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introduction

The aim of this text is to present a person-al experience in the presentation of movingimages, which in my case constitute themost frequent material of artistic expres-sion. Most of my artwork consists of hybridforms which can be placed somewherebetween film, video, and computer techni-ques. Therefore, I have divided the text onthe basis of three carriers of mobile images:film tape, i.e. film, video tape, i.e. video,and digital recording on the hard-disc, aDVD, or similar digital data carriers. Such adivision does not entirely correspond to thecontent of my work or its formal differentia-tion on the basis of material, i.e. the carri-er. However, by dividing the text on thebasis of presentation circumstances, Iwould be facing even larger problems.1

Since during my search for free artisticexpression I often combined carriers of mo-ving images, I also combined the ways ofpresenting them. Each artwork has its owncontext; some of them fit well into classifi-cations, but most of them completely avoidall easy labelling, especially if they are aresult of an interdisciplinary approach tothe creation of moving images. Some artistspresent the same pieces in different circum-stances, constantly adapting the presenta-tion circumstances to their specificities, inaccordance with the context of each parti-cular piece. There are also many cases ofartworks being transferred from one carrierto another, be it from aesthetic reasons,reasons of distribution, or for conservationpurposes.2

Thus, some of my pieces were record-ed first on the film tape, then transferred onthe video tape, assembled on the hard disc,set into an open data source context, andfinally ended up in the archives with thedocumentation of interactive protocol users.Even though it sounds complicated, suchtransfer of material from one medium intoanother is sometimes happening for yearswithout being noticed, since it is not plan-ned in advance, but if it is planned, then itis realized according to a strictly set proce-dure and in a determined time period.

film

In my case, the presentation of moving ima-ges began with the experimental, i.e. con-ceptual film. Most of my early films were

dan oki

produkcija i prezentacijapokretne slike u kontekstu likovnih umjetnosti - osobno iskustvoproduction and presentation of moving images in the context of visual arts - a personal experience

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1-2. Secrets, 1990.

uvod

Poticaj ovog teksta osobno je iskustvoprezentacije pokretnih slika koje su umojem sluËaju najËeπÊi materijal umjet-niËkog izraza. VeÊina mojih radova su hib-ridi izmeu filma, videa i raËunalnih tehni-ka. Tekst je stoga podijeljen na osnovi trijunosaËa pokretnih slika: filmske trake tj. fil-ma, video trake tj. videa te digitalnog zapi-sa na tvrdom disku, DVD-u ili sliËnom digi-talnom nosaËu podataka. Takva podjelateksta nije posve adekvatna sadræajimaradova, kao niti njihovom formalnom raz-likovanju na osnovi materijala, tj. nosaËa.Meutim, podjelom teksta prema uvjetimaprezentacije suoËio bih se s joπ veÊim prob-lemima.1

Kako sam u traæenju slobodnog umjet-niËkog izraza Ëesto kombinirao nosaËe po-kretnih slika, kombinirao sam i naËine nji-hove prezentacije. Svaki rad ima svoj kon-tekst. Neki radovi se uklapaju u podjele, aveÊina u potpunosti izmiËe lakom svrsta-vanju u kategorije, naroËito ako je posrijediinterdisciplinarni pristup tvorbi pokretnihslika. Neki umjetnici prikazuju iste radove urazliËitim okolnostima, stalno iznova prila-goavajuÊi uvjete prezentacije njihovimspecifiËnostima u skladu s kontekstom sva-kog pojedinog rada. »esti su i sluËajevi pre-bacivanja radova s jednog nosaËa na drugiiz estetskih razloga, zbog distribucije ili usvrhu konzervacije.2

Neki od mojih radova tako su snimljenina film, prebaËeni na video, zatim monti-rani na tvrdom disku, potom postavljeni uopen data source kontekst, da bi naposlijet-ku zavrπili u arhivu dokumentacije korisnikainteraktivnog protokola. Premda zvuËi kom-plicirano, ovakva selidba materijala iz me-dija u medij znala bi se dogaati neprimjet-no tijekom dugog niza godina, i to zato πtonije bila unaprijed isplanirana. U sluËajevi-ma kad je planirana, takva se selidba odvi-ja po strogo zadanom postupku u odree-nom razdoblju.

film

U mom je sluËaju prezentacija pokretnihslika poËela s eksperimentalnim, tj. kon-ceptualnim filmom. VeÊi dio svojih ranih fil-mova snimio sam u drugoj polovini 80-ih ugrupi umjetnika Ledeno doba (Zdravko iDarinko MustaË, Josip Zanki, NadomirSerbo, Ivo MartinoviÊ). Izmjenjivali smo

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1 Na osnovi uvjeta prezentacije razlikujemo, npr. radove za kino dvorane, radove za izlagaËko-prostornu djelat-nost, radove u site specific uvjetima, radove s teleprisutnoπÊu pokretnih slikate open data source radove s interak-tivnim protokolima Ëovjek-stroj i Ëovjek-stroj-Ëovjek.

2 Film se prebacuje na video kako bi se lakπe distribuirao, prikazao na TV-u ili postavio u prostor kao video projekcija. Video se prebacuje na film kako bi se prikazivao i distribuirao u kino dvorana-ma. Film i video se prebacuju na tvrdi disk kako bi se oblikovali ili na DVD kako bi se distribuirali. Digitaliziraju se i zato da bi se koristili kao sastavni dio interaktivnih protokola, zbog internetskih castinga i sl. Zanimljivo je da se sva tri nosaËa prebacuju u svim smjerovima jedni na druge u svrhu konzervacije.

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made in the second half of the 80s, in theartistic group called Ledeno doba [Ice Age](Zdravko and Darinko MustaË, Josip Zanki,Nadomir Serbo, Ivo MartinoviÊ). We ex-changed our roles in the production of allsorts of film forms, which had one thing incommon: besides being experimental, theywere all shot with a super 8mm film cam-era. Only some of those films had synchro-nic sound, while most of them were accom-panied by music from the tape recorder ormute.

First I made two short experimentalfeature films - Locus Sigili (1986), in whichI appeared as an actor (performer) andPrimjer je vatra sjevera [An example is theNorthern fire] (1987). Regardless of howtechnically imperfect they were, shot with asmall super 8mm film tape, which oftenhad to be glued together, and a sound thatwas separate from the image, non-synchro-nic, and played from the tape recorder,their presentation in cinema theatres, forwhich they were intended, was exception-ally good.

I made my first mute structuralist film-installation Moloh [Moloch] in 1986. Thefilm was shot in a large pine forest, on thecrossroads of the fire-prevention clearings.These geometric empty spaces seemed tome like a ready-made land art location for afilm. Moloh was shot in two planes, whichwere later assembled together: one is theunbroken round panorama image of fourpersons, approaching the centre in whichthe rotation axis of the film camera is situa-ted from four different directions. The sec-ond plane was made on the site of the cen-tre/crossroads and the tripod was replacedby a canvas laid on the ground, on which Ipainted an abstract picture of the locationin tempera, recording its creation at thesame time.

Except for being shown several timesas a film, that is, in the cinema, Moloh wasalso exhibited in 1988 in the Students’Centre of Zadar as a film installation. Fromthe reel of a super 8mm film projector, thetape ran in several places along the ceilingand then back into the projector. This loopor πlajfna, as they call it here, was my firstfilm installation, a loop in the medium ofmoving image.

Both Roma now now Donat (1987)and V moje oËi letijo igle (1989) wereshown both in the cinema and as filminstallations. The first was largely shot inthe so-called frame by frame technique, i.e.

uloge u produkciji najrazliËitijih filmskihizraza kojima je zajedniËko to da su, osimπto su bili eksperimentalni, svi bili snimljenisuper 8mm filmskom kamerom. Samo nekiod tih filmova imaju sinkroni zvuk, dok jeveÊina popraÊena zvukom s kasetofona ili jenijema.

Najprije sam snimio dva kratka ekspe-rimentalna filma igrane forme - Locus Sigili(1986.) u kojem se pojavljujem kao glumac(performer) i Primjer je vatra sjevera(1987.). Koliko god da su bili tehniËki ne-savrπeni, s malom i puno puta lijepljenomsuper 8mm filmskom trakom te zvukom kojiide odvojeno i nesinkrono s kasetofona, nji-hova prezentacija u kino dvoranama za kojesu bili namijenjeni, bila je iznimno dobra.

