[spectre] grey) (area: exhibitions: Bill Aitchison + Sanja Latinović

[Darko Fritz via SPECTRE]

grey) (area
space for contemorary and media art
Korčula


Bill Aitchison: China Quick-Fix
Aug 1st - 31st 2024
Wi-Fi gallery grey) (area
Trg sv. Marka, Korčula, 0-24 h
Curators: Darko Fritz, Format C
In collaboration with: Gradski muzej Korčula, Format C
http://sivazona.hr/events/china-quick-fix

China Quick-Fix is principally a photographic archive that documents improvised 
repairs in China. This phenomena is both ubiquotous and neglected: it is 
something people do but not something that is dicussed or widely pictured. In 
this sense it can be understood as an unconscious aethetic that permeates urban 
space. The images offer an untypical perspective of contemporary China which 
simltaneously reveal both the everyday problems people encounter and the 
solutions they find to them. As such, a close reading of the images brings 
together collective experience and individual creativity in often surprising 
ways. The archive began in 2014 and has grown in size and depth since then to 
encompass several exhibitions, videos, publications, texts and workshops.
The exhibition can be accessed through personal mobile devices at Korčula’s St. 
Mark's Square. 

-

Sanja Latinović
Aug 3rd 2024, 21-23 h
Curator: Neva Lukić
In collaboration with: Umjetnička organizacija Maximum
http://sivazona.hr/events/sanja-latinovic 
<http://sivazona.hr/events/sanja-latinovic>

On this occasion, artist from Belgrade Sanja Latinović presents her works 
through different approaches – through talk, presentation of works, and a 
mini-exhibition. The talk and the screening of excerpts from the video works 
Aquarium (2008), Bird (2014), Movements White (2012), Do Not Cross (2016) and 
Obstacle or Threshold (2022) will encompass the different phases of artistic 
activity. The artist is almost always engaged in performance art; however, said 
medium is free-flowing and nearly always grows into sculpture, video work, or 
photography. Therefore, these works are subject to comprehensive, 
interdisciplinary presentation. In some of her works – which we can also 
attribute to her sculptural vocation – the artist creates new (non-)spaces, 
with emphasis on the relationship between fullness and emptiness and the 
individual themselves, i.e., herself at the centre. 
Half of My Meal Is an Artwork (2023) will be presented in the space as a video 
installation. Here, the emphasis is also put on the critique of the art system, 
together with the presence of self-irony that is also characteristic of Sanja 
Latinović’s approach. The performance was presented at the 50th Art Colony 
Assembly on Vlasina. Specifically, over the course of one week, the artist ate 
only half of the meals provided to her while attending the colony, while the 
rest of the meals she documented with photographs. Hence, the emphasis here is 
also put on the relationship between emptiness and fullness – the eaten and 
uneaten half which becomes an artwork due to the non-existent financial support 
for its production.

Supported by: Ministarstvo kulture i medija Republika Hrvatska, Ministarstvo 
kulture Repubika Srbija, Aminess Hotels & Campsites, Zaklada Kultura nova, 
Dubrovačko-Neretvanska županija, Grad Korčula__
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[spectre] grey) (area Hrvoje Hiršl: Exceptional Point + Mez Breeze: Humidcity

[Darko Fritz via SPECTRE]

grey) (area
exhibitions in Korčula, Sisak and Zagreb
July 2024

On Wednesday, July 3, 2024 at 8 p.m. gray) (area opens two exhibitions in 
Korčula on St. Mark's Square: Exceptional Point by Croatian artist Hrvoje Hiršl 
in the Korčula Town Museum and Humidcity by the Australian artist Mez Breeze in 
the Wi-Fi gallery grey) (area.
In addition to these exhibitions, a group exhibition Critical Tourism is 
presented in the Striegl Gallery in Sisak, and in the MaMa in Zagreb a group 
exhibition of previous works created in the program of the Wi-Fi gallery grey) 
(area.
 
Hrvoje Hiršl: Exceptional Point
3rd - 24th June 2024
Korčula Town Museum
Curator: Darko Fritz
June 3rd at 8 p.m. opening of the exhibition and a talk with the artist

Exceptional Point is a light installation based on quantum optics. It is the 
continuation of the research of connecting the human scale to the quantum scale.
An exceptional point, in physics, is a term that denotes the moment at which a 
system begins to manifest properties that were not present until recently. It 
is a transition from a characteristic, base state to an exotic state, a 
crossing into up to now unknown, sensitive balance between phases, 
characteristics that did not exist, but subsequently appeared.
Realized with the support of CALT Centre for Advanced Laser Techniques, 
Institute of Physics, Zagreb
More info:
http://sivazona.hr/events/izuzetna-tocka
 

Mez Breeze: Humidcity
3rd - 31st June 2024
Wi-Fi gallery grey) (area, Trg sv. Marka, Korčula
Curators: Darko Fritz and Format C

Humidcity is a digital narrative inspired by Italo Calvino's Invisible Cities. 
The work creates a mosaic of interactive storytelling that riffs on an extract 
from Calvino’s Invisible Cities via the distinctive Mezangelle style that 
merges poetic expression with elements of programming code and internet 
linguistics. Incorporating Mezangelle invites the reader to delve into the 
text, unravel its complexities, and experience an imagined city in a manner 
that blurs the line between digital and more traditional storytelling 
techniques. 
The exhibition can be accessed through personal mobile devices at Korčula’s 
main square.
More info:
http://sivazona.hr/events/humidcity
 

Critical Tourism
until September 15, 2024.
Striegl Gallery, Sisak
Artists: Boris Cvjetanović, Jana Dabac, Vitar Drinković, Katerina Duda, Darko 
Fritz, Dina Gligo i Vedran Gligo, Igor Grubić, Božena Končić Badurina, Andreja 
Kulunčić, Jelena Lovrec, Maja Marković, Edita Pecotić, Ivan Ramljak, projekt 
Reciplaža (Valerija Jurjević, Sanda Hančević, Darko Fritz), Ilija Šoškić, Vice 
Tomasović
Curator: Darko Fritz

Critical tourism implies a critique of haphazard touristification and the 
reflection of its social and aesthetic connotations. Critical tourism is aimed 
at modelling a critical discourse that challenges the commercial strive for 
mono-economy of tourism in Croatia and elsewhere, and its consequences on 
cultural, social and spatial development. The exhibition represents a selection 
of works of artists who critically thematise tourism in general through 
artistic interpretations of said topic, using them as tools for commenting and 
criticising the sociocultural and political-economic practices while putting 
emphasis on and directing the view towards the ethics, poetics, and policies of 
space. As case studies, its methodologies can be applied to similar tourist 
locations/destinations all over the world.
More info:
http://sivazona.hr/events/kriticki-turizam-izlozba-sisak
https://galerija-striegl.hr

 
Wi-Fi grey) (area, Embassy of TheWrong biennale 
until 31 December 2024.
Multimedia Institute, net.culture club MaMa, Zagreb
Curators: Darko Fritz and Format C
Embassy Wi-Fi grey) (area is part of TheWrong Biennale and consists of an 
exhibition at the physical location in Zagreb of works that were previously 
presented as part of Wi-Fi Gallery grey) (area in Korčula. The works of authors 
who presented them during 2022 and 2023 in a specific format for the Wi-Fi 
gallery: Željko Badurina, Boris Cvjetanović, Mihael Giba, Iqra Iqbal, Nour 
Sokhon, Ivana Sovilj and Mirna Udovčić.
More info:
http://sivazona.hr/events/ambasada


support:
Ministry of Culture and Media of the Republic of Croatia
Aminess Hotels & Campsites
Sisak Town
Korčula Town
Dubrovnik-Neretva County
the work of the association Grey area is supported by the Kultura Nova 
foundation

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Re: [spectre] CFP: Modernism in Ukraine (London, 4-5 Oct 24)

[Darko Fritz via SPECTRE]

Dear Katia and others


Regarding the statement 'this international conference will bring together 
established and emerging scholars for a first-ever discussion dedicated 
exclusively to Ukraine’s visual culture of the late nineteenth and twentieth 
centuries to be held outside Ukraine.’:

1990, the exhibition The Ukrainian Avant-Garde 1910-1930 was held in the Museum 
of Contemporary Art in Zagreb (16/12/1990 - 24/02/1991), curated by Tihomir 
Milovac. On the occasion of the exhibition, a round-table meeting on the same 
theme was held. I may only guess that was the first presentation of the 
Ukrainian avant-garde separated from the Russian avant-garde.
The catalogue is published in Croatian and English.

Ukrajinska avangarda 1910-1930
Muzej suvremene umjetnosti, Zagreb, 1990.

Best regards

Darko


> On 15.05.2024., at 11:04, Andreas Broeckmann LEU via SPECTRE 
>  wrote:
> 
> From: Katia Denysova
> Date: May 14, 2024
> Subject: CFP: Modernism in Ukraine (London, 4-5 Oct 24)
> 
> The Courtauld Institute of Art, London, Oct 4–05, 2024
> Deadline: Jun 9, 2024
> 
> Call for Papers | International Conference | Modernism in Ukraine: Local 
> Contexts, Intercultural Encounters, Transnational Exchanges.
> 
> The Courtauld Institute of Art, London (4–5 October 2024).
> 
> Coinciding with the final stop of the touring exhibition In the Eye of the 
> Storm: Modernism in Ukraine, 1900–1930s at the Royal Academy of Arts in 
> London (29 June – 13 October 2024), this international conference will bring 
> together established and emerging scholars for a first-ever discussion 
> dedicated exclusively to Ukraine’s visual culture of the late nineteenth and 
> twentieth centuries to be held outside Ukraine.
> 
> For decades the modernist art production of Ukraine has been viewed through 
> the imperialist lens of the so-called ‘Russian avant-garde’, with scholarship 
> dedicated specifically to the local Ukrainian context remaining marginal and 
> mostly a purview of home-produced historiography. The Russian Federation’s 
> brutal and unprovoked full-scale invasion of Ukraine in February 2022 has 
> finally prompted a reassessment of the existing art historical canon, posing 
> uncomfortable questions regarding the complicity of western academia and 
> institutions in overlooking the Kremlin’s neo-imperialist pretensions. The 
> current conference seeks to harness this unprecedented moment to redress 
> historical injustices, invest in epistemic reparations and reclaim names, 
> events and institutions for Ukraine’s cultural space. At the same time, by 
> recognising and celebrating the country’s multicultural dimension and 
> pluralism of its artistic practices, the presented discussions will go beyond 
> the established national paradigm to investigate cultural transfers and 
> intercultural exchanges.
> 
> The conference seeks to address the following questions: How did artists 
> engage with indigenous pictorial traditions to construct Ukraine’s modern 
> cultural identity? How did this engagement evolve under the changing 
> political and ideological regimes? What intercultural and transnational 
> encounters had informed the development of modern art in Ukraine? What is the 
> legacy of Ukraine’s artistic modernism and what vision of the future can it 
> offer?
> 
> We invite proposals for 20-minute papers or presentations that address the 
> abovementioned questions and/or the conference themes more broadly. Proposals 
> can be dedicated to visual arts in a variety of media, roughly spanning the 
> period from the late nineteenth to the late twentieth century, as well as the 
> practice of contemporary artists working with the legacy of Ukraine’s 
> artistic modernism.
> 
> Proposal submissions
> 
> Please submit the following materials, along with the full name and contact 
> email address of the participant and information about any access 
> requirements:
> 
> A proposal of up to 500 words for a 20-minute paper, or an alternative 
> presentation
> An academic CV of no more than 2 sheets of A4 or a 200-word biography
> To: modernisminukra...@gmail.com
> 
> By: 11 pm (23:00) BST on Sunday 9 June 2024
> Selected participants will be contacted by the end of June 2024
> 
> Funding/Access statement
> 
> We welcome the participation of doctoral and post-doctoral researchers, and 
> independent scholars, from all backgrounds and will do our best to ensure 
> that the event is accessible to all attendees.
> 
> The event will be held in London with on-site participation of all speakers, 
> wherever possible. The conference organisers will aim to cover travel 
> expenses and accommodation of the invited speakers, especially those in need 
> of financial assistance and without institutional funding.
> 
> Co-organised by Katia Denysova (University of Tübingen) and Maria Mileeva 
> (The Courtauld Institute of Art)
> 
> 
> Reference / Quellennachweis:
> CFP: Modernism in Ukraine (London, 4-5 Oct 24). In: ArtHist.net, May 14, 

[spectre] exhibition Critical Tourism . grey) (area

[Darko Fritz via SPECTRE]

Critical Tourism

Kortil Gallery, Rijeka
7 - 29 May 2024.

Artists: Boris Cvjetanović, Jana Dabac, Vitar Drinković, Katerina Duda, Darko 
Fritz, Dina Gligo i Vedran Gligo, Igor Grubić, Božena Končić Badurina, Andreja 
Kulunčić, Jelena Lovrec, Maja Marković, Edita Pecotić, Ivan Ramljak, projekt 
Reciplaža (Valerija Jurjević, Sanda Hančević, Darko Fritz), Ilija Šoškić, Vice 
Tomasović
Curator: Darko Fritz

Critical tourism implies a critique of haphazard touristification and the 
reflection of its social and aesthetic connotations. Critical tourism is aimed 
at modelling an interdisciplinary critical discourse that challenges the 
commercial strive for mono-economy of tourism in Croatia and elsewhere, and its 
consequences on cultural, social and spatial development. The exhibition 
represents a selection of works of artists produced or coproduced by the grey) 
(area association, a space of contemporary and media art from Korčula, with 
three of its members also being exhibitors: Darko Fritz, Edita Pecotić, and 
Ivan Ramljak.
On the one hand, grey) (area seeks to actively include contemporary local and 
international creativity within the existing framework of so-called cultural 
tourism, which primarily relies on traditional contents of cultural heritage. 
With the programme of artistic residencies, production of works in Korčula and 
personal presence of artists and guest curators in programme implementation, 
grey) (area contributes to the active participation of artists/visitors, 
whereby it displaces them from the passive/consumerist position of a tourist. 
On the other hand, through one of the programme lines entitled Critical 
Tourism, grey) (area presents a selection of artistic works and projects 
reflecting on various, primarily negative consequences of tourism, with 
emphasis on the concept of common goods of a community, such as public space 
and infrastructure. The exhibition represents a selection of works of artists 
who critically thematise tourism in general through artistic interpretations of 
said topic, using them as tools for commenting and criticising the dominant 
sociocultural and political-economic practices while putting emphasis on and 
directing the view towards the ethics, poetics, and policies of space. As case 
studies, its methodologies can be applied to similar tourist 
locations/destinations all over the world.

The starting point of all activities of grey) (area is learning and knowledge 
through practice. The same methodology is applied to artistic and curatorial 
research: the projects do not depart from set premises, but rather establish 
themselves in theoretical discoveries during the project, through practice. I 
term this methodology curatorial practice a posteriori, curating as praxis. In 
this very notion I see a significant deviation from the dominant curatorial 
practices of contemporary art in recent decades, ever since the curators have 
taken over the role of main authors who often illustrate with the artworks 
their own, previously set theses, postulates, and theories. This achieves 
merely an illusion of curatorial and artistic interactions since the hypotheses 
have been set in advance, with the top-down method, and primarily represent the 
curator’s aesthetics, while the artworks are merely a tool of its 
actualisation. I term such aspect a priori curating. Contrary to this, grey) 
(area operates through curatorial practices a posteriori, through the 
application of praxis in the context of contemporary art, where discoveries are 
accumulated and aesthetics are formed through years-long programmatic 
guidelines following the merely indicated starting positions of curatorial 
initiations. In the field of common interest of the curator and the artist, the 
curator listens to art instead of imposing it. This is how the programmatic 
guideline of grey) (area entitled Critical Tourism developed, which is achieved 
through a years-long, open programme. The results of the second programmatic 
guideline, entitled History of Contemporaneity, offer possible solutions to 
questions opened up by Critical Tourism, thus indicating good cultural and 
artistic practices from the history of the 21st century and the specificity of 
the island of Korčula as the model of sustainable insular development. Through 
the project guideline History of Contemporaneity, grey) (area actualises a 
series of years-long scientific and research projects that include the 
production and presentation of new artworks. The scientific research Industrial 
Heritage of the Island of Korčula, led by Marija Borovičkić and Lea Vene, was 
represented at the exhibition with the artist’s book If the Factory Honked by 
Božena Končić Badurina, issued following the workshop Fabrikivanje, Industrial 
Heritage of Vela Luka. The scientific and artistic research International 
Artists’ Meetings in Vela Luka 1960–1972, led by Darko Fritz, was presented 
with his experimental film Imagined Futures: Tourism

[spectre] exhibition and book Digital Art in Croatia 1968 - 1984

[Darko Fritz]

Digital Art in Croatia 1968 - 1984
 
exhibition
10th February - 21st March 2023
Technical Museum Nikola Tesla, Zagreb
Opening: Friday, 10th February 2023 at 19 h

Project Digital Art in Croatia 1968 - 1984 produced by Technical Museum Nikola 
Tesla (TMNT) includes an exhibition and a book by Darko Fritz and the website.

The book Dako Fritz: Digital Art in Croatia 1968 - 1984
English edition
ISBN 978–953–6568–89–5
TMNT, 2022

The book Dako Fritz: Digitalna umjetnost u Hrvatskoj 1968. – 1984.
Croatian edition
ISBN 978-953-6568-75-8
TMNT, 2020
224 pages, 470 illustrations, 30 x 24 cm, hardcover. Price: 30 Euro
Books are available at the museum and may be ordered via i...@tmnt.hr 
<mailto:mailto:i...@tmnt.hr>. 

website: https://digitalna-umjetnost-u-hrvatskoj.eu 
<https://sivazona.us8.list-manage.com/track/click?u=143feae3cde083fd96d1a6e95=0c9f295d1e=81286c91e0>
The temporal framework of early digital art in Croatia in this project is 
bounded by emblematic years: revolutionary 1968, when the first exhibition of 
digital art was put on, and Orwellian 1984.

The cultural climate in Zagreb, which was manifested, among other phenomena, by 
a series of international exhibitions and the New Tendencies movement, gave 
rise between 1961 and 1978 to “the initiation, first production, presentation, 
exhibition, criticism and theory of domestic digital art as well as its 
presence in world digital art networks from 1968”. (Darko Fritz) It is 
important furthermore, according to Fritz, to highlight the ideas of Matko 
Meštrović about the synthesis of science and art within the context of the 
“synthesis of science and art in the framework of “scientification” of humanist 
disciplines and art as part of the long-term (utopian) process of the overall 
scientification of all human activity … starting with the appropriation of such 
scientific methods as research and experiment”.

Exhibition presents works by Vladimir Bonačić, bcd — cybernetic art team 
(Vladimir Bonačić, Miroljub Cimerman, Dunja Donassy), Vlatko Čerić, Tomislav 
Mikulić, Branimir Makanec and Group of cyberneticists, Andrija Mutnjaković, 
Miljenko Horvat, Velimir Neidhardt, Nikola Šerman, Nikola Tanhofer and Vilko 
Žiljak. 
<https://sivazona.us8.list-manage.com/track/click?u=143feae3cde083fd96d1a6e95=67c0b007d7=81286c91e0>

The project was supported by the City Office for Culture, Intercity and 
International Cooperation and Civil Society and the Ministry of Culture and 
Media of the Republic of Croatia.
The realization of the exhibition is supported by the funds of the Ministry of 
Culture and Media of the Republic of Croatia.

TMNT Technical Museum Nikola Tesla
Savska cesta 18, 1 Zagreb, Croatia, EU
i...@tmnt.hr <mailto:mailto:i...@tmnt.hr>
https://tmnt.hr 
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[spectre] 20th Century Heritage symposium - 15th - 16th July 2022

[Darko Fritz]

My excusess for the error in date in last mail, it is July ...

20th Century Heritage

symposium
15th - 16th July 2022
Korčula

The international symposium 20th Century Heritage will be held in the 
organization of the Grey Area association in the Korčula town museum on July 15 
and 16, 2022. The symposium points to cultural and artistic good practices from 
the history of the 20th century and the uniqueness of the island of Korčula as 
a model of sustainable island development. Through an interdisciplinary 
approach, the symposium examines the cultural and geopolitical context of the 
two most significant international gatherings on the island of Korčula, the 
Korčula Summer School (1963 - 1974) and the International Artists' Meetings in 
Vela Luka (1968 - 1972).

Critical thinkers around Praxis magazine and the Korčula summer school 
developed a singular trajectory of humanist Marxism and social analysis in the 
context of socialist, self-management and non-aligned Yugoslavia and created a 
place for the exchange of critical views between East and West in the Cold War 
context. Mislav Žitko analyzes the social antagonisms that were at the centre 
of Praxis philosophy, and Paul Stubbs talks about the Yougoslav context, 
decoloniality and the Non-Aligned Movement.

Ljiljana Kolešnik shows the development of art colonies in Yugoslavia since the 
1950s, and Darko Fritz presents one such colony held in Vela Luka, which was 
originally conceived as a colony of fine artists to work in the medium of 
mosaics, but through the next two editions an interdisciplinary synthesis of 
various artistic disciplines, urban planning, architecture and finally a 
multimedia approach that includes mass media and the participation of the local 
population. Sculptor Ante Marinović, a participant of the International 
Meetings, talks about the Luka mosaic project, as part of which new mosaics 
have been produced and installed in the public space of Vela Luka from 2017 
until today. Part of the symposium is the  discussion  Caring for 20th Century 
Heritage, in which panellists and participants of the project Who Cares? and 
the interested audience, for which free entry is provided. 

Sani Sardelić presents the circumstances of the event 100 years since the birth 
of Bernardo Bernardi, which is being held in pandemic conditions, and a part of 
which is also presented in the City Museum of Korčula. In addition to this 
exhibition, as part of the symposium, Željko Badurina's exhibition Two Sunsets 
<https://sivazona.us8.list-manage.com/track/click?u=143feae3cde083fd96d1a6e95=a0988e24a5=81286c91e0>
 and the VR installation Leonardo's Submarine 
<https://sivazona.us8.list-manage.com/track/click?u=143feae3cde083fd96d1a6e95=a1f9e8a097=81286c91e0>
 by the German artist Hito Steyerl will be presented.
 
The symposium is part of the project Who Cares? which is carried out in 
cooperation with partners from five organizations dedicated to artistic 
production from various parts of Europe: Idensitat (Barcelona, Spain), SPACE 
(London, United Kingdom), Rupert (Vilnius, Lithuania), Grey Area (Korčula, 
Croatia) and Centro Huarte (Navarra, Spain). Partners working on a common 
project to explore new ways in which to engage audiences, incorporating care 
practices in the infrastructure and programs of their respective organisations. 
Who Cares? is led by Centro Huarte as one of the selected projects within the 
European Cooperation Projects 2020 call of the Creative Europe program.
 
The program of the symposium, biographies of the authors and summaries of the 
lectures are available at the following link: 
http://sivazona.hr/events/bastina-20-stoljec 
<https://sivazona.us8.list-manage.com/track/click?u=143feae3cde083fd96d1a6e95=34324b3f75=81286c91e0>a
 
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[spectre] 20th Century Heritage symposium

[Darko Fritz]

20th Century Heritage

symposium
15th - 16th June 2022
Korčula

The international symposium 20th Century Heritage will be held in the 
organization of the Grey Area association in the Korčula town museum on July 15 
and 16, 2022. The symposium points to cultural and artistic good practices from 
the history of the 20th century and the uniqueness of the island of Korčula as 
a model of sustainable island development. Through an interdisciplinary 
approach, the symposium examines the cultural and geopolitical context of the 
two most significant international gatherings on the island of Korčula, the 
Korčula Summer School (1963 - 1974) and the International Artists' Meetings in 
Vela Luka (1968 - 1972).

Critical thinkers around Praxis magazine and the Korčula summer school 
developed a singular trajectory of humanist Marxism and social analysis in the 
context of socialist, self-management and non-aligned Yugoslavia and created a 
place for the exchange of critical views between East and West in the Cold War 
context. Mislav Žitko analyzes the social antagonisms that were at the centre 
of Praxis philosophy, and Paul Stubbs talks about the Yougoslav context, 
decoloniality and the Non-Aligned Movement.

Ljiljana Kolešnik shows the development of art colonies in Yugoslavia since the 
1950s, and Darko Fritz presents one such colony held in Vela Luka, which was 
originally conceived as a colony of fine artists to work in the medium of 
mosaics, but through the next two editions an interdisciplinary synthesis of 
various artistic disciplines, urban planning, architecture and finally a 
multimedia approach that includes mass media and the participation of the local 
population. Sculptor Ante Marinović, a participant of the International 
Meetings, talks about the Luka mosaic project, as part of which new mosaics 
have been produced and installed in the public space of Vela Luka from 2017 
until today. Part of the symposium is the  discussion  Caring for 20th Century 
Heritage, in which panellists and participants of the project Who Cares? and 
the interested audience, for which free entry is provided. 

Sani Sardelić presents the circumstances of the event 100 years since the birth 
of Bernardo Bernardi, which is being held in pandemic conditions, and a part of 
which is also presented in the City Museum of Korčula. In addition to this 
exhibition, as part of the symposium, Željko Badurina's exhibition Two Sunsets 
<https://sivazona.us8.list-manage.com/track/click?u=143feae3cde083fd96d1a6e95=a0988e24a5=81286c91e0>
 and the VR installation Leonardo's Submarine 
<https://sivazona.us8.list-manage.com/track/click?u=143feae3cde083fd96d1a6e95=a1f9e8a097=81286c91e0>
 by the German artist Hito Steyerl will be presented.
 
The symposium is part of the project Who Cares? which is carried out in 
cooperation with partners from five organizations dedicated to artistic 
production from various parts of Europe: Idensitat (Barcelona, Spain), SPACE 
(London, United Kingdom), Rupert (Vilnius, Lithuania), Grey Area (Korčula, 
Croatia) and Centro Huarte (Navarra, Spain). Partners working on a common 
project to explore new ways in which to engage audiences, incorporating care 
practices in the infrastructure and programs of their respective organisations. 
Who Cares? is led by Centro Huarte as one of the selected projects within the 
European Cooperation Projects 2020 call of the Creative Europe program.
 
The program of the symposium, biographies of the authors and summaries of the 
lectures are available at the following link: 
http://sivazona.hr/events/bastina-20-stoljec 
<https://sivazona.us8.list-manage.com/track/click?u=143feae3cde083fd96d1a6e95=34324b3f75=81286c91e0>a
 
<https://sivazona.us8.list-manage.com/track/click?u=143feae3cde083fd96d1a6e95=2f0179799b=81286c91e0>__
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[spectre] Open call for collaboration: exhibiting the Untitled (Praxis) by Igor Grubić

[Darko Fritz]

e book grey) (area … Discourses from the Periphery, 2021. Artwork Untitled 
(Praxis) by Igor Grubić is on page 211.
Free book downloads (8 Mb each):
English edition: 
http://sivazona.hr/images/novi-dokumenti/greyarea_discourses.pdf
Croatian edition: http://sivazona.hr/images/novi-dokumenti/sivazona_diskursi.pdf

The project Untitled (Praxis) curated by Darko Fritz is part of the 
workshop/symposium Caring for 20th-century heritage which will be held in 2022 
as part of the European project Who Cares? and the exhibition International 
Meetings of Artists in Vela Luka 1968-1972, which is performed in collaboration 
with the MUO - Museum of Arts and Crafts, Zageb.

Artwork Untitled (Praxis) by Igor Grubić is under licence Creative Commons: 
Attribution-ShareAlike 4.0 International (CC BY-SA 4.0), Approved for Free 
Cultural Works
https://creativecommons.org/licenses/by-sa/4.0/

Igor Grubić (b. 1969, Zagreb) is one of Croatia's most accomplished and 
internationally acclaimed artists. His work includes site-specific 
interventions in public spaces, photography, and film. Since 2000 he is also 
working as a producer and author of documentaries, TV reportages and socially 
committed commercials. Grubić's project sits firmly in the humanist dimension, 
bridging together poetics, politics and social reality. He presented Croatia at 
the 58th Venice Biennial (2019). Exhibitions include, among others: Tirana 
Biennial 2 (2003); Manifesta 4 (Frankfurt, 2002); Manifesta 9 (Genk, 2012); 
50.October Salon (Belgrade, 2009); Gender Check, MuMOK (Vienna, 2009); 
11.Istanbul Biennial (2009); 4.Fotofestival Mannheim Ludwigshafen, Heidelberg 
(2011); East Side Stories, Palais de Tokyo (Paris, 2012); Gwangju Biennale 
(2014); Zero Tolerance, MOMA PS1 (New York 2014); Degrees of Freedom, MAMbo 
(Bologna, 2015); 5th Thessaloniki Biennial (2015); Cut / Rez, MSU (Zagreb, 
2018); Heavenly creatures, MG+MSUM (Ljubljana, 2018); The Value of Freedom, 
Belvedere 21 (Vienna, 2018). Miško Šuvaković reflected on his work: "Grubić, by 
generation, belongs to those artistic tendencies, which, close to political 
theory (...), make a turn from the neutral aestheticism of postmodernism to 
political activism. (...) The critical potential of artistic presentations 
becomes important ranging from the treatment of the recent past (decline of 
self-governing socialism, emergence of transitional practices of capitalism, 
formation of nation-states) through problematization of gender and racial 
violence, intolerance and ideological blindness in contemporary times."

Who Cares? project
Who Cares? is a cooperation project focusing on care practices. It is made up 
of 5 organisations dedicated to artistic production from different latitudes in 
Europe: Idensitat (Barcelona, Spain), SPACE (London, United Kingdom), Rupert 
(Vilnius, Lithuania), Grey Area (Korčula, Croatia) and Centro Huarte (Navarra, 
Spain). They working on a common project to explore new ways in which to engage 
audiences, incorporating care practices in the infrastructure and programs of 
their respective organisations. Care is a major thread in the project that runs 
through the concerns and challenges that each of the entities currently faces. 
Who Cares? understands care as a joint responsibility towards the communities, 
both local and global, to which the activity is addressed as artistic 
production organisations.
Who Cares? is led by Centro Huarte as one of the selected projects within the 
European Cooperation Projects 2020 call of the Creative Europe program.
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[spectre] Digital Art in Croatia 1968-1984 - book and website

[Darko Fritz]

Digital Art in Croatia 1968-1984
Promotion of the Technical Museum Nikola Tesla project: book and website

Saturday, March 27, 2021, at 12 p.m.
Technical Museum Nikola Tesla, Savska cesta 18 (courtyard), Zagreb
Project author: Darko Fritz
 
http://digitalna-umjetnost-u-hrvatskoj.eu 
<http://digitalna-umjetnost-u-hrvatskoj.eu/>


Presenters:
Matko Meštrović, art historian and theorist
Marko Golub, art critic
Darko Fritz, author of the project
Markita Franulić, director of TMNT
 
 
The project "Digital Art in Croatia 1968-1984" was conceived as an exhibition 
with an accompanying catalogue, but due to epidemiological reasons and lockdown 
at the time of its planned holding in 2020, the format of the exhibition was 
changed to a book and website.
 
