02 / 05 / 2014
SYMPOSIUM
INSTALLATION
PUBLICATION
PERFORMANCE
SYMPOSIUM: Art, Institutional ‘Dead Labor’ and Limits of Valorization, 09.-10.05.2014, Zagreb
Within this symposium and its accompanying artistic programme we intend to problematize the shifting grounds of institutional evaluation and valorization in the art. Selection procedures such as curatorial concepts, institutional programmation, criticism, theory, funding priorities, project assessment, interpersonal connections, political clout and so on affect what is included and what remains outside the art system, but also how artworks engage with the broader socio-economic context. They define the types of work that are produced and that are not, the types of of work that are presented and that are not. In turn they re-configure subjectivities involved in the process of artistic production -- i.e. roles and self-understanding of artists, curators, spectators, audiences, funders, etc. However, the works that fall outside, escape and subvert these quantitative and qualitative boundaries of assessment, sometimes succeed in re-configuring the filtering mechanisms of valorization and sediment in the institutional knowledge that is applied toward future valorization. This is artistic 'dead labor' sedimenting in the circuitry of institutions. And while this dialectical process has been a constant topos of institutional critique, we want to focus on contemporary and ascendant forms of valorization and subjective determinations that they reproduce - for instance: project, practice, didactism, realism, etc. - and look at the works that try to undercut their centripetal force. The question of valuation and valorization we consider particularly urgent as we are seeing - at least in our context - a confluence of several tendencies: criticism increasingly loosing significance with the crisis of print and broadcasting media, quantitative project assessment and audience metrics rising in the growing expansion of project-based work, and direct co-optation of cultural institutions by political appointments persisting in the face of mounting pressure to commercialize due to budget cuts.
SCHEDULE
Friday, 09 May 2014 @ Zagreb Dance Center, Ilica 10 18.00 presentation of the reader Time and (In)Completion
Karin Harrasser and Goran Sergej Pristaš present the reader of the symposium Broken Performances: Time and (In)Completion, held in March of 2013, with contributions by Stephen Zepke, Benjamin Noys, Marie-Louise Angerer, Karin Harrasser, Sean Cubitt, MASKA – Research Group, Tomislav Medak, Goran Sergej Pristaš; and illustrations by: Siniša Ilić
19.00 – 22.00 performative installation by BADco. TVolution will not be televised
-- free entrance, audience can enter one by one for the duration of the installation
Television is a public medium that has seen its golden era come and go. TV was a companion to the post-war trente gloriueses of democratic welfare states. Now it is again a companion to their dismantling. Throughout the 50s, 60s, 70s and well into the 80s it was a generator of shared experience, a mitigator of a bourgeois public sphere, an ideological apparatus reinforcing political hegemony. But since that period the commodification has slowly shifted TV's social function from a public service to a marketing machine, replacing information with entertainment, expertise and education with opinionated and partisan commentary, public interest with attention-value. At the same time the proliferation of channels and programming has fragmented the collective experience, a development that has culminated in the rise of other screen technologies that make it easy for everyone to select a programme to suit their own taste and schedule, or even to create and broadcast information of their own. However, as internet is rapidly commodifying, creating an audience-commodity of its own, internet still won't replace the television. TV will stay with us, this public medium that has seen its golden era come and go.
In TVolution will not be televised BADco. takes the inspiration from the works of early television artists. In the early days of television, before TV became a colossal commercial closed circuit, these artists tried to construct a different circuit of television production and consumption, an open one. This TV environment is a performative installation, but also the set of testing of specific relations of TV, its native formats (on this occasion the sitcom and the melodrama), and the viewers' scattered attention.
TVolution will not be televised is developed by using the algorithmic live video system (ALVES) that was developed in collaboration with the German human-machine interface developer Daniel Turing.
