16 October 2007 > 21 October 2007
The Alcatraz Gallery exhibition will feature video objects, various in form (objects, installations, cadavers) and in genre (mixed media, abstract visualisations, political settings, reflective still lifes), while the video contents of these very same video objects, subjected to the form of likeable public use of information, will be on display at the Square Of No Historic Memory . The video objects at the Alcatraz Gallery are self-sufficient, they will only be placed together in some kind of terrarium; at the Square, these video contents extract themselves out of their own static construction, their inherent meaning is relativised, and within this new construction they exchange place and rhythm on the projection surfaces. At the Alcatraz Gallery, the objects will be interactive and within themselves lasting (construction of time), and at the Square they will be united, stripped of its subject through direct manipulation of the visualiser, and pre-programmed paths. Inside, the object - within its setting - and the viewer will be confronted. Outside, you can see the results of the visualist's control of visual stimulants, live manipulation of the video and creation of new synchronisation.
It can be said that the displayed objects are those that were taking their shape with the beginning of new millennium, in the midst of defeatism, the repeated end of history. This practice is best defined as an answer to the instrumentalisation of art through ICP in culture (Independent Cultural Production), and on the other hand mask of the same grandiose scenery of the then antiglobal movement, mostly of that, uttered in Slovenia and Ljubljana. Today, the fear is even greater, and the depth of global insolvability without prospects is even deeper. For example, a 20 second movie I Believe – the first made in the series of NNF - is antireligious, antiglobal, antifatal … in sum - progressive mantra.
New New films (or letters, as one of the guests at my home has described them) are those of hope and sorrow, rejoicing and fear. The presentation will, in a way, consist of the first six-year of program of adoring the beautiful, of sensuous moments, nostalgic still lives, giving and not mixing, presenting and not communicating. This practice has risen against the demolishing power of the known, predictable, parasitism and exploitation with the unimportant, the coincidental, the lost. Not ''Nature, sport and techno music'', but ''Unimportant, coincidental, lost''. Let the debate on images, especially those in new media, return; return from psychology, philosophy, from the mental, the physical, and from the dematerialising processes to the medium itself, into the registration of itself. For art has to be brutal, engaged, contemporary critical. Simple, rough, recycled, cheap, improvised in concrete space and time.