MOVE!http://black.fri.uni-lj.siCIP - Kataložni zapis o publikacijiNarodna in univerzitetna knjižnica, Ljubljana

7.038.543(497.4)

MOVE! : ArtNetLab 2008 & Video Match 08 : [ArtNetLab 2008, Mestna galerija Ljubljana, 29. 5.-5. 6. 2008 & Video Match 08, Kiberpipa, Ljubljana, 30. 5. 2008] / [organizacija ArtNetLab, Društvo za povezovanje umetnosti in znanosti ; uredila Narvika Bovcon, Aleš Vaupotič]. - Ljubljana : ArtNetLab, Društvo za povezovanje umetnosti in znanosti = ArtNetLab Society for Connecting Art and Science, 2008

ISBN 978-961-92000-5-61. Bovcon, Narvika 2. ArtNetLab - društvo za povezovanje umetnosti in znanosti (Ljubljana)

240066048

Mestna galerija Ljubljana/City Art Museum Ljubljana, 29. 5. - 5. 6. 2008R azstava novomedi jsk ih projektov iz produkci je Ar tNetLab 2007 in 2008.Exhibition of new media art projects from ArtNetLab production group from 2007 and 2008.

Sodobna vizualna kultura temelji na tehno-pogledu in pametnih softverih, ki prepoznavajo vidno ter se nanj odzivajo. Obiskovalec galerije ali javnega prostora se znajde v polju pogleda, v katerem sam deluje kot kurzor in s svojim gibanjem proži dogajanje na projekcijah. Avatarji v virtualnih prostorih računalniških projekcij kot zrcalne slike spremljajo obiskovalca in njegovo pot skozi realni prostor. Plesni gib postane ukaz za animiranje oblik, za remontažo večkanalnih videov, za vstopanje v virtualne prostore in večzgodbene pripovedi. Obenem se objekti iz vsakdanjega življenja, kot sta npr. luč ali hladilnik, redefinirajo kot pametne, spletne entitete oziroma sogovorniki obiskovalcev o problemih kot sta, denimo, prehranjevanje in hujšanje.

The visual culture of our time is defined by the techno-gaze paradigm and influenced particularly by the computer vision software that recognizes the visible and intelligently reacts to it. The visitor to the gallery or any public space finds him/herself in the field of vision, where he/she acts as a cursor, which by moving triggers the events on the projections. Avatars in virtual spaces of computer projections follow the visitor's movement through real space as mirror images and shadows, whereas the dancing movements function as controls for animation of forms, mixing of multi-channel videos and multi-plot narratives. At the same time, objects from our everyday lives, like a light bulb or a fridge, become smart net entities and respond to the user about problems such as food and diets.

MOVE! ArtNetLab 2008

Živa Kalaš: Blodnjak/The Labyrinth in Kaos pogleda/The Chaos of the GazeSoftverska umetnost/Software art

Točka pogleda vržena iz običajnih koordinatnih sistemov.The point of view is pushed out of the expected coordinate systems.

Organizator/Organizer: ArtNetLabKustosa/Curators: Narvika Bovcon, Aleš VaupotičOb podpori/With kind support of: Ministrstvo za kulturo Republike Slovenije/Ministry of Culture of the Republic of Slovenia, Mestna občina Ljubljana/Municipality of Ljubljana, Inea Toshiba, Akademija za likovno umetnost in oblikovanje/Academy of Fine Art and Design, UL, Fakulteta za računalništvo in informatiko/ Faculty of Computer and Information Science, UL, Mestna galerija Ljubljana/City Art Museum Ljubljana

Zoran Poznič: FrigoratorProgramiranje/Coding: Peter KrebeljInteraktivna instalacija/Interactive installation

Način življenja večine ljudi v postindustrijski družbi ne omogoča več racionalnega prehranjevanja. Hladilniki so polni zmrznjene, industrijsko pripravljene hrane. Bašemo se, ko utegnemo. S hrano kompenziramo vsakodnevni stres. Ljudje se redimo in kompulzivno hujšamo. Projekt Frigorator skuša problematizirati manipulativne moralne aksiome, kot so: slaba vest, zadrega, občutek krivde in ubogljivost. Frigorator uporabnika stehta in nagovori, ozmerja, če je predebel, ali pa povabi, naj si postreže z različno hrano.

