Pixxelpoint 2016 - 17. international festival of contemporary art practices by Kulturni dom Nova Gorica

Pixxelpoint 2016 – 17. mednarodni festival sodobnih umetniških praks Nova Gorica/Gorica, 2.–9. 12. 2016 Pixxelpoint 2016 – 17th International Festival of Contemporary Art Practices Nova Gorica/Gorizia, 2.–9. 12. 2016 Organizacija festivala/Festival organized by: Kulturni dom Nova Gorica Kuratorka/Curator: Rene Rusjan Vodja projekta/Festival manager: Pavla Jarc Koordinator projekta in stiki z javnostmi/Project coordinator and public relations: Mateja Poljšak Furlan Tehnični vodja/Technical director: Tadej Hrovat Odgovoren za UNG AU koordinacijo/Responsible for UNG AU coordination: Boštjan Potokar UNG AU tehnična podpora/UNG AU technical support: Urša Bonelli Potokar

Katalog izdal/Catalogue issued by: Kulturni dom Nova Gorica Zanj/Represented by: Pavla Jarc Ureditev kataloga/Catalogue edited by: Rene Rusjan, Simona Žvanut Idejna zasnova kataloga/Catalog concept: Rene Rusjan Pregled besedil/Language editing: Mateja Poljšak Furlan Lektoriranje/Slovene language revision: Denubis, jezikovne rešitve d.o.o. Prevodi/Translated by: Tadej Reissner Oblikovanje/Design: BridA/Tom Kerševan, Sendi Mango, Jurij Pavlica Tisk/Print: Tiskarna Present d.o.o. Naklada/Number of copies: 500 Nova Gorica, december 2016

6 Mi 8 We 10

Proces nastajanja pričujoče festivalske edicije

Zakaj festival sodobnih umetniških praks?

Tema 17. festivalske edicije

The Creation Process of the Present Edition of the Festival

Why a Festival of Contemporary Art Practices?

The Theme of the 17th Festival Edition

Zahvale / Thanks

Uvod v tri poglavja / Introduction to the three chapters

Raziskovanja med umetnostjo in znanostjo / Research in the field between art and science

Spomin, spomenik, spominjanje, spomin za prihodnost

Memory, monument, remembrance, memory for the future

Komunikacija in ustvarjanje skupnosti / Communication and building a community

Senescence: Utekočinjeni čas / Senescence: Liquid Time Capsule

Vitanje v vesolju: Sunita / Vitanje in Space: Sunita

TESNOBNA SEDANJOST / TENSE PRESENT

V središču sveta sem jaz / Al centro del mondo ci sono io / Me is Everybody

Energijske interakcije / Energetic Interactions

Prostori znanosti, prostori umetnosti / Spaces of Science, Spaces of Art

Babeldom

Medtem ko Darwin spi / While Darwin Sleeps

Misliti spomenik urbanim vstajam

Thinking Monumental Strategies of (Sub)urban Riots

Spomenik neznanim junakom / Monument to Unknown Heroes

Mednarodni dan bele preveze / International White Armband Day

Digitalni kamni. TITO kot medijsko stanje / Digital Stones. TITO as Media Condition

Dokumentarna zbirka: Portreti stavb / Documentary Archives: Portraits of Buildings

Istost časa / Sameness of Time

Postaja Topolove / Stazione di Topolò / Topolò Station

SMO Slovensko multimedialno okno / Finestra multimediale slovena

SMO – Landscape and Narrative Museum

14pesmi – Molitev za izgubljene pesmi / 14songs – A Prayer for Lost Songs

V deželi medvedov / In the Land of Bears

Begunec_ka sem / I Am a Refugee

Lovilec sanj: Zgodba za lahko noč / Dreamcatcher: A Bedtime Story

Didaskalije k dihanju / Stage-directions to Breathing

Kje sem ostala? / Where Was I?

Tri ženske / Three Women

shirting 08

(Pod)zavest / (Sub)conscious

Pojej me (Nova Gorica, Slovenija) / Eat Me (NG, Slovenia)

Izrezi / Cutouts

We-MAP-IN-Go

Umetnice in umetniki / Artists

108

Akademija umetnosti Univerze v Novi Gorici in Pixxelpoint 2016

University of Nova Gorica School of Arts and Pixxelpoint 2016

109

Festivalski dogodki / Festival Events

Mi Kuratorka: Rene Rusjan

Mi. Smo to mi in vi, jaz in ti, so to tudi oni – in kdo so? Smo to Goričani, Slovenci, Evropejci, kristjani, ateisti, revolucionarji, mame, otroci, družine, take in drugačne? So oni, ki prihajajo tudi mi, smo mi tisti, ki ostajamo, ali morda odhajamo? Smo mi tisti, ki živimo tu in zdaj, ali vsi, ki smo kdaj in kdaj bomo živeli? Kdo smo mi? Kdo vse smo lahko mi? Človek? So živali tudi mi? Kaj pa druga bitja tega planeta, so tudi mi? Tudi, če dihajo na škrge ali sploh ne dihajo? Smo mi skupaj s tistimi za ozvezdji, ali so to oni, ste to vi? Kaj si imamo povedati, mi? Pred meseci sem sprožila proces, ki se je razvijal skozi vse leto. Zgoščeno dogajanje, ki se zgodi v festivalskem tednu decembra 2016, je le zaključek neke faze tega procesa, pravzaprav je to le točka, kjer se srečajo poti vseh sodelujočih, je festival, praznovanje in predstavitev, komunikacija skozi dogodke, ko se nam pridružijo tudi obiskovalci. Posebnost letošnje edicije Pixxelpointa je posebej dolg in razvejan proces, skozi katerega povezujem sodelujoče v njem. Umetnice v sodelovanju z drugimi umetniki in s študenti umetnosti, z znanstvenicami ter laboratoriji in raziskovalnimi centri Univerze v Novi Gorici, z lokalno skupnostjo, v raziskovanju specifik obmejnega življenja v luči mednarodnih tokov, vse to na križiščih med umetnostjo, znanostjo in družbo ter vsakdanjim življenjem.

Morda je glavno vprašanje, ki si ga zastavljam skozi ta proces, kako vidimo drug drugega. Ne le skozi umetnost ali znanost, temveč predvsem, kako nam vse to pomaga preživeti, kako je s tem povezana usoda človeškega bitja. Seveda se ob naslovu Mi vprašam po Zamjatinovem romanu iz leta 1921, v kakšne ograde in steklene kupole smo ujeti zdaj in kdo so Varuhi in Dobrotniki, ki nam urejajo življenja; je izbira med menoj in vami, lahko še kako drugačna? Smo kot družba selfijev v drugi skrajnosti ali je to le iluzija? Kje je meja med razumevanjem mene in nas, ki spoštuje mene, a jo enako skrbi za nas, vas in njih? Svobodo zamenjati za srečo … je to to?

Druga referenca iz mojega otroškega praspomina, iz šestdesetih let, je še starejša številka revije LIFE iz zbirke mojega očeta. Spominjam se te magične fotografije, kjer polna dvorana ljudi, s "čudnimi" očali, zre v skupno "prihodnost". Takšna mi je ostala v spominu tudi kasneje, ko sem izvedela, da ljudje sedijo v dvorani, kjer si bodo pravkar ogledali prvi 3D film. (Gre za fotografijo sodelavca revije LIFE J. R. Eyermana, Paramount Theater v Hollywoodu, 1952, premiera prvega celovečernega filma v barvni 3D tehniki Natural Vision.) V mojem spominu ti ljudje zrejo v bodočnost, polno napredka, to je čas poletov na Luno (1969), ko sva z nono na naši črno beli televiziji spremljali razburljiva poročila s Cape Canaverala in Apollovih javljanj v Houston, oddajo Po sledeh napredka, polno obetajočih izumov, ki nam bodo izboljšali življenje. V zraku je bilo upanje in zaupanje v svetlo prihodnost in napredek ter, ne glede na hladno vojno, zazrtost v zvezde. Spominjajoč se teh časov se sprašujem, kako sedaj izgleda ta njihova prihodnost. Zrli so sem, kjer smo sedaj mi. Kaj se je vmes zgodilo, kam smo prispeli? Tehnični napredek se je res zgodil, vendar – ali smo zaradi tega res srečnejši? Kaj pa družbeni odnosi, kakšen je ta vidik takratne prihodnosti, naše sedanjosti? Kaj lahko povemo njim iz naše perspektive, in s tem sami sebi v sedanjosti in prihodnosti? Kako lahko skozi to pogledamo na lastno prihodnost in prihodnost zanamcev?

We Curator: Rene Rusjan

We. Does this mean the We and the collective You, You and I, or is there also a They, and if so, who does that mean? Goricans, Slovenians, Europeans, Christians, atheists, revolutionaries, mothers, children, families of all types? Are the new arrivals also We, are We the ones staying or are We perhaps the ones departing? Are We those living here and now, or those who have ever lived and ever will? Who is it that we are? And who is it that we can be? Only humans? Are animals included in the concept of We? What about other creatures of the planet, are they also We? Even those that breathe with gills, or those that do not breathe at all? Does We include those beyond the stars, or are those They, or You? What do We have to say to each other? Some months ago I started a process which has been taking form throughout the year. The concentrated sequence of events scheduled during the festival week taking place in December 2016 is only the conclusion of a stage of this process, only an intersection where the paths of all contributors meet, it is a festival, a celebration and an exhibition, a communication exercise via the events, where the visitors will join us. This edition of Pixxelpoint is a particularly long and widespread process, through which I bring together the contributing artists. Artists in collaboration with other artists and art students, scientists and the laboratories and research centers of the University of Nova Gorica, join together with the local community in the research of the specific nature of living on the state border in light of international events, where art, science, society and everyday life meet.

Perhaps the key question I ask throughout this process is how we see one another. Not just through art or science, but most of all how all of this helps us to survive, what it means for the destiny of the human being. Of course, by using the title We I find myself thinking about the Zamyatin novel from 1921, asking myself in what enclosures and glass domes are we trapped right

now? And who are the Guardians and Benefactors arranging our lives; can the choice between Me and We be any different? As members of the selfie society, are we on the other end of the spectrum, or is it just an illusion? What separates We from Me, who respects Me but is equally concerned about We, You and Them? To exchange freedom for happiness... Is that what this is? The second reference, which comes from an ancient memory of my childhood, the sixties, is the even older issue of LIFE magazine from my father’s collection. I remember this magical photograph, depicting an entire hall of people with 'weird' glasses looking into their shared 'future'. This memory stuck with me even when I was later told that the people are sitting in a theater, about to watch their first film in 3D. (Photography by LIFE magazine correspondent J. R Eyerman, Paramount Theater, Hollywood, 1952, first color 3-D feature-length film premiere, portrayed in Natural Vision). In my recollection, these people are looking into a future full of progress. This was the time of the moon landing (1969), when my grandmother and I would watch exciting reports from Cape Canaveral and Apollo’s communications with Houston, the television program 'Po sledeh napredka' ('On the tracks of progress'), which was full of exciting inventions promising to make our lives better. Hope was in the air, and a promise of a bright future and progress. Despite the Cold War, our gaze was directed to the stars. Thinking back to these times, I ask myself what this future of theirs looks like now. They were looking to where we are now. What happened in the meantime, where have we come to? There was indeed technical progress, but – did it make us happier? What about social relations - how does that aspect of the then-future, our now-present, look? What, from our perspective, can we tell them – and therefore what can we tell ourselves? In this context, how do we view our own future and the future of our children?

Proces nastajanja pričujoče festivalske edicije V uvod o svojem kuratorskem konceptu ne morem vstopiti, ne da bi vzpostavila in izpostavila kontekst, v katerem živim in delujem. Izhajala sem namreč tesno iz njega in vsaj treh svojih profesionalnih delovanj: kot umetnica, dolgoletna pedagoginja in profesorica ter soustanoviteljica in direktorica programov na umetniški akademiji. Nobena od treh torej ni kuratorska pozicija, hkrati pa vse vsebujejo elemente, ki sem se jih odločila uporabljati v procesu nastajanja programa festivalske edicije Pixxelpoint 2016. Prvenstveno seveda izhajam iz svoje umetniške prakse: sem vizualna umetnica s koreninami v kiparstvu, ki ga razumem predvsem v relaciji prostor/odnosi; moje delo je vedno predvsem sredstvo za komunikacijo, zato pristop, metodo in medij, pa naj bo to instalacija, javni socialni projekt, participativno dejanje, video ali interaktivni digitalni kos, pisna korespondenca, članek, zvočno delo, čitalnica, delavnica, izbiram glede na kontekst in situacijo. Umetnost raziskujem skozi prizmo njene vloge v naših življenjih, kot orodja za vzpostavljanje komunikacije med nami samimi, različnimi nivoji družbe, odnosa do zgodovine in sedanjosti, relacij med različnimi disciplinami, razumevanju drugega. Po rodu Goričanka, a zgodaj odšla v Ljubljano, se vseskozi zavedam tudi lokalnih in čezmejnih zgodovinskih in drugih dejstev obmejnega območja Goriške. Po selitvi Visoke šole za umetnost (sedaj Akademije umetnosti) Univerze v Novi Gorici iz Ljubljane v Gorico, se še posebej posvečam njeni integraciji v goriško okolje, povezovanju z akterji kulture in umetnosti z obeh strani meje, odnosu do zgodovinskih posebnosti in izzivom sodobnosti, v katere med drugim vključujemo možnosti, ki jih odpirajo laboratoriji, raziskovalni centri in fakultete Univerze v Novi Gorici in neizkoriščeni potenciali, ki se ponujajo. Skozi univerzo se odpirajo tudi mednarodne možnosti, ki jih Akademija umetnosti uresničuje skozi številna sodelovanja in vedno večjo ter pestrejšo mednarodno zasedbo študentov filma, animacije, fotografije, novih medijev in sodobnih umetniških praks. Ta pogled, iz obmejnega območja, točke, kjer vsako leto nastaja Pixxelpoint, mi je bil zelo pomemben pri snovanju festivalske edicije. Kje smo, kakšne potenciale imamo, ali vemo drug za drugega, kako lahko sodelujemo?

Rene Rusjan, delovna skica / working sketch, januar 2016

Kaj sem si torej zastavila pred skoraj letom dni? Raziskovanje kreativnih potencialov lokalne regije z obeh strani meje premesiti skozi različne perspektive, ki jih prinašajo vabljeni umetniki iz svojih okolij in jih odslikujejo nazaj v univerzum. Proces za nekatere sodelujoče poteka več mesecev, za druge le nekaj tednov ali dni, a čisto vsak naj bi skozenj prekvasil svoje delo v sodelovanju z nekom drugim, doživel ali izkusil nekaj novega. Nekatere umetnike sem povabila že zelo zgodaj, jih povezala, postavila v določen kontekst iz katerega smo izhajali, da bi razvili kompleksnejše projekte. Druge sem povabila z že gotovimi deli, ki pa se naj v novih kontekstih okolja Pixxelpointa premesijo in dobijo nove konotacije. Mnogi med njimi so skozi delavnice že polno vstopili v sodelovanja s študenti in lokalnim okoljem, drugi se bodo soočali na tematskih diskusijah, ki se bodo vrstile čez teden ali na sprehodih med številnimi lokacijami festivala. Redakcija pričujočega kataloga se zaključuje mesec dni pred festivalom. Seveda je med načrtom in realizacijo precej razlik, a ne v glavnih točkah zasnove. Lahko rečem, da se je do sedaj zgodilo mnogo zelo posebnih interakcij in da se že kažejo možnosti razvoja in nadaljnjih sodelovanj, kar je bil glavni namen tega procesa. Seveda pa si želim, da vstopimo v zadnjo fazo pred realizacijo z enako pozornostjo in poskrbimo, da se vse te energije zgostijo, delijo z obiskovalci in naključnimi mimoidočimi v skupnem festivalskem dogajanju. Preizpraševanje procesa in dejavnikov se je razvijalo skozi model tristranih prizem (gl. delovne skice) in fraktalnih modelov, kot jih sama imenujem. Npr. prvi nivo združevanja treh področij, umetnosti, znanosti in družbe, preveriti v relaciji z vsakdanjim življenjem. Kaj to pomeni? Predvsem, naj se posamezna področja ne zapirajo sama v svoje kroge. Da jih preverjamo skozi prizmo drugih področij in vidikov vsakdanjega življenja, družbenih dogodkov, znanstvenih raziskovanj, umetniških iniciativ … in spet življenja izven teh kategorij. Umetniški projekt preveriti v odnosu do znanosti in do vsakdanjega življenja; navezavo umetniškega projekta v znanstvenem okolju skomunicirati v okolje vsakdanjega življenja; segment vsakdanjega življenja opazovati z očmi znanosti in umetnosti; študentki umetnosti in študentu znanosti ponuditi možnost sodelovanja z gostujočimi umetniki; skupino starejših občanov povezati s skupino otrok, ki s tretjim, morda umetnikom morda znanstvenico, opravi neko dejavnost; preveriti, kako se neka umetniška iniciativa (npr. Postaja Topolove), preverjena skozi učinke na vsakdanje življenje ljudi, vidi s stališča znanosti. Model tristranih prizem in fraktalnih modelov omogoča delegiranje in cepljenje na vedno manjše sodelujoče delce (povabim določene sodelujoče v prvih fazah,

15 ki predlagajo in prevzamejo delo z naslednjo skupino, npr. z raziskovalno skupino študentov na projektu, morda zaključni nalogi), ni pa nujno, da se vse te vključi v končno razstavo. Skozi proces se razvije tudi sodelovanje pri oblikovanju končnega izbora projektov v smiselno celoto, ki se ob bližnjem pogledu spet lahko razveja na drobne koščke. V svoje fraktalne modele tako povezujem teme, umetnike, institucije, kontekste; iz teh sestavljam tematske grozde; jih umeščam na lokacije ali obratno. Raziskujem skupaj z ljudmi, ki sem jih srečala na poti in z njimi ustvarjam interakcijo, iz katere nastaja nekaj novega in zanimivega. Zame, za sodelujoče v procesu in upam da tudi za ljudi, ki niso bili del tega procesa, ampak se nam bodo pridružili na festivalu. Posebni partner festivala Pixxelpoint je v letu 2016 Univerza v Novi Gorici, ki poleg Akademije umetnosti odpira tudi vrata svojih laboratorijev, raziskovalnih centrov, institutov, fakultet in visokih šol. Kako? Nekatere umetnike sem že ob povabilu v proces skušala povezati z znanstveniki in nekatere od rezultatov sodelovanj lahko vidimo na razstavi. Javnost pa je povabljena tudi na obiske in diskusije.

