8th International Multimedial Art Festival - IMAF 2006
Nenad Bogdanovic:
(In)Place of Fear
Coming from the fact that there is a phenomenon of fear present since the very beginning of human race, and that it is actual ever since, it was very interesting to observe what artist think about this global phenomena. Participants of “(In) Place of Fear” project represented their own or other people’s fears, and their respectable way of dealing with sources or consequences that make our lives, families and social situation more difficult.
They, the fears, no matter if justified or just a phobia and distorted image of reality, are very good material for realization of extraordinary tales, messages and worthy warning to all of us, transformed into artistically shaped video works. Concept of activities standing in the very title of the project invites the artists, even within this gloomy thematic determinant, to optimistic quest to offer us qualitative artistic projection instead of fear.
Juniper Perlis :
Performance art remains a vital source of communication, expression, inspiration and discovery for all those who take part in it. It is a unique form of art making that continues to expand all over the world, disrupting and giving new potential to its practitioners and its audience. The 8 th International Multimedia Art Festival, Serbia, 2006, organized by Nenad Bogdanovic, traveled from Odzaci to Novi Sad to Belgrade, causing a wave of creativity to flow over all of us, and reverberating still.
In conjunction with the performance festival, Nenad curated a video festival, “(In )Place of fear.” Using image and sound, close to thirty video artists from more than twenty different countries screened works that address the rising global phenomena of fear. The many works produced a spectrum of formal and conceptual techniques, revealing varied, distinct studies of this ever present, human sensation.
Joseph Ravens’ “Ravenous” brings us into a world of his making where the metaphor of the Raven enfolds us in jewels and desire. Using his body, words, projected image and few materials, Joseph performs a story that transforms an external narrative and display into a sensory experience. This transformation is not complete, but leaves us in an in between place where metaphor and real time bodily experience mesh and become indistinguishable. The constellation raven against a background of stars switches from black to white as Joseph wriggles into a black shirt to replace the white one he had just put on. This follows Joseph’s telling of the myth of how the Raven’s feathers were made black. The Raven has been punished for giving into his hunger, his desire. When Joseph puts on the Raven mask and speaks in the Raven’s voice about his insatiable hunger and how he is ravenous, I feel it too. My hunger swells with Joseph’s voices and heaving body. The visceral quality of Joseph’s movements and the immediacy of his actions develop an environment that is all encompassing. As this piece was performed at the three different sites of the IMAF festival, Odzaci, Novi Sad, and Belgrade, many of us got to be present for the very different performances. This diversity within repetition acknowledges the fluidity of Joseph’s performance. The story, the projection, Joseph’s presence and words, invoke an eternity and endlessness reminding me that there is no beginning to sensation, just the it, the sensation.
As he sits, shirtless, Radoslav B. Chugaly etches the letters EMETH into tiles. He then smashes the first E and lays his head down on the broken tile allowing, in Odzaci the sweat, and in Novi Sad the rain, to drip down him. In Hebrew, emeth means divine truth or life and meth means death in Hebrew. Radoslav shows us that death is very much a part of truth/life, but that life is not a part of death. Death has the memory of divine truth, still attached to life, which it completes, but there is not a symmetrical balance of dependence. In the symbolic world of his performance, Radoslav can destroy life and truth, but not death.
In his three different performance works, all titled “Here” Joan Casellas responds to his immediate environment, with playful and inquisitive action/gestures. The first manifestation, in Odzaci, begins with a recitation in Serbian in which he is assisted in pronouncing words unfamiliar to him. He tears pages from a red accounting book (which reappears in the other two “Here” pieces), and hands them to the audience. No one knows what to do with them. The faces of the audience look around, wondering if they should consider this item precious or not. Joan then balances the book on his head and puts a plastic vase on top of that. He closes his eyes and moves around the periphery of the garden and driveway. Isolated, the activities remain benal, but as he continues this series of works, it becomes evident that it is part of a fuller language, communicating through exploration. What can I do with the things around me and my body demonstrate limits and possibilities? How can these gestures signify as much as possible? In his second piece, Joan puts the red book on a chair and raises it close to a hanging disco ball. He then uses the pages to create a paper pyramid. Crossing to the other side of the room, he chews and spits the remaining pieces at the stack of paper, attempting to knock it down. He rarely hits the pyramid, perhaps due to swallowing vodka to help chew the paper. In his third piece, Joan lifts and carries a heavy round table across a long room, chasing his shoes which he has thrown. It is the accumulation of these acts in relationship to one another that reverberates. Joan is like a child discovering the world and himself in it.
The frenetic energy in the room during MP’s performance, MP_per_11 Limited” joins us as one pulsing, throbbing being. The piece began with a still woman and man, both shirtless, their heads next to each other and facing opposite walls. The room is filled with ambient, glitch sound and their still bodies in the strobe lights and music confuse my sense of their movement. A coil around their necks, under their net draped bodies becomes a snake and I think she is struggling for breath. The strobe lights and everyone pushing in closer create a sense of rising panic. The artists begin to roll around a bit, still restrained and then less so, grabbing at each other in a demanding way. Both of them grabbing and thrashing around, with increasing desperation and desire. The sound moves from ambient to a deep techno grunge and it seems we are all united in this moment with noise that reverberates to our bones. Witnesses to this familiar, disquieting struggle, we are complicit in the lust and violence. They struggle with each other, but also with themselves. How much to hold back?
Gerti Berg’s three performance pieces in IMAF break the division between what is physically inside and what is physically outside. By swallowing crocheted yarn then retracting it, eating her regurgitated orange, and swallowing her shirt, Gerti turns herself outside in and then back out. I was Gerti’s collaborator for “Hook,” which we performed in Odzaci. We sat across from each other on the ground, crocheting yarn to the length of our bodies combined. We then swallowed this and stood up, then backed away from each other until it had unraveled and come out of us. We both told each other that we felt a tremendous empathy and compassion for one another and then a great loss when the yarn had exited us. In Novi Sad, Gerti hunkered under a bike rake draped with a white table cloth and stuck her finger down her throat to make herself vomit on a plate which she drank from. She had a hard time making herself throw up, and mostly drooled. She looked like she was trying to turn herself inside out. For her final piece in Belgrade, Gerti cut the lower portion of her t-shirt off in one long strip, swallowing it and tying shoes to the end, she dragged the shoes until the t-shirt was pulled out. Gerti sought out external forces to reunite the external element she had just consumed and made a part of her internal being. Gerti’s work is very physically demanding. It demands us as it demands her.
Art Circus changed the atmosphere at the IMAF events in Novi Sad and Odzaci to that of a fair ground freak show. Drawn by the macabre and our curiosity, we all wanted to see the human brains in the bucket of formaldehyde. I wanted to squeeze it really hard to see what happened. Other people did as well, poking and prodding. I got angry for a minute that someone was being so ruthless with it, but I wanted to do it too , and it was so dead, no harm could come to it anymore. It was very satisfying to violate the brain. The bucket was next to a life-size color image of Art Circus dressed as fakir, herdsman, and magician and holding brains in their outstretch hands; making an offering.
