Category: Multimedia Event


Rain Room (MOMA, installation)The Museum of Modern Art announces “a Rain Room is a  field of falling water that pauses wherever a human body is detected—offering visitors the experience of controlling the rain.” MOMA explains and proves “the work invites visitors to explore the roles that science, technology, and human ingenuity can play in stabilizing our environment”.

Using digital technology, Rain Room is a carefully choreographed downpour—a monumental work that encourages people to become performers on an unexpected stage, while creating an intimate atmosphere of contemplation. Known for their distinctive approach to digital-based contemporary practice, Random International’s experimental projects come alive through audience interaction and Rain Room is their largest and most ambitious to-date. The presentation of Rain Room at The Museum of Modern Art is part of EXPO 1: New York, a large-scale festival exploring ecological challengesRain Room is on view at The Museum of Modern Art, courtesy of RH, Restoration Hardware.

EXPO 1: New York is made possible by a partnership with Volkswagen of America.

MV

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moma

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As the Croatian curator Branko Franceschi stresses on the art of Željko Kipke at the “Art Pavillon in Zagreb” catalogue “The new series at the levels of content, form and aesthetics summarise the documentary and diaristic elements, Kipke’s recognisable artistic style and his idiosyncratic understanding of reality, and they should also be understood as a manifestation of his subversive activity and existence, which he calls the feline strategy.”(Zagreb, 12th September – 14th Octobre, 2012)

Željko Kipke’s exhibition Police Yard covers two groups of works. The first group includes a set-up of recent series: in the main hall, Predators, filmophile and a bottle of wine (2010); Surveillance Camera (2011-2012) in the eastern wing and Boulevard of Nine Lives (2010-2012) in the western wing of the Pavilion. The second group of works, in the south wing, named Short Guide through the 70s and 80s is a reminder of the processual works and the film documentation that the artist considers an adumbration of his currently dominant interest in film. At the level of meaning, the exhibition refers equally to the manipulative aspects and power of moving pictures and contemporary media and to the fascination that they arouse in political strongmen, all too ready to instrumentalise them for the purposes of their own ideological programmes.

“Researching the networking of (the coinciding) events Kipke practices already for years, while mapping the paralel Reality which develops out of the visible field of real world, thus expressing those results as seemingly out of nowhere in a material world after many years, like underground rivers suddenly breaking out as the entirely new entities, accomplishing productive or dramatic impact on geographically distant places.” (Excerpt from the introduction of a curator Franceschi; translation by MV)

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umjetnicki-paviljon.hr

“Theatre Trafik” form Rijeka and “The Necessary Stage” from Singapore will premiere their joint project – the performance ‘Crossings’ at 16 August in Theatre Esplanade – The Studio Season in Singapore, with additional perfromances on 17, 18 and 19 August. The Croatian premiere is planned for 19 August at the National Theatre Ivan Zajca in Rijeka. Their work is related to questions of identity of the individual lost on the margins of time and space.

Based on Asian myths, Crossings take us on a journey of the transformation of the self – how one deals with the seduction of being imprisoned and how freedom opens us to meaningless pain. Crossings is a multidisciplinary collaboration between artists from Singapore and Croatia investigating the coexistence, understanding and mixing of different cultures.

The Necessary Stage
Formed in 1987 by our current Artistic Director Alvin Tan, The Necessary Stage (TNS) is a non-profit theatre company with charity status. Our mission is to create challenging, indigenous and innovative theatre that touches the heart and mind. TNS is a recipient of the National Arts Council’s 2 Year Major Grant, and is also the organiser and curator of the annual M1 Singapore Fringe Festival.

TRAFIK (Transitive-Fiction Theatre)
The work of this collective of authors and performers is, by many accounts, very unique within the context of Croatian independent theatre and dates its beginnings back to 1998 and their site-specific performance, The Walker. This work determined their thematic objectives as well as artistically expression on questions of identity of the individual lost on the margins of time and space.

MV

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culturenet.hr

www.necessary.org

www.trafik.hr

Santarcangelo isn’t a showcase but a place of artistic experience; in opening international dialogues with collectives of fifty years’ standing and with artists at their debut; in imagining projects that are out of format with respect to the theatre, which overflow with simplicity and brazenness into art, writing, drawing and cinema; in getting kids, old folk, citizens and foreigners involved in creations by artists who are able to set up a short-circuit between stage and life, far from any TV form, from any narcissism, to remind us how art is a place for distillation of the real, a space where it is possible to practise a glance of inexperience and courage, to make oneself vulnerable to what one does not know and is not understood, what does not belong to us and to which we perhaps belong.