Zakaj festival sodobnih umetniških praks? Festival Pixxelpoint se je pričel kot festival računalniških umetnosti ter svoj podnaslov spremenil kar nekajkrat. To je usoda mnogih festivalov. Če so vezani na nove medije, se ti mediji spreminjajo in poimenovanja sčasoma postajajo vprašljiva. Že moj predhodnik, dvakratni kurator festivala medijskih umetnosti, Igor Štromajer, je nagovarjal k spremembi podnaslova in s tem usmeritve. Odprl je vrata in jaz sem to priložnost izkoristila. Letošnja edicija se torej razprostira na široko področje sodobnih umetniških praks. To mi daje svobodo, da lahko izhajam iz konteksta in ne medija, kar pojmujem kot osnovo za svoje delo. Morda se festival naslednje leto vrne v prejšnje okvire ali si morda nadene nov podnaslov, ki bo ustrezal novim razmeram. Cenim odločitev organizatorja, Kulturnega doma Nova Gorica, da podpre kuratorja tudi v tej točki.

Tema 17. festivalske edicije Temo sem najprej razvijala intuitivno iz prvega nivoja tristranih prizem in skozi rast fraktalnega sodelovanja, s prvimi povabljenimi umetniki in projekti, okrog katerih sem pletla naslednji nivo. Tema je bila vseskozi tu, le poimenovanje se je moralo izluščiti skupaj s procesom. Mi. Z vsakim dodatnim znakom, z vprašajem, z dodatno besedo, bi temo zožila, preozko uokvirila. Tako ostaja odprta za vsakogar, da nanjo reagira po svoje.

Časovnica / Timeline, Rene Rusjan, delovna skica / working sketch, pomlad / spring 2016

The Creation Process of the Present Edition of the Festival I cannot begin writing this introduction to my curatorial concept without first establishing and emphasizing the context in which I live and work. It comes as a direct result of at least three areas of my professional career: as an artist, as a long-time educator and professor, and as a co-founder and program director at the School of Arts. None of these three areas fit the curatorial position, yet all three contain elements I chose to use in preparing the line-up of the 2016 edition of Pixxelpoint. Of course, my primary perspective is my own artistic practice: I am a visual artist rooted in sculpture, which I understand mainly in the context of space/ relationships; my work is first and foremost a means of communication, therefore I always carefully choose my approach, method and medium - whether it be an installation, public social project, participative action, video or interactive digital piece, written correspondence, article, sound piece, reading room, workshop depending on the context and situation. I always observe art through the prism of the role it plays in our lives, as a tool for establishing communications between ourselves, various layers of society, a tool for exploring our attitudes to history and the present time, the relationships between different disciplines and a tool for understanding the Other. I was born in Gorica, but left it for Ljubljana in my early age. Even still, I have always been aware of the local history and other facts about Goricaâ&#x20AC;&#x2122;s surroundings, on both sides of the border. Since the School of Arts of the University of Nova Gorica relocation from Ljubljana to Gorica, we have dedicated special attention to the schoolâ&#x20AC;&#x2122;s integration into the local environment, building ties with local representatives of art and culture from both sides of the border, promoting awareness of the historical characteristics and the challenges of modern times. This includes new opportunities made possible by the laboratories, research centers and the faculties of the University of Nova Gorica, as well as all the untapped potential that presents itself. The University also offers many international opportunities which the School of Arts has created through its numerous collaborations and the growing and increasingly diverse number of international students of film, animation, photography, new media and contemporary artistic practices.

This border region perspective, a view from the central point which hosts Pixxelpoint each year, has played an important part in the preparation process of this festival edition. Where are we, what kind of potential do we have, are we aware of each other and how can we work together? So what was the objective I put before myself a year ago? My goal was to research local creative potentials from both sides of the border, examine them from the point of view of the artists that come from different environments and reflect them back into the universe. For some contributing artists, this process developed over several months, for others a few weeks or even days – but each artist was invited to enhance their work through artistic collaboration with others, or experience something new. I invited some artists quite early on in order to connect them, place them in a specific context in order to develop more complex projects. Others were invited with finished works, which would then take on new connotations in the context of Pixxelpoint. Through our workshops, many of them have already begun working with students and the local environment, while others will meet at thematic discussions taking place over the week, or somewhere along the way between the festival’s many locations. The editing of the catalog is about to end a month before the festival. As one would expect, there are quite a few deviations from the plans in the final realization – but the main concepts have remained the same. I can say that I have seen many truly special interactions so far, and opportunities for development and further collaboration have already shown themselves – which was the main purpose of this process. Of course, I would like to enter the final stage with the same amount of care and make sure that these energies converge and reach the festival visitors and random passers-by experiencing this festival event. Reflection on the process and the factors involved developed through a triangular prism model (see working sketches) and fractal models, as I call them. For example, the first level involves bringing the three disciplines of art, science and society together and re-examining them as they interact with everyday life. What does it mean? First and foremost, it means that individual disciplines should not fence

themselves in. They should be tested through a prism of other disciplines and aspects of everyday life, social events, scientific research, art initiatives... and life outside these categories. Testing an art project in relation to science and everyday life; connecting an artist project in a scientific environment, communicating with the mundane environment; observing the segment of everyday life through the eyes of science and art; offering a student of art and a student of science the opportunity to work with guest artists; connecting a group of elderly locals with a group of children, providing a service for a third party, perhaps an artist; testing how an art initiative (e.g. TopolĂ˛ Station), after its impacts on everyday life have been examined, is seen from the scientific perspective. The triangle prism and fractal model allows for delegation and splitting into smaller components (I first invite certain participants, who then propose and coordinate the work of another team, e.g. a research group of students working on a project), however not all of them are necessarily included in the final exhibit. Through this process, also a collaboration in designing a final selection of the projects is made and a consolidated whole is formed, which may once again become fragmented into tiny pieces upon close inspection. I use my fractal models to connect themes, artists, institutions, contexts; I use them to form thematic clusters and place them in specific locations - and viceversa. I explore together with the people I have met along the way and we create mutual interactions, which spark something new and interesting. Interesting for me, for those involved in the process, and I hope for the people who will join us at the festival, even though they were never part of the process. In 2016, Pixxelpoint festival has formed a special partnership with the University of Nova Gorica. In addition to opening the doors of the School of Arts, it also opens its laboratories, research centers, institutes, faculties and schools. How so? I invited certain artists to participate in the process early on and tried to connect them with scientists - we will be able to see some of the results at the exhibition. In addition to visiting the venues, the visitors are also invited to actively join the discussion.

Why a Festival of Contemporary Art Practices? The Pixxelpoint festival started out as a computer art festival, and has since changed its description a few times. Such has been the fate of many festivals. If the festivals are associated with new media, these media will change over time and their names may lose their relevance. Even my predecessor, two-time curator of the media art festival Igor Ĺ tromajer, suggested changing the description and focus of the festival. He opened the door and I seized the opportunity. This yearâ&#x20AC;&#x2122;s edition thus extends to a broad range of contemporary art practices. Rather than the medium, this gives me the freedom to depart from the context, which I consider to be the underlying basis of my work. Perhaps next year the festival will go back to its previous format, or perhaps it will take on a new description to fit the context. I appreciate the organizersâ&#x20AC;&#x2122; decision to support the curator in this venture.

The Theme of the 17th Festival Edition I developed the theme intuitively at first, from the first level of the triangular prism model and the growth of fractal-based collaboration between the artists and projects I initially invited, and around whom I weaved the next level. The theme has been present throughout, but the name itself had to eventually emerge as the process developed. We. By adding any additional character, question mark or word, I would risk narrowing-down the theme, boxing it in too tightly. Thus, the theme remains open to individual interpretation.

Lokacije / Locations, Rene Rusjan, delovna skica / working sketch, november 2016

Zahvale Ob zaključku redakcije kataloga in tik pred pričetkom festivala, se želim zahvaliti veliko ljudem. Najprej vsem umetnikom, znanstvenikom in drugim sodelujočim, ki so z mano vstopili v proces, tudi tistim, s katerimi smo morda pričeli in skozi mesece razvijali interdisciplinarna sodelovanja, a nam v danih okoliščinah še ni uspelo ustvariti rezultatov, ki bi se jih že lahko predstavilo, so se pa med novimi znanci prižgale iskrice, ki vodijo v sodelovanja v prihodnosti. Zahvaliti se želim svojim sodelavcem na Akademiji umetnosti Univerze v Novi Gorici, ki so projekt sprejeli kot izziv in nekatere svoje delavnice s študenti tematsko usmerili v razmislek na temo Mi; umetnikom, ki so poleg dela na svojem projektu za festival v svoje delo povabili tudi študente ter tem istim študentom, da so izziv sprejeli; sodelavcem Univerze v Novi Gorici, ki so odprli vrata za raziskovanja z umetniki. Zahvaliti se želim mnogim posameznikom in organizacijam iz obeh Goric, ki so se vključili in ponudili svoje lokacije in pomoč pri izvedbi. Zahvaliti se želim sorodnim festivalom in organizacijam drugje, ki so mi omogočili predstavitve zasnove festivalske edicije ali odprte diskusije na določena poglavja že skozi proces razvijanja. Seveda se želim zahvaliti tudi organizatorju festivala za priložnost, da sem lahko ta proces zasnovala in sprožila. Rene Rusjan

Thanks At the conclusion of the catalog editorial and just before the start of the festival I want to thank many people. Firstly to all the artists, scientists and other participating who entered into this process with me, including those with whom we planted a collaboration and have been developing interdisciplinary collaborations through months, but due to circumstances have not yet managed to harvest the results; however some sparks did fly among new acquaintances, leading to future collaboration. I would like to thank to my colleagues at University of Nova Gorica School

of Arts who accepted this project as a challenge and thematically focused some of their student workshops reflecting the topic We; the artists who, in addition to working on their own festival project, invited students to join them; at the same time I would like to thank these same students for accepting the challenge; UNG employees who have opened doors for research with the artists. I would like to thank the many individuals and organizations from both towns of Gorica who got involved and offered their locations, assistance and help. I would like to thank the related festivals and organizations elsewhere allowing me to hold presentations or open discussions on certain chapters already during the development phase. Of course, I would like to thank the organizer of the festival for the opportunity to conceive and launch this process. Rene Rusjan

Sodelovanja / Collaborations, Rene Rusjan, detajl delovne skice / a working sketch detail, poletje / summer 2016

Vzpostavitev poglavij je potekala skupaj z rastjo nekaterih projektov, iz tega so nastajali novi grozdi, podpoglavja, novi projekti. Končna postavitev projektov pod poglavja v katalogu ne pomeni, da le-ti trdno sodijo pod eno poglavje. Večina bi jih lahko domovala vsaj v dveh, nekateri v vseh treh. Skušala sem jih uvrščati po medsebojnih sorodnostih ter po lastnostih, ki v nekem projektu prevladujejo, a z zavedanjem, da bi se zlahka znašli tudi v drugem. Kot so na primer v vseh projektih elementi raziskovanj, generiranja spomina, komunikacije.

Raziskovanja med umetnostjo in znanostjo Research in the field between art and science

Avtorji besedil na straneh posameznih projektov, so avtorji le-teh, sami. Prav tako so, če ni posebej navedeno drugače, avtorji pripadajočega vizualnega materiala. Avtorica uvodov v poglavja je kuratorka. Projects descriptions featured on the individual project pages were written by the authors themselves. Unless stated otherwise, they are also the authors of the visual material. The introductions into individual chapters were written by the curator.

Uvod v tri poglavja Introduction to the three chapters

Komunikacija in ustvarjanje skupnosti Communication and building a community

Mi We 31

Spomin, spomenik, spominjanje, spomin za prihodnost Memory, monument, remembrance, memory for the future

The chapters were established as certain projects developed, new clusters were formed, with new subchapters and projects. The final categorization of projects under chapters in the catalog does not imply that these projects should be firmly locked into any specific chapter. Most of them could be placed in least two, and some could exist under all three chapters. I sought to arrange them according to their common denominators and primary characteristics, fully aware that they could easily fall under a different chapter, as well. For example, all projects involve elements of research, formation of memories, communication.

Kdo smo mi? Kdo vse smo mi v biološkem smislu? Kam segajo naši prostori? Kako nam teče čas in kaj nam daje ritem? V kakšnih soodvisnostih živimo s svetom in drugimi živimi bitji, kako vplivamo drug na drugega? Seveda so odgovori precej odvisni od izhodišča, kdo smo torej ‘mi’. Merimo človeški, geološki ali kozmološki čas ali pa uporabljamo čisto drugačne koncepte, se oziramo na živo ali tudi neživo naravo, če sploh priznavamo razlike? Kako nam raziskave pomagajo pri razmisleku o naši sedanjosti in prihodnosti? Who is it that we are? Who are we in the biological sense? How far does our space extend? How do we perceive time and what drives our rhythm? What are our correlations with the world and other living organisms, how do we affect each other? Of course, the answers are much dependent on the point of view, so who is the 'We'? Do we use the human, geologic or cosmologic timescale, or do we use entirely different concepts; do we only focus on the organic, or do we include non-organic nature? Do we acknowledge the difference? What assistance does research offer us in thinking about our present and the future?

45 Prostori znanosti, prostori umetnosti Spaces of Science, Spaces of Art Senescence: Utekočinjeni čas Senescence: Liquid Time Capsule

V središču sveta sem jaz / Al centro del mondo ci sono io Me is Everybody

Raziskovanja med umetnostjo in znanostjo Research in the field between art and science Raziskovanja med umetnostjo in znanostjo Research in the field between art and science

Medtem ko Darwin spi While Darwin Sleeps

39 43 Energijske interakcije Energetic Interactions

TESNOBNA DANJOST TENSE PRESENT

Babeldom

37 Vitanje v vesolju: Sunita Vitanje in Space: Sunita

#tudi mi? #živa bitja #ozvezdja #podzemlja #mikroorganizmi #zvok prostora #prostori zvoka #prostor in čas #prostor-čas #we too? #living organisms #solar systems #subterranean #microorganisms #sound of the ambient #the ambient of sound #space and time #space-time

Kako ohraniti spomin, kako prenesti svojo izkušnjo drugemu? Kdo, katero dejanje, kateri ‘heroj’, je vreden spomenika? Kaj sploh je vloga spomenikov, kdo jih postavlja in kakšen je njihov pomen za nas? In spet: kako ohraniti zmožnost spominjanja, kako se odzvati, ko nas ta zapušča, ko ta zapušča nam drago osebo? In še drugače – kaj ima to s spominom družbene situacije, kot je npr. begunska kriza? Beleženje spominov ljudi, morda edinega, kar še imajo, vendar ta hkrati že generira DNK zapis, spomin za prihodnost – bomo vanj zapisali mržnjo do sočloveka ali solidarnost, empatijo, razumevanje?

Didaskalije k dihanju Stage-directions to Breathing

75 Spomin, spomenik, spominjanje, spomin za prihodnost Memory, monument, remembrance, memory for the future

Lovilec sanj: Zgodba za lahko noč Dreamcatcher: A Bedtime Story Istost časa Sameness of Time

27 63 Postaja Topolove / Stazione di Topolò / Topolò Station

Kje sem ostala Where Was I? V deželi medvedov In the Land of Bears

69 67

14pesmi – Molitev za izgubljene pesmi 14songs – A Prayer for Lost Songs

Begunec_ka sem I Am a Refugee

Tri ženske Three Women

Spomin, spomenik, spominjanje, spomin za prihodnost Memory, monument, remembrance, memory for the future

How to preserve memory, how to pass on one’s experience? What individual, what action, what 'hero' is worth remembering? What even is the role of monuments, who may build them and what meaning do they hold for us? And then again - how to keep the ability to remember, how to respond once we start to lose it, when memory begins to fade from the minds of our loved ones? And – how does this relate to the memory of social circumstances, such as the refugee crisis? Creating a record of people’s memories, perhaps the only one they have left, while at the same time the same DNA memory is already forming in the individual, a memory for the future – will we encode into it the hatred for our fellow man, or will we encode solidarity, empathy, understanding?

