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https://itdoesnotmatteriwilleatitcold.tumblr.com/about

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After two 'dancing' exhibitions, Art 836/G Gallery continues in similar mode, following the post-glitch ambient after the glitch festival, by presenting Triptych TV work by net artists jimpunk, Abe Lincoln, and mr.tamale. Artists formally experiment with digital video, audio remixes, critical text collage, computer imaging, social media, glitch, poetry, copyleft, and online performance. http://triptych.tv/ http://ricksilva.net/ http://jimpunk.com/ http://www.mrtamale.com/

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23. ruj u 18:00 – 25. ruj u 20:00

ART 836 / GZagreb, 10000 Zagreb, Grad Zagreb, Croatia

Following the last exhibition of Shu Lea Cheang, where dance component had very strong significance as a rebelion act, in this work by artist Sara Pathirane, dance is something barely visible, it is acting in choreography of slow, unhurried and airily motions.

Poppies is part of Sara Pathirane's perennial series The Ground Beneath Her Feet. The whole reflects the geological and climatic worldview. Instead of being intertwined, a woman is the main expert in the work, a transforming and dominant organism. Poppies was born out of a shared time on a poppy field in dialogue with Sara Pathirane and choreographers Laura Pietiläinen (Michaela - The Queen of F... Everything) and Suvi Tuominen.

Lenght: 30 mins

Credits:

Camera: Sara Pathirane

Editing: Sara Pathirane

Dance

Laura Pietiläinen (Michaela - The Queen of F... Everything)

Suvi Tuominen

The work was supported by Center for the Promotion of Art at Palazzo Lucarini Contemporary

 Sara Pathirane’s work deals with the tradition of landscape painting and the problematics of taking a picture. As shooting locations for her videos she uses nature areas known from movies and paintings, shifting between the everyday and the fiction. She works with video, painting and live-installations. Pathirane lives and works in Helsinki. She has studied in the Finnish Academy of Fine Arts and Accademia Albertina in Torino. Her works have been shown for example at Taiga-Space, Saint-Petersburg (2016), Colombo Art Biennale (2016) and Kiasma (2010, 2013).

https://www.av-arkki.fi/artists/sara-pathirane/

http://www.sarapathirane.com/About-1

http://prozaonline.com/2019/04/23/sara-pathirane-volela-bih-da-moj-film-bude-arhivski-materijal-iz-ere-pametnih-telefona-i-masovnog-fotografisanja/

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Slijedeći  posljednju izložbu Shu  Lea Cheang, gdje je plesna komponenta imala vrlo snažan značaj kao čin pobune, u ovom djelu umjetnice Sara Pathirane ples je nešto što se jedva vidi, djelujući u koreografiji usporenih, nepožurivajućih  i prozračnih pokreta.

'Poppies' su dio višegodišnje serije 'The Ground Under Her Feet' umjetnice Sare Pathirane. Cjelina odražava geološki i klimatski svjetonazor. Umjesto da se ispreplete, žena je glavni protagonist  u filmu, transformirajući i dominantan organizam. Makovi su rođeni iz zajedničkog vremena provedenog na makovom polju u dijalogu sa koreografkinjama Laura Pietiläinen (Michaela - Kraljica ... svega) i Suvi Tuominen.

Trajanje: 30 min

Kredit:

Kamera: Sara Pathirane

Montaža: Sara Pathirane

Ples

Laura Pietiläinen (Michaela - Kraljica f... svega)

Suvi Tuominen

Rad su podržali   Centar za promociju suvremene umjetnosti u Palazzo Lucarini

Posao Sara Pathirane bavi se tradicijom pejzažnog slikarstva i problematikom fotografiranja. Kao mjesta snimanja za svoje video zapise ona koristi područja prirode poznata iz filmova i slika, prelazeći između svakodnevnice i fikcije. Bavi se video, slikarskim i live instalacijama. Pathirane živi i radi u Helsinkiju. Studirala je na finskoj Akademiji likovnih umjetnosti i Accademia Albertina u Torinu. Njezini su radovi prikazani na primjer u Taiga-Spaceu, Sankt Peterburgu (2016), Colombo Art Biennale (2016) i Kiasma (2010, 2013).

