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Pilot za intermedijsko umetnost, kulturo in veselje do 탑ivljenja / Guide to intermedia art, culture and the joy of life no. 4, letnik 1 (2009), Maribor / Volume 1 (2009), Maribor, Slovenia


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Pilot za intermedijsko umetnost, kulturo in veselje do življenja / Guide to intermedia art, culture and the joy of life Letnik 1 (2009), Maribor / Volume 1 (2009), Maribor, Slovenia Folio izhaja sezonsko – štiri številke letno. / Folio is published quaterly – four issues per year. Folio izhaja v slovenskem in angleškem jeziku. / Folio is published in Slovenian and English language. Časopis Folio je vpisan v razvid medijev pod zaporedno številko 1455. / Folio magazine is entered in the mass media register under order No 1455. Urednica / Editor: Snežana Štabi Uredništvo / Editorial staff: Peter Tomaž Dobrila, Aleksandra Kostič, Dejan Pestotnik, Maja Vuksanović Prevodi / Translation: Alenka Ropret Sodelavci / Contributors: Nika Logar, Lidija Pačnik, Mirjana Predojevič, Srdžan Trifunović Fotografije / Photographs: arhiv Kibla / Kibla archives Prelom / Layout: Luka Svetovanje / Support: Dejan Štampar, Boštjan Polanec Tisk / Printing: Repro studio Franc Lesjak d. o. o. Naklada / Print run: 8.000 izvodov / 8,000 copies Tiskano v Sloveniji. / Printed in Slovenia.

Izdajatelj časopisa / Publisher: Kulturno izobraževalno društvo Kibla / Asssociation for Culture and Education Kibla Zanjo / Represented by: Aleksandra Kostič, predsednica KID Kibla / President of ACE Kibla Copyright © 2009 ACE Kibla Photographs Copyright © Authors and ACE Kibla Vse pravice pridržane. / All rights reserved. Finančna podpora / Supported by: Ministrstvo RS za kulturo Mestna občina Maribor

Zelena hrana? Snežana Štabi Hrana raste iz našega odnosa z okoljem in mora biti gojena in spoštovana kot taka. Ker živimo v urbanih okoljih, so mnogi ljudje pozabili, da lahko naši stropovi, stene in kleti postanejo pokrajine, ki jih je mogoče jesti. Delavnica Green food, zelena hrana, je bila maja 2009 na ekološko turistični kmetiji Lešnik, Šmartno pri Slovenj Gradcu (Golavabuka). Tema delavnice je bila hrana in okolje. Poleg ponovnega učenja, kako pridelovati svojo hrano v permakulturnih vrtovih različnih velikosti, nas zanimajo tudi možnosti za nabiranje divje hrane, alternativne trgovske poti, nomadske kuhinje, pa tudi oblikovanje ciklov priprave, zaužitja, prebave in izločanja hrane brez odpadkov. Z globjim razumevanjem sestavin in postopkov, ki sestavljajo našo prehrano, si v vse bolj turbulentnih okoljih pridobimo spretnost bistvenega pomena. Po eni strani lahko bolje obvladamo tradicije in jih ohranimo pri življenju, hkrati pa se bomo lažje prilagajali na nove vrste prehrane ali celo izumljali nove jedi glede na energetske značilnosti in sestavine. In naša oblačila? Naša druga koža? Iz česa so, v kaj se odevamo, kaj dajemo nase? Ko se odpravimo v življenje, ko se družimo in praznujemo… zato namenjamo del časopisa festivalom: izobraževalnim dnevom radovednosti, pa glasbenim in literarnim, s knjigami in doživetji. Praznovanja naj ne bodo prazna, ampak napolnjena z vsebinami, mi pa bogatejši, ko se jim prepustimo, in radovedni še naprej.

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folio 4 EKO_ gRig Bratovščina za integratorje in generatorje resničnosti Guild for Reality integrators and generators Dogodki FoAM FoAM Events Maja Kuzmanović Obraba: modne ekologije Wear and tear: fashion ecologies FEST_ Gojmir Lešnjak – Gojc Umetniki se morajo odzvati Artists have to respond Dnevi radovednosti - Kako postati? Days of curiosity festival – How to become? Festival (DA)(NE)S Mikrotonalna in elektronska glasba Microtonal music (DA)(NE)S 2009 Toni Jarvis MED, Maribor elektronska destinacija Maribor electronic destination Eva Petrič Portret Festival ljubezni, Ptuj 2009 Festival of love

Green food? Food grows from our relation towards the environment, therefore it has to be grown and respected as such. Living in urban environments, many have forgotten that our ceilings, walls and basements can become eatable landscapes. The Green food workshop, dedicated to the food and environment, took place at the eco tourist farm Lešnik, Šmartno pri Slovenj Gradcu (Golavabuka) in May 2009. Apart from learning anew about how to grow our own food in permaculture gardens of various sizes, the interested focuses on the possibilities of picking wild food, on alternative trade paths, nomadic cuisine as well as the formation of cycles of preparation, consummation, digestion and excretion with no waste products. A deeper understanding of ingredients and procedures constituting our diet provides us with a key skill in our increasingly turbulent environments. We can thus better master our traditions and keep them alive, and are the same time better able to adapt to new types of diet or even invent new dishes based on energy content and ingredients. And our clothing? Our second skin? What is it made of, what do we wear, what do we put on? When we head out, when we socialise and celebrate ... This is why a portion of the magazine is dedicated to festivals: the educative Days of curiosity as well as music and literary festivals offering books and nice experience. Celebrations should not be blank, but filled with contents. And we should be richer when savouring them, and remain curious.

Delavnica zelena hrana, maja 2009 na ekološko turistični kmetiji Lešnik, Šmartno pri Slovenj Gradcu (Golavabuka) Green food workshop, May 2009 at the eco tourist farm Lešnik, Šmartno pri Slovenj Gradcu (Golavabuka)


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gRig Bratovščina za i

in generatorje re Bratovščina gRig smo skupina evropskih umetniških in kulturnih operaterjev, ki smo si zadali enoten cilj; raziskovati in ustvarjati smiselne situacije v hibridni oziroma mešani resničnosti, kjer so digitalni mediji in fizični materiali, predmeti in prostori medsebojno prepleteni. Generirati spodbudne in igrive situacije znotraj te realnosti zahteva spretnosti raznolikih umetniških, tehnoloških in znanstvenih disciplin. Najbolj komplementarna sodelovanja se v tem kontekstu pogosto zgodijo na mejah raznih znanj, ko se različne perspektive in pristopi sintetizirajo v hibridne oblike kreativnega izražanja, kot so hibridi med umetniškimi intervencijami in znanstvenimi eksperimenti, odzivajoče se (interaktivne) instalacije in avdio-vizualni performansi, filmi in igre ter še veliko drugega. Na teh zamegljenih robovih eksperimentalna tehnologija in sodobna kultura napajata druga drugo. Ti robovi so najbolj plodna tla za inovativen napredek in trenutne umetniške prakse. Več let smo partnerji gRig sodelovali in izmenjevali informacije in vire; v evropskih projektih, neformalnih mrežah in simpozijih ter se trudili za trdno in konceptualno fleksibilno organizacijsko in tehnološko podporo umetniškemu izražanju in hibridnim realnostim. Z gRig želimo formalizirati naše dolgoletno sodelovanje in okrepiti povezave med partnerji s pomočjo skupne raziskave, produkcij in prezentacij. Prva tri leta se bomo osredotočili predvsem na konzorcij, sestavljen iz šestih interdisciplinarnih kulturnih organizacij (in njihovih mrež pridruženih partnerjev), ki v manjšem obsegu in v bolj

Zelena hrana / Green food (foto arhiv Kibla)

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specifičnem kontekstu že utelešajo nekatere cilje projekta gRig. Koristnost projekta za posamezne partnerje se kaže v tem, da se bodo učinki različnih dosežkov kvalitativno in kvantitativno multiplicirali, raziskovanja in ustvarjalne dejavnosti pa se bodo osredotočile na skupne cilje. Konzorcij si bo prizadeval ustvariti sodelovanje, ki bi bilo trajnejše od te 36-mesečne iniciative. Zato bomo delovali znotraj odprte in transparentne strukture, ki bo kadarkoli tekom projekta pozdravila sodelovanje pridruženih in novih partnerjev (znotraj in zunaj kulturne domene). Po začetnih treh letih je možna zamenjava vlog, razširitev mreže soorganizatorjev in ustvarjanje novih kolaboracijskih prizadevanj. gRig je intermedijski projekt in hkrati projekt diskurzivne narave, ki vključuje raziskave, delavnice, simpozije, razne delovne sestanke in srečanja, delo s skupinami s posebnimi potrebami in različnimi starostmi prebivalstva (otroci – starejši), javne predstavitve in seveda umetniške postavitve in uprizoritve, pri katerih je praviloma občinstvo aktivno udeleženo. V okviru programa Kultura 2000 je triletni projekt gRig, ki se je pričel novembra 2006 in traja do oktobra 2009, pridobil evropska sredstva. Prijavitelj projekta in koordinator je organizacija FoAM iz Bruslja (Belgija), poleg KID KIBLA pa so soorganizatorji se Time’s Up iz Linza (Avstrija), Interactive Institute iz Stockholma (Švedska), Intermedia iz Osla (Norveška) in združenje Nadine, tudi iz Bruslja. Kot partnerji se pojavljajo še organizacije in institucije iz Belgije, Madžarske, Škotske, Nizozemske, Latvije, Velike

Britanije, Severne Irske, Norveške, Švedske in seveda iz Slovenije. Projekt gRig je podprt s strani Evropske komisije in programa Kultura2000 ter Ministrstva za kulturo RS in Mestne občine Maribor. Prvi sestanek partnerjev je organizirala belgijska organizacija FoAM kot koordinator projekta. Bratovščina je bila vzpostavljena novembra 2006 v belgijskih Ardenih. Udeležili so se ga: Maja Kuzmanovič, Nik Gaffney, Lina Kusaite in Jack Anderson iz FoAMa, Tim iz Times up, Francois du Bois in Trudo Engels iz Nadine, Andrew Morrison in Lars Lomell iz InterMedie, Geska in Robert Brecevic iz Interactive Institute, Aleksandra Kostič, Peter Tomaž Dobrila in Tadeja Nedog iz Kible.

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Guild for Reality integrators and generators – gRig is a group of European art and culture operators gathered around a mutual purpose: to research and create meaningful situations in hybrid or mixed reality, where digital media and physical materials, objects and spaces are increasingly intertwined. Generating inspiring and playful situations in this reality requires skills from a variety of artistic, technological and scientific disciplines. Most complementary collaborations in this context tend to happen on the edges of disciplines, where different perspectives and approaches can be synthesized into hybrid forms of creative expression. Such examples are hybrids between artistic interventions and scientific experiments, responsive (interactive)


integratorje

esničnosti installations and audio-visual performances, film and games, and much more. It is on these fuzzy edges that experimental technology and contemporary culture truly amplify each other’s potentials. We have found these edges to be the most fertile ground for innovative advances and current artistic practices. For a number of years gRig partners have been cooperating and exchanging information and sources in European projects, informal networks and symposia, trying to provide a solid and conceptually flexible organisational and technological support to creative expression and hybrid realities. With gRig, we wish to formalise our long-standing cooperation and foster the relations between partners with common research, productions and presentations. The first three years will be focused on the consortium composed of six interdisciplinary cultural organisations (and their associate partner networks), which already embody some aims of gRig project on smaller scale and in a more specific context. The benefits of the project for particular partners is proven by the fact that the effects of various achievements will be multiplied in quality and quantity, while research and creative activity will focus at common objectives. The consortium shall seek to establish cooperation to outlast the 36-month incentive. Therefore we will act within an open and transparent structure, which will be welcoming the cooperation of associate and new partners (from within and outside the domain of culture) for total project duration. After the first three

years, roles can be switched, the organising network can be extended and new collaborative aims can be created. gRig is an intermedia project and at the same time, a discursive project that includes research, workshops, symposia, various working meetings and gatherings, work in groups with special needs and different age groups (children – old people), public presentations and naturally, artistic installations and performances, usually with active participation of the audience. The three-year gRig project running from November 2006 to October 2009 has acquired European funds within the Culture 2000 Programme. Project applicant and coordinator is the organisation FoAM of Brussels (Belgium), and organisers include KID KIBLA (Maribor, Slovenia), Time’s Up (Linz, Austria), Interactive Institute (Stockholm, Sweden), Intermedia (Oslo, Norway) and Nadine association, also from Brussels. Among partners there are many organisations and institutions from Belgium, Hungary, Scotland, the Netherlands, Latvia, Great Britain, Northern Ireland, Norway, Sweden and of course, Slovenia. gRig project has been supported by the European Commission and Culture 2000 Programme as well as the Slovenian Ministry of Culture and the City of Maribor. The first meeting of partners was organised by the Belgian organisation as project coordinator. The guild was established in November 2006 in Ardennes, Belgium. It was attended by: Maja Kuzmanovič, Nik Gaffney, Lina Kusaite and Jack Anderson of FoAM, Tim of Times up, Francois du Bois and Trudo Engels

of Nadine, Andrew Morrison and Lars Lomell of InterMedia, Geska and Robert Brecevic of Interactive Institute, Aleksandra Kostič, Peter Tomaž Dobrila and Tadeja Nedog of Kibla.

Partnerji v projektu / Project partners: FoAM (Brussels, Belgium) Time’s up (Linz, Austria) InterMedia (Oslo, Norway) Interactive Institute (Stockholm, Sweden) Nadine (Brussels, Belgium) KID KIBLA (Maribor, Slovenia)

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Dogodki FoAM

Odprta kuhinja / Open Kitchen (FoAM photo archive)

Foam je angleška beseda za peno, gosto maso mehurčkov, ki nastane bodisi ob hitrem mešanju ali počasnem vrenju plinov, tekočin ali trdnih snovi. FoAM je podobno gosta masa mehurčkov, v kateri mehurčke oblikujejo posamezniki, skupine, organizacije in skupnosti. “Snov”, ki povezuje vse “mehurčke” v skupini FoAM je naš moto – “vzgojite svoje lastne svetove”. Ta stavek je mogoče tako razširiti, da opisuje celotno vesolje FoAM: svet, ki ga naseljujejo različne življenjske oblike, ki rastejo, se razvijejo in propadajo; svet, ki ga obdelujejo, gradijo in doživljajo njegovi naseljenci; naseljenci, ki verjamejo v dragocene “majhne in počasne” začetke in “gojenje lastnih pridelkov”, pri čemer vedo, da z medsebojnim izmenjevanjem semen sprememb lahko zagotovimo, da bodo naše realnosti postale bolj prilagodljive, trajnostne in prožne.

