The veridical travel of the truly imaginary plant: Curatorial approach and underlying ideas

O projecto The Traveling Plant é um projecto colaborativo que se desenvolve através de uma rede global e tem o objectivo de ser partilhado localmente. Pretende lidar de uma perspectiva composta numa série de ações que impactam o global e vivem na localidade, transparecendo e projetando uma variedade de modos de fazer e de ver; de modo a abraçar a dualidade de práticas partilhadas e troca de saberes presente numa rede distribuída de forma virtual e física/não-virtual. Procura lidar com as questões de um fazer concentrado em perspectivas para além do simplesmente humano, que incluem o não-humano e procuram evitar formas colonialistas e antropocénicas de agir e estar. Este artigo apresenta uma estratégia curatorial e as suas questões adjacentes que o grupo de comissárias toma como ponto de partida, a estrutura organizacional para o desenvolvimento do projeto e clarifica como se vai desenrolar

Senescence: Liquid Time Capsule

Projekt s čutno potopitvijo v tišino, hlad in temo podzemnih jam obiskovalcem približa okolje, v katerem izraz "mi" ni rezerviran za ljudi. Za živa bitja v tem ekstremnem habitatu biološki čas teče počasneje kot za ljudi, medtem ko neživa narava milijone let geološkega časa beleži v pičlih milimetrih rasti. Hkratno raztezanje in krčenje časa je človeku težko doumljivo, a pronicanje vode, ki ju omogoča, kapljanje srebrnih kapljic, ki odzvanja v tišini jam, nam daje slutiti, da smo vpeti v svet, ki je veliko večji od nas samih. Utekočinjena časovna kapsula s treh avtorskih vidikov interpretira okolje, kjer čas in prostor kljubujeta človeški zaznavi.This sensuous submersion into the silence, darkness and cold of subterranean caves brings visitors to an environment where the pronoun \u27we\u27 is not reserved for people. For living organisms occupying this extreme habitat, biological time proceeds at a much slower pace than it does for humans, while non-living nature measures millions of years of geologic time in mere millimetres. The simultaneous stretching and contracting of time is difficult to comprehend, but the trickling of water which enables it, and the dripping of silvery drops, echoing in the silence of caves, hint at a world that is much larger from ourselves. The Liquid Time Capsule project interprets the environment where time and space defy human perception from three artistic perspectives

POLOŽAJ NOVOMEDIJSKE UMETNOSTI

Okrogla Miza na Radiu Študent Ljubljana22. 7. 2020 - 11.00 - 13.00 prof. dr. Peter Purg, raziskovalec in profesor na področju novomedijske umetnosti Jurij Krpan, kurator, umetniški vodja, producent Saša Spačal, slovenska intermedijska umetnica, grafična oblikovalka, raziskovalka živih sistemov in bioumetnica dr. Maša Jazbec, intermedijska umetnica in raziskovalka Javljanje iz umetniške rezidence v Kopru pri društvu PiNA: Robertina Šebjanič, intermedijska umetnica in raziskovalka Moderira: Nika Sajovic * Okrogla miza je nastala v sklopu projekta ŠIPK, ki ga Radio Študent izvaja s Fakulteto za medije. Študentske inovativne projekte za družbeno korist (ŠIPK) sofinancirata Republika Slovenija in Evropska unija iz Evropskega socialnega sklada

Mantenir-se en contacte: cas d’estudi de recerca artística durant el confinament per la COVID-19

