With every minute more time (2015)

Curator: Miha Kelemina
Production: SCCA-Ljubljana, 2015
Duration: 52′
Premiere: Short Film Night, December 21, 2015, Slovenian Cinematheque, Ljubljana

The selection connects seventeen video works through the element of time. From the shortest the duration of the videos gets longer with each time to the longest one running up to nine minutes. Besides the difference in duration, each of the works is marked by a peculiar usage of video language. In addition the programme questions the definition of video art, with its name defined by the medium. No longer bound to video tape, the definition is transmitted to the content, becomes broader and more complex. The selection in a seemingly simple manner searches and explores the limits of video art, which in its evasiveness catch the viewer unprepared every time.

Tanja Lažetić, The Wrong Place, 52”
T.L., 2006
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Tanja Lažetić, The Wrong Place

The author notes a sudden scene of interaction between a young couple on a nameless train station on her way from Ljubljana to Florence. Their conversation unheard by the viewer, points to a great amount of positive energy between the central protagonists. Later the author broadens the shot with a sudden decentralization and captures the loud and impersonal public space in which the scene takes place.

Vesna Bukovec, Important News, 1′
V. B., 2003
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Vesna Bukovec, Important News
Video work marks the moments after the intro of the TV news on one of the Slovene commercial TV stations, when the presenters silently look at each other. Their gesticulation, gazes at the co-presenter or towards the camera are stressed by editing and point out the moments which are usually overlooked at regular watching of the show. The silence and the image of the presenters get a special value in meaning, being critical, ironic and humorous at the same time and as such oppose to the character of the informative programme of mass media.

Robertina Šebjanič, Bubble, 1′
R. Š., 2007
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Robertina Šebjanič, Bubble

Video work is a display of unknown stylized objects, by which the author establishes a sensual and intimate atmosphere. Unidentified, unusual, soft, moving matter reminds of a living creature, an organ or a completely irrational, inorganic object unable to identify. Video is accompanied by an ambient sound.

Sašo Sedlaček, The Big Switch Off, 1′ 48”
Aksioma, 2011
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Sašo Sedlaček, Veliki izklop

The Big Switch Off is a part of Supertrash exhibition in which the artist problematizes mass destruction of worn out technological equipment and the dumping of it in the third world countries. In the video in question, characterized by a utopian touch, we follow opening and closing of windows of a big apartment building through which some of the tenants throw out cathodic TV receivers. The video gives a comment about introducing digital signal, which replaced the analogue one and as a result the devices, which don’t support the new technology, cathodic TVs and TVs without digital converters among others, became obsolete and useless.

Miha Vipotnik, Space 2, 1′ 53”
Brut, 1986
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Miha Vipotnik, Prostor 2

In his video work the author gives an ironic statement about the state of home video production of that time and its integration in television programme (recorded for Petak u 22. TV Belgrade show in 1984). In the beginning the artist is sitting in a studio in a manner of TV broadcast presenters. His statement continues in an off over a montage of segments of one of his older video works Space shot in black and white. The montage is edited with added chroma key. Video was shown as part of Avtovizija (1986), the first show about author video on public television. Video-makers were invited to participate with one-minute videos of their choice.

Tomaž Tomažin, Mr. Tornhill, 2′ 07”
T. T., 2005
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Tomaž Tomažin, Mr. Tornhill

Mr.Thornhill is the main character in the Alfred Hitchcock movie North by Northwest. In his video the artist has replaced the actor Cary Grant’s head with my own and appear in the important sequence where he is being chased by a crop duster. The viewer is frightened for the character and feels himself to be both the artist and the character at the same time.

Nika Oblak & Primož Novak, Shund, Shund, 2′ 23”
N.O. & P. N., 2008
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Nika Oblak & Primož Novak, Going South
Shund is a frame by frame visually reconstructed original trailer of the movie Pulp Fiction. The entire trailer was reconstructed in the studio, using the technique of chroma key and simple props, like toy cars and guns, cardboard, paper… Nika Oblak & Primož Novak acted all parts. For the backgrounds of scenes they constructed photo collages, composed from photos mostly found on the internet. In this way Oblak & Novak subject themselves to the influence of mass media and materialize a common fascination with celebrities. As actors of all parts in the trailer of a fictive, nonexistent film, they become fictional superstars. Visually reconstructed trailer becomes like a de-ja-vu of original, reflecting global pop culture and exploring the position of an individual as a passive consumer of monopolized, one way communicated media content.

Marko Kovačič, Mirror knows the secret, 2′ 30”
M.K., 1986
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Marko Kovačič, Ogledalo pozna skrivnost
The video is based on the performance of the same title. The metamorphosis of image is enabled by electronic technology. A step further from the chroma-key procedure of inserting of the front plane of the image into some other background, which invests the modified image with greater dynamics and gives it the mark of experiment. The use of digital (mirror) effects allows for the reproduction of the same image in the rhythm of music.

