Descriptions & images of videos, artists CVs

Video in Progress 5: Reflections of the Past


Appropriating History

Vladislav Knežević
Arheo 29
, 2010
35mm, 9’30”, color, Dolby SR
Scriptwriter and director: Vladislav Knezević
Animation and compositing: Mario Kalogjera
Editing: Vladislav Knezević, Mario Kalogjera
Music: Viktorija Čop
Producer: Vanja Andrijević
Production company: Bonobostudio, Croatia

Vladislav Knežević, Arheo 29If the new world ever existed, it is still hidden way behind the horizon. An analogue clock is ticking away the last seconds before world crisis. A silent relief in between two wars; a time of diffident bodies, of melancholy leisure, of secret divisions of the world. It is 1929. Peace before an enormous explosion.

Vladislav Knežević (born 1967) graduated from the Academy of Drama Arts (TV and Film Direction Dept.) in Zagreb and De Vrije Academie (Audio-visual Dept.) in Den Haag. Professionally works as a freelance director for TV and various productions since 1993. He is into experimental film, video and sound processing since 1988. He has also initiated and organized several film programmes and presentations (Reference to Difference, Videodrome TV edition, 25 FPS International Experimental Film Festival).

Ana Bilankov
In War and Revolution (U ratu i revoluciji)
, 2011
DigiBeta, 15’03”, color, sound
Scriptwriter, Director and Cinematographer: Ana Bilankov
Editor: Staša Čelan
Music and Sound Designer: Boris Wagner
Line Producer: Marija Ratković Vidaković
Producer: Vera Robić-Škarica / Croatian Film Association
Language: Croatian, German, English subtitles

Vladislav Knežević, Arheo 29The experimental-documentary video In War and Revolution 
tackles both the personal and collective amnesia that occurred during political changes and the war of the early 1990s in Croatia. The film’s structure consists of two strands, interwoven through parallel editing. Firstly, there is an interview with the filmmaker’s 97-year-old grandmother who tries to remember her youth as a teacher during the anti-fascist movement
in WWII by looking at a photograph from the book The School in War and Revolution. This is interpolated with interviews with several contemporary intellectuals from Zagreb on the subject of the disappearance of books regarded as ‘inappropriate’ in the early 1990s.

Ana Bilankov (born 1968, Zagreb, Croatia) lives and works in Berlin and Zagreb. She studied Art History and German Language and Literature at the Universities of Zagreb and Mainz, Art Photography in Wiesbaden and postgraduate studies program „Fine Art in Context“ at the University of the Arts Berlin (M.A.) and at the University of the West of England, Bristol, UK. She was artist in residence at Watershed Media Centre Bristol, UK (2002), at the Moscow House of Photography, Moscow (2004), at the Atlantic Centre for the Arts, Florida, USA (2006) and at KulturKontakt Austria, Vienna (2008), Residency Unlimited, New York (2013 & 2014). Her works include media such as photography, video and multimedia-installation and have been shown in many solo and group exhibitions as well as film & video festivals. Her experimental short video “A Story” won 1st award (2008) and “Blue Black Berlin” 3rd award (2009) at Revue of Croatian Film and Video Production.

Lana Čmajčanin & Adela Jušić
I will never Talk About the War Again (Ja više nikada neću pričati o ratu)
, 2011
Video performance, HD, 9’42”, color, sound
Language: Bosnian, English subtitles

Lana Čmajčanin & Adela Jušić, I will never Talk About the War Again Collaborative video performance that is drawing to attention the postwar situation in the frame of speaking about the past war. From our personal experiences we discover that it is impossible not to talk about the war in every day life.

In this performance we are trying to expose all the possible emotions we have about the fact that we speak about war constantly, but also to point on different aspects of talking about the war like for example, how nationalistic parties use constant reminders of the war in the media to hold on to power and foment nationalism among the people of the former Yugoslavia. Is it possible not to talk about the war? Why do we do it and when will it stop? Will we stop? Should we stop?

