Pixxelpoint 2015 - 16. International Media Art Festival (www.pixxelpoint.org) by Kulturni dom Nova Gorica

Pixxelpoint 2015 – 16. mednarodni festival medijskih umetnosti Nova Gorica/Gorica, 27. 11.–4. 12. 2015 Pixxelpoint 2015 – 16th International Media Art Festival Nova Gorica/Gorizia, 27. 11.–4. 12. 2015 Organizacija festivala/Festival organized by: Kulturni dom Nova Gorica Kurator/Curator: Igor Štromajer Vodja projekta/Festival manager: Pavla Jarc Koordinator projekta/Project coordinator: Mateja Poljšak Furlan Tehnični vodja/Technical director: Tadej Hrovat Fotograf/Photographer: Matej Vidmar Katalog izdal/Catalogue issued by: Kulturni dom Nova Gorica Zanj/Represented by: Pavla Jarc Ureditev kataloga/Catalogue edited by: Igor Štromajer 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, november 2015

PREDMET/ OBJECT

obj01 003 obj02 Ajda Tomazin obj03 Ana Čigon obj04 Aram Bartholl obj05 Arven Šakti Kralj Szomi obj06 Borut Savski obj07 Cat Leonard obj08 Ciro Múseres obj09 Curt Cloninger obj10 Cym obj11 Domenico Barra obj12 Društvo za domače Raziskave / Domestic Research Society obj13 Francis Hunger obj14 Guido Segni obj15 Helene Thümmel obj16 Ienke Kastelein obj17 Jaka Železnikar obj18 Jimpunk obj19 Jos Diegel obj20 Katarina Kogoj obj21 Kim Asendorf obj22 Lenka Klimešová obj23 Maja Smrekar obj24 Majda Gregorič obj25 Marko Batista obj26 Martine Neddam obj27 Mihaela Kavdanska obj28 Nataša Berk obj29 Nina Bric obj30 Nina Kočar obj31 Oliwia Bławat obj32 Paul Hertz obj33 Rajat Sharma obj34 Rene Rusjan obj35 Sally Noall & BridA/Tom Kerševan, Jurij Pavlica, Sendi Mango obj36 Sandra Jovanovska obj37 Snežana Golubović obj38 Špela Petrič obj39 Špela Volčič obj40 Tanja Lažetić obj41 Tatjana Tanja Vujinović Kušej obj42 Teo Spiller obj43 Thor Magnusson obj44 Tina Zadnik obj45 Una Rebić obj46 Uršula Berlot obj47 Volker Hartmann-Langenfelder obj48 Vuk Ćosić eop02 ČIPke: Sara Šabjan + Monika Pocrnjić epf13 Annie Abrahams + Martina Ruhsam epf69 Martina Ruhsam

NASLOV

SLOVENSKO

PREDMET PARA-KURATOR

Igor Štromajer O procesu Medijske, post-medijske, digitalne, post-digitalne, internetne, postinternetne, performerje in post-performerje, analogne in post-analogne umetnice in umetnike iz Slovenije in tujine sem povabil, da imenujejo, delegirajo, izberejo predmet, ki jih bo umetniško zastopal na festivalu Pixxelpoint 2015. Umetnic in umetnikov nisem spraševal, zakaj so si izbrali nek določen predmet, z njimi se nisem pogajal o primernosti ali neprimernosti predmeta, o skladnosti s konceptom letošnjega festivala, temveč sem vsako njihovo izbiro in imenovanje sprejel. Predmete, ki so jih imenovali, smo nato sodelavci festivala iskali v Novi Gorici in njeni bližnji ali daljni okolici. Nekatere smo našli za vogalom, takorekoč doma, in jih je bilo enostavno locirati, po druge smo morali zelo daleč in se zelo potruditi, da so prišli na festival. Z nekaterimi najdenimi predmeti smo se zelo približali željam umetnic in umetnikov, nekatere smo tudi pripravili skupaj z njimi, spet druge smo morali šele sestaviti, izdelati, si jih izposoditi, pri tretjih pa nismo prišli povsem blizu izvornemu naročilu, a smo se mu približali, kolikor je bilo to v danih okoliščinah le mogoče. Rezultat tega dolgotrajnega, napornega, intenzivnega, a inspirativnega procesa, so objekti, razstavljeni v okviru festivala in festivalski dogodki. Ti predmeti zdaj predstavljajo sodelujoče na letošnjem festivalu, so njihovo avtorsko umetniško delo, pod katerega so podpisani, čeprav večina umetnic in umetnikov svojega predmeta ni izdelala sama, ga ne bo in ga ni videla pred začetkom festivala in razstave, se ga ni in ne bo prej dotaknila. Ko ga bodo na otvoritvi festivala in razstave videli, se ga bodo dotaknili, bo že prepozno. Tisti, ki se festivala ne morejo osebno udeležiti, pa svojih predmetov, svojih umetniških del, ne bodo videli nikdar.

O predmetih Ti predmeti, te stvari, so ali niso umetnost, o tem se kot para-kurator letošnje, že 16. izdaje festivala medijskih umetnosti pravzaprav ne sprašujem, me ne zanima. Če so, so dobrodošli, če niso, mi je vseeno. Edino, kar sem se v času priprav na festival od njih naučil, vse, kar so mi povedali, je: Sami proizvajajte svojo umetnost. Ne pričakujte, da jo bomo mi namesto vas. Kot ljudi ne moremo in ne smemo soditi po barvi kože, nacionalnosti, videzu, znesku na bančnem računu in spolni usmerjenosti, tako tudi predmetov ne smemo in ne moremo razvrščati in ocenjevati po kriteriju ali so umetnost ali niso. Koga to briga! Kdo si lahko vzame pravico, da sodi o tem? Na njih gledam kot na povsem

avtonomne objekte, priznavam jim vse objektove pravice, jih brezpogojno spoštujem, brez razloga neizmerno ljubim in vanje ne posegam. Ne sprašujem se, kaj pomenijo, o čem govorijo. Zgolj so. Lahko jih sicer opazujem, a to jih pravzaprav v ničemer ne zadeva. Tudi njih, predmetov, ničesar ne sprašujem, od njih ničesar ne pričakujem, niti ničesar nočem. Jih ne presojam, ne interpretiram. Zavedam se, da – ko so enkrat izdelani – bivajo samostojno, neodvisno od človeka, celo več, neodvisno od človeštva, in da so verjetno najbolj popolni takrat, kadar niso v interakciji z ljudmi. Ne morem vedeti zagotovo, a letošnji festival in razstava verjetno najbolj pravilno delujeta takrat, kadar ni obiskovalcev, nas, ljudi, morda ponoči, ko zapremo festivalska prizorišča, ko nihče ničesar ne gleda, ko ljudje hiberniramo in nam, končno, ni več mar. Stvari niso podrejene ljudem, umetnikom, niso zgolj njihovo izrazno sredstvo ali orodje, temveč postanejo, kadar jih razumemo onkraj te njihove bazične funkcije, “projekcijske površine za semantične konstrukcije,” kot pravi teoretičarka Martina Ruhsam, in poudarja, da če so bili predmeti, ne-človeške entitete, v tradicionalnih oblikah umetnosti podrejene ekspresivnosti umetnika, so lahko v neantropocentničnem razumevanju sveta in umetnosti povsem samostojne. Da delovanje ni privilegij človeka, nakazujejo tudi predmetno usmerjena ontologija, novi materializem in spekulativni materializem, četudi jih jemljemo strogo kritično. Ali kot pravi francoski pisatelj in filozof Tristan Garcia, ljudje, v primerjavi s predmeti in stvarmi, niso izjema. Stvar je vse, ne glede na to, kako velika ali majhna, kako resnična ali napačna, kako človeška ali nečloveška je. Ker se stvar vedno skriva v nečem, kar ni ona sama, nikoli ne more biti to, kar je, razmišlja Martina Ruhsam in citira Garcio: “… in ravno lastno je tisto, kar moramo opustiti, tako da lahko obstaja nekaj in svet. Nič ni znotraj samega sebe. Vse je zunaj sebe. Ne glede na to, kaj nekaj je, je to nekaj drugega od samega sebe. Ohranja se razlika med tem, kar je v stvari in tem, kar stvar sama je.”

O festivalu Festival tudi letos sodeluje z Visoko šolo za umetnost Univerze v Novi Gorici in društvom Lucide iz Gorice. Predstavljamo 57 umetnic in umetnikov, vabimo na razstavo v treh galerijskih prostorih – v Mestno galerijo Nova Gorica, na Visoko šolo za umetnost Univerze v Novi Gorici in v Trgovski dom v Gorici, na predavanja, okrogle mize, pogovore z umetnicami in umetniki, na spletne in galerijske performanse, na delavnice ter javna vodstva. Skupaj in povsem enakopravno predstavljamo tako uveljavljene vrhunske umetnice in umetnike z najvišjimi mednarodnimi referencami, študentke in študente, ki pogumno vstopajo v svet umetnosti ter najzanimivejše umetniške iniciative, ki iščejo svoj prostor v sodobnem svetu. V šestnajstih letih delovanja se je festival spreminjal. Bil je festival digitalnih, pa interaktivnih, računalniških, nato novomedijskih umetnosti, potem spet samo medijskih umetnosti, lani celo festival neumetnosti, letošnja izdaja pa že nakazuje njegovo morebitno prihodnost, ki je tudi moja skromna želja, da bi postal zgolj festival umetnosti. Sodobne, provokativne, drugačne. Sam se po dvoletnem para-kuratorskem sodelovanju s festivalom umikam, zadovoljen s prikazanim in doseženim, a hkrati upajoč, da bodo prihodnje

kuratorke in kuratorji še bolj radikalno zarezali v tkivo sodobne umetnosti in še močneje premaknili meje festivala in umetnosti, ki jo ta gosti in predstavlja. V času, ko živimo v tako rekoč sovražnem odnosu do umetnosti in njene vloge v sodobni družbi, je to še posebej pomembno. Festival ima odlično, profesionalno ekipo Kulturnega doma Nova Gorica in njegove Mestne galerije, je dobro vpet v lokalno in čezmejno okolje in ima zdaj že zavidljive mednarodne reference.

Dobrodošli! Dobroodšli! Objekte vam na festivalu in razstavi predstavljamo forenzično: opazujte jih, do njih se spoštljivo vedite in jim nikakor ne zaupajte. Vstopate v avtonomni svet stvari, zato, to že veste, opustite vsakršno upanje.

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OBJECT PARA-CURATOR

Igor Štromajer About the process Media, post-media, digital, post-digital, internet, post-internet, performers and post-performers, analog and post-analog artists from Slovenia and abroad were invited to name, delegate, select the object to represent them artistically at the Pixxelpoint 2015 festival. I did not ask the artist why they chose a particular object, I did not negotiate with them on whether or not an object was appropriate or in line with the concept of this year’s festival, I simply accepted their choice and designation. The objects they named were then sought in the close vicinity or far away from the town of Nova Gorica. Some were found around the corner, practically at home, and were easy to find. Others came from far away, and we had to make great efforts to bring them to the festival. Some of the objects we found were very close to the artists’ wishes, some were prepared in collaboration with them, others had to be assembled, manufactured or borrowed, and in some cases we were never able to come close to the original order, but we came as close as possible under the circumstances. The result of this painstaking, taxing, intense but inspirational process are the objects featured in the festival and festival events. These objects now represent the contributing artists of this year’s festival as their artistic contributions bearing their name, even though most of the artists did not create their objects themselves, they have never seen them, nor will they ever see or touch them before the beginning of the festival. When they see and touch it at the festival opening and exhibition, it will already be too late. Those artists who are unable to attend the festival will never see their artistic work.

About the objects These objects, these things, may or may not be art – I do not think about that as the para-curator of this year’s 16th edition of the media art festival, nor do I care. If they are, they’re welcome. If not, I don’t care. The only thing I learned from them while preparing for the festival, all they told me, was: Make your own art. Do not expect us to do it for you. Just as we cannot and should not judge people by the color of their skin, nationality, appearance, bank account balance and sexual orientation, so, too, should we not categorize objects according to the criterion of whether or not they are art. Who cares! Who has the right to judge? I see them as autonomous objects, I recognize all of their object rights, I unconditionally respect them, love them endlessly and unconditionally, and I do not interfere with their existence. I do not ask myself about what they mean, or what story they are trying to tell us. They just are. I can only observe them, but this does not affect them in any way. I don’t ask them, the objects, anything, either. I have no expectations from them, I don’t want anything from them. I do not judge them or interpret them. I recognize that - once they are made - they exist autonomously, independently from man, or even mankind, and that they are probably the most perfect when they do not interact with people. I cannot know for certain, but this year’s festival and exhibition probably work best when there are no visitors, no us, no people, perhaps at night, when we close down the festival venues, when nobody’s watching, when we, the people, hibernate and finally cease to care. Things are not subordinated to people, artists, they are more than just a device of expression or a tool, once we understand them beyond their basic function, they become a “surface for semantic projection”, to quote the theoretician Martina Ruhsam, who points out that if objects, nonhuman entities in the traditional forms of art, were once subordinated to the artist’s expression, they can exist entirely autonomously in a non-anthropocentric conception of the world. The fact that agency is not a human privilege is also suggested by object-oriented ontology, new materialism and speculative realism, even though we regard them strictly from a critical standpoint. Or in the words of French writer and philosopher Tristan Garcia, people, compared to objects and things, are not an exception. A thing is everything, now matter how big or small, how true or wrong, how human or nonhuman it may be. As the thing is always in something other than itself, it can never be itself, argues Martina Ruhsam, quoting Garcia: “… the self is precisely what we must abandon here, so that there is something and a world. Nothing is in itself. Everything is outside itself. No-matter-what is something, is in something other than itself. A difference is maintained between that which is in the thing and that in which the thing is.”

About the festival This year’s festival continues the collaboration with the School of Art of the University of Nova Gorica and the Gorizia-based Lucide. With 57 contributing artists, we invite you to an exhibition taking place in three venues - Nova Gorica City Gallery, Nova Gorica School of Art and the Trgovski dom Gallery in Gorizia. You are invited to attend lectures, round-table discussions, discussions with artists, online and gallery performances, workshops and public events. Alongside each other equally, we present both established artists with impressive international

references and art students bravely entering the world of art, and the most fascinating artistic initiatives looking for their place under the sun in the contemporary world. The festival has undergone a metamorphosis over the sixteen years of its existence. Initially a digital arts festival, then an interactive arts festival, followed by new-media festival, then going back to being a media festival, to even being a festival of non-art last year. This yearâ&#x20AC;&#x2122;s edition hints at its possible future, to become simply an arts festival, which is my humble wish. A festival of contemporary, provocative, alternative art. After two years of para-curating the festival, I am leaving the festival with a sense of pleasure and achievement, yet hoping that future curators will take an even more radical cut into the flesh of contemporary art, and shake the boundaries of the festival and of the art it hosts and represents. This is particularly important at a time like todayâ&#x20AC;&#x2122;s, a time of hostility towards art and its role in contemporary society. The festival has the support of the exceptional team of the Nova Gorica Cultural Center and its City Gallery. It has strong ties to the local and trans-border environment and even now has impressive international references.

Welcome! Welgone! At this festival, we show you the objects forensically: observe them, be respectful towards them, and never trust them. You are entering the autonomous world of things, so, as you are aware, abandon all hope.

UMETNIK / UMETNICA / artist

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127.0.0.1 / 0:0:0:0:0:0:0:1 Slovenija, 2015 predmet

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UMETNIK / UMETNICA

-... --.. .... ----. .---- / .- -.-- # ... -.-- # # -.- ---.. / # / # # / # # # / # # # / # # / # # / # ..--.. # .- # / --... # # -.. / # # # # # / # / .... / .--.-. .... --.- .-. / -...- # # # # ..- ----. # / # # / # / ----- # # # --. # .--. / # # / # # / # # # / # / # .-. ..- .... --.. / # # .-.. . --.. -. / # .-- ... # # .--. # # -- / # # / # # # / # # # # # .---- # .-/ -...- # # # / --... # # / # --.. # / # / # # / ...-- / .-- # -.--.- # # -...- -.... .... / --.. -. -- # / # # # / .... # # # # -.... # / . # / # # # / # -..- # / # .--.-. -.--.- .--.-. .-.-.- # / # / # # # / # -.-- # -.-...- # / # # # # / # # / # / # # -. -.--.- / .-. # --- / # # # .--. # # / # -... / - # / # # / # # # / # -....- -..- / .-. / --... .-. - # # / # # # / ....- # .. .--.-. / # # -.-- / # / ---.. # .---- -.. # / .. / --.. # # # # - # / # ..--- / ...- ....- / .--. / # .. .--- / # # - # / # # -... # # / .- / # # -.-. / # # # / # .-. / # .-.-.- # # -. / # / # / .-. .. .-..-. / .... . / # -.... # # --. --.- # # / # # / # # # / -... # -. # # - / # .- # -....- # .... / # # # -. / # # / # ..-. # ..- # -.--.- # # .--.-. / # / # -.--.- .--- # ..-. # # # # # ..- # / # / # .. / # -. # -.-. .-.. # # # # # # # # .... # -.--.- ---... / --.. / .--.-. / # / # # / # / # / -- ... # ... # # # # # # # --.. â&#x20AC;&#x201D; www.google.com english

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127.0.0.1 / 0:0:0:0:0:0:0:1 Slovenia, 2015 object

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20 f7 6b f6 64 20

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20 f7 9b 33 20 a7

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3d 20 a6 b4 20 dd

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6e 36 b0 7d f7 b4

e3 d5 95 f3 bd cb

75 80 f7 ee e3 35

20 50 20 5d 72 a2

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a5 37 72 9e 2a 73 34

20 bb ab 20 20 eb 24

db 20 e5 9b 70 c1 20

95 fa 6e 8f 20 e4 a1

af 39 f7 7b 34 7a 40

20 66 20 20 ae e7 20

ec d7 bc 7a da 7d e8

ef 53 20 4d 20 20 d0

75 ee d3 94 57 7a a2

20 20 db 20 73 af 80

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ef 76 63 3a d3 c5

artist

obj01

UMETNIK / UMETNICA / artist

Ajda Tomazin naslov

obj02 slovensko

Avdicija za producente Slovenija / Nemčija, 2015 predmet

Skrivnostna igra obrazov Barva in vsebina se lahko razlikujeta od prikazanih UGANI, KDO JE OSEBA NA KARTI TVOJEGA SOOIGRALCA, PREDEN ONA ALI ON UGANE OSEBO NA TVOJI KARTI! “Ali ima rjave oči?” “Ne.” {Torej izloči vse osebe, ki imajo rjave oči!} “Imaš samo še tri obraze v igri?“ {Z enim dobrim vprašanjem in nekaj pametnih zaključkov boš ugotovil, kdo je skrivnostna oseba in zmagal.} MB igre 6 let & več 2 igralca 5 023117261213 04725SLOVENIA263 UMETNIK / UMETNICA

Ajda Tomazin, maturantka umetniške gimnazije - smer sodobni ples, univerzitetna diplomirana oblikovalka, magistra umetnosti koreografje in performansa, vešča risanja, slikanja (akvarel, akril), tape arta, kaligrafije, šivanja, styling, izdelovanja keramike, osnovno znanje obdelave lesa, kvačkanja, grafično oblikovanje - oblikovanje letakov, knjig, plakatov, zloženk, produktno oblikovanje in oblikovanje embalaže, fotografija - digitalna in analogna, snemanje in montaža videa, postprodukcijski programi, znanje in izkušnje s stop-motion animacijo, ples - sodobna tehnika, performerka; poučevanje plesne tehnike, razvijanje konceptov, povezovanje in razvijanje koncepta v drugačnem mediju - v sodelovanju z drugimi ustvarjalci, delo z mladimi na področju uprizoritvenih umetnosti, kuhanje - inovativni recepti in inovativno dekoriranje, aranžerske sposobnosti, pripovedovalske sposobnosti, humor, improvizacijske sposobnosti na vseh področjih; prevzema koncept renesančne umetnice v katerem navezuje na veščine umetnikov in produkcijo umetniških del v času renesanse. L’humo arte univerzale. — ajdatomazin.carbonmade.com title

Audition for Producers Slovenia / Germany, 2015 object

Mysterious faceplay Color and content may vary

english

GUESS THE PERSON FEATURED ON YOUR OPPONENT’S CARD BEFORE THEY GUESS THE PERSON ON YOURS! “Are the person’s eyes brown?” “No.” {Therefore, eliminate all brown-eyed persons!} “Do you have only three faces left in play?” {One good question and some smart logic will tell you who the mystery person is and help you win the game.} MB games ages 6 and up 2 players 5 023117261213 04725SLOVENIA263 artist