“A game of adjoining with a tree,” performed by Nela Antonovic and Lidija Antonovic grew in complexity with each performance. In Odzaci a child, playing in the park while Lidija and Nela set up, asked if she could participate. She was invited to join and her presence lent authenticity to the relationship between audience and performer. Nela and Lidija portray a mythic crisis and resolution. Nela spits up wood shavings that Lidija, dressed as a tree/serpent distributes to the audience. Nela thrashes all around and Lidija swings branches. The artists then bring the audience to tree, laying out a ladder of branches and showing us how to embrace the tree. We are offered redemption, safety, a place away from fear and loneliness. The blood on Nela’s white dress betrays her need for this safety. In the second manifestation of the piece, Nela injures her elbow on the cement ground before embracing the tree, this time implanted in a patio, amplifying the life affirming quality of the tree. The audience in Belgrade, when brought to the tree to embrace it, stayed put, allowing the energy to flow among those physically connected to the tree. The artists create a mythical world in which we are encouraged to find healing.
The calmness that comes over Gabrijel Savic Ra while he is performing, gives his pieces an aura of trust. He opens himself up to the pain and to the audience. In “Consumed by Rose” Gabrijel literally opens himself up by slowly drawing lines in his feet, hands, arms and chest, with a razor. The blood stands in contrast to the white cloth he sits on and his blood sticks to. It spreads across his skin, coloring him bloody. He then replaces his lost blood with the petals of red roses. Eating them slowly, petal by petal. He looks at the audience deeply, creating intimacy through eye contact. In “Algorithms of Nihil” Gabrijel lies his hand, palm down, on a print in a Gaugain monograph. He then drips wax from a candle onto the back of his hand. He melds himself with the image, punishing himself and the book, and simultatneously creating unity.
"And the sin is in a man like when you knock a large nail into a wood. If you knock it a couple of times, it is easy to pull it out, if you nail it half way, it is harder, if you nail it all the way - then you have to cut the wood in half. That is the way the sin is knocked into human nature." *from Elder Cleopa book "Way of heaven" Aleksandar Jovanovic begins his performance balanced on a small log, reading the above text. (This was translated for me after the performance) He literally puts the metaphor of the sin being knocked into human nature into action with a large nail and wood. It was a very effective metaphorical action as we could see the great struggle Aleksandar was enduring with the task he set himself. It was his physical relationship to the materials, however, that I responded to most. He was so connected to the wood as if by using the wood to represent himself, he had merged his identity with it. He was very graceful in his movements, balancing and swing the ax to strike the wood, grasping it to pull out the nail. And when he had finished, his satisfaction, and happiness revealed his investment in the metaphor, the true relief in having successfully struggled with sin.
Nenad Bogdanovic performed two works during the IMAF8 festival. Each was distinct… sounding, looking, feeling very different from one another, yet they both reveal the artist’s investment in the histories and ideologies of art and art practice. In “A sketch for a movement technics,” performed in Novi Sad, Nenad stands in front of a projected animation of Muybridge photographs as industrial music fills the small space. Intermittently taking sips of brandy and sharing sips with the audience, Nenad gets drunk. He stands on a floor littered with ads for hard drives and says, “Human, or human brain,” while holding a hard drive aloft. The animation and the music talk to another, not quite in sync. Muybridge, the beginning of film, signifies a technological turning point in art, information as truth and the power of the image. As Nenad begins to slur a bit we are shown his humanity. At the end of the performance he smashes the hard drive with a sledgehammer. This physical act is bound to the images of the Muybridge athletes. Dancing to their industrial beats, they are impervious to the brandy, as they are a product of the hard drive, the human brain. This performance offers itself as an alternative to the truth of technology.
In “I am a rich artist,” performed in Belgrade, Nenad stands watch, looking debonair in a slick suit, while the audience creates works on paper. They turn these into him for twenty dinar apiece. He then tapes them to the wall, signs his name to them, and prices them for sale. By engaging in the exploitation of artists, Nenad compounds his metaphor. He isn’t just playing a part. He buys the audience’s participation, not with dinar, but with artistic appreciation and value. I was struck by how attached to their “drawings” the participants were. They were invested in the objects they produced, some proud of their originality or color choices. But their choices are insignificant; it is their desire to display their creativity and Nenad’s ability to manipulate this desire which creates meaning.
Justin McKeown and Meabh McDonnell were not able to be in Serbia for the IMAF8 festival, but took part via a survey circulated during the festival. Insolent and defiant as ever, the SPARTISTS test our revolutionary caliber with “The SPARTIST Revolutionary Barometer (Serbian and Ex-Yugoslavian Version).
Every artist, every performance in IMAF8 offers new possibilities for perception and challenges our understanding of ourselves, and of each other. As it engages the audience, with direct participation or by the physical presence of the artist, performance art demands an investment. It is not possible to be a passive viewer, receiving what is offered. We must all be present and allow change. Being a part of the IMAF8 performance festival allowed me to experience what it is to be responsible for creating change, both as an artist and as part of the audience. As we shared our ideas and inspiration with each other, we built a momentum that cannot be undone. We are an infectious influence.
Nenad Bogdanovic:
Performances made by Juniper Perlis during 8th IMAF, "Hook" with Gertrude Berg at MAS Gallery in Odzaci and "Gua Sha" at Circus Gallery in Students Cultural Center of Belgrade, give us a perception of works created in "correspondence" with basic forms of body-art actions from the end of 60-ties and the beginning of 70-ties last century.On the street, on a concrete bridge in front of the entrance to MAS two women were sitting, facing each other, weaving a white thread used for weaving various hand made decoration for a while. Juniper and Gertrude in their performance "Hook" begun by doing something traditionally associated with life and work of most women worldwide. Their "weaving" with fingers finished after a while as they formed a line of weave, and this would all not be any more interesting to the audience if they did not take the weave and started swallowing it each by different end of it. After a while the thread disappeared in their stomachs, and they, connected by this thread and touching their lips, went on the road. Moving slowly away from each other, they made the thread come out of their mouth. Performance of these two authors carries messages with many different meanings. One of them leads us to an idea of the basic character and material used as a symbol of prolonged oppression and denial of human rights to the feminine population worldwide. One of possible symbolic meanings is also a real possibilities of connection between different personalities, cultures and interests, in a certain social and political ambiance.
Juniper Perlis in her performance "Gua Sha", performed at Students Cultural Center of Belgrade, uses traditional technique and medical practice from Asia. Juniper was, on the floor of circular space of Circus gallery, laying naked of pillows. She was applying a special cream on her skin all over the body. After putting it by hand, using this technique, she pressed her skin with powerful, probably very painful, strokes using rounded instrument resembling a spoon. After a longer period of application of this medical technique, her skin was quite damaged and bruised. Looking at this as a person unaware of the medical significance, one could never think that people in Asia cure many chronically illnesses, pains, normalizing their blood pressure. "Gua Sha" unlike similar, recent body-art performances that mostly explored boundaries of mental and physical, sends new vibrations and opens new views. This four hour performance gives positivistic suggestions and offers cures for the body and more, in transcendental educational, cultural and ethical sense.
IMAF 8 Program:
8. Medjunarodni festival multimedijalne umetnosti
8th International Multimedial Art Festival
10th 08, 2006 – 17,00 (Galerija MAS, Odžaci / MAS Gallery, Odzaci)
(In)Place of Fear
Coming from the fact that there is a phenomenon of fear present since the very beginning of human race, and that it is actual ever since, it was very interesting to observe what artist think about this global phenomena. Participants of “(In) Place of Fear” project represented their own or other people’s fears, and their respectable way of dealing with sources or consequences that make our lives, families and social situation more difficult.
