Alma Mater - cinematic teaser for P L A T E AU R E S I D U E ' s video installation
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Alma Mater je video instalacija, ki raziskuje posledice podnebnih sprememb v Ledeni jami pri Kunču v Kočevskem Rogu. Količina trajnega jamskega ledu se je v desetih letih zaradi blage zime z malo snega in toplih poletij zmanjšala za 1m.
Med najinim obiskom sva posnela video, ki dokumentira kako sva uporabila kos zlomljenega ledenega stalaktita za oblikovanje ledene leče. Ta leča je bila uporabljena za beleženje notranjosti jame in je simbolizirala nekakšen perverzni trenutek, saj je zabeležila objekt (ledeni pokrov), ki izginja skozi dejanski material (ledena leča), ki izginja. Video se konča, ko se ledna leča popolnoma stopi.
Alma Mater je bila prvič predstavljena kot video instalacija v Muzeju sodobne umetnosti Metelkova + MSUM v Ljubljani.
Režija in produkcija P L A T E AU R E S I D U E
Zvoki: Damjan Oven x Gašper Tomaševič x Vince Hancock x Magnus Bugge
Zvočna obdelava: Simon Kavšek
Podpora: Zavod Projekt Atol x Muzej sodobne umetnosti Metelkova +MSUM
// P L A T E A R E S I D U E je umetniški duo (Eva Pavlič Seifert in Aljaž Celarc), ki združuje umetnost in ekologijo z znanostmi za ponovno interpretacijo in ovrednotenje izkušenj znotraj naravnega okolja, ki so ga prizadele podnebne spremembe.
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Alma Mater is is a video installation that researches the consequences of climate change in Ice Cave at Kunč in Kočevski Rog Virgin Forest, Slovenia. The quantity of permanent cave ice has been decreasing by 1 meter in 10 years due to mild winters with little snow and warm summers. During one of our visits, we have recorded a video that documents how we used a piece of broken ice stalactite to shape the ice lens. This lens was used to record the inside of the cave and represented a semi-perverse moment because it recorded the object (ice cover) that is disappearing through the actual material (ice lens) that is disappearing. The video ends when the ice lens completely melts.
Alma Mater was first presented as a full video installation in Museum for Contemporary Art Metelkova +MSUM in Ljubljana, Slovenia.
Directed & produced by P L A T E AU R E S I D U E
Sounds: Damjan Oven x Gašper Tomaševič x Vince Hancock x Magnus Bugge
Sound edit: Simon Kavšek
Support by: Zavod Projekt Atol x Museum of Contemporary Art Metelkova +MSUM
// P L A T E AU R E S I D U E is artistic duo (Eva Pavlič Seifert and Aljaž Celarc) combining art x ecology x design and sciences to re-introduce and re-evaluate experience within/upon natural environment affected by climate change.
Luka Prinčič sound performance @ RŠ44 / MSUM
a sound performance at
Museum of Contemporary Art Metelkova (MSUM), Ljubljana
at the occasion of 44 years of Radio Student, Ljubljana
10/may 2013
Christian Routh: Kako napisati scenarij, ki se prodaja sam? / How to Write a Script that Sells?
Javno predavanje v okviru scenaristične delavnice Kratka scena 2016 / Public masterclass in the framework of Short Scene Workshop 2016 (Ljubljana, Slovenija)
V soorganizaciji Centra Ustvarjalna Evropa v Sloveniji - CED Slovenia, ki deluje v okviru zavoda Motovila, Društva za uveljavljanje kratkega filma Kraken – festivala FEKK in produkcijske hiše EnaBanda ter v partnerstvu z Muzejem sodobne umetnosti Metelkova (MSUM).
Predavanje Christiana Routha, priznanega mednarodnega strokovnjaka za scenarije, mentorja festivalske delavnice kratkega filma Kratka scena 2016 in vodje evropskega usposabljanja ScripTeast, o najboljših načinih predstavljanja idej za filmske zgodbe odločevalcem v avdiovizualni industriji. V ospredju so žanr, logline, sinopsis, treatment in scenarij ter postopki izbire projektov, pitching in psihologija osebnih sestankov.
Predavanje je potekalo 23. avgusta 2016 kot del usposabljanja Kratka scena, ki je v okviru Festivala kratkega filma v Ljubljani (FEKK) med 23. in 26. avgustom 2016 sedmim mladim ustvarjalcem omogočilo strokovno vodstvo Christiana Routha in Petra Murdmaa pri razvoju in pitchingu kratkih filmov.
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Javno predavanje v okviru scenaristične delavnice Kratka scena 2016 / Public masterclass in the framework of Short Scene Workshop 2016 (Ljubljana, Slovenija)
Organised by the Creative Europe Desk Slovenia / Motovila Centre for the promotion of cooperation in the cultural and creative sectors:, Kraken Film Society – Short Film Festival FEKK and the Enabanda production company in partnership with Museum of Contemporary Art Metelkova.
In this talk, Christian Routh, mentor of the Short Scene workshop 2016, a renowned international script doctor and head of ScripTeast training programme, tries to offer some tips to aspiring screenwriters about the best way they can present their concept for a film to the industry decision makers. This will include some ideas on genre, and how to approach writing a logline, synopsis, treatment and script. There will also be some thoughts on the decision making process, pitching, and the psychology of script meetings.
