Ana & Arven, Mirjana Batinić, Narvika Bovcon & Aleš Vaupotič, Igor Bravničar, Robert Černelč, Srečo Dragan, tandem Eclipse, Jure Fingušt Prebil, Vana Gačina, Klemen Gorup, Ana Grobler, Boštjan Kavčič, Eva Lucija Kozak, Arven Šakti Kralj Szomi, Dominik Olmiah Križan, Gorazd Krnc, Boštjan Lapajne, Dominik Mahnič, Vanja Mervič, Miha_Normalen X Kukla Kesherović, Nika Oblak & Primož Novak, Ana Schaub, Sašo Sedlaček, Katja & Nataša Skušek, Franc Solina, Zoran Srdić Janežič, Evelin Stermitz, Karmen Tomšič, Joanna Zając - Slapničar, Tilen Žbona

Video, et gaudeo - 15 let ArtNetLaba / Celebrating 15 years of ArtNetLab

Galerija ZDSLU, Komenskega 8, Ljubljana, opening / otvoritev 1. 12. 2014 ob / at 19h, do / till 16. 12. 2014

exhibition / razstava

Katalog, natisnjena verzija. / Catalogue in English, electronic version.

Prispevek v Kulturi TV Slovenija, 2. 12. 2014 (2:50-4:23)

Intervju s prof. Srečom Draganom na Tretjem radijskem programu RTV Slovenija, 6. 12. 2014

Fotografije razstave (Miha Benedičič) / Photographs of the exhibition Fotografije otvoritve (.zip 1, .zip 2) / Photographs from the opening Fotografije / Photographs on Facebook ZDSLU

Fotografije / Photos (ZIP): .zip 1 .zip 2 .zip 3 .zip 4 Fotografije Mihe Benedičiča .zip / Photos by Miha Benedičič .zip

Vabilo Razglednica / Postcard

Stran / Page of the ZDSLU

Kustosa / Curators: dr. Narvika Bovcon (Laboratorij za računalniški vid Fakultete za računalništvo in informatiko Univerze v Ljubljani), dr. Aleš Vaupotič (Raziskovalni center za humanisitko Univerze v Novi Gorici). Kustos galerije / Gallery curator: Olga Butinar Čeh (ZDSLU).

Produkcija / Production: ArtNetLab, Zveza društev slovenski likovnih umetnikov (ZDSLU).
Ob podpori / Supported by: Ministrstvo za kulturo Republike Slovenije, Muzej in galerije mesta Ljubljane, Galerija Alkatraz, Galerija Kapelica, Galerija P74, Galerija ŠKUC, podjetje Teater d.o.o., Univerza v Novi Gorici, Fakulteta za dizajn Ljubljana, Fakultete za računalništvo in informatiko ter Akademija za likovno umetnost in oblikovanje Univerze v Ljubljani.

Smisel videa

English bellow ("The Meaning of Video")

Video je medij, ki je tako v novomedijski kot v sodobnoumetniški produkciji dokončno postal neizogiben. Izziva tudi primat tiska – besedil in slik: npr. prek videoelementov spletnih časopisov, njihovih interaktivnih vizualizacij podatkov in gibljive grafike; kot tudi v vlogi stalnega elementa sicer govorjenih predavanj, ki si pomagajo s projiciranimi računalniškimi diapozitivi.

Video se uporablja za to, da si pogledamo filme Tarkovskega, ko niso na voljo v kinematografih. Lahko, sicer manj elitno, izvedemo videokrokanje nadaljevanke »24« v ravno toliko urah. Lahko ga uporabimo kot galerijski film, dodatek slikarskih, kiparskih in instalacijskih prvin ter intervencij človeških teles med druge materialno izdelane ali že vnaprej dane objekte in pojave v prostoru razstavljanja.