The way of life in the post-industrial society doesn't allow for the rational nutrition anymore. The refrigerators are full of frozen, industrially prepared food. We stuff ourselves whenever we can. The food compensates for the daily stress. The people gain weight and then go on a diet. The Frigorator project questions the manipulative moral axioms, such as: bad conscience, embarrassment, the feeling of guilt and obedience. Frigorator weighs the user, shouts at him/her, if he/she is too fat or invites the user to take something to eat.

Narvika Bovcon, Aleš Vaupotič: IP Luč/IP LightProgramiranje/Coding: Matevž Grbec, Marko Ilić, Samo Mahnič. Predmet/Objecthttp://black.fri.uni-lj.si/iplight/

Luč, žarnica, skozi katero teče električni tok in ki osvetljuje okolico, se pojavi tako v realnem prostoru (galerije) kot v kiberprostoru interneta, kjer zavzema svoje mesto v obliki IP-naslova. Novomedijski objekt meče svetlobo na novomedijske reči.

A lamp, a light bulb connected to the electric current that illuminates things around it, appears as well in the real space (of the gallery) as in the cyberspace of the Internet, where it is located at a specific IP (Internet Protocol) address. A new media object, which sheds light on new media things.

Vanja Mervič: CunC_living_labInteraktivna instalacija/Interactive installation

Prazen prostor poln pomena, ki ga vsak nov uporabnik ustvarja na novo. Stojimo na pragu med zavednim in nezavednim. Med zavestno besedo in mislijo, ki ji predhaja in katere vsebine se ne zavedamo. Z zavestno samoizpostavitvijo subliminaciji se začenja proces nastajanja nove skupnosti, novega kolektivnega zavednega-nezavednega. Prostor postane kontinuiran, neskončen. Odgovor na fantazmagorijo skritih svetov, od katerih zadnji in najbolj pretanjen je umetelna sinteza našega sveta, to je najvišja iluzija naše dobe.

An empty space filled with content, which is continuously recreated by each new user. We are standing on the threshold between conscious and unconscious. Between a conscious word and its preceding thought of which content we are not aware. By conscious exposure to sublimination a generating process of a new community, of a new collective consciousness-unconsciousness is commencing. The space becomes continuous, infinite. A response to the phantasmagoria of the concealed worlds, of which the last and the subtlest is an artificial synthesis of this world, is a superior illusion of our age.

Alen Floričić: Brez naslova/UntitledProgramiranje/Coding: Aleš Vranešič, Jure Maver. Interaktivna instalacija/Interactive installation

Manko obiskovalca galerije nadomesti, ko se ta končno pojavi, podoba blaznečega umetnika.The void of the absence of the gallery visitor is filled, when he finally appears, with the image of a raving artist.

Marko Glavač: Skupinski portret/The Group PortraitSoftverska umetnost/Software art

Kip, kot ga vidimo in občutimo po algoritmični revoluciji. A sculpture as it is seen and felt after the algorithmic revolution.

Klemen Gorup: Mali človek v virtualnih sobah/Little Man in Virtual RoomsVideoinstalacija/Video installation

Mali človek v virtualnih sobah je serija videov, ki združujejo več tehnik digitalne animacije. Podoba je zgrajena iz elementov risb in klasično animiranih fragmentov ter postavljena v tridimenzionalno digitalno okolje. Posneta video podoba je umeščena v celoto s pomočjo tehnike inkrustacije.

Little Man in Virtual Rooms is a series of videos that combine a plethora of animation techniques with digital imaging. Animated image is constructed out of segments of drawings and classically animated elements, placed into a 3-D modelled environment. The whole image is composited with the figural imagery of video footage and integrated into the virtual environment by means of chroma-key.

Erica Sklenars: Modno arogantno krokanje na Facebook.com/Fashionably Ignorant Binge Drinkers At Facebook.com Programiranje/Coding: Boštjan Kadunc. Interaktivna videoinstalacija/Interactive video installation

Globalna realnost našega časa – od regije Taranaki na Novi Zelandiji do Slovenije, do Facebooka – eni delajo, drugi žurajo.The global reality of our time – from Taranaki, New Zealand, to Slovenia to Facebook – some work and others party.

Vana Gačina: TV-Nasilje/TV-Violence Interaktivna instalacija/Interactive installation

Nasilje medijskih podob se stopnjuje, ko gledalec vstopi v instalacijo.The violence of the media images is accelerated, when a visitor enters the installation space.