Co-production: BADco. and SKOGEN
Saturday, 10 May 2014 @ Gallery Nova, Teslina 7 11.00 symposium Art, Institutional 'Dead Labor' and Limits of Valorization
Participants: Katja Diefenbach, Marie Nerland, Laurence Rassel, Janez Janša, Bojana Kunst
-- click here for abstracts and biographies of symposium participants
11.00 - 12.00 Katja Diefenbach: Unemployed positivity - The idea of differential politics in contemporay radical thought
12.00 - 12.45 Marie Nerland: Curating (in) the in-between
13.00 - 13.45 Laurence Rassel: Other ways - Choreographic art in museums
13.45 - 14.30 Janez Janša: … from institutional critique to the institutional complicity
16.00 - 17.30 discussion with Bojana Kunst and other participants on the current conjecture of the project, practice, didactism and realism
18.00 Institution as a medium - public talk with visual artist and cinematographer Goran Trbuljak (moderated by Marko Golub)
This public talk with Goran Trbuljak addresses the issue of the possibility of reconstruction of the original institutional and technological circumstances in which a particular work is created and is presented, that is the conditions under which such work can be understood or reinterpreted when presented with a temporal delay and altered context. Based on several of the artist's key works that on the one hand enter into dialogue with predefinitions of art institutions, and on the other with the speceficities of media procedures in video, painting and photography. We will examine the works' readability and translatability considering both contexts - institutional and media as of same rank. In other words, we'll talk about the institution as a medium, one the artist addresses in the same manner as if addressing an technological "apparatus" as well as one of craft.
20.00 cinematographic 3-screen assemblage Remediation: Makavejev's Dream Film Experiment
Levan Lomjaria, Marta Hernaiz, Gonzalo Escobar Mora, Emma Rozanski, Fernando Nogari, Graeme Cole, after a script by Makavejev’s assistant Matthew Duda, 2014, 3-channel video projection, b/w + color, 59 min. 11 sec.
In 1978, Dušan Makavejev made a Dream Film Experiment using the film medium, by copying and re-editing chosen non-verbal sequences of eleven Ingmar Bergman’s 16-mm film prints, that he “found” at the Harvard Film Archive, for juxtaposition of three 16-mm film reels. He presented his dream film collage only once, as triple-screen 16-mm film performance at “Bergman and Dreams”, International Film Conference on the relations between the processes of dreaming and the experience of film viewing, at the Harvard University in January, 1978. After the Film century’s persistent archival strategy marked with the first political “found-footage” of Dreyfus affair re-edited by Doublier in 1898, soviet revolutionary scarcity montage of compiled films, surrealists’ films as found objects, Debord’s detournement of stolen films, further ideologies of appropriating and sampling, the memory of FILM is stolen by digitization.
The remediation will present concepts on the materiality of film and digital art, politics of film and digital archives, and weapons of subversion in Makavejev’s work-in-progress. The digital presentation is based on a workshop on experimental film that Tanja Vrvilo held with a group of international filmmakers, MA students at Béla Tarr Film Factory programme in Sarajevo, where the first reconstruction was made in 2013.
In the presence of film.factory filmmakers and Béla Tarr.
With thanks to Dušan Makavejev and Béla Tarr.
Concept: Tanja Vrvilo
Production: Film-protufilm in collaboration with film.factory.
Presentation at Gallery Nova is realized in collaboration with WHW.
The presentation is a part of Film-protufilm’s program Series for Invisible Cinema, for reflections on the strategies of transmission of images, knowledge and memory of cinematic dispositive in digital era. The program continues 10. May 2014 at the Museum of Contemporary Art with a panel-conversation and screening of The Turin Horse with Béla Tarr, film artist and founder of film.factory programme, an international postgraduate film studies and workshop of film thought; and participants Karin Harrasser, Hrvoje Hribar, Goran Sergej Pristaš, Petar Milat, Tomislav Medak and Tanja Vrvilo.
--- Art, Institutional 'Dead Labor' and Limits of Valorization is part of TIMeSCAPES, Images and performances of time in late capitalism, a partner project of BADco. (Zagreb), Maska (Ljubljana), Science Communications Research (Vienna), Walking Theory (Belgrade), Film-protufilm (Zagreb) and Academy Of Dramatic Arts, University of Zagreb. With the support of the Culture Programme of the European Union. With support of the Ministry of Culture of Republic of Croatia and the Office for Education, Culture and Sport of the City of Zagreb. 
