all GAME no PLAY
Exhibition all GAME no PLAY requests action, the responsibility of partaking. Take a step into a parallel Metaverse, in ‘Suspensions’ where Clara Pallí Monguilod is disrupting the vision of the future with past strivings. Enter the intimate space of mass tourism in ethnographic sketches of Lucija Ostrogović, 'Apartmanization Inside and Out'. Enter other people’s beds in ‘A two way’, Helena Roig Prats’s collaboration with Moon Baby. With Nikolina Krstičević's ‘Ruke pune straha’, enter another person's body. Examine perimeters for constructing girlhood with Sidney Mullis’s ‘Foundation’. Dance along Kexin Hao the ‘Future Dance of Nostalgia’, swinging between the political weight and flashy modernity on clubbing beats. Scream in a search for meaning with Maria Chiara Ziosi’s ‘Some Songs’: The stage is yours! ~ all GAME no PLAY is an exhibition gathering international artists in the supporting program of the 9th International Student Film Festival STIFF, organized by association FImaktiv and Student Cultural Centre in Rijeka. Production of the program is an education for UNIRI students about contemporary art and work in culture PASPARTU, funded by the Ministry of Culture and the City of Rijeka, with the kind support of Stroom Den Haag, Drugo more and MMSU Rijeka. ~ Location: SKC Gallery + OKC Palach, Rijeka Artists: Helena Roig Prats, Sidney Mullis, Lucija Ostrogović, Clara Pallí Monguilod, Maria Chiara Ziosi, Nikolina Krstičević, Kexin Hao Curator: Elena Apostolovski Setup: Damjan Šporčić (Oblik 3) Graphic design: Gea Rajić Visual identity: Ivana Kutni Mihić Festival director: Maša Drndić Organizers: Filmaktiv, SKC Rijeka
Exhibition all GAME no PLAY requests action, the responsibility of partaking.
Take a step into a parallel Metaverse, in ‘Suspensions’ where Clara Pallí Monguilod is disrupting the vision of the future with past strivings. Enter the intimate space of mass tourism in ethnographic sketches of Lucija Ostrogović, 'Apartmanization Inside and Out'. Enter other people’s beds in ‘A two way’, Helena Roig Prats’s collaboration with Moon Baby. With Nikolina Krstičević's ‘Ruke pune straha’, enter another person's body.
Examine perimeters for constructing girlhood with Sidney Mullis’s ‘Foundation’. Dance along Kexin Hao the ‘Future Dance of Nostalgia’, swinging between the political weight and flashy modernity on clubbing beats. Scream in a search for meaning with Maria Chiara Ziosi’s ‘Some Songs’: The stage is yours!
~
all GAME no PLAY is an exhibition gathering international artists in the supporting program of the 9th International Student Film Festival STIFF, organized by association FImaktiv and Student Cultural Centre in Rijeka. Production of the program is an education for UNIRI students about contemporary art and work in culture PASPARTU, funded by the Ministry of Culture and the City of Rijeka, with the kind support of Stroom Den Haag, Drugo more and MMSU Rijeka.
~
Location: SKC Gallery + OKC Palach, Rijeka
Artists: Helena Roig Prats, Sidney Mullis, Lucija Ostrogović, Clara Pallí Monguilod, Maria Chiara Ziosi, Nikolina Krstičević, Kexin Hao
Curator: Elena Apostolovski
Setup: Damjan Šporčić (Oblik 3)
Graphic design: Gea Rajić
Visual identity: Ivana Kutni Mihić
Festival director: Maša Drndić
Organizers: Filmaktiv, SKC Rijeka
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GALERIJA SKC + PALACH
24. - 27.11.2022
Helena Roig Prats (ES/NL), Sidney Mullis(US), Lucija
Ostrogović(HR), Clara Pallí Monguilod (ES/NL), Maria Chiara
Ziosi (IT/NL), Nikolina Krstičević (HR), Kexin Hao (CN/NL)
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24.11. THURSDAY
25.11. FRIDAY
26.11 SATURDAY
27.11. SUNDAY
21:00 all GAME no PLAY
exhibition opening / otvorenje izložbe
10:00—18:00 all GAME no PLAY
exhibition / izložba
10:00—18:00 all GAME no PLAY
exhibition / izložba
10:00—18:00 all GAME no PLAY
exhibition / izložba
21:30 Maria Chiara Ziosi: Some Songs
performance / performans
22:00 Party / Igranka
21:30 Extended play / Doigravanje: Artist talk
discursive program / diskurzivni program
22:30 Maria Chiara Ziosi: Some Songs
performance / performans
23:00 Party / Igranka
10:00—13:00 Arcade / Igraonica:
Dance improvisation
workshop with Kristina Paunovski /
radionica plesne improvizacije s
Kristinom Paunovski
13:00—16:00 Arcade / Igraonica:
Interactive video workshop with Josipa Baljak /
radionica interaktivnog videa s Josipom Baljak
11:00—14:00 Arcade / Igraonica
Blackout poetry workshop with Petra Čargonja and
Natalija Stefanović /
radionica blackout poezije
22:00 Party / Igranka
23:30 Extended play / Doigravanje
Talk with filmmakers
discursive program /
Razgovor s filmašima
diskurzivni program
24:00 Party / Igranka
INTRODUCTION
UVOD
The supporting exhibition program of the 9th Student
International Film Festival establishes a framework
for play to examine our everyday lives. all GAME no
PLAY recreates the world around us, appropriating
familiar patterns and flexing them, bringing everyday
habits to absurdity. Meeting at the intersection of contemporary
art, play, and social interaction, presented
artworks activate the visitor to confirm experiencing
art as a physical act, which is also enhanced through
three workshops for the public that will take place
during the festival.
Extended Play brings artists into a conversation with
Katarina Erak, who will question the power dynamic
at play in the artist-audience relationship and ways
in which the microclimate of the gallery space reproduces
or defies hierarchies and rules of our social and
intimate relationships.
