Curator: Ida Hiršenfelder
Production: SCCA-Ljubljana, 2015
Duration: 2 09′ 16″
Premiere: Museum Summer Night 2016, June 18, 2016, Projection on facade +MSUM Ljubljana

On the Museum Summer Night 2016 video programme Feedback Loop II will be presented at the Metelkova museum platform. The original programme, projected onto a media facade of the Museum of contemporary art in Zagreb, was curated by Ida Hiršenfelder. The selection is appropriate for projections in public spaces with a big people flow, due to its experimental usage of video language and length. Visitor’s short and passing attention can be caught with visual sensations, repetitions and modulations.

Video programme Feedback Loop presents the segment of video archive, which is of great importance for understanding video art and its social impact and yet remains almost completely invisible. These are the works in which the artists deal with experimental usage of video language but which don’t correspond to the ways of presenting archive video works in galleries and at festivals. One of these principles of presenting is limited length of curated video selection, which makes sense mainly due to attention span of the viewers, to whom the selection is intended for and does not last more than an hour and a half.
These kinds of works are extraordinarily »unrepresentable«, for they interdentally evade the logic of narration. They use visual experiments and the aesthetics of boredom with constant repetition and modulation of visual effects.

The third reason is connected also with the space itself (the habitat), in which most of these video works were made. They were not intended for gallery exhibitions. Most of the full-length looped video works were made as a side products of VJ performances (Maja Smrekar, FŠK); as collages of the video remains, which were precious material already in the 80’s and to which the artists kept on refering to (Rok Sieberer – Kuri); or as other experiments with oscillators (for example the early experiments Video graphisc by Miha Vipotnik from 1975) and generative computer programmes for audio-visual manipulation and long-distance data transfer (streaming), as in the work of Tanja Vujinovič, Luka Dekleva and Luka Prinčič. The artists establish an internal circle of repetition with constant modality by video manipulation, in which they use the error in the electronic system as an aesthetic and content element.

Maja Smrekar, Imaginarium of Electromagnetic Transformations, 28′ 39″
M.S., 2009
» video

Experimental video and sound work with multi-layered structure is made with various technological means from the perspective of investigative and formal video and sound approaches that the artist finds in the crossroad of analogue and digital manipulations of images. She uses numerous means for manipulation and processing of picture such as layering, fast switching between the shots and distortion that together make complex abstract effects. The motives are changing with speed, and they are notably connected – in content and in form – to sound and spoken word with repetitive pulsation. The repetitive images of two faces are interchanging with motives of industrial landscape, communication infrastructures, and shapeless background.
 

Neven Korda/Borghesia, Poppers, 4′ 55″
ZANK, 1989
» video

The images are synchronized with music (in frame of Borghesia multi-media group). We are faced with a flood of symbols that are indiscriminately mixing the images of pop heroes from comics with topless gay men with muscular figure and a cigarette in his mouth, and instant moments with flashing women figure on display. The images are overlapping, cutting, sneaking over the screen in a fast tempo with spilled saturated colours.
 

Luka Dekleva: Sen/za Televizijo/a, 28′ 38″
Miha Vipotnik, 2009
» video

The video is a result of artistic collaboration with Miha Vipotnik during the Sen/za Televizijo/a project at Jakopič Gallery, marking 30 years to the date after the first transmission of Vipotnik’s television video project Videogram 4 on May 4th, 1979. Dekleva’s work is a re-make of Videogram 4. The image has been deformed with an oscillator in order to achieve an entirely abstract video, thus making the image and sound completely illegible and seemingly playing in a slowed down mode as though the Videogram 4 tape would have been seriously damaged. The oscillating version of Videogram 4 was made at Jakopič Gallery and simultaneously streamed to Kapelica Gallery where DJ Nova deViator was playing an audio performance for the 40th anniversary of Radio Student in the frame of XL Experiment Project.
 