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V skupini FoAM verjamemo, da se učenje ne konča pri vratih institucionalnih izobraževalnih ustanov. Veselje ob odkrivanju novih stvari in pridobivanju novih veščin si delijo vse starosti, discipline in kulture – zakaj bi torej morale uradne slovesnosti ob diplomi prekiniti ta proces? Delavnice FoAMa se osredotočajo na kompleksna kulturna vprašanja (npr. okoljska in družbena prožnost, mešana resničnost), nastajajoče tehnologije (npr. pametni materiali, namizna proizvodnja), kot tudi na izginjajoče spretnosti (npr. ročno risanje, vrtnarjenje). Njihov cilj je, da bi se pri sodelujočih povečalo razumevanje konteksta, v katerem delajo, hkrati pa se jim ponudi uporabno praktično spretnost. Ko pripravljamo delavnice, skrbno izberemo tehnike poučevanja glede na določeno skupino in temo. Tehnike se gibljejo od intenzivnih vodenih delavnic do različnih oblik

skupinskega učenja, ki temelji na udeležbi. Naj gre za uvodne tečaje ali nadaljevalne mojstrske tečaje, FoAM uporablja različne pristope za motivacijo profesionalcev kot tudi ljubiteljev v mešanih skupinah udeležencev. Pomemben vidik delavnic je poudarek na medsebojnem učenju udeležencev. Tak pristop razbije strogo hierarhijo med učitelji in udeleženci, saj so vsi hkrati strokovnjaki in začetniki. Delavnice običajno potekajo v obliki intenzivnega tečaja, ki traja do enega tedna. Učenje v okviru skupine FoAM se ne konča pri pridobivanju novih tehničnih in intelektualnih spretnosti, vključuje namreč tudi medosebne spretnosti. Da bi iz teh delavnic udeleženci potegnili kar največ, jih ne smejo bremeniti njihove vsakodnevne dolžnosti. Zato se pogosto odločimo za umik v


Javna prehrana: Recepti za katastrofo

Večerja izvedljivosti za trajnostno prehrano ... Lokacija: FoAM Lab, Bruselj, Belgija Umetniki, kulturni organizatorji in člani raznolikega kulturnega proletariata so povabljeni na večerjo, na katero vsak prinese eno jed, ter na okroglo mizo o prehrani, gostinskih storitvah in preživetju v svetu umetnosti in v kulturni sferi. Kuharji in gostje FoAMa odprejo vrata svojih kuhinj prijateljem in kolegom iz kulturnega sektorja, da bi skuhali hranljivo večerjo in ugotovili, kaj sestavlja javno prehrano umetnikov in organizacij v Belgiji in drugod po svetu. Kje dobimo svoje materiale? Ali kuhamo? Kaj kuhamo zase in kaj za svoje goste in publiko? Kako trenutne okoljske, kulturne in gospodarske turbulence vplivajo na našo prehrano? Ta in mnoga druga vprašanja se analizirajo v neformalnem pogovoru med večerjo. Kate Rich načenja teme in vprašanja s predstavitvijo ugotovitev svoje raziskave javne prehrane v kulturnih organizacijah – kjer se lahko križata umska hrana in uživanje hrane – vključno s prehranskimi predlogi in kuharskimi tehnikami za potujočega umetnika, kot tudi za stacionarne organizacije. Izmenjamo si izkušnje, vire, recepte in ideje ter poskušamo zagotoviti trajnostno prehrano kulturnega sveta v času intenzivnejših turbulenc.

Povezovanje hrane & molekularna gastronomija

samoto, kjer se udeleženci skupaj učijo, poleg tega pa kuhajo in se sproščajo z isto skupino ljudi. S tem, ko se udeleženci spoznajo v družabnem in delovnem okolju, se med njimi oblikuje sodelovanje in prijateljstva, ki se nadaljujejo še dolgo po tem, ko se delavnica konča.

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Foam is a thick mass of bubbles, formed either by rapid agitation, or slow fermentation of gasses, liquids, or solids. FoAM is a similarly thick mass of bubbles, where the bubbles are formed by individuals, collectives, organisations and communities. The ‘substance’ that connects all ‘bubbles’ at FoAM is our motto – “grow your own worlds”. This sentence

can expand to describe the whole FoAM universe: it is a world populated by diverse life-forms, that grow, evolve and decay; a world that is cultivated, constructed and experienced by the inhabitants themselves; the inhabitants who believe in the value of starting ‘small and slow’ and ‘growing your own’, knowing that by exchanging their seeds of change with others, our realities could grow to become more adaptive, sustaining and resilient. At FoAM, we believe that learning doesn’t stop at the gates of established educational institutions. The joy of discovering new things and adopting new skills is shared by all ages, disciplines and cultures – so why should an official graduation ceremony put a stop to this? FoAM’s workshops focus on complex cultural issues (e.g. environmental and social resilience, mixed reality), emerging technologies (e.g. smart materials, desktop fabrication), as well as disappearing crafts (e.g. hand-drawing, gardening). They aim to broaden the participants understanding of the context in which they work, as well as provide them with a useful practical skill. When we design workshops we carefully choose the teaching methods to suit the group and the thematic. They range from intensive hands-on tutorials, to different forms of participatory group learning. Whether through introductory courses or advanced masterclasses, FoAM has different ways of engaging both professionals and enthusiasts, in mixed groups of participants. An important aspect of our workshops is the emphasis on learning from each other. This approach breaks down a strict hierarchy between the teacher and the student, making everyone an expert and a novice at the same time. The workshops are usually intensive sessions that last up to a week. Learning at FoAM doesn’t stop at acquiring new technical or intellectual skills, but includes developing interpersonal skills as well. In order to get the most out of such workshops, the participants shouldn’t be burdened by their day-to-day duties. This is why we often opt for retreats, where the participants learn together, but also cook food and relax with the same group of people. By getting to know each other in a social, as well as a working context, the participants forge collaborations and friendships, which continue long after the workshop ends.

Bernard Lahousse, mednarodno priznani prehranski znanstvenik, eden od ustanoviteljev podjetja CREAX Food (http://creaxfood.com/) in svetovalec ustvarjalnih kuharjev po vsem svetu (v Belgiji: L’air du temps, Oud Sluis, In de wulf, Kasteel Withof ...) je pripravil prehransko predavanje o povezovanju hrane, molekularni gastronomiji in novih kuharskih tehnikah. Predava o konceptih povezovanja in nadomeščanja sestavin glede na njihove kemične sestavine. Pojasni, kako uporabljati njegovo spletno stran o povezovanju hrane (http://www.foodpairing. be) in predstavi dogodek “The Flemish Primitives” (Flamski primitivci, http://www.theflemishprimitives. com/). Predavanje spremlja degustacija različnih primerov povezovanja hrane.

Semiotika kuhinjskega radia

Semiotika kuhinjskega radia (Verbindingen/ Jonctions 11.4) Pripravlja Constant Lokacija: FoAM, Bruselj in splet Na podlagi tradicionalne performativne abecede Marthe Rosler “Semiotika kuhinje”, oblikovalska agencija Open Source Publishing (OSP), ki deluje v okviru fundacije Constant, predstavlja radijski prenos v živo iz kuhinje FoAM. Ob eksperimentiranju z odstranjevanjem multisenzoričnih izkušenj opominjajo na pripravo in deljenje hrane v obliki metafore, strukture, besedišča in ritma. Med drugim: intervju z umetnico Kate Rich o kuhanju in poslu, “komedija nravi”, pogovor z Nicolasom Malevéjem o programerskem ogrodju Cake PHP in drugih receptih, reportaža o računalniških sistemih Colruyt, Švedski kuhar, kuharska knjiga pretvorjena v govor, navodila za izdelavo priročnika, mojster šuma in seveda seznam pesmi, ob katerem se vam pocedijo sline.

Užiten parfum

je praktična delavnica o ekstrakciji in mešanju arom in okusov na podlagi koncepta povezovanja okusov vodja delavnice: Maki Ueda (http://scent-lab. blogspot.com/), podpora Nik Gaffney (FoAM). Naravni vonj se iz določenega materiala pogosto pridobi s kemičnimi postopki za pridobivanje eteričnih olj, na primer z destilacijo, etanolno ekstrakcijo ali maceracijo. V okviru delavnice Užiten parfum se bodo te tehnike uporabljale v kuhinji. V začasnem laboratoriju udeleženci prisostvovujejo celotnemu postopku ekstrakcije arom in okusov iz surovih živil. Učijo se bodo kemije povezovanja okusov in kombiniranja aromatičnih izvlečkov v kompleksne in presenetljive vonje. Predstavljajte si olje z okusom bazilike in črnega čaja ali koriandra in ingverja; liker z okusom jagode in korenčka ali grenivke in parmezana ... Ob koncu delavnice lahko vsak udeleženec odnese domov svoje olje in/ali liker z dodanim okusom in vonjem. Ti užitni parfumi nas spominjajo, naj

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FoAM Events Public Diet: Recipes for Disaster

uživamo v harmoniji in kompleksnosti izmenjav med čutili vonja in okusa. Delavnica poteka po naslednjem vrstnem redu: 1. korak: uvod 2. korak: obdelava materiala – rezanje, sekljanje, mletje 3. korak: ekstrakcija – etanolna ekstrakcija, maceracija, infuzija itd. 4. korak: sestavljanje – uravnoteženje moči dveh okusov, da dobimo harmonijo. Več o postopku najdete na spletni strani (s fotografijami): http://scent-lab.blogspot.com/2008/10/perfume-toingest.html Navodila za udeležence: http://lib.fo.am/edible_ perfume

Čajanka in srečelov divje trgovine

Kate Rich je predstavila divjo trgovino (http:// feraltrade.org), postregla s čajem in kavo iz divje trgovine in izvedla srečelov s košaro divje trgovine, sezonskega nabora dobrin, ki jih zagotavljajo in transportirajo socialna omrežja. Divja trgovina je trgovanje z živili, ki ga izvajajo umetniki in deluje od leta 2003. Dobrine se gibljejo izven globalnega trga z uporabo neizkoriščenega potenciala za prevoz živil med mesti med potjo na delo, potovanji in kulturno podprtimi potmi. Predhodni poizkusi mapiranja tega območja nakazujejo ozvezdje kompleksnih povezav – zapleten časovni in prostorski sistem, ki zajema tisoče kilometrov. Proizvodi, ki so zbrani v košari divje trgovine (božič 08) so bili ročno pritovorjeni iz vseh kotičkov socialnih in kulturnih mrež – med njimi najdemo čaj iz Bangladeša, grapo iz Hrvaške, kakav iz Brazilije in slaščice iz Črne gore. Košara je lokacija, kjer se lahko združujejo različna živila. V težavnih časih posamezniki ali skupnosti ljudem v stiski tradicionalno darujejo košare s hrano ali drugimi gospodinjskimi potrebščinami. Tu so se zbrali dobavitelji iz tretjega sveta in naturalnih gospodarstev, da bi zagotovili olajšanje nakupovalcu hrane iz Zahodne Evrope, ki trenutno trpi zaradi degradirane ponudbe v supermarketih. Vsak proizvod je opremljen z biografskimi podatki, kjer se beležijo povezave s proizvajalci in kurirji, tranzitni pogoji, informacije o poti in podrobni podatki o zamudah, zaplembah, povezavah in drugih neuspehih, ki povzročajo stalen izziv predpostavljenemu gladkemu prehodu dobrin.

Odprte omake

Hrana je hranljiv in slasten produkt našega vzajemnega in trajnostnega odnosa z okoljem. Poleg tega je eden od naših najstarejših načinov kulturnega izražanja, ki temelji na gostoljubju in deljenju z drugimi. Kot je pred tremi stoletji zapisal gastronom Brilliat-Savarin, “odkritje nove jedi bolj prispeva k sreči človeka kot odkritje nove zvezde.” Odprte omake se bodo zvrstile v zaporedju eksperimentalnih hodov, ki bodo usklajeni z napitki, improvizirano glasbo in cenjenimi gosti. Medtem ko bodo gostje uživali v hrani, se bodo vključevali v omizne razprave, si delili izkušnje, recepte in sestavine, ki so potrebne za demistifikacijo kulturnih, okoljskih, tehničnih in etičnih vidikov sodobnih sistemov hrane. Od molekularne gastronomije do pravične trgovine, od permakulture do sledenja hrane, od open source do open sauce bomo mešali navidezno nepovezane elemente naše prehranjevalne verige. V dobi, ki ji postavljajo izzive okoljske in kulturne anomalije, bodo te transdisciplinarne in translokalne povezave postale eden od ključev do preživetja nas kot posameznikov, skupnosti in vrste. Gostje: Alexandra Deschamps-Sonsino, Kultivator, Sher Doruff, Maja Kuzmanovič, Alok Nandi, Sneha Solanki, Wietske Maas, Matteo Pasquinelli, Kate Rich, Femke Snelting, Andreas Strauss, Maki Ueda, Allison Zinder ter drugi lokalni in translokalni strokovnjaki in navdušenci za hrano.

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A feasibility dinner for sustained sustenance... Location: FoAM Lab, Brussels, Belgium Artists, cultural organisations and members of the assorted cultural proletariat are invited to a potluck dinner and round table conversation on nutrition, catering and survival in the art world and the cultural sphere. FoAM’s cooks & guests open the kitchen doors to friends & peers from the cultural sector, to cook up a nutritious dinner and figure out what constitutes a Public Diet of artists and organisations in Belgium and abroad. Where do we source our materials? Do we cook? What do we cook for ourselves, and what for our guests and audiences? How is the contemporary environmental, cultural and economic turbulence effecting our diets? These and many other questions are picked apart in an informal conversation over dinner. Kate Rich introduces the topics and questions by presenting the findings from her research into the Public Diet of cultural organisations – where foods for thought and consumption might crossover – including nutrition suggestions and cooking techniques for the travelling artist, as well as stationary organisations. We exchange experiences, sources, recipes and ideas, attempting to assure a sustained sustenance of the cultural world in times of increased turbulence.

Food pairing & Molecular Gastronomy

Bernard Lahousse, an internationally renown food scientist, one of the founders of CREAX Food (http:// creaxfood.com/) & consultant to creative chefs worldwide (in Belgium: L’air du temps, Oud Sluis, In de wulf, Kasteel Withof...) prepared a nutritious lecture on food pairing, molecular gastronomy and new kitchen techniques. Bernard talked about the concepts of coupling and replacing ingredients based on their chemical components. He explains how to use his food pairing website (http://www. foodpairing.be) and introduce “The Flemish Primitives” (http://www.theflemishprimitives.com/). The talk is accompanied by a tasting of various examples of food-pairing.

Semiotics of the Kitchen Radio

Semiotics of the Kitchen Radio (Verbindingen/ Jonctions 11.4) by Constant Location: FoAM, Brussels and on-line With Martha Rosler’s classic performative alphabet ‘Semiotics of the Kitchen’ as a point of departure, Constants’ design collective Open Source Publishing (OSP) presents a live radio broadcast from the FoAM kitchen. Experimenting with the displacement of multi sensory experiences, they reflect on the preparation and distribution of food as metaphor, structure, vocabulary and rhythm. With amongst others: an interview with artist Kate Rich about cooking and trade, a ‘Comédie de moeurs’, a conversation with Nicolas Malevé about Cake PHP frameworks and other recipes, a reportage on Colruyt computersystems, The Swedish Cook, a textto-speech cookbook, instructions for producing a manual, a foley artist and of course a mouthwatering playlist.

Edible Perfume

is a hands-on workshop on extracting and composing aromas & flavours, inspired by the concept of flavour pairing. Workshop leader: Maki Ueda (http://scent-lab. blogspot.com/), assisted by Nik Gaffney (FoAM). A natural smell is often extracted from a material using chemistry techniques for retrieving essential oils, such as distillation, ethanol extraction, or oil maceration. In the Edible Perfume workshop, these techniques are adopted in the kitchen. In a temporary laboratory setup, the participants experienced the complete process of extracting aromas and flavours from raw food ingredients. Learning from the chemistry of flavour pairing, the participants coupled aromatic extracts to compose complex and surprising scents. Imagine an oil

flavoured with basil and black tea, or coriander and ginger; a liquor scented with strawberry & carrot, or grapefruit & Parmesan cheese... At the end of the workshop, each participant is able to take home their flavoured and fragrant oil and/or liquor. These edible perfumes remind us to enjoy the harmony and complexity of the interactions between the sense of smell and the sense of taste. The workshop proceeds as follows: step 1: introduction step 2: processing the material – cutting, chopping, grinding step 3: extraction – ethanol extraction, oil maceration, infusion, etc. step 4: composition – balancing the strength of two flavours so that they create harmony. Have a look at this site for the procedure (with photos): http://scent-lab.blogspot.com/2008/10/perfume-toingest.html Instructions for participants: http://lib.fo.am/edible_ perfume

Feral Trade Tea Party & Raffle

Kate Rich introduced Feral Trade (http://feraltrade. org), served ferally traded tea & coffee & conducted a raffle of the Feral Trade Hamper, a seasonal selection of goods sourced and transported over social networks. Feral Trade is an artist-run grocery business, trading since 2003. Goods are run outside the global market, using the surplus freight potential of commuter, vacation and culturally funded travel to transport groceries intercity. Preliminary attempts to map this terrain show a constellation of complex connections – an intricate time-space system covering thousands of miles. Products assembled in the Feral Trade Hamper (Xmas 08) have been hand-freighted in from all corners of the social/cultural networks and include tea from Bangladesh, grappa from Croatia, cacao from Brazil and sweets from Montenegro. A hamper is a place where diverse grocery items can congregate. Traditionally in times of trouble, persons or community groups donate to needy people a hamper of food or other household necessities. Here, stockists from 3rd world and subsistence economies have been grouped together to provide relief for the West European food shopper, currently suffering from degraded supermarket shopping on offer. Each product is accompanied by biographical information, recording relations with producers and couriers, transit conditions, route information and the bounteous detail of delay, seizure, communications and other failures which present a persistent challenge to the assumed smooth transit of goods.

