Wednesday, June 25, 2008
Monday, June 23, 2008
These photos were also taken in the P74 gallery in Ljubljana, during my solo exhibition Scanner and Pendulum.
I named my fourth larger kinetic object Pendulum, 2007-2008. This machine again uses the POV's ability of producing an almost holographic illusion. It shows a photo of drags writing in the subject's body. Kafka wrote of an old institutions' apparatus in his The Penal Colony (In der Strafkolonie, October 1914).
A Slovenian company in Tržič developed the software and electronic part for the object, based on POV during the years 2006-2007.
Scanner contains four images. Three of them represent a hole, each from a slightly different perspective to give an efect of rotation and absorption of its viewer (subject). Scanning ends with a photo of wreath made out of roots.
This latest scanner, 2005-2008, is a larger, more massive and monstrous variant of the first two types. Its scale is well grounded. The former motor for car wipers was replaced by a powerful industrial motor that offers programed and variable motion. Here I wanted to get rid of a surface with projection. The screen and neon light that moves linearly upwards and downwards and illuminates and exposes an image (like in the previous two scanners) are gone and replaced by RGB LED diodes and POV.
Therefore this sistem is a one axis, linear motion, full RGB collor POV. You can upload any kind of image into its flash drive to be shown in resolution of 212 x 212 pixles. Its asinhronos electric motor drive is controled by a frequecy regulator and its RGB LED line achives speed of 4 m/s. It needed to be 13 times faster to see the whole image floating in midair. I used arduino and some code in linux to control a digital camera that has a shutter time of 0.8 s to fully capture the whole image and later on show it on a projector.
When the machine stops the image disappears, evaporates, like a fabrication of fiction or an incarnation of emptiness. An empty point of identification is established: when somebody detaches him/herself from the role assigned to them, they can assume or occupy an empty position (eg jump into void, a hole or "to be in-between position"). A rupture emerges, a tearing with rigid structures and bonds of identity, like that of paternal authority, religious tenet, disciplinary regimes of family or nationalism.
The birthplace of subject is thus of key importance here. So I dug out a black hole and roots were found.
Tuesday, May 27, 2008
Monday, May 12, 2008
Sunday, April 27, 2008
Leta 2007 sem se s konceptom mehanične knjige prijavila na natečaj za avtorsko knjigo umetnika. Tukaj je krajša verzija:
Zanima me stvaritev mehanične knjige. Knjiga je skupek vgrajenih mehanizmov, ki kot elektronski škratje in mehanični mikroorganizmi izza besed in strani determinirajo prikaz in strukturo knjižnih partikularizmov, njihov videz in izpisovanje, tudi vsebino. V knjigo je vmeščena lumino-kinetična, mehanična dimenzija.
Mehanizmi izpisujejo besede in narekujejo ritmiko branja. Utrjene navade branja so postavljene pod vprašaj. Do kod lahko posameznik sledi določenemu načinu prikazovanja in razbiranja besed? Kdaj vizualni aspekt prevlada literarni značaj in obratno in kdaj se ujameta? Besede se kažejo zdaj počasi, zdaj hitro, od zgoraj navzdol, od spodaj navzgor, besede izginejo. Koliko se ob tem ohranijo v spominu? Takšen 'govor' knjige lahko poudarja ali pride v konflikt s procesom bralčeve imaginacije, ki se ob čitanju knjige odvija. Obenem se knjiga ponekod razpleta neodvisno, brez sodelovanja uporabnika. Ker je izpis besed, struktura strani, celo samo listanje vključeno v proces avtomatizacije, se lahko zgodi, da se branje knjige kdaj ujame v neskončno zanko ponavljanj. Na nekaterih delih je knjigo potrebno brati v temi. Drugod se tekst odvije hitro naprej in mu ni mogoče slediti. Ker je mehanične narave, se knjiga lahko pokvari in čitanje ni mogoče. Morda je v kakšno stran vgrajen 'defekt'. Knjiga je spremenljiv objekt.
In 2007 I submitted the concept for a mechanical book to the artist's authorial book competition. Here is a short outline:
I want to make a mechanical book. The book comprises built-in mechanisms that determine the presentation and structure of literary particularisms, their appearance, write out and contents, much like electronic and mechanical 'microorganisms' behind words and pages. A mechanical, lumino-kinetic dimension is embedded in the book.
Mechanisms write out words and dictate the rhythmics of reading. The usual reading habits are questioned. How far can one follow a certain way of words presenting themselves? When does the visual aspect prevail over the literal one or vice versa or where do both meet? The words appear slowly at one time, quickly at another, sometimes from above down, sometimes they disappear – what is the effect of this on one's memory and understanding? The book 'speaks' and accents or clashes with the process of the reader's imagination that untwines while reading. At times, the book reels off independently, without the user's participation. Because the write out of the words, the structure of the page and turning the pages over are a process of automation, the reading of such book can easily become caught in an endless snare of repetition. Parts of the book should be read in the dark. Other parts come to pass fast forward, so one cannot follow them. Because of its mechanical character the book can breakdown, making the reading impossible. Perhaps a 'defect' is built in one of the pages. The book is a transformative object.
Tuesday, April 22, 2008
Dogma II's mechanism
Out of my first mechanical venture, scanner Dogma II came, a machine proceeding from the logic of an optical reader. Positioned in the dark, scanner illumines and unveils the image part by part, hence alluding to the gist of taboo, to something problematic. The example of such is an absolute, a dogma, an oppressive authority, and herein lies my trauma. Therefore, demystification was needed. At first sight, Dogma II is not far from a praying machine. It wants to come close to a hologram, a light image, containing the power of illusion. Well, the machine behind the flatness is a visible mechanism that produces and directes the image, which in part is a re-enactment of the egg scene from the film Angel Heart, 1987.
latex, LEGO bricks, 30 x 17 x 7 cm