Misliti spomenik urbanim vstajam Thinking Monumental Strategies of (Sub)urban Riots

Spomenik neznanim junakom Monument to Unknown Heroes

Mednarodni dan bele preveze International White Armband Day

Dokumentarna zbirka: Portreti stavb Documentary Archives: Portraits of Buildings

Digitalni kamni. TITO kot medijsko stanje / Digital Stones. TITO as Media Condition

SMO Slovensko multimedialno okno Finestra multimediale slovena SMO – Landscape and Narrative Museum

#spomin #spomenik #predajanje izkušnje #medgeneracijski spomin #osebni spomin #kolektivni spomin #spomin DNK #DNK zapis #memory #monument #passing on the experience #cross-generational memory #personal memory #collective memory #DNA memory #DNA code

87 Izrezi Cutouts

(Pod)zavest (Sub)conscious

Pojej me (Nova Gorica, Slovenija) Eat Me (NG, Slovenia)

Komunikacija in ustvarjanje skupnosti Communication and building a community We-MAP-IN-Go

Komunikacija in ustvarjanje skupnosti Communication and building a community Projekti tega poglavja se na nek način soočijo s tukaj in zdaj, povabijo nas k interakciji, takojšnji akciji, ki nas poveže in že smo aktivni soudeleženci v projektu, kjer svoje mesto raziskujemo skozi oči obiskovalca, knjige postavljamo v neobičajnem redu, izmenjujemo si oblačila z neznanci, po mestu nosimo velike kovinske risane like, ki nam znane lokacije s svojo prisotnostjo spremenijo v prostore z nostalgičnim pridihom … Prinašajo nam razmislek, kako na ustaljene vzorce našega vsakdana pogledati drugače, pa tudi, kako preseči danosti brez perspektive, ko na probleme pogledamo na nov način in jih s preobratom nadgradimo v čisto novo kvaliteto. The projects included in this chapter are dealing with the here and now, inviting us to interact, to take prompt action which connects us and makes us active participants in the project, where we explore our position through the eyes of the visitor, we arrange books in peculiar order, we exchange clothes with strangers, carry large metal characters across the town, changing familiar locations through mere presence, introducing an air of nostalgia... They bring reflection as to how our daily routine can be viewed differently, as well as how to transcend our given reality without perspective by viewing problems from a fresh perspective, introducing an entirely new quality by turning things around.

shirting 08

#povezovanje #mreženje #interakcija #izmenjava #ustvarjanje skupnosti #souporaba #migracije #connecting #networking #interaction #exchange #building a community #sharing economy #migration

Mestna galerija Nova Gorica

UNG AU

UNG Laboratorij za raziskave v okolju

92 Miha Colner

Slavko Glamočanin

2016 Intermedijska instalacija (zvok, objekt, besedilo) Projekt s čutno potopitvijo v tišino, hlad in temo podzemnih jam obiskovalcem približa okolje, v katerem izraz "mi" ni rezerviran za ljudi. Za živa bitja v tem ekstremnem habitatu biološki čas teče počasneje kot za ljudi, medtem ko neživa narava milijone let geološkega časa beleži v pičlih milimetrih rasti. Hkratno raztezanje in krčenje časa je človeku težko doumljivo, a pronicanje vode, ki ju omogoča, kapljanje srebrnih kapljic, ki odzvanja v tišini jam, nam daje slutiti, da smo vpeti v svet, ki je veliko večji od nas samih. Utekočinjena časovna kapsula s treh avtorskih vidikov interpretira okolje, kjer čas in prostor kljubujeta človeški zaznavi. Sodelujoči: Svetovanje in tehnični razvoj: Slavko Glamočanin Svetovanje: Miha Colner Posebna zahvala: doc. dr. Lilijana Bizjak Mali, dr. Janez Mulec, Gregor Aljančič, Slavko Glamočanin, Miha Colner, Rene Rusjan, prof. dr. Urška Lavrenčic, Akademija umetnosti Univerze v Novi Gorici, Fakulteta za znanosti o okolju Univerze v Novi Gorici, Bunker, Franjo Drole, Inštitut za raziskovanje Krasa, Jure Pirih in mojster steklopihaštva Peter Kolobarič Financer: Ministrstvo za kulturo Republike Slovenije

Senescence: Utekočinjeni čas Senescence: Liquid Time Capsule 96 Tea Hvala

100

103

Robertina Šebjanič Andreea Oarga-Mulec

2016 Intermedia installation (sound, object, text) This sensuous submersion into the silence, darkness and cold of subterranean caves brings visitors to an environment where the pronoun 'we' is not reserved for people. For living organisms occupying this extreme habitat, biological time proceeds at a much slower pace than it does for humans, while non-living nature measures millions of years of geologic time in mere millimetres. The simultaneous stretching and contracting of time is difficult to comprehend, but the trickling of water which enables it, and the dripping of silvery drops, echoing in the silence of caves, hint at a world that is much larger from ourselves. The Liquid Time Capsule project interprets the environment where time and space defy human perception from three artistic perspectives. Collaborators: Advising and technical development: Slavko Glamočanin Advising: Miha Colner Special thanks: doc. dr. Lilijana Bizjak Mali, dr. Janez Mulec, Gregor Aljančič, Slavko Glamočanin, Miha Colner, Rene Rusjan, prof. dr. Urška Lavrenčic, University of Nova Gorica School of Arts, University of Nova Gorica School of Environmental Sciences, Bunker, Franjo Drole, Karst Research Institute, Jure Pirih and master glassblower Peter Kolobarič Sponsored by: Ministry of Culture of the Republic of Slovenia #podzemne jame #ekstremni habitat #biološki čas #geološki čas #pronicanje vode #terensko delo #speleologija #izolirani zvok #bakterije #subterranean caves #extreme habitat #biologic time #geologic time #water permeation #fieldwork #speleology #isolated sound #bacteria

2015 Film, 52’18’’ Vitanje v vesolju: Sunita je umetniški dokumentarec, ki predstavi Sunito Williams, ameriško astronavtko slovensko indijskega rodu, med njenim obiskom v KSEVTU, Kulturnem središču evropskih vesoljskih tehnologij v Vitanju, kamor jo je povabil mednarodno priznani slovenski umetnik, Dragan Živadinov. Oba protagonista znova srečamo v Zvezdnem mestu v Moskvi v družbi vodilnih ruskih kozmonautov. Astro(kozmo)nauti in umetniki so državljani sveta in vesolja. Tako naj bo v znanosti in umetnosti, ki se v filmu prepletata, vse usmerjeno v prihodnost. Sodelujoči: scenaristka in režiserka: Jasna Hribernik; direktor fotografije: Rado Likon – ZFS; odgovorni producent: Rado Likon; glasba: Ljoba Jenče, Bojana Šaljič Podešva, Theremidi Orchestra; v filmu nastopajo: Sunita Williams (ameriška astronavtka in častnica mornarice, ZDA); Sergej Krikaljev (ruski kozmonavt in strojni inženir); Jurij Malenčenko (ruski kozmonavt); Oleg Kotov (ruski kozmonavt); Sergej Rjazanski (ruski kozmonavt); Michael Hopkins (ameriški astronavt); Dragan Živadinov (Atraktor – KSEVT); Miha Turšič (post-gravitacijski umetnik – KSEVT); Lara Komar (igralka); Ivan Peternelj (igralec/plesalec); CEBRAM v sodelovanju z Radiotelevizijo Slovenija in s podporo Slovenskega filmskega centra

CEBRAM

Zvezdno mesto KSEVT

95 Jasna Hribernik

2015 Film, 52’18’’

Vitanje v vesolju: Sunita Vitanje in Space: Sunita

Vitanje in Space: Sunita is an art documentary which features Sunita Williams, American astronaut of Slovenian origin during her visit to KSEVT, the Cultural Center of European Space Technologies in Vitanje, where she was invited by Dragan Živadinov, a Slovenian artist of international fame. We revisit both protagonists in Star City, Moscow, accompanied by leading Russian cosmonauts. Astro(cosmo)nauts and artists are citizens of the world and of the universe. Thus, in science and art, which are intertwined in the movie, everything is focused on the future. Collaborators: writer and director: Jasna Hribernik; director of photography: Rado Likon – ZFS; executive producer: Rado Likon; music: Ljoba Jenče, Bojana Šaljič Podešva, Theremidi Orchestra; cast: Sunita Williams (American astronaut and naval officer, USA); Sergei Krikalev (Russian cosmonaut and engineer); Yuri Malenchenko (Russian cosmonaut); Oleg Kotov (Russian cosmonaut); Sergey Ryazanski (Russian cosmonaut); Michael Hopkins (American cosmonaut); Dragan Živadinov (attractor – KSEVT); Miha Turšič (post-gravitational artist – KSEVT); Lara Komar (actor); Ivan Peternelj (actor/dancer); CEBRAM in collaboration with Slovenian National Radio and Television Service RTV, sponsored by Slovenian Film Center

Kulturni dom Nova Gorica

Fotografija iz filma / Still frame

Fotografija iz videa / Still frame: TESNOBNA SEDANJOST / TENSE PRESENT: Šum fotonov / Photon Noise, Produkcija White Balance 2015, Posnetek z dronom Ergyn Zjeci, EZ Media produkcija

Šum fotonov, NeMir, Kontapost 2015/16 Trije iz cikla video filmov Tense Present je serija video filmov, ki predstavljajo ustvarjalni odziv na temeljno občutenje "napetega" časa v katerem živimo po "koncu zgodovine" oz. o stanju in pojavih v družbi, ki jo filozof in publicist Boris Buden opredeljuje kot predhod od brezrazredne družbe do brezdružbenega razreda. Ali se je dokončno udejanila zamisel Margaret Thacher, da družbe ni, da obstajajo le posamezniki? In kdo smo potem Mi? Video dela se dotikajo vprašanja kritičnosti, solidarnosti, socialnega in nagovarjajo posameznika, da je nujno razumeti družbeno določenost našega bivanja. Produkcija: White Balance Video Šum fotonov: glasba: Bojana Šaljič Podešva; posnetek z dronom: Ergyn Zjeci, EZ Media produkcija

TESNOBNA SEDANJOST TENSE PRESENT Photon Noise, NeMir, Kontapost 2015/16 Three from the video series Tense Present is a series of videos which represent a creative response to the fundamental perception of the 'tense' time in which we are living after the 'end of history', or a response to the social circumstances and phenomena which philosopher and publicist Boris Buden describes as a transition from a classless society to a society-less class. Could it be that Margaret Thatcher’s idea has finally manifest itself, where there is no longer a society, there are only individuals? If that is the case, then who are We? The videos approach the question of criticism, solidarity, sociality, and tell the individual that it is essential to understand the social determination of our existence. White Balance production Video Photon Noise: music: Bojana Šaljič Podešva; drone footage: Ergyn Zjeci, EZ Media production

95 Jasna Hribernik

Mestna galerija Nova Gorica

#posameznik #družba #kritično opazovanje #solidarnost #individual #society #critical observation #solidarity

2016  Zvok / prostorska instalacija Najina instalacija je postavljena v središče kroga Mestne galerije Nova Gorica. Prostorska perspektiva in sama umestitev sta v sozvočju z osrednjo temo letošnjega festivala. Namen instalacije, okrog katere stojijo "drugi", je ustvariti konvergenčno točko spiralno oblikovane poti. Tako nastane notranji prostor in točka opazovanja, kjer sediva midva in od tod opazujeva zunanji svet. V sodelovanju s kulturnim društvom Spazioersetti - Continuo associazione culturale ter festivalom zvočne umetnosti Il Suono in Mostra 2016/2017 v Vidmu (I).  2016 Sound / space installation Our installation is placed in the center of the circle of the The Nova Gorica City Gallery. The space perspective and the position itself is exploited as a reference to the festival theme. Surrounded by 'the others', our installation aims to create the convergence point of a spiral path to represent the inner space and a vantage point where we sit and observe the outer world. In collaboration with Spazioersetti - Continuo associazione culturale and Il Suono in Mostra sound art festival 2016/2017 in Udine (I).

V središču sveta sem jaz Al centro del mondo ci sono io Me is Everybody

Mestna galerija Nova Gorica

Antonio della Marina

92 Alessandra Zucchi

107

Spazioersetti - Continuo

Il suono in mostra

#zvok #prostor #percepcija #perspektiva #center #periferija #položaj #odnosi #interakcija #mir #enoštevilnost #večštevilnost #gnezdo #sound #space #perception #perspective #center #perifery #position #relationships #interaction #peace #single #multiple #nest

98 Denis Mavrič

94 Slavko Glamočanin Rotunda SNG Nova Gorica

UNG AU

Energijske interakcije Energetic Interactions 2016 Interaktivna avdiovizualna instalacija Delo Energijske interakcije je družbenokritičen (utopičen) eksperiment, ki skozi mikroodnose raziskuje vpliv elektromagnetnega polja posameznika na človeka in s tem na družbo nasploh. Ali lahko "mi" kot posamezniki v raziskovanju naših energijskih teles spreminjamo sebe, druge in družbo in s tem vplivamo na vrednote sodobne družbe? Interaktivna postavitev bo ponudila nove (nez)možnosti refleksije odnosov teles v prostoru, zajetih s sodobnimi nadzornimi tehnologijami. Sonifikacija in vizualizacija podatkov: Slavko Glamočanin Zahvala Dobrinu Tavčarju in Jožetu Vetrovcu za izposojo Kirlianove kamere. Posebna zahvala mentorjema: Peter Purg in Rene Rusjan Sponzorji: www.masaze.com, www.racunalnik.biz, www.misteriji.si 2016 Interactive audiovisual installation The work Energetic interactions is a socially critical (utopian) experiment which studies the effect of the individual’s magnetic field on the human being and society at large. In studying our own energetic bodies, can 'we' as individuals change ourselves, change others and affect the values of contemporary society? The interactive installation will explore new (im)possibilities for reflection on relationships between bodies in space, captured through modern surveillance technologies. Sonification and visualisation of data: Slavko Glamočanin We would like to thank Dobrin Tavčar and Jože Vetrovec for the Kirlian camera. Special thanks to the mentors: Peter Purg and Rene Rusjan Sponsors: www.masaze.com, www.racunalnik.biz, www.misteriji.si

#umetnost #družba #znanost #komunikacija #raziskovanje #sodelovanje #art #society #science #communication #research #collaboration

Ekskurzija: Obiskali bomo laboratorije in raziskovalne centre Univerze v Novi Gorici, ki so v Rožni Dolini, Ajdovščini in Vipavi, potem pa se vrnili v Mestno galerijo Nova Gorica, da si ogledamo plod sodelovanja med umetnicama Robertino Šebjanič in Teo Hvala ter znanstvenico Univerze v Novi Gorici, Andreeo Oarga-Mulec. "Našli smo malo, mlado, aktivno in entuziastično univerzo s srečnimi in zadovoljnimi študenti." Tako je o Univerzi v Novi Gorici povedala komisija EUA Institutional Evaluation team. Univerza v Novi Gorici je lansko leto praznovala svojo 20. obletnico. Čeprav je najmanjša med štirimi slovenskimi univerzami, se v njenih šestih laboratorijih, šestih centrih, štirih fakultetah, eni visoki šoli in eni akademiji, dogaja veliko in sega daleč. Ekipe domačih in mednarodnih strokovnjakov raziskujejo v mednarodnih projektih na različnih lokacijah Univerze (poleg treh lokacij, ki jih bomo obiskali, tudi v Gorici in Benetkah) in sodelujejo s sorodnimi institucijami po vsem svetu. Koliko jih poznamo doma? Premalo. Zato je morda priložnost, ko raziskujemo možnosti sodelovanj med umetnostjo in znanostjo, da se podamo po nerazkošnih, vendar dragocenih laboratorijih in centrih Univerze v Novi Gorici. http://www.ung.si/

6 raziskovalnih laboratorijev / research laboratories

6 raziskovalnih centrov / research centres

7 izobraževalnih enot / schools

Foto / Photo: Arhiv UNG / UNG Archive

Prostori znanosti, prostori umetnosti Spaces of Science, Spaces of Art Day trip: We will be visiting the laboratories and research centers of the University of Nova Gorica located in Rožna Dolina, Ajdovščina and Vipava, then return to the Nova Gorica City Gallery, where we will view the result of the artistic collaboration between two artists (Robertina Šebjanič, Tea Hvala) and a scientist (Andreea Oarga-Mulec, University of Nova Gorica). 'We found a small, young, active and enthusiastic university with happy and satisfied students.' This was the opinion of the University of Nova Gorica, as expressed by the EUA Institutional Evaluation team. The University of Nova Gorica celebrated its 20th anniversary last year. Although this is the smallest of four Slovenian universities, its six laboratories, six centers, four faculties, one college and one academy host a multitude of far-reaching activities. Teams of local and international experts are involved in international research projects at various universities (including Gorizia and Venice besides the three locations we will be visiting) and collaborations with similar institutions around the world. How well do we know them back home? Not well enough. Perhaps this will serve as an opportunity to look for new possibilities for collaboration, combining art and science to explore the unassuming, yet valuable laboratories and research centers of the University of Nova Gorica. http://www.ung.si/

Univerza v Novi Gorici

#umetnost #digitalne / medijske umetnosti in prakse #film #animacija #fotografija #novi mediji #sodobne umetniške prakse #scenski prostori #znanosti o okolju #naravoslovje #humanistika #gospodarski inženiring #vinogradništvo in vinarstvo #astrofizika osnovnih delcev #fizika organskih snovi #raziskave materialov #raziskave v okolju #večfazni procesi #kvantna optika #biomedicinske znanosti in inženiring #kognitivne znanosti jezika #raziskave atmosfere #raziskave vina #sistemi in informacijske tehnologije #art #digital/media art and practices #film #animation #photography #new media #contemporary art practices #scenes #environmental sciences #life sciences #liberal arts #social engineering #viniculture #astrophysics #particle physics #physics of organic matter #material research #environmental research #multi-phase projects #quantum optics #biomedical science and engineering #linguistic cognitive sciences #atmospheric research #wine research #systems and information technologies

Animateka

Fotografija iz filma / Still frame

2012 Film, 81' Babeldom je mesto, ki je tako veliko in raste s takšno hitrostjo, da se govori, da kmalu iz njegovega gravitacijskega primeža ne bo ubežala niti svetloba. Kako se lahko sporazumevata dva zaljubljenca, če je eden znotraj, drugi pa zunaj mesta? To je elegija urbanega življenja, postavljena v mesto prihodnosti – portret, sestavljen iz posnetkov sodobnih mest z vsega sveta na podlagi najnovejših izsledkov s področja znanosti, tehnologije in arhitekture. Sodelujoči: scenarij, produkcija, režija, kamera: Paul Bush; urednik: Lawrence Huck; skladatelj filmske glasbe: Andy Cowton; skladatelj zborovske glasbe: Stuart Earl; snemanje, urejanje in montaža zvočnega zapisa: Zhe Wu; spletno urejanje in barvni odtenki: Juan Pablo Salazar in Roni Rodrigues; avtorske pravice: Ancient Mariner Productions 2012 Zahvale: Youla Boudali in Mark Caven v produkciji Ancient Mariner

Babeldom Paul Bush

UNG AU

Kinemax

2012 Film, 81â&#x20AC;&#x2122; Babeldom is a city so massive and growing at such a speed that soon, it is said, light itself will not escape its gravitational pull. How can two lovers communicate, one from inside the city and one from outside? This is an elegy to urban life, against the backdrop of a city of the future, a portrait assembled from clips shot in modern cities all around the world and collected from the most recent research in science, technology and architecture. Collaborators: written, produced, directed by, camera: Paul Bush; edited by: Lawrence Huck; soundtrack composed by: Andy Cowton; choral music composed by: Stuart Earl; sound recorded, edited and mixed by: Zhe Wu; online editing and color grading by: Juan Pablo Salazar and Roni Rodrigues; copyright: Ancient Mariner Productions 2012 Credits: Youla Boudali and Mark Caven in an Ancient Mariner Production

Animateka

UNG AU

2004 Film, 5' 35'' V tem filmu se pojavi več kot tri tisoč žuželk, vsaka na svoji sličici. Ob opazovanju bleščečih odsevov barv in sprememb njihovih teles ter kril se zdi, kot da se v le nekaj minutah izvrši genetski program v razponu več milijonov let. Film deluje tako divje, da se postavlja po robu razlagam tako evolucionistov kot fundamentalistov. Kot bi gledali meskalinske sanje Charlesa Darwina. Produkcija, režija, animacija in montaža: Paul Bush Zvok in glasba: Andy Cowton 2004 Film, 5’ 35’’ More than three thousand insects appear in this film, each as a single frame. As the colors glow and change across their bodies and wings, it seems as if the genetic program spanning over millions of years is taking place in just a few minutes. It is a rampant creation that seems to defy the explanations of evolutionists and fundamentalists. It is like a mescaline vision dreamt by Charles Darwin. Producer, director, animator and editor: Paul Bush Sound and music: Andy Cowton

Medtem ko Darwin spi While Darwin Sleeps Paul Bush

Kinemax

Fotografija iz filma / Still frame

31 Niloufar Tajeri

104

Gal Kirn

Akademie Schloss Solitude

Trgovski dom

2016 Kritična teorija, urbano, zgodovinsko in politično raziskovanje, arhitektura, spomin, intervencija Monumentalne strategije (pred)mestnih nemirov se osredinjajo na fenomen (pred)mestnih uporov na Zahodu, ki so se v zadnjih desetletjih dogajali v mestih, kot so London, Los Angeles in Pariz. Četudi so bili ti upori kratkoživi, so razkrili pomembne vidike vsakodnevnega urbanega življenja tistih, ki živijo na obrobju: ekonomsko pomanjkanje, politično izključevanje, rasizem in policijsko nasilje. Ta projekt si prizadeva v novi luči prikazati demonizirano podobo in prekarnost upornikov, in sicer ne zgolj z razlaganjem razlogov za upor, ampak tudi prek povezave s poljem monumentalnih praks. Delo je tako poskus iskanja odgovora na vprašanje, kakšen bi bil videti spomenik tem uporom in kakšen bi bil njegov učinek. Gal Kirn in Niloufar Tajeri sta začela projekt razvijati v okviru stuttgartske Akademie Schloss Solitude, kjer sta opravljala rezidentstvo v letih 2015–16.

