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STATEMENT | |
| C.V. | ||
| VIDEOGRAPHY | ||
| - Art video, Documentary video | ||
| PROJECTS | ||
| - Productions of personal projects with Egon March Institute | ||
| - Workshops & Lectures | ||
| - Texts | ||
| - Collaborative projects & Cooperations |
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STATEMENT Video as a medium has matured with the digitalisation of recordings. The final goal is optional and asynchronous manipulation of a single pixel on the projection surface. The video image is based on its own luminosity; it has always interested me primarily as a mechanism for the stimulation of retina - as an additional perceptive amplifier before the hypnosis of the viewer, or as a means of ideological programming of consumers after the hypnosis of the viewer. Video iconography and everything that lies in between, including film substitutes, disgusted me from the early youth, which I have spent as a victim of the first television generation. The struggle for the possibility to make programmes for cathode ray tubes, monitors and projectors no longer represents an issue of art, but rather the struggle for life and death. The television landscape is inhabited by enlightened dead. Born on 1 July 1961 in Kranj. During the eighties he collaborated with several extreme alternative groups (Junajtit Adis, Laibach, Cavis Negra, Most), primarily as a creator of concepts, scripts, music, video and ambient projects. In 1986 he founded the Egon March Institute, a creative unit for theory, research and production in the field of new media; it was in this framework that he realised the bulk of his projects during the nineties. Since 1991 he has been engaged in corporate interdisciplinary productions, performances and installations, which combine directing, programming of interactive systems, synchronisation and transmission via the Internet. The circle of collaborators in his projects since 1991 has been largely international; e.g., collaborations with Van Gogh TV, Universcity TV, and STEIM. He held numerous performances, lectures and workshop tutorships (MUU, Architonomy, Media Feedback) around Europe, and has initiated educative media environments (Ministry of Experiment). He is one of the pioneers of European interactive communication projects.
VIDEOGRAPHY : Art video
THE FIRST
AND LAST PROJECT OF THE FUSNET ASSOCIATION The Fusnet Association was an alliance of twenty independent creators gathered for the occasion of the Bellum contra solem 'urban' performance realised just before the declaration of Slovene independence in 1991. It took place open-air, at the 'Chinese Wall' apartment district in the city of Nova Gorica on the summer solstice. Through editing documentary shots and sounds from the period of preparations, the video tries to exalt the virtuosity of organising abilities shown by the alternative free shooters. The grandiose dimensions of the spectacle signified one of the highest points of the alternative, but at the same time it drew an edge to the uninstitutionalised organisational structure that could not be surpassed. The second part of the video presents the event itself, which was seen by some 2,000 spectators.
STVAR - DAS
DING - THE THING In the Institute
Egon March' performances with electro-acoustic plates, presented in Hamburg,
Ljubljana and Dessau, the video projections were made according to precise
calculations for each space separately to create the correlation between
the elements of picture and the dimensions, shadows and movements of the
plates in the space. The video shows fragments from performances, but
it also demonstrates the operation of a sonorostat - a sonorous object
that stimulates acoustic phenomena merely by changing position in space.
The plates were carried and 'played' by the performers according to a
precisely programmed choreography and thus changed into a dynamic scenic
sculpture, which cut through the perception of space perspective and screen
surface.
CUKRARNA Cukrarna
is based on the relationship between a dancer situated in front of, beside,
or behind the screen, and video material simulating a perspective with
a pre-recorded 'video' co-dancer in the proportions 1:1. The architecture
of the space in front of the screen, which brings both dancers - the live
and the virtual one - in correlation, is calculated according to the principles
of two-dimensional projection. After the depletion of this illusion follows
a video de-montage of the figure by way of video dance, animation, shadow
play and shots from the Cukrarna historical building in Ljubljana. The
video ends with the dancer being released back to her own dance space
with the
PARAHOUSE In Parahouse, video is processed in real time. The pulsation of the KIEZ Cultural Centre in Dessau comprises 19 cameras installed in the theatre, bar and four-storey staircase. The artists define the modalities of interactions with the dancers in the bar, the performers in the theatre and the passers-by on the staircase. Three control centres mix and modulate the picture, which is screened onto the facade of the building and the screens located in each setting. The forth centre mixes sounds and pictures for the Internet, and it also grabs material from the Internet. Each control unit has an access to all the cameras and to the outputs of other units, including the sound. The entire infrastructure of the cultural centre, including the Internet, was built especially for the event.
A.B. SENCE
Two dancers
control a lighting system, video projections and simultaneously computed
algorithmic music by means of an interactive dance floor. They arbitrarily
trigger and loop the pre-recorded digital clips of their own choreographies,
which function as 'video-robotic' co-dancers. In the New Moves version
the same system is activated by the audience. When they activate video
clips from the floor, their images are processed in real time with the
images of the dancers from Ljubljana.