Some Songs, performed by Maria Chiara Ziosi, show
verses collected in a crowd. Collective enthusiasm of
the karaoke medium re-mixes the melancholic atmosphere.
The artist will perform, and she will leave the
stage for the audience to sing.
Arcade, the workshop program, will accent the experience
of the exhibition, exploring body and technology
interactions with the pieces. It will encourage
participants to play with understanding and (re)
producing contemporary art concepts and explore
documenting impressions as a strategy for digitalizing
the exhibition.
Workshop mentors: Josipa Baljak, Kristina Paunovski,
Petra Čargonja, Natalija Stefanović
Popratni izložbeni program 9. Međunarodnog
Studentskog Filmskog Festivala STIFF uspostavlja
prostor za igru kako bismo preispitali svoju
svakodnevnicu. all GAME no PLAY rekreira naše
svjetove prisvajajući i mijenjajući poznate obrasce,
dovodeći svakodnevne navike do apsurda. Susrećući
se na raskrižju suvremene umjetnosti, igre i društvene
interakcije, predstavljena umjetnička djela aktiviraju
posjetitelja kako bi potvrdila fizičko iskustvo doživljaja
umjetnosti, što je aspekt koji se dodatno istražuje
kroz tri radionice za javnost koje će se održati tijekom
festivala.
Extended Play poziva umjetnice na razgovor s
Katarinom Erak koja će propitati odnose moći
unutar galerijskog prostora i načine na koje njegova
mikroklima reproducira ili prkosi hijerarhijama i
pravilima naših društvenih i intimnih odnosa.
Some Songs u izvedbi Marije Chiare Ziosi, donosi
stihove skupljene u gomili. Kolektivni entuzijazam
karaoke medija zamiksat će melankoličnu atmosferu.
Umjetnica će nastupiti, a s pozornice će izaći kako bi
publika zapjevala.
Radionički program Igraonica naglasit će subjektivno
iskustvo izložbe, istražujući interakcije naših tijela i
tehnologije s radovima. Potaknut će sudionike da se
igraju s razumijevanjem i (re)produkcijom koncepata
radova te istražuju dokumentiranje dojmova kao
metodu digitalizacije izložbi.
Voditeljice radionica: Josipa Baljak, Kristina Paunovski,
Petra Čargonja, Natalija Stefanović
all GAME no PLAY
Helena Roig Prats (ES/NL), Sidney Mullis(US),
Lucija Ostrogović(HR), Clara Pallí Monguilod
(ES/NL), Maria Chiara Ziosi (IT/NL), Nikolina
Krstičević (HR), Kexin Hao (CN/NL)
The exhibition program all GAME no PLAY recreates
the world around us, appropriating familiar patterns
and flexing them, bringing everyday habits to
absurdity. We interact with artworks in a constructed
space where desires, needs and circumstances take a
vague form, leaving us with unclear goals to strive for.
While losing the aspiration for the future, we find
ourselves in someone else’s body, speaking someone
else’s words, entering someone else’s houses and
beds. Gathered artists throw around the constructs of
the past to disrupt the authorities of the present, offer
advice from children, and provoke the overturning
of the dynamics of our interpersonal relationships in
order to find equality.
The exhibition establishes a framework for play
to examine our everyday lives. Meeting at the
intersection of contemporary art, play, and social
interaction, presented artworks activate the visitor
to confirm experiencing art as a physical act. Gathered
international artists take a different view on what
it means to be human in an artificial environment
and show us how we can build communities that
collaborate rather than compete while playing the
game of (co)existence.
Izložbeni program all GAME no PLAY razigrava svijet
oko nas, prisvajajući poznate obrasce i izvrćući ih,
dovodeći svakodnevne navike do apsurda. Ulazimo u
interakciju s umjetničkim radovima u konstruiranom
prostoru gdje želje, potrebe i stanja poprimaju nejasan
oblik, ne ukazujući jasan cilj kojem možemo težiti.
Gubeći aspiracije za budućnost; nalazimo se u tuđem
tijelu, izgovaramo tuđe riječi, ulazimo u tuđe kuće
i krevete. Okupljene autorice i autori dobacuju se
kontruktima prošlosti kako bi omeli autoritete
sadašnjosti, nudeći nam dječje savjete i pozivajući
nas na prevrtanje dinamike međuljudskih odnosa
kako bismo našli ravnopravnost.
Izložba postavlja uvjete za igru kako bi ispitali
svakodnevnicu. Susrećući se na sjecištu suvremene
umjetnosti, igre i društvene interakcije, predstavljena
umjetnička djela aktiviraju publiku kako bi nam
potvrdila tjelesni doživljaj izložbe. Okupljene
međunarodne umjetnice i umjetnici predstavljaju
raznolike poglede na to što znači biti čovjek u
umjetnom okruženju i predlažu nam kako graditi
zajednice surađujući, a ne natječući se, dok igramo
igru (su)postojanja.
Clara Pallí Monguilod
Suspensions
2022
video installation /
video instalacija
’Suspensions’ takes as a starting point a video still from
Mark Zuckerberg’s presentation of the Metaverse. The
virtual scenery and power pose of the speaker are
being intruded by several elements. On the one hand,
by references to different constructed representations
of ‘future’ throughout time. Also, by allusions to the
consequences these worlds to come try to keep out
of sight. Lastly, by our attempts to sustain ourselves
amidst such turmoil.
While the alignment of the monitors in space
purposely emphasizes the linearity these future
visions are sustained upon, we realize the scenery is
in an infinite loop, going ‘nowhere’.
‘Suspensions’ uzima kao polazište video kadar
s prezentacije Marka Zuckerberga o Metaversu.
Nekoliko elemenata prodire u virtualnu scenografiju
i stajališta govornika. S jedne strane, reference kroz
vrijeme na različite konstruirane reprezentacije
‘budućnosti’. Također, aluzije na posljedice koje se
pokušavaju skloniti od pogleda. Konačno, našim
pokušajima da se održimo usred takvog nemira.
