Exhibition Autonomies / artists and works
Place: Museum of Contemporary Art of Vojvodina in Novi Sad
Curator: Kristian Lukić & Sunčica Pasuljević Kandić
Darija Medić / Serbia
Into the blind-Model 300, software art, video presentation (2012).
Model 300 is a techno-psychological navigation experiment – a navigation device reflecting on the paranoid interpretations of technology, looking for routes of less electromagnetic frequency in urban spaces.
The material basis of today’s’ software suggestiveness is the vast communicative gap between human perception and code that resides in a specific complex technology. The greater gap between code and human logical understanding, the greater the possibilities of interpretation. This technological intervention investigates the space between human perception and technological structures, in order to render visible the decisions existing behind every neutral technology through exploring the fruitful field of interface rhetoric.
Darija Medić is a digital artist who, through the use of language, technology and design, investigates the realm of identity correction/theft/creation and the labyrinths of contemporary technological practices. Her many works are speculative interventions into the imperfections of systems that penetrate the principles of building social meaning and the dynamics of power distribution. She graduated from the networked media department at the Piet Zwart Institute, in Rotterdam, Netherlands and the new media department of the Academy of Arts in Novi Sad, Serbia. Darija has exhibited in Serbia and internationally and has shown her work at projects such as Mindware: Technologies of dialogue(Poland), Karasssuite (Slovakia, Belgium), Make me festival (Serbia, Austria), Hacker Space festival (France), Unlimited liability (Germany), MEMEFEST/festival of radical communication (international), Viral Communications conference (Netherlands). In her activities she strives for autonomous forms of education and artistic practice as potentials for individual and social emancipation.
Emilio Vavarella / Italy
Report a Problem, One channel video projection; 07′:35” Colors. No audio. No subtitles. (2012).
The series of 100 digital photos called Report a Problem is the first part of the project, The Google Trilogy, about the relationship between humans, power and technological errors. “Report a Problem” is the message that appears at the bottom of the Google Street View screen, which allows viewers to report a problem during the viewing of the place they are virtually visiting: missing censorship, wrong colors, random appearances. I traveled on Google Street View photographing all the “wrong landscapes” I encountered before others could report the problems and prompt the company to adjust the images. Common landscapes are transformed by Google’s unexpected technical errors into something new.
Emilio Vavarella was born in Monfalcone (Italy) in 1989. His artistic practice focuses on political philosophy and contemporary technological power with a particular emphasis on the aesthetics of error, subjectivity, mediated identity, bio-politics and social control. His work is informed by his studies on the history of conceptual art, digital and network culture, and new media practices. Through the use of new media he highlights the ambiguous spaces of power, such as unexpected errors and unpredictability. He believes that by doing so, the intrinsic logic and hidden structures of power are revealed and an intellectual resistance is formed. In addition to creating digitized works, his projects are also concerned with engaging local communities, spectators, and other artists. He is currently completing his M.F.A from Iuav University of Venice with a thesis on Error and Metamorphosis in New Media Art, while spending his last semester abroad at Bilgi University of Istanbul. He has also studied art in Sicily and Barcelona, and completed a B.A. in Art History, Criticism and Methodology at the University of Bologna.
His second exhibited work is also part of The Google Trilogy work.
The Driver and the Cameras, Archival inkjet print on photographic paper. 11 elements 10cm (2012).
Each Google Street View car is equipped with a Dodeca 2360 camera with eleven lenses, capable of photographing 360 degrees. Afterwards the photos are assembled, creating a stereoscopic view, and an algorithm developed by Google automatically blurs the faces of people to protect the privacy of those accidentally portrayed. To create this series of photographs, I went looking for faces that had escaped Google Street View’s algorithm and the eleven portraits I isolated immortalize the drivers of the Google car. The driver becomes a sort of phantom power; he appears where he shouldn’t be and his presence escapes censorship. His face is the symbol of an error yet at the same time shows a human side and, perhaps, the limits of technological power.