 https://www.av-arkki.fi/artists/sara-pathirane/

http://www.sarapathirane.com/About-1

http://prozaonline.com/2019/04/23/sara-pathirane-volela-bih-da-moj-film-bude-arhivski-materijal-iz-ere-pametnih-telefona-i-masovnog-fotografisanja/

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5th September at 7pm at Art 836 G Gallery, Pierottijeva 11, Zagreb

Art 836 G Gallery presents you short digital animation Baby Work by Shu Lea Cheang  in the frame of the artist's representation of Taiwanese's pavilion at Venice Art Biennale 2019. Also, short documentary about artist's latest work 3x3x6 will be screened. As the work has participating component in the form of an app for iOD and Android, visitors will be able to upload  their movies and thus themselves participate in the work.

Shu Lea Cheang had presentation in Zagreb of her work Undeground Seed Party as part of the UpgradeZagreb program at the Universal Research Institute. Born in Taiwan in 1954, Shu Lea Cheang has lived and worked in the United States as well as Japan, Holland, the United Kingdom, and France. Her practice combines artistic concerns with hot-button social issues, defined by her peripatetic and information-era existence. She has been a member of the alternative media collective Paper Tiger Television since 1982 and produced public-access programs for the group addressing racism in the media. In 2001 she cofounded Kingdom of Piracy, an online work space that promotes the free sharing of digital content and ideas as an art form; this project and others are borne of her political and community-driven goals. As an artist, she has worked in a variety of mediums—film, video, installation, web spaces—her output as varied as cyberspace itself.

Her work 3x3x6 is, by her words: trans punk fiction, queer, and anti-colonial imaginations hacking the  operating system of the history of sexual subjection.

In solidarity with Maedeh Hojabri, an Iranian teenager arrested for posting a dance video in Instagram in July 2018, Shu Lea Cheang has created the app #3x3x6 as part of the exhibition where the public globally can upload their selfie dancing videos. By opening up the possibility for the visitor to use personal smartphones and apps critically, by constantly uploading data from the visitors and entering it into the image flow of the exhibition, Cheang extends 3x3x6 outside of its physical location, blurring the limits between the museum and the Internet, but also between artist and visitor, between producer and receiver, but also questioning individual freedom and intimacy, collective agency and participation.

The title 3x3x6 refers to today’s standardized architecture of industrial imprisonment: a 3 x 3 m² cell constantly monitored by 6 cameras. Shu Lea Cheang’s exhibition hacks contemporary surveillance techniques to create a trans-punk fiction that questions the hegemonic narrative of the history of sexuality.

https://apps.apple.com/us/app/3x3x6/id1459651734

https://play.google.com/store/apps/details?id=de.bluestarsoftware.h3x3x6

2019 series of exhibitions in Art 836/G Gallery is organized by CSDVU, and supported by AKC Medika, hacklab01 and City of Zagreb.

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Art 836 G Gallery predstavlja kratku digitalnu animaciju Baby Work Shu Lea Cheang u okviru umjetničke reprezentacije tajvanskog paviljona na Venice Art Biennaleu 2019. Također će se prikazati kratki dokumentarni film o umjetnikovom najnovijem djelu 3x3x6. Budući da djelo ima komponentu koja sudjeluje u obliku aplikacije za iOD i Android, posjetitelji će moći učitati svoje filmove i na taj način sami sudjelovati u radu.

