- Art video, Documentary video
- Productions of personal projects with Egon March Institute
- Workshops & Lectures
- Texts
- Collaborative projects & Cooperations


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 The struggle for the possibility to make programmes for cathode ray tubes, monitors and projectors no longer represents an issue of art, but rather the struggle for life and death.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.


U-matic, Inštitut Egon March & VPK Kregar, Andrej Kregar, Ljubljana 1991, 15'
Script & Dir Marko Košnik
Camera Anton Vencelj, Roberto Stell, Marc Davorin, Barbara Borčić, Marko Kovačič, Marko Košnik
Music Inštitut Egon March
Edit Andrej Kregar

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.

U-matic, Inštitut Egon March & Andrej Kregar, VPK, Ljubljana 1993, 11'
Script & Dir Marko Košnik
Camera Špela Virant, Marko Košnik, Silvo Zupančič, Smiljan Šiška
Participants Etbin Stefančič, Andrej Trobentar, Smiljan Šiška, Pavel Okoren
Sound Inštitut Egon March
Tone Silvo Zupančič, Boris Kutin
Edit Andrej Kregar

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.

Beta, Inštitut Egon March & VPK, Ljubljana 1994, 35'
Script & Dir Marko Košnik
Choreography and dance Mateja Bučar
Camera Marko Košnik, Samo Podobnik
Music Marko Košnik
Costume Nana Mravinec
Edit Neven Korda, Iztok Šuc

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
accompanying sounds of the roasting of sugar - from the white surface identical to the screen in the beginning, to the black caramel when the picture fades away with the illumination of the stage.

Real-time digital processing of video transmissions Inštitut Egon March - K.I.E.Z, Dessau 1997, the system operated for five days
Authors Marko Košnik, Club Automatic, Vadim Fiškin
Hardware STEIM, Antoin Vie, Borut Savski
Software: Tom Demeyer, Marko Košnik, Jacques Bigot
Managing of real servers Monika Glahn, Christian Vanderborght, Heiko Koch
System: 19 video cameras, 2 midi video switches (16x8 matrix), 4 servers for live digital remix, 4 independent projection units, a server for transmitting and grabbing real video via the Internet, infrared and piezo sensors
Music real time algorhythms, programmed music, Marko Košnik, Christian Graupner

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.

Digital Video, Quicktime Cinepak, Inštitut Egon March, Ljubljana 1996, 15 video clips in total duration 1' 30'' (an installation version for New Moves '97, Glasgow 1997: 33 video clips in total duration 5) & interactive dance floor
Script & Dir Marko Košnik
Camera Marko Košnik, Katarina Pejović
Choreography & Dance Nebojša Ivanovič, Mateja Bučar
Costume Ivana Popovič
Music real time algorithms, programming Marko Košnik
Edit Katarina Pejović
Interactive dance floor programming for lighting system, projections & computer music Marko Košnik

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.

70 digital videos: digital image from a multi-media show for six performers transmitted, sampled and modulated in real time, Quicktime cinepak, Inštitut Egon March & Cankarjev dom, Ljubljana 1998
Author Marko Košnik
Acting Damjana Černe
Choreography & Dance Mateja Bučar, Dragana Cukavac
Music Margrit Rieben, Dirk Bruinsma
Video signals processing Marko Košnik

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

U-matic, Inštitut Egon March & Andrej Kregar, VPK, Ljubljana
1991, 10'
Camera Leon Oblak
Slides Smiljan Šiška
As a conclusion of their five-year acoustic investigations in subterranes of the Slovene Karst, Etbin Stefančič, Andrej Trobentar and Marko Košnik performed a concert for video camera in the Rančečka water reservoir and the Vilenica Cave.


Productions of personal projects with Egon March Institute

Stvar - Das Ding - The Thing (I.) (Welt Raum Eintopf), Hamburg, Hochschule für bildende Kunst (performance with Silvo Zupančič, Etbin Štefančič, Andrej Trobentar, Smiljan Šiška, Špela Virant, Pavel Okoren)

Stvar - Das Ding - The Thing (II.), Ljubljana, Cankarjev dom (performance with Silvo Zupančič, Etbin Štefančič, Smiljan Šiška, Andrej Kregar, Andrej Hajdinjak, Drago Potočnik, Boris Vrhovec)

Projekt Opna - prva faza : Figura v prostoru, človek v zaboju / Project Membrane - The First Phase: Figure in Space, Man in the Case, Ljubljana, Galerija Škuc (interactive sound-video installation with Silvo Zupančič)
Projekt Opna - druga faza / Project Membrane - The Second Phase (Ostranenie), Bauhaus, Dessau (video performance with Silvo Zupančič, Špela Virant, Borut Savski)

1994 - 95
Projekt Opna - tretja faza: Cukrarna / Project Membrane - The Third Phase: Cukrarna (MedienBiennale Leipzig 94) > Ljubljana, Cankarjev dom > Galerija Kapelica (theatre piece with Mateja Bučar, Borut Savski, Nana Mravinec, Samo Podobnik, Neven Korda, Iztok Šuc, Aleksander Štandekar)

A. B. Sence, Ljubljana, Cankarjev dom (theatre piece with Katarina Pejović, Mateja Bučar, Nebojša Ivanovič, Silvo Zupančič, Andrej Hajdinjak, Boris Kutin)

A. B. Sence (New Moves '97), Glasgow (interactive video installation)
Parahouse (Ostranenie), Dessau, Kiez Zentrum (communication project, installation, performance with Gerard Couty, Christian Groupner, Olivier Schulbaum, Alma Niett, Monika Glahn, Jacques Bigot, Christian Vanderborght, Antoin Vie, Vadim Fiškin, Borut Savski, Tom Demeyer, Jef Kalil, Heiko Koch, Francis, Katarina Pejović)

