Ivan Marušić Klif, Novi radovi

Novi radovi

New Works 1

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2 — 23 Audiovizualna instalacija Audiovisual installation

24 — 43 Novi radovi iz poretka buke i tišine Ivan Marušić Klif & Sabina Salamon Razgovaraju

44 — 67 Site-specific audiovizualna instalacija Site-specific audiovisual installation 68 — 87 New works from the order of noise and silence Ivan Marušić Klif & Sabina Salamon In conversation

88 — 93 Biografija Biography

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HR

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Audiovizualna instalacija 2016. loop, 12'36'' 2 osciloskopa, 2 video kamere, 5 video projektora, raÄ?unalo, 2 zvuÄ?nika

Audiovisual installation 2016 loop, 12'36'' 2 oscilloscopes, 2 video cameras, 5 video beamers, computer, 2 loudspeakers

www.vimeo.com/imklif/mmsu1

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Novi radovi iz poretka buke i tiĹĄine

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Otkako se sredinom devedesetih pojavio na likovnoj sceni, Ivan Marušić Klif istražuje mogućnosti procesiranja i generiranja slike i zvuka u okviru multimedijskih praksi, objedinjujući medij videa, zvuka, svjetla i performansa. Sklon živom izvođenju i eksperimentu, prepoznatljivost je stekao radovima vođenim stihijom slučaja, više nego željenim rezultatom. Zaobilazeći za njega tako karakterističnu real-time estetiku, prvo samostalno izlaganje u Rijeci, kojim predstavlja recentnija istraživanja, formatirao je nešto drukčije: Novi radovi nisu interaktivni niti su predstavljeni u formi žive izvedbe na otvorenju. Nastali su kao dvije zasebne cjeline, unaprijed pripremljene i studijski dovršene tijekom nekoliko dana pripreme u samome muzeju.

Evocirajući neoavangardne prakse prenamjene i modificiranja neumjetničkih alata u svrhu umjetničkih istraživanja elektroničke slike1, u prvom dijelu izložbenog prostora postavlja audiovizualnu instalaciju utemeljenu na procesiranju zvučnog signala u osciloskopu. Zavodljiv ambijent jednobojnih svjetlosnih grafika projiciranih duž dvadesetak metara zida, prenosi oslobađajuću energiju zvuka i pulsiranje kružnica koje u skokovitim smjenama prelaze iz točke u krug, iz kružnice u multiplicirane spiralne nizove... Prostorom se šire zvukovi od zaglušujućih praskova do niskofrekventnih rezonancija, odzvanjajući u glavi i trbuhu istodobno. Senzacije nesvakidašnjih raspona i intenziteta nose reminiscenciju futurističke ideje umjetnosti buke čiji poučak glasi: Budu li vibrirali osjeti, vibrirat će i mozak!2 Bučno orkestriranje pokretnih kružnica doista se podudara s tom recepturom prema kojoj buka treba postati sirovina za stvaranje umjetnosti, autonomna i apstraktna materija koja neće imitirati niti podsjećati na vlastito podrijetlo – sa zadatkom da bude podčinjena stvaranju koje ju mijenja u

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emociju, umjetnički rad.3 Klif operira materijom buke gotovo onako kako je zamišljao Russolo (premda izvan vidokruga i mogućnosti tadašnjeg stvaratelja) – usvojivši ju kao golu postojanost. Mijenjajući parametre u osciloskopu (naponvrijeme-svjetlina), formama dopušta da se dogode prema njegovu vlastitom unutarnjem metru za teksturu, formu, pokret i boju.4 Čini se, ustraje na drevnom nastojanju čovječanstva da se buci podari forma kako bi se kanalizirale njezine razorne moći.5 Premda tu formu Attali prepoznaje u glazbi o kojoj se ovdje ne može govoriti, teza je poticajna utoliko što je suprotna mišljenju o buci u teoriji informacija koja, prkoseći tradicionalno ontološkom vrednovanju prema kojem glazba zaslužuje smisao, a buka ne, raspravu otvara ovako: svaka poruka može biti buka ako ometa drugu poruku (unutar lanca emitiranje-prijenos-prijam).6 Radikalnim zaokretom u promatranju buke kao relativne kategorije, teorija informacija prometnula je njezinu tisućljetnu nepopravljivost u poredak. Buka, nositeljica smisla, optimistična je utoliko što poveznice između čvrstih i slabih uporišta smisla čini prohodnijima nego ikad. Tako odsutnost smisla u bučnom prizoru Klifove kontrolirane subverzije oslobađa slušateljevu imaginaciju.7 Klif isto tako podsjeća na to da vizualizacija ima moć otkrivanja imaginativnih i konceptualnih potencijala8 – na trenutke se čini da lomovi i rastakajući uzorci prizivaju sinestetičko iskustvo, da vidimo zvuk i čujemo umnažanje oblika koji nas preplavljuju osjećajima neugode i užitka naizmjence.9 Pokušaji eventualne racionalizacije iskustva spektakla bljeskova i buke završava neuspjehom budući da se događa izvan domašaja misaone analize. Već smo u polju iskustva u kojem senzacije i emocije preuzimaju ulogu spoznaje.10 Usprkos njihovoj neurednosti i nestabilnosti, one dovršavaju ono što zovemo percepcijom stvarnosti.

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Premda je potvrđeno da su zvuk i elektronička slika po prirodi jednaki,11 odabirom zvuka kao izvornog materijala na kojem temelji procesiranje slike Klif ne poštuje standard rada na polju vizualne umjetnosti – zvučne grafike nisu prikazi viđenog ili unaprijed zamišljenog imaginarija niti su rezultat klasičnih likovnih postupaka formalne redukcije12 kojom likovni jezik apstrakcije kodira stvarnost. Paradigma rada se mijenja: da bi smanjio sliku, mora stišati zvuk. Pritom je ključan umjetnikov nagovor stroja da proizvodi, prisvajajući ulogu autora koji kontrolira gomilanje smisla. Na taj način Klifovi radovi i dalje ostaju performativni i empirični, ovdje samo još određeniji njegovom fukcijom autora – regulatora u postprodukcijskim postupcima montaže.13 Njegove razloge bavljenja medijem ne treba tražiti u provokaciji starih ili novih tehnologija niti u modernističkom ukazivanju na specifičnosti medija, nego u užitku u ‘svirci’ i komponiranju.14 Jedino u okruženju u kojem se uzajamno uštimavanje elektronskog alata i volje autora događa pod okriljem bezinteresne igre, može iznenadno nastupiti metafizika stroja koju prati osjećaj da je posrijedi nešto više od jednostavnog upravljanja njime. Čini se da u jednom trenutku prestane ugađati upravljaču i daje više od onog što se od njega traži – nadilazi uslužnost i počinje kreirati. Možda zato što dobar alat mnogo više proizvodi nego što otkriva svoje tajne.15 U proširenom videopolju u kojem se snašao, posjetitelj si ne može priuštiti da ostane po strani u ulozi gledatelja. Biva uvučen u djelovanje nevidljive logike treptanja zvuka i slike, na koje se odaziva dvojako i provjerenim slijedom: najprije fascinacijom, potom percepcijskim umorom. U trenutku kada treperenje svjetla mrežnici oka postane nepodnošljivo, a reski zvukovi ušima posve uznemirujući, vrijeme je da iz poretka buke preskočimo u vladavinu tišine.

