Category: Media Art


“Contemporary literature abounds with expressions such as ‘we live in a connected world, ‘a connected age, a ‘human web and a ‘web society. At first sight this dependence seems rather peculiar because simultaneously there is much talk about individualization, social fragmentation, freedom and independence. But on second thought, this coincidence is not that strange because both tendencies might be two sides of the same coin – at least, that is what is argued in this book: ‘The world may never have been freer, but it has also never been so interdependent and interconnected’ (Mulgan, 1997: 1).”

A new course book written by a Dr. Jan van Dijk from Neetherlands University in Twente is about the new digital media in social and communication science., as well as on the Age of Networks. It’s an intedisciplinary outline of social aspects as a network theory, structuration theory, medium theory and modernization theory.

You can read the first part of the book  “The Network Society” .

Source:

kulturpunkt

On the 1st of June at the Croatian Adris Gallery in Rovinj the exhibition of photographs “Selling Dreams – Contemporary Croatian Fashion Photography” will be presented for the first time at the Rovinj Photodays festival of photography, gathering the best Croatian fashion photographers and some of their most successful works made during the last ten years.

Culturenet informs: “And who could be better at assembling this photographic dream team and thinking of such an attractive and impressive selection than the eminent photographer Sandra Vitaljić, who has herself been involved in the creation of imaginative fashion editorials and stories for years.

According to her words, it was not difficult to select six people to represent the best of Croatian fashion photography, but it was quite demanding to choose from their archive just a few works to represent the authors and to create a unique whole within which the photographs would correspond well.

Curator: Sandra Vitaljić, Authors: Mladen Šarić, Romano Decker i Dejan Kutić, Bruna Kazinoti, Mare Milin, Ivana Vučić, Marko Grubišić.”

Source:

culturenet

photodays-rovinj

Bill_Viola_DreamersBill Viola’s video work The Lovers (2005), will be shown at  the “50 Years of Video Art,” on 26th Festival Les Instants Vidéo, La Friche de la belle de mai in Marseille, France (November 7 – 30, 2013). The last month’s European exhibition of Bill Viola’s videos in Blain Southern Gallery showed the whole Earth “Dreamers” in moving images. Viola explains how his latest exhibits touch upon a near-death experience as a child, and the importance of water in his work (8 minutes) (thespace.org)
“Dreamers” (2013) consists of seven individual screens, which depict underwater portraits of people who appear to be sleeping. Presented in the gallery on the lower-ground floor, and accompanied by the gentle sounds of water, the viewer is led to feel as if they themselves are submerged with these figures.
“For over forty years, Viola’s practice has continuously transformed our understanding of video as an artform, expanding its technological scope and historical relevance. He draws from a range of influences, including Eastern and Western art and the spiritual traditions of Zen Buddhism, Islamic Sufism and Christian mysticism, to express fundamental truths underpinning human existence. Bill Viola’s profound visual language captures and expresses thoughts, feelings and memories that have a universal appeal, offering viewers a vehicle for the exploration and contemplation of their own circumstances and emotions.” (blain southern gallery)
Viola represented the U.S. at the 46th Venice Biennale in 1995, and his work has been the subject of large solo
survey exhibitions including: The Museum of Contemporary Art, North Miami (2012-2013), The Whitney Museum of
American Art (travelled to 5 venues) (1997-2000); Mori Art Museum, Tokyo (2006); and Palazzo delle Esposizioni,
Rome (2008).  He holds honorary doctorates from Syracuse University (1995), The School of the Art Institute
of Chicago (1997), and Royal College of Art, London (2004) among others, and was inducted into the American
Academy of Arts and Sciences (2000).
MV
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Museum of Contemporary Art in Zagreb, in collaboration with Association Kazimir in Split and the Institute of Network Cultures in Amsterdam, is organizing an international conference of theorists, artists and experts for new media, especially for online video, under the title Video Vortex, which is set to take place on May 17-19 in Zagreb.

This platform deals with a recent phenomenon that has a considerable presence on the Internet (Vimeo, YouTube, Facebook).

Moving pictures (film/video) and internet are in the process of defining their dynamic and creative mutual relations, and therefore the conference will focus on the content of changes in contemporary art and film, but also in wider cultural, social and technological fields.

The initiator of the Network is a prominent new media theorist Geert Lovink from the Institute of Network Cultures in Amsterdam; previous conferences were held in Brussels, Amsterdam, Ankara, Split, and other cities. The Zagreb Conference is an important turning point, because for the first time the conference is supported by a big museum institution such as MSU. After the Zagreb Conference, the following ones will take place in Berlin, New York, and Paris. About thirty speakers will participate in the proceedings of the conference, divided in six panels: Contemporary Art and online video, Theoretical discourses on the contemporary shift in the digital moving image, Social network and online video in the region, The perspective of online cinema, Artists talk about their own work and research in online video, and Technological aspects and new developments of online video.

Participants of the Conference:
Seumas Coutts, Annelies Termeer, Sabina Salamon, Laurence Rickelts, Bojana Romić, Riczhard Kluszchinsky, Andreas Treske, Dagan Coen, Janos Sugar, Peter Perg, Damir Nikšić, Sandra Sterle, Gabriel Menotti, Jan Simons, Nina Koll, Miklos Peternak, Dalibor Martinis, Natalie Bookchin, Annie Abrahams, Maartin Brinkerink, Miha Colner, Richard Vickers.

The exhibition:
Concurrently with the Conference an exhibition will be held, with works that were created through the participative processes in internet networks, i.e. as authorial videos prepared for online distribution: Liu Wei, Perry Bard, Flag metamorphosis, Janos Sugar, Sandra Sterle, Natalie Bookschin, Dalibor Martinis, Damir Nikšić, Annie Abrahams. Curator: Tihomir Milovac. Curators for online video selection: Vera Tollman, Sarah Kesenne, Christiane Paul, Perry Bard, Brian Willems, Hebert Patrick & Alexandra Juhasz.