They, the fears, no matter if justified or just a phobia and distorted image of reality, are very good material for realization of extraordinary tales, messages and worthy warning to all of us, transformed into artistically shaped video works. Concept of activities standing in the very title of the project invites the artists, even within this gloomy thematic determinant, to optimistic quest to offer us qualitative artistic projection instead of fear.
Juniper Perlis :
Performance art remains a vital source of communication, expression, inspiration and discovery for all those who take part in it. It is a unique form of art making that continues to expand all over the world, disrupting and giving new potential to its practitioners and its audience. The 8 th International Multimedia Art Festival, Serbia, 2006, organized by Nenad Bogdanovic, traveled from Odzaci to Novi Sad to Belgrade, causing a wave of creativity to flow over all of us, and reverberating still.
In conjunction with the performance festival, Nenad curated a video festival, “(In )Place of fear.” Using image and sound, close to thirty video artists from more than twenty different countries screened works that address the rising global phenomena of fear. The many works produced a spectrum of formal and conceptual techniques, revealing varied, distinct studies of this ever present, human sensation.
Joseph Ravens’ “Ravenous” brings us into a world of his making where the metaphor of the Raven enfolds us in jewels and desire. Using his body, words, projected image and few materials, Joseph performs a story that transforms an external narrative and display into a sensory experience. This transformation is not complete, but leaves us in an in between place where metaphor and real time bodily experience mesh and become indistinguishable. The constellation raven against a background of stars switches from black to white as Joseph wriggles into a black shirt to replace the white one he had just put on. This follows Joseph’s telling of the myth of how the Raven’s feathers were made black. The Raven has been punished for giving into his hunger, his desire. When Joseph puts on the Raven mask and speaks in the Raven’s voice about his insatiable hunger and how he is ravenous, I feel it too. My hunger swells with Joseph’s voices and heaving body. The visceral quality of Joseph’s movements and the immediacy of his actions develop an environment that is all encompassing. As this piece was performed at the three different sites of the IMAF festival, Odzaci, Novi Sad, and Belgrade, many of us got to be present for the very different performances. This diversity within repetition acknowledges the fluidity of Joseph’s performance. The story, the projection, Joseph’s presence and words, invoke an eternity and endlessness reminding me that there is no beginning to sensation, just the it, the sensation.
As he sits, shirtless, Radoslav B. Chugaly etches the letters EMETH into tiles. He then smashes the first E and lays his head down on the broken tile allowing, in Odzaci the sweat, and in Novi Sad the rain, to drip down him. In Hebrew, emeth means divine truth or life and meth means death in Hebrew. Radoslav shows us that death is very much a part of truth/life, but that life is not a part of death. Death has the memory of divine truth, still attached to life, which it completes, but there is not a symmetrical balance of dependence. In the symbolic world of his performance, Radoslav can destroy life and truth, but not death.
In his three different performance works, all titled “Here” Joan Casellas responds to his immediate environment, with playful and inquisitive action/gestures. The first manifestation, in Odzaci, begins with a recitation in Serbian in which he is assisted in pronouncing words unfamiliar to him. He tears pages from a red accounting book (which reappears in the other two “Here” pieces), and hands them to the audience. No one knows what to do with them. The faces of the audience look around, wondering if they should consider this item precious or not. Joan then balances the book on his head and puts a plastic vase on top of that. He closes his eyes and moves around the periphery of the garden and driveway. Isolated, the activities remain benal, but as he continues this series of works, it becomes evident that it is part of a fuller language, communicating through exploration. What can I do with the things around me and my body demonstrate limits and possibilities? How can these gestures signify as much as possible? In his second piece, Joan puts the red book on a chair and raises it close to a hanging disco ball. He then uses the pages to create a paper pyramid. Crossing to the other side of the room, he chews and spits the remaining pieces at the stack of paper, attempting to knock it down. He rarely hits the pyramid, perhaps due to swallowing vodka to help chew the paper. In his third piece, Joan lifts and carries a heavy round table across a long room, chasing his shoes which he has thrown. It is the accumulation of these acts in relationship to one another that reverberates. Joan is like a child discovering the world and himself in it.
The frenetic energy in the room during MP’s performance, MP_per_11 Limited” joins us as one pulsing, throbbing being. The piece began with a still woman and man, both shirtless, their heads next to each other and facing opposite walls. The room is filled with ambient, glitch sound and their still bodies in the strobe lights and music confuse my sense of their movement. A coil around their necks, under their net draped bodies becomes a snake and I think she is struggling for breath. The strobe lights and everyone pushing in closer create a sense of rising panic. The artists begin to roll around a bit, still restrained and then less so, grabbing at each other in a demanding way. Both of them grabbing and thrashing around, with increasing desperation and desire. The sound moves from ambient to a deep techno grunge and it seems we are all united in this moment with noise that reverberates to our bones. Witnesses to this familiar, disquieting struggle, we are complicit in the lust and violence. They struggle with each other, but also with themselves. How much to hold back?
Gerti Berg’s three performance pieces in IMAF break the division between what is physically inside and what is physically outside. By swallowing crocheted yarn then retracting it, eating her regurgitated orange, and swallowing her shirt, Gerti turns herself outside in and then back out. I was Gerti’s collaborator for “Hook,” which we performed in Odzaci. We sat across from each other on the ground, crocheting yarn to the length of our bodies combined. We then swallowed this and stood up, then backed away from each other until it had unraveled and come out of us. We both told each other that we felt a tremendous empathy and compassion for one another and then a great loss when the yarn had exited us. In Novi Sad, Gerti hunkered under a bike rake draped with a white table cloth and stuck her finger down her throat to make herself vomit on a plate which she drank from. She had a hard time making herself throw up, and mostly drooled. She looked like she was trying to turn herself inside out. For her final piece in Belgrade, Gerti cut the lower portion of her t-shirt off in one long strip, swallowing it and tying shoes to the end, she dragged the shoes until the t-shirt was pulled out. Gerti sought out external forces to reunite the external element she had just consumed and made a part of her internal being. Gerti’s work is very physically demanding. It demands us as it demands her.
Art Circus changed the atmosphere at the IMAF events in Novi Sad and Odzaci to that of a fair ground freak show. Drawn by the macabre and our curiosity, we all wanted to see the human brains in the bucket of formaldehyde. I wanted to squeeze it really hard to see what happened. Other people did as well, poking and prodding. I got angry for a minute that someone was being so ruthless with it, but I wanted to do it too , and it was so dead, no harm could come to it anymore. It was very satisfying to violate the brain. The bucket was next to a life-size color image of Art Circus dressed as fakir, herdsman, and magician and holding brains in their outstretch hands; making an offering.
“A game of adjoining with a tree,” performed by Nela Antonovic and Lidija Antonovic grew in complexity with each performance. In Odzaci a child, playing in the park while Lidija and Nela set up, asked if she could participate. She was invited to join and her presence lent authenticity to the relationship between audience and performer. Nela and Lidija portray a mythic crisis and resolution. Nela spits up wood shavings that Lidija, dressed as a tree/serpent distributes to the audience. Nela thrashes all around and Lidija swings branches. The artists then bring the audience to tree, laying out a ladder of branches and showing us how to embrace the tree. We are offered redemption, safety, a place away from fear and loneliness. The blood on Nela’s white dress betrays her need for this safety. In the second manifestation of the piece, Nela injures her elbow on the cement ground before embracing the tree, this time implanted in a patio, amplifying the life affirming quality of the tree. The audience in Belgrade, when brought to the tree to embrace it, stayed put, allowing the energy to flow among those physically connected to the tree. The artists create a mythical world in which we are encouraged to find healing.
