{"id":671,"date":"2017-03-02T13:07:45","date_gmt":"2017-03-02T11:07:45","guid":{"rendered":"http:\/\/www.videospotting.org\/eng\/?page_id=671"},"modified":"2017-03-02T13:08:08","modified_gmt":"2017-03-02T11:08:08","slug":"fresh-perspective-2016","status":"publish","type":"page","link":"https:\/\/www.videospotting.org\/eng\/fresh-perspective-2016","title":{"rendered":"Fresh Perspective (2016)"},"content":{"rendered":"

Curator: Vesna Bukovec<\/strong>
\nProduction:<\/strong> SCCA-Ljubljana, 2016
\nDuration: 52\u2019<\/strong>
\nPremiere:<\/strong> World Day for Audiovisual Heritage at Slovenian Cinematheque, Kino integral, October 27, 2016<\/p>\n

The selection from the DIVA Station archive\u2019s new acquisitions presents new production by younger authors. It focuses on technological and stylistic characteristics as well as shifts in contents and concepts in the production compared to older works from the archive. The program pursuits for different artistic approaches to the times of today and intentionally exposes women artists.<\/p>\n

Ana \u010cigon, Za luno (Huston)<\/strong>, 1\u201910\u2019\u2019
\nA.\u010c., 2015
\n\u00bb video<\/a>
\n\"Ana
\nOn gender equality and the difficulties of space travel.
\n <\/p>\n

Pila Rusjan, Elisa, 5<\/strong>, 4\u2032 5\u2033
\nP.R., 2010
\n\"Pila
\nElisa, 5<\/em> is a video about the homeless population in S\u00e3o Paulo. It was filmed in the last days before 1000 people were thrown out on street from an occupied building, even though the building was empty for twelve years. This short video is about a girl, who ends up out on the street on her 5th birthday.
\n <\/p>\n

Noemi Veberi\u010d Levovnik, The Yellow Turn<\/strong>, 2\u2032 3\u2033
\nN.V.L., 2011
\n\u00bb video<\/a>
\n\"Noemi
\nMelancholic poetics in between nostalgia and discomfort. The upside-down view and the entrapment in space are accompanied by the original singing of the artist.
\n <\/p>\n

Valerie Wolf Gang, Distant Memory<\/strong>, 2\u2032 43\u2033
\nV.W.G., 2014
\n\u00bb video<\/a>
\n\"Valerie
\nA video poetry that speaks about the times that once were. It all starts with a random event which evokes narrator\u2019s memories about the times before the disintegration of Yugoslavia and encourages reflection about what the war actually brings about and how quickly people forget everything. The poem can be interpreted as a letter or a personal confession of an unknown man written for the Yougoslav President Tito\u2019s mighty ship Galeb. The narrator in the video is artist Ulay.
\n <\/p>\n

Katarina Re\u0161ek (Kukla), Napravi mi dete: Napoleon<\/strong>, 3\u2032 45\u2033
\nK.R., 2016
\n\"Katarina
\nA music video by a music group Napravi mi dete (Make me a child) tells a personal story of a young woman in search for love. The love is lost in a violent relationship which results in her having a violent relationship towards herself and consequently getting involved in even more similar relationships. The video touches the subject of sexual identity and ends up discovering that the world is and always will be male, if women will keep on seeing it through a male gaze.
\n <\/p>\n

Andrea Knezovi\u0107, Ode to Helplessness, The Inability to Breathe In 1.0<\/strong>, 1\u2032 02\u2033
\nA.K., 2016
\n\u00bb video<\/a>
\n\"Andrea
\nVideo je del ve\u010dkanalne videoinstalacije, ki se spopada z nesmislom in nemo\u010djo.
\n <\/p>\n

Ana Sluga, Somewhere Else<\/strong>, 5\u2032
\nA.S., 2011
\n\u00bb video<\/a>
\n\"Ana
\nVideo is a part of multichannel video installation tackling nonsense and powerlessness.
\n <\/p>\n

Yuliya Molina, Some-body<\/strong>, 3\u2032 5\u2033
\nZavod APIS, 2015
\n\u00bb video<\/a>
\n\"Yuliya
\nThe video is shot in a stop-motion animation technique. The author playfully presents her diverse and creative life and the search of her own identity, which is anything but unambiguous. The subject of the video is already suggested in the title, which divides the word ‘somebody’ in two parts and opens up its meaning. Despite a specific life experience of the artist, a characteristic that defines younger generations that cannot define themselves and their work as unambiguous, can be recognized in her search of identity.
\n <\/p>\n

