What is Video Art? Interview with Sreco Dragan (Narvika Bovcon, Ales Vaupotic) In the beginning the video was a part of three contextual fields: the experimental movie, the experiments in national TV studios and the neo-avant-garde practices in the fine arts field - the latter enabling the video at the very beginning to overcome the beginner’s phase and as a conceptual practice establish itself as a fully developed artistic medium. It enabled us to see and be seen, i.e. it entered the group communication as the one who records the happening and one who lets the observer to interfere with the events. What affirms video is the video surface. It also differentiates it from other media. If we focus on the film medium we can say that film is the fiction of reality and that video is the reality of fiction – i.e. all the image sources recorded with the camera or rendered in any way, copied to different electronic media is a mere picture, image, that has to be totally transformed (electronically colorized, morphed…) in the process of postproduction. These features contribute to the language of video special structural possibilities, since it is not tied to a narrative code but creates a visual and auditory blow that builds and sows together the structure of the field of the video image. From: An interview for the programme Terminal, TV Slovenia, June 2002.
Rotas Axis Mundi (Sreco Dragan) The insanity of the modern world is inherent from the very beginning and the Babylon Tower is its symbol: from the Babylon Tower to Sarajevo, from imaginary architectures to the unrealised designs by architect Joze Plecnik. In this video, the space represented by the two-dimensional image intertwines with the spaces of computer animation: the space of an image confronting digital spaces which are constantly transforming, reaching into different time perspectives. The images from Fritz Lang's film Metropolis were a vision of the future, but here they suddenly become images outside of time and space. Betacam SP, Digital 3D mastering, TV Slovenija, Arxel Tribe & E-Motion film, Ljubljana. Music: Laibach, Kraftwerk, Johann Strauss II. Edit: VPK. Also available on World-wide Web and part of an istallation of the same name.
The White Milk of White Breasts / Reconstruction 1994 (Nusa Dragan, Sreco Dragan) The still image of woman 's breast with a glistening drop of milk. Although the video image is employed as a photograph, this pioneering work announces the procedure of using changeable graphic signs, which has later become one of the prevailing procedures of video art. In this work, the procedure invests the still image with dynamism and employs the editing of the sign, while we simultaneously follow the editing of sound, bringing discussions on video art in different languages. Film Beli ljudje (White People, dir. Nasko Kriznar). Open reel 2'', Ljubljana.
Arheus (Sreco Dragan) A video which unites the Renaissance and virtual images: the painting by Pierro della Francesca and the virtual image of a meadow. Digital art places both worlds on the same level, opening the door to the Reinassance rotunda. B-max, TV Slovenija & Arxel, Ljubljana. Camera: Miso Cadez. Music: Laibach in italijanska renesanèna glasba. Edit: Milan Milosevic. Computer animation: Arxel Studio. Also part of an installation of the same name.
The Light of a Golden Moon (Nusa Dragan, Sreco Dragan) Here the use of fragments from Resnais's film Last Year in Marienbad also represents the main determinant of the video image: the incrustation of picture, or the possibility of filling the gaps in the picture with another picture. The artists appear in scenes from the film, in which their figure are best incorporated into fictional space. The procedure that follows is the 'freezing' of images; this analyses the views of the heroes. The frozen images are accompanied by commentary in subtitles. Beta SP, U–matic high band, RTV Ljubljana. Camera: Ivo Belec. Music: Laibach, Holst. Edit: Milan Milosevic.
Shadowland (Dominik Olmiah Krizan) (voice) “’Cause all the images that we have are only images.” Human existence is captured in the shadow-land; his/her consciousness succumbs to the game of illusions, of shadow images (black and white movies). Forms appear from abstract substances, light sometimes pierces through the darkness of nothingness. Let’s recall the Plato’s cave metaphor. The perception transforms light into matter, a substance, a spherical core that dissolves and reintegrates. Mass turns to energy and back again. The image is our only link to reality, to ourselves, the only salvation from the dreadful nothingness. (voice) “Those who speak of death, are right.” Death is the most important human experience - it defines his/her existence (Martin Heidegger). Awareness of death gives meaning to human being, who is caught in the twilight zone of pre-death, the shadow-land on the border of being and non-being. Even the image of death, the human skull, is built of shadows and lights without any colour. The time drifts unevenly in its psychical stream, like the music of a black mass. The sunrise of light on the horizon creates a spatial cross of a horizontal and vertical ray.
Macule (Sreco Dragan) This video is based on the painting Sejalec (The Sower) by Ivan Grohar. With the words 'Bodi svetloba' (Be light) it returns to the text, to the graphic sign, simultaneously reflecting the predominant concept of impressionism as an art movement focused on colours. The video medium helps us to distinguish the details and colour stains on the image. The enlargement manifestly illustrates the search for 'pure' colours that reunite our view with the original. U–matic, TV Slovenija, Ljubljana. Camera: Miso Cadez. Music: Art of Noise. Edit: Milan Milosevic. Also part of an installation of the same name.