europea-n_i-ntercultura-l_d-ialogue

E-U-R-O-P-E-A-N_I-N-T-E-R-C-U-L-T-U-R-A-L_D-I-A-L-O-G-U-E
SPECULUM ARTIUM 08
Ljubljana – Dunaj/Vienna – Praga/Prague
Akademija za likovno umetnost in oblikovanje,
Univerze v Ljubljani/Academy of Fine Art and Design,
University of Ljubljana, Slovenia
Univerza za uporabne umetnosti Dunaj/
Universität für Angewandte Kunst Wien/
University of Applied Arts Vienna, Austria
Akademija za likovne umetnosti iz Prage/
Akademie výtvarných umění v Praze/
The Academy of Fine Arts Prague, Czech Republic
http://www.alu.uni-lj.si/
Srečo Dragan, profesor/professor
Mirjana Batinić
Marko Glavač
Iztok Holc
http://www.dieangewandte.at/
Ruth Schnell, profesor/professor
Peter Tilg
Christoph Höschele
Daniel Kauer
http://www.avu.cz/
Markus Huemer, profesor/professor
Jaroslav Hrdlicka
Michal Pustejovsky
Stepan Klenik
Integrirana umetnost potencialnega časa/
Integrated Art of a Potential Time
22. – 24. 5. 2008, Mestna galerija Ljubljana/City Art Museum Ljubljana, Mestni trg 5, Ljubljana, Slovenija

Okultizem in obskurizem črne škatle v medijski
umetnosti: Carcere (01) in Carcere (02)
Arhitekturne vizije Giovannija Battiste Piranesija lahko
razumemo kot projekcije notranjega jaza, s tem pa se nam
odpira eden od možnih pogledov na problematiko medijske
umetnosti: arhitektura računalniškega softvera in arhitektura
črne škatle v inštalacijah medijske umetnosti sta podobno
obskurni in celo okultni kot je arhitekturni svet bakrorezov z
naslovom Carceri. Piranesi je ustvaril omenjene ječe v letih
1742/43 ter se k njim vrnil še enkrat leta 1761. To niso le
njegova najpomembnejša dela, ampak so prelomna tudi v
okvirih umetnostne zgodovine. Kot popolnoma fantazijski
svetovi predstavljajo arhitekturne rešitve »negativnih
utopij«. Piranesijeve ječe napovedujejo umetnost surrealizma.
Strukturno so bolj podobne »čistemu zlu« (prim. Immanuel
Kant, Religija znotraj meja samega uma, 1793), čudnim, celo
okultnim sanjam kot pa arhitekturi. Negirajo čas, premeščajo
prostore in jih vzporejajo z novozgrajenimi hibridnimi
svetovi, nakazana je ukinitev gravitacije, vznemirjenje ob
nemogočem se staplja z nadnaravnimi fenomeni, ki jih ni
mogoče znanstveno razložiti.
Piranesijeve vizije ponavljajo podobne si, temačne
arhitekturne elemente v neskončnost, gradijo brezmejna
klavstrofobična prizorišča. Celo ko jih razumemo zgolj v
metonimičnem smislu, so še vedno obskurne, saj se hodniki,
stopnice, lestve in mostovi nizajo v neskončnost brez izhoda.
Carceri so sestavljeni iz arhitekturnih elementov vseh
preteklih stoletij. To seveda še ne pomeni, da fantastične
arhitekturne vizije in slike ruševin pred renesanso niso
obstajale, prav tako ni arhitekturni eklekticizem novost ali
osrednji vidik – najdemo ga npr. že v delih Monsù Desideria –
gre bolj za nenavadni sinkretizem arhitekturnih slogov, ki
zbuja občutje ujetosti v neskončnem sprehodu med sobami,
zrcalnimi podobami in ponavljanji. Prav tu najdemo
sorodnost s surrealizmom.
Danes lahko najdemo podobna neskončna ponavljanja in
zrcaljenja v virtualnih svetovih, ki jih gradimo s pomočjo
računalnika s ponavljajočimi se algoritmičnimi zankami v
računalniških programskih nizih. Podobno kot se
arhitekturni slogi Piranesijevih ječ sinkretistično sestavljajo,
tudi sodobni programski jeziki kot npr. Java uporabljajo
odprtokodne predprogramirane segmente iz matrice. »V
neprostoru matrice poseduje notranjščina določenega
podatkovnega konstrukta neomejene subjektivne
dimenzije,« piše William Gibson v knjigi Nevromant. CASE
(Computer Aided Software Engineering) se uporablja za
oblikovanje raznolikih grafičnih vmesnikov in podatkovnih
zbirk. Case je obenem tudi ime junaka Gibsonovega romana
iz leta 1984. Case zasleduje sanje, ki so jih ustvarili programi,
izgublja se v podatkovni zbirki, v diagramu računalniškega
vezja, ki zajema ves svet, priklopi se prek krova za vstop v
kibersvet, ki njegovo raztelešeno zavest projicira v skupinsko
halucinacijo matrice.
