{"id":5976,"date":"2019-05-26T22:49:39","date_gmt":"2019-05-26T20:49:39","guid":{"rendered":"http:\/\/www.worldofart.org\/current\/?page_id=5976"},"modified":"2019-05-26T22:53:04","modified_gmt":"2019-05-26T20:53:04","slug":"artworks","status":"publish","type":"page","link":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/year17-2018-2020\/control-cultivate-evolve\/artworks","title":{"rendered":"Artworks"},"content":{"rendered":"

control < cultivate > evolve
\nSoros Center for Contemporary Arts \u2013 Ljubljana (1993\u20131999). Its Organisation and Impact<\/a>
\n16 May \u2013 6 June 2019, \u0160kuc Gallery, Ljubljana<\/p>\n

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Artwork description: Tia \u010ci\u010dek, Kristina Ferk, Lara Meja\u010d, Anja Seni\u010dar, Borut Savski (Cirkulacija 2)
\nPhoto: Klemen Ilovar<\/p>\n

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Michael Brodsky, Transmission Interrupted<\/em><\/strong>
\nDigital print, 1991 \u2013 1995<\/p>\n

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The images were created by downloading publicly available GIF files found on the online underground pornographic Bulletin Board System<\/em> networks. By deconstructing and decoding the files, the artist changed the default-protocol-transfer of the encoded binary file, causing a distortion as a result. This alteration caused the images to deconstruct yielding a coloured interference pattern from the desynchronisation of an improperly deciphered image. The triggered error functions as a barrier to the complete viewing of the original image, which in these pictures becomes a form of censorship, despite the fact that the content of the separate images remains readable. By triggering distortions, Brodsky draws attention to the Puritan nature in American culture, which is ambivalent regarding sexual activity and imagery. The fear of the interactive nature of the new digital media and their networking with pornographic content has resulted in very real consequences in the US legislation, which has been used to control content that should, however, be decided by the consumers themselves.<\/p>\n

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Cirkulacija 2, To sleep \u2013 perchance to dream \u2026<\/em><\/strong>
\nSound collage, 2019<\/p>\n

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The soundtrack of this exhibition is the work of three members of Cirkulacija 2 (Borut Savski, Stefan Doepner and Bo\u0161tjan Leskov\u0161ek), which we conceived as a sound collage of the audio associations of the threesome, that intertwine in real time, thus forming into an ever-new continuous combination of sounds. This is how \u2013 in the manner of sleep-perhaps-dream \u2013 of me rely random logical associative interconnections \u2013 we remember the nineties \u2013 the years of our youth \u2013 and the offshoots of \u201cmedia art in real-time\u201d.<\/p>\n

[Cirkulacija 2]<\/p>\n

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Vuk \u0106osi\u0107, A Day in the Life o a Net.artist<\/em><\/strong>
\nNet.art, 1995<\/p>\n

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The website A day in the life of a net.artist<\/em> is a review of the artist\u2019s daily digital activities. The projects are hidden behind the artist\u2019s designations, which are only revealed to the visitor when he scrolls through the website. The work does not offer a complete insight into the artist\u2019s work, but shows the features of the online projects, which can be both artistic and useful \u2013 the webpages were created as an Internet archive and promotional material for individual artists. The work was commissioned for the exhibition Media in Media<\/em> and is displayed on a stationary computer in the gallery at this time, in an attempt to simulate the artist\u2019s working environment at the time the work was produced.<\/p>\n

Computer equipment generously provided by the National Museum of Contemporary History of Slovenia.<\/span><\/p>\n

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IRWIN, Ur\u0161ula Noordung<\/em><\/strong>
\nArtistic action, 1994<\/p>\n

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The central element of the Ur\u0161ula Noordung<\/em> artistic action by the IRWIN collective was the launch of a new product into the commercial network. The IRWIN collective gave a serial product \u2013 a factory-produced plush teddy bear \u2013 a white wrist strap with a black cross and returned it to the market, by which it was able to observe and draw attention to the processes that accompanied the product on the market. The plush toy Ur\u0161ula Noordung<\/em> was first exhibited in 1994 at an electronics fair as a substitute presentation for the Iskra Sysen company and was later put on sale at retail price at the Mladinska knjiga publisher as well as the Metalka store. Through the sale of the item, the artistic action divided the identity of the consumer into the buyer of a toy and the buyer of an artwork, thus opening up the issues of the status of the work of art and its commodification. In addition, the role of the child\u2019s toy within the ideological, economic and cultural context is questioned. Toys play an important role in assuming dominant social values and defining norms, usually possessing an educational function that acts in unobtrusive and innocent ways, consequently exerting control and indoctrination.<\/p>\n

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Marko Peljhan, The Park of Culture<\/em><\/strong>
\nTV situation, 03\u201947\u2019\u2019, 1996<\/p>\n

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The TV situation, as the format was labelled by the artist, is an edit of television footage showing human observation of the world and the universe \u2013 from frames shot from space stations, from the sea and from the Earth\u2019s surface, to frames taken from submarines, control rooms and monitoring agencies. The footage is supplemented by two sliding texts. Under the quotations from Sun Tzu\u2019s The Art of War<\/em>, a series of television newscasts is shown at a fast pace, which are supposed to inform the user about current events in condensed form. The video illustrates the artist\u2019s reflection on the all-pervasive nature of the media and the reality they mediate. By regulating and distributing information, a medium can also be a means of control, as viewers are always at the receiving end of selectively edited content. The work is based on the artist\u2019s personal experience \u2013 the encounter with open information channels, which provided an insight into the system of information before the final, public media selection was made. With the final statement, They are <\/em>observing you<\/em>. Switch on your transmitter and observe them<\/em>, Peljhan addresses the viewer, directly opening up the issues of privacy, observation, surveillance and control.<\/p>\n

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Nata\u0161a Prosenc Stearns, Big Brother\u2019s Room<\/em><\/strong>
\nInteractive video installation \u2013 projection and podium with image control, 1996<\/p>\n

Video: TV Slovenija archive footage, sound: Milko Lazar.
\nNevenka \u0160ivavec, The Intelligent don\u2019t like the Crowd<\/i><\/a>, accompanying text of the exhibition Big Brother\u2019s Room<\/em>, Likovni salon Gallery, Celje, 1996. With the permission of Nevenka \u0160ivavec.<\/span><\/p>\n

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The interactive spatial installation includes a video, a lectern with image and voice controls, which invites the viewer to the lectern. The video, composed of black and white archive footage from Television Slovenia, overlayered with a connecting red graphic element, shows the crowds at military gatherings, sports events and during religious ceremonies. The visitor behind the lectern can follow the instructions, thus taking an active role in viewing and rewinding the footage and becoming part of the control enforcement. Anyone can take on the role of the control enforcer, by which the installation accentuates the artist\u2019s attitude to controlling the masses and the role of the individual.<\/p>\n

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