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Istražujući percepcijske mogućnosti koje prostor nudi, u radu postavljenom u drugom dijelu dvorane poslužio se tehnikom videomapiranja svjetla, ne stvarajući virtualnu repliku snimljenog prostora i ne služeći se 3D softwareom, već pomoću najobičnijih videoprojekcija i promišljene montaže. Tu je na snazi argument druge vrste: tri simultane projekcije ne gledamo kao dokument događaja koji je potrebno verificirati izvjesnošću referenta, dakle Klifovom navigacijom svjetiljkom po zamračenom prostoru Muzeja nekoliko dana uoči otvorenja. Razlog treba tražiti u estetičkoj motivaciji, vizualizaciji prostorne uslojenosti.

Razlistavajući prostor logikom asamblaža, odabrana preklapanja kadrova nadopunjuje igrom svjetla i sjene, a gibanjem svjetla pospješuje dubinsku oštrinu pogleda u arhitekturu koju promatramo izvan centriranoga kinematografskog pogleda kroz nekoliko paralelnih planova. Uljuljani u meditativni spokoj ravnomjernih frekvencija pozadinskoga bijelog šuma, prekinutog tek rijetkim i nejasnim jekama razgovora za vrijeme snimanja, bivamo rasterećeni dohvaćanja smisla toga što gledamo.

Odmaknuti od konvencionalnog poimanja mapiranja (kulturnog, goegrafskog) u kojem očekujemo točnost i dosljednost preslike, ovdje prisvajamo subjektivno i eksperimentalno modeliranje vanjskog svijeta, koje postaje mjesto slobodnih rekreacija i zamišljanja. Prepuštamo se policentričnoj panorami, a rezultat je paralelno vrludanje pogleda, ambijent u neprestanoj promjeni, pri čemu svakog trena starom podatku možemo pridružiti novi. Razjedinjeni pogled omogućuje zapažanja nelogičnosti vremenskih diskontinuiteta ili simultanosti kao posljedice dokinuća linearne naracije: dogodi se da u kadru primijetimo kako se Klif pojavljuje repliciran u dvojniku (pojavljuje li se iskonski strah od njihova susreta?).16

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Zadržavajući fikcijsku dimenziju rada, video autoportret pojavljuje se više kao analogija i poetska figura nego kao nositelj pripovjedačke linije ili živog iskustva prostora.17 Udvostručen ili multipliciran, nastupa kao zagovornik performativnosti svjetla, nadilazeći bilo kakvu svrhu osim šetnje po krivuljama percepcije, pri čemu svaki put ostaje dovoljno neistraženog da se uvijek iznova može upitati kako gledamo i što uistinu čujemo.

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Istražujući pojavu elektroničke slike i zvuka skupina umjetnika i inženjera

pedesetih i šezdesetih godina 20. stoljeća kreirala je umjetničke alate, primjerice

videosintesajzer: Nam June Paik/Shuya Abe, Steve Rutt/Bill Etra, Stephen Beck,

Steina i Woody Vasulka. Grupa autora (Wojciech Bruszewski, Pawel Kwiek, Jacek

Lomnicki) koristila je osciloskop u akciji pod nazivom Radionica u Muzeju

umjetnosti u Łodzu 1973. godine. kao jedan od instrumenata na kome su testirali

mogućnost i učinkovitost prijenosa. Akcija je bila politička gesta. Vidi: Urszula

Czartoryska, Poljska fotografija nazvana “u traganju”, u: Spot, časopis za

fotografiju br. 4, Galerije grada Zagreba, Zagreb,1974.

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Luigi Russolo, L’arte di rumore, Edizioni futuriste di Poesia, Milano, 1916., str. 90.

Esej je izvorno objavljen 1913., smatrao se programskim tekstom futurističke

glazbe.

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Ibidem, str. 91. U duhu futurizma drsko i egzaltirano, Russolo ga naziva novom

akustičnom putenosti (Nuova voluttà acustica).

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Stvaranje iluzije pokreta, kao i povezivanja svjetla, boje i ritma, seže u slikarstvo

rane avangarde (kubizam, orfizam, František Kupka, Vasilij Kandinski), a nastavlja

se u istraživanju predstavnika Bauhausa (Ludwig Hirschefeld-Mack, Kurt

Schwerdtfeger, Josef Hartwig) koji su inovativnim primjenama jednostavnih

materijala (staklo, zrcalo, jednostavni mobili), kinetike i analognih tehnika

snimanja postizali pokret u realnom vremenu, simultanosti zvuka i slike. Vidi:

Light Art from Artificial Light, Light as a Medium in 20th and 21st Century Art, ur.

Peter Weibel, Gregor Jansen, ZKM, Karlsruhe, Hatje Cantz, 2006., str. 138–169.

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Jacques Attali, Noise and the Political Economy of Music, University of Minnesota

Press, 2009., str 26–27.

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Ibidem, str. 26–27. Teoretičar teorije informacije Claude E. Shannon tvrdi kako

prednost između dviju poruka ima ona koju slušatelj prima kao smisao. Ne postoji

ni jedna druga hijerarhija između njih.

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Ibidem, str. 33.

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Digital humanities, ur. Anne Burdick, Johanna Drucker, Peter Lunenfeld, Todd

Presner Jeffrey Schnapp, MIT Press, 2012., str. 45.

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Alexander Laszlo već je 1925. konstruirao sonkromatoskop i pridonio

popularizaciji ideje sinestezije; vidi: Light Art from Artificial Light, op. cit., str. 143.

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David Freedberg, Power of Images, Studies in the History and Theory of

Response, The University of Chicago Press, Chicago/London, 1989., str. 430.

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Izvorno su elektromagnetski val. John Minkovsky citira Woodyja Vasulku, u: The

Emergence of Video Processing Tools, Television Becoming Unglued, sv. 1., ur.

Kathy High, Sherry Miller Hocking and Mona Jimenez, University of Chicago

Press, 2014., str. 285.

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Iva Radmila Janković, Potraga za duhom u mašini, u: Ivan Marušić Klif, Između

frekvencija 2, katalog, Umjetnički paviljon u Zagrebu, 2014.

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Ideja autora kao regulatora preuzeta je iz izlaganja Michela Foucaulta Što je

autor, Jesenski i Turk, Zagreb, 2015.

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Jean Gagnon, A Demo Tape on How to Play Video on a Violin, u: The Emergence

of Video Processing Tools, sv. 1. i 2., str. 317.

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Woody Vasulka, op.cit., str. 286.

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Vratimo se Attaliju koji u istom djelu kaže: "U društvu koje čine istovjetna bića širi

se suštinsko nasilje, otud strah od dvojnika."