Misliti spomenik urbanim vstajam Thinking Monumental Strategies of (Sub)urban Riots 2016 Critical theory, urban, historical and political research, architecture, memory, intervention Monumental Strategies of (Sub)urban Riots focuses on the phenomenon of (sub)urban riots in the West that took place in London, Los Angeles and Paris in recent decades. These riots had a short durability, but rendered visible major aspects of everyday urban life for those living on the margins: economic deprivation, political exclusion, forms of racism, and police violence. This project wants to re-frame and re-articulate the demonized image and precarious existence of riots not only by understanding their deeper causes, but also by connecting them to the field of monumental practices and attempting to address the question what a dissensual monument to dissent might look like and what it could do. Gal Kirn and Niloufar Tajeri started developing this project as part of their work at the Akademie Schloss Solitude (Stuttgart), where they were residents in 2015â&#x20AC;&#x201C;16.

#spomin na prihodnost #onkraj nostalgije in glorificiranja #urbani nemiri #opresija #banlieue #Ĺživi arhiv #banlieue kot neznani junak #memory of the future #beyond nostalgia and glorification #urban riots #conditions of oppression #banlieue #living archive #banlieue as an unknown hero

Spomenik neznanim junakom Monument to Unknown Heroes

98 Tanja Lažetić

Trgovski dom 2012 Keramični krožniki, tisk Leta 2009 sem izrezovala časopisne fotografije, na katerih so različne skupine ljudi. Iskala sem takšne, na katerih so neznani ljudje, ki so se znašli v izjemnih situacijah. Ljudje na slikah predstavljajo dogodke, ki so tako posebni, da smo o njih lahko brali. In čeprav so to pogosto tudi dogodki, ki so zaznamovali življenja teh oseb, njihovih imen ne bomo nikoli izvedeli. 2012 Ceramic plates, printing In 2009 I got into the habit of cutting out newspaper photos of various groups of people who found themselves in particularly exceptional circumstances. The people in the pictures represent events so far out of the ordinary that they found their way into the papers. Although these same events in many instances profoundly impacted the lives of the people in the pictures, we never learn their names.

#spomin #spomeniki #družba #memory #monuments #society

Stefan Gvozden

Trgovski dom jer me se tiče 2016 Video 31. maja 1992 so v Prijedoru, mestu na severozahodu Bosne in Hercegovine, bosanskosrbske oblasti izdale odredbo, da morajo vsi nesrbski prebivalci svoja prebivališča označiti z belimi rjuhami in si na nadlahti nadeti belo prevezo, če želijo zapustiti svoje domove. To je bil začetek kampanje, ki je vodila do usmrtitev, koncentracijskih taborišč, množičnih posilstev in odstranitev več kot 94 % nesrbskega prebivalstva z ozemlja občine Prijedor. Kampanja z naslovom "Dan bele preveze" žrtvam množičnih pobojev z vsega sveta daje glas in opozarja na njihov boj za resnico, dostojanstvo in ohranitev spomina. Povezava: https://www.youtube.com/watch?v=DtbqYOjBOX0 Produkcija: Nemanja Ćađo in Stefan Gvozden iniciativa jer me se tiče

Mednarodni dan bele preveze International White Armband Day

2016 Video On May 31st 1992, the Bosnian Serb authorities in Prijedor, a town in north western Bosnia and Herzegovina, issued a decree for all non-Serbs to mark their houses with white sheets and wear a white armband if they were to leave their houses. This was the day of beginning of the campaign which resulted in executions, concentration camps, mass rapes and ultimately the removal of more than 94% of non-Serbs from the territory of the Prijedor municipality. The ‘White Armband Day’ campaign aims to give a voice to the victims of mass atrocities from around the world in their struggle for the truth, dignity and remembrance. Link: https://www.youtube.com/watch?v=DtbqYOjBOX0 Production: Nemanja Ćađo and Stefan Gvozden because it concerns me initiative

Fotografija iz filma / Still frame

92 Nemanja Ćađo

2015/2016 http://whereistito.tumblr.com/ "online" in "offline" kartografiranje geoglifov in identitet današnjih skupnosti Projekt se je rodil iz zamisli o kartografiranju napisa ''T I T O'' na pobočju bližnjega hriba. Te črke so vpisane na različnih mestih in geografskih terenih v večini držav nekdanje Jugoslavije. Cilj je ustvariti zbirko dejanskih koordinat teh spominskih obeležij, jih raziskati in preučiti njihov izvor, ozadje ter spremembe v obdobju zadnjih desetih let. Namen takšnega razstavljanja napisa TITO na različne načine, v obliki računalniške kode, v kiberprostoru, v obliki spomina, podobe, materiala, topografije itd. ni, da bi raziskovali globlje ozadje Titove zgodovinske osebnosti, temveč je to poskus raziskovanja, kako prebivalstvo gleda na zgodovino, kolektivni spomin in identiteto. Zahvala za pomoč, odgovore in vprašanja: Erika Thümmel, Daniela Amann, Jovana Mihajlović Trbovc, Martin Pogačar, Rene Rusjan, Lisa Smith, Peter Purg in Allan Siegel.

Digitalni kamni. TITO kot medijsko stanje Digital Stones. TITO as Media Condition 2015/2016 http://whereistito.tumblr.com/ online and offline mapping of geoglyphs and identity of nowadays communities The project emerges from the idea of mapping hillside inscriptions of 'T I T O', referring to the name of the ex-Yugoslav presidential figure. These letters are inscribed in several locations across different landscapes in most of the former Yugoslavian countries. The aim is to collect actual coordinates of these memorials, to research and question their origin, background and changes over the last 10 years. While dismantling TITO in various ways, as code, cyberspace, memory, picture, material, topography, etc., it is not about digging deep into Tito's iconic figure, but more about the people's approach to history, collective memory and identity. Thanks: Erika Thümmel, Daniela Amann, Jovana Mihajlović Trbovc, Martin Pogačar, Rene Rusjan, Lisa Smith, Peter Purg and Allan Siegel for their help, answers and questions.

104 Helene Thümmel

UNG AU

Carinarnica

#kartografiranje #tuje #zunanje oko #josipbroz #jugoslavija #ideje #popotnik #tujec #nacionalni spomin #kolektivni spomin #socialni spomin #virtualnost #lokacija #lokalizacija #relokacija #urbani spomin #ruralni spomin #kult #kult predmetov #mitološko #nedotakljivo #ambivalentnost #politika #identifikacija #voditelj #odgovornost #utopija #nostalgija #mapping #alien #outside eye #josipbroz #yugoslavia #ideas #traveler #stranger #national memory #collective memory #social memory #virtual #location #localization #displacement #urban memory #rural memory #cult #object cult #mythical #untouchable #ambivalence #politics #identification #leader #responsibility #utopia #nostalgia

Zavod Kinokašča Anja Medved

Zavod Kinoatelje

31 2016 Video

Zavod Kinoatelje

Kulturno-informacijska stična točka (Železniška postaja Nova Gorica)

21. decembra 2007, na dan odstranitve mejnih zapornic med Slovenijo in Italijo, je bila na mejnem prehodu na Erjavčevi ulici med Novo Gorico in Gorico izvedena prva spominodajalska akcija z naslovom Spovednica tihotapcev. V prostor, ki je bil namenjen pregledovanju, je bila postavljena kamera in prebivalci obeh Goric so bili vanj povabljeni, da spregovorijo o svojih spominih na mejo. Od tega zgodovinskega večera do danes se je zvrstilo pet akcij javnega zbiranja spomina, vsaka posvečena drugi temi. Zadnja v nizu je bila izvedena v prostorih železniške postaje, stavbi, ki simbolizira sočasnost različnih identitet mesta. Zbirala sem spomine in fotografije stavb, mimo katerih morda vsak dan hodimo, ne da bi vedeli za njihove usode. Dokumentarna zbirka Portreti stavb je rezultat te akcije in nadgrajuje spominski album mesta, ki ga prebivalci obeh Goric poklanjamo bodočim generacijam. Tajnica spominodajalske akcije: Barbara Poša Video asistenca pri spominodajalski akciji: Urban Košir Tehnična asistenca: Tadej Hrovat Koordinacija: Nadja Velušček V sodelovanju: Zavod Kinoatelje, Kinoatelje in Zavod Kinokašča, Goriška knjižnica Franceta Bevka, Carinarnica Pokrovitelj: Mestna občina Nova Gorica Zahvala: Kulturni dom Nova Gorica, Slovenske železnice, Goriški muzej

Dokumentarna zbirka: Portreti stavb Documentary Archives: Portraits of Buildings 2016 Video On 21 December 2007, when the border gates were taken down between Nova Gorica (Slovenia) and Gorica (Italy), the first public memory donation action The Smugglers’ Confessional was organized out in the check point space on Erjavčeva street. A camera was placed in the ex-checking room and the population of the two Goricas were invited to come in and speak about their memories of the border. Five such public campaigns have been carried out since that historic evening, each focusing on a different topic. The last in the series was organized in the railway station, a building symbolizing the simultaneous existence of different city identities.We were collecting stories and photographs of the buildings we might all walk by on a daily basis, without ever knowing their destinies. The resulting video collection titled Portraits of Buildings supplements the city’s memory book, which the inhabitants of the two cities offer as a gift to future generations. Secretary of the memory donation action: Barbara Poša Video assistant in the memory donation action: Urban Košir Technical assistant: Tadej Hrovat Coordinator: Nadja Velušček In cooperation with: Kinoatelje and Kinokašča, France Bevk Public Library, Carinarnica Sponsored by: Nova Gorica City Municipality Thanks: Kulturni dom Nova Gorica, Slovenian Railways, The Regional Museum Goriški muzej Foto / Photo: Iz javnega snemanja spominov na železniški postaji v NG, 21. decembra 2015. / From the public memory collection campaign at the Nova Gorica train station, 21 December 2015.

#spomin #mesto #meja #raziskovalno #izobraževalno #medkulturno #medgeneracijsko #urbano #memory #city #border #research #education #intercultural #intergenerational #urban

Ines Sampaio Sandra Jovanovska Samo Bihar

Carinarnica

31 2016 Izobraževalno-produkcijska delavnica in multimedijska instalacija Istost časa raziskuje prosti tek časa in potencialnost časa na obeh straneh meje. Pozornost namenja uram na javnih mestih in odpira razpravo med prebivalci in delavci v Novi Gorici in Gorici o tem, ali je istost časa sploh mogoča: kako meja med Slovenijo in Italijo vpliva na zaznavo časa ob meji (hitrost, krivulja, odzvanjanje časa ...)? Ali vsako od obeh mest živi v svojem času? Ali si obe mesti delita isti čas? Preteklost, sedanjost, prihodnost ...? Kateri so najvidnejši primeri zastajanja in pospeševanja časa? Ali življenje na eni strani meje vpliva na zaznavo časa na drugi strani? Sodelujoči: študenti UNG AU (Sandro Dokić, Asja Trost, Filip Bihar, Samo Bihar, Sandra Jovanovska, Mery Gobec, Ines Sampaio, Marco Pelos Spagno, Anna Loi)

Istost časa Sameness of Time Nadija Mustapić

100

Toni Meštrović

Anna Loi Marco Pelos Spagno Filip Bihar Asja Trost UNG AU

Mery Gobec

Sandro Dokic

2016 Educational & production workshop and multimedia installation Sameness of Time explores idleness and potentiality of time on two sides of the border. It focuses on public clocks and raises discussions among the citizens and workers in Nova Gorica and Gorizia about the (im)possibility of the sameness of time: How does the border between Slovenia and Italy affect the perception of temporality of life on the border (its speed, trajectory, reverberance...)? Does each city live in its own time capsule? Or do they share the same time? The past, present, future…? Where are the delays or advancements of time most visible? Does life on one side of the border affect the perception of time on the other? Collaborators: UNG AU students (Sandro Dokić, Asja Trost, Filip Bihar, Samo Bihar, Sandra Jovanovska, Mery Gobec, Ines Sampaio, Marco Pelos Spagno, Anna Loi)

#meja #spomin #čas #čakalnica #železniška postaja #potencialnost #nepremičnost #border #memory #time #waiting room #train station #potentiality #idleness

Foto / Photo: Rusjan, Potokar

ekskurzija

Postaja Topolove / Stazione di Topolò Topolò Station To ni festival in ne "potujoča razstava". To je mali-veliki laboratorij, ki združuje eksperiment s starodavno kulturo in silo okolja, ki vse to gosti. Vse, kar se tam zgodi, se udejani iz neposrednega stika s krajem, ki je glavni motor dogodkov – in ne njihov scenarist. Ti dogodki potekajo po travnikih, malih trgih, po ulicah in hišah v vasi; brez gledališč in brez urnikov, vendar po koordinatah, ki sledijo ritmu narave. V 23 letih so umetniki pustili številne sledi: namišljena pošta, veleposlaništva različnih držav, tudi veleposlaništvo izbrisanih, univerzalna pinakoteka umetnosti, Topolovski orkester, Inštitut za Topologijo, univerza, letališče, globalna delavnica zdravja, umetniška pot na Livek in še mnogo drugega. Moreno Miorelli in Donatella Ruttar še naprej dajeta življenje projektu, skupaj z društvom Topolò-Topolove. Kar nekaj umetnikov na letošnjem Pixxelpointu je tudi Topolonavtov.

This is not a festival, it is not a 'traveling show'. It is a small/large laboratory, which combines experimentation with ancient culture and the energy of the host environment. Everything that happens there emerges from direct contact with the site, which is the main motor driving the events, rather than a writer writing the script for them. These events occur in meadows, small squares, alleys and houses across the village; there are no theaters or schedules, everything simply follows nature’s course. Over the course of 23 years, the artists have left behind many traces: imaginary mail, embassies of various nations, including the embassy of the erased, the universal pinacotheca of art, the Topolò Orchestra, the Institute of Topology, the University, the airport, the global health workshop, the Livek Art Route – to name but a few. Moreno Miorelli and Donatella Ruttar continue to breathe life into the project in collaboration with the Topolò-Topoluove Association. Many artists from this year’s Pixxelpoint lineup are also Topolonauts.

102 Donatella Ruttar

100 Moreno Miorelli Društvo Topolò-Topolove

SMO se uvršča med nove oblike tematskih in pokrajinskih muzejev, ki ne slonijo več na zbiranju predmetov, temveč na sami pripovedi. Zastavljen je kot aktiven, dinamičen, prijazen in spodbuden prostor, kjer se skozi značilne vidike krajevne kulture razvija pripoved o teh krajih. V tem prostoru se prepletata umetniško eksperimentiranje in razsežnost spomina, obiskovalcu ponuja interaktivna popotovanja in multimedialne freske krajine, ki je skupek ljudi in krajev, zgodb in spominov in ki vzbuja dražljaje in razmišljanja. Skozi pripoved prepoznavamo krajino, jo lahko poslušamo in ugotavljamo, kako je jezik povezovalec mnogih kulturnih variant, mikrokozmov, ki prekipevajo od zgodb. Muzej je zasnovala, načrtovala in koordinirala arhitektka Donatella Ruttar. Urejen je bil v Špetru (Videm) v okviru strateškega projekta JEZIKLINGUA, ki je financiran v okviru Programa čezmejnega sodelovanja Slovenija-Italija 2007–2013 iz sredstev Evropskega sklada za regionalni razvoj in nacionalnih sredstev.

Donatella Ruttar

102

ekskurzija

SMO Slovensko multimedialno okno Finestra multimediale slovena SMO – Landscape and Narrative Museum

SMO is a new type of theme-based landscape museum, which shifts the focus away from merely collecting artifacts, and focuses instead on the narrative. Its concept is proactive, dynamic, it is a nice and friendly place which spins a tale of the local environment through characteristic features borrowed from the local cultural landscape. In this place, artistic experimentation and the dimension of memory become intertwined – it invites the visitor to embark on an interactive journey and explore the multimedia fresco of the landscape, which is an amalgamation of people and places, stories and memories creating a sensory experience and sparking reflection. By following the story, we learn about the landscape, we can listen to it and discover how language forms a link between many different cultural variants, microcosms which are bursting with narrative. The museum was conceived, designed and coordinated by architect Donatella Ruttar. It was set up in the town of Špeter (Udine) as part of the strategic project JEZIKLINGUA, financed through the Cross-Border Cooperation Programme Slovenia-Italy 2007–2013 using European Regional Development Fund and national funding schemes.

