Nataša Skušek - Venezia 1 (00:12:05)
Production: 2004
Video captures an unidentified figure dressed in red walking backwards. The figure is following a white line to its end, where it meets a new white line, which crosses the first one and completes the space. The scene is accompanied by loud street sounds.
DIVA site-specific
30 results in works
Nataša Skušek - Venezia 2 (00:12:05)
Production: 2004
A flipped shot of a walk in Venice with unidentified figure in red and city background. The work is a continuation of a video Venezia 1. A figure in a red costume walks forward along a white line until it reaches perpendicular to the line. The image and the street sounds are skewed.
Production: 2004
A flipped shot of a walk in Venice with unidentified figure in red and city background. The work is a continuation of a video Venezia 1. A figure in a red costume walks forward along a white line until it reaches perpendicular to the line. The image and the street sounds are skewed.
Uršula Berlot - Transitoriness (02:13)
Production: Uršula Berlot, 2006
Patterns made by etching plastic surface reflect light onto the gallery walls. The diverse architecture of an ex sacral space is completely deconstructed with the movement of the light reflections. The two-dimensional surface is creating a three-dimensional animation with its many reflections, seizing the gallery's volume. This volume becomes the medium, which generates images and by that multiplies its space. (Source: DIVA)
Production: Uršula Berlot, 2006
Patterns made by etching plastic surface reflect light onto the gallery walls. The diverse architecture of an ex sacral space is completely deconstructed with the movement of the light reflections. The two-dimensional surface is creating a three-dimensional animation with its many reflections, seizing the gallery's volume. This volume becomes the medium, which generates images and by that multiplies its space. (Source: DIVA)
Marko A. Kovačič - Symposium for Sculpture Zreče 85 (00:01:32)
Production: 1985
Video is a document of an exhibition of two of authors sculptures made as a part of symposium by Forma viva community in Zreče. Totals and details of the statues are framed with a coloured mask.
Production: 1985
Video is a document of an exhibition of two of authors sculptures made as a part of symposium by Forma viva community in Zreče. Totals and details of the statues are framed with a coloured mask.
Marko A. Kovačič - Programming the Gaze (00:07:41)
Production: Studio Brut, 1988
Video documents an exhibition Programming the Gaze in Škuc Gallery in 1988. Camera travels around the exhibition and captures space installations in close-ups and from unexpected perspectives. Shots of five different installations line up, the title of each of them appears on the upper left corner of the screen. An important part of the exhibition introduced by a labyrinth construction, were sonic ambient (Egon March institute) and ambient lighting (Cian. kb).
Production: Studio Brut, 1988
Video documents an exhibition Programming the Gaze in Škuc Gallery in 1988. Camera travels around the exhibition and captures space installations in close-ups and from unexpected perspectives. Shots of five different installations line up, the title of each of them appears on the upper left corner of the screen. An important part of the exhibition introduced by a labyrinth construction, were sonic ambient (Egon March institute) and ambient lighting (Cian. kb).
Maja Slavec - Revaluation (00:42:19)
Production: Partizanka, 2008
Video polje je reducirano na krog. Reducirano zato ker je še vedno prisotna črna površina, ki tvori razliko do pravokotnika. Krožna oblika in snemanje s ptičje persepktive ustvarjajo klaustrofobično vzdušje in akterjem ukradejo volumen. Volumen tako beremo bolj preko senc, kot preko perspektive. Subjekti prihajajo in odhajajo iz krožnega polja, plesalcu pa je krog tudi celotno polje delovanja. Avtorica se sprašuje o stopnji avtonomije, ki jo ima posameznik v družbi.
Production: Partizanka, 2008
Video polje je reducirano na krog. Reducirano zato ker je še vedno prisotna črna površina, ki tvori razliko do pravokotnika. Krožna oblika in snemanje s ptičje persepktive ustvarjajo klaustrofobično vzdušje in akterjem ukradejo volumen. Volumen tako beremo bolj preko senc, kot preko perspektive. Subjekti prihajajo in odhajajo iz krožnega polja, plesalcu pa je krog tudi celotno polje delovanja. Avtorica se sprašuje o stopnji avtonomije, ki jo ima posameznik v družbi.