Ana Dumbović: Prilagoditev/Adaptacija/Adaptationvideoinstalacija/video installation

Gosto spletena oblika se zaradi prozornosti in gibljivosti prilagaja zunanjim vplivom, kot so prostor, svetloba, barva. V različnih danostih okolice uporablja mimikrijo, tako se identificira in najde vsakokratno identiteto. Konkretni medij (skulpture) tokrat stopa v interakcijo z digitalnim, virtualnim medijem (video).

The densely woven transparent and flexible form adapts to the influences of the environment, such as space, light, colour. In different circumstances it employs mimicry to identify itself and to find its ad hoc identity. The concrete medium (sculpture) is brought in interaction with the digital, the virtual one (video).

Vanja Tataj: Red garaže, Red mas, Red tapet/The Order of Garage, The Order of Masses, The Order of WallpaperProgramiranje/Coding: Rok Koren, Peter Frelih. Interaktivna instalacija/Interactive installation

»Red garaže« se v tem primeru nanaša na človeško težnjo za redom, potrošnjo in kaosom, ki vodi v hedonizem, ki vodi v »red mas«; ta se nanaša na masovni turizem. Zadnji »red tapet« je pravzaprav preplet vseh redov in vkalupljenost v vse kar imamo radi in česar nimamo.“The order of garage” points in this case to the human urge for order, consumerism and commotion that leads to hedonism that in turn leads to “the order of Masses” – the mass tourism. The last “order of wallpaper” is the intertwining of all orders and the state of being moulded in everything that we love and what we hate.

Hana Repše: Ženska zgodba/Women's StoryProgramiranje/Coding: Petra Vovk, Valter Delgiusto, Aleš Brulc. Spletna instalacija/Net installationhttp://www.rupnik.net/hana/woman/

Gre za interaktivni projekt, kjer gledalec vstopa v prostore stanovanja povprečne ženske in s kliki na aktivna mesta ustvarja oz. vstopa v njena vsakdanja opravila, lahko pa tudi vpisuje svoja mnenja, odnos do nje in njenih različnih vlog, želje, izjave, ki se mu v tem trenutku utrinjajo… Zgodba o ženski je na nek način hommage Cindy Sherman, namen projekta pa je opozoriti na vrsto različnih vlog, ki jih sodobno življenje od posameznika zahteva. Na fotografiji je predstavljen razširjen prostor stanovanja in zajema štiri sobe: kuhinjo, hodnik, spalnico in kopalnico. Aktivne točke, gumbi, so v posameznem prostoru postavljeni na različna mesta, s klikom na njih pa vstopamo v različne poglede in opravila ženske. Gledalec v posebni vrstici vpisuje komentarje in jih virtualno pošilja, tej pa se zapišejo na sliko in tako pustijo v njenem življenju svoj pečat.

Women's story is an interactive net project, where visitor can enter in different rooms of a woman’s apartment and by clicking on active points he/she can enter in her daily rituals. Visitor can also write his/her ideas, comments, describe relation to her and her life roles, whishes etc. Women’s story is homage to Cindy Sherman and project’s purpose in to shed light on different roles, which contemporary human has to enact. On the photograph we can see the expanded space of apartment, which consists of four rooms: kitchen, corridor, bedroom and bathroom. Active points, buttons, are in different rooms in different places and by pressing on them visitors can find different actions of the protagonist. In an input field the viewers can write their comments and send them to her in a virtual way – the comments will appear on the walls of her apartment.

Ana Čigon: Gibalno vizualna interakcija – prostor zlitja giba in gibljivih slik/ Motion-Picture Interaction – areas of fusion between motion and pictureInteraktivna instalacija/Interactive installation

Program omogoča interakcijo med gibalcem in videom. Gibanje se v realnem času prenaša v program preko največ petih barvnih točk, katerim nato uporabnik programa določi izgled, barvo ter ozadje. Interaktivni program je vez med gibom in sliko, saj gibalcu ponuja odmev v sliki, parametri gibljivih slik pa se spreminjajo glede na gibanje plesalca.

The application facilitates the interaction between a dancer and the video. The movement is captured in real time through location tracking of five colour values. The user can choose the image, colour and the background of the locators. The interactive application is a link between the movement and the image, providing the dancer with his/her echo in the image and managing his/her influence on the parameters of the moving image.