Dok položaj monitora u prostoru namjerno naglašava
linearnost na kojoj se ove vizije budućnosti oslanjaju,
shvaćamo da je krajolik u beskonačnoj petlji, tj. ne
ide ‘nikamo’.
Clara Pallí Monguilod
www.clarapalli.com
www.1646.nl
Clara Pallí Monguilod (Spain, 1978) is a visual artist
recently graduated from the Master Artistic Research
program at the Royal Academy of Art in The Hague
(2022).
Her video practice explores the role of art to regain
a sense of agency and mystery. It is grounded on the
questioning of inherited constructs, such as tradition,
social structures, religious beliefs and the notion
of ‘progress’. It understands reality as being ‘in the
making’, being generative of different meanings, open,
shapeable, intriguing and uncertain.
Next to a career as visual artist, since 2004 Pallí
Monguilod has been devoted to the co-organising
and co-programming of an art space in The Hague,
1646.
Clara Pallí Monguilod (Španjolska, 1978.) vizualna
je umjetnica koja je nedavno diplomirala na Master
Artistic Research programu, na Royal Academy of Art
u Haagu (2022).
Njezina umjetnička praksa istražuje ulogu umjetnosti
u vraćanju osjećaja kontrole i misterija. Temelji se na
propitivanju naslijeđa, kao što su tradicija, društvene
strukture, religijska uvjerenja i pojam “napretka”.
Razumije stvarnost kao ono što je ‘u nastajanju’,
podložnu različitim značenjima, oblikovanju;
otvorenu, intrigantnu i neizvjesnu.
Osim što djeluje kao umjetnica, od 2004 godine
Pallí Monguilod je suorganizatorica i direktorica
umjetničkog prostora u Haagu, 1646.
Lucija Ostrogović
Apartmanisation inside and out: sketch for a game
2022
interactive installation, video, audio /
interaktivna instalacija, video, audio
The phenomenon of apartmanisation I problematize
on the example of space transformation in my home
town, on examples of both outside space (growing
construction of new houses, mainly for touristic
purposes and changing of the town’s landscape) and
inside space (transformation of the intimate space of
my home into an apartment for seasonal rent).
The work consists of elements of the research process,
and at the same time can be understood as a sketch
for further work on the topic.
Fenomen apartmanizacije problematiziram na
primjeru transformacije prostora u mojemu rodnom
gradu, na primjerima vanjskog prostora (sve veća
gradnja novih kuća, uglavnom u turističke svrhe i
mijenjanje krajolika grada), te unutarnjeg prostora
(transformacija intimnog prostora mojega doma u
stan za sezonski najam).
Rad se sastoji od elemenata istraživačkog procesa,
a ujedno se može shvatiti i kao skica za daljnje
istraživanje ove teme.
Lucija Ostrogović
@lucija_ostrogovic
With a background in anthropology and currently
studying New Media (Academy of Fine Arts in Zagreb),
in her practice, Lucija Ostrogović combines both art
and anthropology in order to try to en/untangle
complex webs of meaning and knowledge(s) of
everyday life. Her research integrates drawing,
animation and theory. She is interested in topics
such as identity, belonging, home-building and
touristification.
Umjetnica uz završen studij antropologije i trenutni
studij novih medija (Akademija likovnih umjetnosti u
Zagrebu), u svojoj praksi kombinira umjetničku praksu
i antropologiju kako bi pokušala razmrsiti/zamrsiti
složene mreže značenja i znanja svakodnevnog života.
Njezina istraživanja integriraju crtanje, animaciju i
teoriju. Zanimaju je teme kao što su identitet,
pripadnost, izgradnja doma i turizam.
Helena Roig Prats
A two way
2021
video installation and a book /
video instalacija i knjiga
As a child, I spent my afternoons playing at my family’s
factory, where we made blinds. The walls were covered
by calendars of naked women, some commissioned
by my own grandfather.
One morning, when the thirty men started their shift,
the women were not naked anymore. I had drawn
underwear for all of them with a permanent marker.
As a child I thought it unfair, those women were left
there, standing naked. They were being watched over
and over until the point that the paper even started
fading. These early interactions with objectification,
the photo, and the body. I began to develop a project
relating photography to sex work.
I asked my friend Moon Baby if she wanted to
collaborate. She was very enthusiastic about it. She
only had a requirement: helping her create content
for her OnlyFans account. I accepted.
Kao dijete provodila sam dane igrajući se u obiteljskoj
tvornici, gdje smo izrađivali rolete. Zidovi su bili
prekriveni kalendara golih žena. Neke od tih kalendare
naručio je moj djed.
Jednog jutra, kada je tridesetak muškaraca krenulo u
smjenu, žene više nisu bile gole. Trajnim flomasterom
nacrtala sam im donje rublje. Kao dijete mislila sam
da nije pošteno, da su žene ostavljene tamo potpuno
gole. Promatrali su ih stalno iznova sve do točke kada
je papir počeo blijedjeti. Zbog te rane interakcije s
objektivizacijom, fotografijom i tijelom, počela sam
razvijati projekt koji povezuje fotografiju sa seksualnim
radom.
Pitala sam svoju prijateljicu Moon Baby želi li
surađivati. Bila je vrlo oduševljena time. Imala je
samo jedan zahtjev: da joj pomognem sa stvaranjem
sadržaja za njezin OnlyFans račun. Prihvatila sam.
Helena Roig Prats
I started my photographic journey 10 years ago as
a documentary photographer. Someone gave me
a camera and I started documenting my life while
I was squatting houses in London back in 2010.
I’ve been always portraying what’s on the margins.
Nowadays, my practice is evolving and focuses on
an interdisciplinary methodology across mediums,
currently concentrating on digital imagery, video,
online archives, and traditional lens-based practices.