Sad sam /almost 6/ is a work about childhood and its ending; about the relationship with one’s own interior world and with the others outside; about the power of the imaginary and a language capable of creating things by naming them; about the rip that breaks the perfect circle and opens us up, through the wound, to others and to the real. The show is one chapter of a wider ranging project in which under the title Sad Sam (a play on words, since in Croatian it means “now I am”) Ferlin composes a series of small creations, all centred on his stage presence characterised by great expressive power and surprising delicacy.

Matija Ferlin (b. Pola, 1982) graduated at the School for New Dance Development in Amsterdam and lived in Berlin where he collaborated with, among others, Sasha Waltz. He then returned to Pola and began research involving the rearrangement of various ideas of performance in relation to other languages such as film shorts and exhibitions.(http://santarcangelofestival.com)

MV

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santarcangelofestival

kulturpunkt

Final presentation of the developmental Urban Performing Workshop conceived and directed by Boris Bakal in  collaboration with Emma Szabo and artist-participants of workshop: Layla Betti, Lara Finadri, Sosso Hatzimanoli, Elisa Pinna, Sara Ricci, Christian Trafficante on July 12th and July 13th  (2012) @ 18.00 – 23.00  at FESTIVAL PERGINE OPEN PERFORMANCE – Pergine Valsugana (Trento), Italy.

BACAČI SJENKI (SHADOW CASTERS) – non-profit international theatre, artistic and production platform dedicated to interdisciplinary collaboration, creation, exploration as well as reflection of new artistic languages, especially in the domain of performing arts, urban and public art, new media and its hybrids, co-founded by Boris Bakal and Katarina Pejovic.

SC continuously instigate dialogue and active exchange between Croatian and international artists/professionals through: questioning the existing concepts of individual and collective identities; exploring the nature of globalization processes; dealing with social, political and cultural issues such as the politics of public space, the consequences of transition processes, the status and forms of intimacy and systematic production of amnesia and discontinuity.

SC activities range from intermedia performances, cultural memory projects, urban-human networks, artivist projects, informal education, workshops, to lectures, conferences, urban performances, installations and exhibitions.

For their work, SC have received various recognitions and awards, among them Special Jury Award at the 2007 Belgrade BITEF – Ex-Position; Avaz Dragon Award at the 2008 Sarajevo MESS – the entire trilogy Process_City; the main award Cloud at the 2009 PUF in Pula – Ex-Position; Special Jury Award at 2009 BITEF – Vacation From History; the main award Cloud at the 2010 PUF – Vacation From History.

SC projects have thus far gathered over 300 artists and professionals from 26 countries world-wide. The projects have been produced and presented at festivals and manifestations in Zagreb, Dubrovnik, Bologna, Graz, Pisa, Ljubljana, Udine, Bjelovar, Belgrade, Marseille, Maribor, Leiden, Križevci, Genoa, Subotica, Split, Szeged, Cluj, Vukovar, Aman, Krakow and New York, in collaboration with local partners.

MV

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Press release

Helena Miler _photo_ courtesy of the artistMaster Engineer of Architecture and Urban Planning Helena Miler (1986) is CrHelena_Miler_wisemanoatian young multimedial talent with Vienna address.
With Mensa membership (Percentile 99), 7th on the ranking list of an entry exam of the Faculty of Architecture and Urbanism in Zagreb (Drawing and Graphics 95%, Intelligence and Space Perception 99%) Helena was one of the best students and took part in several recent competitions as an associate in Njiric + Arhitekti office  (1st prize for the Concept of an Urban Tissue in Samobor), student competition for a concept of the representative Booth for the Faculty of Civil Engeenering (3rd prize) etc. She’s got several scholarships from the Board of European students of Technology for a two-week seminar on Urbanism in Europe at Technische Univarsitat in ViennHelena Miller_Design centre_2006_7_mentor_V.NeidhardtHelena Miller_University Fair_2009_10_3st prizeHelena_Miler_Sculpturea, then for two more engeneering competitions in Reykjavik and Chania  etc.