 

Source:

culturenet

msu

ikonica_media_art_MVThe famous American MIT Media Lab introduces disputable new topic about social networking sites and stresses that “there is always the danger of a “group think” mentality–when people follow a group consensus rather than critically evaluate information; make decisions without guidance from the social network; or follow “gurus” who provide them with bad information.” We think that the “wisdom of the crowd” is leftist and rightist illusion and doubtful concerning the masses, because only the true Artists/Individuals can conceptually, practically and critically evaluate information. Which means the Art of Living is clever using of both hands and the whole mind and thus a privilege just of Media Art. (More at: https://mediavia.files.wordpress.com )

It is very weak possibility that the “Part of the answer may come from recent work of Media Lab researcher Dr. Yaniv Altshuler, an expert in collective intelligence methods, who is working with Toshiba Professor Alex ‘Sandy’ Pentland in the Media Lab’s Human Dynamics research group. Altshuler has developed a tool for social financial trading that helps guide users to make better decisions by improving the information flow within the networks. This is accomplished by diverting the traders’ attention away from certain links, and drawing their attention to others, changing the dynamics of the network.”

MV

media.mit.edu

A Croatian curator of Institute for the Research of the Avant-garde  Zagreb, Branko Franceschi and HDLU in collaboration with David Zwirner, London, present an exhibition of new work by Belgian artist Luc Tuymans. The exhibition, titled Allo!, brings together six new paintings and a series of wall paintings especially conceived for the rotunda of the Mestrovic Pavilion. Painting from pre-existing imagery-photographs, film-stills, newspaper cuttings-Tuymans’s works address the elusive gap between memory and reality, personal space and public space. (10 May – 21 June, 2012)

Tuymans’s new series of paintings is inspired by the final scenes of the 1942 black-and-white film The Moon and Sixpence, which was adapted from the 1919 novel by W. Somerset Maugham. Loosely based upon the life of Paul Gauguin, the movie ends weeks after the death of Strickland, when his doctor travels from London to the village in Tahiti where the main character lived. When the doctor enters the painter’s cabin, the movie changes from black-and-white to Technicolor. Tuymans made a series of screenshots of this color metamorphosis. The photographer’s reflection-that of Tuymans himself-can be seen in the screenshots and therefore also in the paintings.

Born in Mortsel, near Antwerp, Belgium in 1958, Tuymans studied fine art in Brussels and Antwerp between 1976-1982, before completing a degree in Art History at the Vrije Universiteit in 1986. In 1992, he participated in the prestigious Documenta IX in Kassel, Germany, and he has since exhibited widely in Europe and Northern America.

Source:

hdlu

In German Medienmuseum ZKM | Museum of Contemporary Art in Karlsruhe you can visit on March 8th, 2012 an exhibition “Moments. A History of Performance in 10 Acts” as an international live exhibition on the history of art performance in dance and fine art. As an exhibition ‘in progress’, the project shows and develops new formats of museal presentation of live acts. The exhibition begins in an empty exhibition space. During the eight week duration of the exhibition project a scenic act of around ten central stages of dance and performance history unfolded − as witnessed by a group of students invited to accompany and observe for the entire period − before a public. One of the key focal points is the performances and works by women who have consciously been thematizing, transgressing and critiquing the genre boundaries between dance, performance, and visual media since the 1960s. Here, they likewise reflect on the implicit male constructions of the gaze and the gestural logic of their colleagues.

Among others, the artists represented in the exhibition will be Marina Abramović, Graciela Carnevale, Simone Forti, Anna Halprin, Reinhild Hoffmann, Channa Horwitz, Lynn Hershman Leeson, Sanja Iveković, Adrian Piper and Yvonne Rainer. The exhibition is composed of four phases, in each of which other actors occupy the exhibition space:

1. Act − Stage and Display (March 8−March 17, 2012)

2. Re-Act − Interpretative Acquisition in the Art Laboratory (March 18−March 30, 2012)

3. Post-Production − Film Editing (March 31−April 14, 2012)

4. Remembering the Act − Performative Mediation of the Exhibition Process by Artistic Witnesses (April 15−April 29, 2012)

MV

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culturenet

zkm

Mihael Giba is a Croatian intermedia artist, who is presenting the first solo exhibition of his work in Slovenia between 9 – 28 March 2012 at P74 Gallery in Ljubljana.

“The exhibition TRUST ME I TRUST YOU presents an installation of this same name, which is composed of a series of five artist books with the same formal character and elegance as the artist’s conceptual poetry(…) The artist’s chosen mode of mapping derives from his desire to create a dialogue between the state and its citizens that is as direct as possible. Through the visualization of data, he moves from the concrete to the abstract only to return again to the concrete. Such movement Lev Manovich has described as the real challenge of data art, which, he says, “is not about how to map some abstract and impersonal data into something meaningful and beautiful” but rather “how to represent the personal subjective experience of a person living in a data society.”[Lev Manovich, “Data Visualisation as New Abstraction and Anti-Sublime” (2002)]

Mihael Giba (b. 1985, Varaždin) received his degree in painting from the Academy of Art at the University of Split, where he is currently employed as a senior assistant in electronic painting and digital photography. He is a member of the international art network Zebra, which founded the exhibition space Greta in Zagreb. He regularly exhibits his work in Croatia in both solo and group shows. In 2010, in collaboration with Dalibor Martinis, he presented his touring project Global Picture in Slovenia.

MV

Branko Franceschi as a curator goes permanently with introducing Croatian Avantgarde art from Marinko Sudac collection of South East Europe avant-garde art production, this time at Kuad Gallery in Istanbul from 24 February to 28 April.