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Za usporedbu, neki od ranih performansa Setha Riskina iz ciklusa Light Dance s

početka devedesetih godina u kojima se služi običnim džepnim svjetiljkama i

halogenkama pričvrćenima na tijelo da bi ih projicirao u zamračenom prostoru,

ciljaju na neposredno tjelesno iskustvo proširivanja percepcije prostora.

Klif nas ostavlja tišini zamišljanja.

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Ivan Maruťić Klif & Sabina Salamon Razgovaraju

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Sabina Kada smo se prošle godine dogovarali za samostalnu izložbu u riječkom MMSU-U, želio si nastaviti s Faznim pomakom, instalacijom prvi put izloženom u Pogonu Jedinstvo 2014. U međuvremenu si shvatio da je taj rad prekompliciran za vrijeme kojim raspolažeš za postav pa si se odlučio za rad s osciloskopima. Tijekom priprema sam te je prostor ponukao da napraviš još jedan rad, i tako si od početne ideje napredovao u nepredvidivom smjeru do nečega novog.

Započnimo s pitanjem o tome koliko ti je važna otvorenost i susret sa zatečenim prostorom.

Klif Da, od našeg prvog dogovora do trenutka kada sam trebao početi konkretno raditi na produkciji izložbe, počeo sam se dvoumiti oko Faznog pomaka zbog toga što bi mi puno vremena otišlo na tehnički postav, a malo na kreaciju. Zato sam počeo razmišljati o nekom novom radu. Dugo već nisam radio tako da samo uđem u prostor i neopterećen radim nešto novo. Shvatio sam da mi je u ovom trenutku vrlo bitno manje se baviti tehničkim aspektima rada, a više se koncentrirati na pitanje gdje je moj rad unutar tog procesa. Onda sam u Muzeju zatekao više slobodnog prostora nego što sam očekivao, jer je moja izložba bila jedina u tom trenutku, i odlučio napraviti dva rada.

Zato mi je bilo bitno povjerenje kustosa, pristanak na suradnju bez garancije što će to biti.

Sabina Nisi li ti taj princip rada razvio u metodu?

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Klif Improvizacija i eksperiment su moj način rada, ali isto tako puno stvari odrađujem u glavi, bez praktičnog rada – razmišljam o njima puno prije nego što krenem u realizaciju i testiranje. Što sam iskusniji, lakše mi je predvidjeti kako će se nešto ponašati u realnoj situaciji. Naprimjer, drugi rad s videomappingom zamišljao sam godinu dana prije, razmišljao o raznim kreativnim i tehničkim aspektima rada. I onda se slučajno dogodilo da su okolnosti u Muzeju bile takve da sam ušao u izvedbu. Uz to radim puno na redukciji, jer stvaranje na licu mjesta to traži, da racionaliziram, da suzim prostor djelovanja... reduciram alate, metode, vještine. Često nije moguće stvari isprobati u studiju jer radim velike radove koji ovise o prostoru izlaganja. Puno aspekata rada izađe iz prostornih uvjeta i to ne mogu ignorirati. Osim što mi odgovara, takva je metoda i nužna za ovakav način rada.

Sabina Imaš li svijest o performativnosti tako da razmišljaš o njoj, radiš na tome, ili je to usputna nužnost?

Klif Istina je da prije nisam o tome puno razmišljao, bar ne na taj način. Poslije sam to osvijestio. U likovnim radovima sve više primjenjujem svoje iskustvo sviranja, audiovizualnih nastupa i performansa. Prije sam se više bavio algoritmima koji rade za mene, prepuštao bih puno odluka kompjutoru, a sada mi je ok da je jedan dio rada snimljen – snimim svoju izvedbu nekog procesa i onda s tim dalje radim, manipuliram. To se dogodilo s radom s osciloskopima – snimio sam svoju živu izvedbu, montirao te materijale i reproducirao

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ih. Snimanje ovdje znači snimanje podataka, a ne audio- ili videomaterijala. Drugi rad na izložbi zapravo je izmontirani trokanalni video – snimka performansa sa svjetlom u prostoru.

Iako, kad razmislim, bilo je dosta radova u kojima sam nešto konkretno izvodio na sceni – Sinchronicity, pa Tata kupi mi sve.

Bilo je radova tog tipa, ali performans je bio sa strane, bio sam više onaj koji sjedi iza, za pultom, i pritišće gumbe. Sad bi se više htio usmjeriti na izvedbu, a za to su dva načina: da ih fizički izvedem ili da unutar nekog rada snimam vlastitu kontrolu određenog procesa i tu snimku onda koristim kao sirovinu za finalni rad. Sad vidim da ako više prepuštam sebi, a ne stroju, to funkcionira... to je pitanje purizma koje mi je nekad bilo bitno, a sad više nije.

Sabina Rekao si da u drugom radu otvaraš narativnost koja ti je zanimljiva...

Klif Tu se javlja pitanje manipulacije svjetlom, svako toliko se pojavim u kadru, ulazim i izlazim iz njega, mičem lampu, miču se sjene... sve izgleda jako kazališno i poprilično dramatično… te radnje imaju neko značenje, potencijal neke radnje. Neizbježno se pojavljuje naracija. Slučajnost i real-time su teren kojim sam se bavio dugo i dobro je da se počnem baviti i nečim drugim (smijeh). To podrazumijeva spremnost da počnem preuzimati odgovornost za neke aspekte svoga rada, koje sam do sada prepuštao slučaju, i donositi odluke koje sam do sada spretno izbjegavao.

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Sabina Čini se da ti je poticajno hodati po rubu, bar malo – po rubu medija, značenja, vrste. To nije ono što se podrazumijeva kad se kaže da si multimedijski umjetnik, mislim na to da voliš raditi s materijom izvan standarda, s nesvakidašnjim; niti je tu glazba obična glazba, a niti se video može nazvati videom u klasičnom smislu. Vizualni rječnik si protegnuo do rubova.

Klif Ne vidim se baš rubnim, ali shvaćam na što misliš. Početkom dvijetisućitih shvatio sam da me high-tech u okviru autorskog rada ne zanima. Sve to super izgleda, ali ide naprijed jako brzo, a ja ne želim stalno ganjati nešto novo. Moj put to nije, puno mi je zanimljivije čačkati stare medije. Analogni proces omogućuje fizičku dimenziju rada s tehnologijom, a usput je i zanimljivo što je ishod često neprecizan. Nepreciznost je element koji je uzbudljiv, svaki put sve bude barem malo drukčije.

Sabina Da, ne baviš se perfekcijom, nego svaku poziciju činiš nedostatnom, time i neodrživom, pa zato prelaziš na neku drugu, spajaš i modificiraš. Tu gledatelj uvijek iznova može naletjeti na nešto neočekivano. Pitam se kako bi izgledao rad s osciloskopima da si glazbenik.

