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// C onte nts

// Cont ents

1 // INTRODUCTION INSTITUTIONS & LOCATIONS Instead of a joint editorial // 14 // Namesto skupnega uvodnika // 15 // Umjesto zajedničkog uvodnog teksta // 17 // Anstelle einer gemeinsamen Einleitung // 18 // Invece del testo introduttivo comune // 20 University of Nova Gorica School of Arts // UNG // 22 The Academy of Applied Arts at University of Rijeka // APU // 23 Graz University of Technology // TUG // 24 University of Udine // UNIUD // 25 Locations // 26–27

2 // MAP MASTERS PROGRAMME International Two-Year Master Programme in Media Arts And Practices (MAP) is Individual + International // 30 Medijske umetnosti in prakse, Univerza v Novi Gorici Visoka šola za umetnost // 40 Medijske umjetnosti i prakse, Akademija primijenjenih umjetnosti Sveučilišta u Rijeci // 41 5

3 // statements by teachers students & externals

Mobility, Cooperation And Education — Practical Experience Mobilnost, Suradnja I Edukacija U Studentskoj Edukaciji — Iskustvo Prakse // Antonio Kiselić // 73 What is MA all about for me // Iva Musović // 76

ADRIART: The Project That Made The Master’s Programme Possible // ADRIART: projekt, s katerim smo uspeli ustvariti magistrski program // Boštjan Potokar // 44

Statement by Izjava // Liberta Mišan // 77 Statement by Giulia Grotto // 78 Map Experiences // Sara Salamon // 79

Statement by Izjava // Josip Butković // 47 Statement by Izjava // Rene Rusjan // 49

Reflection / Report Reflexion / Report // Helene Thümmel // 80

What It Takes: Code! Nicht Ohne: Code! // Richard Dank // 52

Statement by Testimonianza di // Maria Sabatina Mennuti // 82

Statement by Testimonianza di // Alessandro Bordina // 55

Statement by Maximilian Conway // 83 Statement by Izjava // Nikolina Hrga // 84

Hyperhaiq _ Adriart-Congested Theory & Practice Of New Media // Peter Purg // 56

Statement by Izjava // Valerija Zabret Aka Valérie Wolf Gang // 85

Statement by Rajko Grlić // 57 Site-Specific Benčić // Lara Badurina // 58

Out Of Home / Space Experiences // Polona Zupan aka Pila Rusjan // 86

Research, Recognition And Intermedia Intervention In Topologies And Topographies Of Komiža (Vis) // Dalibor Martinis // 60

40 Million Frames Per Second! // Robert Cotton // 87 Waiting For Effects U Iščekivanju Posljedica // Davor Mišković // 90

Statements by Adrian Goycoolea & Mary Krell // 62

Statement by Izjava // Slaven Tolj // 92

Reflections On Mentoring // Nayari Castillo // 63

Arts Education And Beyond: MAP in Motion Programme as a Cultural Process // Daniela Urem // 94

Statement by Ulay // 65 Increasing Movie Temperatures // Ulay // 66

Shifting Locations, Strengthening Collaboration — Within Horizontal Forms Of Knowledge Exchange in the Adriart Project // Daniela Brasil // 95

Interview with Intervju // Janez Burger // 67 Article fragment from // New Platforms Of Art Education For Urban Reflection: The Case Of Adriart Site-Specific Workshops For European Capitals Of Culture // Lara Badurina, Peter Purg // 70


Article Fragment from // Transformative Participation: Increasing Collaboration Potentials, Value Visibility And Process Awareness In Site-Specific Blended Mobility Courses Of Adriart.Net // Peter Purg, Jernej Širok, Daniela Brasil // 71

Emil Benčić — From Experience to Infinity Emil Benčić — Od izkušenj do neskončnosti // Lavoslava Benčić // 100 Girl With A Pearl Earring Deklica z bisernim uhanom // Polona Zupan aka Pila Rusjan // 101

Impressions About the Study Vtisi o študiju // Lavoslava Benčić // 72 6


Othello — ShakEspeare in Tango // Blaž Bertoncelj // 102

Homesphere // Nina Zimmermann, Tamara Tokić, Denis Mavrić // 123

Family reunion DRUŽINSKO SREČANJE // Iva Musović // 103

Blowing The Clouds // Monika Rajkovača, Valerija Zabret Aka Valérie Wolf Gang, Lisa Horvath // 124

Kids Mulci // Urška Djukić // 104

Rijeka — Itinerant Workshop At Site Specific Locations / Ex Rikard Benčić Factory // 125

I bambini ci guardano // Liberta Mišan // 105 The Observers // Antonio Kiselić // 106 311 // Nikolina Hrga // 107

(m/t) 0 // Liberta Mišan, Dino Topolnjak // 126

Light Object // Sara Salamon // 108

Untitled // Andreja Jandrečić // 127

Scream Vrišti // Aleksandra-Ana Buković, Nina Zimmermann // 109

The Purpose Of Life // Lavoslava Benčić, Iva Musović, Dunja Danial // 128

Venice — HiLoVv // Hidden Live(r)s of Venice on Video // 110

Rijeka // Under the Flag of Displacement // 129

Venetian Connection // Modou // Maximilian Conway, Jaka Žilavec // 112

Distant Memory // Valerija Zabret aka Valérie Wolf Gang // 130

Passione // Delicate Surfaces // Iva Musović, Urša B. Potokar, Matija Bajc, Giulia Grotto // 112

A lightened ship // Michael Tasch // 131 Galeb and Jovanka // Monika Rusak // 132 Komiža — Mapping Komiža Narratives // 133

Stories of the Ghetto // Shaul | Rami // Urška Djukić, Peter Mišic, Gregor Mörth // 112

Years Ago Stories // Helene Thümmel // 134 Field Polje // Dorijan Mataija, Tijana Mihailović, Mišel Periša // 135

Ljubljana — Roglab // LÓGOS — Multitude Manifestations Of Rog // 114

I walk, you walk Hodam, hodaš // Marco Wenegger // 136

Ljubljana — Roglab // GRAB.ROG.LAND — A Monomaterialisation Of Rog // 115

Cat Mačka // Yan Zhang // 137

Second Chance — A Social Game To Aid Cultural Management / Lavoslava Benčič, Mateusz Pankiewicz, Nina Zimmermann, Peter Mišic // 116

Strong Dialect // Dominik Grdić, Andreja Jandrečič // 138 The Three Wives of Neptun // Denis Mavrič // 139

Graz — Responsive Art In Public Realm // Bix Perform // 117

5 // Impressum & CONTACTS

Life Stream // Emina Kefelja, Marleen Leitner, Mia Vučemilović // 118 Making Off: Public Space // Liberta Mišan, Michael Tasch, Sara Salomon // 120

Impressum // 141

Graz — Responsive Art in Public Realm // Forecast // 121

Contacts // 142

Float // Laura Chromecek, Liberta Mišan, Ana Sabolić // 122



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career profiling within an intensive intercultural exchange, the MAP programme encourages students to choose and combine their study experience among the areas of Intermedia, Animation, Photography, Contemporary Art Practices, Video, Film, New Media, Scenographic Spaces — and especially their intersections. Another important goal of the ADRIART project was to set up a regional network of progressive art departments at universities that proved to be an excellent foundation for creating new partnerships in a broader Southeast European space, which also included the public and the NGOs , bringing about positive institutional changes both on macro and micro levels, and across countries. More than a dozen mobility workshops, with more than a hundred participating students and mentors from around the world, and more than twenty productions, gallery and festival events, which ADRIART either instigated or was strongly contributing to in the last three years across the region, opened up new perspectives on various regionally relevant and timely topics that were treated in interdisciplinary ways, while stimulating multi-cultural academic exchange. Partner institutions — the University of Nova Gorica School of Arts; the Academy of Applied Arts at University of Rijeka; the Institute of Architecture and Media and the Institute of Contemporary Art at Graz University of Technology; the Department of History and Preservation of Cultural Heritage at University of Udine — developed this study programme around the idea of a cross-Alpe-Adria-Region dialogue and collaboration, discussing the numerous site-and-local-specificities (demographical, social, cultural, ecological, migratory etc.). In the following years the ADRIART network is to expand regionally into Hungary as well as Bosnia and Herzegovina, including new string partnerships and mobility locations in Germany and Portugal. In the times of global economic instability and the challenging transitions in the Southeast Europe, reflected in different ways within the higher education systems and their restructurings, the ADRIART-based partnership through the MAP programme continues to pursue cross-institutional and trans-national academic resourcing and creative alliances that will increase and foster professional, academic and artistic exchange in this lively network.

>> This is an Invitation, dear Reader,

Instead of a Joint Editorial >> We started ADRIART (// to educate young creative forces, artists and designers who follow and understand the various dynamics and changes occurring in contemporary art and culture as well as within the social transformations and transitions in the European and global contexts. For a student — an established artist, a start-up visionary or a university CEO — the encounter with manifold developments, sparked and steered by technology in a complex media and culture scape, calls for a problem-sensitive study programme, such that opens up possibilities for future developments and new practices, both in the traditional as well as in the emerging realms of arts and creative industries.

to freely explore this publication, defining your own ways within our shared experiences, and to ultimately enjoy the ever multi-focussed presence of ADRIART. Recording sound in Komiža, 2012

Nadija Mustapić and pETER Purg, assistant professors and MAP programme coordinators in Rijeka and Nova Gorica.

Namesto skupnega uvodnika >> Projekta ADRIART (// smo se lotili zato, da bi izobraževali mlade ustvarjalce, umetnike in oblikovalce, ki sledijo in razumejo raznoliko dinamiko v sodobni umetnosti, še posebej v okviru družbenih sprememb evropskega in globalnega konteksta. Kot uveljavljeni umetniki, vizionarji v »start-up« podjetjih

The graduate (master) study program Media Arts and Practices (MAP) was developed through the EU-funded project ADRIART, in joint efforts of the Austrian, Croatian, Italian and Slovenian art educators, with participation of notable artists and creative industries practitioners. By offering an interdisciplinary











ali kreativni direktorji so naši študenti soočeni z večplastnimi spremembami, ki jih v kompleksni medijski in kulturni krajini sproža in usmerja tehnologija. Zato potrebujejo problemsko usmerjen študijski program, ki ustvarja pogoje za razvoj in uveljavitev novih praks, tako na tradicionalnih kot tudi na nastajajočih področjih umetnosti in kreativnih industrij. Tako smo na podlagi projekta ADRIART, ki ga sofinancira Evropska unija, v partnerstvu z avstrijskimi, hrvaškimi, italijanskimi in slovenskimi visokošolskimi institucijami razvili magistrski študijski program Medijske umetnosti in prakse (MAP), v katerem sodelujejo ugledni umetniki in ustvarjalci s področja kreativnih industrij. Program MAP z interdisciplinarnim pristopom in intenzivno medkulturno izmenjavo študente spodbuja, da izberejo in združujejo svoje študijske izkušnje s področij intermedije, animacije, fotografije, sodobnih umetniških praks, videa, filma, novih medijev in scenskih prostorov ter še posebej raziskujejo presečišča med njimi. Drugi ključni cilj projekta ADRIART je bil oblikovanje regionalne mreže progresivno naravnanih oddelkov ali šol za umetnost na univerzah. Ti so se v partnerstvu izkazali za plodno jedro pri zagonu in sklepanju novih partnerstev na širšem področju jugovzhodne Evrope, pri tem pa smo želeli vključiti tudi druge javne in nevladne ustvarjalce ter doseči pozitivne institucionalne spremembe, tako na makro in mikro nivoju kot tudi na meddržavni ravni. ADRIART je bil v zadnjih treh letih širom regije pobudnik več kot ducata delavnic mobilnosti s preko stotimi sodelujočimi študenti in mentorji z vsega sveta ter več kot dvajsetih produkcijskih, galerijskih in festivalskih dogodkov, ki so odpirali nove perspektive o različnih regijsko pomembnih in aktualnih temah. Te smo vsakič obravnavali interdisciplinarno, ob tem pa spodbujali multikulturno akademsko izmenjavo. Partnerske institucije — Visoka šola za umetnost na Univerzi v Novi Gorici, Akademija uporabnih umetnosti na Univerzi na Reki, Inštitut za arhitekturo in medije in Inštitut za sodobno umetnost na Tehniški univerzi v Gradcu ter Oddelek za zgodovino in ohranjanje kulturne dediščine na Univerzi v Vidmu — smo ta študijski program oblikovale kot neke vrste diskusijo in sodelovanje v celotni regiji Alpe-Adria. Šlo je za izmenjavo mnenj in ustvarjalnih praks o mnogoštevilnih lokalnih in prostorskih posebnostih, tako demografskih, socialnih in kulturnih kot ekoloških ali migracijskih itd. V prihodnjih letih se bo ADRIART mreža regionalno razširila na Madžarsko ter v Bosno in Hercegovino, močna partnerstva in lokacije za mobilnost pa načrtujemo tudi v Nemčiji in na Portugalskem.

Research visit in Forecast workshop, Graz, 2014

V času globalne ekonomske nestabilnosti in težavne tranzicije v jugovzhodni Evropi partnerstvo na podlagi projekta ADRIART in preko študijskega programa MAP še naprej zasleduje cilj medinstitucionalnega in transnacionalnega akademskega sodelovanja ter sklepanja ustvarjalnih zavezništev, ki bodo širila in spodbujala strokovno, akademsko in umetniško izmenjavo v tej živahni mreži.

Započeli smo projekt ADRIART (// kako bismo obrazovali mlade kreativne snage, umjetnike i dizajnere koji prate i razumiju dinamiku i promjene koje se događaju u suvremenoj umjetnosti i kulturi, kao i društvene transformacije i tranzicije u europskom i globalnom kontekstu. Za jednog studenta — bilo da je riječ o priznatom umjetniku, vizionaru početniku ili članu uprave kakvog fakulteta — suočavanje s raznovrsnim razvojnim procesima koje potiče i stvara tehnologija u kompleksnim medijskim i kulturnim okvirima zahtijeva studijski program koji zna prepoznati probleme, koji otvara mogućnosti za napredak i drukčije prakse, i u tradicionalnim područjima umjetnosti i u područjima umjetnosti i kreativnih industrija koja su tek u nastajanju.

>> Dragi bralci, to je vabilo k svobodnemu raziskovanju te publikacije, opredeljevanju lastnih poti v naših skupnih izkušnjah in ne nazadnje uživanju v vedno na več stvari osredotočeni prisotnosti ADRIART.

Diplomski studijski program Medijske umjetnosti i prakse (MAP) stvoren je u okviru projekta ADRIART, koji financira Europska unija, zajedničkim naporima austrijskih, hrvatskih, talijanskih i slovenskih profesora umjetnosti, uz sudjelovanje priznatih umjetnika i stručnjaka iz prodručja kreativnih industrija. Nudeći interdisciplinaran prostor za oblikovanje karijere te intenzivnu međukulturalnu razmjenu, studijski

Nadija Mustapić in pETER Purg, docenta in koordinatorja programa MAP na Reki in v Novi Gorici




Umjesto zajedničkog uvodnog teksta >>








program Medijske umjetnosti i prakse potiče studente da odaberu i kombiniraju svoje studijsko iskustvo u sljedećim područjima: Intermedija, Animacija, Fotografija, Suvremene umjetničke prakse, Video, Film, Novi mediji i Scenografski prostori.

Künstler, einenAnfänger mit Visionen oder den Vorstandsvorsitzenden einer Universität handelt,braucht, um sich mit verschiedenen Entwicklungsprozessen, welche innerhalb des komplexen Medien- und Kulturrahmens durch Technologie bewegt werden und entstehen, auseinanderzusetzen, ein Studienprogramm, welches in der Lage ist, in traditionellen Kunstbereichen sowie in jenen Kunstbereichen, die noch im Entstehen sind, Probleme zu erkennen und Möglichkeiten zum Fortschritt und neuenPraktikenzu schaffen.

Drugi važan cilj projekta ADRIART bio je izgraditi regionalnu mrežu naprednih odsjeka sa sveučilišta koja su predstavljala izvrsne temelje za sklapanje novih partnerstava u širem prostoru jugoistočne Europe, što je uključivalo i javnost i nevladine organizacije. Izgradnja takve mreže donijela je niz pozitivnih institucionalnih promjena, i na makro i na mikro razini, diljem četiriju zemalja. Više od deset radionica mobilnosti u kojima je sudjelovalo više od stotinu studenata i mentora sa svih strana svijeta, te preko dvadeset produkcija i galerijskih i festivalskih događanja koje je ADRIART pokrenuo ili podupirao tijekom protekle tri godine, otvorilo je nove poglede na svakojake teme koje su obrađene na interdisciplinaran način, a istodobno se poticala multikulturalna akademska razmjena.

Das Programm des Masterstudiengangs Medienkunst und-praktiken(MAP) wurde im Rahmen des Projekts ADRIART, welches seitens der Europäischen Union finanziert wird, dank gemeinsamen Anstrengungen vonösterreichischen, kroatischen, italienischen und slowenischenKunstprofessoren, unter der Teilnahme vonanerkannten Künstlern und Expertenaus der Kreativwirtschaft, entwickelt. Es bietet einen interdisziplinären Raum in Hinblick auf die Gestaltung des Berufswegs sowie einen intensiven interkulturellen Austausch. Das MAPStudienprogramm regtStudentendazu an,aus den folgenden Bereichen die für ihre Studienerfahrung passenden Inhalte zu wählen und diese miteinander zu kombinieren: Intermedia, Animation, Photographie, zeitgenössischeKunstpraktiken, Video, Film, Neue Medien und szenographische Räume.

Institucije partneri — Visoka škola za umjetnost Sveučilišta u Novoj Gorici; Akademija primijenjenih umjetnosti Sveučilišta u Rijeci; Institut za arhitekturu i medije Tehnološkog sveučilišta u Grazu, te Odsjek za povijest i i čuvanje kulturne baštine Sveučilišta u Udinama — razvijale su ovaj studij na temelju ideje o dijalogu i suradnji diljem regije Alpe-Adria, s naglaskom na brojne lokalne specifičnosti (demografske, društvene, kulturalne, ekološke, migracijske itd.). U narednim godinama ADRIART-ova mreža proširit će se na Mađarsku te na Bosnu i Hercegovinu, a osnivat će se i nova partnerstva i radionice mobilnosti u Njemačkoj i Portugalu. U vremenima globalne gospodarske nestabilnosti i izazova tranzicijskih procesa u jugoistočnoj Europi, koji se na razne načine odražavaju na visokoobrazovne institucije, ADRIART-ovi partneri kroz studijski program Medijske umjetnosti i prakse nastavljaju svoj rad na razvoju transinstitucionalnih i transnacionalnih resursa te stvaraju kreativne saveze koji će ojačati i unaprijediti profesionalnu, akademsku i umjetničku razmjenu u ovoj živahnoj mreži.

Ein weitereswichtigesZiel des ProjektsADRIART war es, ein regionales Netzwerk progressiverUniversitätsabteilungen aufzubauen, wodurch eine ausgezeichnete Grundlage für die Schließung neuer Partnerschaften in einem breiten südosteuropäischen Raum geschaffen wurde, woran auch die Öffentlichkeit und Nichtregierungsorganisationen beteiligt waren. Der Aufbau eines solchen Netzwerks führte zu einer Reihe von positiven, institutionellen Änderungen, sowohl auf der Makro- als auch auf der Mikroebene,in den vier beteiligtenLändern. Mehr als zehn Mobilitätsworkshops, an welchen mehrere Hundert Studenten und Mentoren aus verschiedenen Teilen der Welt beteiligt waren, sowie über zwanzig Produktionen, Galerieveranstaltungen und Festivalevents, die ADRIART gestartet und im Laufe der vergangenen drei Jahre unterstützt hat, haben in Hinblick auf verschiedenste Themen, die auf eine interdisziplinäre Art und Weise bearbeitet wurden, zu neuen Ansichten geführt, wobei gleichzeitig der multikulturelle akademische Austausch gefördert wurde.

>> Ovo je poziv, dragi čitatelju i čitateljice, da slobodno istražite ovu publikaciju, odredite vlastiti put na temelju dijeljenja iskustava i, konačno, da uživate u ADRIART-u i njegovoj usmjerenosti na razne sadržaje.

Die Partnerinstitutionen –die Schule für Kunst der Universität Nova Gorica,die Akademie der angewandten Künste der Universität Rijeka, das Institut für Architektur und Medien der Technischen Universität Graz sowie die Abteilung für Geschichte und Erhaltung des Kulturerbes der Universität Udine –haben dieses Studium rund um die Idee des Dialogs und der Zusammenarbeit im gesamtenAlpen-Adria-Raum aufgebaut, unter besonderer Betonung von zahlreichen örtlichen Besonderheiten(demografischen, sozialen, kulturellen, ökologischen, migratorischen usw.). In den kommenden Jahren werden auch Ungarn und Bosnien und Herzegowina in das ADRIART-Netzwerk aufgenommen und es werden neue Partnerschaften und Mobilitätsworkshops in Deutschland und Portugal ins Leben gerufen. In den Zeiten der globalen Wirtschaftskrise und zahlreichen Herausforderungen, die mit den Wandlungsprozessen in Südosteuropa verbunden sind und in verschiedenen Formen die Hochschulinstitutionen beeinflussen, setzten die ADRIART-Partner durch den Studiengangder Medienkunst und -praktikenihre Arbeit an der Entwicklung der transinstitutionellen und transnationalenRessourcen fort, und schließen kreative Bündnisse, die den professionellen, akademischen und künstlerischen Austausch innerhalb dieses lebendigen Netzwerks festigen und weiter voranbringen werden.

Nadija Mustapić i pETER Purg, docenti na studijskom programu Medijske umjetnosti i prakse te koordinatori ovog programa u Rijeci i Novoj Gorici.

Anstelle einer gemeinsamen Einleitung >> Wir haben das Projekt ADRIART (// gestartet, um junge, kreative Kräfte, Künstler und Designer auszubilden, die die Dynamik und die Veränderungen in der modernen Kunst und Kultur verfolgen und verstehen und die mit den gesellschaftlichen Transformationen und Transitionen im europäischen und globalen Kontext vertraut sind. Ein Student,egal ob es sich dabei um einen schon etablierten











>> Dies ist eine Aufforderung an Sie, liebe Leser und Leserinnen,

Il programma del corso di laurea magistrale in Arti e pratiche mediatiche (MAP) è stato creato nell’ambito del progetto ADRIART, finanziato dall’Unione europea, grazie agli sforzi comuni dei professori di arte austriaci, croati, italiani e sloveni, con la partecipazione di artisti ed esperti riconosciuti del settore delle industrie creative. Offrendo uno spazio interdisciplinare per la formazione della carriera e uno scambio intensivo interculturale, la laurea magistrale in Arti e pratiche mediatiche spinge gli studenti a scegliere e a combinare la propria esperienza di studio nelle seguenti aree: Intermedia, Animazione, Fotografia, Pratiche artistiche contemporanee, Video, Film, I nuovi media, Spazi scenografici.

diese Publikation frei zu erforschen, den eigenen Weg mittels Erfahrungsaustausch zu bestimmen und die vielfältige Orientierung von ADRIART zu genießen. Nadija Mustapić und pETERPurg, Dozenten im Studiengang Medienkunst und -praktikenund Koordinatoren des MAP-Programms in Rijeka und NovaGorica.

Invece del testo introduttivo comune >> Abbiamo avviato il progetto ADRIART (// in modo da educare le nuove giovani forze creative, artisti e designer che seguono e capiscono la dinamica e i cambiamenti che stanno accadendo nell’arte e nella cultura contemporanea, come pure le trasformazioni sociali e le transizioni nel contesto europeo e globale. Per uno studente — sia se si tratti di un artista riconosciuto, visionario principiante o membro dell’amministrazione di una facoltà — il confronto con i diversi processi di sviluppo incentivati e creati dalla tecnologia all’interno dei quadri mediatici e culturali complessi, richiede un programma di studio capace di riconoscere i problemi, che crea le possibilità di sviluppo e di pratiche diverse, sia nei campi artistici tradizionali che in quelli delle industrie creative che stanno ancora crescendo. UNIUD




Un altro obiettivo importante del progetto ADRIART è stato quello di costruire una rete regionale di dipartimenti avanzati delle università che offrivano basi eccellenti per la creazione di nuovi partenariati in uno spazio più ampio dell’Europa Sud-orientale, il che includeva a sua volta anche il pubblico e le organizzazioni non governative. La creazione di tale rete ha portato una serie di cambiamenti istituzionali positivi, sia a livello macro che micro, in tutti e quattro i paesi. Più di dieci laboratori di mobilità nei quali hanno partecipato più di cento studenti e mentori di tutte le parti del mondo, come pure più di venti produzioni ed eventi di galleria e festival lanciati o sostenuti da ADRIART negli ultimi tre anni, hanno aperto nuovi punti di vista su diversi temi che sono stati elaborati in modo interdisciplinare; contemporaneamente sono stati promossi inoltre scambi accademici multiculturali. Le istituzioni partner — la Scuola superiore di arte dell’Università di Nova Gorica; l’Accademia di arte applicata dell’Università di Fiume; l’Istituto per l’architettura e i media dell’Università tecnologica di Graz e il Dipartimento di storia e tutela dei beni culturali dell’Università di Udine — hanno sviluppato questo corso di laurea magistrale in base all’idea del dialogo e collaborazione nell’ambito dell’intera regione Alpe-Adria, con l’accento sulle numerose specificità locali (demografiche, sociali, culturali, ecologiche, di migrazione, ecc.). Negli anni a seguire, la rete di ADRIART si allargherà e comprenderà anche l’Ungheria e Bosnia ed Erzegovina e si formeranno inoltre nuove collaborazioni e laboratori di mobilità in Germania e Portogallo. Nei tempi di instabilità economica globale e di sfide causate dai processi di transizione nell’Europa sud-orientale che si riflettono in modi diversi sulle istituzioni di istruzione superiore, i partner di ADRIART, tramite il corso di laurea magistrale in Arti e pratiche mediatiche continuano a svolgere la loro attività con lo scopo di sviluppare le risorse transistituzionali e transnazionali e creano unioni creative che rafforzeranno e svilupperanno lo scambio professionale, accademico e artistico in questa rete vivace.

