With the layering of picture (double exposure, flowing changes of images, frosen image, solarisation) and sound, the artists and the objects in the television studio merged into electronic sensations - an infinite series of over-illuminated, perforated and broken images. The video was made on the basis of the multimedia project (screening and installation) of the same title, and it was presented as 'the deconstruction of screening' in the framework of experimental programme on television (RTV Ljubljana).

With the layering of picture (double exposure, flowing changes of images, frosen image, solarisation) and sound, the artists and the objects in the television studio merged into electronic sensations - an infinite series of over-illuminated, perforated and broken images. The video was made on the basis of the multimedia project (screening and installation) of the same title, and it was presented as 'the deconstruction of screening' in the framework of experimental programme on television (RTV Ljubljana).

With the layering of picture (double exposure, flowing changes of images, frosen image, solarisation) and sound, the artists and the objects in the television studio merged into electronic sensations - an infinite series of over-illuminated, perforated and broken images. The video was made on the basis of the multimedia project (screening and installation) of the same title, and it was presented as 'the deconstruction of screening' in the framework of experimental programme on television (RTV Ljubljana).

With the layering of picture (double exposure, flowing changes of images, frosen image, solarisation) and sound, the artists and the objects in the television studio merged into electronic sensations - an infinite series of over-illuminated, perforated and broken images. The video was made on the basis of the multimedia project (screening and installation) of the same title, and it was presented as 'the deconstruction of screening' in the framework of experimental programme on television (RTV Ljubljana).

With the layering of picture (double exposure, flowing changes of images, frosen image, solarisation) and sound, the artists and the objects in the television studio merged into electronic sensations - an infinite series of over-illuminated, perforated and broken images. The video was made on the basis of the multimedia project (screening and installation) of the same title, and it was presented as 'the deconstruction of screening' in the framework of experimental programme on television (RTV Ljubljana).

DIVA Station – archiving of images and time, presentation & workshop
Gorgona Hall (MSU Zagreb), Thursday, 30 October, 2014, at 5 pm
DIVA at Škuc Gallery, a video essay by Nika Grabar presenting the topic of archiving as “the preservation of memory”, will be shown.

Industrial Landscape
Exhibition in the library foyer (MSU Zagreb), October 30 – November 10, 2014
Curated by: Miha Colner (Production:SCCA-Ljubljana, 2011), duration: 65:50

Video works at the exhibition: Ana Sluga, Away (2006); Zemira Alajbegović & Neven Korda, It Rains (1986); Marko A. Kovačič, Song of Flesh and Image Was Made Body (1985); TEMP (Robertina Šebjanič, Peter Košir, Luka Prinčič), Cona D (2005); Sašo Podgoršek, Vertigo Bird (1996).

Feedback Loop
Projection on media façade (MSU Zagreb), October 30 – November 6, 2014
Concept: Ida Hiršenfelder (Production: SCCA-Ljubljana, 2013), duration: 08:40:44

Video works on media facade: Mirko Simič, Parabola (1997); Maja Smrekar, Imaginarium of Electromagnetic Transformations (2009); ZANK (Zemira Alajbegović, Neven Korda), Poppers (1988); Luka Dekleva, Sen/za Televizijo/a (2009); Rok Sieberer – Kuri, Technotime (1999); Tanja Vujinović, Extagram / Oscilo (2007); Miha Vipotnik, Video Graphics (1975); Emil Memon, Blue Movie (1983); Luka Dekleva in Luka Prinčič, Singing Bridges Bizovik (2008).