Prvu nijemu strukturalistiËku filmskuinstalaciju Moloh izveo sam 1986. godine.Film je snimljen u velikoj borovoj πumi naraskriæju pravaca prokrËenih zbog prevenci-je od poæara. Te geometrijske praznine iz-gledale su mi kao gotova land art lokacija zafilm. Moloh je snimljen u dva kasnije mon-tirana plana: jedan Ëini neprekidna kruænapanoramska snimka Ëetiri osobe koje se pri-bliæavaju iz Ëetiri smjera prema srediπtu ukojem je os vrtnje filmske kamere. Drugiplan nastao je na mjestu srediπta-raskriæja,a stativ je zamijenjen slikarskim papirompoloæenim na zemlju na kojem sam tempe-rom naslikao apstraktnu sliku lokacije isto-dobno snimajuÊi njeno nastajanje.

Osim πto je nekoliko puta bio prikazankao film u kinu, Moloh je bio izloæen 1988.godine u Studentskom centru u Zadru kaofilmska instalacija. Iz koluta super 8mm

3. Divine Beings, Galerija Miroslav KraljeviÊ,Zagreb, 19984. Gene-pool, Galerija umjetnina Split, 2000

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1 On the basis of presentation circumstances, we candifferentiate, for example, between artworks for cin-ema theatres, artworks for presentation in exhibi-tion spaces, those suitable for presentation in site specific circumstances, artworks with the tele-presence of moving images, and the open data source artworks with interactive protocols: man-machine and man-machine-man.

2 Films can be transferred to video tapes in order to be distributed more easily, shown on TV, or set into space as video installations. Videos are transferred to film tapes in order to be presented and distribu-ted in cinema theatres. Films and videos are trans-ferred to the hard disc in order to be processed, or to DVD in order to be distributed. They are also digi-talized in order to be used as parts of interactive protocols, for purposes of web casting, etc. It is interesting that all the three carriers are transferredin all directions, one to another, for conservation purposes.

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filmskog projektora traka je iπla na nekolikomjesta po plafonu pa natrag u projektor.Ova petlja ili takozvana πlajfna bila je mojaprva filmska instalacija, loop u mediju po-kretne slike.

I filmovi Roma now now Donat(1987.) i V moje oËi letijo igle (1989.) suprikazani i u kinu, ali i kao filmske instala-cije. Prvi je uglavnom snimljen tehnikomframe by frame, tj. sliËicu po sliËicu.3 Sklopvelikog praznog prostora oko Sv. Donata,tornja Crkve sv. Stoπije, ostataka Rimskogforuma i Arheoloπkog muzeja u Zadru okos-nica su istraæivanja filmske percepcije ispre-pletenih arhitektonskih elemenata i ljudi unjima.

V moje oËi letijo igle radio sam s “ne-pomiËnim” grupnim portretima tableau vi-vant snimljenima filmskom kamerom. Radnavodi gledatelja da se odmakne od bilokakvog narativnog sadræaja i potpuno seusredotoËi na geste i minimalne pokretedvaju muπkaraca i dviju æena postavljenih urazne kompozicije preuzete sa slika iz povi-

one image after another.3 The complex oflarge empty space around St Donatus, thetower of St Anastasia, the remnants of theRoman Forum, and the ArchaeologicalMuseum of Zadar make up an axis for theresearch on the film perception of inter-twined architectural elements and peopleamong them.

The piece entitled V moje oËi letijo iglewas made with “immobile” group portraits,tableau vivant, shot with a film camera. Iturged the spectator to detach himself fromall narrative content and to concentrate ful-ly on the gestures and minimal movementsof the two women and two men, positionedin various compositions that were takenover from historical paintings. The tableauvivant frames with immobile figures thattransmit the psychological tension of thecharacters alternated with frames of thesame characters, but with their heads ani-mated frame by frame and moving alongone of the four edges of the film frame, en-closing it in a way. Unlike Moloh and Roma

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3 Frame by frame je tehnika snimanja s podeπenom filmskom kamerom koja okida samo po jednu film-sku sliku, poput fotografske kamere. Kako u jednoj sekundi za vrijeme prezentacije na filmskom pro-jektu prou 24 slike, potrebno je “okinuti” 24 puta da bismo na filmskoj traci dobili jednu sekundu. Ova tehnika nalazi primjenu u stop-animaciji, eksperimentalnim filmovima i u igranim filmovima.

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3 Frame by frame is a technique of shooting with an adjusted film camera, which clicks film images one at a time, just like the photo-camera. Since 24 images pass in one second during the presentation with a film projector, it is necessary to “click” 24 times in order to get one second on the film tape. This technique is used in stop-animation, experi-mental films, and even feature films.

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now now Donat, the sound came from thetape recorder. I still remember how thrilledI was when I managed to coordinate soundwith the images. Later, when I was settingup V moje oËi letijo igle in space, except forthe film loop I also made a loop of the ac-companying sound on the tape recorder.Since the sound tape was very thin andsensitive, I copied it several times and ma-de several tapes that served for one perfor-mance each. That was the only way to pre-sent the film loop and the sound loop at thesame time. What still remained inevitablewas the presence of the sound of film pro-jector.

All three film installations were latertransferred to video, and then also to DVD,since that is how they could be preservedfrom major scratches caused by the pas-sage of the film tape through the projector,especially such a small tape as super 8mm.Certainly, there was the possibility of keep-ing the films/installations on the film tapeby transferring them onto a 16-mm tape,but that was too expensive. As for the ima-ge quality, it was excellent with those filminstallations and we had a long way to gobefore the video projectors would comeeven near that in their quality. What chan-ged most in the presentation when we tran-sferred it from the film tape to video wasnot the quality of the image as such (owingto its high quality in the film recording), butthe absence of projector sound in the exhi-bition space. Unlike presenting films in ci-nema theatres, where the projector and thecorresponding sound were ousted from thehall, all presentation within an exhibitionwas more or less doomed to the presence ofa stronger of milder projector sound as anauditive companion of film playback. Sinceit was an inevitable aspect of each projec-tion, the advantage of the sound was that itgreatly facilitated the presentation of allthree film installations together. That wasone of the reasons why, when installing thethree-channel video installation entitledMoving Mirrors in 1988, in Miroslav Kralje-viÊ Gallery in Zagreb, I added the sound ofthe film projector, although I actually usedvideo recorders and video projectors. Theleft and the central projection showed 8-mm black and white family shots of a visitto the Zagreb Zoo in 1977, transferred onvideo, while the right one was a black andwhite video image and the sound of thechimpanzees in the Amsterdam Zoo, shotin 1997. The projector sound, except for

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jesti umjetnosti. Tableau vivant kadrovi snepomiËnim figurama koji prenose psiholo-πku napetost likova ispresijecani su kadrovi-ma tih istih likova Ëije su glave animiraneframe by frame i kreÊu se po jednom odËetiriju rubova okvira filmskog kadra, Ëimega na izvjestan naËin zatvaraju. Za razlikuod Moloha i Roma now now Donat, zvuk jeu ovom filmu reproduciran s kasetofona.SjeÊam se kako sam bio ushiÊen uspjevπispojiti zvuk i sliku. Kada sam kasnije po-stavljao V moje oËi letijo igle u prostor, osimfilmske petlje naËinio sam i petlju tonskepratnje na kasetofonu. Kako je tonska trakabila jako tanka i osjetljiva, kopirao sam jenekoliko puta i izradio nekoliko kaseta kojesu sluæile za po jedno prikazivanje. To je biojedini naËin da se istodobno prezentirajufilmska i kasetofonska petlja. Ono πto je idalje ostalo neizbjeæno jest prisutnost zvukarada filmskog projektora u prostoru.