Pretanjen psihološki avtomatizem je najti tako v kompleksni
programski arhitekturi računalniških mrež kot v Piranesijevih
arhitekturnih svetovih. V obeh primerih gre za surrealističen
pritisk psihe na mišljenje, ki se ne ozira na razum, estetske in
etične postavke. Virtualni svetovi, posebej kibersvet, in
Piranesijevi svetovi temeljijo na surrealističnem verovanju v
višjo realnost zanikanih asociacij, opomnikov o prevladi sanj
in halucinacij nad razumom. Ena osnovnih predpostavk
surrealizma je obstoj še ene dimenzije realnosti, ki je nad
ravnjo zdravega razuma in vsakdanje logike in je zato
poimenovana kot nad-realnost.
V obeh primerih, Piranesijeve arhitekture ječ in arhitekture
računalniških programov, je osamljenost izenačena z
izključenostjo iz zunanjega sveta, kot zamolkla svetloba
čudnih stanj zavesti in sanj v opijski omami. Znotraj teh se
odvija zgodba, v kateri je meja med realnostjo in domišljijo
zabrisana. Arhitekturni formi v omenjenih primerih nista
simbolični ekspresiji notranje senzibilnosti in temnih počutij
umetnika, ampak sta rojeni neposredno iz razuma. Sta svet
okultnih sanj, pripisan silni moči človeške duše in obskurni
domišljiji, v kateri se stvarnik giblje kot bitje lastne kreacije.
Arhitektura obeh je animirana. Obstajajo določene povezave
med človeško dušo, notranjim jazom in animirano
arhitekturo. In umetniška domišljija je obskurna, saj njeni
sestavni deli, kosi programa – arhitekturni blodnjaki tako
rekoč – skrivajo temne skrivnosti.
V svetu notranjega jaza je ta sam svoj bog, tisti ki ustvarja in
opazuje svoj svet. Samo v tem svetu jaza se umetnost lahko
razvije v smislu sinestezije, ki združuje čas in prostor.
Skrivnost subjekta razkriva transcendentalno praznino. Vse
obskurne zablode poniknejo v katarakt in posledično,
arhitektura, v kateri so lahko predstavljeni digitalni virtualni
svetovi v fizičnem svetu, je črna škatla, ki je tako temna, da
njena izolacija skorajda nakazuje neskončne ponovitve.
Tako se v inštalaciji, ki je redundantno poimenovana Črna
škatla, ne vidi nič drugega kot zatemnjena soba, ki je bila
pobarvana črno in v kateri na projekcijski površini, ki je ostala
bela sredi črne stene, vseeno ni projekcije. Gledalec je ob
vstopu v Črno škatlo zmeden, saj bele površine ne vidi takoj.
Postopoma se mu oči privadijo na temo in bela, svetleča
površina postaja vse bolj vidna. Je neke vrste nadomestilo za
ekran, saj zavzema mesto v prostoru, kjer gledalec pričakuje
projekcijo, s tem pa že vzpostavlja pogoje zidov bele
galerijske kocke, ki predstavljajo intelektualno projekcijsko
površino za kontemplacijo tradicionalnih slik, predstavljenih
v njej. Inštalacija ni »umetnost o umetnosti« ampak logičen
razmislek o pogojih, v katerih se umetnost predstavlja. Črna
škatla, prazna in brez vsakršne opreme, postane umetniško
delo. Črna škatla novih vizualnih medijev, praznega
razstavnega prostora medijske umetnosti, je tako idealna
slika s tridimenzionalno površino. Ta ekstremno reduciran in
strogo konceptualen prostor za predstavitev medijske
umetnosti, črna škatla, je animirana arhitektura. Je najbolj
povzdignjena oblika slikarstva, z njenimi implicitnimi
obsesijami in sublimacijo. Temna arhitektura, v kateri je
predstavljena medijska umetnost, ni samo ontološki strah,
ampak prej simbol sestopa v neskončnost notranjega jaza.
Oddaljevanje od bele kocke in njenih predpostavk, kot so
singularnost umetniškega dela in kult genialnega umetnika,
je bilo eno izmed izhodišč za medijsko umetnost, vendar pa
se prav te okoliščine vračajo v inštalacije skozi zadnja vrata.