Ajda Tomazin, bachelor of design, master of arts in choreography and performance, skilled in drawing, painting, tape art, calligraphy, sewing, styling, pottery, basics woodcraft, set design, knitting, graphic design leaflets, books, posters, flyers, product and packaging design, photography - digital and analog - video recording and editing, post-production software - animating objects, adept at stop motion animation, contemporary dance – a performer, contemporary dance instructor - concept development, integrating and designing concepts in different media - also in collaboration with other authors, working with young people in the fields of contemporary dance and performing arts, innovative cooking recipes and presentation skills, storytelling, singing, humor, improvisation skills in all fields, is committing herself to the concept of a renaissance artist and thus references the skills of artists and production of art pieces during the Renaissance. L’humo arte univerzale. — ajdatomazin.carbonmade.com podoba / image

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UMETNIK / UMETNICA / artist

Ana Čigon naslov

obj03 slovensko

Upor skozi čas Slovenija, 2015 predmet

Ko gre za upor, se je vredno spraševati: ali vemo, kaj je namen upora? Kako se upor spreminja skozi čas? Zakaj so upori vse manjši? In kako s smiselnim povezovanjem uporov doseči pravo napetost? UMETNIK / UMETNICA

Ana Čigon (1982) je na ljubljanski Akademiji za likovno umetnost in oblikovanje zaključila dodiplomski študij slikarstva in podiplomski študij videa. Končala je tudi magistrski študij Interface Cultures na Universtität für künstlerische und industrielle Gestaltung Linz v Avstriji. Deluje pretežno na področju videa, performansa in novih medijev. V svojih zadnjih umetniških projektih se ukvarja s feminističnimi tematikami, predvsem z vprašanjem premajhne zastopanosti umetnic in s pomenom problematiziranja vzorcev zgodovinjenja umetnosti. — www.anacigon.si

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Resistance through time Slovenia, 2015 object

When speaking about the concept of resistance, one might ask oneself: Do we know what the cause of the resistance is? How does the resistance change over time? Why are the resistors getting smaller? And how to reach the desired amount of tension with reasonable coordination? artist

Ana Čigon (1982) graduated from the Ljubljana Academy of Fine Arts and obtained a bachelor’s degree in painting, and a postgraduate degree in video art. She also completed the master’s studies of Interface Cultures at the Universtität für künstlerische und industrielle Gestaltung Linz in Austria. Her work focuses mainly on video, performance and new media. In her most recent artistic projects, she deals with feminist issues, particularly the issue of underrepresentation of female artists and discourse on the patterns of recording the history of art. — www.anacigon.si

podoba / image

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UMETNIK / UMETNICA / artist

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Aram Bartholl naslov

slovensko

Video kartica (preusmerjeno z gesla Grafična kartica) - Ne zamenjujte z geslom Grafična procesna enota Nemčija, 2015 predmet

Video kartica (tudi video adapter, grafična plošča, grafični adapter ali slikovni predpomnilnik ter razširitvena kartica, ki generira serijo izhodnih slik in jih pošilja na zaslon (npr. računalniški monitor). Pogosto se te kartice oglašujejo kot diskretne ali namenske grafične kartice, pri čemer se poudarja razlika med takšnimi in integriranimi grafičnimi karticami. Grafična procesna enota (GPU) je specializirano elektronsko vezje, namenjeno hitri obdelavi in spreminjanju pomnilnika z namenom hitrejšega generiranja slik v grafičnem predpomnilniku, ki se nato prikazujejo na zaslonu. GPU-ji se uporabljajo v vgrajenih sistemih, mobilnih telefonih, osebnih računalnikih, delovnih postajah in igralnih konzolah. Sodobni GPU-ji zelo učinkovito obdelujejo računalniško grafiko in slike, njihova paralelna struktura pa omogoča učinkovitejšo obdelavo algoritmov, če jih primerjamo s centralnimi procesnimi enotami za splošno rabo, saj obdelava velikih paketov vizualnih podatkov poteka vzporedno. V osebnem računalniku je lahko GPU vgrajen v video kartico ali v matično ploščo. UMETNIK / UMETNICA

Aram Bartholl ustvarja v polju, kjer se prepletajo internet, kultura in resničnost. Te raznolike komunikacijske poti dandanes razumemo kot

samoumevne – a kako vplivajo na nas? Po paradigmi sprememb v preučevanju medijev se Bartholl ne sprašuje le o tem, kako človek uporablja medije, ampak ga zanima tudi, kako mediji vplivajo na človeka. Napetost med javnim in zasebnim, online in offline svet, zagledanost v tehnologijo in vsakdanje življenje - okrog tega se vrti njegovo ustvarjalno delo. Pri svojih javnih posegih in instalacijah Bartholl ugotavlja, kateri deli digitalnega sveta segajo nazaj v svet resničnosti - in kako. Aram Bartholl je član kolektiva internetnih umetnikov Free, Art & Technology Lab - F.A.T. Lab. V njegovih delih igrajo pomembno vlogo politika interneta, gibanje »naredi si sam« in razvoj interneta na splošno. Poleg številnih predavanj, delavnic in performansov so bila njegova dela razstavljena tudi v slovitem newyorškem muzeju sodobne umetnosti MoMA, Pace Gallery NY in Hayward Gallery London. Aram Bartholl živi in dela v Berlinu. — datenform.de title

english

Video card (Redirected from Graphics card) - Not to be confused with Graphics processing unit. Germany, 2015 object

A video card (also called a video adapter, display card, graphics card, graphics board, display adapter, graphics adapter or frame buffer is an expansion card which generates a feed of output images to a display (such as a computer monitor). Frequently, these are advertised as discrete or dedicated graphics cards, emphasizing the distinction between these and integrated graphics. A graphics processing unit (GPU) is a specialized electronic circuit designed to rapidly manipulate and alter memory to accelerate the creation of images in a frame buffer intended for output to a display. GPUs are used in embedded systems, mobile phones, personal computers, workstations, and game consoles. Modern GPUs are very efficient at manipulating computer graphics and image processing, and their highly parallel structure makes them more effective than general-purpose CPUs for algorithms where processing of large blocks of visual data is done in parallel. In a personal computer, a GPU can be present on a video card, or it can be embedded on the motherboard. artist

Aram Bartholl’s work creates an interplay between internet, culture and reality. The versatile communication channels are taken for granted these days, but how do they influence us? According to the paradigm change of media research Bartholl not just asks what man is doing with the media, but what media does with man. The tension between public and private, online and offline, technology infatuation and everyday life creates the core of his producing. In public interventions and public installations Bartholl examines which and how parts of the digital world can reach back into reality. Aram Bartholl is a member of the Internet based artist group Free, Art & Technology Lab - F.A.T. Lab. Net politics, the DIY movement and the Internet development in general do play an important role in his work. Beside numerous lectures, workshops and performances he exhibited at MoMA Museum of Modern Art NY, The Pace Gallery NY and Hayward Gallery London . Aram Bartholl lives and works in Berlin. — datenform.de

podoba / image

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UMETNIK / UMETNICA / artist

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Arven Šakti Kralj Szomi naslov

slovensko

570–590 nm / Rumeni fotoaparat (1985) Slovenija, 2015 object

Obstajajo povezava, valovna dolžina in privlačnost. Obstajajo barva, svetloba in oblika. In potem obstajajo odnosi, spone in vezi. Rumeni fotoaparat združuje vse to. Njegova zgodba pripoveduje o prijetnem pomladnem popoldnevu tistega leta, ko je bil izdelan, o določenem geopolitičnem trenutku, ko je zavel svež veter in prinesel svetle, samozavestne in pogumne čase, o nekakšnih mitoloških vratih, ki vodijo v vse jutrišnje prihodnosti. Razpotje. Darilo, obremenjeno s težo neizrečenih obljub, je postalo sredstvo za ovekovečenje predmetov, ki živijo v svetu ljudi. Kamni, drevesa, oblaki. Rekonstruirana prisotnost fotoaparata v

razstavi simbolično, a brezplodno ponavlja valovno dolžino, ki je sam ni zmožen poustvariti. Služi le kot sredstvo za priklic spomina in biografski podatek o umetnici. Morda je Rumeni fotoaparat, tako kot tudi Rumena podmornica in Rumena opečnata cesta, le orodje za popotovanje skozi prostor in čas – preko širjave spominov in domišljije, v globine prikritega jaza in onkraj njega, v temačne globine neznanega – mimo konstruktov in definiciji, ki nas želijo vezati nase. UMETNIK / UMETNICA

Arven Šakti Kralj Szomi (1974) je študirala na Leeds College of Art and Design, diplomski študij umetnostne prakse in sodobne kritične teorije je končala na Goldsmiths’ College University of London, magistrski študij videa in fotografije pa na ljubljanski Akademiji za likovno umetnost in oblikovanje. V svojem delu se posveča govorici podobe, prek fotografskih postopkov raziskuje podobotvorje, ki v sebi nosi intimno zgodbo in večplastno pripoved, ki jo je moč brati na različne načine. Pogostokrat se dela Kraljeve osredinjajo na predmete in tiste skrite zgodbe, ki nam jih skušajo povedati, načine prikazovanja in reprezentacije umetniškega dela ter vprašanja verodostojnosti fotografije. Med njenimi nedavnimi projekti pri nas beležimo obsežno pregledno razstavo fotografskih del, ki temeljijo na predmetih, ter serijo del, ki izostruje pogled na otroka v raziskovanju medsebojnega odnosa med intimnim in javnim. Po kriterijih izjemnosti na Ministrstvu za kulturo Republike Slovenije ima status samostojne fotografinje ter redno razstavlja doma in v tujini.

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english

570–590 nm / The Yellow Camera (1985) Slovenia, 2015 object

There is connection, wavelength and attraction. There is colour, light and form. And then there are relations, bonds and ties. The yellow camera is all of those things. Its story talks of a springtime afternoon in the year of its production, a certain geopolitical moment that brought wind of bright, brash and bold times, a mythical doorway to all of the future’s tomorrows. A turning point. The gift that came accompanied by the heaviness of unspoken promise became a way to record the objects that inhabit the world of people. The stones, the trees, the clouds. The camera’s reconstructed existence in the exhibition symbolically but fruitlessly reiterates a wavelength it cannot reproduce. It merely reawakens a memory and a biographic detail of the artist as background information. Perhaps the Yellow Camera, just like the Yellow Submarine and the Yellow Brick Road, is a vehicle to travel in space and time – through the vast planes of memory and the imagination, to the depths of the hidden self and beyond, to the dark lands of the unknown, surpassing the constructs and definitions that wish to bind. artist

Arven Šakti Kralj Szomi (1974) studied at Leeds College of Art and Design and completed her BA in Fine Art, Studio Practice and Contemporary Critical Theory at Goldsmiths’ College University of London, followed by an MA in Video and Photography at the Ljubljana Academy of Fine Arts and Design. Her work is concerned with the language of the image, which she largely investigates through photographic processes, inserting into her work a seemingly innate and intimate narrative, and a multiplicity of tales that

can be read on many levels. Many of Kralj’s works examine objects and the stories that they attempt to recount, modes of representation and display, and the verisimilitude of photographs. Recent projects have included a large-scale overview of object-based photographic works in Slovenia, and a series focused on children exploring the interrelation of the intimate and the public. She is an accredited artist by the Ministry of Culture of the Republic of Slovenia and regularly exhibits at home and abroad. podoba / image

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UMETNIK / UMETNICA / artist

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Borut Savski naslov

slovensko

Čudo (stvar brez imena) Slovenija, 2015 predmet

Iz dveh med seboj spojenih motoriziranih premičnih kosov nastane kombinirana avtonomna stvar, katere mehanična sestava sugerira načine gibanja in s tem tudi identiteto in celo poimenovanje. Objekt sodi v serijo prenapetih struktur, kot nadgradnja zadnje tovrstne serije iz leta 2014, ki se je takrat popularno imenovala Kača. Vse prenapete strukture izvajajo gibanje, ki temelji na principu torzijsko zvijajočih se trakov, kjer se

zvijanje trakov kombinira v različne premike celote. Stvari imajo ime, kadar so uporabne in uporabljane. Stvari trdovratno ohranjajo svoje ime, kadar so prepoznavne po svoji nekdanji funkciji – tudi če so kasnejšem trenutku predstavljene v drugem kontekstu – kot na primer v galeriji. Odtočna cev je še vedno odtočna cev, WC školjka je še vedno WC školjka. To seveda ne pomeni, da ti predmeti ne spodbudijo zanimivih razmislekov, kadar se pokaže absurdno, paradoksalno, neobičajno ali kako drugače presenetljivo. Kot po navadi je čudenje motiv za razmislek, sicer tega ni. UMETNIK / UMETNICA

Borut Savski, rojen 1960 v Ljubljani, je intermedijski umetnik,ki daje velik poudarek zvoku – ob sočasni uporabi tehničnih rešitev za nevsakdanje instrumente in avtonomne zvočne in vizualne strukture/skulpture. Zvočni eksperimenti v studiu Radia Študent Ljubljana od leta 1994. Leta 1999 prva kibernetska zvočna inštalacija Zvočni biotop v galeriji Kapelica v Ljubljani. Esej Zvok kot metafora, kjer so zaobjete temeljne preokupacije avtorja. V nadaljevanju samostojni koncepti in instrumenti ter sodelovanja z drugimi umetniki. Od leta 2006 do 2010 priprava glasbe za tri plesne predstave Mateje Bučar. Leta 2006 s KUD Trivia organizacija festivala Vmesni prostori. Leta 2007 soustanovitev intermedijske iniciative Cirkulacija 2. Sodelovanje pri projektu Etnobanda. Po letu 2010 z Bogdano Herman Novokomponirane slovenske ljudske. Serija interaktivnih avtonomnih struktur/skulptur Prenapete strukture. Trenutno preokupacija s taktilnimi vmesniki in interaktivnimi mehanizmi. — www.ljudmila.org/~savskib title

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A Thing of Wonder (with no name) Slovenia, 2015 object

Two conjoined, motorized, movable pieces create an autonomous construct whose mechanical design proposes ways of locomotion and thereby the identity and even its name. The object is part of a series of high-tension structures and is an upgrade of a similar project from 2014, popularly named The Snake. All these high-tension structures create movement based on the principle of torque generated by twisted bands, where the twisting of the bands combines into various movements of the construct as a whole. These things have names, when useful and used. The things keep their name when they are recognizable by their former function – even if they are later put in a different context. Such as, for example, a gallery. The drainpipe is still a drainpipe, the toilet bowl is still a toilet bowl. Of course, they still create interesting interpretations when this turns out to be absurd, paradoxical, unusual, or otherwise surprising. As usual, the sense of wonder provides the motive for reflection, otherwise there can be no reflection. artist

Borut Savski, born in Ljubljana in 1960, is an intermedia artist who places great emphasis on sound – the combination of technical solutions for unorthodox instruments and autonomous audiovisual structures/ sculptures. The sound experiments in the Radio Študent studio in Ljubljana since 1994. In 1999, he presented the first cybernetic sound installation “Sound Biotope” in the Kapelica gallery in Ljubljana. His essay “Sound”

as a metaphor which encompasses the authorâ&#x20AC;&#x2122;s core preoccupations. Later, he continued developing independent concepts and instruments and collaborations with other artists. In the period from 2006 to 2010, the worked on writing the music for three dance performances by Mateja BuÄ?ar. In 2006, he co-organized the Intermediate Spaces festival with KUD Trivia. In 2007 he co-founded the intermedia initative Circulation 2. Collaboration on the project Etnobanda. After 2010, he collaborated with Bogdana Herman on the project of Newly-Composed Slovenian Folk Songs. A series of interactive autonomous structures/sculptures High-Tension Structures. Currently focusing on haptic interfaces and interactive mechanisms. â&#x20AC;&#x201D; www.ljudmila.org/~savskib podoba / image

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UMETNIK / UMETNICA / artist

Cat Leonard naslov

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Bang Soda! Ponovno vstajenje. Avstralija, 2015 predmet

O tem delu: Uhhhhhh - kako naj vam razložim vse to, ne da bi ob tem delovala kot norec? Resnica je, da je to delo nastalo iz dolge in kompleksne serije pomenljivo brezpomenskih čustvenih dogodkov, zaradi katerih sem na steklenico napitka Bang Soda prilepila obraz Igorja Štromajerja in vse skupaj upodobila na velikanskem platnu dimenzij 185 x 150cm. To sem storila pred nekaj leti za tematsko razstavo. Eden izmed razlogov za mojo odločitev, in teh je štiritisočdevetstopetindvajset (vseh nikakor ne morem umestiti v ta kratek opis) - da se je čedni obraz kustosa festivala Pixxelpointa pojavljal na vseh možnih plakatih in majicah ter steklenicah piva ob prelestnih dekletih iz dežele Facebooka. To mu je prineslo slavo. Zato sem sklenila, da moram njegovo popularnost prenesti v neko drugo dimenzijo, čisto zares. Sliko sem prodala, izkupiček je bil mimogrede odličen, in tako zdaj psevdo-kustos visi v domu neke osebe, nesmrten in spremenjen v trgovsko blago. Nikakor mu nisem želela narediti sramote, zato njegovega kolosalnega obraza nisem prilepila na prevelik plakat in ga postavila vsem pred oči. Namesto tega sem ga upodobila na nalepki steklenice, kjer ga skorajda ni mogoče videti, čeprav vi to veste, saj sem vam jaz povedala, da je tam. UMETNIK / UMETNICA

Mislim, da sem umetnica, torej verjetno sem. Takšno ime si pripisujem samo zato, ker so mi drugi povedali, da je tako prav. Včasih sem se predstavljala kot »slikarka«, vendar te dni moj ustvarjalni proces sega precej širše, svoje slikarsko in grafično znanje uporabljam za to, da stvari spreminjam v komercialne dobrine. Morda sem umetnica, morda pa tudi ne – in to je morda pomembno, morda pa tudi ne, odvisno pač od tega, kaj je po vašem umetnost – oziroma kaj ni. Konec. — catleonardart.squarespace.com title

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Bang Soda! The resurrection. Australia, 2015 object

About this work: uugghhhh - how do I explain what this is all about without sounding like an idiot? The truth of the matter as to how this work came about is a long and complicated series of meaningfully-meaningless, emotional events that caused me to put the face of Igor Štromajer on the bottle of Bang Soda in the enormous 185x150cm painting I did a couple of years ago for a themed exhibition. One of the reasons I did this, and there are four-thousand-nine-hundred-and-twenty-five reasons, (I’ll never

fit them all into a short ‘artists’ statement), but one of the reasons is because the curator of the Pixxelpoint festival’s handsome face kept appearing on all sorts billboards and T-shirts and bottles of beer with gorgeous women in Facebook land. He was famous for it. So I made it my duty to extend his popularity into the 2nd dimension, for real. I sold the painting, got a good price for it too, so now that same pseudo-curator is on the wall in someone’s house, immortalised and commodified. I don’t want to embarrass him, however, so instead of plastering an enormous face on an enormous poster of the famous curator for all to see, he is there on the bottle on the label on the bottle, barely seen but you know he’s there just as I tell you ‘he’s there.’ artist

I think I’m an artist therefore I must be. The only reason I call myself an artist is because people told me I should. I use to call myself a ‘painter’, but I do bit more than just paint these days, I also combine my painting and graphic skills for the purpose of commodifying stuff. I may, or may not be, an artist and it may, or may not, matter depending on what you think art is, or isn’t. The End. — catleonardart.squarespace.com podoba / image

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UMETNIK / UMETNICA / artist

Ciro Múseres naslov

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Označi me! Argentina, 2015 predmet

To je moj prvi vmesnik danes in sploh se več ne sprašujem, od kod prihaja – preprosto ga uporabim. Včasih si predstavljam, da bi bila moja očala enaka, kot sta jih nosila Allende ali Walsh, vendar so moja očala le »mimezis«. Vsak predmet je sam po sebi ideologija. Bilo bi iluzorno misliti, da je vsa jedra mogoče shekati. Da. To je vrnitev Modernosti. Mi smo tujci, predmeti, mi smo sami svoji Mediji. Označi me! Ne morem si pomagati, da ne bi bil fasciniran. Zapeljali so nas in vsako zapeljevanje je politično dejanje. UMETNIK / UMETNICA

Ciro Múseres (1981, Buenos Aires, Argentina) je študiral likovno umetnost na Nacionalni univerzi za umetnost, UNA. Bs As, Argentina. Dejaven je na različnih področjih umetnosti, dizajna in tehnologije, pri svojih delih pa uporablja različne medije, internetne umetniške projekte, predmete, video in instalacije. Leta 2006 je bil prejemnik štipendije Španskega kulturnega centra v Buenos Airesu, Argentina. (CCEBA). Leta 2007 je s podporo fundacije Telefonica sodeloval v umetniški delavnici Interactive Art Workshop III. Leta 2007 je bil v Argentini nagrajen s tretjo nagrado MacStation Digital Paradigm na področju interaktivnosti. Njegova dela so bila predstavljena na mednarodnih razstavah, konferencah in publikacijah o sodobni umetnosti, dizajnu in tehnologiji. Živi in dela v Buenos Airesu, v Argentini. — museres-ciro.com.ar title

english

Tag Me! Argentina, 2015 object

It’s my first interface of the day and I don’t even ask where it comes from, I just use it. Sometimes I imagine that my glasses could be Allende’s or Walsh’s, but my glasses are a “mimesis”. Every object is in itself an ideology. It’s an illusion to think that all cores can be hacked.