Museum of Contemporary Art Zagreb, Av Dubrovnik 17, Zagreb, Croatia

Pri pogovoru so sodelovali: Nataša Prosenc Stearns, Jasna Hribernik, Aldo Ivančić, Varja Močnik, Hanna A. W. Slak
Pogovor sta vodila: Barbara Borčić, Jurij Meden

Projekcije:

Omnibus št. 1: video art
Smrt Sokrata/Sojenje Sokratu (Death of Socrates/The Trial of Socrates

N. Prosenc Stearns, M. Basso, J. Beckhardt, J. Berry, N. Buchanan, J. Church, S. Elam, S. Gill, T. Grace, J. Hribernik, A. D. Irvine, N. Kiang, R. Kobayashi, K. Kuhne, Z. Lenardič, A. Libri, P. Marescotti, D. O'Brien, W. Romeo, M. Romero, Y. Stanchev, W. Stiner, W. Zane
produkcija: Kanalya Pictures, ZDA, 2010, 84 min.

Omnibus št. 2: glasbeni video
Bast: Burn Out                 

Z. Alajbegović, N. Korda, M. Simić, S. Brljević, E. Kugler, J. Janša, V. Jemeršič, I. Štromajer, H. Rag, M. Gržinić in A. Šmid, K. Saksida
produkcija: Aksioma, 2003, 11 x 20 sec.

Omnibus št. 3: igrani film
Desperado Tonic                                                                                                                                                                               B. Petkovič, V. Močnik, H. A.W. Slak, Z. Živulović
produkcija: Vertigo / Emotionfilm, 2004, 35mm, barvni, 71 min.

več

Action, happening and performance had been a direct reaction to the prevailing formalist and market-driven art in the 1950s and 1960s. As the new means of expression at the intersection of visual art and theatre, they have somehow been pertinent to both fields; nonetheless, they have regularly been overlooked from the canonised history books and surveys.

In the context of Conceptual Art and New Artistic Practices, video art has met a similar reception. Apart from being a strongly individualistic activity, performance and video share various other features, such as inappropriate production conditions and lack of critical writing. It is also questionable whether they have found a pertinent field of representation, in the sense that the gallery is the field of representation of visual art, theatre of performing art, and the movie theatre that of film; while, television and the Internet seem to be the testing ground for all manners of production. It is also possible that performance and video mostly belong to the fields of other art forms, often overlapping and integrating other so-called new media.

The relationship between performance and video has always been multilayered and followed a preceding relation between film and action. It could be schematically demonstrated by four modes: 1) video as a document of performance, 2) video as a part of performance / performance as a part of video, 3) (video) performance, staged only for the camera, and 4) performance made possible only through video, its expressive and technological possibilities for processing and editing. more

Jasna Jernejšek, sodelavka SCCA-Ljubljana v letu 2013 pri spletnem in fizičnem video arhivu Postaja DIVA, je naslov izbora vzela iz videa Mihe Vipotnika Lenora, ki metaforično naslavlja načine, na katere različni ustvarjalci tematizirajo za človeka nerazrešljiv paradoks smrti ali »uganko smrti« kot jo imenuje Hans Belting. Ideja o smrti, ki presega biološko končnost telesa, sestavlja kompleksen preplet procesov, družbeno sprejemljivih vedenj, pričakovanj, verovanj, ritualov in vsakodnevnih praks, ki sestavljajo kulturne definicije smrti.

Ne glede na vse kulturne definicije smrti in »opremljenosti« posameznika/ice za »primere« smrti pa je soočanje s smrtjo, svojo lastno ali smrtjo drugega, predvsem zelo osebno doživetje, ki sproža številna (eksistencialna) vprašanja in pogosto prinaša krizo smisla. Kako se nas dotakne smrt (ljubljenega) drugega? Je mogoča smrt brez življenja in obratno, ali je mogoče življenje brez smrti? Kako misliti lastno smrt? Kako videti lastno smrt – ta nemogoči pogled, ki je istočasno vir premnogih fantazij? S podobnimi vprašanji se spopadajo tudi izbrani umetniki in umetnice. Pri tem ne podajajo enoznačnih odgovorov, temveč predvsem na lasten izrazen način reflektirajo svoja osebna doživljanja.

Več: Bogdaj mrličem spat na Videospottingu