Umjetnost, institucionalni "mrtvi rad" i granice vrednovanja
09.-10.05.2014., Zagreb
simpozij i popratni umjetnički program U okviru ovog simpozija i njegovog popratnog umjetničkog programa problematizirat ćemo nestabilan teren institucionalne evaluacije i valorizacije u polju umjetnosti. Postupci selekcije poput kustoskih koncepcija, institucionalnih programa, kritike, teorije, prioriteta financiranja, projektnih evaluacija, interpersonalnih sprega, političkog utjecaja i tako dalje definiraju što će biti uključeno i što će ostati izvan umjetničkog sustava, utječući pritom i na to kako će sami radovi reflektirati širi društveno-ekonomski kontekst. Ti postupci postavljaju granice koji tip umjetničkih radova će se producirati a koji neće, koji će se predstavljati javnosti a koji neće. Kao što i transformiraju subjekte uključene u proces umjetničke proizvodnje, tj. uloge i samorazumijevanje umjetnika, kustosa, gledatelja, publika, financijera, itd. Djela koja se nađu izvan ovih kriterija, koja isklizuju i subvertiraju te kvantitativne i kvalitativne granice procjena, ponekad uspijevaju transformirati filtere vredovanja i sedimantirati se u institucionalna znanja koja će se primjenjivati u kasnijim ciklusima valorizacije. Ovaj 'mrtvi rad' proizašao iz umjetničkog rada taloži se u sklopovima institucija. I dok je ovaj dijalektički proces subverzije i institucionalizacije stalan topos institucionalne kritike, mi se želimo usredotočiti na suvremene i novonastajuće oblike valorizacije i subjektivnih određenja koja oni reproduciraju - primjerice: projekt, praksa, didaktičnost, realizam, itd. - i sagledati radove koji se pokušavaju istrgnuti njihovoj centripetalnoj sili. Pitanje evaluacije i valorizacije smatramo osobito urgentnim jer svjedočimo - barem u našem kontekstu - podudaranju više tendencija: kritika gubi značaj u krizi tiskanih i elektroničkih medija, kvantitativno projektno ocjenjivanje i vrednovanje kroz prizmu brojnosti publike dobivaju sve veći značaj, kulturne institucije bivaju izravno potčinjene političkim imenovanjima te raste pritisak prema komercijalizaciji zbog rezova u javnom financiranju kulture.
RASPORED
petak, 09. svibnja 2014. @ Zagrebački plesni centar, Ilica 10 18.00 prezentacija knjige Time and (In)Completion
Karin Harrasser i Goran Sergej Pristaš predstavit će publikaciju simpozija Broken Performances: Time and (In)Completion, održanog u ožujku 2013., publikacija sadrži priloge Stephena Zepkea, Benjamina Noysa, Marie-Louise Angerer, Karin Harrasser, Seana Cubitta, MASKA – Research Group, Tomislava Medaka, Gorana Sergeja Pristaša; te ilustracije Siniše Ilića
19.00 – 22.00 izvedbena instalacija BADco. TVolution will not be televised
-- slobodan ulaz, publika ulazi jedan po jedan tijekom trajanja instalacije
Televizija, javni medij, pratilac poslijeratnom usponu države blagostanja, no medij čije zlatno doba je prošlo. Komercijalizacija televizije pomiče njezinu društvenu funkciju iz one generatora zajedničkog iskustva prema marketinškom stroju. Danas, kada je suputnik razaranja te iste države blagostanja, televizija kao medij simptomatično odražava fragmentiran društveni doživljaj tjeskobe.
TVolution will not be televised je protuprijedlog televiziji kakvu poznajemo. Ova izvedbena instalacija je zatvorena petlja televizijskog okoliša napučenog izvedbenim intervencijama u polju melodramatskog kao dominantnog društvenog sentimenta naše epohe.
TVolution will not be televised koristi ALVES sustav za algoritamsku montažu video materijala uživo nastao u suradnji s njemačkim dizajnerom sučelja Danielom Turingom.
Koprodukcija BADco. i SKOGEN
subota, 10. svibnja 2014. @ Galerija Nova, Teslina 7 11.00 simpozij Umjetnost, institucionalni "mrtvi rad" i granice vrednovanja
Sudionici: Katja Diefenbach, Marie Nerland, Laurence Rassel, Janez Janša, Bojana Kunst
-- ovdje možete naći biografije i sažetke izlaganja sudionika simpozija
-- radni jezik simpozija je engleski
11.00 - 12.00 Katja Diefenbach: Unemployed positivity - The idea of differential politics in contemporay radical thought
12.00 - 12.45 Marie Nerland: Curating (in) the in-between
13.00 - 13.45 Laurence Rassel: Other ways - Choreographic art in museums
13.45 - 14.30 Janez Janša: … from institutional critique to the institutional complicity
16.00 - 17.30 diskusija s Bojanom Kunst i drugim sudionicima o sadašnjoj konjekturi projekta, prakse, didaktičkog i realizma
18.00 Institucija kao medij - javni razgovor s likovnim i filmskim umjetnikom Goranom Trbuljakom (razgovor moderira Marko Golub)
Javni razgovor s Goranom Trbuljakom polazi od pitanja mogućnosti rekonstrukcije izvornih institucionalnih i tehnoloških okolnosti u kojem određeni rad nastaje i biva predstavljen, odnosno uvjeta pod kojima se takav rad može razumjeti ili reinterpretirati onda kad je postavljen u vremenskom odmaku i u izmijenjenom kontekstu. Na temelju nekoliko ključnih umjetnikovih radova koji se s jedne strane ulaze u dijalog sa zadatostima institucija umjetnosti, a s druge sa specifičnostima medijskih procedura u videu, slikarstvu i fotografiji, preispitat ćemo njihovu čitljivost i prevodivost, razmatrajući oba konteksta - institucionalni i medijski na istoj ravni. Drugim riječima, govorit ćemo o instituciji kao mediju, prema kojoj se umjetnik pozicionira onako kako bi se postavio i prema tehnološkoj i zanatskoj „aparaturi“.