Yes! It is the return of Modernity. We are outsiders, objects, we are our own media. Tag Me! I can’t escape from the fascination. We have been seduced by them and every seduction is Political. artist

Ciro Múseres (1981, Buenos Aires, Argentina) studied Visual Arts at the University National of Arts, UNA. Bs As, Argentina. Working between the fields of art, design and technology his works includes different media, internet art projects, object, video and installation. In 2006 he received a scholarship from the Cultural Center of Spain, Buenos Aires, Argentina. (CCEBA). In 2007 he was supported by Telefonica Foundation to participate in the Interactive Art Workshop III. In 2007 he obtained the third award MacStation Digital Paradigm award in interactivity, Argentina. His work have been presented internationally in exhibitions, conferences, and publications related to contemporary art, design and technology. He works and lives in Buenos Aires, Argentina. — museres-ciro.com.ar podoba / image

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UMETNIK / UMETNICA / artist

Curt Cloninger

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naslov

slovensko

Paketi z zvokom lastnega transporta (po delu Roberta Morrisa “Box with the Sound of Its Own Making”) ZDA, 2015 predmet

NAVODILA: 1. Po pošti pošljite (vključen) snemalnik zvoka iz Gorice v Novo Gorico. 2. Istočasno po pošti pošljite (vključen) drugi snemalnik zvoka iz Nove Gorice v Gorico. 3. Ko pošiljki prispeta na cilj, zvočni zapis predvajajte v obeh razstavnih galerijah. Dva objekta, ki predvajata zvočni zapis njune zamenjave/premestitve. UMETNIK / UMETNICA

Curt Cloninger je umetnik, pisatelj in izredni profesor novih medijev na Univerzi Severne Karoline, Asheville (ZDA). Njegova umetnost pod vprašaj postavlja jezik kot sistem pomena in ga poskuša predstaviti kot utelešeno silo v našem svetu. Njegovo umetniško delo je bilo predstavljeno v New York Timesu in na festivalih ter galerijah od Koreje do Brazilije. Med drugim je razstavljal v Centre Georges Pompidou (Paris), Granoff Center for the Creative Arts (Brown University), Digital Art Museum [DAM] (Berlin), Ukrajinski inštitut moderne umetnosti (Chicago), Black Mountain College Museum + Arts Center in na internetu. Prejel je številne štipendije in nagrade, nazadnje je prejel štipendijo National Endowment for the Arts (preko Turbulence.org). Curt vodi spletna mesta lab404.com, playdamage.org in deepyoung.org ter tako poskuša spodbuditi bolj živahen oddaljeni dialog s Sundry Contagions of Wonder. title

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Packages with the Sound of Their Own Shipping (After Robert Morris’ “Box with the Sound of Its Own Making”) USA, 2015 object

INSTRUCTIONS: 1. Mail one audio recording device (set to record) from Gorzia to Nova Gorica.

2. At the same time, mail a second audio recording device (set to record) from Nova Gorica to Gorizia. 3. When the packages arrive, play the recorded audio inside the packages inside their respective galleries. Twin objects, both playing an audible trace of the memory of their exchange/displacement. artist

Curt Cloninger is an artist, writer, and Associate Professor of New Media at the University of North Carolina Asheville (US). His art undermines language as a system of meaning in order to reveal it as an embodied force in the world. His art work has been featured in the New York Times and at festivals and galleries from Korea to Brazil. Exhibition venues include Centre Georges Pompidou (Paris), Granoff Center for The Creative Arts (Brown University), Digital Art Museum [DAM] (Berlin), Ukrainian Institute of Modern Art (Chicago), Black Mountain College Museum + Arts Center, and the internet. He is the recipient of several grants and awards, most recently a grant from National Endowment for the Arts (via Turbulence.org). Curt maintains lab404.com , playdamage.org , and deepyoung.org in hopes of facilitating a more lively remote dialogue with the Sundry Contagions of Wonder. podoba / image

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UMETNIK / UMETNICA / artist

Cym naslov

obj10 slovensko

Alpsko mleko 0,5 L Nemčija, 2015 predmet

Leta 1995 sem sanjala o tem, da bi postala prepoznavna računalniška umetnica, ki bi svoja dela prikazovala na razstavah po celem svetu. Dolga leta sem potovala po Evropi, opremljena s spalno vrečo in prenosnim računalnikom, ustvarjala umetniške projekte v različnih krajih, a moj uspeh, moj preboj, kar nekako ni prišel. Leta 2005 sem internetno umetnost končno obesila na klin. To je bil čas Bloggerja, Facebooka in Youtuba. My odgovor na Web 2.0 je bil neobičajen: začela sem izdelovati denarnice iz praznih kartonastih embalaž mleka. Ker sem bila še vedno računalniška umetnica, sem posnela video moje reciklirane denarnice. Takrat sem dosegla svoj največji uspeh na internetu. Piše se leto 2015 in jaz še danes izdelujem denarnice iz praznih kartonastih embalaž mleka. Skozi leta sem zbrala številne različne embalaže. Eden mojih najljubših dizajnov je rastrirana embalaža za Alpsko mleko. Žal je litrska embalaža zdaj kvadratne oblike, iz katere je mnogo težje izdelati denarnico. Enako obliko ima le mali tetrapak, kar simbolizira mojo kariero internetne umetnice tu, na Pixxelpointu. UMETNIK / UMETNICA

Cym (Simone van Groenestijn, 1973), je v Amsterdamu študirala interaktivni dizajn in nestabilne medije in trenutno obiskuje magistrski študij izobraževanja v umetnosti v Rotterdamu. Ustvarja skupaj z mednarodnimi skupinami umetnikov, kot so 42, Aether9 in Acryl. Ustanovila je umetniški center na stari kmetiji v Avstriji. Pri svojem umetniškem ustvarjanju se Cym opira na predmete in situacije iz vsakdanjega življenja. Pri svojem delu situacije iz vsakdanjega življenja postavlja v novo luč, tako da pripovedujejo nove zgodbe. Našo pozornost preusmerja na stvari, ki jih vidimo vsak dan, a jih pogosto sploh ne opazimo. Z minimalnimi posegi, na primer s postavljanjem vprašanj, Cym gledalca spodbuja, da na stvari pogleda z drugačne perspektive. Cym je ustvarila fascinanten jezik podob, objektov in video posnetkov, ki jih predstavlja v različnih projektih, od medijske umetnosti do izobraževanja in celo prodaje predmetov na lokalni ulični tržnici. Cym živi in dela v Avstriji in na Nizozemskem. — www.cym.net title

english

Alpsko mleko 0,5 L Germany, 2015 object

In 1995, it was my dream to become a well-known computer artist, showing my work in exhibitions around the world. For many years I traveled around Europe with sleeping-bag and laptop, doing art projects in many different

places, but somehow the success, the break-through, never happened. In 2005, I had enough of creating internet related art. It was the time of Blogger, Facebook and YouTube. My answer to the Web 2.0 was an unusual response: I started creating wallets from empty milk cartons. Since I was still a computer artist I made a video of my recycled wallet. It became my biggest success on the Internet. In 2015 I am still creating wallets from empty milk cartons. Over the years I have collected many different packages. One of my favorite designs is the pixelated Alpsko mleko carton. Unfortunately, the one-liter carton has a square design now, which is much harder to make a wallet from. Only the small carton is still the same, symbolizing my career as an internet artist here at Pixxelpoint. artist

Cym (Simone van Groenestijn, 1973), studied ‘Interaction Design & Unstable Media’ in Amsterdam and is currently finishing a Master’s degree ‘Education in Arts’ in Rotterdam. She collaborates with international artist groups, such as 42, Aether9 and Acryl. She has started an art center on an old farm in Austria. In her artistic work, Cym focuses on objects and situations from everyday life. She manages to present everyday life situations in such a way that they start telling us something new. She makes us aware of things we see every day around us, but often don’t really notice. Via minimal interventions, such as asking a question, Cym challenges the viewer to look at these things from a different perspective. Cym has created a fascinating language of images, objects and videos, which she presents in a variety of projects, ranging from media art to education to selling objects on a local street market. Cym lives and works in Austria and in The Netherlands. — www.cym.net podoba / image

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UMETNIK / UMETNICA / artist

Domenico Barra naslov

obj11 slovensko

Seme Italija, 2015 predmet

Seme je običajen projekt s skupnim ciljem. Gre za umetnost, ki jo ustvarjamo vsi skupaj. Ne gre le za osebno razmišljanje in ustvarjanje, ampak za skupinsko izkušnjo/dejanje. Gre za sodelovanje med ljudmi, med ljudmi in tehnologijo, vse to se dogaja. Naša dobra volja in marljivost s pomočjo strojev, to se lahko nadaljuje z našo voljo. To delo zaznamuje s požrtvovalnost. To delo zaznamujeta vzajemna pomoč in sočutje. Gre za življenje, ki ga ustvarjamo vsi skupaj. Gre za življenje, ki prihaja iz vseh nas. Stopimo skupaj. Uživajmo ga. UMETNIK / UMETNICA

Domenico Barra je italijanski (pokvarjen) umetnik novih medijev, ki se ukvarja z digitalnimi mediji in daje pomemben poudarek na kulturo interneta. Stalna kreativna dialektika terja nenehno iskanje inovativnih/ eksperimentalnih umetniških rezultatov pri subjektih z iskanjem novih načinov njihovega upodabljanja ter sporočanja/zapisovanja/remiksiranja. Domova dela so bila razstavljena na festivalih, razstavnih galerijah in institucijah po vsem svetu, npr. RE/Mixed Media Festival, New York Media Center, DAM Gallery. Njegova dela so bila objavljena v različnih revijah, na spletnih mestih in blogih, kot so Interartive, Animal New York, Nerve, projekt The Creators, Monopol Magazin. Živi in dela v Neaplju (Italija) in na internetu. — www.dmncrmx.co.nr title

english

The Seed Italy, 2015 object

The Seed is a common project and a mutual goal. This is art by all of us. Not just a personal contemplation/creation but a group experience/action. This work is participation, human and human, human and technology, it’s all happening. Our good will and efforts with the help of the machine, we can keep it going. This work is sacrifice. This work is sharing and caring. This is life in all of us. This is life from all of us. Let’s make it. Let’s enjoy it. artist

Domenico Barra is an Italian (dirty) New Media Artist working with digital media with a major focus on internet culture. The perpetuating creative dialectic results in a constant research for innovative/experimental artistic results in matters of subjects and the ways that they can be

depicted && narrated/recorded/remixed. Dom’s works have been exhibited worldwide at festivals, institutions, galleries like RE/Mixed Media Festival, New York Media Center, DAM Gallery. His works are featured on various magazines, website and blogs such as Interartive, Animal New York, Nerve, The Creators Project, Monopol Magazin. Dom lives and works in Napoli (Italy) and on the Internet. — www.dmncrmx.co.nr podoba / image

obj11

UMETNIK / UMETNICA / artist

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Društvo za domače raziskave naslov

slovensko

Posmrtna maska Simona Gregorčiča Avtor odlitka: Svitoslav Peruzzi, 1906 Rojstna hiša Simona Gregorčiča, Tolminski muzej, Zbirka Simona Gregorčiča, Vrsno Slovenija, 2015 predmet

Neposredno po smrti pomembne osebnosti je profesionalni kipar izdelal kalup njegovega obraza in nato odlil omejeno število mask v vosku ali

mavcu. Posmrtne maske so nato služile (in ponekod še služijo) kot spomin na pokojnika tako v javnosti (na nagrobnih spomenikih, spomenikih in na spominskih razstavah oz. muzejskih postavitvah) kot tudi v zasebnosti (hranijo jih dediči / družinski člani in kiparji, ki so maske odlili). Za odlivanje posmrtnih mask so najemali znane kiparje, ki so radi prišli po dodatni zaslužek. Torej bi sosledje pokojnikovih zadnjih uradnih obiskovalcev bilo: zdravnik, župnik, kipar, pogrebnik. V tem sosledju status in vloga umetnika kot nekoga, ki ima znanja ovekovečiti umrlega, ni sporen. Čeprav je kompleksen pojav posmrtnih mask prisoten v večini civilizacij in navadno vezan na posmrtno življenje, je zgoraj opisana različica značilna za sekularno zahodno družbo. Odlivanje obrazov umrlih oseb je služilo predvsem nadaljnji eksploataciji umrle osebe za potrebe raznovrstnih, natančno strukturiranih družbenih projektov. UMETNIK / UMETNICA

Društvo so leta 2004 ustanovili umetnika Damijan Kracina in Alenka Pirman ter umetnostni zgodovinar Jani Pirnat. Člani društva aktivno delujejo na področju sodobne umetnosti od leta 1991. Društvo beleži, zbira, raziskuje in predstavlja domače pojave. Njegovo delovanje sega na kulturno, umetniško, znanstveno, izobraževalno in raziskovalno področje. Med letoma 2005 in 2010 je društvo svoje raziskave predstavljalo v Kabinetu, odmaknjenem razstavišču, ki je gostovalo v dvoriščnem prostoru Galerije Škuc v Ljubljani. Odtlej člani stremijo k interdisciplinarnemu sodelovanju s strokovnjaki in institucijami, ki omogoča razvoj inovativnih pristopov k obravnavanju in predstavljanju zadanih tem. Pri tem veliko pozornost posvečajo povezovanju sodobne umetnosti in dediščine, širjenju občinstva in komuniciranju s širšo javnostjo. Prva večja tovrstna projekta sta bili raziskava in razstava Dobesedno brez besed v Mestni galeriji Ljubljana leta 2010 ter mednarodni projekt Trda dejstva (2012-13). Stalnica in trajna uspešnica društva ostaja projekt Razvezani jezik, skupnostni spletni slovar žive slovenščine, ki je postal nespregledljiv tudi v strokovnih krogih, vendar že 10 let navdušuje najširšo javnost. — www.ddr.si title

english

The Death Mask of Simon Gregorčič Author of the cast: Svitoslav Peruzzi, 1906 Simon Gregorčič’s Birth Home, Tolmin Museum, Collection of Simon Gregorčič, Vrsno Slovenia, 2015 object

Immediately after the death of an important personality, a professional sculptor would create a mold of the dead poet’s face and create a limited number of wax or plaster casts. The death masks would then be used (and in some cases still are) to commemorate the person both in public (tombstones, monuments and commemorative exhibitions or museum installations) and in private (kept by the heirs, family members and the sculptors who made the molds). They used to hire renowned sculptors to make the molds, who would not object to making some extra money on the side. So, the order of the deceased’s last visitors would be the following: the doctor, the priest, the sculptor, the funeral director. In this sequence, the artist’s role as someone with the skills to immortalize the deceased, is

indisputable. Although the complex phenomenon of death masks is known in most civilizations and is usually associated with the hereafter, the above variant is specific to the secular Western society. Molding the visages of the deceased served mainly to exploit the deceased for different, carefully structured social projects. artist

The Society was founded in 2004 by artists Damijan Kracina and Alenka Pirman, and art historian Jani Pirnat. The members of the society have been active in the field of modern art since 1991. The society records, collects, studies and discusses domestic phenomena. Its scope of activity spans across the cultural, artistic, scientific, educational and research fields. Between 2005 and 2010, the Society presented its research in Kabinet, a remote venue which was hosted in the courtyard of the Škuc Gallery in Ljubljana. Since them, the members have been focusing on interdisciplinary collaboration with experts and institutions, which supports the development of innovative approaches to the research and presentation of relevant subjects. They place great emphasis on strengthening the link between modern art and heritage, expanding their audience, and communicating with the general public. Their first major projects were the research and exhibition under the title “Literally Without Words” in the Ljubljana City Gallery in 2010, and the international project Hard Facts (2012-13). A popular mainstay remains the “Unbound Tongue” project, the online community dictionary of vernacular Slovenian, which was also noticed in professional circles and has been popular among broader audiences. — www.ddr.si podoba / image

obj12

UMETNIK / UMETNICA / artist

Francis Hunger naslov

obj13 slovensko

Lito železo, bron, jeklo Nemčija, 2015 predmet

Mercedes je računski stroj, ki je človeškim računalnikom pomagal pri različnih matematičnih izračunih pred prihodom elektronskih računalnikov. Med drugim so ga v dvajsetih letih prejšnjega stoletja pod vodstvom Clare Froelich uporabljali na matematičnem oddelku telefonskega laboratorija Bell v New Yorku, v raziskovalne namene. V 1950-ih so ga uporabljali tudi v moskovskem inštitutu Keldysh (Akademija znanosti) za izračunavanje krivulj leta za prvi satelit na svetu, Sputnik, pod vodstvom Aleksandra K. Platonova in Raise K. Kazakove. Mercedes je tako povezoval Vzhod in Zahod v dobi industrijskega, ročnega računanja. UMETNIK / UMETNICA

Francis Hunger (*1976, Dessau) živi in dela v Leipzigu. V svoji umetniški praksi povezuje umetniško raziskovanje s pripovedništvom skozi medij instalacij, radijskih iger in performansov. V njegovih delih je vključeno kritičen razmislek o historičnemu opisovanju tehnologijo kot ideološko zaznamovanem védenju in konstruktu moči. Instalacije in performansi: The Setun Conspiracy (2005-2008) o svetovnemu ternarnemu - in ne binarnemu - računalniku Setunu, ki so ga leta 1958 razvili na Državni univerzi v Moskvi; History Exhaustion (2009) o zmotljivosti posameznika sredi ideološkega izmeta 20. stoletja. The Woman Who Never Went into Space (2012) je instalacija in radijska igra o Valentini Ponormayevi, ki je bila leta 1963 izbrana kot namestnica prve ženske v vesolju. Video instalacija Tolpa (2012) govori o prikazovanju mas v filmih Dzige Vertofa. V svojem delu Deep Love Algorithm (2013) Hunger raziskuje podatkovno bazo kot kulturno obliko skozi »road movie«, sestavljen pretežno iz teksta. — www.irmielin.org title

english

Cast Iron, Brass, Steel Germany, 2015 object

The Mercedes is a calculation machine that helped human computers in computing all kinds of applied mathematics before electronic computers. It was used for instance by the Mathematics Division of the Bell Telephone Laboratory, New York during the 1920s under Clara Froelich for research applications. On the other side of the world, the Keldysh Institute (Academy of Sciences), Moscow, used it during the 1950s to calculate trajectories for Sputnik, the world’s first satellite under Alexandr K. Platonov and Raisa K. Kazakova. The Mercedes such spans the continuum between the East and the West during the era of industrial, manual calculation.

artist

Francis Hunger (*1976, Dessau) lives and works in Leipzig. In his practice he combines artistic research with the capabilities of narration through installations, radio plays and performances. His works realize a critical examination of the historiography of technology as ideologically charged knowledge and power constellations. Installations and performances: The Setun Conspiracy (2005-2008) about the world wide singular ternary –non binary– computer Setun, developed at the Moscow State University in 1958; History Exhaustion (2009) about the errantry of the individual in the 20th centuries’ ideological debris. The Woman who never went into Space (2012) is an installation and radio play about Valentina Ponomaryeva, who in 1963 was the backup for the first woman in space. The video installation Tolpa (2012) deals with the depiction of masses in Dziga Vertovs’ movies. In Deep Love Algorithm (2013) Hunger researches the database as cultural form through a road movie that consists mainly of text. — www.irmielin.org podoba / image

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UMETNIK / UMETNICA / artist

Guido Segni naslov

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Neznosna lahkost bivanja kot internetni umetnik Italija, 2015 predmet

Navodila za dvigovanje umetnosti brez povezave z internetom Veslanje stoje z olimpijsko palico 1. Stoje držite olimpijsko palico spredaj, tako da počiva na stegnih, roke v srednji širini, z dlanmi proti telesu. 2. Olimpijsko palico dvigujte, dokler ne doseže vrhnjega dela prsi, na kratko zadržite in jo nato počasi spustite nazaj v začetni položaj. 3. Pazite, da bremena ne dvigujete sunkovito, z usločenim križem. Potisk z ramen - stoje 1. Stoje držite olimpijsko palico spredaj, tako da počiva prednjem delu vratu, malo nad višino ramen. 2. Olimpijsko palico dvigujte naravnost navzgor, dokler se komolci skoraj ne zaklenejo, zadržite in nato palico počasi spustite nazaj v začetni položaj. 3. Pazite, da bremena ne dvigujete sunkovito, z usločenim križem. Švung 1. Stoje držite olimpijsko palico spredaj, tako da počiva prednjem delu vratu, malo nad višino ramen, z rahlo pokrčenimi koleni. 2. Olimpijsko palico dvigujte naravnost navzgor, dokler se roke skoraj ne zaklenejo, zadržite in nato palico počasi spustite nazaj v začetni položaj. 3. Pri dvigovanju izdihnite, pri spuščanju vdihnite. UMETNIK / UMETNICA