Franceschi states that “so-called state modernism focused on the formal aspects of creativity and creation of art objects and was intensively supported by public institutions, while art practices that aimed to enhance social change towards participatory democracy, or at least to improve the cultural context, were pushed to the margins of public interest and institutional representation. In this manner the creativity of the true heirs of completely neglected pre-WWII radical art practices came to be referred to as the “art of the second line”. (…) Finally, the general understanding prevailed that the avant-garde legacy of modern era, alive and vibrant as it is, most pragmatically and directly connects us with the West we have been aiming to unite with all along. Second-line art became first-line art and a series of major exhibitions has made this heritage visible to local and international communities, creating a possibility of the substantial modification in the mapping of global culture towards a more accurate and impartial model.”

The curatorial concept has been to divide the exhibition into four comprehensive sections. In Print focuses on the legacy and continuation of avant-garde magazine publishing, while Legacy of Constructivism points out how the aesthetic of constructivism permeated and has been transformed throughout the XX century. Subject = Object presents an impressive history of performative art practices in the region dating back to the 1920s and Utopia and Radicalism epitomizes activism that bravely stood against the power and rule of the political elite.”

The exhibition presents 59 works (photography, prints, collages and videos) of Aleksandar Srnec, Attila Csernik, Balint Szombathy, Bogdanka Poznanovic, Boris Demur, Era Milivojevic, EXAT 51, Family from Sempas, Gorgona, Ivan Kozaric, Ivana Tomljenovic Meller, Josip Seissel (Jo Klek), Marijan Molnar, Marko Pogacnik, Mladen Stilinovic, Nasko Kriznar, OHO, Red Peristyle, Tomislav Gotovac, Traveleri, Vladimir Bonacic, Vlado Martek, Zeljko Jerman and Zeljko Kipke.

MV

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the press release

Romulic Multimedia Studio (Mario Romulic and Drazen Stojcic) presents the fascinating movie with hundreds of thousands photographs, created by timelapse technique. “The movie you’re about to see is a preview of what we would like to do, in regards of representing Croatia as a destination in a different way.

No one commissioned us to do this, we put our own work, time, gear, money and ideas into it. Because of this we chose the locations, the editing and music as we saw fit.  Of course, what we ended up putting in this video is merely a fragment of what Croatia has to offer. As photographers who have traveled across our country from one end to another, we are well aware that there is so much more to be filmed. And we are more than happy to do it – after all, we’re two guys who really love their job. It’s simply that the pace at which we can finish this project will depend mostly on if we can get financial support, or we’ll have to figure out some other way to pull this off.

Explaining timelapse technique to an average person, or a potential client can be very hard. Even most of our colleagues have no real sense of how demanding timelapses can be. So we decided to skip on the whining and tried to show what timelapse is really about and how visually attractive it can be.

Almost a full year of work went into this. Months and months of work and hundreds of thousands photographs for a few minutes of video. Sounds silly, but that’s basically how it is. For example, we spent last 3 months literally sitting at our workstations editing and rendering frame after frame, shot after shot, location after location. Crazy people 🙂

So, if by the end of this year we end up with another 4 minutes of worthwhile material, we’ll be more than happy to share!

Until then, lay back, relax and enjoy!”

MV

Source:

Timelaps at vimeo.com

http://www.romulic.com/

The internationally famous Croatian video artist Dalibor Martinis introduces to Croatian audience his performance “Simultaneous Speech” in Museum of Contemporary Art ( Zagreb, Gorgona theatre) on January 13, at 19 o’clock. With Dalibor Martinis there are 12 translators: Wang Qiaolan, Lea Kovacs,  Iva Stojevic, Wissam Sleman, Jana Busic,  Kozuko Kono Hut, Ana Petrovic, Marijeta Karlovic, Irena Sertic, Ignacio Esponera, Danijela Vukorepa, Zeljka Salopek, and Marija Popovic.

Dalibor Martinis enters the stage and starts his speech…12 translators simultaneously translate him to 12 languages. But what if they don’t translate his words but those of Fidel Castro in Hungarian, of Mao Zedong in French, of Osama bin Laden in Spanish, of Martin Luther King in Russian, of Gandhi in German, of Lenin in Turkish, of Joseph Beuys in Hindi, of Guy Debord in Greek, of Kasimir Malevich in Japanese, of Marcel Duchamp in Chinese, of Andy Warhol in Arabic, and of Marinetti in Swahili? Actually, it is the artist who translates the “translators” since his speech is composed of all the above speeches, a mixture of key texts of twentieth century, a speech of all speeches. A speech opera. And a lesson in matter of language and ideology. About our all understandings and all our misunderstandings. Does Dalibor Martinis with this stage performance give an ironical comment to the Babylonian language confusion in times of the EU enlargement? Is he comparing us to our mythical ancestors, who failed so magnificently with the building of the Babel tower? Is it possible to generate out of these texts of greatest artists and political leaders some general synthesis of the forever finished twentieth century, or the data recovery may be achieved only through unrelated fragments.

After the performance the book “Simultaneous Speech” will be presented by Nada Beros MSU, Boris Greiner and Dalibor Martinis.