Teh okoliščin ne ustvarja sveta bela kocka, ampak prav
navidezno obskurna, okultna, mitična in sakrosanktna črna
škatla; vsak virtualni pobeg iz realnega sveta je ilustracija
singularnosti umetniškega dela in umetnika.
Markus Huemer
Occultism and Obscurism of the Black Box in Media Art
Carcere (01) and Carcere (02)
Conceiving of Giovanni Battista Piranesi's architectural fantasies
as projections of the inner self may represent one possibility of
thematically addressing a fundamental problem of media art: the
architecture of software programs and the architecture of the
black box in media art installations function in a manner that is no
less obscure, or even occult, than the architectural world
rendered in the Carceri copper plates. The architect created these
"dungeons" in 1742/43 and reworked them again in 1761. They
are not only considered his major works, they can also be seen as
something completely new in terms of art history. They are a
world of imagination, pure phantasmagoria, and their aesthetics
result in the strangest architectural forms of "negative utopias".
What is new about Piranesi's Carceri is their anticipation of
Surrealism. They are more similar in structure to a "radically evil"
(cf. Immanuel Kant, Religion within the Limits of Reason Alone,
1793), bizarre, even occult dream than to architecture. In them,
the negation of time, the shifting of space paralleled by the
simultaneous creation of hybrid spaces, the suggested and
imagined suspension of gravity and the thrill of the impossible
merge with supernatural phenomena that cannot or have not
been scientifically explained.
Piranesi's visions always replicate the same, or similarly dark,
architectural elements ad infinitum, they suggest endlessly
claustrophobic situations. Even when considered only in the
metonymic sense, they can be described as obscure, since the
corridors, stairs, ladders and bridges run on forever, while never
revealing an exit. Furthermore, the Carceri assembled using
architectural elements and relics from every century. This is not to
say that fantastic architecture and paintings of ruins had not been
found since the end of the Renaissance. Nor was their
architectural eclecticism the really innovative or essential
element - it could, for example, already be found in the work of
Monsu Desiderio - it is more the peculiar syncretism of
architectural styles, a syncretism, that aims at a sense of closure
through endless flights of rooms, mirror images and repetitions.
And exactly therein lies the proximity to Surrealism.
A contemporary manifestation of the endless mirror images and
repetitions found in Piranesi's architectural worlds can be found
in the virtual worlds created by computers, in the repetitive loops
and algorithms used in their program strings. Just as the
architectural styles of the Carceri come together syncretistically,
modern programming languages, such as Java, draw upon
previously programmed segments from the matrix, which are
available as open-source-code. "In the nonspace of the matrix,
the interior of a given data construct possessed unlimited
subjective dimension", writes William Gibson in his brilliant novel
Neuromancer. "Computer Aided Software Engineering" (CASE) is
used in designing diverse graphical interfaces and databases.
Case is also the name of the hero in the cyberspace world created
in Gibson's 1984 novel. Case is the protagonist in an endless
computer story, an escape from the real world into cyberspace.
Case is pursuing a dream created by programs, he is lost in the
database, the circuit diagram of a world computer, he jacks "into
a custom cyberspace deck" and it projects "his disembodied
consciousness into the consensual hallucination that … [is] …
the matrix."
A delicate psychological automatism is found in both the
complex program architecture of computer networks and in
Piranesi's architectural worlds. In both worlds one discovers a
surreal dictate of the psyche to think without being controlled by
reason, beyond all aesthetic and ethical considerations. The
virtual worlds, particularly those in cyberspace, and the worlds
created by Piranesi are based on a surrealist belief in the higher
reality of neglected associations, reminders of the omnipotence
of dreams and hallucinations. Thus, Surrealism is not found in the
immaterial world of the hereafter. One of its primary implications
is the assumption of the existence of another dimension of reality,
one that is on a level above common sense and everyday logic,
hence a "sur-reality".
Both in the architecture of computer programs and in Piranesi's
dungeons, loneliness is equated with being excluded from the
outside world, the dimming of light of bizarre states of
inebriation and opium-induced dreams. In them, a story takes
place, in which the border between reality and fantasy become
blurred. Neither form of architecture is the symbolic expression of
the innermost sensibilities, of the dark moods of the artist-author,
they were born directly of the mind. They are the world of an
occult dream, to the extent that it ascribes to the overwhelming
power of the human soul, and of an obscure imagination, in
which the creator moves about as a creature of his own making.
At the same time, the architecture of Carceri and of programming
languages is animated. There is ultimately some correspondence
between the human soul, one's own inner self, and animated
architecture. And the artistic imagination is obscure, because its
constituent parts, the program elements - the architectural
aberrations, so to speak - seem to harbor dark secrets.