20.00 kinematografski 3-kanalni asemblaž Remedijacija: MAKAVEJEVLJEV SNOVITI FILMSKI EKSPERIMENT
Levan Lomjaria, Marta Hernaiz, Gonzalo Escobar Mora, Emma Rozanski, Fernando Nogari, Graeme Cole, prema skriptu Makavejevljevog asistenta Matthewa Dude, 2014, trokanalna video projekcija, c/b + boja, 59 min. 11 sek.
Godine 1978., Dušan Makavejev je napravio Snoviti filmski eksperiment u filmskom mediju, kopirajući i premontirajući odabrane neverbalne sekvence iz jedanaest 16-mm kopija filmova Ingmara Bergmana, koje je “našao” u Harvardskom filmskom arhivu, za tri supostavljene role 16-mm filma. Svoj kolaž filma sna predstavio je samo jednom kao filmski performans trostruke 16-mm projekcije, na međunarodnoj filmskoj konferenciji “Bergman i snovi”, istraživanju odnosa među procesima sanjanja i iskustvima gledanja filma, na Sveučilištu Harvard u siječnju 1978. Nakon filmskog stoljeća i njegove ustrajne arhivske strategije koju markiraju prve političke “nađene snimke” Dreyfusove afere koju je premontirao Doublier 1898., sovjetska revolucionarna montaža oskudnosti kompilacijskog filma, nadrealistički filmski kolaži kao nađeni predmeti, Debordov detournement “ukradenih” filmova, daljne ideologije prisvajanja i sempliranja, memoriju FILMA ukrala je digitalizacija.
Ova remedijacija predstavlja koncepte materijalnosti filmske i digitalne umjetnosti, politike filmskih i digitalnih arhiva te oružja subverzije Makavejevljevog rada u nastajanju. Digitalna prezentacija temelji se na radionici eksperimentalnog filma koju je vodila Tanja Vrvilo s grupom internacionalnih filmaša, poslijediplomskih studenta filma na Film Factory programu koji je pokrenuo Béla Tarr u Sarajevu, gdje je 2013. napravljena prva rekonstrukcija.
Uz prisutnost filmaša film.factory programa i Béle Tarra.
Hvala Dušanu Makavejevu i Béli Tarru.
Program u Galeriji Nova realizira se u suradnji s WHW.
Koncept: Tanja Vrvilo
Produkcija: Film-protufilm u suradnji s film.factory.
Ova prezentacija dio je programa Filma-protufilma Serije za invizibilno kino, za promišljanje strategija prijenosa sustava slika, znanja i memorije filmskog dispozitiva u digitalnom dobu. Program se nastavlja 10. svibnja 2014. u Muzeju za suvremenu umjetnost sa panel-diskusijom i prikazivanjem filma Turinski konj uz sudjelovanje Béle Tarra, autora filma i osnivača film.factory, međunarodnog postdiplomskog studija filma i radionice promišljanja filma; sudjeluju i Karin Harrasser, Hrvoje Hribar, Goran Sergej Pristaš, Petar Milat, Tomislav Medak i Tanja Vrvilo.
--- Simpozij i popratni program dio su projekta TIMeSCAPES – Slike i izvedbe vremena u kasnom kapitalizmu. TIMeSCAPES je višegodišnje umjetničko istraživanje i produkcijska platforma šestoro organizacija: BADco. (HR), Maska (SI), TkH – Teorija koja hoda (RS), Science Communications Research (A) i Film-protufilm (HR). Platforma TIMeSCAPES je podržana od programa Kultura Evropske unije. Podržali: Ministarstvo kulture Republike Hrvatske, Gradski ured za obrazovanje, kulturu i sport Grada Zagreba.