PA-RA The video is processed in real time. It includes dance and acting, and utilises sign systems to direct the event. The author transmits and samples images with seven cameras and simultaneously manipulates them in a visual synthesiser, which enables him to instantly respond to the improvisations of six performers.
Documentary video CAVIS NEGRA
PROJECTS Productions of personal projects with Egon March Institute 1991 1992 1993 1994 - 95
1996 1997 1998
Texts * in English available on http://www.iflugs.hdk-berlin.de/emi O revoluciji v Glasbeni mladini, revija GM, No. 1, letnik 1982 -- Sanje Erjavec Branka, text for programme of Studia signum, Galerija Prešernova hiša, Kranj 1984 -- Cavis Negra Interna, Cavis Negra* programme, Cankarjev dom, Ljubljana 1985 -- Cavis Negra Externa, text for programme of casette promotion, Peklensko dvorišče Križanke within the Druga godba festival-- Čudovita jesen, Punk pod Slovenci, Krt - reader, Ljubljana 1985 -- Glasba: tišina, pregnana v polžjo luknjico, Odprte strani, Gorenjski Glas, 28. 3. 1987 -- Nagovor, cat. Programiranje pogleda I*, Ljubljana 1988 -- New age v glasbi: Skozi ušesa v Indijo Koromandijo, Literatura, No. 8, 1990 -- Asociacija Fusnet predstavlja performance v urbanem zvočnem ambientu, cat. Bellum contra solem, Nova Gorica 1991 -- Česa se spominjaš iz prihodnosti, Rok Sosič?, Časopis za kritiko znanosti, No. 150-151, 1992 -- Nekaj izrednega med posebnostmi documente 9*, M'Ars, No. 2/3/4, 1992 -- O uglaševanju sveta; Prostor med stimulacijo in simulacijo; Zvočni ambient v slovenskem kulturnem prostoru, Stvar programme, Cankarjev dom, Ljubljana 1992 -- Zeitvirbel. Tower of Babel, eine Publikation mit Studenten und Künstleren Hfbk, 92/93 -- Telesnost prostora; Prostor v telesu; Iztočnice za razmislek o možnosti dvosmerne komunikacije; Perspektiva zaboja, cat. Figura v prostoru, človek v zaboju, Ljubljana 1993 -- Opna (2. Phase), cat. Ostranenie, Dessau 1993 -- Tipanje v temo, 1. del, Maska, No. 2/3, 1993 -- Prostor v telesu, Maska, No. 4/5, 1993 -- Opna - The First Phase, 1993 Annual Catalogue of the Škuc Gallery, Ljubljana 1994 -- Marko Košnik: Cukrarna, cat. Medien-biennale Leipzig, Edition der HGB Leipzig, ISBN 3-980-2395-7-8 Germany, 1994 -- Kibernetika za humaniste in vpliv ponovitve na pojmovanje vnebohoda, Časopis za kritiko znanosti, No. 166/167, 1994 -- Živela zadnja revolucija večnih alternativcev!, ťDosje oŤ, Maska, No. 3-5, 1994 -- 13 fortnightly columns on media analysis Zamedeni z mediji, od 22. 1. 1994 do 18. 9. 1994, Republika -- Ples z jeziki razkosanih teles, Maska, No.1-2, 1994 > reprinted in german in: Ballet International/Tanz Aktuell, N. 8/9, 1997 -- Dosje o uničenju funkcionalnih sistemov "Dosje o", Maska, No. 3-5, 1994 -- Medijskemu centru v spomin, Emzin, No. 30-33, 1995 -- Across the Transition at the Horizontal Level*, cat. Ostranenie, Dessau 1995 -- Cukrarna, programme, Cankarjev dom, Ljubljana 1995 -- Media reciklator, cat. Infant, Novi Sad, 1996 -- Osnove interaktivnega dela z ozirom na možnosti v gledališču*, Infant, Novi Sad, 10. -11. 7. 1996 -- Welcome to Parahouse, Cat. Ostranenie 1997, ISBN 3-91002-22-7 -- Media Recyclator, cat. Mediascape 1997, Zagreb -- Paparapapa, programme, Galerija Kapelica, Ljubljana, marec 1998 -- The Handwriting Project, cat. Week-end, ISBN 3-85415-294-3/Austria -- Dvanajst idejnih zlogov za PA-RA, PA-RA programme, Cankarjev dom, Ljubljana 1998
Workshops & Lectures Initiated a free media university MUU (Mobile Uplink Unit), a part of the Universcity TV international media art programmes 1994 1995 1996 1997 1998
1981-1983
1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998
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