Klif Počeo sam cijeniti to što u programiranju kôd ne tretiram kao nešto što treba savršeno napraviti jer ne radim u tvornici. Mane ili besmisao koje kôd proizvodi dok rad evoluira i komplicira se, katkad rezultiraju lijepim i uzbudljivim suživotom.

Tada na njih prestajem gledati kao na greške, ih zavolim ih,

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prisvojim i udomim. Obično radim u nekakvim serijama – sklopim tehnički okvir i onda kroz izložbe radovi postaju sve zreliji. Razvijaju se u svakom novom postavu, a ne u studijskom radu. Nekad sam više, nekad manje zadovoljan, nekad se dogode radikalni rezovi. Neke sam radove dosta brusio, Inside-Out dobar je primjer za to. Rad je bio odmah dobar, ali se puno razvio kroz pet-šest postava. Telephoning je bio uklet, nikako da ispadne kako treba, tek je u Rijeci na Quadrilateralu ispao dobro. Sad je Fazni pomak neka slična priča o radu koji pruža otpor, kojemu treba više pažnje, više truda i razmišljanja, i puno više upornosti.

Sabina Nedavno si spomenuo da su osciloskopi postali opet popularni, i da ti zato nije napeto raditi.

Klif Mislio sam na to da osciloskop sada kritičnije promatram. U zadnjih nekoliko godina pojavila se jedna mala, ali živa scena ljudi koji koriste osciloskope. Prvotna fascinacija medijem je izblijedjela, pojavljuju se sjajni radovi, zdrava konkurencija… Sve se više ljudi time bavi pa nisam više zaštićen tehničkim formama, što me tjera da razmišljam.

Sabina Što bi u riječkoj izložbi izdvojio kao bitno?

Klif Ta priča sa svjetlom koja je sjajna... svjetlo unosim u prostor, snimam i ponovno projiciram. Znači, svjetlo se dvaput reflektira i tu se događa nešto neobično, ne znam još točno što, malo mi se čini da razumijem pa mi opet pobjegne…

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moram o tome još dosta razmišljati. Novost je za mene da sam najprije sam snimao, onda montirao i tek treći dan vidio što sam napravio – nakon toga je bilo vremena samo još za sitne korekcije u montaži i to je bilo to. Dakle, ne radi se o generativnoj niti interaktivnoj stvari, nego o izmontiranom videomaterijalu, nešto što je za mene vrlo neobična forma.

Sabina U tekstu kataloga u jednom trenu kažem da to što radiš nije glazba, a onda spominjem komponiranje. Mislim da su tu oni međuprostori koje u radu otvaraš, a koji ga čine zanimljivim. Naprimjer, otvaraš pitanje je li moguće komponiranje buke. Spajaš nespojivo, barem po našem naučenom mišljenju.

Osciloskopi su zanimljivi zato što preko zvučnog signala daju sliku. Ne samo to, daju cjelovit zvučno-vizualni doživljaj.

Klif Da, na početku me zasmetao tvoj stav da to nije glazba, no čitaju dalje, smirio sam se (smijeh). Definitivno to nije samo glazba. Budući da zvuk stvara sliku, ne razmišljam samo o zvuku, oni su povezani… Osim toga, uvijek je živa izvedba u pitanju, nema klasične kompozicije, nego više neki tok misli. Možda bi najtočnije bilo reći da je to što radim zanimljivo jer jedna stvar proizvodi drugu. Motivaciju crpim iz činjenice da jedno postaje drugo, a karakter zvuka je takav kakav je. Tu tražim balans. S wobbulatorima je tehnički slično – zvuk modulira sliku, ali u praksi baš i ne. Razlika je u tome što kod wobbulatora male promjene zvuka stvaraju velike promjene u slici. Taj odnos ne funkcionira sinkrono – slika luduje, a zvuk je uhu isti. Kod osciloskopa je optimalan odnos slike i zvuka, moguća je sinestezija. Tako da je to napola glazba (smijeh)... jer nije

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zamišljena da se sluša kao zvuk. A alat kojim upravljam tretiram kao glazbeni instrument, između osciloskopa i oscilatora; interface je Kaoss pad na kojem parametre mijenjam pomoću touch screena. A veza s glazbom proistječe iz moga glazbenog backgrounda, moje inicijalno znanje o improvizaciji dolazi otud.

To je iskustvo neodvojivo od toga što radim. Najtočnije bi bilo reći: ja sviram, a ne znam je li to glazba, ne znam... (smijeh) Sabina Što stoji iza fascinacije svjetlom?

Klif Projicirano svjetlo uvijek me zanimalo, taj pomalo kazališni tip svjetla koji stvara neku atmosferu...

Svjetlo i zvuk su bile prve stvari kojima sam se mogao igrati kao dijete i tinejdžer, igrao sam se tehnikom koja mi je bila pri ruci – magnetofon, kasetofon, projektor. Ne znam, rano sam počeo raditi sa žaruljama, zanimalo me što se s tim može dobiti... Isto tako televizori… svjetlo je u ekranu, ekran je uvijek imao i ulogu svjetlosnog tijela, a ne samo nečega što prikazuje sadržaj. Prije sam radio s dijaprojekcijama, onda je došla na red videoprojekcija. Jedno je od prvih sjećanja na svjetlo koje imam, ne znam koliko mi je tad bilo godina: budim se u Medulićevoj i na zidu je bila srebrnobijela tapeta s cvjetnim uzorkom. Sjećam se s kojim sam oduševljenjem promatrao svjetlo na toj tapeti, iako sam je dobro poznavao, ali se sjećam fascinacije time, te igre svjetla i sjene. Kao vizualni podražaj svjetlo me je uvijek uzbuđivalo, jako je konkretno, a opet, ne možeš ga dotaknuti, njega ima i nema.

Studeni, 2016.

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Site-specific audiovizualna instalacija 2016. loop 8'40'' 2 videoprojektora, računalo, 2 zvučnika, prostor Kamera: Ivan Slipčević

Site-specific audiovisual installation 2016 loop 8'40'' 2 video beamers, computer, 2 loudspeakers, space Camera: Ivan Slipčević

www.vimeo.com/imklif/mmsu2

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New works from the order of noise and silence

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Since Ivan Maruťić Klif appeared on the art scene in the mid-nineties, he has been exploring the possibilities of the processing and rendering of image and sound within the frame of multimedia practices, by unifying the media of video, sound, light and performance. Inclined to live performance and experiment, he gained recognition with works guided by accidentality of the case rather than by the desired result.

Bypassing his very characteristic real-time aesthetics, he has formatted the first solo exhibition in Rijeka, which represents his most recent research, differently. New works are not interactive nor they are presented in the form of a live performance at the opening. They were created as two separate units, prepared in advance and completed within a few days of the preparation in the museum itself.

By evoking a neo-avant-garde practice of the conversion and modification of non-artistic tools for the purpose of the artistic investigation of the electronic image1, Klif in the first part of the exhibition space sets an audio-visual installation based on the processing of the audio signal in the oscilloscope. The seductive ambient of light monochrome graphics projected along the twenty metres of the wall, propagates the liberating power of sound and pulsing circles that in leaping shifts proceed from a point to a circle, from the circle into multiplied spiral arrays... The sounds that vary from deafening bangs to the low-frequency resonances are spread through the space, reverberating within the head and stomach at the same time.

