Extagram is a series of micro-works that
came out of relationship of drawings and sounds in specific
spaces, the mapping of space with sound, and audio-visual
recycling. The resulting audiovisual drafts -Extagram(s),
open up the field of indeterminacy of the state, which is
a possible mapping and a flux, a draft of space vibrations,
air and temporary field trajectories.‘Draft’,
with its multiplicity of meanings, sets out a framework
for exploring possible relationships between two-dimensional
drawing and sound, where sound functions as an agent holding
together the invisible electro-physical actions that occur
within the space and their interaction with the human body.
Tanja Vujinovic is a visual and sound artist
active in the field of intermedia art. She graduated from
the Faculty of Fine Arts in Belgrade in the year 1999 and
has been a guest student at the Kunstakademie in Düsseldorf.
She is the author of numerous installations, video and sound
works, and public art projects. She combines a variety of
aspects in her work, simultaneously using drawing and sound
pieces, analog and digital resources, or site-specific elements.
Her intermedia interests are also reflected in the content
of her work: anomalies and errors in intermedia textures
through the creative (ab)use of technology, and information
as noise. Her A/V works and installations have been exhibited
at numerous museums, galleries, media and film festivals
throughout Europe and the United States, including the Museum
of Contemporary Art, Denver; Kunst Palast Museum Düesseldorf;
the Museum of Modern and Contemporary Art, Strasbourg; Kunsthaus
Meran in Italy; and the Medienturm International Forum,
Graz, Austria. Her works have been included in numerous
collective exhibitions such as the Madrid Abierto, Euroscreen21
project, Zero Visibility, Ctheory Multimedia NetNoise and
Web Biennial Istanbul. (www.exstat.org)
"Symbolised by a three - dimensional
box, the vieweres can enter the diffrent rooms of "The
Schudas" functioning as a closed system. The messages
of the TV – Show texts are also pivotal points of
the system, Susanne Schuda puts one in to the other box.
The "window to the world" of the Fifties as a
possibilty to get input from the outside, is known as a
closed system itself , predominantly occupied with representing
circularly messages. The protagonists of the Schuda –
Box too act mostly self – referential; the messages
of the TV texts, have completely different impact on Betty,
Henry, Hörbiger and Riedel and renew suspicion of various
realities inside the system. The term interactive induces
the interpretation, that there is a portfolio of worlds,
suroundings, levels of which we can choose or enter. Terms
we also know from computer-game jargon. In the Internet-sitcom
"The Schudas" the interactivity means the navigation
in the three – dimensional space."(Rosa von Suess)
Susanne Schuda studied Visual Mediadesign
at the Univesity of Applied Arts in Vienna, with Peter Weibel,
Valie Export and Karel Dudesek. in her single works she
does video, internet and photomontage, in all her works
text (by her own) plays a big part. She also realised public
art projects in collobaration with Florian Schmeiser (www.schudaschmeiser.net).
One is a permanent interactive installation called "chaos
in the shelf" in a trade school in lower austria. her
work is collected by Züricher Kunsthaus, collection
of the City of Vienna, and Artothek, Austria.
The work Inverted Affects starts from
a series of videos made by young and teenagers with the
cameras of their mobiles. All the videos, most of them anonymous,
are freely available on the net and have been gathered by
Laura Bey straight from some of the most famous and visited
videoblogs. The videos "borrowed" here bear
witness to scenes of young violence, fights and many diverse
clashes. However, in many of them, it is easy to detect
that these violent scenes have been feigned and recorded;
these performances of street violence have been made by
the youths themselves as some kind of game or entertainment
to be then enjoyed and shared through the videos of its
entry. Through this strategy of appropriation and re-representation,
Bey stresses (and criticizes) the intensity of the relation
between technology, entertainment and violence in the youth
world, and, more directly, in the more and more widespread
identification of violence with enjoyment (description by
Juan Martín Prada).
Laura Bey works and lives in Seville, Spain.
Recently her work has been included in the e-show "Link-a"
curated by Juan Martín Prada and produced by MediaLabMadrid
(Madrid, Spain) and awarded with the third prize of Biennal
IbizaGraphic 2006 (Museo de Arte Contemporáneo de
Ibiza). Recent bibliography on her work includes the review
by Nilo Casares "La batalla o el compañerismo"
("ABCD las Artes", 2006) and Remedios Zafras’
essay "A room of One’s Own", in journal
"Papers D’Art" (2007).
Memory tends towards isolation, removes
connective tendrils and peripheral lives/noises/movements.
We remember in small numbers, brief clips and breath length
jingles. Entanglegrids are lined frameworks empty until
keystrokes trigger video and text. These keystroke events
act as memories, as those synaptic sharp and entrenched
seconds of experience. And within the Entanglegrid environments
the videos, brief cuts from larger tomes, are culled from
the commercial, the pop cultural, and the gluttony fascination
with war/explosion/the phallus of bomb. Using the keys,
users type slowly or in rapid sequence to create video memory
collages, flashes of animated excitement and verbal dominance/curiosity.
Dispersed between are texts born from poetics, 16th century
hermetics and sexual innuendo. The three works, same engine,
same function, are Hermeticon (80s kids toy and candy commercials
which act as spells in contrast with alchemy spins), Trekabulary
(star trek technical language crossed with poetic translations),
explode, this explode (history channel explosions and bombasturbation
re-thought as sexual exploration and perversion). Texts
become movements become sounds become interface become users
become language become collage become poetry.
"Last Tuesday (the immediately previous
Tuesday from the day you read this) I chased a medium sized
man with a leaking green cloth sack through the few trees
that surround the small suburban lake my house proudly overlooks.
Before I could catch him, he stole a child's blue bike and
escaped leaving a receding trail of brown and clear drippings.
If I were in running shape, my hands would be cranes on
the shore, fish harbouring in plastic crates, small waves
for toy boats. I can run, but not fast, and I create odd
digital creatures that others find difficult to include
in academic essay. Explore my (a Lecturer of Digital Poetics
at Griffith University in Australia) creations: http://www.secrettechnology.com/works/everything.htm
Epiglobis is an interactive video that
explores consumption, desire, and issues pertaining to globalization.
The net art piece combines non-linear imagery with sounds
called at random from a databank, generating continuously
new juxtapositions. Throughout Epiglobis there are direct
references to the themes as well as the use of more subtle
metaphors. The title of the piece is a pun on the words
'epiglotis' and 'global' -epiglobis- and itself features
the moving inside of a mouth for it's background. Epiglobis
appeared first in the exhibit TERGLOBA (www.oakland.edu/org/tergloba)
and is a part of Rhizome.org's ArtBase.
Alexander Mouton's interests lie in the poetic
and narrative possibilities of sequencing images, whether
in artists' books, net art, video, or performance. Working
with new media, he explores the potential that technology
has for bringing visual and sound arts together for interactive
and immersive works both online and in physical spaces.
Much of his work explores the territory between linear and
non-linear narrative, often alluding to the unknown, whether
investigating individual psychology, relations between people,
or social issues. Alexander’s Unseen Press regularly
produces limited edition artists’ books, which are
in collections internationally including the Museum of Modern
Art in New York City and the Kunst Bibliothek in Berlin,
Germany, and his unseenProductions.net produces net art
that is featured internationally. Currently he is Assistant
Professor of Photo.NewMedia at Denison University in Ohio,
HZ NET GALLERY is curated by SACHIKO HAYASHI
For submissions and proposals,