02 / 05 / 2014
SYMPOSIUM
INSTALLATION
PUBLICATION
PERFORMANCE
SYMPOSIUM: Art, Institutional ‘Dead Labor’ and Limits of Valorization, 09.-10.05.2014, Zagreb
Within this symposium and its accompanying artistic programme we intend to problematize the shifting grounds of institutional evaluation and valorization in the art. Selection procedures such as curatorial concepts, institutional programmation, criticism, theory, funding priorities, project assessment, interpersonal connections, political clout and so on affect what is included and what remains outside the art system, but also how artworks engage with the broader socio-economic context. They define the types of work that are produced and that are not, the types of of work that are presented and that are not. In turn they re-configure subjectivities involved in the process of artistic production -- i.e. roles and self-understanding of artists, curators, spectators, audiences, funders, etc. However, the works that fall outside, escape and subvert these quantitative and qualitative boundaries of assessment, sometimes succeed in re-configuring the filtering mechanisms of valorization and sediment in the institutional knowledge that is applied toward future valorization. This is artistic 'dead labor' sedimenting in the circuitry of institutions. And while this dialectical process has been a constant topos of institutional critique, we want to focus on contemporary and ascendant forms of valorization and subjective determinations that they reproduce - for instance: project, practice, didactism, realism, etc. - and look at the works that try to undercut their centripetal force. The question of valuation and valorization we consider particularly urgent as we are seeing - at least in our context - a confluence of several tendencies: criticism increasingly loosing significance with the crisis of print and broadcasting media, quantitative project assessment and audience metrics rising in the growing expansion of project-based work, and direct co-optation of cultural institutions by political appointments persisting in the face of mounting pressure to commercialize due to budget cuts.
SCHEDULE
Friday, 09 May 2014 @ Zagreb Dance Center, Ilica 10 18.00 presentation of the reader Time and (In)Completion
Karin Harrasser and Goran Sergej Pristaš present the reader of the symposium Broken Performances: Time and (In)Completion, held in March of 2013, with contributions by Stephen Zepke, Benjamin Noys, Marie-Louise Angerer, Karin Harrasser, Sean Cubitt, MASKA – Research Group, Tomislav Medak, Goran Sergej Pristaš; and illustrations by: Siniša Ilić
19.00 – 22.00 performative installation by BADco. TVolution will not be televised
-- free entrance, audience can enter one by one for the duration of the installation
Television is a public medium that has seen its golden era come and go. TV was a companion to the post-war trente gloriueses of democratic welfare states. Now it is again a companion to their dismantling. Throughout the 50s, 60s, 70s and well into the 80s it was a generator of shared experience, a mitigator of a bourgeois public sphere, an ideological apparatus reinforcing political hegemony. But since that period the commodification has slowly shifted TV's social function from a public service to a marketing machine, replacing information with entertainment, expertise and education with opinionated and partisan commentary, public interest with attention-value. At the same time the proliferation of channels and programming has fragmented the collective experience, a development that has culminated in the rise of other screen technologies that make it easy for everyone to select a programme to suit their own taste and schedule, or even to create and broadcast information of their own. However, as internet is rapidly commodifying, creating an audience-commodity of its own, internet still won't replace the television. TV will stay with us, this public medium that has seen its golden era come and go.
In TVolution will not be televised BADco. takes the inspiration from the works of early television artists. In the early days of television, before TV became a colossal commercial closed circuit, these artists tried to construct a different circuit of television production and consumption, an open one. This TV environment is a performative installation, but also the set of testing of specific relations of TV, its native formats (on this occasion the sitcom and the melodrama), and the viewers' scattered attention.
TVolution will not be televised is developed by using the algorithmic live video system (ALVES) that was developed in collaboration with the German human-machine interface developer Daniel Turing.
