Sheridan Kelley Adams

Building Blocks (Animation Series), 2007-2014

Inspired by the stories we were lulled to sleep by as children, this series of animations relies wholly on the building blocks of digital video (pixels) and pure color to communicate with the viewer.
I am at heart a storyteller, compelled by curiosity and the need to experiment. This series has kept me engaged because so much is possible within its constraints. Rather than tell one story, I seek to initiate a conceptual narrative that provides the opportunity for inferential meanings, construed understandings, and unexpected discoveries.

Sheridan Kelley is a graduate of Bowdoin College, received her MFA from the Savannah Collegeof Art and Design, and studied New Media at the University of Maine. Originally trained as a painter, her recent work involves video and new media applications. 
Currently, Sheridan teaches courses in Art, New Media and Intermedia for the University of Maine and is the co-founder of Knife Edge Productions, a company that specialises in video and media production.

Pamela Barberi

From Slovenia with bread and love

Online game, 2014
Produced by BridA at R.o.R residence

"From Slovenia with bread and love" was created by an exchange of recipes between  Slovenian and Italian tradition during  the residency at R.o.R residence in Šempas (Slovenia) in July 2013. The research originated from curiosity to compare  the culinary traditions of  Slovenia around the use of old bread. The reuse of bread has a huge tradition in Tuscany and this was a motivation to work on it. You shouldn't  throw away old bread but use it with love to discover the pleasure and taste of  simple things. Included is a collection of recipes presented with a game that helps us understand which are the ingredients that compose them and direct viewers to have a conscious use of food, as well as,  maps which trace the places, emotions and meetings that took place in Slovenia during my research. The game is a kind of sharing recipes and an ongoing research on-line.

Pamela Barberi was born in Florence in 1978. She graduated in 2006 in Film History and Criticism at the University of Florence - DAMS with Professor Alessandro Bernardi.She is  currently living in Scandicci (Florence). Active as an artist and independent video-maker working for years on the urban environment, with particular attention to changes that occur and to the emotions and feelings of the people who inhabit it. In the last  years her research has been oriented to the study and research of sound. She is also engaged in curating and artistic direction of European projects, which were developed by the artistic research carried out in the countries she often visits. She has been collaborating for years with the Asssociazione Fabbrica Europa, of which she is  a member, with the European project Roots & Routes - developing projects in the field of visual art. In January  2013 she completed a Master in Planning  cultural events at the Association of GAP in Rome, whereb she worked on the graphic design for the exhibition of Bruno Melappioni and on the concept of unconventional marketing strategies.

Primož Bizjak

Guard Post

Vrtojba 2005, slide projection

The geography of Europe changed radically after 1989. We might define the prefix ex- as a symbol of a complete internal transformation of Europe. The former ”ex-” Europe had borders beyond natural borders, and often beyond the historical and social borders, too. It defined special ”extraterritorial” military zones where civilian life was strictly subject to military supervision. The military state border is a dividing and supervising force, it creates a sort of invisible presence which reaches deep into natural, populated areas. At the same time, it defines the modest usage of the civilian population in these areas. The ex military border surrenders the territory to a temporary, hanging dimension, a sort of no-man’s land. It no longer serves the function of exercising better control and threatening anyone who approaches, it simply drifts into oblivion, into the functional void of a Europe that no longer exists. The function-less military border is thus left not only to natural colonization, but to also to that slower, discrete colonization caused by man and the civilian society... 
R. Caldura: Photographing the border – reflections on the work of Primož Bizjak

A few months after leaving the Yugoslav Armed Forces, my father and I cycled a large portion of the so-called ”patrol route”. This route was used by military personnel to constantly control the state border. Just a few months had passed without military presence in the area and the route had already begun to fade away slowly. That route marked one of the beginnings, although I was not yet completely aware at the time of the numerous works I would later develop on the subject of the border. The ”frozen-in-time” areas which had lost their primary function became one of the main subjects of my work. From the Italian-Slovenian border via the Venetian lagoon, all the way to Madrid. This gave me the opportunity to showcase my curiosity, interpretation and poeticism in numerous independent and group exhibitions abroad.
P. Bizjak

BridA/Tom Kerševan, Sendi Mango, Jurij Pavlica

DefragNews

web-based project, 2013

The web-based project DefragNews is an exploration of an unsustainable information scenario, in which a definable amount of not-always-compatible pieces of information is used to maintain an uninterrupted and unrepeatable flow of information. The project is an attempt at creating a kind of distilled flow of information, offering a the viewer/user the chance of getting a new perspective on the relevance of information. Although having a similar structure to conventional media portals, such as CNN's or BBC's, it offers an seemingly orderly blend of real-time news, gathered from various types of sources. Our brains tend to acquire patterns of behaviour over time and we have learned to put things in order, so we can perceive information even when it is being broadcast in a chaotic way.
Our information culture has got to point of creating new content from perused and outdated information or even data structures. The media channels are wrapping old material in new patterns. The purpose of such overwhelming abundance of information structures is to maintain a steady flow of information. When there is an error in print, news or on television, we—the users—no longer question the reliability of the information, but prefer composing a new image from all the senses affected and—relying on nothing more than the probability that the information is true—we accept any piece of information as reliable or even truthful.

BridA/Tom Kerševan, Sendi Mango, Jurij Pavlica  formed as a group in 1996 during studies at Accademia di Belle Arti di Venezia. With its heterogeneous artistic activity within the broad field of contemporary and traditional artistic practices, it represents itself at important exhibitions, intermedia festivals, symposia and conferences at home as well as on the international scene. BridA’s production is based on painting, graphic arts, video, photography and multimedia installations. Their projects are marked by a constant artistic procedure from the two-dimensional surface in to three-dimensional space, in its work it more exposes the creative process than the final art product and it is occupied with content which refers to the problems of authorship and autonomy of an artwork, or of an artist’s role within contemporary society. Within this, it can link with ease artistic thought with science and the technological achievements. Their opus presents recognized strategies, characteristic of a generation influenced by the fine art paradigms of the new media from the 1990’s. BridA works in Šempas.

