The First Meeting: Workshop on Writing About Experimental Project

WORLD OF ART School for Curators and Critics of Contemporary Art Season 14 Workshop on Writing About Contemporary Art

The first meeting with the workshop mentor Petja Grafenauer and members of Video Turn research group Barbara Borčić and Ida Hiršenfelder at Vžigalica Gallery on Monday November 12, 2012 at the beginning of exhibition process that will include performances by Neven Korda and scenography set-up for filming a video sequence by Miha Vipotnik and students of Academy of Fine Arts and Design Ljubljana.

Ten workshop participants (Maja Antončič, Tea Derguti, Samo Gosarič, Jasna Jernejšek, Hana Karin, Miha Kelemina, Eva Lučka Kozak, Nika Skumavc, Sara Erjavec Tekavec, Tereza Tomažič) had joined the first presentation of the Video Turn project and workshop methodology. As the mentor states: “The topic of the writing is known: Experimental Research & Exhibition Project Video Turn. The method of writing is known: experiment with internal rules of the game. The first aim is: to spend as much as time as possible at the exhibition Video Turn! The second aim is: writing analitical texts about Video Turn. The third aim is: to develop a methodology of writing about experimental projects.

Prvo srečanje: Delavnica analiziranja in pisanja besedila from SCCA-Ljubljana on Vimeo.

Video Turn

Experimental Research & Exhibition Project (Installations, Screenings, Performances, Lectures, Workshop)
13 till 29 November, 2012
Vžigalica Gallery, Trg francoske revolucije 7, LjubljanaView post

SCCA-Ljubljana and DIVA Station Project Group present  the experimental research & exhibition project at Vžigalica Gallery in the framework of Video Turn research project. The research aims to explore and present experimental artistic practices (video, multidisciplinary and media art). Continue reading

One Sequence / Unlimited Feedback Loop

The experiment includes detailed methodological procedures coming from the specific artistic interests whose goal is not redundant because it determines the medium and results of the creative endeavours. Repeating the same elements in the media-image is not only a sequence of identical shots, but is being represented as an accumulation of images that may differ in quality. The errors, deformations and gazes are multiplied, and result in aesthetic experience, mental consideration and critical stance; depending on the purpose of the experiment. Repetition of a sequence from different perspectives produces analytical approach to the image construction, which primarily bears a formal interest. System, causing a feedback loop, likewise, also produces a variety of views, but its relation to the outside world is primarily visual, and it is triggered by poetic interest. IH

[Slovene version] Continue reading

Neven Korda, Yu sen (FV Video, 1983)

http://www.e-arhiv.org/diva/thumb.php?pic=uplimg/works/383/383_SF1_korda_neven_yu_sen1.png&w=180http://www.e-arhiv.org/diva/thumb.php?pic=uplimg/works/383/383_SF1_korda_neven_yu_sen2.png&w=180http://www.e-arhiv.org/diva/thumb.php?pic=uplimg/works/383/383_SF1_korda_neven_yu_sen3.png&w=180

Triminutni video ‘Yu sen’ predstavlja enega prvih samostojnih del Nevena Korda in video sekcije FV, kreativne skupine, ki je delovala znotraj različnih umetniških disciplin (glasba, gledališče, vizualna umetnost). Zaznamuje ga dokaj rudimentarna kolažirana struktura, ki v novo pomensko in vizualno celoto zahvaljujoč spretni montaži koherentno povezuje skupek najdenih posnetkov; prav nenehna reciklaža uporabljenega materiala je kasneje predstavljala enega ključnih elementov avtorske prakse Nevena Korde. Odnos med zvokom in sliko kot ena najosnovnejših premis (takšne ali drugačne) video produkcije je konstitutivni element formalne in sporočilne vrednosti dela, ki prepriča z ambivalentnostjo in nedorečnostjo svojega sporočila.

‘Yu sen’ torej ni protestno delo, pač pa odraz nazorov tedanje mlade generacije, ki je živela v svetu mitov in legend o junaških prednikih. Primarni material dela sestavljajo filmski zapisi (po vsej verjetnosti del nekega povojnega propagandnega filma), ki prikazujejo takratnega predsednika Josipa Broza Tita v različnih ikoničnih situacijah – nagovarjajočega množico z balkona, pregledujočega postrojene čete ali mahajočega iz avtomobila. Njegov glas je nadomeščen z (očitno) mlajšim interpretom, ki prebira slovenski prevod nagovora na temo ustvarjanja nove, pravičnejše družbe, temelječe na bratstvu, enotnosti in enakosti. Continue reading

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