I use myself and the people around me to tell stories
or activate conversations around controversial
topics: cyber intimacy, cyber sex work, feminism,
sexualization, male/female/non-gendered/queer
gaze, body language, etc. My practice is informed
by a response to the perverse relationship between
the photographic medium, power, and the challenges
of consent that comes with it.
In my projects, I use subtle humor, collaborative
practices and creating situations, and letting things
happen, staying in the role of director. Making myself
vulnerable and exposing myself, in the same way, I
do with my subjects.
I want to raise awareness and have an impact outside
the art world. I want my work to have an impact on
and for the people I collaborate with.
www.helenaroig.online
Fotografski put započela sam prije 10 godina kao
dokumentarna fotografkinja. Netko mi je dao
kameru i počela sam dokumentirati svoj život dok
sam skvotirala kuće u Londonu još 2010. Uvijek sam
portretirala ono što je na margini. Danas se moja
praksa razvija i usredotočuje na interdisciplinarnu
radnu metodologiju kroz razne medije; digitalne slike,
video, online arhive i tradicionalne prakse snimanja.
Koristim sebe i ljude oko sebe da ispričam priče ili
započnem razgovore o kontroverznim temama:
cyber intimnost, cyber seksualni rad, feminizam,
seksualizacija, pogled na muški/ženski/nerodni/
queer identitet i govor tijela, itd. Moja praksa temelji
se na izazovu koji proizlazi iz perverznog odnosa
fotografskog medija, moći i pristanka.
U svojim projektima koristim suptilni humor,
suradničke prakse i kreiranje situacija te puštam
stvari da se dogode, ostajući u ulozi redateljice. Činim
sebe ranjivom i izlažem se na isti način kao i subjekte
istraživanja.
Želim podići svijest i utjecati na svijet izvan umjetnosti.
Želim da moj rad ima utjecaj na ljude s kojima
surađujem.
Nikolina Krstičević
Ruke pune straha
Aj sidni
2021
textile sculpture / skulptura
Ruke pune straha (Hands Full of Fear) and Aj Sidni
(Come on, sit down) are sculptural textile forms with
which the author examines the idea of alchemising
fear suppressed in the human body through shapes,
colours and repetition. By exploring herself through
the meditational process of creation, the author
searches for the roots of her own fears, feeling in her
body the sensations thereof. She thereby transfers the
fear out of her body to newly created textile bodies
- accumulated forms of stuffed textile sculptures
literally filled with fear.
Ruke pune straha i Aj sidni su tekstilne skulpturalne
forme kojima autorica istražuje ideju alkemiziranja
straha potisnutog u ljudskom tijelu kroz oblike, boje
i repeticiju. Istražujući sebe kroz meditacijski proces
stvaranja, autorica traga za korijenima svojih strahova
osjećajući njihove senzacije u svom tijelu. Na taj način
strah iz svog tijela prenosi u novostvorena tekstilna
tijela, nagomilane forme punjenih tekstilnih skulptura,
doslovno napunjenih strahom.
Photography / fotografija: Petra Slobodnjak
Nikolina Krstičević
@navrglave
Nikolina Krstičević is a textile artist and a graduate
of Textile design at the Faculty of Textile Technology
in Zagreb. She showed her work in various group
exhibitions (SC Gallery, LAUBA, Ulupuh, ZGDW, Šira
Gallery...) and two solo shows, in Klub zona/Split
(2020) and in Galerija Bernardo Bernardi/Zagreb
(2022). She won third place in the fashion and textile
design category at Zagreb Design Week (2021) and
exhibited at the Textile Biennial in Kranj (BIEN2021)
and the XIV. Triennial of Croatian Statuary (2022).
In her work she explores the unconscious, merging
illustration, textile and sculpture.
Nikolina Krstičević je tekstilna umjetnica i apsolventica
dizajna tekstila na Tekstilno-tehnološkom fakultetu
u Zagrebu. Izlagala je na raznim skupnim izložbama
(SC Gallery, LAUBA, Ulupuh, ZGDW, Šira Gallery...) i
dvije samostalne izložbe, u Klubu zona/Split (2020.) i
Galeriji Bernardo Bernardi/Zagreb (2022.). Osvojila je
treće mjesto u kategoriji modnog i tekstilnog dizajna
na Zagreb Design Weeku (2021.) te je izlagala na
Tekstilnom bijenalu u Kranju (BIEN2021) i XIV. Trijenalu
hrvatskoga kiparstva (2022.). U svom radu istražuje
nesvjesno, spajajući ilustraciju, tekstil i skulpturu.
Photography / fotografija: Petra Slobodnjak
Sidney Mullis
Foundation
2014
book of poems /
knjiga pjesama
The words in this book of poetry were appropriated
from Youtube videos of young girls providing makeup
tutorials.
12 Youtube videos were selected and carefully
transcribed to include every “um” and “uh.” Videos
were chosen based on their titles and had to indicate
a grade or age that the look was intended for, such as
“natural 4th grade makeup.” The girls providing these
tutorials ranged from age five to age twelve and their
videos were uploaded between 2012 to 2014.
The process of transcription was done manually.
I listened to the videos again and again—playing,
pausing, typing, rewinding, playing—in order to get
an accurate transcription. It was tedious, intimate,
heartbreaking, and familiar because I was also one
of those girls who made makeup tutorials, but for
the silence of my bedroom, not anonymous Youtube
viewers.
After transcription, the language was divided
according to makeup product and restructured into
poems. Foundation, Eye Shadow, Blush, Mascara, Lip
Gloss. In addition to tutorial instructions, there are
many mentions for the desire to be natural—to be
confident. There are multiple reminders about how
a little makeup goes a long way and to be sure not
to do too much because they’re just kids.
Riječi u ovoj knjizi poezije preuzete su od djevojčica
koje daju upute za šminkanje na platformi Youtube.
Ukupno 12 Youtube videa je odabrano i pažljivo
transkribirano, uključujući svaki “uhm” i “uh.”
