Video Turn analyses main formal and conceptual characteristics of video language through various working methods (analysis, curating, critical writing, interviews, collecting audiovisual works and documents, workshops, lectures, panel discussions).
@ Kapelica Gallery, Screening: Benjamin Cook (Lux, London); lecture: Andrej Pezelj (SCCA-Ljubljana) Installation and performance: Dan Oki
Performance Confessions of a Videast, with which Neven Korda is going to open his video ambience WHOxx, originates from a seemingly simple question What is video?
Neven Korda is a videast and a multimedia artist with a lasting artistic practice. He explores the issue of the essence of video as an artistic expression and video as a medium. He speaks about the so-called pure video. His personal questions on the topic of so-called pure video were presented in a form of autoperformance and installation, taken place in artist’s studio in December 2012.
Neven Korda prepared a lecture as a performance and thus presented his artistic practice with the focus on conjunction of video art and live-performance. Neven Korda is a videast and a multimedia artist with a lasting artistic practice. He explores the issue of the essence of video as artistic expression and video as a medium. He speaks about the so-called pure video.
Screeening and lecture: Miha Vipotnik prepared a lecture and a presentation about his new work-in-progress Lumino Auro.
In the practical part of workshop activities, artists conduct workshops on the usage of analogue and digital video technology. In February 2012 Marko Košnik conducted a workshop for the research group of A Video Turn project. The artist was focused on his artistic practice while questioning the potentials of mass media for video practice and distribution. The artist presented the term “videoinstrumentalism” and “videoinstrument”.
For his intervention at SCCA Project Room, Marko Košnik prepared a table-installation which is based on a number of collections of digital sound and video patterns that have been pre-prepared for various performances, video instruments and sound projects in the last two decades. The material will be projected from different sources according to the principles of random shuffle and on the basis of various rules of classification: aleatorics, priority and condition choice (chance, probability), space-installed selection, coincidence operation.
Barbara Borčić (director of SCCA-Ljubljana) presented SCCA-Ljubljana programs focused on video, new media and archiving and A Video Turn research project at regional forum entitled Balkan visions: Creativity for the future in South-East Europe.
Miha Vipotnik is one of the first video artists in Slovenia and the initiator and director of the International Video Biennial VIDEO C.D., which took place in Ljubljana from 1983 to 1988. As a pioneer of video art in Slovenia and ex-Yugoslavia, nowadays he shares his knowledge and technical expertise with students in Slovenia and internationally. Miha is as well a permanent hosting professor at the Faculté des Beaux-Arts et des Arts Appliqués (Université Saint-Esprit de Kaslik (USEK) in Beirut. He runs series of workshops with the focus on video and video installation art. For the Video turn project group he prepared a lecture about the latest workshop, which ended with an exhibition in Zico house in Beirut.
Barbara Borčić, director of Center for Contemporary Arts, SCCA-Ljubljana and Paul Di Felice coorganiser of Month of Photography in Luxemburg were invited by the exhibition curator Metka Zupanič to discuss some aspects of the relations between the field of photography and video prior to the opening of exhibition; the discussion was conducted by art critic Ida Hiršenfelder. Mutations II – Moving Stills is a joint project of European Month of Photography (EMOP) association, which was realized in three editions from 2006 till 2010. It is a survey of relations in the fields of photography and video.
Video Turn analyses main formal and conceptual characteristics of video language through various working methods (analysis, curating, critical writing, interviews, collecting audiovisual works and documents, workshops, lectures, panel discussions, presentations). For the Video Turn project Neven Korda will prepare a video ambient and performance questioning his artistic position within the video art.
The discussion about the exhibition project with the artists (Miha Vipotnik, Neven Korda, Marko Košnik) was focused on conceptualisation of exhibition and research project Video Turn. Miha Vipotnik had defined his starting questions and the points of interest as: film sequence, scenographic space, the difference between day and night teme experience of the space, changing spaces, the exhibition opening merely as one part of the process, material vs. signal, pointed and spherical view, thematic differentiation of the exhibition (performative and exhibitive days). Marko Košnik had suggested his contribution to focus on the basic representation when using the medium. Neven Korda therefore suggested to enact the connective point and to direct the view. He had mentioned that their mutual field of interest is the attempt to steer the signals and to edit and direct the video forms. As a start and the initial impetus he recognised the importance of Digital Video Archive DIVA Station at SCCA-Ljubljana. The meeting mad visible the differences in artistic poetics of the participating artists, but also unveiled the curatorial contributions that are going to create an open and quite unpredictable gallery situation.
During the discussion entitled "In the Mirror, In the Puzzle - Gallery Visit" (14 August, 2012) that took place in-situ at the Vžigalica Gallery, Neven Korda had been considering the setting of objects in the gallery space. He is going to take a different approach to sequencing as Miha Vipotnik, who is going to use a historic reference as a starting point for his setting. Neven Korda will take an »introspective view«, he is going to reconstruct the old in order to construct a new narrative. On the other hand, the idea to thematise social problematics has led Miha Vipotnik to find a historic representation for the uncanny homy anxiety felt by the artists in Slovene cultural environment. He was intrigued by the questions: How does the artist see him or herself? What are the working conditions? How are the artists viewed by others? Some hints for the answers to this questions may be found in the canon of Slovene painting, in a painting by Jožefa Petkovška Home from the year 1889.