Sve tri filmske instalacije kasnije suprebaËene na video, a potom i na DVD,zato πto je to bio naËin da se saËuvaju odvelikih ogrebotina uzrokovanih prolazomfilmske trake kroz projektor, naroËito takomalene kao super 8mm. Dakako, postojalaje moguÊnost da se ovi filmovi-instalacijezadræe na filmu prebacivanjem na 16mmfilmsku traku, ali to je bilo preskupo. ©to setiËe same kvalitete slike, ona je na ovimfilmskim instalacijama bila izvrsna i dugosmo joπ morali Ëekati da joj se video projek-tori pribliæe kvalitetom. Ono πto se najviπepromijenilo u samoj prezentaciji prebaciva-njem s filma na video nije bila kvaliteta sa-me slike (jer je ona snimljena na film bilakvalitetna), veÊ nedostatak zvuka projekto-ra u izlagaËkom prostoru. Za razliku od pri-kazivanja radova u kino dvoranama gdje suprojektor i pripadajuÊi mu zvuk bili izdvo-jeni iz dvorane, svako izlaganje u prostorubilo je viπe-manje osueno na prisutnost ja-Ëeg ili slabijeg zvuka projektora kao auditiv-nog pratitelja filmske reprodukcije. BuduÊida je bio neizbjeæan sastavni dio svake pro-jekcije, prednost tog zvuka bila je ta da jeuvelike olakπavao zajedniËko prezentiranjesvih triju filmskih instalacija. To je bio je-dan od razloga πto sam postavljajuÊi troka-nalnu video instalaciju Moving Mirrors(Pokretna ogledala) 1988. godine u Galeriji“Miroslav KraljeviÊ” u Zagrebu upotrijebio izvuk filmskog projektora, premda sam ko-ristio video rekordere i video projektore. Nalijevoj i srediπnjoj projekciji bile suobiteljske 8mm crno-bijele snimke posjetazooloπkom vrtu u Zagrebu iz 1977., preba-

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Ëene na video, a na desnoj je bila crno-bije-la video slika i zvuk Ëimpanza u zooloπkomvrtu u Amsterdamu, oboje snimljeni 1997.godine. Zvuk projektora, osim πto je bio ko-laËiÊ sjeÊanja, odgovarao je i teksturi film-ske slike. Instalacija Moving Mirrors(Pokretna ogledala) bila je (zapravo) hibrid-na prezentacija filma i videa skupljena umediju video projekcije. BuduÊi da mi nijebio dostupan video sync starter koji bi vre-menski uskladio sinkrono projiciranje trijuvideo zapisa, problem njihove sinkronizaci-je rijeπio sam premontiravπi sva tri kanala ujednu projekciju. Ovako sloæenu video insta-laciju odluËio sam projicirati na dva zidapostavljena pod kutom od 135˚. Lijevu isrediπnju sliku projicirao sam na lijevi, adesnu sliku na desni dio kuta dvaju zidova.Na ovaj sam naËin, uz pomoÊ arhitekture,modelirao projekciju te dao naslutiti samubît rada. Odvojivπi izvorne 8mm snimke iz1977. godine u Zagrebu od video snimkenastale 1997. u Amsterdamu, sukladno seodvojio i zvuk filmskog projektora od zvukavideo snimke. Prezentacija Pokretnih ogle-dala naπla je svoj kut zrcaljenja, koji je uovom sluËaju bio na oko 135˚ izmeu dvazida galerije.

Divine Beings (Boæanska biÊa) iz1998. godine, tridesetminutni crno-bijelifilm (16mm i 8mm) na videu (digitalnibetacam SP), bio je prikazan na mnogimfilmskim festivalima u Europi, na Image Fo-rumu u Tokiju i na Williamsburg BrooklynFilm Festivalu u New Yorku. Razlog zbogkojeg je film doæivio mnogo prezentacija ukino dvoranama leæi u Ëinjenici da ga je pri-hvatila filmska scena. Ipak, film je bio viπeputa prikazivan i u galerijskom kontekstukao samostalna projekcija ili zajedno s veÊspomenutom instalacijom Moving Mirrors.U kontekstu samostalne izloæbe tridesetmi-nutni film se prikazuje na televizoru u simu-liranom ambijentu dnevnog boravka ukojem ga publika gleda zavaljena u fotelju.Divine Beings je doista i bio prikazan nalokalnoj televizijskoj postaji u Amsterdamui, πto je joπ zanimljivije, web castiran usvibnju 2000. godine u organizaciji MetalTiger Technologies iz New Yorka. Film jetako mogla vidjeti najrazliËitija publika nasvojim raËunalima. To je ujedno bio prvikvalitetni web cast nekog mog rada.

video

Svoj prvi video rad Secrets (Tajne) snimiosam VHS-kamerom 1990. godine u Zadru.Kako je snimanje videom znaËilo jeftinu

serving as a memory cookie, also corre-sponded to the texture of film image. TheMoving Mirrors installation was (actually) ahybrid of film and video presentation, con-densed in the medium of video projection.Since I could not get hold of a video syncstarter, which would have synchronisedchronologically the projection of the threevideo recordings, I solved the problem oftheir synchronisation by reassembling allthree channels into a single projection. Idecided to project the newly created videoinstallation on two walls, positioned at theangle of 135˚. The left and the centralimages were projected on the left wall,while the right image was projected on theright side of the corner between the twowalls. In this way, I used architecture inorder to shape the projection and give ahint about the very essence of my work. Byseparating the original 8-mm shots from1977, made in Zagreb, from the videomade in Amsterdam in 1997, I also de-tached the sound of the film projector from

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5. The Householder, IISG (International Institute forSocial History) Amsterdam, 1997

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the video recording. The presentation of theMoving Mirrors found its angle of reflection,which was in this case that of 135˚,between the two gallery walls.

The Divine Beings from 1998, a 30-minute black and white film (16mm and8mm) on video (a digital Beta cam SP),was presented on a number of film festivalsin Europe, as well as the Image Forum inTokyo and the Williamsburg Brooklyn FilmFestival in New York. The reason for thislarge number of presentations was the factthat the film scene had accepted it. Never-theless, the film was also shown severaltimes in the gallery context as a self-stand-ing projection or together with the aforementioned installation Moving Mirrors. Inthe context of solo exhibition, the 30-minu-te film was shown on TV, in a simulatedambience of a living room, where the audi-ence was watching it while comfortablyseated in their armchairs. The film DivineBeings was indeed shown on the local TVstation in Amsterdam and, what is moreinteresting, web cast in May 2000, anevent organised by Metal Tiger Technolo-gies from New York. In this way, it could bewatched by very diverse audiences on theircomputers. That was also the first high-quality web cast of my work.

video

I made my first video called Secrets with aVHS camera, in Zadar in 1990. Since videorecording meant cheap tape, more recordedmaterial, and more possibilities of trying outvarious options while shooting or working

traku, puno viπe snimljenog materijala, viπemoguÊnosti isprobavanja pri snimanju i ra-da na materijalu, ovaj 12-minutni rad naj-duæi je koji sam do tada snimio. NjegovaspecifiËnost u odnosu na filmove i instala-cije koje sam ranije radio mogla bi se opi-sati kao performans pred kamerom. Reduk-cija prisutnosti mog tijela na ekstremitetekojima stvaram sjene, skrivam predmete iigram se pijeskom stvara nelagodan osjeÊajprikrivanja i gubitka identiteta pojaËanihdijalogom na talijanskom i engleskom (rijeËje o reËenicama preuzetim iz programa zauËenje jezika). U prezentaciji ovog rada do-godile su se novosti koje pripadaju medijuvidea. Nakon πto sam osobno prvi putamogao usporediti nekoliko vrsta prezenta-cije, zakljuËio sam da je najbolji naËin pri-kazivanja filma Secrets monitor postavljenna pod galerije ili projekcija na zidu koji jeodmaknut od poda jedan metar, i to zatoπto je cijeli film snimljen iz gornjeg rakursa- iz visine ljudskih oËiju dok gledaju premazemlji.

Prezentacija video filma Separation(1993./94.) specifiËna je po tome πto su itape i trokanalna instalacija bili premijernoprezentirani u protestantskoj crkvi u srediπ-tu Amsterdama kao site specific rad. Glavnisadræaj rada je performans izveden hiper-ventiliranjem - brzim udasima i izdasima. Usnimku performansa naknadno su umetnu-ti autobiografski kadrovi i rijeËi koje ilustri-raju sjeÊanja, misli i stanja svijesti perfor-mera pred kamerom. U crkvi su tri monito-ra jedan pored drugog postavljeni na mjestona kojem je inaËe propovjednik. Na sred-

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6. Separation, trokanalna video instalacija / three-channel installation, 1994

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njem monitoru prikazan je performans usrednjem planu, upravo onako kako bismovidjeli propovjednika u prostoru crkve, a naboËnima su prikazane rijeËi na crnoj poza-dini. SpazmatiËno disanje odjekivalo je crk-vom, hipnotizirajuÊi ritam disanja pretvoriose u neku vrstu medijski posredovane pro-povijedi. Separation je moj prvi rad koji jeMonte Video (Nizozemski institut za medij-sku umjetnost) uvrstio u svoj program dis-tribucije i Ëuvanja. Prikazan je i na nizo-zemskom Kunstkanalu, gdje ga je vidjelooko 140.000 ljudi, πto je, s obzirom na do-tadaπnju prezentaciju mojih radova - snim-ljenih performansa - bila potpuna novost.