Luka Dekleva, Elena Fajt - The Memory (00:02:01)
Production: E. F., L. D., 2009
The photo animation was designed by Elena Fajt (installation), Luka Dekleva (photo), Luka Prinčič (sound) at the time of the II. Biennial of Sloevene Independent Illustration in 2009. Fajt set up ice cubes in three open-air locations containing the frozen ink that gradually changed the image. Time-based installations and abstract illustration were the result of the author's reflection on developing a specific method for graphic printing. The colour was frozen in an ice cube, under which the textile w...
Production: E. F., L. D., 2009
The photo animation was designed by Elena Fajt (installation), Luka Dekleva (photo), Luka Prinčič (sound) at the time of the II. Biennial of Sloevene Independent Illustration in 2009. Fajt set up ice cubes in three open-air locations containing the frozen ink that gradually changed the image. Time-based installations and abstract illustration were the result of the author's reflection on developing a specific method for graphic printing. The colour was frozen in an ice cube, under which the textile w...
Luka Dekleva - Singing Bridges EDIT (00:04:14)
Production: 2008
The author uses audio and video field material recorded by the artist Jodi Rose. Manipulation of video recordings of a hanging bridge construction is used as a visual background for an experimental electronic music created from sound recordings of the bridge and its surroundings.
Production: 2008
The author uses audio and video field material recorded by the artist Jodi Rose. Manipulation of video recordings of a hanging bridge construction is used as a visual background for an experimental electronic music created from sound recordings of the bridge and its surroundings.
Luka Dekleva, Luka Prinčič - Singing Bizovik Bridge (00:04:07)
Production: Kapelica, Codeep. KinoDvor, 2008
The authors created new contents and techniques by manipulating video and audio recordings of a bridge. In this video performance the sound is coming from the microphones mounted on cables and construction of the bridge. Thus, Jodi Rose, Cym and Luka Prinčič combined the recorded sound material in a live event and a video of the bridge that has been simultaneously manipulated by Luka Dekleva. Artists escalate the presence of environmental sound, in order to expand the importance of sound architecture as t...
Production: Kapelica, Codeep. KinoDvor, 2008
The authors created new contents and techniques by manipulating video and audio recordings of a bridge. In this video performance the sound is coming from the microphones mounted on cables and construction of the bridge. Thus, Jodi Rose, Cym and Luka Prinčič combined the recorded sound material in a live event and a video of the bridge that has been simultaneously manipulated by Luka Dekleva. Artists escalate the presence of environmental sound, in order to expand the importance of sound architecture as t...
Pila Rusjan - We are all Big Brother and Big Brother is just one of us (0:08:14)
Production: AKTO 4 in KUD PUNce, 2009
Video performans, ki ga je Pila Rusjan izvedla leta 2009 v Bitoli, je ustvarjen tako za naključno publiko v živo, kot za kamero oziroma video; na istem mestu se je kasneje predvajal ta isti video javne akcije. Video je ustvarjen v site specific maniri, saj je prvenstveno namenjen za specifičen prostor in kontekst. Avtorica je vzpostavila dvojni pogled: predvajanje videa ulice na tej isti ulici ter lastno prisotnost na mestu predvajanja videa. Video performans sestoji iz izmenjujočih se dolgih kadrov; pr...
Production: AKTO 4 in KUD PUNce, 2009
Video performans, ki ga je Pila Rusjan izvedla leta 2009 v Bitoli, je ustvarjen tako za naključno publiko v živo, kot za kamero oziroma video; na istem mestu se je kasneje predvajal ta isti video javne akcije. Video je ustvarjen v site specific maniri, saj je prvenstveno namenjen za specifičen prostor in kontekst. Avtorica je vzpostavila dvojni pogled: predvajanje videa ulice na tej isti ulici ter lastno prisotnost na mestu predvajanja videa. Video performans sestoji iz izmenjujočih se dolgih kadrov; pr...