MV

Source:

http://www.culturenet.hr/default.aspx?id=42380

The Croatian doctor of philosophy Sead Alic published his dissertation „Marshal McLuhan’s Philosophy of Media“ at the Center for Philosophy of Media and Medial research in Zagreb. As the author states he tries to find the arguments for the foundations of a new scientific discipline – Philosophy of Media, i.e. for the proofs that it was Canadian Philosopher Marshal McLuhan himself who was the most important theorist opening a new area and developing the method of interdisciplinary approach to the investigation of the media field.  (Alic S., „Marshal McLuhan’s Philosophy of Media“, 2010, page 422)

“The crucial part of the problem is the omnipresence of mass media which are changing human experience, and question not only contemporary philosophical idea (in its relation towards seduction and manipulation of new technologies/media), but also throw light onto the history of development of medial mediation and awareness about the meaning and influence of that mediation“, and later on he stresses that „the work of McLuhan is very often simplified and reduced to syntagms like Medium is Message, Global Village, Culture is our Business and similar.“  (Alic S., „Marshal McLuhan’s Philosophy of Media“, 2010, page 422).
PhD Alic understands together with McLuhan that constant introduction of new media during history has changed the human experience, so it’s necessary to change the approach to Life in general as well. Investigating the problem through the Tradition of Philosophy (Socrates, Descartes, Kant, Hegel, Nietzsche and Marx), Alic uses McLuhan to analyse the concept of Extensions (press technology – books and newspapers, advertising, photography, comics, film, radio, TV, fashion, slang and changes in discourse, and writing) as the central idea of his dissertation. Alic was inspired by McLuhan’s knowledge of Art history and his special attention is focused to the problem of perspective in presentation of Reality. Alic agrees with McLuhan that in tribal times the medium of sound was dominant, while with the invention of the press visual aspects predominated altogether with electronic media, which has resulted  in cultural ruining of human memory .
Doctor Alic had also discussed related ideas of Debord, Bilwet Archive, Debray and Baudrillard, and analysed the critical confrontation of McLuhan’s ideas and Philosophy of Praxis, that he considers an inspiration for opening the Philosophy of Media and inaugurating Marshal McLuhan as the founder of the Philosophy of Media in Postmodernism.
Although doctor Alic, while inspired by Marshal McLuhan’s accordance with the avant-garde, emphasizes a lot of good and bad sides of mass media impact on human health and culture in general, (what sounds realistic as Alic’s inner dialogue is preserved or won), still there is a question concerning his deep fear of media manipulations as he can’t escape them. How to prevent ourselves from media manipulations? Not everything is in sounds and words which he prefers as a doctor of Croatian Literature as well, by devaluating visual communications he just „guesses“ in the end of the dissertation that there are many meanings  in the (archetypical) pictures that carry the potential of consciousness. Our thesis is that affective deepening in unconscious or artistic roots of Media Art, truly guard or economize us humanly to transform transpersonally from the digital stucking into the anthropological safety of humanized technology.

Changing consistency from very concentrated to casual mood, Alic is popular enough to be interesting, but unnecessarily eccentric and not persuasive as he could be. It is strange that in his very valuable book there are so many typographical mistakes,  indicating that the book was published in a hurry.

As a co-founder and a member of Program comittee PhD. Sead Alic, together with PhD. Divna Vuksanovic (Serbia) organized International Interdisciplinary Symposium PHILOSOPHY OF MEDIA – Issues of founding, establishing and/or revelation in September, 2011, on the island Cres, thus celebrating the centenary of the birth of Marshall McLuhan.

PhD Vesna Srnic, media-via editor

Glocal Multimedia Art is our syntagm for a new holistic approach to experience. Although initially developed by the means of politics, transnationalism and business practices in 1990’s, the concept of „glocalisation“ later has also appeared in academic dialogue, education and media.  

Thinking either globally or locally (glocally) at the same time, means not only to „think globally and act locally“, but vice versa as well. Global consciousness arose from sincere local (self) awareness for humanity and freedom.  We have to be free for awareness as well. So, we need information, education and proactivity to create our own events and chances. To be at least semantically free, we need semantic network or social network for an online platform to act glocally.

Furthermore, in order to make an Art of something Glocally imagined, several skills are needed. First of all you need knowledge of IT and creative imagination on how to practice performing Arts, especially in multimedia synergy. You also need communication skills of a person basically humanistic or cosmopolite oriented, yet locally and globally are not mutually exclusive, rather they imply that you have self-awareness and self-confidence to be centered on „the big picture“.

To paraphrase a famous humanist PhD Ivan Supek, globalisation as a „global machine“ is preparing its own failure with greed and destruction of nature, thus encourages solitaries and dreamers on messiah campaign, but maybe it is only the United Europe which can confront the uncontrollable global capitalism.  (Introduction from PhD Vesna Srnic’s “Glocal Multimedia Art” presented at The Philosophy of Media Symposium at Cres, 2011.)

Whole work: Glocal Multimedia Art/PhD Srnic.pdf

PhD. Vesna Srnic

Croatian artist Sanja Ivekovic as a feminist, activist, and video pioneer will be introduced in MOMA in New York from December 18, 2011–March 26, 2012. The museum covers 40 years of  her work, from the early 1970s when artists broke free from mainstream institutional settings, laying the ground for a form of praxis antipodal to official art, till a contemporary recent works. Part of the generation known as the Nova Umjetnička Praksa (New Art Practice), Iveković produced works of cross-cultural resonance that range from conceptual photomontages to video and performance.

As the culturenet.hr informs “this exhibition brings together a historic group of single-channel videos and media installations, including Sweet Violence (1974), Personal Cuts (1982), Practice Makes a Master (1982/2009), General Alert (Soap Opera) (1995), and Rohrbach Living Memorial (2005). Among the 100 photomontages featured in the exhibition is Iveković’s celebrated series Double Life (1975–76), for which the artist juxtaposed pictures of herself culled from her private albums with commercial ads clipped from the pages of women’s magazines.”

“(…) After 1990—following the fall of the Berlin Wall, the disintegration of Yugoslavia, and the birth of a new nation—she focused on the transformation of reality from socialist to post-socialist political systems. Iveković offers a fascinating view into the official politics of power, gender roles, and the paradoxes inherent in society’s collective memory.”

MV

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culturenet.hr

moma.org/

American video artist Dara Birnbaum has her first UK solo show in South London Gallery till the February 12.