Open Sauces

Food is a nutritious and delectable product of our reciprocal, sustaining relationship with the environment. It is also one of the oldest cultural expressions, rooted in hospitality and sharing. As the gastronome Brilliat-Savarin noted three centuries ago, “the discovery of a new dish does more for human happiness than the discovery of a new star.” Open Sauces unfold in a sequence of experimental courses, matched with drinks, improvised music and esteemed guests. While savouring the foods, the guests are engaged in table conversations, sharing experiences, recipes and ingredients needed to demystify cultural, environmental, technical and ethical aspects of contemporary food systems. From molecular gastronomy to fair trade, from permaculture to food-tracking, from open source to open sauces, we blend seemingly unrelated elements of our food chain. In an era riddled with environmental and cultural anomalies, these transdisciplinary and trans-local connections will become one of the keys to our survival, as individuals, communities and species. With: Alexandra Deschamps-Sonsino, Kultivator, Sher Doruff, Maja Kuzmanovic, Alok Nandi, Sneha Solanki, Wietske Maas, Matteo Pasquinelli, Kate Rich, Femke Snelting, Andreas Strauss, Maki Ueda, Allison Zinder and other local and trans-local food experts and enthusiasts.


Odprta kuhinja (fotoarhiv Kibla) Open Kitchen (Kibla photo archive)

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Modne eko Razvijajoče se področje prilagodljivih

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ologije

Maja Kuzmanović

trajnostnih tekstilov Ko se človeška življenja odvijajo v okoljih, ki se zdijo vse bolj kaotična, nepredvidljiva in celo sovražna, se običajno poslužimo “ježevih strategij”: zvijemo se v bodečo gmoto, ki rani vsakogar, ki se preveč približa. Naši preživetveni nagoni, ki se hranijo s kulturno potrebo po udobju in varnosti, nam govorijo, naj se zavarujemo pred vsem, kar je vsaj malo tuje. Vendar pa do pred nekaj desetletji naša oblačila niso mogla posnemati reakcij ježevih bodic. Namesto tega smo se varovali s težkimi oklepi, vozili ali utrjenimi stavbami, ki se po prenehanju nevarnosti niso mogli vrniti v “mehko” stanje. Svet se je vedno nagibal k temu, da je na nič hudega sluteče prebivalstvo iz več kotov bruhal nova tveganja – za katera se zdi, da so se v zadnjih desetih do petnajstih letih hitro nakopičila, od nestabilnega podnebja do skrajnih gospodarskih nihanj, do vznika globalne ksenofobije, do brezskrbnega širjenja genetsko spremenjenih poljščin, do mnogih drugih primerov. Ta vprašanja so za nas postala še bolj očitna, ker je z informacijskimi tehnologijami poskrbljeno, da so posamezni dogodki (skoraj) v trenutku opazni po vsem svetu. In čeprav prebivalstvo “prvega sveta” postaja vse bolj tesnobno, se ne zateka v varnost svojih domov, ampak še vedno tava okrog sveta in zahteva lahke in prenosne ščite, ki so sposobni brati dražljaje tako v poznanih kot tujih okoljih in se ustrezno odzivati. Začenja se pojavljati zahteva po nosljivih materialih, ki so se sposobni odzivati na zunanje dražljaje. Oblačila, ki so prenosna različica ojačane človeške kože, so postala privzeta tarča za raziskavo aktivnih ali “pametnih” materialov. V tej raziskavi se oblačila obravnava kot delno prepustna okolja zavedajoča membrana med telesnimi in okoljskimi procesi. Razumljivo je, da to raziskavo večinoma poganjajo tista gospodarstva strahu (večinoma povezana z našim vojaškim aparatom, nevarnimi poklici in medicinsko industrijo), ki tako pogosto proizvajajo materiale, uspešne v zaznavanju groženj in nevarnosti, le redko pa oblikujejo tehnologije, ki bi zaznavale pozitivne dražljaje ali spreminjale njihovo obnašanje. Ker je iste materiale vedno sprejemala tudi civilna družba, sta se njihova raba in namen hitro razširila na področja, kot so oblačila za šport in aktivnosti na prostem, uniforme in gledališki kostumi. Vodotesni Teflon in vsestransko uporabni GoreTex, različni barvo spreminjajoči materiali, aerogel, piezoelektrični kompoziti in podobno so vsi “aktivni” materiali – vendar ne posebej “pametni”, saj se razpon njihovih odzivov ne razvija glede na preteklo izpostavljenost razmeram. Pametna oblačila, ki bi si zaslužila to ime, bi zahtevala materiale, ki bi se v resnici odzivali na okolje okoli sebe, njihova aktivnost pa bi morala bolj spominjati na imunski sistem kot na alarmnega. Morala bi biti narejena tako, da bi varovala, kadar bi obstajala resna potreba po varovanju, v vseh drugih situacijah pa bi morala omogočati izmenjavo, prehajanje ali celo rahlo okužbo. Zasnovati materiale, ki bodo funkcionirali kot koža kameleona, imeli sposobnost prilagajanja na vrsto zunanjih okoliščin in bodo prevzemali odzivnost, ki je primerna za različna

okolja, je nekaj, kar bo res izzvalo koncept oblačil kot negibnih vnaprej oblikovanih predmetov. Z vpeljevanjem take vrste naprednih materialov v zasnovo oblačil lahko pričakujemo večje premike v hitrem tempu modne industrije. Kratkoročno bodo sektorji, ki se posvečajo visoki modi in službenim uniformam, verjetno edini, ki si bodo lahko privoščili eksperimentiranje, dolgoročno pa bodo ti materiali vplivali na vse sektorje, od poulične mode do konfekcijskih oblačil.

Inovacijska utrujenost

Modo se pogosto opredeljuje kot najbolj prehodno področje oblikovanja, obsedeno z novim, obnavljanjem in neprestanimi spremembami. Do določene mere to drži, saj se najbolj vidni del mode – njeni proizvodi, znamke in trgi – menjajo vsako sezono, mesec ali celo teden. Vendar pa obstajata dva manj vidna toka trendov, na katerih so osnovani modni ciklusi: želje in potrebe uporabnikov ter počasne, temeljne družbene spremembe. Sodoben primer takšnih trendov je že prej omenjena globalna nestabilnost, ki je povzročila vznik raznolikega nabora “modnih” potreb. Razpon teh potreb se nagiba med potrebo po hermetični varnosti in zaščito pred oteženo resničnostjo ter potrebo po pobegu v mehkejše, bolj domišljijske svetove, kjer vladajo zakoni mitov in čarovnije. Hkrati so potrošniki zaradi nestabilnih gospodarstev naveličani norenja za inovacijami, ki jih poganja tržna sila promoviranih eksperimentalnih tehnologij. Čeprav “razvite” trge še vedno obvladujejo hitro izmenjujoči se trendi, skozi razpoke na mednarodnih modnih pistah pronica podtalna želja po bogatem, vendar bolj uravnoteženem načinu življenja. Vzorci potrošnje postopoma postajajo dvosmerne menjave med ljudmi in okoljem ter povečujejo ozaveščenost o naši neobhodni vpletenosti v svet, v katerem živimo. Ob uvajanju materialov, ki se neposredno odzivajo na spremembe v svojem okolju, in elektronsko obogatenih tkanin, ki jih je mogoče programirati, ima modna industrija priložnost, da se usmeri v bolj trajnostne oblikovalske modele in hkrati sledi spremenljivim potrebam in željam uporabnikov. Ti razvoji odzvanjajo v napovedih vodilnih spremljevalcev trendov, ko so Lidewij Edelkoort [www.edelkoort.com], Zukunftsinstitut [www.zukunftsinstitut.de], the Viridians [www. viridiandesign.org] ali the Institute for the Future [www.iftf.org]. Ti viri predvidevajo premik od brezsramnega potrošništva proti življenjskemu stilu, v katerem bosta kakovost in trajnost tehnologij in materialov povezani s potrebo po obnavljanju podobe uporabnika, ki sledi kratkotrajnim trendom. Trajnost oblikovanja z odzivnimi materiali se skriva v njihovem potencialu, da delujejo kot živi sistemi, “okolja”, v katerih molekule, ki jih sestavljajo, spominjajo na raznolikost življenjskih oblik v zaplati trave – vsaka opravlja določeno funkcijo, s čimer ohranja dinamično ravnovesje v neprestano nihajočem ekosistemu.

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Trajnostna ustvarjalnost

Še en trend, ki je sledil propadu tehnološkega optimizma in individualizma iz zadnjih let prejšnjega tisočletja, je želja po kolektivnem ustvarjanju, ki jo spodbuja uvid, da je sodobno življenje postalo preveč kompleksno, da bi ga posameznik lahko zajel. Ta trend v povezavi s potrebo po ponovnem spoznavanju skromnosti in priznanju, da ne moremo vladati svetu niti pustiti, da nam vladajo drugi, izpostavlja prepričanje, da bi morali drug drugega sprejeti kot soustvarjalce svojih lastnih okolij. Koncepti, ki so osnova za participativne in vseprisotne tehnologije (vključno z aktivnimi materiali), se ustrezno odzivajo na te potrebe z omogočanjem prilagodljivejših, modularnih in interdisciplinarnih oblikovalskih paradigem. Možnosti mobilnega osvetljevanja in vizualnih komunikacij se hitro lahko vključijo v oblačila, ko bodo prilagodljivi zasloni in viri elastične svetlobe (EL) komercialno dostopni – dobri primeri za to so obstoječi proizvodi, kot so prilagodljivi potiski EL in zasloni LCD, aktivne matrice z organskimi svetlečimi diodami (OLED) in elektronsko črnilo. Tekstilni potiski in tkani vzorci, ki bodo svoj videz lahko spreminjali med gibanjem, bodo od modnih oblikovalcev zahtevali, da se poučijo o svetu gibljive podobe in dinamične luminiscence. Materiali in polimeri z oblikovanim spominom že nudijo možnosti neprenehnega oblikovanja površine materiala – kot odgovor na spreminjajočo temperaturo ali pritisk lahko tkanine, povezane s temi materiali, spremenijo svojo obliko, delujejo kot okoljski barometri ali na drug način komunicirajo na podlagi svoje spreminjajoče površine. Namesto da na oblačilo gledajo kot na končni izdelek, lahko oblikovalci ustvarijo “predloge” oblik in teksture, ki ob nošenju “oživijo”. Oblikovalci oblačil, kot sta Maria Blaisse [http://www.pica.org.au/art04/ MariaBlaisse-04.html] ali Reiko Sudo [http://www. metropolismag.com/html/content_0203/nun/], v svojem delu puščajo mesto za človeško telo v gibanju, ki opredeli obliko njihovih oblačil, saj so zasnovana tako, da se prilagodijo vsakemu koraku, upogibu in tresljaju uporabnika. Delo z modo, ki ima potencial, da svoj videz in odzivanje spreminja še leta po tem, ko jo”končni uporabnik” dobi v vrečki in odnese domov, zahteva algoritmični pristop k oblikovanju oblačil. Izdelovalci oblačil bodo morali upoštevati celotne ekosisteme, v katerih se bodo njihova oblačila uporabljala, in sprejeti dejstvo, da se njihova odgovornost razteza preko in skozi “štiri človekove kože” (biološko kožo, oblačila ter “membrane” v pokritih prostorih in zunaj). Da bi moda postala prava “ekologija”, bo morala poudariti pomen vključevanja “pete kože” – tiste, ki se razteza preko okolja, ki ga je zgradil človek, v neopredeljeno področje “stvari, ki rastejo in se razvijajo”. Ustvarjalnost oblikovalca se bo skrivala v programiranju posameznih občutljivosti, ki bodo oblačilom omogočila spreminjanje razpoloženja, prilagajanje odzivov in delovanje, kot da bi bile v svojem bistvu živa bitja, potopljena v različna okolja: bitja, ki lahko vzdržujejo sebe kot dinamične strukture, ki nihajo med navdušenjem in otopelostjo.

Ekološke inovacije

Medtem ko se povečuje naša ozaveščenost o okoljski in ekonomski trajnosti, so želje po intimnem udobju in varnosti, kot tudi medkrajevna mobilnost še vedno precej prevladujoči trendi. Čeprav se ti impulzi na prvi pogled zdijo nasprotujoči, ima trenutni razvoj v materialni znanosti, nanotehnologiji in biotehnologiji potencial, da zelo omeji nasprotja med domačnostjo in mobilnostjo ter med okoljskimi in tržno vodenimi vprašanje, pod pogojem, da vpelje materiale, ki lahko odgovarjajo na vse te potrebe hkrati. Neodvisni in akademski raziskovalni laboratoriji trenutno izvajajo poskuse z materiali, ki so “samozadostni”: se lahko napajajo in se obnavljajo v primeru poškodb, medtem ko hkrati pomagajo svojim uporabnikom pri koordinaciji in krepitvi njihovih telesnih in družbenih funkcij. Trenutne ekološko in tehnološko privlačne raziskave ob temeljih prehranske verige vključujejo mobilne “zelene” vire energije, ki se uporabljajo za “prenosne energetske aplikacije”. Rensselaer Polytechnic [www.rpi.edu], Medis [www.medisel.com], Toshiba

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obraba : modna ekologija [www.toshiba.com], Dr. Shelley Minteer’s group [http://itr.slu.edu/minteer.html] na univerzi St. Louis in drugi raziskujejo sončne in gorivne celice ter baterije z napajanjem na sonce, alkohol, glicerin in celo odpadno kanalizacijo. Za primer glej VMJ, ali “navpično večslojno sončno celico” [www.wired.com/ news/technology/0,1282,60301,00.html] in MFC, ali “mikrobno gorivno celico” [www.newscientist.com/ news/news.jsp?id=ns99992899]. Ko so napolnjeni, morajo samozadostni materiali vzdrževati svojo strukturno celovitost v najrazličnejših situacijah. Cela vrsta novih zasnov vznika iz raziskav “biomimikrije” (oblikovanje industrij in proizvodov na podlagi naravnih sistemov), na primer polimerni kompoziti s “samoobnovljivimi” lastnostmi – primerljivi z biološkimi sistemi, ki ob poškodbi sami zaženejo “proces zdravljenja”. Zanimive transdisciplinarne raziskave izvajajo na področjih, ki presegajo potrebe samih materialov in se premikajo v polja interakcij med oblačili in človeškim telesom. Interakcija človek-oblačilo (HGI) je najbolj napredovala na področju zdravja in varnosti. Novejši razvoj je prinesel antibakterijske materiale, ki so sposobni uničiti škodljive klice, na primer čarobno srebro Mipan [www.mipan.com/eng/products/ magic_silver.html] in bakrena nitka Qoperfina [www. perunaturtex.com/qoperfin.htm]. Drug dosežek so tkanine, ki pomagajo sproščati čustveno napetost, na primer ZESTAT F.901 [www.facondini.it/eng/news/ tessuto.htm], tkanina, stkana iz karbonskih vlaken, ki izničijo škodljiv elektrostatični naboj. Ko zadovoljimo osnovne telesne potrebe, v ospredje stopijo družbene potrebe po izmenjavi informacij, učenju in ustvarjalnosti. Nosljiva računalniška oprema lahko okrepi odzivne materiale s sposobnostjo obdelave informacij, s čimer lahko pripomore k bogastvu medčloveških stikov na javnih prostorih. Nosljiva tehnologija je vse bolj učinkovita pri porabi energije, miniaturnosti, elastičnosti in pralnosti, kot dokazujejo proizvodi podjetij, kot sta SoftSwitch [www.softswitch.co.uk] in Infineon [www.infineon. com]. In kar je še bolj pomembno, vključevanje računalništva in mreženja v oblačila ustvarja nove načine za dostop do vseprisotne komunikacije, nabiranja znanja in mobilne ustvarjalnosti. Za primere glej nedavne projekte, ki so jih izvedli XS Labs [www. xslabs.net], International Fashion Machines [www. ifmachines.com], Topological Media Lab [www.gvu. gatech.edu/people/sha.xinwei/topologicalmedia] in drugi. To je le nekaj primerov iz razvijajočega področja odzivnih materialov, ki kažejo močan potencial za spreminjanje prevladujočega pogleda na modna oblačila in tkanine kot izključno zaščitne ali okrasne predmete. Končuje se obdobje oblačil, ki so bila oblikovana kot statični in vnaprej določeni predmeti s kratko življenjsko dobo, saj modno oblačilo postaja dinamična polprepustna membrana, odprta za vse bolj prilagodljivo okolje, ki obdaja človeško telo.

