18:00 experimental videos 90′,
20:00 Four Roses Kris De Meester 80′
 

Showing:
Andrea Kustić: You are of no importance 5′’50” / Piotr Krzymowski: Color Invention 5’’40” / ’’’’Richard Webb: Death by Cathode Ray 2’’17’’” / Tom Walker: Kung-fu 8’’” / Unicorn semiotics:The Diffrence Between Red And Brown 1′’49’’” / Evgeniy Vaschenko: Statement1___03 2′’34’’” / Sinišša Lordan:Grüner Tisch 3′’30’’” / Matt Grote: VAST 3’’27’’” / Hamed Sahihi: Sun-down 3’’30’’” / Jorge Lopez Navarrete: the same conversation 2’56’’” / Athanasia Leivaditou: 1,6 S.M. OF LIFE 7’’12’’” / Kiron Hussain: Slick Horsing 2’’22’’” / Liput Przemyslaw: VHS 3’37’’” / Steve Wiseman: Channels 1’’37’’” / Max Hattler: rescore 192010 – excerpt: Richter & Ruttmann 3′’11’’” / David O’’Reilly: Please Say Something 10’’1’’” / color nurse: ABSORBED 10’’ / Emre Onol: mumu 20’’” / Jonathan Gille: In Orbit 2’’57’’” / Vadim Smakhtin: Every time I know 1′’30’’” / Daniel Sousa: Minotaur 8’’ / Kris De Meester: Four Roses 80′

In its third, renewed edition, Festival of Experimental Film and Video – [X]FEFV, presents recent exeperimental film and video art production enriched by other genre and style hybrids. In relation to the previous selection which took place on an open air site [Trg Kamplin, Krk], thus creating a specific ambient in the heart of the old city center, this year’s Festival took on an indoor cinema character, taking place in Art Kino Croatia, Rijeka. Festival’s program can also be watched on I-KRK, specialized city cable tv channel [unfortunately, available only to the citizens of Krk].

Beside the change in venue, this year’s edition features another significant change. The program is a triptych, the first part of which is made of the most creative works from 2012, the second part a selection from 2011, while the longest, third part, is a chice of about hundred works that entered the competition, which gives a substantial insight into interesting relevant trends of contemporary experimental film and video production.

Along side with a few domestic experimental filmmaker [Andrea Kustić, Unicorn Semiotics], this year’s festival gathered authors from Poland, Great Britain, Ukraine, Germany, USA, Iran, Spain, Greece, Romania, Turkey, Russia, Portugal and Belgium.

Within a repertoire of video-audio explorations, works have to be mentioned which were, given their quality, inventivness in their approach to all levels of video texture and unique visual sensibility, selected as visually and conceptually most complete.

These are: Color Invention, a work by young Polish author Piotr Krzymowski, who in subtle, highly aestheticized manner
introduces us to the metaphysics of color; and Sun-down, a work by Iranian author Hamed Sahihi, whose short meditative representation of an idyll on the shores of Caspian Lake ends with an unexpected fantasy.

Along side with the short-length and mid-length works, festival program features one feature-length film. Four Roses by a Belgian filmmaker Kris De Meester, recalling early Jarmusch, represents an outstanding example of independent cinematography. Through its black-and-white patina, this De Meesters drama introduces us to twelve characters trapped within their hotel rooms, literally killing time, thus forming an ideal framework for exploration of isolation, interaction and being itself.

Kris De Meester: Four Roses

Kris De Meester: Four Roses

Kris De Meester: Four Roses

Kris De Meester: Four Roses

Kris De Meester: Four Roses

Kris De Meester: Four Roses

This year’s Festival of Experimental Film and Video was organized and the works were selected by Art & Culture Laboratory [KUL], non-profit organization created with the goal of promotion and development of independent cultural and artistic expression and public activity.

inorbit

every time i know

rescore

statement1 03

minotaur

Absorbed

pleasesaysomething

slickhorsing

sun down

mumu

kung fu

fourroses

deathbycathoderay

Color Invention

VAST

thesameconversation

channels

vhs

youareofnoimportance

thedifferencebetweenredandbrown

1 6m

Grüner Tisch

Andrea Kustić [CRO] with his video You are of no importance illustrates the destruction of almost sacred principles of mass production [obviously stemming from demand] dictated solely by the logic of capital. Piotr Krzymowski [PL] with his work Color Invention in a unique way, by morphing monologue and subtle abstract patterns, explores the metaphysics of color.

