Immaterial / Immateriell: ArtNetLab - Medienkünstler aus Ljubljana / Media Artists from Ljubljana, ATELIERFRANKFURT
Klemen Gorup, Gorazd Krnc, Vanja Merviè, Tilen Žbona, Narvika Bovcon, Aleš Vaupotiè (Kuratoren / Curators)
28.03. - 12.04.2008
Exhibition / Ausstellung / Razstava
Die Projekte der Ausstellung Immaterial beschäftigen sich mit der Mehrdeutigkeit des Begriffs ‚materiell’ in der gegenwärtigen Gesellschaft. Künstlerische Projekte, die mit neuen Medien-Technologien arbeiten, gestalten die materiellen Prinzipien der Welt um, nicht nur indem sie das Materielle und das Virtuellen, das Atom und das Bit gegenüberstellen, sondern sogar so weit gehen, das Problem in dem postmedialen Zustand, den wir bewohnen, als immateriell aufzulösen. Nicht nur das Materielle unserer Welt, auch das Materielle unserer Beschäftigung, Beziehungen und Verantwortung werden in Frage gestellt – auch in der Kunst selbst.
ArtNetLab ist eine Produktiongruppe, die es den interdisziplinären Teams aus jungen Künstlern und jungen Computeringenieuren – Studenten und Absolventen der Universität Ljubljana – ermöglicht, bei Kunstprojekten der neuen Medien zusammenzuarbeiten.
ArtNetLab in Atelierfrankfurt
· Sketchbook (interactive installation, 2005)
· Little Man in Virtual Rooms (videos, 2008)
· Plain Forms (interactive installation, 2007)
· Archaios Xene (videos, 2006)
· CunC (interactive installation, 2008)
· XYZ (video, 2007)
· King Midas Room (installation, 2008)
· Immediate (interactive installation, 2008)
Narvika Bovcon, Aleš Vaupotiè:
· In illo tempore (hi-res data video) (2005)
· VSA (video, 2003)
Production: ArtNetLab, Ljubljana, Slovenia.
The projects in the exhibition Immaterial explore the ambiguity of the notion of material in contemporary society. Artistic projects based on new media technologies reconfigure the materiality principles of the world, not only by juxtaposing the material and the virtual, the atom and the bit, but also go as far as to dissolve the problem as immaterial in the postmedia condition that we inhabit. Not only the materiality of our world, also the materiality of our engagement, our relations and responsibilities are put into question – also in the institution of art.
ArtNetLab is a production group that enables the interdisciplinary teams of young artists and young computer engineers – currently or in the past studying at the University of Ljubljana – to collaborate on new media art projects.
29.03. - 12.04.2008
Vernissage / Opening 28.03.2008
19:00 - 20:00 Vorstellung der Projekte / Projects presentation
20:00 - 22:00 Eröffnung / Opening
Öffnungszeiten / Opening times:
Donnerstag und Freitag / Thursday and Friday 17:00 - 20:00
Samstag / Saturday 15:00 - 18:00
und nach Vereinbarung / and on appointment
D-60327 Frankfurt am Main
T: +49-(0)69-7430 3771
F: +49-(0)69-7430 3772
U4 - Festhalle / Messe
Tram 16,17 - Hohenstaufenstraße
Mit freundlicher Unterstützung / Kindly supported by: Ministry of Culture of the Republic of Slovenia, Municipality of Ljubljana, Medius, Faculty of Computer and Information Science University of Ljubljana.
Parallel zu diesem Projekt findet die Ausstellung Motion, Capture, Suit, 14.03. - 03.04.2008 in der Galerie Perpétuel statt./
Parallel to this project, the exhibition Motion, Capture, Suit, 14 March - 3 April 2008 takes place in Gallery Perpétuel.
Produktion / Production ArtNetLab 2008
Zu den Projekten:
Sketchbook is an interactive application that introduces the user to the variety of possibilities how to construct an image, a situation, a film shot, an abstract painting. By typing on the computer keyboard, images are put onto the screen in animated loops. The user can scale them, rearrange their positions, and change the colours.