Ω

When human lives unfold in spaces that appear to be increasingly chaotic, unpredictable, and even hostile, we generally tend to adopt “hedgehog strategies”: we curl up into a prickly ball that will hurt everything that comes too close. Our survival instincts, fed by a cultural need for comfort and safety, tell us to protect ourselves from anything remotely strange. However, until a few decades ago, our clothing could not mimic the reaction of the hedgehog’s coat. We tended to shield ourselves in hard-shell armour, vehicles, or fortified buildings, which could never return to a “soft” state once the danger passed. The world has always had a tendency to spew new hazards at unsuspecting populations from many corners – hazards that seem to have rapidly accumulated over the past ten to fifteen years, from a destabilized climate, to extreme economic oscillations, to the rise of global xenophobia, to careless spreading of GM (genetically modified) crops, to many more examples. These issues have become more apparent to us as individual events are made (nearly) instantaneously visible around the globe via communication technologies. And though they grow progressively more anxious, the populace of the “first world” does not retreat to the shelter of their homes,

but continues to drift around the planet, demanding light and portable shields that can read stimuli in both familiar and strange surroundings, and react adequately. A demand for wearable materials that are able to respond to external stimuli is beginning to crop up. Clothing, being a mobile version of fortified human skin, has become the default target for research into active or “smart” materials. In this research, clothing is seen as a contextually-aware, semi-porous membrane between corporeal and environmental processes. Understandably, this research is mainly fuelled by those economies of fear (predominantly linked to our military apparatus, hazardous occupations, and medical industries) that so often engineer materials that are good for sensing menace and distress, but rarely design technologies to detect positive stimuli or change their behaviour. Since these same materials have been continually embraced in the civilian sphere, their use and purpose have spread rapidly to areas like sportswear, outdoor clothing, service uniforms, and theatrical costumes. Waterproof Teflon or versatile GoreTex, different chromic (i.e., colour changing) materials, aerogel, piezoelectric composites, and so on are all “active” materials – but not of a particularly “smart” kind, in the sense that the range of their responses does not evolve based on previous exposures. Smart clothing worthy of the name would require materials to truly interact with the environment around them, and their reactivity would have to more closely resemble an immune system than an alarm system. It would have to be made to protect when there is a real need for protection, but in all other situations to allow an exchange, a permeation, or even a benign infection. Designing materials to function as chameleon skins with the ability to adapt to a variety of external conditions, and adopt behaviours that are appropriate for diverse environments, is what will truly challenge the concept of garments as inert predesigned objects. With the introduction of these kinds of advanced materials to clothing design, major shifts in the fast-paced rhythms of the fashion industry can be expected. In the short term, sectors devoted to haute couture and utility uniforms will probably be the only ones that can afford the experiments, but in the long run all sectors will be affected, from streetwear to ready-to-wear confection.

Innovation Fatigue

Fashion is often classified as the most fleeting design discipline, obsessed with (re)newness and continuous change. This is true to an extent, in that the most visible part of fashion – its products, brands, and markets – tend to change seasonally, monthly, or even weekly. However, there are two less visible trend-flows that underlie the fashion cycles: the desires, wishes, and needs of the wearers, and slow, fundamental social changes. A contemporary example of such trends is the previously mentioned global instability, which has caused a diverse range of “fashionable” needs to surface. The gradient of these needs moves between the need for hermetical safety and protection from hardened reality, and the need to escape into softer, more fantastic worlds where the laws of myth and magic prevail. At the same time, unstable economics have made consumers weary of innovation crazes driven by the market push of hyped-up experimental technologies. Even though rapidly swapping vogues are still dominating the “developed” markets, an undercurrent of desire for an abundant yet better balanced lifestyle is seeping through the cracks on international catwalks. Consumption patterns are gradually becoming two-way transactions between humans and the environment, raising awareness of our inevitable entanglement with the world we live in. With the introduction of materials that directly react to changes in their environment, as well as programmable, electronically enhanced textiles, the fashion industry has a chance to focus on more sustainable design models while still keeping track of the changing needs and desires of wearers. These developments are echoed in forecasts by leading trend-watchers such as Lidewij Edelkoort


Recikla탑a zavr탑ene mode, Kibla 2008 (foto Dejan Bulut) Waste to dress, Kibla 2008 (photo Dejan Bulut)

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[www.edelkoort.com], Zukunftsinstitut [www. zukunftsinstitut.de], the Viridians [www.viridiandesign. org] or the Institute for the Future [www.iftf.org]. These sources predict a move from blatant consumerism toward a lifestyle in which the quality and longevity of technologies and materials can be married with the urge to renew the wearer’s appearance following shorter term trends. The sustainability of designing with reactive materials lies in their potential to function as living systems, “ecologies” whose composited molecules resemble the diversity of life forms in a patch of grass – each performing particular functions to maintain a dynamic balance in a continuously oscillating ecosystem.

Sustainable Creativity

Another trend that has followed the failure of technooptimism and individualism at the end of the 1990s is a wish for collective creation, encouraged by the understanding that contemporary life has become too complex to be grasped by one person. This trend, coupled with a need to reacquaint ourselves with modesty and admit that we can neither rule the whole world nor let ourselves be ruled by others, brings forth a belief that we should accept one another as cocreators of our own surroundings. Concepts behind participatory and pervasive technologies (including active materials) aptly respond to these needs by proposing more flexible, modular, and interdisciplinary design paradigms. The possibilities of mobile illumination and visual communication can soon become infused in clothing, as flexible image displays and elastic light (EL) sources become commercially available – existing products such as flexible EL prints and LCDs (liquid crystal displays), Active Matrix OLEDs (organic light-emitting diodes), and E-Ink (electronic ink) are good examples. Textile prints and woven patterns with a capacity to change their appearance on-the-fly will require fashion designers to familiarize themselves with the world of moving images and dynamic luminescence. Shape memory alloys and polymers are already offering the possibility of continuous sculpting with material surfaces – in response to changing temperature or pressure, fabrics laced with these materials can alter their contours, act as environmental barometers, and otherwise communicate through their surface-shifting aspect. Instead of seeing a garment as a finished product, designers can create “suggestions” of shape and texture that “come to life” when worn. Clothing designers like Maria Blaisse [http://www.pica.org.au/art04/MariaBlaisse-04.html] or Reiko Sudo [http://www.metropolismag.com/ html/content_0203/nun/] leave space in their work for the human body in motion to define the form of their garments, which are contrived to adjust to the wearer’s every step, bend, and shudder. Working on fashion with the potential to keep changing its appearance and behaviour years after it has been wrapped up and carried home by “end users” demands an algorithmic approach to clothing design. Garment makers will need to take into account a whole ecosystem in which their garments will be worn, and accept the fact that their responsibility stretches across and through the “four human skins” (biological skin, clothing, and indoor and outdoor “membranes”). In order to become a true ecology, fashion will need to stress the importance of the inclusion of the “fifth skin” – that which extends beyond the human built environment and into the uncertain realm of “things that grow and evolve”. The creativity of the designer will lie in the programming of particular sensibilities which will give their garments an ability to change moods, adapt responses, and, in their essence, act as living entities

The evolving field of responsive, sustainable textiles 14 | FOLIO

immersed in different environments: entities that can sustain themselves as dynamic structures fluctuating between verve and lethargy.

Ecological Innovation

While our awareness of environmental and economic sustainability is increasing, desires for intimate comfort and safety, as well as trans-local mobility, are still a quite dominant trend. Even though these impulses might at first glance appear contradictory, current developments in material science, nanotechnology, and biotechnology have the potential to minimize conflicts between domesticity and mobility, and between environmental and market-driven issues, by introducing materials that can respond to all of these needs at once. Independent and academic research laboratories are presently conducting experiments on materials that are “self-sustaining”: able to power and recreate themselves when damaged, while simultaneously assisting their wearers in coordinating and enhancing their corporeal and social functions. Current ecologically and technologically enticing research near the base of the food chain involves mobile, “green” energy sources used for “portable energy applications”. Rensselaer Polytechnic [www. rpi.edu], Medis [www.medisel.com], Toshiba [www. toshiba.com], Dr. Shelley Minteer’s group [http://itr.slu. edu/minteer.html] at St. Louis University, and others are investigating solar and fuel cells, and batteries powered by the sun, alcohol, glycerine, and even excess sewage. For example, see the VMJ, or “vertical multijunction solar cell” [www.wired.com/news/ technology/0,1282,60301,00.html] and the MFC, or “microbial fuel cell” [www.newscientist.com/news/ news.jsp?id=ns99992899]. Once powered, self-sustaining materials need to uphold their structural integrity in a variety of situations. A multitude of new designs are sprouting from research into “biomimicry” (the patterning of industries and products after natural systems), such as polymer composites with “self-repairing” properties – analogous to biological systems that autonomously initiate a “healing process” when damaged. Interesting cross-disciplinary research is being conducted in fields that surpass the needs of materials themselves, and move into areas of interaction between the clothing and the human body. Human-garment interaction (HGI) has advanced most in the area of health and safety. Recent developments include antibacterial materials that have the ability to eliminate harmful germs, such as Mipan Magic Silver [www.mipan.com/eng/ products/magic_silver.html] and Qoperfina Copper Yarn [www.perunaturtex.com/qoperfin.htm]. Another development is textiles that help release emotional tension, such as ZESTAT F.901 [www. facondini.it/eng/news/tessuto.htm], a fabric woven with carbon yarns to dissipate harmful electrostatic charges. After satisfying basic bodily requirements, social needs for information exchange, learning, and creativity come to the fore. Wearable computing can enhance reactive materials with the capacity for information processing, and can thereby add to the richness of human to human contact in public spaces. Wearable technology is increasingly efficient in terms of power consumption, miniaturization, elasticity, and washability, as demonstrated by the products of companies like SoftSwitch [www. softswitch.co.uk] and Infineon [www.infineon.com]. More importantly, the integration of computing and networking into clothing proposes novel ways to approach ubiquitous communication, knowledge accumulation, and mobile creativity. For example, see recent work done by XS Labs [www.xslabs.net], International Fashion Machines [www.ifmachines. com], Topological Media Lab [www.gvu.gatech.edu/ people/sha.xinwei/topologicalmedia], and others. These are just a few examples from the emergent field of responsive materials that show strong potential to change the dominant view of fashion and textiles as purely protective or decorative items. The era of garments being designed as static and predefined objects with very short expiration dates is drawing to an end, allowing for fashion to become a dynamic, semi-permeable membrane open to the increasingly malleable surroundings enveloping the human body.

Maja Kuzmanović je na Visoki šoli za umetnost v Utrechtu diplomirala iz modnega napovedovanja in oblikovanja, na univerzi v Portsmouthu pa je leta 1997 zaključila magistrski program iz interaktivne multimedije. Po študiju je sodelovala pri vrsti interdisciplinarnih projektov v raziskovalnih institutih po Evropi in v ZDA. Njene raziskave so vključevale tematike, kot je časovno pogojena interakcija, interaktivno pripovedovanje, interakcija človekračunalnik ter generativno medijsko oblikovanje za virtualne in mešane resničnosti. Na podlagi teh del je bila leta 1999 v okviru tehnološkega pregleda instituta MIT uvrščena med najboljših 100 mladih inovatorjev. Leta 2000 je v Belgiji ustanovila FoAM [http://fo.am], oddelek za raziskovanje kulture v okviru laboratorija Starlab. FoAM je leta 2001 postal samostojna organizacija. Maja Kuzmanović has a BE degree in Fashion Forecasting and Design from the Utrecht School for the Arts, and completed the University of Portsmouth’s MA program in Interactive Multimedia in 1997. Following graduation, Maja collaborated on a range of interdisciplinary projects at research institutes around Europe and the USA. Her research spanned subjects like time-based interaction, interactive storytelling, human-computer interaction, and generative media design for virtual and mixed reality. For these works, Maja was elected in 1999 as one of the Top 100 Young Innovators by MIT’s Technology Review. She founded FoAM [http:// fo.am] as a cultural research department at Starlab in Belgium in 2000. FoAM later became an independent organization in 2001.


Recikla탑a zavr탑ene mode, Kibla 2008 (foto Dejan Bulut) Waste to dress, Kibla 2008 (photo Dejan Bulut)

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Gojmir Lešnjak – Gojc

Umetniki se morajo odz

Če bi Gojmirja Lešnjaka Gojca povabili kot gosta na dneve radovednosti, bi nam lahko predstavil vsaj dva poklica: poklic igralca in direktorja Kosovelovega doma v Sežani. Vendar se je med festivalom Dnevi radovednosti zadrževal v Mariboru, na Borštnikovem srečanju, festivalski ekipi in gostom Dnevov radovednosti pa je ponudil gostoljublje Kosovelovega doma v Sežani. Gojmir Lešnjak Gojc je gledališki in filmski igralec, žlahtni komedijant, Ježkov nagrajenec, vitez dobre volje, režiser, glasbenik, voditelj oddaje Muzikajeto ter prepoznaven lik številnih televizijskih oddaj (Periskop, TV Poper, Teater paradižnik, Naša mala klinika) in interpret številnih komičnih likov. Na vprašanje, kaj ga spravi v smeh, je odgovoril, da je to zelo težko vprašanje. “Letnik 1959 je bil zelo dober letnik, menda je cena na trgu več kot tisoč evrov za liter”, se je namuznil med pogovorom pred večerno predstavo na odru Narodnega doma v Mariboru. Kadar igra, sodeluje s številnimi različnimi umetniki in ustvarjalci. Z Igorjem Leonardijem in skupino Fake Orchestra ter uredništvom TV Slovenija z režiserjem Branetom Bitencem se je realizirala ideja, da bi naredili preprosto, poljudno oddajo, narejeno na kar se da zabaven način, ki bi odpirala glasbeno umetnost sveta, ki je prepreden z glasbenim izročilom. Oddaja uči prisluhniti glasbi, najti v njej vse skrite tone in podtone in spoznati različne oblike raznoraznih kultur po vsem svetu, “zato, da se otrokom odpre pogled v univerzalnost glasbenega sveta, da niso zaprti v zatohli luknji samo enega glasbenega stila.”