>> Questo è un invito, caro lettore,

ADRIART T-shirts at Mapping Komiža Narratives, 2013

ad esplorare liberamente questa pubblicazione, a determinare il proprio percorso in base alla condivisione delle esperienze e infine a godere dell’ADRIART e,​ concentrarsi sui suoi contenuti diversi.​ Nadija Mustapić e pETER Purg, docenti collaboratori sul programma del Corso di laurea Magistrale in Arti e Pratiche mediatiche e coordinatori del dato programma a Fiume e Nova Gorica.







University of Nova Gorica School of Arts // UNG

The Academy of Applied Arts University of Rijeka // APU

At the University of Nova Gorica School of Arts we aim to understand and practice the arts in the broadest possible sense, approaching each student as an independent and creative personality developing within groups, and the community. The basic framework of the School is artistic and media-production education as well as training across realms of animation, film, contemporary art, photography, new media and scenographic spaces. The research and development of artistic and educational practice in international contexts has been a pillar of the School’s dynamic development throughout the two decades. The School of Arts thus presents an interdisciplinary meeting place for novel productions and ideas where, using the latest digital media technologies, students and teachers respond to the challenges of increasingly cross-disciplinary academic and professional environments. The School of Arts is involved in a number of national and international research, development and production projects as well as several networks of academic exchange. Strong author personas are encouraged at our school, as well as supportive crews of dedicated professional collaborators — embracing the creative process as a whole.

The Academy of Applied Arts (APU) at the University of Rijeka (UNIRI) offers undergraduate and graduate study programs, in accordance with the Bologna guidelines and the existing strategies of a research-based artistic production in applied and contemporary arts and art education. Currently, there are two BA-level (180 ECTS) programmes offered at the APU: Applied Arts and Art Education, and three MA-level (120 ECTS) programmes: Applied Arts, Art Education and Media Arts and Practices (MAP). The Academy encourages interaction among its diverse faculty and fosters collaboration of disciplines within its programmes, as well as among related disciplines across campus. In providing a creative, multidisciplinary environment for students, the APU tightly collaborates with the County of Primorje and Gorski Kotar and the City of Rijeka Department for Culture, as well as with local arts and culture institutions and NGOs, to include real-life possibilities for artistic research, production and visibility of students’ work. By sharing experiences at the local level and cooperating with international partners, we have set the basis for sustainable exploration of pedagogical, artistic and technical/technological resources and knowledge. We embrace the current and constant (socio/economic/ cultural) changes, needs for adaptation and the questioning of personal and institutional standpoints, views and strategies as an artistic imperative, essential for development of artistic ideas and expansion of artistic freedoms.

The School of Arts was founded in 2008, upon the fifteen years of the Famul Stuart School of Applied Arts. It continues to evolve and develop innovative ways to provide knowledge and skills through practical examples and contextual projects. Basic school activities are centred on the notion of art and broadening the application of art, from creative industries to specific interactions with science and technologies, as well as interdisciplinary media production contexts. After collaborating at reviving the historical Fužine castle (1994–2004, as Famul Stuart) and facing the modern passage of Bežigrajski dvor (2004–2012), both in Ljubljana, the School of Arts continues to interact with neighbouring and more distant surroundings in the twin towns of Gorica and Nova Gorica, situated right on the border between Italy and Slovenia.

The Academy is the youngest higher-education institution at the University of Rijeka. However, its history dates back to the 1960s, when the Department of Art Education and Fine Arts had been founded at the UNIRI Faculty of Humanities and Social Sciences, from which today’s Academy of Applied Arts was established in 2005. Academy is situated in the centre of the new University of Rijeka Campus, which hosts new educational complexes, various student facilities, and provides a stimulating environment for study and research.

The School of Arts currently offers a Bachelor of Arts in Digital Arts and Practices, and a follow-up international Master of Media Arts and Practices programme, developed within the present project.





Graz University of Technology // TUG

University of Udine // UNIUD

The Institute of Contemporary Art and the Institute of Architecture and Media of the Graz University of Technology are both part of the Faculty of Architecture, offering Bachelor and Master studies. While the Institute of Contemporary Art focuses on connections between art and technology, as well as contemporary art practices in public spaces, the Institute of Architecture and Media approaches contemporary architecture by using parametric and algorithmic means. For the ADRIART Consortium these Institutes have worked close together, taking an interdisciplinary approach to participatory and interactive artistic projects.

DEPARTMENT OF HISTORY AND PRESERVATION OF THE CULTURAL HERITAGE University of Udine’s Department of History and Preservation of the Cultural Heritage (DIBE) gathers together professors and researchers of four scientific areas: history of art (that includes film and media studies), archeology, archival studies, history and philology. In the field of film and audiovisual studies DIBE offers three study curricula: a bachelor degree in Arts, Music, and Cinema (DAMS — Discipline della musica, dello spettacolo e del cinema); an international master’s degree in Film and Audiovisual Studies and a Ph.D programme in Film and media Studies.

Institute for Contemporary Art // IZK The TU Graz Institute für Zeitgenössische Kunst, founded by Hans Kupelwieser in 2003, is engaged in artistic research and contemporary artistic production. The teaching practice combines theory with research in an applied manner, where students have to create artwork that is going to be displayed in group exhibitions or public spaces. This is often done in collaboration with external partners, in real spaces of the city of Graz and beyond. Participation in contests is also a regular activity of the institute, which gives the students a chance to carry out their works in a permanent, professional setting.

The courses in Film Studies aim to offer to the students a solid methodological competence (both historical and critical) in the fields of cinema, multimedia production, and artistic curatorship and to train highly specialized professional figures in film and video preservation and restoration. The close collaboration of these three courses with public and private institutions dedicated to the conservation and valorization of audiovisual cultural heritage allows students to be in touch from the beginning of their academic career with potential employers and established professionals in these specialized fields.

The IZK open workshop offers a large space and different equipment to support the realization of the projects. It is equipped with different types of machinery — such as wood and metal tools, industrial sewing machine, silkscreen and book binding facilities as well as high frequency welding machine and an air compressor for constructing pneumatic structures.

Besides the usual didactic facilities, University of Udine’s students have the possibility to enrich their study curriculum with the studies and research opportunities offered by two university laboratories: La Camera Ottica, CREA (Centro Ricerche Elaborazioni Audiovisive). La Camera Ottica and Crea laboratories were founded in 2002 in Gorizia with research and didactic purposes thanks to the collaboration with established film curators and conservators. La Camera Ottica engages in audiovisual preservation while CREA’s activities are related to cinema and video production and post-production. They are fully equipped with a wide range of audiovisual technologies. Laboratories’ research team took part of important international experience of film restoration and valorization (among the others: Karpo Godina’s films restoration in collaboration with Slovenska Kinoteka, the restoration of Anna in collaboration with Cineteca Nazionale of Rome).

Institute for Architecture and Media // IAM The TU Graz Institute für Architektur und Media is dedicated to exploring and expanding the potentials of digital tools and methods in architecture. Founded by Urs Hirschberg in 2004, the Institute is active in research and teaching in four main areas: computers as tools (applying and developing new software to support architectural design), computers as media (using networks for creative collaboration), computers as part of construction process (digital fabrication, mass costumization) and computers as part of our built environment (ubiquitous computing, hybrid environments).

The University’s master’s degree in Discipline della musica dello spettacolo e del cinema/ Film and Audivisual Studies gives the students the opportunity to improve specific competences in the field by attending several courses related to silent film history, film production and audiovisual preservation, and textual and philological analysis.

IAM is equipped with a digital workshop and Augmented Architecture Laboratory. Classes and skills taught range from fundamentals of architectural representation to advanced digital techniques such as complex 3D modeling, visualization, simulation, animation, rapid prototyping and generative methods. Studios offered at Master level cover research-oriented topics, often involving parametric design, scripting and digital fabrication.


Finally, over the past two decades, the University has organized the International Film Studies Conference (Filmforum), providing an important opportunity to enhance the debate concerning the practices of the cinema and audiovisual heritage conservation, valorization and curatorship.





Nova Gorica / Gorizia












International two-year Master programme in MEDIA ARTS AND PRACTICES (MAP)

their Master Project idea based on their motivation letter, portfolio and interview, and express a clear creative interest in one of the Carrier Modules. Pathway is Clear: In the Progress Track module the students discuss their course choices and the progress of their Master Project with progress and expert mentors and peers, reflecting on their creative personality. This manifold process is tightly intertwined with the selected Carrier Module, where the student is guided by the expert mentor in the acquisition of knowledge and skills as they navigate towards the completion of the practical master’s project. Electives are Many: Throughout the course of the Media Arts and Practices programme the student can select a variety of shorter courses or «courselets”as offered within TIP/DIP/SIP supporting modules. Techniques in Practice (TIP) module expands and upgrades technical skills and relevant know-how; Discourses in Practice (DIP) module offers historical, theoretical and critical frameworks and backgrounds; Selections in Practice (SIP) module, as the ‘open’ part of the curriculum, supports the students in their first year in the acquisition of knowledge, skills and experience, offering both programme-specific courses or courselets and/or acquisition of ECTS credits via external outside-of-programme courses or workshops.

INDIVIDUAL + INTERNATIONAL The master programme of Media Arts and Practices (120 ECTS) allows students to specialize in any of — or in between — the Carrier Module areas, at the School of Arts (University of Nova Gorica, Slovenia): • Animation • Film • Photography • New Media • Contemporary Art Practices • Scenographic Spaces

Mobilities are Exciting: In the Studio module the student acquires key production, collaboration and communication experience in a multicultural and interdisciplinary environment under the mentorship of renowned experts and artists. Site-specific and projectbased one- or two-week workshops, implemented as hybrid mobility courses, connect different areas and creative or production roles. Over the two years, the students choose at least three interdisciplinary Studios at different locations in the wider region (Croatia, Italy, Austria, Slovenia…).

at the Rijeka Academy of Applied Arts (University of Rijeka, Croatia): • Intermedia • Photography • Scenographic Spaces

Master Thesis is Project-based: The entire study programme is geared towards the completion of the practical Master Project in the selected Carrier Module area, as a culmination of the abovementioned educational processes. In conjunction with this individual project, the student develops and completes a theoretical thesis with the help of the Master’s Thesis Preparation course and the Master Thesis course as the principal written outcome of the study. The student defends the practical project along with the written thesis in front of peers and an international examination committee.

Candidates are required to approach the programme with a project idea or a clear interest in a specific medium or creative realm. In an international study and production atmosphere students will gradually develop their final project and theoretical thesis, all in close interaction with mentors, guest teachers and fellow students from across the Alpe-Adria region, and beyond. Regular peer reviews in front of academic committees and trans-disciplinary interaction in Studio-workshops foster the student’s increasing proficiency in the chosen Carrier Module area. Along the two years of study the student takes part in an individual selection of short skill-and-theory-based courses, both on and offline. Developed within the international (EU-supported) ADRIART project (//www.adriart. net) the programme offers academic experience in several site-specific course runs at referenced partnering institutions in Austria, Croatia, Italy and Slovenia.

MAP OFFERS GOOD CONTENT + STRUCTURE Media Arts and Practices (MAP) is a two-year Master-level (120 ECTS) study programme. It consists of multiple modular areas that combine students’ ‘vertical’ (specific media/production area) and ‘horizontal’ (interdisciplinary) competence and provision. Student’s Master Project is placed at the core of the curriculum, as it gets researched and developed within the main Carrier Module and Progress Track Module, supported by the modules: Studio, Techniques in Practice (TIP), Discourses in Practice (DIP), Selections in Practice (SIP) and finalized within the Master Thesis Module:

Admission is Open: The programme is open to candidates with a bachelor’s degree (180 ECTS) who have successfully completed the test of artistic ability (entry exams) for the Media Arts and Practices programme (includes the cover letter of motivation, Master Project proposal, portfolio and CV). The certificate of artistic ability is valid only for the current academic year. During the entry exam interview, the candidates define













The Media Arts and Practices programme offers a selection of so called Carrier Modules, from which a student elects one on the basis of his/her Master Project proposal, interest or motivation: Animation, Film, Photography, New Media, Contemporary Art Practices / Intermedia, or Scenographic Spaces. These Carrier Module areas are not defined and implemented completely independently, rather they are supported and closely intertwined with other compulsory and elective modules, some of which are area-specific, but most are conceived to simultaneously support more than one Carrier Module:









Each student’s individual Master Project represents the vertical vertebrae of his/ her study programme. It is systematically developed, individually mentored and collectively reviewed within the compulsory Progress Track module which runs parallel with the Carrier Modules in the first three semesters, and where students regularly present and discuss with mentors and peers their personal (portfolio) as well as master thesis project progression.




EXPLORE 4 TIP Techniques in Practice

DEFINE 4 DIP Discourse in Practice




Within the Studio Module the student is required to take one Studio per semester 1, 2 and 3 from a minimum of two choices offered per semester. A Studio course is a collective, congested study experience, closely connected to a student’s individual Carrier Module implementation. As a self-standing course it connects the areas of more Carrier Modules into a cohesive topic-based and research-oriented production. Often realised as a site-specific project in workshop form, it treats a specific topic in an interdisciplinary way. The offer, as well as profile (content) of Studios is “sensitive” to the Carrier Module choices of each year’s student cohort.

= 2 ECTS












SIP Selections in Practice


Selections from TIP+DIP, STUDIO or out of the programme.

Throughout the entire course of study students take a variety of smaller courses or “courselets” that provide them with technical or discursive competencies required for their final master project. Taking into account the individual student’s entry skills and knowledge, the selections are partially ruled by the student’s selection of the Carrier Module and negotiated with mentors within the Progress Track module. These courses or “courselets” are organised within three supportive modules: Techniques in Practice (TIP), Discourses in Practice (DIP) and Selections in Practice (SIP) which are all compulsory, meaning that students have to earn ECTS from each (please consult the diagrams). The Selections in Practice (SIP) module represents the so called “open part” of the curriculum, offering the students in the first year to freely choose any of the smaller units offered under TIP or DIP, perhaps attend an additional Studio course, or accredit any of the externally attained level- and area-relevant credits.

Leveling ECTS









SUMMER Semester



4 8

































Along the entire programme of study, the student is closely connected with peers and mentors: The Carrier Module leader is usually the “expert mentor”, who guides the development of the student’s master thesis project and the overall in-depth acquisition of knowledge and skills within the chosen area. The expert mentors are also engaged within the Progress Track, where they together with the “progress mentor” guide all enrolled students through group or individual meetings, through the Studio coursework and towards the Master Thesis. Every student also selects a personal tutor to accompany her/him throughout the study process.











By successfully finishing the programme, the student: • acquires particular practice and theory-based skills and knowledge in the selected area (animation, film, contemporary art practices/intermedia, new media, photography, or scenographic spaces) and their interconnections • autonomously develops and manages own role and competences in a collective learning setting and in the individual master project, applying the developed roles and competences constructively and collaboratively within site-specific, topic-relevant production environments, nurturing a culture of continuous and strategic competency development • acquires and/or upgrades self-defined discursive skills and specific theoretical (history, criticism) and project-management related knowledge, along with practical skills related to field-specific methodology and technology, evaluating all of these against other components of competence in the field, and reflects on their interconnections • carries out independent creative conception, realization (production) and finalization (including presentation) of a coherent project, based on research and/ or development work in the selected area; the student completes this practical project, connected to a methodologically developed, theory-supported written thesis, both created according to international standards in the chosen area, presenting and defending them as a whole in public, in front of a professional/ academic committee, peers and relevant programme-external stakeholders.








































The Master Thesis compulsory module consists of two compulsory courses in the second year of study: Master Thesis Preparation (semester 3) reflects on the methodology of the master project production and leads to a full researchbased concept for the written part of the master thesis; the Master Thesis course (semester 4) is ultimately where the student accomplishes the programme both in terms of theory (written paper, including project documentation) and practice (project/product), drawing also from the competences acquired in Carrier-Module based sequence of Studios and the selections within the supportive modules. Here the student finishes and evaluates the Master Project, produces the written part of the master thesis, and defends both in front of a committee.




















* All numbers refer to ECTS credits TIP Techniques in Practice DIP Discourse in Practice







After successfully finishing the programme, the student can either enroll further postgraduate programmes on MA or (also professional) PhD level, progress in the current professional pathway, or pursue a new career in the selected area as mastered within the Media Arts and Practices programme.

SIP Selections in Practice





All modules finish with assessed coursework in the form of exercises, (semi) products, performed studies or seminar papers. There is a very small share of informative final written examination, most of the assessment is formative. Often the assessed material coursework is accompanied by performed oral examination in the form of a viva in front of an academic and/or professional committee and peers. Incomplete progress between selected modules is possible. Most of the coursework is submitted and archived digitally online, within a dedicated learning management system (intranet).


STUDIO Topical, interdisciplinary work

Students from all Carrier Modules (CM) can choose any studio. They work with studio leader(s), but they can also contact their carrier module mentors for expert know-how. Studio can be lead either by programme core teaching staff or by guest artists & external experts.

Carrier Module (CM) keeps and develops student’s study vertical in his/her chosen media or field. It is not as concerned about student’s academic study progress as it is focused on the progress of achieving goals and competencies in the chosen field/media(area) in professional terms. The chosen expert mentor (can be the carrier module mentor or other expert mentor) is tightly connected with the Progress Track, where s/he supports the student from the view of the field/media. S/he helps the student in choosing the TIP/DIP courslets and SIP contents, supporting the chosen verticale in field/media/area.


One of the six CARRIER MODULES in the case of UNG (Animation / Film / Photography / New Media, Contemporary Art Practices / Scenographic Spaces) or three CARRIER MODULES in the case of APU (Intermedia / Photograpy / Scenographic Spaces) in connection with the Studio courses and a selection of TIP/ DIP (Techniques / Discourses in Practice) and SIP (Selections in Practice) courses and courselets, represent the student’s main area of production.

Provide supportive contents, connected to: the Carrier Module, the Studio and the Progress Track


Students from all Carrier Modules (CM) can choose any STUDIO. They work with studio leader(s), but they can also contact their Carrier Module mentors for expert know-how. Studio can be lead either by programme core teaching staff or by guest artists & external experts.

Selection can be made from TIP/DIP, Studio or outside the programme

Carrier Module (CM) keeps and develops student’s vertical study in his/her chosen media or field. It is not as concerned about student’s academic study progress as it is focused on the progress of achieving goals and competencies in the chosen field/media(area) in professional terms.


The chosen expert mentor (can be the Carrier Module mentor or other expert mentor) is tightly connected with the PROGRESS TRACK, where s/he supports the student from the view of the field/media. S/he helps the student in choosing the TIP/DIP courselets and SIP contents, supporting the chosen vertical in field/ media/area.



courses and courselets provide supportive contents, connected to: the Carrier Module, the Studio and the Progress Track. Some DIP examples at UNG (Nova Gorica): Color in Moving Image Transmedia Narratives Selected Topics in Contemporary Art Production Planning and Resource Management New Media Theory Databasing Media Art Sound in Contextual Environments Film and/or/as Contemporary Art


Progress Track observes and tracks the student’s progress through the whole process of the master studies and confronts him/her with her/his fellow students and the study board. Progress mentor leads the student through the Progress Track with the help of his/her expert mentor (can be the student’s Carrier Module leader or other chosen expert mentor)

Some DIP examples at APU (Rijeka): Directions in Film and Media Studies

Example of horizontal and vertical course connections in one semester (year 1, autumn semester)



Text, Hypertext and Hypermedia Information Systems and Society Theory and Practice of New Media Science, Technology and Culture Contemporary Audiovisual Production in Contemporary Art Management of Arts and Culture: Strategic and Project Management Management of Arts and Culture: Marketing and Fundraising in Culture and Arts Management of Arts and Culture: Economy of Culture

visual arts, lectures and practical work. “Contemporary Audio Visual Production in Contemporary Art” is focused on the understanding the cultural and aesthetical context related to the artworks based on audiovisual media. During these courses students actively participate in workshops held by internationally referenced scholars and attend talks with curators and artists. Both courses are intensive programmes that are part of FilmForum Festival organized every year during springtime in Gorizia and Udine.

Some TIP examples at UNG (Nova Gorica): Creative Sound Design and Understanding 3D Modelling and Printing Camera & Editing — The (In)Visible Cut Stop-Motion Animation — Creating Spaces Setting Act into Scene Space and Time in Moving Image New Media Practice Stop-Motion Animation — Creating Characters

SIP — SELECTIONS IN PRACTICE Selections in Practice Selection can be made from TIP/DIP, Studio or outside of the programme, i.e. competencies acquired in non-formal and informal education processes, but validated within this module.

Some TIP examples at APU (Rijeka): Editing (Documentary) Editing (Fiction) Sound Editing for Film and Video Film Photography Conceptual Camera Angles Landscape and Architecture Photography Scenographic Lighting Site-specific Scenographic Spaces Transforming Spaces: Time-Based Installation Art The TIP+DIP combination “Responsive Art in the Public Realm” was developed and is conducted by the Graz University of Technology, Institute for Contemporary Art (Austria): The collaborative work between the two institutes of the TUG for the ADRIART project during the last 3 years has lead to the development of this interdisciplinary course that aims to give the students the opportunity to learn about participatory art in combination with the programming of an interactive media project. The IAM-IZK combined module was proposed as an open field for debates, exchanges and experiments, addressing a different but very specific topic and location each year. Grounded on profound acquaintance of relevant artwork touching the selected theme plus advanced introductions into algorithmic code on a proposed programming platform, various group projects were elaborated. Outcomes were tested and exhibited to the public, in collaboration with relevant artistic and cultural institutions in the city of Graz. The DIP+DIP combination “FilmForum” was developed and is conducted by the University of Udine, DAMS (Italy): In accordance with its research area, the University of Udine has developed in collaboration with ADRIART network partners two intensive courses “Restoration and Preservation Of Contemporary Audio Visual Arts” and “Contemporary Audio Visual Production in Contemporary Art” that are part of MAP curriculum. “Restoration and Preservation Of Contemporary Audio Visual Arts” offer to the students the opportunity to develop an understanding of the good practices and guidelines for the conservation, preservation and restoration of contemporary

Lecture of Blaž Bertoncelj and Peter Purg, Zametki / Beginnings 2013, Španski borci, Ljubljana





Univerza v Novi Gorici Visoka šola za umetnost // UNG

Akademija Primijenjenih Umjetnosti Sveučilišta u Rijeci // APU

Dvoletni študijski program MEDIJSKE UMETNOSTI IN PRAKSE (120 ECTS) na Visoki šoli za umetnost Univerze v Novi Gorici nudi izbiro med šestimi nosilnimi moduli: FOTOGRAFIJA, FILM, ANIMACIJA, NOVI MEDIJI, SODOBNE UMETNIŠKE PRAKSE in SCENOGRAFSKI PROSTORI. Ti predstavljajo strokovna oziroma ustvarjalna področja, med katerimi študent izbira ob začetku programa. Do vpisa v drugi letnik lahko študent izbrano področje zamenja, kadarkoli pa ga lahko združuje tudi z drugimi področji.

Dvogodišnji diplomski studij MEDIJSKE UMJETNOSTI I PRAKSE (120 ECTS bodova) na Akademiji primijenjenih umjetnosti Sveučilišta u Rijeci, sadržava tri glavna nosiva modula: FOTOGRAFIJA, INTERMEDIJA, SCENOGRAFSKI PROSTORI, koji predstavljaju glavna stručna područja za koje se student/ica upisom opredjeljuje. Studij je namijenjen svim kandidatima koji su po završetku preddiplomskog studija stekli 180 ECTS bodova, a imaju izražen interes za suvremenu medijsku umjetničku produkciju.

Kandidati, ki so opravili vsaj triletni študijski visokošolski program v vrednosti najmanj 180 ECTS, so vabljeni, da pristopijo s projektno idejo in jasnim interesom za specifični medij oziroma kreativno področje. Študentje bodo v mednarodno mreženem študijskem in produkcijskem okolju postopoma razvijali končni projekt in teoretsko nalogo, in sicer v tesnem sodelovanju z mentorji, gostujočimi predavatelji in drugimi študenti.

Studijski program MEDIJSKE UMJETNOSTI I PRAKSE je dinamičan, otvoren i fleksibilan program koji razvija suvremenu umjetničku misao, odgovara na razvoj budućih praksi i tendencija i vjerodostojan je prema zahtjevima zapošljavanja. Studij je strukturiran na način da integrira različite discipline i sadržaje, a da pri tome ostaje otvoren za promjene u sferi suvremenih umjetničkih djelovanja i predviđa sve brži razvoj medijskih tehnologija. Takav dinamičan i otvoren kurikulum moguć je jedino uz snažnu vertikalnu strukturu studija koja podržava napredak svakog studenta kroz dvogodišnji studij dok istovremeno nudi bogatu i fleksibilnu horizontalnu širinu iz koje svaki student može izabrati najrelevantnije postupke stjecanja kompetencija uz komplementarnu podršku stručnih mentora.

Diskusije kolegov — študentov pred akademskimi komisijami in trans-disciplinarna interakcija v »studio« delavnicah spodbujajo napredovanje študentov na izbranem področju ter jih spremljajo pri utrjevanju oziroma nadgradnji zaposlitvene poti. V dveh letih študija študent sodeluje v individualni izbiri krajših izvedbenih oblik, osredotočenih na teorijo ali veščine, tako v spletnem kot tudi v kontaktnem okolju, pogosto na specifičnih lokacijah (delavnicah, seminarjih in produkcijah) v širši regiji. Študijski program se izvaja v slovenskem oziroma angleškem jeziku ob sodelovanju mednarodnih partnerjev ter gostujočih učiteljev in umetnikov.

