Neven Korda is a videast and a multimedia artist with a lasting artistic practice. He explores the issue of the essence of video as artistic expression and video as a medium. He speaks about the so-called pure video. He started using video in the early eighties, as a member of the theatre group FV 112/15, when affordable video equipment became available at the market. He is co-founder of FV Video, the independent video production which has brought to fruition several artistic, music and documentary video projects. Until the end of the eighties, he was a member of the group Borghesia; he did the visuals for their performances and concerts and he directed their video clips. He was a member of the artistic tandem ZANK with Zemira Alajbegović. In the nineties, he also worked as video editor, author of TV images, director and realiser of projects and TV shows. At the end of the millennium, he converted to research, practice and recording of pure video art. > Neven Korda (home page), Neven Korda on DIVA Station, Neven Korda on Videodokument
Marko Košnik, during the last seven years he has dedicated his artistic practice primarily to two series of production: the operabils – the modules of media opera including the librettos performed with the use of videoinstruments as solo performances or as projects in collaboration with musicians, performers, and dancers – and the ditopia – interactive installations produced for participation of audience. Some of the most important Operabiles are: The missing Engine of Laputa (solo performance for Documenta Urbana 2 in Kassel, 2006), Operabil Conspirare (performance for the opening of transmediale Festival in Berlin, with Stephen Kovats, 2008), Operabil Kobe (performed at Quebeckhall Kobe, Kibla in Maribor and Tesla in Berlin: Barbara Thun, Sumi Masayuki, Marko Košnik – 2006). Between 2008 and 2011 Marko Košnik prepared ten new productions in Istanbul, Rijeka, Maribor, Ljubljana, Vienna, Helsinki, Berlin, Mooste and Tomar in collaboration with numerous co-operators: Rodney Place, Aleksander Nikolic, Lara Dau Vieira, Michael Saup, Tom Fuerstner, Dirk Bruinsma, Barbara Thun, Ben Patterson, Mia Makela, Andreas Findeisen, Monika Glahn, Irena Tomažin … in frame of the X-op European project. > Marko Košnik (Egon March Institute, home page), Marko Košnik on Videodokument
Miha Vipotnik (Ljubljana, 1954) graduated in painting in 1976 and in 1979 completed postgraduate studies in video and television at the Academy of Fine Arts in Ljubljana. From 1987 to 1991 he studied MFA, Film and Live Action at Cal Arts in Los Angeles. He was a co-founder and the director of the International Video Biennial Video CD in Ljubljana (1983-1987). In the 70s and 80s he collaborated with public television and made numerous art videos, video heads, intros and animations and directed music and art programs for RTV Ljubljana introducing experimental usage of video technology. From 1994 to 1995 he worked at LBMA Video Annex in Long Beach (CA, USA) where he produced a number of installations and art video projects for international artists. He is active in video, installation and new media projects. His works are available on SCCA-Ljubljana on-line archive DIVA. He also teaches documentary video workshops at Faculty of Social Sciences and art video and installation production workshops at Famul Stuart School of Applied Arts in Gorica/Gorizia (Italy) and at Faculté des Beaux‐Arts et des Arts appliqués at USEK University, Beirut (Lebanon). > Miha Vipotnik (project Sen za televizijo), Miha Vipotnik (project Metroljub), Miha Vipotnik (project Journey to the end fo the ends), Miha Vipotnik on DIVA Station, Miha Vipotnik on Videodokument
Miha Vipotnik je eden tistih umetnikov, ki so video prepoznali kot svoje temeljno izrazno sredstvo že zelo zgodaj in so v njem aktivni še danes, pa naj gre za enokanalna video dela ali za vključitev videa kot enega med izraznimi sredstvi v kompleksne večmedijske projekte. V projektu Videogram 4 je z individualno rabo profesionalne video tehnologije, s formalnim raziskovanjem videojezika in z elektronskim eksperimentiranjem že sredi sedemdesetih let vzpostavil razsežnosti videa, ki so pripadale slikarski in performativni procesualnosti. Z motenjem signala in možnostmi transformacije podobe je hkrati napovedal tudi narativni potencial videa in tehnološke inovacije. Performativnost, poudarjena časovna komponenta in proces dela ter inovativna raba kamere in montaže v grajenju enigmatičnih osebnih pripovedi ter palimpsest podob, napisov in govora se prepletajo v video ustvarjalnosti tega umetnika.