Richard Webb’s[GB] slow-motion footage Death by Cathode Ray, follows a distinct coloristic phosphorous flash caught on a sceen of a turned-off tv set. Simple and funny, a video sketch by Tom Walker [GB], Kung-fu surprises with headbanging. Unicorn semiotics [CRO] with an experiment The Diffrence Between Red And Brown, taking into account the sensibility of the theory of visual art, explores subtle codes hidden within different colors.

Statement1___03 by Evgeniy Vaschenko [V4W.ENKO] [UKR] is a part of reasearch into the correlation between outside [uncontrolled] factors and pre-programmed algorithms, which changes under the influence of various processes. The inner force of the video is thus made by simple [video-audio] elements, interaction of which produces numerous harmonic variations.

Grüner Tischby Siniša Lordan[DE], like a video-game running out of its players’ control, introduces protagonists devoted to the unique action of the pocket knife throwing competition. Matt Grote [USA], with his at times flourescently red video VAST engages into a stroll through the little known spheres of mental universe, discovering catharsis in the egzistence behind the egzistence.

Hamed Sahihi [IRN] locates his fantasy on the shores of Caspian Lake, one of the favourite vacation destinations of the citizens of Teheran. Sun-down thus allows for the fog-colored idyll to emerge despite the radical variety of its characters.

Jorge Lopez Navarrete [ESP] through his project the same conversation, a cycle of short video works, explores the potential of the culmination [the tension] of always-the-same conversation, taking place between various characters in a line of short sequences, and its already known ending.

Athanasia Leivaditou [GR] in her video 1,6 S.M. OF LIFE explores the relationship and coexistence of two, not necessarily divergent, human identities defined by space: privacy vs. immersion in work. Athanasia Leivaditou, inspired by the thought of life space increasingly being bound by the walls of an office, transforms a large office desk into a bed, for a few hours of sleep won in a battle with deadlines are the luxury of our time.

Kiron Hussain [GB] in a refined experimental animation Slick Horsing surfs through the hidden fears of the dark side of his childhood. Liput Przemyslaw [PL] in an animated collage VHS, explores the boundaries of his own illustrations and the possibilities of [the texture of] different video media. Channels by Steve Wiseman [GB] reminds us that we live the matrix “ten forty five pm; this is the world now; move a fin and the world turns; sit in a chair and pictures change.”

Max Hattler’s [DE] experiment rescore 192010 – excerpt: Richter & Ruttmann represents a readymade [recycled piece] based on the works of Hans Richter [Rhythm 21, 1921.], Walter Ruttmann [Opus IV, 1925.], Slavko Vorkapich [Abstract Experiment in Kodachrome, 1940. ¨C 1950.] and Ralph Steiner [Mechanical Principles, 1930.].

Highly minimalist 3D computer animation Please Say Something by David O’Reilly [USA], brings us an update [or a destruction] of the subgenre of an animated movie in which the main characters are a cat and a mouse, while the narrative taking place in the future develops around their still rather problematic relationship.

ABSORBED by the artist known as color nurse [RO] is a dark phantasmagoria centering around a boy who, by dreaming, frees the spirit of a fawn that died in front of his eyes. The animal spirit first exists in his mind, subsequently materializing and identifying with the boy, only to become a part of the universal unity in line with the laws of micro and macro-cosmos.

Using the aesthetics of advertising in computer [baby-vision] animation mumu, Emre Onol [TR] tries to create a tender parental atmosphere. Jonathan Gille [GB] animation In Orbit investigates the physics and the mysticism of the universe, noting the transit of a planet over an unknown star. Vadim Smakhtin [RU] demonstrates the power of cosmic energy by tracing the movement of particles which create concentric circles in his work Every time I know.