Velika pažnja posvećuje se kontinuiranoj ponudi međunarodne mobilnosti studenata i mentora kroz hibridne kolegije (radionice) mobilnosti s partnerski institucijama te putem raznih postojećih mehanizama financiranja: Erasmus, CEEPUS... Također, pretpostavka i cilj studija su suradnja, povezanost i otvorenost prema lokalnoj zajednici kao i prema društvenom kontekstu u kojem studij djeluje te u kojem će studenti po završetku studija i sami djelovati kao profesionalci ili umjetnici UPIS NA STUDIJ MEDIJSKE UMJETNOSTI I PRAKSE Kandidati trebaju pristupiti prijemnom ispitu izlažući ideju tzv. master projekta kojeg bi željeli razvijati tijekom studiranja, odnosno pokazujući jasan interes za jedan od tri nosiva modula unutar kojeg će producirati svoje projekte. Razredbeni postupak sastoji se iz predaje portfolia (mape) te intervjua. Studijski program izvodi se na hrvatskom i/ili engleskom jeziku. Dijelovi kurikuluma izvode se u suradnji s međunarodnim i nacionalnim partnerskim institucijama.





3 // s stud tatemen ts b ents y te & ex ache tern rs als

3 // stat e m teac ents h b e y stud rs e n exte ts & rnal s

ADRIART: the project that made the master’s programme possible

indeed the most problematic aspect of the programme, but it has also transpired as being the nexus allowing rapid changes and adaptations, which is an essential ingredient of contemporary educational programmes. We wanted the name of the project to reflect the geographic area covered by the partner universities. We though it important that master’s students leave their school at least three times in the two years to join a studio at a partner university. The studio is an immersive workshop lasting 10-14 days where the students of all partner universities join in a shared project. Every university organises and contributes a lead mentor, at least for one studio. Students as well as mentors of the other partners are invited to each studio. Studios are typically site-specific and we have managed to secure ADRIART funding at least for the pilot phase of the programme to cover the travel and accommodation costs for the students and mentors.

Boštjan Potokar


This study method has turned out very well — and it has been exceptionally well received by the students of all four universities. It has encouraged us to continue cooperating as partners and enter a new EU call for applications with the project ADRIART 2.0 in the new three-year period. We have managed to convince several other universities to join, expanding the geographical reach of our studios and of the participating students and mentors.

The University of Nova Gorica established the School of Arts in 2008 based on fifteen years of experience with the Famul Stuart School of Applied Arts. Digital Arts and Practices was the first programme to be transferred. In 2009 we started with the bachelor’s programme, joining three academies at the University of Ljubljana as providers of university-level arts education. It soon became clear that the bachelor’s programme, which was transferred from the old school in a slightly altered form, had to be followed-up by a master’s programme that would allow us to offer students the entire vertical progression of arts studies.

The master’s programme Media Arts and Practices will thus bring together even more European universities, giving students the opportunity, and duty, to cooperate with different students and mentors in an increasingly international setting. It is our belief that besides professional knowledge, this international openness and cooperation is the most we can, and should, offer to our students.

We found international partners at the academy of the University of Rijeka, the Graz University of Technology, and the neighbouring DAMS at the University of Udine. Given the different “histories” of the partner universities, our interests were undeniably diverse. After the first meetings it appeared that we and the Rijeka partners were interested in the entire programme, the other two in just parts of it with potential for expansion in the future. The history of the Rijeka academy is based on “classic” media: painting, sculpture and graphics. They saw the creation of a new master’s programme as a model for the introduction of demanding Bologna changes. The Graz partners are an independent Institute of Contemporary Art that is part of the Faculty of Architecture; they were mostly interested in doing one or two studio modules and in the prospect of their students attending studio modules organised by the other partners. The Italian partner from Udine had similar wishes, but with the difference that studies at DAMS are mostly theoretical instruction on history and theory, and film conservation. We are a new school, leveraging the fifteen-year history of a small private school. When we joined the University of Nova Gorica, the smallest university in Slovenia, we became the providers of the only university-level arts programme in the country aside from the academies at the University of Ljubljana. This meant that every step we made was closely scrutinised. Once we aligned all the wishes and expectations with our partners, we applied for EU funds. The project for which we received funding to cover a part of the cost of establishing a master’s level Bologna programme Media Arts and Practices (MAP) was named ADRIART.

ADRIART: projekt, s katerim smo uspeli ustvariti magistrski program Boštjan Potokar

dekan // Visoka šola za umetnost Univerza v Novi Gorici // profesor Visoko šolo za umetnost je Univerza v Novi Gorici ustanovila leta 2008. Šola je nastala na podlagi petnajstletnih izkušenj Šole uporabnih umetnosti Famul Stuart. Kot prvi je na Visoko šolo za umetnost prešel program Digitalne umetnosti in prakse. Leta 2009 smo začeli z izvajanjem prvostopenjskega programa in se tako pridružili trem akademijam ljubljanske univerze, ki na univerzitetnem nivoju izobražujemo na področju umetnosti. Že zelo kmalu smo ugotovili, da poleg programa prve stopnje, ki smo ga delno dopolnjenega pripeljali s stare šole, nujno potrebujemo še magistrski program druge bolonjske stopnje, da bomo svojim študentom lahko ponudili celotno vertikalo študija na področju umetnosti.

It was clear to us that it only made sense to build new study programmes around international cooperation. We got down to work outlining the new programme, pursuing the goals of transplanting the best features of our tried-and-tested BA programme, upgrading them to a higher-level programme together with the partners, and preserving as best as possible an open structure. We knew the open structure would be the principal cause of formal difficulties, but we thought it necessary to preserve it as a core element of the curriculum. Through the threeyear formalization of the programme it turned out that the open structure was

UNG // T

Poiskali smo mednarodne partnerje v akademiji Univerze na Reki, Tehniški univerzi v Gradcu in sosede DAMS iz Videmske univerze. Glede na različne »zgodovine«



UNG // T

Josip Butković

partnerskih univerz so bili naši interesi seveda različni. Po prvih sestankih je kazalo, da reške partnerje in nas zanima program v celoti, ostala dva partnerja pa del programa z možno nadgradnjo v prihodnosti. Zgodovina reške akademije temelji na »klasičnih« medijih: slikarstvo, kiparstvo in grafika. Izgradnjo novega magistrskega programa druge stopnje so videli tudi kot vzorec načina uvajanja zahtevanih bolonjskih sprememb. Graški partnerji so samostojen institut za sodobno umetnost znotraj fakultete za arhitekturo. Zanimala jih je predvsem izvedba enega ali dveh »studiev« in možnost sodelovanja njihovih študentov na »studiih«, ki jih organizirajo ostali partnerji. Enake želje je imel tudi italijanski partner iz Vidma, vendar s to razliko, da je študij na DAMS-u predvsem teoretičen in to s področja zgodovine in teorije ter konzerviranja filma. Mi smo nova šola, ki temelji na petnajstletni zgodovini male privatne šole. Ko smo postali del Univerze v Novi Gorici, ki je prav tako najmanjša univerza v Sloveniji, smo postali poleg akademij ljubljanske univerze edini univerzitetni študij s področja umetnosti v državi. Zaradi te pozicije je bila seveda vsaka naša poteza šo toliko bolj pod drobnogledom. Ko smo partnerji uspeli uskladiti vsa pričakovanja in želje, smo prijavili projekt za evropski razpis. Projekt, s katerim smo pridobili sredstva za delno pokritje stroškov izdelave programa druge bolonjske stopnje Medijske umetnosti in prakse (v angleščini s kratico MAP), smo poimenovali ADRIART.

Dean of the Academy of Applied Arts at the University of Rijeka // PROFESSOR Exactly three years ago, right before Croatia’s EU accession, the University of Rijeka Academy of Applied Arts recognized the importance of connecting with other institutions in the region and joined the ADRIART project, in close cooperation with its partner, the University of Nova Gorica School of Arts. Since the Rijeka Academy had not previously had the experience in such forms of international cooperation, it was necessary to learn how to meet the strict EU standards, how to run financial records and do the bookkeeping in moments when the administrative team at the institution had just started to form, and at the same time develop the two-year graduate programme of Media Arts and Practices. The programme was finally launched in 2013/2014, in accordance with the project’s objectives. The entire process has had a significant effect on the Academy’s work — it has opened up the space for different approaches in terms of personnel, programs and teaching spaces. New teaching models created in the process have already offered valuable experience for other study programmes. The cooperation with the universities in Nova Gorica, Graz and Udine has enriched our teaching contents, allowed for student exchange and created a platform for teacher exchange. All this has broadened our knowledge and presented us with different methodologies and specificities of studying. The positive experience is highly reflected in the success of mobility workshops (courses) that have been organized in joint efforts of the ADRIART partners. The workshops has served as the basis for implementation of the e-learning platform, which allows for an online preparation of students for the workshops and an insight into the student-mentor activities. Finally, the ADRIART project and its product, the newly launched Media Arts and Practices study programme, signifies a step ahead, towards an international networking and cooperation and student and teacher exchange, with the aim of developing and educating the contemporary art personalities and encouraging their critical thinking and progress. Academy of Applied Arts is proud to be a participant in the ADRIART project and I would hereby like to thank all the international partner institutions and colleagues for the cooperation and successful realisation of our joint goals. Apart from international cooperation, Media Arts and Practices study programme has been intensifying the cooperation with other components of the Rijeka University, on a reciprocal basis.

Jasno nam je bilo, da je edino smiselno nove študijske programe graditi predvsem na mednarodnih povezavah. Lotili smo se dela in v grobem orisali program, v katerega smo poskusili vgraditi vse dobre lastnosti našega že preizkušenega BA programa, jih razviti v program višje stopnje skupaj s partnerji in obenem vseeno ohraniti čim bolj odprto strukturo. Vedeli smo, da bo ravno ta odprta struktura povzročala največ formalnih težav, a zdelo se nam je nujno, da jo ohranimo kot eno bistvenih sestavin programa. Skozi vsa tri leta formaliziranja programa se je izkazalo, da je resnično vedno najbolj problematična prav odprta struktura programa, a istočasno se izkazuje, da je ravno ona ta, ki dopušča hitro spreminjanje in prilagajanje, kar je ena bistvenih sestavin modernih izobraževalnih programov. Že v imenu projekta smo hoteli pokazati tudi geografsko področje, ki ga pokrivajo partnerske univerze. Zdelo se nam je zelo pomembno, da študent na drugi stopnji v dveh letih vsaj trikrat zapusti svojo šolo in se v »studiu« priključi partnerski univerzi. »Studio« je deset do štirinajst dnevni intenzivni blok/delavnica, kjer se pomešajo študentje vseh štirih partnerskih univerz v skupnem delu. Vsaka univerza organizira in prispeva vodilnega mentorja vsaj za en »studio«. V vsak »studio« so povabljeni tako študentje kakor tudi mentorji ostalih partnerjev. »Studii« se praviloma dogajajo na dislociranih enotah in preko projekta ADRIART smo uspeli vsaj za pilotsko izvajanje programa zagotoviti sredstva, s katerimi smo pokrili potne stroške in stroške bivanja za študente in mentorje.

The Rijeka Academy of Applied Arts continues with the practice of participating in international projects and it has already taken the necessary organizational steps. The Academy’s objective is to keep up with the latest trends in art education, to become a place that fosters a progressive artistic thought and to be recognized as such by the future students, both in Croatia and abroad.

Tovrsten način izvajanja študija se je izkazal za zelo dobrega in tudi izjemno dobro sprejetega s strani študentov vseh štirih univerz. Zato smo se odločili, da kot partnerji sodelujemo še naprej in se v novem triletnem obdobju prijavimo na nov evropski razpis, s projektom ADRIART 2.0. K sodelovanju smo pritegnili še nekaj novih univerz in tako tudi geografsko razširili prostor naših »studiev« in sodelujočih študentov in mentorjev.

I would like to thank, on behalf of the teachers and students of the Academy of Applied Arts and on my own behalf, to the former deans, Full Professors Ante Vladislavić and Maja Franković , for their kind support, and to the initiators and the holders of the ADRIART project, whose efforts and expertise allowed for the achievement of the project’s goals: to the Emeritus Professor Dalibor Martinis, Assistant Professor Fedor Vučemilović, Associate Professor Lara Badurina, Assistant Professors Nadija Mustapić, Igor Eškinja and Tomislav Brajnović and finally, to our colleagues Paula Trinajstić Ivančić and Milijana Babić. I would also like to thank to the Academy’s non-teaching staff, whose work has contributed to the project’s activities.

Magistrski program druge stopnje Medijske umetnosti in prakse bo tako povezoval še več različnih evropskih univerz ter kot tak dajal študentom možnost in dolžnost sodelovati z različnimi študenti ter mentorji in se tako že v času študija povezovati in delovati čim bolj mednarodno. In prav mednarodna odprtost in povezljivost je tisto, kar menimo, da je poleg strokovnega znanja največ, kar lahko in moramo ponuditi našim študentom.

UNG // T



APU // T

Josip Butković

Rene Rusjan

Akademija primijenjenih umjetnosti Sveučilišta u Rijeci je točno prije tri godine, a prije samog ulaska Republike Hrvatske u Europsku uniju, među prvim ustanovama tog tipa u Hrvatskoj i šire, prepoznala trenutak i nužnost povezivanja sa drugim institucijama u regiji i ušla u međunarodni Europski projekt pod zazivom ADRIART, ponuđen od strane slovenskih partnera iz Visoke Šole za Umetnost pri Univerzi u Novoj Gorici. Ranija iskustva međunarodne suradnje na toj razini nisu postojala i bilo je nužno učiti kako paralelno udovoljiti strogim EU zahtjevima, voditi knjigovodstvenu i financijsku evidenciju u uvjetima izrazito skromnog administrativnog ekipiranja ustanove, istovremeno razvijati novi dvogodišnji diplomski studij Medijske umjetnosti i prakse koji je pokrenut studijske godine 2013/2014. a bio zacrtan ciljevima projekta. Novonastali procesi će također u konačnici imati stanovit utjecaj na razvoj dijela ustanove otvarajući prostor za drukčiji kadrovski, prostorni i programski pristup. Istraživanje novih nastavnih modela koji se s tim pojavljuju te njihova primjena u postojeći ustroj stvaraju dragocjeno iskustvo za većinu preostalih studijskih programa. Suradnja sa institucijama u Gorici, Grazu i Udinama obogaćuje sadržaje, omogućuje razmjenu studenata i stvara platformu za razmjenu nastavnika čime se proširuju znanja i dobiva uvid u različite metodologije i specifičnosti studiranja. Dosadašnja pozitivna iskustva kroz suradnju ogledaju se kroz radionice (kolegije) mobilnosti koji su organizirani zajedničkim angažmanom partnera u projektu i kroz koje je implementirana platforma za elektronsko učenje koja omogućava on-line pripremu studenata za radionice (kolegije) mobilnosti, korištenje istih materijala, istovremeni uvid u aktivnost i doprinos studenata te njihovo zajedničko mentoriranje.

September, 2014

Dekan Akademije primijenjenih umjetnosti Sveučilišta u Rijeci // RED. PROF. ART.

Programme director of the University of Nova Gorica School of Arts // PROFESSOR The festival MAP in Motion is still on-going as I write this; a site-specific workshop on Tito’s boat Galeb behind us and the last workshop on the island of Vis ahead of us, I am holding in my hands a DVD with three editions of student films about the hidden life of Venice (from another partner project), we have activated the BIX facade on the Graz Kunsthaus and comfortably settled into the ADRIART cities. A project that works, that connects, that has grown from plan to flesh-and-blood, becoming a part of our lives and the lives of our institutions, in four countries and, indirectly through the students, beyond. ADRIART partners are a diverse bunch. It is not only the people, the four partner institutions differ in status, programme, background, and every country contributes its own idiosyncrasies, even though the last of the non-EU partner countries entered the European Union during the course of the project. We are united and divided by history, united by geographical proximity, but most importantly, we are kin in vision. The students who collaborated creatively in mobility workshops continue to work together, they have become a part of the ADRIART team. Our cooperation has long transcended the framework of the project. The University of Nova Gorica School of Arts is a young organisation (since 2009), but it was established as a successor of the Famul Stuart School of Applied Arts (from 1994) and inherited its open spirit. The Famul Stuart School took shape in the initial years after Slovenia’s independence, at a time when the boundaries of new political and living situations were being tested, when new paths were being sought, when the young country made its first steps. It emerged detached from the euphoria of the establishment of political parties and companies, though with the awareness that something was irrevocably over, the awareness that there was a war raging in our former homeland, the loss of naive fate in things running their predictable course.

U konačnici, ADRIART projekt i kroz njega novopokrenuti studij Medijskih umjetnosti i praksi znači iskorak prema međunarodnom umrežavanju, suradnji, razmjeni studenata i nastavnika, a sve u cilju razvijanja i obrazovanja suvremenih umjetničkih osobnosti, njihovog kritičkog mišljenja i osposobljavanja. Akademija primijenjenih umjetnosti ponosna je na sudjelovanje u projektu ADRIART te se ovom prilikom zahvaljujem svim partnerima i međunarodnim kolegama na suradnji i realizaciji zajedničkih ciljeva. Studij Medijskih umjetnosti i praksi uz međunarodnu suradnju intenzivira i suradnju sa drugim sastavnicama Sveučilišta u Rijeci prvenstveno na osnovi reciprociteta.

If the Famul Stuart was to be established now, it would probably be a start-up or even better, a DIY collective or similar organisation, but at that time organising it as a cultural society was the appropriate form for similar, non-commercial initiatives. Even before the old country ended, in 1988, Boštjan Potokar and me invited some of our young artist colleagues to found the Cultural Society Gallery GT; it was that society that in 1994 grew into an educational unit, the Famul Stuart School of Applied Arts, and enrolled its first students.

Akademija primjenjenih umjetnosti u Rijeci nastavlja sa praksom sudjelovanja u međunarodnim projektima i u tom smislu je poduzela potrebne organizacijske korake. Cilj Akademije primjenjenih umjetnosti u Rijeci je biti u toku najrecentnijih kretanja u području umjetničkog obrazovanja, postati mjesto koje gaji naprednu umjetničku misao i biti kao takva prepoznata od strane budućih studenata na nacionalnoj, ali i međunarodnoj razini.

Why am I indulging in memories, after all I am writing for a publication of ADRIART, a contemporary project by four universities in four countries, in 2014? It is not only because it has been 20 years since the first students enrolled and I am naturally pondering how much the successor, the University of Nova Gorica School of Arts, still has in common with the concepts and ideas of the old school. Is it still committed to exploring new outlooks on the world and things, turning perspectives upside down, is it still constantly questioning the role of art in our lives? Does it still entertain healthy doubts about tried-and-tested patterns and prefers to formulate its own? Is it still committed to the kind of attitude to students that we had conceived and nurtured back then? And, has it perhaps already veered into rigid academic frameworks from which it had been escaping, or is it, on the contrary, still flexible and spirited, looking for inspiration in live action and interaction between connected and

Osobno se zahvaljujem u svoje ime i u ime svih kolegica i kolega, nastavnika i studenata Akademije primijenjenih umjetnosti Sveučilišta u Rijeci, dekanima red. prof. Anti Vladislaviću i red. prof. art. Maji Franković na datoj potpori te pokretačima i nositeljima aktivnosti međunarodnog projekta ADRIART koji su svojim radom, stručnim i ljudskim potencijalom ostvarili razvojne ciljeve, profesor emeritus Daliboru Martinisu, doc. art. Fedoru Vučemiloviću, izv. prof. art. Lari Badurina, doc. art. Nadji Mustapić, doc. art. Igoru Eškinji, doc. art. Tomislavu Brajnoviću, kolegicama Pauli Trinajstić Ivančić i Milijani Babić. Zahvaljujem se svom nenastavnom osoblju Akademije primijenjenih umjetnosti koji su svojim radom doprinijeli radu projekta.

APU // T



UNG // T

Partnerji ADRIART-a smo si med seboj različni. Ne le ljudje, predvsem so štiri partnerske institucije različne po statusu, programih, ozadjih, vsaka država k temu prispeva še svoje posebnosti, čeprav je med trajanjem projekta še zadnja izmed partneric vstopila v Evropsko unijo. Vežejo in delijo nas zgodovinska ozadja, povezuje geografska bližina, predvsem pa smo si sorodni v vizijah. Študentje, ki so se ustvarjalno družili v mobilnostnih delavnicah, sodelujejo še naprej, postali so del ADRIART ekipe. Sodelovanja med nami že dolgo pljuskajo čez okvire projekta.

interested inquisitive creative individuals, teachers and students, and space (urban, non-urban, populated, desolate, public, private) and time (as well as a plethora of personal and historical memories)? Throughout these twenty years we have been making small but bold steps. We would often hear remarks that our programmes were out of the ordinary, too complex, that they have too much choice, that they were too interdisciplinary, insufficiently framed, too open. These are all things that are now turning out to be their most fascinating elements. I am pleased to find that the new school, five years old this year, still has the DNA of that most precious part of the old school. And that we have had good intuition in bringing in the right co-workers and, in the case of ADRIART, the right partners for the project — partners with whom we can develop together, amplify each other, and share experiences. And I am happy to see this DNA mixing with the new and all those idiosyncrasies developing, but complemented with the experiences of our partners into new dimensions, thereby preserving their vivacity and pertinence.

Visoka šola za umetnost Univerze v Novi Gorici je mlada organizacija (od 2009), vendar je nastala kot naslednica Šole uporabnih umetnosti Famul Stuart (od 1994) in nasledila njen odprti duh. Šola Famul Stuart je nastala v prvih letih po osamosvojitvi Slovenije, v času, ko so se preizkušale meje novih političnih in življenjskih situacij, iskale nove poti in je mlada država delala svoje prve korake. Nastala je odmaknjena od evforije ustanavljanja političnih strank in podjetij, a ob zavedanju, da je nečesa nepreklicno konec, ob zavedanju vojne v naši nekdanji domovini, ob izgubi naivne vere v to, da stvari in življenje tečejo po nekem ustaljenem redu. Če bi šolo Famul Stuart ustanavljali sedaj, bi jo verjetno ustanovili kot »start-up« ali še raje DIY kolektiv ipd. organizacijo, takrat pa je bila za podobne, nekomercialno usmerjene iniciative primerna organizacija kulturnega društva. Že pred koncem stare države, leta 1988, sva z Boštjanom Potokarjem k sodelovanju povabila nekaj svojih kolegov, takrat mladih umetnikov, s katerimi smo ustanovili Kulturno društvo Galerija GT in iz njega je leta 1994 zrasla ter vpisala prvo generacijo izobraževalna enota, Šola uporabnih umetnosti Famul Stuart. Zakaj se predajam spominom, saj vendar pišem za publikacijo ADRIART-a, sodobnega projekta štirih univerz iz štirih držav, leta 2014? Ne le zato, ker pravkar poteka 20 let od vpisa prvih študentov in se seveda sprašujem, koliko ima naslednica, Visoka šola za umetnost Univerze v Novi Gorici, še skupnega z izhodišči in usmeritvami stare šole. Je še zavezana raziskovanju novih pogledov na svet in stvari, obračanju perspektiv in ali nenehno preizprašuje vlogo umetnosti v naših življenjih? Še zdravo dvomi v preizkušene vzorce in raje ustvarja svoje? Je še zavezana odnosu do študenta, kot smo ga zastavili in gojili takrat? In, ali je morda že zašla v toge akademske okvire, od katerih je takrat bežala, ali pa je, nasprotno, še vedno fleksibilna in iskriva in išče svojo inspiracijo v živi akciji in interakciji med povezanimi in zainteresiranimi raziskujočimi kreativnimi posamezniki, učitelji, študenti, prostorom (urbanim, neurbanim, obljudenim, zapuščenim, javnim, privatnim), časom ter plejadi osebnih in zgodovinskih spominov. Skozi dvajset let smo delali male, a trdne korake. Pogosto smo o svojih programih poslušali pripombe, da so nenavadni, prekompleksni, da imajo preveč izbir, preveč interdisciplinarni, premalo uokvirjeni, preveč odprti. Vse to, kar se zdaj izkazuje za najbolj zanimivo. Vesela sem, da lahko ugotovim, da nova šola, ki je letos stara pet let, še vedno nosi DNK tistega dela stare, ki je najdragocenejši. In da smo z dobrim občutkom za ljudi pridobivali prave sodelavce in v primeru ADRIART-a prave partnerje v projektu. Takšne, s katerimi se lahko vzajemno razvijamo in oplajamo in eden drugemu prinašamo svoje izkušnje v izmenjavo. In vesela sem, ko vidim, da se je ta DNK pomešal z novimi in da se vse tiste naše posebnosti razvijajo naprej, a dopolnjene z izkušnjami partnerjev dobivajo nove razsežnosti. In s tem ohranjajo svojo živost in aktualnost.

Rene Rusjan

programska vodja Visoke šole za umetnost Univerze v Novi Gorici // PROFESOR September, 2014 Festival MAP in Motion še poteka, ko to pišem, za nami pred kratkim »site-specific« delavnica na Titovem Galebu, pred nami še zadnja na otoku Visu, v rokah imamo DVD treh edicij študentskih filmov o skritem življenju Benetk (iz drugega, vendar prav tako skupnega projekta), aktivirali smo »BIX fasado« graškega Kunsthausa in se udomačili v mestih ADRIART-a. Projekt, ki deluje, ki povezuje, ki je iz načrtov prešel v meso in kri in postal del življenja nas in naših institucij, v štirih državah, posredno, preko študentov in sodelavcev, pa tudi širše. UNG // T

Rene Rusjan with students during an inaugural Progress Track session, Gorica, 2013



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What it takes: Code!

majority has already become a permanent companion in their vocation and leisure time. But naturally it is also designed to open the doors and show the future producers of art the possibilities of how they can expand their approaches and techniques. If the pursuit at the same time succeeded in training the formalizing skills necessary for programming, and vitalized the competence for the abstraction of ideas, this would be a huge benefit for working in the analogue world as well.

