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As the culturenet.hr stresses “Croatia is represented by a group of architects from the city of Pula at the 13th International Architecture Exhibition which is held in Venice from 29 August to 25 November.” Unfortunately, Media-via portal must add a critic on authenticity of the installation: almost the same installation was made by a famous American video artist Bill Viola in 1995 and the work “The Veiling” can be seen at http://www.sfmoma.org/media/features/viola/BV14.html

The Croats present their exhibition “Immediate democracy requires immediate area” at the Architecture Biennale. The Croatian Pavilion at this year’s Biennale includes video footage, photographs and performance projections, indicating the current zoning problems in Croatia, reports Croatian radiotelvision.”

Unfortunately, Media-via portal must add a critic on authenticity of the installation: almost the same installation was made by a famous American video artist Bill Viola in 1995 and the work “The Veiling” can be seen at http://www.sfmoma.org/media/features/viola/BV14.html

The last Croatian project at the Biennale with the floating pavillion was a sort of fiasco when it collapsed in front of Venice and this one is unfortunately once again the shame for the Croatian culture.

MV

a part of info:

culturenet.hr

International project “The Glocal Multimedia Art”, with the this year’s topic “The Revolt in Art against Corruption”, which was created by the this portal’s Croatian association “Culture, Media and Education” – ARTHEA, was  successfully finished on Friday, 15th June, in Slavonski Brod. The project had included creating the social network http://glocal-art.ning.com where the artistic conceptual task was realised, then the symposium  with the artists, doctors of philosophy and students in discussion on corruptive conscience and finally the performance of aesthetical/ethical testimony at the town square of Slavonski Brod.

The members of the project were: Professor and Artist Vladimir Frelih from the Art Academy Osijek, his students Lucija Jakovina, Robert Fiser and Ana Petrovic, who all uploaded their videa-art works, PhD Kruno Martinac from Melbourne, Australia, Dr Dragan Calovic and Dr Vlatko Ilic from the association “Young Peas” from Belgrade, Republic of Serbia, a film Director Zoran Sudar from Zagreb, Tomislav Lacic a representative of the music group SB Reprezenta well known for anticorruptive music, students from the  Faculty  of  Teacher Education in Osijek, department in Slavonski Brod and the president PhD Vesna Srnic as well as other members of the association ARTHEA.

The project was funded by The Ministry of Culture of the Republic of Croatia and will be incorporated in educational activities of primary, secondary and tertiary educational levels of the teachers/members.

Brochure in Croatian language

MV

cover_frontI am very pleased to inform You I’ve just published my book, doctoral disertation “Electronic Media and Aesthetics in Postfeminist theory” via the Belgian on demand online publisher.  More details can be found at shopmybook.com and if You are interested in online shopping you can do so at this page. The first edition is published in Croatian language.

(excerpt )

Summary

Doctoral dissertation “Electronic media and aesthetics in post-feminist theory” explores contemporary and dynamic themes of artistic use, aesthetic evaluation and phenomenological impact of widespread electronic media on human life in the post-feminist era.

The doctoral dissertation thesis is the result of an analytical study of artistic mass electronic media (photography, film, TV, video, computers, the Internet and multimedia). Modern electronic media are not only subject to more classical aesthetic criteria anymore, but also to the concept of “value” and, according to that, to what extent the gender undifferentiated affective existential arguments can successfully be imported into the new media. This, according to us, completely new aesthetics, was of interest to us from the point of view of affective encouragement of individualization and increased integrity through electronic media via digital processes of embodying existential theory for which we consider experimental film, video art and orchestrated multimedia performances during the “third wave of feminism” or post-feminism to be of great importance.

Research has been based on the phenomenology and philosophy of existentialism, which we found appropriate for integral insights into the Individual without gender differentiation, as we perceive the contemporary post-feminist theory.

(Translation: MA. Mirta Kos – Kolobarić)

Key words: Electronic media, Aesthetics, Post-feminism, Afect, Digitalisation, Virtual Reality, Existential supportings, Transpersonal psychology

MV

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

Source:

moma

“The relationships between art, technology and identity have not been explored and expressed with such intensity, dynamics and continuity as it is a case with the medium of video. (…) Selected works deal with the issues of self-­‐representation in the physical, emotional, social and cultural contexts as one of key topics in Croatian art since early 1970s” writes the curator of the Marseille exhibition Branka Bencic, during the Festival of Croatia in France.

