Untitled - ArtNetLab

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KODE IN IDENTITETE Identiteta posameznika ni le ena, mnogo jih je in neprestano jih menjavamo. Hkrati smo lahko otroci, starši, ljubimci, bralci, uslužbenci, študentje, meščani ali državljani… Obstajajo identitete, ki si jih nadenemo v intimi in tiste, ki jih prevzemamo v javnosti. Identiteta nas določa, a nikoli ne zmore razkriti, kdo zares smo. Človek je vedno veliko več kot zgolj Stanetov sin, Marijin oče, tisti, ki bere Gogolja, prodajalka, Kamničan ali Slovenka. Identiteta je le znak, ki opiše del našega življenja, pa vendar nas lahko usodno zaznamuje. Novomedijska projekta Brez besed (2005) in Povabilo na večerjo 20. stoletja (2006) Vanje Merviča raziskujeta raznolikost in omejenost družbenih identitet ter njihovih kodov. Državni ustroj naše identitete standardizira, jih šifrira in kodira s posebnim jezikom. Naša življenja - skupek preživetih trenutkov, neizrečenih misli, nežnih dotikov in prelitih solza, so spremenjena v kode, s pomočjo katerih nas država imenuje, razvršča, prepoznava, razume, nadzira in upravlja z našimi življenji. Eden izmed sistemov znakov - posebna birokratska koda, ki določa eno izmed naših identitet, je Enotna matična številka občana (EMŠO). EMŠO, številka, ki je bila v uporabi zgolj na območju bivše SFRJ, je bila občanu dodeljena v trenutku njegovega rojstva in ga je spremljala vse do smrti. Sestavljena iz šestih delov - dneva, meseca in leta rojstva, številčnega znaka regije, vrstne številke rojstva v regiji in kontrolne številke, izračunane s pomočjo posebej za EMŠO razvitega javnega algoritma - predstavlja poseben kodni sistem, jezik, ki nam sporoča določene podatke o občanu. EMŠO državi in njenim uslužbencem govori o našem spolu, starosti in kraju našega rojstva. Ta skupek števil država uporablja pri zdravstvenem varstvu in zavarovanju, davkih in carinah, obrambi, urejanju prostora, zaposlovanju in spremljanju delovne sile, pokojninskem in invalidskem zavarovanju, pravosodju, šolstvu, socialnem varstvu in drugih statistikah. EMŠO človeka spremeni v številko, ki zabriše njegovo človeškost. Mervičev projekt kodo izrabi za nastanek poetike podob. Vnos EMŠO v posebno okence ustvari enkratno kombinacijo video podob na ekranu. Sistematizirana, standardizirana številka sproži nastanek umetniškega dela. To je sintetizirano za vsakega posameznika, ki vnese pravilno EMŠO kodo. Posamezniku lastna številka, ki, kakor mnogo drugih osebnih kontrolnih kod s sebi lastnim, matematično ustvarjenim znakovnim jezikom, dodobra kontrolira naša življenja, sproži edinstveni tok podob, ki ga poleg uporabnika - imetnika EMŠA, spremlja celotno galerijsko občinstvo. Šifra za javno uporabo, ki naj jo posameznik po naročilu državne oblasti skrbno hrani, saj je dostopna enoznačnemu branju vsakogar, ki pozna skrivnosti EMŠO jezika, sproži intimen flux podob, ki je prikazan javnosti, a ponuja mnogovrstna branja. Birokratski jezik, ki našo identiteto omeji na zbir podatkov, je v umetniškem delu razpršen v tisoč možnih pomenov. Umetnost, ki za svoj medij izbira sodobno tehnologijo v tem in tudi v naslednjem Mervičevem projektu presega svojo medijsko specifiko in vanjo vnaša poetično izraznost. Če projekt Brez besed identiteto z uporabo EMŠA omeji na eno samo, ki pa je edinstvena za vsakega imetnika kode, Povabilo na večerjo 20. stoletja omogoča njeno spreminjanje. Družbenost večerje, posebnega obreda preobloženega s pomeni, katerega reference prek ključnega prizora krščanske simbolike segajo globoko v mitološko preteklost, je Mervič v projektu prestavil na konec 20. stoletja. Dogodek, na katerega nas vabi umetnik in vabilu dodaja opozorilo, naj nanj nikakor ne pridemo prepozno, je že minil. V začetku enaindvajsetega stoletja nas umetnik vabi, da si izberemo eno izmed stereotipnih identitet, značilnih za površno podobo sveta, ki so nam jo s pomočjo množičnih medijev ustvarili ob koncu preteklega stoletja. Uporabniki projekta tako v realnem času prisostvujemo preteklosti, ki se za nas predvaja v sodobnosti. Fotografija našega obraza zapolni praznino izbrane uniformirane podobe. Za hip lahko postanemo glasbeni zvezdnik, terorist, heker, znanstvenik, porno diva ali