The main focus of discusion "Narrative and Process" was how to conceptualise the accompanying programe at Vžigalica Gallery. We had decided on some of the important frameworks for example to select a video programme (Videospottinga) that will represent some aspects of self-government that will give it a wider geo-political context or to compress the exhibition duration into two weeks due to the complexity of the exhibition process from 13 till 29 November, 2012.
Published interview with Neven Korda: Pleasure in Discipline by Nika Grabar. The video Discipline was created as a part of Borghesia’s music video series. The series is entitled The Triumph of Desire, which clearly refers to Leni Riefenstahl’s Triumph of the Will. Why did you choose such a title and how did you refer to the film? Indeed, The Triumph of Desire is my title and it does refer to Riefenstahl, but on the other hand, it refers especially to the situation in which these videos were made. I made some parts of it after I was no longer part of Borghesia. Approximately six months after the break-up of the band, I chewed on The Triumph of Desire music video collection. I wanted to create a whole, and suddenly everything went down the drain. Despite this, I wanted to realise the project. The videos were made, which for me meant that a desire had triumphed. Hence, the title – The Triumph of Desire. The video series was then released in an edition of approximately 300 copies. The premiere took place at Kinodvor, then Kino Sloga, which still screened pornographic films. But it was the only cinema with a cinema video projector.
Miha Vipotnik and Anita Lopojda present the project to the 3rd year BA students at the Department of Painting at Ljubljana Academy of Fine Arts and Design (ALUO).
Miha Vipotnik, Barbara Borčić and Ida Hiršenfelder present the project to MFA students at the Department for Painting at Ljubljana Academy of Fine Arts and Design (ALUO).
Institute for the Protection of Cultural Heritage of Slovenia has kindly sent us an X-Ray Scan of Jožef Petkovšek infamous painting for the use and research in the context of Miha Vipotnik's reconstruction of the uncanny situation of the home.
Purchasing a set of 4 post stamps published by Yugoslavia Post Office in 1967. One of the post stamps is a graphical representation of Jožef Petkovšek painting Home. The intention of the stamp is to present the initial sparkle which is going to explode into a large scale video installation.
National Gallery delivers a usb stick containing the large resolution photo reproduction of Jožef Petkovšek painting Home. The Video Turn team signs an agreement of nondisclosure.
SCCA-Ljubljana and DIVA Station Project Group present the experimental research & exhibition project at Vžigalica Gallery in the framework of Video Turn research project. The research aims to explore and present experimental artistic practices (video, multidisciplinary and media art).
WORLD OF ART School for Curators and Critics of Contemporary Art Season 14 Workshop on Writing About Contemporary Art The first meeting with the workshop mentor Petja Grafenauer and members of Video Turn research group Barbara Borčić and Ida Hiršenfelder at Vžigalica Gallery on Monday November 12, 2012 at the beginning of exhibition process that will include performances by Neven Korda and scenography set-up for filming a video sequence by Miha Vipotnik and students of Academy of Fine Arts and Design Ljubljana. Ten workshop participants (Maja Antončič, Tea Derguti, Samo Gosarič, Jasna Jernejšek, Hana Karin, Miha Kelemina, Eva Lučka Kozak, Nika Skumavc, Sara Erjavec Tekavec, Tereza Tomažič) had joined the first presentation of the Video Turn project and workshop methodology. As the mentor states: “The topic of the writing is known: Experimental Research & Exhibition Project Video Turn. The method of writing is known: experiment with internal rules of the game. The first aim is: to spend as much as time as possible at the exhibition Video Turn! The second aim is: writing analitical texts about Video Turn. The third aim is: to develop a methodology of writing about experimental projects.
Our colleague Sandro Droschl from Medienturm Graz has presented a highly distinguished selection published in the Edition Medienturm with versatile yet carefully corresponding works by artist: Klaus Schuster, Lia, Dariusz Kowalski, Karø Goldt, G.R.A.M., Pfaffenbichler / Schreiber, and reMI.
Lecture about the alleged forefather of Slovene Expresionism Jožef Petkovšek and his painting Home. The feeling of Unheimlich and its consequences for the artists of then and now.
Lecture Performance, Galerija Vžigalica, Ljubljana, 16. november 2012 Neven Korda has presented the technical parameters which define the video as a medium. The specifics of the analog image are essential for understanding of the theory of video, which is determined, according to artist, the sensor, the signal and the electronic display.
Student visit the SNG Drama - Slovene National Theatre Depo to select the scene for scenography of the video installation Home by Miha Vipotnik.
Lecture about the alleged forefather of Slovene Expresionism Jožef Petkovšek and his painting Home. The feeling of Unheimlich and its consequences for the artists of then and now.