The calmness that comes over Gabrijel Savic Ra while he is performing, gives his pieces an aura of trust. He opens himself up to the pain and to the audience. In “Consumed by Rose” Gabrijel literally opens himself up by slowly drawing lines in his feet, hands, arms and chest, with a razor. The blood stands in contrast to the white cloth he sits on and his blood sticks to. It spreads across his skin, coloring him bloody. He then replaces his lost blood with the petals of red roses. Eating them slowly, petal by petal. He looks at the audience deeply, creating intimacy through eye contact. In “Algorithms of Nihil” Gabrijel lies his hand, palm down, on a print in a Gaugain monograph. He then drips wax from a candle onto the back of his hand. He melds himself with the image, punishing himself and the book, and simultatneously creating unity.
"And the sin is in a man like when you knock a large nail into a wood. If you knock it a couple of times, it is easy to pull it out, if you nail it half way, it is harder, if you nail it all the way - then you have to cut the wood in half. That is the way the sin is knocked into human nature." *from Elder Cleopa book "Way of heaven" Aleksandar Jovanovic begins his performance balanced on a small log, reading the above text. (This was translated for me after the performance) He literally puts the metaphor of the sin being knocked into human nature into action with a large nail and wood. It was a very effective metaphorical action as we could see the great struggle Aleksandar was enduring with the task he set himself. It was his physical relationship to the materials, however, that I responded to most. He was so connected to the wood as if by using the wood to represent himself, he had merged his identity with it. He was very graceful in his movements, balancing and swing the ax to strike the wood, grasping it to pull out the nail. And when he had finished, his satisfaction, and happiness revealed his investment in the metaphor, the true relief in having successfully struggled with sin.
Nenad Bogdanovic performed two works during the IMAF8 festival. Each was distinct… sounding, looking, feeling very different from one another, yet they both reveal the artist’s investment in the histories and ideologies of art and art practice. In “A sketch for a movement technics,” performed in Novi Sad, Nenad stands in front of a projected animation of Muybridge photographs as industrial music fills the small space. Intermittently taking sips of brandy and sharing sips with the audience, Nenad gets drunk. He stands on a floor littered with ads for hard drives and says, “Human, or human brain,” while holding a hard drive aloft. The animation and the music talk to another, not quite in sync. Muybridge, the beginning of film, signifies a technological turning point in art, information as truth and the power of the image. As Nenad begins to slur a bit we are shown his humanity. At the end of the performance he smashes the hard drive with a sledgehammer. This physical act is bound to the images of the Muybridge athletes. Dancing to their industrial beats, they are impervious to the brandy, as they are a product of the hard drive, the human brain. This performance offers itself as an alternative to the truth of technology.
In “I am a rich artist,” performed in Belgrade, Nenad stands watch, looking debonair in a slick suit, while the audience creates works on paper. They turn these into him for twenty dinar apiece. He then tapes them to the wall, signs his name to them, and prices them for sale. By engaging in the exploitation of artists, Nenad compounds his metaphor. He isn’t just playing a part. He buys the audience’s participation, not with dinar, but with artistic appreciation and value. I was struck by how attached to their “drawings” the participants were. They were invested in the objects they produced, some proud of their originality or color choices. But their choices are insignificant; it is their desire to display their creativity and Nenad’s ability to manipulate this desire which creates meaning.
Justin McKeown and Meabh McDonnell were not able to be in Serbia for the IMAF8 festival, but took part via a survey circulated during the festival. Insolent and defiant as ever, the SPARTISTS test our revolutionary caliber with “The SPARTIST Revolutionary Barometer (Serbian and Ex-Yugoslavian Version).
Every artist, every performance in IMAF8 offers new possibilities for perception and challenges our understanding of ourselves, and of each other. As it engages the audience, with direct participation or by the physical presence of the artist, performance art demands an investment. It is not possible to be a passive viewer, receiving what is offered. We must all be present and allow change. Being a part of the IMAF8 performance festival allowed me to experience what it is to be responsible for creating change, both as an artist and as part of the audience. As we shared our ideas and inspiration with each other, we built a momentum that cannot be undone. We are an infectious influence.
Nenad Bogdanovic:
Performances made by Juniper Perlis during 8th IMAF, "Hook" with Gertrude Berg at MAS Gallery in Odzaci and "Gua Sha" at Circus Gallery in Students Cultural Center of Belgrade, give us a perception of works created in "correspondence" with basic forms of body-art actions from the end of 60-ties and the beginning of 70-ties last century.On the street, on a concrete bridge in front of the entrance to MAS two women were sitting, facing each other, weaving a white thread used for weaving various hand made decoration for a while. Juniper and Gertrude in their performance "Hook" begun by doing something traditionally associated with life and work of most women worldwide. Their "weaving" with fingers finished after a while as they formed a line of weave, and this would all not be any more interesting to the audience if they did not take the weave and started swallowing it each by different end of it. After a while the thread disappeared in their stomachs, and they, connected by this thread and touching their lips, went on the road. Moving slowly away from each other, they made the thread come out of their mouth. Performance of these two authors carries messages with many different meanings. One of them leads us to an idea of the basic character and material used as a symbol of prolonged oppression and denial of human rights to the feminine population worldwide. One of possible symbolic meanings is also a real possibilities of connection between different personalities, cultures and interests, in a certain social and political ambiance.
Juniper Perlis in her performance "Gua Sha", performed at Students Cultural Center of Belgrade, uses traditional technique and medical practice from Asia. Juniper was, on the floor of circular space of Circus gallery, laying naked of pillows. She was applying a special cream on her skin all over the body. After putting it by hand, using this technique, she pressed her skin with powerful, probably very painful, strokes using rounded instrument resembling a spoon. After a longer period of application of this medical technique, her skin was quite damaged and bruised. Looking at this as a person unaware of the medical significance, one could never think that people in Asia cure many chronically illnesses, pains, normalizing their blood pressure. "Gua Sha" unlike similar, recent body-art performances that mostly explored boundaries of mental and physical, sends new vibrations and opens new views. This four hour performance gives positivistic suggestions and offers cures for the body and more, in transcendental educational, cultural and ethical sense.
