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HZ NET GALLERY #9: June 2007

 

EXTRAGRAM (Discrete Events in Noisy Domains)

TANJA VUJINOVIC

2007

Extagram is a series of micro-works that came out of relationship of drawings and sounds in specific spaces, the mapping of space with sound, and audio-visual recycling. The resulting audiovisual drafts -Extagram(s), open up the field of indeterminacy of the state, which is a possible mapping and a flux, a draft of space vibrations, air and temporary field trajectories.‘Draft’, with its multiplicity of meanings, sets out a framework for exploring possible relationships between two-dimensional drawing and sound, where sound functions as an agent holding together the invisible electro-physical actions that occur within the space and their interaction with the human body.

Tanja Vujinovic is a visual and sound artist active in the field of intermedia art. She graduated from the Faculty of Fine Arts in Belgrade in the year 1999 and has been a guest student at the Kunstakademie in Düsseldorf. She is the author of numerous installations, video and sound works, and public art projects. She combines a variety of aspects in her work, simultaneously using drawing and sound pieces, analog and digital resources, or site-specific elements. Her intermedia interests are also reflected in the content of her work: anomalies and errors in intermedia textures through the creative (ab)use of technology, and information as noise. Her A/V works and installations have been exhibited at numerous museums, galleries, media and film festivals throughout Europe and the United States, including the Museum of Contemporary Art, Denver; Kunst Palast Museum Düesseldorf; the Museum of Modern and Contemporary Art, Strasbourg; Kunsthaus Meran in Italy; and the Medienturm International Forum, Graz, Austria. Her works have been included in numerous collective exhibitions such as the Madrid Abierto, Euroscreen21 project, Zero Visibility, Ctheory Multimedia NetNoise and Web Biennial Istanbul. (www.exstat.org)

 

DIE SCHUDAS

SUSANNE SCHUDA

 

"Symbolised by a three - dimensional box, the vieweres can enter the diffrent rooms of "The Schudas" functioning as a closed system. The messages of the TV – Show texts are also pivotal points of the system, Susanne Schuda puts one in to the other box. The "window to the world" of the Fifties as a possibilty to get input from the outside, is known as a closed system itself , predominantly occupied with representing circularly messages. The protagonists of the Schuda – Box too act mostly self – referential; the messages of the TV texts, have completely different impact on Betty, Henry, Hörbiger and Riedel and renew suspicion of various realities inside the system. The term interactive induces the interpretation, that there is a portfolio of worlds, suroundings, levels of which we can choose or enter. Terms we also know from computer-game jargon. In the Internet-sitcom "The Schudas" the interactivity means the navigation in the three – dimensional space."(Rosa von Suess)

Susanne Schuda studied Visual Mediadesign at the Univesity of Applied Arts in Vienna, with Peter Weibel, Valie Export and Karel Dudesek. in her single works she does video, internet and photomontage, in all her works text (by her own) plays a big part. She also realised public art projects in collobaration with Florian Schmeiser (www.schudaschmeiser.net). One is a permanent interactive installation called "chaos in the shelf" in a trade school in lower austria. her work is collected by Züricher Kunsthaus, collection of the City of Vienna, and Artothek, Austria.

 

INVERTED AFFECTS

LAURA BEY

2006

The work Inverted Affects starts from a series of videos made by young and teenagers with the cameras of their mobiles. All the videos, most of them anonymous, are freely available on the net and have been gathered by Laura Bey straight from some of the most famous and visited videoblogs. The videos "borrowed" here bear witness to scenes of young violence, fights and many diverse clashes. However, in many of them, it is easy to detect that these violent scenes have been feigned and recorded; these performances of street violence have been made by the youths themselves as some kind of game or entertainment to be then enjoyed and shared through the videos of its entry. Through this strategy of appropriation and re-representation, Bey stresses (and criticizes) the intensity of the relation between technology, entertainment and violence in the youth world, and, more directly, in the more and more widespread identification of violence with enjoyment (description by Juan Martín Prada).

Laura Bey works and lives in Seville, Spain. Recently her work has been included in the e-show "Link-a" curated by Juan Martín Prada and produced by MediaLabMadrid (Madrid, Spain) and awarded with the third prize of Biennal IbizaGraphic 2006 (Museo de Arte Contemporáneo de Ibiza). Recent bibliography on her work includes the review by Nilo Casares "La batalla o el compañerismo" ("ABCD las Artes", 2006) and Remedios Zafras’ essay "A room of One’s Own", in journal "Papers D’Art" (2007).

 

ENTANGLEGRIDS

JASON NELSON

2006

Memory tends towards isolation, removes connective tendrils and peripheral lives/noises/movements. We remember in small numbers, brief clips and breath length jingles. Entanglegrids are lined frameworks empty until keystrokes trigger video and text. These keystroke events act as memories, as those synaptic sharp and entrenched seconds of experience. And within the Entanglegrid environments the videos, brief cuts from larger tomes, are culled from the commercial, the pop cultural, and the gluttony fascination with war/explosion/the phallus of bomb. Using the keys, users type slowly or in rapid sequence to create video memory collages, flashes of animated excitement and verbal dominance/curiosity. Dispersed between are texts born from poetics, 16th century hermetics and sexual innuendo. The three works, same engine, same function, are Hermeticon (80s kids toy and candy commercials which act as spells in contrast with alchemy spins), Trekabulary (star trek technical language crossed with poetic translations), explode, this explode (history channel explosions and bombasturbation re-thought as sexual exploration and perversion). Texts become movements become sounds become interface become users become language become collage become poetry.

"Last Tuesday (the immediately previous Tuesday from the day you read this) I chased a medium sized man with a leaking green cloth sack through the few trees that surround the small suburban lake my house proudly overlooks. Before I could catch him, he stole a child's blue bike and escaped leaving a receding trail of brown and clear drippings. If I were in running shape, my hands would be cranes on the shore, fish harbouring in plastic crates, small waves for toy boats. I can run, but not fast, and I create odd digital creatures that others find difficult to include in academic essay. Explore my (a Lecturer of Digital Poetics at Griffith University in Australia) creations: http://www.secrettechnology.com/works/everything.htm "

 

EPIGLOBIS

ALEXANDER MOUTON

2007

Epiglobis is an interactive video that explores consumption, desire, and issues pertaining to globalization. The net art piece combines non-linear imagery with sounds called at random from a databank, generating continuously new juxtapositions. Throughout Epiglobis there are direct references to the themes as well as the use of more subtle metaphors. The title of the piece is a pun on the words 'epiglotis' and 'global' -epiglobis- and itself features the moving inside of a mouth for it's background. Epiglobis appeared first in the exhibit TERGLOBA (www.oakland.edu/org/tergloba) and is a part of Rhizome.org's ArtBase.

Alexander Mouton's interests lie in the poetic and narrative possibilities of sequencing images, whether in artists' books, net art, video, or performance. Working with new media, he explores the potential that technology has for bringing visual and sound arts together for interactive and immersive works both online and in physical spaces. Much of his work explores the territory between linear and non-linear narrative, often alluding to the unknown, whether investigating individual psychology, relations between people, or social issues. Alexander’s Unseen Press regularly produces limited edition artists’ books, which are in collections internationally including the Museum of Modern Art in New York City and the Kunst Bibliothek in Berlin, Germany, and his unseenProductions.net produces net art that is featured internationally. Currently he is Assistant Professor of Photo.NewMedia at Denison University in Ohio, USA.

 

HZ NET GALLERY is curated by SACHIKO HAYASHI

For submissions and proposals, please contact HZ

 

 
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