Richard Dank

The end results and the feedback, from the participants as well as from outside observers, suggests that the direction taken is a good one.

Assistant Professor // MSC // Graz University of Technology Advancing Digital and Regional Interactions in Art Teaching, a master’s programme in Media Arts and Practices — such content, such goals can naturally not be conveyed or achieved in this millennium without taking a hard look at the object that has unleashed the third industrial revolution. Many things happened before the ideas of Charles Babbage and Ada Lovelace became the universally programmable machines of Alan Touring — and much more since then! This society-wide change in the information age calls for indepth theoretically abstract and artistic discourse. But it is also instrumental to gain very practical and personal experience with this device, the computer. To do that, it is necessary to delve straight into its core: data processing by means of programmable calculation rules. At first glance this might seem tedious, too academic, but the opposite is true, at least when one attempts to give students the lowest possible barrier to enter into coding. In the past two years ADRIART has provided no less than two different course series dealing with this. The first series was called Responsive Art in the Public Realm. It focused on implementing intermedia/transmedia art projects in public space. The aim was to transform analogue and digital processes into interactive, participatory installations (see the projects BIX.perform() and FOReCAST). The second series touches on the realm of digital fabrication. The potential of parametric paradigms is fathomed and the experiments, which are in perpetual flux, are fabricated with cutting-edge CNC technologies in a 1:1 scale (see Lógos: Multitude Manifestations and GRAB.ROG.LAND). This initially puts the spotlight on a single facet: the computer as medium, which naturally involves interaction, networking and illustration. Then the focus shifts to the computer as tool: algorithmic, process-oriented fabrication and direct manipulation of the production line. Either is unthinkable nowadays without at least rudimentary knowledge of some sort of programming environment.

Nicht ohne: Code! Richard Dank


Richard Dank helping with exhibition setup at Forecast workshop, Graz, 2014

Accordingly, the projects were developed and implemented on two currently very popular platforms: Java-based Processing (with Arduino) and the Rhinoceros plugin Grasshopper, which is expandable for example with C# or Visual Basic. Although the two scripting languages are fundamentally different, they both satisfy the key requirements: they are costless and freely available, but they are nevertheless being constantly developed. There is a large and steadily growing community engaging in multi-faceted sharing. Even with modest technical skills it is possible to implement quite impressive results. The acquired knowledge still is scalable, which means that given time and aptitude, considerably more complex things can be conceived.

Advancing Digital and Regional Interactions in Art Teaching, ein Master in Media Arts and Practices — solche Inhalte, solche Ziele lassen sich in diesem Jahrtausend natürlich nicht mehr vermitteln oder erreichen, ohne den einen oder anderen intensiven Blick auf das Objekt zu werfen, welches die dritte industrielle Revolution entfesselt hat. Einiges ist geschehen, bis aus den Ideen von Charles Babbage und Ada Lovelace Alan Turings universell programmierbare Rechenmaschine geworden ist ... und noch viel mehr seit dem! Mit diesem gesamtgesellschaftlichen Wandel im Informationszeitalter gilt es sich natürlich ausführlich theoretisch-abstrakt und künstlerisch-inhaltlich auseinander zu setzen. Aber es ist auch essentiell, dass man

One could also sum it up in another way: on the one hand the aim of these workshops is a targeted dive deep under the bonnet of something that for the

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TUG // T

ganz praktisch-persönliche Erfahrungen an diesem Gerät, am Computer macht. Und zwar genau mit dem, was ihn im Kern konstituiert: der Datenverarbeitung anhand programmierbarer Rechenvorschriften.

Alessandro Bordina

Klingt zunächst vielleicht trocken, zu akademisch, aber das Gegenteil ist der Fall — zumindest wenn man versucht, Studierenden einen möglichst niederschwelligen Einstieg ins Scripten zu ermöglichen. Dazu bot ADRIART in den letzten zwei Jahren gleich zwei unterschiedliche Lehrveranstaltungsreihen an.

ADRIART project was the first opportunity for University of Udine to start an intensive collaboration with teaching institutions belonging to the Alpe-Adriatic region in the field of time-based and site-specific art production. Although the University of Udine started the Film Studies course in Gorizia in 2001, occasions for an active collaboration in didactic and research activities with Slovenian, Austrian and Croatian universities and academies have always been rare.

Assistant Professor // PhD // University of Udine

Die eine Serie nennt sich Responsive Art in the Public Realm. Sie fokussiert auf die Umsetzung von Intermedia/Transmedia Kunstprojekten im öffentlichen Raum. Analoge und digitale Prozesse sollen hierbei zu interaktiven, partizipatorischen Installationen verwoben werden — siehe Projekte BIX.perform(); und FOReCAST.

Not only has ADRIART project acted as a catalyst that intensified and improved the relationships with the teaching institutions in the Italian border area, but it has also allowed for the Udine teachers to be in touch with different didactic methodologies and tools. The presence in the network of institutions with heterogeneous (but complemental) approaches to the research and didactic activities has been of an immense value for the Italian partner.

Die zweite Modulfolge nähert sich dem Themenkreis der digitalen Fabrikation. Das Potential parametrischer Entwurfsparadigmen wird ausgelotet, und die sich im stetigen Fluss befindlichen Experimente mit gegenwärtiger CNC-Technologien im Maßstab 1:1 hergestellt — siehe Lógos: Multitude Manifestations und GRAB.ROG.LAND.

Thanks to the project activities, the Udine students have had the opportunity to enhance their academic curriculum and to test and upgrade their skills in a European context.

So wird zunächst die eine Facette ins Zentrum gerückt: der Computer als Medium, was unter anderem natürlich Interaktion, Vernetzung und Illustration beinhaltet. Dem Computer als Werkzeug gilt dann im zweiten Paket das Augenmerk: algorithmische, prozessorientierte Gestaltung und direkte Steuerung der Produktionskette.

Alessandro Bordina

Ricercatore // PhD // UNIVERSITÀ di Udine

Beides ist ohne zumindest rudimentäre Kenntnisse der einen oder anderen Programmierumgebung schlicht nicht mehr denkbar.

Il progetto ADRIART ha rappresentato per l’Università degli Studi Udine la prima collaborazione con gli istituti di formazione avanzata, appartenenti alla regione Alpe Adriatica, attivi nel campo della didattica delle time-based e site specific arts. Sebbene l’Ateneo friulano abbia sin dal 2001 attivato un corso di un corso di laurea in Film and Audiovisual Studies nell’area goriziana, la collaborazione concernente attività didattiche e di ricerca relative all’ambito cinematografico e delle media arts con le università e le accademie slovene, croate, austriache ha sempre stentato a realizzarsi.

Erarbeitet und umgesetzt wurde entsprechend auf zwei aktuell sehr beliebten Plattformen: dem auf Java aufbauenden Processing (mit Arduino) bzw. dem mit zum Beispiel C# oder Visual Basic erweiterbaren Rhinoceros-Plugin Grasshopper. Wenngleich beide Scriptsprachen grundlegend anders geartet sind, erfüllen sie dennoch die wichtigsten, an sie gestellten Anforderungen. Sie sind frei und kostenlos verfügbar, werden aber dennoch ständig weiterentwickelt. Es gibt eine große und immer weiter wachsende Community zum mannigfaltigen Austausch. Mit recht geringen technischen Fähigkeiten lassen sich bereits ansehnliche Projekte umsetzen. Das erworbene Wissen lässt sich trotzdem gut skalieren, das heißt, mit mehr Zeit und Geschick kann man auch deutlich komplexere Dinge konzipieren.

Il progetto ADRIART ha, da un lato, agito da catalizzatore per una maggiore integrazione e una più intensa collaborazione tra le istituzioni formative nell’area di confine, dall’altro, ha permesso al personale docente dell’Università di Udine di entrare in contatto con diverse metodologie e strumenti d’insegnamento. La presenza nel network del progetto di istituti con approcci e strutture di ricerca e di didattica eterogenei ma complementari ha, infatti, costituito uno dei grandi valori aggiunti del progetto.

Zusammenfassend könnte man es vielleicht auch so sagen: Ziel dieser Workshops ist es einerseits dem Ding, welches für die meisten wohl mittlerweile ein permanenter Begleiter in Beruf(ung ) und Freizeit geworden ist, einmal gezielt unter die Haube zu schauen. Aber natürlich soll auch eine Tür aufgestoßen, Möglichkeiten gezeigt werden, wie zukünftige Kunstschaffende ihre eigenen Herangehensweisen und Techniken erweitern könnten. Wenn es zusätzlich gelungen wäre, die zum Programmieren notwenigen Formalisierungshandlungen zu trainieren, die Abstraktionsfähigkeit von Ideen zu schulen, dann ist auch fürs Werken in der analogen Welt viel gewonnen. Die Endergebnisse und das Feedback — sowohl von Beteiligten als auch von Externen — betrachtend, scheint der eingeschlagene Weg ein ganz guter zu sein.

TUG // T




Rajko Grlić

FILM DIRECTOR // PROFESSOR // UNIVERSITY OF NOVA GORICA SCHOOL OF ARTS Three years ago, when we started the first of our three Venice documentary filmmaking workshops, I welcomed the students with some words of warning: I remember an occasion when I found myself in front of the Notre Dame Cathedral in Paris. Since I had enough time, I started walking around it, observing it from all possible angles. In the meantime, a tourist bus would arrive every ten minutes and a surge of tourists would rush out, each of them holding at least one camera. The moment they stepped out of the bus they would raise their cameras and keep taking photos until they were made to board the bus again. Not a single one of them, or at least no one I saw among the at least ten bus loads that came and went, ever stopped to look where they were or what they were looking at. The reason I am telling you this is because I am afraid that the same might happen to us here in Venice. This beautiful city quite easily turns people into tourists, into zombies who do not look and do not smell, who do not taste and do not listen, but take photos instead.

HyperHaiQ � ADRIART-congested Theory & Practice of New Media

Rajko Grlić, leading mentor of HiLoVv — Hidden Live(r)s of Venice on Video Erasmus IP programme, Venice, 2013

Peter Purg

Assistant Professor // PhD // University of Nova Gorica School of Arts Thu, 04/17/2014 — 21:25 Today Sara Salamon, a guest student through the ADRIART.CE (CEEPUS) network, attending the international/-disciplinary course “Theory&Practice of New Media” at the School of Arts / University of Nova Gorica, suggested that her colleague Nikolina Hrga from Rijeka drops by at the project-development session of the course. So I said great, let her come -- and then she happened to bring along 4 further Rijeka students (I think all/most are studying in the developed Master of Media Arts and Practices), what a nice surprize..

You are here not to behave as tourists but to become filmmakers, individuals with an open heart and mind, ready to enjoy what you are doing. Believe me, you can make a film, and even a decent film, without extensive knowledge and good equipment, but you can’t make a film without enjoying the process, without enjoying yourself. Three years later, after working with more than forty students, the majority for whom it was their first filmmaking experience, I can say to them, “Thank you. You found your way to enjoy making films and that’s why I enjoy working with you.”

Working at Lógos — Multitude Manifestations of Rog workshop, Ljubljana, 2013 our course today took a very interesting turn. In fact, the collaborative creativity boost was quite immense — the “HyperHaiQ” (working title) project will, on May 27 (school’s semester show) produce a “- physical installation (in space, with object/s, including new-media tech) and an - online hypervideo (all videos interlinked within one youtube channel)” [...] ..indeed, we were happy to have Adla Isanović with us today, Adla teaches multimedia at the Sarajevo Academy of Fine Arts, she was just leaving Gorica after guest-lecturing (through ADRIART.CE) on “Rethinking Database and Arts in The Digital Age” [...] Read the full version at // UNG // T



UNG // T

After four strenuous days of filming and editing, we set up the works in a single space, acting as a unified dynamic urban landscape, a copy of the fragmented yet integral ex-Benčić factory complex. Exhibition of students’ works on a real location drew their attention to the workshop’s key issues: to what extent is a video image a performative art? If a work is an installation, which part of it has a performative character? These questions were the main motivator in creating and constructing the artificial time needed if we wished to transform the space of the exhibition into a potential space of play, i.e., show. True, the technical conditions and frames of the task have been fulfilled. Yet, on this path from the start to the end of students’ projects, the aspects of teamwork and collective experiment within the work-in-progress remained absent. Unfortunately, in five days, which was the workshop’s duration, we couldn’t find enough time to accomplish this. Therefore, we concentrated on the workshop’s performative part, as was rather obvious at the workshop’s opening and presentation. These mistakes taught us a lesson as much as they shaped our future goals. In this time of mass production we shall aim at organizing workshops at specific locations and, while doing so, we shall allow some creative time for trial and error as well as for the possibility to contemplate this process, thus affirming experimentation in the students’ awareness. Finally, the very form of site-specific art projects allows for experimenting with spatial and contextual contents. Workshops such as this are the best indicator that new creative spaces need some substantial affirmation, as the future open platforms for work-in-progress projects.


Assistant Professor // Academy of Applied Arts at the University of Rijeka Fri, 07/05/2013 — 09:27 //

Rikard Benčić Light Up, Tijana Mihailović, Benčić workshop, Rijeka, 2013

“Before Republic comes the revolution! This is not a generated message, this is not second hand information, this is not SF.” Flyer and promotional ad in newspaper for Benčić workshop, 2013

The concept of MAP study rests on a twofold basis: collaboration with a local community and an openness to social context. The later becomes the action framework for students once they leave university and become experts or artists. Since the essential goal of MAP study is to develop creative industries in the region, the workshop held at specific location i.e. the grounds of ex-factory Richard Benčić, has justified this concept. The participating students engaged in a research encompassing the entire complex of ex-factory Rikard Benčić. Their works were publicly presented at the facility of the so-called H-object (the future Museum of Modern and Contemporary Art). Admittedly, we were a little surprised by how well attended the event was. As more than 60 people showed up, we became quite convinced that the workshop’s final target was achieved! APU // T



APU // T

hierarchy) and working productively and responsibly in the „world“. The everyday life of Komiža and its inhabitans was a starting point, but also the context in which each of the students’ works had to prove its value and meaning. Through the course, the students had to perform, inter-mediate and (re)formulate Komiža’s narrative topology by combining the narrative character of the Komižans’ identity with the urban, architectural, natural and economic reality of the place. This could have been done only through a web of contacts and collaborative processes, and each student had to find their way to establish such collaborations with local community. The ultimate challenge was to create an absolute interdependence of the place and the concept as an interaction of outer and inner factors (for the Komižans outer factors were the students/mentors while inner was the town itself — for the students the outer element was the town, while the inner was the collaboration within the groups, or the workshop discourses and interactions as such). This awareness of interdependence/interaction between the artist and the context is, I believe, the main idea behind the ADRIART study program. As a course leader, I have learned from this process at least as much as the students have, and I am grateful for that.

Research, recognition and intermedia intervention in topologies and topographies of Komiža (Vis)

left Dalibor

Martinis right final

evaluation session, both in Komiža, 2013

Dalibor Martinis

prof. emeritus // Academy of Applied Arts at the University of Rijeka Almost five years passed since we started working on the concept of ADRIART. Five years of skyping and mailing ideas and concepts, drawing arrows on the blackboard, and writing applications, reports and whatnot. Looking at the exhibited works of the students who took part in 2014 summer ADRIART course “Mapping Komiža’s Narratives“ it is obvious that all this work has paid off. I hope that the course also showed the students and educators the benefits of getting away from the classroom (as a closed space and a part of a pre-established

APU // T



APU // T

Reflections on mentoring Nayari Castillo

Adrian Goycoolea

Lecturer // Sussex University, UK Teaching on the ADRIART Summer School in Komiža, Vis has been a truly gratifying experience for me. The cross-cultural exchange between students and mentors was genuinely productive and was evident in the various intermedia projects that the students created during the programme. This cross-cultural exchange was not the only source of inspiration for the students as they were asked to engage with the local community of Komiža in some way and this led to a unique encounter between the visiting students and locals. As a mentor, the collaborative teaching methods of the programme has re-invigorated the teaching strategies I employ at my home institution and I have been greatly inspired by the creativity and dedication of the students and mentors on this programme.

Mary Krell

Dorian Mataija and Tijana Mihailović (students of APU), at final evaluation session, both in Komiža, 2013

Patricia Wess (student of TUG), Nayari Castillo and Lola Seibt (student of TUG) on the ship Galeb in the Under the Flag of Displacement workshop, Rijeka, 2014

To a practicing artist, continuous encounters within academia are truly valuable source of input and information. I was invited twice to be a guest mentor for the Graz mobility, within the international program of the ADRIART consortium. On both occasions, I was profoundly moved by the experience. In terms of methodology, a platform like ADRIART represents, not only for the students, but also for the professors, an incommensurable space for dialogue and experimentation. One-to-one interaction with students provided all of us with the opportunity to deepen our knowledge on art problems, and to expand the experience in montage and production. Both times, first in 2013, on the “BIX.perform();” and in “FORECAST” in 2014, I acted as a counselor and provided guidance for each project, which led to very successful exhibitions and partnerships. In these projects, the effect of the consortium’s efforts was seen not only in the works of art, but also in the invisible matrix of connections and new partnerships that were established among different institutions. In “BIX.perform()” we intervened on the façade of the Kunsthaus in Graz by incorporating new layers of information. The students developed public art devices that communicated with the façade, giving the passers-by the freedom to interact with the animations that were displayed on the surface. In other words, they offered the public an opportunity to interrupt, drastically change or modify the signal, establishing a new and refreshed possibility for the technology.

Senior Lecturer // Sussex University, UK The ADRIART project facilitates critical and creative exchanges in Komiža, Croatia that are truly excellent and should be made available more widely so that students from across Europe could benefit. The ADRIART project is an ambitious, inclusive and novel project that brings students and faculty together from different cultures and institutions. During the project, participants make and explore work that is creative, rigorous and often experimental in nature. The location, the format and the care with which the project has been developed are each key to its success. It was encouraging to see how faculty worked actively to facilitate interaction among participants prior to actual workshop meetings. Those exchanges meant that students and mentors were able to get to work quickly and collaboratively once in Komiža. The range of skills brought by faculty from various institutions was also extensive and a clear benefit to the project. The experience brought to the project by senior faculty (such as Dalibor Martinis of Rijeka), was outstanding and individuals of his calibre should always be involved in such work. I participated in the project (and its predecessor) over three years. Each year both students and faculty seemed to work harder and go farther with the work they made. Students from our university who participated have gone on to pursue PhDs in Creative & Critical Practice (no doubt inspired by their experience in Komiža). As a faculty participant I too found that participation in the ADRIART project inspired my own research, leading to the development of new projects. APU // T+E



TUG // T+E

This experience taught me new ways of approaching public space and tools to understand spectators’ behavior. Moreover, it gave the Kunsthaus a renewed pattern for communication with its visitors. The “Forecast” project was in essence very different; there we worked hard to expose the students to scientific methodologies, constructing an amalgamated environment within art and science. The constructed prototypes for interactive pieces related to weather data and environment and the result would constitute an exhibition in the Forum Stadtpark. These works are a demonstration, not only of our expansive capabilities of the consortium in academic endeavors, but also of the crystallization of solid relations with other institutions and enterprises within the city of Graz. I have a strong feeling that this program has changed, owing to its multicultural nature, the cultural landscape of the city and by doing so, it has profoundly affected each and every person involved in both projects. I also had the possibility to work as a shadow mentor in the Rijeka Mobility of 2014. As a silent observer, I pursued a detailed evaluation of the mobility’s methodology. Since I was constantly there, on board of the ship Galeb, I can say with immense satisfaction that the sensitive results showed that the students learnt a lot from the socio-cultural and historic environment represented by the location. The mobility also gave them the opportunity to exchange ideas, discuss other people’s nostalgias and their working methods. In general terms, the entire set up fostered the essence of artistic thought. Both the professors and the students were transformed during the working period. My experience with the ADRIART consortium has been of a great significance, not only for my academic career but also for my personal development in art. The ADRIART project is an inexhaustible source for human exchange, which is a very important asset to offer to students of art, especially in the contemporary academic setting, since it contributes to the understanding of the nomadic destiny of the artist. The present times require versatility from artists. We come across, sometimes in each art project, multiple places and cultures. More and more, art is created at different latitudes, within different and constantly changing frameworks. Because of this, an opportunity to incorporate knowledge and tools to understand change at early stages of one’s artist career is a colossal advantage for students. In that sense, ADRIART, offering a structured first encounter with such circumstances, allows for the participants to broaden their ways of working and to experiment with otherness while fulfilling their academic objectives and preparing for a successful future.

Ulay Artist When I was invited to stay for five days on the ‘Galeb’, former Marshall Tito’s legendary vessel, I was thrilled … meeting with artists and students from four countries, being a mentor for youngsters for performance acts… they did it well. Ulay, on the left Alessandro Bordina, Under the Flag of Displacement workshop, Rijeka, 2014

Art has dispersed into political, ethnical, social fabric and I think today’s art has become an ambassador for educational reforms. Educational reforms should have been the business of the Ministry of Education. But they are all bureaucrats. Artists today get more and more integrated into educational system, in all aspects and levels and that can bring great changes. We need artists who are not bureaucrats, who have a diverse, rich existence, experience and viewpoints. We are talking about Europe and educational patterns that need to be reasonable, sensitive and responsible; that need to attract artists with a brief pedagogical background required by the responsibilities of teaching and the ways of approaching young people. Art serves its own purpose. With a great audience and a great interest and different markets. But I think art today has a different role.

TUG // T+E



APU // T+E

Janez Burger

FILM DIRECTOR // ASSISTANT PROFESSOR // MA // MENTOR OF THE CARRIER MODULE FILM IN THE PROGRAMME MEDIA ARTS AND PRACTICES What is your experience with the master’s programme Media Arts and Practices, in particular the studies in the pilot stage of the programme? My experience in the two years of the programme was very good. What transpired is that we are offering the students a broad film knowledge, while also working very individually with each student. I think the resulting projects reflect that. How do you see the difference between classical film studies and the programme in which you are participating? The traditional film school that I attended, the FAMU in Prague, has a very circumscribed programme, which means that the way you are learning you start with the first steps and proceed all the way towards the end product. But each of such end products has a precisely defined framework of reference, delineating what you learn and how you learn it, resulting in products that are very clear in advance. If you achieve that, it is good, but if you don’t achieve precisely that, it is not. In Media Arts and Practices the programme is much more individually tailored: if a student is more interested in experimental film, they do the same programme as someone who would like to study commercial film or someone who wants to do serials. You work with everyone individually. We have no preconceived notions about the student having to make precisely a specific kind of product. For example, in the pilot year we made a very genre film, two distinctly experimental films and one 18-part TV serial (shooting a portion of the first episode). The emphasis is on the student being able to focus on their development and pursuing their interests, we are there to help.


Increasing movie temperatures The performance partiture: Using a marker pen, I write the names of Tito’s favourite movie stars on the screen I measure the temperature of the screen where the names are written, using an IR — laser guided thermometer — I write the temperature with a black marker on the screen — I rub the screen intensively with my hand — I measure the temperature of the rubbed area — I write with a red marker the increased temperature above the former — I repeat this action... The alternative performance: The same concept but instead of working on the movie screen, I worked on the vessel’s outer steel walls — thus increasing the temperature of ‘Galeb’. .. As the story goes, about one month later I was invited to the Motovun film festival (Motovun, Istria/Croatia), where I received a second chance to do my initial performance, writing directly on the screen, aiming to increase movie temperatures...

You mentioned the development of students. Did the students start their studies with developed project ideas and then only realized them? The students are supposed to have a formed idea at the start of the studies which they then develop and advance towards the end product.

Today ‘Galeb’ is harboured in Rijeka without public access and guarded by the Croatian customs officers. As we never found Tito’s private film screen, my initial idea to do a performance with and about Tito’s private movie theatre, by working directly on the screen, could not be carried out.

This means that the master’s projects are designed so that they can evolve into bigger, more complex projects after graduation? It can be just one film, but in this case a student wanted to make an omnibus of her films, with each taking a very specific vantage point, ranging from the point of view of a dying person to the points of view of a newborn and a dog. Two films were made and she wants to make one more, bringing them together into a bigger, mediumlength format that suits the 50-minute television format. She would not have been able to do that in a typical film academy. The second project is an 18-part serial. Scripts for three episodes were written along with another 15 synopses and, as I mentioned, a portion of the first episode was shot. This is immediately eligible for calls for applications for serials, which actually happened. The students manage to get a producer, who then entered this serial in the competition; we are now waiting for the results. I think it smart to think along the lines of giving students here experience that they can apply directly in practice. What was it like to work with Rajko Grlić, both at the HiLoVv documentary film workshop in Venice and with the student who had you both as mentors?

A day before my performance in Motovun, I received an e-mail from a friend with an image attached...

I did not have much direct interaction with Grlić, we were in Venice together on the HiLoVv project, where I had my part and he was in charge of the majority of the work.

The image showed the screen from Tito’s private movie theater on ‘Galeb’, which was apparently hidden in the ceiling and found by chance... APU // T+E



UNG // T

študira isti program kot nekdo, ki bi rad študiral žanrski film ali nekdo, ki bi hotel delati nadaljevanke. Posvetiš se vsakemu posebej. Ne delamo si nekih vnaprejšnjih predstav, da mora študent napraviti tak in tak izdelek. Tako smo v pilotskem letniku naredili en zelo žanrski film, dva zelo eksperimentalna filma in eno 18-delno TV serijo, slednja ima posnet en kos prvega dela serije. Usmerjeno je torej na to, da se študent lahko osredotoči na svoj razvoj in sledi svojim preferencam, mi pa mu pri tem pomagamo.

As for this student, she got feedback on the films she was making from both of us. We went about it each in our own way, but we come from the same school and I think we probably have similar concepts. How do you see the modul Studio, which is typically implemented as mobilityoriented interdisciplinary and international production workshops at domestic or foreign partner universities?