Guido Segni, alias Clemente Pestelli (roj. 1980 v Italiji) ima izkušnje s hektivizmom, net artom in video artom. Živi in dela nekje na križišču med umetnostjo, internetno pop kulturo in podatkovnimi halucinacijami. Pri svojem ustvarjanju dnevno (zlo-/upo-)rablja internet, njegovo delo pa zaznamujejo manjše manipulacije tehnologije, ki združujejo konceptualne pristope s tradicionalno hekersko željo po tem, da stvari napravi čudne, neuporabne in disfunkcionalne. Nedavno je svojo identiteto zamenjal za drugo in začel ustvarjati dela, akcije in intervencije pod psevdonimi, kolektivnimi in multipliciranimi imeni (Dedalus, Clemente Pestelli, Guy McMusker, Angela Merelli, Anna Adamolo, Guy The Bore, Umberto Stanca, Silvie Inb, Fosco Loiti Celant, Guru Miri Goro, Leslie Bleus, Luther Blissett). Je soustanovitelj skupine Les Liens Invisibles , razstavljal pa

je v galerijah, muzejih (MAXXI Rome, New School of New York, muzej KUMU Art v Talinnu) ter na mednarodnih festivalih umetnosti in medijskih umetnosti (mednarodni Beneški bienale, festival SHARE v Piemontu, Transmediale). Trenutno poučuje na Accademia di Belle Arti v Carrari, vodi imaginarni laboratorij REFRAMED in je član uredništva projekta Atypo. — www.guidosegni.comtitle TITLE

english

The unbearable lightness of being an internet artist Italy, 2015 object

Instructions for an offline art lifting Barbell Upright Row 1. Stand up and hold the barbell with your hands in front of your thighs, hands at a medium-grip position, palms facing backwards. 2. Raise the barbell until it reaches the top of your chest and lower it back down slowly after a short pause. 3. Be careful not to jerk your back in an effort to help you raise the barbell. Military Press - Standing 1. Stand up and hold the barbell in front of your neck, just above your shoulders. 2. Push the barbell straight up until your elbows come close to locking and lower it back down slowly after a short pause. 3. Be careful not to jerk your back in an effort to help you raise the barbell. Barbell Push Press 1. Stand up and hold the barbell in front your neck, just above your shoulders, knees slightly arched. 2. Push the barbell straight up until your arms are close to locking and lower it back down slowly after a short pause. 3. Breathe out while pushing up and breathe in while lowering back.

artist

With a background in Hacktivism, Net Art and Video Art, Guido Segni, aka Clemente Pestelli, (b. 1980, Italy) lives and works somewhere at the intersections between art, pop internet culture and data hallucination. Mainly focused on the daily (ab)use of Internet, his work is characterized by minimal gestures on technology which combine conceptual aproaches with a traditional hacker attitude in making things odd, useless and dysfunctional. In quite recent years he moved from an identity to another

producing works, actions and interventions under pseudonyms, collectives and multiple names (Dedalus, Clemente Pestelli, Guy McMusker, Angela Merelli, Anna Adamolo, Guy The Bore, Umberto Stanca, Silvie Inb, Fosco Loiti Celant, Guru Miri Goro, Leslie Bleus, Luther Blissett). Co-founder of Les Liens Invisibles , he exhibited in galleries, museums (MAXXI Rome, New School of New York, KUMU Art Museum of Talinn) and art & media-art international festivals (International Venice Biennale, Piemonte SHARE Festival, Transmediale). Currently he teaches at the Accademia di Belle Arti of Carrara, directs the imaginary REFRAMED lab and he is part of the editorial committee for the project Atypo. â&#x20AC;&#x201D; www.guidosegni.com podoba / image

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UMETNIK / UMETNICA / artist

Helene Thümmel naslov

obj15 slovensko

Spominek Avstrija, 2015 predmet

V svoji obsedenosti s potovanjem po svetu zbiram kilometre in pokrajine, kosila in večerje s prijatelji ter tujci, sončne zahode skozi okna koč sredi gozda ter različna poznanstva. Ko pride čas za odhod domov, se želim vrniti s polnimi rokami daril za tiste, ki so ostali doma, za tiste, ki svojega časa niso mogli preživeti na potovanju. Ampak pogosto se vrnem s praznimi žepi, saj noben predmet ne more opisati kompleksnosti sveta, ki sem ga raziskovala. Kljub temu pa z vsakim potovanjem in vsakim predmetom, ki ga odkrijem, vedno znova želim svoje vtise strniti v en sam spominek, čeprav mi to pogosto ne uspe. UMETNIK / UMETNICA

Helene Thümmel je študirala arhitekturo v Gradcu in od leta 2010 sodeluje pri gledaliških produkcijah s scenografijo in kostumi. Kot umetnica niha med analognimi in digitalnimi mediji: pri svojih delih uporablja tehnike, kot so fotografija, film, risanje, slikanje, kolaži itd. Koncepte časa, razdalje in prostora obravnava v družbenih, političnih in umetniških poljih. Od leta 2015 študira na Visoki šoli za umetnost Univerze v Novi Gorici. title

english

Souvenir Austria, 2015 object

Through my obsession of staying out in the world, I am collecting kilometers and landscapes, meals with friends and strangers, I am gathering sunsets viewed from cabin windows and all different kinds of encounters. And when I need to come back, I want to come with my hands full of gifts for the ones who stayed at home, for those who couldn’t spend their time on the roads. But often I came back with empty pockets, because no object could describe the complexity of the world that I was exploring. And still, with each journey and with each object that I find, I try again to squeeze all my impressions into a souvenir, but it seldom works out. artist

Helene Thümmel studied architecture in Graz and works at theatre productions since 2010 with stage design and costume. As an artist she ranges between analog and digital media: she works with photography, film, draws, paints, does collages, etc. She deals with the terms time, distances and spaces within social, political and artistic fields. Since 2015 she is studying at the School of Arts of University of Nova Gorica.

podoba / image

obj15

UMETNIK / UMETNICA / artist

obj16

Ienke Kastelein naslov

slovensko

Bel, plastičen vrtni stol Nizozemska, 2015 predmet

»Sedenje je eden največjih užitkov pri sprehodih.« Dillon de Give, 2014 1. Nekega dne sem videla starejšega gospoda, ki je na majhnem trgu blizu mojega studia postavil bel, plastičen stol. Nato je sedel, kot če bi bil doma. Javni prostor je tako spremenil v zasebnega. Svet je bil njegov. 2. Ko sem gostovala v umetniški rezidenci »het Vijfe Seizonen« (prev. Peti letni čas) na posestvu psihiatrične bolnišnice v Den Dolderju (Nizozemska), sem vsepovsod videla zapuščene bele plastične stole. V istem času sem brala knjigo Roya Villevoyea, ki je fotografiral bel stol na vrtu v Papui Novi Gvineji. Takrat sem ugotovila, da je to pravzaprav (morda celo edini) univerzalni stol. 3. Sedenje (v nizozemščini: »zitten«) daje vtis, da se nekaj nekje »nahaja«. Ko nekoga vprašam “Waar zou je willen zitten” (Kam se boste usedli?), pravzaprav sprašujem, kjer bi oseba rada bila. Implicitno torej sprašujem, kakšno okolje je osebi všeč. Ko izberemo kraj, kjer se bomo usedli, se hkrati odločimo, da bomo tudi sami postali del tega kraja. Gre za nekakšno prisvojitev.

4. V Zahodnem svetu preživimo ure in ure pred računalnikom in preživljamo čas na spletu. Kje torej v resnici »sedimo«? 5. Bel, plastičen vrtni stol je povezan s fizičnim svetom telesa in čutil. Označuje Tukaj in zdaj. 6. Zapuščen bel, plastičen vrtni stol je enak prisotnosti v odsotnosti. UMETNIK / UMETNICA

Ienke Kastelein zanima zaznava. Sprašuje se o tem, kdaj in na kakšen način se dejstva pretvarjajo v fikcijo in pod kakšnimi pogoji se resničnost zaznava kot prispodoba. Zato sta hoja in sedenje postala poglavitni raziskovalni metodi, hkrati pa tudi izrazni obliki. Javni prostor postane studio, hoja pa postane performans, v katerem so udeleženci nastopajoči in hkrati gledalci, medtem ko odzivi mimoidočih nenadoma ustvarijo izredno resničnost. Njen umetniški pristop bi lahko opisali kot ulična scenografija. Kasteleinova je svojo umetniško pot začela kot fotografinja in svojo pozornost usmerja v resničnost kot tako - fotoaparat pri tem uporablja samo kot dokumentarno sredstvo. Zanima jo tanka meja med »igro« v resničnem življenju in performansom. Zlasti jo zanimata hoja in sedenje kot zavestni obliki bivanja ter njuno senzorično občutje. Njen celotni ustvarjalni opus je raziskovanje in razmislek o prisotnosti in o samem bivanju. Ienke Kastelein živi in dela v Utrechtu, Nizozemska. — www.ienkekastelein.nl — www.facebook.com/ienke.kasteleintitle TITLE

english

A White Plastic Patio Chair The Netherlands, 2015 object

“Sitting is one of the greatest pleasures of walking.” Dillon de Give, 2014 1.Once upon a time I saw an older man putting down a white plastic chair in the middle of a small square near my studio. He sat down as if he were home, at home, at his house : he transformed public space into a private place. The world belonged to him. 2. While staying at the residency “het Vijfde Seizoen” (translation: the Fifth Season*) at the grounds of a Psychiatric Hospital in Den Dolder (NLD) I saw white plastic chairs left behind everywhere. At the same time I read a book by Roy Villevoye who photographed a white chair on a patio in Papua New Guinnee. I became aware that this chair may be a (or the) universal chair. 3. Sitting (in Dutch: Zitten) has the connotation of “Being Somewhere”. So when I ask someone “Waar zou je willen zitten” (Where would you like to sit?) I actually am asking where would you like to be? This implies an inquiry after what the person likes as an environment. By sitting down somewhere we choose to be a part of it. It is a kind of appropriation.

4. In the Western world we spend hours per day in front of our computer, spending time on the World Wide Web. Where are we really “sitting”? 5. A White Plastic Patio refers to being in the physical world of the body and the senses. To being Here and Now. 6. An Abandoned White Plastic Patio Chair equals Presence

by Absence.

artist

Ienke Kastelein is interested in perception. She raises questions about when and how facts are transformed into fiction, and when reality is perceived as a metaphor. Hence walking and sitting have become essential research methods as well as performances. Public space is conceived as the studio and walking is approached as a performance in which participants are the actors as well as the spectators at the same time, where as the behaviour of passersby is suddenly transformed into an extraordinary reality. Her approach can be perceived as scenography of the street. Kastelein started out as a photographer and has been shifting her attention towards reality itself - using her camera merely to document. She is interested in the narrow boundary between ‘acting’ in real life and performance. She is especially interested in sitting and walking as a conscious way of being and as the actual sensatory experience. Her whole body of work is a research and a reflection on being present and presence itself. Ienke Kastelein lives and works in Utrecht, the Netherlands. — www.ienkekastelein.nl — www.facebook.com/ienke.kastelein podoba / image

obj16

UMETNIK / UMETNICA / artist

Jaka Železnikar naslov

obj17 slovensko

Vrata na vlaku Slovenija, 2015 predmet

Mlajši, od tega je že dolgo, star okrog 16 ali 17 let, sem se podal na vlak, v iskanju avantur, z ljubeznijo v srcu, z nekaj drobiža v žepu. Prebral sem nekaj pesmi, poslušal glasbo iz preloma 1960-tih v 1970ta, iz ZDA in UK. Hipiji iz kapitalizma so mi, takrat živečemu v nekako komunistični Jugoslaviji, peli o potovanjih, bolj iz plošč kot v živo. Tako sem se znašel na vlaku Jugoslovanskih železnic. Internet še ni prišel do mene. So pa vagoni imeli stranišče. In to je imelo vrata. In ta kljuko. Pod kljuko je pisalo “Prosto” ali “Zasedeno” - odvisno od tega, ali je bilo stranišče pač prosto ali zasedeno, odprto ali zaklenjeno. Kasneje, ko je prišel internet, sem pisal internetno poezijo, v ozadju sprogramirano. (Ergodično – glej: Espen J. Aarseth: Cybertext. O besedilu, ki se zgodi, ko nekdo/bralec nekaj naredi.) Vrata na vlaku so prvi primer tega principa, kar sem jih videl, še preden sem vedel, za kaj gre in še preden sem se prvič logiral v internet. UMETNIK / UMETNICA

Jaka Železnikar. Piše in/ali programira poezijo. Bil je eden avtorjev zgodnje spletne umetnosti. — www.jaka.org title

english

Train Doors Slovenia, 2015 object

When I was younger, a long time ago, I must have been about 16 or 17, I took a train ride in search of an adventure, with love in my heart and some small change in my pocket. I read a few poems, listened to the British and American music from the late 60s and early 70s. Living in the somewhat communist Yugoslavia at the time, the hippies from capitalism sang songs to me, more often through records than in live performances. And so I somehow found myself riding on the Yugoslav Railways train. The internet had not yet reached me. However, there was a toilet on the passenger wagons. And the toilet had a door. And the door had a doorknob. The doorknob had a little sign that said “Occupied” or “Vacant” - depending on whether the toilet was occupied or vacant, in use or not. Later, after the arrival of the internet, I was writing internet poetry, programmed in its background. (Ergodic – See: Espen J. Aarseth: Cybertext. About the text that happens when someone/the reader does something.) The train door is the first example of this concept I ever saw, before I even realized what it was and before I logged in for the first time.

artist

Jaka Ĺ˝eleznikar. Writes and/or programs poetry. He was one of the early authors of web art. â&#x20AC;&#x201D; www.jaka.org podoba / image

obj17

UMETNIK / UMETNICA / artist

obj18

Jimpunk naslov

fantom 2015 predmet

slovensko

UMETNIK / UMETNICA

http://twitter.com/llllll__lllllll http://twitter.com/9l17c_ http://twitter.com/_tmnnk http://dvblogh4ck.blogspot.com http://del.icio.us/jimpunk http://delicious.com/screenfull http://delicious.com/LaBoiteEnValise http://delicious.com/triptych.tv http://instagram.com/_._www http://marcelduchamp.tumblr.com http://wefixantlers.tumblr.com http://dysleksic.tumblr.com http://crashtxt.net ........................................................................... ......................................................... .../ title

english

phantom 2015 object

artist

podoba / image

obj18

UMETNIK / UMETNICA / artist

obj19

Jos Diegel naslov

slovensko

Najdeni posnetki, akcijska figura rokoborca Nizozemska / Nemčija, 2015 predmet

Če sam ne veš, ti tudi jaz ne bom povedal, prijatelj! Ta športna disciplina se začne z melodramatičnimi situacijami in liki, nato pa se iz tega razvije igra. Gre za temeljne principe temeljev sveta, za ontološko barantanje, ki ustvari performans, ta pa nato ustvari občinstvo. Ta predstava spretno uporablja vplive kulture in družbenega okolja in tako vpliva na vedenje občinstva. Skupinski konformizem se ustvari iz starih dramatičnih nasprotij, deli in vladaj. Z gledalci vzpostavi stik tako, da jih obravnava in neposredno vključuje v svojo predstavo kot neodvisne strokovnjake, z afirmiranjem in problematiziranjem kulturnih norm ter s hkratnim zaupanjem in nezaupanjem v tisto, kar se odvija pred očmi občinstva. Gre za to, da občinstvo v resnici ne omejuje svoje nejevere, ampak jo ohranja, ob tem pa išče trenutke, ki se mu zdijo resnični. Zato je igralec bodisi junak ali zlobnež v dramatični predstavi, nekakšen spomenik verjetnosti, gesta, ki razodeva obliko Pravičnosti, ki je na koncu

prepoznavna, telo postane politična paleta njihovih lastnih prepričanj in kulturnih implikacij v družbeni areni. UMETNIK / UMETNICA

Rojen 1982, nizozemsko-nemške narodnosti; diplomiral je leta 2010 na Akademiji za umetnost in oblikovanje Offenbach. Razstave, projekti, predavanja, delavnice in projekcije na Centru for za medijsko umetnost Werkleitz, Halle; Cabaret Voltaire, Zürich; The Lodge Gallery, New York; Galerie5020, Salzburg; Theater Gessnerallee, Zürich; Galerie KUB, Leipzig; Xin Dan Wei, Šanghaj; Deutsches Filmmuseum, Frankfurt; DokFest, Kassel; Berliner Kunstsalon, Berlin; Court Métrages, Clermont Ferrand; International Human Rights Film Festival, Nüremberg; Arse Elektronika, San Francisco; Athens Video Art Festival, Atene; Künstlerhaus, Dunaj; Galerie Greulich, Frankfurt; Kunstraum Pro Arte, Hallein; Binghamton University, Binghamton; Videonale, Bonn; Visual Voice Gallery, Montreal; Art von Frei, Berlin; Center za sodobno umetnost, Plovdiv. — www.josdiegel.de title

english

Found Footage, Wrestling Action Figure The Netherlands / Germany, 2015 object

If you don’t know I am not going to tell you, brother! This discipline begins with the situations and characters of melodrama and then, through its own devices, turns them into a game. It’s the fundaments of the foundation of a world, the ontological bartering, that produces that performance which, in turn, produces the audience. This spectacle uses cultural and environmental influences in society to influence the behaviors of the audience. A group conformity is created by the old dramatic conflicts, divide and conquer. It makes contact with its spectators by treating and engaging them as emancipated experts directly in its play, in affirming and challenging cultural norms and in believing and disbelieving in what it sees at the same time. They don’t so much suspend disbelief as they sustain it while looking for moments in which to believe. Therefore he is the hero or the villain of the drama, a sort of metaphysical sign, a statue of believe, the pure gesture that unveils the form of a Justice which is at last intelligible, a body as political palette for their own meanings and cultural implications in a social arena. artist

Born 1982 w. Dutch/German nationality; Diploma 2010 at Academy of Arts and Design Offenbach. Exhibitions, projects, lectures, workshops and screenings at Center for Mediaart Werkleitz, Halle; Cabaret Voltaire, Zürich; the The Lodge Gallery, New York; Galerie5020, Salzburg; Theater Gessnerallee, Zürich; Galerie KUB, Leipzig; Xin Dan Wei, Shanghai; Deutsches Filmmuseum, Frankfurt; DokFest, Kassel; Berliner Kunstsalon, Berlin; Court Métrages, Clermont Ferrand; International Human Rights Film Festival, Nuremberg; Arse Elektronika, San Francisco; Athens Video Art Festival, Athen; Künstlerhaus, Wien; Galerie Greulich, Frankfurt; Kunstraum Pro Arte, Hallein; Binghamton University, Binghamton; Videonale, Bonn; Visual Voice Gallery, Montreal; Art von Frei, Berlin; Center for contemporary Art, Plovdiv. — www.josdiegel.de

podoba / image

obj19

UMETNIK / UMETNICA / artist

obj20

Katarina Kogoj naslov

slovensko

Zakaj bi me predstavljal predmet? Slovenija, 2015 predmet

Prosojnost, prehodnost in rahla odsevnost so lastnosti predmeta, s katerim avtorica sodeluje pri razstavi. Obiskovalec lahko na predmetu pusti svoj pečat, ga lahko nato izbriše ali pusti toku časa. V »drobnem tisku« je na predmetu izpisano vprašanje: »Why would an object represent me?,« zakaj bi katerikoli predmet predstavljal človeka?