16 | FOLIO

Odmevnost predstave Raztrganci utemeljuje s tem, da se je režiser v pravem trenutku lotil prave tematike in je prepričan, da se morajo umetniki odzvati in replicirati politični bebavosti in razvrednotenju preteklosti. Kot igralec je prisoten na vseh koncih Slovenije, na odrih v krajih od Prekmurja do Primorske. Tudi sodelovanje Kosovelovega doma s Kiblo vidi kot pomembno povezovanje in pretok informacij. Pri tem so pomembne tudi čisto prijateljske naveze, vendar Kiblo kot institucijo vidi kot zgled delovanja kulturne ustanove, ki je našla poti do evropskih sredstev in bogato znanje o tem, kako “funkcionira Evropa in ta denar. Vsi namreč pravijo, da ta denar premalo izkoriščamo, vsa ta evropska sredstva za programe in za infrastrukturo. Kibla je učiteljica, kako se to dela, in napredna mladina, ki razmišlja z naprednimi pogledi na ustvarjanje, skozi nove medije, internet, video in tako naprej – še kako pomembno je, da se povezujemo med sabo in se učimo drug od drugega.” Na intermedijsko umetnost gleda z navdušenjem, in je pri uporabi sodobnih tehnologij vedno znova navdušen, kako se jo da uporabiti in predstaviti v umetnosti. Vendar gre za to, da je na koncu vedno človek, tudi v najbolj naprednih avantgardnih eksperimentih. Z veseljem in radovedno doživlja intermedijske dogodke, navduši ga kovinski koš, povezan z videom, ali cela naprava, ki deluje kot miška, ko tudi kot obiskovalec fizično vplivaš… Fascinanirajo ga postavitve s svetlobo, lučjo, toploto svetlobe, kar mogoče ni nič novega – kaže pa nove možnosti, ideje, ki jih lahko cepimo v nove prostore.

Kot direktor Kosovelovega doma je zagnan pri sodelovanju in delovanju kulturnih domov po Sloveniji. Pomen združenja kulturnih domov regionalnega pomena vidi v včlanjevanju vseh, ki imajo podobno delo, poti. “Ugotovili smo, da kulturni domovi pokrivamo milijon in pol ljudi, ki živijo izven Ljubljane in Maribora, kjer pa deluje večina kulturnih institucij.” V centrih se dogaja tudi sodobna umetnost, v manjših krajih pa že lahko pride do nerazumevanja. Kulturni domovi izpolnjujejo svoje poslanstvo in zapolnjujejo kulturno življenje tudi v manjših sredinah. “Zato je tako pomembno vedenje, da obstajajo novi pristopi v umetnosti, da jih lahko posredujemo v te kraje in omogočamo seznanjenost s sodobnimi tokovi v umetnosti.” Ceni pomen izobraževanja in predvsem aktivnosti srednješolskih učiteljev, ki se vsako leto pokažejo pri festivalu Dnevi radovednosti. Sam je po končani srednji lesarski šoli vpisal agronomijo, potem pa slavistiko. Z diplomo se je zaposlil kot učitelj slovenskega jezika na osnovni šoli, vendar je kmalu nadaljeval s študijem na AGRFT. Na vprašanje o življenjski filozofiji hudomušno odgovori s citiranjem profesorja za filozofijo, ki pravi, da je tistim, ki najdejo smisel življenja, dobro pomagati do psihiatra.

Ω

If we had invited Gojmir Lešnjak Gojc as a guest at the Days of Curiosity festival, he could have presented at least two professions – the actor and the director of


zvati

Kosovelov dom (cultural centre), Sežana Kosovel centre in Sežana. However, he was in Maribor during the festival, attending the Borštnik gathering, and he let the Days of Curiosity festival team and guests use the premises of Kosovel centre in Sežana. Gojmir Lešnjak Gojc is theatre and film actor, noble comedian, recipient of Ježek award, knight of goodwill, director, musician, host of Muzikajeto TV show, a recognisable figure from many TV shows (Periskop, TV Poper, Teater paradižnik, Naša mala klinika) and an interpreter of various comic figures. When asked what made him laugh he responded it was a difficult question. ”The year 1959 vintage is a very good one, I hear it is priced at more than a thousand Euro per litre in the market,” he smirked during the interview before the evening performance on the stage of Narodni dom, Maribor. When acting he cooperates with several diverse artists and creators. In cooperation with Igor Leonardi, Fake Orchestra band, the editors of TV Slovenia and the director Brane Bitenc, the idea has been realised to make a simple, non-expert TV show, as entertaining as possible, opening up the music of the world that is permeated with music heritage. The show teaches how to listen to music, to discover all its hidden notes and nuances, and to learn about different forms of numerous cultures around the world, “to open children's' eyes for the universality of the music world and not to keep them shut in a stuffy dump of only one style of music.” He justifies the wide response to the performance Raztrganci (The Ragged) with the fact that the director

acquired the right topic at the right time. He believes that artists should respond and reply to the idiocy of politics and devaluation of the past. As an actor he can be found in all parts of Slovenia, on stages from Prekmurje to Primorska. He sees the cooperation between the Kosovel centre and Kibla as an important integration and flow of information. Familiar connections are indeed important, yet he sees Kibla as an example in the operation of cultural institutes, having found its way to the European funds and acquired great knowledge of how “Europe and such funds function. People often say that we fail to utilise these funds in full, all the European funds for programmes and infrastructure. Kibla is both the teacher of how to do it, and the progressive youth having advanced views on creation based on new media, the Internet, video and so on – it is very important that we connect to one another and learn from one another.” He looks upon intermedia art with enthusiasm. It always fascinates him how modern technology can be used and presented in art. However, in the end it's always the human being, even in the most advanced avant-garde experiments. He experiences intermedia events with pleasure and curiosity, he is fascinated by the metal basket connected to the video, or the whole device functioning as the mouse, when you have some impact as a visitor... He is fascinated by installations using light, the warmth of light, which might not be quite new – yet showing new possibilities, ideas that can be divided into new spaces.

Being the director of Kosovel centre, he is committed to cooperations and operations of cultural centres across Slovenia. To him the importance of an association of cultural centres of regional importance is in integrating everybody with the same activities and paths. “We have established that cultural centres reach 1,5 million people living outside Ljubljana and Maribor, where the major part of cultural institutions operate.” Contemporary art is also performed in such centres, but in small towns it can be met with disapproval. Cultural centres fulfil their mission of enhancing the cultural activity in limited environments, "That is why it so important to know that there are new approaches in art, so that we can forward them to such places and enable people to learn about contemporary currents in art.” He appreciates the importance of education and particularly of the activity of secondary-school teachers, which is shown each year at the Days of Curiosity festival. Having finished the wood processing secondary school, he entered the study of agronomy, then Slavic languages. After graduation he became a primary school teacher, but then soon continued his studies at the Academy for Theatre, Radio, Film and Television. When asked about his life philosophy, he playfully replies by citing his philosophy teacher who said that those who find the meaning of life should be escorted to the psychiatrist. Snežana Štabi

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Vaš ACK team


Dnevi radovednosti – Kako postati?

Festival Dnevi radovednosti – kako postati? namenjamo osnovnošolcem, srednješolcem in študentom, torej vsem, ki se odločajo o poklicni poti. Z njim želimo mladim olajšati odločitev o izbiri srednje šole, fakultete ali poklica, ter jih z zanimivimi in praktičnimi predstavitvami najrazličnejših poklicev spodbujati, da začno čim bolj aktivno iskati informacije, ki jim bodo olajšale odločitve, povezane z njihovim morebitnim bodočim poklicem. Na festivalu se vsako leto – festival bo v letu 2009 potekal že trinajstič – predstavi preko 40 v svojem poklicu zadovoljnih in uspešnih Slovencev, ki z mladimi na sproščen, neformalen način delijo svoje izkušnje z izbiro študija in poklica ter dobre in slabe strani dela, ki ga opravljajo.

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Days of Curiosity Festival – How To Become?

is aimed at elementary school pupils, as well as secondary school and university students – that is, everyone deciding about their professional path. With this festival, we wish to simplify the decision about higher education, faculty or profession, and at the same time stimulate young people through interesting and practical presentations of different professions to actively start searching for information that would simplify decisions about their future professions. Each year – in 2009 the festival will be organized for the 13th time – more than 40 professionally satisfied and successful Slovenians will be presented at the festival to share with young people in a relaxed informal way their choice of study and profession as well as positive and negative aspects of the work they perform.

Dnevi radovednosti v dvorani Narodnega doma, Maribor Days of curiosity in Narodni dom cultural centre, Maribor

Dnevi radovednosti delavnica Days of curiosity workshop

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Dnevi radovednosti 2008, video delavnica, Selnica ob Dravi Days of curiosity 2008, video workshop, Selnica ob Dravi


Peter MankoÄ?, Dnevi radovednosti / Days of curiosity, Ptuj 2008

MatjaĹž Kek, Dnevi radovednosti / Days of curiosity, Maribor 2008

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(DA)(NE)S

mini avdio-video festival Festival (DA)(NE)S, Glavni trg v Mariboru / Main Square, Maribor, 2008, Vasko Atanasovski trio

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Cameron Bobro, selektor festivala Danes / selector of Danes festival

Molecatcher

Festival Danes opozarja in vabi prebivalce in obiskovalce Maribora na mariborski Glavni trg, ki se zaradi svoje lokacije, njene akustike in svetlobe ponuja kot izvrstno (a pogosto prezrto) prizorišče sodobnim avtorskim glasbeno vizualnim dogodkom. Danes se osredotoča na lokalno-globalni umetniški pristop, ki se nahaja na presečišču fizičnega, akustičnega in ekstremno elektronskega. Na KITovem letnem vrtu pred Rotovško hišo se bodo ob koncu poletja, tako kot že dve leti do sedaj, vsak konec tedna ob večerih vrstili slovenski glasbeniki in DJ-ji po izboru selektorja festivala Camerona Bobra.

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Danes festival warns and invites Maribor inhabitants and visitors to Glavni trg, Maribor, where the location, acoustics and light provide an excellent (yet often overlooked) venue for a contemporary music visual event. Danes focuses on local-global music approach, located at the intersection of the physical, acoustic and extremely electronic. For the third year in a row, KIT summer garden in front of Rotovž house will host each weekend at the end of summer Slovenian music and DJ’s chosen by the festival selector Cameron Bobro.

Duo Amore mio

KIT KIBLA

Komunikacijsko informacijska točka / Communication information point KIT je zasnovan kot javno dostopna točka (etočka), ki vsem starostnim skupinam ne glede na predznanje nudi dostop do vsebin svetovnega spleta, svetovanje in osnovno izobraževanje glede njegove uporabe v ambientu prijetnega okolja, hkrati pa s spremljevalnim programom razširja, popularizira ostale, zahtevnejše oblike z internetom povezanih vsebin. KIT deluje po načelu, da neznanje uporabnika ni ovira, zato v okviru izobraževalnega programa ponuja predavanja o zakonitostih, varnosti in praktični uporabi svetovnega spleta, poleg tega pa za zahtevnejše obiskovalce pripravlja delavnice avdio, video in multimedijskih vsebin. V letu 2009 se izvaja cikel izobraževanj o varni uporabi spleta in drugih neformalnih izobraževanj, delavnica VJ-anja in več video delavnic.

KIT is designed as a publicly accessible point (epoint), which in comfortable setting provides access to world wide web, counselling and elementary education on using the internet to all age groups regardless of their previous knowledge. At the same time its accompanying programme spreads and popularizes more demanding Internet relatedcontents. KIT functions on the principle that the lack of user’s knowledge is no barrier. Its educational programme comprises lectures on the laws, security and practical use of the Internet as well as audio, video and multimedia contents workshops for advanced visitors. The programme in 2009 comprises an educational series on safe use of the Internet and other informal education, a VJ workshop and several video workshops.

Vasko Atanasovski trio

Samo Pečar

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Mikrotonalna in elektronska 3. festival (DA)(NE)S 2009 V letošnji izdaji festivala (DA)(NE)S so v ospredju predvsem umetniška raziskovanja sodobnih glasbenikov, ki so izrazito nekonvencionalni, kljub temu da so nekateri med njimi akademsko izobraženi – letos bo vsebinski poudarek na mikrotonalni glasbi in alternativnem uglaševanju glasbe po eni strani in po drugi manj običajni elektronski umetniški nastopi (Barbara Buchholz, Howie B., Marko Ciciliani). Mikrotonalna glasba poudarja aspekt glasbe, ki se v slovenskem prostoru redko izpostavlja, saj je v naših krajih razumljivejši vidik ritma. Osredotoča se na specifično prikazovanje glasbe, ki se ustvarja “med posameznimi klavirskim tipkami”, torej mikrotonalne glasbe in glasbe z alternativnim uglaševanjem (Jurica Jelić). To pomeni včasih dobesedno nove kreacije instrumentov, ki bolje udejanjajo ta glasbeni princip (Jacques Dudon). Prvotni koncept postavljanja glasbenih kreacij v prostor (Glavni trg v Mariboru, Sloveniji) in čas (konec poletja) se nadaljuje. V praktičnih izkušnjah se je izkazala ta gradnja festivala od tehnične osnove do avditorija, kjer je jakost ozvočenja primerna in nenasilna, upoštevajoč publiko na subtilni način. Uprizarjanje je urejeno po meri človeka. Po drugi strani je pomembno, da se lokalni ustvarjalci integrirajo v mednarodno sceno ter samozavestno in voljno sprejemajo nove izzive. Na festivalu (DA)(NE)S se lokalni glasbeni ustvarjalci in umetniki povezujejo z mednarodnimi gosti. Če je bil 2. festival večinsko lokalno naravnan, je 3. festival zasnovan mednarodno. Ideja Glavnega trga kot zvočni site specific, prostor in portal, kjer se udejanja enakovredno staro in novo – genealogija in gradnja zvoka samega po sebi. Cameron Bobro

Marko Ciciliani & Barbara Lüneburg (violin, viola), 9. 9. 2009 Glasba priznanega, izjemnega zvočnega in svetlobnega umetnika Marka Cicilianija temelji na zvočnem besednjaku, ki se razteza od komorne glasbe do elektronskega hrupa. Avdiovizualni performans “My Ultradeep I” , ki ga je pripravil s svojim bendom Bakin Zub, je s svojimi

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presenetljivimi obrati in bleščečimi barvami tonov ustvaril edinstveno sinestetično izkušnjo. Marko Ciciliani (1970 Zagreb/Hr) je glasbeno izobrazbo na področju kompozicije pridobil v Haagu, New Yorku in Hamburgu. Sklada za najrazličnejše zasedbe, kot so orkester, komorna glasba in solistični izvajalci, z in brez elektronike. Cilliani je aktiven tudi kot izvajalec in improvizator. Sodeloval je v različnih projektih na področju gledališča, plesa, videa in glasbe. Marko Ciciliani si je kot izvajalec pridobil sloves virtuoza na mešalki no-input – mešalni mizi, na kateri zvoki nastajajo s povzročanjem internih povratnih informacij, pri tem pa se ne uporablja nikakršnih zunanjih virov zvoka. Samostojno je med drugim nastopil na bienalu v Münchnu leta 2002, na mednarodnem NOISE festivalu v Ljubljani leta 2002 in na cenjeni seriji koncertov “no-backup” v raziskovalnem središču STEIM v Amsterdamu. Povabljen je bil, da na zagrebškem bienalu leta 2003 izvede svojo solistično kompozicijo “Mask”.

Barbara Buchholz (teremin), 10. 9. 2009 Teremin, čarobni inštrument, ki je ob začetku prejšnjega stoletja prišel iz Rusije, je vse bolj priljubljen. Barbara Buchholz, ki deluje v Berlinu, je ena največjih svetovnih virtuozinj na tem glasbilu. To je edini inštrument, ki ga igramo brez dotika, in hkrati oče vseh elektronskih inštrumentov. Tresoče superorožje iz filmske glasbe neštetih grozljivk. Barbara Buchholz je na svojem prvencu Russia with Love, ki je doživel mednarodni uspeh, preverila sposobnosti tega nenavadnega inštrumenta, na svojem albumu Moonstruck pa ga je postavila v povsem nov kontekst.