Minotaur by Daniel Sousa [PT] is a new interpretation of the ancient Minoan myth. In the center of the story now is Minotaur, who spends his childhoos abandoned on an island, with only a red ball and a reflection in a mirror, with which he can form a perfect synchronicity when dancing, keeping him company. However, the island has unexpected guests which do not act like Minotaur’s dancing twins, thus generating frustration within our protagonist, and waking his true nature.

Four Roses by Krisa De Meester [BEL] is a provocative drama, the essence of which is probably best illustrated by a quote from American philosopher Henry D. Thoreau: “As if you could kill time without injuring eternity.”

Igor Gržetić (translated by: Marko Luka Zubčić)

[X]FEFV @ art-kino.org (Croatian)

Catalogue [X]FEFV.pdf (hr/eng) 2,8 MB

Showing: Daque (au), Einat Shteckler (iz), Enzo Comin (it), Erin Fortier (can), Hagen Klennert (de), Jelena Jovančov (mne), Johannes Gérard (de), Klaus Pinter (au), Maja Radešić (hr), Mirta Grandić (hr), Patricia Aramburu (se), Rinat Schnadower (iz), Roberto Voorbij (ne), Sal’it Krac (iz), Tamara Tokić (hr), Ting-Ting Cheng (tw / gb), Vedrana Valenčić (hr).
 

FREEDOM? PRIVACY?

Einat Shteckler: Freedom 2

(2011 ), fotografija

Hagen Klennert: Untitled

(2008 ), fotografija

Maja Radešić: Keyhole Diptih

(2006 ), slikarska instalacija

Jelena Jovančov: Gaženje refleksa

(2009 ), grafika, duboki tisak

Jelena Jovančov: Gaženje refleksa

(2009 ), grafika, duboki tisak

Erin Fortier: Trace écrite

(2012 ), crtež

Sal'it Krac: Shanghai 01

(2012 ), fotografija

Sal'it Krac: Untitled 01

(2012 ), fotografija

Rinat Schnadower: Please Don't

(2011 ), fotografija

Rinat Schnadower: The Mark

(2011 ), fotografija

Daque: Total Surveillance

(2012 ), digital print

Daque: Privacy

(2012 ), digital print

Mirta Grandić: Mozak

(2011 ), kiparska instalacija

Roberto Voorbij: Private Space

(2011 ), instalacija

Roberto Voorbij: Private Space

Ting Ting Cheng: GODISAWOMAN

(2012 ), art book

Klaus Pinter: Untitled

(2011 ), digital print

Tamara Tokić: Alea iacta est

(2012 ), digital print (plakat)

Ting Ting Cheng: Dubbing Project

(2012 ), video

Patricia Aramburu: COSY or OVERCROWDED

(2012 ), instalacija, performans

Enzo Comin: Sulla sicurezza

(2009 - 2012 ), digital print

Enzo Comin: Sulla sicurezza

(2009 2012 ), digital print

Johannes Gérard: Your are suspicious

(2010 ), fotoinstalacija

Johannes Gérard: Your privacy…

(2012 ), fotoinstalacija

Vedrana Valenčić: PUBLIC HANDSHAKE

(2012.) instalacija

Roberto Voorbij on FREEDOM? PRIVACY? exhibition: The Bleeding Tomato
 

FREEDOM? PRIVACY? exhibition opening

Einat Shteckler, Hagen Klennert

postav pi 2012

Maja Radešić

Jochannes Gerard

Mirta Grandić

Daque Kurt, Enzo Comin

Rinat Schnadower, Jelana Jovančov

Jelena Jovančov

Sal'it Krac

Erin Frotier

Vedrana Valenčić

Ting Ting Cheng

Ting Ting Cheng

Ting Ting Cheng

Klaus Pinter

postav pi 2012

Klaus Pinter, Tamara Tokić

Tamara Tokić

Roberto Voorbij

Roberto Voorbij, Daque Kurt

postav pi 2012

Johannes Gerard

otvorenje izložbe PI 2012

otvorenje izložbe PI 2012

otvorenje izložbe PI 2012

otvorenje izložbe PI 2012

otvorenje izložbe PI 2012

otvorenje izložbe PI 2012

otvorenje izložbe PI 2012

otvorenje izložbe PI 2012

otvorenje izložbe PI 2012

In its second, altered edition, the Festival of Experimental Film and Video [FEFV] presents the international experimental video-art production enriched with other stylistic hybrids, featuring a strong emphasis on their ambiental character [A].