Videozapisi su izabrani na temelju naslova, tako da
naznačuju razred ili dob za koje je izgled namijenjen,
poput “prirodne šminke za 4. razred”. Djevojčice koje
su davale poduke bile su u dobi od pet do dvanaest
godina, a video zapisi su preneseni između 2012. i
2014. godine.
Proces transkripcije rađen je ručno. Preslušavala sam
videozapise stalno iznova—reprodukcija, pauziranje,
tipkanje, premotavanje unatrag, reprodukcija—kako
bih izvukla točan prijepis. Proces je bio zamoran,
intiman, srceparajuć i poznat jer sam i ja bila jedna
od tih djevojčica koje su snimale tutoriale za
šminkanje, ali za tišinu moje spavaće sobe, a ne za
anonimne Youtube gledatelje.
Nakon transkripcije, materijal je podijeljen prema
proizvodu šminke i presložen u pjesme. Puder, sjenilo,
rumenilo, maskara, sjajilo za usne. Osim uputa za
šminkanje, često se spominjala želja za prirodnošću
- samouvjerenosti. Postoje brojni podsjetnici o tome
kako se i s malo šminke može puno, jer ipak su one
još uvijek djeca.
Sidney Mullis
www.sidneymullis.com
Sidney Mullis is a sculptor living and working in
Pittsburgh, PA. She made work about girlhood,
puberty, the intimacy of forgetting, and performance
of gender. Her work has been exhibited in a number of
locations including Berlin, Tokyo, England, and Croatia.
Solo shows include the Leslie Lohman Museum
(NYC), Wick Gallery (NYC), Bunker Projects (PA), Neon
Heater Gallery (OH), Bucknell University (PA), Rowan
University (NJ), University of Mary Washington (VA),
and more. She has been an artist-in-residence at
The Children’s Museum of Pittsburgh, The Wassaic
Project, Women’s Studio Workshop, MASS MoCA, Ox-
Bow School of Art, Bunker Projects, among others.
Her work has been featured in publications such
as Hyperallergic, Young Space, Maake Magazine,
De:Formal, and Sculpture Magazine. Mullis currently
works as an art fabricator and a tutor for underserved
children with dyslexia.
Sidney Mullis je kiparica koja živi i radi u Pittsburghu,
PA. Izrađivala je radove o djetinjstvu, pubertetu,
intimnosti zaborava i rodnim ulogama. Njezini su
radovi izloženi na brojnim lokacijama, uključujući
Berlin, Tokio, Englesku i Hrvatsku. Samostalne
izložbe je održala u Leslie Lohman Museum (NYC),
Wick Gallery (NYC), Bunker Projects (PA), Neon
Heater Gallery (OH), Bucknell University (PA), Rowan
University (NJ), University of Mary Washington (VA), i
drugdje. Surađuje s brojnim institucijama uključujući
The Children’s Museum of Pittsburgh, The Wassaic
Project, Women’s Studio Workshop, MASS MoCA, Ox-
Bow School of Art, Bunker Projects.
Njezini radovi su zastupljeni u brojnim publikacijama
poput Hyperallergic, Young Space, Maake Magazine,
De:Formal i Sculpture Magazine. Mullis trenutno radi
kao umjetnica i učiteljica za djecu s disleksijom.
Kexin Hao
Future Dance of Nostalgia
2022
interactive video game
Through the research on work songs in which singing/
chanting helps choreograph the repetitive manual
labour, the artist tries to trace out how our moving
bodies used to cooperate in the extinct activities
of production. From here she questions: how do
we preserve the body movements and restore our
moving bodies as the living archives? Can we restore
it on this body of you and me, now and here?
Future Dance of Nostalgia is a dancing game which
invites the audience to perform the choreography
that extracts and abstracts the movements found
in the pre-industrial, heavy physical labour, and
work songs. Motion tracking technology allows the
body movements to be quantified, measured, and
evaluated. Historical archives of work songs provide
the inspiration for the music that renders the old tales
and melodies into clubbing beats that lead the dance.
Through ethnographic research into work songs and
the moving body, the project draws much needed
attention to alternative historical archives of our
times. The gaming technology, visual, and music,
bring people closer to the past through a tangible
and modern experience.
Istraživanjem pjesama koje potiču koreografiju
repetitivnog fizičkog rada umjetnica nastoji otkriti
kako su tijela u pokretu sudjelovala u aktivnostima
proizvodnje. Postavlja pitanje: kako očuvati pokrete
tijela i razumjeti tijelo kao živi arhiv? Možemo li
uspostaviti takav odnos prema tijelu, tvom i mom,
sada i ovdje?
Future Dance of Nostalgia je plesna igra koja poziva
publiku na izvedbu koreografije, nastale apstrahiranjem
pokreta nađenih u predindustrijskom, teškom fizičkom
radu i radničkim pjesmama. Tehnologija praćenja
pokreta omogućuje kvantificiranje, mjerenje i procjenu
pokreta tijela. Povijesni arhivi radničkih pjesama
inspiriraju glazbu koja stare priče i melodije pretvara
u klupske taktove i poziva na ples.
Etnografskim istraživanjem radničkih pjesama i tijela
u pokretu, rad skreće pozornost na alternativne
povijesne arhive našeg vremena. Gaming tehnologija,
vizual i glazba, približavaju ljudima prošlost opipljivim
i modernim iskustvom.
Kexin Hao
www.howkexin.com
Kexin Hao is a visual artist and designer born in
Beijing and based in The Netherlands. Her practice
is a marriage of graphic design and performance art.
Having initiated and been involved in various creative
projects across China and Europe, Kexin challenges
not only geometrical borders but also disciplines
of design, film, performance, and music, as well as
physical boundaries between art and non-art space.
Using a daring visual language, the work is a constant
swing between intimate close-up on personal stories
and zoom-out to collective narratives; between a
past of political heaviness and a flashy modernity
rendered in humour and sarcasm. In her recent works,
Kexin investigates the themes of body, rituals, health,
archive, and collective memory.