In April 2020, artists Robertina Šebjanič, Louise Mackenzie, Karolina Żyniewicz and Isabel Burr Raty were invited by Dalila Honorato to develop research on the theme of “Staying in Touch: post-coronavirus art curating” as part of the collaborative digital art residency Braiding Friction. Working remotely across Slovenia, the UK, Poland, Belgium, Greece, USA and Portugal the group developed a speculative fiction in which art is the virus and art practitioners act as frontline workers. Braiding historical and contemporary art, architectural and bio-art practices, the group developed potential futures for post-pandemic art spaces, resulting in a fictional account of a series of art exhibitions that coincide with a pandemic event. The research was synthesised in the form of a pseudo-documentary premiered by the Creative Europe project BioFriction on 23rd July 2020. This article presents the transcript of the pseudo-documentary “Staying in Touch” (Honorato, Mackenzie, Żyniewicz, Burr Raty, Šebjanič and Tavares 2020, 00:00:00 to 00:47:55), set in 2039: an ergodic narrative constructed as a self-ethnographic role-playing exercise by its contributors, where alter-egos Vess L, Arri Val, K-130, Soladite Carnelian and Anise Neuchâtel reflect on their curatorial practices before, during and after the pandemic. Whilst the narrative draws from many academic and contemporary influences, any references to historical events, real people or real locales are used fictitiously. Other names, characters, places or incidents are the product of the authors’ imagination, and any resemblance to actual events or locales or persons, living or dead, is entirely coincidental. “Staying in Touch” was edited by Pavel Tavares with the support of Cultivamos Cultura and included cameo appearances by artists Marta de Menezes, Yann Marussich and Adam Zaretsky. At its core, this work is a case study of artistic research and the possibilities of interactive engagement during the COVID-19 lockdown.En abril de 2020, Dalila Honorato invitó a las artistas Robertina Šebjanič, Louise Mackenzie, Karolina Żyniewicz e Isabel Burr Raty a desarrollar una investigación sobre «Mantenerse en contacto: comisariar el arte poscoronavirus» como parte de la residencia de arte digital Braiding Friction. El grupo, que trabajó de manera remota desde Eslovenia, el Reino Unido, Polonia, Bélgica, Grecia, los Estados Unidos y Portugal, desarrolló una ficción especulativa en la que el arte es el virus y las profesionales del arte actúan como trabajadoras en primera línea. Al entrelazar prácticas de arte histórico y contemporáneo, de arquitectura y bioarte, el grupo creó futuros en potencia para espacios de arte pospandémico, lo que resultó en un relato ficticio de una serie de exposiciones de arte que coinciden con un episodio de pandemia. La investigación se sintetizó en forma de pseudodocumental, que se estrenó en el proyecto BioFriction del programa Creative Europe el 23 de julio de 2020. En este artículo se presenta la transcripción del pseudodocumental Staying in Touch [Mantenerse en contacto] (Honorato, Mackenzie, Żyniewicz, Burr Raty, Šebjanič y Tavares 2020, desde 00:00:00 hasta 00:47:55), ambientado en 2039, un relato ergódico construido como un ejercicio de juego de rol autoetnográfico para las colaboradoras, donde los alter ego –Vess L, Arri Val, K-130, Soladite Carnelian y Anise Neuchâtel– reflexionan sobre sus comisariados antes, durante y después de la pandemia. Aunque el relato se basa en muchas influencias académicas y contemporáneas, todas las referencias a eventos históricos, a personas y lugares reales se usan de manera ficticia. El resto de nombres, lugares e incidentes son producto de la imaginación de las autoras, y cualquier parecido con hechos reales, lugares y personas, vivas o fallecidas, es pura coincidencia. Pavel Tavares editó Staying in Touch con la ayuda de Cultivamos Cultura e incluyó los cameos de los artistas Marta Menezes, Yann Marussich y Adam Zaretsky. Este trabajo es, en esencia, un estudio de caso de investigación artística de la posibilidad de la participación interactiva durante el confinamiento por la COVID-19.El mes d’abril de 2020, Dalila Honorato va convidar les artistes Robertina Šebjanič, Louise Mackenzie, Karolina Żyniewicz i Isabel Burr Raty a desenvolupar una recerca sobre «Mantenir-se en contacte: comissariar l’art postcoronavirus» com a part de la residència d’art digital Braiding Friction. El grup, que va treballar de manera remota des d’Eslovènia, el Regne Unit, Polònia, Bèlgica, Grècia, els Estats Units d’Amèrica i Portugal, va desenvolupar una ficció especulativa en què l’art és el virus i les professionals de l’art actuen com a treballadores en primera línia. Atès que van entrellaçar pràctiques d’art històric i contemporani, d’arquitectura i bioart, el grup va crear futurs en potència per a espais d’art postpandèmic, la qual cosa va resultar en un relat fictici d’una sèrie d’exposicions d’art que coincideixen amb un episodi de pandèmia. La recerca es va sintetitzar en forma de pseudodocumental, que es va estrenar en el projecte BioFriction del programa Creative Europe el 23 de juliol de 2020. En aquest article es presenta la transcripció del pseudodocumental Staying in Touch [Mantenir-se en contacte] (Honorato, Mackenzie, Żyniewicz, Burr Raty, Šebjanič i Tavares, 2020, des de les 00:00:00 fins a les 00:47:55), ambientat el 2039, un relat ergòdic construït com un exercici de joc de rol autoetnogràfic per a les col·laboradores, en què els alter ego –Vess L, Arri Val, K-130, Soladite Carnelian i Anise Neuchâtel– reflexionen sobre els seus comissariats abans, durant i després de la pandèmia. Encara que el relat es basa en moltes influències acadèmiques i contemporànies, totes les referències a esdeveniments històrics, persones i llocs reals s’usen de manera fictícia. La resta de noms, llocs i incidents són producte de la imaginació de les autores, i qualsevol semblança amb fets reals, llocs i persones, vives o mortes, és pura coincidència. Pavel Tavares va editar Staying in Touch amb l’ajuda de Cultivamos Cultura i hi va incloure els cameos de les artistes Marta Menezes, Yann Marussich i Adam Zaretsky. Aquest article és, en essència, un estudi de cas de recerca artística de la possibilitat de la participació interactiva durant el confinament per la covid-19

Staying in Touch: case study of artistic research during the COVID-19 lock-down

In April 2020, artists Robertina Šebjanič, Louise Mackenzie, Karolina Żyniewicz and Isabel Burr Raty were invited by Dalila Honorato to develop research on the theme of “Staying in Touch: post-coronavirus art curating” as part of the collaborative digital art residency Braiding Friction. Working remotely across Slovenia, the UK, Poland, Belgium, Greece, USA and Portugal the group developed a speculative fiction in which art is the virus and art practitioners act as frontline workers. Braiding historical and contemporary art, architectural and bio-art practices, the group developed potential futures for post-pandemic art spaces, resulting in a fictional account of a series of art exhibitions that coincide with a pandemic event. The research was synthesised in the form of a pseudo-documentary premiered by the Creative Europe project BioFriction on 23rd July 2020. This article presents the transcript of the pseudo-documentary “Staying in Touch” (Honorato, Mackenzie, Żyniewicz, Burr Raty, Šebjanič and Tavares 2020, 00:00:00 to 00:47:55), set in 2039: an ergodic narrative constructed as a self-ethnographic role-playing exercise by its contributors, where alter-egos Vess L, Arri Val, K-130, Soladite Carnelian and Anise Neuchâtel reflect on their curatorial practices before, during and after the pandemic. Whilst the narrative draws from many academic and contemporary influences, any references to historical events, real people or real locales are used fictitiously. Other names, characters, places or incidents are the product of the authors’ imagination, and any resemblance to actual events or locales or persons, living or dead, is entirely coincidental. “Staying in Touch” was edited by Pavel Tavares with the support of Cultivamos Cultura and included cameo appearances by artists Marta de Menezes, Yann Marussich and Adam Zaretsky. At its core, this work is a case study of artistic research and the possibilities of interactive engagement during the COVID-19 lockdown