Within this universe of the inner self, the inner self is its own god,
one that creates and observes its own world. It is only in this
universe of the self that the arts can be fully developed in a
synaesthetic sense, unifying space and time. The enigma of the
subject reveals the transcendental vacuum. All obscure
aberrations sink into a cataract, and, consequently, the
architecture in which digitally based virtual spaces can be
presented in the physical world is the black box, so dark that its
isolation seems to indicate endless repetitions.
Hence, in an installation that is redundantly entitled Black Box,
nothing can be seen but a darkened room that has been painted
black, and, although a projection surface has been left white in
the middle of the black wall at the front, there is no projection.
The viewer is at first confused when entering the Black Box, since
the white space cannot be immediately recognized in the
darkness. Gradually the eyes become used to the dark, and the
white, luminous surface becomes increasingly visible. It is a kind
of substitute for the screen, it appears in the spatial location
where the viewer expects to see a projection, laying claim to the
wall referentially as an "intellectual" projection surface of the
white cube and the traditional type of painting presented in it.
The installation is not "art about art", but rather, logically, a
reflection of the conditions under which art is presented. The
black box itself, empty and without any equipment, becomes a
work of art in its own rite. The black box of the new visual media,
of the empty exhibition space of media art, is thus a "perfect
painting with a three-dimensional surface. This extremely
reduced and, as it initially seems, austerely conceptual spatial
setting for what is called media art, the black box, is animated
architecture; it is the most exalted form of painting with its
implicit obsessions and sublimation. The dark architecture in
which media art is presented is not only an ontological fear, but
rather a symbol of the descent into the endlessness of the inner
self.
While distancing itself from the white cube and its implications,
like singularity of the work and the cult of genius surrounding the
artist, originally, was one of the axioms of media art, these are the
very conditions that are creeping back into installations, albeit
through the back door. It is not the holy white cube that creates
such conditions, but rather the - seemingly obscure, occult,
mythic and sacrosanct - black boxes; each virtual escape from the
real world is an illustration of the singularity of the work of art and
of the artist.
Markus Huemer

Markus Huemer: Carcere (01) Instalacija/Installation, 2002. DVD, DVD predvajalnik/player, projektor/beamer. Različne dimenzije/Variable
dimensions. Private Collection, Wiesbaden.
Carcere (02) Instalacija/Installation, 2005. DVD, DVD predvajalnik/player, projektor/beamer. Različne dimenzije/Variable dimensions. Collection Ploner, Vienna.
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Srečo Dragan: Metamorfoza Lingvistika/Metamorphosis of Language
Intermedijska spletna instalacija/Intermedia net installation, 2007. Programiranje/Coding: Damjan Kužnar, Matic Standeker, Leon Oven, Benjamin
Ambrož, Branko Pinter, Blaž Marn. Zahvala/Thanks to: dr. Matjaž Jogan, dr. Borut Batagelj Laboratorij za računalniški vid, Fakulteta za računalništvo in
informatiko UL/Computer Vision Laboratory, Faculty of Computer and Information Science, University of Ljubljana. http://black.fri.uni-lj.si/2007/mol/
Kognitivna emocionalna interakcija raziskuje specifiko režima negativnih in pozitivnih čustev v jeziku. Metamorfoza lingvistika je
spletni umetniški projekt, v katerem udeleženec vstopa enkrat v podatkovno zbirko slovenskega jezika in drugič v angleški jezik. Z
izbranima ključnima opozicijskima besedama in slovnico kot inventarjem simbolnih enot se udeleženec na sebi lasten način
jezikovno izrazi. V tem procesu upodabljanja in uprizarjanja sheme podobe kot predkonceptualnega vzorca človek ureja fizično in
mentalno izkušnjo zavedanja sebe znotraj psihološkega, sociološkega in kulturnega konteksta sporazumevanja.
A cognitive and emotional interaction researches the specifics of the regime of negative and positive feelings in language. Metamorphosis
of Language is a net-based art project into which the participant enters – the first time he enters the database of Slovenian
language and the second time he enters the database of the English language. Two selected opposite keywords and the grammar
serving as an inventory of symbolic units, allow the participant to express himself in a unique manner. Through this process of
creating imagery and the image-scheme as pre-conceptual patterns, man arranges the material and mental experience of
self-perception within the psychological, sociologic and cultural context of communication.