IMAF 8 Program:
8. Medjunarodni festival multimedijalne umetnosti
8th International Multimedial Art Festival
10th 08, 2006 – 17,00 (Galerija MAS, Odžaci / MAS Gallery, Odzaci)
- “Vrane” / “Ravenous” Joseph Ravens, Chicago-USA
- “Ovde” / “Here” Joan Casellas, Barcelona-Spain
- Projekcija video radova iz projekta “(U)Mesto straha” / Projections of video works from art project “(In)Place of fear”
- “MP_per_11 Limited” / “MP_per_11 Limited” MP, Novi Sad-Serbia
11th 08, 2006 – 17,00 (Galerija MAS, Odžaci / MAS Gallery, Odzaci)
- “Udica” / “Hook” Gertrude Berg & Juniper Perlis, New York-USA
- “Trust mozgova: fakir, pastir, mađioničar” / “Brain trust: fakir, herdsman, magician” Art Circus group (Dragan Matic, Zeljko Piskoric, Milos Vujanovic), Novi Sad-Serbia
- “Igra bliskosti sa drvetom” / “A game of adjoining with a tree” Nela Antonovic & Lidija Antonovic, Belgrade-Serbia
- Projekcija video radova iz projekta “(U)Mesto straha” / Projections of video works from art project “(In)Place of fear”
- “Pojeden ružom” / “Consumed by Rose” Gabrijel Savic Ra, Belgrade-Serbia
12th 08. 2006. – 17,00 (Galerija IZBA, Novi Sad / IZBA Gallery, Novi Sad)
- “Algoritmi ničega” / “Algorithms of Nihil” Gabrijel Savic Ra, Belgrade-Serbia
- “Igra bliskosti sa drvetom” / “A game of adjoining with a tree” Nela Antonovic & Lidija Antonovic, Belgrade-Serbia
- “Vrane” / “Ravenous” Joseph Ravens, Chicago-USA
- “Ovde” / “Here” Joan Casellas, Barcelona-Spain
- “Greh” / “Sin” Aleksandar Jovanovic, Odzaci-Serbia
13th 08. 2006. – 17,00 (Galerija IZBA, Novi Sad / IZBA Gallery, Novi Sad)
- “Lice istine” / “Face of truth” Radoslav B. Chugaly, Odzaci-Serbia
- “Iseći i zalepiti” / “Cut & paste” Gertrude Berg, New York-USA
- “Trust mozgova: fakir, pastir, mađioničar” / “Brain trust: fakir, herdsman, magician” Art Circus group (Dragan Matic, Zeljko Piskoric, Milos Vujanovic), Novi Sad-Serbia
- “Skica za tehniku pokreta” / “A sketch for a movement technics” Nenad Bogdanovic, Odzaci-Serbia
14th 08. 2006. – 17,00 (VIP-ART Galerija – Studentski kulturni centar, Beograd / VIP ART Gallery - Students Cultural Centre, Belgrade)
- “Gua Sha” / “Gua Sha” Juniper Perlis, New York-USA
- “Vrane” / “Ravenous” Joseph Ravens, Chicago-USA
- “Igra bliskosti sa drvetom” / “A game of adjoining with a tree” Nela Antonovic & Lidija Antonovic, Belgrade-Serbia
- “Ovde” / “Here” Joan Casellas, Barcelona-Spain
- “Skice” / “Sketches” Gertrude Berg, New York-USA
- “Greh” / “Sin” Aleksandar Jovanovic, Odzaci-Serbia
- “Ja sam bogat umetnik” / “I am a rich artist” Nenad Bogdanovic, Odzaci-Serbia
Umetnički projekat “Spartistički revolucionarni barometar (Srpska i eks-jugoslovenska verzija) / Art project “The SPARTIST Revolutionary Barometer (Serbian and Ex-Yugoslavia Version)”:
- Justin McKeown & Meabh McDonnell, Belfast-Northern Ireland
Umetnički projekat / video rad "Kvrge" / Art project / Video work “Lumps”:
- Andrei Zakow, New York - USA
17th 08, 2006 – 21,00 (Kafe-bar PARLAMENT / Café-bar PARLAMENT)
- Projekcija video radova iz umetničkog projekta “(U)Mesto straha”, autor Nenad Bogdanović / Projections of video works from art project “(In)Place of fear” by curator Nenad Bogdanovic:
IMAF 8 Biographies:
Joseph Ravens, Chicago, USA
Performances: Ravenous (Odžaci, Novi Sad, Beograd)
For over a decade Joseph Ravens has been creating performances that encompass text, movement, film, video, new media, installation, costume, and object. He completed his undergraduate degree in theater at the University of Wisconsin-Whitewater; studied in the audio/visual department at the Gerrit Rietveld Academie in Amsterdam, Netherlands; and is a graduate of The School of the Art Institute of Chicago with an MFA in Performance. Ravens is the founder and artistic director of Ravenous Productions, and a recipient of the Illinois Arts Council Fellowship for Interdisciplinary Performance Art.
Radoslav B. Čugalj, Odžaci, Serbia
Performances: Face of truth (Odžaci, Novi Sad)
Conceptual artist, poet, performer, works with artistic objects and instalations, participated on many colective art exhibitions and festivals in Europe, Asia and America. Works in Odzaci.
Selected live participations:
2000. - IMAF 2000, Gallery "MAS", Odzaci, Serbia / 2001. - Gallery "Multimedia Arts", Novi Sad, Serbia - Artfort Festival, Komarom, Hungary - IMAF 2001, Gallery "MAS", Odzaci, Serbia / 2002. - IMAF 2002, Gallery "MAS", Odzaci, Serbia / 2003. - PerformaNS, Gallery "Golden Eye" Novi Sad, Serbia - IMAF 2003, "Kamariste", Odzaci, Serbia / 2004. - IMAF 2004, Gallery "MAS", Odzaci, Serbia / 2005. - Transformation, International Festival, Zrenjanin, Serbia - IMAF 2005, Gallery “MAS”, Odzaci, Serbia - IMAF 2005, Students Cultural Center, Belgrade, Serbia
Joan Casellas, Barcelona, Spain
Performances: Here (Odžaci, Novi Sad, Beograd)
Joan Casellas is one of the outstanding representatives of the Spanish parallel art scene during the 1990s. He has staget actions througout Spain, Europe and America, has led workshops and addressed conferences in various universities, and published numerous articles abaut performance art. In 1992, he set up the magazine AIRE, which has compiled the most complete photographic archive recording the performance art of his generation. He has been a member of numerous artistic self-management collectives, such as the CLUB 7, and has also organised festivals and exhibitions.
MP, Novi Sad, Serbia
Performance: MP_per_11 LIMITED (Odžaci)
MP is the acronym of the names of two artists who started working together in January 2003 and who willingly decided to reject personal histories, names and previous media of expression. MP are focused on the study of mutual expression, primarily through the physical (performance) and the meditative (picture/text/objects). They also work in digital media such as video and the Internet, sometimes in combination with different materials like glass and ceramic. The works that MP create are tied to the place, time duration and physical/meditative context in which the personal experience of intimacy and privacy is reflected on the universality of comprehension through public performance. MP concentrate primarily on their art expression without paying attention to date and time, doing so only if it is important for their art. The titles of their works are always in code, whereby the media of expression, number of work and title are indicated. The strategy of works of MP is based on the striving for expression of personal intimacy through universal legibility and vice versa.
Nela Antonovic i Lidija Antonovic, Beograd, Serbia
Performances: A game of adjoining with a tree (Odžaci, Novi Sad, Beograd)
Nela Antonović
The Theatre of movement MIMART started his life with the first chorea-experiment of author Nela Antonović "Urbis Ludus" in Belgrade in 1984. Fifteen years of collaboration with Mrs. Smiljana Mandukić initiated Nela Antonović to express her trough movement.
Nela Antonović, the artistic director of MIMART, together with the performers investigates movement as phenomena of non-verbal communication of chorea-theatre. She is the author of 36 chore projects and more than 200 experimental choreographies, performances, and street performances.
Lidija Antonovic
(1984), student of 3th year Academy of Arts - photography
Solo performances: 2005. “Photo-shirt”, Academy BK, Belgrade, Serbia / 2004. “Inside of the photography”, festival autoperformances “Mimart godovi”, SCC
Costume designe for Theater Mimart from 1999 until 2002. From 2002 performer with Theater Mimart.
Gertrude Berg, Njujork, SAD
Performances: 1. Hook, 2. Cut & paste, 3. Sketches (Odžaci, Novi Sad, Beograd)
Gertrude Berg is Austrian who lives and works in N.Y.C. and Boston, MA. She finished the Diploma Program at the School of the Museum of Fine Arts Boston, in 2003. Provocative actions delineate Berg’s performance approach to interrogate the effects of persistent socio-historical conditions passed along through successive generations. She believes in “performance actions” expressed free from sarcasm and parody.