Rok Sieberer – Kuri, Technotime, 30′ 11″
Media Teror, 1999
» video

Video is playing with abstract forms of coloured masses dancing on the screen and changing shapes. The artist uses found footages from television news reports that he digitally manipulated, he typically uses fast changes of scenes and fast rhythm of video editing.
 

Tanja Vujinović, Extagram / Oscilo 15′ 26″
Exstat, 2007
» video

Stuffed plush objects, electronics (speakers, video camera, contact microphones, computer, audio mix) are a part of series of projects entitled Discreet Events in Noisy Domains. The installation is a tactile-sonic objects or environments. Multiple nonlinear video and audio systems are (re)encoding events into data streams of audio-visual noise. The cycle Discrete Events in Noisy Domains unveils soft pulsing and oscillations of discrete units. It consists of multimedia toys that create interval spaces through a granulated flux of signals and interactions. Extagram is a series of micro artworks that have been conceived in the relation between drawing and sound, as well as in the recycling process of audio-visual material. The resulting audio-visual Extagram(s) are opening fields of indeterminacy of the state, a possible mapping and distribution of signals, and are at the same time also a sketch of space vibrations and temporary transitions – trajectories. Extagram(s) set out a framework for exploring relationships between two-dimensional drawing and sound, where sound functions as an agent that connects the invisible electro-physical (inter)actions that occur in a specific space. Extagram-ST807 is made entirely from television test signals. Oscilo is a series that embodies the features of contemporary toys in close and personal contact with users through a simplified cute shapes. It has the possibility of modular design of micro-worlds that are based on limited, mostly sound-based interactivity.
 

Miha Vipotnik, Video grafike, 17′ 20″
RTV Ljubljana, 1975
» video

The video is an early attempt of computer animation through an interaction of camera and monitor. The graphic symbol is in constant motion. Effects vary with the intervention of a hand in front of the monitor. Notwithstanding the fact that Vipotnik’s early works were created under the influence of classic painting, the Video graphics are interesting, since they consider painting in the spirit of the current time and – more importantly – provide an experimental dimension of painting that classic painting was not able to convey. The importance of experimental practices is its unpredictability, which also completely changed the political stance of the artist. The artist does not control the entire process from beginning to end. He does not want to compete for the right to control, the artist proved he strives to be the one who can surpass oneself, only setting the conditions for the experiment, he sets the relation between technique and an operator. He strives to prove that the process would affirm the autonomy of the artwork.
 

Emil Memon, Blue Movie, 51′
Emil Memon, Pawel Wojtasik, 1983
» video

Blue Movie is an intimate narrative of the author immediately after his arrival to New York. These became the central motifs and themes of this work, and formal meditation on the terms of “Artistic Cinema”,“non narratives films” and “video performance art”. The author demonstrates fascination with the monumental urban spaces, architectural structures and the position of the individual in the middle of this surrounding, while exploring their aesthetic and artistic elements. He situates his body in a relationship with the city by sitting in a small room overlooking the cityscape. Repetitive sequences of the film and video works are presented without sound. In a non-linear narration the artist is looking for a variety of formal visual effects. The film was shot using a special technical process: first as a black-and- white video, then played on the screen and recorded with a Super 8mm film camera, then the material is re-recorded in the art color video – hence the blue colored recording. Video work can serve as an independent screening. Several times it has also been screened as a visual element acoustic performances by the author.
 

Luka Dekleva in Luka Prinčič, Singing Bridges Bizovik, 4′ 07″
Kapelica, Codeep, KinoDvor, 2008
» video

Singing Bringes Bizovik is a video performance in which the sound is coming from the microphones mounted on cables and construction of the bridge. Thus, Jodi Rose and Luka Prinčič combined the recorded sound material in a live event and a video of the bridge that has been simultaneously manipulated by Luka Dekleva. Artists escalate the presence of environmental sound, in order to expand the importance of sound architecture as the structure of the sound field, and connect it directly with the space. Physical interference in public space is translated into sound and video pulsation.