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Ruth Schnell: Vzorci zaznave II/Patterns of Perception II
Mediapan/MDF plate, epoxy smola/resin, 32 svetlečih diod/bar of light with 32 white LED`s, Paltine, EPROM s 100 besedami/EPROM with 100 words, transformator/transformer, 2004/2005.
www.ruthschnell.org www.galeriegritainsam.at
Delo iz serije slik narejenih s svetlobo razkriva raznolikost vidikov raziskave umetne svetlobe v delih Ruth Schnell. Avtorica raziskuje problematiko nematerialne svetlobe na fizikalni, konceptualni
in oblikovalski ravni, tako da estetizira nastanek monokromatične rdeče slike. Stolpec belih svetlečih diod je bil vstavljen v gladko prosojno površino. Ko gledalec na hitro pogleda
stran, stolpec svetlobe ustvari različne besede, ki gradijo sliko prostorskega holograma za delček sekunde. Ruth Schnell tako deluje na ravni »po-slike«, ki nastaja na mrežnici in jo dekodirajo
možgani. Visokofrekvenčni impulzi ustvarjajo črke le v primeru, ko gledalec ne gleda naravnost v sliko, ampak ko namenoma pogleda stran.
As a part of the light-generated series of pictures, this piece of work reveals Ruth Schnell`s varied exploration and investigation of artificial light. She investigates problematic issues of
immaterial light on a physical, conceptual and design-based level by aestheticising the creation of a monochrome-red panel picture. Here, a bar of white LEDs has been vertically inserted
into the smooth translucent screen. When the viewer looks away quickly, the bar of light generates various words, which form the image of a spatial hologram for fractions of seconds at a
time. Hence Ruth Schnell operates with the phenomenon of after-image that is produced on the retina and decoded by the brain. The letters produced by high frequency impulses, which
flicker across the bar of light, are only recognisable as such, if the viewer deliberately looks away from rather than directly at the image.
3

Christoph Höschele: Blainville-Crevon - Neuilly-sur-Seine Interaktivna videoinstalacija/interactive video installation, 2007, www.niemandsland.net/hoec
Delo se nanaša na pot Marcela Duchampa med rojstnim krajem Blainville-Crevon v Normandiji in krajem, kjer je umrl, Neuilly-sur-Seine pri Parizu, pa tudi na njegov readymade »Roue de Bicyclette«.
The sources for the work „Blainville-Crevon – Neuilly-sur-Seine“ are on the one hand the route Marcel Duchamp took between his birthplace in Blainville-Crevon (Normandy) and Neuilly-sur-Seine (Paris) where he died, as well as his ready-made-piece
„Roue de Bicyclette“.
4

Stepan Klenik: PB - Photoluminescence Board - Sketch Wall Instalacija/Installation, 2008.
Nariši! Zapiši! Zaupaj se… V zatemnjeni sobi je na steno pripeta PTL folija kot slikarsko platno. Obiskovalec galerije pred vstopom v sobo prejme svetilko z zelo
ozkim, vendar močnim svetlobnim žarkom - ta nadomešča čopič, s katerim obiskovalec potem riše po PTL foliji. Kako ustvarjati s svetlobnim žarkom Obiskovalec
ne ustvarja samo zase, ampak tudi za druge, ki bodo prišli za njim, ter za tiste, ki ustvarjajo sočasno z njim, možno je interagirati s predhodnimi sporočili in slikami.
Platno ne bo nikoli polno, saj sled svetlobe na njem sčasoma izginja.
Draw it! Write it down! Make confidence ... The photoluminescent foil attached to the wall in a darkened room is basically a big picture, an outsized canvas. The
torch is a substitution for a brush, with which the visitor can paint on the foil. How to create images with a ray of light A spectator does not create only for himself
but for others, present visitors and those who will come after he leaves. Interception of previous drawings and messages makes a field for reaction. The canvas will
never be full, since as the time proceeds, the crystals discharge and the track of light disappears.
PW - Photoluminescence Wisdom - Wall Sketches Instalacija/Installation, 2008.
Krhko sporočilo. Zapuščina ni večna. Sporočilo traja, kolikor časa sije v tvojih mislih.
Tokrat obiskovalec ne riše ali piše v temi, ampak naključno odkriva že napisana sporočila na steni, s tem ko osvetljuje dele sobe. (Sporočila so nastala med
performansom v galeriji in so bila namenjena razstavi SPECULUM ARTIUM 08.) Obiskovalec jih bere fragmentarno, iz delov ustvarja nove celote.
Fragile message. The legacy is not eternal. The message lasts as long as it shines in your mind.
The spectator/visitor randomly picks up messages written on the walls of a darkened room by accidentally illuminating areas covered with photoluminiscent texts.