Her work has been shown in the US and internationally in Belarus and Estonia.
Aleksandar Jovanović, Odžaci, Serbia
Performance: Sin (Novi Sad, Beograd)
Born in 1962 in Odzaci. Autodidakt. Deals with conceptual forms of artistic expression. During total blockade of Yugoslavia, protesting, before all, against cultural blockade, publishes ''Cage'' magazine in period 1992 to 1995. Organizes artistic anti-embargo actions (Belgrade, Novi Sad, Odzaci), exhibitions of contributions published in the magazine (Wichte-Belgium, Dallas-USA, Tokyo-Japan, Belgrade and Novi Sad-Yugoslavia), international anti-embargo projects (''The Networkers Spirit'' and ''Unblockade book''.
Juniper Perlis, Njujork, SAD
Performances: 1. Hook, 2. Gua Sha (Odžaci, Beograd)
Education:
School of the Museum of Fine Arts / Tufts University, Boston / Malden, MA
Master of Fine Art, May 2005
Mills College, Oakland, CA
Bachelor of Fine Art, Graduated with honors May 2000
Shiatsu Institute, San Francisco, CA
Shiatsu Practitioner Certification, January 1997
Art Circus (Dragan Matić, Željko Piškorić, Miloš Vujanović), Novi Sad, Serbia
Installation: "Brain trust: FAKIR, HERDSMAN, MAGICIAN"
Art Circus is art group founded 1995. in Novi Sad. Its members are artists Milos Vujanovic, Dragan Matic and Zeljko Piskoric. This art group is working at research of limits of art (interaction of art and science, art and society, art and nature). The work of Art Circus group is the reaction to what a small circle (read triangle) of men experienced in their environment, discussing and living reality, and it is expressed in manners of explicitness. Uncompromised sincerity is the basic premise of this work. Irrationality is the first element. Ephemerity is second. Naivety is third. So far the group has performed solely and took participation in work of other groups and artists.
Gabrijel Savić Ra, Beograd, Serbia
Performance: 1. Consumed by Rose, 2. Algorithms of Nihil (Odžaci, Novi Sad)
Gabrijel Savić Ra 1997-2003, studied philosophy in Belgrade. Since 2003 curator of specialised gallery for video, installations and performances V.I.P.Art Gallery, SKC, Belgrade
Solo exhibitions: -2003, “ Aoristos dias”, Gallery Cirkus, Belgrade / -2003, “ Retro futurum”, Gallery SKC, Belgrade / -2004, “ Fortuna impact”, IZBA, Novi Sad / -2005, “ Neubauten Der Natur” (with Anđela Stevanović) Artget gallery , Cultural centre Belgrade
Nenad Bogdanović, Odžaci, Serbia
Performances: 1. A sketch for a movement technics 2. I am a rich artist (Novi Sad, Beograd)
Freelance visual and performance artist, publisher and curator. Founder and director of Multimedial Art Studio and MAS Gallery in Odzaci. Founder and curator of International Multimedial Art Festival - IMAF. Realizes his art performances and art actions on many international festivals worldwide (France: 1994, Italy: 1995, 2003 & 2004, Slovakia: 1996, Germany: 1996, Japan: 1997, Romania: 1998, Poland: 1999, Hungary: 2001, Belarus: 2001, United Kingdom: 2004, Northern Ireland: 2004, Switzerland: 2004, USA: 2005). 2003. realised two art performances on 50th International Biennial of Venice (International Art Project: Brain Academy Apartment).
Participants of “(IN)Place of fear” Art project biographies / Biografije učesnika umetničkog projekta “(U)Mesto straha”
IPEK DUBEN
Born in Istanbul
New York Studio School
University of Chicago (MA)
Mimar Sinan University (Ph.D)
2006 MUNSON-WILLIAMS-PROCTOR INSTITUTE MUSEUM (Utica, NY)
FOURTH INTERNATIONAL ARTISTS’ BOOK EXHIBITION
King St. Stephen Museum (Hungary)
2005 “What is a Turk?” GALERIE NORD (Berlin)
2004 BIBLIOTHECA ALEXANDRINA’S FIRST INTERNATIONAL
BIENNIAL FOR HAND PRINTED ARTISTS’ BOOKS
“What is a Turk?” in Call me Istanbul, ZKM, Karlsruhe Germany)
NANCY ATAKAN
· “People Objects”, Artoteek Schiedam, Between the Waterfronts, Istanbul/Rotterdam Cultural Exchange, November 21 – January 5, 2003, Rotterdam, Netherlands.
· 2004-2005 “Cosmopolis 1: First Balkan Biennial”, Thessalonika Contemporary Art Museum, December 17, 2004-March 17, 2005, Thessalonika, Greece.
· “The Eighth Havana Biennial”, Pavillion Cuba, Video Film Program, November, 2003, Havana, Cuba.
· “The Seventh International Video Festival Video Medeja”, 25-27 April, 2003, Novi Sad, Yugoslavia.
· “Look Again” Istanbul Museum of Contemporary Art, Proje4L, December 21, 2001-February 23, 2002, Istanbul, Turkey.
SARAWUT CHUTIWONGPETI
Chutiwongpeti, who was born and raised in Bangkok, working in progress in Contemporary Art /New Media Art . Sarawut Chutiwongpeti graduated from the
Department of Fine and Applied Arts at Chulalongkorn University in 1996. Since graduation,he I have been working as a media artist with Cyber Lab at the Center
of Academic Resources, Chulalongkorn University. He work in the realm of contemporary art and interested in revealing the unexplored facets of experience. In
1998 -2006, He secured funding and traveled as a visiting artist/researcher to several countries such as: Canada, the United States of America, Denmark, Finland, Norway, Sweden, Slovenia, Slovakia, Hungary, Croatia, Austria, Italy, Germany, Egypt, Singapore and Japan.
KRISTINA DRAŠKOVIĆ
Born 10.07.1980. in Belgrade.
Graduated on Faculty of Fine Arts 2003/2004.
Currently studying second year of Post-graduate school.
Video works:
2003- "Festival of short electronic form "KEF", videowork: "Popcorn", REX,
Belgrade;
2004- "Festival of short electronic form "KEF",", video work: "Barbieshow",
REX, Belgrade;
2004- Retrovision," Under_line_of_control", J.Bokić & K. Drašković, BELEF-
Belgrade summer festival;
2005- video "Girl with matches", videoweb art from Serbia, SKC, Belgrade;
2005- video "Who is Johnny?", K.Drašković & L.Antonović, Ozon Gallery,
Belgrade;
2005- video "Gift", SKC, Beograd;
2005- video "Sometimes I Fantasize", Videomedeia Festival of new media,
Museum of Vojvodina province, Novi Sad;
2005- video "Picnic"-I'invitation au musee, Film festival Paris-Berlin,
Paris
2005- video"Who is Johnny?", K.Drašković & L.Antonović, Alternative
film/video festival, DKSG, Belgrade;
BARTOLOMÉ FERRANDO
-Valencia, Spain, 1951
-Performer and visual poet
-Teacher of intermedia and performance art in the University of Valencia
-Member of Flatus Vocio Trio (phonetic poetry), Taller de Musica Mundana (object music) and Rojo (free jazz and performance)
-Performances in: Spain, France, Italy, Poland, Portugal, Switzerland, Holland, Canada, Mexico, USA, Japan, Czech R, Slovakia, Germany, Romania, Korea, Denmark, Belarus, Sweden, Chile, Argentina.
