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STATEMENT | |
| C.V. | ||
| VIDEOGRAPHY | ||
| - Art video, Documentary video, Music video, Films | ||
| PROJECTS | ||
| - Performances | ||
| - Personal exhibitions | ||
| - Texts | ||
| - Group exhibitions, festivals and screenings | ||
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STATEMENT My intention in creating images is twofold. First I deal with the density, structure and construction of the image. Later I direct myself towards the métier itself. The idea passes from the imaginary to concrete images, which I then layer and define their time sequence. Video enchants me because of its precise technology and the possibility to manipulate the image. I see it as a very exact means of the creation of images. If Caravaggio and Schwitters were still alive, they would certainly work with video. Video is a very useful medium. It enables quick return information, it is handy and feather-light. It is as if made for internal use, and is especially productive in warm, dry places. Born on 13 October 1956 in Ljubljana. He is a graduate of the Academy of Fine Arts in Ljubljana, where he also completed postgraduate studies in sculpture (M. A. in Fine Arts, 1988). Member of the Ana Monro Theatre (1981-1991) and of the R IRWIN S group (1983-1985). His field of interest covers different media: performance, sculpture, installations, video, film and theatre. He works as a free-lance artist. |
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VIDEOGRAPHYArt video
CASUS BELLI
The video is based on the documentary shots of the performance. The video image is used as a surface which enables black-and-white contrasts, the play of light and shadow. The video surface bears similarities with a painted canvas, but it differs from it in enabling the motion and pulsation of images in the rhythm of music. In the end a man of flesh and blood appears from behind the two-dimensional image - the performer and the maker of the video at the same time.
PESEM MESA
IN PODOBA JE TELO POSTALA / SONG OF FLESH AND IMAGE WAS MADE BODY The video starts as a criminal story of one man chasing another, whereby the emphasis is not laid on the final outcome, but on colour surfaces that sneak into the black-and-white world of industrial plant. Then the colour instantly covers the entire video surface, a naked man's body appears and the camera starts revealing its details. The end of the video presents seemingly frozen bodies which, within the medium of motion pictures, endeavour once again to find the illusion of stillness offered by fine art.
AMERICAN
DREAM The hero
first appears in real surroundings (the documentary effect), but in the
next moment he finds himself in front of a rich fine-art scenery. The
chroma-key effect is used to manifest some other world (the illusion of
dreams). The scenery, however, does not give the impression of immobility,
but appears dynamic because of the changing surfaces; this is enhanced
also by the constant motion of the hero ceaselessly changing between two
roles, the pursuer and the pursued, and thus presenting the Hollywood-movie
stereotype of pursuit. The use of a human-size puppet Mickey Mouse, one
of the most famous media figures made by the factory of dreams, only enhances
the colourfulness and
AVTOPORTRET
/ SELF-PORTRAIT A contribution to Avtovizija (Autovision), an edition of the Integrali (Integrals) series. The video enables the layering of two images: the electronically processed face of the author in the background and the action in the foreground with the author moving in the style of detective films, hiding and waiting.
OGLEDALO
POZNA SKRIVNOST / MIRROR KNOWS THE SECRET The video is based on the performance of the same title. The metamorphosis of image is enabled by electronic technology. A step further from the chroma-key procedure of inserting of the front plane of the image into some other background, which invests the modified image with greater dynamics and gives it the mark of experiment. The use of digital (mirror) effects allows for the reproduction of the same image in the rhythm of music.
NO MORE HEROES
ANY MORE A video grotesque
on the subject of war in Bosnia. By means of chroma-key procedure the
protagonists move in various sceneries. One of them first sneaks into
a documentary showing a meeting of the leading European politicians. Soon,
however, 'the meeting' loses every trace of a document, and the negotiation
of standpoints turns into the game of chess. The image becomes covered
with black-and-red chess field where two opponents move their transformed
mechanical toys. A reporter comments on the development of the game, but
the sets and props prevail in the image. The music with intensive Balkan
melos is an important element, and so are the fragments of the performance
of the same title -
ŽEJA / THIRST The video was made in the genuine ambience of a half-destroyed apartment of 'Miss Salender', and it is a kind of visual document of the Ana Monro Theatre (GAM) style. The work is composed of various gags by Ana Monro's eccentric actors whose bizarre figures are set against the dull, but also very 'cruel', ruined walls. The same 'cruelty' radiates from the normal city environment which, in the beginning of the video, forms the background for a female 'video creature'. There are no artificial sceneries in this video, but the human figures featuring in it look just like artificial forms.
NAPREJ V
PRETEKLOST / FORTH INTO THE PAST The main
expressive means still remains the chroma-key effect, but the fine-art
sophistication of the 'background' is evermore perfected. This video is
based on a monologue of a professor of archaeology from the 23rd century,
explaining to his promising student about an archaeological site inhabited
by 'plastoses', a sort of monstrous toys - e.g., a rhinoceros with Barbie's
head - illustrating the current fetish of kitsch. There remain some traces
of performance in the video, supplemented with digital
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Docomentary video Štirje jezdeci
/ Four Riders Od Zlatega
jabolka do Velikega mrhovinarja / From the Golden Apple to the Great Predator
Cirkus Kansky
Music Video I've Seen
That... Like It Is
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Films Casus belli
Part II Hey Joe Inspector
Shwake |
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PROJECTS Performances 1983
1984 1986 1987 1989
1990 1991
1992 1993 1996
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Personal Exhibitions 1983 1984 1985 1987 1988 1990 1991 1992 1993 1994
1995 1996 1997 1998
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text Marko Kovačič, Postperformance, Ekran, No. 1/2, 1985
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Group Exhibitions, Festivals & Screenings 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998
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