Boštjan Miha Jambrek: Transformacija telesa v mediju/The Transformation of Body in the MediumInteraktivni performans/Interactive performance

Umetniški eksperiment je zamišljen kot zveza med dvema osebama: plesalko-modelom (akterjem) in testirancem. Pri tem gre za trojno povratno zanko. Prva povratna zanka povezuje z metodo poligrafiranja odzive testiranca na gibe (ples) gole akterke. Ritem srčnega utripa testiranca določa ritem glasbe, ki jo v živo izvaja glasbenik. Drugo povratno zanko predstavlja EEG snemanje, kjer električna aktivnost možganov vpliva na projekcijo, ki se predvaja na telo ter na osvetlitev. Tretja povratna zanka je zavestno določanje testiranca o tem, katere gibe naj izvaja plesalka. Vsaka povratna zanka ima vmes postavljen varnostni element: tretjo osebo, ki zanko nadzoruje, povratno zvezo pa po svoji umetniški presoji spodbuja (stimulira) ali zavira (inhibira).

This artistic experiment is conceived as a link between two persons: a dancer-model and the test-subject. There is a triple feedback-loop involved. The first one uses the polygraph to record the test-subject’s reactions to the dance of the naked dancer. The heartbeat determines the rhythm of the music, which is performed live by a musician. The second feedback-loop consists of an EEG recording, where the electric activity of the brain influences the projection, which is projected onto the body, and the illumination. The third one is the test-subject’s conscious expression of orders as to which moves are to be performed by the dancer. Each feedback loop however includes a safety element: a third person that controls it, according to his artistic judgement stimulates it or inhibits it.

Hana Repše, Domen Rupnik: Substitut X/Substitute XProgramiranje/Coding: Jure Jeram. Spletna trgovina z razgledom/Web shop with a view

Projekt raziskuje odnose človeka do blaga, tako skozi ekonomski instrument marketinga kot tudi v smislu blagovnega fetišizma. Če je marketing tisto orodje, ki ustvari željo, da ta postane potreba, je projekt Substitut X njegov nadomestek. Projekt predstavlja (ponarejeno) spletno trgovino z artikli. Uporabnik-kupec skozi izbiro, nakupovanje, opravlja postopek kot v običajni spletni trgovini (vpisuje svoje osebne podatke, kontakte, plačilne kartice...). Ob zaključku nakupa pa prejme e-sporočilo, ki mu razkrije ne samo koncept projekta, temveč tudi sestavine in recept za pripravo izbranega artikla.

Substitut X is a research about relations between human and merchandise in terms of marketing instruments and of brand fetishism. If a product of marketing is a wish becoming a need (necessity), project Substitute X is its substitute. Project is representing a (fake) web-shop. User/buyer can shop like in the real web-shops (register of personal information, contacts, bank account number etc.) through a selection of articles. When he finishes the transaction he gets an e-mail, which lets him know not just the concept of project but also the ingredients and the recipe needed to prepare the chosen article.

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Astrid Rieger: Sesalec/Mammal, 2006, 7'25'' www.astridrieger.de

Stefan Ringelschwandtner: Pro RadiiGlasba/Soundtrack: Autechre, 2006, 2'45'' www.ringelschwandtner.com

Maiken Laackmann: Upokojenca/Rentner/Pensioners 3-D animacija/3D animation, 2008, 10'

Anne Julia Nowitzki: Norbert, Animacija/Animation, 2006, 3'

Bettina Gruendel: Nenavadno potovanje/Eine ungewöhnliche Reise/A Special Journey, 2007, 10'35''

Tim Bollinger: Čas se izteka/Time Is Running OutGlasbeni video/Music video: Telefon Tel Aviv. 2007, 3'40''

Eva Becker: Die unerträgliche Seichtigkeit/Unbearable shallownessAnimacija plastelina/Plasticine animation, 2005, 5'18''

Xenia Yvon Lesniewski: Superobčutljiv/Supersensibel/Supersensible2008, 2'30''

Karl Kliem: Berlin, 2005, 4'11''Zvok/Audio: Alva Noto + Ryuichi Sakamoto, Raster-Noton: album Insen. Slika/Visuals: dienststelle.com, Glasbeni video/Music video

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Domen Rupnik: To Be

Alen Floričić: Brez naslova/Untitled

Ana Čigon: Nezlomljiva/Unbreakable

Vana Gačina: Venerin pogled v "ogledalu"/Venus's Gaze in the "Mirror"

Irena Cerar, Eva Ferk, Lena Likar: Mad World

Andro Banovec: Flesh Made

Jure Markota: Inside My Head

Tejka Pezdirc: A čutiš? Tišina/Do you feel it? Silence

David Krančan: Vili vrtnar/Vili the Gardener

Ivana Ožetski: Omejeno gibanje/Restricted Movement

Mihail Hodin, Sarah Dolinšek: Unicorn

Declan Hurley: Call on Hold

Mito Gegič: Fosbery floop

Tina Istenič: Avtoportret/Self-portrait

Kaja Kopitar, Gaja Madžarevič: Na glavo pravljica/ Fairytale upside down

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Joanna Zajec-Slapničar: Sea-community