Geraldine Juarez / Sweden
The Flash Crash, Installation, (2013)
The highly complex mechanisms of the market are always represented by the simplest possible image: A horizon; a simple line separating the earth from the sky. The Flash Crash, is the fastest stock market crash to date, where the market crashed in seconds only to recover its losses minutes later. It was produced by high frequency trading algorithms. By playing with the cult-like nature of the market, this fake gold installation is an attempt to discover abundances and speak against the scarcity rhetoric promoted by economic liberalism.
Geraldine Juarez is a mexican artist based in Sweden. She use technologies and piracies to interact with and reflect on the spaces, systems and situations that emerge when information, property and power clash. Her artistic practice developed during two generous fellowships awarded by Eyebeam, Center for Art and Technology in 2002-03 and 2006 to 2008. She is a fellow of Free Art and Technology Lab (F.A.T. Lab), half Forays and member of Elektro KKV studio. She also research, blog and publish texts about the endless tension between intellectual property law and copy
cultures, and participate actively in current debates and campaigns related with the commons, internet law, and copyright enforcement from the cultural perspective.
Heath Bunting / UK
Starting with some money and using a variety of techniques to change state (location, social structure and possessions), an algorithm automatically follows the rules of The System to find methods for making more money.
1. Buy a computer, start a company and open a bank account.
2. Buy a pen and apply for a credit card.
3. Buy a knife, make a pen, register with doctor, get a hazardous injection, get disabled and claim state benefits.
4. Buy a bus ticket, go and buy a computer and open a savings account.
5. Buy a house, get a partner, get abused, move into a shelter for beaten women and apply for a crisis loan from the state.
6. Buy a coach ticket, go get a job for a young person in a supermarket and open a bank account.
Heath Bunting was born a Buddhist in Wood Green, London, UK. He is a co-founder of both net.art and sport-art movements and is banned for life from entering the USA for his anti genetic and border crossing work. His self taught and authentically independent work is direct and uncomplicated and has never been awarded a prize. He is both Britain’s most important practising artist and The World’s most famous computer artist. He aspires to be a skillful member of the public and currently training artists in survival techniques so they can out-live the organised crime networks during the final crisis.
Stevan Kojić / Serbia
The Lost Treasure, installation, (2013)
Project The Lost Treasure is based on the initiation of organic/techno-museological collection which is complied of fictive electronic waste (technological objects) and live organisms (bio-objects), allegedly found in the neighboring district. Bearing in mind the self-critical relation toward site-specific, in situ and eco-art practices and auto-ironical approach and engagement of the usual ‘research methods’, given space, historical, social, geo-political and techno-organic pieces of information are transformed into synthetic forms. Through subjective rendering of the environment, the possible/impossible condition in the parallel present or future is hypothetically hinted. In the imaginary post apocalyptic age, discarded objects become active subjects of techno-organic structures within the new virtual worlds as a potential micro models of futuristic megapolises.
Stevan Kojic graduated in 1997 with a BA in sculpture from the Faculty of Fine Arts, Belgrade and completed MA at the same Faculty in 1999. Since 2004 has been a Teaching Assistant and since 2008 is a Docent at the New Media Department of Academy of Arts in Novi Sad. He has paticipated in international simposiums, projects, group and solo exhibition in Europe and abroad.
Zvonko Gorečan / Serbia
RGB video projection and mix media (2013)
Having finished the studies in power engineering, he has been engaged in the research in the fields of system stability and system management – Smart Grid in particular. He is the author of several tens of papers and books in the mentioned fields. In his further work, he has directed his research activities towards deeper analysis of cultural practice related to various power system needs in different society parts or finding the benefits in the disbalance, which in relation with Information Technology, could create a more stable power system. Even with the reduction in use of fossil and nuclear fuels and increase of renewables which has been impossible only until recently. Currently, he is hired as an leading expert on projects in advanced European Smart Grid companies (Italy, Denmark and Russia). He is a member of Eastwood – Real Time Strategy Group.