She parcitipated in various student exchanges, trainings Helena_Miler_Paintingand went on individual tours all over Europe, Africa and Asia. Since 2012. Helena lives and works in Vienna, at studio Project A01 Architects .

Helena_Miler_portfolio

    MV

After the world-known Sea Organs, Croatian city Zadar has become wealthier with one more urban installation, next to the famous Sea Organs, which shines the Greeting to the Sun made by the same architect Nikola Bašić. The installation won the 3rd prize at the European Council contest.

The Greeting to the Sun consists of three hundred multi-layered glass plates placed on the same level with the stone-paved waterfront in the shape of a 22-meter diameter circle. Under the glass conduction plates there are photo-voltage solar modules through which symbolic communication with nature is made, with the aim to communicate with light, just like the Sea Organs do with sound.

The Greeting to the Sun installation, as a model of the solar system with its appertaining planets, is connected to the Sea Organs whose sound is transposed into a show of light that starts performing on the Zadar waterfront after sunset. In creating the lighting effects, the installation will be able to receive other outer, spontaneous impulses through modem connection, while the lighting pictures will adapt to different occasions.

Simultaneously with the „most beautiful sunset in the world” the lighting elements installed in a circle turn on, and, following a particularly programmed scenario, they produce a marvelous, exceptionally impressive show of light in the rhythm of the waves and the sounds of the Sea organs.

The photo-voltage solar modules absorb the sun energy and then transform it into electrical energy by releasing it into the distributive voltage power network. It is expected for the entire system to produce around 46.500 kWh yearly, being, actually, a small power plant from which energy will be used not only for the Greeting to the Sun installation, but also for the lighting of the entire waterfront. This energy will be three times cheaper than the actual one, and the project itself is a unique example of connecting the use of renewed energy sources, energy efficiency and city space arrangement.

Source:

The BartlettHead, Stephen A. Benton, William R. Houde-Walter and Herbert S. Mingace, 1978

The Bartlett
Head, Stephen A. Benton, William R. Houde-Walter and Herbert S. Mingace, 1978

At the MIT Museum in Boston the exhibition of over 20 internationally created holograms can still be seen until September 28, 2013. The 9th International Symposium on Display Holography being held for the first time in Boston, Co-chaired by Seth Riskin and Michael Bove, and is presented by the MIT Museum and the MIT Media Lab.

As the MIT (Massachusetts Institute of Technology) Museum informs: “The exhibition presents a rare opportunity to view selected works from the world-wide community of practicing display holographers. The MIT Museum holds the world’s largest and most comprehensive collection of holograms and regularly invites artists to showcase new work at the Museum. “This new exhibition is an example of our expanded commitment to support public engagement with practicing artists through exhibitions and programs,” says Seth Riskin, who will give talks and tours throughout the coming year in his role as the MIT Museum’s Manager of Emerging Technologies and Holography/Spatial Imaging Initiatives.

The Jeweled Net: Views of Contemporary Holography surveys state-of-the-art display holography, and showcases the artistic and technical merit of individual works of art. Selected by a panel of experts, the holograms on display represent artists from Germany, Italy, the UK, Canada, Australia, Japan, and the US. ” A hologram” according to Riskin, “represents how the human brain, and light information interact to create the experience of three-dimensional space. Holography represents deeper technological access into light’s capacity as an image and information carrier.””

MV

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http://web.mit.edu/

The new work by choreographer Marjana Krajac is the three-hour performance in The Croatian Association of Visual Artists (HDLU) in Zagreb, which will be premiered on 18 October 2014 (Saturday) starting at 14 am with performances of 19, 20, 21 and 22 October also starting at 14 hours.

This simultaneously coVariationsmplex and fragile consideration of the nature of dance, whose building material is just enough present to be irrevocably gone in the next moment, is extensive, yet minimalist dance session between movement, sound and space.

It’s performed by dance artists Lana Hosni, Irena Mikec, Katarina Rilovic, Irena Tomasic and Mia Zalukar. This long dance-work invites us to spend time with it, coming gradually into the layers of its texture. (…)
Transfer through the others and friction on the other, becomes the only area in which dance can construct some type of memory to itself. In this sense, the other is the witness and the participant as well.