Omenil si razvoj študentov — ali so študentje že prišli z izdelanimi projektnimi idejami ob začetku študija in so to le uresničili?

I think it is definitely good; when a person is developing, every kind of experience, whatever it may be, is useful and can serve as a guide of sorts. It is better to get more information from diverse sources than a single set of targeted information. This makes it easier to take different routes, or to choose different poetics and production approaches. It is good that these methods mix. The world is no longer what it was in the 80s, the film process has changed, the technologies have changed, the thinking, the generations... The students have to connect to each other as best as possible and, as I said, get as much information as possible from a variety of sources. You have to steer that as a mentor in order to prevent confusion and help bring out the essence of what the student is interested in.

Študentje naj bi imeli ob začetku študija že izdelano idejo projekta, na študiju pa naj bi se to idejo razvilo in nadgradilo do končnega izdelka. Magistrski projekti so torej lahko zasnovani tako, da se po diplomi nadaljujejo v večji, kompleksnejši projekt? Lahko je tudi samo en film. V tem primeru je bilo tako, da je neka študentka želela narediti omnibus svojih lastnih filmov, od katerih bo vsak narejen iz zelo specifičnega zornega kota gledanja; od zornega kota umirajočega, preko zornega kota novorojenčka do zornega kota psa. Nastala sta dva filma, študentka hoče narediti še enega in ta sklop se bo povezal v en večji film srednjemetražnega formata, ki bo skladen s televizijskim formatom 50. minut. Tega na običajni filmski akademiji na primer ne bi mogla narediti. Drugi projekt je 18-delna serija, za katero so bili narejeni trije scenariji in zraven še 15 sinopsisev ter, kot že omenjeno, en kos prvega dela. To se lahko takoj prijavi na razpise za serije, kar se je tudi zgodilo. Študentka je torej uspela dobiti producenta, ta je serijo prijavil na razpis in sedaj čakamo na rezultate. Pametno se mi zdi razmišljati v smeri, da študentje že tu dobijo izkušnje, ki jih lahko takoj uporabijo v praksi. Kakšno je bilo sodelovanje z Rajkom Grlićem — tako na HiLoVv delavnici dokumentarnih filmov v Benetkah kot tudi pri študentki, ki vaju je imela za mentorja? Z Grlićem nisem bil veliko v stiku, bili smo skupaj v Benetkah na projektu HiLoVv, kjer sem imel jaz svoj košček, on pa večino. Študentka je od obeh dobivala informacije o filmih, ki jih je delala. Vsak se je tega lotil na svoj način, prihajava pa iz iste šole, tako da imava verjetno podobne koncepte. Kako vidiš modul Studio, ki se večinoma uresničuje kot mobilnostne meddisciplinarne in mednarodne produkcijske delavnice na domači ali tujih partnerskih univerzah?

Janez Burger

filmski režiser // DOCENT // MAGISTER // mentor nosilnega modula Film v programu Medijske umetnosti in prakse

Zdi se mi vsekakor dobro, saj ko se človek razvija, mu vsaka izkušnja, kakršnakoli že je, koristi in ga na nek način usmerja. Bolje, da dobi več informacij iz razpršenih virov kot pa samo eno, usmerjeno, saj se potem lahko odloča za različne poti, pa tudi za različne poetike in produkcijske pristope. Dobro je, da se ti načini mešajo, saj svet ni več tak, kot je bil npr. v 80. letih, tudi filmski proces se je spremenil, menjajo se tehnologije, razmišljanja, generacije ... Tudi študenti se morajo med sabo čim bolj povezati in kot rečeno, dobiti čim več različnih informacij iz čim več različnih virov. Študente moraš kot mentor usmerjati, da v glavi ni zmede, ampak da se iz tega izlušči neko bistvo v smeri, ki študenta zanima.

Tvoja izkušnja magistrskega programa Medijske umetnosti in prakse oz. študija v programu v njegovi pilotski izvedbi? V dveh letih trajanja programa je moja izkušnja zelo dobra. Izoblikovalo se je namreč to, da po eni strani študentom podajamo zelo široko filmsko znanje, po drugi strani pa lahko z vsakim posebej delamo zelo individualno. Projekti, ki so nastali, se mi zdijo rezultat prav tega. Kako vidite razliko med klasičnim študijem filma in programom, kjer sodeluješ?

Filming of Mulci / Kids by Urška Djukić (student of UNG, on the right)

Klasična filmska šola, kot sem jo obiskoval sam, tj. FAMU v Pragi, ima zelo nazorno začrtan program. Na njej se učiš od prvih korakov do končnih izdelkov. Vsak tak končni izdelek ima točno začrtano, kaj hočeš z njim doseči in kako se to učiš na način, da so tudi rezultati tega dela že vnaprej zelo jasni. Če dosežeš to, je v redu, če ne dosežeš točno tega, kar je bilo določeno, ni v redu. V programu Medijske umetnosti in prakse pa je program precej bolj individualno zastavljen — če se prijavi nekdo, ki ga zanima bolj eksperimentalni film,

UNG // T



UNG // T

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New Platforms of Art Education for Urban Reflection:The case of ADRIART site-specific workshops for European Capitals of Culture


TRANSFORMATIVE PARTICIPATION: Increasing collaboration potentials, value visibility and process awareness in site-specific blended mobility courses of

By: Lara Badurina, Peter Purg

By: Peter Purg, Jernej Širok, Daniela Brasil (2014)

Solutions and Strategies: The Role of Art Practices as Pedagogical Methods

(Article pending publication.)

In a social inter-space, an artist represents relationships of values that can create other forms through ethical, aesthetic and other principles. Practices of contemporary art demonstrate a dynamic relation between artistic and other statements, regardless of whether they too are artistic, since dialogue is vital for art. For that reason, art depicts the models of social connections and interaction with viewers; it creates new tools that link groups and individuals.

Collaboration with local stakeholders needs to secure a safe enough approach (closing in on the comunity/context) and guarantee specific benefits for all stakeholders involved, optimally by developing a joint discourse (that inlcudes feeedback about acceptability of produced work). The interdisciplinarity of such work proves to be best guided by sharing the process (not only the product or tool), while keeping up the awareness on the disciplinary boundaries given a priori (even if transgressed during the collaboration), and developing new common work methods and (inter-professional /-social) languages.

Artists may also become the creators and carriers of mobility courses of the ADRIART project that have already been carried out through mobility workshops (more than 15 were set up from 2011 to 2014, in Venice, Rijeka, Nova Gorica, Komiža, Udine, Ljubljana, Graz; c.f. // They can participate as teachers in performances and activities in public spaces, in video/film and theater etc., but they can also be engaged in the field of non-formal education and research in situ. By promoting art through art and while implementing art and artistic research in education, they contribute to the artistic experiment, as one of the most significant (and perhaps underused) methods in teaching.

The learning design of such courses must find the right blended learning mix, optimizing (and possibly negotiating) workgroup establishment and collaboration protocols, keeping transparent the expectations and raising awareness about the improvements on both skill& knowledge competency levels Feedback proves to be an essential method of fostering student autonomy and should be supported by stable task assessment criteria, clearly premiered/chosen projects/solutions/ ideas, no matter whether they are tested in real/public or academic/in-school contexts, yet always they shall provide balanced teacher & (stimulated!) peer feedback.

It is precisely the combination of (methodologically reflected) experimentation and research that introduces the most important novelty here. This combination stems from the curricular and implementation structures of Media Arts and Practices (MAP) as the basis for the above mobility courses. It is also the result of interactions between progressive and traditional methodologies contained within the ADRIART project, gathering students and mentors of four universities from Austria, Italy, Slovenia and Croatia, whose participating schools are of different profile in terms of both academic fields and methodologies (art, architecture, media production; theory, applied practice etc.)

Despite the limitations of this study, it does suggest that the ADRIART mobilities, through their pedagogic approach of working with site-specific thematic and local partnerships, have a significant impact to students’ learning processes. The participation on this compact and intensive form of classes has proved to be transformative not only for students but also for the teachers involved, and not least the external production collaborators and audiences of the artworks delivered to the public (spaces). These production-oriented (but process-aware) course designs and carefully qualityreflected implementations show a particular potential in participatory emancipation of the public spaces in terms of their historical, social and political meanings, in both the local and the regional scope. Treating meaningful topics in an intensive contact with specific (trans)cultural contexts can foster — particularly within an otherwise open curricular structure such as the one of the Media Arts and Practices master programme — students’ engagement with the actual (social, economical, natural, political etc.) environment(s). It supports development of an inclination towards autonomous, life-long learning oriented personality, which eventually reflects onto the involved schools, and even art or media production institutions as learning organisations.

In: Interartive Magazine: Culture and Urban Space (Issue #65), August 2014, // URL objave članka (v celoti): //



Impressions about the study Lavoslava Benčić

MA student // Media Arts and Practices // University of Nova Gorica Studying at the University of Nova Gorica School of Arts for the past two years has been a unique opportunity for me to express myself in an academic setting. In terms of freedom of expression as well as the course requirements the experience differs from typical creative processes outside educational institutions, which are constrained by different interpersonal relationships. The master’s programme Media Arts and Practices incorporates contemporary know-how and skills that I had missed prior to my studies and had sought in various informal programmes. Mandatory, elective and external courses, excursions (Adriart’s international mobility in RogLab in Ljubljana, TU in Graz, APU in Rijeka and Komiža, Vis Island) and exhibitions (semester exhibitions, mobility exhibitions and participation in contests) comprise a system, a whole in which I gradually realized my master’s project vision. I am already sharing the practical part of the master’s thesis, which I had outlined in the admission interview, with the public as a virtual thematic route before I have even completed my studies, promoting and emphasising the importance of cooperation with Adriart and UNG School of Arts mentors.

Vtisi o študiju

Joint session, Under the Flag of Displacement workshop, Rijeka, 2014

Lavoslava Benčić

študentka magistrskega študija Medijske umetnosti in prakse // Univerza v Novi Gorici Študij na Visoki šoli za umetnost Univerze v Novi Gorici (VŠU UNG) v zadnjih dveh letih je zame enkratna priložnost za izražanje v akademskem okolju. Izkušnja se po svobodi izražanja in po obveznostih razlikuje od običajnih kreativnih procesov, ki so praviloma izven izobraževalnih ustanov obremenjeni z drugačnimi medsebojnimi odnosi.

Antonio Kiselić

MA student // Media Arts and Practices // University of Rijeka Academy of Applied Arts In the following text I will write about the need for projects that connect student population, as well as institutional and academic population, on an international level. My opinion is based on a practical experience from a site-specific workshop titled “Under the flag of Displacement”, that was held from 29. June to 5. July 2014 on Galeb ship in Rijeka. The workshop was the result of cooperation of three faculties: The University of Nova Gorica School of Arts, the University of Rijeka Academy of Applied Arts and the Technical University of Graz.

Program magistrskega študija Medijske umetnosti in prakse na VŠU UNG zajema sodobna znanja in spretnosti, ki sem jih pred študijem pogrešala in iskala na raznih neformalnih izobraževanjih. Obvezni, izbirni in zunanji predmeti, strokovna potovanja (ADRIART-ova mednarodna mobilnost v RogLabu v Ljubljani, na TU v Gradcu, na APU na Reki in v Komiži na Visu) in razstave (semestrske razstave, razstave mobilnosti in sodelovanje na natečajih) predstavljajo sistem oz. celoto, s katero sem postopoma uresničila svojo vizijo MA projekta. Praktični del magistrskega dela, ki sem ga idejno nakazala na pristopnih pogovorih na VŠU UNG že pred zaključkom študija, delim z javnostjo v obliki virtualne tematske poti, promoviram in poudarjam pomen sodelovanja pri projektu s strokovnimi delavci (mentorji) VŠU UNG in ADRIART-a.

UNG // S

Mobility, cooperation and education — practical experience

Student mobility and collaboration are important factors in developing individual and group approaches to art and research. The classic academic approach to an individualized process of work rarely allows for a possibility of organizing students into working groups, especially when it comes to students of different orientations or students from different academic years. However, by placing the students into new spaces and non-conventional situations, we can create possibilities for innovative and collaborative models of teaching and individualized methods of work.



APU // S

In the aforementioned workshops, the concepts of student projects were changed, redesigned and adapted day in day out, with the help from mentors. They were recreated into new projects that received new functions and forms. In such a process, students were given a chance to learn about new possibilities of individual and group work and to seek and respond to new challenges posed by the space and the group. All this gives students the experience that is strongly required by their future work. This is the experience that is rarely provided by the classic academic discourse, precisely for its lack of dislocation, the lack of different working conditions and foreign educators/facilitators.

institucionalno-akademske putem osobnog iskustva s radionice koja je uključivala suradnju između tri obrazovne institucije, Visoke šole za umetnost Univerze v Novi Gorici, Akademije primijenjenih umjetnosti Sveučilišta u Rijeci te Technische Universität Graz. Iskustvo je povezano s intenzivnom višednevnom radionicom site specific-a na prostoru broda Galeb nazvanoj “Under the Flag of Displacement” koja se je održala od 29. lipnja do 5.srpnja 2014. u Rijeci. Važnost studentske mobilnosti te kolaborativne suradnje jedni su od bitnih modela razvoja individualnog, ali i grupnog pristupa procesu kreacije umjetničkog i istraživačkog rada. Klasični akademski pristup individualiziranog procesa rada ne pruža učestalu mogućnost spajanja studenta/ica u radne grupe, ne samo unutar istih predmeta, već i različitih akademskih godina i smjerova. No, izmještanjem studenta/ica iz klasične učionice ili studija u nepoznati prostor i neustaljene društvene okolnosti, otvaraju mogućnosti ka novim, inovativnim kolaborativnim modelima i individualnim principima rada.

In cognitive terms, students are forced to articulate their thoughts and ideas, communicating in the English language. Such a setting enables them to expand their vocabularies and learn about different cultures from foreign students who gather at the workshops. In that sense, not only does this foster an intellectual and creative exchange of experience, but it also provides for a direct cultural exchange within an educational model. In such a process, educational institutions have the significant task of coordinating, organizing and adjusting the students to the new working conditions. Further on, they need to be able to resolve issues that may arise, which requires knowledge and readiness. They also need to allow for possibilities of networking and connecting academic institutions with their surroundings, by laying emphasis on dialogue and cooperation. This can be done by presenting the local community with different projects, communicating with the media, or even by intervening in the local community needs.

Konceptualizacija idejnih projekata za radionicu, te planirani rezultati istih bivaju mijenjani, modelirani i adaptirani iz dana u dan uz pomoć stručnog mentorstva, bivajući kreirani u nove predloške projekata koji u zadanim uvjetima dobivaju do tada novu funkciju ili čak formu. U takvom radnom procesu student/ica otkriva individualne i grupne mogućnosti s kojima do ta nije bio/bila suočen/a, tražeći i adaptirajući se novim izazovima koji im prostor, ali i grupa nalaže. Time, student/ ica dobiva prijeko potrebno iskustvo za daljnji umjetnički rad i razvoj s kojim se rijetko kada može suočiti unutar klasičnog akademskog diskursa, upravo zbog činjenice dislokacije, novih radnih uvjeta internacionalne grupe studenata/ica i vanjskih edukatora/facilitatora.

International projects of exchange and education are essential for our society and local community. Academic systems still have not opened themselves completely to new practices, practices that could significantly improve the quality of studying and our educational system in general. The situation in Croatia, and especially in Rijeka, certainly requires changes, particularly with regards to the 2014-2020 Strategy of Cultural Development of Rijeka and the process of applying for the title of the European Capital of Culture in 2020. Projects like this could provide strong support to the process of connecting our university with Europe and other intellectual, creative and cultural centers. Finally, it help Rijeka in applying for the highly regarded position of the European Capital of Culture.

Kognitivno, student/ica je prisiljen artikulirati svoje misli i ideje, komunicirajući na engleskom jeziku, šireći svoj vokabular, upoznajući kulturu nacija od strane studenata/ica s kojima se nalazi na radionici, pri tome dijeleći međusobne vrijednosti i stečevine razmjenjujući kontekstualno kulturalno iskustvo. Tako, ne samo da se obavlja intelektualno-kreativna, akademska već i kulturalna razmjena iskustva i prakse na direktnoj razini unutar edukacijskog modela. Edukatori pri tome imaju značajnu važnost koordinacije, organizacije, prilagođavanja studenata/ica novim radnim uvjetima, ali i rješavanju konflikta u zadatim momentima, što od njih zahtijeva punu spremu u poznavanju problema s kojima se suočavaju, kao i u daljnjim mogućnostima širenja i umrežavanja, kako u istome projektu tako i u budućima, povezivanjem akademskih institucija i njihovih sredina, artikulirajući pri tom prostor dijaloga i suradnje na lokalnu zajednicu prezentacijom projekta, komunikacijom s medijima ili čak izravnom intervencijom u potrebe zajednice.

Mobilnost, suradnja i edukacija u studentskoj edukaciji — iskustvo prakse

Međunarodni projekti razmijene i obrazovanja u svom punom obimu iznimno su potrebni našemu društvu i lokalnoj zajednici za još uvijek nedovoljno otvorene akademske sustave koji vape za novim radnim i iskustvenim praksama koji će dugoročno podići cjelokupnu kvalitetu studiranja, programiranja i rukovođenje institucijama obrazovanja i kulture. Hrvatski, a posebice riječki kontekst/e iznimno je potrebno restrukturirati, posebice uzimajući u obzir smjernice Strategije razvoja kulture Grada Rijeke od 2014. do 2020. te proces kandidature Rijeke za Europsku prijestolnicu kulture 2020. kojom bi ovakvi projekti mogli iznimno pomoći u povezivanju i otvaranju Sveučilišta s Europom i ostalim intelektualnim, kreativnim i kulturnim središtima, dajući kandidaturi dodatnu važnost i težinu prilikom apliciranja za tu renomiranu poziciju.

Antonio Kiselić

student magistrskog programa Medijske umjetnosti I prakse // Akademija primjenjenih umjetnosti Sveučilišta u Rijeci U daljnjem tekstu ukratko ću objasniti potrebu za razvojnim projektima umrežavanja studentske populacije na međunarodnom nivou, kao i one APU // S



APU // S

What is MA all about for me Iva Musović

MA student // Media Arts and Practices // University of Nova Gorica Fri, 07/19/2013 — 15:28 // The idea for the film Family reunion was just to make a short video test for a feature film. But little by little it became a work in itself. Death of the main character is a metaphor for getting out of a Pandora’s Box of family relations. I didn’t think of physical death much, but I used it to show that sometimes in such a critical moment members of a family can’t go over their own selfish pain, anger and pity. It is a story about repressed loves manifested through negative emotions and about difficulties to accept each other as we are. The film shows that people who are less involved with a dying man can be of greater help. I guess that’s my life experience and often I recognize it around me. The film is a kind of confession, as perhaps all my work is, but I have realized that only after it was done. Otherwise I would be too inhibited to create it. But this is my inner process and maybe I don’t need school for it.

Liberta Mišan

MA STUDENT // MEDIA ARTS AND PRACTICES // University of Rijeka Academy of Applied Arts In September 2011, I took part in the documentary film workshop “HiLoVv” in Venice, and learned about the ADRIART project. Since then, I have participated in numerous workshops, exhibitions and mobility courses, where I have gained a wide experience, as well as new knowledge and skills. Along with these, let’s say “formal” benefits, a also received the non-formal benefits: I have made new acquaintances, and some of them have turned into friendships; I’ve participated in lively discussions and socialized; I have meet different environments.

Filming of Družinsko srečanje / Family Reunion by Iva Musović (student of UNG)

Last discussion on set up before public event. From right to left: Liberta Mišan (student of APU), Rene Rusjan, (professor at UNG) and Igor Eškinja (assistant professor at APU), leading mentor of Under the Flag of Displacement workshop, Rijeka, 2014

This form of education was quite challenging for me, quite dynamic and progressive. It offered me the opportunity to turn my ideas into reality and gave me the space for progress, for improvements and for questioning of everything around me. Acquisition of new skills and techniques and well as networking, are important segments of the contemporary audio and visual production. Nevertheless, I believe that critical thinking and unrestricted imagination are much more important goals, since they empower art, and not just production.

Liberta Mišan

Studentica programa Medijske umjetnosti i prakse // Akademija primijenjeih umjetnosti, Sveučilište u Rijeci U rujnu 2011. godine prvi sam se put susrela s projektom Adriart, sudjelujući na radionici dokumentarnog filma HiLoVv u Veneciji. Od tada pa do danas, kada studiram na diplomskom studiju Medijskih umjetnosti i praksi (MAP), sudjelovanje na različitim radionicama, izložbama i kolegijima mobilnosti donijelo mi je pregršt iskustva, ali i novih znanja i vještina. Također, paralelno s takvim “službenim” benefitima, događaju se i oni neformalni: nova poznanstva od kojih neka prerastu u prijateljstva, žustre rasprave, neobavezna druženja, nove sredine. Takav je način edukacije za mene bio prije svega izazovan, dinamičan, i progresivan, utoliko što sam u takvom okviru vidjela mogućnosti za realizaciju svojih ideja ali i mjesto za napredak, usvršavanje i preispitivanje onoga već znanog. Stjecanje tehnika i vještine, kao i umrežavanje, bitni su elementi suvremene audiovizualne produkcije. Međutim stvaranje kritičkog mišljenja i razvoj nesputane imaginacije vidim kao mnogo važnije ciljeve, one koji omogućuju umjetnost, a ne samo produkciju.

UNG // S



APU // S

Giulia Grotto

MA Student // Cinema and Audiovisual Studies // University of Udine HiLoVv was one of my first real experiences with film production, and I loved it! I remember I was ill, but nevertheless I became completely immersed in Venice and documentary film production. It was an opportunity to understand that cinema can get closer to me. And I got the point: still today I’m trying to make it possible, by researching and making new films.

Urša Potokar filming Peeta for the film Delicate Surfaces, HiLoVv workshop, 2012

MAP experiences Sara Salamon

MA STUDENT // MEDIA ARTS AND PRACTICES // University of Rijeka Academy of Applied Arts Joint session at BIX Perform workshop, Graz, 2013

Fri, 01/31/2014 — 21:58 // My first mobility workshop in the context of ADRIART project and ADRIART-related experiences was a documentary film course HiLoVv that took place in Venice. It included two weeks of intense work on the field and it tested me and my capacities. I learned so much there and met great student colleagues and mentors from other institutions. After HiLoVv and Venice I decided to apply for other ADRIART’s workshops such as Responsive Art in Public Realm in Graz, Emotional Landscape in Rijeka and Transmedia Narratives in Nova Gorica. The reasons for my applications are multiple. Mobility workshops always guarantee great experiences. I have found meeting and working with other students from different countries and learning about different cities and communities extremely inspiring and valuable and I feel that connections I made with peers and mentors would last much longer. Also, the opportunity to focus on a single project without doing anything else (and making great products and pieces that I’m always surprised with) is another reason. Of course, there is the greatest thing — learning new skills in an intense ‘hands-on’ process. I would always recommend ADRIART workshops to other students at my home institution. This year (2013-14) I enrolled a graduate program Media Arts and Practices (MAP) at the Academy of Applied Arts (Carrier Module Intermedia) and I’m looking forward to new international experiences within the MAP coursework that will help me with my master project. I am satisfied with the MAP program, which is quite different and better of all study programs I have ever experienced. I am allowed to tailor my coursework by choosing modules and courses according to the needs of my master thesis project, so I can focus on issues and skill-acquisition that I find really pertinent. Our mentors have individual approach to all students. It is interdisciplinary because you are always approaching your topic from different angles and using different theoretical and practical framework. I really like the relationship with my mentors and colleagues and the working environment. This is now my first semester at MAP and I think that I have already spread my horizons and learned a lot.




APU // S

Reflection / Report

Perhaps the combination of people, time and space worked particularly well this time. Questions about abundance or lack of mentors and student supervision, group work or individual projects, the allocation of time and assignment of tasks etc. never even cropped up.

Helene Thümmel

Reflexion / Report

BA student // Architecture // Graz University of Technology

Helene Thümmel

My first contact with the AdriArt methods came during the preparations for the workshop Mapping Komiža Narrative in the summer of 2013, and subsequently in the middle of the Adriatic, on the small island of Vis in Croatia. In the course of that week I became immersed ever deeper into the place, but also into the methods that I had barely experienced at the TU Graz, methods that fascinated me and swept me away, but also bewildered me.

Bachelorstudentin // Architektur // Technische Universität Graz Mein erster Kontakt mit den Methoden von AdriArt entstand mit der Vorbereitung für den Workshop „Mapping Komiza Narrative“ im Sommer 2013 und im weiteren dann mitten in der Adria auf der kleinen Insel Vis in Kroatien. Während dieser Woche tauchte ich immer tiefer in den Ort ein, aber auch in Methoden die ich so kaum an der TU Graz erlebt hatte, die mich faszinierten und mitrissen, aber durchaus auch verwirrten.

In this group of strangers from different countries, with diverse cultural backgrounds and languages, an abundance of new ideas sprang up in my mind. And I could see that others had the same experience. When I arrived home I was just taken aback by these developments and the energies that the time spent together could generate.

In dieser Gruppe mir unbekannter Menschen aus verschiedenen Ländern, mit verschieden kulturellen Hintergründen und Sprachen, entstanden eine Vielzahl neuer Ideen in meinem Kopf. Und ich konnte sehen, dass es den anderen ähnlich ging. Als ich heimkehrte, war ich mehr als nur beeindruckt von diesen Entwicklungen und was für Kräfte durch so eine gemeinsam verbrachte Zeit entstehen können.

When I worked as a student assistant, I had the opportunity to co-organise the workshop Forecast in Graz, acting in an advisory role to the participating students. This change of position was a great learning experience about how ideas emerge, how they develop and how they can be realized.

Durch meine Anstellung als studentische Assistenz hatte ich die Möglichkeit den Workshop „Forecast“ in Graz mitzubetreuen und den Studenten unterstützend beiseite zu stehen. Dieser Positionswechsel meinerseits war eine große Lernerfahrung darüber, wie Ideen entstehen, wie sie entwickelt und verwirklicht werden können.