Les Miserables / Serbia
Can you feel the spill?, The bord game, video presentation Nida residency (2013).
Can you feel the spill is political location based game. The goal of the game is to collect spilled oil in the region of Curonian spit before you’re time runs out. You have an indicator of how far your next location is, how much oil you have collected and how much time you have left on your clock. At every location you can encounter a new oil spill related problem that makes your task difficult. The game is firmly tied to a specific Lithuanian region Neringa and an issue that explores the /potential/ impact of the Kravtsovskoye /D-6/ oilfield on the UNESCO World Heritage site of the Curonian Spit. In that way the game can only be played around the Lithuanian region of Neringa especially in the town of Nida. The game was created by the Les Miserables art collective.
Les Miserables is an informal artistic group/community and a movement from Serbia that is dedicated to creating/using /digital/ games for social change. Les Miserables are interested in exploring, working with and commenting on glocal socio-economical issues of the underprivileged/subaltern, geopolitics and ecology. Les Miserables are using micro-political and micro-social practices, new solidarities, while at the same time applying new aesthetic and analytically methodology to foster new/alternative subjectivities. Working with board games and/or digital navigation applications, LesMiserables are making subversive games that play with the player’s expectations.
Jan Lemitz / Germany
The Registration Machine, archived prints
The Registration Machine brings together photographs from a number of archives in Calais, northern France. The history of the Channel Tunnel is told in incomprehensible beauty through abstract technical detail. The resulting piece explores the metaphorical dimensions surrounding the impact of machinery, technology and civil engineering as well as the dramatic change in the landscape that derive from it. Initially designed to facilit technical detail, ate a passage; the function of The Channel Tunnel has been turned into its complete opposite – that of a barrier, functioning by means of a complex system of oppositions that become visible in the photographs.
Jan Lemitz’s work as a visual artist is informed by photographic practice. He graduated in Research Architecture from Goldsmiths College in 2011. Thematically it is focused on landscape and architecture. Recent work includes The Registration Machine, a long term research project on the impact of the construction of the Eurotunnel onto the actual and the visual landscape surrounding it. Jan Lemitz has exhibited in Europe and overseas on a regular basis, including contributions to Voices of the Sea at the Musée des Beaux-Arts de Calais, savvy contemporary in Berlin, the f-stop Festival in Leipzig, exhibitions in South Korea and during the Singapore International Photo Festival.
Joana Moll / Spain
AZ: Move and get shot, installation, (2012).
AZ: move and get shot is a net based piece which shows the natural, animal and human flows in the landscape of the U.S. / Mexico border in the state of Arizona, through the eyes of six surveillance cameras.
These cameras are part of an online platform created by a group of landowners with properties in the U.S. border. The platform shows the images of six surveillance cameras located in the border territory. The main purpose of this community is to provide the public with raw images of immigrants crossing the border illegally through their lands. Each camera incorporates a motion sensor, which triggers the capturing of images when detecting the slightest vibration of the landscape. Then, these pictures are sent to a server and displayed directly on the web page. The piece is composed of six independent films automatically made from the images captured by each camera. Every 24 hours, a script detects whether there are new pictures.
These new images are saved to a local server and added algorithmically right after the last frame of the corresponding video. Thus, the films expand and reveal, day by day, the pace and the nature of the movement of the Arizona borderland.
