From a starting situation at Vžigalica Gallery on 13 November, 2012, the space was gradually upgraded and disintegrated in the rooms for construction, performances and interaction. In the last week of the exhibition, the installations were presented in their representative form.
After five intensive performances, Neven Korda presented the Dominant Black installation in the new illumination of 5000 luma projector. The workshop situation gave way to projection art that was no more veiled by the translucent projecting curtain, and it became possible to walk into the dominant black space. “It was simply beautiful!” This beauty could be viewed as one of those milestones that keep specifics of the field of artistic practices.
Home was constructed, filmed and installed into the space by a wide group of co-workers, actors and performers. “Jožef’s” postage stamp from 1967 has entered the real time and space, and the view of passers-by was simultaneously opening and focusing through the window lenses and gaps revealing the scene in the process of the making. The constructed sequence was like a puzzle. The images were looking at us. Premiere screening of the sequence took place on Wednesday, 28 November, 2012 at 5pm, followed by a discussion about the exhibition project and expressing very practical experiences of all the people involved in the process. On Thursday, 29 November, 2012 from 10am till 6pm installations Home and Dominant Black may be viewed in their representative form. Exhibition program and the process may also be followed at SCCA Facebook Profile
Emotional Performance, Vžigalica Gallery, Ljubljana, 23 November, 2012
Neven Korda had read a few passages from An Anthropology of Images while he was screening segments from video documentary The Old and the New which he had directed in co-authorship with Zemira Alajbegović. This is a body of texts by Hans Belting who is one of the rare art historians examining the image and incorporated it into the discourse of the media. We are able to notice a certain struggle for a monopoly over the definition of how to understand images. This is much similar to the writing about history in general. Hans Belting understands the image as a symbolic unit. However, to make the images visible and to communicate them, we have to work with the medium. Juxtaposition of the text and scenes from the video has offered a reflection on how the world can be seen through the images. However, making images means to embody them (in a medium). Reference: Hans Belting, An Antropology of Images, 2011
Radio Performance, Vžigalica Gallery, Ljubljana, 22 November, 2012
Public reading of an interview with Neven Korda conducted by Miha Colnerja was a radio performance. Interview entitled In Search of Beauty, which was carried out in February 2012 for Art Words Magazine, analyses and defines the artistic practice of a devoted video artist. The discussion was published in the full printed version in Winter Issue of the Art Words Magazine in December, 2012. In the gallery, the original actors re-enacted their conversation, with the addition of background sounds from Korda’s video installations Dominant Black and a series of five performances at Vžigalica Gallery. The interview was directly aired on the Radio Student in the context of the Open (Artistic-Theoretic) Research Platform R A D A R.
Agitation Performance, Vžigalica Gallery, Ljubljana, 20 November, 2012
Neven Korda introduced his agitation performance with a statement: “A work of art is the object produced by the artist.” This statement was made in order to emphasise the interest, which is the precursor of all other elements in the performance. Primarily, he is interested in the emergence of beauty and aesthetic elements that trigger mental images; emotional and physical involvement in the entire action. The space was saturated with video projectors pointed at all directions. The artist was generating video images by the usage of colour and typographical/word elements. All along he was reciting textual fragments and slogans followed by speech-modulated sounds. The repetition of the words caused the loss of the meaning and they were becoming merely an aesthetic quality. Video and sound were connected with generative programs Isodora and PureData. First of all, the artist was interested in visual effects, namely what he calls the beauty caused by the rules of the operation of technical medium, thus he adopts it in order to cause the inception of beauty. In his words, beauty is the effect that ensures the arts to exist as an independent social field, and prevents art to merge with other fields such as ideology, politics or technology. At the same time, the artist uses critical elements and statements in order to construct a bridge between the field of beauty and ideology. NW from SE is therefore also a criticism of geopolitical relationships. The artist calls for a view, which does not predict for fixed or landowning geopolitical relationships, but rather flexible viewpoints. This would cause a realisation that any position can be specified in terms of something North West of South East. Performance also uses an entirely personal story, as an allusion of the view through the artist’s studio window at Metelkova in the direction of the North East.