In addition to the extensive introductory text by Darko Fritz, the following 
authors are presented: Vladimir Bonačić, bcd-CyberneticArt team (Vladimir 
Bonačić, Miro Cimerman, Dunja Donassy), Nikola Šerman, Miljenko Horvat, 
Tomislav Mikulić, Vilko Žiljak, Vlatko Čerić, Andrija Mutnjaković and Nikola 
Tanhofer.
Having in mind the profile of the museum that produces the program, Darko Fritz 
adapts his approach to the topic, dealing, in addition to art, the technical 
aspect of works and the technological context of their creation and social and 
economic circumstances of informatization in Croatia in the 1960s and 1970s.
 
We are presenting the Croatian edition of the book, and the desire remains that 
the exhibition, as well as the English edition of the book, will be realized 
next year.
 
The reasons for dealing with the topic of early digital art in Croatia at the 
Technical Museum Nikola Tesla are numerous. One of the program directions of 
the Museum is "interdisciplinarity - science and art", which is one of the 
essential features of digital art presented in this project. Namely, early 
digital art originated in scientific institutions and universities, and many of 
its protagonists were scientists or engineers who had access to technology that 
was exclusive at the time and, motivated by its capabilities, out of curiosity 
or encouraged by scientific concepts and artistic impulses, began to create 
works of art.
The time frame of early digital art in Croatia in this project is limited by 
emblematic years: the revolutionary 1968, when the first exhibition of digital 
art was held, and the Orwellian 1984.
 
The cultural climate in Zagreb, which, among other things, manifested itself in 
several international exhibitions and the New Tendencies (NT) movement from 
1961 to 1978, encouraged "the initiation, first production, presentation, 
exhibition, critique and theory of domestic digital art, as and its presence in 
global digital art networks and elsewhere since 1968. " (Darko Fritz). 
Furthermore, it is important to point out Matko Meštrović's ideas on the 
synthesis of science and art within the "scientification of humanities and art 
as part of a long-term (utopian) process of universal scientification of all 
human actions (...) beginning with the appropriation of scientific methods such 
as research and experiment".
 
The website of the project was realized by Damir Prizmić.
The website http://digitalna-umjetnost-u-hrvatskoj.eu 
<http://digitalna-umjetnost-u-hrvatskoj.eu/> presents abbreviated versions of 
texts and a shortlist of reproductions of exhibits and illustrations from the 
book in the editorial and curatorial selection of Darko Fritz. In addition to 
photo reproductions of works of art, the website also presents video 
documentation of exhibitions of early digital art in Croatia and a selection of 
digital animations by Tomislav Mikulić.
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[spectre] Digital Art in Croatia 1968-1984 --- book and website

[Darko Fritz]

Digital Art in Croatia 1968-1984
Promotion of the Technical Museum Nikola Tesla project: book and website

Saturday, March 27, 2021, at 12 p.m.
Technical Museum Nikola Tesla, Savska cesta 18 (courtyard), Zagreb
Project author: Darko Fritz
 
http://digitalna-umjetnost-u-hrvatskoj.eu


Presenters:
Matko Meštrović, art historian and theorist
Marko Golub, art critic
Darko Fritz, author of the project
Markita Franulić, director of TMNT
 
 
The project "Digital Art in Croatia 1968-1984" was conceived as an exhibition 
with an accompanying catalogue, but due to epidemiological reasons and lockdown 
at the time of its planned holding in 2020, the format of the exhibition was 
changed to a book and website.
 
In addition to the extensive introductory text by Darko Fritz, the following 
authors are presented: Vladimir Bonačić, bcd-CyberneticArt team (Vladimir 
Bonačić, Miro Cimerman, Dunja Donassy), Nikola Šerman, Miljenko Horvat, 
Tomislav Mikulić, Vilko Žiljak, Vlatko Čerić, Andrija Mutnjaković and Nikola 
Tanhofer.
Having in mind the profile of the museum that produces the program, Darko Fritz 
adapts his approach to the topic, dealing, in addition to art, the technical 
aspect of works and the technological context of their creation and social and 
economic circumstances of informatization in Croatia in the 1960s and 1970s.
 
We are presenting the Croatian edition of the book, and the desire remains that 
the exhibition, as well as the English edition of the book, will be realized 
next year.
 
The reasons for dealing with the topic of early digital art in Croatia at the 
Technical Museum Nikola Tesla are numerous. One of the program directions of 
the Museum is "interdisciplinarity - science and art", which is one of the 
essential features of digital art presented in this project. Namely, early 
digital art originated in scientific institutions and universities, and many of 
its protagonists were scientists or engineers who had access to technology that 
was exclusive at the time and, motivated by its capabilities, out of curiosity 
or encouraged by scientific concepts and artistic impulses, began to create 
works of art.
The time frame of early digital art in Croatia in this project is limited by 
emblematic years: the revolutionary 1968, when the first exhibition of digital 
art was held, and the Orwellian 1984.
 
The cultural climate in Zagreb, which, among other things, manifested itself in 
several international exhibitions and the New Tendencies (NT) movement from 
1961 to 1978, encouraged "the initiation, first production, presentation, 
exhibition, critique and theory of domestic digital art, as and its presence in 
global digital art networks and elsewhere since 1968. " (Darko Fritz). 
Furthermore, it is important to point out Matko Meštrović's ideas on the 
synthesis of science and art within the "scientification of humanities and art 
as part of a long-term (utopian) process of universal scientification of all 
human actions (...) beginning with the appropriation of scientific methods such 
as research and experiment".
 
The website of the project was realized by Damir Prizmić.
The website http://digitalna-umjetnost-u-hrvatskoj.eu presents abbreviated 
versions of texts and a shortlist of reproductions of exhibits and 
illustrations from the book in the editorial and curatorial selection of Darko 
Fritz. In addition to photo reproductions of works of art, the website also 
presents video documentation of exhibitions of early digital art in Croatia and 
a selection of digital animations by Tomislav Mikulić.
 
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[spectre] grey) (area . Shu Lea Cheang: Is Resistance Futile . artist tlk

[Darko Fritz]

grey) (area . space for contemporary and media art . Korčula



Shu Lea Cheang: Is Resistance Futile - on politics of green spaces, politics of 
red space

Curator: Darko Fritz

Friday, 28th August, 21 h, open-air cinema, Korčula (Ljetno kino)


Multimedia artist and filmmaker Shu Lea Cheang's work aims at re-envisioning 
genders, genres, and operating structures. This artist talk is comprising a 
multimedia presentation in which Cheang is going to present two main pillars of 
her work: one is a relation between sexuality and repression in technological 
context of the contemporary world, and the other is about the politics of green 
spaces with the emphasis on control and distribution of the seeds.
As a net art pioneer, her artwork Brandon (1998-1999) was the first web art 
piece commissioned by New York Solomon R. Guggenheim Museum. The one-year 
narrative project explored the issues of gender fusion and techno-body in both 
public and cyber space. The site got its name after Brandon Teena, a trans man 
who was raped and murdered in 1993 after his biological sex had been revealed.
At the Venice Biennale 2019 Cheang represented her native country Taiwan with 
the interactive installation 3 x 3 x 6. Cheang created a new work inspired by 
the history of the exhibition venue, Palazzo delle Prigioni, which first served 
as a prison in the sixteenth century. The work’s title refers to today’s 
standardized architecture of industrial imprisonment: a 3 x 3 square-meter cell 
constantly monitored by 6 cameras. 3 x 3 x 6 thus speaks to the realities of 
the prison, constructed both physically and by the presence of digital 
surveillance mechanisms. The exhibition worked with ten historical and 
contemporary case studies of individuals who had been outcast or incarcerated 
due to reasons of gender variance, sexual preference, or racial differences. 
The exhibition concept examined how visual and legal hegemonies are constructed 
over time and how these hegemonies rationalize sex, gender, and race as a 
result. Through its presentation, 3 x 3 x 6 further explored the alternative 
forms of non-physical yet increasingly omnipresent imprisonment in this new 
digital age, where surveillance apparatus and technologies are becoming 
inescapable.
Cheang has been working with artists/farmers communities since the 1980s. She 
has also created large installations and performances while engaged in network 
building and seeds/compost/bio-diversity related projects. She is a co-founder 
of the CycleX, which designates its 23 acres as an open space with a focus on 
bio-diversifying farming practices, mycology, permaculture, as well as a hub 
for in-person or virtual exchange of information and techniques for land 
stewardship, culture and art. CycleX farmland has been a gathering node for 
farmers and artists since 1997. They solicited season-based residency projects 
based on the theme FUTURE SEEDS. The initiative derived from farming exchange 
and research in bio-electronic media art, further connecting code and data 
processing with algorithms of seeding and growth. Through sensing, cultivating 
and communicating with soil, fields, seeds, plants, and animals via electronic 
means and devices, FUTURE SEEDS sought systematic investigation into current 
bio-media work. The residency promoted sustainable living/working environment 
for artists who engaged in farming activities along with their media projects.

More info: http://sivazona.hr/events/shu-lea-cheang-umjetnicko-predavanje

Other programs by grey) (area:
Korčula: 2020|5050 by Dina Karadžić and Vedran Gligo: 
http://sivazona.hr/events/20205050
Korčula: Work by Armina Pilav: 
http://sivazona.hr/events/armina-pilav-intervencija-u-javnom-prostoru
internet: Tautologies by Ilija Šoškić: 
http://sivazona.hr/events/tautologije-video
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[spectre] grey) (area . Ilija Šoškić: Tautologies (video)

[Darko Fritz]

grey) (area – space for contemporary and media art

Ilija Šoškić: Tautologies



video

June the 3d – September the 3d,  2020


World premiere of the video work 'Tautologies' by Ilija Šoškić in the 
production of grey) (area  - space for contemporary and media art will take 
place on-line, on the grey) (area Vimeo channel, starting from June the 3d, 
2020. Curator of the project is Darko Fritz and director of photography is 
Ivana Marinić Kragić.
 
Since the end of the 1960s Ilija Šoškić has been working in the media of 
performance and installation in his artistic practice, and since 1969 he has 
been using the video medium. During Šoškić's art in residence in Korčula in 
July 2019, grey) (area started with the production of the new video work 
“Tautologies”, which was emerging from the artist's dialogue with the city and 
the island of Korčula. Production of the work was finished in 2020.
 
Here is the artist's statement about this work: "Tautology is ('it is what it 
is') for me, in some situations, a quite stimulative reference. If I opt for a 
'mental polygon', too adventurous, when I bind it with the title 'tautologies', 
it is getting on the efficacy of a performative idea, as it occurred in 
Korčula, a very demanding spatial setting.
Minimalist esthetics and reality of the space were not, exactly, the best, 
true, that was something that I expected. However, simultaneously, according to 
my character, it was a very challenging creative situation.
'Cane and a hat' + 'it is what it is' is what I wanted to achieve. It was good 
because of the title, precisely in plural: Tautologies. That is how it is 
possible to create quality communication and  companies. That was my goal and 
it happened. I have to say that I felt very well these days. I was in a good 
company, just as it should be...”

The work 'Tautologies' was performed on the crossing borders among the 
disciplines such asmathematics, metaphysics, and philosophy, while intuitively 
synthesizing knowledge that was given to us by Pythagoras and Wittgenstein. 
Artist is in a space and with his being alters that space. With his body he 
makes a semicircle towards chosen architecture, makes contact with the sea, 
approaches the mountain while moving through the sea, passes between two 
islands. Elements of the Earth, water and air are being interwoven, as well as 
male and female principles. In the scene of approaching the mountain, the 
movement is directed towards the highest peak of Pelješac peninsula which 
carries the name of St Elias (Sv. Ilija). The hill is called Mons Vipera 
(Viper's mountain) and Perun's hill. Perun was a god of thunder in the ancient 
Slavic mythology, and the present name comes from the chapel dedicated to St 
Elias (Sv. Ilija).
Video: https://vimeo.com/sivazona/tautologies 
<https://vimeo.com/sivazona/tautologies>
More info: http://sivazona.hr/events/tautologije-video 
<http://sivazona.hr/events/tautologije-video>__
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[spectre] grey) (area . Circle in Circle and LEAVE || ACT

[Darko Fritz]

grey) (area
Korčula

Chiara Passa: Circle in Circle
AR instlallation
22nd - 24th September, 20 - 22 h
Memorijalni kompleks (Spomenik / Monument), Trg pomirenja, Korčula

Cosimo Mollica, Giuseppe Legrottaglie: LEAVE || ACT  
AR walk
23rd September, meeting at 16 h
Memorijalni kompleks (Spomenik / Monument), Trg pomirenja, Korčula


Circle in Circle is new work by Chiara Passa from the series Inside Geometry 
double language (2015-ongoing). The site-specific installation is designed in 
relation to spheric arhitecture of the WWII Memorial Complex in Korčula town, 
designed by Bernardo Bernardi 1981. Virtual reality (VR) video installation is 
composed of 12 3D-viewers and 12 smartphones playing different VR animations.

LEAVE || ACT is an AR (augmented reality) walk within the Korčula town inspired 
by phychogeographies by Guy Debord. The part of the project about local plants 
authors Cosimo Mollica and Giuseppe Legrottaglie developed with Sani Sardelić, 
member of Grey Area's association.

Free entrance and participation

More info:
http://sivazona.hr/events/krugovi
http://sivazona.hr/events/psihogeografija-korcule

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[spectre] grey) (area – Listening with the Sea and the Stone + Toward Europe

[Darko Fritz]

Listening with the Sea and the Stone
+
Toward Europe

Thursday, 18 . 07 . 2019 . 6 pm
Manja Ristić and Anamaria Pravicencu: Listening with the Sea and the Stone

Friday, 19 . 07 . 2019 . 9 pm
K.u.u Uzgon: Toward Europe

grey) (area – space for contemporary and media art presents new projects
by two art collectives on July 18 and 19 in the  Korčula town and its
surroundings. Both projects take place while moving through different
locations.

Member of the Grey Area association, Belgrade-Korčula based musician Manja
Ristić collaborates for the first time with a Romanian musician Anamaria
Pravicencu. Together they will stage a premiere of the piece titled
Listening with the Sea and the Stone, with which the attention is being
directed towards creative listening. The piece will be performed through
walking on the islet of Vrnik, and includes participation of the audience
in the former ancient quarry.  Together with the curator Darko Fritz, the
artists met for the first time in Budapest last year, while taking part in
the founding conference of the Central European Network for Sonic
Ecologies (CENSE) Therefore, this piece is an immediate result of the
activities of grey) (area within this network. The performance of the
piece will also mark World Listening Day 2019 that has been taking place
on July 18 since 2008, aiming at understanding the world and its natural
environment, societies and cultures through the practices of listening and
field recording. Gathering in Korčula at 6 pm in the City Park, and on the
islet of Vrnik at 6.30 pm.

The following day, on Friday July 19 at 9 pm in the Open Air Summer Cinema
in Korčula the project titled Toward Europe by the cultural-artistic
association Uzgon will be presented. In the frame of that project the team
of artists and scientists aims at finding a new purpose to a Croatian
donkey and therefore save it from extinction. The prepremiere of the
documentary film in making under the title Cargo, whose research phase
started four years ago when a group of enthusiasts decided to start the
documenting of the new media project Toward Europe, will also take place.
A part of the project is the cryptocurrency Toward Euro, an algorithm
which has its physical base in the gold-plated donkey excrement that
contains the RF chip with stored value of the currency at the moment of
purchase, date of production, name of a producer, and the algorithm of the
cryptocurrency.
After the program in the Open Air Summer Cinema in Korčula a premiere of
the performance "Hide the Sun" will take place in the form of walk in
public space, accompanied with guerilla video projections and a sound.

Entrance, participation and transport are free of charge.

More info:
http://sivazona.hr/events/slusanje-sa-morem-kamenem
http://sivazona.hr/events/towar-kuu-uzgon

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[spectre] grey) (area . Ilija Šoškić: Tautologies

[Darko Fritz]

grey) (area – space for contemporary and media art

Tautologies

Ilija Šoškić

artist talk
free entrance

On Saturday, July 6, 2019, grey) (area – space for contemporary and media art 
in the city of Korčula will open its 2019 summer season with the artist talk in 
the Summer Cinema of the city of Korčula. Artist talk by Ilija Šoškić will be 
moderated by Darko Fritz, the founder and art director of grey) (area.
Ilija Šoškić has been presenting his work in the media of performance and 
installation since the end of 1960s. During his residence on the island of 
Korčula in July 2019, grey) (area will produce a new work of Ilija Šoškić. The 
backbone of that work is made through Šoškić's previous works which were 
carried out on the island of Hydra, where Šoškić lived and worked with Jannis 
Kounellis, as well as through numerous video-essays dedicated to ecology and 
the olive tree as the most pronounced symbol of the Mediterranean culture.  
 
Ilija Šoškić was born in 1935. in Dečani and  lives and works in Rome. He 
attended the School of Applied Arts in Herceg Novi, the Academy of Fine Arts in 
Belgrade and Accademia di belle arti in Bologne. From 1969 to 1972 he lived in 
Bologna. Since 1972 he has mostly lived in Rome (a period between 1993 and 1995 
he spent on the island of Hydra where he worked with Jannis Kounellis). Šoškić 
stepped into the flame of Italian art scene with the exhibition in the Palazzo 
dei Diamanti in Ferrara in 1972, where he was active together with other great 
personalities of Italian and global avant garde, such as: Kounellis, 
Pistoletto, Baselitz, Chiao, Cucchi, Kosuth, Ontani, Acconci, Prini, De 
Dominicis, to mention just a few.
More info: http://sivazona.hr/events/govor-moru__
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[spectre] grey) (area . Silvio Foretić: The Sound

[Darko Fritz]

The Sound
Silvio Foretić

curator: Darko Fritz

11. 01 - 08 . 02 . 2019
exhibition . Galerija VN . Zagreb

opening: 11th January 19 h
free entrance

This exhibition is the first gallery presentation of the oeuvre of a classic of 
the musical avant-garde, Silvije Foretić. The exhibition relates to the process 
of emerging and performing music, as well as the special treatment of the usage 
of semantic codes, close to Conceptual art.

This exhibition for the first time present one stage act as a separate work. 
That is sleeping under a piano, which the author has been performing as an 
opening act for his piano concerts in since 1964.
In two compositions, Am schönen braunen Rhein (At the beautiful brown Rhine), 
for a salon orchestra, from 2001, and Soloists, for a string orchestra, from 
2009, melodic-harmonical material resulted from a tone sequence whose 
alphabetical characters responded to the characters in the titles of the 
commissioners: SCHiFFErBoErSE DuiSBurG i ZAGrEBA(ČK)i solisti, which was a 
procedure of algorithmic re-coding close to the works of Conceptual and Media 
art.
Der achte Tag oder auf der Suche nach der Weissen Zeit (The eighth day or 
looking for the white age), mono melodrama for an actor and a tape from 1973, 
includes the part of the composition that are also the last strokes of the last 
compositions of some great names in music. In the recital Hamlet's Mon(d)ologue 
from 1972, the names of all the world countries are included.


more info http://sivazona.hr/events/zvuk2


grey) (area . space for contemporary and media art

http://sivazona.hr
Facebook: 
https://www.facebook.com/pages/grey-area-siva-zona/281114805394039?ref=hl
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[spectre] Call for papers - conference of Central European Society for Soundscape Ecology (CESSE)

[Darko Fritz]

Deadline for applications is 15th September of 2018

https://cesse.mome.hu/


Central European Society for Soundscape Ecology
Founding Conference of CESSE / Budapest November of 2018

Open Call



28th November – 1st December  2018.

Organized by
Moholy-Nagy University of Art and Design, Budapest (MOME)

With the contribution of
Budapest Music Center (BMC) & Spatial Sound Institute (SSI, NL/H)

Open Call for papers and sound performances at the founding conference of 
Central European Society for Soundscape Ecology (CESSE)

CESSE  Conference #1 is dedicated  to the establishment of a new organization 
for convening  and coordinating energies towards the improvement and saving of 
our region’s soundscapes. Keywords are: contemporary art, science and 
technology, focusing on livability and sustainability.

Acoustics and soundscapes deeply shape the processes of the human mind and the 
entire biosphere, and sound is thus determinative in our relationship to 
people, animals, vegetation, and the environment. Technological equipment 
allows us to harvest and document more and more information from our 
surroundings. However, we still understand very little about the complex 
relationships between landscapes and soundscapes, about the ways how acoustics 
influence living organisms, societies, networks, including the human.

CESSE  Conference #1  is a three-day meeting bringing together artist and 
academics mainly from the geopolitical area of the Central and SouthEast 
Europe, who are involved in ecology, theory and acoustics to discuss and 
exchange ideas concerning such questions as:

• How our acoustic perception of soundscapes, the technical methods of 
field recording, and the platforms for their subsequent distribution help to 
increase public awareness of environmental and political issues? How 
effectively can such a practice expand both a subjective and a wider 
socio-cultural understanding of biological, social, technological and 
psychological ecologies?
• What methods and strategies can we appropriate to effectively and 
responsibly influence the course of environmental and geopolitical 
transformations, both on the local and global scales?
• Is it possible to foster a sustainable network through which artists, 
academics and social activists can make use of a common language in order to 
act and communicate more effectively, allowing them to further explore and 
influence fields such as acoustic ecology, eco-politics, eco-psychology, 
cultural cartography, and critical theory and to expand them in the public 
domain?
• The intent of the conference is to review and possibly foster new or 
already existing professional and institutional networks within Central Europe, 
make them more durable and sustainable in a dynamically changing world.
The Society proposes to be part of the worldwide activities coordinated and 
guided by World Forum of Acoustic Ecology (WFAE). We will concentrate on the 
Central European region, specially: Austria, Croatia, Czech Republic, Hungary, 
Poland, Romania, Serbia, Slovakia, Slovenia, but the conference is open for all.

The registration fee of the conference is HUF 12.000 / € 40. (For students: 50%)
Participants will be guided to meals and accomodations at their own costs.

We would welcome contributions on:
Acoustic ecology
Acoustic space and psychoacoustics
Acoustic communities
Audio archives
Bioacoustics
Creation of positive soundscapes
Ecoacoustics
Environmental aesthetics
Environmental health
Environmental politics (policy/legislation)
Field recording-related composition (soundscape, electroacoustic, acoustic, 
improvisation)
Heritage and memory of sound
Pauline Oliveros – her heritage
Policies for noise control
Social, cultural and environmental sustainability
Sonic perception
Sound, place and identity
Soundwalks
Spatial sound system composition
The study of soundscapes as social and political intervention
Urban design, planning and architecture
Urban soundscapes

 

Submission

Papers: CV + an abstract of max. 1000 characters.
Deadline for applications is 15th September of 2018. Please contact us at the 
following email address:  ce...@mome.hu

Please note, we can only schedule papers or works where at least one of the 
authors has registered for the conference.

 

Curatorial board

Fritz, Darko (Grey Area/Siva zona – space for contemporary and media art. 
Korčula)
Hajnóczy, Csaba (Moholy-Nagy University of Arts, Budapest)
Kovács, Balázs  (University of Pécs, Faculty of Music and Visual Arts)
Mrkus, Pavel (Faculty of Art and Design of Jan Evangelista Purkyně University 
in Ústí nad Labem) (to be confirmed)
Ristić, Manja (Auropolis Association of Multimedia Artists, Beograd)
Szigetvári, Andrea (Liszt Ferenc Academy of Music Budapest, Electronic Music 
Media Art)
Vojtechovsky, Milos (Center for Audiovisual Studies, Film and Television 
Faculty AMU, Praha)
Weiperth, András (Hungarian Academy of Sciences,  Centre for Ecological 

[spectre] grey) (area . The Sound . Silvio Foretić

[Darko Fritz]

grey) (area . space for contemporary and media art


The Sound
Silvio Foretić

03 - 10 . 09 . 2018
Gallery of the Center for Culture, Korčula
opening 3rd September 21 h

curated by Darko Fritz


This exhibition is the first gallery presentation of the oeuvre of a classic of 
the musical avant-garde, Silvije Foretić. The exhibition relates to the process 
of emerging and performing music, as well as the special treatment of the usage 
of semantic codes, close to Conceptual art.

In two compositions, Am schönen braunen Rhein (At the beautiful brown Rhine), 
for a salon orchestra, from 2001, and Soloists, for a string orchestra, from 
2009, melodic-harmonical material resulted from a tone sequence whose 
alphabetical characters responded to the characters in the titles of the 
commissioners: SCHiFFErBoErSE DuiSBurG i ZAGrEBA(ČK)i solisti, which was a 
procedure of algorithmic re-coding close to the works of Conceptual and Media 
art.
Der achte Tag oder auf der Suche nach der Weissen Zeit (The eighth day or 
looking for the white age), mono melodrama for an actor and a tape from 1973, 
includes the part of the composition that are also the last strokes of the last 
compositions of some great names in music. In the recital Hamlet's Mon(d)ologue 
from 1972, the names of all the world countries are included.
This exhibition for the first time present one stage act as a separate work. 
That is sleeping under a piano, which the author has been performing as an 
opening act for his piano concerts in since 1964.

As a sort of intro to this exhibition, on August 19, 2018, within the program 
program Critical Tourism: The Opera of the Phantom, we presented the video of 
the dress rehearsal of the opera Marshall, accompanied with the conversation 
with the author, in Korčula Summer Cinema. Also, in 2017 we presented the 
electro-acoustic composition Balkanal (1968-1974), a joint-project by Silvije 
Foretić and Janko Jezovšek, who used swearing from Balkan as the text.

more info: http://sivazona.hr/events/silvio-foretic-zvuk


Gallery of the Center for Culture, Korčula
Dom kulture Korčula, Obala korčulanskih brodograditelja bb, Korčula
Monday - Tuesday, Thursday - Friday 8-14, 15-20 h
Wednesday 8 - 14 h
free entrance

supported by
Ministry of Culture of the Republic of Croatia
Endowment Kultura Nova
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[spectre] grey) (area . Critical Tourism: Disappeariing / Marko Paunović

[Darko Fritz]

grey) (area . space for contemporary and media art


Critical tourism: Disappeariing

mutimedia concert by Marko Paunović

Aug 24th 2018, 21 h
Open air cinema, Korčula



Disappeariing’ is an ambiental installation for magnet tapes and 
psycho-navigative electro-acoustics with video projections.

Performance will be using the recordings which emerged in the electronic studio 
of Radio Belgrade during the workshop Synthi 100. It is a top-notch 
analog-digital synth from 1971, made in 30 pieces, and which represents the 
central device of Radio Belgrade electronic studio, restored in 2017, after had 
been out of order for more than a decade. EMS Synthi 100 contains 30 sources, 
50 treatments, 60 controling consoles, 11 gauges, as well as a digital 
sequencer.

Composition ’Disappeariing’ is devoted to the Dutch conceptual artist Bas Jan 
Ader (1942 – 1975), whose last performance was the crossing of the Atlantic 
ocean in a small sailing boat. Author disappeared at the ocassion. Namely, in 
1975 Ader embarked on what he called “a very long sailing trip.” The voyage was 
to be the middle part of a triptych called “In Search of the Miraculous,” a 
daring attempt to cross the Atlantic in a 12½ foot sailboat. He claimed it 
would take him 60 days to make the trip, or 90 if he chose not to use the sail. 
Six months after his departure, his boat was found, half-submerged off the 
coast of Ireland, but Bas Jan had vanished.

This event celebrating the Leonardo magazine 50th anniversary program.

Cureated by Darko Fritz.


more info: http://sivazona.hr/events/kriticki-turizam-marko





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[spectre] grey) (area . Sounding DIY . exhibition . live acts

[Darko Fritz]

grey) (area . space for contemporary and media art

Sounding DIY 

06 - 22 . 08 . 2018
MKC Split

Artists: Tin Dožić, Claude Heiland-Allen, Noise Orchestra, Bioni Samp, Hrvoje 
Hiršl / Davor Branimir Vincze
Curators: Darko Fritz and Laura Netz

opening and live acts 6th August at 21 h
live acts by Hrvoje Hiršl / Davor Branimir Vincze and Tin Dožić.

http://sivazona.hr/events/sounding-diy


The referential framework of the exhibition Sounding DIY relies on the 
so-called DIY culture (Do it Yourself), which emerged from the 1970’s as a 
reaction of the technological deployment. With influences of the underground 
vanguard movements, the handmade culture currently sets as an exponent of what 
is the free knowledge culture, read the open source and movements such as 
hacker and maker. The results of these practices involve an interdisciplinary 
connection between art, science, and technology that improves the creative 
aspects of contemporary cultural production. Moreover, sound art practices 
enrich the interconnection with music and engineering.

The exhibition pretends to highlight the DIY practices in front of the 
capitalist industry. Thus, represents an important change in the prototyping of 
musical instruments and sound objects that have effectively set as a primary 
creative impulse in our century. Sounding DIY works with artists in the field 
of handmade culture and promotes the efficiency of the results attained, either 
aesthetically and ideologically. Our goal is to highlight artistic creation 
through the development of new technologies and craftsmanship. Finally, 
Sounding DIY. fosters a community of tool developers and creative practitioners 
interested in supporting and understanding deep and sustained creative practice 
with technological tools.

Bioni Samp translates bee behaviors and sounds into electronic music to help 
raise awareness of the ecological issues threatening them. Electronic Beesmoker 
Hive Synthesiser is a found object (Beesmoker) with internal home-made 'Hive 
Synthesiser'. An updated version of 2009 version which originally acted as a 
modified breathe controller for MaxMSP patches. Now includes hardware home-made 
'Bee' synth with 3 oscillators, emulating bees. In each honey bee colony there 
are three types of bee: drone, worker and queen bees. Each of these have their 
own individual frequencies in the following ranges: low – 200 Hz or less, mid – 
200-400 Hz, and high – 400+ Hz, just like the earth has its own special 
frequency of approximately 9 Hz. The oscillators are capped roughly within 
these ranges.

Puzzle by Claude Heiland-Allen investigates in the history of puzzles. The 
15-puzzle craze in 1880 offered a cash prize for a problem with no solution. In 
the Puzzle presented here the computer is manipulating the tiles. No malicious 
design, but insufficient specification means that no solution can be found; the 
automaton forever explores the state space but finds every way to position the 
tiles as good as the last... Each tile makes a sound, and each possible 
position has a processing effect associated with it. Part of the Puzzle is to 
watch and listen carefully, to see and hear and try to pick apart what it is 
that the computer is doing, to reverse-engineer the machinery inside from its 
outward appearance.

Noise Machine by Noise Orchestra is an evil space metal box electronic circuit, 
a no.3 in the series of noise machines that translate light into sounds using 
analogue electronics. Inspired by Russian sound artists of the 1920s (inc. 
Arseny Avraamov), we did a sound graphical residency at the National Media 
Museum last year where we played the collections and undertook a research trip 
to Moscow (noiseorchestra.org). The noise machines are constructivist 
sculptural objects in themselves, they will be made from metal and wood, here 
is a link to twitter post of a paper prototype. Noise Orchestra, is a 
collective formed by Vicky Clarke and Dave Birchall.