According to Culturenet.hr and 25 InstantsVideo from Marseille: “Constructed by means of language and representation identities are not a stable unit but a changing thread of ideological positions built as a temporary meeting point of subjects and codes on the crossroads of different social formations and personal histories. Project is developing as a survey of contemporary video production in Croatia.” (…) ” We can map historical trajectories of conceptual art and feminist art practices – that opened a model for understanding a relevant part of contemporary artistic production, practices considered self-­‐referential, performance and body based activities.”

Those older conceptual video masters – SANJA IVEKOVIĆ and DALIBOR MARTINIS, inspired the younger generation of artists :  IVAN FAKTOR, ZLATKO KOPLJAR, VLASTA ŽANIĆ, SANDRA STERLE, RENATA POLJAK etc.

* Image: Dalibor Martinis from 1970’s interviews himself in 2010 on Croatian National Television. One of the key questions was if he has been alive…

MV

Connecting the tourism and culture during the vacation is the main idea of  the project leader professor Branko Franceschi, a Croatian curator of Institute for the Research of the Avant-garde Zagreb. The result is an exhibition “Artist on Vacation” in the Museum of Contemporary Art in Zagreb which introduces art works of several famous artists from the region. The project grounds are a short residential stay of artists in a hotel settlement during which they will be in a lively dialogue with the visitors and create in conjunction the site specific work/exhibition. (Novi Spa Hotels & Resort, Novi Vinodolski, 2-30 September, 2012)

In conception of Marinko Sudac  the artists on vacation are: Attila Csernik (Serbia), Radomir Damnjanović Damnjan (Serbia), Željko Kipke (Croatia), Ivan Kožarić (Croatia), Vlado Martek (Croatia), Era Milivojević  (Serbia), Romelo Pervolovici (Romania), Pinczehely Sandor (Hungary), Balint Szombathy (Hungary), Janos Sugar (Hungary), Ilija Šoškić (Montenegro). Except the art works, there will be performing art too by Radomir Damnjanović Damnjan, Era Milivojević, Balint Szombathy.

NEW MUSIC: NEW AUDIENCES (www.newaud.eu) is a cooperative European project running from 2012 till 2014 in which 16 national music organizations and 31 ensembles from 17 European countries will take part. Participating ensembles represent the highest quality in today’s European New music sceneand they will through the artistic activities related to the project carry out more than 60 concerts and performed more than 120 works of New music.

According to Culturenet.hr and Cantus Ansambl the objective of the NEW MUSIC: NEW AUDIENCES  project is to launch a pan-European cooperation on audience development through a series of new music concerts. It will be done by letting the network ensembles experiment with a number of audience development activities over a two years period.  The core of the  NEW MUSIC: NEW AUDIENCES  project is the concerts that the 30 ensembles will hold  in their home country as the result of their joint cooperation,  introducing their audience to music from the other country. Each ensemble will perform 4 music works connected with the project and will spread these works over 2 or more concerts.
A crucial aspect of NEW MUSIC: NEW AUDIENCES is that the repertoire performed represents the best of European new music. The ensembles will „swop“ repertoire, so that a Hungarian ensemble shall for instance play music recommended by a Croatian ensemble and so on. The advantage of this system is that the working communities are not only European forums for audience development, but also become a space for discussion and interpretation of European repertoires.

Samples:

cantus-ansambl.com/downloads

MV

Source:

culturenet.hr

cantus-ansambl.com

The Croatian Writers’ Society, the theory, culture and visual arts journal Tvrđa, and the Zagreb Centre for Visual Studies organized an interdisciplinary symposium „Media Image of the World: From the production of Reality to the Power apparatus“  which was held in Zagreb from 13th to 14th June, 2012.

Media-Via president PhD Vesna Srnic presented her doctoral disertation thesis “The Electronic media and Aesthetics in Postfeminist theory” and was engaged  in a very dynamic discussion.