Jurica Jerić (kitara), 11. 9. 2009 Kitarist iz Knina (Hrvaška) igra mikrotonalno in brez prečk. Prve akorde se je naučil od očeta in pri starosti 14 let začel igrati kitaro in bas kitaro v več bendih. Njegova naklonjenost rocku, bluesu in jazzu se je postopoma razvijala. Pri 20 letih je s pomočjo velikega mikrotonalnega kitarista in skladatelja Neila Haversticka odkril kitaro brez prečk in čudoviti sistem uglaševanja, ki ne temelji na dodekafoniji. Jurica v

svoji glasbi uporablja akustične in električne kitare brez prečk uglašene na 10-, 19-tonsko, atonalno in čisto intonacijo ter 19-tonsko akustično kitaro brez prečk. Poleg tega igra kitaro (12-tonsko s prečkami in 12-tonsko brez prečk) v hrvaškem alternativnem pop bendu “The Alibor” ter s hrvaškim skladateljem Samuelom Sacherjem iz bendov “Vještice” in “Haustor” sodeluje pri mikrotonalnem projektu.

Howie B. , 17. 9. 2009 Howard Bernstein (rojen 2. marca 1963 v Glasgowu na Škotskem), s profesionalnim imenom Howie B, je glasbenik in producent, ki je delal z glasbeniki, kot so Björk, U2, Robbie Robertson, Flisa in Tricky. Izdal je naslednje albume: Music for Babies (1996), Turn the Dark Off (1997), Snatch (1999), Sly and Robbie drum & bass Strip to the Bone by Howie B (1999), Folk (2001), Another Late Night: Howie B (DJ mix album, 2001), FabricLive.05 (DJ mix album, 2002), Last Bingo in Paris (2004), Music for Astronauts and Cosmonauts (2006).

Jacques Dudon, 18. 9. 2009 Francoski skladatelj in izdelovalec inštrumentov, ki prisega na čisto uglasitev. Znan je po tem, da je v zadnjih desetletjih razvil niz inštrumentov s fotosoničnimi ploščami, ki proizvajajo zvok s pomočjo modulacije svetlobe. Vir svetlobe sveti skozi plošče iz barvastega stekla; svetlobne vzorce, ki pri tem nastanejo, pa absorbirajo sončne celice in jih pretvorijo v napetost, ki jo lahko obravnavamo kot zvočni signal. Tovrstno proizvajanje sintetičnega zvoka se je pri “optosoničnih” inštrumentih uporabljalo od začetka 20. stoletja, vendar je Dudonova metoda posebna zaradi generiranja tona, ki nastane ob prekrivanju dveh ali treh plošč, in zaradi priložnosti za spremembe barve tona, ki so pri takšni zasnovi možne z ročnim upočasnjevanjem ene ali dveh plošč, kar spremeni obliko valovanja. Dudon je ustvaril tudi 150 vodnih inštrumentov, poimenovanih “akvafoni” (opisani so v njegovi pionirski knjigi ‘La Musique De L’eau’), med katerimi je tudi “flutabullum”, sistem pretvarjanja zvokov flavte s podvodnim snemanjem.


glasba Micronotal music (DA)(NE)S 2009 Festival, No 3 The current edition of (DA)(NE)S festival focuses on artistic explorations by contemporary musicians who, despite being academy trained, are far from conventional – the emphasis, on the one hand, will be on microtonal music and alternative tuning, and on the other hand, on less usual electronic performances (Barbara Buchholz, Howie B., Marko Ciciliani). Microtonal music puts particular emphasis on the aspect of music that rarely stands out in Slovenia, as the aspect of rhythm here seems to be more understandable. It focuses on specific presentation of music being created “inbetween individual piano keys”, that is, microtonal music and music with alternative tuning (Jurica Jelić). Sometimes this literally means crating the instruments anew to better realise this music principle (Jacques Dudon). The original concept of placing music creations into space (the Main square in Maribor, Slovenia) and time (end of summer) is preserved. Past practical experience has affirmed such development of the festival, from the technical basis to the venue where the strength of the sound system is appropriate and non-aggressive, observing the audience in a subtle way. Performance tailored to people’s needs. However, it is also important for local artists to integrate self-confidently into the international scene and accept new challenges willingly. At (DA)(NE)S festival, local musicians and artists connect with international guests. If the 2nd edition of the festival was mainly locally oriented, the 3rd edition is international. The idea of the main square as the sound site specific, space and portal where the old and the new are realised equally – the genealogy and construction of sheer sound. Marko Ciciliani & Barbara Lüneburg (violin, viola), 9. 9. 2009 The music of the acclaimed, outstanding sound and light artist Marko Ciciliani uses a sound vocabulary that extends from chamber music to electronic noise. The audiovisual performance “My Ultradeep I” by Ciciliani and his band Bakin Zub is a synaesthetic experience with its surprising turns and dazzling tone colours. Marko Ciciliani (1970 Zagreb/Cro) received his musical training as a composer in The Hague, New York and Hamburg. He has written for a huge variety of settings like orchestra, chamber and solo scorings, with and without electronics. Ciciliani is also active as a performer and improviser and has worked in various collaborative projects in the fields of theatre, dance, video and music. As a performer, Marko Ciciliani has made his name as a virtuoso on the no-input mixer - a mixing board, in which sounds are produced by causing internal feedbacks, refraining from using any external sound sources. As a soloist he performed amongst other at the Munich Biennale 2002, the “International Noise Festival Ljubljana 2002” and the renowned “nobackup” concert series at STEIM in Amsterdam. He was invited to perform his solo composition “Mask” at the Zagreb Biennale 2003.

Barvna glasba – čakre / Colormusic Chakra Fotosonični diski / Photosonic discs Fotosonični disk 1000 / Photosonic disc 1000 Fotosonični proces / Photosonic process Sruti čakra / Sruti Chakra

played without being touched and the grandfather of all electronic instruments. It is the tremuloussounding superweapon featured on the soundtracks of countless horror films. On her internationally celebrated debut album, Russia with Love, Barbara Buchholz took stock of this unusual instrument’s capabilities. On her CD, Moonstruck, she places it in an entirely new context. Jurica Jerić (guitar), 11. 9. 2009 A microtonal, fretless guitar player from Knin, Croatia. He learned his first chords from his father and started playing bass and guitar in few bands and age of 14. Over the years his affinity towards rock, blues, jazz was constantly developed. At age of 20 he discovered a fretless guitar and wonderful world of non-twelve tone-tuning systems by the help of great microtonal guitar player and composer Neil Haverstick. In his music Jurica uses both acoustic and electric fretless guitars tuned in 10tet, 19tet, atonal and just intonation and 19tet fretted acoustic guitar. Also he plays guitar (12tet fretted and 12tet fretless) in Croatian alt. pop band “The Alibor” and works on a microtonal project with Croatian composer Samuel Sacher from the bands “Vještice” and “Haustor”. Howie B. , 17. 9. 2009 Howard Bernstein (born 2 March 1963, Glasgow, Scotland), professionally known as Howie B, is a musician and producer who has worked with artists such as Björk, U2, Robbie Robertson, Flisa and Tricky. He has issued the following albums: Music for Babies (1996), Turn the Dark Off (1997), Snatch (1999), Sly and Robbie drum & bass Strip to the Bone by Howie B (1999), Folk (2001), Another Late Night: Howie B (DJ mix album, 2001), FabricLive.05 (DJ mix album, 2002), Last Bingo in Paris (2004), Music for Astronauts and Cosmonauts (2006) Jacques Dudon, 18. 9. 2009 He is a French Just Intonation composer and instrument builder. He is renowned for developing a series of photosonic disk (disque photosonique) instruments over the last several decades that produce sound from modulated light. A light source shines through painted glass discs; the resulting patterns of light are picked up by solar cells and converted into a voltage, which can then be treated as a sound signal. The production of synthetic sound in this manner has been used in ‘optosonic’ instruments since the early 20th Century. However Dudon‘s method is notable for the generation of tone which is produced by the overlapping of two or three discs, and the opportunities this design provides for timbral shifts by slowing one or more discs manually, thereby altering the waveform. Dudon has also created 150 water instruments called ‘aquaphones’ (described in his pioneering book ‘La Musique De L’eau’), including a “flutabullum”, a system of transforming flute sounds by recording them underwater.

Barbara Buchholz (theremin), 10. 9. 2009 The theremin is enjoying growing popularity, and Berlin-based Barbara Buchholz is one of the world’s top virtuosos of this instrument: the magic kit that came to us from Russia at the beginning of the previous century. It is the only instrument that is

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Toni Jarvis

Toni Jarvis, Kibla Maribor 2009 Misliš, da so kakšne prednosti ženske v svetu Djanja? Si lahko te prednosti obrnila sebi v prid? Ljudje mislijo, da ženska DJ-ka lažje dobi nastope kot moški DJ, vendar ni tako. V tem poklicu še vedno dominirajo moški in kot ženska se moraš še toliko bolj dokazovati. Se lahko preživljaš samo DJ-anjem? Dandanes je to bolj težko. V bistvu moraš biti precej fleksibilen in se ukvarjati z drugimi stvarmi kot so produkcija, dobro je, če imaš lastno založbo ali pa delaš za kakšno, tako kot jaz. Elektronsko glasbo velikokrat povezujejo z drogami, misliš, da je to predsodek? Definitivno je to neumno stereotipno razmišljanje. Če je glasba dovolj dobra, kdo še potrebuje droge?!! Imaš kakšen življenski moto, ki te vodi skozi življenje?

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“It’s nice to be important, but it’s more important to be nice”. Oh, in seveda “If it ain’t breaks – FIX IT!” =D S kom bi rada vrtela glasbo, če bi imela priložnost in zakaj prav z njim/njo? The Plump DJs – prav oni so me zabrejkali v breakbeat!

Ω

Being a woman in a more or less man’s world, did you manage to make it your advantage? How? People think that it is easier being a woman DJ, that it is easier to get gigs. The fact is you have to work that much harder. DJing is still such a male dominated profession that you feel you have to work that much harder to ‘proove yourself’. Can you make a living of DJ-ing? These days it is difficult to make a living from DJing

alone. You must be diverse and have other areas to fall back on, such as producing, running a night, or owning/working for a record label, as I myself do. Electronic music is often connected to drugs... do you think that’s a prejudice? It’s definately a stereotypical view, but that’s nonsense. If the music’s good enough, who needs drugs?! Do you have a life philosophy that grooves you through the life? “It’s nice to be important, but it’s more important to be nice”. Oh, and of course “If it ain’t breaks – FIX IT!” =D Which DJ would you like to spin music with once if you had the chance and why him/her? The Plump DJs – These guys got me into breakbeat in the first place! Lidija Pačnik


MED Mariborska elektronska destinacija MED je festival sodobne glasbe, ki uporablja popularne oblike, vendar znotraj njih ponujajo vsebine, ki so večne, aktualne in kreativne. Glasba nekoč in danes, a še vedno kozmičen element, brezčasoven in brezteritorialen. To prvinskost nadgrajujemo s sodobno tehnologijo, ko jo sintentiziramo v elektronske instrumente, ki danes oplajajo tako Evropo kot Afriko, Azijo, Avstralijo in Ameriko. Elektronika je danes globalna entiteta, elektronska glasba je postala planetarni jezik, vzpostavila je platformo, ki je na voljo najrazličnejšim vsebinam, tudi čistim glasbenim kot drugim, recimo jim komunikacijske. Festival MED 2009 spaja evropski vzhod in zahod, prikraja ljudske tradicije in izročila interkulturnosti v dialog, ki mu informacijski tokovi omogočajo sožitje in odpirajo ustvarjalne možnosti. Odločitev, kako predstaviti glasbo danes, se je porodila iz medijske uzurpacije sodobnosti, odrešene v banalnosti vsakdanjega potrošništva. Njegova identifikacija pa je sprotna pozaba, da lahko vedno najde prostor za novo. V tem se glasbeni festival MED želi lotiti prav teh načinov in uporabiti ista orodja za produkcijo, ki jo omogoča večno reproduciranje istih vzorcev v neskončnih repeticijah preprostih form z minimumom vsebin. Premiera festivala leta 2008 je doživela izjemen uspeh tako med umetnicami in umetniki, ki so prišli iz raznih evropskih držav in se pomešali s slovenskimi avtoricami in avtorji, kot publiko, ki jo je prvič predstavljena mešanica intermedijskega živega izražanja pritegnila od blizu in daleč, tudi onkraj državnih meja.

MED 2009, Kibla Maribor

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MED is a festival of contemporary music that uses popular forms to offer contents that are eternal, topical and creative. Music once and now, yet still a cosmic element, timeless and without territory. This primaeval quality is upgraded by advanced technology synthetised in electronic instruments that today feed Europe as well as Africa, Asia, Australia and America. Today, electronic music is a global entity. It has become the planetary language, it has established a platform available for diverse contents, those purely musical as well as others, which we call communicational. MED 2009 festival merge the European east and west, adapt folk traditions and intercultural heritage into a dialogue that is enabled harmony and creative possibilities by information flows. The decision of how to present music today originates from media usurpation of contemporaneity, saved by the banality of everyday consumerism. Its identification, however, is prompt forgetting so that space for the new is always available. Thus MED music festival wishes to deal with these methods and use the same tools of production enabled by eternal reproduction of the same patterns in endless repetitions of simple forms with minimum contents. The premiere of the festival in 2008 was immensely successful both among artists who came from many European countries and combined with Slovenian artists, as well as the audience that was attracted by the newly presented mix of intermedia live expression from near and far, also across the national borders.

MED 2009, Pekarna Maribor

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Eva Petrič

Portret

Eva Petrič, Vsi so jedli suši / They All Ate Sushi

E-maili

poletavali so od mene do tebe, tako naravno kot roka v roko, zvok k tišini, ogenj k pepelu. nikoli se ne bodo zapletli v tvoje gube in razpletli tvoj tog izraz. nikoli več ne bodo poletavali med nama naravno kot roka v roko, tišina k zvoku, pepel k ognju. pritrjeni so pod površino ekrana, tam sem jih shranila.

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E-mails

migrated: from me to you, naturally as hand to hand, sound to silence, fire to ashes. never again will they entangle your wrinkles and untangle your stern expression. never again will they migrate between us so naturally as hand to hand, silence to sound, ashes to fire.. pinned face down under the surface of the screeen, there is where I entrusted them.

