at the same creates new ways of visualization. 49

Ana Petrović Light Boom Box, 2013

Light Boom Box je naprava, ki spominja na kinetoskope in kinetografe, s katerimi so konec 19. stoletja, torej pred izumom dvoranske projekcije, komercialno predvajali gibljive slike preko posebnega vizirja. To delo vnaša element zvoka skozi šume razprševanja, ki sledijo hitrejšim in počasnejšim intervalom oziroma pulzirajočo svetlobo, ki jo obiskovalec spremlja na steklu vizirja, pri čemer se projekcija predvaja ločeno na levi in desni strani. Variacije teh dveh abstraktnih elementov so dovolj, da v naši zavesti ustvarijo amalgamirano sliko in spodbudijo asociacije ter vizualne spomine, od kresničk in ognjemetov pa vse do eksplozij in vojne. Delo je del serije LIFRAM (ime je sestavljeno iz angleških besed light (svetloba) in frame (kader, sličica), ki ustvarja osnovne zaznave in črpa iz temeljne lastnosti, na katero smo pozorni pri opazovanju likovnega dela - svetlobe. Z ekstremno redukcijo vizualnih elementov in opazovalčevo bližino praga vidljivosti samega dela ta »naprava za gledanje« skozi nemogočo borbo odpravlja opazovanje vizualne umetnosti in hkrati ustvarja nove oblike vizualnosti.

Light Boom Box, 2013 Light Boom Box is a device reminiscent of old kinetoscopes and kinetographs, devices which were used in the late 19th century, before the invention of theater projection, to commercially present motion pictures with the help of a special visor. This work introduces the element of sound through dispersion noise, which follow slower and faster intervals, i.e. light pulses, which the visitor sees on the visor glasses, with the projection being presented separately on the left and right side. The variations in these two abstract elements are sufficient to create within our consciousness an amalgamated image and stimulate associations and visual memories, from sparklers and fireworks to violent explosions and war. The work is part of the LIFRAM series (derived from the words light and frame), which creates basic perceptions and is based on the fundamental property we perceive when observing visual art - light. Through extreme reduction of visual elements and the observer’s proximity to the threshold of visibility of the work itself, this “looking device” utilizes the impossible struggle to eliminate the perception of visual art and at the same creates new ways of visualization.

Štipendisti

Na 23. ediciji MFRU-ja (Mednarodni festival računalniške umetnosti), ki je potekal v Mariboru od 11. do 18. oktobra 2017, so prvič podelili štiri štipendije oziroma študentske nagrade intermedijskim projektom, ki se jih je zbiralo od lanske 2016 edicije na štirih slovenskih izobraževalnih ustanovah: Akademiji za likovno umetnost in oblikovanje Ljubljana, Pedagoški fakulteti Maribor, Fakulteti za elektrotehniko, računalništvo in informatiko Maribor ter na Akademiji umetnosti Univerze v Novi Gorici. V prostorih GT22 na Glavnem trg 22 so med festivalom svoje nagrajene projekte predstavili DOMEN DIMOVSKI iz ALUO Ljubljana, iz Akademije za umetnost Nova Gorica MIHA GODEC, ekipa MITJA CVETKO + IVAN STANOJEVIĆ + ANJA HAUPTMAN + ANJA JURŠE + KRISTINA KEBER iz mariborskega FERI-ja ter TINA LANIŠEK iz PEF-a Maribor. www.mfru.org

Grant recipients

At the 23th edition of the MFRU (International Computer Arts Festival), which took place in v Maribor between 11 and 18 October 2017, four grants/student awards were awarded for the first time to intermedia projects submitted since last year’s 2016 edition in four Slovenian educational institutions: Ljubljana Academy of Fine Arts and Design, Maribor Faculty of Education, Maribor Faculty of Electrical Engineering and Computer Science and the University of Nova Gorica Arts Academy. During the festival, the award-winning projects were presented at the GT22 gallery located at Glavni trg 22, featuring the authors DOMEN DIMOVSKI from the Ljubljana Academy of Fine Arts and Design, MIHA GODEC from the University of Nova Gorica Arts Academy, MITJA CVETKO + IVAN STANOJEVIĆ + ANJA HAUPTMAN + ANJA JURŠE + KRISTINA KEBER from the Maribor Faculty of Electrical Engineering and Computer Science, and TINA LANIŠEK from the Maribor Faculty of Education. www.mfru.org