UMETNIK / UMETNICA

Katarina Kogoj je 2010 magistrirala s področja interpretacije dediščine na univerzi v Newcastlu in od takrat deluje predvsem na tem področju. Ni umetnica, je pa kanček gika, kanček naravoljubca, kanček vagabunda in precej vedoželjna. Od leta 2014 je študentka magistrskega programa Medijske umetnosti in prakse na Visoki šoli za umetnost Univerze v Novi Gorici.

title

english

Why would an object represent me? Slovenia, 2015 object

Translucence, transparence and iridescence are the characteristics of the object which the author contributed to the exhibition. Visitors may leave their mark on the object, then wash it off or let the flow of time take its course. The “small print” on the object features the question: “Why would an object represent me?” - why would any object at all represent a human being?

artist

Katarina Kogoj obtained her master’s degree in Heritage Interpretation at the Newcastle University, and has since been primarily involved with this field of interest. While not an artist, she is a bit of a geek, a bit of a nature lover, a bit of a vagabond, and quite enthusiastic about learning. Since 2014, she has been enrolled in the post-graduate course of Media Art and Practice at the University of Nova Gorica School of Arts. podoba / image

obj20

UMETNIK / UMETNICA / artist

Kim Asendorf naslov

obj21 slovensko

Industrijski papir Nemčija, 2015 predmet

Konec papirja kot glavnega medija pisne komunikacije je prišel tistega dne, ko je moja mati, ki je prebrala na stotine knjig, a nikoli ni uporabila računalnika, kupila Kindle. Knjige so predstavljale zadnji branik sveta papirja. Zakaj torej sodobni človek še vedno uporablja papir za brisanje riti? Tudi kot material za pakiranje ga je pretežno nadomestila plastika, samo karton se še vedno uporablja za pošiljanje paketov prek Amazona. Predizdelani »industrijski papir« v spomin prikliče posebno estetiko in naravno toplino papirja in industrijski produkt uporabi za predstavljanje zadnje faze tega medija. UMETNIK / UMETNICA

Kim Asendorf je konceptualni umetnik, ki pri svojem delu uporablja digitalne medije, ki vsebujejo internetno kulturo in tehnologijo. Njegova dela segajo od online projektov in performansov do likovne umetnosti in instalacij. Znan je po tem, da je izumil Pixel Sorting, odprtokodni algoritem za spreminjanje slikovnega zapisa, pa tudi po ustvarjanju datotečnih oblik kot umetniških del ter po tem, da je ustvaril Prvi animirani GIF, ki je bil poslan v širno vesolje. Kimova dela so bila predstavljena na festivalih in institucijah, kot so Transmediale, ZKM Karlsruhe, Edith-Russ-Haus für Medienkunst, NCCA Yekaterinburg, Eyebeam, NIMK, LEAP oziroma Overlapping Biennial Bucharest ter v galerijah in na sejmih, kot so Unpainted (München), Moving Image Contemporary Art Fair (London), Creation Gallery G8 (Tokyo), Carroll / Fletcher (London), KM Temporaer (Berlin), XPO Gallery (Pariz) ali The Photographers’ Gallery (London), dobil pa je tudi častna priznanja in spodbudil kontroverzne razprave na popularnih blogih, medijskih in umetniških revijah ter na televiziji. Trenutno živi in dela v Berlinu, zastopa pa ga galerija DAM — www.kimasendorf.com title

english

Industrial Paper Germany, 2015 object

The end of paper as the main medium of written communication was sealed on the day on which my mother, who reads countless books but has never used a computer, has switched to Kindle. Books were the last bastion of the paper world. For what does modern man still use paper beside to wipe the ass? Even as a packaging material, it has mainly been replaced by plastics, only cardboard is still being used for Amazon shipments. The ready-made

‘Industrial Paper’ recalls the special aesthetics and natural warmth of paper and uses the industrial product to display the last stage of the medium. artist

Kim Asendorf is a conceptual artist working with digital media incorporating Internet culture and technology. His work ranges from online projects and performances to visual art and installations. He is widely know for the invention of Pixel Sorting, an image altering algorithm he made Open Source, the creation of file formats as work of art or The First Animated GIF Send Into Deep Space. Kim’s works has been shown at festivals and institutions like Transmediale, ZKM Karlsruhe, Edith-Russ-Haus für Medienkunst, NCCA Yekaterinburg, Eyebeam, NIMK, LEAP or the Overlapping Biennial Bucharest and at galleries and fairs like Unpainted (Munich), Moving Image Contemporary Art Fair (London), Creation Gallery G8 (Tokyo), Carroll / Fletcher (London), KM Temporaer (Berlin), XPO Gallery (Paris) or The Photographers’ Gallery (London) and got honorary mentions and created controversial discussions on major blogs, media and art magazines or television. He currently lives and works in Berlin and is represented by DAM Gallery. — www.kimasendorf.com

podoba / image

obj21

UMETNIK / UMETNICA / artist

Lenka Klimešová naslov

obj22

slovensko

Masažni stol Republika Češka / Avstrija, 2015 predmet

Osrednji koncept projekta je spodbujanje k ustvarjanju užitka, ne umetnosti. Pri delu me zanimajo predvsem čustva in potrebe gledalca. Mislim, da obiskovalci na razstavah vidijo veliko umetniških del, zato so zelo utrujeni in potrebujejo počitek - in ravno za takšne obiskovalce pride prav masažica v masažnem stolu. Kot uporabnik mojega predmeta lahko občutite ugodje v imenu umetnosti. Umetniški kos vibrira in tako ustvarja ugodje. Vibracije sem uporabil kot osrednji koncept umetniškega dela že pri mojih dveh predhodnih projektih - »Future Kiss« in »The Will«. V tem projektu vibracije nudijo pravo masažo v masažnem stolu. Obiskovalci si lahko privoščijo počitek ter ob tem občutijo miselno in telesno ugodje. V tem primeru moj umetniški kos deluje kot medij, ki obiskovalca pripravi na drugačno umetniško izkušnjo. UMETNIK / UMETNICA

Mgr.art. Lenka Klimešová, MA (1986), je multimedijska in multidisciplinarna umetnica, ki pri svojem delu raziskuje koncept opazovanja telesa skozi prizmo spola kot otipljive maske, ki temelji na prostorskih identitetah in vzorniških modelih, dekonstruiranih v medkulturnih hibridnih performansih. Ustvarja predvsem v medijih, ki vsebujejo časovno dimenzijo - video, performans in interaktivne instalacije. Leta 2014 je uspešno zaključila magistrski študij vmesniških kultur na univerzi Kunstuniversität v Linzu, Avstriji. Trenutno je vpisana na doktorski študij na Fakulteti za umetniške znanosti, na univerzi Kunstuniversität v Linzu, Avstriji. Od leta 2008 je s svojimi deli sodelovala že na več kot 90 razstavah, festivalih, delavnicah in konferencah. Njeno delo Future Kiss je bilo nagrajeno s častno omembo na festivalu Prix Ars Electronica 2009 v kategoriji interaktivnih umetnosti ter na festivalu 2012 ARTE Creative TV Streberprämie. — klimesova.daportfolio.com — vimeo.com/klimesova title

english

Massage Chair Czech Republic / Austria, 2015 object

The main idea of the project is to make pleasure and not art. I primarily focus on the spectator’s feelings and needs. I imagine the visitors watch

many artworks at the exhibition and they get totally tired and just need a bit rest - and for that they can enjoy a massage in the massage chair. As a user of my object you can feel good in the name of art. The project works with a vibration producing a pleasant feeling. I have used the vibration as the main concept of the artwork already in two previous projects – “Future Kiss” and “The Will”. In this project the vibration provides a real massage in the massage chair. Visitors can have a rest and enjoy the mental as well as a physical pleasure of the provided massage. In this case my art object works as a medium which prepares the visitor for a new artistic experience. artist

Mgr.art. Lenka Klimešová, MA (1986) is a multimedia and multidisciplinary artist working with the issue of perceiving a body through gender as a playful tangible disguise based on space identities and role models deconstructed in the intercultural hybrid performances. She creates mainly in time-based media – video, performance and interactive installation. In 2014 she received a MA with honors in Interface Cultures at Kunstuniversität Linz, Austria. She is currently enrolled in PhD studies at the Faculty of Art Science and Philosophy, KU Linz. Since 2008 she participated in more than 90 exhibitions, festivals, workshops and conferences. Her work Future Kiss was awarded the Prix Ars Electronica 2009 Honorary Mention in the Interactive Arts category and 2012 ARTE Creative TV Streberprämie. — klimesova.daportfolio.com — vimeo.com/klimesova podoba / image

obj22

UMETNIK / UMETNICA / artist

Maja Smrekar naslov

obj23 slovensko

Ljubezen Slovenija, 2015 predmet

Rada bi, da živiš, tako da se pozneje vedno lahko zgodi umor. Razumeti moraš, da je moja zlonamernost le način za zmago. Želimo vedeti ime našega uničevalca. Povem ti, da je prijaznost precenjena. Rada bi zapisala svojo skrivnost na tvoje nebo. Všeč mi je, ko izgubiš nadzor. Poškoduj me s svojimi šapami in zobmi, tako da vem, kje si bil... Vznemiri nas, ko zakoljejo žival, to nam daje občutek sentimentalnosti. Tako sentimentalni smo, da komaj čakamo, da okusimo njen strah, ko jo pojemo za večerjo. Prerasli smo strah. Želeli smo biti tam, ko se razmesari njen vroči, črni bes. Želimo okusiti meso naše vrste: Narava-kultura postane ena beseda. Ti si moje hranilo, tako kot sem jaz sem tvoje. Ko hočem zadaviti zvezde zaradi vsega, kar so mi obljubile, zajokam vate, stisnem tvoj mehki kožušček in ti povem, da sem si svoje rane zadala sama. Ko umrem, želim biti nekje na lepem, s teboj, saj ti utelešaš moj intimni čustveni spomin. Rada bi, da mi razložiš razliko med otrokom in domačo živaljo? Sem nemara pes? Rada bi bila tvoj pes. Rada bi te nehala uničevati, a ne morem. To je najina intimnost. UMETNIK / UMETNICA

Maja Smrekar je bila rojena leta 1978 v Sloveniji. Leta 2005 je diplomirala na Oddelku za kiparstvo Akademije za likovno umetnost in oblikovanje v Ljubljani, kjer na Oddelku za video in nove medije zaključuje magistrski študij. Preteklih osem let redno sodeluje z Galerijo Kapelica in pet let z Zavodom Aksioma. Znotraj njihove produkcije izvaja projekte pri katerih povezuje humanistične in naravoslovne znanosti v interdisciplinarna umetniška dela. Leta 2010 je v Multimedijskem centru Kiberpipa umetniško vodila in organizirala mednarodni festival intermedijskih umetnosti HAIP10 – Nova narava, kjer je bila umetniška vodja dve leti. Na festivalu Cynetart v Dresdnu (Nemčija) je leta 2012 prejela 1. nagrado Hellerau - Evropskega centra za umetnosti, leta 2013 Častno omembo v kategoriji Hibridnih umetnosti na mednarodnem festivalu Ars Electronica v Linzu (Avstrija) in za dosežke na področju vizualnih umetnosti, nacionalno nagrado Zlata ptica. Maja Smrekar živi in dela med Ljubljano in Berlinom. — majasmrekar.org/work title

english

Love Slovenia, 2015 object

I want to keep you alive so there is always the possibility of murder later. I want you to understand that my malevolence is just a way to win. We want the name of our ruiner. I want you to know that being kind is overrated. I want to write my secret across your sky. I like to watch you lose control. … I want your paws and teeth to scar me so I’ll know where you’ve been … We get excited when an animal is slaughtered and therefore

we feel sentimental. So sentimental that we can´t wait to taste it´s fear while eating it for dinner. We transcendent fear. We wanted to be there when its hot black rage ripped wide open. We want to taste our own kind: Nature-Culture ends up being one word. You are my nutrient as I am yours. When I want to strangle the stars for all they promised me, I cry into you, hugging your soft fur and I want you to know my wounds are self-inflicted. I want to be somewhere beautiful when I die, with you, as you embody my intimate emotional memory. I want you to make me understand what is the difference between a child and domesticated animal? Am I a dog? I want to be your dog. I want to stop destroying you but I can’t. This is our intimacy. artist

Maja Smrekar was born in 1978, in Slovenia. In 2005 she graduated from Sculpture at the Ljubljana Fine Arts and Design Academy, where she is taking a master’s course in Video and New Media. For the past eight years she has been regularly working with the Kapelica Gallery, and for the last five years she has been working with Aksioma Institute. As part of its production activities, she is interested in making projects which integrate arts and sciences in interdisciplinary artworks. In 2010, she was the artistic manager and organizer of the international intermedia art festival HAIP10 – New Nature at the Kiberpipa Multimedia Center, where she has been the artistic manager for two years. In 2012, she won the first prize of the Hellerau - European Art Center at the Cynetart festival in Dresden (Germany), and in 2013 she won an Honorary Mention in the Hybrid Arts category at the Ars Electronica festival in Linz (Austria). She also won the national Golden Bird award for her work in visual arts. Maja Smrekar lives and works between Ljubljana and Berlin. — majasmrekar.org/work podoba / image

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UMETNIK / UMETNICA / artist

Majda Gregorič naslov

obj24 slovensko

Pogled Slovenija, 2015 predmet

To delo je izraz nečesa izrazito človeškega, sega v odnose med prostorom, družbo in intimnostjo. Delo je večstopenjsko, razvijajoče, razpira se med omejitve in svobodo izraza v materiji. Prehodnost, cikličnost, spiralnost. Pomen se razširi v preteklost. UMETNIK / UMETNICA

Sem Majda Gregorič, umetnica, ki se obsesivno naslanja na s-misel. Smisel sebe boljše razumeti in to deliti z drugimi. Pri tem izhajam iz svoje večkulturne in ženske izkušnje. Zagotovo ste slišali govorice o težavah, ki jih imam zadnje čase, in o hudi krizi, v kateri sem se znašla. Najprej hočem, da veste, da je vse, kar ste slišali o meni, laž. Vedno sem poskušala živeti “pravo” življenje. Navsezadnje mislim, da poznate moje delo in nedvomno veste, da sem se mu popolnoma posvetila, vendar so stvari dosegle takšno stopnjo neznosnosti, da mislim, da tega ne bom mogla več dolgo prenašati. Živim in delam v Ljubljani, pa tudi drugod po svetu. Moja dela so kot iztrgana iz življenja in se stapljajo v prostor, hočejo biti aluzija za pogovor, ki ga sprožajo. Biti umetnik je močna dejavnost, in hkrati šibka, če je res, da si jo lahko kdorkoli prisvoji in jo prerazdeljuje naprej v svoji firmi, toliko bolje, če je ta ugledna. Material, telesa, umetniške strukture, postavitve v prostoru, pripovedujejo zgodbe odstiranja plasti spomina, prvobitnosti v perspektivi bodočega. — vimeo.com/majdagre | facebook.com/Brlog.0 title

english

The Look Slovenia, 2015 object

This work is an expression of something characteristically human, it explores the relationships between the space, society and intimacy. The work operates on multiple levels, developing and stretching between the limitations and freedom of expression in matter. Transitivity, cyclicity, spirality. Meaning expands into the past. artist

My name is Majda Gregorič, an artist who is obsessively leaning on cause and meaning. My cause is to better understand myself and share this with others. I draw inspiration from my multicultural experience, as well as my

experience as a woman. I am sure you have heard about the troubles I have been having lately and about the great crisis I got myself into. First, I want you to know that everything you heard about me is a lie. I have always tried to live the “right” life. At the end of the day, I think you know my work and I am sure you know that I have given myself to it completely, but this has put me in such an unbearable situation that I don’t think I will be able to bear it much longer. I live and work in Ljubljana, as well as other parts of the world. My works are torn out from life and melded into space, they seek to serve as an allusion to the discussion they spark. Being an artist is a powerful calling, and a weak one at the same time, if it is true that anyone can appropriate it at any time and disseminate it along in their firm – even better if the firm is a reputable one. Material, bodies, artistic structures, 3D installations, they all tell stories about removing layers of memory, the primordial in the perspective of what is to come. — vimeo.com/majdagre | facebook.com/Brlog.0 podoba / image

obj24

UMETNIK / UMETNICA / artist

Marko Batista naslov

obj25 slovensko

Tišina, prosim! Slovenija, 2015 predmet

“Izbrani predmeti tematizirajo Markovo raziskovanje fizike zvoka v odnosu do hibridnih, tehnoloških, elektromagnetnih in kemičnih sistemov. Njegovo delo se upira mistifikaciji tehnologije, hkrati pa odpira nove načine razmišljanja o njej. Z eksperimentalnimi sistemi razširja polje človeške čutne percepcije in fenomenologije nestabilnih avdio - vizualnih odnosov v prostoru in času.” Andreja Hribernik UMETNIK / UMETNICA

Marko Batista je v Ljubljani živeč intermedijski umetnik, eksperimentator zvoka, digitalne video slike in izvajalec računalniško generiranih matric. Diplomiral je iz slikarstva na ljubljanski Akademiji za likovno umetnost in magistriral na University of the Arts London v Veliki Britaniji. Po premierni uprizoritvi intermedijskega performansa v galeriji Kapelica ga je kustos Jurij Krpan povabil k predstavitvi slovenske eksperimentalne scene na festivalu medijske umetnosti ARS ELECTRONICA 2008 v avstrijskem Linzu. Mesec dni po tem je z razstavo otvoril VIENNABIENNALE 2008 na Dunaju ter na povabilo Braneta Zormana sodeloval na projektu RADIOCONA v Ljubljani. Po festivalu Ars Electronica je začel sodelovati z zavodom Aksioma, s katerim so skupaj izvedli projekte v znani KUNSTHAUS GRAZ Bix Facade ter produkcijo intermedijskih performansov. Sodeloval je na vseh večjih intermedijskih festivalih in galerijah: Arzenal Depo 2k, Moderna galerija, Transmediale 2010-Berlin, Netaudio-London, festival Izolenta 07 v St. Petersburgu; 10. Istanbul Bienale, Turčija; Leta 2014 je v sodelovanju z zavodom AKSIOMA IN KOROŠKO GALERIJO VIZUALNIH UMETNOSTI predstavil veliko svojih del z naslovom ZAČASNI OBJEKTI IN HIBRIDNI PROSTORI v Slovenj Gradcu in ostalih prizoriščih. — microrobotic.wordpress.com title

english

Quiet please! Slovenia, 2015 object

“The chosen works deal with Marko’s research into the physics of sound as they relate to hybrid, technological, electromagnetic and chemical systems. His work opposes the mystification of technology, while at the same time opening up new ways of thinking about the phenomenon. With experimental systems, he expands the field of human sensory perception and the phenomenology of unstable audio-visual relationships in space and time.” Andreja Hribernik

artist

Marko Batista is an intermedia artist living in Ljubljana, an experimenter in sound, digital video and a performer of computer-generated matrices. He received his BA in painting from the Ljubljana Academy of Fine Arts and obtained a master’s degree at the London University of the Arts. After his intermedia performance premiere at the Kapelica Gallery, curator Jurij Krpan invited him to exhibit his Slovenian experimental scenes at the ARS ELECTRONICA 2008 festival in Linz, Austria. One month later, his exhibit opened the VIENNABIENNALE 2008 and at the invitation of Brane Zorman, he is involved on the RADIOCONA project in Ljubljana. After the Ars Electronica festival, he began working with Aksioma Institute. The collaboration resulted in several projects shown in the renowned KUSTHAUS GRAZ Bix Facade, and production of intermedia performances. He is involved in all major intermedia festivals and galleries: Arzenal Depo 2k, Moderna Gallery, Transmediale 2010-Berlin, Netaudio-London, Izolenta festival 07 in St. Petersburg; 10th Istanbul Bienale, Turkey; in 2014 his collaboration with AKSIOMA and the Koroška Gallery of Visual Arts results in a grand exhibition of Marko’s works under the title TEMPORARY OBJECTS AND HYBRID SPACES in Slovenj Gradec and other venues. — microrobotic.wordpress.com podoba / image

obj25

UMETNIK / UMETNICA / artist

Martine Neddam naslov

obj26 slovensko

Alvaro Rojas: Mouchette (za sopran in komorni orkester) Kanada / Nizozemska, 2012 predmet

Besedilo skladbe Mouchette je povzeto po spletnem mestu www.mouchette. org. To je čuden in zanimiv svet »skoraj trinajstletne« deklice Mouchette, znane tudi pod imenom nizozemske umetnice Martine Neddam (www.neddam. org). Vokalni deli zvočnega zapisa, označeni z oznako »Spoken« (govor), niso nujno popolnoma natančno usklajeni z zapisanimi ritmi (dovolj je naravni govorni ritem). Deli zvočnega zapisa z oznako »Buzzing Fly« (brenčanje muhe) so improvizacijski segmenti, kjer lahko igralci oponašajo brenčanje muhe s svojim instrumentom; lahko bi začeli s hitrimi, ritmično nepravilnimi prehodi na trobilih in s hitrim tremolom, ustvarjenim z vzdolžnim drsenjem po strunah na godalnih instrumentih. To bi moralo zveneti kot mehko, rahlo nadležno zvočno ozadje. Trkala za drugi del sestavljajo hkratni zven ksilofona in triangla. Instrumenti: Flavta, klarinet, klavir, violina, viola, čelo, trkala (lesene klade, bič, triangel in ksilofon). UMETNIK / UMETNICA