Agitation Performance, Vžigalica Gallery, Ljubljana; Neven Korda introduced his agitation performance with a statement: “A work of art is the object produced by the artist.” This statement was made in order to emphasise the interest, which is the precursor of all other elements in the performance. Primarily, he is interested in the emergence of beauty and aesthetic elements that trigger mental images; emotional and physical involvement in the entire action.
Theater Performance, Vžigalica Gallery, Ljubljana
Radio Performance, Vžigalica Gallery, Ljubljana; Public reading of an interview with Neven Korda conducted by Miha Colnerja was a radio performance. Interview entitled In Search of Beauty, which was carried out in February 2012 for Art Words Magazine, analyses and defines the artistic practice of a devoted video artist. The discussion was published in the full printed version in Winter Issue of the Art Words Magazine in December, 2012. In the gallery, the original actors re-enacted their conversation, with the addition of background sounds from Korda’s video installations Dominant Black and a series of five performances at Vžigalica Gallery. The interview was directly aired on the Radio Student in the context of the Open (Artistic-Theoretic) Research Platform R A D A R
Neven Korda had read a few passages from An Anthropology of Images while he was screening segments from video documentary The Old and the New which he had directed in co-authorship with Zemira Alajbegović. This is a body of texts by Hans Belting who is one of the rare art historians examining the image and incorporated it into the discourse of the media. We are able to notice a certain struggle for a monopoly over the definition of how to understand images. This is much similar to the writing about history in general. Hans Belting understands the image as a symbolic unit. However, to make the images visible and to communicate them, we have to work with the medium. Juxtaposition of the text and scenes from the video has offered a reflection on how the world can be seen through the images. However, making images means to embody them (in a medium). Reference: Hans Belting, An Antropology of Images
Video installation presented in its final representational form.
Video installation presented in its final representational form.
Video Documentation Editing by Toni Poljanec.
Likovne Besede / Art Words #96 (winter 2012) has published a text written by Amalija Stojsavljević Video Turn and Seminar in Writing. The introduction to the text was written by Barbara Borčić.
A workshop for analysing and writing texts on experimental video installations in the context of School for Curators and Art Critics of the World of Art took place in parallel with the exhibition under the guidance of Petja Grafenauer. Participants of the workshop were divided into two groups, the first focused on observing an researching Neven Korda’s installation and performances, and the second monitoring the process of Miha Vipotnik. As a result, a text by Amalia Stojsavljević (student of 14th year of the World of Art) was published in the 96th issue (Winter 2012) of The Art Words Magazine. Introduction was written by Barbara Borčić (Video Turn project leader and World of Art adviser). From the text: “By observing changes and adaptations of the concepts and terms in correlation with the context it can be concluded that experimental art and experimentation in the arts represent the key drivers of the artistic fields. Besides of the product of the experimental as an empirical, the perpetual presence of theory and criticism is likewise very necessary, in order to use methods of analysis and evaluation of artistic production in accordance with the art practice.”
After Miha Vipotnik has returned from Lebanon, we organised a discussion for the evaluation of the process, documentation, editing and post production.
Artists' proposal of the correction of video documentation. The presentation of student's experience by Andreja Muha and writing process by Petja Grafenauer.
Blog editing and translation by Ida Hiršenfelder and Barbara Borčić.
Presentation of video selection at Association of Friends for Moderate Progress (Youth Cultural and Social, Media Center) Koper. The history is always divided by centuries and decades. This time frame serves it as the orientation points. But we often tend to forget that the eighties of the twentieth century would have been considered entirely different without the introduction of Gregorian calendar. How can we then speak about the video art production in the 80s? After all, we are used to recognize a sort of essential characteristic of the decade in every video we may see. But the question arises, is it at all possible for a particular decade to bare some sort of common characteristics, or we are perhaps facing only a simplified generalization of historic view. What are video works from the 80s then like? To this question we do not want to place an answer, but rather attempt to demystify the idea about specific aesthetic of the decade. With this programme we would like to show as heteroclite video selection as possible in order to show that many videos from the 80s had dealt with the topics that are much similar to what we are dealing now. People were fighting against ecological challenges, facing housing dilemmas; they also found some time to think about fashion or about the production of beautiful video works. The contemporary 80s do not exist; the future is the time that has classified these practices according to the suitable common denominators.
Discussion about experimental practices and the relation between early experiments in video scenography in performances.
At the Salon of the Museum of Contemporary Art in Belgrade the exhibition entitled Video, Televison, Anticipation will be on view from June 7 until July 14. The exhibition is curated by Branka Benčić and Aleksandra Sekulić. The exhibition presents as well the video So Young included into the DIVA Station archive. A compilation of the Borghesia video clips (So Young, The Wild Bunch, He, Too Much Tension, Cindy, A.R., ZMR) was issued in 1985 as the first video cassette by the FV Label. These are short, almost "film-like" stories focused primarily on the iconography of the body in urban surroundings. One of the clips presents a pioneer use of computer graphics.” (Videodokument)
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