She has exhibited her works at Rewire festival, TEC
ART, GOGBOT Festival, MAMA, Worm, W139, PIP,
CinemAsia, Luxelakes·A4 Art Museum(CN), L.E.V
Festival Matadero(ES) and participated in various
programs in educational institutes such as Sandberg
Institute, Artez, and Städelschule Architecture
Class(DE).
Kexin Hao vizualna je umjetnica i dizajnerica rođena
u Pekingu, a živi u Nizozemskoj. Njezina praksa spoj je
grafičkog dizajna i izvedbene umjetnosti. Pokrenula je
ili je bila uključena u razne kreativne projekte diljem
Kine i Europe. Kexin pomiče ne samo geometrijske
granice već i discipline dizajna, filma, performansa
i glazbe, kao i fizičke granice između umjetničkog
i neumjetničkog prostora. Koristeći se odvažnim
vizualnim jezikom, rad je stalna promjena između
intimnog krupnog plana osobnih priča i smanjivanja
kolektivnih narativa; između prošlosti pune političke
težine i blještave modernosti prikazane u humoru i
sarkazmu. U svojim novim radovima Kexin istražuje
teme tijela, rituala, zdravlja, arhiva i kolektivnog
pamćenja.
Izlagala je svoje radove na Rewire festivalu, TEC
ART, GOGBOT Festivalu, MAMA, Worm, W139, PIP,
CinemAsia, Luxelakes·A4 Art Museum(CN), L.E.V
Festival Matadero(ES) te sudjelovala u raznim
programima u obrazovnim institutima kao što su
Institut Sandberg, Artez i Städelschule Architecture
Class(DE).
Maria Chiara Ziosi
Some songs
2022
interactive installation (karaoke), music, text /
interaktivna instalacija (karaoke), autorska glazba, tekst
performans / performance
Lately, I’ve been thinking a lot about conversations.
I like to steal common words that I hear. I write them
down.
Sometimes I think that common words are always too
many or too simple if put into small talk.
At the same time, I realize that these common words are
often my favorite way of
dealing with art every day.
Maria Chiara Ziosi
Artist Maria Chiara Ziosi collected sentences from
crowded places: buses, public laundries and chat
rooms and organised them into songs.
These mundane verses are presented on karaoke
and accompanied by music composed by the artist.
The karaoke device creates a short circuit between
need and negation, recalling the typical collective
enthusiasm of the medium itself, presented in a sort of
melancholic environment. This body of work centres
the question: in the name of what do we speak – act?
The search for a missing name through collective
singing becomes the only way to pose the need for
speaking – acting.
Maria Chiara Ziosi will perform in a club-style setting,
and she will leave the stage for the audience to sing.
U posljednje vrijeme puno razmišljam o razgovorima.
Volim ukrasti uobičajene riječi koje čujem. Zapisujem ih.
Ponekad pomislim da su uobičajene riječi uvijek previše
ili prejednostavne ako se stave u mali razgovor.
U isto vrijeme, shvaćam da su te uobičajene riječi često
moj omiljeni način umjetničkog izražavanja.
Maria Chiara Ziosi
Umjetnica Maria Chiara Ziosi prikupila je rečenice s
javnih mjesta: autobusa, javnih praonica i pričaonica
i organizirala ih u pjesme. Ovi svjetovni stihovi
predstavljeni su na karaokama i praćeni glazbom koju
je skladala umjetnica. Karaoke uređaj stvara kratki spoj
između potrebe i negacije, prisjećajući se tipičnog
kolektivnog entuzijazma samog medija,
predstavljenog u nekoj vrsti melankoličnog
okruženja. Ovo djelo u središte stavlja pitanje: u ime
čega govorimo – djelujemo? Potraga za nestalim
imenom kroz kolektivno pjevanje postaje jedini način
ostvarivanja potrebe za govorom – djelovanjem.
Maria Chiara Ziosi nastupit će u klupskom stilu,
a s pozornice će sići među publiku kako bi skupa
zapjevali.
Maria Chiara Ziosi
Maria Chiara Ziosi (1995, Cento, IT) lives and works
in The Hague (NL).
BA in Fine Arts Academy in Bologna and MA in Visual
Arts at IUAV University in Venice.
She participated in the fifth edition of Unpae
Residency in Roccacaramanico (2022). She exhibited
at Helicotrema Festival, at Estuario Project Space, Prato
(2021) and in the group show Pillows like pillars (Mirror
Project #11), at Barriera, Turin (2021).
She took part in the workshop Bodymind Operating
System, with ∞OS, V-A-C Foundation, Venice (2019).
Maria Chiara Ziosi (1995., Cento, IT) živi i radi u Den
Haagu (NL).
Diplomirala je na Akademiji likovnih umjetnosti
u Bologni i magistrirala vizualne umjetnosti na
Sveučilištu IUAV u Veneciji.
Sudjelovala je na petom izdanju Unpae Residency u
Roccacaramanicu (2022.), izlagala je na Helicotrema
Festivalu, u Estuario Project Space, Prato (2021.) i na
grupnoj izložbi Pillows like pillars (Mirror Project #11),
u Barrieri, Torino (2021.).
Sudjelovala je na radionici Bodymind Operating
System, s ∞OS, V-A-C Foundation, Venecija (2019.).
26.-27.11. ARCADE / IGRAONICA (RADIONICE)
Extended play / Doigravanje
The workshop program Arcade invites you to question
your own perception of the artwork. The participants
will look at the works in physical and virtual space,
play with the relationship between the text (concept)
and the work itself, and place their own perception,
experience and knowledge as a starting point for
understanding the artistic work in the given context.
In each workshop, participants will learn a specific skill
from the field of performing, visual arts and literature:
dance improvisation, recording and digital processing,
and blackout poetry technique. Playing with different
ways of seeing/experiencing/understanding a work
of art encourages expression and emphasizes the
authentic experience of the observer.