Co-production: BADco. and SKOGEN
Saturday, 10 May 2014 @ Gallery Nova, Teslina 7 11.00 symposium Art, Institutional 'Dead Labor' and Limits of Valorization
Participants: Katja Diefenbach, Marie Nerland, Laurence Rassel, Janez Janša, Bojana Kunst
-- click here for abstracts and biographies of symposium participants
11.00 - 12.00 Katja Diefenbach: Unemployed positivity - The idea of differential politics in contemporay radical thought
12.00 - 12.45 Marie Nerland: Curating (in) the in-between
13.00 - 13.45 Laurence Rassel: Other ways - Choreographic art in museums
13.45 - 14.30 Janez Janša: … from institutional critique to the institutional complicity
16.00 - 17.30 discussion with Bojana Kunst and other participants on the current conjecture of the project, practice, didactism and realism
18.00 Institution as a medium - public talk with visual artist and cinematographer Goran Trbuljak (moderated by Marko Golub)
This public talk with Goran Trbuljak addresses the issue of the possibility of reconstruction of the original institutional and technological circumstances in which a particular work is created and is presented, that is the conditions under which such work can be understood or reinterpreted when presented with a temporal delay and altered context. Based on several of the artist's key works that on the one hand enter into dialogue with predefinitions of art institutions, and on the other with the speceficities of media procedures in video, painting and photography. We will examine the works' readability and translatability considering both contexts - institutional and media as of same rank. In other words, we'll talk about the institution as a medium, one the artist addresses in the same manner as if addressing an technological "apparatus" as well as one of craft.
20.00 cinematographic 3-screen assemblage Remediation: Makavejev's Dream Film Experiment
Levan Lomjaria, Marta Hernaiz, Gonzalo Escobar Mora, Emma Rozanski, Fernando Nogari, Graeme Cole, after a script by Makavejev’s assistant Matthew Duda, 2014, 3-channel video projection, b/w + color, 59 min. 11 sec.
In 1978, Dušan Makavejev made a Dream Film Experiment using the film medium, by copying and re-editing chosen non-verbal sequences of eleven Ingmar Bergman’s 16-mm film prints, that he “found” at the Harvard Film Archive, for juxtaposition of three 16-mm film reels. He presented his dream film collage only once, as triple-screen 16-mm film performance at “Bergman and Dreams”, International Film Conference on the relations between the processes of dreaming and the experience of film viewing, at the Harvard University in January, 1978. After the Film century’s persistent archival strategy marked with the first political “found-footage” of Dreyfus affair re-edited by Doublier in 1898, soviet revolutionary scarcity montage of compiled films, surrealists’ films as found objects, Debord’s detournement of stolen films, further ideologies of appropriating and sampling, the memory of FILM is stolen by digitization.
The remediation will present concepts on the materiality of film and digital art, politics of film and digital archives, and weapons of subversion in Makavejev’s work-in-progress. The digital presentation is based on a workshop on experimental film that Tanja Vrvilo held with a group of international filmmakers, MA students at Béla Tarr Film Factory programme in Sarajevo, where the first reconstruction was made in 2013.
In the presence of film.factory filmmakers and Béla Tarr.
With thanks to Dušan Makavejev and Béla Tarr.
Concept: Tanja Vrvilo
Production: Film-protufilm in collaboration with film.factory.
Presentation at Gallery Nova is realized in collaboration with WHW.
The presentation is a part of Film-protufilm’s program Series for Invisible Cinema, for reflections on the strategies of transmission of images, knowledge and memory of cinematic dispositive in digital era. The program continues 10. May 2014 at the Museum of Contemporary Art with a panel-conversation and screening of The Turin Horse with Béla Tarr, film artist and founder of film.factory programme, an international postgraduate film studies and workshop of film thought; and participants Karin Harrasser, Hrvoje Hribar, Goran Sergej Pristaš, Petar Milat, Tomislav Medak and Tanja Vrvilo.
--- Art, Institutional 'Dead Labor' and Limits of Valorization is part of TIMeSCAPES, Images and performances of time in late capitalism, a partner project of BADco. (Zagreb), Maska (Ljubljana), Science Communications Research (Vienna), Walking Theory (Belgrade), Film-protufilm (Zagreb) and Academy Of Dramatic Arts, University of Zagreb. With the support of the Culture Programme of the European Union. With support of the Ministry of Culture of Republic of Croatia and the Office for Education, Culture and Sport of the City of Zagreb.