Lunch Break

video , time: 19:53, © 2008

Is the research of time and space in multiple layers of sound, image and apparently boring everyday situations. Layers that are usually completely mixed in videos can be red in this case individually. A new story is being built. Authors of the video are same time main characters of the video and doing so we have put ourselves in the same unstable and chaotic situation.

Mark Durkan & Eilis McDonald

Travelling from Dublin to Berlin on a Ryanair flight with a Lidl bag

Performance, postcard, 2010, 2013

Travelling from Dublin to Berlin on a Ryanair flight with a Lidl bag was a performance undertaken in 2010 to illustrate the similarities between these two renowned Irish and German International exports. 2013 marks the three year anniversary of Ireland’s economic bailout program. Eilis McDonald and Mark Durkan commemorate this occasion by producing a postcard which delivers an alternate vision of the economic and political links of these two countries. While so much has changed in the years since the work was first performed, some things, like the business practices and ideologies of these two Irish and German budget companies, never change.

Mark Durkan is an artist based in Dublin, Ireland. Employing roleplaying processes and simulation methodologies, he engages with the architectural presence of a space and the people that embody it, transposing people and place with a joint idiom of value and threat. He has previously exhibited in Solstice Arts Centre, Kevin Kavanagh Gallery, Dublin City Gallery The Hugh Lane, Museum of the Moving Image, New York, 3331 Arts Chiyoda, Tokyo, Via Farini, Milan and the German Chancellery, Berlin.

Eilis McDonald is a visual artist based in Dublin, Ireland. She creates installation and screen based work using collections of numinous objects and images hoarded from the peripheries of the internet and the consumerist landscape. She has previously exhibited in galleries such as Temple Bar Gallery + Studios, Dublin, 319 Scholes, New York, Stadium Gallery, New York, Bemis Centre, Nebraska and Irish Museum of Modern Art.

 

Florian Grond

hilbert02

Computer graphic animation, 2010

hilbert02 is part of a series of works, in which I explore the structural and aesthetic properties of space-filling curves. In hilbert02, I found a variation on the topic of fragmentation, by shifting the information of an image – my self-portrait – along the structure of a space-filling curve. These results in recycled fragmentations of various degrees, sometimes in unrecognizable small-scale arrangements, sometimes in larger displaced fragments of the image, like parts of the eyes, nose, or lips. In the ideal case of infinite iteration, the arrangement in which one would see oneself undisturbed is very unlikely – in mathematical terms, of measure 0. The work was realized using the open source software Pure Data and GEM, special thanks to Mathieu Bouchard and IOhannes Zmölnig.

Florian Grond (Graz, Austria) is an affiliate member of the Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT, Montreal) and a PhD candidate in the Ambient Intelligence research group at the Cognitive Interaction Technology Center of Excellence, Bielefeld University, Germany. He holds an MSc (2002) from the Karl Franzens University in Graz (Austria). After his academic studies he worked at the Center for Art and Media (2003– 2007) in Karlsruhe as a research assistant and guest artist in the field of new media. He was a research trainee at the shared reality lab in the Center for Intelligent Machines (2010) and a guest researcher at the Input Devices and Music Interaction Laboratory (2008), both at McGill University. In his artistic and his academic work he focuses on the intersection between art and science, with a special but not exclusive interest in sound. He has published about these topics in various journal articles, book chapters, and conference papers. Since 2004 he has exhibited his work in venues across Japan, Europe and North America. He lives and works in Montreal, Quebec (Canada).

Joakim Hansson

55A/473-F

Video made in 2010.

 

It is put there to keep us all safe, but what happens if the material these silent everwatching cameras gather is centralized and abused? What is safe? Who is being watched? Why? What are the risks of that the material will be used retroactive in the future by a system of government unimaginable today? Completely legal activity today might be illegal tomorrow. For instance the 80s the taliban were freedom fighters, today they are terrorists. What happens if you are viewed as a criminal or even worse; a terrorist in tomorrow’s society? What happens if you can be proven to having been in contact with future enemies of the state years from now, friends of yours that today are ordinary law-abiding citizens?

The proof is there – your image, your e-mails, your phone records.

Joakim Hansson works in several techniques, often presenting his work as installations where the audience are involved as co-creators. He was born in Sweden in 1974, received his BA in fine arts in 2010 from Novia University in Finland and his MA in fine arts from Umeå Academy of Fine Arts in 2012. Joakim has participated in projects arranged by Platform (FI) in the Venice Biennial of 2007 and the Istanbul Biennial of 2009, he has among other places exhibited at Survival Kit 4 (LV),Kulturitehaas Polymer (EE), Kalmar Konstmuseum (SE) och Pärnu City Gallery (EE), redPoint Gallery Barcelona (ES), Elverket Ekenäs (FI). During 2014 he will among other places exhibit at TotalDobze (LV), Alternative Cultural Centre Gracanica (Kosovo), GeoAIR(GE), HUMlab-X (SE) and Kalmar Konstmuseum (SE)

Reese Inman

Times Square Garden, 2006

Reese Inman’s work explores the impact of computer technology on everyday life, and incorporates media ranging from burnt paper to algorithmically generated video. This project remixes and remaps video footage of an existing space, using the visual surface of a second space as a palette. The first space is represented by digital video footage; the second space is represented by a collection or set of still images. The image sets used range from sets that are by definition limited – such as all the video sprites from the original Super Mario Bros video game, or the logos of all Fortune 500 companies – to unlimited thematic sets such as close up images of flowers. Remapping is accomplished via custom software she has developed in the opensource processing language; this software reads individual video frames and redraws them using the visual material from a selected image set. These frames are then reassembled into a new video. From this process, a third, in-between space emerges, juxtaposing the content of the original video footage with the visual surface of the still image set. Moving between legibility and abstraction, the final work defamiliarises and recontextualises its material content in a highly visible way.