Shu Lea Cheang održala je u Zagrebu prezentaciju svog rada Undeground Seed Party u sklopu programa UpgradeZagreb na Univerzalnom istraživačkom institutu. Shu Lea Cheang, rođena 1954. u Tajvanu, živjela je i radila u Sjedinjenim Državama, Japanu, Nizozemskoj, Velikoj Britaniji i Francuskoj. Njezina praksa kombinira umjetnička zauzimanja za  socijalna pitanja s pritiskom na gumb, definiranim njenim peripatetskim postojanjem u  informacijskom razdoblju. Članica je alternativnog medijskog kolektiva Paper Tiger Television od 1982. godine i izradilaje  programe javnog pristupa grupi koja se u medijima bavi rasizmom. 2001. godine utemeljila je Kraljevstvo piratstva, internetski radni prostor koji promiče besplatno dijeljenje digitalnog sadržaja i ideja kao umjetničke forme; ovaj projekt i drugi rođeni su iz njenih političkih i društvenih ciljeva. Kao umjetnica, radila je u različitim medijima - film, video, instalacija, web prostori - čiji je učinak bio raznolik kao i sam cyberspace.

Njezin je rad 3x3x6, po njezinim riječima: trans punk fikcija, queer i antikolonijalne mašte hakiranje operativni sustav povijesti seksualne podčinjenosti.

U znak solidarnosti s Maedeh Hojabri, iranskom tinejdžericom uhićenom zbog objavljivanja plesnog videa na Instagramu u srpnju 2018., Shu Lea Cheang napravila je aplikaciju # 3x3x6 u sklopu istoimene izložbe u koju javnost na globalnoj razini može prenijeti svoje plesne video selfije. Otvarajući mogućnost posjetitelju da kritički koristi osobne pametne telefone i aplikacije, neprestano prenoseći podatke posjetitelja i unoseći ih u slikovni tok izložbe, Cheang proširuje 3x3x6 izvan  fizičke lokacije izložbe, zamagljujući granice između muzeja i Interneta, ali i između umjetnika i posjetitelja, između producenta i primatelja te  dovodi u pitanje individualnu slobodu i intimu, kolektivno djelovanje i sudjelovanje.

Naslov 3x3x6 odnosi se na današnju standardiziranu arhitekturu industrijskog zatvora: ćeliju veličine 3 x 3 m² koju stalno prati 6 kamera. Izložba Shu Lea Cheang hakira suvremene tehnike nadzora kako bi  stvorila trans-punk fikciju koja dovodi u pitanje hegemonistički narativ povijesti seksualnosti.

https://mauvaiscontact.info

Cklus izložbi Galerije Art 836/G u 2019.godini organizira CSDVU, a podržavaju AKC Medika, hacklab01 i Grad Zagreb,

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Gallery Art 836/G is happy to present you sound installation ¨PC Cool/err¨ by Ana Horvat 

You can hear the artwork on 17th June from 7 pm to 9 pm, and on 18th June 2019 from 2 pm to 6 pm, and on 19th June by appointment only via medikidsart@gmail.com

The sound coming from the fridge is part of Ana's sound archive. Some of you put your memories on the shelves, some fill fridge with food, and Ana  fills the fridge with her sound memories and presents those memories in Art 836 / G Gallery. One of those memories is the noise of a pc cooler.

PC Cool/err, musical composition by Ana Horvat, 2019 Most of the time, what’s considered experimental music derives from serious, sustained play: with genre, with form, with tempo and attention, and even with reality. They came from experimental veterans who have been straining against convention for decades, and they came from young artists starting to cultivate their voice. But all of them, whether they adopt the vernacular of harsh, guttural noise or delicate, synthesized ecosystems, offer reprieve from the repetition of mundane life. One of the such young artists is composer Ana Horvat, who is at the same time experimental and acclectic and furthermore regonizable in her creation, no matter how contradictory that could sound . Ana manages to carve out pockets of time where the rules and limitations of the broader world didn’t bear down quite so harshly. The compositional material of Ana's creations  is not restricted to the inclusion of sonorities derived from musical instruments or voices, nor to elements traditionally thought of as "musical" (melody, harmony, rhythm, metre and so on). The form of electroacoustic music which Ana draws with her sounds is unexpected and unpredicted, and at the same time so "musical". Ana, using innovative acosmatic techniques, merges the sounds from her sound archive and gives us PC Cool/err composition for joyfull listening.

Art 836/G Gallery, Zagreb Curator: Maja Kalogera

Listen to the sound of a fridge full of sound!