A few months after my return from Komiža, I had the opportunity once again to participate in an AdriArt mobility project. The title, Under the Flag of Displacement, immediately piqued my interest.

Ein paar Monate nach meiner Rückkehr aus Komiza hatte ich erneut die Chance bei einem Adriart Mobility teilzunehmen. Der Titel “Under the Flag of Displacement” hatte mich sofort gepackt.

Unfortunately, there was a lack of clear communication in this mobility workshop. It is difficult to pin down the reasons. In retrospect, I have come to believe that too many stories had been etched into the metal of that ship and affected us. What was missing was to sit down at a table with everyone and make it clear that we are on equal footing, in particular with those who considered themselves deprived of their right to equality.

Leider fehlte es bei dieser Mobility an klarer Kommunikation. Woran das lag, ist schwer zu eruieren. Im Nachhinein stelle ich die Behauptung auf, dass sich zu viele Geschichten in das Metall des Schiffes eingebrannt haben und uns beeinflussten. Woran es gefehlt hat war, sich mit allen an einen Tisch zu setzen und klar zu stellen, dass wir gleichberechtigt sind, gerade mit denen, die sich um ihr Recht betrogen sahen.

A year later and a few experiences richer, I was given the opportunity to return to Komiža, Vis, once again.

Ein Jahr später und um ein paar Erfahrungen reicher wurde mir die Möglichkeit geboten noch einmal auf die Insel Vis, nach Komiza, zurückzukehren.

This time everyone suddenly found their focus, working with clarity and peace of mind. We tested and collected the material. In between there were doubts again and groups were reshuffled, but there were no real conflicts. We were lying in the sun and swimming, on some days we worked through the night and helped each other along.

Dieses Mal hatte plötzlich jeder seinen Fokus gefunden, es wurde klar und ruhig gearbeitet. Man probierte aus und sammelte Material. Zwischendurch zweifelte man auch einmal und Gruppen wurden neu ausgemacht, aber es kamen keine wirklichen Konflikte auf. Es wurde in der Sonne gelegen und geschwommen, manche Nächte wurden durchgearbeitet und man half sich gegenseitig weiter.

TUG // S

Helene Thümmel (student of TUG), during exhibition with her work Years Ago Stories, Mapping Komiža Narratives, 2013



Vielleicht hat diesmal die Zusammenstellung von Personen, Zeit und Raum besonders gut gepasst. Die Frage nach zu vielen oder zu wenigen Mentoren und Betreuung der Studenten, nach Gruppenarbeit oder Einzelprojekten, nach Zeit- und Aufgabenverteilung etc. stellten sich gar nicht.

TUG // S

Maria Sabatina Mennuti

MA Student // Cinema and Audiovisual Studies // University of Udine On the 6. August 2013, I left Italy and arrived to Komiža to take part in a week’s workshop organised by Adriart. Grouped in teams, we worked on a Komiža-related subject that we had defined beforehand. Each group was free to use any artistic means to create their final works that would eventually, in one way or another, represent Komiža. My team consisted of the three of us and we decided to create a documentary about cats in Komiža since there are many of them in the town and people love them. We learned about the town and we got to know its inhabitants. The first day I arrived to Komiža, after a very long journey. I had not heard about the island before and I was very excited when I saw how nice the little town was and how kind all the people were. On the second day the mentors explained to us the organisation of the workshop and we shared our ideas. Every day we showed them what we had done the day before and we discussed each other’s work. My team talked to many people on the island in order to find out why there were so many cats in Komiža and what the relationship between cats and inhabitants was. The last day we worked so hard to create our teaser and get ready to show it. At last, we showed our work to the town’s inhabitants. Many people gathered, interested to see what we had done. In the end we sang and played together to say goodbye to each other and get ready for the next adventure.

Maria Sabatina Mennuti

Studentessa magistrale // Cinema and Audiovisual Studies // Università degli Studi di Udine Il 6. Agosto del 2013 ho avuto la possibilità di prendere parte al workshop di sette giorni organizzato a Komiza da ADRIART. Prima del nostro arrivo ci siamo divisi in gruppi e abbiamo abbozzato il soggetto e le modalità di lavoro che avremo poi sviluppato dopo il nostro arrivo nell’isola. Ciascun gruppo era libro di poter utilizzare la forma artistica considerata più adatatta per la realizzazione del proprio lavoro che, in una maniera o l’altra, avrebbe mappato le narrazioni presenti nella città di Komiza. Il mio gruppo era composto di tre studenti, insieme abbiamo deciso di realizzare un documentario sulla numerosa presenza di gatti a Komiza e sul rapporto che negli anni si è instaurato tra i gatti randagi e la popolazione della città.

Maximilian Conway

Student // Graz University of Technology HiLoVv workshop, Venice, 2011

Sono arrivata a Komiza dopo un lungo viaggio. Non avevo mai sentito parlare di quell’isola. Il primo giorno, dopo aver visto la bellezza della città e la gentilezza degli abitanti, ne sono rimasta molto colpita. Abbiamo esplorato la città e siamo entrati in contatto con la popolazione di Komiza. Durante il secondo giorno, i docenti ci hanno illustrato l’organizzazione del workshop e si è avuta la possibilità di discutere con loro le nostre idee. Ogni giorno controllavamo con i docenti il lavoro eseguito e ci confrontavamo con gli altri studenti sulla migliore maniera di proseguire il nostro progetto. Il mio gruppo ha incontrato diverse persone dell’isola con l’obiettivo di scoprire la relazione degli abitanti con l’elevata popolazione di gatti presente nella città. L’ultimo giorno dedicato alla realizzazione e alla proiezione del teaser di lavoro è stato il più intenso. Alla conclusione del workshop, abbiamo mostrato il lavoro alla popolazione locale che ha risposto in maniera entusiasta. Alla fine abbiamo festeggiato per salutarci e prepararci alla prossima avventura.




The workshop made me realize just how powerful documentary filmmaking can be. The positive results of HiLoVv encouraged me to make further films. Under the mentorship of Rajko Grlić, I entered a state of creative flow that I’ve rarely experienced before. I’ll never forget the intense collaboration with Slovenian student Jaka Žilavec.

TUG // S

Nikolina Hrga

Valerija Zabret aka Valérie Wolf Gang

MA STUDENT // MEDIA ARTS AND PRACTICES // University of Rijeka Academy of Applied Arts

MA student // Media Arts and Practices // University of Nova Gorica

Upon graduation from the Faculty of Humanities and Social Sciences, I enrolled Media Arts and Practices study programme because it opened up possibilities for gaining new knowledge and skills in the field of art. It was a wonderful opportunity for an adaptation of some of my written works and a chance for realization of numerous ideas that I had conceived beforehand, but also for generation of new ones. This study programme has tremendous potentials for creating new educational and art production platforms in Rijeka and abroad. Apart from participation in mobility workshops, the program provided me with the opportunity for networking and connecting with people of similar profiles. I certainly plan to continue my cooperation with some of them after the completion the study.

Distant Memory by Valerija Zabret aka Valérie Wolf Gang (student of UNG), Under the Flag of Displacement workshop, Rijeka, 2014

Nikolina Hrga

Valerija Zabret aka Valérie Wolf Gang

Studentica programa Medijske umjetnosti i prakse // Akademija primijenjih umjetnosti, Sveučilište u Rijeci Diplomski studij Medijske umjetnosti i prakse upisala sam nakon Filozofskog fakultet jer sam u njemu vidjela priliku za stjecanje novih znanja i vještina u području umjetnosti. Bila je to sjajna prilika za adaptaciju nekih mojih pisanih radova te realizaciju mnogih začetih ali i stvaranje novih ideja. Studij ima velik potencijal za stvaranje nove edukacijske i produkcijske umjetničke platforme u Rijeci, ali i šire. Osim brojnih radionica mobilnosti koje nudi, studij mi je pružio i priliku za umrežavanje i povezivanje s različitim ljudima sličnog senzibiliteta. S nekima ću sigurno nastaviti surađivati i nakon studija.

Študentka magistrskega študija Medijske umetnosti in prakse // Univerza v Novi Gorici Pravkar sem zaključila prvi letnik magistrskega študija Medijske umetnosti in prakse na Visoki šoli za umetnost Univerze v Novi Gorici in počasi se pripravljam na polletno študentsko izmenjavo na Portugalskem, kjer bom razvijala svojo idejo za magistrsko delo. Študij se mi je zdel zelo primeren zame, saj sem imela dovolj možnosti izbir različnih predmetov, ki sem jih med seboj lahko kombinirala in v njih našla primerno snov in podporo za izvedbo umetniških projektov. Dobra izkušnja sta bili tudi dve krajši izmenjavi (t. i. »studio«), ki sem se ju udeležila: »Responsive Art in the Public Realm« v Gradcu in »Under the Flag of Displacement« na Reki. Sodelovanje s študenti drugih umetniških šol mi je bilo zelo zanimivo, prav tako pa je bil velik izziv, saj smo običajno vajeni individualizma. Rezultat je bil več kot pozitiven, saj sem spoznala veliko odličnih mladih umetnikov, ki so me marsikaj naučili ter vzbudili zanimanje tudi za druge umetniške panoge (poleg videa, s katerim se največ ukvarjam). Menjava običajnega delovnega okolja pa je tudi vedno dobrodošla, saj spodbudi ustvarjalnost in rodi nove ideje, ki presegajo meje vsakdana.

Iva Musović and Dunja Danial (students of UNG), filming in Benčić workshop

APU // S

I have just completed the first year of the master’s programme MAP at the University of Nova Gorica School of Arts and I am slowly getting ready for a semester-long student exchange in Portugal, where I will be developing my idea for the master’s project. I think the programme suits me very well, having given me an abundance of opportunities to select different courses, which I was able to combine in order to glean the suitable subject matter supporting the execution of my arts projects. The two shorter exchanges (studios) that I attended, “Responsive Art in the Public Realm” in Graz and “Under the Flag of Displacement” in Rijeka, proved to be great experiences. I thought cooperation with the students of other art schools was very interesting, and it was also a major challenge since we are typically used to individualism. The result was more than just positive: I got to know many incredible young artists who have taught me a lot and piqued my interest in other artistic practices aside from video, which is the primary focus of my interest. It is always welcome to change the work environment, for it gets the creative juices flowing and brings out new ideas that go beyond the confines of the quotidian.



UNG // S

40 million frames per second! Robert Cotton Wed, 04/04/2012 — 16:35 // OK Just a factoid from our genius physicist colleagues at CERN. Recently, I was showing students some super-slomo video taken with a Phantom HD Camera. The Phantom can shoot at 1000 frames/sec and indeed up to 2000 frames/ sec on some models. Back in the days of celluloid, slow-motion (slomo) meant just 72 frames/sec. How times have changed...

Out of home / space experiences

But it is more than just a quantitive change. The extension of our perceptual apparatus into the world of animated suspension (for example at around 1000 frames/sec) has a profoundly different effect on our senses, and on our cognitive apparatus. The effect is an inversion of the dilated time that is often the apparent result of taking psychoactive or hallucinogenic drugs — with these drugs, time can appear to slow down, leaving us lost in wonder as we watch some simple natural process. With Phantom HD, we create a 1000 frames/sec slomo — the video, not our perception, slows down. The tiniest motion of an expectant dog waiting for a treat is made visible, made remarkable, by frame-capture at these speeds.

Polona Zupan aka Pila Rusjan MA student // Media Arts and Practices // University of Nova Gorica Wed, 09/25/2013 — 01:12 // I have just arrived from one of the many ADRIART’s mobilities which are part of our Media Arts and Practice MA programme. Some of them are obligatory depending on one’s carrier module, others optional, but each of them is different and provides an intense experience. It is not only about getting to know new technologies, reading the theories, making a new project. It is mostly about getting to know yourself through collaboration with other participants — and by this I mean students and mentors. We are all oriented towards the same goal: to make this experience as valuable as it can be — whether it is in the final work, the knowledge gained or the personal growth and collaboration. I feel that it’s often hard to decide which of those aspects is the most important. I think they are all equally important.

Polona Zupan aka Pila Rusjan (student of UNG), setting up Chief Engineer’s Cabin, 16:32–19:48, Under the Flag of Displacement workshop, Rijeka, 2014

// We see nuance upon nuance, fractional temporal detail — detail we can never see in the whirligig of realtime. Super Slomo does for cinematography what Harold Edgerton and his strobes did for stills — it captures images at the millisecond level. And the Phantom HD captures each frame at HD resolution — 2 megapixels per frame, giving us an insight into aspects of the world previously only accessible to specialist scientists or technical imaging experts. Then I heard the factoid that I mentioned — in an interview with the Higgs Bosonhunters at CERN, in which they described the Atlas Detector — the huge ‘camera’ that captures particle collisions in the Large Hadron Collider. This massive imaging machine can take 40 million frames/sec! And not only that, but each frame is 100 megapixels in quality! And in 3D!

ADRIART mobilities are workshops using different media, with various themes, condensed into a short period of time (5–10 days), with mentors from at least two partner schools. They are project-based and have a set preproduction, production, postproduction and presentation time, with many critical dialogues between mentors and students. They are intense both physically and psychologically. Participants work day and night for the final presentation and in the meanwhile, they get to know each other, they get to love and hate, to laugh and cry, to see their own work and their own limits — “Can I push them further?”

// When you think of the impact of Etienne Jules Marey and Edweard Muybridge in the 1880s and of Harold Edgerton’s stroboscopic high-speed photographs in the mid 20th century, it is interesting to speculate on the impact of these new 21st Century camera and imaging technologies over the next decades.

And I try and I try, work too much, get a bit insane and dizzy, others kick me out into the nature, into the air, into a bar... The next day I don’t have any energy, but a colleague of mine who has been working till dawn is full of adrenaline and he wakes me up. Then he goes to sleep, and I get down to work. The third leg of our tripod group heads for the supermarket to buy groceries for our lunch, to broaden the experience, to find more material to work on, to gather the strength for the evening crits.

10 years ago, when the Wachowsky Brothers and SFX-director John Maeda were creating and compiling the technologies for what came to be called virtual cinematography in The Matrix, there were forecasts of realtime photogrammetry — making cameras that could shoot HD video, and also capture stereo 3D data from the real-world — both by triangulation, and by realtime automatic edge-finding and photo-grammetic interpolation of third-dimensional data. The idea that we should have cameras that recorded, processed and stored 3D model data alongside cinematographic images — that we would have something like Startrek’s Tricorder — is now very nearly a reality.

And so it goes, with ups and downs, between allies and enemies, until they all come together in a final show. What’s done is done. It is time to enjoy. Tomorrow there will be new grades. Positive or negative, the most important is what you get from the experience and the grade you give to yourself. UNG // S



UNG // E

in bandwidth, WIFI, online encyclopedia (Wikipedia), Social Networks, MPEG-7, low-cost GPS, PS2, Tangible Media (including multi-touch), iPod, 3D Worlds (Second Life), digital pens, video networking (Skype), BitTorrent, Mars Odyssey remotescans, iTunes, AdSense, HD video, Blogging, Augmented Reality, Lego Mindstorms, Projection Mapping, photo-sharing (Flickr), video-sharing (Youtube), DVB — Digital broadcasting, Pure Data, World of Warcraft, Ruby on Rails, Web 2.0 and Ajax, Web 3.0 (Semantic Web), Low cost computers (Arduino, One Laptop per Child, Raspberry Pi, etc) Nintendo Wii, eBooks, Modul8, Mobile TV, Google Earth, Cloud computing, Twitter, Photosynth, iPhone, Massive’s Prime crowd-animation software, Google Maps, Flip camcorders, Empathic Robotics, eBook Readers, Android, Red Digital Cameras, Tag clouds, realtime expression capture, Microvision pico projectors, BBC iPlayer, Phoenix Mars digital imaging, Crime Maps, OpenCalais, IPhone Apps Store, 3D TV, Surface Computing, Spotify, Adobe AIR, Prezi, HTML 5.0, Phantom Gold cameras, Google Chrome, iPad, Adobe Edge, WebGL, GoPro cameras, iTunesU, (to mention but a few!). Plus the Naughties were the decade of low-cost sensors, and bio-sensors, wearable computing, Big LCD and Plasma Screens, and professional social networks, and CMS like Moodle and Drupal ... and open-source authoring and software development kits like Processing, Scratch, Kid’s Ruby, Corona, Pure Data, etc.

What’s the relevance of all this to ADRIART?

Dimensional Imaging’s 3D Content Creation Software indicates how this might be achieved from an HD stereo-lens camera: // And there’s emerging an ever-more-accessible alternative to photo-grammetry, namely the recent development of point-cloud laser scanners — now with ranges up to 120 metres. These devices emit a scatter-gun of laser-pulses, each building towards a 3-dimensional plot of all the objects in sight. This stream of data can be processed into a three-d map or model of the domain (the building, city-square, valley or other subject). Devices like the Faro point-cloud Laser Scanner already come with the CAD software for compiling and compositing scans from different perspectives (both interior and exterior) into coherent 3D CG models, that can then be coloured and textured or clad with photographic surface imagery. (see // Projection Mapping is another facet of this ‘virtual cinematography’ sector. This integration of 3D model data with real projection surfaces (building facades etc) has had a spectacular impact over the last decade, creating augmented realities visible to the naked eye. Other artificially created augmented realities include the delightful FLART toolkit and the Madmapper software — the use of graphic reference markers to help create 3D CGI superimpositions on real-world scenes..

The pace of techno-social innovation is ever faster as processing power and digital memory obeys Moore’s Law ... and The Times They Are a Changing! Designing courses for 21st century students — youngsters who already inhabit the digital world — means we need philosophies, strategies, guidelines, and courses that are fit for purpose in this new century. We must take the best from the revolutionary seminal courses, R&D centres, and design institutions of the 20th Century — Bauhaus, Black Mountain, Xerox PARC, Interval Research, MIT Media Lab, Ealing Ground Course, IVREA, the Planetary Collegium, CAL Arts, ZKM, ZHDK, and so on ... And add to this best practice and experiential knowledge from all ADRIART participating institutions.

Emil Benčić — From Experience to Infinity by Lavoslava Benčić (student of UNG) at MAP in Motion exhibition, Kortil Gallery, Rijeka, 2014

In a recent collection of essays by leading art-educators ‘Educating Artists for the Future — Learning at the Intersections of Art, Science, Technology and Culture’ (ed Mel Alexenberg, Intellect 2008), the editor notes a proposal by Daniel Pink that we are ‘witnessing a paradigm shift beyond the digital culture of the Information Age to a Conceptual Age in which people in all walks of life will succeed when they behave like artists who integrate left-brain with right-brain thinking” (p12). Other contributors suggest that although the impact of digital technology is significant, it forms just part of something much more momentous that is intertwined with the aesthetic, ethical, cultural and socio-economic. “Scientific research and technological development are radically transforming basic philosophical ideas about the nature of the physical world, time and space, the nature of life and intelligence, and the limits of our abilities to transform the world and humanity” (p13).

// see // At current rates of ‘professional/scientific imaging-to-prosumer-product’ (<10 years), we might expect some interesting and affordable consumer-level cameras over the next few years. // — 7500 megapixel frames/sec // IDT Redlake Y5 1500 frames/sec at 1920x1080 //

These and other papers by the likes of Roy Ascott, Eduardo Kac and David Gelernter argue for consideration of this general ‘post-digital’ approach, where the ‘art education’ developments are integrated into what Ascott calls the ‘moistmedia’ interplay of digital, biochemical, neurological, physical and other biological systems with the digital and cultural domains...

Of course, these are developments in just one aspect of the ever-evolving digital domain. In the last decade, for example the ‘new’ has encompassed developments

All these opportunities to consider, as well as getting the balance between our rich local cultures and the global developments surrounding us(!)

UNG // E



UNG // E

onto the framework of our work, to highlight the relations among elements that seem scattered. This programme’s orientation on a creation-production component may not represent a strong disengagement from the standard art education, but it certainly abandons the master-apprentice relationship in which the master teaches the apprentice to follow their steps. This particular feature means new freedom, freedom from constraints of styles and media; it opens up a new space where one can seek own codes of expression. It creates the basis for including critical and responsive elements into a work of art and it raises different expectations in terms of what art could offer, not only in the form of expression, but also in the form of thinking. Imagination is the most essential aspect that students bring into the study, since this programme is here to set the imagination free, in a graspable framework. The problem of reception of contemporary art lies in a failure to recognize the scope of an artwork. The scope of imagination can stretch throughout the globe or it may focus on a single point; it can be defined anywhere or anyhow, but the true success is to make it visible. It is only then, when we all see it, that all the elements of an artwork acquire their meaning. This is the most important moment of creation and production in contemporary art and that is why I am truly looking forward to seeing the effects of ADRIART and MAP.

Waiting for effects Davor Mišković

director of Drugo More Association Writing a short review of ADRIART and Media Arts and Practices from the standpoint of a cultural worker who does not know much about the programme may involve some kind of speculation, a phenomenon so typical for our times. Nevertheless, this review is an expression of hope, a hope that this programme will satisfy the needs of numerous local organizations that seek understanding. For all of us who work with art programmes that do not rest on presentations skills, but on symbolical expressions of our relationship to social phenomena, it is essential to focus the attention of audience

U iščekivanju posljedica Davor Mišković direktor udruge Drugo More

Kratki osvrt na program Adriarta i MAP-a iz perspektive kulturnog operatera koji o programu zna vrlo malo nužno je nagađanje, spekulacija, koja tako lijepo priliči našem vremenu. No to je ujedno i izraz nade. Nade, da će upravo ovaj program ispuniti čežnju niza lokalnih kulturnih organizacija za razumijevanjem. Svima nama koji radimo na umjetničkom programu koji se ne oslanja na vještini reprezentacije, nego na vještini simboličkog iskaza odnosa prema društvenim fenomenima, ključno je fokusirati pažnju publike na okvir našeg rada, učiniti vidljivim i naglašenim relacije između elemenata koji kao da su slučajno razbacani. Orijentacija ovog studija na kreativno-produkcijsku komponentu umjetnosti možda ne predstavlja snažan odmak od klasičnog umjetničkog obrazovanja, ali prekida ukorijenjeni odnos majstor-šegrt u kojem majstor prenosi vještinu na šegrta kako bi ovaj nastavio sličnim putem. Već ovaj prekid znači oslobođenje od stila i medija, otvara prostor za traženje vlastitog koda izražavanja i postavlja osnovu za uključivanje kritičko-responsivnih elemenata u umjetničko stvaralaštvo. Tako se otvaraju vrata jednom drukčijem očekivanju od toga što nam umjetnost može ponuditi, ne samo kao vještina izraza, nego kao vještina razmišljanja. Imaginacija je ključni ulog kojega studenti unose u ovaj studij, studij je tu da oslobodi tu imaginaciju u okviru koji je prispodobiv drugima. Problem recepcije suvremene umjetničke prakse je neprepoznavanje okvira u kojem se nalazi umjetnički rad. Okvir u kojem se izražava imaginacija može se protezati cijelim globusom ili koncentrirati na jednu točku, može biti postavljen bilo gdje i bilo kada, ali pravo je umijeće postići da bude vidljiv. I tek tada, kada ga vidimo svi elementi umjetničkog rada dobijaju smisao. To je najvažniji kreativno-produkcijski moment u suvremenoj umjetničkoj praksi i zato s nestrpljenjem očekujem posljedice ADRIARTA i MAP-a.

Reflection of the Unconscious by Polona Zupan aka Pila Rusjan (student of UNG), at MAP in Motion exhibition, Kortil Gallery, Rijeka, 2014

APU // E



APU // E

A study programme that insists on integrating different disciplines and contents, a programme that is open and dynamic, is the future of visual arts studies. Through this study programme, the Rijeka Academy creates the so much needed energy, forming a space where one can act in a process, where the focus is on reflection, exploration and change, instead of a fixed representation. Such a programme can create new forms of communication, new modes of sociability. It sees arts as an instigator of positive social changes. This is the only way we can stand up against the dominant culture of spectacle: by being present, by being responsible, by caring for others and by being aware of the context in which we live and work.

Slaven Tolj

direktor Muzeja moderne i suvremene umjetnosti u Rijeci MAP vidim kao mjesto otvaranja i oslobođenja konzervativnog mentaliteta, kao scenu za produkciju i predstavljanje onog Suvremenog Kreativnog koje će uspostavljati širinu kulture koegzistencije i komunikacije. Vjerujem da se ovaj studij može suprotstaviti ideji zatvorenosti i ksenofobiji i biti točka suradnje i s Muzejom moderne i suvremene umjetnosti zbog sukladnosti naših nastojanja. Nadam se da će ovaj studij biti mjesto otvaranja APU prema lokalnoj zajednici i drugim akterima u kulturi i umjetnosti i inicijacija kvalitetnih promjena kako u samoj instituciji tako i u širem društvenom kontekstu. Studij koji inzistira na integraciji različitih disciplina i sadržaja, koji je otvoren i dinamičan, budućnost je studija vizualne umjetnosti. APU ovim studijem stvara potrebnu energiju formirajući prostor u kojem se djeluje u procesu, u kojem se težište daje na reflektiranje, istraživanje, promjenu, a ne fiksiranje i reprezentaciju. Takav studij ide za stvaranjem novih komunikacijskih situacija i modela društvenosti, a umjetnost vidi kao zamašnjak pozitivnih društvenih promjena. Samo tako se možemo suprotstaviti dominantnoj kulturi spektakla, svojom prisutnošću, odgovornošću, interesom za drugog i sviješću o kontekstu u kojem živimo i djelujemo. Nadam se stoga suradnji MAP-a s MMSU-om i želim ovom studiju dugu i važnu budućnost.