Reese Inman lives and works in Belfast, Maine, USA. A graduate of Harvard University and the School of the Museum of Fine Arts, Boston, and a 2012 MFA degree candidate at the University of Maine, her work explores the impact of computer technology on everyday life. Focusing on strategies and methods of exposing digital processes in the visual surface of the work, her work provokes questions about perception, representation and language.

 

Kensuke Koike

The Core

Switched vintage photo, 7 x 10 cm
single image processing, vintage photo collage, 2013

If I have many ingredients in my refrigerator, I can cook anything I want. But some ingredients may never be used. If I only find a carrot inside, I must cook it in the best way possible by chopping, grating, roasting, boiling, frying, drying, etc. With many ingredients on hand, I would probably never discover that the carrot itself can be such a delicious ingredient.

Kensuke Koike is a visual artist born in Nagoya, Japan. After the degree in Visual Arts at the University of Architecture in Venice, Italy, he began to collaborate with various art galleries. He works mainly on collages: from the traditional and technically simple photo-collage to the three-dimensional collage in motion. He presents a highly personal vision of reality in which he proposes new ways of perceiving the world around us. Among the spaces that have recently hosted his works are Ciocca Arte Contemporanea in Milan, Jarach Gallery in Venice and Virgil de Voldere Gallery in New York.

 

Marotta & Russo

Our Good(s) Profile 

Returning Feedback in Greetings. Postcards, 2002@Now

The moral identity in the network era. The “economy of attention”. The more we obtain of it, the more it is the credit and the credits we will receive: the good feedback arrive if you pay quickly and well. They are ready cash per se. The moral judgment on ourselves based on functional efficiency. The will of rewarding such an architecture radicalizing its own terms. The feedback of our eBay profile, on sale like postcards and them sent, in form of greetings, to who will buy them. And so obtaining new feedback. Humanly and endlessly.
Research of Marotta & Russo traces the conceptual borders of a personal neohumanism, whose experimentation develops within the languages and the digital contemporary logics. 

Permanent Installations
IN TEORIA, ”Casa Cavazzini”Museum of Contemporary Art, Udine (I), 2012. DUE+, Parco di Palazzo Rota, San Vito al Tagliamento (I), 2011. EFLUX, Swimming Center, Caldogno (I), 2010.

Selected Solo Exhibitions 
&, Scatola Bianca, Milano (I), 2013. ARE YOU HUMAN?, Spazio Ultra, Udine (I), 2011. MAROTTA & RUSSO, ”Contemporaneo” Municipal Art Museum, Mestre (I), 2006; OBJECT ORIENTED, Tossi Arte Contemporanea, Firenze (I), 2006.

OutPut

Apple Macintosh SE/30 and Apple HyperCard Stack, 2003

OutPut is a critical and creative consideration about the beginning of personal computing. This fact was initially related to the business field, and as such had a strong influence on production assets. It then rapidly expanded to the home field, as well, further influencing social relationships and lifestyles, which became more and more digital. The protagonist of that revolution of the Eighties was the Macintosh, which was able to concentrate all technological and conceptual aspirations of that epoch, thus leaving a cultural mark on the ones to come, also. The work is based on HyperCard, the first multimedia authoring program (1987), which is the origin itself – from a logical, technical and cultural point of view – of every ipermedia project of present or future times. Moreover, we used the clip art included in its original packaging: they maintain the intact ability to evoke the mindset of an epoch.
Research of Marotta & Russo traces the conceptual borders of a personal neohumanism, whose experimentation develops within the languages and the digital contemporary logics. 

 

Anja Medved

Spovednica tihotapcev/ Smuggler`s confessional

Slovenia/Italia, 2010

A customs office building on the border between two towns, two countries, two social systems, two worlds, the Romanic and the Slavic, 65 years after the end of the war. On 20th of December with the entry of Slovenia into the Schengen area, Nova Gorica for the first time in its short history finds itself without border fences. The same night, this traumatic space transforms into a meeting place. Inside is placed a camera and people from both sides of the border start streaming in, bringing their stories and images, donating their contributions to the common archive of memory. Donated memories and fragments of family and archive films tell how can two different realities find themselves simultaneously on the same place. 

Anja Medved is the author of documentaries, inter-media projects and theater plays. She graduated in theater and radio direction at the Academy for Theatre, Radio, Film and Television at the University of Ljubljana. In the documentaries she mostly filmed in collaboration with Nadja Velušček (The Birds Did Not Fly (Niso letele ptice); 2000, My Border (Moja meja); 2002, The City on the Meadow (Mesto na travniku); 2004, The Memory Sewing Shop (Sešivalnica spomina); 2006, The Moment of the River (Trenutek reke); 2010) she explores the relationship between personal and collective memory of the border area. Through conceptualizing and realizing public memory-donation actions (Smugglers’ Confession Booth (Spovednica tihotapcev); 2007, Memory Clinic (Ordinacija spomina); 2009, City Album (Album mesta); 2011) she is developing an original documentary approach and exploring the influences of new audio-visual technologies on the processes of recording memories and history. Her projects were presented both at film festivals and as part of contemporary art exhibitions. She is a contributing artist in the trans-border film organization Kinoatelje, operating in Nova Gorica (SLO) and Gorizia (I).