Songs for anthropocen #2 by Tin Dožić is a work based on waste materials. 
E-waste, old tools, and other obsolete materials are used to create 
electroacoustic and mechanical instruments.

Project Strings is a collaborative work of the media artist Hrvoje Hiršl and 
the composer Davor Branimir Vincze. This sound and media research freely 
interprets the connection between the string theory and Pythagoras’ harmonic 
theory by observing «microscopic» frequencies and phenomena originating from 
the sensitization of the extremely long string. When we say that a certain 
sound has the frequency of the middle A, that is 440Hz, one refers to its 
fundamental frequency.

Digital album Sounding D.i.Y. by elektronische-art-and-music, 2017 including 
artists: Dom Alle, David Bloor, Dirty Electronics, Jukka Hautamaki, Hrvoje 
Hiršl, Optonoise, Prolonged Version and Signal Noise.

MKC Multimedijalni kulturni centar
Ulica slobode 28, Split
Monday-Saturday 10-13 h, 17-21 h
free entrance

[spectre] Ugo La Pietra :: Disequilibrated Systems - exhibition

[Darko Fritz]

grey) (area

Ugo La Pietra :: Disequilibrated Systems
 

03 - 07 . 7 . 2018
ORIS, Zagreb
 
curators: Darko Fritz and Sonja Leboš


On Tuesday, July 3, 2018. at 7 pm the exhibition Ugo La Pietra :: 
Disequilibrated Systems is going to open at Oris House of Architecture in 
Zagreb. This exhibition is the first module in shaping a large international 
exhibition about the International Meetings in Vela Luka 1968-1972 that is 
going to be presented in detail in the Museum of Modern and Contemporary Art in 
Rijeka in 2021, after a multiannual preparations conducted by grey) (area.
 
International Meetings took place in 1968, 1970, and 1972. in Vela Luka with 
contribution of important domestic and international names. Meetings commenced 
as a summer artists' colony to work in the traditional system of mosaics, while 
in the following editions interdisciplinary syntheses of various art 
disciplines, urban planning, architecture and finally multimedia approach that 
included mass media were carried out. In 1970 the construction of tourist 
settlement Plitvine was planned, and the author of the urban design was Ricardo 
Porro. One of the contributors was Ugo la Pietra, whose work on that theme is 
going to be presented for the first time at all.
 
The international importance of the institution of La Pietra's 
interdisciplinary work is uncontestable. As the initiator of numerous research 
and artistic groups  (Gruppo del Cenobio, Gruppo La Lepre Lunare, Gruppo Design 
Radicale, Global Tools, Cooperativa Maroncelli, Fabbrica di Comunicazione, 
Libero Laboratorio), La Pietra has established his work in crossing the 
boundaries between architectonic, design and artistic practice.
 
The most important for our context is his work from 1967 when he initiated the 
theory of disequilibrated systems, and transformed that theory in the series of 
works and actions of radical design in urban environment; the research of urban 
peripheries that he initiated with L. Marzoto in 1968 which explicitly referred 
to strategies of reappropriation of urban ambiance by the users, citizens 
respectively; most importantly his contribution within the frame of the 
International Artists Meetings in Vela Luka in 1970 and proposals for the 
interventions in the landscape of the island of Korčula.

La Pietra speaks of his work in the following manner: “The 'objectual' reality 
has to be sought by analyzing a social and environmental situation in which 
alienated objects and persons interact in a form of mutual exploitation. The 
loss of reality of the objects corresponds to the moment in which they overcome 
their elementary message, becoming bearers of structural reality that can no 
longer be explained by a plain relation between labor force, purchase-power and 
value of use.”
 
La Pietra's need to “deliver to society not so much an object but a method” 
based on the theory that he named “Disequilibrated Systems” and which allows to 
individuals and communities to spot and appropriate  “degrees of freedom” in 
order to “live” and not just “use” the city, is visible from his untiring 
mobilization of different journals and magazines, as well as from incessant 
research, problematizing relations between the center and periphery and from 
series of works that tackle reappropriation of the city by its citizens.
 
Possible interventions at the coast nearby Vela Luka, where he collaborated on 
the Plitvine tourist settlement plan, La Pietra also describes as a 
disequilibratedintervention. He thought that the fundamental desire of an urban 
man in a tourist settlement was to find space for collective creation, and he 
recognized the needs of a tourist for privacy, service, freedom, creativity and 
communication. His project proposed a spatial model for transforming the 
Dalmatian littoral landscape. The proposal included a radical land-art 
intervention of cutting the top of a nearby islet, which is very similar to the 
project by Ivan Kožarić, who cut the top of a mountain but from another 
conceptual perspective.
 
La Pietra's films are another form of modulating synesthetic thinking and 
decoding the urban, so the exhibition includes four.

more at http://sivazona.hr/events/ugo-la-pietra-zagreb

ORIS HOUSE OF ARCHITECTURE
Kralja Držislava 3, Zagreb

Free entrance . 9 am - 9 pm (mon-fri) . 11 am - 9 pm (sat)

The exhibition is opened until July 7, and after Zagreb it is going to be 
presented in Split's Gallery of Fine Arts in October 2018.


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[spectre] CALL FOR PAPERS AND SOUND PERFORMANCES - CONFERENCE OF THE CENTRAL EUROPEAN SOCIETY FOR SOUNDSCAPE ECOLOGY 2018

[Darko Fritz]

CONFERENCE OF THE CENTRAL EUROPEAN SOCIETY FOR SOUNDSCAPE ECOLOGY 2018

OPEN CALL FOR PAPERS AND SOUND PERFORMANCES
AT THE FOUNDING CONFERENCE OF THE CESSE


CESSE  Conference  #1 is dedicated  to the establishment of a new organization 
for convening and coordinating energies towards the improvement and saving of 
our region’s soundscapes. Keywords are: contemporary art, science and 
technology, focusing on livability and sustainability.
The Society will be part of the worldwide activities coordinated and guided by 
World Forum of Acoustic Ecology (WFAE). We will concentrate on the Central 
European region, specifically: Austria, Croatia, Czech Republic, Hungary, 
Poland, Romania, Serbia, Slovakia, Slovenia, but the conference is open for all.

28th November – 1st December  2018.
Organized by
Moholy-Nagy University of Art and Design, Budapest (MOME)
With the contribution of
Budapest Music Center (BMC) & Spatial Sound Institute (SSI, NL/H)



WE WOULD WELCOME CONTRIBUTIONS ON

Acoustic ecology
Acoustic space and psychoacoustics
Acoustic communities
Audio archives
Bioacoustics
Creation of positive soundscapes
Ecological psychoacoustics
Ecoacoustics
Environmental aesthetics
Environmental health
Environmental politics (policy/legislation)
Field recording – related composition (soundscape, electroacoustic, acoustic, 
improvisation)
Heritage and memory of sound
Pauline Oliveros - her heritage
Policies for noise control
Social, cultural and environmental sustainability
Sonic perception
Sound art (as public art)
Sound communities
Sound, place and identity
Soundscape ecology

and other related issues



SUBMISSION

Papers: CV + an abstract of max. 1000 characters.

Musical and sound works / videos:
CV + mp3/.ogg/.flac and/or URL, + a list of technical needs.
Please contact us at the following email address
ce...@mome.hu >

Deadline for applications is July 31th of 2018.
Please note we can only schedule papers or works where at least one of the 
authors has registered for the conference.

Homepage
https://cesse.mome.hu/ 


-- 
HAJNÓCZY Csaba

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[spectre] [New] Tendencies at the Hello World. Revising a Collection . Hamburger Bahnhof – Museum für Gegenwart – Berlin

[Darko Fritz]

There is a small section on [New] Tendencies that I advised at the Sites of 
Sustainability Pavilions, Manifestos, and Crypts part of the big exhibition 
Hello World. Revising a Collection in Berlin.

Best regards,
Darko

Hello World. Revising a Collection

Hamburger Bahnhof – Museum für Gegenwart – Berlin

28.4.–26.8.2018

Curators: Zdenka Badovinac, Sven Beckstette, Eugen Blume, Clémentine Deliss, 
Anna-Catharina Gebbers, Natasha Ginwala, Udo Kittelmann, Gabriele Knapstein, 
Azu Nwagbogu, Melanie Roumiguière, Nina Schallenberg

Curatorial and Academic Advisors: Darko Fritz, Raffael Dedo Gadebusch, Regina 
Höfer, Viola König, Tomoko Mamine, Grace Samboh, Santiago da Silva, Branka 
Stipančić, Enin Supriyanto

Darko Fritz advised on curating the [New] Tendencies: Marc Adrian, Giovanni 
Antonio Costa, Gianni Colombo, Compos 68, Charles Csury, Juraj Dobrović, Piero 
Dorazio, Willam Allan Fetter, Gerhard von Graevenitz, Hiroshi Kawano, On 
Kawara, Sol LeWitt, Heinz Mack, Piero Manzoni, Manfred Mohr, François Morellet, 
artist group GRAV, Frieder Nake, Ivan Picelj, Vjenčeslav Richter, Bridget 
Riley, Manfred Robert Schroeder, Zdeněk Sykora, Goran Trbuljak, Edvard Zajec

https://www.smb.museum/en/exhibitions/detail/hello-world-revision-einer-sammlung.html__
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[spectre] Fwd: A Tribute to Armin Medosch

[Darko Fritz]

> 
> From: Technopolitics <ad...@technopolitics.info>
> Subject: A Tribute to Armin Medosch
> Date: 30 Aug 2017 15:52:38 CEST
> To: <da...@darkofritz.net>
> Reply-To: Technopolitics <ad...@technopolitics.info>
> 
> 
> 
> A Tribute to Armin Medosch
> 
> Saturday, September 9th 2017
> Stadtwerkstatt, Linz
> 
> 6 pm 
> New Tendencies, screening of Armin Medosch’s presentation and book launch at 
> Cabinet space, New York 2016
> 
> 8 pm
> Free Research
> We explore the legacy of Armin Medosch's work from the perspective of "free 
> research". Long before artistic research became a fundable category, Armin 
> engaged in a various independent, non-institutional research endeavors at the 
> intersection of art, media and politics: from navigating the Baltic Sea on 
> the MS Stubnitz to building open mesh-networks in London, exploring media 
> piracy in Taiwan to contributing to the history of early media art in Croatia 
> and internationally and to developing the Timeline - Tracing Information 
> Society with TECHNOPOLITICS, a free research group in Vienna.
> 
> What can we take from his particular approach of developing a free research 
> as interdisciplinary practice for the future?
> 
> James Stevens activist researcher
> Shu Lea Cheang artist researcher
> Richard Barbrook academic researcher
> Darko Fritz artist researcher
> Moderation: Felix Stalder academic researcher
> 
> 10 pm 
> Party-Time / DJs & Dance
> Camel - from Rocksteady to 80s Hip Hop
> Walter Gröbchen - plays Armin's Records
> Mukul - London Party Time
> Copyright © 2017 Technopolitics, All rights reserved.
> You have shown interest in events organised by Technopolitics or have 
> actively signed up to one of our lists.
> 
> Technopolitics
> Kirchstetterngasse 43/24
> Wien 1160
> Austria
> 

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[spectre] grey) (area . Balkanal . Glacial . electro-acoustic music concert

[Darko Fritz]

grey) (area

Balkanal . Glacial
electro-acoustic music concert

August 10th 2017, 22 h
Sv. Justina Square, Korčula

authors: Silvio Foretić and Janko Jezovšek, Marko Paunović
curator: Darko Fritz

free entrance

http://sivazona.hr/events/balkanal-glacial

Program comprises the performance of two electro-acoustic compositions, which 
came to being within the time span of a half a century. In the first part of 
the program is the premiere of recently digitally remastered pioneering 
tape-music piece called Balkanal. Balkanal was originally composed in the 
period from 1968 to 1974 (the world premiere of that original piece from the 
magnetic tape was in 1969 in Cologne) by two authors: the Croatian composer 
Silvio Foretić and the Slovenian composer Janko Jezovšek. In the second part of 
the evening the soundartist Marko Paunovićfrom Belgrade is performing the world 
premiere of his piece Glacial.

Silvio Foretić is from old Korčula family, and throughout his nomadic life in 
many European cities he has been regularly returning to the city of Korčula, 
where he has been staying in his family house with a baroque garden, the 
protected cultural heritage. This concert is the first presentation of his work 
in Korčula.

According to Silvio Foretić: “Traditional oratorium Balkanal was made in 
1968/69. It represents an attempt of confrontation and blending of electronics 
and folklore – somewhat raw, harsh folklore. The text contains Croatian curses 
and damnations. The music does not have any synthetic electronic sounds, it is 
rather based entirely on electroacoustic transformations of human voices and 
traditional instruments (fiddle, tambura, pipe, sopile, drums etc.). The piece 
was made at the Electronic studio of the Hochschüle fur Musik in Cologne with 
the technical collaboration of Albert Hoppenrath.”

The original version of the piece with the duration of 46:38 minutes was 
finished in 1969. Due to some artistic, as well as pragmatic reasons (to 
shorten it so it could fit on one side of a vinyl record), the piece was 
shortened to 31:46 minutes in 1974 and that was the final version which is also 
going to be performed at this concert and that is included on the 2017 CD 
Silvio Foretić : Transakcije (1968-1979).

Foretić and Jezovšek founded the Ensemble for Contemporary Music in 1963, at 
the time when they were still students of Academy of Music in Zagreb. It was 
the first ensemble of the kind in Croatia and Yugoslavia. According to Višeslav 
Laboš, they were carrying out "anti-artistic” attitudes of global vanguard, 
relying on the string of Cage's happenings and, especially Foretić in his later 
ouevre, on Kagel's esthetics of “new music theatre.” Because of questioning the 
relationship between the purely musical and scenically visible factor of 
performing music in a concert space, expressing critique towards the 
traditional understanding of virtuosity but also to vanguard itself as well as 
towards all supporting organisational-artistic clauses of institutionalized 
music life, the performances of the Ensemble were often boycotted or even 
banned. Ensemble was dismantled in 1967. From this short period of the 
Ensemble's being active, it is important to emphasize the compositions by 
Foretić, improvised music-scenic actions – Transactions 2 (1964), respectively 
– whereby Foretić accompanied a reproduction of one old concert captured on a 
magnetic tape "with unusual sound effects. Very impressive vas the end of the 
concert, when the young composer plugged in an electric shaver appliance and 
shaved his beard – in public” (daily paper Večernji list, 1964, author 
unknown). The readings of the piece Concert for a horn and candle (1967) were 
also interesting and interpreted as "radicalized forms of the bluff that music 
has been selling for centuries under different names”(Igor Mandić). Namely, in 
Croatian, and also Serbian language, there is the common expression “to sell a 
horn for candle”, which means to deceive somebody.

Composition Glacial (2014-2017) by Marko Paunović emerged during the three-year 
period of developing a mental image od repetitiveness of waves, set into sound 
context. Extense manipulation of four channel magnetic tapes was used in the 
process of composing, as well as re-verbalized looped sound fragments. Ostinato 
line, though in a subtle way ruined by abstract constructions, field recording, 
certain quotation and referentiality, in its fundation is based on commitment 
to absolute music.

Silvio Foretić (Split, 1940). "He is an avant-gardist after the avant-garde" 
(Eva Sedak). He graduated from the composition department of the Music Academy 
in Zagreb in 1965, where he studied under Milko Kelemen. In 1965 he attended 
the Summer Course of New Music in Darmstadt (Pierre Boulez), and from 1966 to 
1974 further studied at the Hochschule für Musik in Cologne (composition under 
Bernd Alois Zimmermann and electronic music under Herbert 

[spectre] grey) (area . Anne Marie Maes: Sensorial Skin / Guerilla Beehive

[Darko Fritz]

grey) (area . Korcula

> AnneMarie Maes: Sensorial Skin / Guerilla Beehive
> 
> 03 - 30 . 8 . 2017
>  
> curator: Darko Fritz
> 
> http://sivazona.hr/events/koza-gerilska-kosnica
> 
> opening and artist talk . Thursday August 3rd . 21 - 23 h
> The exhibition reveals a part of author's long-term research towards the 
> Intelligent Guerilla Beehive. The project is on the edge between art and 
> science, focusing on issues of sustainability, more specifically the survival 
> of the honeybee species, and using new materials and new digital fabrication 
> technologies, more specifically, sustainable bio-plastics. AnneMarie Maes is 
> awarded Honorary mention in the Hybrid Art category of the Ars Electronica 
> Festival 2017, for the project ‘Sensorial Skin for a Guerilla Beehive’
> 
> The visual language in this installation is multilayered. Every artifact is 
> the outcome of a particular experiment. All objects are part of a larger 
> development for building and fine-tuning an Intelligent Guerilla Beehive, a 
> mobile shelter for homeless honeybees. This radically new device tackles a 
> domain where human and non-human actors collaborate to maintain the 
> resilience of an ecosystem in decline.
> 
> In the Laboratory for Form and Matter AnneMarie Maes works with a range of 
> biotic and abiotic elements. She views this lab as open environment for 
> experimentation, a space for contradiction, criticism and evaluation. She 
> combines organic components such as vegetal matter, propolis and chitine, 
> with living systems such as fungi and bacteria to create artifacts for the 
> future. Author's micro-organisms grow biofabrics and she researches how these 
> membranes can be enhanced and made useful through embedded electronics and 
> how more sensorial qualities can be implemented in these membranes via living 
> technology.
> Navigating between blueprints and ‘Proof of Concept’, her objects can be 
> classified as ‘Future Archaeology’: fragments of a Forgotten World as well as 
> fragments of a World To Come.
> 
> The hive is a system of homeostasis, a property that regulates its internal 
> environment and tends to maintain a stable, constant condition of properties 
> like temperature or pH. It can be either an open or closed system. As nature 
> is polluted by industries in most countries of so-called "first world" (that 
> includes Belgium, where Maes operates from) it shows that bees start to 
> prefer less polluted urban environment than very polluted nature full of 
> pesticides, fertilizers and so on. Monitoring bees shows the state of 
> biocoenosis (biological community, ecological community, coined by Karl 
> Möbius in 1877). That includes the broader environment with all its 
> inhabitants, whereby humans are acting as the most influential change-makers.
> 
> Bruno Latour urged that we - humans - must rework our thinking to conceive  
> the existence of the “Parliament of Things” [We have never been modern, 1993] 
> whereby natural phenomena, social phenomena and the discourse about them are 
> not seen as separate objects to be studied by specialists, but as hybrids 
> made and scrutinized by the public interaction of people, things and 
> concepts. Following Latour, we could think of the possibility of 
> conceptualizing larger networks where non-human actors resist programmed 
> subdue frame of proportion and appear rendered by being observed in the light 
> of processes they take part in.
> 
> AnneMarie Maes is an artist and researcher. Her work incorporates sculpture, 
> photography, video, installation and public participation. She creates 
> projects that stimulate the development of a more sustainable world. Her 
> research practice combines art and science with a strong interest for DIY 
> technologies.
> Her installations and long term projects – such as the Transparent Beehive, 
> Urban Corridors or the Politics of Change – use a range of biological, 
> digital and traditional media, including live organisms. She makes use of 
> technological mediation to search for new forms of communication with the 
> natural world, to make the invisible visible.
> AnneMarie Maes is the founding director of the Urban Bee Lab and has for 
> decades been a recognized leader pioneering art-science projects in Belgium, 
> using highly original ways to bring out hidden structures in nature by 
> constructing original technological methods to probe the living world and by 
> translating that in artistic creations through sonification, visualization, 
> sculptures, large-scale long-term installations, workshops, lectures and 
> books.
> She has a strong international profile, having exhibited (amongst others) at 
> Bozar in Brussels, Koç University Gallery

[spectre] grey) (area . Critical Tourism (2): Underwater: Escaping (Sound) Pollution

[Darko Fritz]

grey) (area . Korcula

Critical Tourism (2): Underwater: Escaping (Sound) Pollution

Jul 26th 2017, 21 h
Knežev prolaz bb., old town, Korčula
 
part of the exhibition-in-progress Critical Tourism

authors: Annick Bureaud, Robertina Šebjanič, Manja Ristić, Fabienne Gambrelle, 
Anaïs Tondeur, Gabriel Grandry
curators: Annick Bureaud and Darko Fritz

http://sivazona.hr/events/the-jellyfish-and-the-moon


The evening will be composed of two parts.

In the first one, Annick Bureaud and Robertina Šebjanič will reflect upon their 
joint residency at gray) (area. Annick Bureaud will provide, through some 
examples of artworks, a context of how we "inhabit" underwater worlds or make 
them uninhabitable through pollution and specifically sound pollution. 
Robertina Šebjanič will make a short presentation of her project Aurelia 1+Hz / 
proto viva sonification.

Aurelia 1+Hz is illuminating a phenomena of interspecies communication, 
sonification of the environment and the underwater acoustic / bioacoustics of 
jellyfish and its environment.

For over 500 hundred million years jellyfish have been pulsating in the world’s 
oceans and seas. Nowadays, amidst the immense environmental changes, their 
numbers are rapidly growing. Jellyfish are one of the rare organisms that seem 
perfectly suited for the Anthropocene era. The relationship between human and 
animal is a key to better understanding of natural environment. Humans have 
massive impact on other species and thus it is crucial to decode what they 
signal us and how they see us.

In the second part, story will be told and music will be played, addressing 
underwater (sound) pollution and alluding to the role of tourism in the 
negative impact on our environment.

The story of the Jellyfish and the Moon (written by Fabienne Gambrelle with 
illustrations by Anaïs Tondeur and Gabriel Grandry) will be told by Annick 
Bureaud, with music acompaniment by Robertina Šebjanič and Manja Ristić. Meant 
as a children book, the Jellyfish and the Moon is a contemporary tale of a 
jellyfish trying to avoid the (sound) pollution generated by tourism by 
escaping to the Moon where she dreams for a better world.

Robertina Šebjanič will follow by deploying Aquatocene in which the sound of 
the underwater pollution is at the core of the sound compositions. The 
subaquatic soundscape encourage us to reflect upon the anthropogenic sonic 
impact on the underwater habitat and marine life. The sound will be filled up 
also with Manja Ristič a violinist who plays the violin as an all-encompassing 
sound facility with a poetic sonic range of unconventional sound creation 
possibilities.

Projects and authors presented during the event:

Aurelia 1+Hz / proto viva sonification
by Robertina Šebjanič
The most substantial aims of Aurelia 1+Hz / proto viva sonification (production 
2015) are to explore the phenomena of interspecies communication, sonification 
of the environment and the underwater acoustic / bioacoustics. An interactive 
performance features live transmitted sound generated by Aurelia Aurita – moon 
jellyfish and performer.
More info: http://robertina.net/aurelia-1hz-proto-viva-sonification

Aquatocene / The subaquatic quest for serenity
by Robertina Šebjanič
investigates the phenomenon of underwater noise pollution created by humankind 
in the seas and oceans. The sound compositions are a re-mix between the 
bioacoustics of marine life (shrimps, fish, sea urchins etc.), the aquatic 
acoustics and the presence of human generated noise in the world’s oceans and 
seas.
More info: http://robertina.net/aquatocene/

Jellyfish and the Moon
by Fabienne Gambrelle with illustrations by Anais Tondeur and Gabriel Grandry
told by Annick Bureaud
Jellyfish and the Moon recalls the story of a jellyfish who decided to leave 
her beloved water to move to the Moon to avoid the nuisances generated by 
tourism, hoping for a quiet place where, as the gravity of the Moon is low, she 
could "float around", almost like in the sea.

Violin Revealed - Alternative Guide to Violin's Sonic Life
by Manja Ristič
The project is a spontaneous outcome of 15 years long research covering fields 
of conceptual and experimental expression in instrumental performance. Ristić 
developed the system based on creative sonification of an instrument perceived 
as overall sound object and articulated through graphical notation of strokes, 
sounds and directions that is developed out of her personal improv style and 
experience. Notation consists of sonic, textural and improv forms technically 
elaborated and explained in order to be brought closer to composers, performers 
and professionals interested in crossing some barriers in instrumental 
performance.
More info: https://manjaristic.bandcamp.com/album/7-miniatures-for-violin-solo


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[spectre] grey) (area . Critical Tourism (1): Andreja Kulunčić

[Darko Fritz]

grey) (area . space for contemporary and media art



Critical Tourism (1): Andreja Kulunčić

14 - 28 . 7 . 2017
 
part of the exhibition-in-progress Critical Tourism
curator: Darko Fritz

http://sivazona.hr/events/kriticki-turizam-1

opening Friday 14th July . 21 - 23 h
artist talk 17th July . 20 h

The exhibition “Critical Tourism (1)” presents the documentation of the works 
through which Kuluncic tackles problems of tourism on the Adriatic sea: 
inappropriate waste disposal, layers of everyday life which are invisible to 
tourists, myths that serve to increase the value of products, and the 
commercialization of history.

Commercialisation of History
Korčula statute from 1214, the oldest legal document of the South Slavs, was 
the inspiration for the artistic action. For five days the artist sold 
souvenirs on the island of Korčula. The souvenirs themselves were made by 
applying articles from the old Korčula statute onto cheap items from China; 
translated to English, Croatian, Czech, French and German. The artist's stand 
was set among the existing city stands at the entrance to the old town of 
Korčula. Instead of money, the cost of the souvenirs was expressed by a number 
of questions that potential buyers needed to answer. That is, potential buyers 
gave interviews to the artist in exchange for a souvenir, answering questions 
about the commercialization of history, the good and bad sides of (mass) 
tourism, and about respect for the city of Korčula and its past and present 
communities. Video documentation of the conversation with the buyers, that was 
recorded within the work “Commercialization of History”, will be exhibited for 
the first time during this exhibition. More about the project here.

Sun's Income
In the base of the work is the main idea of the festival "Jobs with the Sun" 
which suggests a business partnership, reciprocity and mutual benefit of 
participants. Andreja Kulunčić looks at it in terms of economic and market 
operations in which the sun turns out to be a partner. The geographical 
location and warm climate are the benefits on which Croatia is building its 
prosperity. There are a lot of stories of the typical Mediterranean products 
grown under a special break of sunlight bended back from the reflecting surface 
of the sea which create myths about their unique qualities that, of course, 
raise the market price of the products. In such stock ownership, the Sun is an 
important partner, but without recognition of the profit-sharing. In the action 
"Sun's Income", Andreja Kulunčić corrects the deficient calculations. Kulunčić 
elaborates a calculation which expresses the solar profit, humorously pointing 
out the absurdity of the situation in which we "exploit" the sun alternating 
the real position of power. Products – lavender from Hvar, wine from Pelješac, 
olive oil from Brač and dried figs from Šibenik – the artist sells herself on 
the open market at the actual prices of products, separating the percentage 
that belongs to the Sun. In a conversation with a customer she opens a topic 
about "jobs" with the Sun.

Enjoy the Beach
The artist handed out trash bags with inscription in several different 
languages to the foreign tourists who stopped at the toll-houses stops. This 
artistic action addresses issues of ecology and tourism in a country that was 
ravaged by then recent military conflicts in the region, and also by the 
economic problems in the period of transition from the state economy to one 
dictated by the market. It was a "pilot project," proposal for the next tourist 
season, which was refused by the authorities.

City Walks
Kulunčić presented the invisible picture of the city by recording different 
voices of Zadar inhabitants in a form of a stereotype – a tourist guide, which 
usually contains cultural and historical information. While walking the 
streets, Andreja made several interviews with ordinary people, inhabitants of 
different professions, age, views, interests and attitudes. They spoke about 
everyday life in Zadar, which remains hidden to tourist nomads. The 
two-language guide is designed as a folding leaflet with a map and marked 
interview points. The action of handing out the guide to tourists took place on 
the city streets and also in tourist information offices, where the guide was 
placed among other guides.

Andreja Kulunčić is visual artist born in 1968. She studied sculpture, 
graduating in 1992 from the Faculty of Applied Arts and Design in Belgrade, 
former Yugoslavia. From 1992 to 1994 studied at the Hungarian Academy of Fine 
Arts in Budapest. She lives in Croatia, where she teaches at the Academy of 
Fine Arts in Zagreb, Department of New Media.
Her work has been presented at international exhibitions, including: Documenta 
11 (Kassel), Manifesta 4 (Frankfurt/Main), 8. Istanbul Biennial (Istanbul), 
Liverpool Biennial04 (Liverpool), 3. Tirana biennial (Tirana), 10. 
Triennial-I

[spectre] exhibition New Materialisms (Station 3.6)

[Darko Fritz]

New Materialisms (Station 3.6)

14 - 28 . 10 . 2016
Town Museum Korčula
 
part of the exhibition-in-progress New Materialisms
artists: Martin Callanan, Ivan Marušić Klif, Eloi Puig, Goran Trbuljak
curators: Darko Fritz (Grey Area), Eilidith Lucas i Geoff Lucas (HICA)

http://sivazona.hr/exhibitions/new-materialisms-station-36

Project New Materialisms has been a collaboration between grey) (area – space 
for contemporary and media art and HICA (Highland Institute for Contemporary 
Art), carried out through multiannual series of exhibitions, performances and 
lectures. New Materialisms project reflects historically divergent art 
practices and discursive fields of concrete and conceptual art, as defined in 
the 1960s. Project tackles understanding of those art practices through the 
discourse of post-media contemporary approaches to art as well as via 
post-digital condition of our every day life, whereby digital is interwoven 
with each aspect of our social being. New Materialisms strives to formulate a 
dialogue among important authors of concrete and conceptual art and 
contemporary practitioners who work within the post-media context, while 
assuming the design of aesthetic experience as a vital mechanism which has its 
agency in the process of creating the physical world.

Text Trends by Martin Callanan looks at our perception of words and data when 
displayed in graphical form thus studying the spectacularization of 
information. The work uses the data about the usage of Google search engine 
gathered within a four-year period, while reducing that process to some 
essential elements: searched terms vs. frequency of searched over time are 
presented in the form of a line graph. Through human perception of words and 
data, the work encourages the critique of the phenomenon of generating data.

In the untitled work by Goran Trbuljak, which is being at display within the 
permanent exhibits in Korčula's Town Museum, there is a hand counter which the 
author counts the visitors with, or, more precisely, the visitors who have been 
coming to his solo-exhibitions openings since the early 1970s. Those who have 
come more than once are counted only once. The second work is also without a 
title. Identical hand counter, but with another figure, one which shows the 
number of the people who came to his solo shows in 2016. With these works 
Trbuljak, via for him typical institutional critique, takes part in the 
questioning of the large quantification of the matters and phenomena in 
contemporary society from the first person position, which also reflects on the 
interpretations of the notion of new materialism seen through the optics of 
different fields that use the same term, but very often with different meanings.