Radionički program Igraonica /Arcade poziva na
propitivanje vlastite percepcije umjetničkih radova.
Sudionici će sagledati radove u fizičkom i virtualnom
prostoru, poigrati se sa odnosom teksta (koncepta) i samog
rada te smjestiti vlastitu percepciju, iskustvo i znanje kao
polaznu točku razumijevanja umjetničkog rada u danom
kontekstu.
U svakoj radionica polaznici će se upoznati s određenom
vještinom iz područja izvedbenih, vizualnih umjetnosti
i književnosti: plesnom improvizacijom, snimanjem i
digitalnom obradom te tehnikom blackout poezije. Igra
s različitim načinima gledanja/doživljaja/razumijevanja
umjetničkog djela potiče na izražavanje i stavlja naglasak
na autentično iskustvo promatrača.
10:00 - 13:00 ARCADE / IGRAONICA (RADIONICE)
Extended play / Doigravanje
How To Visit the Exhibition? :
dance improvisation workshop
with the focus on moving through
the gallery space
Mentor: Kristina Paunovski
The workshop experiments with physically inhabiting
the exhibition space, inviting participants to reflect on
their own way of moving through the gallery, interacting
with the works, examining how the experience of the
work changes depending on the speed and manner of
movement and observation. What if I enter the showroom
backwards? What happens if I perceive the work with only
one of my senses? Is there a difference in the experience
of work that I observe for a few seconds or an hour?
The workshop will focus on the exploration of space
and the body through its expressive possibilities, using
improvisational and compositional tools with an emphasis
26.11.2022.
on releasing the creative impulse. New possibilities in the
research of dance, space and artistic work will deal with
questions such as how to experience the exhibition with
the body and how to interpret the theme with a dance
performance.
Kako posjetiti izložbu? : radionica
plesne improvizacije s fokusom na
kretanje u izložbenom prostoru
Voditeljica: Kristina Paunovski
Radionica eksperimentira s tjelesnim aspektom bivanja u
izložbenom prostoru pozivajući polaznike na promišljanje
vlastitog načina kretanja kroz galeriju, interakciju s
radovima, ispitivanje kako se doživljaj rada mijenja ovisno
o brzini i načinu kretanja i promatranja. Što ako uđem u
izložbeni prostor natraške? Što se zbiva ako rad percipiram
samo jednim od osjetila? Ima li razlike u doživljaju rada
koji promatram par sekundi ili sat vremena?
Radionica će se usmjeriti na istraživanje prostora i tijela kroz
njegove ekspresivne mogućnosti, koristeći improvizacijske i
kompozicijske alate s naglaskom na oslobađanje kreativnog
impulsa. Nove mogućnosti u istraživanju plesa, prostora i
umjetničkog rada bavit će se pitanjima poput kako tijelom
doživjeti izložbu i kako plesnom izvedbom interpretirati
temu.
Kristina Paunovski, RIJEKA TRAVEL – ARTissue
13:00 - 16:00 ARCADE / IGRAONICA (RADIONICE)
Extended play / Doigravanje
What do I take with me when I
leave the gallery? : a workshop
on experimental digitization
of content with a focus on
impression/experience
sound, and ultimately creating a filter for a selfie application
that will serve as a playing tool - improvisation with a
memory. The result of the workshop is the digitization of
the exhibition content, the presentation of artworks in a
virtual space that is accessible to a global audience. We will
play with the idea of digitizing the exhibition, exploring
how to virtually present the experience of visitors instead
of individual works.
mentor: Josipa Baljak
Every exhibition we visit leaves a certain impression.
These impressions change in memory; we often forget
what delighted us and remember something completely
different. In order to record impressions, we often observe
the exhibition through the lens of a mobile phone camera.
What if we could take the works we meet at the exhibition
with us in virtual form?
The workshop invites the participants to explore the
exhibition space with a camera, then guides them through
the techniques of recording and processing images and
Što odnosim sa sobom kada
izađem iz izložbenog prostora?
: radionica eksperimentalne
digitalizacije sadržaja s fokusom
na utisak/doživljaj
mentor: Josipa Baljak
Svaka izložba koju posjetimo ostavlja određeni dojam. Ti
se dojmovi u sjećanju mijenjaju; često zaboravljamo ono
što nas je oduševilo i prisjećamo se nečeg sasvim drugog.
U želji da zabilježimo utiske, često izložbu promatramo kroz
objektiv mobitela. Što kada bi radove koje upoznajemo na
izložbi mogli ponijeti sa sobom u virtualnom obliku?
Radionica poziva polaznike na istraživanje izložbenog
prostora kamerom, zatim ih provodi kroz tehnike snimanja
i obrade slike i zvuka te u konačnici izrade filtera za selfie
aplikaciju koji će poslužiti kao alat za igru - improvizaciju
s uspomenom. Rezultat radionice je digitalizacija sadržaja
izložbe, predstavljanje umjetničkih radova u virtualnom
prostoru koji je dostupan globalnoj publici. Poigrat ćemo
se idejom digitalizacije izložbe istražujući kako virtualno
predstaviti, umjesto pojedinog rada, doživljaj posjetitelja.
26.11.2022.
Josipa Baljak
11:00 - 14:00 ARCADE / IGRAONICA (RADIONICE)
Extended play / Doigravanje
How do I read art? : blackout
poetry workshop with a focus on
understanding contemporary
artwork
mentors: Petra Čargonja and Natalija Stefanović
By getting to know the exhibition, we create meanings.
Later in conversation with other people, we realize how
they differ from each other. The blackout poetry workshop
will play with reading the exhibition. Using exhibition
texts, concepts, biographies and their own reviews of
individual works, attendees are invited to critically reflect
on the exhibition’s narrative and the themes that the works
deal with, and to rearrange, disassemble and assemble
meanings. We will look for the poetics of the concepts, and
create new meanings through creative reduction.