Foto / Photo: Arhiv muzeja SMO / Archive of the museum SMO

UNG AU

Sabina Đogić

Frančiškanski samostan na Kostanjevici nad Novo Gorico

2015– A capella petje, audiovizualno, glasba v živo, audio instalacija, video instalacija, projekcija, film, splet, crossmedia, multi-platform, storytelling, molitev Sodelujoči: posamezniki ali skupine, ki pojejo v tehniki a cappella

Ostali sodelavci: Ali R. Taha (snemalec zvoka in arabsko-angleški prevajalec), prevajalci (perzijskoangleški, italijansko-angleški, nemško-angleški), Soham Goswami, Sandro Dokić in drugi študentje Akademije umetnosti Univerze v Novi Gorici (operater kamere, snemalec zvoka, montažer, prevajalci, socialna omrežja: Facebook, Twitter, Instagram, Snapchat; kartografiranje) 14pesmi je projekt pesmi, ki jih nosimo v sebi. Začel se je leta 2015 kot odgovor na humanitarno katastrofo v Evropi, ki je bila posledica zaprtih meja za begunce. Umetnica je začela zbirati pesmi ljudi, ki so Evropi predstavljali grožnjo. Da bi z njimi obudila spomin na človeške vrednote (zgodovino, znanje, izkušnje, kulturno dediščino itd.), ki jih vsak izmed nas nosi v sebi, in ustvarila medkulturni dialog med ljudmi, ki živijo v Evropi, in tistimi, ki sem prihajajo živet. Na festivalu se bo projekt 14pesmi predstavil v živo prvič. Vsi ljudje, ki pojejo, ne glede na starost, državljanstvo, jezik, vero in barvo kože, so dobrodošli, da pridejo in zapojejo svojo pesem – svojo obliko molitve za ljudi, ki so umrli na begu pred vojno in katerih pesmi so za vedno izgubljene. MI smo pesem. Zahvala: Mirjam Brecelj (Škrabčeva knjižnica), Kristina Markova (Area 57/15), Frančiškanska skupnost na Kostanjevici (Nova Gorica), Mestna občina Nova Gorica, Slovenske železnice, Katerina Mirović (Svetlobna gverila), Marko Klavora, Rok Bavčar (Muzej tihotapstva), Anja Medved

14pesmi – Molitev za izgubljene pesmi 14songs – A Prayer for Lost Songs

2015– A cappella singing, audio-visual, live music, audio installation, video installation, projection, film, web, crossmedia, multi-platform, storytelling, prayer Register of participants: individuals or groups performing a cappella singing Other participants: Ali R. Taha (sound recordist and Arabic-English translator), translators (Persian-English Italian-English, German-English), Soham Goswami, Sandro Dokić and other students of the University of Nova Gorica School of Arts (camera operator, sound recordist, editor, translators, social networks: Facebook, Twitter, Instagram, Snapchat; mapping) 14songs is a project of songs we carry within. It started in 2015 as a response to the European humanitarian disaster due to borders closing for refugees. The artist started collecting songs of people who were seen as a threat. To remind us of the human values (history, knowledge, experience, cultural heritage etc.) we carry within and to create an intercultural dialogue between people who live in Europe and those who are on their way to Europe. During the festival, the 14songs project will be performed live for the first time. All the singers, regardless of age, nationality, language, religion an colour, are welcome to come and sing their song - their version of a prayer for those who have lost their lives running from war and whose songs are forever lost. WE are the song. Thanks: Mirjam Brecelj (Monastery library Stanislav Škrabec), Kristina Markova (Area 57/15), Kostanjevica Franciscan monastery, City Municipality of Nova Gorica, Slovenian Railways, Katerina Mirović (Lighting Guerrilla), Marko Klavora, Rok Bavčar (Museum of Smuggling), Anja Medved

#pesem #pesmi #kulturna dediščina #zgodovina #migracije #vojna #prebežniki #azil #petje #dom #jezik #znanje #dom #strah #dialog #kultura #tujost #molitev #meja #smrt #rojstvo #glas #beseda #poezija #rod #simbolno #metafora #preživetje #pripovedništvo #crossmedia #preteklost #song #songs #cultural heritage #history #migrations #war #refugees #asylum #singing #home #language #knowledge #home #fear #dialog #culture #foreignness #prayer #border #death #birth #voice #word #poetry #family #symbol #metaphor #survival #storytelling #crossmedia #past #lyrics #cultural heritage #verbal #words

Fotografija iz filma / Still frame

2012 Film, 72' V sodelovanju z: Armin Salihović in Aigul Hakimova Gradbeni sektor, ki je v Sloveniji zaposloval preko 70.000 tujih delavcev, je v letih 2010–11 propadel in za seboj pustil dolgove, ustavljeno gradbeno dejavnost ter izkoriščene in neplačane delavce. Večina zaposlenih delavcev je izvirala iz prostora nekdanje skupne države. Medtem, ko je država nemo opazovala izkoriščane, podplačane, neplačane in ponižane delavce, se je s kopičenjem bogastva na eni strani, na drugi ravno tako kopičil gnev in odpor. Ker so zatajili pristojni državni organi, javna občila in širša javnost, je bila samoorganizacija delavcev neizbežna. Zahtevali so boljše pogoje za življenje, plačilo neizplačanih plač, prispevkov, enake možnosti in tako naprej. Armin, Aigul in Esad nas popeljejo skozi specifične zgodbe in področja dela (aktivizem in gradbeništvo), ki tako postanejo obče in univerzalne.

V deželi medvedov In the Land of Bears

90 Nika Autor / Obzorniška Fronta

Aigul Hakimova

Kulturni dom Nova Gorica Armin Salihović Obzorniška fronta

2012 Film, 72’ In collaboration with: Armin Salihović and Aigul Hakimova The Slovenian construction sector, which once employed over 70,000 foreign workers in the country, collapsed in 2010–11, leaving behind debts, devastation of the construction industry, and exploited and unpaid workers. Most of these workers came from former Yugoslavia. While the government watched in silence, observing the exploited, underpaid, unpaid and disgraced workers, the one-sided accumulation of wealth fueled outrage and resistance on the other side. As the authorities, the media and the general population failed to remedy the situation, the workers were forced to organize. They demanded better living conditions, payment of back wages, social contributions, equal opportunities etc. Armin, Aigul and Esad take us through these stories and specific fields of activity (activism and construction works), making them common and universal.

2015/2016 Kratke zgodbe in risbe Serija zgodb in ilustracij. Widad Tamimi je kot prostovoljka v begunskih centrih pomagala združevati družine, ki so jih v policijskih postopkih ob prečkanju meje ločili, sama pa je kot pisateljica zapisovala njihove zgodbe. Ker s fotografskim aparatom ni želela posegati v človeško dostojanstvo, je povabila likovno umetnico Vesno Bukovec, da jih opremi s svojimi risbami. Zgodbe in risbe so objavljene v časopisu Delo. Namen njunega sodelovanja je pokazati in približati človeško stisko ljudi na begunski poti, ki poteka tudi čez našo državo, in se na tak način spopasti z negativno podobo in strahom pred tujci, ki se v družbi širi preko politike, medijev in spleta. Prevodi v slovenščino: Tomaž Vižintin, Vesna Rojina (za Delo) Prevodi v angleščino: Becky Woods Sellers, John Sellers, Tomaž Vižintin Petra Čeh (kuratorka razstave V iskanju človečnosti) Zahvale in podpora: Maja Čakarić in Delo d.d., Petra Čeh in II. Gimnazija Maribor, dr. Ksenija Vidmar Horvat in EUROM (European Observatory on Memories)

Trgovski dom

Risba / Drawing: Vesna Bukovec, Yzn, 2016

Begunec_ka sem I Am a Refugee Vesna Bukovec (risbe / drawings)

Widad Tamimi (zgodbe / stories)

104

31 2015/2016 Short stories and drawings A series of stories and illustrations. As a volunteer working in refugee centers, Widad Tamimi was involved in helping to bring together the families separated from each other in police procedures while crossing borders. She would later write down their stories. Not wanting to compromise their dignity using a camera, she invited visual artist Vesna Bukovec to provide illustrations. The stories and illustrations were published in the Delo newspaper. The aim of their collaboration is to bring attention to the suffering these people are experiencing along the refugee route which leads through our country Slovenia as a way of facing the negative image and fear of strangers being spread across society through politicians, the media and the internet. Translations into Slovenian: Tomaž Vižintin, Vesna Rojina (for the Delo newspaper) Translations into English: Becky Woods Sellers, John Sellers, Tomaž Vižintin Petra Čeh (curator of the exhibition In search of humanity) Thanks and endorsements: Maja Čakarić and Delo d.d., Petra Čeh and II. Gimnazija Maribor, Dr. Ksenija Vidmar Horvat and EUROM (European Observatory on Memories) #migracije #spomin #družba #vsakdanje življenje #čustva #solidarnost #stop rasizmu #vojna #begunci #izguba #upanje #preživetje #migrations #memory #society #everyday life #emotions #solidarity #stop racism #war #refugees #loss #hope #survival

Tunel pod Kostanjevico (Nova Gorica) 2016 Instalacija, ki jo zaznamuje lokacija Nekoč je v prelepem kraju živel deček, ki je imel rad svojo družino in prijatelje, a nekega dne mu je oče povedal, da se morajo odseliti. Deček je bil sprva malce otožen, a se je kmalu navdušil nad potjo, saj se je veselil vseh novih prijateljev, ki jih bo spoznal v novem kraju. Njegova pot se je začela s plovbo v majhnem čolnu z veliko ljudmi, s katerim je plul čez širno morje. Bilo je temno in dečka je bilo zelo strah. "Vse bo še dobro," ga je miril oče, a ravno takrat se je zgodila nesreča in otrok žal nikoli ni prispel tja, kamor so bili namenjeni. Namesto tega se je deček znašel nekje drugje, v kraju, ki je bil še veliko lepši in prijaznejši od tistega, ki mu je bil obljubljen. Tam se zdaj vse mile dni igra in poležava na oblakih kot angelček. Zahvala: Asja Trost (študentka na Akademiji umetnosti Univerze v Novi Gorici), otroci imigranti iz Dijaškega doma Nova Gorica, Carinarica – bivak urbane kulture Produkcija: Akademija umetnosti Univerze v Novi Gorici

Lovilec sanj: Zgodba za lahko noč Dreamcatcher: A Bedtime Story Rawan Hourani

31 UNG AU

TIR Mostovna 2016 Site-specific installation Once upon a time, there was a little kid who lived in a beautiful place. He loved living there with his family and all his friends, but dad said that they had to move. The kid was a bit sad, but eventually grew excited about the trip and the new place he was going to and all the the new friends he was going to meet. The journey started through a big sea in a small boat crowded with people, it was dark and scary for the kid. 'It’s all going to be alright,' dad said, but then there was an accident on the boat. Unfortunately, the kid never reached that destination, but instead went to another place. It wasn't what he had accepted, but a much nicer, much more beautiful place, where he can play all day and sleep on the clouds like an angel. Thanks: Asja Trost (student of UNG School of Arts), immigrant children from Dijaški dom Nova Gorica, Carinarnica – Bivouac of Urban Culture Production: University of Nova Gorica School of Arts #instalacija #lovilec sanj #otroci #vojno območje #gugalnica #dva svetova #resničnost in sanje #življenje in smrt #meja #begunci #installation #dreamcatcher #kids #conflict zone #swing between #two worlds #reality and dream #life and death #border #refugees

2016 Pesniška zbirka Poezija živi znotraj sveta, izvira iz njega in je z njim v živem, pristnem stiku. Pisanje poezije zahteva svobodnega duha. Že skoraj eno leto se slednji, kot številna divjad, zaletava v "tehnično oviro" na slovenski meji. Živeti v ograjeni državi in hkrati govoriti o kulturi, kamor spada poezija, je do skrajnosti paradoksalno. Ponovno se torej zahvaljujem za Jenkovo nagrado svoji poeziji, sprejemam jo, a v isti sapi jasno pravim: gospod predsednik vlade – odstranite to žico. Takoj. Iz zahvalnega govora nagrajenke Anje Golob ob razglasitvi Jenkove nagrade 2016, Kranj, 28. oktobra 2016. www.anjagolob.org

Foto / Photo: Rene Rusjan

Didaskalije k dihanju Stage-directions to Breathing 2016 Poetry collection Poetry resides within the world, it originates from it and maintains with it a genuine, vibrant contact. Writing poetry requires a free spirit. For almost a year now, the latter, like so much wildlife, has been running headfirst into the 'technical barrier' on the Slovenian national border. To speak of culture, which poetry is a part of, while living in a fenced-in state is paradoxical in the extreme. I am grateful for the Jenko Award in recognition of my poetry, and I accept it, but at the same time I want to send a clear message: Mr Prime Minister, take down the barbed wire. Now. Excerpt from the speech of Anja Golob at the 2016 Jenko Award ceremony, Kranj, 28 October 2016. www.anjagolob.org

Anja Golob

Mestna galerija Nova Gorica

101 Pila Rusjan

Mestna galerija Nova Gorica

Urša Adamič Nina Šorak

103

106 Aleksander Vujović

PTL Ljubljana Mina Arko

101 Janko Oven

2015 Drama, gledališka predstava Večina prizorov v predstavi izhaja iz resničnih situacij, ki sta jih avtorici doživeli s svojima babicama. Osnovno polje zanimanja se je razvilo iz sveta v katerega sta dementni osebi počasi odhajali. Kljub temu, da sta izgubljali stik s svetom, ki ga mi poznamo, sta se počasi povezovali z novo realnostjo, ki pa je našemu razumu nedostopna. Potek bolezni sproža različna interpretacijska vprašanja, ki smo jih ujeli v interaktivno videoscenografijo, ki se odziva na njene misli in gibe. Po dokumentaristični metodi smo izhajali iz dnevnikov babic in jih soočili z medicinskim znanjem o tej bolezni in zgodbo tako umestili v širši družbeni kontekst naraščajočega števila starejših pri nas. Sodelujoči: igralca: Marinka Štern, Iztok Drabik Jug; interaktivna videoscenografija: Pila Rusjan; scenograf: Aleksander Vujović; strokovni sodelavec: Vid Vanja Vodušek; oblikovalec luči: Janko Oven; oblikovanje: Mina Arko Produkcija: KUD Transformator Koprodukcija: Zavod BOB, Plesni teater Ljubljana, Narodni dom Maribor, SNG Nova Gorica, Kazalište KNAP, Kulturno društvo galerija GT

Kje sem ostala? Where Was I?

93 Iztok Drabik Jug

103 Marinka Štern 105 Vid Vanja Vodušek Foto / Photo: Sunčan Stone

2015 Drama, theatre play Most of the acts featured in the the play are based on real-life experiences the artists had with their respective grandmothers. The underlying storyline is based on the world into which the individuals suffering from dementia were slowly transitioning. Despite losing touch with the world as we understand it, they were slowly transcending into a new reality, one which lies beyond our understanding. The progression of the disease sparks different questions of interpretations, captured in an interactive video scenography, which responds to her thoughts and motions. Following the documentary method, we based the project on the grandmothers’ journals and juxtaposed them with the medical knowledge about the disease, placing the story in the broader social context of the ageing Slovenian population. Collaborators: actors: Marinka Štern, Iztok Drabik Jug; interactive video scenography: Pila Rusjan; scenographer: Aleksander Vujović; expert consultant: Vid Vanja Vodušek; lighting design: Janko Oven; design: Mina Arko Production: KUD Transformator Coproduction: Zavod BOB, Dance Theatre Ljubljana, Narodni dom Maribor, SNG Nova Gorica, Kazalište KNAP, Kulturno društvo galerija GT #spomin #izgubljanje #demenca #blizu #daleč #babice #odhajanja #memory #loss #dementia #near #far #grandmothers #departures

2014 Fotografija Tri ženske je avtoričino diplomsko delo na Akademiji umetnosti Univerze v Novi Gorici. V njem se ukvarja z odnosi žensk v družini s sociološkega, psihološkega, predvsem pa z osebnega vidika. Odkriva, kako se odnosi med njimi skozi čas spreminjajo, hkrati pa govori o tem, kako pomembne so vezi za razvoj, poudarja kontrast in pomembnost ločitve od matere ter izoblikovanja v individuum. Delo je izjemno osebno, avtorica razkriva sebe in svoje korenine. Vpraša se, kdo je, in odgovor najde v "mi". V delu razkrije in (tudi dobesedno) sleče sebe in svoji prednici. One so korenine, brez olepševanja. Z vračanjem h koreninam in z njihovim ozaveščanjem stojimo trdneje, a se hkrati zavedamo, da se jih preveč trdno tudi ne smemo oklepati.

Tri ženske Three Women

2014 Photography Three women is the author’s graduation paper at the University of Nova Gorica School of Arts. It deals with the relationships of women in the family from the sociological, psychological and, most of all, personal perspective. It explores how these relationships change over time, while speaking about how important these ties are to one’s development, it emphasizes the contrast and importance of separation from the mother, and developing into an independent individual. The work is exceptionally intimate, as the author lays herself and her roots bare. She questions her identity and finds the answer in the concept of 'we’. In her work, she (literally) exposes herself and her two female ancestors. They are her roots, without beautification. By revisiting one’s roots and acknowledging them, we can stand firmer – but at the same time one knows one should not hold on to them too tightly.

Gaja Kutnjak

Mestna galerija Nova Gorica

UNG AU

#odnosi #ženske #družina #individuum #intimnost #medgeneracijske vezi #DNK #relationships #women #family #individuum #intimacy #intergenerational ties #DNA

Elena Fajt

UL NTF

UNG AU

Lucija Jankovec

96 97 Dejan Krajnik

97 Neja Kaligaro

33 Mestna galerija Nova Gorica 2016 Trajnostno modno oblikovanje, akcija izmenjave shirting 08 je osma edicija kontinuiranega trajnostnega modnega projekta shirting ..., ki vzpostavlja nov model oblačenja z drugačnimi pristopi in vrednotami tako v procesu produkcije, kot tudi uporabe. Produktno izhodišče projekta je srajca, ki kroži med uporabniki. shirting… je lani prejel nagrado BIO 50:ZDAJ in priznanje Društva Oblikovalcev Slovenije za oblikovalski presežek. Unikatne srajce osme edicije, ki v času festivala krožijo med sodelujočimi umetniki, organizatorji, študenti in prebivalci širše lokalne skupnosti, je oblikovala ožja ekipa ustvarjalcev projekta. V izmenjavo je vključenih tudi približno 30 srajc iz preteklih edicij. Z novimi izkušnjami in izmenjavo srajc se vzpostavljajo povezovanja, dialogi, nova poznanstva in sodelovanja. www.shirting.si Pri fotografiranju shirting 08 so sodelovali: Miha Godec (kot mentor), študenta Taja Košir Popovič, Marco Pelos Spagno in drugi študentje fotografije na Akademiji umetnosti UNG. Sponzor / Sponsor: Kemična čistilnica Slamič Alenka, FOTO Lado

shirting 08 2016 Sustainable fashion design, sharing campaign shirting 08 is the eighth edition of a continuous sustainable fashion project shirting..., which introduces a new clothing model with a different approach and values, in terms of production as well as use of clothing. The project’s essential product is a shirt - a social object - that circulates among users by passing it on to the next user. shirting... has recieved two awards: BIO 50 : NOW and from Slovenian Designers Society as an 'Exceptional achievement in design award'. The eighth edition was created specially for Pixxelpoint. It includes 8 new shirts that were designed by a small team of authors working on the project. These shirts now circulate among the participating artists during the festival, organizers, students and members of the broader local community. Joining them are also the shirts from previous editions. Anyone can participate. Through this, new experiences and new connections are formed, with new dialogues and emerging collaborations. www.shirting.si Photographers of shirting 08: Miha Godec (as mentor), students Taja Košir Popovič, Marco Pelos Spagno and other students of photography at the University of Nova Gorica School of Arts.