”We should stop the stupid idea of having a body and instead consider our bodies as activity, as verbs, as movement and becoming. As long as we “have” and “possess” a body we are alwaysVariations gonna feel violated by language, discourse and the rest of representation”, writes a choreographer Mårten Spångberg, summarizing the utopian relationship of contemporary dance with the body, in yet another manifestation of the eternal struggle of dance with descartian dualism. The tradition of thinking about the body as something which belongs to us, which we own, or rent, something which we temporarily inhabit, is deeply imbedded in all religious dogmas, because the idea of life after life is based on it. However, the idea of ”body as property” isn’t just a religious mental reflex. The paradox of embodiment is most pronounced with disability, often perceived as an experience which separates the body from the self. (…)

But what is important to emphasize is that the choreographic body of Marjana Krajač isn’t a private body, neither does she fight solely for HER OWN body, resistant to social networks and arguing for an absolute control of its idiosyncrasies. The body of Marjana Krajač isn’t focused on the realization of her own (choreographic and dancing) singularity, but on the problematization of something we all care about together.”

More:

http://www.marjanakrajac.com/works

http://sodaberg.hr/

http://www.marjanakrajac.com/

MV

From 27th April — 16th June, 2012  Aanant & Zoo present the first solo exhibition of Croatian artist Vlado Martek (1951) in Germany. The base of Martek’s artistic praxis consists of writing, poetry and language. Since the 1970s Martek has used the different mediums of sketch, collage, happening and books to negate and deconstruct the traditional forms of speech and thus finally returning it to its essence and finding new and different manners of dealing with language. Martek is not a quiet observer. In his works he reacts analytical, critical, ironic and humorous on social structures and constructs, as is evident in the here displayed manifesto Snaga podloge.

Martek, who in the early 1970s studied philosophy and literature in Zagreb, began his artistic career as a poet. Soon he found himself disenchanted with writing as a method of expression. Between 1975 and 1978, Martek presented his poems and other writings to the public on the street as a member of political art collective Group of Six Artists (with Boris Demur, Željko Jerman, Mladen Stilinović, Sven Stilinović , Fedor Vučemilović). The artist manipulates the nature of his material. For example when glass, paper, mirror and a blank surface reveal a “Sonett” (1978/2009) while conserving the poems its inherent rhythm and sound despite the material change. He works as a librarian since 1979.

Source:

culturenet

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.

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hdlu

Over eight nights (April 10, 2012–April 17, 2012), MoMA presents the sonic and visual experiments of Kraftwerk – the avant-garde electronic music pioneers, with a live presentation of their complete repertoire in the Museum’s Marron Atrium. Each evening consists of a live performance and 3-D visualization of one of Kraftwerk’s studio albums—Autobahn (1974), Radio-Activity (1975), Trans-Europe Express (1977), The Man-Machine (1978), Computer World (1981), Techno Pop (1986), The Mix (1991), and Tour de France (2003)—in the order of their release.

Each evening will consist of a live performance, in the Museum’s Donald B. and Catherine C. Marron Atrium, of works from one of the group’s eight albums, created over four decades, followed by a selection of original compositions from their catalogue adapted specifically for this exhibition’s format, to showcase both Kraftwerk’s historical contributions and contemporary influences on sound and image culture. Kraftwerk-Retrospective 1 2 3 4 5 6 7 8 is organized by Klaus Biesenbach, Chief Curator at Large at MoMA and Director of MoMA PS1, with the assistance of Eliza Ryan, Curatorial Assistant, MoMA PS1.

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MoMA

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

The 2012 International Computer Music Conference will be held in Ljubljana, Slovenia, 9-15 September (dead line for submitting papers and music is 15th February). It is organized by IRZU – the Institute for Sonic Arts Research and supported by the Faculty of Computer and Information Science as well as the Faculty of Arts, University of Ljubljana. IRZU is a young non government organization, based on an interdisciplinary concept and is conducting artistic productions in the field of electro-acoustic music / inter-media performances and installations, as well as audio technology research and educational activities. The ICMC 2012 will be held in cllaboration with our annual sonic arts festival EarZoom which is becoming a referential international platform for discussing the latest developments within audio technology research well as critical and conceptual approaches in sonic arts practices.

The conference welcomes the submission of a wide range of papers and music, covering all aspects of technical, creative and aesthetic issues around the use of computers in music. The theme of the 2012 conference is “Non-Cochlear Sound”, which can be understood as an analogy to the Duchampian notion of non-retinal art. The aim is to investigate the potential of sound as a medium and further, the potentials of music in conjunction with new technologies to create new possibilities of artistic expression, which could create a closer relation to language and consequentially, enable generation of meaning and production of knowledge.