“Newly established post-discipline socio-humanistic sciences from 1990’s (Cultural studies, Visual studies, Mediology, Information sciences, Theories of Image and New Media, Philosophy of Media, Sociology of Cyberculture, Communication theories) make an attempt to create a new mental map for understanding the escaped Reality, which seems more and more like Entropy and emergencies of the world, and less like those Realities which were described by ideas from clasical modern Epistemology, well known as Subject, Representation, Nation-State, fixed Identity, Suvereignty. Symposium will try to establish an interaction between various subjects/actors in Media dialogue and discourse.”

(From the foreword of PhD Zarko Paic)

MV

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

Motovun Film Festival (from 28th July, 2012. – 1st August, 2012) 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 are ongoing 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 the open-minded atmosphere of the festival with their innovations.”

MV

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motovunfilmfestival

“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

Source:

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

2012 in review

The WordPress.com prepared a 2012 annual report for this web portal.

Here’s an excerpt:

600 people reached the top of Mt. Everest in 2012. This blog got about 5,800 views in 2012. If every person who reached the top of Mt. Everest viewed this blog/portal, it would have taken 10 years to get that many views.

Click here to see the complete report.

“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

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

Source:

http://web.mit.edu/

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

Billie Holiday – vocals, Ben WebsterTenor Sax, Barney Kessel – Guitar, Harry Edison – Trumpet, Jimmy Rowles – Piano, Red MitchellBass, Larry BunkerDrums

Comes love

MV

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Billie_Holiday

wikipedia.org

Comes love

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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The Croatian gallery in Zagreb “The Klovićevi Dvori Gallery” is hosting the exhibition The Master Pieces From the Picasso Museum in Paris opening on 23 March 2013 and bringing 56 paintings and sculptures created by the most famous master of the 20th century, the founder of cubism, painter, sculptor and graphic artist.

The Gallery informs that “the exhibition presents more than one hundred works of art and various documents depicting the exciting journey of the creator of modernism. Put in a chronological order, starting from Picasso’s early works and ending in the last years of his life, works from the blue and pink period, proto-cubism and explorations of Africa, the emblematic works of the analitical and synthetical cubism, classical period, surrealism and late paintings are all exhibited in Zagreb until 7 July 2013. Picasso was an artist who shifted the artistic boundaries and deconstructed the traditional painting genres. Picasso dominated his times unrivaled. Behind a man who became a myth and the market value of his signature there is a very complex oeuvre created by an artist and, above all, a creator.”

MV

Sorce:

culturenet.hr

galerijaklovic.hr

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

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.

Source:

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.

Source:

MoMA

At the Slovenian museum MGLC  the Croatian contemporary/conceptual artist  Ivan Kozaric exhibits his prints till April 1st. The artist Ivan Kozaric creates at the International Centre of Graphic Arts eighteen prints in the colour screen-printing technique: portfolio entitled Sretan sam da sam sretan! / I am happy to be happy!, 2007, print Brez naslova / Untitled, 2002, and prints  A Bouquet of Genes, 2002-04. His works are characterized by a sense of mischief, spontaneity and by his nonchalant approach to life.

Ivan Kozaric in his 86th year of life creates at MGLC a series of prints entitled Sretan sam da sam sretan! (I am happy to be happy!) that offer crayon-like depicted flowers, a rainbow of primary colours, tops of heads, Brancusian figures and spheres. What is noticeable at first glance is the joy, excitement and playfulness of these prints, which should be looked at without the shackles of a trained and discerning eye rooted in an art education, and rather be embodied by a physical and emotional experience. The simplicity of the I am happy to be happy! print portfolio is the simplicity of the great, of those, that dare make prints of delicate flowers and colourful rainbows, when that is what they really feel in this world.

Ivan Kožarić (born 10 June 1921 in Petrinja) is a Croatian artist who works primarily with sculpture but also works in a wide variety of media, including: permanent and temporary sculptures, assemblages, proclamations, photographs, paintings and installations. He is the author of many public sculptures, including Landed Sun in Zagreb (1971), A. G. Matoš in Zagreb (1978), and Tree in Bochum (1979–1980). He has received numerous awards, including the Vladimir Nazor Award for Life Achievement (1997). He lives and works in Zagreb, Croatia.

MV

Sources:

culturenet

mglc-lj.si

wikipedia

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

Source:

culturenet

zkm

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