Difference between revisions of "Slovenia"

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; Works
 
; Works
−
* Nuša and Srečo Dragan, ''The White Milk of White Breasts'' (Belo mleko belih prsi, 1969). A static black-and-white shot with changing inscriptions, was the first video in Slovenia and Yugoslavia. At that time, the authors were working within the OHO conceptual art movement and led the Information Centre for Film in Ljubljana. In video's `pioneering' period in the early '70s, they considered and used video - which enabled the immediate screening of images and direct communication with the audience - as an element of their artistic meta-actions, or as a means of documenting. They worked with the Akai and Ikegami equipment, borrowed from the Avtotehna company (Open Reel 2''), or at international video events, such as CAYC: International Open Encounter on Video in Ferarra, Paris, and Barcelona.  
+
* Nuša and Srečo Dragan, ''The White Milk of White Breasts'' (Belo mleko belih prsi, 1969). A static black-and-white shot with changing inscriptions, was the first video in Slovenia and Yugoslavia. At that time, the authors were working within the OHO conceptual art movement and led the Information Centre for Film in Ljubljana. In video's `pioneering' period in the early '70s, they considered and used video - which enabled the immediate screening of images and direct communication with the audience - as an element of their artistic meta-actions, or as a means of documenting. They worked with the Akai and Ikegami equipment, borrowed from the Avtotehna company (Open Reel 2"), or at international video events, such as CAYC: International Open Encounter on Video in Ferarra, Paris, and Barcelona.  
 
* Majna Sevnik Firšt, ''Echoes'' (Odmevi, 1969). The first experimental dance project for television was important primarily from the viewpoint of fine art interventions in the media, which continued in 1970 with the ''Five Impressions'' (Pet impresij) project.
 
* Majna Sevnik Firšt, ''Echoes'' (Odmevi, 1969). The first experimental dance project for television was important primarily from the viewpoint of fine art interventions in the media, which continued in 1970 with the ''Five Impressions'' (Pet impresij) project.
 
* Nuša and Srečo Dragan, ''Seven Nights and One Day to the Alpha-Theta Rhythm of the Oral Tradition'' (1974). Seven-day project of collective communication at the 3rd [[Festival of Expanded Media|April Meetings]] in Belgrade. It started with an instruction: `This is a gesture which you must repeat and transmit our gesture to another who will repeat... .' Video was used to provoke the viewer's imagination and to neutralise the static and hermetic character of the conceptual statement. Part of the project was a round table attended by Bogdanka Poznanović (who would later become professor of video at the Academy of Fine Arts in Novi Sad), Braco Dimitrijević, Joseph Beuys and others.
 
* Nuša and Srečo Dragan, ''Seven Nights and One Day to the Alpha-Theta Rhythm of the Oral Tradition'' (1974). Seven-day project of collective communication at the 3rd [[Festival of Expanded Media|April Meetings]] in Belgrade. It started with an instruction: `This is a gesture which you must repeat and transmit our gesture to another who will repeat... .' Video was used to provoke the viewer's imagination and to neutralise the static and hermetic character of the conceptual statement. Part of the project was a round table attended by Bogdanka Poznanović (who would later become professor of video at the Academy of Fine Arts in Novi Sad), Braco Dimitrijević, Joseph Beuys and others.
−
* [[Miha Vipotnik]], '''Videogram 4. Sen-za-tv: Dream for Television without television (Senza televisione)''', 1979. [http://www.videogram4-senzatelevisione.com/home.html]
+
* Miha Vipotnik had the opportunity of working at the studios of TV Slovenia public television since 1976, where he designed the opening credits for different commercial and advertising programmes and editorials. He investigated the structure and aesthetic effects of the electronic image; he `discovered' the feedback effect and started to create video graphic works.
 +
* The first synthesis of video and theatre - the ''Charades, or Daria'' (Šarada ali Darja, 1976) by the Glej Theatre - included a video by Nuša and Srečo Dragan in two ways: as previously shot material presenting an actress in an open-air setting, and as real-time footage of the stage events, shot and screened during the performance.
 +
* Miha Vipotnik, ''Videogram 4'' (1979). Two-year multi-media project for Slovene public television, which introduced the experimental video genre focused on the manipulation and transformation of the image and on editing. From material shot in a television studio, he made four videotapes for the ''Multi-vision'' (Multivizija, 1979) video installation; the fifth, entitled ''Media-sonia'' (Medijozonija, 1979), was broadcast as an experimental programme on television. It began with information and a warning for viewers that `all disturbances and irregularities in the picture and sound form part of the programme, and therefore they should not try to adjust the picture on their TV sets'. [http://www.videogram4-senzatelevisione.com/home.html]  
 +
* Since 1979, Vipotnik directed, as an external collaborator of Slovene public television, a number of programmes on culture and music, e.g. 'Yugo-rock' (Jugorock) and 'New Music' (Nova godba), and made the first music video clips in Slovenia.
 +
* In 1981, the [[FV 112/15]] group (later FV), working within the framework of ŠKD Forum Student Cultural Association, took over the organisation of the Student Disco programme on Tuesdays, naming it FV Disco. They borrowed disused portable video equipment (ADP - Automatic Data Processing) from the Faculty of Arts (department of psychology) and shot on waste computer tapes. They started to document concerts, projects and events at the FV Disco, which operated until 1985, first in the Student Village in Rožna Dolina, then in the Zgornja Šiška Youth Centre, and finally in the K4 Club.
 +
* Emil Memon shot an ambient video in the spirit of Warhol's films and the Velvet Underground's music, 1981. By means of a special procedure, he later transferred individual video shots onto canvases and presented his creations at an exhibition in the ŠKUC Gallery.
  