#potrošniška ozaveščenost #projekt shirting #povezovanje #odgovornost #sooblikovanje #aktivno vključevanje uporabnikov #ni lastništva #kvalitetno oblikovanje #lokalnost #clothing awareness #sharing project #collaboration #responsibility #co-designing #active user participation #no ownership #quality design #local focus

2016 Video instalacija, eksperimentalni film, avtorska poezija Kot umetnica, ki poleg umetniških projektov za svoje preživetje deluje tudi v televizijski produkciji, se zaveda izjemne moči manipulacije, ki jo ima televizijski medij. V svojem opazovanju industrije in uporabnikov opaža, da ljudje čedalje manj reagirajo na različne tragične novice, saj dojemajo svet s televizijskih ekranov kot neko drugo resničnost. Delo (Pod)zavest je novejše produkcije in ga avtorica posveča vsem, ki so v zadnjih mesecih izgubili življenja zaradi takšnih in drugačnih dogodkov, ki smo jih lahko spremljali v medijih – v upanju, da se zavestno osredotočimo na sedanjost in s pomočjo preteklih izkušenj izbiramo boljše korake, ki bodo vodili v boljšo skupno prihodnost vseh nas. Življenje je (lahko) lepo. Tehnična sodelavka: Urša Bonelli Potokar Laserski izrez: V3D storitev 3D tiska Koprodukcija: KIBLA Zahvala: Jaša Bukovec, Urša Bonelli Potokar, Nina Jeza, Simon Sedmak

V3D

Kibla

(Pod)zavest (Sub)conscious

106 Valérie Wolf Gang

Urša Bonelli Potokar

Mestna galerija Nova Gorica

2016 Video installation, experimental film, original poetry As an artist who, in addition to creating artistic projects, also makes a living in television production, is aware of the powerful manipulation potential of the TV medium. In her observation of the industry and the users, she is noticing that people are becoming more and more jaded to various reports of tragedies due to the fact that they perceive the world of television as a separate reality. The work (Sub)conscious is a recent production dedicated to all those who lost their lives in recent months as a result of various events we followed through the media – hoping that this will allow us to consciously focus on the present and make better choices based on past experiences, so as to shape a better future for us all. Life is (potentially) beautiful. Technical collaborator: Urša Bonelli Potokar Laser cutting: V3D 3D-printing service Co-producer: KIBLA Thanks: Jaša Bukovec, Nina Jeza, Simon Sedmak #eksperimentalni film #poezija #video instalacija #manipulacija #televizija #belo blago #denar #življenje je lepo #harmonija #podzavest #subliminalna sporočila #svoboda #experimental film #poetry #video installation #manipulation #television #human trafficking #money #life is beautiful #harmony #subconscious #subliminal messages #freedom

2016 Interaktivna instalacija Pojej me (Slovenija) je instalacija, sestavljena iz stotin knjig z zelenkastimi platnicami, ki so jih prispevali Slovenci. Pojej me je besedna zveza, izposojena iz knjižnega dela "Alica v čudežni deželi", v katerem je Alica našla kolač, na katerem je bil z ribezom izpisan napis Pojej me. Odločila se je, da ga bo pojedla in se znašla v vrtu. Četudi instalacija Pojej me ni izpisana z ribezom, pa z razporeditvijo rabljenih knjig in predstavljenih informacij zbuja skušnjavo "konzumiranja". Pojej me služi kot knjižnica: zbirka informacij za vsakodnevno uporabo, pri čemer knjige, namesto običajne klasifikacije, razporeja po barvah. Tako publiko izzove in spremeni njihovo izkušnjo, hkrati pa njihovo pozornost usmeri na vprašanje, kako so informacije posredovane uporabnikom.

Foto / Photo: Pojej me (Singapur), knjige, izposojene od sveta Singapurskih narodnih knjižnic, Singapurski umetnostni muzej, 2009 / Eat Me (Singapore), Books borrowed from the National Library Board Singapore, Singapore Art Museum, 2009

UNG AU

Mestna galerija Nova Gorica

2016 Interactive installation

Pojej me (Nova Gorica, Slovenija) Eat Me (NG, Slovenia)

Eat Me (Slovenia) is an installation consisting of hundreds of used greenish-cover books collected from the public of Slovenia. The title Eat Me is a phrase adopted from Alice in Wonderland, where Alice found a very small cake with the words Eat Me beautifully arranged in currants. She decided to eat it so that she could enter the garden. Though not written in currants, the installation Eat Me proposes such a temptation of ‘consuming’ through the arrangement of used books and the display of information. Eat Me performs the fundamental function of a library: a collection of information for common use, but classifies the books with color instead of usual classification system, challenging the audience’s public library experience and highlighting the issue of how information is disseminated.

Ruobing Wang

106 Goriška knjižnica Franceta Bevka

#komunikacija #narava #informacije #communication #nature #information

2016 Izrezi, premični grafiti, instalacija Izrezane figure ohranjajo format risbe, ki ni več omejena z robovi papirja, ampak prosto zaplava skozi galerijski prostor oziroma dobi ozadje ko je postavljena na prostem. Tako nastane celota, umetniško delo, gesta, ki reagira na okolje, v katero je umeščena. Izrezana figura se v mestu znajde v novih situacijah, postavljena je v okolje, kjer izziva in izzove neustaljen odziv med ljudmi, med nami. V mestnem/industrijskem okolju se spremeni njen naboj, ki ga sicer nosi kot muzejski artefakt. Ista podoba je v novem kontekstu videna drugače in umeščena v urbani prostor začne delovati kot grafit.

Petra Varl

105

Izrezi Cutouts 2016 Cutouts, movable graffiti, installation The cut-out figures retain their form of a drawing that is no longer limited by the edges of paper, simply floating in the gallery space and gaining a new background when placed outdoors. Thus, an entity is created, a piece of art, a gesture that reacts to the environment into which it is placed. The cut-out figure finds itself in the city in new situations, integrated in a setting where it provokes and evokes an unsettling reaction among people, among us. In the urban / industrial setting, its role as a museum artefact changes. The same image in a new situation is regarded differently, integrated into an urban landscape it begins to function as a type of graffiti.

Foto / Photo: Nina SotelĹĄek

#povezovanje #ljubezen #skupaj #bonding #love #together

Mestna galerija NG

We-MAP-IN-Go

101 Una Rebić

90 Metod Blejec 2016 Kartografiranje na podlagi angažiranih dejanj Projekt We-MAP-IN-Go želi sodelujoče spodbuditi k aktivnemu raziskovanju sestrskih mest Nova Gorica in Gorica. S pomočjo brezplačnega zemljevida – ta predlaga tudi več tematsko obarvanih poti in pomembnejših znamenitosti v mestu (oz. obeh mestih) – ta psihogeografski projekt sodelujoče vabi na sprehod po označenih poteh, spodbuja pa jih tudi k aktivnemu ustvarjanju novih. Projekt spodbuja raziskovanje urbanega okolja, s katerim sodelujoči popeljejo Pixxelpointove teme, pogovore, vprašanja in druge vidike na sprehod. Kartografiranje se lahko izvaja bodisi samostojno v okviru lastnega miselnega procesa, ali v družbi, v participativnem uporabniškem načinu Hodi+Govori (Walk&Talk). 2016 Action-based engaged mapping We-MAP-IN-Go project is designed to inspire participants in an action-based engaging process of exploring the twin-towns of Nova Gorica and Gorizia. With the help of a free map — including several proposed routes on topics and key locations in town(s) — the psycho-geographic project invites participants to walk through marked routes and/or actively create their own. The project stimulates urban exploration while taking Pixxelpoint’s topics, conversations, concerns, etc. out for a walk. Mapping can be partaken individually through one’s own thought process or in company in a participatory Walk&Talk mode.

#zemljevid #kartografiranje #tema #sprehodi #hoja #pogovor #razprava #akcija #angažiranje #participativnost #lokacija #mesto #raziskovanje #urbano #psihogeografija #map #mapping #topic #walks #walking #talking #discussing #action #engaging #participatory #location #town #exploring #urban #psycho-geography

Urša Adamič je diplomirala iz

Urša Adamič graduated from dra-

dramaturgije na AGRFT in biologije na Biotehnični fakulteti v Ljubljani. Znotraj biologije jo najbolj privlačij študij možganskih funkcij in nevrologije, medtem ko jo znotraj gledališča najbolj zanimajo osebne zgodbe.

maturgy at the Academy of Theater, Radio, Film and Television of University of Ljubljana and bio-science at the Biotechnical Faculty of UL. In the context of biology, she focuses mostly on studying brain function and neurology, and in theater her interests lie mostly in personal narratives.

Nika Autor is active in the field

Nika Autor deluje na področju

sodobnih praks umetnosti. Končala je študij na Akademiji za likovno umetnost in oblikovanje Univerze v Ljubljani in na Akademie der bildenden Künste na Dunaju. Umetniško prakso razume kot refleksijo družbene stvarnosti, ki prispeva k upiranju pogleda in ostrenju misli, k opolnomočenju in podajanju glasu in podobe neslišnemu in nevidnemu. Je del kolektiva Obzorniške Fronte / OF. www.obzorniska-fronta.si www.autor.si

of contemporary artistic practices. She graduated from the Academy of Fine Arts and Design of University of Ljubljana and the Fine Arts Academy Vienna. She views artistic practices as a reflection of the social reality, which contributes to shifting the focus and sharpening the mind, promotes empowerment and gives the inaudible and the invisible an audible and visual representation. She is part of the Obzorniška fronta. www.obzorniska-fronta.si www.autor.si

Metod Blejec je avtor hibridnih

Metod Blejec is a hybrid-producer in

projektov s področja umetnosti, oblikovanja, fotografije in izobraževanja, ki ustvarja angažirane in na procesno zasnovane multidisciplinarne projekte. V svojih samostojnih in soustvarjalskih umetniških praksah se ukvarja s potovanji in oblikami umetniške produkcije, pri tem pa prestopa meje medijev, formatov, oblik in konceptov.

art, design, photography and education working on an engaging and processbased multidisciplinary projects. His experimental practice is concerned with journeys and modes of production, and crosses boundaries in media, scale, modes and concepts, both in his solo and collaborative projects.

Vesna Bukovec je diplomirala

Umetnice in umetniki Artists

Vesna Bukovec received her degrees

in magistrirala na Akademiji za likovno umetnost in oblikovanje Univerze v Ljubljani. Deluje kot samostojna avtorica in v okviru umetniške skupine KOLEKTIVA (z Metko Zupanič in Lado Cerar). Ustvarja v različnih medijih (video, risba, instalacija) in pri tem uporablja različne postopke (raziskava, apropriacija, participacija idr.). Od leta 2003 se je predstavila na vrsti samostojnih in skupinskih razstav v domačem in mednarodnem prostoru. www.vesna-bukovec.net

from the Academy of Fine Arts and Design of University of Ljubljana. She works as an independent author within the artistic collective KOLEKTIVA (with Metka Zupanič and Lado Cerar). She creates her works using various media (video, pencil, installations) and procedures techniques (research, appropriation, participation etc.). Since 2003, she has displayed her works at a number of independent and collective exhibitions, both domestically and internationally. www.vesna-bukovec.net

47 49

Paul Bush is most well-known for

Paul Bush je prepoz-

naven po svojem eksperimentalnem delu na področju animacije. Njegovi kratko- in srednjemetražni filmi, ki so bili prikazani na številnih festivalih, v kinematografih in galerijah ter na televizijskih ekranih po vsem svetu, so bili nagrajeni s številnimi nagradami. Bush je sodeloval kot predavatelj, organizator delavnic in tutor pri številnih umetniških in filmskih izobraževalnih ustanovah, kot so Goldsmiths, Nacionalna fakulteta za film in televizijo univerze v Luzernu, Centro Sperimentali di Cinematografia, Royal College of Art ter Harvard. Njegovo predstavitev organiziramo v sodelovanju s festivalom Animateka in Akademijo umetnosti Univerze v Novi Gorici.

experimental stop frame animation. For his numerous short and medium length films, he has won many awards. His films have been shown in festivals, cinemas, galleries and on television all around the world. Bush has lectured, run workshops and tutored at numerous art and film courses including Goldsmiths, National Film and Television School, Luzern University, Centro Sperimentali di Cinematografia, Royal College of Art and Harvard. His guest appearance was organized in collaboration with the Animateka Festival and the University of Nova Gorica School of Arts.

Miha Colner je umetnostni

Miha Colner is an art historian who

zgodovinar, čigar ekspertna področja so fotografija, gibljiva slika in različne oblike (novo)medijske umetnosti. V obdobju 2006–2016 je deloval kot kurator in programski koordinator pri Photonu – Centru za sodobno fotografijo iz Ljubljane. Od leta 2005 deluje kot neodvisni pisec in publicist, ki redno objavlja v časopisih, strokovnih revijah in publikacijah ter na lastnem blogu. Od leta 2013 je predavatelj na Akademiji umetnosti Univerze v Novi Gorici. Živi in deluje v Ljubljani. http://mihacolner.com

works as a curator, publicist, editor and lecturer specializing in photography, artistic motion picture and other forms of media art. In the period 2006–2016 he has worked as a curator and program coordinator at Photon – Centre for Contemporary Photography, Ljubljana. Since 2005 he has been a contributor for a number of newspapers, magazines, and specialist publications as well as a lecturer at the University of Nova Gorica School of Arts. He lives and works in Ljubljana, Slovenia.

Nemanja Ćađo currently lives and

Nemanja Ćađo trenutno živi in

del v Prijedoru (Bosna in Hercegovina). Od leta 2012 je vodja prijedorske skupine vizualnih umetnikov Tač.ka ter projektni vodja umetniškega rezidenčnega programa Laboratorij umetnosti in narave Ars Kozara.

works in Prijedor (Bosnia and Herzegovina). He has been the director of the Tač.ka visual artists’ collective from Prijedor since 2012 and project coordinator of the artist-in-residence program Ars Kozara Art and Nature Laboratory.

Antonio Della Marina is an Italian

Antonio Della Marina je

umetnik zvoka iz Italije. Pri svojem delu uporablja matematične abstrakcije in improvizirane zvočne generatorje, s katerimi oblikuje svoje skladbe in jih nato predstavi v obliki sonoričnih skulptur. V sodelovanju z Alessandro Zucchi že mnoga leta ustvarja umetniška okolja iz zvoka in svetlobe, ki popolnoma preplavijo obiskovalce.

sound artist. He uses mathematical abstractions and custom-built sound generators to shape his compositions, which are offered in the form of sonorous sound sculptures. For many years, he has collaborated with Alessandra Zucchi to shape artistic environments made of sound and light into which the audience is fully immersed.

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Iztok Drabik Jug je leta 2011

Iztok Drabik Jug began studying

začel s študijem igre na AGRFT pod mentorstvom Kristijana Mucka in Sebastijana Horvata, kjer je trenutno vpisan v dodatno leto. Že pred začetkom študija je sodeloval pri šestindvajsetih predstavah ljubiteljskega gledališča. Ob študiju je v zadnjem letu nastopil v treh predstavah, med drugim z Andrejem Rozmanom Roza in Tjašo Črnigoj. Vzporedno z igro se ukvarja tudi z glasbo, in sicer kot samouk. V svojem domačem studiu ustvarja glasbo za različne gledališke, plesne in modne predstave ter filme.

theater at the Academy of Theater, Radio, Film and Television of University of Ljubljana under the mentorship of Kristijan Muck, where he is currently enrolled in an extra study year. Before he began his studies, he was involved in twenty-six amateur theater shows. While studying, he has been featured in three plays over the past year, including plays with Andrej Rozman - Roza and Tjaša Črnigoj. He is also a self-taught musician, writing music for theater, dance performances, fashion shows and films in his home studio.

Sabina Đogić is a film director, direc-

Sabina Đogić je filmska

režiserka, direktorica fotografije in producentka. Študirala je filozofijo in sociologijo kulture (v Ljubljani), filmsko kamero (v Buenos Airesu) in ustvarjalni dokumentarni film (v Barceloni). Sodelovala je pri številnih kratkih in celovečernih igranih filmih ter umetniških projektih. Od leta 2015 razvija spletni projekt z naslovom 14songs (14pesmi), ki bo v živo premierno predstavljen na festivalu Pixxepoint, s podnaslovom Molitev za izgubljene pesmi.

tor of photography and producer. She studied philosophy and sociology of culture (in Ljubljana), film camera (in Buenos Aires) and creative documentary film (in Barcelona). She was featured as a contributor in many short and feature-length films and art projects. Since 2015, she has been working on the online project 14songs, which will premiere at Pixxelpoint under the title Prayer for Lost Songs.

Elena Fajt works in textiles and cloth-

Elena Fajt deluje na področju

oblikovanja tekstilij in oblačil, vizualne umetnosti in kostumografije. Za seboj ima številne samostojne in skupinske

ing design, visual art and costumography. She has exhibited her works at a number of independent and group

razstave doma in v tujini, umetniške rezidence ter predstavitve na mednarodnih festivalih. Za svoje delo je prejela nagrade in priznanja, med drugim tudi za projekt shirting..., katerega pobudnica je. Kot izredna profesorica je zaposlena na Naravoslovnotehniški fakulteti Univerze v Ljubljani.

exhibits both at home and abroad, attended artistic residencies and contributed her works at international festivals. She has received a number of awards and commendations, most notably the shirting... project, of which she is the initiator. She is employed as an associate professor at the University of Ljubljana, Faculty of Natural Sciences and Engineering.