Sudbina je htjela da se na samostalnojizloæbi u Rotterdamu 1996. godine ponov-no susretnem s prostorom crkve, doduπetrajno prenamijenjenim u galeriju Het WildeWeten, πto predstavlja jedinstven spoj sitespecific i galerijskog konteksta. Izloæba ve-Êim dijelom nije bila vezana uz pokretne sli-ke, veÊ su crteæi rijeËi na poluprozirnim pa-pirima postavljenima na duge vitraje bilinjen srediπnji dio. U dnu prostorije, maloiza mjesta gdje je nekad stajao propovjed-nik, opet sam postavio monitor s rijeËimana osam europskih jezika, Ëiji je korijen ulatinskom i grËkom. U drugom planu izarijeËi je close circuit video slika snimljenakamerom postavljenom na krov crkve. Pro-dukcijski se radilo o klasiËnoj close circuitvideo instalaciji, jedino πto sam izmeu ka-mere i video monitora upotrijebio Amiga ge-nelock kako bih grafiËku animaciju rijeËipostavio preko prijenosa slike video kameres krova.

on the material, that 12-minute video wasthe longest I had done until then. Its speci-ficity with respect to films and installationsthat I had done before could be describedas a performance in front of the camera.Reducing the presence of my body to armsand legs with which I produced shadows,concealed objects, and played with sand,created an uneasy feeling of disguise or lossof identity, which was enhanced by meansof dialogues in Italian and English, sen-tences taken over from language learningprogrammes. There were certain noveltiesin the presentation of that film, which wentwith the video as a medium. After I wasable for the first time to compare personal-ly several types of presentation, I conclud-ed that the best way of showing the Secretswas on a screen placed on the floor of thegallery or projected on a wall, 1 m from thefloor, because all of it was recorded fromabove - from the height of human eyeslooking at the ground.

The presentation of the video filmSeparation (1993/94) was specific for thefact that both the tape and the three-chan-nel installation were first presented in anEvangelical church in the centre of Amster-dam as a site specific work. Its substancewas a performance consisting of hyperven-tilation - of rapid inhaling and exhaling.Autobiographic frames and words illustrat-ing memories, thoughts, and states of mindof the performer in front of the camera wereinserted afterwards into the performancerecording. In the church, three screenswere placed on the spot which usuallybelonged to the preacher. On the middlescreen, the performance was shown atmiddle distance, exactly as one would seethe preacher in the space of the church,while the side ones showed words againstblack background. Spasmodic breathingresounded throughout the church and itshypnotizing rhythm became a sort of mediatransferred sermon. Separation was my firstpiece that Monte Video (Dutch Institute forMedia Art) included in its programme fordistribution and preservation. It was alsoshown on the Dutch Kunstkanal, where itwas seen by around 140 thousand people,which was a great novelty with regard tothe presentation of my work - recorded per-formances - until that moment.

Destiny wanted it that I should reen-counter the church as the space of my soloexhibition in Rotterdam, in 1996, but itwas permanently redesigned as the Het

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Wilde Weten Gallery, a unique fusion of sitespecific and gallery context. The exhibitionwas for the most part not linked to movingimages; instead, its central part consistedof drawings of words on semitransparentsheets of paper, placed on elongatedstained-glass windows. In the bottom of theroom, a little behind the place where thepreacher used to stand, I again placed ascreen with words in eight European lan-guages, rooted in Latin and Greek. Behindthe words, in the background, there was aclose-circuit video image, recorded with acamera set on the church roof. In terms ofproduction, it was a classical close-circuitvideo installation, except that I used theAmiga gene lock between the camera andthe video screen in order to position thegraphic animation of words over the projec-tion of the video image shot from the roof.

In terms of production and presenta-tion, it is interesting to compare my twopieces Word and Breath from 1996 andE.B.A. (Extra Behaviour Activity) from1995. The first is a two-channel video in-stallation. On one channel, I played anautonomous video called Dinamis, on theother a computer animation with wordtransformations in various European lan-guages. In that piece I combined video andcomputer, working with two separate videocarriers; in those times, it was the SuperVHS. The installation was first presented inSiena, at the exhibition entitled Is EuropeJust a Word? in 1997. I placed the projec-tions on two walls, at the right angle and adistance of two meters between them. Theprojection of the video channel Dinamis,with people breathing in various parts ofthe world and in different seasons of theyear, was sized 3 x 4 meter and placed onthe central wall, while the projection of thecomputer-transformed words (sized 1,5 x 2m) was placed on the left wall. Breathingwas the only sound in the room.

Unlike Word and Breath, E.B.A. was avideo that combined recordings done with avideo camera with computer animation intoa common duration and common space ona single channel. This work was exhibitedand presented only as a single-channel vi-deo in various contexts, precisely because itwas conceived that way in terms of presen-tation, regardless of its technological andaesthetic hybridism.

The length of the video is very impor-tant for the choice of the presentation cir-cumstances. My video Vice Versa from

Produkcijski i prezentacijski zanimljivaje usporedba radova Word and Breath(RijeË i misao) iz 1996. godine s E.B.A.(Extra Behaviour Activity) iz 1995. Prvi jedvokanalna video instalacija. Na jednomkanalu je autonomni video rad Dinamis, ana drugom raËunalna animacija s transfor-macijama rijeËi na raznim europskim jezici-ma. U ovom radu spajam video i raËunalo,radeÊi s dva odvojena video nosaËa, tadaSuper VHS-u. Instalacija je premijerno bilaizloæena u Sieni na izloæbi Is Europe Just aWord? 1997. godine, gdje sam projekcijepostavio na dva zida pod pravim kutem,dok je razmak izmeu njih bio dva metra.Projekcija video kanala Dinamis s ljudimakoji diπu na raznim stranama svijeta u raz-nim godiπnjim dobima bila je dimenzije 3 x4 metra na srediπnjem zidu, a projekcijaraËunalno transformiranih rijeËi (dimenzije1,5 x 2 m) na lijevom zidu. Disanje je bilojedini zvuk u prostoriji.

Za razliku od Word and Breath, E.B.A.je video rad u kojem su sjedinjeni snimci vi-deo kamere s raËunalnom animacijom u za-jedniËko trajanje i zajedniËki prostor na jed-nom kanalu. Ovaj rad je izlagan i prikazivansamo kao jednokanalni video u raznim kon-tekstima, uspravo stoga πto je tako zamiπ-ljen u prezentacijskom smislu, bez obzirana tehnoloπku i estetsku hibridnost.

Duæina video rada je od velike vaænostiu izboru prezentacijskih uvjeta. Vice Versaiz 2000. godine, izvorno performans zavideo kameru, iz viπe razloga nikada nijeprezentiran u prostoru. Izdvojio bih duæinusamog rada (60 minuta), zatim veliki brojlokacija πto cjelokupni doæivljaj rada Ëininizom slika u vremenu, glas naratora kojikomentira sliku i upotrebu filmskog jezika.Autobiografski performans u domeni likov-nog pomijeπan je s kinematografskim ele-mentima dokumentarnog, konceptualnog,esejistiËkog i igranog. Ovaj “koktel” namije-njen je publici koja razumije kontekst likov-nog filma i nekonvencionalne kinematogra-fije, znaËi prvenstveno festivalskoj i muzej-skoj publici.