Found portraits

Action in the public domain, Nova Gorica / Gorica, 2013
production: Kinoatelje

This is the fourth in a series of trans-border memory collecting actions, taking place biannually at the border crossing on Erjavčeva ulica street, between Nova Gorica and Gorizia since the physical removal of the border in December 2007. Once again, an abandoned customs booth will be converted into a recording studio and office for collection, digitalization and archival of photographs contributed by the population of both towns of Gorica/Gorizia. The goal of the project spanning several years is to collect an audio-visual archive of both cities, which reflects the processes of forming perceptions about the past. The border zone is an excellent laboratory for observing those minimal differences which emerge in the portrayal of the past. It teaches us to observe perception and walk the thin line separating two seemingly different realities. Once again, attention will be focused on those memories that, although very intimate, echo through into the collective memory and speak to us in the present tense despite the chronological distance.

 

Jani Osojnik

Hydrogizma Nova Gorica

(HG.NG) Analogue mind.out

This installment of soundic device HG.NG is looking into seemingly dualistic principle of distinction between mind and body (mental and material) with supertitle FROM ART.NESS INTO MIND.ED.NESS. It is rooted in the theory of Traditional Chinese medicine (TCM) where the whole nature is sustained as holicle of holicles that spring from five basic conditions (ontological fields): material, energetical, psychical, informational and aggregational. The installment is rather called mind.out then project, event, exposition or performance. Mind.out is a mean of going through the experience of art.ness that recycles under the author’s guidance into structured experience of mind.ed.nes.

Irena Pivka, Brane Zorman

Response Sound Maps/Walks

radioCona / Irena Pivka, Brane Zorman in collaboration with Radio Aporee / Udo Noll

It Is Time For Alert [Vrijeme za uzbunu]: Daniel Premec 
They Live (In Search of the Primal Text) [Oni žive (u potrazi za nultim tekstom)]: Maja Pelević and Milan Marković
Phantom Fountains [Fontane Fantomi]: Ronald Panza and Mili Sefić
Vitic Dances [Vitić pleše]: Shadow Casters (Bacači sjenki)
High noon [Točno u podne]: Zli bubnjari
Word is a Weapon, Take It Out of Your Mouth [Beseda je orožje, vzemi jo iz ust]: Simona Hamer, Simona Semenič, Zalka Grabnar Kogoj
Especially in August (Sidomos ne gusht): Ervin Hatibi  
Prince Marko Ploughing [Oranje kraljeviča Marka]: Saša Markovič Mikrob
Transmit Walk: Irena Pivka, Brane Zorman

The sound maps are created by nine selected (art/activist) works based on sound perception. The artists extracted the sound that was primary in their work, and set it on the map of the selected locations conditioned by the production of their work. The selected works share a critical perception of social and political events based on sound intervention into a public space.
The Response Sound Maps/Walks maps are based on the Radio Aporee application. There are several modes of perception available to the visitor: a) a physical experience of the walks / artistwalks following marked paths composed of artworks in Ljubljana, Zagreb, Belgrade, Sarajevo, Mostar and Durres; b) a virtual walk on the map available at the gallery and online; and c) a combination of a physical and virtual experience.
This exhibition project further pursues the creative endeavours of radioCona focused on sound and revisits possible relations to a concrete, physical space. The map formed investigates whether in situ works are able to establish a network of spatial connections that, by way of interactive sound maps, consolidate, complement or even transform the perception as well as the experience of a given space.
The selected locations on which the works extend are not neutral, they have been inscribed within the reactions to political and social transformations. What is the actual strength of a directed hearing experience?  How does a sound experience affect the perception of space? A visitor of Response Sound Maps/Walks becomes a listener of the space that incorporates the reaction to what happens in the city. 
Produced by: CONA, Institute for Contemporary Arts Processing www.cona.si  & www.radiocona.si  

Irena Pivka is a Ljubljana-based artist, architect and scenographer /MA at Faculty for Architecture in Ljubljana, MA at St. Martins College of Art, London (MA scenography).
Irena Pivka works in two areas of performing and newmedia arts, since 1995, continuously self-employed In the field of culture full time.
Together with Brane Zorman she estabished CONA institute for procesing contemporary arts. In 2008 Cona started production of a long term art project radioCona/Temporary Project radio For Contemporary Arts, which employs the space of a public radio frequency.
She received several international artist in residence programs and as guest artist she prepared several international presentations and artist lectures about her work. As a scenograper and costume designer, she designed over fifty scenographies and collaborated with the majority of performing and dance producers in Slovenia.
From 1999 to 2010 she was guest professor at the School of Applied Arts Famul Stuart. Since 2010 she is guest profesor at the University of Nova Gorica, High School of Arts.

Brane Zorman, composer, newmedia artist, sound manipulator, producer is based in Ljubljana, Slovenia.  He composes music, as well as creates internet, intermedia and soundart projects, live performances and events. Together with intermedia artist Igor Štromajer (Intima) is a co-author of world-renowned Internettikka Balllettikka guerilla internet projects. With Irena Pivka he cofounded “CONA Institute for contemporary art processing”, institute that produces intermedia radioCona project, ZVO.ČI.TI (so.und.ing) projects and publishes artist's books. For time defined CTR series he composes and performs spatial sound and video performances (the last being HIDDEN MATERIA in three sequential parts, based on decoding and converting lava and vulcano eruption visuals to sound). He releases his works under Creative Commons licences.