Ana Horvat graduated from the Electronic Composition at the Zagreb Academy of Music (Zlatko Tanodi) and studied composition with Marko Ružđak and Srđan Dedić. The composer has a special interest in joining different areas of art, and for this very reason he often works in collectives and tandem with other artists, robotics, multimedials, IT professionals as well as DIY and DIWO enthusiasts. In April this year, Ana presented a project for children, smartphones and similar gadgets, "Mob music for kids", at the 30th Zagreb Biennale in Zagreb.

2019 series of exhibitions in Art 836/G Gallery is organized by CSDVU, and supported by AKC Medika, hacklab01 and City of Zagreb.

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Art 836/G galerija vam predstavlja rad  ¨PC Cool/err¨ kompozitorice Ane Horvat.

Instalaciju možete poslušati/pogledati 17.6.2019. od 19 do 21 sati, 18.6.2019 od 14 do 18 sati te 19.6.2019 po dogovoru na mejl medikids@gmail.com

Zvuk koji dopire iz frižidera dio je Anine zvučne arhive. Neki svoje uspomene stavljaju na police, neki pune frižider hranom, a Ana fridge puni svojim zvučnim uspomenama i te uspomene prezentira u Galeriji Art 836/G. Jedna od tih uspomena je i šum pc coolera.

Poslušajte kako zvuči fridge prepun zvuka!

PC Cool/err, glazbena kompozicija Ane Horvat, 2019 Najčešće, ono što se smatra eksperimentalnom glazbom nastaje ozbiljnim, redovnim radom: sa žanrom, sa formom, sa tempom i pažnjom te čak i sa stvarnošću.  Eksperimentalnu glazbu stvaraju  veterani koji se bore protiv konvencija desetljećima, a isto tako dolazi i od mladih umjetnika koji počinju kultivirati svoj zvuk. Ali svi oni, bilo da usvajaju vernakularnost oštrih, guturalnih šumova ili delikatnih, sintetiziranih ekosistema, nude odmak od repeticije svakodnevnog života. Jedna od takvih mladih umjetnica skladateljica  Ana Horvat, koja je istodobno eksperimentalna i eklektična te prepoznatljiva u svom stvaranja, koliko god to zvučalo kontradiktorno. Ona uspijeva  izdubiti male komadiće vremena koje pravila i ograničenosti šireg svijeta ne pokoravaju svojom grubošću.  Materijal Anine kompozicije nije ograničen na uključivanje zvukova dobivenih muzičkim instrumentima ili glasovima, niti  na elemente koji se tradicionalnom smatraju "muzičkim" (melodija, harmonija, ritam, tempo, itd.) Forma elektroakustične glazbe  koju Ana ocrtava svojim zvukovima je začudna, nepredvidljiva, a opet tako "muzikalna". Ana, koristeći inovativne akusmatične tehnike, spaja zvukove iz svoje zvučne arhive te nam daje na slušanje  PC Cool/err skladbu.

Kustos: Maja Kalogera

Ana Horvat diplomirala je elektroničku kompoziciju na Muzičkoj akademiji u Zagrebu (Zlatko Tanodi), a kompoziciju je studirala i s Markom Ruždjakom te Srđanom Dedićem. Skladateljica ima poseban interes za spajanje različitih područja umjetnosti te upravo iz tog razloga vrlo često djeluje u kolektivima i tandemima s drugim umjetnicima, robotičarima, multimedijalcima, informatičarima, kao i DIY and DIWO entuzijastima. Ana je u travnju ove godine na 30. muzičkom biennalu Zagreb predstavila i projekt za djecu, pametne telefone i slične gadgete, “Mob music for kids”.