 
; Centres
 
; Centres
Line 52: Line 57:
 
; Events
 
; Events
 
* The [[Video Heads]] group visited Ljubljana on its return from the [[Festival of Expanded Media|April Meetings]] in 1975. It fascinated everyone with a van full of video technology, and with their works and a video version of the cult film Yellow Submarine by Richard Lester, which was screened for a group of Ljubljana artists in Tomaž Brejc and Taja Vidmar's apartment.
 
* The [[Video Heads]] group visited Ljubljana on its return from the [[Festival of Expanded Media|April Meetings]] in 1975. It fascinated everyone with a van full of video technology, and with their works and a video version of the cult film Yellow Submarine by Richard Lester, which was screened for a group of Ljubljana artists in Tomaž Brejc and Taja Vidmar's apartment.
 +
* A screening of works by Miha Vipotnik, and a photo-documentation and screening of works by Nuša and Srečo Dragan, were organised at ŠKUC Student Cultural and Arts Centre (later ŠKUC Gallery) at Stari Trg 21, 1979. Comprehensive catalogue with texts by the artists and Tomaž Brejc was also published for the occasion.
 +
 +
; Education
 +
* 1976, Vipotnik was the first student on the postgraduate course in video art and television, and he argued for the establishment of a video department at the Academy of Fine Arts in Ljubljana.
 +
* A seminar about film - and later also about video techniques - was organised by the Association of Cultural Organisations of Slovenia (ZKOS), 1981. The schedule comprised practical work, but also theoretical lectures and screenings. It was led by [[Peter Milovanovič Jarh]].
  
 
; Collections
 
; Collections
Line 60: Line 70:
 
* [[FAVIT]] magazine, *1973, made by FAVIT in collaboration with colleagues from Zagreb (its first editor was [[Vladimir Petek]]), Belgrade, Sarajevo and Novi Sad. It was released on micro-film and magnetic tape and viewed by means of slide projector. Beside others, Braco Dimitrijević and Joseph Beuys were among collaborators of the special international edition, realised for the Eight Yugoslav Artists exhibition in Richard Demarco Gallery in Edinburgh.  
 
* [[FAVIT]] magazine, *1973, made by FAVIT in collaboration with colleagues from Zagreb (its first editor was [[Vladimir Petek]]), Belgrade, Sarajevo and Novi Sad. It was released on micro-film and magnetic tape and viewed by means of slide projector. Beside others, Braco Dimitrijević and Joseph Beuys were among collaborators of the special international edition, realised for the Eight Yugoslav Artists exhibition in Richard Demarco Gallery in Edinburgh.  
 
* [[Stane Bernik]], 1973, in [[Sinteza]] magazine he defined video art as an experiment and as a creative experience of contemporary fine art expression. This marked the beginning of discussions about video as a new medium in texts.
 