(The texts were born during the performance in the gallery and they were addressed for the exhibition SPECULUM ARTIUM 08). The visitor illuminates fragments,
chooses words, constructs sentences, combines the final image.
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Iztok Holc: TH-strategije/TH-strategies
Interaktivna instalacija/Interactive installation, 2008. Programiranje/Coding: Miha Vydra-Stančič.
Postavitev je strategija za preoblikovanje, ukrivljanje in razklenjanje algoritma in interakcije v prostoru, kot ga zastavi
kopernikovska misel, definira evklidska geometrija, metodološko uporablja razsvetljenstvo in dogmatizira zahodna
religija – poskus ideje brez smeri, ampak z okusom.
Display is a strategy to re-form, bend and corrupt the algorithm and interaction in space set by Copernicanism, defined
by Euclid's geometry, methodologically used by the Enlightenment movement and thought and dogmatised by
Western religion - an idea of no space, but taste.
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Mirjana Batinić: Dom/Home Video, 11'10'', 2008. http://batinic.atrtuska.com
Video je nastal, ko sem delala na interaktivni zvočni instalaciji »Prostor doma«. Izhodišče za obe deli je isto – odnos do nove situacije, ki je rezultat selitve iz enega mesta (države) v drugo.
I made the video while working on the interactive audio installation “A Place of Home”. The starting point of both works is the same – the relationship towards a new situation being a result of moving from one city (country) to another.
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Michal Pustejovsky: Fragmenti/Fragments Objekti/Objects, 2008.
Cikel porcelanastih odlitkov kot namišljena arheološka najdba.
A cycle of porcelain castings as a fictitious archaeological find.
Ton_skulptura/Tone_sculpture Objekti/Objects, 2008.
Ton_skulptura materializira vibracije skozi želatinasto snov. Želatina je material, ki ohrani spremembo oblike zaradi vibracij, po tem ko je zadušila zvok. V vosek ujeti zvok predstavlja kalup za odlivanje kovinske skulpture.
Tone_sculpture materializes audio vibrations through a gel substance. The gel uniquely remains in position of vibrations after muting sound. This feature allows capturing sound to a wax figure. Wax mould is then used as form for final metal sculpture.
Binarni avtoportret.png/Binary_self-portrait.png Objekt/Object, 2008.
Črno-bela slika izvirne ločljivosti 320×363 točk (4,1 KB) prevedena v tok bitov, 34048 znakov. Tok bitov je nato ročno odtisnjen na aluminijast list s konico velikosti 3 mm.
Black and white image of source resolution 320×363 pixels (4.1 Kb) converted to the bit stream of 34048 characters. This bit stream is then manually imprinted onto an aluminium sheet using a plunger of size 3 mm.
8

Peter Tilg: Zebra je čredna žival/The Zebra is a
Gregarious Animal Participativna instalacija/Participative installation, 2006.
Čitalec prstnih odtisov skenira odtis osebe, ki položi prst na napravo. Prstni odtis se shrani
in preslika na tridimenzionalni model belega konja, tako nastane vaša osebna zebra.
Naslednja stopnja projekta natisne ustvarjene zebre.
The fingerprint reader scans the fingerprint of the person who places his/her finger on the
device. The fingerprint is saved and mapped onto a 3D model of a white horse. A personalised
zebra is created. In a subsequent working stage prints are produced from the created zebras.
9

Jaroslav Hrdlicka: Avatar Video, PAL (720x480), brez zvoka/no sound, 5'40", 2008.
Beseda avatar prvič nastopi v hinduizmu, kjer pomeni inkarnacijo božanstva z določenim namenom. V kontekstu računalništva in posebej interneta se beseda avatar uporablja za poimenovanje podobe uporabnika v virtualnem svetu. Poskusil sem
zgraditi avatarja s pomočjo plesalke, to pomeni, da sem uporabil podobo človeka. Pri tem postane nejasno, ali je to podoba človeka ali pa zgolj nosilca podobe.
The term avatár (originally avatára) first appears in the Hinduism. The meaning of the word in sanskrt is a descent or, metaphorically spoken, the incarnation - usually a divine being incarnates into the physical body on special purpose. A word avatár or
avatar is being used in the context of computers and internet for the self presentation of the user in the virtual world. I tried to search for the actual bearer with help of a professional danseuse. Thus, I employed visualisation of a human model. As for the
human model it is uncertain, if it is a being or a bearer.
10

Marko Glavač: Relevé Interaktivni happening/Interactive happening, 2008. Programiranje/Coding: Klavdija Krivec,
Simon Gotlib, Anže Jamnik.