The Internet project "The Fine Line H-K-H-F" by Eloi Puig connects four 
locations, namely HICA (Inverness, Scotland, UK), Grey Area (Korčula, Croatia), 
Hangar(Barcelona, Spain) and Funchal (Madeira island, Portugal), monitoring 
weather at each location in real time. The Internet document shows a map of 
Europe with four locations, from each the line is started to be drawn on the 
map and develops over a period of two months. Four lines change their 
properties every day according to the weather report. This process ultimately 
creates a dynamic drawing generated by the particular climate of each 
location.Four variations of weather are taken in consideration: sun, clouds, 
rain and extreme weather, from 9th August to 1st September 2016. Unfortunately, 
the huge fire that caught Funchal showed the importance of meteorological 
conditions and their vital impact on people and environment.

Puig's art book Speresaic was made with the experimental software called Roloc, 
which operates with chromatic code of images, id est analyses an image from the 
spectre of colours chosen by a user. An image is subsequently converted into 
stripes of different sizes, depending on the chromatic proportions of an image. 
An image is being recomposed into vertical stripes of pure colours. Speresaic 
demonstrates a selection of photography of a location in Barcelona and their 
repeated recoding via Roloc software. Upon the artist's invitation, the user 
Ljiljana Bomeštar, who visited Barcelona as a tourist, chose a set of five 
colours inspired by the location that she visited for the first time. Author 
then made a series of photo-works of the square that made an impression on the 
user (Plaza de Sant Pere) and recoded them chromatically.

Series of the portraits by Ivan Marušić Klif's colleagues and friends came to 
light via a special process. 3D scan of a face is shown on a screen of an 
analogue oscilloscope, which then directly rays the photo-paper. The 
oscilloscope was used for the manipulation of raster data, investigating into 
the nature of a visual signal.

supported by
Ministry of Culture of the Republic of Croatia
Endowment Kultura Nova
Dubrovačko – Neretvanska County
Ko

[spectre] New Materialisms (Station 3.5): Ivan Marušić Klif

[Darko Fritz]

New Materialisms (Station 3.5): Ivan Marušić Klif


17 . 08 . 2016 at 22 h

part of the exhibition-in-progress New Materialisms

curator: Darko Fritz

http://sivazona.hr/exhibitions/nm-3-5 <http://sivazona.hr/exhibitions/nm-3-5>

Audiovisual performance Improvisation for oscilloscope and Kaosspad by Ivan 
Marušić Klif. Free-jazz meets glitch! Manipulations of simple waveforms on 
analog oscilloscope and output to sound and six video projections at the 
ambience of the old city of Korčula.

Part of the project New Materialisms (Station 3) 
<http://sivazona.hr/exhibitions/new-materialisms-station-3>, that reflects 
historically divergent art practices and discursive fields of concrete and 
conceptual art, as defined in the 1960s. Project tackles understanding of those 
art practices through the discourse of post-media contemporary approaches to 
art as well as via post-digital condition of our every day life, whereby 
digitally is interwoven with each aspect of our social being. New Materialisms 
strives to formulate a dialogue among important authors of concrete and 
conceptual art and contemporary practitioners who work within the post-media 
context, while assuming the design of aesthetical experience as vital mechanism 
which has its agency in the process of creating the physical world.

New Materialisms series is a long-term program of exhibitions and lectures that 
has been developed in a collaborative process between grey) (area – space for 
contemporary and media art from Korčula and HICA (Highlands Institute for 
Contemporary Art) from Scotland since 2015.

Supported by: Ministry of Culture of the Republic of Croatia, Endowment Kultura 
Nova, Korčula town, Dubrovačko – Neretvanska County, Korčula Hotels and Moreška 
- Korčula.

---

siva) (zona . prostor medijske i suvremene umjetnosti
grey) (area . space for contemporary and media art

http://sivazona.hr
http://grey-area.org
Facebook: 
https://www.facebook.com/pages/grey-area-siva-zona/281114805394039?ref=hl

cell: + 385.91 5800193 
i...@sivazona.hr
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[spectre] New Materialisms (Station 3.4): Eloi Puig

[Darko Fritz]

grey) (area . space for contemporary and media art


New Materialisms (Station 3.4): Eloi Puig


09 . 08 - 01 . 09 . 2016

part of the exhibition-in-progress New Materialisms

curators: Darko Fritz and HICA

http://sivazona.hr/exhibitions/NM-3-4

The internet project "The Fine Line H-K-H-F 
<http://eloipuig.com/hicahangarfunchalkorcula/>” by Eloi Puig connects four 
locations, namely HICA (Inverness, Scotland, UK), Grey Area (Korčula, Croatia), 
Hangar (Barcelona, Spain) and Funchal (Madeira island, Portugal), monitoring 
weather at each location in real time.

The internet document shows a map of Europe with four locations, from each the 
line is start to be drawn at the map and develops over a period from 9th August 
to 1st September 2016.. The four lines change their properties every day 
according to the weather. This process ultimately creating a dynamic drawing 
generated by the particular climate of each location. Four variations of 
weather are taken in consideration: sun, clouds, rain and extreme weather.

Internet address of the "The Fine Line H-K-H-F" 
<http://eloipuig.com/hicahangarfunchalkorcula/> project: 
http://eloipuig.com/hicahangarfunchalkorcula 
<http://eloipuig.com/hicahangarfunchalkorcula>
Part of the project New Materialisms (station 3) 
<http://sivazona.hr/exhibitions/new-materialisms-station-3>, that reflects 
historically divergent art practices and discursive fields of concrete and 
conceptual art, as defined in the 1960s. Project tackles understanding of those 
art practices through the discourse of post-media contemporary approaches to 
art as well as via post-digital condition of our every day life, whereby 
digitality is interwoven with each aspect of our social being. New Materialisms 
strives to formulate a dialogue among important authors of concrete and 
conceptual art and contemporary practitioners who work within the post-media 
context, while assuming the design of aesthetical experience as vital mechanism 
which has its agency in the process of creating the physical world.

New Materialisms series is a long-term program of exhibitions and lectures that 
has been developed in a collaborative process between grey) (area – space for 
contemporary and media art from Korčula and HICA (Highlands Institute for 
Contemporary Art) from Scotland since 2015.



grey) (area . space for contemporary and media art

http://grey-area.org
Facebook: 
https://www.facebook.com/pages/grey-area-siva-zona/281114805394039?ref=hl
i...@sivazona.hr

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[spectre] The Unconquered City: The Issue of Housing - Connecting Cities Network / Invisible Cities

[Darko Fritz]

The Unconquered City: The Issue of Housing
The Women's Anti-Fascist Network of Zagreb, Katarina Duda and Iva Ivas in 
cooperation with Petra Milički

The Museum of Contemporary Art Zagreb, Media Façade
21 Dec 2015  – 6 Jan 2016

Connecting Cities Network / Invisible Cities
Mediator: Tactical Technology Collective, Berlin
"Interrupting Everyday" Workshop: m-cult, Helsinki (CCN)

Project Manager: Tihomir Milovac
Curator: Darko Fritz

http://www.msu.hr/#/en/20856/


The idea for a media façade was conceived during the Interrupting Everyday 
Workshop, held in June 2015 in Helsinki, led by the Tactical Technology 
Collective and organized by Helsinki's m-cult in the frame of the Connecting 
Cities Network (CCN) project. The aim of the workshop was to bring the activist 
group and designer together to jointly develop a media contribution. Thus, work 
for the Museum's media façade, developed during this workshop, is directly 
linked to the practical work of the Women's Anti-Fascist Network of Zagreb 
(MAZ) and emerges from the topic of the latest issue of the association's 
magazine, elaborating on the issue of housing and housing policy. The project 
is the work of Katarina Duda and Iva Ivas of MAZ in co-operation with graphic 
designer Petra Milički.

The media façade of the Museum of Contemporary Art is used as a reflection of 
neighbouring façades surrounding the museum. The façades of the residential 
buildings in Novi Zagreb, a quarter built with the community in mind, are 
represented through a fragmented image shown on the three video channels of the 
media façade. The site-specific video installation on the media façade as an 
examination of apartments and housing conditions raises the question of the 
right to housing: above all, it is a reminder of the priority of housing rights 
over proprietary rights.

The authors explain the social and economic context of the project: "The 
housing crisis shaking Croatia and the entire EU has not emerged due to a 
shortage of housing. It is a consequence of hikes in rent prices, loans, the 
gentrification process and the migration of people from city centres. Analyses 
of housing policies in Yugoslavia identify the period as one of a state of 
permanent housing crisis. Although there were many issues, ranging from the 
mode of apartment assignment, the absence of a consistent housing policy, an 
insufficient number of apartments and their inadequate amenities (an 
inconsistency with European standards), to the incongruities between state- and 
market-driven housing policies, it does appear that the egalitarianism of the 
period was on a higher level than it is today. If we are to refer to this as a 
period of housing crisis, how then are we to describe the housing policy in 
Croatia after the 1990s? We live in inherited apartments or, if we are not that 
lucky, we buy apartments (for ourselves or for our children) by taking out 
loans we will then repay for some 20 years. The increasingly uncertain working 
conditions and temporary work contracts make us uncreditworthy, resulting in a 
growing number of young people facing no other choice than to become tenants. A 
better conceived housing policy that would include social housing is a national 
interest because housing is the basic prerequisite of the social integration of 
citizens, i.e. a prerequisite for their contribution to the social and economic 
development of the country. Unlike many European countries Croatia's 
constitution makes no mention of the right to housing or of the state's 
obligation to provide its citizens with housing. It is time we started 
considering the right to housing as a fundamental human right that represents 
not only the wellbeing of the individual, but also of the entire community."

The Women's Anti-Fascist Network of Zagreb (MAZ) has been active since 2007. It 
functions on the principle of direct democracy – there is no hierarchic 
structure, and all decisions are made at monthly meetings by the about thirty 
active members. The work of MAZ, in the spirit of the anti-fascist struggle, is 
based on the principle of solidarity and implies knowledge production and the 
creation of a venue for the gathering of various organizations and individuals 
with the objective of ever stronger and more intense integration, networking 
and the creation of a social space. MAZ's activities include the Solidarity 
March and Antifanight, the Unconquered City magazine, the Radio Borba ("Combat 
Radio") radio show, cleaning hate messages from city façades, etc. In 2015, the 
70th anniversary of the liberation of Zagreb was celebrated with a bonfire on 
the Sava River embankment. Find out more at http://maz.hr

Unconquered City is the MAZ association magazine, the objective of which is to 
discuss the topic of anti-fascism, its heritage and contemporary meaning within 
a broad range of topics, and thereby to continue in other media the knowledge 
production takin

[spectre] grey) (area . Armin Medosch: What is history? Homage to Praxis, Praxis group and Korčula Summer School

[Darko Fritz]

grey) (area . Korcula



Armin Medosch: What is history? Homage to Praxis, Praxis group and Korčula 
Summer School

theoretical performance, peripatetic symposion

part of the exhibition New Materialisms (Station 1)



Thursday 23rd July 2015, 22 h. Gathering in the gallery 21 - 22 h


Armin Medosch will carry out the theoretical performance, peripatetic symposion 
titled What is History? Hommage to Praxis journal, Praxis group and Korčula 
Summer School that reflects on the mutuality of interrelations among these 
phenomena. Through series of site specific performative lectures, Armin Medosch 
will be exploring various notions of materialism(s), historical, dialectical 
and new. Medosch's performative lecture is an improvised free speech, putting 
forward the question: “What is History?”.

The topic of the second Korčula Summer School gathering, “What is History?” 
will also be Armin's topic. To speak freely means to get back to the origins of 
philosophy, to the form of friendly conversation. There will be no script and 
there should also be no recording going on. One core topic will be Praxis’ 
specific understanding of reflection theory, according art and culture 
semi-autonomy in relation to the productive apparatus. Medosch will seek to 
place Praxis in this respect in a context with Western Marxism and its art 
theories, including Adorno, Marcuse, Lefebvre, Williams, Jameson and others.

The collective of critical thinkers around the journal developed a singular 
trajectory of humanist Marxist and socialist analysis in the context of 
non-aligned Yugoslavia.  Together with the affiliated Korčula summer school the 
journal functioned as a hub for the exchange of critical perspectives between 
the East and the West in the years 1963-1974. In the proceedings of the summer 
school and the journal participated many prominent figures of the period, a.o. 
Ernst Bloch, Herbert Marcuse, Henri Lefebvre, Karel Kosik, Jürgen Habermas, 
Lucien Goldmann.

New Materialisms exhibition, featuring a.o. Praxis (Digitized) archive, 
created by Ante Lešaja and digitized by Tomislav Medak. If in Korčula you can 
copy the archive there, otherwise you can find it here: 
https://praxis.memoryoftheworld.org/ 
https://www.facebook.com/l.php?u=https%3A%2F%2Fpraxis.memoryoftheworld.org%2Fh=wAQHEbaxyenc=AZPsi_RjVC9sizF6R2RulaqFZRCQPbBI_YkkeFtzjy7ObumH7qt-EQDLnazvBeh59-XQ9FOJsWd3Ok4Kf7AYzVKyd6XgqVvFbl0oBwsWPFQIpDtjFO80x2tmUmgIN_vPpgBjwL2JTVBU12ccMzQdiImDAWHxwnIDZXP_m7sMmQG9bRqADGtCFweInK4I3MexhChk1ELXrkRgDmkt_WF7VZpzs=1.

Presenting Praxis legacy in manifold forms is also a part of the project 
History of Contemporaneity, conceptualized and carried out by the informal 
platform kor::net (Korčula Network), and which includes historiographic 
research and mapping of highly relevant artistic and cultural practices that 
marked the promotion of contemporary trends on the island of Korčula in the 
20th Ct. (More at: http://korculanetwork.info/kornet/pages/praxis 
http://korculanetwork.info/kornet/pages/praxis)

Exhibition New Materialisms (Station 1): http://grey-area.org/exhibitions/NM1 
http://grey-area.org/exhibitions/NM1

Armin Medosch, PhD, MA, is Professor of Theory and History of Art and Media at 
the Faculty of Media and Communications at Singidunum University, Belgrade. He 
is an artist, curator and author working in art and media art theory and 
network culture. His work as curator includes exhibitions such as: Waves (Riga, 
2006; Dortmund, 2008); and Fields (Riga Culture Capital 2014). He is initiator 
of the Technopolitics working group in Vienna and initiator and maintainer of 
the cooperative web-space thenextlayer.org http://thenextlayer.org/. His book 
under the tentative title “New Tendencies – Art at the Threshold of the 
Information Revolution” is expected to be published by MIT Press in early 2016.


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[spectre] New Materialisms (Station 1)

[Darko Fritz]

 New Materialisms (Station 1)
  
 15 . 07  - 05 . 08 . 2015
  
 part of the exhibition-in-progress New Materialisms
 
 artists: Petrič / Turšič . Praxis (digitized) . Armin Medosch
 curator: Darko Fritz
  
 program:
 15 . 7. 21 h . Špela Petrič and Miha Turšič . informance (information 
 performance)
 18 . 7. 21 h . Špela Petrič and Miha Turšič: Cosmosapiens and the TerRatop . 
 presentation
 23 . 7. 22 h . Armin Medosch: What is history? Homage to Praxis, Praxis group 
 and Korčula Summer School . theoretical performance, peripatetic symposion 
 (The gathering between 9 and 10 pm)
 
 
 On July 15 at 9 pm, the exhibition New Materialisms (Station 1) will be open 
 at the gallery grey) (area – space for contemporary and media art in Korčula. 
 The exhibition presents audiovisual installation Voyager/ non-human agent by 
 Slovenian artistic duet Špela Petrič and Miha Turšič. At the opening the 
 artists will perform an informance (information performance).
 The exhibition also presents the digitized archive of Praxis journal, which 
 can be copied by the visitors to their USB sticks and external memory discs.
 Two separate presentations will be held in English: on July 18 at 9 pm Špela 
 Petrič and Miha Turšič will hold a presentation under the title Cosmosapiens 
 and the TerRatope, while on July 23  Armin Medosch will take us for a walk in 
 a form of peripatetic theoretical performance.
  
 New Materialisms (Station 1) is the first in the series of the three-year 
 program carried out in cooperation of grey) (area – space for contemporary 
 and media art from Korčula, HICA (Highlands Institute for Contemporary Art) 
 from Scotland and Technopolitics, association for development of new 
 discourses in art and science from Vienna. Project New Materialisms explores 
 the nature of auto-poietic (self-organized) neotworks, whereby  HICA's and 
 grey) (area dialogues with partners' organizations, spaces and artists will 
 be extending across Europe through 2016 and 2017. New Materialisms reflects 
 on the historically divergent art practices and related discourses of 
 Concrete Art and Conceptual Art, especially as identified through the 1960s, 
 as Modern and Postmodern, and as understood through the prism of today's 
 post-media approaches in fine arts, and the post-digital condition of 
 contemporary life (where the digital realm is interwoven through all aspects 
 of society). Accordingly, New Materialisms also forms a dialogue between 
 significant artists from this earlier period, who may be seen to be first 
 exploring the territory, and current practitioners, now operating within a 
 post-media context. Thus New Materialisms presents a mirroring of 
 “organismic” states, ultimately proposing aesthetic experience as a 
 significant mechanism in the processes of formation of the physical world.
 
 About the exhibited works and presentations
 
 
 
 Installation Voyager/ non-human agent uses algorithm and data collected from 
 the instruments from the spacecraft Voyager, which since 1977 has been 
 travelling across the universe. Existing space programs focus mainly on 
 understanding the farthest of our surroundings and on developing 
 technological solutions, but tend to overlook the importance of implementing 
 artistic development practices and methodologies in the form of a basic 
 question: What is it like to be a human in space?
 Voyager/ Non-human Agent project investigates the possible art forms in outer 
 space, a composite of art and science, and the processes of science 
 culturalization.
 
 
 
 In the frame of the presentation titled Cosmosapiens and the TerRatope Špela 
 Petrič will talk about the influences of the post-(bio)technological 
 interregnum on the developmental challenges of artwork about/with/from living 
 systems. She will discuss issues of authenticity, interfaces and paradigm 
 contestations in connection to her practice and interdisciplinary art-sci 
 collaborations. Miha Turšič, artist, designer and KSEVT (Cultural Centre for 
 European Space Technologies) director will present the ongoing mission of 
 incorporating arts and humanities as constitutional human practices into 
 space exploration programs. For this talk, he will focus on space 
 architecture, non-human habitability and post-gravity art.
 
 
 
 Exhibition New Materialisms (Station 1) also presents interdisciplinary works 
 based on the legacy of Korčula Summer School and Praxis Journal. The 
 collective of critical thinkers around the journal developed a singular 
 trajectory of humanist Marxist and socialist analysis in the context of 
 non-aligned Yugoslavia. Together with the affiliated Korčula summer school 
 the journal functioned as a hub for the exchange of critical perspectives 
 between the East and the West in the years 1963-1974. In the proceedings of 
 the summer school and the journal participated many prominent figures of the 
 period, a.o. Ernst Bloch, Herbert Marcuse, Henri Lefebvre, Karel Kosik

[spectre] Race with Time 2. Performancein a Rear-view Mirror

[Darko Fritz]

 Begin forwarded message:
 
 From: grey) (area . siva) (zona i...@sivazona.hr
 Subject: Race with Time 2. Performancein a Rear-view Mirror
 Date: 11 Jun 2015 23:26:23 CEST
 To: Darko da...@darkofritz.net
 Reply-To: grey) (area . siva) (zona i...@sivazona.hr
 
  
 http://sivazona.us8.list-manage1.com/track/click?u=143feae3cde083fd96d1a6e95id=b7a319fd9be=a525aff784
 Race with Time 2.
 Performance in a Rear-view Mirror
 
 Exhibition
 June 15– July 7, 2015
 Opening: Monday, June 15,  9pm -11 pm
 
 Curator: Barbara Borčić
 Artists: Martina Bastarda / Mateja Ocepek / Nataša Skušek, Mateja Bučar, Ana 
 Čigon, Tomaž Furlan, Marko A. Kovačič, Miha Vipotnik
  
 
 Lecture and screening
 Barbara Borčić: DIVA Station – archiving of images and time
 June 28, 2015
 
 Action, happening and performance were a direct reaction to the prevailing 
 formalist and market-driven art in the 1950s and 1960s. As the new means of 
 expression at the intersection of visual art and theatre, they have somehow 
 been pertinent to both fields; nonetheless, they have regularly been 
 overlooked in the canonised history books and surveys.
 
 In the context of Conceptual Art and New Artistic Practices, video art has 
 met a similar reception. Apart from being a strongly individualistic 
 activity, performance and video share various other features, such as 
 inappropriate production conditions and lack of critical writing. It is also 
 questionable whether they have found a pertinent field of representation, in 
 the sense that the gallery is the field of representation of visual art, 
 theatre of performing art, and the movie theatre that of film; while, 
 television and the Internet seem to be the testing ground for all manners of 
 production. It is also possible that performance and video mostly belong to 
 the fields of other art forms, often overlapping and integrating other 
 so-called new media.
 
 The relationship between performance and video has always been multilayered 
 and followed a preceding relation between film and action.
 
 The relationship between performance art and video art could be schematically 
 demonstrated by four modes:
 1) video as a document of performance,
 2) video as a part of performance / performance as a part of video,
 3) (video) performance, staged only for the camera, and
 4) performance made possible only through video, its expressive and 
 technological possibilities for processing and editing.
 
 
 Marko A. Kovačič: Casus belli, 1983, video performance
 grey) (area has a new website sivazona.hr 
 http://sivazona.us8.list-manage.com/track/click?u=143feae3cde083fd96d1a6e95id=54a1e1e5c9e=a525aff784!
  
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 Facebook 
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 Website 
 http://sivazona.us8.list-manage.com/track/click?u=143feae3cde083fd96d1a6e95id=5e2ce2579ae=a525aff784
  mailto:i...@sivazona.hremail mailto:i...@sivazona.hr
  
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 update my contact 
 http://sivazona.us8.list-manage.com/profile?u=143feae3cde083fd96d1a6e95id=3fde82443be=a525aff784
 
 gallery is open daily from 21 to 22 h.
 Put Sv. Nikole bb (promenade close to the town centre)
 free entrance
 
 supported by
 zaklada Kultura Nova
 Ministry of Culture of the Republic of Croatia
 
 
 
 
 
 
 This email was sent to da...@darkofritz.net mailto:da...@darkofritz.net 
 why did I get this? 
 http://sivazona.us8.list-manage.com/about?u=143feae3cde083fd96d1a6e95id=3fde82443be=a525aff784c=e0ffdfaf86
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 siva) (zona grey) (area · Ulica Giunio 11 · pp. 95 · Korčula 20260 · Croatia 
 
  
 http://www.mailchimp.com/monkey-rewards/?utm_source=freemium_newsletterutm_medium=emailutm_campaign=monkey_rewardsaid=143feae3cde083fd96d1a6e95afl=1
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[spectre] VISIT - Artist in Residence-Programme / Deadline 16.03.2015

[Darko Fritz]

Dear all
I was asked to spread enclosed call for VISIT - Artist in Residence-Programme. 
Feel free to pubish and forward…
d


 On 06 Feb 2015, at 14:46 pm, daniela.bergl...@rwe.com wrote:
 Betreff: VISIT - Artist in Residence-Programme / Deadline 16.03.2015
 
 
  Please scroll down for the english version +
 
 Liebe KooperationspartnerInnen!
 
 Seit 2010 vergibt die RWE Stiftung pro Jahr zwei Stipendien an Künstler, die 
 sich mit dem Themenfeld Energie und seiner gesellschaftlicher Relevanz 
 auseinandersetzen.  
 Bewerbungen sind bis zum 16. März 2015 möglich. Wir würden uns freuen, wenn 
 Sie im Rahmen Ihrer Möglichkeiten für VISIT werben könnten. Im Folgenden 
 einige Eckdaten des Stipendiums und im Anhang auch der Flyer zum Programm.
 
 Eckdaten des Stipendiums
 • Bezug zum Themenfeld Energie und seiner gesellschaftlichen Relevanz
 • Förderdauer: 6 Monate
 • Höhe des Stipendiums: 1.000,- €/Monat zzgl. anfallender Reise-, 
 Unterbringungs- und Materialkosten nach individueller Absprache
 • Projektdokumentation (z. B. Katalog)
 • Abschlussausstellung in den Räumen des RWE Konzerns oder bei externen 
 Kooperationspartnern
 
 Weitere Informationen unter www.rwestiftung.com/visit Wir freuen uns über Ihr 
 Interesse und stehen für Rückfragen gerne zur Verfügung.
 
 Mit freundlichen Grüßen 
 Daniela Berglehn
 +++ english version +++ english version +++ english version +++
 Dear Sir or Madame, 
 2010 the RWE Foundation has launched VISIT - an International Artist in 
 Residence Programme. Each year it invites two artists to carry out projects 
 focusing on the topic of energy and its social relevance. Currently, there is 
 a deadline: closing date for sending ideas and proposals is March 16th 2015. 
 We would be delighted if you could advertise the programme. Enclosed basic 
 information about the scholarship and also a PDF with all the details of the 
 program.
 
 Basic Information
 • Reference to the subject of energy and its social relevance
 • Duration of assistance: 6 months
 • Amount of grant: €1,000/month plus incurred travel, accommodation and 
 material costs according to individual agreement
 • Project documentation/exhibition catalogue
 • Exhibition in the rooms of the RWE Group or possibly at external 
 cooperation partners
 
 Further information: www.rwestiftung.com/visit 
 We appreciate your interest and are available for any questions you may have.
 
 Many thanks and best regards 
 Daniela Berglehn
 
 RWE AG / RWE Stiftung für Energie und Gesellschaft gGmbH 
 Opernplatz 1, D-45128 Essen 
 T extern + 49 201 12-15505 
 F +49 201 12-15361 
 Mobil + 49 162 2519108 
 www.rwestiftung.com 
 www.facebook.de/rwestiftung 

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Re: [spectre] VISIT - Artist in Residence-Programme / Deadline 16.03.2015

[Darko Fritz]

Well, Brad, I forwarded the Call only, as I noted in the intro.

Personally, I find the topic of energy and its social relevance” relevant. At 
the gallery for media and contemporary art that I’m running, the “Energy” this 
is one of three programming lines.

As well: most of the galleries, festivals, mailing lists, residencies, 
exhibitions, books, magazines, institutions etc have their topics. Artist may 
find them partners or not. Imagine there are no topics at all — where one 
artist will present his/her work? At the salons? Even biennales that truly 
lacking the topics faking them!

best
d


 On 07 Feb 2015, at 01:35 am, { brad brace } bbr...@eskimo.com wrote:
 
 
 
 why should I work on your topics?
 instead o my own work
 
 /:b
 

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[spectre] Histories of Post Digital: 1960s and 1970s Media Art Snapshots

[Darko Fritz]

Histories of Post Digital: 1960s and 1970s Media Art Snapshots
Akbank Art’s Beyoğlu building, Istanbul
17 December 2014 – 21 February 2015

Curator: Ekmel Ertan
Co-curator: Darko Fritz


This exhibition aims to explore the histories of media art after the real and 
seemingly permanent entry of the digital into our lives. It does so beginning 
from the beginning and looking at the first attempts, first digital artistic 
products of the 1960s and 1970s. It attempts to read from the present 
perspective the histories that were written with each event, each research and 
artwork and that are part of the paradigm we live in now.

The exhibition has two main axes. The first one “9 Evenings: Theatre and 
Engineering” focuses on a legendary series of performances that took place at 
the Regiment Armory building in New York in 1966. With performances by 10 
artists, 9 Evenings is a milestone in the field of art and technology, an event 
where many of this field’s firsts originated.  The second is about the 4th and 
5th exhibitions of the (New) Tendencies movement, organized in Zagreb in 
1968-69 and 1973. These two vanguard exhibitions that took place in the 
relative periphery of Europe at an early date and the discussion they inspired 
meant that the computer has come of age as an artistic medium. In collaboration 
with the MSU - Museum of Contemporary Art Zagreb and an international network 
of collectors and private archives, this exhibition offers the overview of the 
original early digital artworks including Waldemar Cordeiro, Gustav Metzger, 
Vladimir Bonačić, Frieder Nake among others.

There will be first time presented computer installation with anti Vietnam war 
slogan Nixon Murderer conceived back in 1969 by Remko Scha. First time after 35 
years will be publicly presented Mobilodrom - a vehicle producing sounds in 
reaction to its environment from 1979 by Michael Fahres, now in the form of 
multimedia documentation.

The Off-Line Media Space, which takes up a large section of the exhibition, 
will offer a wide array of resources in field of media. A large collection of 
books, Transmediale and Art Electronica catalogs from the last 30 years as well 
as entire collections of the magazines Neural and Mediamatic will be on hand 
here. In addition, there will be three computer stations in this space 
dedicated solely to the voluntary endeavour of translating the rapidly growing 
media archive artelectronicmedia.com in Turkish. This is certainly not a 
one-way translation, it will also allow the works and events realized in Turkey 
to be archived in a universal manner.

The Off-Line Media Space will feature two additional events:
The Saturday Seminars will take place during the exhibition and aim to give the 
audience an opportunity to hear about media histories from a group of artists 
and researchers who actively contributed to these histories though artistic 
creation and writing.
The Wednesday conversations aim to deepen and broaden the conversation around 
specific topics and works. They will also provide an open and live resource as 
well as a space to work and converse.

“9 Evenings of Theatre and Engineering”
10 films, 10 artists and avant-garde performers in collaboration with 30 
engineers from Bell Telephone Laboratories in New York. By Barbro Schultz 
Lundestam, series director and E.A.T. Julie Martin, executive producer.
John Cage Variations VII
Lucinda Childs Vehicle
Öyvind Fahlström Kisses Sweeter Than Wine
Alex Hay Grass Field
Deborah Hay Solo
Steve Paxton Physical Things
Yvonne Rainer Carriage Discreteness
Robert Rauschenberg Open Score
David Tudor Bandoneon! (a combine)
Robert Whitman Two Holes of Water-3

Digital artists, exhibited:
Marc Adrian, Jean Baptists Bedaux, Vladimir Bonačić, Frank Böttger, Jeroen 
Clausman, Compos 68, Waldemar Cordeiro, Charles Csury, D. E. Evans, Michael 
Fahres, David R. Garrison, Hans Köhler, Auro Lecci, Robert Mallary, Jean Claude 
Marquette, Gustav Metzger, Tomislav Mikulić, Petar Milojević, Jorge Moscati, 
Frieder Nake, Georg Nees, A.Michael Noll, Ivan Picelj, Ludwig Rase, Sylvia 
Roubaud, Beverly Rowe, Remko Scha, Manfred Robert Schroeder, Arthur Veen, Aron 
Warszawski, Georg Weiss, Rolf Wölk, Edward Zajec, Vilko Žiljak, Anton Zöttl

Saturday Seminars:

20 December 2014 
“Agents of Social Change in 1960s and 1970s Digital Art”
Darko  Fritz,

10 January 2015
“9 Evenings of Engineering and Theatre””
Sylvie Lacerte

17 January 2015
“Histories of Post Digital: Media Art in Turkey”
Ekmel Ertan
 
24 January 2015
“The Complex Expression of Digital Art: Media Art Histories and its Impact on 
Archives and Humanities”
Oliver Grau

7 February 2015
“An Archaeological Rewiring of the Contemporary in Arts”
Jussi Parikka

14 February 2015
“The Technological Unconscious and Digital Art”
Armin Medosh

21 February 2015
“Genealogies of the Digital: A ‘Post’-Critique”
Christiane Paul

http://www.akbanksanat.com/en/akbank-sanat-beyoglu/sergi

[spectre] grey) (area . Korcula ::: Pacific Shortcuts [2]

[Darko Fritz]

grey) (area
space for contemporary and media art . Korcula . Croatia
 
Pacific Shortcuts [2]: Leah Barclay . Mez Breeze . Nigel Helyer
14 - 24 . 07 . 2014
 
part of the exhibition-in-progress Pacific Shortcuts
05 . 07. - 15. 08 . 2014
artists: Leah Barclay, Mez Breeze, Ian Clothier / Andrew Hornblow, Shannon 
Novak, Nigel Helyer, Pierre Proske
 
curator: Darko Fritz
 
 
program Monday 14th July:
21 h . Shifting Nature live performance by Leah Barclay
22 h . exhibition opening
 
The exhibition Pacific Shorcuts presents artists from Australia and New Zealand 
who tackle the notion of nature and natural processes via the medium of 
technology. Within the month long period there will be three artists presented 
simultaneously every ten days. Besides, there will be a series of lectures and 
performances.
 