Ben Luke informs that “Gallery’s main space is Arabesque (2011), a video installation which feels modish, with vast screens in an elegant architectural space, and material from YouTube. On the first floor, meanwhile, are several mid-Seventies videos, themselves archetypically of their time: edgy, handheld, full of social politics and a spare, consciously amateurish technique.”

Birnbaum’s provocative video works are among the most influential and innovative contributions to the contemporary discourse on art and television. In her videotapes and multi-media installations, Birnbaum applies both low-end and high-end video technology to subvert, critique or deconstruct the power of mass media images and gestures to define mythologies of culture, history and memory. Through a dynamic televisual language of images, music and text, she exposes the media’s embedded ideological meanings and posits video as a means of giving voice to the individual. (From Electronic Arts Intermix catalogue.)

Dara Birnbaum was born in 1946 in New York where she lives and works. She is especially famous for her uses of video to reconstruct television imagery using as material such archetypal formats as quizzes, soap operas, and sports programmes. Her techniques involve the repetition of images and interruption of flow with text and music. She is also well known for forming part of the feminist art movement.

MV

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http://www.thisislondon.co.uk

http://en.wikipedia.org/

http://www.eai.org/

During 70’s Croatian artist Zarko Vijatovic, now living and working in Paris, has created in a sync with a conceptual multimedia artist and director Tomislav Gotovac, a complex serial of photographies. The exhibition can be seen on 18 November 2011 – 17 January 2012 in Warshaw Art museum and You can enjoy in works of these photographers and artists in collaboration: Hollis Frampton – Carl Andre, Peter Hujar – Paul Thek, Eustachy Kossakowski – Edward Krasiński, János Vető – Tibor Hajas, Žarko Vijatović – Tomislav Gotovac, Gwenn Thomas – Joan Jonas, Gwenn Thomas – Jack Smith, Babette Mangolte – Yvonne Rainer, Shunk-Kender – Pier 18.

“The nine stories told by this exhibition each concern the meeting of a photographer and an artist. Their collaboration was sometimes one-off, sometimes it would last for years, but it always resulted in common fruit: a work of art, a process, a shared world. We are interested in the working experience of these “accomplices”, and how their collaboration shaped the work that was being created. Their role wasn’t limited to just recording, they weren’t only an extension of the documenting camera – very often the process of exchange between the photographer and the artist was highly complex and determined the project’s ultimate shape.”

Source:

kulturpunkt

artmuseum

Archive of  Tomislav Gotovac / Photo: from serial Krajiška 29, 2008

“This is a film about everything: rich countries and poor countries, smiles and tears (quite a lot in my case, I must confess), day and night, life and death, animals and humans, man and women, whites, blacks, gays, straights, children and very old people, happiness and desperation.  We are all there, with our fears, our idiosyncrasies, our routines, our doubts, our weaknesses…”

“Last year (2010) YouTube launched a campaign, supported by executive producers Tony and Ridley Scott, asking everybody with a camcorder to record a day in their lives. Fast forward a year to 2011 and director Kevin Macdonald and editor Joe Walker (never an editor has been more crucial to the making of a film), release their documentary to the world and to the same people who actually filmed it.

Apparently 80000 videos for a total of 4500 hours were submitted from 126 different nations. The result is a film that tells the story of a day on Earth, and precisely the 24th of July 2010: 24 hours in the life of ordinary people. (…)

The film starts at midnight as people are still asleep in most places: some night shift workers are already at it, some wild party animals are still up from the previous day, but generally speaking it’s a quiet start. Within a few minutes, we are treated by a sunrise montage from all over the world as people are getting up in the most remote corners of the globe.(…)

But just when you are about to think “is this film going to be just a long montage sequence?”, then the film suddenly slows down and you are actually treated to real moments into people’s life (well, I say “real”, obviously there’s a camera filming so I suppose it’s “a version of reality”, but that doesn’t diminish its value nor its emotional impact on the audience).”

MV

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MovieGeekBlog

National Geographic: Life in a Day Trailer

Life in a Day

The Multimedia artist Vladimir Frelih informed us, as well as Culture.net that he as a “winner of the Kulturvermittlung Steiermark Scholarship, presents his works at the solo exhibition Grosse Schritte kleine bewegung from 4th November to 20th December in Graz.

Born in Osijek in 1963, studied Sculpture/Installations at Kunstakademie Düsseldorf (Germany). His tutors were Professors Hoover, Paik and Jatel. He became a Master Grade student in 2001 and attended tutorial classes by Professsor Jatel. 2008 Multimedia Lecturer at the Osijek Academy of Fine Arts and leader at the Department of Art. From 1994 his work has been shown nationally and internationally at exhibitions and events.

He uses a variety of art media and techniques with reference to their structural faults and advantages. His art work has received a number of awards and scholarships and is on display in several contemporary art collections and museums. Currently based in Osijek and Düsseldorf.”

MV

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Culture.net

Cultural City Network Graz

Curator of the Museum of Modern and Contemporary Art Rijeka Sabina Salomon introduces a famous international artist Mirko Ilic at The Museum of Contemporary Art Vojvodina, Novi Sad on 25th October – 14th November, 2011.

“The exhibition THE PEACE WORKS – Mirko Ilic – Retrospective: comics / illustration / design / multimedia 1975-2011 is an artistic event that will give the audience a chance to get acquainted with the previous works of this author. Mirko Ilic published his first works in 1973, and since then has been publishing comics and illustrations in magazines, such as Omladinski tjednik, Modra Lasta, Tina, Pitanja; he has become the art and comics editor of the students’ magazine Polet in 1976. He helped to organize an informal organization of the comic book creators Novi kvadrat (The New Square), that has been widely connected to the Novi val musical movement in Zagreb.

