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Appendix2 Kresija Gallery, Ljubljana;
interactive sound installations - Hribarjevo Nabrezje, Ljubljana,
electronic LED display “Subiceva”, Ljubljana, Slovenia The project was realized with the help of the Town Hall of Ljubljana; the Ministry of Culture of the Republic of Slovenia; the Video Data Bank, Chicago, USA; Gorenje, Ogled. Appendix2 is an alternative state of urban landscape. It constitutes the in-between spaces of symbolic discourses that question the distributive net of the physical and immaterial, the diffusion of ideas and environments, and contemporary art practices in intensive communication with the urban residues of media, public, and net spaces. Appendix2 is a continuation of the
2004 Appendix project, where we presented multimedia artworks in the
public landscape. The artists presented: Eric Dyer (USA), Rick Fisher & Don Rice (Canada), Philippe Hamelin (Canada), Nicolas Provost (Belgium), Tanja Vujinovic & Zvonka Simcic (Slovenia), Irina Birger (Netherlands - Israel), Judith Nothnagel and Hubert Baumann (Germany), Jaka _eleznikar (Slovenia), Jernej Lunder (Slovenia), Karl Jen_ac and Helmut Schäfer (Austria). Appendix2 will additionally present Euroscreen21 2005, a compilation of short video works by various European artists, curated by Judith Nothnagel and Hubert Baumann. They conceived the Euroscreen21 projects in 2002 as a flexible media platform for European artists and cultural institutions. The DVD compilation consists of numerous video works and will be featured in approximately twenty galleries and museums in Europe and beyond. This compilation of video works will be projected from the 22nd until the 28th of August 2005 in the front window of Kresija Gallery in Ljubljana. You can obtain more information regarding this project at www.euroscreen21projects.de Part of the Automata Public 2005 projects are interactive sound interventions installed at several locations within the town center. The sounds were created by various authors (Karl Jen_ac, Helmut Schäfer, Tanja Vujinovi_ and Zvonka Sim_i_, Jernej LunderÉ) who deal with experimental and computer-generated sound. Sonic interventions test relations towards the media, capital, and identity through the implantation of art-gestures into everyday, working circulation. Irina Birger “Growing up in Russia during the
“cold war”, my biggest fear as a child was that Mr. Reagan had a button in
his office which he could press one day, releasing nuclear weapons which
would kill us all. In my works I try to create an imaginary bridge between
drawing and modern technologies, not only as a sentimental connection
between my childhood, (where the grade of one's drawing technique was the
basic condition for being accepted into art school), and the world I now
live in. The advantages and disadvantages of modern technology are making
our life miserable, as well as extremely comfortable. Every day, without
paying attention, we touch buttons: in elevators, mobile phones, cash
machines, computers, and other technological devices. With every touch we
create a small miracle: changing speed, getting money, talking to someone
on the other side of the planet. We are all part of one huge societial
system and we act between ourselves by pressing each other's “buttons” to
get what we want. Meeting a new person, we often automatically put him/her
in a certain category and press their buttons, depending on our purpose.
Nowadays we have become accustomed to getting everything in the fastest
way possible, including pleasure and entertainment. Using drugs has become
the quickest and cheapest way to escape from everyday reality. An
investigation of the consequences of the drug and computer revolutions,
together with the multicultural identity I have experienced, is one of the
major points of my work.” Irina Birger was born in Moscow in 1972. From 1993 to 1997 she studied at the Bezalel Academy of Fine Arts and Design, Jerusalem, Israel. Since 2002, she has been studying at the Sandberg Institute in Amsterdam. Selected exhibitions and video projections: “One of Them”, Jewish Museum, Rendsburg; “Weapon/Victim”, gallery “Popolus”, Tel Aviv; “The Object of My Fancy”, Tel Aviv Museum of Art; “Snow Queen”, video installation, Israel Museum, Jerusalem; “Avecom Festival”, Museum of Modern Art, Arnhem; “Slimmtarra”, Extrapool, Nijmegen; “One Minute”, Montevideo, Amsterdam; “Transition”, Veemvloer, Amsterdam; “Negen Lekkere Wijven”, het Glazen Huis, Amsterdam; “Underline”, Consortium, Amsterdam. Rick Fisher & Don Rice The architect of ideology attempts to design a rationale to exist within the ambiguous territory located between “is” and “ought”, and discovers that he has encountered an irresolvable dilemma. Rick Fisher has been involved in
video since the early 80's, and has worked as technical coordinator at
several art centers. His current art practice involves digital media and
explorations into linear and nonlinear experimental narrative. He has
completed one year of an MFA in Video. Eric Dyer “Through a process that converts
mass into time, “Kinetic Sandwich” explores the secret beauty of an
everyday object. Eric Dyer uses digital and alternative processes to turn cinema inside-out and upside-down. His films and videos have translated music into motion pictures, converted space into time, and revealed the motion hidden in stillness. Dyer's award-winning works have been screened at numerous festivals at home and abroad, including the Black Maria Film Festival, the Ann Arbor Film Festival, MicroCineFest, and Sundance. His commercial projects have aired on MTV, PBS Kids, and the Discovery Channel. Collaborative works produced with other artists were presented at Transmediale, P.S. 1, and the Whitney. Dyer currently teaches animation at the University of Maryland, Baltimore County, USA. Jaka Zeleznikar “Changer”, a toolbar extension for
the Firefox browser enables the manipulation of the language and visual
content of web pages in real time. Web pages and interventions can be
chosen by the user or by Changes autonomously (in this case web pages are
searched through a combination of a significant number of key-words and
the Google search engine.) Jaka Zeleznikar was born 1971 in
Ljubljana, Slovenia. At the beginning of the 1990s he was active as a
poet/writer (authoring 54.000 besed [54,000 words], a book of poems and
short stories in 1994) Since 1997 he has participated in international
festivals and exhibitions of contemporary and new media art, mostly with
internet based works. Tanja Vujinovic and Zvonka
Simcic Plasma 2005 is a digital
repository which will be presented in the year 2005 as a web portal, a
sound-video installation, and a series of digital prints. The creation
process for these pieces overwhelms different aspects of the perception
and cognition of physical phenomena in the quest for the transcendental.