35 43

Slavko Glamočanin started his

Slavko Glamočanin je

začel v računalniški demosceni, kjer je bil aktiven kot glasbenik. Soustanovil je festival Abort ter koproduciral prvo slovensko breakbeat kompilacijo Monkorama. Nadaljeval je s programiranjem in raziskovanjem multimedije in za ta namen ustvaril multimedijsko platformo naprava (http://www.naprava.net/). Po VJ-janju je nadaljeval z interaktivnimi projekti, zajemom gibanja ter openGL 3D vizualizacijo. Pogosto sodeluje z umetniki (Šebjanič, Zajec, Bricelj).

artistic career as a musician in the computer demo scene. He co-founded the Abort festival and co-produced the first Slovenian breakbeat compilation Monkorama. He continued his work in computer coding and multimedia research, for which he created the ‘naprava’ multimedia platform (http://www.naprava. net). After working as a VJ, he took on some interactive projects, motioncapture and openGL 3D visualisations. He frequently collaborates with artists (Šebjanič, Zajec, Bricelj).

Anja Golob is a poet, publicist and

Anja Golob je pesnica, publicistka in urednica pri neodvisni založbi VigeVageKnjige, ki je specializirana za izdajo slovenskih prevodov kvalitetnih risoromanov. Občasno prevaja iz angleščine in nemščine in kot dramaturginja sodeluje pri raznih produkcijah sodobno-umetniških praks. Doslej je izdala tri pesniške zbirke: V roki (Litera, Maribor, 2010), Vesa v zgibi (Mladinska

editor at the independent publisher VigeVageKnjige, which specializes in publishing Slovenian translations of high-quality graphic novels. From time to time she translates texts from English and German, and works as a dramaturg in various productions of contemporary artistic practices. She has published three collections of

97 knjiga, Ljubljana, 2013) in Didaskalije k dihanju (samozaložba, Ljubljana, 2016). Druga in tretja knjiga sta bili nagrajeni z Jenkovo nagrado (2014, 2016). Živi med Ljubljano in Brusljem. www.anjagolob.org

poems: V roki (Litera, Maribor, 2010), Vesa v zgibi (Mladinska knjiga, Ljubljana, 2013) and Didaskalije k dihanju (self-published, Ljubljana, 2016). Her second and third books both won the Jenko Award (2014, 2016). She lives between Ljubljana and Brussels. www.anjagolob.org

Rawan Hourani (Ramallah, Pales-

Rawan Hourani (Ramala,

Palestina) obiskuje magistrski študij Medijskih umetnosti in praks na Akademiji umetnosti Univerze v Novi Gorici (scenografija 2016–2018), leta 2014 je diplomiral iz oblikovanja interierjev na Univerzi v Petri. Sodeloval je na festivalih, kot so Kino Otok – Izola / 2016 (scenografija) in Speculum Artium – Trbovlje / 2016 (novi mediji) ter na drugih delavnicah, kot je BoB-Balancing on Border / Iskanje ravnovesja na meji 2014–2015 v okviru UNG AU (sodobne umetniške prakse).

tine) a Master’s degree student at the Nova Gorica University School of Arts, studying Media Arts and Practices (scenography 2016–2018), he graduated from the Petra University as an interior designer in 2014 and is a former dancer (2003–2014). He also participated in festivals such as Kino Otok – Izola / 2016 (scenography) and Speculum Artium – Trbovlje / 2016 (new media) and other workshops as BoB-Balancing on Border 2014–2015 v okviru UNG Scool of Arts (Contemporary Art Practices).

37 39 Jasna Hribernik je

Jasna Hribernik graduated in film

univerzitetna diplomirana filmska režiserka. Od leta 1985 deluje kot samostojna filmska režiserka in ustvarjalka video filmov, video instalacij in drugih večmedijskih del. Je tudi uspešna ustvarjalka dokumentarnih filmov, za katere je bila večkrat nagrajena. Pogosto je tudi sama snemalka in montažerka. Z Akademiji umetnosti Univerze v Novi Gorici sodeluje od leta

directing at the University of Ljubljana’s Academy of Theater, Radio, Film and Television. Since 1985 she has been working as an independent film director and video artist, creating video installations and other multimedia works. She is also an accomplished creator of documentaries, having received several awards for her work. She often records and edits her video productions herself.

2012 kot izredna profesorica na magistrskem študijskem programu pri predmetu Prostor in čas v gibljivih slikah.

She has been working as an associate professor in the graduate program at the University of Nova Gorica School of Arts, lecturing subject Space and Time in Moving Images.

Tea Hvala piše. V svojih esejih, zgodbah in radijskih prispevkih s feministične perspektive obravnava manjšinske javnosti ter aktivistična in umetniška prizadevanja za njihovo vidnost. Zgodovinski spomin na pretekle boje za splošno pripoznanje specifičnih zahtev in estetik povezuje s sodobnimi boji (tudi) v jeziku znanstvene fantastike, ki daje slutiti vse tisto, česar še ni, a bi lahko bilo – in mogoče bo. Blog: http://prepih.blogspot.com

Tea Hvala is a writer. Her essays,

Lucija Jankovec is a master’s stu-

Lucija Jankovec je študentka

magistrskega študija Oblikovanja tekstilij in oblačil na Naravoslovnotehniški fakulteti Univerze v Ljubljani. Tekom študija je sodelovala na mnogih študijskih in obštudijskih modnih revijah in razstavah. Je dobitnica številnih študentskih nagrad, med drugimi tudi Prešernove nagrade za diplomsko delo ter priznanje za najboljšo študentko. Sedaj aktivno sodeluje in soustvarja projekt shirting… in nabira izkušnje na področjih kostumografije in stilizma.

stories and radio broadcasts address minority publics and their activist and artistic struggles for visibility. She relates the historical memory of past struggles for universal recognition of particular demands and aesthetics to current struggles (also) in the language of science fiction, which anticipates what hasn’t yet happened – but just might one day. Blog: http://prepih.blogspot.com

dent of textile and clothing design at the Faculty of Natural Sciences and Engineering of University of Ljubljana. In the course of her stAudies she has contributed to a number of curricular and extracurricular fashion shows and exhibitions. She has won a number of student awards, including the Prešeren award for her diploma paper and the best student award. She is currently actively participating in, and co-creating the shirting... project, getting experience in the field of costumography and style.

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Neja Kaligaro se je po diplomi

Neja Kaligaro - After graduating from

na Akademiji za likovno umetnost in oblikovanje Univerze v Ljubljani, smer industrijsko oblikovanje, vpisala v magistrski študij Oblikovanja tekstilij in oblačil na Naravoslovnotehniški fakulteti Univerze v Ljubljani. Njeno delovanje je razpeto med področji modnega, industrijskega, grafičnega oblikovanja in ilustracije. Sodeluje in soustvarja projekt shirting…

industrial design at the Academy of Fine Arts and Design of University of Ljubljana, she enrolled in a master’s program of textile and clothing design at the Faculty of Natural Sciences and Engineering of University of Ljubljana. Her work traverses the fields of fashion design, industrial design, graphic design and illustration. She is actively participating in, and co-creating the shirting... project.

Gal Kirn completed his PhD in politi-

Gal Kirn je zaključil doktorski

študij politične filozofije na Univerzi v Novi Gorici (2012) in je trenutno raziskovalec na postdoktorskem študiju na univerzi Humboldt v Berlinu. Je avtor knjige Partizanski prelomi in tržna protislovja v socialistični Jugoslaviji (2015, Sophija), uredil pa je tudi niz objav na temo jugoslovanskega filma, neoliberalnih transformacij in post-Fordizma.

cal philosophy at the University of Nova Gorica (2012) and is currently a postdoctoral fellow at the Humboldt University in Berlin. He authored the book Partizanski prelomi in tržna protislovja v socialistični Jugoslaviji (2015, Sophija), and edited a series of publications on the topics of Yugoslav film, neoliberal transformations and post-Fordism.

Dejan Krajnik is primarily a cre-

Dejan Krajnik je v prvi vrsti

kreativec. Njegov opus vključuje projekte različnih smeri umetniškega izražanja, med katerimi je oblikovanje tekstila in oblačil njegova prioriteta. Po zaključku študija oblikovanja na Naravoslovnotehniški fakulteti Univerze v Ljubljani je izkušnje nabiral v tujini. Od svoje vrnitve domov aktivno soustvarja projekt shirting... in deluje kot svobodni oblikovalec.

ative artist. His body of work includes projects from various directions of artistic expression, with particular focus on textile and clothing design. After graduating from the Faculty of Natural Sciences and Engineering of University of Ljubljana, he sought to expand his experience abroad. Since his return home, he has been actively collaborating on the shirting... project, working as an independent designer.

Gaja Kutnjak je zaključila študij

Gaja Kutnjak graduated from Digital

Digitalnih umetnosti in praks na Akademiji umetnosti Univerze v Novi Gorici. Leta 2013 je s kratkim dokumentarnim filmom nastopila tudi na Festivalu slovenskega filma. Leta 2014 se je odpravila v Berlin, kjer je opravljala prakso kot fotografinja in se leto kasneje tudi odločila za magistrski študij s področja režije filma na Univerzi West London. Študij je končala v Berlinu, kjer še vedno deluje na področju fotografije in filma.

Arts and Practices at the University of Nova Gorica School of Arts. In 2013, her short documentary was featured at the Slovenian Film Festival. In 2014 she relocated to Berlin, where she worked as a photographer and one year later she decided to pursue a master’s degree in film direction at the West London University. She completed her studies in Berlin, where she still works in photography and film.

Tanja Lažetić ustvarja na področjih fotografije, videa, instalacij, performansa in umetniške knjige. Za svoje delo je prejela mednarodne nagrade iz zelo raznovrstnih umetniških področij (Trieste Contemporanea, Mednarodni keramični trienale UNICUM, festival Nanjing na Kitajskem in nominacija na International Media/ Art Award v ZKM, Karlsruhe). Njeno umetniško delo je bilo med drugim mogoče videti v Ljubljani, Berlinu, Madridu, Münchnu, Prištini, Zagrebu, Beogradu, Brightonu, Parizu in New Yorku. www.lazetic.si

Tanja Lažetić is active in the fields

Denis Mavrič graduated from the

Denis Mavrič je diplomantka

likovne akademije v Benetkah. Deluje na področjih sodobnih umetniških praks in novih medijev kot tudi na področju kreativnih industrij, konceptualizaciji razstavnih prostorov in sceno-

of photography, video, installation, performance art and art books. She has won a number of international awards for her works, from very diverse artistic venues (Trieste Contemporanea, UNICUM international ceramics biennial, Nanjing Festival in China, and was nominated for the International Media/ Art Award at ZKM, Karlsruhe). Among other venues, her works were shown in Ljubljana, Berlin, Madrid, München, Pristina, Zagreb, Belgrade, Brighton, Paris and New York. www.lazetic.si

Venice Academy of Fine Arts. She works in the field of contemporary art practices and new media, as well as creative industries, conceptualization of exhibition venues and event

101 grafij dogodkov. V času magistrskega študija na Akademiji umetnosti Univerze v Novi Gorici raziskuje na področju interaktivnih tehnologij v instalacijah, ambientu in muzejih.

scenography. During her master’s studies at the University of Nova Gorica School of Arts, she has been researching interactive technologies in installations, ambient and museums.

Anja Medved je diplomirala iz gledališke in radijske režije na AGRFT Univerze v Ljubljani. Je avtorica gledaliških in AV projektov ter dokumentarnih filmov, v katerih raziskuje relacije med osebnim in kolektivnim spominom ter presprašuje protislovja, ki jih odpira življenje na meji. V okviru organizacije Kinoatelje je zasnovala večletni projekt javnega zbiranja spomina na nekdanjem mejnem prehodu med Novo Gorico in Gorico. Je soustanoviteljica Zavoda Kinokašča, ki deluje na področju ohranjanja spominske dediščine in avdiovizualne produkcije.

Anja Medved graduated from the-

Toni Meštrović works predomi-

Toni Meštrović ustvarja

pretežno video in zvočne instalacije, s poudarkom na kulturni dediščini, mediteranski identiteti ter tranzicijskem obdobju na Hrvaškem. Diplomiral je na Akademiji za medijske umetnosti v Kölnu (2004) in trenutno poučuje na splitski Akademiji umetnosti. V sodelovanju z umetnico Nadijo Mustapić soustvarja multimedijske projekte velikega formata, ki dokumen-

ater and radio directing at the University of Ljubljana’s Academy of Theater, Radio, Film and Television. Her works include theater, AV projects and documentary films, studying relationships between the personal and collective memories, as well as examining the inherent controversies of living on the state border. As part of the Kinoatelje organization, she conceived a multiyear project encouraging the public to contribute their memories at the former border checkpoint connecting Nova Gorica and Gorica. She is cofounder of the Zavod Kinokašča, which deals with collecting memories and audiovisual production.

nantly in video and sound installations, addressing themes of cultural heritage, Mediterranean identity and the Croatian period of transition. He graduated from the Academy of Media Arts, Cologne (2004) and teaches at the Academy of Arts of the University in Split. He collaborates with Nadija Mustapić on large-scale multimedia projects which capture social issues

tirajo družbena vprašanja in kategorijo dokumentarnosti širijo, tako da nastanejo prostorska in poetična izkustva, ki prevzamejo gledalca. www.macaknara.hr

and expand categories of documentarism into spatial and poetic immersive experiences. www.macaknara.hr

Moreno Miorelli je pesnik in umetnik ter z Donatello Ruttar tudi ustanovitelj in gonilna sila Postaje Topolove / Stazione di Topolò, ki je letos praznovala že svojo 24. izdajo. Postaja se dogaja v vasi Topolove, v občini Grimmaco, v Benečiji, na italijanskoslovenski meji. Moreno in Postaja sta vplivala na številne umetnike z vsega sveta, ki so izkušnjo ponesli s seboj in mnogi na različnih koncih sveta ustanovili svoje male Postaje.

Moreno Miorelli is a poet, artist

Nadija Mustapić works in video/

Nadija Mustapić je video-/ filmska ustvarjalka. Njene video instalacije raziskujejo večdimenzionalnost prostora, njegovo reprezentativnost, subjektivnost, podvrženost razmeram, politično realnost. Diplomirala je na Univerzi v Iowi (MFA, 2005) in predava na Akademiji uporabnih umetnosti v Rijeki. V sodelovanju z umetnikom Tonijem Meštrovićem soustvarja multimedijske projekte velikega formata, ki dokumentirajo družbena vprašanja in kategorijo dokumentarnosti širijo, tako da nastanejo prostorska in poetična izkustva, ki prevzamejo gledalca. www.nadijamustapic.com

and co-founder of the Topolò Station (together with Donatella Ruttar), which recently celebrated its 24th anniversary. The Station takes place in the Topolo village, in the Grimmaco municipality of the Veneto region, on the border between Italy and Slovenia. Moreno and the Station have influenced numerous artists around the world, who took their experience with them and founded their own little Stations across the world.

film. Her video installations explore multidimensional relations of space, its representation, subjectivity, contingency, political reality. She graduated at the University of Iowa (MFA, 2005) and teaches at the Academy of Applied Arts of University of Rijeka. She collaborates with Toni Meštrović on large-scale multimedia projects which capture social issues and expand categories of documentarism into spatial and poetic immersive experiences. www.nadijamustapic.com

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Andreea Oarga-Mulec je

Andreea Oarga-Mulec is a re-

raziskovalka na področju okoljske znanosti v Laboratoriju za raziskave v okolju Univerze v Novi Gorici. Njeno delo med drugim vključuje preučevanje ekologije in življenja v podzemnih ter površinskih habitatih kakor tudi njihovo varstvo in zaščito po trajnostnih načelih s poudarkom na preprečevanju onesnaženja ter inovativnimi načini čiščenja odpadnih voda.

searcher in environmental sciences in Laboratory for Environmental Research of University of Nova Gorica. Her work includes studying and understanding the ecology and functioning of life in underground habitats and its protection as well as the protection of surface habitats through researching sustainable modalities of pollution prevention and wastewater treatment.

Janko Oven discovered theater in

Janko Oven je leta 2004 odkril

gledališče in pozabil na uspešen študij elektrotehnike. Od takrat dela kot oblikovalec luči, fotograf, zvočni mojster in tudi kot popravljalec opreme. Sodeluje z različnimi skupinami, društvi, gledališči in festivali. Od leta 2010 ima status samozaposlenega v kulturi kot oblikovalec luči.

2004 and decided to forget about his successful studies of electrical engineering. He has since worked as a lighting designer, photographer, audio master and equipment repairman. His work includes collaborations with various groups, associations, theaters and festivals. He has been working as an independent lighting designer since 2010.

Una Rebić is a multidisciplinary art

Una Rebić je multidisciplinarna

umetnica, ki raziskuje interakcije med družbenim, fizičnim, duševnim in spiritualnim svetom. V njenem ustvarjalnem opusu najdemo tako individualne kot kolaborativne projekte. Živi na Hrvaškem in v Sloveniji, deluje pa v mednarodnem prostoru.

practitioner exploring ways of interaction within the social, physical, mental and spiritual realms. Her art practice involves both independent and collaborative projects. She is based in Croatia and Slovenia and works internationally.

Pila Rusjan is a video artist work-

Pila Rusjan je videastka, ki deluje na področjih likovnih, uprizoritvenih, avdiovizuelnih ter intermedijskih

ing in sculpture, performance, audiovisual art and intermedia art. She has

umetnosti. Razstavlja v Sloveniji in tujini, umetniške rezidence vključujejo Brazilijo, Tajvan in Kirgizijo, nominirana je bila za nagradi ESSL in OHO. Poleg svojih avtorskih projektov pogosto dela v gledališču kot avtorica videoscenografij in filma, je avtorica ulične galerije VideoZid v Ljubljani. Je tudi absolventka magistrskega programa na Akademiji umetnosti UNG.

Rene Rusjan je leta 1987 diplo-

presented her work in Slovenia and internationally, her artistic residencies include Brazil, Taiwan and Kyrgyzstan, and has been nominated for the ESSL and OHO awards. In addition to her independent projects, she works in theater as a video scenography and film artist. She also authored the VideoZid street gallery in Ljubljana. She is currently finishing her master’s degree at the University of Nova Gorica School of Arts.