NICK TOBIER
Nick Tobier is a performer who uses real places in combination with extra-daily activities that are between utilitarian and celebratory to stage disruptions in everyday life.
Projects have taken place in New York, Florence, Tokyo and Paramaribo, Suriname. Upcoming events will occur in 2006 in Toronto and Edinburgh.
DENNIS SUMMERS
Short Films screened at Film Festivals, TV, Museum/Gallery worldwide.
“The Whipping Off Moss Distinction Blues.” A commentary on politics, power and death. 2005
“Thoughts on Ray Vibrations.” An animation inspired by the work and words of Michael Faraday. 2001
“The Bride Stripped Bare by Her Bachelors, Even . . . more.” An animation based on the piece by Duchamp. 1999
IGOR BOŠNJAK
Igor Bošnjak was born in Sarajevo, in 1981. Academy of Fine Arts, he gratuated in Trebinje. He gratuated painting in the class of profesor Marko Musović.
He has exhibiting since 1996 and hitherto submitted to 3 independent and over twenty group exhibitions.
Personal exhibitions:
- 2004, Club of Friends of Arts ,,Atanasije Popović”, Trebinje (BIH) first personal exhibition, exhibition of drawings
- 2004, Gallery ”VEGA”, Bar (Serbia and Montenegro) second personal exhibition, exhibition of paintings (oil on canvas, acrylic on canvas)
- 2005, Club Gallery “KONCEPT“, Mostar (BIH) third personal exhibition, exhibition of photos, video works and drawings
Painting colonies and festivals:
-2004, V painting colonies ,,Children Village SOS 2004,, Sremska Kamenica (Serbia) international painting colonie for students (Greece, Bulgaria, Macedonia, Serbia and Montenegro, Bosnia and Hercegovina, Croatia, Slovenia)
-2005, IX Mostar Intercultural Festivall, MIF9 Mostar (BIH) multimedia International Festivall for european young artists (France, Itally, Spain, Greece, England, Austria, Slovenia, Macedonia, Croatia, Serbia, Montenegro, BiH)
EVANGELIA BASDEKIS
Evangelia Basdekis born in Athens 1972 (Greece).
Studies:
2005-2006: Mentoring Scheme with Franko B
2003: M.A. of Fine Art (with distinction) University of Lincoln (U.K.)
2002: B.A. of Fine Art (Honours) De Montfort University Lincoln (U.K.)
Solo show:
2004: AD Gallery, (Athens, Greece)
2003: Public Performance I, (Lincoln, U.K.)
Public Performance II, (Lincoln, U.K.)
GULI SILBERSTEIN
In 1997, after graduating from Tel Aviv University Film & TV Department, Guli moved to New York City. While working in jobs such as a waiter and a night manager in a car wash facility, he started studying towards M.A. in the Media Studies Program at New School University. He got exposed there to digital video, and started to be influenced by ideas of Gilles Deleuze, Gregory Bateson, Stan Brakhage and others. He then created a short experimental video titled "Schizophrenic State", which was completed in 2003. The video won awards and was screened in many festivals & venues, such as Transemdiale in Berlin, Jerusalem Film Festival, Deluxe gallery in London and more. In parallel, he began working as a professional video editor and editing teacher. Guli returned to Israel on January 2002. He continues working as a freelance editor, while further developing his ideas and video projects.
VESSNA PERUNOVICH
Vessna Perunovich holds M.F.A. degree from the Faculty of Fine Arts, Belgrade, Yugoslavia. She has exhibited extensively in Canada, where she now lives and works, as well as internationally. Such venues include: 8th Havana Biennial in Cuba (2003), Second Tirana Biennial in Albania (2003), XII International Biennial V.N. de Cerveira in Portugal (2003), IV Cetinje Biennial in Yugoslavia (2002). She is a recipient of T.F.V.A. award in 2005, as well as Canada Arts Council, Ontario Arts Council and Toronto Arts Council grants for visual artists.
ANYM /ANYMOUS resident/
residence
2005 Egon Schiele Art Centrum Český Krumlov
study
2001-2005 Faculty of Arts, University of Technology Brno
Atelier video-multimedia-performance, prof. Thomas Ruller
1996-2000 Secondary Art school - Zámeček, Pilsen - painting
1993-1996 Scondery industrial school, Pilsen - architecture
exhibitions
2005 Anymous performance, Český Krumlov streets
2005 Klasse/Atelier, Kunstverein Ludwigshafen a. Rh., Germany
2005 City Gallery of Pilsen, Anymous performance VI.
2004 Private page, gallery Doubner, Prague
2004 Festival Střekov’s mummy, Ústí nad Labem
2004 Školská 28 – communication area, Prague
2004 Start Point prize CZ 2004, gallery Sýpka, Klenová
2004 Theatre - Husa na provázku, Brno
Atelier performance Tomáše Rullera, FaVU VUT Brno
2004 City Gallery of Pilsen
Anymous projekt 2000-2004, Atelier performance Tomáše Rullera, FaVU VUT Brno
2004 Czech_in 3., Transpublic Linz, Austria
action, projections
2004 Klasse/Atelier, House of Art - Brno
Atelier performance Tomáše Rullera, FaVU VUT Brno
2003 Anymous performance IV., Pilsen streets
2002 Gallery Kritiků, palace Adria, Prague
Atelier performance Tomáše Rullera, FaVU VUT Brno
2002 Gallery Médium VŠVU, Bratislava, Slovakia
Atelier performance Tomáše Rullera, FaVU VUT Brno
2002 Anymous performance III., Pilsen streets
2002 Open structure, American centre, Pilsen
2001 Anymous performance II., Pilsen streets
2001 New media Cheb, franciscans church, video-installation
2000 Park avenue, Exist, Pilsen, artgroup Anymous performance I.- actions, installation
1998 Park avenue, 777 underground, Pilsen, artgroup Anymous - actions, pictures
1996 Lochotínský pavilonek, Pilsen, pictures
ANDERS WEBERG
1968 - Anders has been working with digital video creation since 1998 and with filmmaking in general for as long as he can remember. He specializes in exploring the possibilities of digital technologies and has a broad range of productions in his portfolio spanning every genre from experimental films, music videos and concert visuals to motion graphics and commercials. Recycled image studio, based in the picturesque Swedish coastal town of Ängelholm, is his creative outlet.
MARTIN BAEBLER
1979 Born in Ljubljana , Slovenia
1999 finished high school in Ljubljana , Slovenia
2002 finished ''Istituto Italiano di fotografia'' , Milano , Italy
PRESENT workin and living across the world
TERESA ALMEIDA
Originally from Portugal, Teresa Almeida is an interdisciplinary artist currently living and working in New York City. She holds a Master’s from the Interactive Telecommunications Program at NYU.