Arjan Pregl

Cenzura

Posters

Arjan Pregl developed a visually similar project in 2007 for the 29th Biennial of Graphic Arts in Ljubljana where he dealt with the political situation in Slovenia and the “self-censorship” of Slovenian journalists at the time. Pregl took some political texts and, with a word processor, blotted out some words to render them unreadable. Pregl presents a sort of convergence between pornography and word processing, both of which are an important part of everyday PC use (most PC users work with a word processor and “sex” is the most searched for word on the Internet ...) as well as being digital, leaving only the sexually explicit words in the text and blotting out the rest. The viewer can “fill in” the gaps, enjoy the empty colourful composition and contemplate the meaning of censorship and regulation of Internet contents.

Arjan Pregl was born in Ljubljana where he gained his MA in Painting (2001). He attended the Indiana University of Pennsylvania in the USA during his final semester. He later gained his second MA (Printmaking) in 2004. The work of Arjan Pregl intertwines three key themes: a constructive criticism of art theory, humour and political edge. All three points of departure meet and find their expression mostly in the field of painting. Group shows he has participated in include: MGLC, “We Want to be Free as the Fathers Were”, Ljubljana, 2010; Museum of Contemporary Art Zagreb, “Drawing in Slovenia II. 1940–2009”, Zagreb; “Territories, Identities, Nets: Slovene Art 1995–2005”, Museum of Modern Art, Ljubljana, 2005; “Revisions: Painting 70+90”, Gallery P74, Ljubljana, 2001.

Project 59 / Irina Danilova, Hiram Levy, Dan Tulovsky

Alternative Calendar

Interactive internet project, 2013

Existing calendar systems are short on the ”human factor”, individual-less. They give an environmental illusion of a space, while in reality just going by, indifferent to all the populations inhabiting them through the ages. To fill this void, we created the Alternative Calendar, which is generated by personal events and based on the individual life experience. Recycling the Gregorian calendar, the Alternative Calendar is your personal event calendar. Based on one day as the obvious unit of time in personal experience, it has 59 days in each month and 59 months in a year. The date of every event can generate its own calendar and each generated month can be named by the people involved. Alternative Calendar was conceived by Irina Danilova, realized together with Hiram Levy and programmed by Dan Tulovsky from a selection of Java scripts, some borrowed from the jQuery catalog and some developed specifically for this project. 

Project 59 is a flexible collective for the realization of different art projects. Irina Danilova started Project 59 in 1995, and since 2003 she works in collaboration with Hiram Levy. Irina Danilova is an artist, performer, curator and Assistant Professor at City University of New York. She was born and raised in Kharkov, Ukraine, lived and worked in Moscow, and since 1994 she has lived and worked in New York. Hiram Levy is a prominent environmental scientist. Dan Tulovsky is a professional programmer and developer.

 

Marcin Ramocki

Group Performance

Digital video loop, single channel, 2’20”, 2013

Group Performance is a digital video loop created by compositing 17 unrelated YouTube performances of ”La donna è mobile” by Giuseppe Verdi. All singers, including the celebrity opera tenors and karaoke amateurs, begin together, yet because of natural differences in musical interpretation, original formatting of the sound/video recording and frame rate conflicts, the group performance turns into a strange sonic depravity. YouTube material included features Frèdo Barletti, Piotr Beczala, Jussi Björling, Marius Roth Christensen, Mario Del Monaco, Placido Domingo, Mario Filippeschi, Juan Diego Florez, Róbert Ilosfalvy, Karaoke Opera Montreal, Paliatsaras Konstantinos, Alfredo Kraus, Mario Lanza, Aquiles Machado, Luciano Pavarotti, Robert Picardo (EMH Star Trek), Prince Poppycock and Ferruccio Tagliavini.

Marcin Ramocki is a Polish-born Brooklyn artist working with a variety of computer centered media. His practice ranges from digital installations and online work, to feature length documentary movies. Thematically, these often revolve around conceptual portraiture, fascination by various social networks, and self-reflective commentary on contemporary art world. He is best known for his documentary projects ”8 BIT” (2006) and ”Brooklyn DIY” (2009), as well as shorter digital forms like ”Virtual Singer” (2000), ”Torcito Project” (2005) or ”Blogger Skins” (2009). Marcin’s work has been shown at MoMa, Hirshhorn Museum, Pacific Film Archives, Anthology Film Archives, Art Futura, Wexner Center, ZKM, ACME Melbourne, Le Palais de Glace Buenos Aires and many more. He is a proud member of the online collective spiritsurfers.net and occasionally published texts related to digital media and internet-related art. Marcin teaches New Media art at New Jersey City University.

 

Martin Romeo

Composition

Interactive video installation, 2014

The video installation presents a landscape of images, a background of elements, rather than making progress in building a form tends to escape however developing a narrative, a dramaturgy. The path you want to take is that of subtraction, deduction and reduction, the elements that make a visual representation.
The visitor interacts through its presence with the screening, leading defragmenting the composition and the consummation of the images, to the vision of one single figure.The "Composition" is altered in real time by the public amending projection bringing it to a trip back.

Martin Romeo is a multimedia artist, whose research is directed to interactive art, ranging from video installations and dance performances. Born in Carrara in 1986, he grew up in Buenos Aires. He participates in numerous international festivals such as the Festival of Youth Experimental Art Projects in Belarus and the 29th International Sarajevo Winter Festival in Bosnia and Herzegovina. His works have been exhibited at the Capitolini and Centrale Montemartini museums in Rome, in Maribor, Slovenia (European Cultural Capital 2012), and various biannual events such as the 54th International Exhibition of Art in Venice, the Italian pavilion Porto Vecchio Trieste, and the 15th Biennale of Méditerranée in Thessaloniki, Greece. He has created several interactive art projects, and since the 2011 he has been the artistic director and of the Toolkit Festival in Venice. He is currently in residence at Bevilacqua La Masa Foundation in Venice.