Slaven Tolj

director of the Museum of Modern and Contemporary Art in Rijeka I see Media Arts and Practices as a place for opening up our visions, for breaking free from constraints of conservative mentality; as a scene for production and presentation of the “contemporary creative” that will broaden the scopes of culture, coexistence and communication. I believe that this study programme is able to confront with the self-containment and xenophobia around us and I hope it would act as a point of cooperation with the Rijeka Museum of Modern and Contemporary Art. I also hope it would open the Rijeka Academy of Applied Arts to the local community and to other protagonists of the local culture and art. The programme may certainly initiate positive changes both in the institution itself and in wider social surroundings. APU // E

Ulay, Irena Sertić, Dalibor Martinis and Slaven Tolj at MAP in Motion sympossium session, Rijeka, 2014



APU // E

Shifting locations, strengthening collaboration — within horizontal forms of knowledge exchange in the ADRIART project Unlearning Exercise at Schöckel mountain with guest teachers Zoe Kreye and Catherine Grau, Forecast workshop, Graz, 2014

ARTS EDUCATION AND BEYOND: MAP in Motion PROGRAMME AS A CULTURAL PROCESS Daniela Urem MAP in Motion consisted of educational presentations, conferences and artistic events of national, regional and international scope, which made an excellent platform to meet potential students. It drew on the forces of art for dialogue and social cohesion which contributed to the understanding what unites the diversity of our cultures and expressions.

Daniela Brasil

ASSISTANT PROFESSOR // PHD // GRAZ UNIVERSITY OF TECHNOLOGY In the last three years, four universities with different profiles, sizes and fields of expertise got together with the task of creating an international master Study programme in media arts. This interdisciplinary and intercultural dialogue has been an enriching and challenging process on numerous levels: from defining pedagogical

MAP in Motion exhibiton, Alkatraz Gallery, Ljubljana, 2014

Throughout the four different cities and from the three different countries, the message was consistent and clear and authentic: art and learning are dependable and intertwined. As purposely defining the process is more likely to produce the results which make significant long-term and permanent changes to the outcomes of the program, MAP in Motion reinforced talent development of ADRIART graduates and focusing to any potential student as a prospective long-term partner. By building strong network and increasing potential future collaborations, MAP in Motion maximized the current student’s socialization process and provided potential students with a first — hand look at curriculum and educational practices. With its multi-channeled approach in international student outreach, MAP in Motion not only contributed to the development strategies of the program but enhanced the value of arts from different cultural perspectives. To be concerned with the potentials of art and art education is to be concerned with potentials of culture and cultural practices. As the awareness of art reinforces social inclusion and speaks volumes about culture, the benefit of introducing the art education into society increases artistic and cultural awareness, tolerance and acceptance. It is with the conviction that art education can unleash the potential of both arts and cultural diversity and contribute to training new generations capable of reinventing the world. APU // E



TUG // T

During two years and ten mobilities, students and teachers had the chance to visit five different cities, exposing themselves to these places and to each other with certain intensity. Travel experiences — or being out of one’s own living environment can enhance the intensity of time, especially if this travel time is designed in a way that travelers — or in this case teachers and students — do not spend most of the time inside neutral and generic spaces — such as classrooms and/ or convention centers. There are ways of designing an encounter between people and places that can turn into a valuable and memorable experience: as in the ADRIART mobilities, the time of research, conviviality and knowledge exchange was mostly done in spaces that are historically, culturally or strategically meaningful, sometimes even poetic. The careful choice of the locations within the partner cities generated a site-specific and practiceoriented learning process, where the intensity of experience — both the shared and the individual experiences — allowed for a special dimension of participants’ involvement. In this sense, it seems to me that a central feature to be highlighted is the quality of emotional involvement that this process generated, and it’s not only because of the changing locations and the careful design of each course. We could say that the entire MAP study programme was perceived as a baby: project managers, teachers and students were aware of the fragility of the newborn programme. This fragility was also a potential, where almost everything was yet to be formed, developed, tested out, evaluated, reinvented. This created a space for a true dialogue and exchange of viewpoints, in a very horizontal manner. To make mistakes was part of the game, something not to be afraid of, but as in any learning process, something natural and valuable. Somehow, a few key-concepts that are currently the focus of an intense debate and attention in the field of creative education, came up naturally throughout these three years. The ADRIART process, through the foundation of the mobility courses, created space for experimenting with new forms of knowledge transmission. Having the privilege of bringing teachers (who have expertise in various complementary fields) and students in a more balanced number together (often 1:3 or 1:2 teacher : students), it deconstructed the verticality of traditional teaching structures, opening up a space for horizontal exchange among all parts involved. The balanced number of teachers and students brings a constant conflict and negotiation between all parts, giving the participants a more profound insight into the proposed exercises and the students’ projects. This aspect also allows for an exchange of expertise and points of view, sparking off interesting debates on different forms of artistic expression.

and methodological approaches to overcoming bureaucratic obstacles encountered throughout the way, various “ways of thinking and ways of doing” were exposed to each other, and eventually changed, exchanged, molded by the process itself, which I suggest in this text also to be seen as a learning process. The winter semester of 2011/12 was the time for ADRIART project members (both institutionally and personally) to start getting to know each other: identifying strengths and weaknesses, potentials and difficulties, dreams and capacities of realization. At the same time, the new Master Study programme had to be sketched, strategically developed and proved to be feasible. Inherent conflicts had to be overcome in a joint effort of designing a collaborative practice, which did not mean finding a middle way, but creating a curricular and working structure that would enable these different approaches and methodologies to co-exist.

Liberta Mišan (student of APU), setting up Float, Forecast workshop, Graz, 2014

Furthermore, the site-specificity of the projects, created in a dense and short period of time, invited the learning process to get out of the time frame dedicated to the course and expand onto other domains of life: including the time for leisure, or even the moments of cooking and sharing a meal. This questions and expands the spatial notions of knowledge transmission. Learning, in this sense, becomes a more holistic and pleasant activity: life, people and places are all part of an intense block to be experienced. As the EU funding program claims, life is a long learning process: learning is everywhere and in a constant flow, where students, teachers and managers are equally involved.

In the following summer the curriculum for Media Arts and Practices (MAP) was set and accredited, opening up the next two ADRIART years of mobilities’ pilot implementation, offering the partners an experimental and experiential time to develop their so called mobility courses, within their institutional frameworks and fields of expertise. In other words, each institution had to bring content and life into the grid designed collectively in the first year. As a homogenizing feature, the grid required the format of condensed mobility courses held at site-specific locations, with an emphasis on political, geographical and cultural differences of the partnering regions. Yet, each country and each course covered different technical and artistic topics, according to the structure and expertise of the teachers and departments involved. These mobility courses fit the parameters of the Media Arts and Practices (MAP) Studio/TIP/DIP modules and enabled the MAP students at VSU and APU to acquire ECTS and relevant competences within those modules. At the same time, it offered the TUG and UNIUD students academic provision within their existing study programmes. TUG // T

Finally, the content of this book, i.e. the documentation of the three-year process — including the diverse points of view of the people involved and the selected works produced in the mobilities — does not pretend to be a finished polished product, and neither does the Media Arts and Practices (MAP) study programme. Its value resides exactly in documenting an experimental, open, collaborative and horizontal process of creating a programme that is yet to become a toddler. How it will walk on its on legs is something that time will tell.



TUG // T



Emil Benčić — From Experience to Infinity Emil Benčić — Od izkušenj do neskončnosti Lavoslava Benčić // virtual thematic route // 2014 CM New Media The topic of the virtual thematic route Emil Benčić — From Experience to Infinity is the creation and implementation of the activities about the importance of the artistic work of Croatian artist, Emil Benčić (1930-2011). My mission is to ensure that knowledge about Emil Benčić will survive physical limitations of human life and permanently to encode it for future generations through new media methods and preserved in new media space.

Girl With A Pearl Earring Deklica z bisernim uhanom

The final output is the geo-located augmented reality virtual thematic route/exhibition in eight pavilions/bodies (virtually) positioned and stored in the new media space, located on the Istrian peninsula Punta Bussola. The contents/subprojects are created in a variety of new media techniques and using different tools: photography, graphical sound, video, digitalisation, database, hypermedia, gamification, storytelling, performance, augmented reality, geo-referencing, 3D modelling and software on mobile devices for specific aspects of virtual exhibitions.

Polona Zupan aka Pila Rusjan // interactive video installation // 2013 CM Contemporary Art Practices Girl with a Pearl Earring is an interactive video installation of a young woman walking her way into the unknown. Her stalker is the visitor himself. When the visitor comes close enough, she turns towards him: a part of her decides to make a step closer, the other part continues on her own.

Core target group are tourists and weekenders. Their task is to explore and enjoy Emil Benčić’s works and newly created new media works on their mobile devices. Keywords

Video screen stands at the end of a long corridor, two sensors detect distance and direction of the visitor. When he walks towards the screen, video reacts.

virtual thematic route, Emil Benčić, Punta Bussola

The protagonist is a revived Vermeer’s painting. I see her as a fragile, yet strong young female figure which is in an ambiguous position: deciding between individual life and partnership, trying to find a balance between her career and potential family. The work was presented at various venues, from gallery spaces to city street where it functions best. Keywords

UNG // S



interactive video, video installation, Vermeer

UNG // S


Othello — SHAKESPEARE in Tango

Iva Musović // Short Film, 16:9, colour, HD, 16’ // 2013 CM Film Nenad is in a hospital, recovering from a stroke. His girlfriend comes to visit him. She is shocked by his critical condition but still keeps a smile on her face and tries to cheer him up. After a while Nenad’s ex wife shows up, interrupting their intimate moment. The girlfriend leaves and the ex wife stays, torn between anger and sadness. Very soon the whole family is around. Some of them haven’t seen each other for long time because of unspoken hostility. Little by little they start to discuss and quarrel with each other while Nenad is dying.

Blaž Bertoncelj // digital scenography for trans-media dance performance, 100’ // 2014 CM New Media Othello — Shakespeare in Tango is a trans-media performance, the essence of which stems from the movement expressions of Argentinean tango. The performance is based on the classical dramatic text of Shakespeare’s Othello, transposed into our contemporary world. This asynchrony makes the story even more compelling. The setting is transferred from the military environment into the world of professional Argentine Tango — two worlds seemingly apart, yet after further inspection surprisingly alike.


short film, drama, fiction, experimental, subjective camera, dying

Argentinian tango itself gives additional emotional power to the story. This, in combination with the emotionally charged backdrop of the original story, leads one to experience a crescendo and final eruption of emotions. While the dance allows one to transcends the verbal boundaries of the story, modern technologies amplify and enrich it, complementing the dancers with holistic stage images, to complete this modern day recital of Othello. Keywords TTango, Argentinean, Shakespeare, Othello, digital scenography, trans-media

UNG // S



UNG // S

Kids Mulci Urška Djukić (Slovenia) // Animation, colour, HD, 11’25” // in Slovene, no subs // 2014 Pilot for a contemporary youth TV-series mixes fiction with animated comments of the main protagonist, the young Saša, who has to face the eternal women’s dilemma. Keywords

adulthood, pregnancy, abortion, decisions, growing up

I bambini ci guardano Liberta Mišan // collage // 2014 CM Scenographic Spaces Sixteen scenes from the film “I bambini ci guardano” by Vittorio de Sica (1944) is juxtaposed with the »scenes« from the Rijeka’s daily (Novi List, September 16, 2014). The result: an interesting coincidence of the film events and real events, characters and »characters«, past and present. Keywords recontextualisation, newspapers, film, Vittorio De Sica, past, present, coincidence

UNG // S



APU // S

The Observers


Antonio Kiselić // performance // 2014

Nikolina Hrga // sound installation (dimensions variable, stereo sound, waiting room chairs, trash bin, papers with numbers) // 2014

CM Intermedia The performance “The Observers” is exploring the way we look, interact and position our bodies within a marked space. By pacing slowly through the gallery space, the artist is trying to define how we make contact with each other with a simple act of gazing. He questions the constructs of social, sexual, gender, race and religious identities by offering a viewing mechanism that would transform the observers’ gaze into an act of decoding and coding in the same. Keywords

CM Intermedia A reconstruction of a waiting room where the sound, a »waiting room« music, gets interrupted by the voice of an attendant who asks for the patience of those who are waiting. The number of the unemployed at the moment of creating the work: 311.000. Keywords

performance, interaction, public, coding, gaze

APU // S



installation, sound, social, unemployment

APU // S

Light Object

Scream Vrišti

Sara Salamon // video, HD, 15’10” // 2014

Aleksandra-Ana Buković, Nina Zimmermann // site-specific installation // 2014

CM Intermedia

CM Scenographic Spaces, CM Intermedia

A neon lamp is photographed in neighbourhoods built for workers in socialism. Buildings and their inventory are the same in each neighbourhood, although there have been some changes over the years. The Light Object, the sum of centrally positioned neon lamps, remains static while the spaces are constantly changing and flickering. Keywords

The work represents a crossword which hides only one readable word. Each letter, randomly chosen, would be placed in a square on the floor, and we would write letters with charcoal, because its texture allows for gradual erasure and vanishing of the word, depending on weather conditions (rain, wind) and passers-by. While words would be slowly irrigating and vanishing with the first rain, we would be reinforcing the only word in the pile of letters with charcoal, which is the word ‘scream’, until it would become the most visible. This site-specific work was created for the ‘amphitheatre’ space in the Academy of Applied Arts backyard.

light, flickering space, changing space


APU // S



crossword, charcoal, weatherworn, amphitheatre

APU // S

upkept by its seamless inclusion of the ADRIART mobility programme, for which it also served as the first piloting of the blended (ICT-based) production workshop approach. All four partners’ students came from different academic backgrounds (applied, digital arts, architecture, film theory/history) and the specific quality of the outputs were actually their inter-disciplinary profile. Eventually, all 16 films were tied into a 3-DVD box, produced by UNG and distributed widely among partners and associates. Location Venice — Giudecca (headquarters) and numerous locations across the floating city (including islands of San Michelle, San Erasmo, Lido, Murano) Duration 14 days in Nov/Dec 2011, Nov/Dec 2012, Nov/Dec 2013 (5 weeks online before and 2 weeks after) Workshop leader Rajko Grlić (UNG) Other mentors Janez Burger, Jasna Hribernik, Neda R. Bric, Rene Rusjan, Boštjan Potokar, Peter Purg, (all UNG), Fedor Vučemilović, Dalibor Martinis, Ingeborg Fülepp (all APU), Brigitte Kovacs, Nicole Pruckermayr (both TUG), Alessandro Bordina (UNIUD) Professional collaborators Valeria Cozzarini, Miha Hvale, Urša Bonelli Potokar, Ivan Vranjić Coordination Peter Purg & Tina Smrekar Financial support IP programme Erasmus (EACEA, EC) Partnerships IUAV, City of Venice

Gregor Mörth (student of TUG) and Urška Djukić (student of UNG) filming Rami, Venice, 2013

Students Denis Barbić, Matija Bajc, Aleš Bajec, Bruna Del Bello, Urša Bonelli Potokar, Isabella Bubola, Jaša Bukovec, Francesco Cartigheddu, Maximilian Conway, Jaka Čurlič, Dunja Danial, Urška Djukić, Vedrana Dragičević, Alexia Eberl, Renata Fugošić, Sara Ghiani, Dominik Grdić, Giulia Grotto, Nika Gvozden, John Mounir Hanna, Nisa Hrvatin, Luis Hurtarte, Francesca Iacobo, Hana Kovačič, Kalle Köbler, Nataša Lanieri, Jasmina Lozar, Peter Mišic, Liberta Mišan, Gregor Mörth, Katja Munda Rakar, Dylan Mundy Clowry, Iva Musović, Marija Laura Potočnik, Anja Perše, Christoph Walter Pirker, Mathias Prosekar, Monika Rusak, Sara Salamon, Lola Seibt, Jan Serini, Dorotea Smrkinić, Claudia Spinelli, Cornelia Steiner, Gašper Uršič, Mia Vučemilović, Marco Wenegger, Cordula Weitgruber, Valerija Zabret, Polona Zupan, Jaka Žilavec


Hidden Live(r)s of Venice on Video November 2011, 2012, 2013 Besides giving a unique and novel inter-cultural and interdisciplinary academic experience to the primary users, the aim of the “Hidden Lives of Venice on Video” (HiLoVv) was to offer a “social catharsis through video” to the immediate (academic and non-academic) audiences. The six short films from the Jewish Ghetto of Venice were now added to the 6 plus 5 films (as major creative outputs) of the project. Contrasting the “hi” and the “low” research and production paradigms — somewhat mirroring the two disparate layers of Venice’s social reality — the specific pedagogical objective was successfully met: to develop the key competence of a future film artist or video producer (as a researcher in such production project, i.e. transversal competencies for interdisciplinary settings); to focus on small people as filters (the “liver” metaphor!) and carriers of “hidden” narratives, discovering Venice (repeatedly anew) as a living urban tissue, reaching far beyond a mere historical scenery, a tourist landmark or a cultural business setting. In a tight collaboration of the four institutions, the European dimension of this award-winning (it received the Slovenian national prize for IP quality in 2013) Erasmus intensive programme was





Marco Wenneger (student of TUG) and Gašper Uršič (student of UNG), Venice, 2012








Passione // Delicate Surfaces

Venetian Connection // Modou

Slovenia / Croatia / Austria / Italy // HD colour in Italian & English // English subs:

Venetian Connection // ModoU Maximilian Conway, Jaka Žilavec // 7’57” // 2012

Passione // Delicate Surfaces Iva Musović, Urša B. Potokar, Matija Bajc, Giulia Grotto // 8’07” // 2013

Stories of the Ghetto // Shaul | Rami

Urška Djukić, Peter Mišic, Gregor Mörth // 9’9” // 2014 An omnibus of the final edition of the project (Erasmus IP programme) HiLoVv — The Hidden Lives of Venice, an international workshop under the mentorship of director Rajko Grlić. One film from each edition was presented here, while 17 were produced in total. The first edition, Venetian Connection, introduced us to interesting professions and personalities from Venice; among them was Modou, a Nigerian immigrant who revealed a few tricks of the bag-selling trade to the filmmakers. Passione, the second edition, was devoted to capturing un(dis)covered stories about the manual ingenuity of the Venetian creative industries, while Delicate Surfaces presents Peeta, a successful painter and graffiti artist who, due to safety issues, now only makes graffiti as commissioned work. Stories of the Ghetto from the third year of our Venice expedition focuses on the contemporary Venice neighbourhood called the Ghetto, which, with its specific history, gave name to the notion of the Ghetto as we know it


TUG // S

APU // S

UNG // S

Stories of the Ghetto // Shaul | Rami

today. Shaul Bassi is a professor of English Literature at the Ca’ Foscari University of Venice. He is the founder of the Venice Center of International Jewish Studies and a member of the Jewish Community of Venice. Rami Banin is the rabbi of the ChabadLubavitch Community of Venice and the owner of the kosher restaurant GamGam. Keywords Venice, crafts, documentary, film, graffiti, immigrant, contemporary Ghetto



UNG // S

APU // S

TUG // S


Ljubljana — RogLab

Lógos — Multitude Manifestations of Rog January 2013 “Confined to their local solitudes more or less far away from the site-specificity of Rog, the carefully selected applicants should have ’acquired the basics of parametric 3d-modelling and — printing’. And parallel to that, some of them practically did ‘research on the existing practices and discourses in and around Rog — to scrape out possible identification pathways for developing algorithmic artifacts... But mostly, as the first day of the workshop proved, they left all those ‘remote impressions’ (Ivana B.) gradually swell into a concept that most of them brought paper-borne to our first f2f — except my apt New Media master students, Lea and Blaž! Lea went particularly deep into researching the semantics in and around Rog, to build a solid, even if profoundly poetic, concept of her Rog-Ring (thing; c.f. picture 3 attached, or just thingiverse it!). Soon it was all in the papers, anyways.” (Peter Purg, blog at //, 9. January 2013, // )

Ljubljana — RogLab

One of the 3D printed prototypes, Ljubljana, 2013

GRAB.ROG.LAND — a MonoMaterialisation of Rog November 2013 This year’s 3d-modelling & materialization workshop “GRAB.ROG.LAND, a MonoMaterialisation of Rog” was based on a student’s game concept GRABROGLAND. doc (Peter Mišic, University of Nova Gorica School of Arts) from the 2012/13 workshop “LOGOS, Multitude Manifestations of Rog”.

12. December 2012 – 11. January 2013 (4 weeks online before and 2 weeks after) Workshop leaders Richard Dank (TUG), Peter Purg (UNG) Invited artist Luka Frelih, new-media artist Invited professional collaborators Alen Bubanja, fab-lab head engineer, Urška Jurman, Meta Štular, fab-lab coordination Financial/technical support City Department of Culture, Ljubljana; Museums and Galleries of the City of Ljubljana (MGML) Local community Municipality of Ljubljana (Second Chance project) Company / creative industry RPS d.o.o., Ljubljana Duration

After a joint research online, a group of students and mentors from the Graz University of Technology, the Academy of Applied Arts in Rijeka (Croatia) and the University of Nova Gorica, School of Arts (Slovenia) met in RogLab 13.–15. November 2013 to develop a dice game for culture-management of real-estate. The goal of this year’s process, lead by Richard Dank and Peter Purg, was to develop and produce a full prototype — a nicely finished pair of non-rectangular dice in a dedicated boxing, along with the entire gamification, where the generic rules will refer (not only) to the specific cultural context around Rog(Lab).

Students Lavoslava Benčić, Blaž Bertoncelj, Mark Bizilj, Ivana Butković, Liberta Mišan, Peter Mišic, Kristina Pongrac

13.–15. November 2013, (4 weeks online before and 2 weeks after) Richard Dank (TUG), Peter Purg (UNG) Invited professional collaborators Alen Bubanja, fab-lab head engineer, Meta Štular, fab-lab coordination Financial / technical support City Department of Culture, Ljubljana; Museums and Galleries of the City of Ljubljana (MGML) Local community Municipality of Ljubljana (Second Chance project) Company / creative industry RPS d.o.o., Ljubljana Duration

Workshop leader

Peter Mišic (studet of UNG) with Second Chance social game prototype, Ljubljana, 2013

Students Peter Mišic, Lavoslava Benčić, Nina Zimmermann, Mateusz Pankiewicz, Paul Frick TUG








Graz — Responsive Art in Public Realm

BIX PERFORM March 2013

Commenting on different communication strategies between the public, the city and the Kunsthaus, a group of internationally mixed students presented their findings — experiments on participation for the BIX light and media façade. Four interactive performance pieces transformed the city surface by adding sensible discourses and refreshing the spatial relations with the context around “the friendly alien”.

Second Chance — A Social Game to Aid Cultural Management

The BIX facade installation, Graz, 2013

This one-week workshop was highly complex due to the intertwining of the importance and the central position of this building in the city, the different perspectives — in terms of educational and cultural background of participants — as well as the mediation from the Institute of Architecture and Media, the Institute of Contemporary Art of the TU Graz, together with the curatorial line of the Kunsthaus. In a public presentation at the end of the workshop week, four projects were shown. The intervention “Making off public space” was re-played over the following two weeks.

Lavoslava Benčič, Mateusz Pankiewicz, Nina Zimmermann, Peter Mišic // social game to aid cultural management // 2013 The board game Second Chance helps users organise their space, time, money and other means once the set methods of cooperation and discussion fail. It is applicable to any cultural management sector, or even other areas of life and work. The game unfolds (and the scheduling gets decided) with a single throw of two (either metal or wooden, both CNC-milled, previously 3d-printed) dice, one with four and one with eight sides. The packaging part of the prototype also includes instruction cards, both produced with laser cutter. Keywords

Students were invited to create projects that fostered public participation in a way that the interaction — whatever it was — had to be captured by a non-conventional input device capable of sending electronic signals via network. Those interactions were then transformed into algorithmically generated ever-changing imagery displayed on the BIX façade. In this way, they were presented with the challenge of using analogue strategies to engage the public. At the same time, they got the experience of programming the façade with an open source software.

Credits This project was realized in the framework of ADRIART — pilot projects for the

Master of Media Arts and Practices, in cooperation with the Kunsthaus Graz. The works documented here are the outcomes of the course “Responsive Art in the Public Realm” (a 9-week course, with on-line preparation and post-production phases), carried out by the Institute of Architecture and Media and the Institute of Contemporary Art — Architecture Faculty, Graz University of Technology, Austria, in the summer semester of 2013. Concept and coordination Daniela Brasil, Richard Dank Guest mentor Nayari Castillo Visiting teachers Milijana Babić, Peter Purg, Rene Rusjan, Tomislav Brajnović Technical assistant Jacob Wegerer, Patricia Wess, Thomas Diewald Special thanks to Andreas Graff, John Dekron, Günther Paltauf, Katrin Bucher Trantow

3d, printing, modelling, board game, critical, brown field, fablab, dice

Students Arnold Verderber, Emina Kefelja Lavoslava Benčić, Liberta Mišan, Mark Bizilj, Marleen Leitner, Mia Vučemilović, Michael Tasch, Polona Zupan aka Pila Rusjan, Sara Salamon

TUG // S

APU // S

UNG // S






Life Stream Emina Kefelja, Marleen Leitner, Mia Vučemilović // interactive participatory installation in public space // 2013 The river Mur/Mura flows from Austria, passing through Slovenia, Hungary and Croatia. The water that goes inexorably from city to city keeps a vibrating union alive. This intervention, on the benches of the Mur/Mura promenade in Graz, lets the user metaphorically interrupt the connection between countries, by collapsing within a minimal act, the subtle bridge that unifies the route. The system was activated by pulling a small stone, with a hole drilled through the middle, which interrupted the water connection between two cables installed at each end of the aquarium. Its materiality and handcraft character contrasted with the digital installation aside, which was capturing the moments of the interruption. When connected on view on the facade was a video of the rapidly streaming Mur waters; opposed when interrupted, the expression “no connection” and the name “mur” “mura” appeared on the façade screen. Keywords

TUG // S

APU // S



participation, programming, geographical connection

APU // S

TUG // S

GRAZ — Responsive Art in Public Realm


This workshop was offered in the framework of the ADRIART project, as a combined Module DIP/ TIP  Responsive Art in the Public Realm, by the Institute of Architecture and Media and the Institute of Contemporary Art of the TU Graz. The course focuses on the realization of Intermedia/ Transmedia Art within the public sphere of Styria. For this year, there was a special collaborative framework — the Syssonsonification exhibition in Forum Stadtpark in November 2014. The Institute of Electronic Music — KunstUni Graz developed a research project that aims to systematically sonify climate data. Their research offered the content and the context for the course. The task was thus to develop an interactive artistic piece to interrelate with and modulate the sound composition developed by the Sysson project to fit the gallery space in the Forum Stadtpark in Graz. Out of three works, the project “Float” was chosen for full exhibition production, while the other two are shown in a documentation format.