Lana Čmajčanin (born 1983, Sarajevo, Bosnia and Herzegovina) graduated from the Academy of Fine Arts and from the University of Sarajevo, sculpture department. Her work is mostly informed by the war and the post-war situation in B&H with a distinct inclusion of the role of the female body. Her work encompasses performance, video and sound installations. Čmajčanin is co-founder of the Association for Art and Culture Crvena. She has participated in many international exhibitions: 54th October Salon, Belgrade, Serbia; Künstlerhaus Halle für Kunst & Medien, Graz, Austria; Zamek Culture Centre, Poznan, Poland (2013); ISCP, New York; MMC KIBELA, Maribor, Slovenia; Good Children Gallery, New Orleans, USA; association for contemporary art, Graz, Austria (2012); Škuc Gallery, Ljubljana, Slovenia; NGBK – Neue Gesellschaft für Bildende Kunst, Berlin, Germany; Färgfabriken – Centre of Contemporary Arts, Architecture and Society, Stockholm, Sweden; The Center for Contemporary Art, Tel Aviv, Israel; ArtPoint Gallery, Vienna, Austria (2011). In 2011 Lana Čmajčanin was a finalist of ZVONO Young Visual Artist Award for the best Bosnian young artist, organized by Sarajevo Center for Contemporary Art and in 2013 she was awarded at the 54th October Salon with Special Award.

Adela Jušić (born 1982, Sarajevo, Bosnia and Herzegovina) is a founder and member of Association for Culture and Art CRVENA. Lives and works in Sarajevo. She graduated at the Academy of Fine Arts, University of Sarajevo in 2007 and completed master course in Democracy and Human rights in South East Europe, at Sarajevo and Bologna University in 2013. She won several artist awards, YVAA Zvono for the best Bosnian young artist in 2010, Henkel Young Artists Prize CEE in 2011 and 54th October Salon Special Award, in 2013. She participated in many artist in residency programmes, such as ISCP, New York, Kulturkontakt, Vienna, i.a.a.b., Basel etc. and participated in many exhibitions such as: CONFLICT: Art and War, curated by Midge Palley,
Contemporary Art Society, London 2014; SHARE – too much history, MORE future, curated by Annemarie Tuerk, Bosnian National Gallery, Sarajevo, 2014; BONE 16, Performance Art Festival, Stadtgalerie, Bern, 2013; …Was is Kunst?… Resuming a fragmented history, curated by Sandro Droschl and Christian Egger, Kunstlerhaus, Halle fur Kunst and Medien, Graz, 2013; GOOD GIRLS – MEMORY, DESIRE, POWER, curated by Bojana Pejić and Olivia Nitis, National Museum of Contemporary Art (MNAC) u Bucharest, 2013, Conflicted Memories, curated by Gwendolyn Sasse and Helen Waters, Alan Cristea Gallery, London, 2013; Image Counter Image, curated by Patrizia Dander, Leon Krempel, Julienne Lorz, Ulrich Wilmes, Haus der Kunst, Munich, 2012 etc.

Aleksandra Domanović
Turbo Sculpture
, 2010-2013
HD, 19’43”, color, sound
Language: English

Aleksandra Domanović, Turbo SculptureThe Political and economic turmoil of the early 1990s Yugoslavia rendered the society compliant enough for the concept of ‘turbo culture’ to gain momentum. With all its exaggerations, inordinateness and random amalgamations of both local and global ornamentation, turbo eventually became a prefix for social and media phenomena of the war and post-war period. As a result terms such as turbo politics, turbo television, turbo architecture and turbo urbanism developed…
– excerpt from Turbo Sculpture, Aleksandra Domanović, 2011

‘Turbo sculpture’ is an epiphenomenon of turbo culture. It refers to the depiction of popular non-national media celebrities in public sculpture projects across the former Yugoslavian nations. In recent years turbo sculpture monuments of Bruce Lee (Mostar, 2005), Rocky Balboa (Žitište, 2007), Johnny Weissmuller / Tarzan (Međa, 2007), Bob Marley (Banatski Sokolac, 2007) and Tupac Shakur (Belgrade, forthcoming) have been unveiled.
It is commonly argued that the rejection of the traditional regional/political context of civic monuments (leading to the turbo sculpture age) is a condition of the post-traumatic recalibration of identity and ideology that occurred following the Yugoslav Wars of the 1990s.
The term ‘turbo sculpture’ was coined by Domanović herself and is the title of her video essay on the subject.