Cklus izložbi Galerije Art 836/G u 2019.godini organizira CSDVU, a podržavaju AKC Medika, hacklab01 i Grad Zagreb,

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Gallery Art 836/G is happy to present you work French Data Touch by Albertine Meunier

You can see the artwork on 29th from 7 pm to 9 pm, and on 30th March 2019 from 2 pm to 6 pm, and on 31st March by appointment only via medikidsart@gmail.com

At a time when the misuse of our personal data has been revealed to the public through the scandal Facebook / Cambridge Analytica, Albertine Meunier, digital artist, questions once again our uses of the Net and this time in song! Her first EP falls right. She distills with humor, shifting and mischievous short stories where our relationship with our worst and best friends, the GAFA, are set to music.  And if singing was the best way to broadcast and evoke sometimes sensitive topics that involve the new digital technologies.                  

French Data Touch is a set of songs composed and written specifically to speak with lightness and shift of the data, the artificial intelligence and the technology that surrounds us. 

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Albertine Meunier, a French artist, has been practicing digital art since 1998 year, and it is especially prone to use the Internet as a source. She defines herself as an internet artist. Her works reconsider, both critically and playfully, great online acters, such as Google, Facebook and Twitter, as well as our new environment of many transistors and microprocessors, where we live at the speed of optic networks. This online world that Albertine knows so well becomes her raw substance for creativity and research. In her research and in her works, she is trying to reveal the invisible poetry of all digital things. With her seemingly hands-off approach, Albertine leads us on a playfully, impertinently and drolly poetic journey. Let's play a bit with the Internet… thanks to Albertine.

http://albertinemeunier.net/

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 2019 series of exhibitions in Art 836/G Gallery is organized by CSDVU, and supported by AKC Medika, hacklab01 and City of Zagreb.

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Art 836/G galerija vam predstavlja rad  French Data Touch umjetnice Albertine Meunier

Možete pogledati AV rad 29.3.2019. od 19 do 21 sati, 30.3.2019 od 14 do 18 sati te 31.3.2019 po dogovoru na mejl medikids@gmail.com

U vrijeme kada je zlouporaba naših osobnih podataka bila otkrivena javnosti kroz skandal Facebook / Cambridge Analytica, Albertine Meunier, digitalna umjetnica, postavlja pitanja o korištenju interneta i to ovaj put u pjesmi! Njen prvi EP pogađa u sridu. Ona se bavi humorom, promjenjivim i nestašnim kratkim pričama u kojima je naš odnos s najgorim i najboljim prijateljima, GAFA ( Google, Apple, Facebook, and Amazon), predstavljen kroz glazbu.

A ako je pjevanje najbolji način emitiranja i izazivanja ponekad osjetljivih tema koje uključuju nove digitalne tehnologije, French Data Touch je skup pjesama sastavljenih i napisanih posebno da bi govorilo s lakoćom i pomakom o podatcima, umjetnoj inteligenciji i tehnologijama koje nas okružuju.

U galeriji ćete moći čuti i vidjeti French Data Touch i pogledati kratki dokumentarni film o umjetnici.

http://albertinemeunier.net/

Albertine Meunier, francuska umjetnica, prakticira digitalnu umjetnost od 1998. godine, a posebno je sklona koristiti Internet kao izvor. Ona sama se definira kao internet umjetnik. Njeni radovi preispituju, kako kritički tako i zaigrano, velike online aktere, kao što su Google, Facebook i Twitter, kao i naše novo okruženje puno tranzistora i mikroprocesora, gdje živimo pri brzini optičkih mreža. Ovaj online svijet koji Albertine zna tako dobro postaje njena sirovina za kreativnost i istraživanje. U svom istraživanju i u svojim djelima, ona pokušava otkriti nevidljivu poeziju svih digitalnih stvari.

Njezina želja da oblikuje i ritam nevidljivih i neprimjetnih aspekata Interneta dovela je do njezine jedinstvene perspektive, gdje su tehnika i poezija uključeni u neočekivani odnos. Dok istražuje ovaj novi svijet koji se oblikuje, mnoga njezina djela dovode u pitanje prostor i vrijeme: prostor kao fizičko i digitalno mjesto, i tu i tamo i stoga kvantno; vrijeme kao životni vijek; prostor i vrijeme kao mjesto za pamćenje. 