MV

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culturenet.hr

http://www.icmc2012.si/

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

The exhibition will be opened in Slovenian Gallery “Skuc” (Ljubljana, 21st December, 2011 – 12the January, 2012) as the reflection and expansion on the previous part the curator Branko Franceschi has  successfully introduced last month in New York.

High Times: Reflections of Pscyhedelia in Socialist Yugoslavia 1966 – 1976 makes manifest the ever intriguing and fruitful rapport between vanguard artists and popular culture, occurring within the unique context of a society that managed to create its own political, economic, and social system based on its vacillation between East and West during the height of the Cold War.

In the broader cultural sense, the entire collection of High Times: Reflections of Pscyhedelia in Socialist Yugoslavia 1966 – 1976 aims to change the accustomed understanding of Yugoslavia’s neo-avant-garde and new media practices as being inexpressive or too serious in their social engagement and agenda, as well as colorless and materially reduced in their formal aesthetics. (Excerpt from an essay by curator Branko Franceschi.)

Presented works (some from Marinko Sudac collection), performances and music of the authors: Marina Abramović, Marjan Ciglič, Grupa 220, Indeksi, Korni grupa, Mišo Kovač, Zdenka Kovačićek & Nirvana, Naško Križnar, Josipa Lisac, Ivan Martinac, Slavko Matković, Miroslav Mikuljan, Vladimir Petek, Marko Pogačnik, Ante Verzotti, Slobodan Šijan, Ljubomir Šimunić, Time, Petar Trinajstić, Uragani

MV

Source:

galerija.skuc

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

Source:

http://www.thisislondon.co.uk

http://en.wikipedia.org/

http://www.eai.org/

The Perforations Festival program spans over three cities (Rijeka, Zagreb, Dubrovnik) from October 20 – 29, 2011. The festival includes more than 15 other productions from Slovenia, Serbia, Macedonia and Romania. Some of the artists are Rosana Hribar / Gregor Luštek, Mala Kline, Angelo Madureira / Ana Catarina Vieira, Manuel Pelmus, Ljiljana Tasić / Dušan Bročić, Damir Bartol Indoš, Via Negativa, etc.

The Perforations Festival takes place annually in three Croatian cities; Zagreb, Rijeka and Dubrovnik and presents a range of artists working in performance art, theater, and dance, whose diverse approaches to art-making blurs the borders between these genres. While their work touches upon issues of identity (public, political, religious, ecological),  of borders redefinition and space, of a collective past, and of personal histories, most of all their work talks about the present. Highlights from this festival were presented at the LaMama E.T.C., New York, offering audiences insight into contemporary lines of artistic thinking from some of the most provocative and influential artists in the region.

This week they have published interviews with Marko Mandić, Tea Tupajić and Alen Sinkauz.

MV

Source:

http://www.perforacije.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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MV

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Programme of Symposium

On September 11, 2001 director Dan Oki was living in New York and witnessed the terrorist attack and its consequences firsthand. In this film, he takes his documentary footage from that fateful day and puts it in the context of a feature film. Projections of a film will be held at Zagreb (on September 11), Berlin and New York (on September 12). 
A theatre troupe from Croatia travels to New York on September 10, 2001. The troupe is a diverse group
made up of a young married couple and their son, two girls, and a young man. They are welcomed by their
producer, a New Yorker of Croatian descent, whose husband works at the World Trade Centre. Suddenly,
without warning, the troupe finds itself in the middle of the destruction of September 11.
The relationships between the characters come under pressure and begin to change as a reaction to the
sheer force of the events unfolding all around them.

THE PERFORMANCE
78 minute, HD-Cam, 2010
Writer and Director: Dan Oki
Director of Photography: Raul Brzic
Composer: Vjeran Šalamon
Editor: Davor Švaic
With: Vanda Boban, Marin Tudor, Lana Hulenic, Marko Petric, Elena Orlic,
Luka Jokic Sterle, Sandra Sterle, Brian Willems.
Production House: Studio Fugo 

Schedule of the projection

ZAGREB  - Sunday, September 11, 2011, 6 PM
Museum of Contemporary Art
Avenija Dubrovnik 17,
10000 Zagreb, Croatia