Martine Neddam je vizualna umetnica, ki ustvarja skozi internetne virtualne osebnostmi s samostojnim umetniškim življenjem, medtem ko prava avtorica ostaja nevidna. Anonimno preiskuje koncept online identitete skozi virtualne osebnosti, kot so Mouchette, David Still, XiaoQian in kolektivni vmesnik virtualperson.net. Z delom MyDesktopLife nadaljuje svoje raziskovalno delo o identiteti v spletnem brskalniku, ob tem pa razvija izvirno vizualno podobo in notranji glas. — neddam.info title

english

Alvaro Rojas: Mouchette (For Soprano and Chamber Ensemble) Canada / The Netherlands, 2012 object

The text of Mouchette is from the website www.mouchette.org, a strange and curious world created by Mouchette, a “nearly 13 year old girl” AKA Dutch Artist Martine Neddam (www.neddam.org). Vocal parts marked Spoken need not necessarily observe the exact written rhythms (go for a natural spoken rhythm). “Buzzing fly” sections are ad lib moments where players can make their best buzzing fly imitations on their instrument; fast, rhythmically irregular chromatic passages on wind instruments and fast

tremolos while sliding up and down a string on string instruments would be a place to start. These parts should be heard as a soft, slightly annoying background texture. Percussion for part II plays Glockenspiel and Triangle simultaneously. Instrumentation: Flute, Clarinet, Piano, Violin, Viola, Cello, Percussion (Wood Block, Whip, Triangle and Glockenspiel). artist

Martine Neddam is a visual artist who has been working with internet virtual characters who lead an autonomous artistic existence in which the real author remains invisible. She has been exploring anonymously the concept of online identity through virtual characters such as Mouchette, David Still, XiaoQian, and the shared interface virtualperson.net. With MyDekstopLife she continues investigating identity in a browser by developing an original visual style and an inner voice. â&#x20AC;&#x201D; neddam.info podoba / image

obj26

UMETNIK / UMETNICA / artist

Mihaela Kavdanska naslov

obj27 slovensko

Neverjetnost hekerske meditacije Romunija / Bolgarija, 2015 predmet

Tekoče stopnice in njihovo vzpenjanje in spuščanje predstavljajo srž mojega projekta, ki sem ga imenovala »Hekerska meditacija«: gre za v videu dokumentirano poseg v različne javne prostore, kjer sem se s tekočimi stopnicami prevažala gor in dol v pozi za meditacijo. »Ali je meditacija posebna duhovna praksa ali le nenavadno vedenje v vsakdanjem življenju? Ali bi bila meditacija lahko način za vdor v javni prostor? Ali je spokojnost način za vdor v dnevno rutino? Vdor v um. Vdor v življenje. Vdor v Vesolje.« Zdaj je mrtev člen tekočih stopnic postavljen v galerijski prostor. Ta vodi dobesedno v nezmožnost vdora v meditacijo. Zastavlja se vprašanje: ali res lahko vdremo v nekaj, ali se vdor zgodi zgolj v naše razumevanje stvari in dejanj? UMETNIK / UMETNICA

Mihaela Kavdanska je intermedijska umetnica, kreativna direktorica in raziskovalka. Rojena je bila v Bolgariji, živi in dela pa v Romuniji in v Avstriji. Od poznih devetdesetih let ustvarja samostojne in kolaborativne projekte ter jih razstavlja in izvaja v galerijah, muzejih, plesnih centrih in gledališčih po Evropi, ZDA in Aziji. Mihaela Kavdanska ustvarja žive predstave in procesna umetniška dela, pri čemer stalna izmenjava perspektiv in kontekstov igra pomembno vlogo. V zadnjem času jo zanima kreativno ravnovesje med umetnostjo in tehnologijo, s poudarkom na prepričljivih audiovizualnih instalacijah in interaktivnih plesnih predstavah, kjer glavno vlog igra enovitost intermedijev. Kratek pregled prizorišč in dogodkov: Narodni muzej za sodobno umetnost, Bukarešta; Essl Sammlung Museum, Dunaj; Narodni muzej tuje umetnosti, Sofija; Cleveland Public Theater & Playhouse Square; Festival Ars Electronica; DAfest; Videomedeja; Simultan Festival; CAMP Festival; Post Screen Festival; Kinetica Art Fair, VIENNAFAIR, eXplore Dance Festival, Crossing Europe Festival. — www.kavdanska.eu | www.kotkivisuals.com | www.avmotional.com title

english

The Impossibility of Hacking Meditation Romania / Bulgaria, 2015 object

The escalator and its up&down movement are vital for another project of mine called “Hacking Meditation”: a filmed intervention in different public spaces, where I was going up and down, sitting on the escalators, in a meditation posture.

“Is meditation a special spiritual practice or a usual one in everyday life? Could meditation be a method of hacking the public space? Is the stillness a way to hack the daily routine? Mind Hack. Life Hack. Hacking the Universe.” Now, a dead piece of an escalator is placed in a gallery space. It leads literally to the impossibility to hack meditation. The question is: do we really hack something or we just hack our own concepts of things & actions? artist

Mihaela Kavdanska is an intermedia artist, creative director & researcher. Bulgarian born, lives & works in Romania and Austria. Since late ’90, she’s been working on personal and collaborative projects, exhibited and performed in galleries, museums, dance centers & theaters around Europe, USA & Asia. Mihaela Kavdanska creates live experience and process based art works, where the constant exchange of perspectives & contexts plays an important role. Lately, she’s been concerned with the creative balance between art and technology, focusing on immersive AV installations and interactive dance performances, where the intermedia oneness plays main role. Short selection of venues & events: National Museum for Contemporary Art, Bucharest; Essl Sammlung Museum, Vienna; National Museum of Foreign Art, Sofia; Cleveland Public Theater & Playhouse Square; Ars Electronica Festival; DAfest; Videomedeja; Simultan Festival; CAMP Festival; Post Screen Festival; Kinetica Art Fair, VIENNAFAIR, eXplore Dance Festival, Crossing Europe Festival. — www.kavdanska.eu | www.kotkivisuals.com | www.avmotional.com podoba / image

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UMETNIK / UMETNICA / artist

Nataša Berk naslov

obj28 slovensko

temno bela Nemčija / Slovenija / Japonska, 2015 predmet

#0048BA #FF8C00 #B9F2FF #85BB65 #555D50 #71A6D2 #FFDAB9 #A6E7FF #7B3F00 #4B3621 #FAF0BE #FFC1CC #777696 #FFD800 #FAD6A5 #214FC6 #BE4F62 #FF6D3A #AA381E #002FA7 #264348 #86608E #A2006D #253529 #004242 #000000 #NOTHINK IS TOO GOOD TO BE TRUE. UMETNIK / UMETNICA

Nataša Berk, rojena leta 1978 v nemškem Böblingenu. Po zaključku izobraževanja v Ljubljani kot fotografinja je odšla v Avstrijo, kjer je leta 2005 diplomirala na dunajski Akademiji za likovno umetnost. Berkovo lahko opišemo kot ironično-provokativno avantgardistko eksistencializma z abstraktnim instinktom. Zanjo je značilno, da je zvrsti ne omejujejo, zato deluje na številnih področjih umetnosti. Dela so večinoma povezana s fotografijo, videom, tiskom, objektom, tekstom, glasbo in zvokom, ter ročno in digitalno ilustracijo. Pomemben del njenega umetniškega izražanja je tudi performans. Njene akcije so spontane, včasih brez začetka, a z zaključenim koncem – in obratno. Kot državljanka sveta sedaj živi in dela povsod. — natasaberk.blogspot.de

title

english

Dark White Germany / Slovenia / Japan, 2015 object

#0048BA #FF8C00 #B9F2FF #85BB65 #555D50 #71A6D2 #FFDAB9 #A6E7FF #7B3F00 #4B3621 #FAF0BE #FFC1CC #777696 #FFD800 #FAD6A5 #214FC6 #BE4F62 #FF6D3A #AA381E #002FA7 #264348 #86608E. #A2006D #253529 #004242 #000000 #NOTHINKISTOOGOODTOBETRUE. artist

Nataša Berk, born in 1978 in Böblingen, Germany. After completing her education as a photographer in Ljubljana, she left for Austria, where she graduated from the Vienna School of Visual Arts in 2005. Berk can be described as an ironic-provocative avant-garde artist of existentialism with an abstract instinct. Her works is characterized by not being held back by the limitations of categorization, and is therefore active in a number of aspects of art. Her works predominantly deal with photography, video, print, objects, text, sound and music, and manual and digital illustration. Performance is also an important part of her artistic expression. Her actions are spontaneous, sometimes with no beginning, but always with a clear end, and vice versa. As a citizen of the world, she now lives and works everywhere. — natasaberk.blogspot.de

podoba / image

obj28

UMETNIK / UMETNICA / artist

obj29

Nina Bric naslov

slovensko

#fake Slovenija, 2015 predmet

#shinyshiny #glow #special #amazing #beautiful #oneofakind #ohah! #blingbling #disco #electrotechno #hype #cheap #sexy #seductive #kitsch #trash #garbage #epileptic #saturation #disposable #useitandabuseit #lol #omg #wtf #like #comment #newmessage #lookatme #selfie #nofilter #yesfilter #attentionwhore #facebook #instagram #twitter #hashtag #error #warning #falsesplendour #goodadvertising #misleading #dontbelievethehype #justimage #prettylies #nomeaning #emptyinside #cliche #notreal #fake #pulltheplug

UMETNIK / UMETNICA

Nina Bric prihaja iz Nove Gorice, je samozaposlena v kulturi kot slikarka, po izobrazbi pa profesorica likovne umetnosti. Ukvarja se s slikanjem, kiparjenjem, ilustracijo, risanjem stripov in izdelovanjem lutk. Razstavljala je v Ljubljani, Novi Gorici, Velenju, Mariboru in Biljah, izven Slovenije pa v Gorici, Trstu (oboje ITA) in Banja Luki (BiH). Oktobra 2013 se je udeležila umetniške rezidence v Rigi, Latviji, pri stripovski reviji Kuš!. Sodelovala je pri več predstavah v Slovenskem mladinskem gledališču Ljubljana in Lutkovnem gledališču Ljubljana, z režiserjem Matjažem Pograjcem, scenografinjo in kostumografinjo Barbaro Stupico in igralko in režiserko Asjo Kahrimanović. Živi in dela v Ljubljani. Njen stil je zelo prepoznaven, pisan, stripovsko - pop nadrealističen, z motivi golih žensk in plišastih otroških muck, medvedkov in zajčkov. V njenih slikah pa so nakazani namigi na grozljivke, na svet erotike, nasilja, tudi spolnega nadlegovanja. Njeno delo, ki je poudarjeno ironično in posmehljivo, nastaja iz prepletanja ljubkosti in strašljivosti, končni učinek pa je predvsem želja po podiranju tabujev, poigravanje z erotiko, seksualnostjo in dvoumnostjo, premagovanje resnobnosti z zafrkljivostjo. — ninabric.si title

english

#fake Slovenia, 2015 object

Nina Bric is from Nova Gorica, a freelance artist working as a painter, and has an art teaching degree. Her work includes painting, sculpture, illustration, graphic novels and puppetry. She has exhibited her work in Ljubljana, Nova Gorica, Velenje, Maribor and Bilje, and internationally in Gorizia, Trieste, (Italy) and Banja Luka (BiH). In October 2013 she joined an artist residency project in Riga Latvia, with the comic magazine Kuš!. She has contributed her work in multiple performances at the Slovenian Youth Theater in Ljubljana, and the Ljubljana Puppet Theater, with directors Matjaž Pograjc, scenographer and costume artist Barbara Stupica, and actor and director Asja Kahrimanović. She lives and works in Ljubljana. Her style is very characteristic, vivid, comic-pop surrealist, featuring the naked female form and felt fuzzy kittens, baby bears and bunnies. Her pictures make allusions to horror movies, erotica, violence and sexual harassment. Ironic and derisive, her work comes from a combination of cuteness and eeriness, and the end effect is mainly the desire to tear down taboos, play with eroticism and ambiguity, conquering serious subjects with humor. — ninabric.si

podoba / image

obj29

UMETNIK / UMETNICA / artist

obj30

Nina Kočar naslov

slovensko

Vse kar rečemo, nekaj pomeni. Ne mislimo vsega, kar rečemo. Slovenija, 2015 predmet

Neviden umetnik je tih umetnik. Tiha voda bregove dere.

UMETNIK / UMETNICA

Rojena 1980 v Ljubljani. Živi, ustvarja, se veseli in trpi v Kamniku. ninakocar.blogspot.com — www.facebook.com/nina.kocar.3 english

title

Everything we says means something. We don’t mean everything we say. Slovenia, 2015 object

An invisible artist is a silent artist. Still waters run deep.

artist

Born in 1980 in Ljubljana. She lives, works, finds joy and sorrow in Kamnik. — ninakocar.blogspot.com — www.facebook.com/nina.kocar.3 podoba / image

obj30

UMETNIK / UMETNICA / artist

Oliwia Bławat naslov

obj31 slovensko

Označevanje baročnih slik Poljska, 2015 predmet

»Vse dokler živim, imam nadzor nad svojim obstojem.« Artemisia Gentileschi Četudi so časi morda drugačni, se morajo umetnice še vedno spopadati z izzivom enakopravnosti v svetu umetnosti. Kot prva ženska, ki je bila sprejeta na Akademijo za likovno umetnost, je baročna umetnica Artemisia Gentileschi utrla pot za druge umetnice. Knjižna oznaka: UMETNIK / UMETNICA

Oliwia Bławat (1979, Bydgoszcz, Poljska) je umetnica in raziskovalka, specializirana za umetnost hiperteksta in sodobno umetnost. Njeno umetniško delo temelji na raziskovanju različnih področij materialne in nematerialne umetnosti, kot so slikanje, digitalna fotografija, digitalni kolaž, net art in pripovedništvo v hipertekstu. Avtorica spletnih projektov: Internet is Full of Dreams, Posthypertext.org, From Internet with Love, Ipertestualmente.org. Trenutno živi in dela v Bydgoszczu. Izobrazba: 2006 – diploma likovne umetnosti – slikarstvo – Accademia di Belle Arti di Carrara, Italija. 2006 – 2007 – študentka programa Erasmus – Univerza Mimar Sinan Gusel Sanat, Carigrad, Turčija. 2015 – magisterij likovne umetnosti – Net art in digitalna kultura – Accademia di Belle Arti di Carrara, Italija. Razstave: 2005 – Fiera d`arte contemporanea Immagina Arte in Fiera, Reggio Emilia, Italija. 2015 – 6 PM Your Local Time, distribuirana razstava v organizaciji Link Art Centra, Brescia, Italija — www.oliwiablawat.pl title

english

Bookmarking of Baroque Paintings Poland, 2015 object

“As long as I live, I will have control over my being.” Artemisia Gentileschi Even though times have changed, women artists still have to take the challenge of equality in the art world. As the first woman who was accepted

to the Academy of Fine Arts, the baroque painter Artemisia Gentileschi made a way for other women artists. Bookmark: artist

Oliwia Bławat (1979, Bydgoszcz, Poland) is an artist and researcher specialized in hypertext based art and contemporary art. Her artistic activity is based on research in various fields of material and immaterial arts such as painting, digital photography, web based art, digital collage, net art and hypertextual narrative. Author of online projects: Internet is Full of Dreams, Posthypertext.org, From Internet with Love, Ipertestualmente.org. Currently lives and works in Bydgoszcz. Education: 2006 – BFA – Painting – Accademia di Belle Arti di Carrara, Italy. 2006 – 2007 – Erasmus student – Mimar Sinan Gusel Sanat University, Istambul, Turky. 2015 – MFA – Net art and digital culture – Accademia di Belle Arti di Carrara, Italy. Exhibitions: 2005 – Fiera d`arte contemporanea Immagina Arte in Fiera, Reggio Emilia, Italy. 2015 – 6 PM Your Local Time, distributed exhibition organized by Link Art Center, Brescia, Italy — www.oliwiablawat.pl podoba / image

obj31

UMETNIK / UMETNICA / artist

Paul Hertz naslov

obj32 slovensko

Majhen časovni stroj, ki potuje prečno na krajše razdalje ZDA, 2015 predmet

Dogodke, ki se dogajajo skozi čas, je včasih težko razumeti kot celoto, verjetno zato, ker je njihov časovni okvir zelo obsežen ali pa, ker preprosto ne pritegnejo naše pozornosti. Predstavljanje časovnih sekvenc v obliki slike, ki si jo je mogoče subjektivno ogledati v določenem trenutku, omogoča prikazovanje časovnih vzorcev. Če predstavimo časovno sliko kot vizualno poezijo in ne kot znanstveno vizualizacijo, spodbudimo pristop z domišljijo in ne z analizo. Čas uniči vse, kar nam je drago, a vsakdanje preživi. V svetu domišljije se čas giblje v nepričakovanih smereh. UMETNIK / UMETNICA

Paul Hertz je svobodni umetnik in kustos, ki poučuje umetnostno zgodovino in studijsko delo na področju novih medijev na School of the Art Institute of Chicago. Na področju računalniške umetnosti ustvarja že več kot trideset let. Pri svojem delu uživa v disfunkcionalnem pripovedništvu, lažnem simbolizmu, intermedijih, programskem čarovništvu, hroščarstvu in družabnih vmesnikih. S svojimi deli se je predstavil na številnih mednarodnih festivalih in simpozijih. — paulhertz.net title

english

A small time machine, of the sort that travels sideways for short distances USA, 2015 object

Events occurring over time may be difficult to perceive as a whole, possibly because the temporal window they occupy is very large or because they don’t draw our attention. Presenting time sequences as an image, subjectively available in a single moment of time, provides a means of displaying temporal patterns. Presenting a time-image as visual poetry rather than as scientific visualization engages imagination rather than analysis. Time erodes all we prize but the ordinary survives. In imagination, time moves in unexpected directions. artist

Paul Hertz is an independent artist and curator who teaches art history and studio courses in new media at the School of the Art Institute of Chicago. He has worked with computer-mediated art for over thirty years.

In his work, he delights in dysfunctional fortunetelling, faux symbolism, intermedia, code sourcery, glitching and social interfaces. His work has been exhibited in many international media festivals and symposia. — paulhertz.net podoba / image

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UMETNIK / UMETNICA / artist

obj33

Rajat Sharma oz. rakso naslov

slovensko

SO-UMETNIK Indija, 2015 predmet

Svetilka je eden najbolj spregledanih avtonomnih predmetov. Njena vloga in funkcionalnost sta zmanjšali njen pomen do te mere, da je več sploh ne opazimo.