Sensations of an extraordinary range and intensity carry a reminiscence of the futuristic idea of the art of noise which is: If the senses vibrate, the brain will vibrate too!2 The noisy orchestrating of moving circles really coincides with this

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recipe, according to which noise should become a raw material for making art, an autonomous and abstract substance that will not imitate nor recall its own origin – with the task to be subordinated to the creative process that transforms it into emotion, into artwork.3 Klif operates with the matter of noise almost as Russolo imagined (though out of horizons and plausibility of the then creator) - by adopting it as a bare persistence. By changing the parameters of the oscilloscope (voltage-time-brightness), he allows forms to shape after his own internal meter for texture, shape, movement and colour.4 It seems that he insists on the ancient endeavour of mankind to give a noise a form in order to channel its destructive power.5 Although the same form is recognised by Attali in music, that we cannot refer to, this thesis is encouraging insofar that it is contrary to the opinion of the noise in information theory that, in spite of traditional ontological evaluation, according to which music deserves meaning, and noise does not, opens the debate this way: each message can be noise if it interferes with another message (within the chain of broadcastingtransmission-reception).6 With the radical shift in the observation of noise as a relative category, information theory has transformed its millennial irreparability in order. The noise, the bearer of the sense, is optimistic insofar that it makes the links between strong and weak points of reference of the sense more attainable than ever. That being the case, the absence of meaning in the noisy scene of Klif’s controlled subversion, sets the listener’s imagination free.7 He also recalls that visualization has the power of discovering imaginative and conceptual potentials8 – at times it seems that fractures and decomposing samples evoke a synesthetic experience, that we see the sound and hear the multiplication of forms, which overwhelm us with

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a sense of embarrassment and pleasure alternately.9 Attempts to possibly rationalise the experience of the spectacle of flashes and noises, end in failure, as it happens beyond the reach of thought analysis. We are already in the field of experience in which sensations and emotions assume the role of cognition.10 Despite their irregularities and instabilities, they complete what we call the perception of reality. Although it has been confirmed that the sound and the electronic image are by nature equal,11 by selecting sound as a source material on which image processing is based, Klif does not respect the standards in the field of visual arts - sound graphics are not representations of seen or preconceived imagery, nor are they the result of classical art approaches of formal reduction12 through which the artistic language of abstraction encodes reality. The paradigm of the work changes: in order to reduce the image, the volume has to be decreased. At the same time, the artist’s persuasion of the machine to produce is crucial, by usurping the role of the author who controls the accumulation of sense. In this way Klif’s works still remain performative and empirical, only more defined by his function of author – regulator in post-production editing procedures.13 Klif’s reasons for being occupied with the medium should not be sought in the provocation among old or new technologies, nor within the modernist pointing out of the specifics of the medium, but in the pleasure of the ‘tootling’ and composing.14 Only in an environment where the mutual tuning of electronic tools and the will of the author occur under the auspices of the disinterested game, can there suddenly appear the metaphysics of a machine followed by the feeling that there is something more than simply managing the machine. It seems that at some point Klif stops tweaking the control and gives more than what is required of him – he goes beyond reverence

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and begins to create. Perhaps because a good tool produces much more than it reveals its secrets.15 In the extended video field which the visitor paces, he cannot afford to stand aside in the role of spectator. He’s been drawn in by the effect of the invisible logic of blinking sound and image, that he responds to in two ways and in a proven sequence: first by fascination, then by perceptual fatigue. At the moment when the flashing lights become unbearable to the retina, and shrill sounds to the ears totally disturbing, it’s time to skip over from the order of noise towards the reign of silence.

Exploring the perceptual capabilities that space offers, for the work set out in the second part of the hall, Klif adopted the technique of video-mapping the lights, without creating a virtual replica of the recorded space and without using the 3D software, but by the most ordinary video projection and thoughtful editing. Here we have a valid argument of a different nature: we do not watch three simultaneous projections as a document of an event that needs to be verified by the certainty of a referee, therefore by Klif’s navigation lamp through the darkened space of the Museum, a few days before the opening.

The reason should be sought in the aesthetic motivation, in the visualisation of spatial layering. Browsing through the space with the logic of assemblages, Klif complements selected overlapping frames with the play of light and shadow, while by the movement of light he enhances the depth of field of the gaze in the architecture that we observe beyond the central cinematic view, through several parallel plans. Lulled into a meditative serenity of uniform frequencies of the background’s white noise, interrupted only by rare and unclear echoes of

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conversations happened during the shooting, we become relieved of retrieving the sense of what we see.

Once displaced from the conventional notion of mapping (cultural, geographical) in which we expect the accuracy and consistency of photocopies, here we adopt a subjective and experimental modelling of the outside world, which becomes a place of free recreation and imagination. We indulge ourselves with polycentric panoramas, resulting in a zigzag viewing, within the environment in constant change, while at any moment the old information can join the new. The disunited view allows observations of illogical time discontinuities or simultaneities as a result of the abolition of the linear narrative: it happens that within the same frame we notice Klif appearing replicated as his duplicate (does the primal fear of their meeting occur?).16 Retaining the fictional dimension of work, a video self-portrait appears more as an analogy and a poetic figure, than as the bearer of narrative lines or of the live experience of the space.17 Doubled or multiplied, Klif acts as a patron of the performativity of lights, transcending any purpose other than walking the curves of perception, whereby each time enough of the unexplored remains so that we can always question again how we look and what we really hear.

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1

Exploring the appearance of electronic image and sound, a team of artists and

engineers in the 1950s and 1960s, created artistic tools, such as a video-

synthesiser: Nam June Paik/Shuya Abe, Steve Rutt/Etra Bill, Stephen Beck,

Steina and Woody Vasulka.The group of authors (Wojciech Bruszewski, Pawel

Kwiek, Jacek Lomnicki) used an oscilloscope in action entitled Workshop at

the Museum of Art in Łodz in 1973, as one of the instruments on which they

tested the ability and efficiency of the transmission. The action was a political

gesture. See: Urszula Czartoryska, Polish photography named “Explorations”, in:

Spot, photo magazine no. 4, the Gallery of the City of Zagreb, Zagreb, 1974.

2

Luigi Russolo, L’arte di rumore, Edizioni futuriste di Poesia, Milan, 1916, p. 90.

The essay was originally published in 1913, it was considered a manifesto of the

futuristic music.

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Ibidem, p. 91. In the spirit of futurism, outrageously and exalted, Russolo calls it

new acoustic voluptuousness (Nuova voluttà acustica).

