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STATEMENT | |
| C.V. | ||
| VIDEOGRAPHY | ||
| - Art video, Documentary video, Films | ||
| PROJECTS | ||
| - Group exhibitions, festivals and screenings | ||
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STATEMENT Probably I am not a typical `video artist', since sometimes I choose film as a bearer of the moving images of my projects. It is most important to choose an appropriate medium for the idea one wishes to convey. For example, if I shoot the image on film, edit it with computer-controlled technology, and finally (in the case of an installation) project it in a space, this means that I have used four different media, and actually I do not know how to name this process. It could be `mixed technique', just like in painting. But I think this is not important. In the period of the fusion of media and countless technological possibilities, the wealth of ideas is a much more interesting issue. I assent to the idea of the Californian artist James Hayward: `In the world of modern technology there is no idea which would need this technology to express itself.' Born on 14 February 1966 in Ljubljana. She graduated from the Academy of Fine Arts in Ljubljana in 1990. She is engaged in installations, video, short films and dance films, and works as a free-lance artist.
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VIDEOGRAPHY: Art video,
DALEČ / FAR
AWAY Video poetry
exploring the question of finding a synthesis between two media - poetry
and video.
NE POZNAŠ
ME / YOU DON'T KNOW ME The dance-floor and dancer are symbols of two worlds and generations placed in opposition. The division is defined by music and chromatic contrasts. The dancer first dances a waltz, but this later changes to rock'n'roll. The video is enhanced by drawings, which impart to the image an impression of multiple layers.
ČAS? / TIME?
The repeated use of a media image gives it the status of stereotype - in this case a clock announcing the beginning of the television news. The artist wishes to undermine the 'freezing' of the stereotypical media image; she transforms it and thus reinstates time in its natural and constant flow. The concept and form of the work are characterised by irony.
TAM (FRAMSKI
SLAP) / OVER THERE (FRAM WATERFALL) This video can be viewed as a video fairy-tale: it contains all the elements of one. The happening takes place in a forest. We see a dwarf that never shows its face, but on its travels it often encounters other incredible beings. Graphic signs are component parts of the image, and they are accentuated by Saba Skaberne's and Tamara Sevčnikar's sculptures, which also form part of the installation of the same title.
PODOBA, KI
JE NI / A NON-EXISTENT IMAGE Video as a component part of an installation, in which images of sand are projected onto a triangular canvas. The top of the triangle is linked to a video monitor presenting a series of people without eyes. The images of human faces are related to the four basic natural elements, while the triangle conveys the impression of transformation.
TANGO ZA
RIBE / TANGO FOR FISH The eternal issue of the relation between the sexes is presented by pairs and accentuated by the details which are doubled. In the foreground we see fish ('real' fish, or a graphic sign), and from time to time they completely fill the screen. The video image is supplemented by art objects - a constant feature in Prosenc's works.
KAMNI SPOMINA
/ STONES OF MEMORY The video
image transforms the deceptive motionless state of stones into transparency,
into looking 'through' the stone. Within the framework of the story this
means that even stones have memory and this points to the images of people
made immortal by their gravestones. The memory of the seemingly dead and
living objects conjoin in eternity, but this relationship is merely an
illusory result of the electronic age.
VERTIKALNI
HORIZONT / VERTICAL HORIZONT The video
film replicates the labyrinth presented in the installation of the same
title. Bricks are placed on the floor, and they pass into the labyrinth
on the screen. The figures never come from 'behind the walls' of the labyrinth,
we can only hear the sound of their fleeting steps.
DISK / DISC
This video in black-and-white presents people participating in mass rituals, primarily wars and the glorification of leaders, which are constant and universal documents of the world. The global and temporal association of these images is emphasised by the graphic sign of a disc, the only colourful object on the screen, which emerges into our view and disappears from it, until finally it is destroyed by a lizard, another - and the last - colourful creature in the records of the world. Every artist's creation emerges and disappears, and on the electronic picture this process is even faster.
DVOJNIK /
THE DOUBLE The idea of time connects with the image inherent in video, the encrustation of the picture, which allows for the free exchange of images from different worlds and periods. The double silhouette of a person delineates two time segments: the passing of daily life, and nocturnal fireworks. Both worlds pass from one shape to another, until they finally freeze into what they actually represent: a human statue.
ONE WAY A man and a woman aim to fulfil their desire for power, beauty, supremacy and other similar human attributes. The male and the female are represented through archetypal images: a strong man's body fighting against the crude force of nature, and a woman's body and its clothing reflected in a mirror. The video image presents these archetypes in duplicate, in slow-motion and replication, and thus it assembles the collective visual memory of human inclinations.
MEJA / BORDERLINE
The video focuses on the concept of skin, which is the borderline between the body and its surroundings. The picture consciously rejects all sophisticated visual manipulation and instead uses basic visual effects: the play of light and shadow, and colour changes. The varying rhythm of the editing changes the vibration of skin - the image animates its life.
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Docomentary video Fragile Protea Cloud
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Films Betonski
človek / Concrete Man One way Samota v
dvoje - Jutro / Solitude for Two - Morning |
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PROJECTS 1991 1992
1994
1995 1996 1997 1998
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Group exhibitions 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998
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