Tanja Vujinović, Oscilo-TH807, 2′ 34”
T.V., 2007
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Tanja Vujinović, Oscilo-TH807
Stuffed plush objects, electronics (speakers, video camera, contact microphones, computer, audio mix) are a part of series of projects entitled Discreet Events in Noisy Domains. The installation is a tactile-sonic objects or environments. Multiple nonlinear video and audio systems are (re)encoding events into data streams of audio-visual noise. The cycle Discrete Events in Noisy Domains unveils soft pulsing and oscillations of discrete units. It consists of multimedia toys that create interval spaces through a granulated flux of signals and interactions.

Gorazd Krnc, Me V(isual) S(ound) You, 2′ 35”
G.K., 2006
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Gorazd Krnc, Me V(isual) S(ound) You
Video work is an impressionistic collage of author’s recordings and archive material found online. Detail of an eye is besieged by images and due to fast and hectic editing the author creates a feeling of anxious entrapment. Narration deals with sonority and with an explanation of how a human ear works it causes an additional awareness of the sounds, which besides the narrative archive recording follow the video. (text: Gorazd Krnc)

Nataša Prosenc Stearns, Noise Factor, 3′ 15”
N.P.S., 2012
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Nataša Prosenc Stearns, Noise Factor
Video work poetically captures closing in and focusing inside a view through a hotel window. From the abstract light spots of the city landscape the camera slowly moves to the inside of the hotel room. First we witness the transition to a reflection in the window: a man sitting behind a computer and next to a turned on TV without a signal. The camera moves in towards the TV screen until the image finally fades into the “snow” or white noise of the TV.

Rok Sieberer Kuri, Media Teror Chroma Qart Mix (mix II.), 3′ 39”
Media Teror, 1998
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Rok Sieberer Kuri, Media Teror Chroma Qart Mix (mix II.)
Fast changing images of a city, TV recordings, nature and objects inside nature, which are completed with art forms by different editing techniques. Dynamic hand held camera shots are processed with overlaps and chroma key effect. The content is hidden in the gaps: in the symbolic forms and association leaps in the selection of the shots, atmospheres and surroundings. Synchronous image and sound make the work resemble a music video.

Neven Korda, An autumnal still life, 4′ 09”
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Neven Korda, Jesensko tihožitje
Accompanied by a melodious music by a group Lolita, the video shows movement of the clouds, city vedutas, male masturbation and falling of leaves. Autumn still life is a dedication to the author’s online archive, to feedback loop and the remains from the early 1980’s. Feedback loop looks like clouds. The author constantly moves from film to video and back. Textures are sharp like electronic dreams.

Mirko Simić, Passer By, 4′ 20”
Bris & VS VIDEO / Škuc – Forum Ljubljana, 1990
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Mirko Simić, Passer By
A multitude of moving images presents everyday life from various viewing angles. Images of life vibrate in the rhythm of music by Sergej Kurjohin. Although dance is in the forefront of this video, this is not a video spot.

Ana Sluga, Somewhere Else, 5′
A.S., 2011
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Ana Sluga, Somewhere Else
The videos compounds of two parallel narrations. On the left side a young woman, most presumably the author is sitting on a roof, looking into the distance over Ljubljana. On the right side shots of nature are lined up. In the background melancholic piano music is intertwined with recordings of lively dialogues in different languages. Suddenly the woman on the left get up and leaves the shot, as if trying to enter the other video. And she is already there, running from the distance and again leaves the shot. The emptiness of the space is exchanged with a new scene, filling both parts of the screen – a flock of birds flying. The work has a strong emotional impact. The title clearly expresses yearning of leaving, of different places and new adventures.

Sašo Vrabič, Drive 1-3, 5′ 59”
S.V., 1996
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Sašo Vrabič, Drive 1-3
With a research video the author reinterprets recordings filmed by his father with Super 8 camera, while visiting the USA and Canada in the seventies. Besides the renewed editing of the video, the author found new content and dimension of the video, also by adding his own music.

Andrej Lupinc – Lupo, V osmih minutah okoli sveta, 8′ 20”
TV Slovenija & A. L., 1990–2000
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Andrej Lupinc – Lupo, V osmih minutah okoli sveta
Original documentary video patchwork with shots from various places in the world that the author visited while working as a cameraman at Slovenian national TV station. Diversity of aesthetics is visible through a compilation of shots from different continents. A stable rhythm that runs through the whole video unifies all different scenes and brakes the seeming symbolic differences. Video would work as an ideal visualisation of Levi-Strauss’s anthropological theory developed in his book Race and History. Featured song by Buldožer “Svaki čovjek ima svoj blues” works on a global level and concerns different cultural group and stops being a critique immanent exclusively to western society.