In 1986 he left Yugoslavia and went to New York “with $1,500 in the pocket and no idea what to do upon getting there.” He soon started publishing his illustrations in Time, The New York Times, Los Angeles Times, Wall Street Journal, and many other prominent and influential newspapers and magazines. In 1991, he became art director of Time International, and the following year he became art director of the op-eds in The New York Times. In 1993, Ilic became one of the co-founders of Oko & Mano Inc. graphic design studio, and in 1995 he founded Mirko Ilic Corp., a graphic design and 3-D computer graphics and motion picture title studio. In 1998, he created the title sequence for the romantic comedy You’ve Got Mail.”

MV

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msuv.org

mirkoilic design

The prestigious American media “The Village Voice” presents Croatian curatoring of Branko Franceschi’s exhibition “Tune in Screening: Psychodelic Moving Images from Socialist Yugoslavia 1966-1976” as the best or Top Arts story in New York at the moment.

A journalist R.C. Baker explains: “Post-World War II Yugoslavia threaded a Cold War needle between the Soviet Union’s Communist hardliners and the West’s hedonistic capitalists. This national schizophrenia perhaps explains the fantastic flowering of proto-MTV films and conceptual objects created by the Slovenian avant-gardists known as the OHO Group. In 1968, an OHO founder, Marko Pogacnik, crafted a puzzle by slicing up a photo of the Rolling Stones and gluing the pieces to a dozen matchboxes. In a recent interview, the artist summed up his affecting object (which opens the exhibition): “In the same way that matches appear when one needs to build the fire, pop culture ignited our imagination.”(…)”

Although the journalist Baker writes about the cultural moment of the analysed period in the exhibition, we think that he missed so much regarding philosophy and curatorial capacity.

MV

Source:

http://www.villagevoice.com

‘Tune in Screening: Psychedelic Moving Images from Socialist Yugoslavia”,  the exhibiition curated by Branko Franceschi opens on 2nd October (6-9pm) in Stephan Stoyanov Gallery in New York. The exhibition is on view till 30th October.

Between 3rd and 30th October Franceschi will open a Virtual Museum of Avant-garde Art’s Overseas Headquarters located in New York’s organization Residency Unlimited. The project will function as a temporary office for meetings, open talks, and plan making regarding the museum and possible future collaborations.

Branko Franceschi is a director of the “Virtual Museum of Avant-garde Art” http://www.avantgarde-museum.com, based in Zagreb, Croatia. The Virtual Museum of the Avant-garde aims to compensate the shortcomings of virtual reality through the direct exchange of knowledge on Southeastern Europe’s avant-garde movements to professionals, artists, students and the general public of New York. “The screening focuses on experimental film production and rock music created in Yugoslavia from 1964 to 1974. The materials all indicate a degree of openness and permissiveness that characterized Yugoslavia’s brand of socialism when importing and incorporating pop and alternative culture from the West. This cultural exchange influenced local society, arts, and, especially, Yugoslavia’s lifestyle and popular culture.”

Trained as an Art Historian at the University of Zagreb, for more than 20 years Franceschi has initiated and curated numerous exhibitions of contemporary art for exhibition venues in Croatia and beyond. Membership: AICA (AICA Croatia President), ICOM, CIMAM, DPUH, Advisory Committee of Art in General, New Media Commission for the Ministry of Culture Republic of Croatia (President), Gallery and Museum Program Commission for the Municipality of Rijeka (President).

The programme is realized with the support of  CEC Artslink  www.cecartslink.org, as well as Croatian Ministry of Culture, and the activity of “Virtual Museum of  Avant-garde Art” is assissted by The Town Varazdin.

(Tune in Screening_essay)

MV

Source:

culturenet.hr

http://www.residencyunlimited.org

International Interdisciplinary Symposium PHILOSOPHY OF MEDIA – Issues of founding, establishing and/or revelation,  will be held on the Croatian island Cres between 16-18 September, 2011. Media-via portal editor M.A. Vesna Srnic is invited to present her papers “Glocal Multimedia Art” at the symposium, organised in the year in which we celebrate the centenary of the  birth of Marshall McLuhan.

In front of Program comitee PhD. Divna Vuksanovic (Serbia) and PhD. Sead Alic (Croatia) stressed: “We live in a time of media intercession, networking, virtual worlds, a growing impact of mass media on politics, culture, human life, experience, or even opinions as such. We exist in a time when the immersion into the world of the mass media reminds us of the fact that we as human beings throughout history have been determined by some sort of media and that only the modern preoccupation with the (mass) media has given rise to an awareness of (partial or total) oblivion of media intercession,especially during times of oral communication, written and print form.” (…)   “In this sense, the philosophy of media co-opts the scientific research of linguistics, psycholinguistics, media theory, the theory of special art, knowledge of techniques and technologies, research psychology, medicine, phonetics, cultural and visual studies, and other science disciplines, theoretical knowledge and practice experience.” tENrNp4O_ZE

Symposium sponsors are  Ministry of Science, Education and Sports of the Republic of Croatia, Croatian National Tourist Board, Town of Cres and Hotel Kimen Cres.

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Source:

Programme of Symposium

A three in one postgraduate study: acting, media in which the acting occurs, and culture created by acting was founded at the University of Rijeka by the internationaly famous actor Rade Serbedzija. He also founded the Ulysses Theatre in 2000 in Brijuni, where he  directs and acts in most plays.

The postgraduate programme was established on December 14th, 2010 by the Senate of the University of Rijeka as a two-year course for specialising in acting, media and culture field of research. Anyone can enroll into the programme, provided they have a valid university degree and have passed the admissions exam. The programme lasts two years (four semesters) during which theory and practice intertwine through courses such as Voice, Acting, Dramaturgy of Performance, Reading Drama, Characteristics of the Cultural System, Actor as Musician, Philosophy of Arts, Actor and Choreography, Postdrama Theatre.