Eva Petrič je mlada slovenska umetnica, katere ustvarjalni razpon in skoraj breztežno prehajanje med različnimi vrstami umetnosti nam lahko vzame sapo. V slovenskem prostoru se uveljavlja predvsem na področju fotografije, vendar je pri avstrijski založbi že izdala tudi pesniško zbirko, v Sloveniji pa je tik pred izidom njen roman Vsi so jedli suši. Svoja različna področja ustvarjanja še najbolje povzame kar sama s svojo življenjsko filozofijo, ki se glasi “look always all ways” (vedno glej v vse smeri). Glede na to, da se Eva ukvarja s tako različnimi področji umetnosti, je morda skoraj nenavadno, da se naenkrat poskuša osredotočati samo na en projekt. Posebej ko piše, potrebuje čim več miru in čim manj zunanjih motenj, pisanje je pač osamljen poklic. Se ji pa stalno dogaja, da se ji tik pred zaključkom trenutnega projekta v glavi snujejo ideje in načrti za naslednjega, ki je lahko s trenutnim delom povsem nepovezan. Kot da bi si njeni možgani instinktivno, iz nekakšnega preživetvenega nagona, hoteli takoj priskrbeti naslednjo nalogo, da ne ostanejo brez dela. O hierarhiji izraznih sredstev pa doda: “Zame so vsa moja izrazna sredstva enakopravna in so v funkciji drug drugega. Sebe poskušam izraziti kot medij in čutiti, kaj mi določen prostor ali kontekst ali situacija ‘govori’ in to poskušam izrazit naprej, medij, za katerega se odločim, pa je odvisen od tega, kaj se mi zdi, da to, kar občutim, najbolje transferira in nato prenese tudi v druge medije. Tako začnem z enim ali drugim medijem, a vedno končam z zaokroženo podobo. Besede oblikujejo pesem, ki je podoba, sama podoba pa je zmožna biti zgodba ... Vse vidim povezano v funkcijo, ki ustvarja določeno vzdušje in to omogoča razumevanje ...” Na vprašanje, zakaj se njena ustvarjalnost pogosto vrti okrog vprašanja ljubezni, pojasni, da jo fascinira sposobnost ljubezni, da se dotakne vsakogar. Naj bo zasanjan umetnik ali trd poslovnež, ljubezen nas vse razgali in omehča. Je nekakšen univerzalni jezik v nas vseh, ki ga lahko v njenih delih prepoznavamo ne glede na svoje siceršnje razlike. Ob tem doda še: “Ljubezen je zame kot senca, nenehno je ob nas in pripada vsem, nas spremlja vsepovsod, le opazimo je ne vedno. Je brez teže, brez kože, nematerialna, a vendarle jo občutimo bolj kot karkoli drugega. Zame je najmočnejša komunikacija, je konstanta, a hkrati tudi zelo minljiva. Festival ljubezni kot praznovanje ljubezni razumem kot širjenje njene komunikacije.” Nasploh je Evino prvo vodilo v umetnosti, da v njenih delih vsak najde nekaj zase. To seveda ne pomeni, da gre za ceneno in poenostavljeno umetnost, ampak za dovolj široko ustvarjalnost, ki dopušča tako kompleksne razlage in identifikacije kot tudi dojemanje na bolj emotivni ravni, ko se nas njena dela dotaknejo globoko v nas. S svojimi deli torej hoče “pokazati, kako zelo smo si vsi podobni, v slabem in v dobrem. In pokazati, kako je magičnost povsod okoli nas in da jo lahko zaznamo ne le z očmi, ampak tudi z drugimi čuti.” Evin osnovni medij izražanja in hkrati avtorski pečat je ona sama, ker “verjame, da je vse, kar je zunaj nas, tudi znotraj enega samega človeka, le pozoren je treba biti.” Njen osnovi pristop k fotografiranju je tako postavitev, v kateri se pojavi sama, pri tem pa sama opravi vse delo, od kostumografije in maske do same postavitve in izvedbe fotografije. Kot umetnico jo je pod svoje okrilje vzela dunajska galerija Suppan Contemporary, ki bi teoretično morala opravljati funkcijo njenega managerja, a Eva pravi da se “bolj zanašam na svoj drugi jaz. Ta ni ravno moj najljubši, a žal je potreben, da lahko obstaja moj prvi, umetniški.” Kot večina sodobnih umetnikov se je namreč soočila z dejstvom, da je najbolje, če za svoje projekte poskrbi sama. Pri tem priznava, da je od umetnosti težko živeti, vendar se trudi v tej smeri, predvsem v tujini je že prodala precej svojih fotografij. Poezija pa je povsem druga


Eva Petrič, Latin Geisha 1, 2, 2008

zgodba, tam je avtor lahko srečen, če mu ni treba plačati založbi, da izda njegovo knjigo. S tem je Eva imela srečo – njena pesniška zbirka Ta prostor je škatla je namreč izšla pri avstrijski založbi Drava, ki je izid financirala sama, poleg tega pa v veliki meri upoštevala Evine želje pri zasnovi zbirke. Tudi pri proznem prvencu ima Eva srečo s podporo v založbi Didakta. Roman Vsi so jedli suši bo izšel dvojezično, najprej v angleščini, nato v slovenščini. Suši iz naslova knjige poveže s “sušijem ljubezni – kot je od razmerja sestavin odvisen okus sušija, je od razmerja med slabim in dobrim, slabimi in dobrimi izkušnjami in slabimi in dobrimi besedami odvisno tudi stanje srca, dobesedno obloženega s holesterolom.” V romanu se sicer zvrstijo zgodbe več ljubezenskih parov, ali morda enega para v različnih okoliščinah, ki se srečujejo z ljubeznijo na daljavo, virtualnimi razmerji, oblastnimi starši, motnjami prehranjevanja in še marsičim. Zaplete v njihovem bistvu zaznamuje sodobni način življenja s svojimi številnimi dražljaji in virtualnimi svetovi. To omogoči enemu od junakov, da “skozi zgodbo uporablja različna imena in različne identitete, in je zelo mogoče, da se dejansko teh različnih identitet sploh ne zaveda.” Eva Petrič, vizualna in besedna umetnica se bo na Festivalu ljubezni na Ptuju predstavila v vsej svoji vsestranskosti. Za festival pripravlja dvoje, “predstavitev svoje knjige Vsi so jedli suši, ki je, na kratko rečeno, suši ljubezni, in razstavo s kratkim performansom, ki naj bi pokazala, da so besede v ljubezni kot holesterol v krvi.”

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Eva Petrič is a young Slovenian artist, whose creative span and nearly weightless transition between various types of art leave us breathless. Within Slovenian art sphere she has gained renown as a photographer, yet an Austrian publishing house has also published her poetry collection and her novel Everybody ate sushi is to be published in Slovenia very soon. She best summarizes her various types of creativity through her life philosophy, which reads, “Look always all ways”. Considering the fact that Eva is active in such various fields of art, it sounds a bit unusual that she always seeks to do one thing at a time. Particularly when writing, she needs as much tranquillity as possible and not too much external interference; without a doubt, writing is a solitary occupation. What keeps occurring to her, though, is when completing the current project, ideas and plans for the next one start developing in her head, although completely unrelated to the current one. As if quite intuitively, based on some survival instinct, her mind wanted to assure there would be a new project immediately following this one, in order not to remain out of work. As regards hierarchy of her means of expression, she says: “To me, all my means of expression are equal, supporting one another. I try to express myself as a medium, to feel what a certain space, context or situation “tells” me and to transfer this on. The medium I choose depends on what I think would best transfer what I feel to other media. I thus start with one or another medium, but always finish with an integrated image. Words shape a poem, which is an image, and the image as such can also be a story... I see it all related in the function that creates a certain atmosphere and this enables understanding...” When asked why it is that her creativity often revolves around the issue of love, she explains that she is fascinated by the ability of love to touch anybody. Be it a dreamy artist or a tough businessman, love exposes and softens us all. In a way, it is the universal language in us all, which we

can identify in her works despite all the differences between us. She explores the subject further: “To me, love is like a shadow, constantly surrounding us, belonging to everybody, accompanying us everywhere, it’s only that we don’t always notice it. It is weightless, skinless, immaterial, yet we feel it more than anything else. To me it is the strongest type of communication, constant, yet very transient. I see the Festival of Love, the feast of love as an instance of spreading its communication.” In general, Eva’s first principle in art is that everybody should find something for themselves in her art. Surely this doesn’t mean that her art is tacky or simplified, rather it is broad enough to allow both for complex explanations and identifications as well as perceiving on emotional level, as her works touch us deep inside. With her works she wants to “show how we are all very much alike, in better and worse. And to show how there is magic all around and we can sense it, not only with our eyes but also with other senses.” Eva’s basic medium of expression and also her signature style is herself, because she “believes that everything from outside us is also present within one single person, we only need to pay attention.” Therefore her basic approach to photography is the installation that includes herself, for which she prepares everything by herself, from costume and make up to set design and taking the photo. As an artist she is represented by the Vienna-based gallery Suppan Contemporary, who should technically perform the function of her manager, but Eva says that “she better relies on her second self, which is not her most popular self, but unfortunately necessary to support her primary, artistic self.” Like the majority of contemporary artists she has faced the fact that it’s best to take care of one’s own projects. Speaking about that, she admits it is difficult to live off art, but she struggles to and has sold a number of her photos, particularly abroad. However, poetry, she says, is another world, in which the author can be happy if the publishing house requires no payment to publish the book. Eva was lucky – her poetry collection Ta prostor je škatla (This space is a box) was published by Drava from Austria who financed the book alone and also to a great extent considered Eva’s wishes about how the collection would be designed. As regards her first prose book, Eva has been equally lucky with the publisher, this time Didakta. Her novel Everybody ate sushi will be published in two editions, first in English then in Slovenian. Eva relates sushi from the title to “the sushi of love – just like the taste of sushi depends on the ratio of its ingredients, the ratio of the bad and good, of the bad and good experience, bad and good words defines the condition of the heart, which is literally burdened with cholesterol.” The novel features stories of several couples, or maybe one couple in various circumstances, who encounter distant relationships, virtual relationships, possessive parents, eating disorders and so on. The plots are fundamentally defined by the modern way of life with its numerous stimuli and virtual worlds. This enables one of the characters “to use different names and identities throughout the story, very possibly not even being aware of his various identities.” Eva Petrič, an artist of images and words, shall present all her variability at the Festival of Love. There are two things she has been developing for the festival, “a presentation of her book Everybody ate sushi, which, shortly, is the sushi of love, and an exhibition with a short performance showing that words to love are like cholesterol to blood.” Alenka Ropret

Eva Petrič, rojena 1983 v Kranju, diplomirala 2005 na Dunaju iz psihologije in vizualne umetnosti. V svojem umetniškem ustvarjanju se posveča pisanju, fotografiji, videu in performansu. Odraščala in oblikovala se je na različnih koncih sveta, v jezikovno, kulturno in geografsko zelo različnih okoljih, od afriškega, azijskega, do severnoameriškega in srednjeevropskega, formalno izobrazbo pa si je pridobivala v osmih različnih šolah v petih državah na treh kontinentih. Trenutno živi in dela na Dunaju, kjer sodeluje z galerijo Suppan Contemporary in pripravlja magisterij iz novih medijev pri Inštitutu Transart Donavske univerze v Kremsu kot zadnja študentka znanega francoskega fotografa in filmskega ustvarjalca Luciena Clerguea. Za svoj glasbeni video Army of me je prejela nagrado Čižek in priznanje Naj digič 2006. Leta 2007 je pri založbi Drava v Celovcu izšla njena prva zbirka pesmi Ta prostor je škatla, opremljena z njenimi črno-belimi fotografijami. Za razvoj dveh scenarijev celovečernih filmov je leta 2006 prejela podporo Filmskega sklada Slovenije. Svoje likovno delo je predstavila na več samostojnih in skupinskih razstavah v Avstriji, Sloveniji in ZDA; ter sodelovala na mednarodnih umetniških sejmih v Italiji, na Češkem in v Švici. Februarja 2008 je bil po izboru likovnega kritika meseca cikel njenih fotografij razstavljen v Cankarjevem domu v Ljubljani. Maja 2008 je prejela tretjo nagrado na letni žirirani fotografski razstavi v St. Louisu v ZDA, junija 2008 pa je bila proglašena za Umetnico meseca na spletni strani Art Lab galerije Hilger na Dunaju. Knjiga Vsi so jedli suši je njen prozni prvenec. Eva Petrič, born in 1983 in Kranj. She graduated cum laude from psychology and art at Webster University in Vienna in 2005. She is devoting her time to photography, video, performance, painting and writing. She grew up in various parts of the world, in diverse environments as regards the language, culture and geography, from Africa and Asia to North America and Central Europe. She gained formal education in eight different schools in five countries on three continents. In 2008 she took her MFA in new media at Transart Institute, Danube University, Krems, as the last student of the renowned French photographer in filmmaker Lucien Clergue. She currently resides in Vienna, where she is the artist of the gallery Suppan Contemporary. Her music video Army of me won the awards Čižek and Naj digič 2006. In 2007 the Drava publishing house, Klagenfurt published her book of poetry This space is a box, illustrated with her black-and-white photographs. In 2006, the Slovenian film fund supported two of her film scripts. Her visual works have been presented at several solo and group exhibitions in Austria, Slovenia and the USA; she participated at international art fairs in Italy, the Czech Republic and Switzerland. In February 2008, a series of her photographs was exhibited in Cankarjev dom Cultural Centre, Ljubljana, based on the selection by an art critic. In May 2008 she was awarded third prize at an exhibition of photographs in St. Louis, USA. In June 2008, the webpage Art Lab of Hilger gallery from Vienna declared her Artist of the month. The book Everybody ate sushi is her first novel.

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FESTIVAL LJUBEZNI Ptuj 2009 festival literature, glasbe in v Festival ljubezni je v lanskem letu, v svoji krstni izvedbi, gostoval na gradu v Svečini, letos konec marca pa je bilo z ljubeznijo prežeto mestno jedro najstarejšega in enega najlepših slovenskih mest, Ptuja. Festival ljubezni je v prvi vrsti literarni festival, ki se programsko spogleduje in dopolnjuje z glasbo in vizualnimi umetnostmi, vse seveda znotraj osnovne teme festivala, ljubezni. Osnovno vodilo festivala je vrhunska kakovost – tako pri izbiri lokacije, partnerjev, vsebin in nastopajočih, kot tudi pri tehnični izvedbi – kar obiskovalcem zagotavlja celovito umetniško izkušnjo. Na letošnjem festivalu smo se se prebujali ob literarnih zajtrkih z Deso Muck in Niko Perunović, poklepetali s pesnikom Janom Šmarčanom, spoznali svet slovenske poezije in proze z dvema dvojcema – poezijo z Eriko Vouk in Milanom Vincetičem ter prozo z Natašo Kramberger in Nejcem Gazvodo. Svoj prozni prvenec in razstavo fotografij je predstavila mlada slovenska umetnica Eva Petrič, v preplet poezije in glasbe pa so nas zapletli Tjaša Koprivec in Goran Završnik s projektom Ostanejo naj le konci prstov in zrna rose ter Zlatko Kaučič in Ana Geršak z Vibratom tišine – uglasbeno poezijo Srečka Kosovela. Za razcvet domišljije ob toplih pomladnih večerih so z avtorsko glasbo poskrbeli kantavtor Matej Krajnc in družinski ansambel za prosperiranje poezije in glasbe Papir s čarobnim vokalom Severe Gjurin. Zadnjo festivalsko noč smo odplesali v ritmu tanga. Posebnost Festivala ljubezni je vzporedni program za mlajše z njim namenjenim literarnim programom. Začeli smo z ustvarjalno delavnico Podari srce!, nadaljevali s priljubljeno pravljičarko Zdenko Gajser in zaključili z igrivo lutkovno predstavo Igorja Somraka.

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Last year, the first edition of Festival of Love was hosted by the castle of Svečina. This year the last weekend in March spread love across the city core of the oldest and one of the prettiest Slovenian cities, Ptuj. The Festival of Love is primarily a literary festival, the programme of which flirts with and is complemented by music and visual arts, naturally all based on the festival’s main topic, love. Another main principle of the festival is top quality – as regards the location, partners, contents and performers, as well as technical execution – which surely provides visitors with a unique artistic experience. In festival mornings we were wakened by literary breakfasts hosting Desa Muck and Nika Perunović, we talked to the poet Jan Šmarčan, discovered Slovenian poetry and prose with two couplets – poetry with Erika Vouk and Milan Vincetič, and prose with Nataša Kramberger and Nejc Gazvoda. Eva Petrič, a young Slovenian artist, presented her first novel and an exhibition of photographs. We were captivated by twists of poetry and music as performed by Tjaša Koprivec and Goran Završnik with the project May there be only fingertips and grains of dew, and by Zlatko Kaučič and Ana Geršak with Vibrato of Silence – poetry of Srečko Kosovel put to music. Out imaginations bloomed in warn spring nights when music was provided by the singersongwriter Matej Krajnc and Papir family ensemble for prosperity of poetry and music featuring the magical vocals of Severa Gjurin. We danced the last festival night in the rhythm of tango. The Festival of Love is special for its separate literary programme for children. It began with the creative workshop Give a heart!, continued with the popular storyteller Zdenka Gajser and completed with a playful puppet show by Igor Somrak.