Video omogoča marsikaj, morda tako rekoč vse, pri tem pa se postavljata vprašanji, ali je vse tudi sprejemljivo in kako pravzaprav? Vilém Flusser je v svojih zadnjih predavanjih na Porurski univerzi v Bochumu leta 1991 ostro protestiral proti razširjenemu razumevanju videa: »Jezi me zločin, da so videi stopili v službo televizije, da se delajo videi za snemanje televizijskih programov ali da se delajo videi, da bi naredili filme, in da je pri tem karakter videa povsem spregledan.« (Kommunikologie weiter denken: Die Bochumer Vorlesungen. Frankfurt/M.: Fischer, 2009. Upcoming on-line.) Očitno je torej, da so zanj ›video-filmi‹ nesprejemljivi – ni vse videastično tudi dobro. Vsekakor pa je Flusser od sedemdesetih let dalje vztrajal, da je ravno video medij odrešitve (v judovskem smislu). Navaja dva razloga.

Leta 1991 pravi, da je video zrcalo s spominom – sicer rahlo dezorientirajoče zrcalo, saj ne obrne leve in desne. Vsekakor pa je daljnosežnejši dodatek zrcalu, namreč spomin. Pri Flusserju ga je treba razumeti prek kritike sodobne družbe: potrošniška množica je kot črv, ki sprejema informacije-navodila in jih nepredelane izvaja kot svoje izhodne informacije, nima spomina, iz katerega bi črpal referenčno gradivo za tehten odziv na informacije, ki jim je izpostavljen. Video pa je medij, ki že po svoji medijskospecifični logiki vodi v sintetiziranje sporočil na podlagi potencialno vseh obstoječih informacij. Flusser pravzaprav sklene takole: »Nikoli nisem mogel razumeti, kako to, da video nikoli ni postal filozofska metoda, kako to, da že dolgo video ne služi samo in izključno filozofiji, zakaj se že davno ne vržejo vse filozofske knjige proč in se ukvarjamo z videom. Saj ne obrača stvari, zgolj reflektira. Avtomatično. Takoj. In s spominom.«

Že v zgodnjih sedemdesetih pa Flusser video poveže z dialogom kot najvišjo človeško vrednoto – priznanjem drugega kot osebnosti. (Digitalni videz. Ljubljana: Študentska založba, 2002.) Za razlago videa kot dialoškega medija je mogoče uporabiti video »Belo mleko belih prsi« Nuše in Sreča Dragana (1969). V rekonstrukciji iz leta 1994 lahko na ekranu beremo naslednja besedila.

SIMULTANA GRUPNA KOMUNIKACIJA SLIKE IZ FILMA BELI LJUDJE NAŠKA KRIŽNARJA

Torej gre za simultano komunikacijo v skupini.

1 INFORMACIJA VIDEO SLIKE
2 SPREJETA INFORMACIJA
3 FEEDBACK RELACIJA

Sledi slika diagrama, ki pokaže, da informacija prihaja od monitorja – po Flusserju centra videa – k osebi, ki sliko gleda, vendar pa udeleženec video projekcije tudi odgovori.

A B C D UDELEŽENCI VIDEO PROJEKCIJE

Kot prej številke tudi črke označujejo točke na diagramu, ki tokrat vizualizira udeležence.

GOVORIM O SLIKI IN SKOZI SLIKO O SEBI

GOVORIVA O SLIKI IN SKOZI SLIKO O NAJU

Zadnji napis edini ni preveden v angleščino iz očitnega razloga. Pokaže pa se, da »feedback relacija« ne pomeni niti, da udeleženec dobesedno stopa v dialog z avtomatom – ali morda le delno –, da do neke mere govori o sebi, vsekakor pa slovensko govoreči govori v intimnem odnosu dveh.

GOVORIMO O SLIKI IN SKOZI SLIKO O NAS

Sledi še ena ponovitev dvojine z množinskim angleškim prevodom ter nato:

SKUPNI PROSTOR OMOGOČANJA VSTOPA V DOGAJANJE VIDEA

Sledi verzija diagrama skupnega prostora, ki ustreza videu – dogajanje je seveda komunikacija v skupini.

SKUPNI PROSTOR SIMULTANE KOMUNIKACIJE PERCEPCIJE VIDEA ŠTIRIČLANSKE GRUPE REZULTIRA

Video se sklene z diagramom ›rezultata‹ videa, samega dialoga. Diagram izraža simultanost, časovno bližino, ki omogoča odgovor na prejeto informacijo; to seveda postavlja vprašanje, na kakšen način je lahko simultan video trak, ki traja 2 min. 26 sek.? Video daje tudi odgovor na vprašanje, kaj bi lahko bila – denimo po Flusserju – vsebina videa: vsekakor ne preprosto ›vsebina‹ slike, ene same z motivom iz naslova, saj jo je naredil drug avtor, je pravzaprav ready-made, v tematski dvojnosti seksualnosti in materinstva pa je njena naloga spodbujati dialog. (Video v arhivu Mouseion Serapeion, ur. Narvika Bovcon in Aleš Vaupotič.)