Due to this ambiental character [A] of the featured works, the festival evening, which took place in the Gallery Decumanus last year, will this year be set on the Kamplin Square, in the center of the old town Krk. Meantime, an extended edition of (A)FEFV will be broadcast on the local cabel tv on the same day.

Out of about a hundred films and videos submitted, we selected 51 work to be exhibited. We find that the selected works give valuable insight into the unusual trends of the contemporary video-art production.

Besides a few Croatian authors, festival features artists from the US, UK, France, Spain, Ukraine, Australia, Iran, Chehia, Serbia, Italy, Poland, Bosnia & Herzegovina, Belgium, Slovenia, Canada and Argentina.

The honor to open this year’s festival was given to Hamed Sahihi’s work Sun-down, an idyllic meditation on the shores of Caspian sea which ends with a surprising fantasy.

The works by authors Adam Badlotto, Andre Wojtas & Ewelina Aleksandrowicz, Jorge Lopez Navarrete, Kiron Hussain, Tom Beddard & Viktor Vejvoda also deserve a special mention.

Adam Badlotto uses a simple scanner for creating a stop-motion video Only In Dreams, delivering a strange, visually impressive line of sequences, along with an equally impressive audio background. Andrzej Wojtas & Ewelina Aleksandrowicz initiate us into a surreal world with their videos Beaches Brew, Deep Horizon, Forbidden Places & Rabid Ritual. Jorge Lopez Navarrete explores the potential of the same conversation and its always predictable outcome between different couples with his video project The Same Conversation. Kiron Hussain in his poetical experimental animation Slick Horsing explores the dark side of his childhood memories. Tom Beddard uses a scientific logic for creating 3D abstractions which reveal the startling result of his programming creations and Viktor Vejvoda calls for a synthesis of the scientific and the esoteric in his video document Meta Code.

Igor Gržetić (translated by: Marko Luka Zubčić)

Sun-down

3’30″, 2008.
Hamed Sahihi

Stone

2’24″, 2009.
Hamed Sahihi

Forbidden Places

11’31″, 2010.
Andrzej Wojtas & Ewelina Aleksandrowicz

Composition 3

2’06″, 2011.
Federika Odriozola

An Introduction to Snails

1’18″, 2010.
James Clark

Surface Detail

3’10″, 2011.
subblue (Tom Beddard)

microkinetic

1’51″, 2011.
Evgeniy Vaschenko

SND

2’38″, 2010.
Evgeniy Vaschenko

The Wall

video-loop, 2008.
Jakub Geltner

Margaret Dit

0’52″, 2010.
STATO.