 

The place become space

Interactive video installation, 2011

Deserted buildings and neglected space are now regained and the human shapes that are projected over them are acting as containers of the structure in itself, the surface is now decorated and covered by the bodies. These figures are spread along the walls of the host structure. The aim is to play with pre-built forms, making it all accessible through natural movements and actions that are deeply connected with space. Depending on the route taken, the user starts up a mechanism for interim images that lead to an outcome. Just starting over again may reveal other possibilities, other figures. These symbols on the ground, exemplified by amorphous shapes, communicate with the computer-based numerical functioning as switches and each symbol expresses an idea, a concept, or simply presents itself as an image medium, which in real time is showing animated clip of the symbol’s origin.

Christian Rupp

AnAlphabet – MESSages

New media installation, 2011

AnAlphabet is a collection of the letters A-Z taking the most catchy letters from the best known brands of the world. In the installation the letters can be taken by the audience and rearranged on a screen into words/sentences/messages.
Logos are ”branded” into our heads with enormous economic power, by constant repetition. By linking the logos to other content in advertising the audience is programmed for certain associations (emotions, moods, values, adjectives). Billions are spent each year on positioning brands in the brains of prospective customers. This process is aimed to take effect on an unconscious level. The findings that Ivan Petrovitch Pavlov stumbled upon while investigating the digestive system of dogs are applied on a global scale to us, the consumers.

Christian Rupp studied at the Technical University of Vienna (Physics) – continued at the University of Applied Arts. His dual approach stemming from natural sciences and arts also led to further studies in interdisciplinary communication (University of Vienna). Scholarships abroad include USA, Sweden and China.
Conceptual approach: media vary according to ideas and subjects touched. 
Works involve photography, graphics, video, elements of performance and installations. Exhibiting and at times curating abroad, often in Greece, Finland and northern Europe. With partners in Athens initiated, co-organized and curated projects: 2007 ”Traumaqueen”, Athens / ARTmART (250 artists with egalitarian, low-treshold sales principle), Künstlerhaus Vienna, 2007, 2008, 2010 / 3 exhibitons of Austrian art in Athens 2009 ”Flavors of Austria” + 2010 ”Austria la Vista Baby” – the art foundation, 2013 ”Great Balls of Austria” – CAMP.

Lena Lieselotte Schuster

Egotuning

Video, 2’41”, 2010/12

Egotuning is a self-help-project. The video shows the preparation of a variable collection of cups. All cups are engraved with renowned art awards and art stipends – best rabbit breeder award turns into ”Transmediale Award” and a cup for football hobby kickers becomes the ”Turner Prize”. While looking occasionally at the 67 cups, the ego of the artist is getting tuned.

Lena Lieselotte Schuster (Bayreuth, Germany) lives and works in Vienna. She was a master student of Media Art/Performance Art in Saarbrücken and is currently studying Performative Art at the Academy of Fine Arts Vienna. Selected exhibitions/projects: 2013 Performative Month, Künstlerhaus Passagegalerie Vienna; Egotuning_H13, Kunstraum Niederoesterreich, Vienna; 2012 Artist in Residence in Artist in Residence, artist-in-residence-in-artist-in-residence.de; videoooooh, the one minutes, Slade School of Fine Art, London; direct action 2012, Abteilung für alles Andere, Berlin; 2011 Festival d’art vidéo, CNA, Luxemburg; performative Produktion für eine Bank, Deutsche Bank, Saarbrücken, artmix 06, Konschthaus beim Engel, Luxemburg; 2010 International Art Biennale, Caochangdi Gallery Of Art, Peking; Antidepressionsmaschine, Performance Hotel, Stuttgart.

Sašo Sedlaček

The Big Switch Off, 2011

The story of old technology is not over when we replace old devices with new ones. And it does not end at the electronics dumping ground either. In fact, this is where their journey only begins. Old electronics is being exported into Third World countries. 
The project deals with the question of what is waste and what is litter. What we consider safe waste, which we recycle, will become litter proper in the Third World, where it will probably end up. Litter consists of those things that annoy us, the things that should not be where they are. Like an alien, they stand out from their surroundings and they make it disgustingly clear that someone has tossed them away and that they will remain there for a long time. Yet, not all litter is waste, at least not in the sense that would deeply annoy us. And cast-off television sets simply do not annoy us. In fact, it is precisely the migration of waste that constitutes major hidden pollution, and this often happens far away from the developed countries that produce waste. It is there, far away from the developed countries, that waste becomes litter. There, their characteristics become unpleasant again and stand out from the surroundings.
Video Big Switch Off makes visible the relation between waste and litter, by producing litter here and now. Instead of “safely” recycling televisual technology, which is becoming obsolete due to the new technological paradigm, the introduction of digital signal and, consequently, the mass replacement of analogue television sets with LCDs and plasma TVs, let’s rather publicly break it into pieces. Let’s do what we are going to do anyway, one way or another, sooner or later – let’s do it together and publicly.

Sašo Sedlaček’s work is in general defined with theories of disposal, with use and reuse of cheap technologies and waste materials. His practical and humorous works result from a subversive re-cycling of scientific, legal or technological facts, employing DIY (do-it-yourself) and collaborative methods. He participated in numerous solo and group shows among others in Secession, Vienna, 6th Taipei Biennial, Museum of Modern art Ljubljana, Belgrade October Saloon, Ars Electronica Linz, Museumsquartir Vienna … He received several awards for his work, such as the OHO Award (Ljubljana, New York), SPAPORT award from the Banja Luka Museum of Contemporary Art, 2008 VIDA 11 special mention (Madrid)… Residencies include ISCP, New York, US, IAMAS, Japan, Ministry of culture studio in London and Berlin.