paraplegik. Stereotipna zunanjost je dopolnjena z našo podobo, praznina je izpolnjena. Toda tudi tako dopolnjena podoba še vedno ostaja zgolj prazen znak. Umetnik nam kaže izpraznjeno sodobno družbo v kateri videz navidezno določa vsebino. V družbi, v kateri je treba delovati hitro in učinkovito, tipizirani jezik podob uporabljamo, da ustvarjamo lastno reprezentacijo, s katero družbi kažemo naše želje, moči, strahove, ljubezni, status in prepričanja, se povezujemo v skupine ali se od njih ločujemo. Izbira prepoznavnih obrazcev je velika, toda kaj nam zares pove o posamezniku Petja Grafenauer Krnc Društvo za povezovanje umetnosti in znanosti ArtNetLab je produkcijsko-organizacijska entiteta, ki vzpostavlja platformo za nastajanje novomedijskih umetniških projektov najmlajših generacij umetnikov, tako da nudi organizacijsko podporo sodelovanju med Akademijo za likovno umetnost in oblikovanje ter Fakulteto za računalništvo in informatiko Univerze v Ljubljani. Osrednja institucija ArtNetLaba je organiziranje Mednarodnega festivala računalniških umetnosti, ki omogoča tako realizacijo kot predstavitev del, obenem pa odpira možnost neposrednega stika novih novomedijskih del z mednarodno uveljavljenimi projekti s tega področja. Aleš Vaupotič, ArtNetLab Society for Connecting Art and Science ArtNetLab establishes a platform for production management of new media art projects by the youngest generations of artists. It offers organisational support for the collaboration of the Academy of fine art and design and the Faculty of computer and information science, University of Ljubljana. The key institution of ArtNetLab is our organization of the International Festival of Computer Arts, making possible the realization and presentation of the works and at the same time opening up the possibility of direct contact of the new new media works with internationally established projects from this field. Aleš Vaupotič, ArtNetLab Vanja Mervič: Brez besed/Wordless (2005), Povabilo na večerjo 20. stoletja/ An Invitation for a 20th Century Dinner (2006) Besedila/Texts: Petja Grafenauer Krnc, Vanja Mervič. Uredili/Edited by: Narvika Bovcon, Aleš Vaupotič. Založil/Published by: ArtNetLab Društvo za povezovanje umetnosti in znanosti. ArtNetLab Društvo za povezovanje umetnosti in znanosti/ ArtNetLabSociety for Connecting Art and Science, Trubarjeva 76a, 1000 Ljubljana narvika.bovcon@guest.arnes.si http://black.fri.uni-lj.si/ Zanj/Presented by: Aleš Vaupotič. Prevod/Translation: Sunčan Stone. Oblikovanje/Design: LIMB. Tisk/Print: VZA Logatec. Naklada/Number of copies: 300. Leto/Year: 2007. Zahvale/Thanks to: FRI, ALU, SNG NOVA GORICA, MULTIMEDIJSKI CENTER MOSTOVNA, VASJA KOKELJ, JOŠKO MARKIČ, SAMO OBLOKAR, HARLEM UNDERGROUND, MESTNA OBČINA NOVA GORICA, PETJA GRAFENAUER KRNC, VSEM STATISTOM PRI VEČERJI 20-EGA STOLETJA/20TH CENTURY DINNER EXTRAS (KATJA ROBIČ, JURE POŠA, BOGOMIR TRPIN, JASNA PRINČIČ, NINA URŠIČ, ALEKSANDER MAVRIČ, VASJA PELHAN, DECO, DRAGAN-MACHO MAN, ROMILDO KUMAR, VASJA DRAŠČIČ, BOŠTJAN KOMEL, MATEJ DOLJAK, LUKA MANOJLOVIČ, PETER MIGNOZZI, MATJAŽ KRAMAR), ALEKSANDER BLAŽICA, KUD LIMB, HARLEM NOISE COLLECTIVE, KRISTJAN PUGELJ, LARA JANKOVIČ, ANA FACCHINI, ALFRED DE LOCATELLI, SERGIO FIGAR, IGOR MAČKOVŠEK, GIUSSEPE ANELLO, HILDA HANSEN, MOJCA VALIČ, MARJUTA SLAMIČ. CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 7(497.4):929Mervič V. MERVIČ, Vanja Wordless ; An invitation for a 20th century dinner / Vanja Mervič ; [besedila Petja Grafenauer Krnc, Vanja Mervič]. - Ljubljana : ArtNetLab - Društvo za povezovanje umetnosti in znanosti, 2007 ISBN 978-961-92000-0-1 1. Mervič, Vanja: An invitation for a 20th century dinner 231504128