ROBERT ALDA
Robert Alda (alias Robert Sot) was born in 1959 in Warsaw, Poland. After finishing his studies in 1984 he moved to Bergen,Norway where he leaves and works ever since. RA works as performer, painter and multi-media artist. He also works with photography, installations, sculpture and drawing. During his career he has participated in ca 100 art projects, presenting his works at places like ICA,London; Max Ernst Museum-Mucsarnok, Budapest; Nordic House,Reykjavik or The Fringe Club,Hong Kong.
senVoodoo (ANA WOJAK & FIONA McGREGOR)
senVoodoo are a Sydney based performance duo who have performed across Australia since 1999. 'The 9th Station' was recently screened at INPORT in Estonia, as well as at 'Hardwired' in Sydney. In December 2005 senVoodoo were in residence at Performance Space, Sydney, where they filmed a new work 'Arterial'. 'Arterial' will be performed live at DIAF, Beijing, in April, and at Interactions 2006, Poland, in May. It will also be screened at the Asia-Pacific Video Documentary Festival, and in Poland.
MARK COOLEY
Mark Cooley is a new genre artist interested in exploring visual rhetoric and the intersections of art and activism. Mark's work has been shown internationally in online and offline venues such as Exit Art, NY, Postmasters Gallery, NY, Furtherfield.org, and Rhizome.org.
FORTNER ANDERSON
Fortner Anderson is a poet living in Montreal, Canada. His poems are found on his two solo CDs "sometimes i think" and "six silk purses". (See www.fortneranderson.com). His work has been published in Poetry Nation (Vehicule Press, 1998) and the Short Fuse Anthology (Rattapallax, 2002). He has performed his work in Canada, the United States and in Europe.
NENAD BOGDANOVIĆ
Born in 1955 in Odzaci, Serbia.
Freelance visual and performance artist, publisher and curator.
Member of art societies of Vojvodina and Serbia.
He is a member of IAPAO (International Asociation of Performance Art Organizers).
From 1984 to 1988 founded and published international art magazines "Total" and "Second Manifesto".
Curator of various international art projects and exhibitions (since 1980).
Founder and director of Multimedial Art Studio and MAS Gallery in Odzaci.
Organiser and curator of International Multimedial Art Festival - IMAF.
Realizes his art performances and art actions on many international festivals worldwide (France: 1994, Italy: 1995, 2003 & 2004, Slovakia: 1996, Germany: 1996, Japan: 1997, Romania: 1998, Poland: 1999, Hungary: 2001, Belarus: 2001, United Kingdom: 2004, Northern Ireland: 2004, Switzerland: 2004, USA: 2005, Serbia: since 1980).
Since 1993 begins working on art project Man Gallery.
Realised art tours with Man Gallery project in France 1994, Italy 1995, Germany 1996, Japan 1997 and Switzerland 2004.
2003. realised two art performances on 50 International Biennial of Venice (International Art Project: Brain Academy Apartment).
ANE LAN
Ane Lan (born 1972 in Oslo)
Education:
1996-2002 MA, The National College of Art & Crafts, Oslo, Norway
1991-1993 Studies of Ethnology, The University of Oslo
Upcoming exhibitions:
2006 Museau Paço Das Artes, Sao Paulo, Brazil, “La Isle”
2006 Kunsthalle Basel, Film and new Media, Basel, Switzerland “VIPER”
2006 Henie Onstad Art Centre, Oslo, Norway
Performance:
2005 The Venice Biennial 2005, Venice, Italy, “37th Theatre Festival”
Screenings:
2005 Goethe Institute, Rome, Italy, “Progetta Musica 2005”
2005 Annexia New media centre, Toulouse, France “BO#2”
2004 XXVI Moscow International Film Festival, Moscow, Russia, “Media Forum”
2003 Kasseler 20th Dokumentary Film & ! Video Fest, Filmladen Kassel, Germany
2003 Viper International Film & Video festival, Basel, Switzerland
2003 16th Stuttgarter Filmwinter, Stuttgart, Germany,” Festival for expanded media”
Exhibitions:
2005 Centro Cultural Telemar, Rio de Janeiro, Brazil, “prog:Me”
2005 The Museum of New Art, Detroit, USA, “3th International Video”
2005 Galeria Rosa Santos, Valencia, Spain, “Videoraum”
2003 WHITNEY Museum of American Art, New York, USA, ”The American Effect”
EVA DRANGSHOLT
Education:
2003 – 2006: Bachelor of Visual Art, Bergen National Academy of the Arts, Department of Fine Art (Kunsthoyskolen i Bergen, avd. Kunstakademiet)
2002 – 2003: Oslo tegne- og maleskole, Oslo, Norway
Group shows:
• February 2006: Minifilmfestival, UKS, Oslo, Norway
• Vestlandsutstillingen 2006, Stavanger, Haugesund, Bergen, Floro, Norway
• October 2005: NORWYDEO – an evening of Norwegian video in San Francisco, Artist Television Access (ATA), San Francisco, USA
• June 2005: “Sommerutstillingen”, Galleri Steen, Oslo, Norway
• January + February 2005: Snack on Art, weekly TV programme based in New York City, New York, USA
EMRAH KANGAL
Emrah Kangal was born in Ankara on August of 1981. He was graduated from Economy section of Uludag University Turkey. Till now he has participated in many displays and exhibitions, made presentations. Emrah Kangal, who lives in Londra and Istanbul, was thickened his last artworks especially on Video and Photography.
LUCY H.G.
Lucy H G, based in Los Angeles, is an internationally exhibiting media artist. Her digital video installations and interactive performances frequently merge fantasy with fact, imaginings with memory, and dreams with reality. In close examinations of the mundane, she reveals hidden worlds of the everyday.? Lucy has exhibited widely, including in Asia, Europe, Central and South America, and throughout the United States.? Her Imaginary Science series was included in the South American celebration of the Year of Physics in Bogotá, Colombia.? In spring she will be artist in residence at the Gunnery Studios in Sydney, Australia.
TRAVIS McCOY FULLER
Travis McCoy Fuller is a visual, sonic and performance artist practicing in and around Boston, USA. He is one of the founders, curators and organizers of TEST, a
bi-monthly performance art event held in Boston. Sip The Cycle That Kills The Seed is a series of manifestations that explore issues of the perpetuation of death cycles. The structure of "American" and human society and culture as well as the systems and cycles that support these fear based structures are areas in which these manifestations are rooted.
SKILLS LTD. (J.M.J. VAN DER MADE)
skILLs Ltd. / J.M.J. van der Made 1970 the netherlands. School for social studies 1996, circomedia; school for physical theatre/movement & circusskills 2000.
Part of the BIDA collective; a collective of people that is researching along boundaries of different performance disciplines (an X-cursion, 2004/HOOFT,2005).
Shorts: illusion 2001, FITNA 2002, an X-cursion (the film)2004/05, SNEL DOM 2004 (8mm), the studio moron 2004, the long awaited moment.... 2005, the house nr. 45 2005.
ILANA BOLTVINIK
She studied visual arts in Mexico. Has had artistic residencies in Holland,
Venezuela and Canada, where she has had several solo and group exhibitions.
She works and lives as an independent artist in Mexico City.
SILVIO DE GRACIA
Born in 1973 in Junin, Buenos Aires, Argentina. He is writer, visual artist, performer, video artist and networker. Since 1996, he has been directing Ediciones El Candiru – independent and non-commercial publisher, which has published several books and magazines.
As video artist, he has exhibited his work in important shows and festivals in Mexico, France, Spain, Argentina, USA, Cuba and Russia. He has presented his performances in Argentina and Uruguay.
As an independent curator, he has organized several international projects.
IMAF 8 Support:
PROVINCIAL DEPARTMENT OF EDUCATION AND
CULTURE - AP VOJVODINA
SWISS CULTURAL PROGRAMME SERBIA AND MONTENEGRO
CITY COUNCIL OF ODZACI