AcDcWc

Installation

The project presents different prototypes of toilets which generate energy by recycling excrement. We can see the contemporary mobile AcDcWc, which can be used at home, or as a chemical toilet while camping. A variant of the mobile chemical toilet is the AcDcWc potty, which is smaller, and consequently produces less energy. The project also showcases a prototype of a public mobile AcDcWc model, which can be used in public places with a greater throughput of people, and shows a futuristic sewage system that could generate greater quantifiers of energy and supply large electricity consumers. The design of AcDcWc toilets is based on Indian technology called Deenbandhu, meaning ”helpful for the poor”, developed by Indian technologists for the poorer classes of Indian society. Sedlaček’s upgraded version of this technology was mostly driven by the need to adapt and use it in the so-called developed world.

Owen F. Smith

Canned Chance Project

Net Art and online documentation

The Canned Chance Project is an online catalogue of flattened cans found on the roadside that were picked up and catalogued over a seven-month period. The project is, at its most basic levels, a way of playfully rethinking both chance- and data-based art. On a more specific level this project is a way of investigating the socio-cultural aspects of ”casual refuse” disposal by creating a chance based database of human interactions of the built environment and to enact two levels of the Duchampian paradigm: chance operations and designation as art making.

Owen F. Smith (Bangor, Maine, USA) has been investigating the boundaries between art and life since 1958. He is currently the Director of the Intermedia MFA Program and the Innovative Media, Research and Commercialization Center at the University of Maine. He is a specialist in Modern and Contemporary art, particularly what he calls alternative art forms. His seminal book on the history of fluxus, Fluxus: a History of an Attitude, was published by San Diego State University Press. He is also a producer of multiples and media works through which he seeks to question the traditional art object and established art practices. His work has been exhibited in over 80 national and international exhibitions over the last ten years.

 

Maja Smrekar

Hu.M.C.C. (Human Molecular Colonization Capacity)

Bioart installation, 2012

Food prices are going to rise in the future due to production capacity which decreases inversely with the global population growth. Therefore the question is posed if there is a possibility that human molecular production capacity in the DNA, as one of the few uncolonized biotechnological materials, could become an alternative trade tool, (based on a system of genetic credit), which could become one of the next stages of evolution? Hu.M.C.C. – Human Molecular Colonization Capacity project dwells on the food industry biotechnological production that is in its final form represented as a design food concept – a yogurt package called Maya YogHurt, containing the product of an artist´s enzyme. The project stands as a social darwinism experience set paraphrased within the realm of industrial food chain process. It also paraphrases a concept for the waste of productive forces explored by Marx, who established a connection between rising levels of accumulation of the capital and the fall of tendential rate of profit. Therefore the Hu.M.C.C. dwells in the so called ”Soylent Green” paradigm where the fear of ecological cataclysm turns into a subtle critique of corporate cannibalism. 
More at www.mayayoghurt.net.

Maja Smrekar graduated at the Sculpture Department of Fine Art Academy in Ljubljana in 2005, currently finishing MA at the New Media Department. 2012 – Cynetart Festival (Dresden/Germany) – awarded by the European Center for Arts Hellerau with the 1st prize for the project Hu.M.C.C. (Human Molecular Colonization Capacity) 2013 – Ars Electronica Festival (Linz, Austria) – Honorary mention for the project Hu.M.C.C. (Human Molecular Colonization Capacity) 2013 – The Golden Bird Award (Ljubljana, Slovenia) – the national award for special achievements at the field of visual art by the Liberal Academy for the project Hu.M.C.C. (Human Molecular Colonization Capacity).

Credits:
Brand identity,web design: atelje.Balant designers
Website coding: Oliver Marčetič
Co-worker at the field of molecular biology: dr. Metka Lenassi
Co-worker at the field of molecular gastronomy: Tilen Konte
Co-worker at the field of biotechnology: dr. Špela Petrič
GENE DESIGN CONSTRUCT executed as a gene synthesis service by GenScript Express Company, NJ, USA 
Photodocumentation: Miha Fras (Kapelica Gallery); Jože Suhadolnik (Delo newspaper)

 

Bogdan Soban

Text your image, 2014

a generative art project 

Text your image is a generative art project designed and realized by Bogdan Soban who explores the possibilities of artificial creativity using his own software. The main goal of his researches is to create artworks very closed to fine art without showing their computer origin. Among different approaches applied during his thirty-years development carrier, the author chose a text image generator to realize this project. Word or text has different meanings or values: direct meaning starting from the language rules, a figurative meaning of reader, numeric values starting from ASCII codes and finally a graphic interpretation using numerical values of letters processed with program algorithms. The software clearly shows the transformation from words or letters through numerical values to graphic image. The interactive program works in real time and it requires an input text to generate an image. The same text always generates exactly the same image. The user has the possibility to save or to print the image or to send it via mail to a friend.  

After graduated at the Faculty of Mechanical Engineering Bogdan Soban started his carrier in the area of informatics and computer technology. This was a turning point in his life in professional and personal meaning. His deep knowledge of computer programming caused the idea of possible computer creativity. His basic question was how to use computer abilities to simulate the human creativity especially in the area of visual art. In this way he started his large generative art project. During all these years he developed a lot of programs using generative art approach to generate always new and unpredictable pieces of visual art. His programs are based on mathematical algorithms and produce abstract images with occasional details from real world. In order to expand the generative art philosophy he organized more than hundred and fifty personal and group exhibitions, video projections, workshops, lectures and he wrote a lot of papers and presented them on international conferences.