Ne samo, da je svetilka soustvarila večino najboljših del človeštva, ampak je tudi sama po sebi umetniško delo, poleg tega, da jih razsvetljuje. Je enako pomembna kot zrcalo v fotoaparatu ali oči, um in celo prsti fotografa, hkrati pa služi kot še eden v vrsti dokazov, da človek s svojim ravnanjem stvari jemlje za samoumevne. Ljudje si običajno ogledajo to, kar so si prišli ogledat, vse ostalo pa je v njihovi veleumni zavesti le del ozadja oziroma kulisa. Tak primer je avtonomni SOUMETNIK. UMETNIK / UMETNICA

Rakso (sicer Rajat) je vizualni umetnik iz New Delhija. Je svobodni ilustrator in fotograf, ki je aktivno sodeloval pri razvoju neodvisne kinematografije v tem mestu in obožuje prav vsak, še tako majhen prispevek, ki ga je ustvaril. Delal je tudi kot prostorski oblikovalec dogodkov in kavarn v Delhiju. Trenutno študira film ter medijske umetnosti in prakse na Visoki šoli za umetnost Univerze v Novi Gorici. — www.rakso.portfoliobox.me title

english

CO-ARTIST India, 2015 object

The lamp is one of the most unrecognised autonomous objects. Its role and play of functionality has reduced its importance to the point where we no longer notice it. Not only has the lamp been the contributing artist in most of the best art humankind has ever witnessed, but it has been a work of art itself as well as it lit them up. It is like the mirror of the camera or even the eyes and mind and even fingers behind it and another reminder of Human behaviour and tendency of taking things for granted. People generally see what they come to see and everything else plays the part of the background or the backdrop in their ever functioning grand minds, and one of them is the autonomous CO-ARTIST. artist

Rakso (otherwise Rajat) is a visual artist from New Delhi. He is a freelance Illustrator and a photographer and has been actively involved in Independent Cinema in the city and has loved every tiny little contribution made towards it. He has also worked as a space designer for events and cafes in Delhi. He is currently a student of Film in Media Arts and Practices at the School of Arts of University of Nova Gorica. — www.rakso.portfoliobox.me

podoba / image

obj33

UMETNIK / UMETNICA / artist

obj34

Rene Rusjan naslov

slovensko

Potuj z malo prtljage in bodi srečen. Slovenija, 2015 predmet

Kos prtljage, pametni telefon. Oprema sodobnega popotnika. Če gre za otroka, morda še mehka igračka. Potuj z malo prtljage in bodi srečen, je napotek izkušenih popotnikov svojim manj izkušenim sledilcem na spletu. Popotnik, turist, migrant, begunec? Verjetno velja v vseh primerih. Ne vem, če lahka prtljaga res prinese srečo, vendar na presenetljivo veliko zadetkih trdijo tako. Potuj z malo prtljage, svetujejo tudi tihotapci z ljudmi. Kos prtljage, pametni telefon. Če gre za otroka, morda še mehka plišasta igračka. Je to tako težko razumeti? UMETNIK / UMETNICA

Rene Rusjan je likovna umetnica, ki je svojo ustvarjalno pot začela v kiparstvu. Zlasti jo zanima vprašanje vloge umetnosti v našem življenju in v življenju sodobne družbe. Njena dela so umeščena v specifičen kontekst in so interdisciplinarna. Poleg svojega umetniškega dela se je vključevala tudi kot pobudnica, kustosinja ali mentorica v številnih umetniških projektih v javnih prostorih, sodelovala pa je tudi pri soavtorskih projektih, ki združujejo umetnost, izobraževanje, družbene in okoljske vsebine. Samostojna umetnica od 1988 do 2009; soustanoviteljica Šole uporabnih umetnosti Famul Stuart (1994-2009); od leta 2009 je programska direktorica in profesorica sodobnih umetniških praks na Visoki šoli za umetnost Univerze v Novi Gorici; Živi in dela v Ljubljani in Novi Gorici.

title

english

Travel light and be happy. Slovenia, 2015 object

A piece of baggage, a smartphone. The tools of the modern traveler. For children, throw in a plush toy. Travel light and be happy. This is the advice given by experienced travelers to their somewhat less experienced followers on the web. Traveler, tourist, migrant, refugee? It probably applies everywhere. I donâ&#x20AC;&#x2122;t know if travelling light can bring you happiness, but a surprising number of hits seems to confirm this theory. Traveling light is also advised by human smugglers. A piece of baggage, a smartphone. For children, throw in a plush toy. Is that so hard to understand? artist

Rene Rusjan is a visual artist with origins in sculpture. She is especially interested in the question of what is the role of art in our lives and in the life of our contemporary society. Her work is context-specific and interdisciplinary. Besides her own art work, she has initiated, curated or mentored several art projects in public spaces and participated in collaborative projects in the cross-fields of arts, education and social or environmental contexts. Free-lance artist from 1988 to 2009; co-founder and program head of Famul Stuart School of Applied Arts (1994-2009); since 2009, program director at the University of Nova Gorica School of Arts and professor of contemporary art practices; She lives and works in Ljubljana and Nova Gorica, Slovenia. podoba / image

obj34

UMETNIK / UMETNICA / artist

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Sally Noall & BridA/Tom Kerševan, Sendi Mango, Jurij Pavlica naslov

slovensko

3 min 48 o prometnih stožcih Slovenija, 2015 predmet

Prometni stožec vzeli smo te domov, si te prisvojili ukradli smo te s črte zaporedne istosti Dali smo ti življenje kot osebi se čudili tvoji moči se ti smejali se smejali s teboj a ti si nas izdal. »ne parkiraj tu« »stopite v to smer« »ne tukaj« zato smo si te nadeli na glavo. Mislim, da ti je bilo to všeč. * pesem bo izšla po celem svetu leta 2016 UMETNIK / UMETNICA

Sally Noall je leta 2006 diplomirala likovno umetnost na Falmouth College of Arts in je dobitnica nagrade Midas Award, ki jo podeljuje kolidž, ter nagrade za kiparstvo Denisa Mitchella. Odkar je magistrirala iz sodobne vizualne umetnosti je umetnica razstavljala in gostovala v umetniških rezidencah v Veliki Britaniji in po Evropi. Trenutno je zaposlena kot programski vodja za mlade v galeriji Tate St Ives. V svoji umetniški praksi Noall prevprašuje dvojnost javnih in zasebnih izkušenj in njunih skupnih točk. S poznanimi, že obstoječimi podobami in izkušnjami, ki jih nato spreminja in popači tako fizično kot vizualno, z različnimi manipulacijami velikosti, materialov, medijev in kontekstov Noallova izpostavlja in

problematizira vrednostni sistem »originala«. Leta 2016 bo začela z umetniško rezidenco z nacionalnim programom kroženja kot umetnica, ki dela na področju organizacijskih sprememb. Živi in dela v Cornwallu, Združeno kraljestvo. BridA/Tom Kerševan, Sendi Mango, Jurij Pavlica Kolektiv je bil ustanovljen leta 1996 na Akademiji za likovno umetnost v Benetkah, kjer so člani Jurij Pavlica,Sendi Mango in Tom Kerševan tudi doštudirali. Njihovo delo temelji na razmišljanju o procesih in vlogah v okviru sodobne umetnosti, na načelu umetniškega povezovanja in skupinskega delovanja, na raziskovanju in projektih, ki vključujejo sodelovanje z raznimi drugimi umetniki, strokovnjaki, ustvarjalci. Označuje jih angažirano delo v lastnem kraju, številne povezave z raziskovalnimi inštituti in univerzami, uspešni nastopi v tujini ter lasten rezidenčni program. title

english

3 mins 48 on traffic cones / Slovenia, 2015 object

Traffic cone we took you home made you ours stole you from the line of consecutive sameness We gave you life as an individual marvelled at your power laughed at you laughed with you but you took advantage. “don’t park there” “go this way” “not here” so we put you on our heads. I think you quite liked that. * song scheduled for worldwide release in 2016 artist

Sally Noall graduated from from Falmouth College of Arts in 2006, with a first class BA Hons in Fine Art and won the college’s graduate Midas Award and the Denis Mitchell Sculpture award. Since obtaining her MA in

Contemporary Visual Arts, Noall has exhibited and undertaken residencies both in the UK and Europe and currently works as a Program Manager for Young People, at Tate St Ives. In her artistic practice, Noall questions the duality of public and private experiences and where the two diverge or collide. By taking familiar, existing imagery and experiences, then altering and distorting them physically and visually, through various changes in scale, material, medium and context, Noall exposes and questions the value system of the “Original”. In 2016 she will undertake an Artist Residency with the national Circuit programme, as an artist working with organizational change. She lives and works in Vienna. BridA/Tom Kerševan, Sendi Mango, Jurij Pavlica The artistic collective was founded in 1996 at the Venice Academy of Fine Arts, where its members Jurij Pavlica, Sendi Mango and Tom Kerševan were studying. Their work is based on analyzing the processes and roles within contemporary art, the principle of artistic collaboration and group work, research and projects which include collaborations with other artists, experts and creative minds. They are very active in their town, with numerous connections to research institutes and universities, guest appearances abroad, their own artist in residence program etc.

podoba / image

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UMETNIK / UMETNICA / artist

Sandra Jovanovska

obj36

naslov

slovensko

Zmešanost Slovenija, 2015 predmet

Zmešanost To je lasna igla. Vsak dan nosim lasno iglo. To je moj okras in moj spominek. Je del mene, a nikoli ne pozabim, da je z mano. Včasih ne opazim, da sem jo ovila okrog las oziroma da so se moji lasje ovili okrog nje. Ta predmet sem ustvarila z lastnimi rokami kot del nekakšnega zavestnega rituala v terapevtske namene. Modra barva predstavlja mojo predanost racionalni misli, rdeča pa označuje mojo ranljivost na čustvenem področju. Kontrast med tema dvema entitetama oblikuje moj značaj v osebo, za kakršno se pretvarjam, da sem. Istočasno po eni strani ustvarja moje toplo veselje, po drugi strani pa ledeni obup. Lasna igla povezuje moje jutro in večer, moj dan in mojo noč. Služi kot spomin na moje življenje in prejšnjo smrt. Nudi mi odklop od vsega stvarstva... Moja lasna igla je moj ritual. Je moj mešalnik misli. Zmešanost

UMETNIK / UMETNICA

Sandra Jovanovska je umetnica, ki prihaja iz makedonskega Skopja in je zaposlena na področju umetnosti in kulture. Svoje formalno izobraževanje je začela na področju lingvistike, nato pa je svojo kariero nadaljevala v umetnosti. Je aktivna članica dveh združenj. Prvo je namenjeno promociji ustvarjanja dokumentarnega filma (Makedox), drugo pa promociji umetnosti in kulture (Compressor). Po drugi strani v svoje delo vključuje tudi aktivizem, in sicer z ustvarjanjem individualnih stop-motion animacij. Zato bi lahko rekli, da njeno delo sega od manekenstva in scenografije do kamere, montaže, zvočne obdelave, produkcije ter režije. Poleg tega je tudi ena polovica dueta, ki se ukvarja z oblikovanjem nakita iz stare elektronske opreme. Njena linija nakita pod blagovno znamko “Mei Ro” je trenutno razstavljena v specializiranih trgovinah v Ljubljani, Beogradu in Skopju. Trenutno študira na Visoki šoli za umetnost Univerze v Novi Gorici.

— jovanovskasandra.wix.com/sandra-2 — facebook.com/meirojewelry — vimeo.com/user24747125

title

english

Scatterbrain Slovenia, 2015 object

Scatterbrain This is a hair pin stick. I wear a hairpin stick every day. This object is my ornament and my souvenir. It is part of myself, but yet I never cease to feel its presence. At times I am unaware if I wrap it around my hair or my hair wraps around it. This specific item is created by my own hands as a form of a conscious therapeutic ritual. The blue color symbolizes my rationality, whereas the red stands for my emotional vulnerability. The contrast of these two entities shapes my character into the person I act to be. It simultaneously produces my warm joyfulness and my icy depression. Connects my morning and my evening, day and night. Reminds me of my life and previous death. Detaches me from all existence... My hair pin is my ritual. It is my scatterbrain. Scatterbrain.

artist

Sandra Jovanovska is an artist from Skopje, Macedonia, working in the domain of arts and culture. Although her formal education started in linguistics, she continued building her carrier in art. She actively participates in two associations, the first of which promotes creative documentary cinema (Makedox) and the second, which promotes art and culture (Compressor). On the other hand she incorporates her activism by making stop-motion animations, which are entirely individual. Hence, implying that she is engaged in the range of: modeling, setting, camera, editing, sound, production and directing. Ultimately, she is a part of duo designer’s team for jewelry-making, by recycling parts of electronic waste. Her jewelry brand “Mei Ro” is now exhibited in concept stores in Ljubljana, Belgrade and Skopje. Currently she is studying at the School of Arts of University of Nova Gorica. — jovanovskasandra.wix.com/sandra-2 — facebook.com/meirojewelry — vimeo.com/user24747125

podoba / image

obj36

UMETNIK / UMETNICA / artist

obj37

Snežana Golubović naslov

slovensko

SPIN Srbija / Nemčija, 2015 predmet

SPIN vzemi me ne prenehaj z GLASBO UMETNIK / UMETNICA

Snežana Golubović je bila rojena istega leta, ko je skupina Rolling Stones obnorela svet s skladbo „(I Can’t Get No) Satisfaction“. Odrasla je ob Beograjski alternativni sceni (BAS), poslušala Ekatarino veliko, brala Iva Andrića in Danila Kiša, obiskala BITEF (Beograjski mednarodni gledališki festival) in FEST (filmski festival), študirala je dramske umetnosti, pisala o glasbi in filmu, svoja poletja je preživljala v Dubrovniku,

pripravljala pa je tudi lastne radijske in televizijske oddaje. Leta 1992 se je preselila v Nemčijo, kjer je delovala kot neodvisna igralka/ dramska umetnica v profesionalnih produkcijah v režiji slavnih osebnosti, kot so Alexander Brill, Dirk Hauser, Angie Hiesl, Saskia Boddeke in Peter Greenaway. Bila je tudi asistentka Marine Abramović in članica Independent Performance Group (I. P. G.), ki jo je ustanovila in vodila Abramovićeva. Njena dela so bila predstavljena v mednarodnem prostoru, med drugim na/v: NMAC Foundation, Cadiz (2004), Van Gogh Museum, Amsterdam (2005), Avignon Theatre Festival (2005), Beneški bienale (2007), OPEN International Performance Art Festival, Peking (2008 & 2009), Kraljevi muzeji lepih umetnosti v Belgiji, Bruselj (2011), RAPID PULSE International Performance Art Festival, Chicago (2012), I Venice International Performance Art Week (2012), Live Biennale, Vancouver (2013), Mostra Performatus #1, São Paulo, Brazilija (2014) in Conflicta! – 1° Laboratorio Internacional de Performance, Punta Arenas, Patagonia / Čile (2014). — www.snezanagolubovic.com title

english

SPIN Serbia / Germany, 2015 object

SPIN take me never stop the MUSIC

artist

Snežana Golubović was born in the year The Rolling Stones rocked the world with „(I Can’t Get No) Satisfaction“. She grew up with the Belgrade Alternative Scene (BAS), listened to Ekatarina Velika, read Ivo Andrić and Danilo Kiš, visited BITEF (Belgrade International Theatre Festival) and FEST (Film festival), studied Drama, wrote about music and film, spent her summers in Dubrovnik and made her own radio and TV programs. In 1992, she moved to Germany where she has worked independently as an actress / performer in professional productions directed by renowns such as Alexander Brill, Dirk Hauser, Angie Hiesl, Saskia Boddeke and Peter Greenaway. She was an assistant to Marina Abramović and a member of the Independent Performance Group (I.P.G.), which was founded and led by Abramović. Her works have been shown internationally at, amongst others: NMAC Foundation, Cadiz (2004), Van Gogh Museum, Amsterdam (2005), Avignon Theatre Festival (2005), Venice Biennale (2007), OPEN International Performance Art Festival, Bejing (2008 & 2009), Royal Museums of Fine Arts of Belgium, Brussels (2011), RAPID PULSE International Performance Art Festival, Chicago (2012), I Venice International Performance Art Week (2012), Live Biennale, Vancouver (2013), Mostra Performatus #1, São Paulo, Brazil (2014) and Conflicta! – 1° Laboratorio Internacional de Performance, Punta Arenas, Patagonia / Chile (2014). — www.snezanagolubovic.com

podoba / image

obj37

UMETNIK / UMETNICA / artist

obj38

Špela Petrič naslov

slovensko

Protokol za nadlegovanje para-kuratorja Slovenija, 2015 predmet

Leta 2002 je umetnik Douglas Irving Repetto ustvaril delo “How to Annoy a Plant”. Naredil je vmesnik, ki je, glede na upogibanje rastline, izmenoma prižigal osvetlitev z leve in desne strani. Rastlina je zavoljo želje po svetlobi sizifovsko spreminjala svoj položaj, vselej znova oropana cilja. “Protokol za nadlegovanje para-kuratorja” je para-iteracija Repettovega dela in poklon rastlinski subjektnosti, ki se znajde v krajini lastnih teženj, interesa avtorice in skrbnosti intervencij para-kuratorja. S tem izpostavlja eno manj vidnih komponent umetnosti, ki vključuje žive sisteme: nenehno, pretežno nerazumljeno pogajanje med človeško intenco in ne-človeškimi akterji. Pričujoče delo nagovarja idejnega snovalca festivala, para-kuratorja Igorja Štromajerja, da prevzame vlogo digitalnega vmesnika Repettovega dela. V času trajanja razstave grah in para-kurator manifestirata frustracijo situacije, v kateri sta prisiljena igrati predmet. UMETNIK / UMETNICA

Dr. Špela Petrič, univ. dipl. biol., mag. um., v umetniškem delu prepleta naravoslovje, nove medije in performans. Zanimajo jo različni vidiki antropocentrizma; rekonstrukcija in apropriacija znanstvene metodologije

v kontekstu družbe; živi sistemi in umetno življenje; terRabiologija (ontološki pristop k evoluciji in teraformativnosti življenja na Zemlji). Svoje delovanje razširja z naravoslovno-umetniškimi izobraževalnimi programi in delavnicami, namenjenimi informiranju in senzibilizaciji zainteresirane javnosti, zlasti mladih. Projekti: Skotopoeza (performans, 2015), PSX Consultancy (instalacija, 2014), Naval Gazing (habiton, 2014), Voyager/140 AU (instalacija, soavtor Miha Turšič), Solarni Odmik (instalacija, 2013), Humalga: K človeški spori (raziskovalno-umetniški projekt, soavtorica Robertina Šebjanič, 2012/13), Circadian Drift (instalacija, soavtorica Maja Smrekar, 2012), CTCAG recognition (performans, 2011), Cladocera (instalacija, 2010). — www.spelapetric.org title

english

Para-curator Annoyance Protocol Slovenia, 2015 object

In 2002, artist Douglas Irving Repetto created the work “How to Annoy a Plant”. He created an interface that intermittently lit a light from the left or the right side, depending on how the plant’s movements. Eager to move towards the light, the plant kept repositioning in an effort not unlike the labor of Sisyphus, repeatedly robbed of its goal. “Para-curator Annoyance Protocol” is a para-iteration of Repetto’s work and an homage to plant subjectivity, caught in a landscape of its own tendencies, the author’s interest and the careful intervention of the para-curator. This highlights one of the less visible components of art, which includes living systems: constant, generally misunderstood negotiations between human intent and non-human protagonists. The work invites the festival’s creator, para-curator Igor Štromajer, to take on the role as the digital interface of Repetto’s work. During the exhibition, the pea plant and the paracurator are manifested in the frustrating situation where they are forced to play as subjects. artist

Dr. Špela Petrič, BSc. Biol., MA Arts, employs natural science, new media and performance in her artistic expression. She is curious about different aspects of anthropocentrism; reconstruction and appropriation of scientific methodology in the context of society; living systems and artistic life; and terra-biology (ontologic approach to evolution and terraforming life on Earth). She expands her work with art/science educational programs and workshops aiming to inform and sensitize the interested public, young people in particular. Projects: Skotopoeza (performance, 2015), PSX Consultancy (installation, 2014), Naval Gazing (habiton, 2014), Voyager/140 AU (installation, coauthor Miha Turšič), Solar Displacement (Installation, 2013), Humalga: Towards the Human Spore (research/artistic project, co-author Robertina Šebjanič, 2012/13), Circadian Drift (installation, soavtorica Maja Smrekar, 2012), CTCAG recognition (performance, 2011), Cladocera (installation, 2010). — www.spelapetric.org

podoba / image

obj38

UMETNIK / UMETNICA / artist

obj39

Špela Volčič naslov

slovensko

Brez naslova, video (v zanki). Slovenija, 2015 predmet

panepanepane.tumblr.com UMETNIK / UMETNICA

Po zaključenem študiju v Ljubljani (SŠOF) se je leta 2004 preselila v Milano, kjer je pridobila diplomo na CFP Riccardo Bauer. V tem obdobju je delovala kot asistent umetnikov in fotografov v Edinburghu in Milanu. Leta 2011 je pridobila štipendjio Ministrstva za kulturo Republike Slovenije, ki ji je omogočila nadaljevanje študija na Univerzi IUAV v Benetkah, kjer je leta 2013 diplomirala iz vizualne umetnosti. Po končanem študiju ji je bila dodeljena enoletna umetniška rezidenca v fundaciji Bevilacqua La Masa v Benetkah ter kasneje nadaljnje prebivanje v EVE:AR:V. v Margheri, nato pa v Borci di Cadore, Dolomiti Contemporanee. Trenutno je rezidenčna umetnica v Viafarini DOCVA v Milanu, kjer živi in dela. Njena dela so bila razstavljena v zasebnih in javnih ustanovah v Sloveniji in tujini. — www.spelavolcic.net

title

english

Untitled, video (in loop). Slovenia, 2015 object

panepanepane.tumblr.com artist

After studying photography in Ljubljana she moved to Milan in 2004, where she obtained a Diploma at CFP Riccardo Bauer. During these period she worked as an artist and photographerâ&#x20AC;&#x2122;s assistant in Milan and Edinburgh. In 2011 she won a scholarship awarded by the Ministry of Culture in Slovenia, which allows her to continue her studies at the IUAV University of Venice, where she graduated in Visual Arts in 2013. After completing her studies, she was granted a one year artist-residency in Venice at the contemporary art Foundation Bevilacqua La Masa, and later selected for a further residence at EVE:AR:V.Forte Marghera and then at Borca di Cadore, Dolomiti Contemporanee. She is currently an artist in residence at Viafarini DOCVA in Milan, Italy, where she lives and works. Her works have been exhibited in private and public shows, in Slovenia and abroad. â&#x20AC;&#x201D; www.spelavolcic.net podoba / image

obj39

UMETNIK / UMETNICA / artist

Tanja Lažetić

obj40

naslov

slovensko

Oblak Slovenija, 2015 predmet

Vabim vse obiskovalce razstave, da na razstavo prinesejo fotografije oblakov.