Main aims are training the students to become critics, theoreticians, scientists that have empirically tested methods and challenges of acting process, as well as interdisciplinarity, interactivity and internationality as the policy of the programme. Part of the courses will be held in English, involving collaborators and professors from foreign leading universities and art schools, such as Nigel Osborne, Reid professor of Music at the Edinburgh University; Staša Zurovac, director and choreographer; Nikola Petković, writer; Snježana Prijić-Samaržija, philosopher; Robin Carr (University of Southern Mississippi) and Deborah Kinghorn (University of New Hampshire), masters of Lessac method for voice and acting; Elvio Baccarini, philosopher; Karpo Godina, film director and DoP, and many others.

MV

Source:

http://www.acting.uniri.hr

From June through November famous Newton’s polaroids of mainly erotic fashion photo shoots can be seen in Berlin at his Foundation. For the first time ever, over 300 works based on the original Polaroids offer a comprehensive overview of this aspect of Newton’s oeuvre.The exhibition is thus a look into the sketchbook of one of the most influential photographers of the 20th century.

“Helmut Newton used the technology intensively starting in the 1970s, especially for his fashion photo shoots. As he once described in an interview, this satisfied his impatient urge to want to know immediately how a certain situation would look as a photograph. In this context, the Polaroid acted as an idea sketch in addition to testing the actual lighting situation and image composition.”

MV

Source:

http://www.helmut-newton.com

On Wednesday, 27 July through August, the filming of  Goltzius and the Pelican Company by British art film director Peter Greenaway began in Zagreb. The creative part of the crew includes around 60 Croatian members with filmmaker Zoran Sudar  as the best Croatian co-production first assistant director with international reputation.

“The story takes place in 1590, at the time when Dutch painter Hendrik Goltzius negotiated in a castle on the Rhine with the rich Alsatian nobleman Margrave to ensure him the funds for a print press. Goltzius wished to print eroticised versions of illustrated Old Testament tales. The nobleman’s castle, enthralled with Goltzius’ seductive tales, drenched in the motifs of incest, adultery, and rape, slowly sinks in the trap of aroused lust, and consequentially in a conflict with religious circles.

The role of Goltzius is played by Dutch actor and poet (the current Dutch Poet Laureate 2009-2012) Ramsey Nasr, and the film also stars American actor F. Murray Abraham (Amadeus, All the President’s Men, Scarface), French actress Kate Moran, Italian actor Pipo Delbono, and Croatian actors and actresses Nada Abrus, Katja Zubčić, Goran Grgić, Enes Vejzović, Duško Valentić, Milan Pleština, Tvrtko Jurić, Vedran Živolić, Samir Vujčić and Goran Bogdan.”  The creative part of the crew includes around 60 Croatian members with filmmaker Zoran Sudar (The Last Will ) as the best Croatian co-production first assistant director with international reputation ( Anton Chekhov’s The Duel, White Lightnin’, The Hunting Party, The Peacemaker.

“Peter Greenaway is the author of one of the most exciting film works of today. Film devotees remember him by the extraordinary classic The Cook the Thief His Wife & Her Lover from 1989. Since then he has acquired the cult status thanks to his films  The Draughtsman’s Contract (1982), The Belly of an Architect (1987), and Drowning by Numbers (1988). His digital analysis of the painting The Wedding at Cana by the mannerist painter Paolo Veronese was screened at the Venice Biennale in 2009.  A New York Times critic called it one of “the best art history classes of all times””.

Sources:

http://www.culturenet.hr

Motovun Film Festival runs from July 25 to July 29 for the 13th consecutive year offering some of the best cinema productions from around the world. This year the festival premiers a film by Wim Wenders dedicated to Pina Bausch.  

Motovun Film Festival is entirely dedicated to films made in small cinematographies and independent productions, films that broke out through their innovation, ideas, and the power of their stories. In everything, except for the ambition and the quality, Motovun wants to be a small festival showing small films, small in the warmest sense od the word.

Motovun Film Festival is a five-day film marathon in which film screenings alternate from 10 a.m. until 4 a.m., with evening outdoor screenings and daily screenings in theatres. Festival program consists of around 70 titles from all over the world, from documentaries to feature films, from shorts to long forms, from guerilla made films to co productions. The only criteria in their selection is that they fit in the open-minded atmosphere of the festival with their innovations. This year the festival is being held for the twelwth time.

motovunfilmfestival

Dr W.J.T. Mitchell from the University of Chicago, was a key-note speaker at the event Visual Studies Today – The Power of Images, which was organized by the Center for Visual Studies, Zagreb from 7th to 8th November 2013, as well as at the conference Visual Studies as Academic Discipline . Dr Mitchell is the most famous authority of visual studies in the world.  (Schedule) Dr Mitchell’s talk was titled “Seeing Madness: Insanity, Media, and Visual Culture” and it raised two questions:”1) Is it possible to “see madness” or to represent it visually with any kind of certainty? 2) What motivates the desire to see madness, to put it on stage, or to capture its variable manifestations in visual images?” Examples were drawn mainly from photography, operatic spectacle, and cinema.

NGO “Culture, Media and Education” president and Media-Via editor Dr Vesna Srnic attended the lecture and because of the lack of time asked Dr Mitchell a question in writing, that he will possibly answer.

This is a question of Dr Srnic:

“In Critical Inquiry, in 1991st, you interviewed famous American conceptual artist Barbara Kruger. When you elaborated the relation between Image and Word, as well as about Gender and Embodiment, you provoked Barbara Kruger with this /quotation:

„You  can go back  to  the Old Testament to find sentiments like  “a silent woman  is  the gift of God.”

and KRUGER said: Oh,  let me write that down.“ /unquote (Critical Inquiry, 1991, p. 445)

 I think this is a very interesting moment in that interview, because of several possible interpretations: on charismatic, feminist, Leftist level Kruger was understandably surprised, although she should have known the point of that religious view, and did not mock; another Rightist level is well known for its meaning as the mystical power of silence.