Pet gledalcev se pojavi v realnem prostoru kot skupinski portret (P. Picasso: »Avignonske gospodične«). Ko zavzamejo
točno določeno pozicijo v realnem prostoru in se nato pričnejo prosto gibati, računalniški program sproži projekcijo, ki
prikazuje dekonstrukcijo kipa »Brez naslova (skupinski portret)« v virtualnem prostoru. Kip vidimo v sestavljeni obliki kot
skupinski portret v trenutku, ko se gledalci v realnem prostoru pojavijo na začetni poziciji skupinskega portreta.
Five viewers appear in the real space as a group portrait (P. Picasso: “The Young Ladies of Avignon”). When they place
themselves in a defined position in the real space and then start to move freely, the computer program activates the
projection of a deconstruction of the sculpture “Untitled (The Group Portrait)” in the virtual reality. The sculpture can be seen
as a whole again in the moment, when all the viewers place themselves at their starting positions in the group portrait.
11

Daniel Kauer: razostreno/out of focus Animirani film – neskončna zanka/Animated film – loop, 2007.
Animirani film o naraščanju deziorientacije v procesu dela.
An animated film about the state of rising disorientation within a working process.
12

http://limaul.gm1.tv
Speculum Artium 08: Ljubljana – Dunaj/Vienna – Praga/Prague:
Integrirana umetnost potencialnega časa / Integrated Art of a Potential Time.
22. – 24. 5. 2008, Mestna galerija Ljubljana/City Art Museum, Mestni trg 5, Ljubljana, Slovenija.
Organizator/Organizer: Akademija za likovno umetnost in oblikovanje UL/Academy of Fine Art
and Design, University of Ljubljana, Slovenia.
CIP - Kataložni zapis o publikaciji
Narodna in univerzitetna knjižnica, Ljubljana
73/76(4)"20"(083.824)
INTEGRIRANA umetnost potencialnega časa = Integrated art of a potential time : Speculum
Artium 08, Ljubljana - Dunaj, Vienna - Praga, Prague : 22.-24. 5. 2008, Mestna galerija
Ljubljana, City Art Museum Ljubljana, Mestni trg 5, Ljubljana, Slovenija / [organizator
Akademija za likovno umetnost in oblikovanje = organizer Academy of Fine Art and Design ;
besedila Srečo Dragan, Markus Huemer ; urednika Narvika Bovcon, Aleš Vaupotič ; prevodi
Aleš Vaupotič ; fotografije Miha Benedičič]. - Ljubljana : Akademija za likovno umetnost in
oblikovanje, 2008
ISBN 978-961-91062-6-6
1. Vzp. stv. nasl. 2. Bovcon, Narvika 3. Akademija za likovno umetnost in oblikovanje
(Ljubljana)
240066560
Razstavni odbor/Exhibition board: Srečo Dragan, Markus Huemer, Peter Weibel.
Besedila/Texts: Srečo Dragan, Markus Huemer.
Kustosa, urednika kataloga/Curators, catalogue editors: Narvika Bovcon, Aleš Vaupotič.
Založila/Published by: Akademija za likovno umetnost in oblikovanje UL/Academy of Fine Art
and Design, University of Ljubljana, Slovenia.
Zanjo/Presented by: Bojan Gorenc.
Prevodi/Translations: Aleš Vaupotič.
Fotografije/Photographs: Miha Benedičič.
Oblikovanje/Design: Narvika Bovcon, riii.
Tisk/Print: VZA Logatec.
Naklada/Number of copies: 500.
Ob podpori/With kind support of: Ministrstvo za kulturo Republike Slovenije/Ministry of Culture
of the Republic of Slovenia, Mestna občina Ljubljana/Municipality of Ljubljana, Univerza za
uporabne umetnosti Dunaj/University of Applied Arts Vienna, Austria, Akademija za likovne
umetnosti iz Prage/The Academy of Fine Arts Prague, Czech Republic, Fakulteta za računalništvo
in informatiko UL/Faculty of Computer and Information Science Univerze v Ljubljani, Mestna
galerija Ljubljana/City Art Museum Ljubljana, Inea Toshiba.
Zahvala/Special thanks to: Veronika Schnell, Jiří Ševčík, Anetta Mona Chisa, Aleksander Bassin,
Sarival Sosič, Dušan Bučar, Franc Solina, Borut Batagelj, Matjaž Jogan.

V duhu vrednot demokracije in slovenskega predsedovanja Evropi
v prvi polovici letošnjega leta Akademija za likovno umetnost in
oblikovanje predstavlja razstavo medkulturnega dialoga med
tremi evropskimi akademijami.