Domen Dimovski Kraljeva demokracija, 2017 Interaktivna spletna animacija

Projekt z naslovom Kraljeva demokracija je interaktivna spletna animacija, ki iz sveta socialnega omrežja Twitter zbira najaktualnejše in hipne politične čivke ter z njimi nagovarja obiskovalce. Twitter, ki je že nekaj let prostor političnega spektakla, odraža moč avtoritarne oblasti in prezentira trenutna stanja demokratičnih ureditev sveta, v katerih je medijska pokrajina postala nasičena s simuliranimi scenariji. Besede spektakla in blišča so povezane s podobo animiranega 3D francoskega kralja Ludvika XIV., znanega tudi kot Sončni kralj, ki z današnjim političnim žargonom zakriva temačne predele spregledanega sveta. Programer: Matej Slemenik Mentor: izr. prof. Sašo Sedlaček

The King’s Democracy, 2017 Interactive web animation

The project named The King’s Democracy is an interactive web animation, which collects the most poignant political tweets from the Twittersphere and uses them to address the visitors. The Twitter social network, which has been a stage of political spectacle for a number of years, illustrates the power of authoritarian power and presents the current conditions of various democracies around the world, where the media landscape has become saturated with simulated scenarios. The language of spectacle and glitter is linked to an animated 3D image of Louis XIV, also known as the Sun King, which obscures the dark corners of the unseen world using contemporary political jargon. Programmer: Matej Slemenik Mentor: Associate Professor Sašo Sedlaček

Tina Lanišek

Veste, kaj jeste?, 2017 Ali uganete, kakšnega okusa je hrana, ki jo vidite? Projekt prevprašuje razliko med videzom jedi in njihovimi okusi. Koncept izhaja iz fascinacije nad tem, da uživamo nekaj, za kar sploh ne vemo, iz česa vse je pripravljeno. Sodobna kulinarika sledi diktatu tržišča v zahtevi po vselej novem in drugačnem ter po ponudbi neskončnih možnosti izbire. Pri tem eksperimentira z okusi, a še pomembnejši je videz pripravljenega. Za pogostitev so pripravljene jedi iz sestavin, ki jih poznamo: jušna osnova, meso, solata, panakota; vendar okusi ne pripadajo poznanim oblikam. Kako daleč smo se pripravljeni prepustiti in zaupati oz. kako podrobno se bomo informirali o izdelku, ki ga užijemo? Jedi so opremljene s QR kodo, ki vas odpelje do podrobnih informacij o pripravi in sestavinah ponujenih jedi. Mentorica projekta je izr. prof. dr. Polona Tratnik.

Do you know your food?, 2017 Can you guess the taste of the food you see? The project explores the difference between the appearance and taste of food. The concept comes out of fascination over the fact that we eat food without ever knowing what it contains. Modern culinary practices follow the market, which demands ever new treats and endless choices. Thus, it experiments with different tastes, but it is the appearance which is even more important. The buffet features culinary delights made from familiar ingredients: beef stock, meat, lettuce, panna cotta; and yet the tastes do not match the familiar forms. How much are willing to trust and how much information are we going to want to know about the food we eat? The foods are labeled with a QR code which provides detailed information about the preparation process and the ingredients of the foods on offer. The project was produced under the mentorship of associate professor dr. Polona Tratnik.

Miha Godec, Laren Polič Zdravič

Palingeneza fluvialnih narečij v antropoceni dobi, 2017 Kinetična avdiovizualna instalacija