At the opening, Leah Barclay will live perform Shifting Nature, an immersive 
live performance of her electroacoustic music and sounds. The evening continues 
with the opening of the second part of the exhibition where the sound 
installations by Leah Barclay and Nigel Helyer as well video and internet 
artwork by Mez Breeze are being exhibited.

Sound Mirrors is an immersive sonic environment that responds to significant 
rivers across the world. Throughout 2009 to 2012, Leah Barclay travelled 
through Australia, India, Korea, China, Hong Kong and Brazil capturing the 
sound of rivers and their surrounding communities. The resulting work is an 
ephemeral experience that slides through vivid landscapes and rich cultural 
traditions. The source materials range from hydrophone recordings of the Amazon 
River Dolphin in central Brazil to pilgrims chanting at dusk on the banks of 
the Pamba in southern India. Sound Mirrors explores rivers as the lifeblood of 
communities and underscores the value of listening in our current state of 
ecological uncertainty, weaving diverse cultural and natural soundscapes into a 
dense and unpredictable sonic environment.
Shifting Nature is a live performance based on environmental field recordings 
made during Barclay’s Sound Mirrors project, this live adaptation mixes 
sections from each composition in an immersive performance. 

Mez Breeze is presented with a series of works in different media: Wish4[0] is 
a multimedia  internet project that lasted for forty days in the form of a 
diary, video works which emerged within that project. Wish4[0] 
(http://wishforyouand.me) is set of 40 digital and networked poems based on a 
poetic interpretation of the maxim “Be Careful What You Wish For”. The title of 
the work, “Wish4[0]”is a truncation - and linguistic reworking – of the idea of 
wish fulfillment in the digital age, one where willing users and audience 
members are subjected to an “always-on” news cycle, where social media and 
content streaming are now a primary method of information sourcing and privacy 
is becoming an ever more elastic concept.
Wish4[0] takes as its inspiration this perpetual tugging at a user’s 
consciousness by the digital, in a cycle that promotes a type of constant 
remembering and forgetting of firehosed content. Each work takes as its 
immediate inspiration a headline (or item) drawn from the electronic news cycle 
of that specific day.
The resulting block of poetic works:
1) Act as a digital and creative “literary snapshot” of a specific period.
2) Highlight the accelerated nature of an electronic/networked-based news cycle.
3) Illustrate the discrepancies – and perhaps similarities - between how a 
digital audience responds to items deemed newsworthy (and worth remembering or 
forgetting) and creative responses to such items.
4) Echo (and partially emulate) elements of digital culture that have become 
seamlessly integrated into our everyday lives (including programs such as 
Twitter, Facebook, Pinterest, Vine, Snapchat and Instagram).
 
Nigel Helyer presents a new version of his installation Songs from the 
UnderWorld_V3, now including new visual and sound elements made during his 
residence in Korčula.  The new elements include mourning songs from Dalmatia 
and Lyre music build in vintage radio receivers.
The work tackles the issue of death from the perspective of the  the myth of 
Orpheus and his journey into the Underworld where and examines the metaphor of 
the power of Art and Poetry to overcome mortality. The various layers of 
cultural audio are modified by underground seismic data.
Artist statement:
In a Cosmos of noise and static they say it is music that calms the savage 
beast.  It is music and voice, fused into song that civilises us. Orpheus, the 
mythopoetic father of song sailed with Jason’s crew of the Argonauta and 
averted tragedy by outplaying the alluring song of the Sirens.   And it was 
Orpheus who journeyed into the Underworld to reclaim his dead wife Euridice by 
charming Hades and Persephone with the song of his magical Lyre, asserting the 
power of love and music over death.
Again it was Orpheus who as he regained

[spectre] grey) (area . Korcula ::: Pacific Shortcuts [1]

[Darko Fritz]

grey) (area
space for contemporary and media art . Korcula . Croatia
 
Pacific Shortcuts [1]:  Mez Breeze . Nigel Helyer
05 . 07. - 13. 07 . 2014
 
part of the exhibition-in-progress Pacific Shortcuts
05 . 07. - 15. 08 . 2014
artists: Leah Barclay, Mez Breeze, Ian Clothier / Andrew Hornblow, Shannon 
Novak, Nigel Helyer, Pierre Proske
 
curator: Darko Fritz
 
 
program Saturday 5th July:
20 h . lecture . Cecelia Cmielewski: Identity, (u)topia and soft power: arts 
policy in the co- production of multicultural Australia 
21 h . artist talk / audio performance . Nigel Helyer
22 h . exhibition opening
the lecture and artist talk will be held in English
 
Radio Korcula FM 107.5 Mhz:
28 . 06 . 13 h . Nigel Helyer, author of the radio contribution - Ivan Sardelić
05 . 07 . 13 h . Cecelia Cmielewski, author of the radio contribution - Ivan 
Sardelić
11 . 07 . 13 h . Nigel Helyer in conversation with Darko Fritz


 
The exhibition Pacific Shorcuts presents artists from Australia and New Zealand 
who tackle the notion of nature and natural processes via the medium of 
technology. Within the month long period there will be three artists presented 
simultaneously every ten days. Besides, there will be a series of lectures and 
performances.
 
At the opening, Cecelia Cmielewski, one of the authors of the Australian 
multi-cultural arts policies will present a lecture entitled: “Identity, 
(u)topia and soft power: arts policy in the co-production of multicultural 
Australia”, including case-studies of contemporary Australian art. The evening 
continues with the series of sound performances in the form of artistic 
presentation by Nigel Helyer, as well with the opening of the first part of the 
exhibition where the works of Mez Breeze and Nigel Helyer are being exhibited.
 
Mez Breeze is presented with a series of works in different media: Wish4[0] is 
a multimedia  internet project that lasted for forty days in the form of a 
diary, video works which emerged within that project as well as graphics titled 
'204 NO CONTENT' which were made in 2001. in cooperation with the curator of 
the exhibition Darko Fritz. It is worth mentioning that Darko Fritz, is 
exhibiting his work in the space of grey) (area for the first time, although he 
has been  managing and curating the program for nine years already.
 
'204 NO CONTENT' is a poetical and graphic map that was published by gallery S 
from Koprivnica and contains poetry of Mez Breeze and graphic works of Dark 
Fritz. Mez is the inventor of her own language - mezangelle - a mix of English 
and programming languages- where the visual appearance of written words and the 
reader's interpretations of those words play an important role.
 
Wish4[0] (http://wishforyouand.me) is set of 40 digital and networked poems 
based on a poetic interpretation of the maxim “Be Careful What You Wish For”. 
The title of the work, “Wish4[0]”is a truncation - and linguistic reworking – 
of the idea of wish fulfillment in the digital age, one where willing users and 
audience members are subjected to an “always-on” news cycle, where social media 
and content streaming are now a primary method of information sourcing and 
privacy is becoming an ever more elastic concept. 
 
Wish4[0] takes as its inspiration this perpetual tugging at a user’s 
consciousness by the digital, in a cycle that promotes a type of constant 
remembering and forgetting of firehosed content. Each work takes as its 
immediate inspiration a headline (or item) drawn from the electronic news cycle 
of that specific day.
 
The resulting block of poetic works:
1) Act as a digital and creative “literary snapshot” of a specific period.
2) Highlight the accelerated nature of an electronic/networked-based news cycle.
3) Illustrate the discrepancies – and perhaps similarities - between how a 
digital audience responds to items deemed newsworthy (and worth remembering or 
forgetting) and creative responses to such items. 
4) Echo (and partially emulate) elements of digital culture that have become 
seamlessly integrated into our everyday lives (including programs such as 
Twitter, Facebook, Pinterest, Vine, Snapchat and Instagram).
 
--
 
Nigel Helyer presents a new version of his installation Songs from the 
UnderWorld_V3, now including new visual and sound elements made during his 
residence in Korčula.  The new elements include mourning songs from Dalmatia 
and Lyre music build in vintage radio receivers. 
 
The work tackles the issue of death from the perspective of the  the myth of 
Orpheus and his journey into the Underworld where and examines the metaphor of 
the power of Art and Poetry to overcome mortality. The various layers of 
cultural audio are modified by underground seismic data.
 
Artist statement:
In a Cosmos of noise and static they say it is music that calms the savage 
beast.  It is music and voice, fused into song that civilises us.   Orpheus, 
the mythopoetic father of song sailed with Jason’s crew of the Argonauta

[spectre] grey) (area . Korcula ::: Branka Cvjeticanin: We Buy Gold_#CFB53B

[Darko Fritz]

grey) (area
space for contemporary and media art . Korcula . Croatia

Branka Cvjeticanin: We Buy Gold_#CFB53B

curator: Darko Fritz

12 - 21 . 06 . 2014, 11 - 14 h, with protocol led by artist
22 - 30 . 06 . 2014, 12 - 13 h 


‘We Buy Gold_#CFB53B’ is a multimedia, space and light installation that takes 
place in the space of one private house in Korčula town. The house is currently 
being used within the framework of the artistic residency program led by the 
grey) (area.

Access to the installation is possible from Thursday, June 11 at 11 o'clock and 
will be open daily from 11 to 14 o'clock. That is the period of the day when 
the strongest daily sun emission allows for  golden glow. The exhibition, with 
the presence of the artist, will be open until June 21 (the beginning of the 
summer solstice), after which the protocolar part of the exhibition ceases, and 
visitors and new residential artists of the grey) (area will be able to use the 
installation space without restrictions.

Branka Cvjetičanin works with art protocols. As a part of this art work a 
specific protocol has been developed. This protocol comprises artistic concept, 
color, time, performance and instructions on code of conduct.

What has been applied in this work is a technique of gilding. However, instead 
of applying thin sheets of real gold on the surface of the object, here the 
leaves are being substituted by gold colored vinyl film applied on all the 
interior walls and floors of the gallery space. In this way, instead exterior 
of the building -  the interior (and internal) space of the house has been 
transformed.

By the summer solstice*  the author will be personally guiding visitors, by 
taking them one by one throughout the installation space, while simultaneously 
establishing specific behavioral and  movement protocols. Part of the protocol 
is collecting alms. Space of the gilded room will be available to look at from 
a certain position, marked on the floor with the designation as e.g. 'here is 
the best spot for taking pictures'. These kinds of designation marks can be 
seen in many tourist towns, but, fortunately, so far not in Korcula.

Code # CFB53B is  international color code information, known as the 'old gold' 
(Old Gold), simulation, display, (non) color of gold as presented in CMYK or 
RGB monitor color displays for color printing systems. The installation ‘We Buy 
Gold_#CFB53B’ uses the gold foil, hence the 'real' metal (non) color, and not 
its simulation in other media. However, the here used gold foil is not made of 
precious gold ore, as it is customary in the art of gilding. What the author 
tackles here is  the art of protocols, transformation and simulation.

Gold purchase is a painful reminder of the times of economic crisis in which, 
after the last reserves of cash have been depleted, gold is being monetarised. 
On the other hand, gold-plated objects are mainly related to religious objects 
and liturgy (multimedia choreography of worship). The draft version of the 
title of the work was  'Rooms for prayer ... or how to read a helpless 
economy', while the work on display now is a part of a series of works in which 
the artist questions the connection between emotional and economic trends in 
contemporary society. Similar to participatory art happenings of the 1950s and 
1960s, the protocol part of the work is being traced by the author, while the 
second part is being left to improvisation, coincidence, and external factors 
such as church holidays, or attitudes of local people and tourists to the 
institution of the church or weather forecasts.

During July and August the gallery hosts works of seven artists from New 
Zealand and Australia in a three-storey house. Cvjetičanin is leaving to other 
artists who will participate in this year's program the possibility and freedom 
to place their works in a gold room on the second floor.
 
Since ​​its inception the grey) (area has positioned its activity in the 
interstitial spaces, what in the professional jargon has been called ''between 
the 'white cube' and 'black box''', that is, between the so-called neutral 
white cube gallery space and the black box, which traditionally is the area of 
​​performing arts.


From the artist' statement:

In the works that are in some way site-specific (like this one is) there are 
some spatial determinations, those following the first space the given of this 
paper is the position of the house in the medieval town of Korcula, which in 
the context of Croatian tourism Yearbooks means that in consideration of the 
urban and historical space establishes a simple math that respects the laws of 
large numbers placed in a two-month tourist season. This pattern is visible in 
the microcosm of the city which during the summer months from srednjevjekovja 
expands into marine park zone and intense traffic junction. In the middle of 
the summer legality, everything outside tertiary service activities is almost 
unnoticeable

Re: [spectre] Are rating systems a placeholder for unions in a neo-lib world?

[Darko Fritz]

starting the database will be great. please include freelance curators next to 
artist.

something from web
Who pay artist
http://www.whopaysartists.com/

best
d



On Jun 3, 2014, at 15:25 PM, Jaromil wrote:

 On Tue, 03 Jun 2014, Brian Degger wrote:
 
 Site Offline
 
  Due to an influx in popularity [1]www.promoterdb.com is temporarily
  offline while we re-assess how things are managed and where the
  site is heading. There has been a lot of contact and opinions given
  about this site, so we have decided to pull it offline until we
  have time to create a medium where people can discuss it's future
  and functionality.
 
 wow. interesting.
 
 I think their idea is very good.
 hope someone can keep it up.
 
 Brian, should we start a project like this? :^)
 we could think of running a db, but just for Europe...
 
 OTOH I reiterate my doubts about such an axiomatic approach to labour
 politics to be any better than actual unionism, but the rationality of
 neo-liberism is asking its toll here.
 
 good luck rating the content aggregators!
 
 p.s. (and thanks for replying. cultural operators announce lists feel
   rather Kafkian at times)
 
 
  On Sat, May 24, 2014 at 4:02 PM, Jaromil [2]jaro...@dyne.org wrote:
 
dear Spectres,
 
some years ago (most people here might have forgotten anyway) I've
lamented my bad experience in contributing to the Piksel media art
festival in Bergen. At that time I thought of proposing a guideline of
sorts and hoped in the birth of some kind of unionism for all those of
us who are content producers and end up being milked and thrown away by
aggregators of sorts. I'm sure many of you out there have to go through
such experiences.
 
Today I've found this [3]http://www.promoterdb.com
which might be of some interest.
 
I'm not sure if this will work as expected and I'm not affiliated with
it in any way. However it might be interesting to experiment, filling in
some feedback about the good experiences at least.
 
 From a unionist perspective it is somehow sad that the overall decay of
labour based relationships within content producers and art institutions
have lead to resort to such disgregating and passive methods.
But then what else?
 
Are on-line rating systems the place-holder for labour unions in a
neo-lib world?
 
 -- 
 http://jaromil.dyne.org
 GPG: 6113 D89C A825 C5CE DD02  C872 73B3 5DA5 4ACB 7D10
 
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[spectre] 200 OK - Horticultural unit and live webcast

[Darko Fritz]

200 OK
part of the Internet Error Messages project
Horticultural unit and live video webcast

FIELDS Exhibition and Art+Communication Festival, Riga
curated by Rasa Smite, Raitis Smits and Armin Medosch
May 15 – August 3, 2014


200 OK is a horticultural unit made of Sesleria plants in size 2 x 7
meters. A live internet video stream shows the site of the installation
embedded in natural and social (inter)actions over three months. The
installation is made in form of a low-resolution screen reading the text
“200 OK”. The surroundings of the art installation are captured in such a
manner by the camera that the plant-shaped letters 200 OK acting as a film
subtitle.
200 OK is part of the Internet Error Messages series of artworks that has
been developed by Darko Fritz since 2001. In particular, the message “200
OK” is a status code showing that the request has succeeded. The
information returned with the response is dependent on the method used in
the request. The interpretation of the work “200 OK” is open, and doesn’t
necessary fit into any single interpretation frame.

Horticulture unit 200 Ok is supervised by landscape architect Inga
Langenfelde, Botanical Garden - University of Latvia.

venues:

webcast: http://5.179.11.8/
Username: user
Password: user

FIELDS Exhibition
Arsenals Exhibition Hall of the Latvian National Museum of Art
http://rixc.org/fields/

Botanical Garden - University of Latvia
http://www.botanika.lu.lv/eng/

---

Darko Fritz

http://darkofritz.net

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[spectre] Ivan Ladislav Galeta (1947 - 2014) passed away

[Darko Fritz]

Sad news is that Ivan Ladislav Galeta passed away 7th January 2014..
Galeta was multimedia artist, filmmaker and programmer of MM Centre (multimedia 
centre) in Zagreb (1975-1985).
His retrospective exhibition (first set at the MSU Zagreb, 2011) is presented 
at the moment at the Paksi Képtár museum in Paks, Hungary (until end February 
2014).

http://www.ozafin.alu.hr/end_art/?page_id=985
http://ilgaleta.alu.hr/
http://hr.wikipedia.org/wiki/Ivan_Ladislav_Galeta
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[spectre] ¡Vamos a la reciplaya! -- exhibition

[Darko Fritz]

Reciplaza / Reciplaya

exhibition by
Darko Fritz, Sanda Hančević i Valerija Jurjević


Galerija ULUPUH, Tkalčićeva 14, Zagreb, Croatia

11 . 7. –  26 . 7. 2013
opening 11 June , 19 h


catalogue (Croatian  English):
http://issuu.com/ulupuh/docs/katalog_reciplaya_low/1?e=6811816/3904668

The exhibition Reciplaya is a result of collaboration between Valerija Jurjević 
(photography), Sanda Hančević (texts), and Darko Fritz (exhibition layout and 
graphic design), and has been accomplished through the informal network 
kor::net (Korčula network). The original concept, authored by Sanda Hančević 
and Valerija Jurjević, was presented in 2008 by Bašćina association from 
Lumbarda in its gallery 3VOLTA. It was inspired by garbage accumulating on 
beaches throughout the winter, and the authors used it as a medium for 
communicating the fundamental ecological issues of today – the recycling of 
materials and the disposal of garbage and waste. ... . In 2011, it was modified 
in terms of design, according to a concept by Darko Fritz. By applying 
photographs of garbage to seven sun beds, Fritz eventually, besides the new 
layout, created a product that could be multiplied and used in practice, on 
beaches, without intending to create a tautology by using images of garbage on 
a coastline full of waste. As Goethe used to say, the innate feeling of what is 
right and appropriate, which has led us to the earliest attempts at creating 
art must never leave the artist. 

(from the catalogue text by Silva Kalcic)


facebook: https://www.facebook.com/events/140975472769228/

Galerija ULUPUH, Tkalčićeva 14, Zagreb
Tel/Fax: ++385 (0)1 4813 746
E-mail: galerija-ulu...@zg.t-com.hr
www.ulupuh.hr

 // powered by kor::net //

---

Darko Fritz

http://darkofritz.net



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[spectre] Fwd: Video, television, anticipation

[Darko Fritz]

Begin forwarded message:

 From: Aleksandra Sekulic aleksandra.sekuli...@gmail.com
 Salon of the Museum of Contemporary Art, Belgrade
 
 June 7 – July 14, 2013
 
 Opening: June 7, 19h
 
 Video, television, anticipation
 
 Curators: Branka Benčić and Aleksandra Sekulić
 
  
 
 Tomislav Gotovac / Mio Vesović, Sanja Iveković, Bojan Jovanović, Apsolutno, 
 Ivan Faktor, Dalibor Martinis, Studio Imitacija Života (Darko Fritz, Željko 
 Serdarević), Zank/Borghesia, Dejan Vlaisavljević NIKT, Zhel (Željko 
 Vukičević), TV Galerija, Low-Fi Video
 
  
 
 Projects: Technology to the People! (MSUV, Novi Sad: Gordana Nikolić), DIVA 
 Station (SCCA, Ljubljana: Barbara Borčić), The Futurists (Zavod Zank: Neven 
 Korda), Dalibor Martinis talks to Dalibor Martinis; Macedonian Video Art 
 1985-2005 (Evgenija Teodosievska)
 
  
 Video, Television, Anticipation
 
 Aleksandra Sekulić i Branka Benčić
 
 Anticipation is a build-in perspective, which we intend to reveal by a 
 certain epistemology of forgetting, or evoking the (pre)sense of future of 
 art and media as a horizon of video as a practice in its initial exploring 
 and agonistic relations to television.  In the entire cultural space of 
 former Yugoslavia we can recognize continuity and anticipation in regarding 
 the film production of cinema clubs and pioneering work with video art. Soon 
 television is becoming a point of reference and field of research as well as 
 the artistic influence on the formation of specific aesthetics. This 
 exhibition connects works from several decades: from the struggle in 
 broadening the space of artistic interventions, using media ‘space of flows’, 
 through the radical practices in Yugoslav cine-amateurism and alternative 
 culture of the 1980s; experiments within the television program and 
 appropriation of the media images; to the creation of the self-organized 
 media spaces sustained by the video as the media of new microcinema 
 communities. At the same time as the television has shaped the specific 
 aesthetics, art is shaped by television, and the works of artists presented 
 at the exhibition are questioning the cultural impact of television and its 
 authority. Artists have destabilized the codes and conventions such as 
 watching television, TV set as an object in the fields of installation and 
 sculpture, and questioning the passive attitude of observers as well as ways 
 of cultural production and consumption. Making an overview of a history of 
 freedom, as it was claimed by the practices of video, we are in process of 
 getting back its future, and revealing the potential which is now accessible, 
 and in its course, anticipated.
 
 Program of discussions and presentations
 
 08.06 17h
 
 Presentations and discussion:
 
 Barbara Borčić, SCCA, Ljubljana;  Gordana Nikolić, Museum of Contemporary Art 
 of Vojvodina (MSUV) i Low-Fi Video, Belgrade
 
  
 15. 06. 17h
 
 Presentations and discussion:
 
 Evgenija Teodosievska, Bojan Jovanović, Neven Korda (Zavod Zank), Zoran 
 Pantelić i Dalibor Martinis (Dalibor Martinis talks to Dalibor Martinis)
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[spectre] reload_refresh_sync - new horticulture unit by Darko Fritz

[Darko Fritz]

reload_refresh_sync 
permanent horticulture unit by Darko Fritz

Pukekura Park, New Plymouth, New Zealand

http://darkofritz.net/projects/reload/refresh_sync.htm


The reload_refresh_sync icon planted into the side of the Bowl of Brooklands at 
the Pukekura Park in New Plymouth. When clicked by a computer mouse, the 
‘reload’ or ‘refresh’ button reloads a page when browsing the internet. The 
same icon is used to sync electronic equipment, and also as a symbol for 
recycling. The installation act as a small button at the Earth’s land surface, 
interacting with the entire planet from its location at New Zealand (39°11’5’’ 
S, 174°7’33’’ E). The artist is asking us to refresh our relationship to the 
environment, in a project that mixes humble turf with modern electronics. 

Image is aligned with Southward equinox. The Southward equinox (or September 
equinox) is the moment when the sun appears to cross the celestial equator, 
heading southward. Due to differences between the calendar year and the 
tropical year, the Southward equinox can occur at any time from the 22nd to the 
24th day of September.  In the Northern Hemisphere the Southward equinox is 
known as the autumnal equinox. In the Southern Hemisphere it is known as the 
vernal or spring equinox. 

The horticulture unit is made at existing grass field: majority of kikuya 
(Pennisetum clandestinum) mixed with clover (Trifolium) and Sport Rye / 
Perennial ryegrass (Lolium perenne). The newly planted ryegrass in the shape of 
10 meters diameter “Reload” icon distinguish the design with different texture 
and darker shade of green color. It is a mixture of Chewing fescue (Festuca 
rubra subsp. commutata), Sport Rye / Perennial ryegrass (Lolium perenne), and 
tall fescue (Festuca arundinacea).   

The maintenance of the horticulture unit “reload_refresh_sync” fits within 
regular maintenance of the grass fields in Kete Pukekura Park. It is expected 
that over the years the design will gradually vanish because of the mixing of 
new grass by surrounding grass, propelled by wind. It is open to made a new 
installation again. There is no information about the work at the site of 
installation.

Project is made during SCANZ 2013: 3rd nature residency and supported by the 
Ministry of Culture of the Republic of Croatia and Pukekura Park.
The project is part of the exhibition Solar Circuit Aotearoa New Zealand 
(SCANZ) 2013: 3rd nature at the Puke Ariki Museum, New Plymouth, February 2 - 
April  2 2013. www.intercreate.org

---

Darko Fritz is an artist and independent curator and researcher. His work 
explores the gap between contemporary art practices and media art culture, 
incorporating glitch, error and surveillance. Recently he has been developing 
horticultural units in public spaces, transgressing the boundary between 
digital and biological. 

---

Darko Fritz
http://darkofritz.net
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[spectre] Nature and early visual computer-generated art in the Netherlands (before 1980)

[Darko Fritz]

Nature and early visual computer-generated art in the Netherlands (before 1980)

contribution for the exhibition Coded Perception, organized by SETUP, Utrecht

curated by Darko Fritz
artists: Compos 68 (Jan Baptist Bedaux, Jeroen Clausman and Arthur Veen), 
Michael Fahres, Lambert Meertens and Leo Geurts, Samuel Meyering, herman de 
vries, Victor Wentink

exhibition: 27 / 10 - 18 / 11 . 2012
lecture: 31 / 10 / 2012
Oude Gracht 183, Utrecht
http://setup.nl/coded-perception



Nature and early visual computer-generated art in the Netherlands (before 1980)

Darko Fritz

preview:
http://setup.nl/expotool/preview.php?wall=1expo=62
http://setup.nl/expotool/preview.php?wall=2expo=62


Within the presentation with only six images in digital format, I try to 
capture several methodologies and processes that artworks of a time (before 
1980) that have been utilized in artworks that dealt with nature, biological 
data and related models: translating data into analogue medium and vice versa, 
data visualization and working models of complex systems processed by computer, 
interactive real-time environmental data processing, interactive art computer 
game, interactive do-it-yourself variable art multiple.

Herman de Vries, biologist turned artist, who is programmed computer punch 
cards, creating random visual fields that contain no data but only visual 
appearance, translating (pseudo)random processes into the visual realm. The 
source of randomness is 'random numbers' from Fisher and Yates' handbook 
'Statistical tables for biological, agricultural and medical research'.  
Lambert Meertens and Leo Geurts carried out advanced research on the 
relationship between structure and randomness in their series Crystal 
Structures and produced models that follows the logic of cellular automata in 
the growth of crystals. The algorithms of computer models of growing trees have 
been utilized as aesthetic program in work of Compos 68, who created a system 
that could assign numerical values to the elements 'color' and 'form' in order 
to obtain numbers for mathematically formulated aesthetic theories.  Samuel 
Meyering made a series of pictures, installations, sculptures and interactive 
computer work based on the biological growth. Generative sound machine Eemnes 
Machine by Victor Wentink was conceived as a permanent installation powered by 
solar energy in a desert-like environment, a new polder in Flevoland. 
Environmental data (temperature, air pressure, speed of the wind etc) have been 
processed by computer in real-time and translated in sound in work Mobilodrom 
by Michael Fahres. 

--- Herman de Vries: random objectivations, 1965
Herman de Vries is an academically trained biologist, who after a short period 
of working in his primary profession, shifts his activities exclusively to art 
and becomes one of the most well-known Dutch artists. Since the 1950's, De 
Vries was deeply involved in the idea of merging art and science. In 1962, he 
starts to work with randomly organized visual structures. His interest in the 
new possibilities opened by computers led him to create one of the first 
computer-generated visual artworks in the Netherlands. 1964 - 1968 he made 
series of artworks from the random objectivations series on computer punch 
cards. The punch machines were programmed and used to make random punches in 
the computer punch cards, creating random visual fields. The source of 
randomness is Table XXXIII 'random numbers' from Fisher and Yates' handbook 
'Statistical tables for biological, agricultural and medical research' (London, 
1953). These works were made during lunch breaks, when Herman worked at the 
Institute for Research of Bird Migration.

--- Compos 68: Hobby Box, 1969
Hobby Box (1969) consists of a package with four colored cardboards, a pin, a 
variable pattern with stylus (created by the Electrologica X8 plotter) and an 
instruction manual, both printed as computer sheets. The variable pattern is a 
computer print that shows an outline of a composition that is to be copied (by 
pin) to each color cardboard, and such cut rectangles finally assembled at the 
black cardboard according to a unique computer-programmed composition. This is 
an early example of participative computer-generated work, with new notions of 
'manual' and 'user' in the context of computer-generated art. The group Compos 
68 was founded by Jan Baptist Bedaux, Jeroen Clausman and Arthur Veen in 
September 1968 in Utrecht. Then a student of art history, Jan Baptist Bedaux 
brings the idea of combining the aesthetics of modernist paintings (as Mondrian 
and Klee) and the computer simulation of growing trees.  Arthur Veen was 
programming in ALGOL in his biology research. Compos 68 created a system that 
could assign numerical values to the elements 'color' and 'form' in order to 
obtain numbers for mathematically formulated aesthetic theories. 