Ne\u017ea Jurman (Nez Pez), Morph<\/strong>, 2\u20193\u2019\u2019
\nN.P., 2016
\n\u00bb video<\/a>
\n\"Ne\u017ea
\nhe video was made as a part of installation for the exhibition Morphoses<\/em>. Its name derives from an English version of the Greek word morph<\/em> (sound presentation of a morpheme, the smallest part of the word as a carrier of a meaning). In this principle the artist processed individual element of animation, as if dividing them into syllables, but without beforehand defining the goal in content. What came out is an eclectic ambient based on construction and layering. Individual illustrations are hand drawn and digitally edited, combined in a gif animation. The sound was added in postproduction. It is composed of a sample of song played backwards and of elements of humming, clapping and breathing.
\n <\/p>\n

Ur\u0161ka Djuki\u0107, Persistence vol.2<\/strong>, 1\u2032 22\u2033
\nU.D., 2014
\n\u00bb video<\/a>
\n\"Ur\u0161ka
\nExperimental video is a fragment of the series Persistence<\/em>. Designed as a video painting in one sequence shot it initiates the question of persistence of man and nature in everlastingly exchange of power.
\n <\/p>\n

Nika Autor, Postcards<\/strong>, 8\u2032 58\u2033
\nObzorni\u0161ka fronta, 2010
\n\"Nika
\nPostcards<\/em> is the first part of the film diptych Postcards<\/em> and Report on the situation of asylum seekers in Republic of Slovenia, January 2008 \u2013 August 2009<\/em>. The footage comes from the archive of Radio-Television Slovenia. It represents an archival collection documenting media reporting on migrants in the period 2001-2008. The artist is interested in the construction of representation of a migrant person created by the dominant discourse or the dominant institution in charge of production of images and opinions. The film is showing how images in themselves, through the way they are produced (shot and edited), add to the criminalization and victimization of the asylum seekers.
\n <\/p>\n

Vesna Bukovec, Okro\u017enica (Circulation)<\/strong>, 3\u2032 40\u2033
\nV.B., 2016
\n\"Vesna
\nThe video is a simple animation of a spinning circle commonly representing that certain processes are taking place in the background. The unpleasant feelings and mostly anger are frequent if the circle spins for too long. It symbolises slowness of bureaucratic procedures and powerlessness of those who wait, and also the passing of time and entrapment in a loop. The shape of the circle is the shape of the letter o. Inside the spinning circle seemingly coincidental words are written out. They are referring to life choices and situations of refugees, today’s asylum seekers waiting for a solution of their requests for international protection. Will their endless circle of waiting ever stop spinning?
\n <\/p>\n

R\u00c1TNEEK (Maja Prelog, Bla\u017e Murn), 2 0 4 5<\/strong>, 9\u2032
\nR., 2016
\n\u00bb video (trailer)<\/a>
\n\"R\u00c1TNEEK
\n“May 7th, 2045
\nI decided to return back home.” <\/p>\n","protected":false},"excerpt":{"rendered":"

Curator: Vesna Bukovec Production: SCCA-Ljubljana, 2016 Duration: 52\u2019 Premiere: World Day for Audiovisual Heritage at Slovenian Cinematheque, Kino integral, October 27, 2016 The selection from the DIVA Station archive\u2019s new acquisitions presents new production by younger authors. It focuses on technological and stylistic characteristics as well as shifts in contents and concepts in the production […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":12,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-671","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.videospotting.org\/eng\/wp-json\/wp\/v2\/pages\/671","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.videospotting.org\/eng\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.videospotting.org\/eng\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.videospotting.org\/eng\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.videospotting.org\/eng\/wp-json\/wp\/v2\/comments?post=671"}],"version-history":[{"count":3,"href":"https:\/\/www.videospotting.org\/eng\/wp-json\/wp\/v2\/pages\/671\/revisions"}],"predecessor-version":[{"id":674,"href":"https:\/\/www.videospotting.org\/eng\/wp-json\/wp\/v2\/pages\/671\/revisions\/674"}],"wp:attachment":[{"href":"https:\/\/www.videospotting.org\/eng\/wp-json\/wp\/v2\/media?parent=671"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}