Umjetnost, institucionalni "mrtvi rad" i granice vrednovanja
09.-10.05.2014., Zagreb
simpozij i popratni umjetnički program U okviru ovog simpozija i njegovog popratnog umjetničkog programa problematizirat ćemo nestabilan teren institucionalne evaluacije i valorizacije u polju umjetnosti. Postupci selekcije poput kustoskih koncepcija, institucionalnih programa, kritike, teorije, prioriteta financiranja, projektnih evaluacija, interpersonalnih sprega, političkog utjecaja i tako dalje definiraju što će biti uključeno i što će ostati izvan umjetničkog sustava, utječući pritom i na to kako će sami radovi reflektirati širi društveno-ekonomski kontekst. Ti postupci postavljaju granice koji tip umjetničkih radova će se producirati a koji neće, koji će se predstavljati javnosti a koji neće. Kao što i transformiraju subjekte uključene u proces umjetničke proizvodnje, tj. uloge i samorazumijevanje umjetnika, kustosa, gledatelja, publika, financijera, itd. Djela koja se nađu izvan ovih kriterija, koja isklizuju i subvertiraju te kvantitativne i kvalitativne granice procjena, ponekad uspijevaju transformirati filtere vredovanja i sedimantirati se u institucionalna znanja koja će se primjenjivati u kasnijim ciklusima valorizacije. Ovaj 'mrtvi rad' proizašao iz umjetničkog rada taloži se u sklopovima institucija. I dok je ovaj dijalektički proces subverzije i institucionalizacije stalan topos institucionalne kritike, mi se želimo usredotočiti na suvremene i novonastajuće oblike valorizacije i subjektivnih određenja koja oni reproduciraju - primjerice: projekt, praksa, didaktičnost, realizam, itd. - i sagledati radove koji se pokušavaju istrgnuti njihovoj centripetalnoj sili. Pitanje evaluacije i valorizacije smatramo osobito urgentnim jer svjedočimo - barem u našem kontekstu - podudaranju više tendencija: kritika gubi značaj u krizi tiskanih i elektroničkih medija, kvantitativno projektno ocjenjivanje i vrednovanje kroz prizmu brojnosti publike dobivaju sve veći značaj, kulturne institucije bivaju izravno potčinjene političkim imenovanjima te raste pritisak prema komercijalizaciji zbog rezova u javnom financiranju kulture.
RASPORED
petak, 09. svibnja 2014. @ Zagrebački plesni centar, Ilica 10 18.00 prezentacija knjige Time and (In)Completion
Karin Harrasser i Goran Sergej Pristaš predstavit će publikaciju simpozija Broken Performances: Time and (In)Completion, održanog u ožujku 2013., publikacija sadrži priloge Stephena Zepkea, Benjamina Noysa, Marie-Louise Angerer, Karin Harrasser, Seana Cubitta, MASKA – Research Group, Tomislava Medaka, Gorana Sergeja Pristaša; te ilustracije Siniše Ilića
19.00 – 22.00 izvedbena instalacija BADco. TVolution will not be televised
-- slobodan ulaz, publika ulazi jedan po jedan tijekom trajanja instalacije
Televizija, javni medij, pratilac poslijeratnom usponu države blagostanja, no medij čije zlatno doba je prošlo. Komercijalizacija televizije pomiče njezinu društvenu funkciju iz one generatora zajedničkog iskustva prema marketinškom stroju. Danas, kada je suputnik razaranja te iste države blagostanja, televizija kao medij simptomatično odražava fragmentiran društveni doživljaj tjeskobe.
TVolution will not be televised je protuprijedlog televiziji kakvu poznajemo. Ova izvedbena instalacija je zatvorena petlja televizijskog okoliša napučenog izvedbenim intervencijama u polju melodramatskog kao dominantnog društvenog sentimenta naše epohe.
TVolution will not be televised koristi ALVES sustav za algoritamsku montažu video materijala uživo nastao u suradnji s njemačkim dizajnerom sučelja Danielom Turingom.
Koprodukcija BADco. i SKOGEN
subota, 10. svibnja 2014. @ Galerija Nova, Teslina 7 11.00 simpozij Umjetnost, institucionalni "mrtvi rad" i granice vrednovanja
Sudionici: Katja Diefenbach, Marie Nerland, Laurence Rassel, Janez Janša, Bojana Kunst
-- ovdje možete naći biografije i sažetke izlaganja sudionika simpozija
-- radni jezik simpozija je engleski
11.00 - 12.00 Katja Diefenbach: Unemployed positivity - The idea of differential politics in contemporay radical thought
12.00 - 12.45 Marie Nerland: Curating (in) the in-between
13.00 - 13.45 Laurence Rassel: Other ways - Choreographic art in museums
13.45 - 14.30 Janez Janša: … from institutional critique to the institutional complicity
16.00 - 17.30 diskusija s Bojanom Kunst i drugim sudionicima o sadašnjoj konjekturi projekta, prakse, didaktičkog i realizma
18.00 Institucija kao medij - javni razgovor s likovnim i filmskim umjetnikom Goranom Trbuljakom (razgovor moderira Marko Golub)
Javni razgovor s Goranom Trbuljakom polazi od pitanja mogućnosti rekonstrukcije izvornih institucionalnih i tehnoloških okolnosti u kojem određeni rad nastaje i biva predstavljen, odnosno uvjeta pod kojima se takav rad može razumjeti ili reinterpretirati onda kad je postavljen u vremenskom odmaku i u izmijenjenom kontekstu. Na temelju nekoliko ključnih umjetnikovih radova koji se s jedne strane ulaze u dijalog sa zadatostima institucija umjetnosti, a s druge sa specifičnostima medijskih procedura u videu, slikarstvu i fotografiji, preispitat ćemo njihovu čitljivost i prevodivost, razmatrajući oba konteksta - institucionalni i medijski na istoj ravni. Drugim riječima, govorit ćemo o instituciji kao mediju, prema kojoj se umjetnik pozicionira onako kako bi se postavio i prema tehnološkoj i zanatskoj „aparaturi“.