BERLIN - Monday 12. September at 8.30 p.m.
BABYLON – Cinema 1
Rosa-Luxemburg-Str. 30,
10178  BERLIN, Deutschland
http://www.babylonberlin.de/performance.htm

NEW YORK – Monday, September 12, 2011, 8PM
THE THING @ WHITE SLAB PALACE
77 Delancey St
(between Allen St & Orchard St)
New York, NY 10002
Neighborhood: Lower East Side
http://post.thing.net/node/3477

Dan Oki (Slobodan Jokic, Zadar, 1965) is an internationaly renown media artist for twenty years. 
As a producer, writer and director he made three feature films: Oxygene 4, Performance and the Dark.
He teaches as a Film and Media Arts professor at UMAS in Split and ADU in Zagreb.
MV

Source:
(from the catalogue)


Manchester International Festival and Teatro Real Madrid present on 30th June-17th July the world premiere of a startling new piece for the stage: The Life and Death of Marina Abramović, a biography of the godmother of performance art, re-imagined by visionary director Robert Wilson.

“What an incredible evening, truly the finest theatre I have ever seen. Abramović was incredible, moving through the play, of which she is the central character in the most profound way, with a light touch, never overpowering her cast. Willem Defoe cut an imposing but insightful figure throughout, playing a role as narrator, but so much more, becoming a representation of a massively significant part of Abramović herself. I cannot speak highly enough of his performance; I was more than impressed, frankly stunned at his abilities as an actor, playing the dark side of a human soul, but again more, becoming the gatekeeper of Abramović’s mind, whilst maintaining a merciless and cutting humour that displayed an absence of pretension in both Abramović and himself. His representation of the internal torture present within a profound, intelligent mind was one which rose above an occasion already described quite rightly, as a significant moment in the history of Mancunian theatrical culture.” (Comment by Daniel James Gillard)

MV

Source:

http://mif.co.uk

http://www.flashartonline.com

The concert premiere of Bjork’s (45) “Biophilia” on 30th June, was commissioned for opening night and five additional performances by the Manchester International Festival in England which continues through July 17.

“Biophilia” (audio for iPad) welcomes the interactivity of the Internet and harnesses the power and flexibility of devices that incorporate video, audio and user control far beyond the play button. As media artist and Biophilia developer Scott Snibbe said: “Bjork had a complete, unified concept where everything was interconnected. The music wasn’t dominant, the image wasn’t dominant, the interactivity wasn’t dominant. Everything worked together the way a movie or an opera does.”

“Biophilia” has songs about crystals, dark matter and the origins of the universe.  In performance, each new song was introduced by the orotund recorded voice of David Attenborough, giving the song’s title, scientific phenomenon and musical lesson: “ ‘Hollow,’ DNA, rhythm.”

Bjork is famous for her (official) artistic videos: Army of Me(1995), Hyperballad (1996),  All is full of Love (1998),  Nattura (2008),  etc.

MV

Source:

New York Times

http://disconaivete.com

wikipedia

Monty Python members, mostly philosophers,  have reunited to voice a 3D animated film based on the memoirs of the late Graham Chapman. The crew is famous for the cult TV series Monty Python’s Flying Circus (UK, 1969) and the team also brought films including Holy Grail and Life of Brian to the big screen.

A Liar’s Autobiography will feature recordings that Chapman, who died in 1989 aged 48, made of his 1980 book. John Cleese, Terry Gilliam, Michael Palin and Terry Jones have all signed up while Eric Idle is not involved. The film is due out in spring next year.

MV

Source:

BBC News

Ars Electronica festival will be held in Linz from 31 August – 6 September.

“The insatiable hunger for knowledge; the burning passion to blaze new trails and overturn old points of view; the wish to find out where we come from; the longing to endow our existence with meaning and to establish our place in a comprehensive model of the universe. The satisfaction we derive upon getting to the bottom of these things, explaining them, describing them, expressing them. These absolutely quintessential elements of what it means to be human constitute the shared source of art and science. They are the driving forces from which innovation emerges”, say Christine Schöpf and Gerfried Stocker (Artistic Directors of the Ars Electronica Festival).

The directors add: “In cooperation with CERN, an institution in which more than 8,000 scientists from many countries are at work expanding the boundaries of our knowledge of the laws of nature in an effort to understand the genesis of the universe and the origins of all matter, we are dedicating the 2011 Ars Electronica Festival to the fascinating world of leading-edge research on the basic principles of the cosmos.”