Matevž in Matic Sterle: Evolucija zla/The Evolution of Evil

Kaja Kraner: 1. maj 1975 vs. 2008/1 May 1975 vs. 2008

Urša Meke: Njena dvojnost/Her duality

Vanja Tataj: Ven - noter - ven/Out - in - outMladen Vulas: Ribarnica/Peškarija/The Fish Market

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DA M S G o r i c a / G o r i z i a , U n i ve r z a i z Vi d m a / U n i ve r s i t y o f U d i n e, I t a l yC r i s t i a n o Po i a n , M a rc o G e r m i n i , Pa o l o To n o n : R e z V S E l e k t ro p l a n k t o nvideoper formans/video per formance, predavanje/ lec ture

Organizator/Organizer: ArtNetLab. Kustos/Curator: Aleš Vaupotič. Selektorji/Selectors: Hortense Pisano, Narvika Bovcon.Ob podpori/With kind support of: Ministrstvo za kulturo Republike Slovenije/Ministry of Culture of the Republic of Slovenia, Mestna občina Ljubljana/Municipality of Ljubljana, Kiberpipa, Inea Toshiba. Zahvala/Thanks to: Dušan Bučar, Daša Lakner

Video Match 08ArtNetLab vsako leto organizira kritično soočenje slovenske študentske videoprodukcije z deli študentov umetnostnih akademij iz tujine. Projekt poteka že peto leto, od prvega Video Matcha leta 2004, in v teh letih se je pokazalo, da so izobraževalne ustanove, kot so akademije, nosilke tradicij v širšem polju medija videa - posamezne smeri medija pa se pokažejo kot žive pravzaprav v stiku z mlado ustvarjalnostjo, študentsko ustvarjalnostjo, kjer dela sicer sledijo smernicam, ki jih začrtajo profesorji, obenem pa iščejo možnosti tam, kjer je posamezna smer videoumetnosti še posebej aktualna. Soočenja del študentov različnih evropskih in svetovnih akademij pokažejo posamezne razsežnosti medija v primerjalni perspektivi, ki razkriva kompleksnost umetnosti videa, na meji med animacijo, video igrami, konceptualnimi in aktivističnimi umetniškimi praksami, eksperimentalnim filmom …

Each year ArtNetLab confronts Slovene student videos with the works of their colleagues from the art academies from Europe. The fifth edition of Video Match, which was initiated as a project in 2004, builds on the insight that the educational institutions, the art academies, pass on to the new generations multiple traditions in the wider field of video art. The streams of development of the medium however emerge as significant through the contact with young creativity that follows their professors and at the same time looks for contemporary relevance. Bringing face to face the videos of students from art academies from all over the world reveals the comparative perspective that points to the complexity of the field of video, on the boundaries with animation, video games, conceptual and activist artistic practices, experimental film …

videoper formans, predavanje, projekci ja in spremna beseda selektor jev/video per formance, lec ture, screenings, se lec tors’s introduc t ion,

30. 5. 2008 ob/at 18.00, Kiberpipa/Cyberpipe, Kersnikova 6, Ljubljana.

30. 5. - 5. 6. 2008 projekcije v Mestni galeriji Ljubljana/projections at City Art Museum Ljubljana, Mestni trg 5, Ljubljana.

MOVE! ArtNetLab 2008, Mestna galerija Ljubljana, 29. 5. - 5. 6. 2008 & Video Match 08, Kiberpipa, Ljubljana, 30. 5. 2008

Organizacija/Organizer: ArtNetLab Društvo za povezovanje umetnosti in znanosti.

Uredila/Edited by: Narvika Bovcon, Aleš Vaupotič.Založil/Published by: ArtNetLab Društvo za povezovanje umetnosti in znanosti.ArtNetLab Društvo za povezovanje umetnosti in znanosti/ArtNetLab Society for Connecting Art and Science, Trubarjeva 76a, 1000 Ljubljanahttp://black.fri.uni-lj.si/Zanj/Presented by: Aleš Vaupotič.

Fotografije/Photographs: Miha Benedičič.Oblikovanje/Design: Narvika Bovcon, riii.Tisk/Print: VZA Logatec.Naklada/Number of copies: 500.