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Creating the illusion of movement, as well as connecting light, colour and

rhythm, dates back to the early avant-garde painting (Cubism, Orphism,

František Kupka, Wassily Kandinsky) and continues in the research of the

Bauhaus’ representatives (Ludwig Hirschefeld-Mack, Kurt Schwerdtfeger,

Josef Hartwig) whose innovative application of simple materials (glass, mirror,

simple mobiles), kinetics and analogue recording techniques achieved

movement in real time, a simultaneity of sound and vision. See: Light Art from

Artificial Light, Light as a Medium in 20th and 21st Century Art, by Peter Weibel,

Gregor Jansen, ZKM, Karlsruhe, Hatje Cantz, 2006, pp. 138–169.

5

Jacques Attali, Noise and the Political Economy of Music, University of Minnesota

Press, 2009, pp. 26–27.

6

Ibidem, pp. 26–27. Theorist of the information theory Claude E. Shannon claims

that the advantage between two messages has the message that the listener

receives as meaning. There is no other hierarchy between them.

7

Ibidem, p. 33.

8

Digital humanities, Anne Burdick, Johanna Drucker, Peter Lunenfeld, Todd

Presner Jeffrey Schnapp, MIT Press, 2012, p. 45.

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9

Back in 1925 Alexander Laszlo constructed a sonchromatoscope and

contributed to the popularisation of the idea of synesthesia; see: Light Art from

Artificial Light, op. cit., p. 143.

10

David Freedberg, Power of Images, Studies in the History and Theory of

Response, The University of Chicago Press, Chicago/London, 1989, p. 430.

11

Originally, the electromagnetic wave. John Minkovsky quotes Woody Vasulka,

in: The Emergence of Video Processing Tools, Television Becoming Unglued,

Vol.1, Kathy High, Sherry Miller Hocking and Mona Jimenez, University of Chicago

Press, 2014, p. 285.

12

Iva Radmila Janković, Potraga za duhom u mašini, in: Ivan Marušić Klif, Između

frekvencija 2, catalogue, Umjetnički paviljon in Zagreb, 2014.

13

The idea of the author as a regulator is taken from Michela Foucault’s conference

Što je autor, Jesenski & Turk, Zagreb, 2015.

14

Jean Gagnon, A Demo Tape on How to Play Video on a Violin, in: The Emergence

of Video Processing Tools, Vol. 1 and 2, p. 317.

15

Woody Vasulka, op.cit., p. 286.

16

Let’s get back to Attali which in the same writing says: ‘’In a society that consists

of identical beings, substantial violence spreads, hence the fear of duplicates.’’

17

For comparison, some of Seth Riskin’s early performances from the series of

Light Dance from the early nineties, in which he uses ordinary torches and

halogen lights attached to the body in order to project them in a darkened space,

targeting the direct physical experience of expanding the perception of space.

Klif leaves us to the silence of imagining.Catur am quaecum rem lant quisi odit

et venis qui alibusam volor accusdae nusam ilitatianis es et qui audae officidis

ea audandi dolo quodit veniam, sum dolupta tempor magnitatquis ipsum laut

verferum voluptatur abo. Itation seceptur siti cupta dolupis trumquasim quia

pos at Qdoleceria

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Ivan Marušić Klif & Sabina Salamon In conversation

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Sabina Last year when we made arrangements for a solo exhibition in Rijeka’s MMSU, you had the idea to continue with Fazni Pomak (Phase Shift) (an installation first exhibited in Pogon Jedinstvo in 2014). In the meantime, you have realised that this work is too complicated for the time that you have for the exhibition, so you’ve decided on a work with oscilloscopes.

During the preparation, the space itself prompted you to produce one more work, and so from the initial idea you progressed in an unforeseeable direction towards something new. Let’s begin with a question about how important openness is to you and the encounter with the given space?

Klif Yes, from our first agreement to the moment when I had to start work proper on the exhibition’s production, I began to think twice about Fazni Pomak because a lot of time would have been spent on the technical display, and less on the creation. And so I began to think about a new work. It’s been a long time since I’ve worked in a way that I just enter a space and work freely on something new. At that point I realised that it was very important for me to deal less with the technical aspects of the work, and to concentrate more on the question of where my work fits within this process. Then I found more free space in the museum than I had expected, because my exhibition was the only one at that time, and I decided to produce two works. So, that’s why the trust of the curator was important for me, the approval to collaborate without a guarantee of what it would be about.

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Sabina Did you not develop this principle of work into a method?

Klif Improvisation and experiment are my way of working, but I also process things in my head in the same way, without practical work - I think about them a lot before I start the realisation and testing. The more experienced I am, the easier it is for me to foresee how something will behave in the real situation. For example, I planned the other work with video mapping a year ago, I considered the various creative and technical aspects of the work. And then coincidentally it happened that the circumstances in the museum were such that I got into the production. Alongside that I work a lot on the reduction, because onsite creation needs it, that I rationalise, narrow down the space of the activity‌ reduce the tools, methods, skills. It is often not possible to try things in the studio, because I produce large works, which depend greatly on the exhibition space. Many of the aspects of the work come out from the spatial conditions and I cannot ignore that. Apart from such a method suiting me, it is also indispensable for this way of working.

Sabina Are you aware of performativity in a way that you think about it, do you work on it, or is it a passing necessity?

Klif The truth is that I haven’t thought about it a lot, at least not in that way. I became aware of it later. I am

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increasingly applying my experience of playing, audio-visual shows and performances to my artistic works. Before I was dealing more with algorithms that worked for me, I would leave many decisions to the computer, but now it is OK for me that one part of the work is recorded - I record the carrying out of some process and then I work with it, manipulate it further. This is the case with the work with the oscilloscopes - I recorded what they did live, edited the material and reproduced them (recording here means the recording of data, and not audio or video material). The other work in the exhibition is in fact an assembled three-channel video - a recording of a performance with the light from the room. Although, when I think about it, there were quite a few works in which I’ve performed something specific on stage - Sinkronicity (Synchronicity), and Tata kupi me sve (Dad buy me everything). There were works like this, but the performance was to the side, I was more like the one who sat behind the console and pushed the buttons. Now I would like to focus more on the performance, and for that there are two ways: to them perform physically, or that within a work I record my own control of a certain process and then use that recording as the raw material for a final work. Now I see that if leave more to myself, and not to a machine, it works… it is question of purism, which was once important to me, but now no longer is.

Sabina You’ve said that in the other work you are opening a narrativity that you find interesting…

Klif The question arises here about the manipulation of light, every now and then I appear on the

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set, I enter and leave it. I move the lamp, the shadows move… everything looks very theatrical and quite dramatic…these actions have some significance, some potential plot. A narration inevitably appears. Coincidence and real-time have been the terrain that I have dealt with for a long time and it is good that I start to deal with something else (laughter). This implies a willingness that I start to take responsibility for some aspects of my work, which until now I had left to chance and make decisions, which until now I have skilfully avoided.

Sabina It seems stimulating for you to walk on the edge, at least a little; on the edge of the medium, meaning, the kind. This is not what is implied when one says you are a multimedia artist, I mean that you like to work with material outside the norms, with the unusual; nor that this music is normal music, and nor that the video can be called video in the classic sense. You have stretched the visual vocabulary on the edges.