Little Man in Virtual Rooms is a series of videos that combine a plethora of animation techniques with digital imaging. Animated image is constructed out of segments of drawings and classically animated elements, placed into a 3-D modelled environment. The whole image is composited with the figural imagery of video footage and integrated into the virtual environment by means of chroma-key. The artist tries to establish new combinations of video footage and computer graphics in different types of animation.
The project's title is part of a statement by Roy Lichtenstein in which he says that »transformation is a strange word. It implies that art transforms. It doesn't, it just plain forms.«
The painting in the project hangs next to the computer screen. On it there are pictures, divided as units from which the painting was put together. The visitor can manipulate these pictures through a program, much like Photoshop. In theory you could make the same painting as the one hanging on the wall, but there is a difference. Not just a formal one, but also non-formal, somewhat mental.
The title of the project is in Greek and could be translated in many ways. The word archaios literally mean ancient, prehistoric, but it also means old-fashioned, obsolete and primary. Ancient is the text, the motif, but old-fashioned and obsolete are meditations of the conservatives in the western society i.e. the leaders of the society, who are no longer capable of resolving day-to-day crisis. The best example would be the streets of Paris and other major towns across France and EU, at the end of the year 2005. Primary is once again the motif, the essay Women's heroic acts, which is one of the first biographical writings. The word xene in Greek language means a female guest and a foreign woman. In the context of the project this would mean a person, who performs in the project, who is in trouble and to whom we are used to have a distant relation to. The foreigners are also all the parts of the video collage, since the materials, used in it, are taken from the internet libraries and then reused again in the project. The word also ironically implies to the major pop icon of the few years back Xena: The Princess Warrior, for whom interpretation is for anybody's grabs.
King Midas Room
“Gold is the symbol of perfection but also of decay and of impure celebration of wishes. It can be the key that opens all doors and, at the same time, it s a burden that might drag you into ruin. Each of us can be King Midas, his room becomes the metaphor of the human longing for fame, wealth and beauty, a sort of memento mori of our time.”
Nataša Kovšca in the catalogue to the exhibition Passaggi
An empty space filled with content, which is continuously recreated by each new user. We are standing on a threshold between conscious and unconscious. Between a conscious word and its preceding thought of which content we are not aware. By conscious exposure to sublimination, a generating process of a new community, of a new collective consciousness- unconsciousness is commencing. The space becomes continuous, infinite. A response to the phantasmagoria of the concealed worlds, of which the last and the subtlest is an artificial synthesis of this world, is a superior illusion of our age.
And let it rise again from the ashes……….. Thought coordinates, which formalize only to create. Transfiguration of the space into a cube acts as a metaphor for the restriction of mankind and its idea as primus. This formalization follows today’s state of humanity, which tries to communicate only through this prism.
Immediate is the marking of anonymous users – the passive media activity. The power of information that intrudes into the urban environment and is at public disposal is half way between the material and non-material. The signals of radio and satellite transmitters and optical cables establish the user’s position in the role of a passive actor. Passive or active, visual literacy does not determine the user’s physical condition, but nevertheless it frames him/her by the given solution to a presented problem. Political persuasions, the marking of the space, discerning of the natural from un-natural are the sources of the boundaries of our worldview. The focus on the global user and on the accuracy of the information, tested by normative social criteria, have their physical consequences such as digitalisation and coding of information in general.
These concepts are at the core of the existence of the human condition, i.e. the immediate consequent secondary subject-artefact. The object as subject makes the digital thinking.
Digital conceptualisation is the condition established by the numeric code of the new media, where evaluation gives intangible results of the lifestyle of the immaterial.
Narvika Bovcon, Aleš Vaupotiè
In illo tempore (hi-res data video), VSA
The condition of video image is conceptually and materially tested in analogue and digital medium. Scientific discourse enters the construction of video image as its generator by disclosing the purest matter in the universe, mediated first by the ordinary TV receiver and second by supercomputer data simulations. The artist curates relationships between voices of material reality. But is this immaterial?
60327 Frankfurt am Main