Plasma 2005 consists of objects for instant transgression. They have been
prepared to successfully function in new, corporate, and global scenarios.
In accordance with this, multifunctional Plasma “products” are efficient
as tools - catalysts for achieving transcendence. Tanja Vujinovic and Zvonka Simcic
are an art tandem recognized internationally for their works. They have
been working exclusively together since 2002 and have exhibited
extensively both in Europe and internationally. Their video films, digital
prints and computer-driven installations have been exhibited at numerous
museums, galleries, media and film festivals, including the Museum of
Contemporary Art, Denver; Kunst Palast Musum, Düesseldorf, the Museum of
Modern and Contemporary Art, Strasbourg; Kunsthaus Meran in Italy, and the
Medienturm International Forum, Graz, Austria. Their works have been
included in collective exhibitions such as the Euroscreen21 project, Zero
Visibility, Ctheory Multimedia NetNoise, and the Web Biennial,
Istanbul. Philippe Hamelin “At a time when athletes have
increasingly become robots performing a show, 10 compares the new
technologies offered by video with the conservative discipline of figure
skating. Only with the help of video can a man, who in reality is barely
able to stand on skates, figure skate his way to a perfect mark. The
artificiality of skating figures is parallel to digital video's own
figures: editing and special effects. 10 presents a digital performance
that synchronizes the past with the present; classical music with new
technologies.” Philippe Hamelin completed a degree in film studies at the University of Montreal (Canada), where he explored video, cinema, sound, and photography in a multidisciplinary approach. He is now completing a Masters in Fine Arts at Concordia University, focusing on video and sound in various forms: single channel, installation, and performance. His video works create relationships between human beings and the video medium, linking their physical aspects (the body and the video apparatus), their specific components, and the space that they physically share together. He attempts to formally translate and transmit feelings by mixing human intensity with video energy. His works set the limits of reality against the limits of the chosen medium, often resulting in excess and consumption, offering the audience a techno-dramatic spectacle. His recent works have been screened in America (Canada, US, Mexico) and Europe (France, Germany, UK). He lives and works in Montreal, Canada. Judith Nothnagel & Hubert
Baumann The video work Trans_Fer by Judith
Nothnagel and Hubert Baumann is a critical reflection on
political-contemporary time and space infrastructures.It is made of
elements of modern transportation nets.The concept of alienation that
characterizes their video works generates sequences accompanied by foreign
auditory worlds that seem both real and unreal. Euroscreen21project Judith Nothnagel was born 1960 in
Emmerich, Germany. She lives and works in Lower Rhine and Düsseldorf,
Germany. She is a member of the Düsseldorfer Kuenstler society.
Hubert Baumann was born in
Emmerich, Germany in 1956. In 1984 he graduated in Visual Communication
from FH Duesseldorf, Germany (where he studied experimental photography
with Prof. Klaus Kammerichs). From 1982 till 1989, independent studies in
New York (photography, video art, and graphic art). In 2002 co-founded
Euroscreen21 projects with Judith Nothnagel. Nicolas Provost Nicolas Provost uses a simple procedure to transform brilliantly visual fragments from Kurosawa's film “Rashomon” into a pure, metaphysical meditation upon Love, its lyrical monstrosities, and wounded act of disappearance. Nicolas Provost's short film “Papillon d'Amour” received an Honorable Mention from the Shorts Jury at the Sundance Film Festival. The work of Nicolas Provost walks the fine line between dualities, balancing fiction and fine arts, the grotesque and the moving, the beautiful and the cruel. His phantasmagorias provoke both recognition and alienation, and succeed in pulling audience expectations into an unraveling game of mystery and abstraction. In some videos, filmic memory is stimulated through the use of short fragments from classic films by Akira Kurosawa, Ingmar Bergman, Alain Resnais, or Russ Meyers, but Provost is as likely to utilize obscure B-films, contemporary cinema or thematic platitudes. Time and form are manipulated, cinematographic and narrative language is analyzed, accents are shifted and new stories are told. The extraordinary is elucidated in order to reveal the global. In addition to the use of film and visual language, sound is a constant factor in Provost's body of work, as a rhythmical spine or an emotional guideline. "My field of interest is to
analyze and question the phenomenon of cinema, its various elements, its
influence, and conventional rules. My work is a reflection on the grammar
of cinema and the relation between visual art and the cinematic
experience. That said, it's all about love.” Helmut Schäfer Karl Jensac
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