Klif I don’t really see myself on the edge, but I understand what you’re saying. At the beginning of the 2000s I realised that high-tech in the context of authorial work didn’t interested me. It all looked great, but it was advancing very quickly, and I didn’t want to be constantly chasing something new. That’s not my way, I find it more interesting to dabble with old media. The analogue process enables a physical dimension of the work with technology, and along the way, it is also interesting that the outcome is often imprecise. Impreciseness is an exciting element, every time everything is at least a little bit different.

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Sabina That’s right, you don’t deal with perfection, rather you make every idea insufficient, thereby unsustainable too, and so you cross into something else, you combine and modify. Here the viewer is again always able to come across something unexpected (I ask myself, how would the work with the oscilloscopes have looked if you were a musician?)

Klif I have begun to appreciate not to treat the code in the programming as something that should be created perfectly, because I don’t work in a factory. The imperfections or nonsense that the code produces whilst the work evolves and becomes complicated, sometimes results in a beautiful and exciting coexistence. Then I stop looking at them as mistakes, I like them, claim and adopt them. I usually make my works in some kind of series - I assemble the technical framework and then during the exhibition the works become increasingly mature. They develop in every new setting, and not in the studio. Sometimes I am more, sometimes less satisfied, sometimes there are radical edits. I’ve really polished some works, Inside-Out is a good example, the work was immediately good, however it developed fully over five-six productions.

Telephoning was cursed, it didn’t turn out as it should, it only turned out well at Quadrilateral in Rijeka. Now Fazni Pomak is a similar story of a work that is putting up some resistance, it needs more attention, more effort and thought, and much more persistence.

Sabina You recently mentioned that oscilloscopes

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have become popular again, and therefore it is not so stressful for you to do.

Klif I’ve thought about that, to observe the oscilloscope more critically now. In recent years a small, yet vivid scene of people who use oscilloscopes has appeared. The initial fascination with the medium had faded, brilliant works are appearing, healthy competition… The fact is that there are more people who are dealing with this, it doesn’t allow me to be protected by technical tricks alone, and it forces me to think.

Sabina What would you single out as being important in the Rijeka exhibition?

Klif The story with the light which is brilliant… I bring light into the space, I film it and project it again. It means that the light is projected twice and here something unusual happens, I’m not sure exactly what, it seems I understand a little, but it escapes me again… I have to think about it a lot more. A novelty for me is that at first I filmed myself, then I edited it, and it was only on the third day that I saw what I had made - after that there was only time for small corrections in the edit and that was it; therefore, it was not about a generative, nor interactive thing, but about assembled video material, something that for me is a very unusual form.

Sabina In the text of the catalogue at one point, I say

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that what you do is not music, and then I mention composing. I think that they are the gaps that you open in the work, and which make it interesting. For example, you pose the question - is the composition of noise possible? You combine the incompatible, at least to our learned thinking. Oscilloscopes are interesting because they provide an image via an audio signal. Not only that, they provide a complete audio-visual experience.

Klif Yes, at the beginning your view that this is not music bothered me, but when I read the text further I then calmed down (laughter). It is definitively not just music. Being that the sound creates an image, I don’t think solely about the sound, they are linked… besides that a live performance is always an issue, there is no classical composition, but more a train of thought. Perhaps it would be most accurate to say that what I do is interesting, because one thing produces another. I draw motivation from the fact that one becomes the other, and the character of the sound is as it is. I look for balance there.

With wobbulators it is technically similar - the sounds modulates the image, but in practice it also doesn’t. The difference is in that with wobbulators small changes to the sound make great changes in the image. This relationship doesn’t function synchronously - the image goes crazy, but to the ear the sound is the same. With an oscilloscope the relationship of image and sound is optimal, a synaesthesia is possible. So it is half music (laughter)… because it is not meant to be heard as sound. And the tool that I operate with, I treat like a musical instrument, between an oscilloscope and an oscillator; the interface is a Kaoss pad with which I modify the parameters with the help of a touch screen. However, the link with music derives from

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my musical background, my initial knowledge of improvisation comes from there. That experience is inseparable from what I am doing. It would be more precise to say: I play, yet I’m not sure if it’s music, I don’t know… (laughter) Sabina What is behind the fascination with light?

Klif Projected light has always interested me, that slightly theatrical kind of light that creates an atmosphere…

Light and sound were the first things with which I was able to play as a child and teenager, I played with the technology which was close to hand, a reel-to-reel tape machine, a cassette player, projector. I’m not sure, I began to play with bulbs early on, I was interested in what could be achieved with them… It’s the same with televisions… the light is in the screen, I always played with the screen and its role as a luminous body, and not only as something that displayed content. I used to work with slide projections, and then video projection came along. One of the first memories that I have, I’m not sure how old I was: I wake up in Medulićeva street and on the wall is some silvery-white wallpaper with a flowery pattern, I remember how with delight I observed the light on that wallpaper, although I knew it well, however I remember my fascination with it, and the play of light and shadow. As a visual stimulus light has always excited me, it is very definite, and yet, you cannot touch it, it’s there and not there.

November, 2016

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Ivan Marušić Klif djeluje na hrvatskoj sceni medijske umjetnosti, kao jedan od istaknutih autora eksperimentalnog smjera.

Diplomirao je 1994. na Visokoj školi za oblikovanje zvuka u Amsterdamu (School of Audio Engineering, Amsterdam). Bavi se izradom kinetičkih, svjetlosnih i video instalacija, te povremeno performansom. Radi također s glazbom i zvukom u sklopu kazališnih, filmskih, televizijskih i glazbenih projekata. Izlagao je i nastupao u Europi, Japanu i SAD (Mapping festival, Ženeva; Ars Electronica, Linz; Kibla, Maribor; Kapelica Gallery, Ljubljana).

Ivan Marušić Klif is part of the Croatian media art scene, and is one of the outstanding authors in the experimental field.

He graduated in 1994 at the School of Audio Engineering in Amsterdam. He works with kinetic, light and video installations, and occasionally performance. He also works with music and sound in theatrical, film, television and musical projects. He has exhibited in Europe, Japan and the USA (Mapping Festival, Geneva; Ars Electronica, Linz; Kibla, Maribor; the Kapelica Gallery, Ljubljana).

www.i.m.klif.tv www.vimeo.com/imklif

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Samostalne izložbe — izbor Solo exhibitions — selection

2016.

Novi radovi | New works, MMSU, Rijeka

2015.

Portreti | Portraits, Galerija Događanja, Zagreb

2014.

Fazni pomak, Pogon Jedinstvo, Zagreb, Croatia

2014.

Između frekvencija II | Between frequencies II, Art pavillion, Zagreb

2013.

Volim crtiće | I like cartoons, Animafest/MSU, Zagreb

2013.

Bez naslova | Untitled (Biennale 2013), Galerija SC, MBZ, Zagreb,

2012.

Sveta Srca, AMI, Pula

2012.

Lambda, Pogon Jedinstvo, Zagreb

2011.