Ink man

2’51″, 2010.
Miha Šubić

VHS

3’37″, 2010.
Liput Przemyslaw

Inner Klänge

9’47″, 2010.
lemeh42

Kinder Surprise

4’24″, 2010.
Kaja Raca Rošin

Crank 2

4’49″, 2010.
Luka Vucić

the same conversation

2009-2011.
Jorge Lopez Navarrete

1,6 S.M. OF LIFE

7’12″, 2010.
Athanasia Leivaditou

Deep Horizon

5′, 2010.
Andrzej Wojtas & Ewelina Aleksandrowicz

Beaches Brew

3’46″, 2011.
Andrzej Wojtas & Ewelina Aleksandrowicz

The wind blows cold

4’31″, 2011.
Mateusz Bykowski

Transformance

9’45″, 2010.
Nina Kurtela

Meta Code

video-loop, 2011.
Viktor Vejvoda

CHANNELS

1’37″, 2011.
Steve Wiseman

Test Pattern

2’34″, 2011.
Guys Doing Stuff

Zoo - Terry

4’58″, 2011.
Damjan Šporčić

Only in Dreams

2’58″, 2010.
Adam Badlotto

Voice

1’41″, 2010.
Ksenija Jurišić

Relativnost percepcije vremena

0’56″, 2011.
Marijana Stanić

Slick Horsing

2’22″, 2010.
Kiron Hussain

Sabonis

13′, 2011.
Igor Jelinović &Tomislav Luetić

Izlažu: Darko Drljević, Radomir Đukanović, Vedrana Stipić, Željko Bosanac, Sarah Beck, Zdenko Radovanić, Petar Đakulović, Tonči Žužić, Saša Lončarić, Matic Kos, Zlata Bilić-Dvoržak i Danijel Maoduš, Tina Erjavec, Nenad Jalšovec, Mishka Henner, Nseabasi Akpan, Mario Depicolzuane, Konstantinos Antonios Guotos i Igor Gržetić. Predavanje: Damjan Kovač.

Postav ovogodišnje izložbe u odnosu na prošlogodišnji otkriva radove inozemnih autora iako ne zanemaruje ni domaće snage koje su jednako progresivno odgovorile na uvijek aktualnu intrigu političkog apsurda! Kako nam Wikipedija otkriva apsurd je nejasan, nelogičan ili pak neobičan događaj/fenomen posve suprotan uvriježenoj logici, dok ga Albert Camus označava kao posvemašnju besmislenost života, koja se ne može dekonstruirati putem revolta. No, zašto politički? Međunarodni praznik rada koji svoje korijene ima u odluci američkih sindikata da, inspirirani pobjedom svojih kanadskih kolega, krajem 19. stoljeća zahtijevaju donošenje zakona koji im jamči pripadajuća prava, tako postaje gotovo idealnom prilikom za ispipavanje društvenih intriga, ali i borbu ne samo s evociranim demonima. Politički apsurd savršeno prezentira suvremenost – on je materija koja popunjava društvene pore, a da bi ga se osjetilo potrebno je otvoriti oči, i to nevažno u kojem smjeru! Politički apsurd tako čvrstom rukom gospodari osobnim identitetima kao i uokolo namotanom spiralom. Jer čovjek više ne poznaje sebe, a kolektiv se posve pogubio!

Igor Gržetić

postav izložbe Politički apsurd

postav izložbe Politički apsurd

otvaranje izložbe Politički apsurd

Ovogodišnju izložbu otvorio je Igor Gržetić, glasnogovornik [KUL•]-a.

Petar Đakulović (HR):

Slikom Pinocchio loves president and his little pal daje satiričan osvrt na začarani krug laži koji karakterizira svijet političke retorike.

Tina Erjavec (HR):

Instalacijom Politika kiča istražuje zrcalnu identifikaciju političkih besmislica u odnosu na umjetnički kič. Poput općeg i politički je kič obilježen ispraznošću i prozaičnošću - no iako isprazan on nije nevin.

Darko Drljević (MNE):

Svojim (s)likovnim komentarima - karikaturama Vjetrenače i OATH otkriva svima dobro poznate
odjeke politikanstava različitih društvenih sfera.

Zlata Bilić Dvoržak i Danijel Maoduš (HR):

Interaktivnom instalacijom Stvarnost - Iluzija demokracije - Iluzija!!! potvrđuju činjenicu da se pokušaj djelovanja civilnog društva svodi na puku iluziju.

Zlata Bilić Dvoržak i Danijel Maoduš (HR):

Interaktivnom instalacijom Stvarnost - Iluzija demokracije - Iluzija!!! potvrđuju činjenicu da se pokušaj djelovanja civilnog društva svodi na puku iluziju.

Mario Depicolzuane (HR):

Vizualnim identitetom ovogodišnjeg Prvomajskog inkubatora, inspiriranim aktivizmom, ukazuje na u nas rijetko korištenu konceptualnu dimenziju grafičkog dizajna.

Mishka Henner (GB):

Portretima Bradleya Manninga i Juliana Assangea ukazuje na skandal Wikileaksa kritizirajući pritom koncept političke kampanje Baracka Obame tijekom američkih izbora 2008.

Tonči Žužić (HR):

Novom hrvatskom zastavom ukazuje na apsurdan položaj autokratskih korporacija koje diktiraju nelogičnu dinamiku nacionalnog gospodarstva.