Na njej se predstavljajo z deli študenti in njihov profesor Markus
Huemer z Akademije za likovne umetnosti iz Prage, umetniška dela
študentov in profesorice Ruth Schnell z Univerze za uporabne
umetnosti na Dunaju, skupaj z deli podiplomskih študentov
ljubljanske Akademije za likovno umetnost in oblikovanje, nastalih
v povezavi s Fakulteto za računalništvo in informatiko, ter deli
njihovega profesorja Sreča Dragana.
V izboru so študenti, ki smo jih profesorji izbrali kot izjemno
nadarjene in pronicljive ustvarjalce, kateri s svojimi deli odpirajo
vsa relevantna vprašanja današnje umetnosti. Gre za interdisciplinarni
projektni modul mreženja različnih pedagoško-raziskovalnoumetniških
konceptov in povezav z izkušnjami, ki so jih razvile
posamezne akademije, in tudi toleranco do robnih alternativnih
praks v svojih okoljih.
V duhu postmedijskega stanja, ki ga mlade, šolajoče se generacije
živijo, so to umetniške vizije, ki imajo status integrirane umetnosti,
saj združuje izkušnjo slikarstva, kiparstva, grafike, videa in interaktivne
instalacije, s poudarkom na nenehnem eksperimentiranju, ki
danes še edino dopušča ustvarjalno svobodo.
Naslov Speculum Artium se nanaša na izjavo Petra Weibla, »da ima
razvoj praks participacije v umetnosti preslikavo v razvoju participacije
v demokraciji in da ta procesa vplivata drug na drugega,
tako kot je pojav grškega kiparstva tesno povezan z vzponom
demokracije v tistem času. Od takrat je umetnost nepogrešljiv
pogoj za delovanje demokracije.«
Upamo, da bo predstavitev v obliki razstave v realnem prostoru
Mestne galerije v Ljubljani, v času od 22. do 24. maja 2008, ter v
virtualnem prostoru interneta kot oblike direktnega prenosa
dogajanja v delavnici ustvarjanja lastnega TV kanala treh likovnih
akademij in Fakultete za računalništvo in informatiko iz Ljubljane, v
povezavi z Grand Medio iz Beljaka iz Avstrije, uspešen in odmeven
prispevek, tako za akademsko sfero kot za »med-kulturni dialog«
umetnosti Evrope.
Prof. Srečo Dragan, ALUO Ljubljana
3×S
ALUO/LJ/SLO
UAK/W/A
ARTIUM
SPECULUM 08
AVU/P/CZ
3×P
In the spirit of democratic values and of the Slovenian presidency of
the European Union in the first half of 2008 the Academy of Fine Art
and Design from Ljubljana presents an exhibition of the
inter-cultural dialogue between three European art academies.
Professor Markus Huemer and his students from the Academy of
Fine Arts from Prague present their artworks alongside the works by
the students and by Prof Ruth Schnell from the University of
Applied Arts Vienna and the projects by postgraduate students of
the Ljubljana Academy of Fine Art and Design, produced in collaboration
with the Faculty of Computer and Information Science UL,
and the works by their professor Srečo Dragan.
The selection includes the students chosen by the professors as the
most sensitive ones, who in their works touch upon all the pertinent
issues of our time. It is a networking module on the level of the
interdisciplinary project connecting multiple pedagogic-researchartistic
concepts and links with the experiences of different
academic institutions and, in addition to that, also the tolerance
towards the alternative social practices in their home environments.
In the spirit of the postmedia condition, being the living environment
of today’s student generations, we stand before artistic visions
with the status of integrated art, which combines the know-how of
painting, sculpture, graphics, video and interactive installation with
the constant emphasis on experimentation that is the only place
left today for the artistic freedom.
The title Speculum Artium refers to Peter Weibel’s statement “that
the development of participatory practices in the arts has its
counterpart in the advancement of a participatory democracy and
that these processes have a mutual effect on each other, just as the
emergence of Greek sculpture was closely linked to the emergence
of Greek democracy at that time. Since then, art has been an
indispensable condition for a functioning democracy.”
We hope that the exhibition in real space in the City Art Museum
Ljubljana, 22 – 24 May 2008, and in the virtual space of the Internet
in the form of an immediate broadcast of the events in a workshop
of creating a new TV channel of the three academies and the Faculty
of Computer and Information Science from Ljubljana, in association
with Grand Media from Villach, Austria, a successful contribution
with wide repercussions as well for the academic sphere as for the
“inter-cultural dialogue” of the European art.
Prof Srečo Dragan, Academy of Fine Art and Design Ljubljana