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Erika Vouk

Desa Muck


vizualnih umetnosti

Tjaša Koprivec

Severa Gjurin

Rok Vilčnik

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Knjigarna Zamisel,

Boris Pahor in Simona Kopinšek, literarni večer Boris Pahor and Simona Kopinšek, literary event

2009

Bojan Humski: Staf, predstavitev knjige Ko te napiše knjiga 2009, Veliki zaključni literarni maraton, gost Jan Cvitković Predstavitev Chejevih dnevnikov in pogovor s prevajalcem Jadranom Sterletom Festival ljubezni, Ptuj Jurij Popov: Prostitucija, predstavitev knjige, gostja Vlasta Nussdorfer Mitja Čander: Kuvertirana poteza, predstavitev knjige O! Kult: Za ljudi 1982–87, predstavitev dvd-ja in delovanja skupine O! Kult Magičnost gibanja, predstavitev knjige Resnice življenja Pesniški večer z Janom Cvitkovičem in Feom Volaričem Borut Korun: Na začetku je bila Troja, predstavitev knjige Festival zgodbe Fabula: Ingo Schulze Boris Kolar: Iqball hotel, predstavitev knjige Filmska Fabula, projekcija najboljših študentskih kratkih filmov Blogorola, predstavitev revije in pogovor o blogih in bloganju Pogled v nebo, predstavitev astronomskega koledarja 2009

2008

Revija Emzin in Arne Hodalič, predstavitev tematske številke Sodobna Rusija in reportaže Arneta Hodaliča

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Kibla na 24. Knjižnem sejmu v Cankarjevem domu Zoran Predin in Tadej Golob, predstavitev biografije in pesniške zbirke Zorana Predina Popoldanska jesenska šola slovenščine Beti Žerovc: Kurator in sodobna umetnost, predstavitev knjige in pogovor z Beti Žerovc ter urednico revije Maska Katjo Praznik Janez Škrubej: Hladna vojna in bitka za informacijsko tehnologijo, predstavitev knjige Andrej Morović: Progres, predstavitev knjige Veronika Seles: Nezvestoba, predstavitev knjige Pogled skozi ključavnico, razprava o medijih s Kajo Jakopič in Melito Zajc Katja Mihurko Poniž: Labirinti ljubezni v slovenski književnosti od romantike do II. svetovne vojne, predstavitev knjige Pesnik Jan Šmarčan, literarni večer Beletrinino pomladno branje z Ireno Svetek in Tomažem Kosmačem Pogovor z Jurijem Hudolinom, predstavitev knjige Pastorek Ko te napiše knjiga 2008, Veliki zaključni literarni maraton, gost Ivo Volarič - Feo Pogovor z Borisom Pahorjem, literarni večer Festival ljubezni, Svečina Festival zgodbe Fabula: Vladimir Arsenijević Festival zgodbe Fabula: makedonska literatura, gostje Aleksandar Prokopiev, Ermis Lafazanovski, Venko Andonovski

Filmska Fabula, projekcija najboljših študentskih kratkih filmov France Bučar: Rojstvo države, predstavitev knjige

2007

Andrej Predin: Na zeleno vejo, predstavitev knjige Decembrski literarni večer z Markom Zorkom, predstavitev knjige Knjiga mrtvih Pogovor z dr. Gregorjem Tomcem Maurice Godelier: Uganka daru, pogovor z dr. Vesno V. Godino in Andrejem Natererjem o knjigi Uganka daru Alan Macfarlane: Pisma Lily, predstavitev knjige, gostja dr. Vesna Vuk Godina Iztok Geister: Lepolistje, predstavitev knjige Predstavitev revij Bukla in Premiera Predstavitev revij Klik in Ambient Projekcija dokumentarnega filma ‘Ibogaine – Rite of Passage’ (Ibogain – Obred prehoda) Nara Petrovič: Človek: navodila za uporabo, predstavitev knjige Irena Mihelič: Hiša Marije Pomočnice, monodrama Dvojni literarni večer z Nejcem Gazvodo in Gašperjem Bivškom Aleš Čar: Made in Slovenia, predstavitev knjige Denis Poniž: Trnje v Arkadiji, predstavitev knjige Ko te napiše knjiga 2007, Andreja Naterer: Bomži – cestni otroci v Makeevki, predstavitev knjige Ko te napiše knjiga 2007, Veliki zaključni literarni maraton, gost Jani Kovačič


dogodki Ko te napiše knjiga 2007, Multimedijski literarni performans Vladimire Rejc: Razgaljena bližina Ko te napiše knjiga 2007, Multimedijski diskretni performans DIGIT umetnika Juliena Maira Svetlana Makarovič: Korenčkov palček, multimedijska zabava za otroke s Svetlano Makarovič in Vero Kovačevič Pogovor z Rastkom Močnikom o Juliji in moških, ki jih je prevzela, predstavitev knjige Julija Primic v slovenski književni vedi Festival zgodbe Fabula: Lamija Begagić Festival zgodbe Fabula: Andrej Nikolaidis

2006

Marcel Štefančič jr.: Route 66, predstavitev knjige in otvoritev fotografske razstave Boruta Kranjca Mednarodni avdio-literarni-spletni projekt Literadio, novinarska konferenca Prozni mnogoboji Vse najboljše Za:misel in koncert skupine Iswhat?! Jožek Horvat - Muc: Amaro drom – Naša pot, predstavitev knjige Esad Babačić: Divan, predstavitev knjige Goran Samardžić: Gozdni duh, predstavitev knjige Vesna Milek: Če, predstavitev knjige Tradicije vzhodnoazijskih kultur in modernizem, gosta Wang Huiqin in Jože Barši Znanost ne grize, druženje z znanstveniki Znanstveno raziskovalnega centra SAZU Jurij Hudolin: Objestnost, predstavitev knjige Meta Kordiš: Gospodična, vi ste lepi kot plakat!, predstavitev knjige Zgodovina historične misli od Homerja do 21. stoletja, predstavitev knjige in pogovor z zgodovinarjem in direktorjem ZRC SAZU Otom Luthrom Ko te napiše knjiga 2006, veliki zaključni literarni maraton, gost Iztok Osojnik Ko te napiše knjiga 2006, Jernej Terseglav: Grafomanije Ko te napiše knjiga 2006, Tomaž Čelig: Fetiš Ko te napiše knjiga 2006, Predstavitev celostne dejavnosti zavoda Maska Ko te napiše knjiga 2006, Dragan Sakan, predstavitev knjige New Samo Resnik: Dotiki in Prijaznemu dvomu, predstavitev knjig Charlesa Patterson: Večna Treblinka, predstavitev knjige, gosta Bernard Jan in Snježana Klopotan Peter Simonič: Pustovanje in karneval v Mariboru, predstavitev knjige Festival zgodbe Fabula: Toby Litt Festival zgodbe Fabula: Miljenko Jergović

2005

Predstavitev knjige Evangelij po Jezusu Kristusu, gosta Barbara Juršič Terseglav in Zdravko Duša Gregor Strniša: Vesolje, literarni dogodek ob 75. letnici rojstva Gregorja Strniše, gost Jože Hudeček Vinko Möderndorfer, literarni večer Tomaž Šalamun: Sončni voz, predstavitev knjige Aleš Šteger: Knjiga reči, predstavitev knjige Mia Couto: Zadnji plamenčev let, predstavitev knjige Andrej E. Skubic: Norišnica, predstavitev knjige Literarni performans »Noli me tangere« Petre Kolmančič in Tomislava Vrečarja Andrzej Stasiuk: Devet, predstavitev knjige Andrej Brvar: Naplavine, predstavitev knjige Franci Pivec: Informacijska družba, predstavitev knjige

2004

Lucija Stupica: Vetrolov, predstavitev knjige Raajeev Balasubramanyam, literarni večer Branko Čegec in Edo Popovič, literarni večer

Vse najboljše Za:misel in literarni večer z Jurijem Hudolinom: Pusti ti to Rok Vilčnik – rokgre: Vesoljne pravljice, predstavitev knjige Začetek nečesa velikega – nove britanske pisave, literarni večer, gosta Sophie Woolley in Matthew Davey Mojco Kumerdej: Fragma, predstavitev knjige Janja Rakuš: Električna zadrga, predstavitev knjige Tomaž Čelig: Lutke, predstavitev knjige Festival zgodbe Fabula: Dušan Šarotar in Damjan Šinigoj Haiku, literarni večer in delavnica, gost Edin Saračević Maja Gal Štromar: Amigdalino srce, predstavitev knjige Aleš Čar: V okvari, predstavitev knjige Okrogla miza »Maribor proti Imperiju«, posvečena knjigi Imperij Antonija Negrija in Michaela Hardta Dejan Štampar in Ven Jemeršič: Ultrapas, predstavitev knjige Iztok Osojnik: Iz novega sveta, predstavitev knjige

2003

2000

Tretja pot – nova politična strategija ali samo nov medijski prijem?, Predavanje o novejši politični paradigmi, gost dr. Igor Lukšič Predavanje mag. Roman Vodeb: Fuzbal, seks & identiteta Nekaj o Kalaallit Nunaat – Grenlandiji, predavanje, gosta Borut Cajnko in Borut Osonkar Predavanje: Pa mirna Bosna …!, gost doc. dr. Mitja Velikonja

ZA:MISEL specializirana družboslovna ter humanistična knjigarna Za:misel že od vsega začetka slovi kot študentom prijazna knjigarna, saj ponuja literaturo, ki jo študentje potrebujejo za študij humanističnih, družboslovnih in umetnostnih smeri. Že četrto leto so omogočena tudi naročila knjig preko spleta ter nakup knjig, ki jih za bralce naročimo iz tujine.

Dušan Čater: Ata je spet pijan, predstavitev knjige Juan Manuel de Prada: Pičke, predstavitev knjige Dušan Šarotar: Mrtvi kot, predstavitev knjige Bratko Bibič: Hrup z Metelkove, predstavitev knjige Marko Samec: Pljusk in Milivoj Miki Roš: Jezusov katapult, predstavitvi knjige Matej Kovačič: Zasebnost na internetu, predstavitev knjige Gustav Januš, literarni večer Katja Plut in Marko Samec, literarni večer Robert Titan Feliks: Knjiga o razbitem času, predstavitev knjige Literarni večer v tandemu: Blaž in Valentina Praprotnik Predstavitev knjige mladih dramskih piscev »Schutzzone« Erika Vouk: Opis slike, predstavitev knjige Mare Cestnik: Odstavitev glavne junakinje, predstavitev knjige Andrej Skubic: Fužinski bluz, predstavitev knjige Aleš Šteger: Protuberance, predstavitev knjige

V sklopu knjigarne poleg knjižnega programa prirejamo literarne dogodke, pogovore z domačimi in tujimi avtorji, okrogle mize, debate in zabavne večere. V letošnjem letu tako zopet načrtujemo predstavitve vrste aktualnih knjižnih naslovov in zbirk, v mesecu pred nami predstavitev knjige Iqball hotel Borisa Kolarja ter projekcijo kratkih študentskih filmov in pogovor s pisateljem Ingom Schulzejem v okviru festivala Fabula.

2002

Apart from selling books, the bookshop also organises literary events, talks with domestic and foreign authors, round tables, discussions and entertaining events. This year we are again planning to present a number of topical book titles and series. The programme for the current month includes presentation of the book Iqball hotel by Boris Kolar, a screening of short student films and a talk with the writer Ingo Schulze within Fabula festival.

Jan Grabnar: Orkin spev, predstavitev knjige Ne Nato, mir nam dajte!, predstavitev knjige David Bedrač: Poezija pomolov, predstavitev knjige Literarni večer z Mihom Mazzinijem Literarni večer, dvojec Tomaža Šalamuna in Jurija Hudolina Literarni večer z Mitjo Čandrom Literarni večer z Alešem Štegrom Drago Glamuzina: Mesarji, predstavitev knjige Literarni večer z Adamom Widemannom in Primožem Čučnikom Polona Glavan: Noč v Evropi, predstavitev knjige Novi vek antičnih študij na Slovenskem, debata ob izdajah pomembnih in številnih knjig s področja antičnih študij Jasmina Cigrovski: V popku, predstavitev knjige Predstavitev društva Balkanika in njihove revije Balcanis Literarni večer »Ta poezija je izziv, enostavno jo razumeš«, gosta Mitja Potecin - Tulipan in Padli angel generacije Nikola Petrović: Tri rdeče niti, predstavitev knjige

ZA:MISEL specialised social sciences and humanities bookshop Za:misel bookshop has always been known as student-friendly bookshop as it offers the literature required in studies of humanities, social sciences and arts. It has now been possible for four years to order books online and to purchase books that are acquired from foreign online bookshops.

2001

Obletnica knjigarne Za:misel in literarni večer z Branetom Mozetičem: Zgubljena zgodba Tomaž Šalamun: Poker in Gozd in kelihi, predstavitev knjig Alojz Ihan: Deset božjih zapovedi, predstavitev knjige

FOLIO | 33


ZBIRKA TOX knjižna zbirka za sodobno umetnost TOX je založniška zbirka KID Kibla, ki v svojem osnovnem poslanstvu podpira galerijsko in umetniško dejavnost Kible. V zbirki izhajajo zborniki del umetnikov, ki gostujejo v galeriji KiBela, zborniki evropskih projektov ter druga, esejistična dela, povezana s sodobno umetnostjo. TOX – vozni red po devetdesetih je nastal sredi 90-ih kot revija, ki je predstavljala sodobno vizualno umetnost in intermedijske prakse ter iz tega izhajajoče umetniške, sociološke, filozofske, komunikacijske in kulturne teorije. Iz revije se je prelevil v knjižno zbirko za sodobno umetnost, v kateri je do danes izšlo 32 publikacij.

TOX is a KID Kibla imprint, the main mission of which is to support the exhibitional and artistic programme of Kibla. The publications within the imprint include compendia of works by artists who exhibit in KiBela gallery, compendia of European projects and other works – essays, related to contemporary art. TOX – timetable of the 90’s was formed in mid 1990’s as a magazine presenting contemporary visual art and cross-media practices as well as the related art, social, philosophical, communication and cultural theory. The magazine developed into book series for contemporary art, within which 32 titles have been published so far.

Digitalna komuna v Mariboru, DVD, 2007

Bojan Humski: Staf, avtobiografski roman, 2009

Mitja Ficko: Znamenje, katalog ob slikarski razstavi, 2004

Kibla 2008, programska knjiga, 2008

Ven Jemeršič in Dejan Štampar: Ultrapas, elektronski dnevniški zapiski in CD, 2003

Performing Pictures: Geska Helena Andersson & Robert Brečević, razstavni katalog, 2008

34 | FOLIO

TRG: On Transient Reality and their Generators, Culture2000 projekt, katalog z DVD-jem, 2006

Vili Ravnjak: Smaragdna pot, priročnik za osebnostno rast, 1999

Andrej Brumen-Čop: Počitek, katalog ob slikarski razstavi, 2005


Ksenija Čerče: Sonic, razstavni katalog, 2008

Aleksandra Kostič: Lebdim, kaj potem..., zbirka esejev, 2000

Modeli revitalizacije, idejna študija v okviru evropskega projekta INDU.PIK

Eduardo Kac: Hodibis Potax, antologija, 2007

AlieNation, katalog projekta AlieNation/Odtujitev

Pure energy! Kandidatura za Evropsko prestolnico kulture 2012, 2008

Mladen Stilinović: Vrijeđanje anarhije, razstavni katalog, 2007

Vili Ravnjak: O poteh samospoznavanja, enciklopedični vodnik po informacijah s področja azijske in evropske ezoterike, 1999

AES+F: Action Half Life, katalog, 2006

Eduardo Kac: Teleporting An Unknown State, zbirka esejev, 1998

Saša Bezjak: Risbe, katalog, 2006

Marko Črtanec: Vrtovi Bjor Haremsheld, katalog ob razstavi lesenih izdelkov, 2002

Marko Jakše: Bela čreda, katalog, 1998

FOLIO | 35


Nova KBM d.d., Ulica Vita Kraigherja 4, 2505 Maribor, junij 2009

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FOLIO volume 1 / number 4 (2010)  

Magazine for contemporary art, culture and the joy of life

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