Paparapapa, Ljubljana, Galerija Kapelica (a series of
performances & a communication project with Mike Hentz,
Christian Vanderborght, Margrit Rieben, Martin Schiters,
Miško Šuvaković, Bojan Merc, Jurij Krpan)
Hanibal gre čez Alpe (Mednarodni kongres za estetiko),
Ljubljana, Cankarjev dom (video performance)
PA-RA, Ljubljana, Cankarjev dom (theatre piece with Damjana Černe, Mateja Bučar, Dragana Cukovac, Margit Rieben, Dirk Bruinsma, Borut Kumperščak)


* in English available on

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

Architonomy workshop, Dessau, Bauhaus

Medusa symposium, Hamburg
Infant, Novi Sad
Media Feedback Workshop: Feedback `on limits', Hamburg, Hochschule für bildende Kunst

Member of the jury for International Widescreen Festival / Le Nombre d'Or Awards, IBC, Amsterdam
Infant, Novi Sad

Symposium Periphery - the Telepresence of Interactivity, Dessau, Bauhaus Mediascape, Zagreb

Berlin, Kunstakademie

Collaborative projects & Cooperations

work and concerts with the Laibach group: Ljubljana, disco FV -- Zagreb, Lapidarij & Novi Rock, Ljubljana, Križanke -- Occuppied Europe Tour (Vienna, Budapest, Warsaw, Krakow, Torunj, Berlin)

concert with the group Vzgojno Varstveni Zavod Janeza Vajkarda Valvazorja at the Rock proti Izraelu concert, Kranj

Kranjec moj mu osle kaže, concert with E. Stefančič, S. Rekar, J. Pogačnik, D. Goya, Glasbena šola Kranj

sound installation for the exhibition: V. Tušek, Sprehod skozi sliko, Škofja Loka, Galerija Loški grad -- presentation of music experiments in the Karst Subterraneus with E. Stefančič, A. Žibert, B. Štokelj, P. Okoren, Ljubljana, Radijsko gledališče, Cankarjev dom -- direction, script & music for performance Cavis Negra, the Cavis Negra group, VIDEO CD 85, Ljubljana, Cankarjev dom

sound ambience for the exhibition: I. Jalovec, Škofja Loka, Galerija Loški grad -- sound ambience for the exhibition: A. Pibernik, Ljubljana, Galerija B 51 -- music for the theatre play Gospod K. in smrt: P. Sosič, Ljubljana, Cankarjev dom

script and music for the performance Jupitrova daritev: M. Kovačič, Split, Dioklecijanova palača -- music for the theatre play Pozor, zehati pa ne: I. Rajh & Bežigrajska lutkovna skupina -- script and concert with the Most group, Jugoslovanske grupe u umetnosti osamdesetih, Apatin, galerija Meander

Bast Room 5, sound ambience for the exhibition Programiranje pogleda: M. Kovačič, Ljubljana, Galerija ŠKUC -- music for the theatre piece Vrata : lutkovna skupina V. Roosa, Kranj

Ambient IV, sound ambience for the exhibition: V. Tušek, Radovljica, Galerija Šivčeva hiša -- and sound installation for the Most group (Ekologija in umetnost /Ecology and Art), Maribor, Umetnostna galerija -- Koračnica ob dviganju zavese na trgu revolucije, music for the theatre production Cirkus Kansky: Gledališče Ane Monro, Ljubljana -- music for Plesne improvizacije / Dance Improvisations: gledališče MAS, Kranj

music for the dance performance V pot vpet: T. Zgonc, PTL Ljubljana -- sound ambience, exhibition and performance Kabinet M & Neresnično nas prebuja iz spanca resničnosti with M. Kovačič, Galerija Prešernova hiša, Kranj -- sound ambience for the exhibition Kralj Matjaž in Winetoujevi dediči: M. Kovačič, Ljubljana, Galerija IDCO GZS

music for the performance Nelagodje pred podobo v zrcalu: B. Štokelj & E. Kugler, Šempeter, CIDM -- En ton, sound installation for the exhibition Fragmenti: M. Kovačič, Celje, Likovni salon -- script, music for the performance Bellum contra solem: Asociacija Fusnet, Nova Gorica, blokovsko naselje Kitajski zid -- Inštitucije v peskovnikih, sound ambience for the exhibition: B. Štokelj, Nova Gorica

production of the interactive TV programme Piazzeta Ljubljana for Van Gogh TV, 3SAT, Dokumenta Kassel

music and chorus for the production Walter Wolf: V. Repnik & gledališče Vdor realnega, Festival Ljubljana

A Past Memorized - A Future Conceived: Video from Slovenia, Rotterdam, Zaal die Unie > Amsterdam, Netherlands Film Museum > Vienna, Medienwerkstatt > Graz, ESC > Munich, Marstal, Bayerischer Staatscheuspiel > Iowa, School of Art and Art History

dramaturgy for the dance production Romeo in Julija: M. Farič, Ljubljana -- interactive internet radio Macadam Musak -- design of interactive system for the dance production Sensation Death: R. Blunck, Kampnagel

appearance with Steina Vasulka, Steim Institute, Amsterdam

dramaturgy for the dance production Posvetitev pomladi: M. Farič -- music for the dance production Ugodje v neugodju: M. Bučar, PTL, Ljubljana -- music for the production Dependance: Mateja Bučar, PTL, Ljubljana -- production of the XLR project (internet radio Berlin - Ljubljana / Interflugs - Ministrstvo za eksperiment), Ljubljana, Galerija Kapelica, Radio Študent

appearance with the Dioram group at Berlin Net Radio Days