Joana Moll was born in Barcelona, 1982. Holds a Master’s degree in Digital Arts from the Universitat Pompeu Fabra and a BA in Visual Arts from the UAB (Universitat Autònoma de Barcelona). She has performed and exhibited her work internationally in venues such as Arts Santa Monica and The Picasso Museum in Barcelona, the Oi Futuro Flamengo Institute in Rio de Janeiro, the Bat Yam Museum for Contemporary Art in Israel, the Albuquerque Museum of Art and History and the Ithaca College in New York, from where she received an award for the piece “The Texas Border”. She took part in FILE 2011 held in Sao Paulo, FILE 2012 in Rio de Janeiro, ISEA 2012 edition and Festival Internacional de la Imagen 2013 in Manizales (Colombia). She also contributed to the development of interactive projects for the Science Museum of Granada, the Institute of Palaeontology of Sabadell and the Universitat Pompeu Fabra, in Barcelona, and is actively collaborating with the trandisciplinary research project ‘The Transformation of Borders in the 21th Century’ at IMéRA, Marseille (France).
Shinseungback Kimyonghun / South-Korea
Cloud Face, Pigment Inkjet Print on Cotton Rag Paper, 200 cm x 80 cm (2012).
Human sees figures in clouds: animals, faces and even god. This kind of perception also appears in computer vision. Face-detection algorithms sometimes find faces that are not. It is because human’s knowledge of a face and understanding of human vision mechanisms affect the development of the computer vision. Cloud Face is a collection of cloud images that are recognized as human face by a face-detection algorithm. It is a result of computer’s vision error, but they look like faces to human eyes, too. This work attempts to examine the relation between computer vision and human vision.
Shinseungback Kimyonghun is a Seoul based media artist group consisting of Shin Seung Back and Kim Yong Hun. Their collaborative practice explores expanding area of imaging and vision using image processing and computer vision.
Matthias Tarasiewicz (in Cooperation with Max Gurresch and Damian Stewart) / Austria
Bitcoincloud, interactive installation, 2m x 2m x 2m
Bitcoincloud is an interactive media-arts installation and reactive sculpture thematizing artistic production as well as alternative economics. Bitcoincloud shows a direct relation of recognition and value of the sculpture: the more viewers watch the art-piece, the more its worth grows (literally): it also works as a so called “Mining Rig”, modified computers that create the p2p community currency “Bitcoin”. The current value of the sculpture is defined by the amount of viewers watching the art piece (tracked with a motion-detector). If more movement is taking place near the artwork, it creates more Bitcoins. This sculpture is an interface to thematize the discourse on the market for new media artworks. By excluding itself from the actual art market, it creates its own logic while still being feasible, directly connecting the attention of the viewers to its calculated value.
Matthias Tarasiewicz (aka parasew) co-founded the group 5uper.net and the CODED CULTURES initiative (media arts festival and research platform). Being active as a digital bricoleur / coder, researcher and technology theorist since the last millennium, he is developing experimental media prototypes and creating projects on the intersections of media, arts, technology and science. Recent publications: Coded Cultures (Springer, 2011); Exploring Creative Emergences (5uper.net, 2009). He is project lead of the “Artistic Technology Research LAB” at the University of Applied Arts in Vienna, Austria. Recent projects include the cryptocurrency Bitcoin (“BitCoinCloud”), DIY-video (Artistic Bokeh Initiative) among mapping research methods of artistic production cultures.
Wonbin Yang / USA
Species series, Mixed media and video, (2012/2013)
A series of artificial life forms such as autonomous kinetic objects and robotic creatures are created to have birth, life, and death in varying environments. The creatures are composed of inorganic(inanimate) components. They have own characteristics and behaviors originated from the twisted and redefined biological/zoological concepts in my own vision of life. I look the cities as a modern ‘primordial soup’ that contains basic substances for the formation of life on my creature’s domain. The mass produced products, everyday objects, and wastes are mixed and formed into my work with other key matters including social progress and technological developments. I investigate how these artificial life forms take the cities as their habitats, utilize urban facilities and systems for their purposes, build inter-specific relationships with other beings, and develop survival strategies to live in the man-made surroundings. My creatures are evolving into various directions under the influence of different urban areas and communities. I trace each creature’s unique histories of emergence, adaptation, and evolution while I observe how the people and our societies react to these aliens and strangers.