***

»Video, et gaudeo« je razstava ob petnajstletnici ArtNetLaba. Njen namen je na novo premisliti vlogo videa v umetnosti, v novomedijski umetnosti in v Sloveniji. Kot iniciacijski moment društva se spomnimo leta 2000, spletne razstave z naslovom ArtNetLab, na kateri so se predstavili takratni študentje magistrskega študija videa in novih medijev na ljubljanski Likovni akademiji. Projekt je prinašal pomembno novost, sistematično povezovanje študija likovnih umetnosti pod mentorstvom prof. Sreča Dragana s študijem računalništva in informatike na istoimenski Fakulteti Ljubljanske univerze. Do danes je eden najaktivnejših članov ArtNetLaba prof. Franc Solina, ki je tako rekoč vsem razstavljavcem na tej razstavi prek mentorstva in sodelovanja v svojih seminarjih skupaj z informatiki omogočil izdelavo novomedijskih projektov s tehnološkimi rešitvami, ki presegajo amaterizem in vzpostavljajo pravo interdisciplinarno sodelovanje kolegov iz različnih disciplin, kot priča del imena društva »za povezovanje umetnosti in znanosti«. Društvo se je registriralo leta 2004 in začelo delovati kot novomedijski producent v Sloveniji in tujini. Deset let kasneje, oktobra 2013, je bila ustanovljena sekcija za video in nove medije tudi pri Zvezi društev slovenskih likovnih umetnikov, katere člani postajajo magistri videa in novih medijev.

Naj sklenem s parafrazo naslova članka Györgya Lukácsa: »Za video gre!« (»Es geht um den Realismus.« Das Wort 6 (1938): 112-138.)

dr. Aleš Vaupotič
Gorica, 24. 11. 2014

The Meaning of Video

There is no doubt that video as a medium has become unavoidable in new media art and in contemporary art. It challenges the press-based communication in general—texts and images: e.g. in video-elements of on-line newspapers, their interactive information visualizations and motion graphics; but also as a persistent component of spoken presentations that are backed by slides from a computer.

Video is used to watch Tarkovsky films when not available in cinemas. One can, in a less high-brow context, perform a binge viewing of the TV-series “24” in as many hours. It can be used as a gallery film, i.e. an addition of painterly, sculptural and installation-art features and performative interventions of bodies among the existing objects and phenomena in the exhibition space.

Video facilitates many things, possibly everything, which raises two questions, namely is everything also acceptable, and how exactly? In his 1991 lectures at the Ruhr-University in Bochum Vilém Flusser strongly objected to the widespread assumptions about video: “It is a crime and it enrages me that videos serve TV, that videos are made in order to record TV programmes or that videos are made to make films, and that in the meanwhile the character of video is completely ignored.” (Kommunikologie weiter denken: Die Bochumer Vorlesungen. Frankfurt/M.: Fischer, 2009. Upcoming on-line.) It is apparent that he disapproves of ‘video-films’—not every video-phenomenon is a positive thing. Nevertheless, from the seventies onwards Flusser’s position, that video is the medium of salvation (in the Jewish sense), remains unchanged. He lists two reasons for his claim.

In 1991 he says that video is a mirror with memory—a somewhat disorienting mirror, since it does not reverse left and right. But more important is the addition to the ordinary mirror, the memory. In Flusser’s case this idea should be understood within the framework of his critique of contemporary society: the mass of consumers is like a worm that receives information-instructions and performs them as output information without processing it, it lacks memory from which to draw reference materials for a meaningful response to information. On the other hand, video is the medium, which promotes the synthesis of message from potentially all existing information in accordance with its media-specific logic. Flusser concludes: “I don’t understand, why video has never become a philosophical method, why since long video does not only and exclusively serve philosophy, why are not all philosophy books discarded and we work with video instead. It does not turn things around, it merely reflects. Automatically. Immediately. And with memory.”