--- Lambert Meertens and Leo Geurts: Kristalstrukturen (Crystal Structures), 
1970

[spectre] Rino Efendić: PRAXITEN @ Korčula + group exhibition Trans Adriatic Grey Area @ Pescara

[Darko Fritz]

grey) (area . space for contemporary and media art
present

Rino Efendić: PRAXITEN / Summer school, winter  tears
Korčula

+

Trans Adriatic Grey Area
Pescara



Rino Efendić: 
PRAXITEN / Summer school, winter  tears

24 - 30 | 8 | 2012
opening: : 24 .8 , 21 - 23 h

curator: Darko Fritz

'PRAXITEN / Summer school, winter  tears' by Rino Efendić is audio ambient with 
yellow light, that making use of the radio interview with marxist philosopher 
Milana Kangrge (1923. - 2008.), one of founders of Praxis magazine and related 
Korčula Summer School. Work examine his ideas in the context of contemporary 
critique of consumeristic society.

grey) (area . contemporary and media art space
gallery: Trg Sv. Justine 2 , 3rd fl., Korcula, Croatia
post: pp. 95 . 20260 Korcula . Croatia
contact:  Darko Fritz . da...@darkofritz.net . tel: +385 91 5800193




Trans Adriatic Grey Area
curator: Darko Fritz

part of the LAMPO Project

25 . 08 - 24 . 09 | 2012

D'Annunzio Room, Aurum, Pescara, Italy

http://www.lampo.info/category/exhibition/



artists / works:
Darko Fritz (Croatia / Netherlands): 204 NO CONTENT . 
http://www.lampo.info/204-no-content/
Hrvoje Hiršl (Croatia): Reversible (Le temps detruit tout) . 
http://www.lampo.info/reversible-le-temps-detruit-tout/
jaromil (Italy / Netherlands): ASCII Shell Forkbomb . 
http://www.lampo.info/ascii-shell-forkbomb/
Ivan Marušić Klif (Croatia): Synchronicity
 . 
http://www.lampo.info/synchronicity/
Thomson and Craighead (UK): The Time Machine in alphabetical order . 
http://www.lampo.info/the-time-machine-in-alphabetical-order/
Luigi Pagliarini (Italy): RAS  (Robot Ars Soccer) . 

Edita Pecotić (Croatia / UK): Temporary Internet Files
 / Temporary Internet 
Files2 . http://www.lampo.info/temporary-internet-files/

Davor Sanvincenti (Croatia): 1 0 0 1 revisited . 
http://www.lampo.info/1-0-0-1-revisited/

---

LAMPO NetContemporary Art Exhibition
curators: Lucia Zappacosta / White Project / Contemporary


Tobias Bernstrup (Sweden): Tonight Live, video
Bianco-Valente (Italy): Elenco
Catodo (Italy): TweetJukebox / Iteration
F.A.T. (Net): Free Universal Construction Kit
Matteo Giordano (Italy / Germany): 20010, video
Jay Artwork (aka Dj Batman) (Italy): ExPorn
Jukuki (Italy): Retweet, video
Luca Lo Coco (Italy): Graffiti Net Art
Miltos Manetas (Spain): Tiramolla
Carsten Nicolai (Germany): Future, Past, Perfect pt.o3 (u_08-1), video
Debra Solomon (USA, Netherlands): Plantguilds
Rita Soccio (Italy): Adamo/Eva
Simone Zaccagnini (Italy / Germany): Performance #2 @Grey Night

---

hackers camp MOCA2012
Metro Olografix
24 25 26 August



opening: Grey Night Party, 25. 8 . 2012, 00 - 02 h

Performance #1: Catodo: live coding sa Commodore 128 / DJ Batman / The Dromer / 
Globster
Performance #2: Hanibal
Performance #3: Pulsating Humanity – Live Visuals  Ultra Low Frequency Sound: 
Nexus, Simone Zaccagnini 

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[spectre] grey) (area . Hrvoje Hirsl: Reversible (Le temps detruit tout)

[Darko Fritz]

grey) (area . contemporary and media art space
present

Hrvoje Hirsl: 
Reversible (Le temps detruit tout)

15 - 21 | 8 | 2012

opening: Wednesday 15th August, 21 - 23 h


curator: Darko Fritz

grey) (area present first showing of Reversible (Le temps detruit tout), new 
installation by Hrvoje Hirsl.

The cult film Irreversible of Gaspar Noé, is reedited and played backward in 
order to correct his originally twisted chronology and return it to the 
linear flow of time. This way, the movie ends with the Happy Ending. At the 
end of the film, that is, in this version, in the beginning, there is an 
inscription LE TEMPS DETRUIT TOUT (time destroys everything).

The second law of thermodynamics says that over the time things decay, namely, 
the order in a closed system reduces, ei, the entropy increases. Entropy is 
also called the arrow of time. Video projection is juxtaposed to the diagram 
that visualizes reversible and irreversible processes in thermodynamics. The 
diagram shows a hypothetical situation in which the process is reversible. The 
preconditions for this are that it is infinitely slow, and that there is no 
friction. All natural or spontaneous processes are irreversible. Given that 
this is the medium of film that is not a natural process, it is reversible, but 
in the process the narration is destroyed.

There is a famous Stephen Hawking's statement in which he linked the 
psychological time, the way we remember things and entropic time. In other 
words, if the flow of entropy would reverse (as far as our brain is concerned) 
then literally time would go in the opposite direction, by which Hawking stated 
that the entropy and time are inextricably linked.


grey) (area . contemporary and media art space
gallery: Trg Sv. Justine 2 , 3rd fl., Korcula, Croatia
post: pp. 95 . 20260 Korcula . Croatia
contact:  Darko Fritz . da...@darkofritz.net . tel: +385 91 5800193
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[spectre] Unlimited Editions. A public discussion on personal collecting and media archiving. July 5, TENT Rotterdam

[Darko Fritz]

UNLIMITED EDITIONS
A public discussion on personal collecting and media archiving

July 5, 2012, 2 PM, TENT, Rotterdam

Over the years DUSAN BAROK has collected approximately 100 gigabytes of 
experimental films, video art, electroacoustic music, scanned versions of 
computer-aided paintings, graphics, prints, and numerous publications covering 
the development of media arts and culture from their pre-history back in the 
1910s up until the last decade. He has focused primarily on those works which, 
though relevant, are not appropriately represented in the canon of art history. 
Archived in different cities and not accessible online, many of these works 
seemed destined to remain out of sight for many years to come. After being 
asked so many times to share a film or a recording, Dusan decided to share them 
all.

Preserving the legacy of these works involved three main goals: reaching the 
widest possible audience (including researchers); involving more people in the 
initiative; and maintaining public access. Rather than attempting to create 
some grand historical narrative interweaving the content, the collection is 
designed instead to provide quotable online resources, presented in their 
context, thus enabling other researchers to produce alternative art histories.

The work explores various problems related to private collecting and media 
archiving. Over the past few months, a context for the collection has been set 
up through a number of interventions, including a series of lectures, a 
magazine, a conference on media-art history, and an exhibition of remakes, by 
young artists, of historical media works.

The symposium in TENT on July 5, 2012 is an occasion for a public launch of the 
MONOSKOP LIBRARY and a discussion with invited artists, scholars and cultural 
practitioners: ANNET DEKKER, DARKO FRITZ, FLORIAN CRAMER, and SANDRA FAUCONNIER.

How does an artwork become historical? How can a media archive create meaning? 
Why do so many collectors of digital materials choose to keep their treasures 
out of the public eye? How do we define 'fair use' of copyrighted material? 
MONOSKOP LIBRARY explores the intersection between personal collecting, media 
archiving, and collaborative production of art history.

More information:
http://monoskop.org/Symposium
http://monoskop.org

The event is part of the program PIET ZWART INSTITUTE: FINE ART  MEDIA DESIGN 
AND COMMUNICATION
http://www.tentrotterdam.nl/shows/actueel/20120705_pzi.php

Thursday, July 5, 2012, 14:00
TENT, Witte de Withstraat 50, Rotterdam
Free entrance
http://www.tentrotterdam.nl/

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[spectre] Nove Tendencije / Nuove Tendenze Art and Architecture in the 60's: Zagreb – Milano

[Darko Fritz]

Nove Tendencije / Nuove Tendenze  Art and Architecture in the 60's:   
Zagreb – Milano

International Conference

organized by Alessandro De Magistris and Ivica Covic

Wednesday, May 30th 2012
Politecnico di Milano - Scuola di Architettura e Società
Museo Del Novecento, Milano


In the last century, during the fifties and sixties, we have seen a  
definition of unprecedented scenarios of relationship and  
contamination between art and architecture. They have combine the  
perspectives of design research related to scientific,  technological  
and structural concepts, the exploration of the traditional boundaries  
of art and of artistic work has been called into question with the  
exploration of new concepts and relationships between art, space and  
environment.  The developments of “situationism” and the expressions  
of so-called spatial urbanism in France, some radical experiences  
that characterize the design cultures in the Central Europe, the Nove  
Tendencije movement in Zagreb, are some of the most important steps of  
the season of postwar renewal in architecture and art. Its epicenter  
was the Europe marked by the Cold War and by the economic boom,  
accompanied with extraordinary intellectual fermentation and with the  
opening to the mass culture.  The conference Nove Tendencije  / Nuove  
Tendenze. Art and Architecture in the 60's: Zagreb - Milan is the  
first in a series of appointments that the ESTLAB research group of  
Politecnico di Milano aims to promote and to study deeper as the one  
of the most decisive phase in the history of art and design culture in  
the second half of twentieth century   At that time, Zagreb and Milan  
were leading centers of, closely linked, research and innovative  
trends in art.  In the case of Yugoslavia, following the idea of  
innovation of the architectural culture, weaving a network of exchange  
was destined to mark some of the crucial pages of European cultural  
history. Different researchers and direct protagonists of that time,  
are called to espouse and discuss this important historical moment  
during a one day study meeting, which will take place between the  
Politecnico di Milano and the Museo Del Novecento.



Schedule

Section One 10-00 a.m. – 1.45 p.m.
Scuola di Architettura e Società, Via Bonardi 3
aula Rogers

Alessandro De Magistris (Politecnico di Milano / DiAP)
Introduction

Ivica Covic (Politecnico di Milano / DiAP)
Political Criticism: Arhitektura  CIP  Hrvoje Klasic (Faculty of  
Humanities and Social Science, Zagreb) Between East and West –  
Yugoslavia ‘50s  ‘60s


Darko Fritz (Freelance artist and researcher, Amsterdam, Zagreb)
[New] Tendencies –  International Art Network That Transgressed The  
Cold War (1961-1973/1978)


Ivan Rupnik (Harvard University / Northeastern University, Boston)
Vinceslav Richter’s Reciprocal Agents  Karin Serman (Faculty of  
Architecture, Zagreb) Abstraction as a Tool: Main Attributes of  
Croatian Art and Architecture in the 1950s and 1960s


Maroje Mrduljas (Faculty of Architecture, Zagreb)
Cellular configurations in Croatian Architecture in the 1960’s and  
early 1970’s



Section Two 3.00 p.m. – 4.00 p.m.
Scuola di Architettura e Società, Via Bonardi 3  aula Rogers

Alice De Vecchi (Università degli Studi di Urbino)
Space. Body. Movement. The Interactive Environmemnts of  the Gruppo T

Giovanni Rubino (Università degli Studi di Udine)
Between Italy and Croatia: Art, Technique and Ideology in the New  
Tendencies


Matko Mestovic (The Institute of Economics, Zagreb)
The Legacy of New Tendencies, Tendencies and Computer

Giovanni Anceschi (Milano, IUAV, Venezia)
Closing discourse and introduction to the visit to Museo dell Novecento

Section Three 5.00 p.m. – 6.00 p.m.
Museo del Novecento, Piazza del Duomo, 14

Giovanni Anceschi: Gli ambienti del Gruppo –T (guided visit)

Section Four 6.00 p.m. – 7.30  p.m.
Museo del Novecento, Piazza del Duomo, 14,  Sala Conferenze

Round Table with
Giovanni Anceschi, Alessandro De Magistris, Jerko Denegri,  Vittorio  
Gregotti, Matko Mestrovic, Francesco Poli, Marina Pugliese.




SCIENTIFIC COMMITTEE Sandro De Mgistris Tvrtko Jakovina Corinna  
Morandi Francesco Poli Marina Pugliese 
 
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[spectre] Fwd: BADco. // OPEN CALL for SYMPOSIUM Actionable Image: Agency of Image, Performance of Body, Apparatus of Spectating, March 16-17, 2012, Zagreb

[Darko Fritz]

Begin forwarded message:


From: badco news badco_n...@badco.hr
Date: January 30, 2012 8:45:19 PM GMT+01:00
To: undisclosed-recipients:;
Subject: BADco. // OPEN CALL for SYMPOSIUM Actionable Image: Agency  
of Image, Performance of Body, Apparatus of Spectating, March  
16-17, 2012, Zagreb


BADco. newsletter

---

BADco. extends an *open call for contributions* for

*Actionable Image:
Agency of Image, Performance of Body, Apparatus of Spectating*

/symposium and publication/

When and where:
March 16-17, 2012 in Zagreb, Croatia

This symposium and its topic are a continuation of BADco.'s artistic
interest to relate performance and image. More concretely, it was
motivated by our most recent work Responsibility for Things Seen
that was presented in 2011 within the Croatian participation at the
Biennale di Venezia. The work required us, in the absence of
performers in the six-months exhibition, to pursue the idea of
'theater by other means' and to custom develop a database video system
that unfolds a particular nexus of body, image and technology.

Who can apply:
If you are a scholar or practitioner working on the nexus of
performance, image and technology, if you are working in or between
any number of fields such as, but not exclusively: performing arts,
visual arts, cinema and expanded cinema, human-machine interaction,
technological performance, architecture, neuroscience, we are inviting
you to present your research interests in form of a presentation
and/or participate in the debates at our symposium Actionable Image:
Agency of Image, Performance of Body, Apparatus of Spectating.

When and where:
The symposium will take place on 16-17 March 2011 in Zagreb, Croatia.
The  artistic programme will start on the 15th.

What is the topic:
With Actionable Image we propose to explore the experimental
encounters between the image and the body -- two modalities of
organized materiality, agency and receptivity affecting each other,
two modes of expression whose encounters in our age are predominantly
arranged, composed and mediated by means of visual technologies.

We tend to subscribe to the critique of the domination of image and
the scopic regime: the unebbing repetition of hegemonic
representations, the homogenization of mediatized social experience,
the habituation of sensory apparatus to technological artifice.
However, understanding the encounter of image and body as a field of
performance allows us to explore this encounter beyond the adequation
of sensory perception to technological apparatus, of social behaviors
to reproduced images. A mis-encounter where incompatibilites between
technology and habit, excess of agency on the side of image or on the
side of spectators, interventions in the transmission process, strange
situations of viewing emerge, that encounter becomes an indeterminate
field of negotiation, slippage, misperformance, deterritorialization
and reterritorialization... In short, a field of divergences that are
themselves frequent subject to experimentation in art.
With this other scene of image in mind, we calls for contributions
that will bring their analysis to bear on situations of problematic
spectating, strange apparatuses and dispositifs of viewing, agency of
images, strategies of performing images and other issues relevant to
the nexus of body, image and technology.

The symposium and attendant artistic programme will include a.o.,
contributions by artists and scholars such as Jonathan Beller, Maaike
Bleeker, Vlatka Horvat, Stephen Zepke and BADco.

What are the keywords:
performance and image, performed image, image in performance, image
and corporeality, agency of image, actionable image, algorithmic
cinema, image and interface, iconicity of image, apparatuses and
dispositifs of viewing, cinematic viewing vs theatrical viewing, image
and presence/absence...

How to apply and when is the deadline:
We are looking for contributions of various formats, including but not
limited to papers, short presentations, demonstrations and
participation in the debate, up to 30 minutes in length. If you want
to participate in the symposium, please send us a short note stating
your topical interests, discussion points, format, etc. and a short
description of your background. While we cannot cover your expenses,
we can help you find convenient travel arrangement and affordable
accommodation, and we will do our best to address your interests and
provide an insightful debate.

All proposals should be sent in by 10 February 2012 to: t...@badco.hr.
You'll be notified of our decision shortly thereafter.

---

Publication:
A special issue of Frakcija Performing Arts Journal will accompany the
symposium. We are looking for contributions of those taking part in
the symposium, but also others who cannot join us in Zagreb but are
researching the topic in academic or artistic formats. Articles,
essays and artist's page(s) proposals will be considered. The
submission deadline is March 2, publication June 

[spectre] Fwd: Save Art Underground Metro Stations Petition

[Darko Fritz]

the petition about saving Amsterdam's public art at metro stations is at
http://petities.nl/petitie/behoud-kunst-ondergrondse-metrostations

Begin forwarded message:


From: Martijn Sandberg m...@msandberg.nl
Date: December 23, 2011 1:28:45 PM GMT+01:00

Subject: Save Art Underground Metro Stations Petition Fw: Petitie  
behoud kunst ondergrondse metrostations


To whom it may concern,

I would like to forward on to you the petition below (in Dutch).

The petition is to support the public artworks of the Seventies and
early Eighties that are endangered due to station renovation on the
Metro East Line in Amsterdam.

See also the text 'Demolition Ball and Battle of Waterloo' in the
blog section of my website:

http://www.msandberg.nl/text.php?kunstwerkid=235lang=yes

Thank you,
Martijn Sandberg

Info, petition text (English):

Save Art Underground Metro Stations!

Art in the Amsterdam Metro Stations CS, Nieuwmarkt, Waterlooplein,
Weesperplein, Wibautstraat and Amstel is threatened by the present
and imminent renovations. Much of this art is already damaged or
worse still, has even disappeared! Sign this petition if you are
FOR Save Art Underground Metro Stations. Thank you!

PETITION

We

the workgroup Save Art Underground Metro Stations and supporters,

find

The original art in Amsterdam metro stations Centraal Station,
Nieuwmarkt, Waterlooplein, Weesperplein, Wibautstraat and Amstel is
often vandalized or worse still, has disappeared. We observe doors
in artwokrs and namens of stations upon them. We see art eroded by
graffiti and walls covered with bathroom tiles. Works of art are
simply painted over with no apology. Conservation and restoration of
the art is apparently not a basic assumption underlying renovation.
This will make the history of each station indiscernible! The
underground stations are closely connected to the neighborhoods on
the surface and their history, and are therefore very dear to us.
Help us in the battle to preserve this metro art!

and state that

The workgroup Save Art Underground Metro Stations has as its
objective the restoration of the present works of art to their
original state, in every station. We also urge placing noticeboards
at each station with a clear historical explanation of the arworks
and their significance within their surroundings.

Workgroup Save Art Underground Metro Stations,
Amsterdam

- Original Message -
From: cl...@kpnplanet.nl
To: cl...@kpnplanet.nl
Sent: Thursday, December 08, 2011 3:54 PM
Subject: Petitie behoud kunst ondergrondse metrostations


Onderteken allen onze petitie voor het behoud van de kunstwerken in de
metrostations CS, Nieuwmarkt, Waterlooplein, Weesperplein,  
Wibautstraat en

Amsterdam Amstel:

http://petities.nl/petitie/behoud-kunst-ondergrondse-metrostations


Zegt het voort!!!

Met vastberaden en enigszins grimmige groet,

cliff..
  .

cliff van dijk
namens
werkgroep behoud kunst in de ondergrondse metrostations
en bewonersraad Groot Waterloo.



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[spectre] the beginning of computer-generated art in the Netherlands -- before 1980

[Darko Fritz]

Dear all

My name is Darko Fritz, I am artist, independent researcher and  
curator, and I started a research on the beginning of computer- 
generated art in the Netherlands, with focus on visual arts and  
design. The Fonds BKVB awarded me a  grant for the research on the  
subject.


My focus on visual arts buy I will include other fields of creative  
use of computers in short -- all prior to (t/m) 1980!


There is not a single article on the suvject available, and I'm doing  
bottom-up research. Therefore I'm looking for any information  
considering the subject and I'll appreciate your help.


My research focus on mapping of the field, and it will have form of  
text (and pictures) outputs: short essay, chronology, list of networks  
and institutions, bibliography.


First findings you can find here [2.9. Mb]:
http://darkofritz.net/text/DARKO_FRITZ_NL_COMP_ART_n.pdf

I am interested in  dates (or months, years) of conceptualization,  
production and public presentation of the works, as well place of  
production, types of hardware and software used and working process  
documents (sketches, programs), venues of presentations, institutions  
and people involved ...



Best regards


Darko Fritz

http://darkofritz.net . e-m: da...@darkofritz.net . skype: darkofritz

Jacob van Lennepstraat 349 / 2 . 1053 JL Amsterdam . Netherlands .  
tel: +31 [0] 6 25103124

studio: 2e Jan van der Heydenstraat 27 . 1073 VG  Amsterdam__
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[spectre] grey) (area ::: Tanja Deman: Abode of Vacancy

[Darko Fritz]

grey) (area . space of contemporary and media art, Korcula, Croatia

presents

Tanja Deman: Abode of Vacancy

18th - 28th August  2011. daily 21 - 22 h
opening: Thursday 18th  August . 21 - 23 h


Abode of Vacancy is a video work composed of a series of collaged  
tableau with subtle movements. They are concerned with the dream-like  
environments of nature and the modernist city devoid of human  
activity. Throughout the whole piece traces of nature and the city are  
juxtaposed, creating a tension, a drama and a dialog produced in their  
difference. The work focuses on how we perceive our recently built  
legacy. Scenes of the video were shot on around twenty locations on  
the coastline of Netherlands, city of Rotterdam, coastline of south  
Croatia and city of Split and Zagreb. The manner in which these moving  
images are constructed references cinematography and its relation to  
the still image, while exploring visual perception by means of  
combining flatness and deep focus, time, stillness and movement. Abode  
of Vacancy aims to produce a series of affective images that evoke  
environments outside the conventional flow of time and definition of  
space.


The exhibition has been curated by Darko Fritz

Tanja Deman is a visual artist born in Split. She graduated sculpture  
at the Academy of Fine Arts in Zagreb in Croatia and did here MA  
studies in Lens-based media at the Piet Zwart Institute in Rotterdam.  
She has been exhibiting since 2000 in Croatia and abroad. She won  
couple of awards for her work. Her work “No 222” is part of a  
collection of the Museum of Contemporary Art in Zagreb, Croatia.  
Recently she mainly works in the medium of photo-collages in light  
boxes, photography and video. Her main interest lies in the psychology  
of space, which she explores through the surfaces of modernist  
architecture, deserted landscapes and an evocation of cinematic  
images. Her approach to space is similar to forensic architecture,  
which is focused on decoding histories embedded in built environments.  
More info:http://www.tanja-deman.com


---

grey) (area . space of contemporary and media art
contact: Darko Fritz, da...@darkofritz.net, + 385 91 5800193
http://grey-area.org__
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[spectre] HICA + grey) (area ::: Concretely Immaterial

[Darko Fritz]

HICA, the Highland Institute for Contemporary Art, Inverness-shire,  
Scotland


and

grey) (area . space of contemporary and media art, Korcula, Croatia



presents



Concretely Immaterial



25 July - 11 September, 2011



This collaborative project will form an exhibition in two parts,  
showing at grey) (area space of contemporary and media art, Korčula,  
Croatia, from 25th July - 7th August, and HICA, the Highland Institute  
for Contemporary Art, Inverness-shire, Scotland, from 14th August -  
11th September.


Artists showing at grey) (area will be Eloi Puig (Spain), Thomson and  
Craighead (UK) and Geoff Lucas (UK). Artists showing at HICA will be  
Samuel Cepeda (Mexico), Nina Czegledy (Canada)/ Marcus Neustetter  
(South-Africa), Darko Fritz (Croatia / Netherlands), Andreja Kulunčić  
(Croatia), Edita Pecotić (Croatia / UK), Transfer (Croatia) and Goran  
Trbuljak (Croatia).


The exhibition explores the possible physical nature of thought and  
the ‘virtual’. Virtual states and processes are variously employed  
in the artworks, especially through computer technology, though, in  
line with the title, Concretely Immaterial, the exhibition proposes  
these processes, as well as such things as the works’ effects in the  
spaces of the galleries, and the experience of the viewers, as  
substantial and real. This sense is perhaps exemplified by Darko  
Fritz’ presentation of the Internet error-message 204_NO_CONTENT.


The collaborative form of the exhibition provides a framework for this  
exploration, as both galleries are at some distance from each other,  
and occupy what might be considered remote locations; viewers, it is  
expected, will experience the exhibition at least partly through  
technology or their imaginations.


The relation of physicality and thought is also explored in the works  
themselves: Samuel Cepeda’s Clouds have no Nation parallels our  
knowledge of reality with the physical nature of clouds, a nature  
which science has difficulty in determining. Edita Pecotić’s  
Temporary Internet Files are time-lapse videos of a transforming  
landscape that display various layers of information, both real and  
virtual. Nina Czegledy and Marcus Neustetter’s book project, Visual  
Collider, refers to the Large Hadron Collider, the world’s most  
powerful particle accelerator and the quantum effects it aimed to  
observe: analogous reactions are created for the viewer, prompting  
uncertain responses through juxtaposed imagery.


Time, as an essential aspect of this relation, is emphasized in works  
such as Andreja Kulunčić’s examination of the people of  
Korčula’s changing attitude to their city through history, or Geoff  
Lucas’ work, an animated text considering the paintings of Jackson  
Pollock and the concretization of individual actions in time and space.


 The exhibition has been curated by Darko Fritz and HICA.

Concretely Immaterial, at HICA, has been supported by the Henry Moore  
Foundation.


It will run at the Korcula Town Museum, Croatia, from 25 July - 7  
August, and HICA, Inverness-shire, Scotland, from 14 August - 11  
September.




grey) (area . space of contemporary and media art
http://grey-area.org

Gradski muzej Korcula / Korcula Town Museum, Trg Sv. Marka bb,
http://www.gm-korcula.com

HICA http://www.h-i-c-a.org




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Re: [spectre] New Media Art Organisations in Netherlands lose funding

[Darko Fritz]

Rijksakademie from Amsterdam is rare and exemplary institution that  
don't distinguish between contemporary art and (new) media art, in a  
positive manner.


d

Begin forwarded message:


From: Rijksakademie - Edith Rijnja edith.rij...@rijksakademie.nl
Date: June 15, 2011 8:18:22 PM GMT+02:00
To: Fritz, Darko frit...@chello.nl
Subject: Support the Rijksakademie, secure the art of the future!
Reply-To: edith.rij...@rijksakademie.nl

Dear artists and friends of the Rijksakademie,

We would like to ask your attention for a serious matter.

The existence of the Rijksakademie van beeldende kunsten is being  
threatened by the Dutch Government. The intention to terminate  
governmental support as of 2013 endangers the future of this crucial  
source of top talent in the visual arts.


What the Rijksakademie asks from the government is an approach of a  
planning in phases in order to have some time to make new plans for  
the future.


The Rijksakademie is part of a large community. We have launched an  
online petition to reach out to our alumni, friends, partners and  
supporters from all over the world.


Please join us to secure the Rijksakademie as a vital source of the  
art of the future.


Sign the petition.


http://www.change.org/petitions/support-the-rijsakademie-secure-the-art-of-the-future?utm_source=share_petitionutm_medium=email


Voice your opinion and leave a personal message. And, please forward  
this email.  We hope to have as many reactions as possible before  
June 20, when we will hand over the petition and signatures to the  
Secretary of Culture Mr. Halbe Zijlstra and Members of the Dutch  
Parliament.


Thanks a lot.

With kind regards, also on behalf of the artists and staff of the  
Rijksakademie,



Edith Rijnja

Rijksakademie van beeldende kunsten
Co-ordinator
Alumni Projects / Rijksakademie Artists' Network
Sarphatistraat 470
1018 GW Amsterdam
tel  +31 (0)20 5270300
fax +31 (0) 20 5270301

edith.rij...@rijksakademie.nl

http://www.rijksakademie.nl/
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Re: [spectre] The Juxtaposium / open letter to event organisers

[Darko Fritz]

Dear Juxtaposiumists and Spectrists

I agree on the urge of new presentation formats for both art practices  
and related theory and criticism in symposium format.


Many artist talks already transgressed reading/papers/listing/slides  
symposium formats turning the presentations of art practice into  
specific kind of performances. We can learn from it while searching  
for new symposium formats.


At the other hand, I propose to look closer the cases where  
theoreticians transgressing their usual formats, making use of an art  
toolbox in their practice. An example is the presentation of Next 5  
minutes festival (N5M) by art historian / organizer / theoretician  
Eric Kluitenberg made as TJ (theory jay) performance. Performance was  
dealing with the subject of change of the language within political  
context, in format of live sound-performance with sampled texts,  
sounds and text-to-speech (with Theory Machine software designed  
specially for this event by Adam Hyde). It was presented at the  
CLUB.NL project that I co-curate back in 2000. Presentation was made  
after curatorial proposal to present Next 5 minutes festival, but  
strictly expressed that presentation don't use reading/papers/listing/ 
slides format. This presentation did not prezented realized artworks/ 
projects/activities/outputs of N5M festival as usual, but its  
content / idea in another format. Same went for several other  
organizations and institutions that were presented within CLUB.NL  
project, each choosing different way of presentation. As well, CLUB.NL  
merge the press-conference with 15 minutes presentations of each  
invited organization (with standard  reading/papers/listing/slides),  
while two artist simultaneously made performances in the same space  
and made some noise that deliberatelly disturbed readability of the  
presentations / press conference.


All in all, it's about leaving the safe zone of established  
presentation formats and inaugurating new relationship to presented  
content. It is applicable for ones who are ready for it, with the  
respect for ones who are not. In some cases standard symposia formats  
working best for presenting the content, so here I vote for supporting  
all (new, old and hybrid) formats in the symposia, where the content  
is in forefront.


Best regards

Darko



--

Darko Fritz

http://darkofritz.net

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Re: [spectre] OS X Home Icon @ St. Oberholz

[Darko Fritz]

Dear Johannes

as you already have carrying around the Home icon in Linz ... here  
is one that I plant there back in 2002:


http://darkofritz.net/projects/migrant/flowers.htm

Best regards

Darko


On Jan 5, 2011, at 2:00 PM, Johannes P Osterhoff wrote:


Dear Spectre and Rohrpost,
From this Friday on I will show my real-life reconstruction of the  
OS X Home Icon at St. Oberholz at Rosenthaler Platz, Berlin.
Last summer I had a lot of fun carrying it around in Berlin and Linz  
and now I could not image a better site for it.

Topping out ceremony, coffee, etc. starts from 5.

Looking fwd,
Johannes

http://www.cultofmac.com/artist-finds-home-in-real-life-apple-osx-icon
http://www.johannes-p-osterhoff.com/interface-art/home-sweet-home

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[spectre] Fwd: CALL FOR PAPERS_Euro-Mediterranean Forum for Young Researchers, Istanbul (April 13-15 2011).

[Darko Fritz]

Begin forwarded message:


From: Mathieu Rousselin mathieu.rousse...@unisg.ch
Date: October 14, 2010 1:25:56 PM GMT+02:00
To: euromedho...@gmail.com
Subject: CALL FOR PAPERS_Euro-Mediterranean Forum for Young  
Researchers, Istanbul (April 13-15 2011).


Dear Professors and Researchers,
Dear Members of the University administration,
Dear Sir or Madam,


I would like to draw your attention to the first Euro-Mediterranean  
Forum for Young Researchers organised by the Chios Institute for  
Mediterranean Affairs in Istanbul on 13-15 April 2011. This Forum  
will provide an open platform for exchanges and debates among  
postgraduate and doctoral students as well as young professionals  
engaged in research activities throughout the Mediterranean region.


During the Forum, selected participants will have the opportunity to:
present their current research;
receive feedback and improve their drafts;
exchange and socialise with peers;
meet representatives from leading scientific journals;
attend three keynote lectures by distinguished academics.