* [[Stane Bernik]], 1973, in [[Sinteza]] magazine he defined video art as an experiment and as a creative experience of contemporary fine art expression. This marked the beginning of discussions about video as a new medium in texts.
 +
* [[Ekran]] magazine published a historical overview of tendencies in video, including a selected bibliography, edited by [[Brane Kovič]], 1977.
 +
* Bogdan Lešnik wrote in Ekran magazine, 1979, about video technology and procedures, and about video as `a medium whose specific conditions place it in the sphere of art and thus deprive it of political alertness'.
  
 
; Literature
 
; Literature

Revision as of 12:48, 30 August 2011

Cities

Ljubljana, Maribor.

Predecessors

  • The journal La testa di ferro was created by the core group of the Rijeka futurist sheave (Fascio Futurista Fiumanense) that, during the D’Annunzio administrating of Rijeka and the Quarnaro Republic (Fiume and Republica di Carnarro, 1919–1921), consisted of Mino Somenzi, Guido Keller and the journal editor, the poet, writer, diplomat and publicist Mario Carli.
  • 1920, first wave of Slovenian avant-garde artists (The poet Anton Podbevšek develops his program along anarchist proletcult lines for the journal Rdeči pilot).
  • 1921-28 Avant-garde activities in Slovenia are linked to the reviews Svetokre (1921), Rdeči pilot (Red Pilot) (1922); Ljubljanski zvon (Ljubljana Bell), Novi oder (New Stage) (1924), and Tank (1927-28), published by Ferdo Delak in Ljubljana and edited by Avgust Černigoj and Ferdo Delak - two issues were published, third banned
  • 1921, Černigoj and Delak introduce Constructivist art to Ljubljana.
  • 1924, Ljubljana, constructivist art experiments of Avgust Černigoj.
  • 1928, Berlin, first exhibition outside Yugoslavia of the Slovenian Constructivist avant-garde.
Manifestos
  • The Modern Stage by Ferdo Delak [1]
Literature
  • Irina Subotić, "Concerning Art and Politics in Yugoslavia during the 1930s", Art Journal Vol. 52, No. 1, Political Journals and Art, 1910-40 (Spring, 1993), pp. 69-71. [2]
  • Irina Subotić, "Avant-Garde Tendencies in Yugoslavia", Art Journal Vol. 49, No. 1, From Leningrad to Ljubljana: The Suppressed Avant-Gardes of East-Central and Eastern Europe during the Early Twentieth Century (Spring, 1990), pp. 21-27. [3]

Artist groups

Arts and engineering groups and collectives in CEE#Slovenia

Computer and computer-aided art

Sergej Pavlin

Electroacoustic music

Events
  • Elektroakustika, lecture and presentation cycle, Maribor, 2008. [4] [5]

Experimental film

Karpo Acimovic-Godina

Festivals and exhibitions
Literature
  • Ana Janevski (ed.): As Soon as I Open My Eyes I See a Film. Experiment in the Art of Yugoslavia in the 1960s and 1970s, Museum of Modern Art, Warsaw, 2010. With essays by Ana Janevski (on experimental art and film in Yugoslavia), Stevan Vuković (on political upheaval in 1968 in Belgrade), and Łukasz Ronduda (on contacts between Yugoslav and Polish artists in the 1970s). [6] Interview with Ana Janevski, June 2011
  • Kino-Integral: Prispevki k zgodovini slovenskega eksperimentalnega filma. [7]
  • Andrew J Horton, "Avant-garde Film and Video in Slovenia" Central European Review (September 1999) [8] (English)

