 |
 |
 |
 |
 |
|
 |
|
 |
|
 |
|
 |
|
 |
|
 |
|
|||||||||||||||
|
|||||||||||||||
|
|
 |
||
|
STATEMENT | |
| C.V. | ||
| VIDEOGRAPHY | ||
| - Art video, Documentary video, Music video | ||
| PROJECTS | ||
|
- Performances and screenings |
||
| - Texts | ||
| - Group exhibitions, festivals & screenings | ||
|
|
|
STATEMENT Video as a medium was part of my work from the very beginning, as one of the equal elements entering in the creation of the rhythmical-scenic structures. First it was primarily used as a clock, a rhythmical tact of performances, but with the Mikrolab project, video became the active element itself. Mikrolab is a computer film, which is rendered and projected in real time, so what we as viewers see, is the transmission of the inner, programmed logic into visual. It was developed as a tool for a learning situation on abstract thinking and is based on the work of Vasilij Kandinsky. Everything we see are mathematical equations transposed into a material and spiritual experience through human mediation and intelligence. After the short films for 317 A Ti¹ina Ka (Vasilev), Egorhythms, Atol and Mikrolab, which were all made with the help of computers, I created a series of works made from found material, received through communication satellites. In these
works (Fourth Surface - the Surface of Contact! and Park Kulture) I was
specifically interested in the political aspects and the narration that
goes with them, since the material itself in its full length (especially
satellite feeds) provides a vivid object for analysis and reflection of
the media and the structure of political power. This model of media deconstruction
and its subsequent reconstruction in the form of video is the most interesting
for me now and is also very relevant for my current work, even though
I still investigate also its totally formal aspects. Born in 1969 in Nova Gorica. He studied theatre and radio directing at the Academy of Theatre, Radio, Film and Television in Ljubljana (1988-1992). In 1992 he founded Projekt Atol, in which he carries on his continuous research in projects, events, lectures and situations; in 1995 he founded the technological branch Pact Systems and cofounded Ljudmila (Ljubljana Digital Media Lab). |
|
VIDEOGRAPHY: Art video
MEHANIÈNA
SENZUALNOST / MECHANICAL SENSUALITY The work was conceived as one of the sequences of the 317 A Ti¹ina ka (Vasilev) theatre production, which was based on the work of Russian and Italian futurists. We are witnesses to a synthetic abstract rhythmical drama.
EGORITEM
I; II; III / EGORHYTHM I; II; III The video works for EGORHYTHMS and ATOL were conceived as the integral part of these projects. They were thought of as pictures from the inner screens of actors, rhythmical images, which interplay with alchemical symbols and abstract visualisations of communication lines. For theL Egorhythm III video, the main motive is Slovene poet Sreèko Kosovel's poem Kons 5, and the rss ATOL - projection ends with a photo sequence of Serbian policeman executioning a Muslim inhabitant of the town of Brèko during the war in Bosnia; with this repeating image the performance ends.
RSS ATOL
- PROJECTION
LADOMIR-@AKTYPA:
PRVA POVR©INA - MIKROLAB / LADOMIR-@AKTYPA: FIRST SURFACE MICrOLab The video image is limited to a graphical signifier, which through new technology tries to renew the form and contents of Kandinsky´s Pictures at an Exhibition. Geometrical forms make up and deconstruct structures, which move in the rhythm of infinite time and space, which are defined only with horizontal planes, their colours and monotone sound. The three dimensional animation in real time interplays with the two dimensional rhythmical construction.
PARK KULTURE
(TV SITUACIJA) / THE PARK OF CULTURE (TV SITUATION) If television bombards us with information, then this TV situation explicitly shows it. Images of earths' surface and human, especially technological activities on it are described in double captions, which look like stock quotes and differ in language (English and Slovene) and speed. The first line is describing, the second is explaining. The TV situation can be understood as a cradle for somebody discovering the world. The textual material is the translation of Sun Tzu's The Art of War and the compendium of news from the field of telecommunication satellites. The work ends with the image of the control room of the Slovene military radar for airspace defence and the text: 1997. They are observing you! Turn on your transmitters and observe them! The work
was shown only as a TV intervention into
IZOLACIJA?
MIKROLAB; @AKTYPA! / ISOLATION? MIKROLAB; @AKTYPA! This three channel parallel work is made up from video snapshots of the Mesec territory on the island of Krk in combination with excerpts from the Mikrolab film and the monotone images of abstract, green, square navigation markings. It was conceived as a prelude to the Makrolab project.
|
|
PROJECTS Performances and screenings 1989 1992 1993 1994 1995 1996
1997
1998
|
|
texts The Art of Intelligence on the Art of War, L4S Writings, Ljubljana 1996 -- Projekt Atol: UCOG-144, M'zin, No. 2/4, 1996
|
|
Group exhibitions, festivals & screenings 1992 1993 1994 1995 1996 1997 1998
|