Abby Stiers, Alexander Gross, Isabelle Pelissier

LIght, Variable, 2013-14

Light, Variable consists of a kinetic sculpture outside of the IMRC building, a responsive video piece in the entry way and an LED channel across the front of the building.  The sculpture acts as an instrument that measures the direction and speed of the wind. A camera tracks the sculpture and assigns numeric values based on the amount of movement and the position of the sculpture in space. The video uses the speed and direction of the wind to rearrange and visualize words from historic letters and journal entries that correspond to the current date.
The rhythms and repetitions that result from the changes in wind speed draw attention to the immediate moment and environment.  As words are rearranged, new meanings will be suggested.  We are interested in the idea that the viewers may resonate with chance phrases that seem to prophetically relate to their own lives, lending significance to mundane events.  Because journal entries are used as a source text, the descriptive language relates to the colors of the seasons, length of the days and events related to the time of year, providing opportunities for correlations with the lives of the viewers.  At the same time, the ever changing lexicon may suggest unfamiliar times, places or states of mind.
If the sculpture is an instrument, and the poetry of the video installation can be thought of as lyrics, then the LED Channel forms a musical accompaniment. The LEDs are programmed to create a interactive color space responding to data from the wind as well as human activity around the building (like the opening and closing of the front door). The interaction between data streams and the physical channel itself forms a connection between the projection and the main entrance- way of the building, connecting users of the building with the video installation.

Igor Štromajer

0§n–3¦é×F= Miá†

2012, e-book

×›lëśßwp^Ů ßc W­Ý­ ÝŐľ ďnÝB+Îč×Ö÷©÷ Ăč 6Ő€P íŐ¦§] s[)m}= ăk{›u ¬¦°•÷ é–ŁnŘß 3 {ˇóĺö 3 Žw´ů}óî] Í{Áť‡ Ó›}dH dA P‹° •÷˝ărůµ U흼 =îÇÉč 駝s™Ý ´Ë5˘şĄ Ű•Żďu bűÝ« ď}7»ú9f×Sî »•!«+q ą^őI[}v Ýr«ĺn÷ Ľ ÓŰŰ Ş5g 4Ť 0őÝc%ž ›Ź{ zM” ¬¦°•÷ žl« v:i* p 4®Ú Ws› VęÖ'Fť«M˝ ď{Ó¸sëÁäzç} zŻsS§NůŚń Ş%z=t{Ĺź4$ ˇ@ 袀H) P]e †´B Ćťë ďwNë »DîŮ Î2P €m ᡠ’Š ¨iˇ+[ŔĆ 0 ŽŞ…_ ©2ô†YCHâA ůđ‰R!h ¨––‚)”˘!i ĆÓI KXµ …\d äPŔt ©’¤6‘ Kď ń˛ ‚I \l ”Q,Ať„ –¦«bbJ v•M­ €Ä ˛-•H6•J spś“ ť°Ł Ä gl @a Ä Ä cÍ‹˛ˇJ ! cĚä Ä ! D&Ĺ9Ť d¦¨§ó„ĚÓQ íqš ÉC Ô$M Ö=ě ŢĘS÷…O‚ üś ^cFoŃŚ îpÄ IRb bĂHhX™b 4¤i$« dwŰ ž$ .‰˘ ăóy QI 7 –j(» -ééërmć Ç1ý mźŰ iţIÇż–:( č“~śpó; žč¦ë ¬¦•÷ ƱÝŃ |lŤé ˘ 3 OĆ VW° ) »VępŇ› nŹÇŃť E—`Qt &ëú!=JŁ±` >EL ŹK Ô2 ¬¦°•÷ CT N öm´HU­ ĂîcŽ ńű…a Q ¬¦°•÷ QŕA-ƒś Ý} *† Ľfٟʉ ”‡ž j xkĚĺ‹ $w5]Ś» ˙Ö]€Ôá~ ‹<A¸ěÂrD „»’†( ”ń Nşţç [µ`.Ő1X¨Ź(ßżo]ťV­š Ě, ÖÜ A˙ łÍ 0§ń– 3¦é×F= ]iᆠâ.Ůs_ p!V Sf|r0ě E ó÷·Vľ;ń < ¬¦°•÷ q T~ň3Ű üTs Ínű·?Ş ąĎ;·? Ž Ź J,6

Net artist, intimate mobile communicator, and virtual performance artist Igor Štromajer has shown his work at numerous exhibitions and festivals worldwide. Comprising over a hundred projects that have been featured in over a hundred exhibitions in sixty countries, Štromajer’s oeuvre has won numerous awards (in Moscow, Hamburg, Dresden, Belfort, Madrid, Maribor etc). His projects have been purchased by, and are included in the permanent collections of, prestigious art institutions, such as Le Centre national d’art et de Culture Georges Pompidou – Musée national d’art moderne in Paris, Museo Nacional Centro de Arte Reina Sofía in Madrid, the Computerfinearts Gallery – net and media art collection in New York, Moderna galerija in Ljubljana, and the Maribor Art Gallery.

Miha Turšič, Špela Petrič, Maja Murnik

Voyager/140 AU

Art for deep space


 
VOYAGER/140 AU re-examines the final moments of one of the pinnacles of human civilization, the Voyager project. We propose that, of the 140 astronomical units (AU), the space probe Voyager 1 and 2 further focuses on artistic manifestation of technological emancipation. This is made possible by using the algorithm consisting of a system of three interconnected, mutually dependent differential equations which simulate homeostasis, and environmental interference which originate from the Voyager’s PLS instrument. This process of creating order from environmental interference is the fundamental principle of life, which achieves the desired emancipation from the known terraformative and terrabiological within the authentic space environment. Life thrives on Earth, and we travel into deep space with its digital abstraction.