Blackout is a method of thought recycling that creates a
type of ready-made poetry: by crossing out the content,
the participants will select words and phrases from the
texts that will form a new text. The focus of this process
is play, association, frustration, subconsciousness and
abstraction.
Kako čitam umjetnički rad?
: radionica blackout poezije
sa fokusom na razumijevanje
suvremenog umjetničkog rada
voditeljice: Petra Čargonja i Natalija Stefanović
Upoznajući se s izložbom stvaramo značenja. U kasnijem
razgovoru s ljudima s kojima razmjenjujemo dojmove
shvaćamo kako se oni međusobno razlikuju. Radionica
blackout poezije poigrat će se čitanjem izložbe. Koristeći se
izložbenim tekstovima, konceptima, biografijama i vlastitim
osvrtima na pojedine radove, polaznici su pozvani kritički
se osvrnuti na izložbeni narativ i teme kojima se radovi
bave te presložiti, rastaviti i sastaviti značenja. Iz koncepata
izdvajamo poetsko, kreativnom redukcijom stvaramo nova
značenja. Blackout je metoda misaone reciklaže kojom se
stvara tip ready-made poezije: precrtavanjem sadržaja,
polaznici/e će iz tekstova izdvajati riječi i sintagme koje će
tvoriti novi tekst. Fokus ovog procesa jest igra, asocijacija,
frustracija, podsvijest i apstrakcija.
27.11.2022.
Blackout poezija , Ulična Aristokracija
21:30 ARTIST TALK / RAZGOVOR S AUTORIMA
Extended play / Doigravanje
Discussion moderator: Katarina Erak
Do big players, state powers or artists determine the rules
of the game which penetrate our lives and shape our
experience? Do policymakers or authors dominate the
space and enforce their will, with the consent or complaints
of other actors? Do we allow manipulation of our own
experience and actions - because we have no choice or
want to be guided? Are we marionettes at the exhibition,
whose strings are pulled by artists? Will we rebel or will
we continue to play?
Voditeljica razgovora: Katarina Erak
Određuju li pravila igre, prodiru u naše živote i oblikuju
naše iskustvo - veliki igrači, državni moćnici ili umjetnici?
Dominiraju li prostorom i provode svoju volju, uz pristanak
ili pritužbe drugih - vladajući ili autori? Dopuštamo li
manipulaciju nad vlastitim doživljajem i djelovanjem - jer
nemamo izbora ili želimo biti vođeni? Jesmo li na izložbi
marionete, a umjetnici oni koji vuku naše konce? Slijedi li
pobuna ili ćemo se nastaviti igrati?
25.11.2022. Nikolina Krstičević, Ruke pune straha, 2021
IMPRESSUM
ARTISTS / UMJETNICE
Helena Roig Prats
Sidney Mullis
Lucija Ostrogović
Clara Pallí Monguilod
Maria Chiara Ziosi
Nikolina Krstičević
Kexin Hao
CURATOR / KUSTOSICA
Elena Apostolovski
ARTISTIC DIRECTOR /
UMJETNIČKA DIREKTORICA
FESTIVALA:
Maša Drndić
SELECTION / SELEKCIJA
Elena Apostolovski
Petra Čargonja
Katarina Kožul
Leonida Cris Manojlovski
Katarina Erak
Ema Puceković
SETUP /
PROSTORNO OBLIKOVANJE
Damjan Šporčić
DISCURSIVE PROGRAM /
PROVEDBA DISKURZIVNOG
PROGRAMA
Katarina Erak
PUBLIC WORKSHOP PROGRAM
MENTORS /
VODITELJICE RADIONICA
ZA JAVNOST
Josipa Baljak
Kristina Paunovski
Petra Čargonja
Natalija Stefanović
PRODUCTION MENTORS /
VODITELJI RADIONICA
ZA PRODUKCIJU
Jana Ažić
Nina Ilić
Elena Apostolovski
Petra Čargonja
Damjan Šporčić
Maša Drndić
GALLERY MANAGERS /
VODITELJICE GALERIJE SKC
Leonida Cris Manojlovski
Katarina Kožul
EVENTS COORDINATORS /
KOORDINATORICE DOGAĐAJA
Ema Puceković
Tara Glavan
Samanta Sertić
Valentina Novinc
Ana Marija Lončar
Bianca Gerbec
Tea Turkalj
Dominik Višnjić
Jana Telebar
Veronika Mijić
Petra Cukrov
Katarina Erak
CATALOGUE EDITORS /
UREDNICE PUBLIKACIJE
Elena Apostolovski
Petra Čargonja
Maša Drndić
PHOTOGRAPHY /
FOTOGRAFIJA
Tanja Kanazir
Anamarija Šepl
TRANSLATORS /
PREVODITELJI
Domagoj Krpan
DESIGN /
GRAFIČKO OBLIKOVANJE
Gea Rajić
COVER ILLUSTRATION /
CRTEŽ NA NASLOVNICI
Lucija Ostrogović
VISUAL IDENTITY /
VIZUALNI IDENTITET
Ivana Kutni Mihić
ORGANISERS /
ORGANIZATORI
Filmaktiv
Studentski kulturni centar
Sveučilišta u Rijeci – SKC
ADDRESS /
ADRESA
STIFF- Međunarodni studentski
filmski festival
Udruga Filmaktiv
Korzo 28/1
51 000 Rijeka
Email: office@studentfilmfestival.eu
Web: www.studentfilmfestival.eu
University of Rijeka -
Student Cultural Center
Trg braće Mažuranića 10,
51 000 Rijeka, Croatia
www.skc.uniri.hr
skc@uniri.hr
9th STIFF is organized by Filmaktiv and SKC—Student Cultural Centre,
Rijeka & funded by Ministry of culture and media Republic of Croatia,
HAVC—Croatian audiovisual centre, The City of Rijeka, Primorje—
Gorski kotar county and Stroom The Hague. Thanks to Drugo More,
MMSU Rijeka, RiRock, Oblik3 for providing equipment.
www.studentfilmfestival.eu