{"id":941,"date":"2019-05-31T17:13:59","date_gmt":"2019-05-31T15:13:59","guid":{"rendered":"http:\/\/www.videospotting.org\/eng\/?page_id=941"},"modified":"2019-05-31T17:14:16","modified_gmt":"2019-05-31T15:14:16","slug":"in-praise-of-dreams-video-art-from-the-90s-2019","status":"publish","type":"page","link":"https:\/\/www.videospotting.org\/eng\/in-praise-of-dreams-video-art-from-the-90s-2019","title":{"rendered":"In Praise of Dreams. Video-art from the 90s (2019)"},"content":{"rendered":"

Curator: Lawinia Rate
\nProduction:<\/strong> SCCA-Ljubljana, 2019
\nDuration:<\/strong> 75\u2019
\nPremiere:<\/strong> Project Room SCCA, Ljubljana (29. 5. 2019)<\/p>\n

Trying to decrypt the meanings of the seen, trying to build a map of it, one could fail very quickly. The trails that loom in the presented video-works may be erroneous. Michel Serres writes that anyone who wants to create a map must be ready to wander, more, s\/he must be ready to stray\u2014over time the activity of straying will become much more important, a more valuable activity than reaching the goal of final meanings. In addition, wandering, moving, continuous repositioning of oneself allows, as Serres wants, the discovery of the world as a network, as an ongoing processuality that has no stable and definitive form. It is the very stray that gives the opportunity to discover the world as a space of ambiguous references, multidimensional interference of perspectives, thoughts, situations and desires. Rambling, actively looking, are more important than grasping the ultimate meaning.<\/p>\n

Video-spaces with their exquisite compositional and stylistic implications harbour the magic of particular strands and intersections, which are only possible within the specific constellation of the works shown. Their narratives are characterized by manifold temporalities and heterogeneous spatialities. Someone may say that it is just an artistic or even an artificial fiction. Just a fiction? So every fact ends where the camera frame starts then? Or rather, will the desires in those fictions be saturated in a very real way? Those images contain daydreams, which do not want to be interpreted, they want to live on. (Lawinia Rate)<\/p>\n

Zemira Alajbegovi\u0107, Tereza<\/strong>, 4\u2019 26\u2019\u2019
\nFV Video \/ \u0160KUC \u2013 Forum, 1983
\n\u00bb video<\/a>
\n\"Zemira<\/p>\n

Ana Nu\u0161a Dragan, Survey (Anketa)<\/strong>, 14\u2019
\nTV Skopje, 1990
\n\u00bb video<\/a>
\n\"Ana<\/p>\n

Nata\u0161a Prosenc Stearns, Tango for Fish (Tango za ribe)<\/strong>, 4\u2019 21\u2019\u2019
\nYouth Program TV Slovenia, 1992
\n\"Nata\u0161a<\/p>\n

Nata\u0161a Prosenc Stearns, The Man of Concrete (Betonski \u010dlovek)<\/strong>, 15\u2019 29\u2019\u2019
\nTV Slovenia, 1995
\n\u00bb video<\/a>
\n\"Nata\u0161a<\/p>\n

Ema Kugler, The Visitor (Obiskovalec)<\/strong>, 26\u2019 41\u2019\u2019
\nV.S. Video \/ Forum Ljubljana, VPK & Viba film, 1995
\n\u00bb video<\/a>
\n\"Ema<\/p>\n

Zemira Alajbegovi\u0107, Quick\/Slow (Hitro\/po\u010dasi)<\/strong>, 11\u2019 47\u2019\u2019
\nZavod ZANK \/ coproduction RTV Slovenia, 2004
\n\u00bb video<\/a>
\n\"Zemira<\/p>\n

Lawinia Rate<\/strong> is Berlin-based art historian, critic, author and curator. In May 2019 she was hosted by SCCA-Ljubljana researching its DIVA Station video archive. Her stay in Ljubljana was a part of the research entitled Materialities of Divergence. Filmic Experiments and Feminist Movements in Europe Since the 90s<\/em> (working title). The aim of her research is to examine the role that experimental film\/video has been playing in feminist movements since the 90s. Within the research she has prepared new curated video programme. The residency was supported by JSKD \u2013 Republic of Slovenia Public Fund for Cultural Activities.<\/p>\n","protected":false},"excerpt":{"rendered":"

Curator: Lawinia Rate Production: SCCA-Ljubljana, 2019 Duration: 75\u2019 Premiere: Project Room SCCA, Ljubljana (29. 5. 2019) Trying to decrypt the meanings of the seen, trying to build a map of it, one could fail very quickly. The trails that loom in the presented video-works may be erroneous. Michel Serres writes that anyone who wants to […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-941","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.videospotting.org\/eng\/wp-json\/wp\/v2\/pages\/941","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=941"}],"version-history":[{"count":2,"href":"https:\/\/www.videospotting.org\/eng\/wp-json\/wp\/v2\/pages\/941\/revisions"}],"predecessor-version":[{"id":943,"href":"https:\/\/www.videospotting.org\/eng\/wp-json\/wp\/v2\/pages\/941\/revisions\/943"}],"wp:attachment":[{"href":"https:\/\/www.videospotting.org\/eng\/wp-json\/wp\/v2\/media?parent=941"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}