Igrani video film Oxygen4 (Kisik4) iz2004. godine potpuno se pribliæio obiljeæji-ma filma, tj. videa koji se prikazuje u redov-noj kino distribuciji. U ovom radu koji jedug 91 minutu radio sam s profesionalnimglumcima i naturπËicima u procesu koji jenajviπe podsjeÊao na reæiranje igranih filmo-va. Meutim, istodobno s reæiranjem filmaradili smo i na produkciji serije od sedamvideo instalacija namijenjenih prostornoj

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prezentaciji. Scenarij za igrani film, tj.video, pisao sam radeÊi usporedno skice vi-deo instalacija. Oxygen4 naπao se i u redov-nom programu kina De Balie u Amster-damu. Prikazivanje s digitalnog betacamaSP u redovnom kino repertoaru postalo jemoguÊe zbog nove prakse digitalne kinodistribucije.4 Idealan kontekst za Oxygen4su kino dvorane u muzejima suvremene ilimoderne umjetnosti, u kojima se uz film naistome mjestu moæe vidjeti i izloæba. Radnije nikada cjelovito prikazan na jednommjestu, πto moæda samo po sebi i nije takovaæno, ali sigurno govori o velikoj podijel-jenosti svijeta filma i svijeta likovnih umjet-nosti. To je razlog zbog kojeg se u 90-imadiljem svijeta otvorilo mnogo novih institu-cija koje spajaju ova dva podruËja, najËeπÊepod imenom medijske umjetnosti ili novihmedija.

hard disc (digitalni nosaËi)

Prva instalacija kod koje sam koristio raËu-nalo kao kljuËni aspekt prezentacije bila jeNoah and Ceremonies on the Water iz1991. Iako je “krajnji nosaË” bila video tra-ka, instalaciju je u najveÊoj mjeri odrediloraËunalo.

U isto sam vrijeme radio i rad u pro-gramu Deluxe paint-u 2 na raËunalu Amiga2000, s pet geometrijskih znakova postav-ljenih na monitore jedan iznad drugog kojipredstavljaju ljudsko tijelo za vrijeme medi-tacije. Svaki znak je vizualizirana Ëakra.Nisam bio zadovoljan samo raËunalnom in-stalacijom na pet video kanala, zato πto mije izgledala previπe formalna i zaustavljenau vremenu. Znakovi su titrali i stvarali odre-eni pokret unutar slike, ali im je nedosta-jalo procesualnosti koju sam svakako æeliopostiÊi. Zato sam odluËio spojiti dijelovefilma Noah and Ceremonies on the Water sraËunalnim grafikama znakova u novi rad.Neogeometrijsko tijelo dobilo je svoj pejsaæu snimkama sa zadarske rive i odmah jezraËilo procesualnoπÊu koju sam nadopuniozvukom tibetanske ceremonije. KrπÊanstvose simboliËki spojilo s budizmom, a ime fil-ma postalo je i ime instalacije, zato πto suceremonije dobile i svoj lik. Iako se radi ohibridnoj instalaciji raËunala i filma na vi-deo traci, na konaËni oblik prezentacije ins-talacije u prostoru utjecale su iskljuËivo ra-Ëunalne grafike, za razliku od filma gdje sefilmski materijal oblikovao po principustrukture u vremenu namijenjene prezenta-ciji u kino dvoranama. Nakon πto sam pre-bacio film na video (prvi puta na U-matic

2000, originally a performance for thevideo camera, has never been presented inspace and for various reasons. I would me-ntion its length (60 minutes), a large num-ber of localities, which makes the overallimpact of a series of images in time, thevoice of the narrator commenting theimage, and the use of film language. An au-tobiographical performance in the visualdomain was combined with elements ofdocumentary, essayistic, and feature film,characteristic for the cinema. That “cock-tail” was intended for an audience that un-derstood the context of art film and uncon-ventional cinematography, which meantprimarily festivals and museums.

The feature video film Oxygen4 from2004 largely had the attributes of a film,i.e. video shown in regular cinema distribu-tion. In this 91-minute long piece, I workedwith both professionals and untrained ac-tors in a process that on the whole remind-ed of directing feature films. However, par-allel to the film direction, we worked onproducing a series of 7 video installationsintended for presentation in space. I wrotethe scenario for the feature film, i.e. thevideo, while working on the drafts for videoinstallations. Oxygen4 was also shown aspart of the regular programme of De Baliecinema in Amsterdam. It was possible toshow it directly from the digital Beta cam

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4 Osobno mi je bilo zanimljivo vidjeti ime mog video filma u redovnoj distribuciji pored ameriËkih komer-cijalnih hitova.

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4 Personally, I found it a very interesting experience to see the title of my video film in regular distribu-tion, next to the commercial American films.

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SP owing to the new techniques of digitalcinema distribution.4 The ideal context forOxygen4 are the cinemas of the museumsof contemporary or modern art, where onecan also see an exhibition. This video hasnever been shown in one place in its entire-ty, which is perhaps not that important, buttells a lots about the dividing wall betweenthe world of film and the world of visualarts. That might be the reason why a largenumber of new institutions connectingthese two fields were founded in the 90s,mostly under the designation of media artor the new media.

hard disc (digital carriers)

My first installation in which I used thecomputer as the key aspect of presentationwas Noah and Ceremonies on the Waterfrom 1991. Although the “final carrier” wasthe video tape, the installation was largelydetermined by the computer.

At the same time, I was working onanother piece in Deluxe Paint 2 programmeon an Amiga 2000 computer, with five geo-metric symbols set on screens that wereplaced above each other, symbolizing thehuman body during meditation. Each sym-bol was a visualized chakra. I was not sat-isfied with a computer installation on fivechannels alone, since it seemed to me tooformal and arrested in time. The symbolsvibrated and created certain movementwithin the image, but they lacked the pro-cessuality that I definitely wanted toachieve. That is why I decided to mergesome excerpts from the film Noah andCeremonies on the Water with symbolsfrom computer graphics into somethingnew. A non-geometrical body acquired itslandscape with shots from the Zadar coast-line and immediately began to glow withprocessuality, which I complemented withthe sound of a Tibetan ceremony. Christia-nity was thus symbolically fused with Bud-dhism and the film title became also thetitle of the installation, since the ceremo-nies had also acquired an image. Althoughit was a hybrid installation between thecomputer and the film on video, the finalform of presentation of this installation inspace was influenced exclusively by com-puter graphics; unlike the film, where thematerial was shaped according to the prin-ciple of structure in time, intended for pre-sentation in cinema theatres. After havingtransferred the film on video (for the firsttime with the U-matic in 1991), I knew

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1991.), znao sam da Êu ovaj proces Ëestokoristiti.

Nakon petokanalne instalacije naËiniosam i video istog imena, koristeÊi original-nu filmsku montaæu i strukturiranu raËunal-nu grafiku u vremenu koje odgovara jednojmeditaciji, tj. duljini zvuka tibetanske cere-monije. Tako sam na kraju procesa imao trirada pod imenom Noah and Ceremonies onthe Water: film na super 8mm filmu bezznakova sa zvukom broda, petokanalnu vi-deo instalaciju s pet geometrijskih znakovai filmskim isjeËcima te jednokanalni hibrid-ni video rad sa strukturiranim geometrij-skim znakovima i filmskim materijalom, sveiz 1991. godine.

Iskustvo rada s trodimenzionalnimskenerom (Cyberscanner) 1995. godine is-koristio sam tek dvije godine poslije toga uelektronskoj 3D animaciji i instalaciji TheHouseholder (KuÊepazitelj). Normalna serij-ska raËunala u to doba nisu mogla pokrenu-ti toliko veliki wire frame prepun malih po-ligona s foto-realistiËnom trodimenizional-nom teksturom moje glave, tako da sam tek1997., kada je Monte Video/TBA dobio prviSilicon Graphics Indigo II raËunalo s Wave-front programom, mogao izvesti zamiπljenirad. Kao rezultat procesa istodobno su nas-tali Ëetverokanalna instalacija i jednokanal-na elektronska animacija.

U mom umjetniËkom iskustvu novostje bila raditi s kreiranjem nekoliko videoka-nala u raËunalnom 3D prostoru. Loop fototeksture glave preko nepokretnog volumenaili loop kretanja volumena unutar nepokret-ne fotografske teksture izraæavaju odnoseunutarnjeg i vanjskog. Slike su pokretnutekao objekti u raËunalnoj perspektivi.

SljedeÊi projekt temeljen na 3D anima-ciji je Environment of Chimeras (U okoliπuHimera). Rad je prvotno naËinjen i prezenti-ran kao site specific raËunalna video insta-lacija i CD-rom u zooloπkom vrtu Blijdorp uRotterdamu 1999. Tri loop 3D animacije bi-le su postavljene na tri razne lokacije s videomonitorima u vrtu, a raËunalo s CD-romomi projekcijom zasebno. Æelio sam da publikana njih nailazi sluËajno, kreÊuÊi se kroz zoo-loπki vrt ili traæeÊi ih uz pomoÊ flayera. Namonitorima i CD-romu bile su crno-bijeleanimacije i metamorfoze virtualnih hibridnihæivotinja. Na CD-romu su sudionici moglikolaæiranjem postojeÊih æivotinja stvaratinova virtulna biÊa, no nije postojala moguÊ-nost arhiviranja sudjelovanja.