Palingeneza fluvialnih narečij v antropocenu je kinetična avdiovizualna instalacija, ki s pomočjo vode kot osrednjega medija ustvarja meditativni prostor, v katerem obiskovalec lahko posluša zvok očiščevanja vode. Palingeneza je koncept ponovnega rojstva oziroma predelave, ki se omenja v različnih filozofskih, teoloških, političnih in bioloških kontekstih. Umazana voda se znova rodi, bistra in pitna. Morda bo v prihodnosti ta zvok prisoten tudi v našem domu, ko se bo voda pretakala skozi doma izdelane filtre. Miha Godec intenzivno raziskuje probleme z vodo v državah razvitega in tretjega sveta. Nekatere je obiskal tudi sam v iskanju tehničnih rešitev, ki jih lahko izdelamo sami, predvsem pa ga navdihuje lepota vode same. Laren Polič je povzel ta navdih in iz različnih terenskih posnetkov in zvočnih vzorcev ustvaril izvrstno zvočno kompozicijo očiščevanja. Gre za domala poetičen zvok vode, ki postaja spet bistra. Namen dela je tudi ozaveščanje o težavah z vodo po svetu ter potencialnih tehnologijah, ki ponujajo rešitve za naše vodne potrebe v prihodnosti. Instalacija nam hkrati daje upanje in obeta, da nas bosta vendarle lahko rešila znanost in znanje. Pravo vprašanje pa je, ali bo umetnost rešila svet ali pa bo odrešila le umetnikovo in gledalčevo dušo? Avtorja projekta: Miha Godec in Laren Polič Zdravič Naslov projekta: Palingeneza fluvialnih narečij v antropocenu (2017) Mentorji: Robertina Šebjanič in Rene Rusjan Produkcija: magistrski študijski program Visoke šole za umetnost Univerze v Novi Gorici Koprodukcija: MFRU, UR Institute in Zavod Kersnikova Posebna zahvala gre organizatorjem MFRU, UR Institute in Zavodu Kersnikova za finančno in tehnično podporo, prof. dr. Mladenu Franku, vodji laboratorija za vede o okolju in življenju na UNG, ter Jelki Kovač iz IMT za znanstveno pomoč pri projektu.

Palingenesis of Fluvial dialects in Anthropocene Epoch, 2017 Kinetic sound and visual installation

Palingenesis of Fluvial dialects in Anthropocene is a kinetic sound and visual installation, using water as its main medium to create a meditative place off exquisite peace where a viewer can listen to the sound of water being purified. Palingenesis is a concept of rebirth or re-creation, used in various contexts in philosophy, theology, politics and biology. Dirty water being reborn as fresh, drinkable water. Perhaps in the future this will be the sound of water streaming through the DIY water filters in our homes. Miha Godec extensively researches the problems surrounding water in developed and third world countries. Some of these he also visited and is looking for technical DIY solutions, inspired by the beauty of water. Laren Polič took that inspiration and, using field recordings and samples, created a grand sound 57

composition of the purification process the poetic sound of water being purified. Its purpose is also to raise awareness about world water problems and to make a statement about potential technologies that offering a solution to our future water needs. The installation should also give us hope and proposes that science and knowledge can save us. But the question is will this art save the world or just save the artists and viewers sou? Project by: Miha Godec and Laren Polič Zdravič Name of the project: Palingenesis of Fluvial dialects in Anthropocene Epoch (2017) Mentors: Robertina Šebjanič and Rene Rusjan Producers: masters programme at the School of Arts - University of Nova Gorica Co-producers: MFRU, UR Institute and Zavod Kersnikova Special thanks to the organizers of MFRU festival, UR Institute and Zavod Kersnikova for financial and technical support, prof. dr. Mladen Franko, Head of Laboratory for Environmental and Life Sciences at UNG, and Jelka Kovač from IMT for their scientific support to the project.

Anja Jurše, Anja Hauptman, Kristina Keber, Ivan Stanojević in Mitja Cvetko Soseda, 2017 Video

En stanovanjski blok, dve generaciji — Sofija in Vera. Vera vsak dan pozvoni na Sofijina vrata, saj potrebuje recept za dunajski zrezek. In kaj z njimi počne? Ali se med 84. in 25. letnico lahko razvije kaj več kot zgolj sosedski hitri klepet na hodniku? Mentorja: Jaka Polutnik in Rene Maurin

The Neighbor, 2017 Video

One apartment block, two generations - Sofija and Vera. Every day, Vera rings Sofijaâ&#x20AC;&#x2122;s doorbell asking for the recipe for the Wienerschnitzel. What is she doing with them? Can the 84 year-old and the 25 year-oldâ&#x20AC;&#x2122;s relationship develop beyond a quick neighborly chat in the hallway? Mentors: Jaka Polutnik and Rene Maurin

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CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 7:004.9(083.82) MEDNARODNI festival sodobnih umetniških praks (18 ; 2017 ; Nova Gorica / Gorizia) Resnično čaroben trenutek = A truly magical moment / 18. mednarodni festival sodobnih umetniških praks [tudi] Pixxelpoint = 18th International Festival of Contemporary Art Practices, Nova Gorica, Gorica, 1.-8. 12. 2017 ; [ureditev kataloga Mateja Poljšak Furlan, Božidar Zrinski ; prevodi Denubis]. - Nova Gorica : Kulturni dom, 2017 ISBN 978-961-6783-20-0 1. Gl. stv. nasl. 2. Vzp. stv. nasl. 3. Poljšak Furlan, Mateja 292761856