Video art

Artists
Works
  • Nuša and Srečo Dragan, The White Milk of White Breasts (Belo mleko belih prsi, 1969). A static black-and-white shot with changing inscriptions, was the first video in Slovenia and Yugoslavia. At that time, the authors were working within the OHO conceptual art movement and led the Information Centre for Film in Ljubljana. In video's `pioneering' period in the early '70s, they considered and used video - which enabled the immediate screening of images and direct communication with the audience - as an element of their artistic meta-actions, or as a means of documenting. They worked with the Akai and Ikegami equipment, borrowed from the Avtotehna company (Open Reel 2"), or at international video events, such as CAYC: International Open Encounter on Video in Ferarra, Paris, and Barcelona.
  • Majna Sevnik Firšt, Echoes (Odmevi, 1969). The first experimental dance project for television was important primarily from the viewpoint of fine art interventions in the media, which continued in 1970 with the Five Impressions (Pet impresij) project.
  • Nuša and Srečo Dragan, Seven Nights and One Day to the Alpha-Theta Rhythm of the Oral Tradition (1974). Seven-day project of collective communication at the 3rd April Meetings in Belgrade. It started with an instruction: `This is a gesture which you must repeat and transmit our gesture to another who will repeat... .' Video was used to provoke the viewer's imagination and to neutralise the static and hermetic character of the conceptual statement. Part of the project was a round table attended by Bogdanka Poznanović (who would later become professor of video at the Academy of Fine Arts in Novi Sad), Braco Dimitrijević, Joseph Beuys and others.
  • Miha Vipotnik had the opportunity of working at the studios of TV Slovenia public television since 1976, where he designed the opening credits for different commercial and advertising programmes and editorials. He investigated the structure and aesthetic effects of the electronic image; he `discovered' the feedback effect and started to create video graphic works.
  • The first synthesis of video and theatre - the Charades, or Daria (Šarada ali Darja, 1976) by the Glej Theatre - included a video by Nuša and Srečo Dragan in two ways: as previously shot material presenting an actress in an open-air setting, and as real-time footage of the stage events, shot and screened during the performance.
  • Miha Vipotnik, Videogram 4 (1979). Two-year multi-media project for Slovene public television, which introduced the experimental video genre focused on the manipulation and transformation of the image and on editing. From material shot in a television studio, he made four videotapes for the Multi-vision (Multivizija, 1979) video installation; the fifth, entitled Media-sonia (Medijozonija, 1979), was broadcast as an experimental programme on television. It began with information and a warning for viewers that `all disturbances and irregularities in the picture and sound form part of the programme, and therefore they should not try to adjust the picture on their TV sets'. [9]
  • Since 1979, Vipotnik directed, as an external collaborator of Slovene public television, a number of programmes on culture and music, e.g. 'Yugo-rock' (Jugorock) and 'New Music' (Nova godba), and made the first music video clips in Slovenia.
  • In 1981, the FV 112/15 group (later FV), working within the framework of ŠKD Forum Student Cultural Association, took over the organisation of the Student Disco programme on Tuesdays, naming it FV Disco. They borrowed disused portable video equipment (ADP - Automatic Data Processing) from the Faculty of Arts (department of psychology) and shot on waste computer tapes. They started to document concerts, projects and events at the FV Disco, which operated until 1985, first in the Student Village in Rožna Dolina, then in the Zgornja Šiška Youth Centre, and finally in the K4 Club.
  • Emil Memon shot an ambient video in the spirit of Warhol's films and the Velvet Underground's music, 1981. By means of a special procedure, he later transferred individual video shots onto canvases and presented his creations at an exhibition in the ŠKUC Gallery.
Centres
  • FAVIT Centre for Film, Audio and Video Research TV and VT, 1973-80, founded by Nuša and Srečo Dragan to work on their projects.
Events
  • The Video Heads group visited Ljubljana on its return from the April Meetings in 1975. It fascinated everyone with a van full of video technology, and with their works and a video version of the cult film Yellow Submarine by Richard Lester, which was screened for a group of Ljubljana artists in Tomaž Brejc and Taja Vidmar's apartment.
