Live video practice gives the viewer the opportunity to see and experience an imaginary space and time, thus tracing and constructing a story through seduction and identification. When producing a physical image that is being manifested in the social space and real time, the visual and sound image is created as a result of personal and collective symbolisation. Let us then step into a live video picture, and embark on a voyage to face technical and optical devices, and other spectators. The image is ephemeral, it is simultaneously presenting itself and disappearing. The space is fragmented, the points of view diverse. Our perception is fragmented, multiplied and intermitted. The structure is open and the form untangled, there is a lot of ambiguity and ambivalence, the unconscious is at work and the artwork hints at topics outside of the aesthetic field, e.g. society or the position of an individual or the artist. This constellation addresses the viewers directly, it includes and activates them. Where this complexity is eliminated, the idea is manifested clearer, but it becomes too scarce. BB
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Through the perspective of technology I am going to attempt to catch the narration, woven from segments i.e. frames, plans, scenes, sequences, gradients, delays, turns, layering and perforations… I am going to follow the decisions, intentions, procedures and effects that correlate to technical aspects and artistic expressions. Relationship/tension between representation and narrative triggers a distance which is connected and disconnected at the same time. It still has to do with diegetic experience but it is intermittent. The image and sound is an illusion, a network of abjects and affections, of surfaces and incrustations, bookmarks and processes, associations and references… At the same time, the network is also a set of holes tied together with line. As the process of construction is being charged, the system of signs and meanings is being formed; while we are in the position of perceiving and analyzing. Yet consider what we don’t catch: there is always far more of that. BB
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Kako koncipirati spremljevalni program v galeriji Vžigalica? Novi kurirani video program, del Videospottinga, bo govoril o širši perspektivi samoupravljanja. Zaradi procesualne narave projekta se je zamaknil datum odprtja, razstava bo trajala od 13. do 29. novembra 2012. Refleksija umetniške prakse Mihe Vipotnika pa je pokazala, do Miha pripoveduje »skozi vozliček«, osebni spomin, poleg tega pa v projekte vključuje slike, ki jih ima doma. Zgodbo ponovno postavi zunaj vsega. Neven Korda pa bo kot svoj prispevek zgradil ambient brez zgodbe. Performans, kot del njegovega razstavnega programa, pa bo deklarativen s svojo zgodbo. Neke vrste didaktičnost. Procesualna produkcija tekstov, stalni trening v refleksiji in zapisovanju o video obratu, se bo beležila na spletu, v rubriki Notes / Zapiski.
Experiment in the modern sense of the word can not be thought outside of the concept of population that is associated with the understanding of economics as a natural process. Through manipulation of the population the universal economy is to create “better” conditions for life. This happens also in arts where experiment is focused on improving the aesthetic effect, to better the presentation and distribution conditions and the involvement of the viewer. In this context, video experiment is a relatively specific field – on the one hand it is connected to technological issues, on the other hand, it refers to the artistic practices. Conducting a research of experiment in video art would lead to analysis of these two parallel currents in order to show where and how they meet. This is how it would be possible to better understand the trajectories of new media today. AP
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