Aleksandra Domanović (born 1981, Novi Sad, SFR Yugoslavia) lives and works in Berlin. Recent solo exhibitions include Things to Come, GoMA, Glasgow International (2014), The Future Was at Her Fingertips, Tanya Leighton, Berlin (2013), From yu to me, Kunsthalle Basel (2012), 19:30, Galerija 001, Ljubljana (2011). Group shows include Speculations on Anonymous Materials, Fridericianum, Kassel (2013), 12th Biennale of Lyon (2013), Marrakech Biennale, Marrakech (2012) and In Practice, SculptureCentre, New York (2010).

Ina Kontić
Mechanical Dream
, 2011
HD, 11′, color, sound
Language: Serbian, English subtitles

Iva Kontić, Mechanical DreamMechanical Dream has been inspired by the news that Crvena Zastava, a state car factory from former Yugoslavia (now in Serbia), had been sold to Italian automobile magnate Fiat. The video deals with culture and social phenomenon which this event had triggered.
Being a major industry product of the former communist state, Crvena Zastava cars contributed both in a historic and a symbolic way to creation of the ‘authentic’ national identity to Yugoslav nations. In accordance to ambitions and paradoxes of the system that produced them, those cars represented something of a collective “mechanical dream”, which was synonymous to the 20th century progressive West and of its consumer-driven society. After the break apart of Yugoslavia in 1990’s, which was followed by general collapse of its economy, the image of socialist society changed dramatically: its ‘authentic’ values disappeared and its former identity was deconstructed entirely. The new fate of the factory – as that of many other factories in countries in transition – and its social reality bring a ‘solution’ for that crisis; a solution whose consequences remain unknown when viewed through lens of economic and cultural colonialism.
The video places the viewer into the local reality of Crvena Zastava. Following the visit to the factory and its location, the video displays the current factory architecture and cityscape by using relay of static shots and moving camera. The narration of the video consists of the parts from interviews which the artist made with the factory’s former and current employees. Intimate expectations, fears and the mood of the locals towards the moment of transformation have been “neutralized” and concealed by my monotonous reading of their statements. Video is intermitted by 30-second inserts from old Zastava TV commercials found on Youtube.

Iva Kontić (born 1982, Belgrade) graduated in painting from Accademia di Belle Arti di Brera, Milan, and received her MA in Fine Art from Goldsmiths College, London. Currently, she is doing her PhD in Multimedia Arts at University of Arts, Belgrade.
Iva’s work has been shown internationally in various solo and group exhibitions, art and film festivals (The School of Happiness Award at VIENNAFAIR, Kassel Documentary Film Fesitval, 24. European Media Art Festival, MADATAC 3 at Reina Sofia Museum, CologneOFF: exDox, QUEST EUROPE 9, EspacioEnter Festival, Mikser Festival, Biennale Teheran, etc.). She was the finalist of several art prizes and won the Chelsea Arts Club Trust Award for “Best Open Project” (London). She had studio residency at The Woodmill Project, London, and was the finalist of the AIR public-art project “Le Cité des Curiosités”, Marseille. She was also the participants of VISIO European Workshop for Artist’s Cinema, Florence.
Beside art practice, Iva has been involved in several curatorial projects: Collaboration_7 (Belgrade/Munich) sponsored by IFA Institute for Foreign Relations Germany, MARATHON/ online platform for promotion of contemporary art, Festival of Contemporary Serbian Film (Madrid) supported by GSAE and Serbian Embassy in Madrid (upcoming).