Already in the early seventies Flusser connected video with dialogue as the highest human value—the recognition of the other as a person. (Umbruch der menschlichen Beziehungen, manuscript, 6 Dec. 2014.) To explain video as a dialogic medium the video by Nuša and Srečo Dragan “White Milk of White Breasts” (1969) can be referred to. In the 1994 reconstruction the following texts appear on the screen.

SIMULTANEOUS GROUP COMMUNICATION FROM THE FILM WHITE PEOPLE BY NAŠKO KRIŽNAR (Translations are either already in the video or mine.)

There is a simultaneous communication in a group of people.

1 VIDEO IMAGE INFORMATION

2 RECEIVED INFORMATION

3 FEED-BACK RELATION

A diagram shows that the information emerges from the video monitor—the centre of video, according to Flusser—and comes to the person watching the image, however the participant of the video projection also formulates a response.

A B C D PARTICIPANTS OF THE VIDEO PROJECTION

As previously numbers now the letters mark the points on the diagram, which now visualizes the participants.

I TALK ABOUT THE PICTURE AND THROUGH THIS PICTURE ABOUT MYSELF

WE TALK ABOUT THE PICTURE AND THROUGH THIS PICTURE ABOUT OURSELVES

In Slovenian language the dual grammatical form exists and it is also used in this video before the plural form quoted in English above – once without the English translation, the second time the dual is translated to English as plural. It now becomes clear, however, that the “feed-back relation” does not signify the communication of a human and an automaton—or maybe only partially—, that the participant speaks about her- or himself, and that the Slovenian speaking person also explicitly speaks in an intimate relationship of two people. The plural statement signifies the reflection in a group.

JOINT SPACE FOR ENABLING AN ENTERING INTO THE HAPPENING OF VIDEO

The next version of the diagram shows the space that corresponds to the video—the happening is a group communication.

THE JOINT SPACE OF THE SIMULTANEOUS COMMUNICATION OF THE PERCEPTION OF VIDEO IN A FOUR-MEMBER GROUP RESULTS

The video concludes with a diagram of the ‘result’ of the video, the dialogue itself. The diagram as such relates to the simultaneity, the temporal proximity that enables a response to the received information; it remains interesting though, how does a video tape that lasts 2 min. 26 s. become simultaneous? This video also responds to the question, what could be the actual content of a video from Flusser’s point of view: it certainly is not the simple ‘content’ of the image, in this case a still frame containing the title motif shown on the screen, which was actually made by another author and is therefore a ready-made. However, in the thematic ambiguity of motherhood and sexuality its task is to encourage dialogue. (Video accessible on-line in the Mouseion Serapeion archive, ed. Narvika Bovcon in Aleš Vaupotič.)

* * *

“Video, et gaudeo” is an exhibition celebrating 15 years of ArtNetLab. Its goal is to rethink the role of video in arts, in new media art, and in Slovenia. The point of initiation of the society was the web exhibition from 2000 titled ArtNetLab that presented the projects of then post-graduate students of video and new media at the Academy of Fine Art in Ljubljana. The project at the same time started something new and very important, a systematic link between the study of visual arts (mentor Prof Srečo Dragan) and the study at the Faculty of Computer and Information Science, both at the University of Ljubljana. Until today one of the most active members of ArtNetLab is Prof Franc Solina, who enabled virtually all the authors in this exhibition to realize new media artworks on a non-amateur level by including them into his seminars together with informatics students. An interdisciplinary collaboration proper has been established and it is reflected in the name of the society “for connecting art and science”. The society became a legal entity in 2004 and begun its activities as a new media art producer in Slovenia and abroad. Ten years later, in October 2013, the Section for video and new media has been established within the frameworks of the Slovenian Association of Fine Arts Societies (ZDSLU), which now includes as members also MA graduates from the fields of video and new media.

Let’s conclude with the paraphrase of an essay by Georg Lukács: it is video that hangs in the balance. (“Realism in the Balance.” Aesthetics and Politics. London: Verso, 1980. 28-59. »Es geht um den Realismus.« Das Wort 6 (1938): 112-138.)

Dr Aleš Vaupotič

Gorica, 24 November 2014

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