  • A screening of works by Miha Vipotnik, and a photo-documentation and screening of works by Nuša and Srečo Dragan, were organised at ŠKUC Student Cultural and Arts Centre (later ŠKUC Gallery) at Stari Trg 21, 1979. Comprehensive catalogue with texts by the artists and Tomaž Brejc was also published for the occasion.
Education
  • 1976, Vipotnik was the first student on the postgraduate course in video art and television, and he argued for the establishment of a video department at the Academy of Fine Arts in Ljubljana.
  • A seminar about film - and later also about video techniques - was organised by the Association of Cultural Organisations of Slovenia (ZKOS), 1981. The schedule comprised practical work, but also theoretical lectures and screenings. It was led by Peter Milovanovič Jarh.
Collections
  • Artservis Collection, [10]
Publications
  • Vera Horvat Pintarić (ed.), Televizija danas/Television Today, Zagreb, 1972. Includes texts on the first video experiments.
  • FAVIT magazine, *1973, made by FAVIT in collaboration with colleagues from Zagreb (its first editor was Vladimir Petek), Belgrade, Sarajevo and Novi Sad. It was released on micro-film and magnetic tape and viewed by means of slide projector. Beside others, Braco Dimitrijević and Joseph Beuys were among collaborators of the special international edition, realised for the Eight Yugoslav Artists exhibition in Richard Demarco Gallery in Edinburgh.
  • Stane Bernik, 1973, in Sinteza magazine he defined video art as an experiment and as a creative experience of contemporary fine art expression. This marked the beginning of discussions about video as a new medium in texts.
  • Ekran magazine published a historical overview of tendencies in video, including a selected bibliography, edited by Brane Kovič, 1977.
  • Bogdan Lešnik wrote in Ekran magazine, 1979, about video technology and procedures, and about video as `a medium whose specific conditions place it in the sphere of art and thus deprive it of political alertness'.
Literature
  • Videodokument. Video art in Slovenia 1969-1998, SCCA Ljubljana. Catalogue, book of essays, CD-ROM, 2001. [11]
  • Marina Grzinic, "Video Art in Slovenia and in the Territory of Ex-Yugoslavia (Toward an Electronic Art Media Theory in Eastern Europe)", Mute Jan 1997. [12]
  • "Video from Slovenia", [13]
  • Barbara Borčić, "Video Art from Conceptualism to Postmodernism" published in the Impossible Histoires (Historic Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918-1991) edited by Dubravka Đurić and Miško Šuvaković (MIT Press: 2003), pp 490-524. [14] [15] [16]
  • Barbara Borčić, "From Alternative Scene to Art Video: Video Production in Slovenia 1992-1994", Ljubljana, March 1994. [17]
  • Barbara Borčić, "Reception of Video Production in Slovenia", [18]
  • Marijan Susovski, "Video u Jugoslaviji", Spot, no. 10, Zagreb 1977.
  • Raša Todosijević, Video, Videosfera: video/društvo/umetnost ("The Video: Videosphere: video/society/art"), Studentski izdavački centar, ed. Mihailo Ristić, Belgrade 1986.
  • Zemira Alajbegović and Igor Španjol, "In the tehnological grip of a television station: an interview with Miha Vipotnik", in: Videodokument: Video Art in Slovenia 1969-1998, ed. Barbara Borčić, SCC – Ljubljana, Ljubljana, 1999.
  • Igor Španjol, "An artistic evening: television presentation and production of art video", in: Videodokument: Video Art in Slovenia 1969-1998, ed. Barbara Borčić, SCCA-Ljubljana, Ljubljana, 1999.
  • Dušan Mandić, "ŠKUC-Forumova video produkcija", Ekran, no. 1-2, Ljubljana, 1984
  • Ana Fratnik, "Locality in the global medium: Video art in Slovenia". Diploma thesis, 2010. (Slovenian) [19]
  • http://www.videospotting.org/eng/texts
  • Tomaž Brejc on Miha Vipotnik and Nuša and Srečo Dragan, in Delo magazine. [20]
Resources
  • Chronology of Slovene video art, [21]
  • Videodokument, database of video art in Slovenia 1969-1998, [22]
  • Diva archive of SCCA-Ljubljana, [23] [24]
  • Internet Portfolio, by SCCA-Ljubljana, *1996 [25]

Art history and art theory

Tomaž Brejc, Barbara Borčić, Marina Gržinić

Literature

  • Dubravka Djuric and Misko Suvakovic (eds.), Impossible Histories: Historic Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918-1991, MIT Press, 2003. [26]
  • Irina Subotić, "Avant-Garde Tendencies in Yugoslavia", Art Journal, Vol. 49, No. 1, From Leningrad to Ljubljana: The Suppressed Avant-Gardes of East-Central and Eastern Europe during the Early Twentieth Century (Spring, 1990), pp. 21-27. Published by: College Art Association. [27]

Resources


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