The Call for Papers is attached to this email and can also be  
consulted on our website: http://www.euromedaffairs.org/youngresearchers/index.php




I would be very grateful if you contribute to the success of our  
initiaitve by circulating this information, as well as the attached  
Call for papers, to the students of your university.


I thank you very much for your support and remain at your disposal  
if you need more information about our Institute and its activities.


Best regards,


Mathieu Rousselin
Scientific Director and Board Member
Chios Institute for Mediterranean Affairs (Greece)
www.cima-online.org
0041 79 270 92 95


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[spectre] grey) (area ::: Samuel Cepeda: The Clouds have no nation

[Darko Fritz]

grey) (area - space of contemporary and media art, Korcula

Samuel Cepeda: The Clouds have no nation

4 - 14 . 8. 2009.

Opening: Tuesday 4th August . 21 - 23 h.

free entrance

The Clouds have no nation is a project made for grey) (area space of  
contemporary and media art in Korcula, Croatia. It consists of a site- 
specific video installation in the gallery space and a public action  
of distributing art prints by the artist himself in the city of Korcula.


The Clouds have no nation is part of the Cloudwalkers project (since  
2005) which explores different ways of questioning the knowledge that  
we have about reality through the clouds. Artist state The project  
makes us remember when we were kids and tried to find real objects in  
the shapes of a cloud. I tried to have people experience and  
participate in my artwork keeping in mind  the question: why not?.


An extended exhibition presented several phases of the The  
Cloudwalkers project. It was held in 2008 at the Centro de las Artes  
CONARTE in Monterrey, curated by Darko Fritz. During the exhibition,  
Cepeda made a interactive action with children in ages between 8 –  
11. For the first time, its results and documentation are now  
presented. Among other activities, children made drawings of actual  
clouds while looking through the transparent plastic sheet size 4 x15  
meters, placed above them. Now the same sheet with drawings is placed  
at the ceiling of the gallery space.


Cepeda chose the clouds as objects over which science has difficulties  
providing fixed answers on their physical constitution. It´s hard to  
describe them within their nature and shape, which usually last for  
less than a second because they´re changed by a huge number of  
physical dynamics that are going on in nature´s permanent flux.


The project is focused to produce, contextualize and display the  
imaginary forms triggered by the ever-changing visual appearance of  
the clouds watched by humans. This is represented by means of visual  
imagination of different people that participated in this project. The  
most important motivation for the realization of the project was to  
requestion realities throughout aesthetically means of fine arts,  
which its approach is impossible or very difficult to make, throughout  
the methodology and language of science. Artist is using and reversing  
the scientific language and methodologies. He summarized his project  
as ... ironic tendency to question the unquestionable.


The sites of Cepeda's works ranging from institutions of contemporary  
art to the public spaces, as intentional institutional critique (the  
bar, the city streets and crossroads), appropriates both political  
activist, mainstream commercial propaganda and involvement methods.


The old and new media and communication systems are used in the  
Cloudwalkers project. Making use of the polaroid photo in this project  
is significant as such media implicate instant authenticity, as well  
as including the photo-process and its distribution at once.  
Significally, at the time of preparing the first overview of the  
Cloudwalkers project (2008), the Polaroid company announced closing of  
its factories for further production of polaroid films and cameras.


Samuel Cepeda (1977, Monterrey, N.L. México) New media artist, he has  
two technical degrees one in graphic design and the other in computer  
design (1995). He graduated with a Visual Arts degree from the  
Universidad Autónoma de Nuevo León in 1999 as well as a Graphic  
Design Degree from the Universidad Metropolitana de Monterrey in 1998.  
Due to his interest in New Media Art he studied an MFA in Transart  
Institute and Danube University in Austria, and an MA in Arts at the  
Universidad Autónma de Nuevo León. He is teaching at the Universidad  
Autónoma de Nuevo León and the Centro de Estudios Superiores  
Universitarios de Diseño de Monterrey.


Cepeda's artwork use video, photography, audio and digital tools as  
media to produce multidisciplinary projects with Installations, Public  
Actions, Performance, Happening, video art and digital art. Some  
exhibitions: 1ra Serie festival multidisciplinario Mty, N.L. Mex  
(2009) public action, performance; The cloudwalkers project,  
Monterrey (2008) Public actions, documentation, performance; The  
cloudwalkers project_1 Linz, Austria (2006) video installation,  
performance; Acthung-roof Krems, Austria (2005) public installation,  
video documentation; Identity Santa Catarina N.L. (2007)  
Installation; Casa de la abuela Mty, N.L. (2002) Installation,  
Public intervention.


website Samuel Cepeda: http://samuelc.com
website Cloudwalkers project: http:www.cloudwalkers.org


---

contact: Darko Fritz da...@darkofritz.net / tel + 385 [0] 91.5800193


grey) (area program 2009: Lemeh 42 (Italy) . Petar Grimani  
(Croatia) .  Ivan Marusic Klif  (Croatia) . Toni Mestrović   
(Croatia

[spectre] grey) (area ::: Toni Mestrovic: Abyssos 6

[Darko Fritz]

grey) (area - space of contemporary and media art, Korcula

Toni Mestrovic: Abyssos 6

17 - 28 . 06

Oepning: Friday 17th July . 21 - 23 h

free entrance

Site-specific video installation making use of projection of  
underwater scenes in relation with the 'real' sea and its sounds. The  
seafront  is ten meters in front of the of the gallery entrance. Sound  
composition is made in collaboration with German artist Hannes Hoelzl.


from artist satatement:

As a point of departure I looked at the word abyssos (bottomless),  
which is a synonym for dark infinities and primal chaos. It was  
important for me to create a work, with the intention to open up the  
space between conscious and unconscious perception.The original  
underwater footage is combined with the images and sounds that have  
been manipulated through digital processing technology. Like a kind of  
a feedback system, “real” imagery (original video footage) is  
intertwined with artificial imagery (manipulated footage and 3D  
imagery).


Toni Mestrovic, born 1973 in Split, Croatia, graduated with a Graphic  
Arts degree from the Academy of Fine Arts in Zagreb in 1999, where he  
produced graphic arts, sculpture and installation. Due to his interest  
in electronic audiovisual media, he studied Video/Digital Imaging at  
the International Summer Academy for Contemporary Art in Salzburg in  
1997, and completed a two-year postgraduate diploma in Media Art at  
the Academy of Media Arts, Cologne in 2004. Video, sound and  
audiovisual installations produced during Mestrovic's postgraduate  
studies explore his personal perception of the sea, and the island  
where he grew up. Since 1992, he has taken part in group and solo  
shows, as well as video festivals. Lives in Kastela and teaches at the  
Arts Academy University of Split.


website Toni Mestrovic: http://www.macaknara.hr

---

contact: Darko Fritz da...@darkofritz.net / tel + 385 [0] 91.5800193


grey) (area program 2009: Lemeh 42 (Italy) . Petar Grimani  
(Croatia) .  Ivan Marusic Klif  (Croatia) . Toni Mestrović   
(Croatia) . Samuel Cepeda (Mexico) .  Nina Czegledy (Canada) and  
Marcus Neustetter (South Africa)


participants in gray) (area program: Veaceslav Ahunov, (Uzbekistan),  
Abilsait Atabekov (Kazahstan), Dunja Blažević, Boris Cvjetanovic  
(Zagreb), Gem Sqash (Adam Hyde and Ntsikelelo Ntshingila), Petar  
Grimani (Croatia), Ulan Djaparov (Kazahstan), Ivan Faktor (Osijek),  
Kontejner (Zagreb), Lemeh 42 (Italy), Faruk Loncarevic (Bosnia and  
Hercegovina), Alban Muja (Kosova), Edita Pecotić (Korcula / London),  
Ana Peraica (Split), PRO.BA (Bosnia and Hercegovina), Radioqalia (Adam  
Hyde and Honnor Hager, New Zealand), Lala Raščić (Sarajevo –  
Zagreb), Stefan Rusu (Moldavia / Romania), Tomo Savić-Gecan (Zagreb -  
Amsterdam), Slaven Tolj (Dubrovnik), Transfer (Zagreb), Goran Trbuljak  
(Zagreb), Alexandr Ugay (Kazahstan), Dražen Vitolović (Sovinjak /  
Rijeka) i Enes Zlatar (Bosnia and Hercegovina).

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[spectre] news from Athens by PREZA TV

[Darko Fritz]

news form Athens by PREZA TV

... in Greek, with lots of videos and photos (I come across it via  
Greek friend) ...


http://prezatv.blogspot.com/

d

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[spectre] siva) (zona . gray) (area . Korcula ::: Transfer: Teorijski filmovi - Theoretical films

[darko fritz]

- scroll down for english -


siva) (zona
prostor suvremene i medijske umjetnosti . Korčula


izložba . Transfer: Teorijski filmovi
09 - 14 . 09 . 2008
otvorenje izložbe . utorak 9. rujna . 20 - 22 h


Prostor suvremene i medijske umjetnosti siva) (zona iz Korčule nakon  
serije intervencija u javnom prostoru (od kojih je nekoliko još  
prisutno u gradu) pnovo počinje galerijsku djelatnost predstavljanjem  
teorijskih fimova produciranih za televizijsku emisiju za suvremenu  
kulturu Transfer (HRT).  Teorijski filmovi su jednominutni prilozi  
osobiti za Transfer - emisiju o suvremenoj umjetnosti i urbanoj kulturi.


U svibnju 1995. u mainstreamu hrvatskog medijskog prostora pojavljuje  
se Transfer - TV emisija o suvremenoj umjetnosti i urbanoj kulturi.  
Transfer pokriva razvoj kulturnih politika hrvatske nezavisne scene  
te kontekstualizira domaću i međunarodnu umjetničku produkciju  
prateći djelovanje najvećih protagonista i najeminentnijih svjetskih  
manifestacija vizualne, medijske i izvedbene umjetnosti: Dokumentu,  
Transmedijale, Def, Ars Elektroniku.  Poput nekog progresivnog  
bastarda on, ne samo da vizualno atraktivno i sadržajno obuhvatno  
dokumentira zbilju suvremene umjetnosti već ju prosuđuje iz  
teorijsko-kritičkog rakursa.



Transfer stvara vlastitu umjetničku produkciju u obliku Teorijskih  
filmova, koji su jedinstveni primjer televizijske forme kao  
umjetnosti i svojom se hibridnom formom izvrsno uklapa u program  
nedefiniranih medijskih granica predstavljenima u programu sive) (zone.


Teorijski filmovi djeluju u rascjepu između reklama za 'ozbiljnu'  
teoriju i poticajnih misli za laku noć, obuhvaćajući od komentara  
na društvena zbivanja do teorijskih postavki o suvremenoj kulturi i  
umjetnosti. Teorija Slavoja Žižeka je materijal u većini filmova,  
no 'uobličeni' su još i teoretski postulati autora kao što su Kant,  
Freud, Lacan, Wittgenstein, Debord, Agentur Bilwet, Marx i Engels i  
drugi, redovnoi uz glazbenu podlogu probrane alternativne pop- 
kulture, često post-industrijske, electro i techno orjentacije.


Počeli su se emitirati 1999. i rezultat su suradnje Dejana Kršića  
(Arkzin, Zagreb) i Gordane Brzović (Transfer), ili BASTARD  TRANSFER  
Movies Production koji su isproducirali su trideset i jedan film do  
2002 . Teorijski filmovi nastali od 2003. do 2004. godine suradnički  
su projekt udruge KONTEJNER | biro suvremene umjetničke prakse  
(Zagreb), grafičkog dizajnera Dejana Dragosavca Rute i Gordane  
Brzović, redateljice Transfera.


U sklopu Transfera teorijski filmovi otvaraju mogućnost ne samo da se  
dokumentira zbilja već da se razmatra iz teorijsko-kritičkog rakursa  
kao i suvremena umjetnost koja unutar nje djeluje. Unatoč tome što  
se emitiraju na Hrvatskoj nacionalnoj televiziji nastaju na DIY  
(uradi sam) i 'how low can you go' principima. Time, iako vizualno  
atraktivni, ne postaju spektakl po sebi nego ideja ostaje u žiži te  
vizualizirane teorije.


U galeriji siva) (zona prezentirana je cjelokupna produkcija od 35  
filmova u ukupnom trajanju od 70 minuta.




///  english -

gray) (area

space of contemporary and media art . Korcula . Croatia

presents . Transfer: Theoretical films
09 - 14 . 09 . 2008

. opening . Tuesday 9th September . 20 - 22 h

Despite the fact that it is part of the state-run TV, Transfer is one  
of the rare media that regularly cover media art events; in the 1990s  
it was the only one. Since 1995 Transfer has been edited by Gordana  
Brzovic. She and Dejan Krsic under the BASTARD  TRANSFER Movies  
Production label created thirtyone one-minute theoretical films for  
the Transfer program from 1999 until 2002. Such a films were  
continued in new collaboration of Transfer with Kontejner | bureau of  
contemporary art praxis (Zagreb). Theories of Slavoj Žižek appears  
in most of the films, but there are as well theories of Kant, Freud,  
Lacan, Wittgenstein, Debord, Agentur Bilwet, Marx i Engels and  
others, in dialogue with contemporary alternative music and hectic  
graphic and video language.



)( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( ) 
( )( )( )( )( )( )(


gray) (area is located 10 meters by the sea in the basement of The  
Memorial Collection of Maksimilijan Vanka [http://www.hazu.hr/ENG/ 
MemColl_M_Vanka.html] . Put sv. Nikole 7 . Korcula



open daily 20 - 21 h or by appointment

contact: Darko Fritz [EMAIL PROTECTED] / tel +31 [0] 91.5800193
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[spectre] fwd: Call for paperes: International symposium (New) Media Art in Museums

[darko fritz]

International symposium
(NEW) MEDIA ART IN MUSEUMS
production – keeping – presentation
15 – 17 October 2008

Call for papers
deadline:  20 August 2008


The Museum of Modern and Contemporary Art in Rijeka organizes the  
international symposium (New) Media Art in Museums that will be held  
15 – 17 October 2008 at the City Hall in Rijeka.


Expert Scientific Committee:
dr Goran Zlodi, FF, Zagreb
Marija Gattin, MSU, Zagreb
Dalibor Martinis, APU, Zagreb

Organisational Committee:
Nataša Ivančević, MMSU
Ljubica Dujmović Kosovac, MMSU
Daina Glavočić, MMSU
Darko Fritz, media artist, curator, Amsterdam
Dan Oki, media artist, profesor UMAS


THE AIM OF THE SYMPOSIUM
The aim of the international symposium (New)Media Art in Museums is  
to consider status of (new)media art in museum collections,  
conditions of keeping, protection, modes of exhibiting and all the  
changes that (new) media art  introduces into the everyday practice  
of contemporary museums.


Special attention will be paid to the specifics regarding production  
and rights that evolve from interrelations between museum – author  
– agency – certified producer. By employing the main subject: What  
are new media? – the symposium will thematically process temporal  
definition, production, keeping and presenting of (new)media art, as  
well as artistic features and influences that new media and digital  
technologies exert on contemporary museum presentation practice.


SPHERES AND MAIN SUBJECTS
new media and cultural heritage
production / artwork
the diversity of museum material and the status of (new)media  
artworks in museum collections

the conditions of keeping and the modes of exhibiting
the museum in a role of producer, risks, rights and duties,  
experiences and prognoses
the influence of technological development on museum institutions,  
interaction between (new)media – institution - artists

global information system and museums


Detail information on symposium:
By organizing the symposium (New)Media Art in Museums we wish to  
stimulate colleagues from the museum profession and artists towards  
reflection, writing and discussion on interesting and actual subject  
of new and digital media, the various means in which the latter are  
implemented into museum activities and art creation, as well as their  
influence in forming the views on contemporary world.


The symposium's subject is defined, yet opened towards problematizing  
the experiences and insights from both theory and practice.


We take special interest in the present state of artworks from the  
countries  of the symposium's participants, as well as in  
institutional interest and actual artists. We hope for the high  
number of participants  as it will enable us to develop discussion,  
provide practical examples and create conditions for quality  
comparison. We wish to reach conclusions on situation both within the  
region and globally.


We take special interest in discussing the following subjects:
-  relation between media and museums
-  the percentage of representation of (new)media works in  
the specialized museums of visual art

-  institutions' relation  to (new)media museum items
-  author's rights (author and collaborators...)
-  relation between original and copy (the number of copies,  
ethics)
-  conservatorial procedures that are applied when a (new) 
media artwork is endangered due to a process in which it happens to  
be (keeping, outdated technology)


Abstracts, papers:
Besides five invited international experts we expect applications  
from  museum professionals, artists and other interested experts from  
Croatia and abroad.
We shall accept only the original, unpublished papers, previously not  
presented in public.
Accepted works, presented at the symposium, will be published (with  
abstracts in English language) in both a printed and a CD-ROM edition  
by MMSU in 2009. The expositions will be presented orally, along with  
multimedia presentation.


Official symposium languages are Croatian and English (with  
simultaneous translation).
The application including personal data, a subject's title and an  
abstract (up to 200 words) should be sent not later than 20 August  
2008  by either:
- mail at MMSU, Dolac 1/II, 51000 Rijeka (with a designation FOR  
SYMPOSIUM) or

- email at [EMAIL PROTECTED] (with a designation  FOR SMYPOSIUM).


Detail information on the symposium's program
can be found at http://www.mmsu.hr/.
Final program of the symposium will be announced not later than 22  
September 2009


Site of the symposium
City Hall, City Government edifice , Korzo 16, Rijeka

Participation fee
For the participants from Croatia:
600,00 kuna – both conference days (15 – 16 October 2008)
300,00 kuna – students and pensioners (both conference days)
300,00 kuna – single conference day (15 or 16 October 2008)

Payments into bank account Museum of Modern and Contemporary Art,  
Erste Steiermäkische bank

[spectre] gray) (area ::: Korcula ::: Edita Pecotic: Moreska

[darko fritz]

gray) (area

space of contemporary and media art . Korcula . Croatia

presents . Edita Pecotic: Moreska

. 04 - 09 . 07 . 2008
. opening . Friday 4th . 21 h

Moreska is a medieval drama and sword dance which is still performed  
in Croatia’s town of Korcula. The story follows the conflict between  
the Red King and the Black King and their soldiers, as the Red King's  
fiancée is captured by the Black army. This romantic and ritualized  
sword battle is performed in seven circles representing seven  
different dances with swords. Finally the Black King is conquered and  
his fiancée happily returns into arms of her beloved Red King.


As opposed to the original dance/drama, in the video ‘Moreska’ by  
Edita Pecotic, the artist has given the fiancée the main role,  
offering the audience the opportunity to concentrate solely on the  
portrait of the woman. The video depicts her 20 minute long struggle  
between engagement and boredom with her role ranging from engaged to  
passive, from dynamic to bored. This work is made in an attempt to  
explore general (universal) gender issues – the role of women  
throughout history as well as in the contemporary world, determined  
by continuous conflicts globally as much as within the domestic  
environment.


2 min video excerpt: http://www.editapecotic.com/moreska/

)( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( ) 
( )( )( )( )( )( )(


gray) (area is an low-key independent non-profit non-institution that  
operates during lazy summer time within gray area of friendships and  
vacations and cultural funding / production / distribution.


gray) (area presents works of contemporary and media art with focus  
on ones that fills the gap between those two art-worlds and  
discourses. preferable are programs that shifts the media and  
skipping the frame of simple definitions and interpretations.


gray) (area operates form the city of Korcula at Korcula island in  
Croatia, enjoying the free position of the cultural periphery and  
challenge of no context of neither contemporary nor media art within  
the close neighborhood. Periphery provides freedom of established  
cultural power-games, predictable fashionable key-words and double  
criteria [that depend on geo-political position of the art-producer]  
and other positions of predictable artist reputation's building  
system of cultural industry, and become present even within the small  
media art culture circles.


gray) (area is protocol between a white cube and a black box.
gray) (area like it small and good and take-it-easy and don't wont to  
grow.

gray) (area is sensing creative economy of 21st Century in error.
gray) (area is hub of gray economy.
gray) (area is dead-end backbone of social not.work of contemporary  
cultural politics.

gray) (area is operating system of no.work.
gray) (area prefers diving in a crystal blue sea than silicon one.
gray) (area prefers periphery than center.
gray) (area like speaking Bad english.



)( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( ) 
( )( )( )( )( )( )(


gray) (area is located 10 meters by the sea in the basement of The  
Memorial Collection of Maksimilijan Vanka [http://www.hazu.hr/ENG/ 
MemColl_M_Vanka.html] . Put sv. Nikole 7 . Korcula



open daily 21 - 21 h or by appointment

gray) (area is summer only initiative of Darko Fritz  
[EMAIL PROTECTED] / tel +31 [0] 91.5800193


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[spectre] exhibition: Darko Fritz: Archives in Progress (projects 1987 – 2007) . Zagreb

[darko fritz]

Croatian Artist Association . Ring Gallery . Zagreb

exhibition:

Darko Fritz: Archives in Progress (projects 1987 – 2007)

9. - 21. 10 . 2007.

Opening Tuesday 9th 2007. 20 - 22 h.

The exhibition presents Darko Fritz's artistic projects created from  
1987 to 2007. Some of them lasted for as long as five years.


The exhibition explores the possibilities of use of archival media  
(audio-visual media) for art purposes and “pure information” as an  
art form, so that in a gallery display it is conceived as a “film in  
space”.


Twelve units, which are independent audio-visual displays, present  
all together ten individual and two group art projects by Darko  
Fritz. Through the presentation by means of audio-visual archives,  
all in all more than two hundred art objects, gallery installations,  
art installations in public space, contextual projects, video works,  
photographs, Internet projects, and other art forms and formats are  
shown.


Audio-visual displays on projects contain photo and video  
documentation material collected since 1987, now adapted for gallery  
set-up. Audio-visual displays use the video medium in the hybrid form  
of documentary film (with a voice of professional narrator), art  
documentation, film animation, and video art. The photo documentation  
and video material originally stored in diverse video formats, some  
of which are today difficult to access (for example U-matic video),  
are digitalised and re-formatted.


Audio-visual displays enable the insight into the context of  
particular projects, which is sometimes not discernible from a single  
segment of a work. Particular project segments have been constructed  
to function as separate works of art, e.g. one of the photographs  
from the “End of the Message” series. The context of the work is  
broadened with the insight into a series of photographs, and by  
further insight into the story - which works had preceded this  
segment before and followed it through the entire five-year project -  
the context is uncovered, which is a work in itself. This kind of  
context can be presented through different forms, like printed and  
electronic publications, Internet documents or video. It is precisely  
this kind of video work that this exhibition consists of. On the  
other hand, many particular works had their material manifestation in  
the passage of time, so that it is not possible to display them in  
their original context again, as for example art works in flower  
installation form in public areas of Amsterdam, Linz, Zadar, Zagreb  
and Fuerteventura.


The exhibition will be accompanied with the catalogue and a DVD  
edition by the end of 2007. The catalogue editors are Silva Kalčić  
and Darko Fritz. Texts by: Goran Blagus, Nataša Ilić, Silva  
Kalčić, Leonida Kovač, Eric Kluitenberg, Geert Lovink, Vesna  
Madžorski, Zvonko Maković i Inka Schube.



The exhibition presents the following projects:

The Imitation of Life Studio [1987 - 1990]
Cathedral  [1988]
3 x Moscow Intershadow  [1992]
Theatre Time  [1994]
Keep the Frequency Clear  [1994 - 1995]
Error Reports [1995 - 1997]
End of the Message [1995 - 2000]
XXX [body . technology . desire . porno] [1997 --]
space=space [1998 - 2003.]
time=money=time=  [2000 - 2001.]
Internet Error Messages [2001 --]
Migrant Navigator [2001 --]

Group projects:
The Imitation of Life Studio: Darko Fritz, Željko Serdarevic
Cathedral: Bakal, Fritz, Juzbasic, Marusic, Premec
space=space, 1999: Fritz, Arapovic
p.sound remix [part of the XXX project]: network art


January 2008 the exhibition will be on display at the Museum of  
Modern and Contemporary Art in Rijeka.


Thanks to: Sarah Cook and The BALTIC Centre for Contemporary Art,  
Gateshad.


More information on the work of Darko Fritz: http://darkofritz.net

Croatian Artist Association: http://www.hdlu.hr


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[spectre] gray) (area . Korcula ::: Old and depressive anonymous is looking for a permanent display place in some nice new art museum space

[darko fritz]

gray) (area

space of contemporary and media art . Korcula . Croatia

. presents
. Old and depressive anonymous is looking for a permanent display  
place in some nice new art museum space


. posters in public space and mail-art action

. start 21. 09 . 2007


Final event of 2007 gray) (area program is the public action 'Old and  
depressive anonymous is looking for a permanent display place in some  
nice new art museum space'.


gray) (area is going out of the gallery's to pubic space of printed  
communication, announcing its 2008 program that will expand to the  
public spaces of Korcula.


For this event a poster was displayed  that reads: ‘Old and  
depressive anonymous is looking for a permanent display place in some  
nice new art museum space’. Cutting off words from the text an  
additional series of seven posters are made that reads: 'OLD IS  
NICE', 'DEPRESSIVE MUSEUM', 'ANONYMOUS PERMANENT', AND FOR A',  
'LOOKING IN ART', 'DISPLAY SOME' and 'PLACE NEW SPACE'. All eight  
posters were displayed around the city of Korcula, at both at the  
legal public billboards and illegal advertising places where  
different kind of posters are usually shown in the public spaces  
(because of lack of advertising spaces in Korcula). End of the action  
is when posters will be covered with new ones.


Additional mail-art action is made addressing the printed postcard  
with mentioned text-design to major art museums and art institutions  
around the world. Both actions were made anonymously, with no sign of  
neither author's name or gray) (area. The only glue is knowledge of  
artists' work or post stamp of Korcula's post office at the level of  
objects and press release informations that are distributed  
electronically.


Thanks to Museum of Contemporary Art Zagreb for the address database  
and Ministry of Culture of Croatia for supporting gray) (area 2007  
program. No thanks to City of Korcula for not answering and hiding  
2007 program application (that was sent in time and never answered).


More info and pictures: http://darkofritz.net/korcula/ 
Old_and_depressive.pdf


---

gray) (area 2007 program realized
_ Slaven Tolj (Dubrovnik, CRO): Globalization + Lighter (performance)
_ Changing Climate [video art from Central Asia] . curator: Stefan  
Rusu (Moldavia / Romania) . artists: Abilsait Atabekov (Kazakhstan)  
Veaceslav Ahunov, (Uzbekistan), Ulan Djaparov, Alexandr Ugay  
(Kazakhstan)
_ PRO.BA production (Center for contemporary art, Sarajevo) video  
(post)production . selector: Dunja Blazevic . artists:  Enes Zlatar i  
Faruk Lončarevic
_ Josko Bace (Dubrovnik - Zagreb, CRO): Lighthouse, site-specific  
installation)
_ Radioqalia (Adam Hyde, Honnor Hager, New Zeland): Radioastronomy,  
sound installation, radio program, internet audio streaming
_ Gem Sqash (Adam Hyde i Ntsikelelo Ntshingila): Polar Islands, sound  
performance
_ Alban Muja (Pristina, Kosovo): Free Your Mind, presented by Ana  
Peraica (Split, CRO)

_ Old and depressive.., intervention in the urban space



gray) (area is an initiative by Darko Fritz . [EMAIL PROTECTED] .  
tel +385 [0] 91.5800193








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[spectre] gray) (area ::: Korcula ::: Alban Muja: I-scream / Free Your Mind

[darko fritz]

gray) (area

space of contemporary and media art . Korcula . Croatia

presents .
Alban Muja: I-scream / Free Your Mind
guest curator: Ana Peraica

21 – 26 . 8. 2007

. opening . Tuesday 14. 8.22 - 24 h

-

Ana Peraica: I-scream

The formulation I - scream comes from the cult movie Down by the  
law (1983) by Jim Jarmusch, featuring Tom Waits, Benini and others.  
In the prison three prisoners are repeating as mantra:


I scream, you scream, we all scream for ice-cream

until they make a revolution that allows them to escape, along with  
the movie narrative, possible.



It was actually Alban who promised me an ice cream in our e-mailing,  
if we manage to escape on the island Korcula, in the Grey Zone...  
The title reflects the condition of Internet society (I-society) in  
which we are finding ourselves previous to our escape, communicating  
from different places.


I - scream also reflects the topological I position (where I is  
written always with a CAPITAL I, or where the AngloSaxon capitalism  
shows up symptoms of political identity / 1 = 1 /, ego centre as the  
ultimate authority.


While in the actual time of grown-ups disasters reflecting on us are  
near cataclysms, as conflicts, in times of our childhood – the  
biggest catastrophe was - falling of an ice cream. We all remember  
our childhoods, as in TBF song, being dirty of ice-cream.


There were three types of ice-cream; na kugle (on balls), na  
automat (on the automatic machine) and latter - industrial cornetti.  
Ice - cream was a currency having a good exchange rate between adults  
and kids. One could save the award for latter, still it rarely  
happened. It is notable majority of ice-cream caffes in socialism  
were run by Albanians. Times have changed... Now, between national  
identities and I identities there is a gap to be screamed out (a  
voice broken through).


Alban Muja's communication or mis-communication videos, as  
Palestina (2005), Agreement 2006) are showing the symptom of  
translation of I position, its displacement.


Anyhow... I can write whatever now, as a theorist. Actually I want to  
eat ice - cream on Korcula. And of course, I would not miss to  
develop some theory here too; the last definition comes; eating ice  
cream is a pleasure, a childish hedonistic act.


Sounds good for a concept?

http://anarchiva.blogspot.com/2007/08/icream-grey-zone-korula- 
island.html




Alban MUJA: “Free your mind” -Video 9:45 min . artist statement

One of my first projects that I completed is a video entitled Free  
your mind. The video of Marina Abramovic was my starting point and it  
gave me the idea for my work.  However, I was not very happy with the  
first form of the idea and, therefore, I continually tried to find a  
way to differentiate my work from that of Marina.
What should an artist do to respect the source of his inspiration,  
the work of a famous colleague who has made a name for herself, and  
at the same time, to distance himself from that work and that name,  
and to become himself?   For a moment, I thought about how I could  
free myself, not from the influence, but from the torture of trying  
to find myself in the work of another artist, if I repeated loudly  
the famous name, until it lost its meaning.  Then, I realised that  
this is a way to be freed from every name and influence.  I started  
to spontaneously call the names of the artists that came to my mind  
and who have influenced me in one way or another.  I felt that I was  
doing some kind of exorcism.  In a way, I was respecting those names,  
but at the same time, I was freeing myself from a weight, from all  
that I had accumulated on my mind in the form of preferences and  
influences, by taking them off me and converting them into empty  
sounds, which one after another, were lost in time and space...