Vergeten, zich herinneren en weten(Zaboraviti, sjeÊati se i znati) naziv je zajed-

that I would use that process quite often. After the five-channel installation, I also

made a video with the same name, usingthe original film montage and structuredcomputer graphics in a period of timeneeded for one meditation, i.e. the soundduration of a Tibetan ceremony. Thus, atthe end of the process, I had three piecesentitled Noah and Ceremonies on theWater: a film on the super 8mm film tape,without the symbols and with the sound ofthe ship, a five-channel video installationwith five geometric symbols and film ex-cerpts, and a one-channel hybrid video withstructured geometric symbols and film ma-terial, all from 1991.

The experience of working with thethree-dimensional scanner (Cyber scanner),which I gained in 1995, I used only twoyears later, in an electronic 3D animationand installation The Householder. The usu-al serial computers from those times couldnot start such a large wire frame, full ofsmall polygons with the photo-realistic,three-dimensional texture of my head, so itwas only in 1997, when Monte Video/TBAacquired the first Silicon Graphics Indigo IIcomputer with the Wavefront programme,that I was able to realize the conceivedwork. The result of that process was a four-channel installation and a parallel one-channel electronic animation.

In my artistic experience, it was a no-velty to create several video-channels incomputerized 3D space. The loop of thephoto-texture of the head over the immobilevolume, or the loop of the moving volumewithin the immobile photo texture, expressthe relations of the interior and the exterior.The images are set into motion as objects incomputer perspective.

The next project based on 3D anima-tion was the Environment of Chimeras. Itwas originally made and presented as a sitespecific computer video installation and aCD-ROM in the Rotterdam Zoo of Blijdorp,in 1999. Three loop 3D animations werepositioned on three different localities withvideo screens inside the Zoo, while thecomputer with the CD-ROM and the projec-tion was elsewhere. My wish was that theaudience should find them accidentally,while moving through the Zoo, or by sear-ching for them with the help of a flyer. Thescreens and the CD-ROM contained blackand white animations and the metamor-phoses of virtual hybrid animals. The visi-tors could use the CD-ROM in order to

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8. Noah and Ceremonies on the Water, petokanalnainstalacija / five-channel installation, 1991

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reassemble existing animals into new, vir-tual ones, but one could not make a record-ing of one’s participation.

Vergeten, zich herinneren en weten (Toforget, to remember, and to know) was thetitle of a project that I did together withSandra Sterle in 1998. This site specificproject included various forms - performan-ce, a close-circuit, a one-channel videoinstallation, and an interactive video instal-lation with an open video data source pro-tocol. The project took place during sevendays in the classroom of a foreign languageschool in Amsterdam, where we were bothlearning Dutch. During the night, we pro-jected an image of the two of us sleeping onthe outer window panes of the classroom,live from a Hi8 camera and visible to thepassers-by. This interactive video installa-tion consisted of two computers (a PowerMac with the Imagine programme and anAmiga 4000), a Hi8 video camera, a videoprojector, and a sound system with micro-phone. The audience (the users) participat-ed by speaking Dutch words into the micro-phone, which were in a certain momentprojected over the image, thus creatingmultilayered visual transformations in the

niËkog projekta s Sandrom Sterle iz 1998.godine. Site specific projekt objedinio je raz-liËite forme - performans, close circuit jed-nokanalnu video instalaciju i interaktivnuvideo instalaciju s open video data sourceprotokolom. Projekt se odvijao tijekomsedam dana u uËionici πkole stranih jezikau Amsterdamu, gdje smo oboje nauËili nizo-zemski i gdje smo tijekom noÊi na vanjskastakla uËionice uæivo s Hi8 kamere proji-cirali sliku nas dvoje kako spavamo u kreve-tu, koja je bila vidljiva prolaznicima. Inter-aktivna video instalacija sastojala se od dvaraËunala (Power Mac s Imagine programomi Amige 4000), Hi8 video kamere, videoprojektora i zvuËnog sistema s mikrofonom.Publika (users) je sudjelovala govoreÊi umikrofon nizozemske rijeËi koje su u odre-enom trenutku bile emitirane na projekciji,pri Ëemu je dolazilo do viπeslojnih vizualnihpromjena video slike i montaæe scenapohranjenih na tvrdom disku. Korisnik jegovoreÊi u mikrofon uËitavao i video slikusamog sebe u prostoriji meu slojeve drugihslika pokrenutih mikrofonom s tvrdog diska.Aktivnim sudjelovanjem u radu nastajearhiv vizualne sintakse interaktivnog videa.Bît rada su promjene nastale sudjelovanjem

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9. Oxygen4, igrani video-film / feature video film,91 min., 2001-2005web site oxygen4.org

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korisnika u projektu, a zbroj njihovih regis-tracija u stvari je nov rad koji nadmaπujepojedinaËno sudjelovanje. Poetika slike kojupublika sama mijenja i strukturira, otvara ipitanja uËenja novog jezika kao nove audio-likovne forme, ali i nove æivotne forme.

Radovi Interstory.org (2001.) i oxy-gen4.org (2002.) zamiπljeni su kao arhivirezultata nastalih sudjelovanjem publike, anjihova produkcija odvija se na raËunalu iinternetu. Prvi je naËinjen u suradnji saSandrom Sterle, a drugi je dio umjetniËkogprocesa Oxygen4.

Interstory.org objedinjuje slikovni i tek-stualni materijal, ali na drugaËiji naËin i udrugom mediju od Vergeten, zich herinne-ren en weten. Ovaj internetski projekt omo-guÊava istovremeno sudjelovanje πesnaes-tero ljudi koji zajedno ili samostalno iz na-πeg osobnog arhiva fotografija, te uz pomoÊnaπeg teksta ili teksta koji su smislili samisudionici, sastavljaju svoj photo film. Bezobzira na to gdje se oni fiziËki nalaze, u mu-zejskom prostoru za vrijeme izloæbe ili kodkuÊe za svojim raËunalom, naizmjeniËno bi-raju fotografije i ispod njih upisuju podnapi-se. Kad zakljuËe da je njihov zajedniËki radgotov, on se prvo prikaæe na internetu, apotom se automatski pohranjuje u arhivukoja je kasnije dostupna svim posjetiteljimainternetske stranice. Rad je premijerno iz-loæen u Gorcums Museumu u Gorichemu uNizozemskoj. U prostoru su dva raËunalabila spojena na mreæu i na veliku video pro-jekciju, gdje je “pasivna” publika moglapromatrati interakcije sudionika na straniciili njihovo razgledavanje postojeÊeg arhiva.Za razliku od protokola Ëovjek-stroj u Ver-geten, zich herinneren en weten, inter-story.org je protokol Ëovjek-stroj-Ëovjek. In-stalacija posjeduje poetiku teleprisutnostinastalu zbog stvaralaËke komunikacije ne-vidljivih neznanaca s osobom/osobama umuzeju, kao i samim razgledavanjem arhi-va na internetu od strane osobe “prisutne”iz daljine, uz pomoÊ telefonskog prikljuËka.

Oxygen4.org je stranica premijerno iz-loæena 2002. u Galeriji “Josip RaËiÊ” uZagrebu, koja publici pruæa moguÊnost dautjeËe na montaæu igranog filma i video in-stalacije Oxygen4, ali i na sadræaj monolo-ga koje glavni sudionici govore izravno u ka-meru. VeÊina materijala za film i video in-stalacije snimljena je 2001. godine. Nakongrube montaæe filma naËinjen je site oxy-gen4.org sa scenama - fotografijama i dija-lozima iz filma, a na kojima su sudionicistvarali svoje verzije, koje su potom auto-

video image and scene assemblages thatwere recorded on the hard disc. By speak-ing into the microphone, the user uploadedinto the video an image of himself in aroom, among the layers of other images,started from the hard disc through themicrophone. By participating actively in theartwork, one created an archive of visualsyntax of interactive video. The crucial thingwas in the changes that came aboutthrough the participation of the users in theproject and the total sum of their registra-tions was in fact a new artwork, which sur-passed individual participation. The poeticsof an image that is changed and structuredby the audience themselves also opens upthe issue of learning a new language as anew audio-visual form - as well as a newform of life.