Saša Lončarić (HR):

Sintezom karikature i stripa komentira sapunicu
nastalu oko besmislenog graničnog spora između Hrvatske i Slovenije.

Nenad Jalšovec (HR):

Parafrazirajući dobro poznate reklame sladoleda kroz Point of sale poster otvara raspravu o odnosu tržišta i ideologije, ukazujući na double entende između tržišta ideologija i ideologije tržišta.

Nenad Jalšovec (HR):

Parafrazirajući dobro poznate reklame sladoleda kroz Point of sale poster otvara raspravu o odnosu tržišta i ideologije, ukazujući na double entende između tržišta ideologija i ideologije tržišta.

Matic Kos (SLO):

Slikama Vivisekcija i Pinakoteka zatrpanim ikonama današnjice evocira emocionalnu napetost između ljudi i svijeta kojeg su sami kreirali.

Matic Kos (SLO):

Slikama Vivisekcija i Pinakoteka zatrpanim ikonama današnjice evocira emocionalnu napetost između ljudi i svijeta kojeg su sami kreirali.

Vedrana Stipić (HR):

Pričom o tome kako smo mi… i o tome kako nas oni… kroz prizmu ironije i cinizma zadirkuje glasače zbog svega što su moćnicima dopustili da kreiraju.

Vedrana Stipić (HR):

Pričom o tome kako smo mi… i o tome kako nas oni… kroz prizmu ironije i cinizma zadirkuje glasače zbog svega što su moćnicima dopustili da kreiraju.

Radomir Đukanović (SRB):

Ciklusom Heroine i kolažiranim grafičkim triptihom warholovski materijalizirane duhove prošlosti i pripadajuće im simbole, transformira u kult.

Radomir Đukanović (SRB):

Ciklusom Heroine i kolažiranim grafičkim triptihom warholovski materijalizirane duhove prošlosti i pripadajuće im simbole, transformira u kult.

Radomir Đukanović (SRB):

Ciklusom Heroine i kolažiranim grafičkim triptihom warholovski materijalizirane duhove prošlosti i pripadajuće im simbole, transformira u kult.

Igor Gržetić (HR):

Računalnom grafikom dictators (as) pornstars ukazuje na moment perverzije koji upravlja sviješću pornofila, a isti se prepoznaje i u vladajućim navikama suvremenih političara.

Željko Bosanac (HR):

Instalacijom Kubanci referira se na osvetnički odnos Amerike spram Kubi, te apsurd da i nakon teško realiziranog otvaranja podliježemo uniformiranju.

Zdenko Radovanić (HR):

Instalacijom Šuplje, Gluho, Prazno, Možda poručuje kako je orjentacija na antagonizam lijeve i desne strane građane, ali i samu sebe, dovela do potencijalne letargije.

Katja Horvath (HR):

Instalacijom Nijhovo ime to je njihov prljavi veš poziva na promišljanje i prihvaćanje gledišta
koja se bitno razlikuju od općeprihvaćenih.

Sarah Beck (CAN):

Kinetičkom skulpturom Dirty Loonie ukazuje na sve apsurdnije ekološke probleme uzrokovane bezglavom trkom za kapitalom.

the artwertease® Konstantinos Antonios Guotos (GR):

Video-radovima ameri.ka I i talib.bites I, pruža presjek ideologija SAD-a putem slogana s tamošnjih predsjedničkih izbora, odnosno fragmente govora Baracka Obame tijekom kojeg je otkrivena “nova “ strategija rata u Afganistanu.

Nseabasi Akpan (NG):

Dokumetarističkim foto projektom Democarzy daje izravan uvid u nasilje uzrokovano izbornim previranjima u svojoj zemlji.

Vedrana Stipić (HR):

Zastavom Nestaje nam Lijepa naša!! podsjeća kako nam od toliko željene države nije mnogo ostalo - iako još nije došao kraj!

Vedrana Stipić (HR):

Zastavom Nestaje nam Lijepa naša!! podsjeća kako nam od toliko željene države nije mnogo ostalo - iako još nije došao kraj!