Između frekvencija | Between frequencies, MKC, Split

2008. Telephoning, Galerija Galženica, Zagreb 2007.

∏iiiiiii, Galerija Bačva, HDLU, Zagreb

2007.

Unutra-vani | Inside-Out, Gradska Galerija Labin, Labin

2006. Synchronicity, Galerija Dante, Umag 2005.

Unutra-vani | Inside-Out, Galerija PM, Zagreb,

2004.

Unutra-vani | Inside-out, Kibla, Maribor

2001.

Kapelica, Ljubljana

2001.

Klovićevi dvori, Zagreb

1999.

Galerija Karas, Zagreb

1994.

Galerija Moderna Vremena, KIC, Zagreb

Skupne Izložbe — izbor Group exhibitions — selection

2016.

MIG 21, Kiblix, Maribor

2013.

The 30th Biennal of graphic arts: Interruption, MGLC, Ljubljana

2013.

T-HTnagrada@msu.hr, MSU, Zagreb

2013.

Device_art 4.013, Prag

2010.

Device art 3.010, Miraikan – National Museum of Emerging Science and

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Innovation, Tokyo

2008.

Ecology of the Techno Mind, Ars Electronica, Linz

2007.

T-HTnagrada@msu.hr, MSU, Zagreb

2001.

26. salon mladih Award | 26. Youth Salon, Zagrebacki Velesajam, Zagreb

1996.

Real Life, Young Croatian Video Art, IFA Gallery, Stuttgart

1995.

6th Triennale der Kleinplastik, Stuttgart

1994.

Stara tiskara | Old Printing House, Zagreb

1993.

Zagreb in Copenhagen, Container Art, Copenhagen

Performansi Performances

2012. -2016.

Various untitled AV performances with oscilloscope, Zagreb, Korčula, Sisak

2016.

Sve nekako počinje, Zagreb, Rijeka, Rovinj, Split

2008.

Podzemni dahovi | Underground Breaths, Urban Festival, Zagreb

2005-2006.

Tata kupi mi sve, Zagreb, Maribor, Ljubljana, Rijeka, Osijek

2005.

Unutra-vani | Inside-Out, Insert, MSU, Zagreb

2004.

Synchronicity, Device art, Gliptoteka, Zagreb

2002.

Here Tomorrow, I am the DJ I am what I play, MSU, Zagreb

2002.

Broadcasting project, 4 hours live TV netcast Prekid programa, Tehnički muzej,

Zagreb 2001.

DJ’s guide to Communist Manifest / If I Had A Hammer, 7 hours sound

performance, Kunsthalle Exnergasse WUK, Vienna

Multimedijalni Projekti — suradnje Multimedia projects —collaborations

2016.

Smrt Bijela Kost | Death White Bone, AV performans, (s | with: Hrvoslava Brkušić,

Hrvoje Nikšić),Ljubljana, Zagreb

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2012. — 2016.

Day of the year, (s | with: Alen Sinkauz, Nenad Sinkauz, Miroslav Piškulić ),

Osijek, Tokyo, Pula, Rijeka, Zagreb, Novi Sad

2012. — 2014.

SineLove!, s | with: Hrvoje Nikšić, Berlin, Pula, Zagreb

2010.

Šum protiv valova , s | with: Hrvoje Nikšić, Hrvoje Radnić, Ivan Čadež, 25FPS,

Zagreb 2007.

Live radio drama, In the place where we are, still looking for some relation...,

3. Program of Croatian National Radio, Zagreb

2003.

Alexander Scriabin, Prometheus | Poem of fire, Zagreb philharmony, concert

hall Vatroslav Lisinski, adaptation of the original Scriabins score for light

organ - interactive light and video software

1997. — 1999.

Project eye.ear. s | with: Magdalena Pederin, Lala Rašćić, Dubravko Kuhta

Zagreb, Split

1988.

Katedrala | Cathedral, s | with: Boris Bakal, Darko Fritz, Stanko Juzbašić,

Goran Premec, Gallery PM, Zagreb

Video za kazalište Video for the theater

2016.

Bife Titanik, Branko Brezovec, Eurokaz, Zagreb (s | with: Ana Hušman)

2013.

Europa, Janusz Kica, ZKM, Zagreb

2012.

Maleš, Maleš, Vilim Matula i grupa autora, Zagreb

2011.

Kriegspiel, Kugla, Zagreb

2010.

Njegoš - Vatre, Paolo Magelli | Radmil Vojvodić, K.P. Zetski dom, Kotor

2010.

Buđenje proljeća, Oliver Frljić, ZKM, Zagreb

2009.

Zagrebački pentagram, Paolo Magelli, ZKM, Zagreb

2009.

Barbelo, o psima i djeci, Paolo Magelli, Gavella, Zagreb

94

Glazba i sound design Music and sound design

2005.

Evro-vizija, Irma Omerzo, Marmot, Zagreb

2002.

Koora, Tanja Zgonc, HIPP, Zagreb and ZNG, Ljubljana (s | with Vjeran Šalamon)

2002.

Rad Borosane na sebi, Nina Violic, Teatar ITD, Zagreb

2002.

InBetween, Nicole Hewitt, Zagreb film

2001.

Mi-Nous, Irma Omerzo, Gavella, Zagreb

2000.

50%, Nataša Lušetić, Teatar EXIT, Zagreb

1999.

InDividu, Nicole Hewitt, Zagreb film (s | with: Igor Pavlica)

1999.

Bardo Thodol, Simon B. Narath

1997.

Desire, Nataša Lušetić, Teatar EXIT, Zagreb (s | with: Igor Pavlica)

Nagrade Awards

2013.

Nagrada Vladimir Nazor za najbolju izložbu 2012. | Vladimir Nazor award,

highest achievment in visual art in 2012

2013.

T-HTnagrada@msu.hr, nagrada publike | audience award, MSU, Zagreb

2007.

T-HTnagrada@msu.hr, nagrada publike / audience award, MSU, Zagreb

2001.

26. salon mladih Award / 26. Youth Salon, Zagreb

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96

izložba | exhibition

Tisak | Printing

Ivan Marušić - Klif

Kerschoffset, Zagreb

Novi radfovi | New Works 18.5. — 2.6.2016.

Naklada | Print run 300

Izdavač | Publisher Muzej moderne i suvremene umjetnosti

Broj kataloga | Catalogue no.

Museum of Modern and Contemporary Art

361 © MMSU, Rijeka, 2016.

Za izdavača | For the publisher Slaven Tolj

CIP zapis dostupan u računalnom katalogu Sveučilišne knjižnice Rijeka pod

urednica | editor

brojem 131108080

Sabina Salamon ISBN 978-953-8107-10-8 Tekstovi | Texts Sabina Salamon, Ivan Marušić Klif

Prijevod | Translation Martin Mayhew

Lektura | Proof reading Gordana Ožbolt, Martin Mayhew

Fotografije | Photographs Tanja Draškić Savić

dizajn | design Marino Krstačić Furić & Ana Tomić

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IVAN MARUŠIĆ KLIF

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