Vanja Mervič Rojen 13.12.1973 v Kopru. Maturiral je na Instituto d´arte Max Fabiani, Gorizia. Prva dva letnika končal na beneški akademiji, v letu 2001 pa je diplomiral na Accademia di Brera v Milanu. 1999 je bil na študentski izmenjavi na Hoogeshool, 3D-multimedia v Gentu, Belgija. Vpisan na magistrski študij smer video in novi mediji na ALU Ljubljana, mentor Srečo Dragan. Born on the 13th of December 1973 in Koper, Slovenia. He finished his A levels at Instituto d'arte Maks Fabiani in Gorizia, Italy. For two years he frequented Accademia di Belle Arti Venezia. He transferred to Accademia di Brera in Milano and graduated in 2001. In 1999 he was as an exchange student at Hoogeshool, 3-D multimedia in Gent, Belgium. From 2004 he has been attending a post graduate course in video and new media at the ALU, Ljubljana, mentor Srečo Dragan. DELAVNICE/WORKSHOPS: -Bloegroup, (Sam Bogart), Kunstcentrum Voruit, Gent, (B), 1999 -"Long pose", Pascal Bass, Hoogeschool, Gent, (B), 1999 -Toonel Fabrik Amsterdam, Kunstcentrum Voruit, Gent, (B), 1999 -"Da cosa nascie cosa", Fondazione Pistoletto, Gorizia,(I)-Nova Gorica, (SLO), 2006 -"Le chiavi di Ichnos tra cielo e terra", Perfugas, Sardinija, (I), 2006 -"Web Jay-ing software", Anne Roquigny and Stephane Kyles, Kiberpipa , Ljubljana, (SLO), 2006 -"Wherever we go - Ovunque andiamo", z Adrian Paci, Via Farini, Milano, (I), 2006 -"Public art", Antoni Muntadas, Via Farini, Milano, (I), 2006 IZBOR SKUPINSKIH RAZSTAV/SELECTED GROUP EXHIBITIONS: -"Ex Tempore", Piran, (2. nagrada/2nd prize), (SLO), 1996 -"Nuove Figure", Galerija /Gallery Tragetto, Venezia, (I), 1996 -"Linguaggi in diagonale", Lecce, (I), 1997 -"Salon 1", Museo della Permamaente, Milano, (I), 1998 -"Rainbow for dinner", Kunstcentrum Voruit, Gent, (B), 1999 -"Waiting", Kunstcentrum Voruit, Gent, (B), 1999 -"Octavo", ACEK, Gent, (B), 1999 -"Sewing", Film Video monitor, Gorizia, (I), 2000 -"Arte oggetto", Buje, (I), 2001 -"Začasni delavec"/"Part time employee" Galerija/Gallery Alkatraz, Ljubljana, (SLO), 2002 -"12 + 4", razstava ob vstopu Slovenije v EU z Vasjo Kokelj, Ivem Tabarjem/an exhibition with Ive Tabar and Vasja Kokelj for the occasion of Slovenia entering United Europe, javni prostor/open space, Nova Gorica, (SLO), 2004 -MMMArt Medana, Kulturni dom, Gorizia (I) 2005 -11. mednarodni festival računalniških umetnosti/11th International Festival of Computer Arts, Maribor, (SLO), 2005 -Predstavitev projekta/Presentation of the project "Wordless", net.culture club MAMA, Zagreb, (HR), 2005 -"Wordless", galerija Hodnik - galerija sodobne umetnosti/gallery of Contemporary Art Celje-Hodnik, Celje, (SLO), 2005 -"Arhipelag", javni prostor/open space, Nova Gorica, (SLO), 2005 -"Vissages francofones - vissage de la Slovenie", museum Henri-Martin, Chantrerie, Crenier du Chapitre, Chaors, (FR), 2005 -"Wordless", ArtNetLab production 05, Galerija/Gallery SVC, Ljubljana, (SLO), 2005 -"Wordless", Centro Culturale Candiani Venezia, (I), 2005 -"Panorama 360 - slika v mediju - medij v sliki"/"Panorama 360 - media in the images - images in the media", Tir, Mostovna, (SLO), 2006 -12. mednarodni festival računalniških umetnosti/12th International Festival of Computer Arts, Mestna Galerija Ljubljana, Kiberpipa, Mestna hiša/Town Hall, Ljubljana, (SLO), 2006 -Predstavitev projekta/Presentation of the project "Invitation for a 20th century dinner", net.culture club MAMA, Zagreb, (HR), 2006 -"DobiaLab festival", Dobbia, (I), 2006 -"XL-ART", posoška državna knjižnica Stara Gorica/State Library, Gorizia, (I), 2006 -Predstavitev projekta/Presentation of the project "Invitation for a 20th century dinner", Galerija/Gallery ESC, Graz, (A), 2006 CODES AND IDENTITIES There is no single identity of an individual, they are numerous and we constantly change them. At the same time we can be children, parents, lovers, readers, employees, students, citizens, etc. There are identities that we apply in our intimate moments and those that we use publicly. The identity defines us, but can never reveal our true self. An individual is always more than John's son, Mary's father, the one who reads Gogolj, a salesperson, a Londoner or a Slovene. Identity is merely a signifier that describes a part of our life and yet it can determine us. The new media projects Wordless (2005) and An invitation to a 20th century dinner (2006) by Vanja Mavrič research the differences and limitations of social identities and their codes. The state mechanism standardises, codes and sorts our identities with a special language. Our lives - a cluster of experienced moments, unspoken thoughts, gentle touches and shed tears are changed into codes with which the state names, recognises, sorts, understands, and monitors us as well