Read the whole essay:

 http://anarchiva.blogspot.com/2007/08/icream-grey-zone-korula- 
island.html



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gray) (area is located 10 meters by the sea in the basement of The  
Memorial Collection of Maksimilijan Vanka [http://www.hazu.hr/ENG/ 
MemColl_M_Vanka.html] . Put sv. Nikole 7 . Korcula



open daily 21 - 22 h or by appointment

gray) (area is an initiative by Darko Fritz . [EMAIL PROTECTED] .  
tel +385 [0] 91.5800193




Program is realized in collaboration with Ghetto Club (Free Art  
Academy), Split, Croatia.


---

Open daily until 26 August 21 - 22 h.



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[spectre] gray) (area ::: r a d i o q u a l i a: Radio-astronomy and Gem Sqash: Polar Islands

[darko fritz]

gray) (area

space of contemporary and media art . Korcula . Croatia


r a d i o q u a l i a (Adam Hyde i Honor Hager, Novi Zeland): Radio  
Astronomy

zvučna instalacija, radio program, internet prijenos zvuka

14. – 21. 8. 2007.

. opening . Tuesday 14. 8.22 - 24 h
radio broadcast: 14th August .  11 - 11. 30 h Radio Korčula FM 107.5,  
live audio stream http://www.radio-korcula.hr


 r a d i o q u a l i a from New Zealand (Adam Hyde and Honor Hager)  
presents the sound installation Radio Astronomy for one week under  
the stars in front of the gallery space gray) (area.


This project links radio as broadcast medium for sound with radio  
astronomy. The signals being received by radio telescopes in Hawaii,  
Latvia, and other locations throughout the world are converted to  
sound in real time and transmitted on line and on the airwaves,  
thereby casting into high relief the nature of the cosmos as a  
dynamic information site in which the planets and stars are  
ceaselessly generating sound.


more info: http://www.radio-astronomy.net.

Open daily until 21 August 22 - 23 h.

---

Gem Sqash (Adam Hyde and Ntsikelelo Ntshingila): Polar Islands
live sound performance

13 . 8 . 23 h . Festival Istruga, Korčula
15 . 8 . 22h . Ghetto Gallery Splitu u 22h


///

links:

r a d i o q u a l i a: http://www.radioqualia.net
Radioastronomy: http://www.radio-astronomy.net
Radio Korčula: http://www.radio-korcula.hr
Feštivala Istruga: http://www.festivala-istruga.com







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[spectre] gray) (area . Korcula . Croatia presents pro.ba . Sarajevo

[darko fritz]

gray) (area

space of contemporary and media art . Korcula . Croatia

presents . pro.ba . Sarajevo
a selection of video post.production by pro.ba . Sarajevo selected by  
Dunja Blazevic


Enes Zlatar: Thailand
Mum 'n' Dad

. 31 . 07 - 06 . 08 . 2007
. opening . Tuesday 31st . 20.30 h



pro.ba is the multimedia production of the Sarajevo Center for  
Contemporary Art - SCCA. pro.ba produces original work in new media,  
encourages students and others to realize their own projects using  
digital technology, and provides assistance to artists in creating  
works in new media. pro.ba offers equipment that enables work and  
experimentation in video, Internet, multimedia, sound and 2-D and 3-D  
graphics and animation.

pro.ba is open weekdays from 10am to 6pm.
 Apart from its non-commercial projects, pro.ba has a commercial  
video, audio, web and graphic production. In order to accumulate  
funds for artistic and educational projects, pro.ba ventures into  
commercial production.


http://www.pro.ba

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Enes Zlatar: Thailand
2001, 9.40, dv, color
Asistent rezije: Timur Makarevic
The authors did not travel to Thailand, they just made documentary  
about Thailand.
Enes Zlatar is coordinator for new media at the Center for  
Contemporary Arts Sarajevo, multimedia lab pro.ba.

Filmography- 24 hours with Bure, 1993
- 4saved the Amazon, serija kratkih filmova, 1993
- Video magazin, 1994
- Stinky Spider, 1998
- Only god, 1999
- Telepathy, 1999
http://www.pro.ba/01_video_produkcija/e_video_produkcija/ 
e_2001_tajland.php




Mum 'n' Dad
Bosnia and Herzegovina, 2006, colour, 35 mm, 65 min.

Cast:Zagorka Borota, Vjekoslav Ramljak, Sabina Bambur
Producers:Amra Bakšić Čamo, Faruk Lončarević
Executive Production:Amra Bakšić Čamo, Adnan Ćuhara, Amela  
Ćuhara, Ognjen Džinić

Costume Designer:Lejla Graho
Set Designer:Osman Arslanagić
Grafički dizajn:Enes Huseinčehajić
Sound Design and Music:Igor Čamo
Editor:Faruk Lončarević
Director of Photography:Almir Đikoli
Screenplay:Faruk Lončarević
Director:Faruk Lončarević
Production Company:SCCA/pro.ba in collaboration with PRIME TIME

SYNOPSIS:
The year is two thousand and something. An elderly couple live alone  
in a flat in Sarajevo, with their own rituals: drinking coffee,  
playing cards, watching TV. The husband (Dad) has had a stroke and  
although he is still physically strong, he has difficulties in  
communication. The wife (Mum) is a lively elderly lady who is, after  
50 years, now using the husbands disability to change the things  
around in this old-fashioned, patriarchal family. Dad must not allow  
that and he opposes it in the only way he can, with physical force.


DIRECTOR’S BIOGRAPHY:
Faruk Lončarević was born in 1975. He graduated from the film and TV  
directing department of the Academy of Performing Arts in Sarajevo in  
2000. He has worked in theatre, on TV and film. He has made several  
shorts, and his first feature film is JUDGMENT DAY – PREVIEW”,  
documentary about tsunami in Southeast Asia.


FILMOGRAPHY:
2006 - Mama i tata
2006 - JUDGMENT DAY – PREVIEW, documentary
2001 - Pauza za kafu, short
1999 - Lice, short
DIRECTOR’S STATEMENT:
This film is a story of an elderly couple – the husband suffers a  
stroke, and the wife uses that to pay him back for fifty years of  
life of deceit, stubbornness, violence and everything else that  
happens ’behind closed doors’. This need to show their intimacy  
dictated the form, i.e. the reality-show style, as notoriously  
voyeuristic, the last cry of the magic box – television, which has  
become the altar of a new religion. Our heroes are closed inside the  
box, they cannot get out, but unlike what we normally see in such  
programs, they are not young, pretty, ambitious and ready for any  
kind of romantic adventure. They are, in fact, real people, our  
parents, our grandparents, maybe even we ourselves, people whose  
foundations are slipping, and without such foundations all that we  
have always taken for granted, the kindness, morality and love of our  
lives crumble down, and all that is left hatred, violence and  
instincts. I want to trap viewers with the box as the bait, and then,  
just for a short while, offer them something different from what the  
box normally gives them.


http://pro.ba/mama_i_tata/index.php?lang=en



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gray) (area is located 10 meters by the sea in the basement of The  
Memorial Collection of Maksimilijan Vanka [http://www.hazu.hr/ENG/ 
MemColl_M_Vanka.html] . Put sv. Nikole 7 . Korcula



open daily 19. 30 - 21.30 h or by appointment

gray) (area is an initiative by Darko Fritz . [EMAIL PROTECTED] .  
tel +385 [0] 91.5800193




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SPECTRE list for media culture in Deep Europe
Info, archive and help:
http://coredump.buug.de/cgi-bin

[spectre] update . bit international . [N ove] Tendencije – Computer and Visual Researc h [Zagreb 1961 - 1973]

[darko fritz]

bit international . update

Exhibition in Neue Galerie [Graz, Austria] is extended to 26th August  
2007.


96-pages German language exhibition catalogue is published by Neue  
Galerie in German. Price: 7 Euros, available via Neue Galerie.


Extensive English language anthology will be published by MIT Press  
in 2008 accompanying follow up exhibition in ZKM, Karlsruhe [2008].


Here enclosed improved list of 106 participating artist and artists  
groups.


Apart of the exhibited works and audio-visual documentation of  
working process and computer programs, the exhibition presents for a  
first time more than 30 hours of digitally restored audio archives of  
four symposia that were held 1968 - 1973 in Zagreb.


Exhibition website [in German]: http://www.neuegalerie.at/07/bit/ 
cover.html





bit international . [Nove] Tendencije – Computer and Visual Research  
[Zagreb 1961 - 1973]


Neue Galerie am Landesmuseum Joanneum . Graz . Austria
28 April – 26 August 2007

opening: Friday 27th April 19 h

Curator: Darko Fritz (Zagreb / Amsterdam)

Artists / artists groups:
+ Marc Adrian + Jose Luis Alexanco + Kurd Alsleben / Cord Passow +  
Getulio Alviani + Anonymous Collective + Vojin Bakic + John  
Baldessari + Mario Ballocco + Manuel Barbadillo + Otto Beckmann /  
Alfred Grassl [Ars intermedia]: + Alberto Biasi [Gruppo N]: +  
Vladimir Bonačić + Hartmut Böhm + Frank Böttger + California  
Computer Products, Inc. [CALCOMP]: + Gianni Colombo + Compos 68 +  
Computer Centre ‘Boris Kidrič’ Institute + Charles Csuri +  
Waldemar Cordeiro / Jorge Moscati + Ivan Čizmek + Dadamaino + Hugo  
Rodolfo Demarco + Gabriele De Vecchi [Gruppo T] + Milan Dobeš +  
herman de vries + Milan Dobeš + Piero Dorazio + Michel Fadat + Willam  
Allan Fetter + Alan Mark France + Herbert W. Franke + Horacio Garcia- 
Rossi [GRAV] + Karl Gerstner + Gruppo MID + Leon D. Harmon + Grace C.  
Hertlein + Miljenko Horvat + Hervé Huitric / Monique Nahas [g.a.i.v]  
+ Gottfried Jäger + Sture Johannesson / Sten Kallin + Hiroshi Kawano  
+ On Kawara + Julije Knifer + Kenneth C. Knowlton + Hans Köhler +  
Vladimir Kristl + Edoardo Landi [Gruppo N]:  + Auro Lecci + Julio Le  
Parc [GRAV] + Wolfgang Ludwig + Heinz Mack [Zero] + Frank Joseph  
Malina + Robert Mallary + Enzo Mari + Jean-Claude Marquette [g.a.i.v]  
+ Almir Mavignier + Leslie Mezei + Tomislav Mikulić + Petar  
Milojević + Gustav Metzger + Manfred Mohr + François Morellet [GRAV]  
+ Jane Moon [California Computer Products, Inc.]: + Frieder Nake +  
Maurizio Nanucci + Georg Nees + A. Michael Noll + Koloman Novak + Lev  
Voldemarovič Nusberg [Diviženije] + Sergej Pavlin + Ivan Picelj +  
Otto Piene [Zero] + Marko Pogačnik [OHO] + Manuel Quejido + Zoran  
Radović + Ludwig Rase + Vjenceslav Richter + Sylvia Roubaud / Gerold  
Weiss + Manfred Robert Schroeder + Lillian Schwartz + Dieter Schwille  
[mbb Computer Graphics] + Ana Seguí / Javier Seguí + Soledad Sevilla  
+ Jesus Raphael Soto + Aleksandar Srnec + Joël Stein [GRAV] + Kerry  
Strand [California Computer products inc.] + Alan Sutcliffe + Zdenek  
Sýkora + Nikola Šerman + Paul Talman + Goran Trbuljak + Stan  
VanDerBeek + Gregorio Vardanega + Evan Harris Walker + Aron  
Warszawski [mbb copmuter graphics] + Sol Le Witt + John Witney + Rolf  
Wölk [mbb copmuter graphics] + José María Yturralde + Yvaral [GRAV]  
+ Edward Zajec + Vilko Ziljak + Anton Zöttl +


audio archive of symposia presentations and debates (1968, 1969,  
1971, 1973):
+ Marc Adrian + Kurd Alsleben + ARC - Art Research Center + Badi  
Banga ne-Mwine + Dimitrije Bašičević + László Beke + Renzo  
Beltrame + René Berger + Božo Bek + Jonathan Benthall + Alberto  
Biasi  + Vladimir Bonačić + Florentino Briones + Silvio Ceccato +  
Waldemar Cordeiro + Nena Dimitrijević + Fanie Dupré + Jacques  
Dupré  + Umberto Eco + Herbert W. Franke + Grga Gamulin + Karl  
Gerstner + Alfred Grassl + Jean-Claude Halgand + Josef Hlaváček +  
Vera Horvat-Pintarić + Hervé Huitric + Hiroshi Kawano + Boris  
Kelemen + Martin Krampen + Fedor Kritovac + Želimir Koščević +  
Jean-Claude Marquette + Abraham A. Moles + Francois Molnar + Leonardo  
Mosso + Frieder Nake + Branimir Makanec + Matko Meštrović + Vladimir  
Muljević + Lev Nusberg  + Radoslav Putar + Vjenceslav Richter +  
Ronald B. de Sousa  + Josef Hermann Stiegler + Srboljub Stojanovič +  
Srečo Dragan + Irina Subotić + Zdenko Šternberg + Božo Težak +  
Jiri Valoch + Edward Zajec +



The ‚Neue Galerie Graz am Landesmuseum Joanneum’ examines one of  
the most important international trends of the 1960s in the  
exhibition “bit international. [Nove] tendencije - Computers and  
Visual research”, which was of enormous influence at the time, but  
which has now slipped out of public consciousness and has virtually  
been lost to the history of the development of art. While numerous  
exhibitions have been held with the titles “New Tendencies” or  
“Nouvelle Tendance” in Venice and Paris, the place of origin  
Zagreb has vanished from

[spectre] gray) (area . Korcula . Croatia presents Changing Climate - Central Asian Video

[darko fritz]

gray) (area

space of contemporary and media art . Korcula . Croatia

presents . Changing Climate
a selection of Central Asian Video curated by Stefan Rusu

. 21 - 30 . 07 . 2007
. opening . Saturday 21th . 20.30 h


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The selection shows particular interest of Central Asian artists for  
cinematic language that become an effective tool in exploring  
contradictions and confusions of the Islamic states, some decades  
after dissolution of soviet block. We invite you to dive into  
artist’s laboratory, in which the reuse of spiritual tehnics and  
practices becomes effective models in articulating critical attitudes  
toward inertia, rampant globalization and neo-liberal anarchy. The  
artists obsession for ecstatic vocabulary comes from the varieties of  
nomadic rituals, pre-Islamic and syncretic practices that define  
their life and cultural environment.


The exhibition is an attempt to question former and ongoing EU policy  
measures/adjustments toward the black market development and labor  
force migration from the Eastern countries, as the effects of its  
policy during the 90’s in the Western Balkans. In such circumstances  
the artists exploring the values of nomadic culture become a valuable  
contribution in changing actual cultural and political climate.



Presented artists: Abilsait Atabekov, Alexandr Ugay from Kazakhstan,  
Veaceslav Ahunov/Uzbekistan and Ulan Djaparov/Kyrgyzstan


Stefan Rusu is artist and freelance curator based in Chisinau,  
Moldova and Bucharest. In 2005/2006 he attended the Curatorial  
Training Program at Shtichting De Appel from Amsterdam where he co- 
curated Mercury in Retrograde (www.mercuryinretrograde.com)


)( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( ) 
( )( )( )( )( )( )(


gray) (area is located 10 meters by the sea in the basement of The  
Memorial Collection of Maksimilijan Vanka [http://www.hazu.hr/ENG/ 
MemColl_M_Vanka.html] . Put sv. Nikole 7 . Korcula



open daily 19. 30 - 21.30 h or by appointment

gray) (area is an initiative by Darko Fritz . [EMAIL PROTECTED] .  
tel +385 [0] 91.5800193



__
SPECTRE list for media culture in Deep Europe
Info, archive and help:
http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre

[spectre] gray) (area . Korcula ::: Slaven Tolj: Globalisation

[darko fritz]

gray) (area

space of contemporary and media art . Korcula . Croatia

presents . Slaven Tolj: Globalization

. 13 - 20 . 07 . 2007
. opening . performance Lighter . artist talk . Friday 13th . 20.30 h

)( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( ) 
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gray) (area is an low-key independent non-profit non-institution that  
operates during lazy summer time within gray area of friendships and  
vacations and cultural funding / production / distribution.


gray) (area presents works of contemporary and media art with focus  
on ones that fills the gap between those two art-worlds and  
discourses. preferable are programs that shifts the media and  
skipping the frame of simple definitions and interpretations.


gray) (area operates form the city of Korcula at Korcula island in  
Croatia, enjoying the free position of the cultural periphery and  
challenge of no context of neither contemporary nor media art within  
the close neighborhood. Periphery provides freedom of established  
cultural power-games, predictable fashionable key-words and double  
criteria [that depend on geo-political position of the art-producer]  
and other positions of predictable artist reputation's building  
system of cultural industry - what's all about within contemporary  
art scene, and become present even within the small media art culture  
circles.


gray) (area is protocol between a white cube and a black box.
gray) (area like it small and good and take-it-easy and don't wont to  
grow.

gray) (area is sensing creative economy of 21st Century in error.
gray) (area is hub of gray economy.
gray) (area is dead-end backbone of social not.work of contemporary  
cultural politics.

gray) (area is operating system of no.work.
gray) (area prefers diving in a crystal blue sea than silicon one.
gray) (area prefers periphery than center.
gray) (area like speaking Bad english.


Program 2007:
_ Slaven Tolj (CRO): Globalization + Lighter (performance)
_ Radioqalia (Adam Hyde, Honnor Hager, New Zeland): Radioastronomy
_ Changing Climate [video art from Central Asia] . curator: Stefan  
Rusu (Moldavia / Romania) . artists: Abilsait Atabekov (Kazakhstan)  
Veaceslav Ahunov, (Uzbekistan), Ulan Djaparov, Alexandr Ugay  
(Kazakhstan)
_ PRO.BA production (Center for contemporary art, Sarajevo) video  
(post)production . selector: Dunja Blažević

_ Joško Baće (CRO): site-specific installation
_ Goran Trbuljak (CRO): intervention in the urban space

ad hoc / gray maybe program: Alban Muja (AL) and Ivan Grubanov (SER)  
presented by Ana Peraica (CRO)



)( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( ) 
( )( )( )( )( )( )(


gray) (area is located 10 meters by the sea in the basement of The  
Memorial Collection of Maksimilijan Vanka [http://www.hazu.hr/ENG/ 
MemColl_M_Vanka.html] . Put sv. Nikole 7 . Korcula



open daily 19. 30 - 21.30 h or by appointment

gray) (area is summer only initiative of Darko Fritz  
[EMAIL PROTECTED] / tel +31 [0] 91.5800193


program of the previous, first season 2006: Lala Raščić (Sarajevo  
– Zagreb): 'Sorry, Wrong Number', Boris Cvjetanović (Zagreb):  
‘Fotovideo’, Ivan Faktor (Osijek): ‘Željko Jerman – Moj  
mjesec’ i Tomo Savić-Gecan (Zagreb - Amsterdam): without title (in  
collaboration with SKOR, De Inkijk (Amsterdam) and UHA, Zagreb).



)( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( )( ) 
( )( )( )( )( )( )(


Wikipedia (http://en.wikipedia.org/wiki/Gray_area)

A grey area is a term for a border in-between two or more things that  
is unclearly defined, a border that is hard to define or even  
impossible to define, or a definition where the distinction border  
tends to move. There are several flavors of grey areas:


▪ A grey area of definitions signifies a problem of sorting reality  
into clearly cut categories. Example: where is the border between  
erotica and pornography?


▪ A grey area of law is an area where no clear law or precedent  
exists, or where the law has not been applied in a long time thus  
making it unclear if it is applicable at all.


▪ A grey area of ethics signifies an ethical dilemma, where the  
border between right and wrong is blurred. Example: is killing always  
abominable?


Grey areas are widely accepted in democratic societies and have a  
clear connection to the notion of tolerance, whereas in societies of  
totalitarianism, grey areas are typically not accepted on any level.


Many people accept grey areas as a natural part of the human  
experience, whereas others may react with suspicion and a feeling of  
deficients or incompleteness of any thought-system (or paradigm)  
accepting grey areas.








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[spectre] exhibition: bit international . [Nove] Tendencije – Computer and Visual Research

[Darko Fritz]

bit international . [Nove] Tendencije – Computer and Visual Research

Neue Galerie am Landesmuseum Joanneum . Graz . Austria
28 April – 17 June 2007

opening: Friday 27th April 19 h

Curator: Darko Fritz (Zagreb / Amsterdam)

Artists / artists groups:
+ Marc Adrian + Kurd Alsleben / Cord Passow + Getulio Alviani + Vojin 
Bakic + John Baldessari + Mario Ballocco + Manuel Barbadillo + Otto 
Beckmann + Alberto Biasi + Hartmut Böhm + Vladimir Bonacic + Frank 
Böttger + Ivan Cizmek + Gianni Colombo + Compos 68 + Charles Csuri + 
Dadamaino + Hugo Rodolfo Demarco + Gabriele De Vecchi + herman de vries 
+ Milan Dobeš + Piero Dorazio + Michel Fadat + Alan Mark France + 
Herbert W. Franke + Horacio Garcia-Rossi + Karl Gerstner + Gruppo MID + 
Leon D. Harmon + Grace C. Hertlein + Miljenko Horvat + Hervé Huitric + 
Gottfried Jäger + Sture Johannesson + Hiroshi Kawano + On Kawara + 
Julije Knifer + Kenneth C. Knowlton + Hans Köhler + Vladimir Kristl + 
Edoardo Landi + Auro Lecci + Julio Le Parc + Wolfgang Ludwig + Heinz 
Mack + Frank Joseph Malina + Enzo Mari + Jean-Claude Marquette + Almir 
Mavignier + Tomislav Mikulic + Petar Milojevic + Manfred Mohr + 
François Morellet + Monique Nahas + Frieder Nake + Maurizio Nanucci + 
Georg Nees + Koloman Novak + Ivan Picelj + Otto Piene + Manuel Quejido 
+ Zoran Radovic + Ludwig Rase + Vjenceslav Richter + Sylvia Roubaud + 
Manfred Robert Schroeder + Lillian Schwartz + Ana Seguí + Javier Seguí 
+ Nikola Šerman + Soledad Sevilla + Jesus Raphael Soto + Aleksandar 
Srnec + Joël Stein + Kerry Strand + Alan Sutcliffe + Zdenek Sýkora + 
Paul Talman + Goran Trbuljak + Stan VanDerBeek + Gregorio Vardanega + 
Evan Harris Walker + Aron Warszawski + Gerold Weiss + Rolf Wölk + José 
María Yturralde + Yvaral + Edward Zajec + Vilko Ziljak + Anton Zöttl +


The Neue Galerie in the Landesmuseum Joanneum Graz examines one of the 
most important international trends of the 1960s in the exhibition “bit 
international . [Nove] Tendencije computer and visual research”, which 
was of enormous influence at the time, but which has now slipped out of 
public consciousness and has virtually been lost to the history of the 
development of art. While numerous exhibitions have been held with the 
titles “New Tendencies” or “Nouvelle Tendance” in Venice and Paris, the 
place of origin - Zagreb, has vanished from the focus of attention. A 
biennial event developed in Zagreb starting with concrete and 
constructive art in 1961, maintained its avant-garde title by 
introducing the computer as a medium of “artistic research” in 1961. 
Simultaneous with the legendary Cybernetic Serendipity at the London 
ICA in 1968, which is regarded as the first major computer art 
exhibition, a colloquium also took place in Zagreb with an exhibition 
of computer generated art, tendencije 4.


The Gallery for Contemporary Art – today the Museum of Contemporary Art 
– dedicated a series of exhibitions, symposia and publications on the 
subject of the ‘Computer and Visual Research’. Original projects in 
both art and science were presented.  During the heyday of the Cold War 
artists and scientists from the entire world travelled to Zagreb – from 
Germany, France, Italy, Japan, Czechoslovakia, Poland, Russia and the 
USA. The multi-lingual magazine published by the Gallery in Zagreb Bit 
International was an initiation point for aesthetic and media theory 
reflection and there was nothing that could be compared with it 
anywhere else in the world. ‘Tendencije 4’ attempted to both accompany 
and mould the historic transition in which the computer as a symbol 
processing machine first entered consciousness as a machine for 
artistic creation. The arts of the electronic media were not regarded 
as an isolated phenomenon, but were included in the history and the 
discourse on the fine arts and the performing arts.


A first review of the ‘Tendencije’ exhibitions and the publications of 
Bit International has now been assembled in cooperation with the Museum 
of Contemporary Art in Zagreb and with an international network of 
collectors and private archives in an exhibition curated by Darko 
Fritz. Graphic work, films, sculptures, poems, theatrical texts and 
artistic concepts. The English language anthology accompanying the 
exhibition (ed. Margit Rosen, in cooperation with Darko Fritz, Peter 
Weibel) has made the broad range – of both art works and theoretical 
writings accessible to a broader public of art and media historians and 
artists once again for the first in 30 years. The project also promotes 
an opening of awareness and sensitivity to the historical centres of 
the arts and culture in Eastern Europe.


Exhibition in the Neue Galerie in the Landesmuseum Joanneum Graz 
presents 93 artists and artists groups with more than 350 artworks, 
alongside computer programs and other working process documents.



http://www.neuegalerie.at

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[spectre] 204_NO_CONTENT . horticultural unit

[Darko Fritz]

204_NO_CONTENT
horticultural unit by Darko Fritz

http://darkofritz.net/projects/int_err_msg/204_NO_CONTENT.html

The horticultural unit 204_NO_CONTENT is made of organic elements, 
transgressing the contents from the digital domain.


204_NO_CONTENT - the textual context of the picture - is a HTML server 
error, means that the server has fulfilled the request but there is no 
new information to send back.


A typographical picture located in the desert is 3.6 x 31 meter in size 
and shaped within the matrix made of 18 x 166 fields [2988 ‘pixels’]. 
This ‘low-resolution screen’ is made of cactuses and black lava. The 
‘active pixels’ are made of 2220 cactuses [Echinocactus grusonii]. At 
the beginning of the project each cactus was approximately 18 cm in 
diameter.


Materials used in the installation are chosen respecting natural 
resources and availability at the Fuerteventura island. Fuerteventura 
island is of volcanic origin and therefore black lava is widely 
available. The Echinocactus grusonii cactuses are visible around the 
island and have an status of the local souvenir at the local airport. 
The sent used within and around the installation is of local origin.


204_NO_CONTENT is part of the Internet Error Messages project by Darko 
Fritz [since 2001].


204_NO_CONTENT is commissioned by Centro de Arte Juan Ismael, 
Fuerteventura (Canary Islands, Spain), for the exhibition 
Deambulatorios de una jornada, en el principio y el proyecto Tindaya 
(Wanderings of a journey, in the start and the Tindaya project), 
curated by Nilo Casares.


--

darkofritzpropaganda . http://darkofritz.net . [EMAIL PROTECTED]

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[spectre] Croatian Pavilion at the Eastern Neighbours exhibition

[Darko Fritz]

Variable Amnesia . Contemporary art from Croatia

Croatian Pavilion at the Eastern Neighbours exhibition
Cultural center Babel, Utrecht, Netherlands, 8th September - 29th 
October 2006


opening Thursday 7th September 20 h
[it is 'invitations only', please feel free to contact Darko Fritz to 
list you at the guest list]




Variable Amnesia . Contemporary art from Croatia

Artists: Darko Fritz, Andreja Kuluncic, Dalibor Martinis, Ivan Marusic 
Klif, Magdalena Pederin, Slaven Tolj, Goran Trbuljak


Curator: Darko Fritz


In 'Western civilisation' (North America and Europe) there is a 
tendency of rapidly forgetting both social and cultural values. Such a 
process is omnipresent in so-called East / Central Europe probably 
because of often changes of political systems and power-construct that 
are constantly re-writing the history / histories. That phenomena 
extends to field of contemporary art as well. Around the world as well 
as in Croatia the art education system has just started to shape in 
contemporary way over last decade or so. It is little written and 
published on truly international histories of contemporary art as for 
example histories of both conceptual and media art. The academic 
establishment seems to ignore unstable media of an oral tradition that 
is dominant in many places where some forms of contemporary art were 
not institutionaly recognized or there were just other reasons not to 
publish. The new generations of artists both consciously and 
unconsciously tend to repeat over and over same or very similar works 
and processes and as well mistakes that are done by other artists long 
ago. In the same way it seems that respective institutions do not 
recognize achievements from the past what makes any new initiative to 
start form the scretch. In other hand, 'western' art history seems to 
refuse taking into account any histories and canons except the 
'western' ones, and are ignoring with consistency achievements made in 
Other places. Usually a well intendend presenting of the art of the 
Other ends, in repeating the process of 'discovery', clearly states the 
power-position who 'discovers' whom. For example, over the last six 
years there were three big / high-budget exhibitions organized and 
exhibited in 'Western Europe' that 'discovered' the art of the Balkans 
to their next-doors neighbour. Worldwide, there is a same phenomena of 
forgetting histories of digital media art which is often percieved it 
began in late1980's in the 'west', but not early 1960's 
internationally. I dare to call all those processes Amnesia 
International.


In the term of institutional critique the artworks of Goran Trbuljak 
(1948) are done in continuum of four decades expressing both the 
geo-political and individual stages of the artist’s position in society 
and cultural industry. He made series of exhibitions with posters and 
text only as sole exhibits. In 1971 the exhibition consisted of the 
poster that read:'I don't want to show anything new or original’and in 
1973: ‘The fact that somebody is given the opportunity to stage an 
exhibition is more important than what is shown at that exhibition’. In 
‘transition times’ in Croatia of the 1990’s, he made another one: ‘Old 
and bald I search for the gallery’. For this exhibition a new poster 
was produced that reads: ‘Old  depressive anonymous is looking for a 
permanent display place in some nice new art museum space’.


Dalibor Martinis (1947) was developing a project 'Variable Risk 
Landscape'during a whole year of 2004. Heput 37. 310 euros into the ZB 
Trend Investment Fund with an investment term of one year. While the 
project was in progress, the artist / climber / investor went once a 
month up into the hills to hike the amplitudes that were shown by the 
value of the ZB Trend share for the current month. The appropriate 
altitudes were measured with an altimeter. A Web site at 
www.variablerisklandscape.com has been opened up to follow the course 
of the project in the hybrid landscape with constantly updated 
information about the current value of the investment and other 
financial indicators, exchange rates etc. In Dec. 31, 2004 the 
difference in the value of the investment after 365 days was determined 
and the whole annual dividend of the project was paid to all the 
spectators present at the closing event. VRL 2004 Annual Report was 
published in 2005.The selling price of the work ‘Variable Risk 
Landscape’corresponds to the value in euros of 365 shares in the ZB 
Trend investment fund on the day of the sale.


Project ‘Austrians Only’by Andreja Kulunčić (1968) consists of 
advertisements, posters and direct-mail items. In the focus of the 
project there are latent prejudices and the creeping discrimination 
against foreign workers in Austria. With top-quality, well-designed job 
advertisements, the 'inferior' jobs for Austrians are extolled, 
including all the restrictions and disadvantages with which otherwise 
mostly