The masterclass took place on 23rd August 2016 as a public part of the Short Scene scriptwriting and pitching workshop (23 to 26 August 2016, Ljubljana Short Film Festival FEKK) under tutorship of Christian Routh and Peter Murdmaa.
Galanterie Mechanique Documentary
Galanterie Mécanique by Meta Grgurevič and Urša Vidic is a symphony of kinetic objects, video, performance and music. A homogenous spatial whole reveals a contemplation of the relationship between man and machine, collaboration and co-operation between individuals, and the position of the individual within wider social relationships. The driving force of the installation is harmony of constituent parts – the seemingly crucial or superfluous ones. The latter take on the role of tiny connecting elements, communicating with the seemingly established system and operation of mechanic elements and imbuing them with a lyrical and organic tinge, while assuming a part of mechanic essence. The new convolution becomes a working system, which is independent to a certain extent, buts need the participation of all components, both organic and mechanical, in order to function.
The key starting point, which, however, is not referenced directly and descriptively, is Modern Times. The artists establish a parallel narration, which is quite independent despite similar form and content. The Chaplin film lucidly and somewhat romantically critiques Fordist principles of production, which illustrates the capitalist tendency to mechanisation to increase efficiency and profit. The worker becomes only an imperfect, never sufficiently efficient part of the mechanic process of manufacturing, which gradually compels them to merge with the machine and changes activity into passive repetition.
In collaboration with: Performance / Created by: Meta Grgurevič, Jaša, Urša Vidic, Performed by: Nina Fajdiga, Leja Jurišić, BOWRAIN, KALU, Music by: BOWRAIN, Jaša, KALU / Costume design: Nika Ravnik / n i O k a / Video / Created by: Meta Grgurevič, Jaša , Concept by: Meta Grgurevič, Jaša and Urša Vidic , Text by: Jaša, Director of Photography: DK, Music by: BOWRAIN Jaša, KALU / Technical support / Lightning design: Borut Cajnko, Design and 3D modeling: Johnatan Podboršek, Electricity works: Tomo Markočič in Martin Podlogar, Engineering: France Petač, Carpentry works: Tilen Grgurevič / Graphic design by: Janez Vidrih / Documentary by: Meta Grgurevič, Jaša , Maša Nonkovič / Proofreading Inge Pangos / Translated by: Tina Škoberne in Borut Cajnko.
Photo by: DK
Program selector: Katerina Mirović
Škuc Gallery, Ljubljana
Produced by: Svetlobna Gverila@Stipr Core / Forum Ljubljana, Škuc Gallery
In collaboration with: U3, 7th Triennial of Contemporary Art in Slovenia – Resilience, curated by: Nataša Petrešin-Bachelez
Co- Production by: PTL- Dance Teatre Ljubljana, MSUM- Museum of Contemporary Art Metelkova
Moderna galerija: MELITA ZAJC, Televizija kot novi medij osemdesetih let
Torek, 23. maj 2017, ob 18.00, Seminar +MSUM
Ena temeljnih značilnosti sodobnosti je, da se med starim in novim oblikujejo doslej neznane konfiguracije. Pravzaprav je to tisto, kar danes vzbuja največ nelagodja. Po tem, ko smo se bili v modernem zahodnem svetu dodobra navadili, da novo vedno prevlada nad starim, zdaj staro prevzema nadzor nad novim. Primeri so raznoliki, vsi pa potrjujejo pomen konceptov kot je „mediologija“ Regisa Debraya, da je namreč ob gibanju tehnologij, ki poteka naprej, potrebno upoštevati tudi gibanje kultur, ki teče nazaj. „Retrogardizem“, koncept, ki ga NSK razvije v 1980ih letih v Sloveniji, je tisti, ki gibanje naprej najbolj neločljivo poveže z gibanjem nazaj. Od tu izhaja izhodiščno vprašanje tega predavanja, namreč, kaj se lahko iz dogajanja v 1980ih letih v Sloveniji naučimo o svetu, v katerem živimo danes. Osredotočila se bom na področje medijev, zlasti televizije, ki je kot naprava takrat obstajala že celo stoletje, prav tako se je video, ki se je pojavil v 1960ih, dotlej že dodobra uveljavil kot orodje umetnostne produkcije. Torej, niso bile nove naprave, pač pa so se v tistem obdobju v Sloveniji razvile nove oblike rabe televizije. Z današnjega vidika so zlasti pomembni novi produkcijski okviri in spremljajoče tekstualne prakse. Nove oblike distribucije TV programov so bile na eni strani zametek danes vodilnih tradicionalnih medijev (A kanal kot nekdanja ATV) in programov (Studio City kot nekadnji Studio City, sic!), na drugi pa so napovedale mrežne oblike organizacije, ki danes prevladujejo na področju družbenih medijev. Na področju tekstovnih praks pa je bil ključen razmah kreativnega prisvajanja, tekstualne strategije, ki je omogočala oblikovanje kritičnega javnega diskurza in politične kritike v pogojih, ki so bili značilni za takratno Jugoslavijo in jih je Slavoj Žižek leta 1983 v okviru simpozija Kaj je alternativna opisal kot “imanentni cinizem oblasti,” do danes pa so dosegli globalno prevlado. O tem posredno priča dejstvo, da so se podobne tekstovne prakse sočasno razvile v Sovjetski zvezi in drugih državah vzhodnega bloka, kjer so jih poimenovali “stjob”, kasneje pa so se v obliki satiričnih informativnih oddaj, in še kasneje v obliki lažnih novic, razširile takorekoč širom sveta.
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