UMETNIK / UMETNICA

Področja njenega delovanja so fotografija, video, instalacija, performans in umetniška knjiga. V dvajsetih letih umetniškega delovanja je za svoje delo prejela prvo nagrado na mednarodnem oblikovalskem natečaju Trieste Contemporanea, nominacijo na International media/art award v ZKM v Karlsruhe, tretjo nagrado UNICUM na mednarodnem keramičnem trienalu v Ljubljani in bronasto nagrado na Nanjing Festivalu na Kitajskem. Njeno umetniško delo je bilo med drugim mogoče videti v Moderni galeriji, MGLC in Mestni galeriji v Ljubljani, v Neuer Berliner Kunstverein v Berlinu, v Real Academia de Bellas Artes de San Fernando v Madridu, v Muzeju Brandhorst v Minhnu, v Art Gallery v Prištini, v Muzeju 25. maj v Beogradu, na Brighton Photo biennalu v Veliki Britaniji, na Festivalu der Regionen v Avstriji in Gagosian Gallery v Parizu in NY. — www.lazetic.si title

english

Cloud Slovenia, 2015 object

I invite all the visitors to bring pictures of clouds to the exhibition.

artist

Her artistic expression spans the fields of photography, video, installations, performances and art books. Over the twenty years of her artistic involvement, she has won first prize at the Trieste Contemporanea international design competition, a nomination at the International media/art award in ZKM, Karlsruhe, third UNICUM prize at the international ceramics triennial in Ljubljana, and the bronze award at the Nanjing Festival, China. Her works were shown, among others, at the Moderna Gallery, MGLC and Mestna Gallery in Ljubljana, v Neuer Berliner Kunstverein, Berlin, Real Academia de Bellas Artes de San Fernando, Madrid, Brandhorst Museum in Munich, Prishtina Art Gallery, 25th May Museum in Belgrade, Brighton Photo biennial in the UK, Festival der Regionen in Austria, and Gagosian Gallery in Paris and NY. â&#x20AC;&#x201D; www.lazetic.si podoba / image

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UMETNIK / UMETNICA / artist

Tatjana Tanja Vujinović Kušej naslov

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slovensko

Univerzalni Objekti: Opazovalci Slovenija, 2015 predmet

V miniseriji del, poimenovani Univerzalni Objekti: Opazovalci, avatarji opazujejo različice samih sebe, ki so razstavljene v galerijskem okolju. Avatarji so simptomatični, resnični, prisotni, a obenem tudi odsotni v eteričnem bivanju. UMETNIK / UMETNICA

Tatjana Tanja Vujinović Kušej v svojih delih, kjer raziskuje kulturo igre, poetičnost hrupa in antropomorfnost, uporablja računalniške aplikacije, prilagojeno elektroniko in objekte. V njenih delih se hrup pojavlja kot agent srečnih naključij, ker omogoča nova odkritja. Njena dela so navdahnjena tudi z odnosom med hrupom in signalom, kot ju dojema teorija informacij. Od leta 1997 so bila njena audiovizualna dela, digitalni printi in instalacije so bili razstavljeni v številnih galerijah in muzejih, kot so Muzej sodobne umetnosti v Strasbourgu, Kunst Palast Muzej v Düsseldorfu, Muzej sodobne umetnosti v Denverju, Kunsthaus v Meranu, Mednarodni forum Medienturm v Gradcu, galerija Cornerhouse v Manchestru, Muzej sodobne umetnosti v Istanbulu, MMC Kibla v Mariboru, Galerija Kapelica v Ljubljani. Njena dela so bila predstavljena na festivalih, kot so ISEA2009, 15. Internacionalni simpozij elektronske umetnosti, Ars Electronica v Linzu, Kinetica Art Fair v Londonu, Spor Festival v Arhusu, Zeppelin Festival umetnosti zvoka v Barceloni, FILE - Electronic Language International Festival v Sao Paolu in FILE RIO v Rio de Janeiru in drugih. Svoja spletna dela je predstavila v okviru projekta Ctheory Multimedia NetNoise, Web Bienala Istanbul, projekta Helium Ballongmagasineta in NIFCA, ter v okviru Sinnlos WebArt segmenta. — www.ultramono.org title

english

Universal Objects: Observers Slovenia, 2015 object

In the mini-series of works under the title of Universal Objects: Observers, avatars are observing iterations of themselves displayed in a gallery environment. The avatars are symptomatic, actual, real, present, but also absent in their ethereal being.

artist

With her works, Tatjana Tanja Vujinovic Kušej explores the culture of playfulness, the poetry of noise and anthropomorphization, using software applications, custom electronics and objects. In her works, noise appears as an agent of serendipity, enabling new discoveries. Her works are also inspired by the relationship between noise and signal as described in information theory. Since 1997, her audio-visual works, digital prints and installations have been exhibited at numerous galleries and museums, such as the Strasbourg Museum of Modern and Contemporary Art, the Museum Kunst Palast in Düsseldorf, the Museum of Contemporary Art - Denver, Kunsthaus Meran, the Medienturm International Forum in Graz, the Cornerhouse Gallery in Manchester, the Istanbul Contemporary Art Museum, MMC Kibla Maribor and Kapelica Gallery in Ljubljana. Her works have been presented at festivals, such as ISEA2009, The 15th International Symposium on Electronic Art, Ars Electronica Linz, Kinetica Art Fair in London, the Spor Festival in Arhus, the Zeppelin Sound Art Festival in Barcelona, FILE - Electronic Language International Festival in Sao Paulo and FILE RIO in Rio de Janeiro, among others. She has presented her internet-based works as part of the Ctheory Multimedia’s NetNoise, the Web Biennial Istanbul, Helium by Ballongmagasinet and NIFCA, and Sinnlos WebArt. — www.ultramono.org podoba / image

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UMETNIK / UMETNICA / artist

Teo Spiller naslov

obj42 slovensko

Bukov hlod Republika Slovenija, 2015 predmet

Poln objekt, bistveno večji od človeka. Monumentalen. Težak. Ležeč, horizontalen. Miren. Valju podoben, vendar ne geometrijski. Monokromatska ovojnica lubja. Rahlo rdečkast ton prereza. Krožna organska struktura letnic. Toliko o tem, kakšen je, kako deluje na nas. Če začnem nanj obešati kontekst, izgubi svojo avtonomnost. Seveda pa bi še bolj izgubil svojo avtonomnost, če ga organizator iz logističnih razlogov ne bi uspel spraviti v galerijo. Potem bi bil razstavljen zgolj simulaker, njegova avtonomnost pa nima več kaj dosti opraviti z avtonomnostjo prikazanega objekta. Pri simulakru služi objekt zgolj kot izgovor, maska, ki skriva vsiljeno avtonomnost avtorja simulakra. Razlike se zavemo, če bi se morali npr. z enim od njiju pogreti v hudem mrazu: z drvmi iz bukovega hloda se lahko grejemo celo zimo, medtem ko si z njegovo sliko niti rok ne moremo pogreti. Vendar se tega zavemo šele v trenutku LASTNE eksistenčne nuje. Ko gre za tujo, vzkliknemo “Ojoj!” in kliknemo “Naprej”. Za to obnašanje, značilno za informacijsko družbo, obstaja celo izraz: “ojojizem”. Obnašanje, ki spominja na čase, ko so ljudje z užitkom drli gledati javne usmrtitve ... UMETNIK / UMETNICA

Svetovno prepoznaven je v časih net.arta postal s projekti kot so Hommage to Mondrian, Nice Page in net.art.trade. V njegovih poznejših projektih še naprej nastopajo tehnologije, pri čemer do njih vzdržuje kritično distanco. Kot podaljške svojega telesa uporablja stroje, ki jih sam izdela; nadomeščajo mu priključenost na Matrico, ki je njegovo telo organsko ne prenaša. S strojem Lalaboro je rezkal v les In/Form/Acije, ki so prevodi znanih spletnih strani v kodiran jezik, ki ga lahko razvozlamo le z merjenjem globine lukenj. Spet drugič pa je s flomastrom na lesene deske ustvarjal raster črt, nastalih kot post-postprodukcija znanih fotografij. Les je zanj najbolj avtonomen material, zato tudi želi, da ga na tej razstavi predstavlja v svoji najbolj monumentalni obliki. Trenutno končuje napravo, ki bo znala ustvarjati predmete iz plastike, pri čemer svoje delovanje prenaša iz umetnosti, kot jo pozna zahodni umetnostni sistem na področje avtonomnih predmetov, kot sta jo npr. poznali Japonska in Kitajska tradicionalna kultura. Posveča se tudi poučevanju. — www.spiller.si

title

english

Beechwood Log Republic of Slovenia, 2015 object

A solid object, much larger than a human. Monumental. Heavy. Prone, horizontal. Peaceful. Resembling a cylinder, but not perfectly geometric. Monochromatic bark layer. Slightly ruddy cross-section. A circular organic structure of the tree rings. So much for what it’s like and how it affects us. If I start hanging context on it, it loses its autonomy. Of course, it would lose even more autonomy if the organizer were to be unable to get it inside the gallery for logistical reasons. In that case, only its simulacrum would be displayed, and its autonomy would no longer have much to do with the autonomy of the object on display. With the simulacrum, the object serves merely as an excuse, a mask concealing the forced autonomy of the author of the simulacrum. We would know the difference if we were forced to use one of these objects in dire cold: beech firewood would keep us warm all winter while its portrait would not even be enough to warm our hands. However, we would come to this realization only in the moment of our OWN existential need. When other people’s needs are at stake, we exclaim “Oh, dear!” and click “Next”. There is even a word for this behavior, characteristic of the information society: “oh-dear-ism”. This type of behavior is reminiscent of the times when people would clamor to relish in the sight of public executions... artist

He reached global acclaim in the times of net.art with projects such as Hommage to Mondrian, Nice Page and net.art.trade. His later projects still feature technologies, where he himself keeps a critical distance. He uses his self-made machines as extensions of his body; they replace his connection to the Matrix, which his body rejects organically. He used his Lalaboro machine to make wood carvings of In/Form/Ation, composed of translations of familiar websites in code language, which can only be decoded by measuring the depths of the holes. Another time, he used a magic marker to draw a line grid on wood panels, which were created as a result of post-production of familiar photographs. He considers wood to be the most autonomous of materials, and wants it to represent him in this exhibition in its most monumental form. He is currently in the final stages of work on a device which will be able to produce plastic items. This way, he moves from art as it is known to the western art system into the space of autonomous objects, as they were used in Japanese and Chinese traditional culture. He also devotes his time to teaching. — www.spiller.si

podoba / image

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UMETNIK / UMETNICA / artist

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Thor Magnusson naslov

slovensko

Elektronska tampura Združeno kraljestvo, 2015 predmet

»Instrument tampura se skriva za večino glasbenih nastopov v indijski glasbi. Že od nekdaj me navdušujejo tampuristi, zanimivo pa mi je tudi, kako jih včasih nadomesti električna tampura.« UMETNIK / UMETNICA

Ustvarjalec ritma, frekvenc in intenzivnosti. Raziskovalna in razvojna dejavnost na področju glasbe in tehnologije. Sem predavatelj na oddelku za glasbo na University of Sussex. Moja raziskovalna dejavnost med drugim vključuje glasbeno improvizacijo, nove tehnologije za muzikološko izražanje, kodiranje v živo, skladateljstvo

in digitalni notni zapis, umetna inteligenca in računalniška kreativnost, izobraževanje v programiranju ter filozofija tehnologije. — thormagnusson.github.io — www.ixi-audio.net english

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Electronic Tanpura UK, 2015 object

“The tanpura instrument is the drone behind most Indian music performances. I’ve always been fascinated by tanpura players, but then also how the electronic tanpura is sometimes replacing them.” artist

A worker in rhythm, frequencies and intensities. Research and development in the areas of music and technology. I am a lecturer in the Music Department at the University of Sussex. Research interests include musical improvisation, new technologies for musical expression, live coding, musical notation and digital scores, artificial intelligence and computational creativity, programming education, and the philosophy of technology. — thormagnusson.github.io — www.ixi-audio.net podoba / image

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UMETNIK / UMETNICA / artist

Tina Zadnik naslov

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Totka Slovenija, 2015 predmet

Pisani reciklirani ostanki spominov in blaga. Skriva moje sanje in postane sendviče. Skoraj vse, kar potrebujem, lahko stlačim vanjo. Včasih je pretežka, bolijo me ramena in vrat. Pomislim, da bi jo s truščem vrgla na tla. Pa je ne. Rada jo imam. Naredile so jo tvoje in moje roke. Le en dotik njenih ročajev - in že si spet blizu. Pogrešam te. Vsak dan. UMETNIK / UMETNICA

Tina Zadnik živi in ustvarja v Ljubljani. Trenutno je študentka 2. letnika magistrskega študija na Visoki šoli za umetnost Univerze v Novi Gorici, kjer se posveča predvsem stop motion animaciji. Poleg klasične animacije jo veselijo tudi različne drug ročne tehnike izražanja zato se pogosto loti rezanja papirja s skalpelom, šivanja kolažev iz blaga in podobnega. title

Tote bag Slovenia, 2015 object

Recycled, colorful pieces of memories and cloth. It holds my dreams and stale sandwiches. I stuff it with almost everything I need. Sometimes it gets too heavy and it hurts my neck and shoulders. I think of throwing it to the ground with a thud. I don’t do that. I love it. It was made by your hands and mine. Just a touch of its handles brings me close to you again. I miss you. Every day.

english

artist

Tina Zadnik lives and works in Ljubljana. She is currently enrolled in the second year of her masterâ&#x20AC;&#x2122;s course at the School of Arts at the University of Nova Gorica, with a focus on stop motion animation. In addition to classical animation, she is also interested in other manual forms of expression, so she often engages in cutting paper with a scalpel, sewing patchwork collages and other similar practices.

podoba / image

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UMETNIK / UMETNICA / artist

Una Rebić naslov

obj45 slovensko

Seme Hrvaška / Italija / Slovenija, 2015 predmet

Seme kot umetniško delo narave. Seme kot vir energije. Seme kot potencial za življenje. Seme kot začetek rasti. Seme kot ideja. Prepričana sem, da vsako umetniško delo zraste iz semena ideje. To seme predstavlja toliko idej. Prvič: iz semena zraste naša hrana, s katero izpolnjujemo naše primarne potrebe. Pred kratkim sem slišala misel “Vsaka kultura je dobra, a najboljša je agrikultura.« in ta modrost je ostala z mano. Z njo se popolnoma strinjam, saj brez semen, iz katerih je zrasla naša hrana, ne bi bilo nobene druge kulture - hrana je namreč naša primarna potreba. Iz semen zrastejo tudi rastline, ki nam dajejo kisik. Iz semena izhaja tudi naša vrsta. Vse seme nosi potencial za življenje. Življenje nam daje možnosti za rast. Telesno, psihološko, čustveno, duhovno, umetniško in drugo rast. Ideje, ki so posejane v nas, so polne potenciala, moramo jih samo posaditi in nato negovati, da lahko zrastejo.

UMETNIK / UMETNICA

Una Rebić je rojena v hrvaški Reki leta 1986. Po študiju industrijskega oblikovanja na Univerzi za arhitekturo v Benetkah je stopila na pot raziskovanja v umetnosti in se vpisala na študij intermedijev na Reški akademiji. Zanimajo jo koncepti življenja, zaznav, komunikacije, zavesti, rasti in vseh ostalih stvari, s katerimi se sreča, jih raziskuje in poskuša raztolmačiti z uporabo različnih medijev.

title

Seed Croatia / Italy / Slovenia, 2015 object

Seed as an artwork of nature. Seed as a source of energy. Seed as potential for life. Seed as a starting point in growth. Seed as an idea.

english

I believe every work of art starts with a seed of an idea. This seed represents so many ideas. First of all, the seed from which we grow our food to satisfy our primary needs. I recently heard the phrase “Every culture is a good culture, but the best culture is agriculture” and it has stayed with me since. I agree with it completely because there would be no other cultures if there were no seeds that produce food as our essential need. Or seeds that produce plants that give us oxygen. Or seeds that produce our own kind. All seeds carry potential for life. Life gives us opportunity for growth. Physical, psychological, emotional, spiritual, artistic and all other. Ideas that are seeded in us are all full of potential, we must only plant them in order to give them life, and nurture them so they can grow. artist

Una Rebić was born in 1986 in Rijeka, Croatia. After having studied in creative field of Industrial Design at University of Architecture in Venice, she stepped onto the path of artistic research and enrolled into Intermedia study course at Academy of Rijeka, Croatia. She’s interested in concepts of life, perception, communication, consciousness, growth and all other she encounters, explores and tries to translate through the use of different media. podoba / image

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UMETNIK / UMETNICA / artist

Uršula Berlot naslov

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Abakus in njegova senca Slovenija, 2015 predmet

Duchampove ready-made predmete lahko razumemo kot štiridimenzionalne projekcije tridimenzionalnih entitet, ki poleg lastne materialnosti nakazujejo predvsem idejno (miselno) ali virtualno dimenzijo. Abakus kot ready-made je virtualen na dveh ravneh: kot analogno računalo in kot senca, ki je vizualna manifestacija njegove lastne virtualnosti. Senca je labilen odtis in nesnovna podvojitev, ki metaforično izpostavi inteligibilnost in nesnovnost.

UMETNIK / UMETNICA

Uršula Berlot je študirala slikarstvo na Akademiji za likovno umetnost in oblikovanje Univerze v Ljubljani in na Ecole Nationale Supérieure des Beaux-Arts v Parizu. Doktorirala je leta 2010 na Akademiji za likovno umetnost in oblikovanje Univerze v Ljubljani, kjer trenutno poučuje. V umetniškem delu - svetlobnih in kinetičnih instalacijah - raziskuje oblike miselnih krajin, simulirane narave ter razmerja med telesom in tehnologijo. Uršula Berlot je za svoje umetniško delo prejela štipendijo Schering Stiftung (Berlin, 2007), nagrado fundacije Pollock-Krasner (New York, 2005) in Henkel Art Award, KulturKontakt Austria (Dunaj, 2004). Med drugim je razstavljala v Kunstlerhaus Bethanien (Berlin, 2007), BA-CA Kunstforum Tresor na Dunaju (2005), Moderni galeriji v Ljubljani, Haus der Kulturen der Welt (Transmediale, Berlin, 2008), v muzeju Revoltella (Trst, 2013), v Muzeju moderne in sodobne umetnosti Rijeka (Media Art – Angles and Intersection, 2009). — www.ursulaberlot.com title

english

The Shadow of Abacus Slovenia, 2015 object

Duchamp’s ready-made objects can be understood as four-dimensional projections of three-dimensional entities, which, in addition to having their own materiality, allude mainly to the conceptual (abstract) or virtual dimension. The abacus as a ready-made object is virtual on two

levels: as an analog computing device and as a shadow, which is the visual manifestation of its own virtuality. The shadow is an unstable imprint and an immaterial duplication which metaphorically highlights intelligibility and the immaterial. artist

Uršula Berlot studies painting at the Ljubljana Academy of Fine Arts and Design and at the Paris Ecole Nationale Supérieure des Beaux-Arts. She defended her doctoral thesis at the Ljubljana Academy of Fine Arts and Design, where she is currently teaching. In her artistic practice - luminous and kinetic installations - she explores the forms of mental landscapes, simulated nature and the relationship between the body and technology. Uršula Berlot won the Schering Stiftung (Berlin, 2007) grant for her artistic work, as well as the Pollock-Krasner Foundation award (New York, 2005) and the Henkel Art Award, KulturKontakt Austria (Vienna, 2004). Among other venues, her work was shown in Kunstlerhaus Bethanien (Berlin, 2007), BA-CA Kunstforum Tresor, Vienna (2005), Moderna Gallery, Ljubljana, Haus der Kulturen der Welt (Transmediale, Berlin, 2008), Revoltella Museum (Trieste, 2013), Rijeka Museum of Modern and Contemporary Art (Media Art – Angles and Intersection, 2009). — www.ursulaberlot.com podoba / image

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UMETNIK / UMETNICA / artist

Volker HartmannLangenfelder naslov

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slovensko

Pištola mojega očeta Nemčija, 2015 predmet

UMETNIK / UMETNICA

Volker Hartmann-Langenfelder, performer in glasbenik, je aktiven tudi na različnih področjih konceptualne umetnosti in audiovizualnih instalacij. Vsa njegova dela se osredotočajo na družbene sisteme v različnih oblikah. Od leta 2013 je njegovo delo vse bolj usmerjeno v video in zvočne aranžmaje po naročilu za gledališke predstave in performanse. — www.hartmann-langenfelder.de title

My Father’s Gun Germany, 2015 object

english

artist

Volker Hartmann-Langenfelder, performer and musician, also involved in various fields of conceptual art and audio / video installations. All his work is focused on social systems of any kind. Since 2013 he increasingly is working on commissioned video- and soundworks for theater and performance. â&#x20AC;&#x201D; www.hartmann-langenfelder.de podoba / image

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UMETNIK / UMETNICA / artist

Vuk Ćosić

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naslov

slovensko