Rene Rusjan graduated in sculpture

mirala na kiparskem oddelku Akademije za likovno umetnost in oblikovanje Univerze v Ljubljani; samostojna umetnica do 2009; soustanoviteljica KD Galerija GT (1988); soustanoviteljica in programska vodja Šole uporabnih umetnosti Famul Stuart (1994) ter soustvarjalka naslednice, Visoke šole za umetnost (2009), sedaj Akademije umetnosti (2016), Univerze v Novi Gorici in njenih programov, kjer je od 2009 zaposlena kot direktorica programa in profesorica sodobnih umetniških praks. Umetnost raziskuje skozi prizmo njene vloge v naših življenjih.

from the Academy of Fine Arts and Design of University of Ljubljana in 1987; she worked as an independent artist until 2009; she co-founded the KD Galerija GT (1988); she co-founded and served as program director of the Famul Stuart School of Applied Arts (1994) and contributed to the establishment of its successor, the School of Arts (2009), now the Akademija umetnosti (2016) of the University of Nova Gorica, and its study programs, where she has been employed as program director and a professor of contemporary art practices. She explores art by focusing on the role it plays in our lives.

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Donatella Ruttar is an architect. She

Donatella Ruttar je arhi-

tektka, ki od leta 1994, skupaj z Morenom Miorellijem, vodi Postajo Topolove / Stazione di Topolò. To je kraj srečevanj na italijansko-slovenski meji, kjer umet-

has been working on the Topolò Station in collaboration with Moreno Miorelli since 1994. The Topolò Station is a meeting place located on the Italian-

105 niki, ki prihajajo iz vseh koncev sveta, skupaj z domačini in občinstvom, še vedno iščejo arhaično in novo izkušnjo. Leta 2003 je zasnovala, načrtovala in koordinirala nastanek raziskovalnega centra SMO – Slovensko multimedialno okno, ki so ga v Špetru v Benečiji uredili v okviru evropskega projekta Jezik/ Lingua.

Slovenian border, where artists from all over the world travel and explore the archaic and seek new experiences together with the locals. In 2003, she conceptualized, planned and coordinated the founding of the research center SMO – Landscape and Narrative Museum, created in the Veneto town of Udine as part of the Jezik/Lingua project.

Robertina Šebjanič je inter-

Robertina Šebjanič is an interme-

medijska umetnica. V svojih delih umetnost prepleta z znanostjo in tehnologijo. Zadnja leta raziskuje predvsem žive sisteme, svoje umetniškoraziskovalne procese pa običajno izoblikuje v avdio-vizualne performanse, zvočna dela in kompleksne potopitvene postavitve / instalacije. http://robertina.net/

dia artist whose works address the relationships between art, science and technology. In recent years, she has been focusing in particular on living systems. Her artistic exploratory processes result in audiovisual performances and sound art, as well as complex submersible configurations / installations. http://robertina.net/

Nina Šorak, rojena v Ljubljani, je

Nina Šorak, born in Ljubljana, gradu-

diplomirala iz filozofije na Filozofski fakulteti UL in dramaturgije na AGRFT UL. Zdaj se ukvarja predvsem z gledališčem kot dramaturginja in režiserka, piše članke za gledališke liste in moderira pogovore.

ated from philosophy at the Faculty of Arts of University of Ljubljana, and dramaturgy at the Academy of Theater, Radio, Film and Television of UL. She now works mainly in theater, as a dramaturg and director, writing playbills and facilitating round-table discussions.

Marinka Štern is an actor who per-

Marinka Štern je igralka, ki je igrala v številnih gledališčih in neodvisnih skupinah. Bila je zaposlena v Slovenskem mladinskem gledališču v

formed in numerous theaters and independent groups across the world over the course of her career. She was em-

Ljubljani, kjer je ustvarila okoli osemdeset vlog.

ployed in Ljubljana’s Slovenian Youth Theater (SMG), where she breathed life into almost eighty characters.

Niloufar Tajeri poučuje na oddelku za arhitekturo inštituta za arhitekturo, umetnost in teorijo (EKUT) na inštitutu za tehnologijo v Karlsruhe, kjer trenutno piše doktorsko disertacijo. Bila je urednica knjige Small Interventions (2016, De Gruyter).

Niloufar Tajeri teaches at the

Widad Tamimi was born in Milan,

Widad Tamimi se je rodila v

department of Architectural Design, Institute of Architectural Design, Art and Theory (EKUT) at the Karlsruhe Institute of Technology, Germany, where she is currently working on her dissertation. She edited a book Small Interventions (2016, De Gruyter).

Milanu, kjer je tudi odraščala, počitnice pa je preživljala pri babici v Jordaniji. Prihaja iz multikulturne družine. Diplomirala je iz mednarodnih odnosov, nakar še iz prava. Nekaj časa je delala kot pravna asistentka enega od italijanskih senatorjev. Napisala je dva romana: nagrajeni prvenec z naslovom Il caffè delle donne (2014) in Le rose del vento (2016). Od leta 2014 dela z begunci. Z družino živi v Ljubljani.

where she grew up, and she would spend her holidays at her grandmother in Jordan. She comes from a multicultural family. She is a university graduate in international relations and law. For a time, she worked as a legal assistant to one of Italy’s senators. She has written two novels, the award-winning Il caffè delle donne (2014) and Le rose del vento (2016). She has been working with refugees since 2014. She currently lives in Ljubljana with her family.

Helene Thümmel studied architec-

Helene Thümmel je študirala

arhitekturo na TU v avstrijskem Gradcu. Leta 2015 je vpisala študij Medijskih umetnosti in praks na Akademiji umetnosti Univerze v Novi Gorici. Kot umetnica ustvarja tako z analognimi kot digitalnimi mediji, navdih pa črpa v znanosti, logistiki in sistemih. Trudi se organizirati in razumeti široke

ture at TU Graz, Austria. Since 2015 she studies Media Arts and Practices at the University of Nova Gorica School of Arts in Slovenia. As an artist, she ranges between analogue and digital media. Inspired by science, logistics and systems, she tries to arrange and understand wide connections, dealing with

107 povezave, pri svojem delu pa raziskuje pojme časa, razdalje, prostora in meja v družbenopolitičnem kontekstu. Thümmel je svoja dela ustvarjala in jih razstavljala v Avstriji, Belgiji, Hrvaški, Nemčiji in Sloveniji. thuem.tumblr.com

the terms of time, distance, space and borders in social and political contexts. Thümmel has worked and exhibited in Austria, Belgium, Croatia, Germany and Slovenia. thuem.tumblr.com

Petra Varl je vizualna umetnica, ki deluje na področju risbe, grafike, slikarstva, ilustracije in prostorskih postavitev. Svoja dela je predstavila na samostojnih in skupinskih razstavah, na Bienalu Sao Paolo, v Muzeju Mudzarnok v Budimpešti, Muzeju moderne umetnosti na Dunaje, v Narodni galeriji Zaceta v Varšavi idr. Leta 2015 je njeno umetniško knjigo Risbe odkupil Metropolitanski muzej v New Yorku. Na Oddelku za likovno umetnost Pedagoške fakultete Univerze v Mariboru poučuje risbo in grafiko. Živi in dela v Ljubljani.

Petra Varl is a visual artist working

Vid Vanja Vodušek graduated from

Vid Vanja Vodušek je diplomiral na področju socialne psihologije in trenutno zaključuje z doktorskim študijem na področju fenomenološke psihiatrije. Zaposlen je na Psihiatrični kliniki Ljubljana, kjer diagnostično, terapevtsko in izobraževalno deluje predvsem na področjih avtizma, demence in psihoz. Najraje dela v skupinah in je v postopku dolgoletne specializacije iz skupinske analize. Organizira in izvaja predavanja, okrogle mize in diskusijske

with pencil, graphic art, painting, illustrations and instalations. Her works have been presented at independent and group exhibitions at the Sao Paolo Biennial, Budapest’s Mudzarnok Museum, Vienna’s Museum of Modern Art, Warsaw’s Zaceta National Gallery etc. Her art book Drawings was purchased by the NYC Metropolitan Museum in 2015. She teaches drawing and graphic art at the Fine Arts Department of the University of Maribor’s Faculty of Education. She lives and works in Ljubljana.

social psychology and is currently finishing his doctoral studies in phenomenological psychiatry. He is employed at the Ljubljana Psychiatric Clinic, where he works mainly in diagnostics, therapy and education in the fields of autism, dementia and psychosis. He prefers working in groups and is currently pursuing a long-term medical specialization in group analysis. He organizes and gives lectures, round-table discussions

skupine za strokovno in laično javnost (glede slednje najbolj prepoznaven v okviru Tedna možganov pod okriljem Slovenskega društva za nevroznanost Sinapsa).

and discussion groups for professionals and general audiences (he is most popularly known as a contributor in the Brain Week organized by the Slovenian neuro-science association Sinapsa.

Aleksander Vujović je pri predstavi Kje sem ostala scenograf, diplomiral je na ljubljanski Fakulteti za arhitekturo, kjer deluje kot asistent. Ob tem tudi projektira, se ukvarja s scenografijo in fotografijo ter občasno komentira prostor okoli sebe.

Aleksander Vujović is the scenogra-

Ruobing Wang je umetnica, kustosinja in raziskovalka. Je nekdanja kustosinja v Singapurski nacionalni galeriji, ki trenutno predava na singapurskem umetniškem kolidžu LASALLE. Pri svojem delu se osredinja na identiteto, hibridnost in transkulturni dialog, pri tem pa poseben poudarek posveča sodobni umetnosti Kitajske in jugovzhodne Azije. Pri svojem ustvarjalnem delu pogosto uporablja vsakdanje predmete/podobe in problematizira razumevanje in komentiranje procesa pridobivanja znanja.

Ruobing Wang is an artist, a curator

Valérie Wolf Gang graduated from

Valérie Wolf Gang je diplomi-

rala na Visoki šoli za umetnost (sedaj Akademija umetnosti) Univerze v Novi Gorici ter prav tam nadaljevala študij na magistrskem programu Medijske

pher in the play Where was I. He graduated from the Faculty of Architecture of University of Ljubljana, where he works as a teacher’s assistant. His other projects include architecture, scenography and photography, and he occasionally writes commentaries about his environment.

and a researcher. Previously a curator at National Gallery Singapore, she is currently a lecturer at the LASALLE College of the Arts, Singapore. Her research concentrates on the identity, hybridity, and transcultural discourses with a special focus on contemporary art in China and Southeast Asia. She often uses everyday objects/images in her art practices to challenge the ways of observing and commenting on the process of knowledge acquisition.

the University of Nova Gorica School of Arts and continued by enrolling in the master’s course in Media Arts and Practices, specializing in video and con-

109 umetnosti in prakse s specializacijo iz video filma in sodobne umetnosti. Svoje teoretično in praktično znanje je izpopolnjevala tudi na filmski akademiji FAMU v Pragi in akademiji ESAD na Portugalskem. Dejavno je vključena v različna področja sodobne umetnosti in produkcije, video in filmske projekte, mednarodne razstavne selekcije ter umetniške rezidence.

temporary art at the same School. She improved her theoretical and practical knowledge at the FAMU film academy in Prague and the ESAD academy in Portugal. She is actively involved in different forms of art productions, video and film projects, international exhibition selections and artistic residencies.

Alessandra Zucchi, architect and

Alessandra Zucchi, arhi-

tektka in medijska umetnica, preiskuje razmerje med prostorsko in čutno zaznavo, eksperimentira z neobičajnimi materiali in ustvarja nepričakovane kombinacije s prepletanjem svetlobe in prostora. V sodelovanju z Antoniom Della Marino že mnoga leta ustvarja umetniška okolja iz zvoka in svetlobe, ki popolnoma preplavijo obiskovalce.

media artist, explores the relation between space and sensorial perception, experimenting with unusual materials and interweaving light and space into unexpected combinations. For many years, she has collaborated with Antonio Della Marina to artistic environments made of sound and light into which the audience is fully immersed.

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AKADEMIJA UMETNOSTI UNIVERZE V NOVI GORICI in PIXXELPOINT 2016 SCHOOL OF ARTS OF UNIVERSITY OF NOVA GORICA and PIXXELPOINT 2016

Delavnice na temo Mi v študijskem letu 2016/17 Workshops on the topic of We in the academic year 2016/17 Prva podaja / Kick Off: mentor Metod Blejec Istost časa / Sameness of Time: gostujoča umetnika / guest artists Nadija Mustapić, Toni Meštrović Fotografska delavnica Shirting / Shirting photo workshop: Ekipa shirting in mentor / shirting team and mentor Miha Godec 14pesmi – Molitev za izgubljene pesmi / 14songs – A Prayer for Lost Songs: gostujoča umetnica / guest artist Sabina Đogić Delavnica animiranega filma / Animated film workshop: mentor Timon Leder Promo film – prostori umetnosti, prostori znanosti / Promo film – Spaces of Art, Spaces of Science: mentorica / mentor Jasna Hribernik Senescence: Vizija prihodnosti v antropoceni dobi / Senescence: Future Vision of Anthropocene: mentorica / mentor Robertina Šebjanič, predavanje / lecture Miha Colner Masterklas animiranega filma v sodelovanju s festivalom Animateka / Animated film masterclass with Animateka festival: mentor Paul Bush Začetna delavnica animiranega filma / Basic animated film workshop: mentor Rastko Ćirić Fotografija in video kot dokument / Photography and video as document: mentorica / mentor Tina Smrekar Virtualna umestitev kampusa UNG v mesto, arhitekturna delavnica / UNG campus virtual placement in the city, architecture workshop: mentorja / mentors Metka Pretnar, Jan Simončič Mi? Skupinsko pisanje znanstvene fantastike / We? Collaborative science fiction writing: mentorica / mentor Tea Hvala Hodi Mesto, raziskave urbane krajine / Walk the City, Urban landscape research: Cona (Irena Pivka & Brane Zorman) Doku-drama, filmska delavnica / Docu-fiction film workshop: mentor Želimir Žilnik

Udeleženi študentje / Participating students Denis Mavrič, Tina Zadnik, Filip Bihar, Samo Bihar, Sandra Jovanovska, Rajat Sharma, Helene Thümmel, Rawan Hourani, Soham Gotswami, Robi Vučak, Asja Trost, Teotim Logar Zorn, Mery Gobec, Miha Godec, Mojca Valič, Špela Lutman, Taja Košir Popovič, Miha Oven, Marco Pelos Spagno, Inês Nunes Sampaio, Jila Svičević, Antonella D’Amico, Michela Di Noia, Žiga Dornik, Anna Loi, Sara Sedevčič, Nina Stanič, Anja Zadnik, Sandro Dokić, Nika Koležnik, Tiziano Biagi, Davor Dujmović, Elisabetta Gessi, Kaja Horvat, Federico Delami, Larisa Nagode, Tajda Pregelj, Anja Resman, Jošt Šeško, Josipa Škrapić, Žad Soklič, Blaž Štolar, Maruša Šošterič

FESTIVALSKI DOGODKI FESTIVAL EVENTS

2.–9. 12. 2016 Diskusije z avtorji in gosti / Discussions with authors and guests: Mi – Babeldom in Medtem ko Darwin spi / We – Babeldom and While Darwin Sleeps, Paul Bush: pogovor z avtorjem vodi Igor Prassel Mi – prostori umetnosti in kulture / We Excursion – Spaces of Art and Culture: pogovor vodi / moderated by Donatella Ruttar Mi – spomin za prihodnost – spomenik / We – Memory for the Future – Monument: pogovor vodi / moderated by Miha Colner Mi – spomin za prihodnost – vloga umetnika / We – Memory for the Future – Role of the Artist: pogovor vodi / moderated by Miha Colner Mi – v vesolju / We – In Space: diskusijo z umetniki in znanstveniki vodi / discussion with artists and scientists moderated by Ervin Hladnik Milharčič Mi – prostori znanosti, prostori umetnosti / We – Spaces of Science, Spaces of Art: diskusijo z umetniki in znanstveniki vodi / discussion with artists and scientists moderated by Rene Rusjan

Drugi dogodki / Other events Izmenjevanje srajc v okviru projekta shirting 08 / Shirt exchange as part of the shirting 08 project Izrezi / Cutouts: fotografski sprehod z umetnico in njenimi iz kovine izrezanimi prenosnimi risbami / photographic walk with the artist and her portable metal drawings Digitalni kamni ali Kje je Tito / Digital Stones or Where is Tito: individualni pogovori o napisih na hribih / individual discussion about hillside writings Zbiramo zelene knjige za projekt umetnice iz Singapurja / We are collecting green books for the project of a Singapore artist Energijske interakcije v prisotnosti avtorice / Energy Interactions with the author present Ekskurzija Mi – prostori umetnosti in kulture / We Excursion – Spaces of Art and Culture Ekskurzija Mi – prostori znanosti, prostori umetnosti / We Excursion – Spaces of Science, Spaces of Art Razglednice lovilca sanj / Dreamcatcher postcards: otroška delavnica z Likovno šolo v Mestni galeriji Nova Gorica in druga, z najstniki migranti in domačini / kids’ workshop with the Nova Gorica City Gallery Arts Course and a workshop with teenage migrants and locals 14pesmi – Molitev za izgubljene pesmi / 14songs – A Prayer for Lost Songs: točka za petje, snemanje, poslušanje in zbiranje pesmi / a point for singing, recording, listening and collecting of poems

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ORGANIZATOR / ORGANISER

FESTIVAL STA OMOGOČILA / THE FESTIVAL WAS MADE POSSIBLE BY

PARTNERJI / PARTNERS

SPONZORJI / SPONSORS

Kemična čistilnica Slamič Alenka www.masaze.com www.racunalnik.biz www.misteriji.si

CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 7:004.9(083.82) MEDNARODNI festival sodobnih umetniških praks (17 ; 2016 ; Nova Gorica / Gorizia) Mi / 17. mednarodni festival sodobnih umetniških praks [tudi] Pixxelpoint, 2.-9. 12. 2016, Nova Gorica/Gorica ; [ureditev kataloga Rene Rusjan, Simona Žvanut ; prevodi Tadej Raissner]. - Nova Gorica : Kulturni dom, 2016 ISBN 978-961-6783-19-4 1. Gl. stv. nasl. 2. Rusjan, Rene 287441152

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