Making Off: Public Space Liberta Mišan, Michael Tasch, Sara Salamon // interactive participatory installation in public space // 2013

The exhibition is called Turbulence: A Climate Sound Portrait, to be displayed between 7. – 30. November 2014.

The public is invited to activate the BIX façade by creating a human chain to connect two electrical contact points mounted in front of the Kunsthaus. The image on the screen (?) incorporates on the one hand a self-organizing method for creating emotional and physical contact; and on the other hand, the complete communion between the participants and the museum.

Concept and coordination Daniela Brasil (IZK), Richard Dank (IAM) Guest Mentor Nayari Castillo Technical Assistance Helene Thümmel (IZK), Jacob Wegerer, Mateusz Pankiewicz (IAM) Invited teachers Sysson — Hanns Holger Rutz, Katharina Vogt, VisdaGoudarzi (IEM) Invited artists Unlearning retreat — Catherine Grau and Zoe Kreye Location Forum Stadtpark Graz Duration of the workshop 7. – 16. May 2014 (4 weeks online before and 2 weeks after) Duration of the exhibition 7. – 30. November 2014

This simultaneity comments on the role of the author, transforming the collective experience into a visual response on public space. Keywords

participation, programming, physical and digital interaction

Students Ana Sabolic, Denis Mavrič, Laura-Nefeli Chromecek, Liberta Mišan, Lisa Horvath, Monika Rajkovača, Nina Zimmermann, Tamara Tokić, Valerija Zabret aka Valérie Wolf Gang

Preparations for Forecast public presentation, Graz, 2014

TUG // S

APU // S








Laura Chromecek, Liberta Mišan, Ana Sabolić // interactive participatory installation // 2014

Nina Zimmermann, Tamara Tokić, Denis Mavrić // interactive participatory installation // 2014

This amorphous and abstract topography is made of small particles, spread throughout the entire gallery space. Inspired by the external sheet of a forest, these small particles made of hanging paper create a structure that is both massive and light, artificial and natural, object and metaphor, mathematical and poetic, shaped and ambient, all at the same time. Set as a metaphor of the surrounding environment, the topography is floating, and constantly changed by the visitors’ moves. Each movement produces sound. Immersed in the feeling of under-wave structure, visitors have the chance to contribute to the shape of the topography, merely by being inside of it. Each action has consequences. Movement captured by gyro sensors triggers sounds. Movement changes the space. The installation is recreated over and over again.

Rather than experiencing weather through sight, this work tries to experience weather through other senses, like smell and touch. After conducting a small survey of how people perceive weather through smell, taste, material, feeling and color, we singled out certain smells and materials that, for most of our respondents, represent particular weather phenomena. By using these information, we defined connections among smells, materials and everyday objects. Accordingly, our interactive sound installation was divided in three parts — or metaphorical rooms representing a phenomenon and consisting of household objects typical for that particular unit, and of piezo sensors to capture the public interaction. The living room consists of an armchair, a lamp with a perfume bottle in the place of the bulb. Sensors are activated by sitting in the armchair. The perfume bottle has a tube hanging from its top, and a pump at the end of the tube that disperses sweet and fruity smell when pressed. The kitchen consists of a steel sink and the refrigerator. Inside the refrigerator there are jars filled with pickles, and other jars filled with cut grass and mud. Piezo sensor that is activated by loosening the pressure is placed on the door of the refrigerator. When opening the door of the refrigerator, the sensor is activated. The bathroom consists of a shower curtain made of cotton and a hairdryer. The hairdryer emanates the smell of pine tree, when turned on. Piezo sensors are activated by pulling the curtain.

Keywords ambiental and immersive installation, physical and digital interaction, interdisciplinarity, weather


TUG // S

APU // S



physical and digital interaction, interdisciplinarity, senses, weather

UNG // S

APU // S


Blowing the clouds

Exhibition / public event in ex-Rikard Benčić factory, Rijeka, 2013

Monika Rajkovača, Valerija Zabret aka Valérie Wolf Gang, Lisa Horvath // interactive participatory installation // 2014

This installation merges these childhood dreams with different technologies: sound, data and interactive sensors. A huge cloud of crumbled paper seems to be floating in space, secretly suspended from the ceiling. It glows from the inside, revealing different structures and textures of the crumbled paper. With a closer look, small numbers printed on the paper are in fact the climate data used to generate the sound. At some places inside the cloud, sensors that measure temperature and humidity are mounted. When people blow there, it changes the direction and the speed of the sound moving in space. As the sound travels through the gallery you feel the cloud being blown away, represented by the soundscape surrounding you. The places where the sensors are hidden inside the cloud are indicated by small “cloud tornadoes”. Searching and finding them creates a playful mood, discovering the cloud’s sensitive points.

24. – 28. June 2013 (online work: 4 weeks before and 2 weeks after) Lara Badurina (APU) Invited mentors / artists Rene Rusjan and Boštjan Potokar (UNG) Invited professional collaborators Stefano Katunar — set designer and Alan Vukelić — light designer Financial/ technical support City Department of Culture, Rijeka; Museum of Modern and Contemporary Art Rijeka NGO Drugo More, Rijeka Professional firm/organization/ craftsmanship Gis d.o.o., Rijeka Duration

Workshop leader

Students Kristina Pongrac, Andreja Jandrečić, Mišel Periša, Tijana Mihailović, Sara Salamon, Dino Topolnjak, Liberta Mišan, Lucija Ukić, Aleksandra Ana Buković, Lavoslava Benčić, Blaž Bertoncelj, Iva Musović, Dunja Danial, Erika Petrić

physical and digital interaction, interdisciplinarity, weather, childhood

TUG // S

APU // S

UNG // S

June 2013 The former Rikard Benčić factory in the centre of Rijeka was proposed as a specific theme and location for research on historical facts, documents, recounts and memories, and for exploration of the intimate dimensions of its spaces and narratives. With a scenographic approach to interpretation of a site, students were invited to create performance or spatial (media) intervention works or theatre pieces on factory’s micro-locations, with an aim to explore possibilities of researching the major issue of the revitalisation of this industrial and urban complex in the context of Rijeka. The workshop location used to be a significant industrial complex of Rijeka that strongly defined this city’s past.

It all started with a childhood dream. Watching the clouds and wishing you could play with them, blow them around the sky. Their playful textures and shapes invite us to look at the sky and imagine different stories.


Itinerant Workshop at Site Specific Locations, ex Rikard Benčić factory






(m/t) 0


Liberta Mišan & Dino Topolnjak // video installation 3’12” loop dimensions variable // 2013

Andreja Jandrečić // site-specific slide-mapping INSTALLATION (4m x 6m) // ANIMATION, 17’9”, loop, color, no sound // 2013

Two steps from the wall there is an attempt. Two more steps — a delicate sheath of illusion. Absence cannot be a witness, the secret moves slowly — like a shadow, does not care for the time. (...)

This work consists of photographs that depict details from the Rikard Benčić facilities. The composition is such that the photographs create a media mosaic. While walking through the complex of the ex factory, I was inspired by the energy emanating from the empty, abandoned spaces; I was inspired by solitary moments in vast rooms, by layers of color, chipped walls, dust, cobweb, cables... I wanted to take all the details and bring them together in the photographs. The “media mosaic” was projected onto a glass panel in the H-room, thereby creating a new space.

To bring reality into a new form, into a series of metamorphoses that float like clouds in front of the unrecognizable. Keywords

video projection, objet trouvé, site-specific, installation, light, shadows


APU // S



slide, installation, light, transparency, site-specific, projection, ambient

APU // S


Galeb protiv Galeba. Manipulation of Social Relations Through Conditions of Space by Helene Thümmel (student of TUG), Under the Flag of Displacement workshop, Rijeka, 2014

The Purpose of Life Lavoslava Benčić, Iva Musović, Dunja Danial // twochannel video installation // 2013 “The purpose of life is not to warm up, but to burn up!” Emil Benčić Applying the quote above, Lavoslava Benčić re-mediated newly created sound structures in cymatics by using the graphical sound method with crystallized sugar as the medium. This primary display represents energy and purity of artists’ ideas. The secondary display is part of the conceptual documentary, “Videodocument” by Iva Musović and Dunja Danial. The quote transformed to cymatics became initiation and inspiration for a spontaneous body performance (by Nika Mišković). It represents the example of viral influence caused by the quote’s sound frequencies and compatibility between different media.

July 2014 The second edition of the Rijeka site-specific mobility course took place on a special location — the historical ship, Marshall Tito’s ex-Yugoslav Navy Yacht “Galeb”. The ship “Galeb” reflects multiple dimensions of time, suggesting numerous potential narratives and offering a variety of approaches to the site and its specific context. After its rich, symbolic and turbulent history, the ship is now anchored in the Rijeka harbour with a perspective to become a museum or a monument. Starting from a location rich in historical, political and spatial terms, students were invited to develop site-specific works (installations, light interventions, performances) in dialogue and relation to the ship “Galeb”. Location “GALEB” (former ship of ex-Yugoslav Navy) Duration 26. June – 7. July 2014 (incl. 3 weeks online) Workshop leader Igor Eškinja (APU) Invited mentors / artists Ulay (Uwe Laysapien) — performance artist, Daniela Brasil (TUG), Peter Purg, Rene Rusjan and Boštjan Potokar (UNG) Invited professional collaborator Alan Vukelić — light design Support the City of Rijeka Department of Culture; the Port of Rijeka Authority, the Croatian Cultural Centre (HKD) in Rijeka, and the Museum of Modern and Contemporary Art Rijeka

Both videos as a whole tell us that all art has to “burn”, to trigger authors, encourage curators and excite spectators on the way to positive and complete relationship to the author’s creativity. The installation now forms part of the work complex Emil Benčić — From Experience to Infinity and has been presented in exhibitions and festivals in Slovenia, Croatia, Serbia, Romania.

Students Aleksandra Ana Buković, Nikolina Hrga, Antonio Kiselić, Dominik Grdić, Monika Rusak, Dajana Jurman-Osip, Liberta Mišan, Lola Seibt, Helene Thümmel, Michael Tasch, Patricia Jeglitsch,Valerija Zabret aka Valérie Wolf Gang, Katja Munda Rakar, Polona Zupan aka Pila Rusjan, Dunja Danial

Keywords video installation, Emil Benčić, graphical sound, cymatics, body performance

UNG // S

Under the Flag of Displacement






Distant Memory

A lightened ship

Valerija Zabret aka Valérie Wolf Gang // video, 16:9, colour, HD, 2’43” // English subs // 2014

Michael Tasch // video, HD, 4’37” // 2014 The film itself is the logical next step after the analyses and the reflection on the historical surrounding. For me, this ship represents an essence of the big narrative of the 20th century. This is the meaning of the stage — Tito’s and Jovanka’s flat on Galeb. I always think about how we can handle this kind of heavy historical background and this is the question I was trying to ask with my film. It is an experiment including a direct confrontation of the past and the present. It is acting/reacting or non-reacting with the so called BIG narrative.

CM Film Distant Memory is a video poetry that speaks about the times that passed. It all starts with a random event which evokes the narrator’s memories about the period before the disintegration of Yugoslavia and encourages reflection about what a war actually brings and how quickly people forget. The poem can be interpreted as a letter or a personal confession of an unknown man (it could be a sailor) written for Tito’s mighty ship Galeb. The ship has a symbolic value in the poem and through the variety of short scenes showing different details we can observe different interpretations and connections between real life and the imaginary world of poetry. Video and poetry: Valérie Wolf Gang, Voice: Ulay Keywords


Galeb, performance, film, recontextualisation, activation, cabin, history

war, poetry, memory, Yugoslavia, Tito, Galeb, Valérie Wolf Gang, Ulay

UNG // S



TUG // S


Mapping Komiža Narratives September 2013, 2014

Galeb and Jovanka

Public promotion and screened invitation to exhibition, Mapping Komiža Narratives, Komiža, 2013

Monika Rusak // a series of five photographs // 2014 The work consists of five photographs. It was imagined as a reconstruction of Tito’s and Jovanka’s life together during their stays on Galeb. The work is full of nostalgia, depicting past times and love bliss that soon went away. Keywords

context, performative, photography, costume, scenery, Tito, Jovanka,


The mobility course developed from a former collaboration within the Video Vortex network. In its two iterations in 2013 and 2014, it invited students to (repeatedly) construct narrative maps of the port town of Komiža on the island of Vis in Croatia — yet not from the schemata of the commonplace but rather out of the local inventive and open-ended analogies, paradigm-elisions, puns, conceits: out of dream echoes or deformations and satirical distortions of the quotidian. Through the course, the students performed, inter-mediated and (re)formulated Komiža’s narrative topology by combining the narrative character of the Komižans’identity with urban, architectural, natural and economic reality of the place; not least reflecting the student-as-artist’s positions of a (new) person arriving to an island... 12/13 // Duration 7. – 14. September 2013 (4 weeks online before and 2 weeks after) Workshop leaders Dalibor Martinis (APU), Peter Purg (UNG) Invited mentors / artists Tomislav Brajnović (APU), Mary Krell and Adrian Goycoolea (Sussex University UK) Support Town of Komiža and Tourist Board of Komiža Students Helene Thümmel, Adam Whitehall, Lavoslava Benčić, MišelPeriša, Tijana Mihailović, Maria Sabatina Mennuti, Dorian Mataija, Ruth Newton, Isabella Bubola, Polona Zupan aka Pila Rusjan,Urška Djukić, Blaž Bertoncelj

13/14 // Duration 6. – 13. September 2014 (4 weeks online before and 2 weeks after) Workshop leaders Dalibor Martinis (APU), Peter Purg (UNG), Tomislav Brajnović (APU) Invited mentors / artists Emile Devereaux (Sussex University -UK), Ingeborg Fülepp (APU) Support Town of Komiža and Tourist Board of Komiža Students Dominik Grdić, Sara Salamon, Marco Wenegger, Yan Zhang, Helene Thümmel, Dajana Jurman-Osip, Denis Mavrič, Mateja Pelko, Andreja Jandrečić, Peter Mišic, Anna Tkacheva

APU // S







Years Ago Stories Helene Thümmel // participatory mapping project, book & postcards // 2013 During her stay in Komiža, Helene Thümmel did various drawings of places and situations, mixing them with objects, and stories collected on her way. The big sheets of paper were cut down to a postcard format and exhibited together in the form of a navigation chart. During the exhibition in the Reading Room at the Riva, visitors were invited to leave their postal addresses on the postcards they liked, so that the artist could mail them. Yet, these postcards were sent with the request to be returned to the artist herself. In a trust game, Helene sent all the evidence of her week’s stay in Komiža throughout the world, with the hope that these fragments would one day come together, be kept in a diary book. Indeed, many postcards came back, and they are still coming; some might have got lost, others found a place on a book shelf or in someone’s bag. The final book retains the blank pages of the never returned postcards, and displays the ones that came back, with foreign stamps and messages. Keywords

Field Polje Dorijan Mataija, Tijana Mihailović, Mišel Periša (Croatia) // video, HD, 3’33” // 2013 Reminiscence. Pure and simple. Once there was a field. Then it was an airport. Airplanes landed, airplanes took off. Once up, now is down. And vice versa. Now it’s a field once again. Keywords performative video, mapping memories, experimental, site-specific, retrograde movement, fiction of time

mapping, drawing, participation, postcard

TUG // S



APU // S

I walk, you walk Hodam, hodaš

Cat Mačka

Marco Wenegger // site-specific intervention, spraypaint // 2014

Yan Zhang (UK/Croatia) // Animation, 16:9, black&white silent, HD, 1’37” // in Croatian // 2014

I was searching for something, something that is unique to this town. I was searching for stories that have a strong connection to this town. If you look at the streets of any town from above, they are unique, like a fingerprint. I was searching for it in the streets of Komiža.

The concept of the cat story comes from a facenda from the Island of Vis, wherein the locals set a cat on fire, and the cat in turn sets the village on fire. I created a new story by combining this facenda and the local fishing culture: A cat steals a fish from a fisherman’s ship, the fisherman sets the cat on fire, and the cat jumps onto the ship and burns his ship. The fisherman despairs and then jumps into the sea, committing suicide.

Most stories or facendas are born in the streets and spread there, but are they visible? Can we see them, or do those stories exist only in our heads? I spent the week walking around Komiža, exploring. I was searching for the typical Komižan story. I found nice buildings, stairways… but it was the little things that inspired me. For example, when people wrote their names into fresh concrete, or scratched symbols in facades. These things are almost invisible but each one tells a story that is connected to the place.

The moving words and sentences in the video are monologues of the fish, cat, and the fisherman. The simple Komiža dialogue reflects the mood and thinking of different individuals. There were two aims in this project: to make sure that the old Komižan facenda continues to live through a mixture of new media, and to participate in an interesting interaction, allowing tourists to understand more about the local culture. The black and white animation is projected on a black wall or a public building’s wall outside at night, defocused, while the spectators physically interact with the projection by taking a white A4 cardboard and finding the correct physical spot where the video is in focus.

I asked random people on the street where they were from and if they could draw me their path through the city on a sheet of transparent paper layered over a city map. Each participant spent time with me and gave me simple lines on a sheet of paper. Some of these lines looked almost identical, because people used the same streets and alleys, and some looked totally different. But despite the similarities, every drawing represented a unique code of movement of each of these people through the city.


Then I took one drawing after another and made a stencil out of them to finally bring them back to the place where I met the persons for the first time. What I left on the streets were tiny painted lines, with a compass next to it, which looked the same as the cracks in the concrete surface of the streets.

animation, facenda, cat, local culture, suicide, projection

The original drawings, including my own, and a map of Komiža, I put in a bottle. On my last night in the city I threw it into the sea. With that act my work ended. The painted lines are still there, on the street, relaying the stories of the people I met and who met me. Keywords

hodam, hodaš, city, walk, map, stencil, public-space, perception TUG // S



Sussex University // S

Strong Dialect

The Three Wives of Neptun

Dominik Grdić & Andreja Jandrečič // video, HD, 8’17” // 2014 A young tourist in Komiža meets up with an old Komižan woman. She teaches him about old traditions through making a »komiška pogača«, a traditional pie. It is the only indigenous product available to everyone, so it symbolizes Komiža through folklore, food and culture... Keywords

Denis Mavrič (Slovenia / Croatia) // video installation triptych 5’30” HD colour // English subs // 2014 Why do you come here? We have mixed the blood on the island. Fate, it’s probably fate. Women, wives, mothers. Three women, three stories, three destinies, one Neptun fish factory.

tradition, food, experience, transformation, assimilation, happening, site


The Three Wives of Neptun is based on the facenda about the Komižan Sardines and the Komižan Mothers, a story about women who came to the island from the mainland, including other republics, to work at Neptun fish factory. There had been a shortage of labour force on the island in the post-war period, while the fish factory, the pride of Komiža, had been at its peak. The women came to the island to work but they fell in love there and stayed. Blame it on the Komiža sardines. This piece shows the women as factory workers, as wives who married on the island and mixed their blood there, as mothers whose children have continued the fishing tradition to this day. The installation features static video portraits of the three women each sitting in front of a plate of fish. The women look into the camera and ponder on their stories, the destinies that brought them to this island. Their powerful looks are revealing. They speak about joy, pride, doubt. Every portrait is different, though intimately related to the other two. What they all have in common is a shared memory of Neptun factory, once the pride of Komiža. There is no talk, just subtitles. The speeches, unedited, reveal a lively language. The look, the memory, the thought, communicates with the viewer straight-on. Directly. Proudly. Below the static image runs an authentic and vibrant narrative, in stark contrast with the image. The text dictates the dynamics of the video portraits. Keywords

APU // S



Komižan sardine, Neptune, women, fate, memory, video portrait, triptych

UNG // S

5 // Impr essu m & CONT A


All works in this book as well as the Media Arts and Practices programme and the MAP in Motion Festival event series were produced within the // project, supported by the European Commission. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein. Produced & published by

Academy of Applied Arts, University of Rijeka & University of Nova Gorica School of Arts Partners

Graz University of Technology University of Udine Edited by Tomislav Brajnović, Nadija

Mustapić, Peter Purg, Tina Smrekar Metod Blejec Translators Alessandro Bordina, Katarina Blažina, Maja Lazarević Branišelj, Sebastjan Maček, Lidija Toman Proofreaders Urša Prša, Lidija Toman, Patricia Wess Photos Lavoslava Benčić, Mark Bizilj, Tomislav Brajnović, Dunja Danial, Emina Djukić, Urška Djukić, Tomaž Dular, Dušan Gavrilović, Marleen Leitner, Peter Mišic, Denis Mavrič, Iva Musović, Peter Purg, Monika Rajkovaća, Sara Salamon, Tina Smrekar, Helene Thümmel, Valerija Zabret aka Valérie Wolf Gang, Polona Zupan aka Pila Rusjan and authors of works Design

2014, First edition, 2000 copies ISBN: 978-953-7684-02-0 The publication is free of charge. CIP zapis dostupan u računalnom katalogu Sveučilišne knjižnice Rijeka pod brojem 130520044 CIP code is available in the electronic catalogue of the University Library Rijeka, No. 130520044






ADRIART network

Graz University of Technology Technische Universität Graz Institute for Contemporary Art & Institute for Architecture and Media Institut für Zeitgenössische Kunst & Institut für Architektur und Medien

// // University of nova Gorica School of Arts UNIVERZA V NOVI GORICI VISOKA ŠOLA ZA UMETNOST // // // // //

// // Inffeldgasse 10/II, 8010 Graz, Austria +43 316 873 4721

Postadresse / Post address

Vipavska 13, 5000 Nova Gorica, Slovenia Lokacija / Location Palača Alvarez, Via Diaz 5, Gorizia, Italy Telefon / Phone +386 51 336 770 +39 333 499 3533 Poštni naslov / Post adress

Telefon / Telephone


Academy of Applied Arts, University of Rijeka Akademija primijenjenih umjetnosti Sveučilišta u Rijeci // Slavka Krautzeka 83, 51000 Rijeka, Croatia +385 51/228-880 Fax +385 51/322-363 Studentska referada / Student Service Office +385 51/228-886

// // //

Medijske umjetnosti i prakse / Media Arts and Practices (MAP)


Adresa / Post adress Telefon / Phone

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Mentors / teachers / staff / visiting experts

involved in MAP development and implementation 2012–2015 (in alphabetical order per institution): University of Nova Gorica School of Arts regular teachers & Staff Janez Burger, Robert Černelč, Rastko Ćirić, Jože Dolmark, Petja Grafenauer, Rajko Grlić, Jasna Hribernik, Miloš Kalusek, Dušan Kastelic, Boštjan Potokar, Igor Prassel, Peter Purg, Mitja Reichenberg, Rene Rusjan, Neda R. Bric, Kolja Saksida, Tina Smrekar VISITING TEACHERS Metod Blejec, Nataša Burger, Robert Cotton, Cym — Simone van Groenestijn, Luka Frelih, Wolfram Hoehne, Fernando Galrito, Ana Rahela Klopčič, Nevenka Koprivšek, Igor Križanovskij, Tevž Logar, Jurij Meden, Anja Medved, Jan Mozetič, Saša Nabergoj, Aleš Pavlin, Borut Peterlin, Irena Pivka, Jožko Rutar, Frode Søbstad, Anna Stemmler, Robertina Šebjanič, Volkmar Umlauft, Jaka Železnikar, Želimir Žilnik GUESTS Barbara Borčič, BRIDA, Jan Cvitkovič, Aleksandra Gruden, Sölen Kipöz, Ema Kugler, Cosimo Miorelli, Moreno Miorelli, Željko Mirković, Oloop, Marko Peljhan, Osbert Parker, Donatella Rutar, Miha Šubic & Film Factory, Miha Turšič, Luisa Ziaja, Mateja Zorn, Tadej Žnidarčič Academy of Applied Arts at University of Rijeka Regular faculty & staff Milijana Babić, Lara Badurina, Tomislav Brajnović, Josip Butković, Emilija Duparova, Igor Eškinja, Maja Franković, Ingeborg Fülepp, Vladimir Gudac, Dalibor Martinis, Nadija Mustapić, Goran Petercol, Sanjin Stanić, Paula Trinajstić Ivančić, Ante Vladislavić, Fedor Vučemilović Visiting faculty Una Bauer, Stefano Katunar, Marin Lukanović, Andrej Mirčev, Katarina Peović Vuković, Boris Ružić Guests Davor Mišković, Irena Sertić, Slaven Tolj, Daniela Urem, Ulay, Alan Vukelić Graz University of technology Faculty Daniela Brasil, Richard Dank, Brigitte Kovacs, Nicole Pruckermayr Guests Nayari Castillo, Hans Holger Rutz, Katharina Vogt, Visda Goudarzi, Catherine Grau, Zoe Kreye University of Udine Faculty Alessandro Bordina, Leonardo Quaresima, Federico Zecca

With the support of the Lifelong Learning Programme of the European Union UNIUD





ISBN 978-953-7684-02-0

ADRIART Regional Collaborations in the Media Arts and Practices MAP Master Programme  

ADRIART Regional Collaborations in the Media Arts and Practices MAP Master Programme [Opinions, impressions, works, facts]

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