MV

Source:

http://new.aec.at

programme

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

 

Activist art exhibition from the Marinko Sudac Collection aboard Marshall Tito’s ship “Seagull”
04th June -18th June, 2011 in Rijeka, Croatia

(…) The material for the exhibition was taken from the Marinko Sudac Collection, the fast growing and the largest collection of historical avant-garde, neo avant-garde and post avant-garde movements and artistic expressions in the region and beyond. The collection today includes around twenty thousand units, works of art, documents and publications. It covers the period from 1909 to 1989 and the area from the Baltic to the Black Sea, with special emphasis on the region of former Yugoslavia, while the furthest end of the collection reaches as far as Japan. The exhibition will also include the documentation on Galeb’s intriguing history, in Tvrtko Jakovina’s writing on Galeb’s voyages through the seas of world politics, in Feđa Vukić’s account on the evolution of its symbolic meanings, and Ješa Denegri’s analysis of reasons and reaches of political standpoints on the area of artists’ activities on one particular example.

(…) “Standstill” is an exhibition that deals with the deconstruction of the untouchable, of the mythical ship Galeb whose decks and salons along with Marshal Tito and the elite of socialist state and military government are inhabited by ghosts of world statesmen from Winston Churchill, Paul of Greece, Elizabeth II, Gamal Abdel Nasser, Jawaharlal Nehru, Ahmed ukarno, General Abboud, Kwame Nkrumah, Albert Tabnen, Habib Bourguiba, Sirimavo Bandaranaike, U Nu, Ne Win, Modibo Keita, Seku Ture, Archbishop Makariosa, Muammar Muhammad al-Gaddafi, Nikita Sergeyevich Khrushchev, Leonid Ilyich Brezhnev, Kurt Josef Waldheim, Nicolae Ceausescu, Indira Priyadarshini Gandhi and many, many others to scientists and artists as well as international movie stars such as Richard Burton, Elizabeth Taylor, Sofia Loren and Kirk Douglas.” (…) Branko Franceschi, President, Institute for the Research of Avant-garde

MV

avantgarde-museum.com

Installation by Ivana Franke and ongoing neuroscientific research by Ida Momennejad will be presented during the symposium ‘Seeing with eyes closed: Neuroscience and Art in dialogue’ in Venice. The installation will be on view from the 1st to the 6th of June in the Peggy Guggenheim Museum.

In resonance with the curatorial focus of the 54th Biennale: IllumiNations, the upcoming symposium on June 2nd, 2011 – organized in collaboration with Berlin School of Mind and Brain (Humboldt Universität) and Charité-Universitätsmedizin Berlin – will explore the theme: Seeing with Eyes Closed. The symposium takes its title from an interdisciplinary project by artist Ivana Franke and neuroscientist Ida Momennejad, conceived through the support of Alexander Abbushi and the Association of Neuroesthetics – AoN. The project concerns the visual experience of flowing images induced by stroboscopic light behind closed eyes.

Some of questions are: “Can we construct spatiotemporal forms purely based on ‘imagination’? To what extent may different brains show similar activities in spite of differences in subjective experience? To what extent is our perception of reality constructed and altered by the intrinsic build-up of our brains rather than neural responses to stimuli that is strictly ‘out there’?”

MV

Source:

culturnet.hr

Wordless Music, the concert series run by Ronen Givony when he is not overseeing the classical and new-music programming at Le Poisson Rouge, is devoted to showing fans of indie rock and contemporary classical music that the two genres have a common appeal.

Mr. Givony’s latest offering, heard on Saturday evening (21 st May) at the New York Society for Ethical Culture (the program was also played on Friday), was built around two works with rock connections: Philip Glass’s “Heroes” Symphony (1996), which is based on themes from David Bowie’s 1977 album “Heroes,” and “Doghouse” (2010), the latest orchestral score by Jonny Greenwood, who is best known as a member of Radiohead. Gyorgy Ligeti’s Chamber Concerto (1970), a study in energy and texture that prefigures some of Mr. Greenwood’s work, was interposed between them.

For the occasion the conductor Brad Lubman convened the Wordless Music Orchestra, a freelance new-music band that included, this time, all four members of the JACK Quartet and players from Alarm Will Sound, Signal (which played the Ligeti on its own) and other ensembles.

MV

Source:

http://www.nytimes.com