Interstory.org (2001) and oxygen4.org(2002) were conceived as the archives ofresults achieved through audience partici-pation, their production taking place in thecomputer and on the Internet. The first wasrealized together with Sandra Sterle, whilethe second was part of an artistic processentitled Oxygen4.

Interstory.org unified image and textmaterial, but in a different way and on a dif-ferent medium than Vergeten, zich herin-neren en weten. This Internet project enab-led 16 people to participate at the sametime, assembling - together or separately,with the help of our photo-archive and textsthat we or our participants had invented -their own photo-film. Regardless of wherethey were located physically, be it at themuseum during the exhibition or at home,with their computer, they had to alternatewhile selecting photographs and writingdown titles under them. When they con-cluded that their common work was ready,it was first presented on the net and thenautomatically saved in the archive, where itwas available to all visitors of the web page.This work was first exhibited at theGorcums Museum in Gorichem, Nether-lands. There were two computers in theexhibition hall, connected to the networkand a large video screen, where “passive”audience could watch the interactions ofthe participants on the web site or followtheir research in the existing archives. Un-like the man-machine protocol in Vergeten,zich herinneren en weten, interstory.orgwas a man-machine-man protocol. The ins-tallation revealed the poetics of tele-presen-ce as a result of creative communication of

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invisible strangers with the person/personsat the museum, as well as the fact that aperson that was “present” from afar could,with the help of a telephone line, do someresearch in the web archives.

The Oxygen4.org site was first shownin 2002, at Josip RaËiÊ Gallery in Zagreb.It offered to the public a possibility to influ-ence the montage of the feature film andvideo installation Oxygen4, as well as themonologues that the main characters spokedirectly into the camera. Most of the mate-rial for the film and video installations wasshot in 2001. After having assembled adraft of the film, we made the oxygen4.orgsite with the scenes - photographs and dia-logues from the film. The participants thencreated their own versions, which werethen automatically saved in the archives,available to all. Four e-mail addresses wereestablished, which belonged to the fourmain characters from the film, so that thesite visitors could write to them and devel-op a correspondence regarding the stan-dard story of Oxygen4. The participants wit-nessed a sort of brain storming and becameco-authors in the scenario. The archiveswith the correspondence of the visitors andthe film characters was used for creating anumber of monologues that were shot in2003 and then incorporated into the film,which is how the first version of the featurefilm on video was born.

A year later, a series of video installa-tions entitled Oxygen4 was done on DVDwith the sync starter, which also includedthe correspondence and some ideas for thescenes assembled at oxygen4.org.

conclusion

The new medium does not suppress theold, but rather defines it additionally, in anew context. With the invention of TV, theradio did not disappear; the possibility toread and watch news on the internet doesnot exclude watching TV or reading thenewspaper. It is the same with media art.

If someone is working with the filmtape today, it means that he or she isattracted to film photography or that he orshe wishes to present moving images inlarge theatre cinemas. Nobody uses film formulti-channel projections and the film tapeis hardly ever used for registrations or doc-umentation of performances. In terms ofproduction, one does the assemblingalmost exclusively by means of hard-discmontage, regardless of the medium. This

matski bivale pohranjene u arhiv dostupansvima. Otvorene su elektronske adrese Ëeti-riju glavnih likova iz filma kojima su posje-titelji stranice mogli pisati i razvijati kore-spondenciju u odnosu na standardnu priËufilma Oxygen4. Sudionici stranice prisu-stvovali su jednoj vrsti brain storminga ipostajali koautori scenarija. Arhiv korespon-dencija s likovima iz filma upotrijebljenjenje za pisanje monologa snimljenih 2003.koji su zatim ugraeni u film, pri Ëemu jenastala prva verzija igranog filma na videu.

Godinu dana kasnije nastaje serijavideo instalacija Oxygen4 na DVD-u sa syncstarterom u koju su takoer ukljuËene kore-spondencije i neke ideje montiranih scenasa stranice oxygen4.org.

zakljuËak

Novi medij ne potiskuje stari, veÊ ga dodat-no definira u novom kontekstu. Dolaskomtelevizora nije nestao radio, a moguÊnost dana internetu proËitamo i pogledamo vijestine iskljuËuje gledanje televizora ili Ëitanjenovina. SliËno je s medijskom umjetnoπÊu.

Ako danas netko radi na filmskoj traci,znaËi da ga privlaËi filmska fotografija ili daæeli pokretne slike prikazati u velikim kinodvoranama. Nitko viπe ne koristi film za vi-πekanalne projekcije s kristalnom sinkroni-zacijom filmskih projektora, a filmska trakagotovo se potpuno prestala koristiti za reg-istraciju ili dokumentaciju performansa. Uprodukcijskom se smislu gotovo iskljuËivomontira pomoÊu montaæe na tvrdom disku,bez obzira na medij. Ta je promjena utjeca-la je i na prezentaciju pokretnih slika. Cje-lokupni snimljeni materijal nekog projekta,pohranjen na tvrdom disku, ima funkcijubaze podataka otvorene samo za umjetnikaili/i za publiku. VeÊina umjetnika koristi di-gitalnu montaæu stvarajuÊi radove koji sena isti naËin prikazuju/izlaæu u raznim okol-nostima. Dok je za jednokanalne radove toposve logiËno, okolnosti se mijenjaju Ëim jeu pitanju prezentacija u prostoru. ImajuÊina umu nestandardiziranost izloæbenihprostora, veÊ u samom umjetniËkom proce-su trebalo bi svjesno koristiti moguÊnostidigitalne montaæe, odnosno, trebalo bi sva-ki put s obzirom na arhitekturu, ponuenutehnologiju, publiku, lokaciju ili zemlju,iznova oblikovati prezentaciju, kao i samrad. Otvorene baze podataka imaju jedna-kovrijednu ulogu u produkciji i prezentaciji,ali i registraciji procesa same prezentacijerada preko arhiva participacije korisnika.Kod ovakvih radova granice produkcije,

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prezentacije i dokumentacije Ëesto se pot-puno briπu.

Novi mediji podrazumijevaju i novematerijale, koji Ëesto mijenjaju uvjeteprezentacije. Sadræaji i estetika koji su bilivezani za naizgled neraskidivi spoj nekogmaterijala s pripadajuÊim medijem, nakonnekog se vremena sele u podruËje nekognovog medija. Kroz promjenu materijaladolazi do promjene forme samih radova,kao i uvjeta njihove prezentacije.

U masovnoj produkciji pokretnih slika,filmsku, analognu ili digitalnu video trakuvjerojatno Êe uskoro potpuno zamijeniti dis-kovi. U kuÊnoj distribuciji pokretnih slikaDVD je posve zamijenio VHS i sve drugetrake, ali u kino distribuciji se joπ uvijek po-najviπe koriste 35mm filmske trake, koje selagano zamjenjuju HD TV-om ili digitalnimBetacamom, uglavnom u nezavisnom igra-nom, nekonvencionalnom, dokumentarnomi art filmu (dobar primjer za to je CinemaNet Europe). U skorijoj buduÊnosti Êe virtu-alni serveri izbaciti i traku i disk iz distribu-cije pokretnih slika.Implikacije ovih tehnoloπkih promjena nalikovnu i filmsku umjetnost sliËne su onimau audio-vizualnoj industriji. DVD i videoprojektor danas su standardna oprema sva-ke prezentacije. Neke institucije imaju ser-vere s kojih se umjetniËki materijal emitirapo æelji. Prezentacijske inovacije medijskihradova koji ukljuËuju teleprisutnost ili inter-aktivne protokole gotovo su istodobnetehnoloπkim promjenama u multimedijalnoji game industriji, meutim, s potpuno raz-liËitim predznakom. Odreeni broj umjetni-ka postavlja se u samom izboru trash slikei low tech opreme formalno-estetski i an-gaæirano u odnosu na industriju i medijskimainstream. Drugi umjetnici koriste visokestandarde pokretne slike i hi tech tehnologi-ju u umjetniËkom kontekstu kao sastavnidio industrije. Sve je uËestalija pojavamedijsko-umjetniËkog akademizma u kon-ceptualnom, formalnom i tehnoloπkomsmislu: okoπtale forme bezbroj puta ponav-ljanih performansa i akcija registriranih navideu, formalni fetiπizam eksperimentalnogfilma i videa ili stereotipna upotreba tehno-logije koja postaje sama sebi svrhom.Nasuprot tomu, u okviru postojeÊih stan-darda umjetnici stvaraju sadræajno zanimlji-ve te estetski i prezentacijski inovativne idobre radove. Brzina kojom se tehnoloπkeinovacije adoptiraju u umjetnost, meutim,kao da se sve viπe poveÊava. Vrijeme ukojemu se prouËava izolirana priroda nekog