 What I would like to ask you is if you can see the theses of third meaning in the phenomenology of Time and Space as Here and Now, in the performative middle way, thus artistically rejecting Gender differentiation, rejecting Images and Words completely, as well as Leftist and Rightist positions and oppositions?

 Is this „spinning wildly or standing still“ significant Spiritual Embodiment for you and can be seen as, although marginal, the rejection of the Madness?”

MV

 

MARK TRIBE: ‘THE DYSTOPIA FILES’ (Zagreb, June 9th – July 9th 2011),  ‘Performance, mediation and public sphere’, workshop and public lecture

„The Dystopia Files“ (A dystopia – from Ancient Greek: δυσ-, “bad, ill”, and Ancient Greek: τόπος, “place, landscape” is the idea of a society in a repressive and controlled state), at g-mk is the newest iteration of Mark Tribe’s ongoing project, which recontextualizes the history of demonstrations in the US. The artist had gathered an archive of protest footage, which serves as a base for creating site specific video installations in gallery and museum spaces. The work tackles on a set of questions about power relations, spectatorship, image manipulation, participation, interaction and political engagement. The relationship between these issues and recent curatorial practices will be discussed during the workshop held by Mark Tribe. In a talk following the workshop, Mark will present his multimedia artistic practices, including his previous acknowledged projects such as Rhizome and Port Huron ( The Port Huron Project is a series of reenactments of protest speeches from the New Left movements of the Vietnam era). The exhibition is curated by Željka Himbele Kožul.

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http://www.g-mk.hr

http://rhizome.org

http://www.marktribe.net

Zagreb (7-21 May 2011) will be a host of  the International 4th Subversive Film Festival.  Subversive Film Festival is no ordinary, competition film festival. It is first-of-a-kind hybrid of film/video and critical theory, aiming to explore and understand recent cultural history.Film program in cinemas Europa and Tuškanac will be accompanied by film-theory school which will deal with post-colonial »aesthetics of resistance«. A lot of famous scientists will present their work: Antonio Negri,Terry Eagleton, Zygmunt Bauman, Istvan Meszaros, David Harvey, Gayatri Spivak, Slavoj Žižek, Samir Amin and many others.

“World forum of Alternatives: Decolonisation – New emancipatory struggles” –  Why is the meeting taking place exactly in Croatia?

Croatia seems to be a perfect place to meet: all contradictions from the capitalist core (financial shocks, reckless consumerism, media, elite-driven politics, democratic deficit, commercialisation of public services) are visible together with all political, social and economic problems of the post-socialist, post-partition and post-conflict semi-periphery. What the new wave of protests brings is a clear rejection of the system, both political and economic, amounting to the loudest critique of capitalist economy in Eastern Europe since 1989. This critique stems from ordinary politically undefined citizens, the new radical left and some right-wing elements trying to co-opt the social rhetoric into their populist defence of the “nation” and its “traditional values”. In spite of nationalist conservativism, it is precisely in Croatia where, since the 2009 student protests, a movement dedicated to direct democracy developed. In many occasions direct democracy was successfully exercised not only among students, but workers, peasants and urban activists alike. Croatia as the country at the doorstep of the EU is therefore an excellent place to engage in a productive debate on possible alternatives or further degenerations of global capitalism and the way it influences the semi-peripheral and peripheral regions(…)

Can we see a possibility of a trans-european and also trans-regional cooperation? Can the experience from other world regions, such as Latin America, be useful for the current situation in Eastern or Southeastern Europe? As we can see from all this questions, the debate is not restricted only to Croatia or Eastern Europe, but is of importance for the entire Left. (Srećko Horvat & Igor Štiks, coordinators of the WFA meeting in Zagreb)

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Subversive film Festival

culturenet.hr

With over 5 million hits on YouTube, their passionate, dueling cellos version of Michael Jackson’s “Smooth Criminal” has taken the world by storm. Of the repertoire Stjepan says: “Both Luka and I love classical music and have studied it for years, but we are really excited to put our own take on classics by some of our favorite pop and rock artists.” Luka and Stjepan will make their first TV performance as 2CELLOS on The Ellen DeGeneres show on April 25th and on April 28th  they will play at Croatian music hall Vatroslav Lisinski,  accompanied by a worldly famous musician Maksim Mrvica, a humanitarian concert for the Japan.

Living in a small town in Croatia, 24-year-old music students, Luka Sulic and Stjepan Hauser, are living a dream come true – and quickly! After posting a self-made music video of them performing Michael Jackson’s “Smooth Criminal” on their cellos, the longtime friends received more attention than they ever expected. Within days, the video became a viral sensation and received millions of views. It got the attention of Sony MASTERWORKS who signed them to a record deal. Concurrently, they received a phone call from legend Elton John who invited them to join him on his European tour this summer. Their debut album is slated for a July 2011 release and will feature Sulic & Hauser’s unique spin on hits by Guns N’ Roses, U2, Trent Reznor and Kings of Leon among others.

Luka and Stjepan are both very accomplished musicians who have been playing the cello since childhood. Both recently completed their studies at the acclaimed Royal Academy in London. Luka Sulic has performed all over the world at renowned venues such as London’s Wigmore Hall, Amsterdam’s Concertgebouw, Vienna’s Musikverein and Konzerthaus. He has won a series of international prizes including first prize at the VII Lutoslawski International Cello Competition (Warsaw, 2009). Stjepan is also a very talented cellist and has performed around the world in most European countries, South Africa, New Zealand and the USA, with debuts in London’s Wigmore Hall, Royal Albert Hall, South Bank Centre and Amsterdam’s Concertgebouw. In his short career, he has already won twenty-one first prizes in national and international competitions including the prestigious Adam Cello Competition in New Zealand 2009 and VTB Capital Prize for Young Cellists 2009.

MV

Source:

http://stjepanhauser.webs.com/

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