Marina Gržinić & Aina Šmid
Naked Freedom (Čista svoboda)
, 2010
PAL, 19’27”, color and b/w, sound
Screenplay and directed by Marina Gržinić and Aina Šmid
Text in the video by Marina Gržinić (based on Beller, Kopač, Lopez Petit, Deleuze, Nimako)
Camera: Goran Hodžić, Zvonka T Simčič, Daniel Esteban Astorga Poblete
Sound: Ugo Ugowsky
Editor: Zvonka T. Simčič
Sound effects: Gržinić and Šmid
Language: Slovenian and English, English subtitles
CAST: Actress: Nika Rozman, Performers, members of Mladinski center (Youth Center) Medvode: Sara Badovinac Emina Djukić Dejan Koban Kobrowsky Blanka Slana Katja Škorič Ugo Ugowsky
Drawings and animations: Siniša Ilić
Music: band »Anamalija« Sara Badovinac, Katja Škorič Jam Session with Sara Badovinac, Katja Škorič, Kobrowsky, Blanka Slana and Ugo Ugowsky
Producer: Zvonka Simčič
Production: Zavod CCC, Ljubljana
Coproduction: Mladinski center Medvode

Marina Gržinić & Aina Šmid, Naked FreedomThe video work (connects Ljubljana, Belgrade, Durham) and it is a place of engagement that allows for rethinking what local community is. It is also a place to reconsider how we conceptualize social change under the conditions of financial capitalism and its force of financialization that permeate media, action, the social and critical discourse. The collective process of making the video Naked Freedom is about enactment of social and economic practices, analysis and collective performance on screen that resonates with those taking part in video off screen lives.
In Naked Freedom (2010), Gržinić and Šmid conceptualize the possibility of social change under the conditions of financial capitalism and commercialization processes that permeate today’s art production, as well as engaging with social, political and critical discourses. The work also comments on the process of making. The work connects three cities: Ljubljana, Belgrade, and Durham in the USA and presents a conceptual political space of engagement that allows for rethinking the meaning of ‘a local’ and the conditions for membership into the contemporary communities of practice. The last section of the video Naked Freedom addresses the question of border control and comments on the status of those seen as non-EU, and even more so, as non-citizens in Europe. More specifically, the status of citizens from African nations in ‘Fortress Europe’ is addressed through several references made to migrant workers who are trying to live and survive in the European Union of today. In parallel, a historical analysis is offered of the mechanisms of inclusion and exclusion and prevention of work and life in the EU, based on a debate-exchange between Marina Gržinić and Ghana-born and Amsterdam-based Kwame Nimako that took place at the ‘Workshop on Education, Development, Freedom’, at Duke University, Durham, USA, in February 2010.

Marina Gržinić and Aina Šmid, Ljubljana, Slovenia, are involved in video media art from 1982. They have collaborated in more than 40 video art projects, they made a short feature 16 mm film and numerous video and media installations; independently they directed several video documentaries and television productions. In 1997 they realized an interactive CD-ROM for ZKM, Karlsruhe. Gržinić and Šmid in their 3 decades long collaborative engagement presented and exhibited their video works and video installations in more than 100 video festivals in the World and have received several major awards for their video productions.
In 2009 a book was published in English about their work with the title New-Media Technology, Science, and Politics. The Video Art of Marina Gržinić and Aina Šmid, edited by Marina Gržinić and Tanja Velagić, published by Löcker Verlag, Vienna. The book presents their work from 1982 to 2008.
Marina Gržinić (1958) is doctor of philosophy and works as researcher at the Institute of Philosophy at the ZRC SAZU (Scientific and Research Centre of the Slovenian Academy of Science and Art) in Ljubljana. She is Professor at The Academy of Fine Arts in Vienna. Gržinić has published hundreds of articles and essays and several books.
Aina Šmid (1957) is professor of art history and works as free-lance journalist in Ljubljana.
They have collaborated with Zvonka Simčič, artist from Ljubljana, from 2010 to 2012.
Presentation of their work took place in last few years at the exhibition Working documents, La Virreina Centre de la Imatge, Barcelona, 2008; at the exhibition Smell it, WUK, Vienna, 2009; at the Festival City of Women, Ljubljana, 2010; at the European Film Festival for Documentaries dokumentART, Neubrandenburg and Szczecin, Germany/Poland, 2010 (competition); at the Galeria HIT, Bratislava/Slovakia, 2010; at Wiels Contemporary Art Centre, Brussels, Belgium, 2010; at Gallery Calvert 22, London/GB, 2011; at Laznya, Gdansk, Poland 2012; at IG Bildende Kunst, Vienna, 2013

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