development has an impact on the presen-tation of moving images as well. The entirerecorded material of a project, saved on thehard disc, functions as a data base, whichis available only to the artist or/and theaudience. Most artists use digital montage,creating artworks that are presented/exhib-ited in the same way in all circumstances.Whereas this is logical when it comes toone-channel pieces, the situation changeswith the presentation in space. Keeping inmind the lack of standardization in exhibi-tion spaces, one should consciously use thepossibilities of digital montage in the veryprocess of creation, restructuring the pre-sentation and the artwork every single timeaccording to the architecture, availabletechnology, audience, location, or country.Open databases have an equal role in pro-duction and presentation, and so does theregistration of the process of presentation ofthe work as such, through the archive ofusers’ participation. With such pieces, theborderlines of production, presentation, anddocumentation are frequently completelyblurred.

New media presuppose new materials,which often change the presentation cir-cumstances. The content and the aesthet-ics linked to the apparently permanent

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10. Word and breath, dvokanalna video instalacija/ two-channel video installation, Is Europe Just aWord?, Palazzo Pubblicco, Siena, Italija, 1997

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union of some material and its correspond-ing medium, move after a while to the fieldof some new medium. The change in mate-rial causes the change in the very form ofartwork, as well as the circumstances of itspresentation.

In the mass production of movingimages, digital data carriers will probablysoon completely replace film and videotape, both analogue and digital. In homedistribution of moving images, DVD hascompletely replaced VHS and all othertapes, but cinema distribution still mostlyuses the 35mm film tapes, which are grad-ually substituted through HD TV or digitalBeta cam, mostly when it comes to inde-pendent feature film, unconventional, docu-mentary, or art film (a good example isCinema Net Europe). Soon virtual serverswill oust both the tape and DVD from thedistribution of moving images.

Implications of these technologicaltransformation for visual and film arts aresimilar to those in audio-visual industry.Today, DVD and video projector belong tothe standard equipment of any presenta-tion. Some institutions have servers, fromwhich art material is emitted at will. Inno-vations in the presentation of media art-works that include tele-presence or interac-tive protocols are almost simultaneous tothe technological changes in multimediaand PC-game industry, but with an entirelydifferent significance. A number of artistsuses trash image and low tech equipmentin order to take a formal/aesthetic and en-gaged stand towards industry and mediamainstream. Other artists use high-stan-dard moving images and hi-tech technologyin art context and consciously take part inindustry. We encounter more and moreacademism in media and arts, be it in theconceptual, formal, or technological sense:petrified forms of endlessly repeated perfor-mances and actions registered on the video,the formal fetishism of experimental filmand video, or the stereotypical use of termi-nology that has become its own purpose.On the other side, in the framework of givenstandards, artists have created thematicallyinteresting artworks, which are innovativeand good in terms of aesthetics and pre-sentation. However, the speed with whichtechnological innovations get adopted intoart seems to be increasing. The time spanin which the isolated nature of a new mediais explored is ever shorter, so that, after afew technological shifts, artists mostly end

11.Vergeten, zich herinneren en weten, AmsterdamCollege, zajedno s / with Sandra Sterle, 1998(unutra / interior)12.Vergeten, zich herinneren en weten, AmsterdamCollege, zajedno s / with Sandra Sterle, 1998 (vani/ exterior)

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novog medija sve je kraÊe pa umjetnicinakon nekoliko tehnoloπkih mijena naj-ËeπÊe rade spajajuÊi razliËite medije. Nakonviπegodiπnjeg rada Ëesto se stvara velikosobni arhiv umjetnika, Ëime se otvara pita-nje medijske transformacije sadræaja istrukture individualnih baza podataka kojese medijskom rekontekstualizacijom moguaplicirati u raznim prezentacijskim okolnos-tima. Kako je takav arhiv izvor nebrojenihmoguÊnosti, ponekad se novi materijali ilisadræaji uopÊe ne propuπtaju u ovaj osobnikreativni bazen, kao da je faza osnovne pro-dukcije zavrπila, πto je, prema mom miπ-ljenju, dakako, pogreπno. Kako svaka ino-vacija mijenja postojanje cijele strukture tenerijetko moæe baciti posve novo svjetlo napostojeÊi rad ili opus i potpuno ga promije-niti, informiranost i aktivno usvajanje ino-vacija u postojeÊi opus je neophodno. Nekiumjetnici, meutim, rade iskljuËivo s trans-formacijama sliËnih ili istih sadræaja izjednog medija u drugi, πto nerijetko dovodido bijelog πuma (white noise) ili do tauto-loπkog ponavljanja usmjerenog u besko-naËni niz. Nasuprot spomenutom procesuredukcije, moguÊe je pratiti i proces u koje-mu se medij i sadræaj pokuπavaju razbijati irazvijati iznova za svaki novi rad. Naravnoda to nije moguÊe, baπ kao πto nije moguÊani potpuna redukcija - polovi sadræaja iforme, odnosno medija i poruke, tek su ide-alne toËke polja u kojem umjetniËki procesioduvijek æive stalno se udaljavajuÊi i prib-liæavajuÊi, πto postaje vidljivim upravo unovim moguÊnostima prezentacije pokret-nih slika u digitalnoj eri. t

up fusing various media. After years of workone has mostly created a huge personalarchive of art, which opens up the issue ofthe transformation of both themes andstructures of individual data bases, whichcan be applied in various circumstances ofpresentation if re-contextualized in terms ofmedia. Since such an archive is a source ofcountless possibilities, it sometimes hap-pens that new materials or themes arehardly allowed into this personal creativepool, as if the phase of basic productionhad already ended, which I, of course, con-sider wrong. Since all innovation changesthe existence of the whole structure andcan often shed an entirely new light on anexisting artwork or opus, changing it com-pletely, it is crucial to stay informed andactively adopt innovations into one’s pre-sent opus. Some artists, however, workexclusively by transferring similar or identi-cal themes from one medium into another,which often leads to white noise or tauto-logical repetition.

Contrary to the mentioned process ofreduction, it is also possible to trace anoth-er, in which the artist seems to deconstructboth the medium and the content and todevelop it anew for each piece. Of course,that is impossible, just as impossible ascomplete reduction - the poles of contentand form, that is, medium and message,are only the ideal points in the field inwhich artistic processes persist by gettingcloser and more distant, again and again,which becomes visible precisely throughthe new possibilities in the presentation ofmoving images in the digital era. l

prijevod / translation: Marina Miladinov

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≥ Dan Oki (Slobodan JokiÊ) - likovni umjet-nik i filmski redatelj. ZapoËeo s radom kra-jem osamdesetih u Zagrebu. Studirao nafilmskim i likovnim akademijama u Nizo-zemskoj. Diplomirao na Hogeschool voor deKunsten u Arnhemu 1996. u zvanju magis-tra autonomnih likovnih umjetnosti. Izlagaona brojnim izloæbama i festivalima u Europi,Sjevernoj i Juænoj Americi, Kini i Japanu tepredavao kao gostujuÊi predavaË na nekoli-cini europskih akademija. Od 1998. zapo-slen kao izvanredni profesor na UmjetniËkojakademiji u Splitu gdje vodi odsjek za videoi film.

Dan Oki (Slobodan JokiÊ) - visual artist andfilm director, active since end of the ’80-ies. Studied on academies for film and visu-al arts in Netherlands. Took a master’sdegree on Hogeschool voor de Kunsten inArnhem (1996). Exhibited on numerous ex-hibitions and film festivals in Europe, USA,Latin America, China and Japan. Lectruedas a visiting professor on few european aca-demies. Since 1998 has been working asprofessor at the Accademy of fine Arts, de-partment for video and film in Split.

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