as manages our lives. One of the system signifiers - a special bureaucratic code, which defines one of our identities, is the Citizen's personal identification number (CPIN). CPIN, a number that was in use only in the territory of the former Socialist Yugoslavia, was assigned to the citizen at the moment he was born and followed him right until his death. It is composed from six parts - day, month and year of birth, the numerical sign of the region, the ordination number of the birth within the region and a control number that was calculated with a specially developed public algorithm - and all of this represents a special code system, a language that offers us certain information on the citizen. CPIN tells the state and its employers our gender, age and place of birth. These numbers are used by the state at health care and insurance, taxes, defence, environment regulation, employment and work force monitoring, pension and disability insurance, the justice system, education, social care and other statistics. CPIN turns an individual into a number and erases his individuality. Mervič' project uses the code to create poetic images. Inputting a CPIN into a special box creates a unique combination of video images on the screen. The systemised, standardised number triggers the creation of a work of art. This is synthesised for every individual who enters the CPIN code. The individual's typical number, which, similar to numerous other personal control codes with their own mathematically created sign language, controls our lives, triggers a unique flow of images, which is followed by the user - the CPIN holder - and the entire gallery audience. The code for public use, which the user is instructed to carefully protect by the state, for it can be read (in a unified way) by anyone who knows the mysteries of the CPIN language, triggers an intimate flux of images that are shown to the public, but offer various readings. In this work of art the bureaucratic language that limits our identity to a dataset is dispersed into a thousand different meanings. Art that chooses modern technology for its medium in this and the next project of Mervič overcomes its medium specifics and introduces a poetic expression. If the project Wordless limits the identity with the use of the CPIN to a single identity that is specific to the code holder, An invitation to a 20th century dinner enables the changing of the identity. In this project the sociability of the dinner, a special ritual overburdened with meanings - the references of which reach back into the mythological past through the central scene of Christian symbolism, was moved to the end of the 20th century. The artist has invited us to an event with an invitation that includes a warning that we should not be late however the event has already taken place. At the beginning of the 21st century the artist invites us to choose one of the stereotypical identities typical for the casually assessed image of the world that was created at the end of the previous century with the aid of mass media. Thus the users of the project attend (in real time) the past that is played in the present especially for us. A photograph of our face fills the emptiness of the chosen uniformed image. For a moment we can become a pop star, a terrorist, a hacker, a scientist, a porn star or a paraplegic. Our image is added to the stereotypical exterior, the void is fulfilled. But even such a complemented image remains an empty sign. The artist shows us the empty modern society in which appearance seems to define the contents. In a society that demands fast and efficient operation, we use the typified language of images to create our own representation with which we show the society our desires, powers, fears, loves, status and beliefs, we join groups or step out of them. The choice of recognisable forms is great, but what does this truly tell us about the individual Naslov/Address: Cesta 15. Septembra 14, 5000 Nova Gorica, Slovenija Tel.: + 386 (0)31 883 415 e-mail: vanja.mervic@gmail.com Petja Grafenauer Krnc
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Untitled - ArtNetLab

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