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Why do I shoot video spots? I don't know exactly. It is the same as when you ask a writer why he writes. I like listening to music and I like watching it. I like the device you call a camera. Especially when I'm holding it in my hand and it is buzzing somewhere close to my right ear. And I like sitting in the editing room, in the cockpit, where everything is still possible. I like adjusting the length of scenes. I feel good when the editor and I discover that one shot is a quarter of a second or two too long, and when that turns out to be true. And I feel good when I see one of my spots on television or stick it into a video after a year or two or three. In those moments it seems as if I am watching my dreams, which would be lost forever had I not put them on film.
Born on 29 April 1964 in Brežice. He graduated from the Academy of Theatre, Radio, Film and Television in Ljubljana with his film But The Goat Survived. Since then he has realised a number of programmes for Studio Ljubljana at TV Slovenia. He is a collaborator of Arxel Tribe production house (computer animation), Iztok Kovač and his group En-knap, as well as of Mute Records, Ajax Studio, ZRC SAZU, Stop magazine and several advertising agencies.
VIDEOGRAPHY: Art video
Plečnik's Ilirski steber (Illyrian Column) in Ljubljana, a historical link between France and Slovenia, condensed into a visual gift intended for former French Culture Minister, Jack Lang.
POT / PATH
The dance video is a play of contrasts: East against West, nature against the city, meditation against energy - a haiku born out of simplicity.
PTIČ/ VERTIGO BIRD
can most easily be classified in the genre of dance film - moving film,
body film... A genre which bases its film language on the aesthetics of
coded movements, the gestures and bodies of dancers, in contrast to the
dialogue and close-ups of actors in a feature film. It is a polygon of
specific film language in which a new narrative is born in the relation
between a dancer, space, camera and sound. A film that deals with the
relationship exposed by film and video media of the nineties: no more
strict separation, but conceptual and technological complementation (e.g.
the use of nonlinear editing in a film).
U-matic, Sašo Podgoršek, Ljubljana 1989, 22'
God Is God
Ako su to
samo bile laži
/ Place with a View
Koza je preživela
/ But the Goat Survived
usode / Dark Angels
Festivals and screenings