20.00 kinematografski 3-kanalni asemblaž Remedijacija: MAKAVEJEVLJEV SNOVITI FILMSKI EKSPERIMENT
Levan Lomjaria, Marta Hernaiz, Gonzalo Escobar Mora, Emma Rozanski, Fernando Nogari, Graeme Cole, prema skriptu Makavejevljevog asistenta Matthewa Dude, 2014, trokanalna video projekcija, c/b + boja, 59 min. 11 sek.
Godine 1978., Dušan Makavejev je napravio Snoviti filmski eksperiment u filmskom mediju, kopirajući i premontirajući odabrane neverbalne sekvence iz jedanaest 16-mm kopija filmova Ingmara Bergmana, koje je “našao” u Harvardskom filmskom arhivu, za tri supostavljene role 16-mm filma. Svoj kolaž filma sna predstavio je samo jednom kao filmski performans trostruke 16-mm projekcije, na međunarodnoj filmskoj konferenciji “Bergman i snovi”, istraživanju odnosa među procesima sanjanja i iskustvima gledanja filma, na Sveučilištu Harvard u siječnju 1978. Nakon filmskog stoljeća i njegove ustrajne arhivske strategije koju markiraju prve političke “nađene snimke” Dreyfusove afere koju je premontirao Doublier 1898., sovjetska revolucionarna montaža oskudnosti kompilacijskog filma, nadrealistički filmski kolaži kao nađeni predmeti, Debordov detournement “ukradenih” filmova, daljne ideologije prisvajanja i sempliranja, memoriju FILMA ukrala je digitalizacija.
Ova remedijacija predstavlja koncepte materijalnosti filmske i digitalne umjetnosti, politike filmskih i digitalnih arhiva te oružja subverzije Makavejevljevog rada u nastajanju. Digitalna prezentacija temelji se na radionici eksperimentalnog filma koju je vodila Tanja Vrvilo s grupom internacionalnih filmaša, poslijediplomskih studenta filma na Film Factory programu koji je pokrenuo Béla Tarr u Sarajevu, gdje je 2013. napravljena prva rekonstrukcija.
Uz prisutnost filmaša film.factory programa i Béle Tarra.
Hvala Dušanu Makavejevu i Béli Tarru.
Program u Galeriji Nova realizira se u suradnji s WHW.
Koncept: Tanja Vrvilo
Produkcija: Film-protufilm u suradnji s film.factory.
Ova prezentacija dio je programa Filma-protufilma Serije za invizibilno kino, za promišljanje strategija prijenosa sustava slika, znanja i memorije filmskog dispozitiva u digitalnom dobu. Program se nastavlja 10. svibnja 2014. u Muzeju za suvremenu umjetnost sa panel-diskusijom i prikazivanjem filma Turinski konj uz sudjelovanje Béle Tarra, autora filma i osnivača film.factory, međunarodnog postdiplomskog studija filma i radionice promišljanja filma; sudjeluju i Karin Harrasser, Hrvoje Hribar, Goran Sergej Pristaš, Petar Milat, Tomislav Medak i Tanja Vrvilo.
--- Simpozij i popratni program dio su projekta TIMeSCAPES – Slike i izvedbe vremena u kasnom kapitalizmu. TIMeSCAPES je višegodišnje umjetničko istraživanje i produkcijska platforma šestoro organizacija: BADco. (HR), Maska (SI), TkH – Teorija koja hoda (RS), Science Communications Research (A) i Film-protufilm (HR). Platforma TIMeSCAPES je podržana od programa Kultura Evropske unije. Podržali: Ministarstvo kulture Republike Hrvatske, Gradski ured za obrazovanje, kulturu i sport Grada Zagreba.