Svojim naizgled praktičnim pristupom, Albertine nas vodi na zaigrano, drsko i  poetsko putovanje. Igrajmo se malo s internetom ... zahvaljujući Albertini.

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Cklus izložbi Galerije Art 836/G u 2019.godini organizira CSDVU, a podržavaju AKC Medika, hacklab01 i Grad Zagreb

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Exhibition program for 2019

Solo exhibitions by:

Albertine Meunier

Ana Horvat

Cory Arcangel

jimpunk/abe lincoln/mr tamale

Sara Pathirane

Shu Lea Cheang

It does not matter, I will eat it cold - pavilion for The Wrong

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ART 836/G Gallery, 2018 Program - On convergence of analog & digital, series of exhibitions The new exhibition at ART 836/G Gallery presents 33 questions per minute, by Rafael Lozano-Hemmer and Rotation by Kristina Horvat Blažinović. 33 questions per minute There is a certain arbitrary quality to words. Words and meanings are not necessarily connected, they do sort of float. In this artword, artist was interested in the kind of de-authoring of the words as a phenomenon. In western countries there is almost too much information, there is a saturation and a density that renders us useless. Most of the questions that the machine asks make some kind of sense. The installations shows 33 questions per minute, which is the threshold of readability, so the experience is irritating to the extent that there is no time for reflection, like in our current media culture. Work is run by a computer with a custom-made grammatical software program. A computer program uses grammatical rules to combine words from the dictionary and automatically generates 55 billion different questions at a spedd of 33 Q per minute. The program has a large data bank containing the majority of words found in dictionary. Each question is unique: it is never repeated. Originaly, it was part of the relational architecture series of installations in public space. Rafael Lozano-Hemmer is an electronic artist, who develops interactive installations that are at the intersection of architecture and performance art. His main interest is in creating platforms for public participation, by perverting technologies such as robotics, computerized surveillance or telematic networks. Inspired by phantasmagoria, carnival and animatronics, his light and shadow works are "antimonuments for alien agency". His large-scale interactive installations have been commissioned for events such as the Millennium Celebrations in Mexico City (1999), the Cultural Capital of Europe in Rotterdam (2001), the UN World Summit of Cities in Lyon (2003), the opening of the YCAM Center in Japan (2003), the Expansion of the European Union in Dublin (2004), the memorial for the Tlatelolco Student Massacre in Mexico City (2008), the Winter Olympics in Vancouver (2010), and the pre-opening exhibition of the Guggenheim in Abu Dhabi (2015). He is recepient of the numerous awards, amongst them are: BAFTA, Golden Nica, Rave Award from Wired, a Rockefeller fellowship, Trophée des, Bauhaus Award, etc. http://www.lozano-hemmer .com/ Rotation, video In the video works of Kristina Horvat Blažinović, the focus is on the expressive, symbolic and rhythmic potentials of replicated and repetitive images, as well as the questioning of the role of space-time intervals, interstitial spaces and edges of the frame - in which the Real, unknowable (at least by Lacan ) could be mirrored. The video shown in the Art 836 / G gallery is part of the Rotation installation, 2009.-2012. In the video the woman turns on the static chair, clockwise and backward, progressively changing her speed. Her movements seem unnatural because they are produced from several time shots. Within the original installation, the video poses questions about the feasibility and ways of women's mobility and progress in time-spatial reality (spiritual and material), where space and time are inhibiting factors. Within the display in Art 836 / G, in a cohesion with 33 questions per minute, the video raises questions about the absurdity of today's time and the unstoppable drive we feel living at a contemporary pace. Kristina Horvat Blažinović was born in 1970 in Čakovec. She at the Academy of Fine Arts and Design in Ljubljana, video department. She is pursuing her PhD at the Academy of Fine Arts in Zagreb. She is employed at the Faculty of Teacher Education at the University of Zagreb as an extraordinary professor. Body of works includes images, computer graphics, three-dimensional objects, multimedia installations, video, animated films and performances. She is the author of several music videos, video scenographies and stage puppets. https://kristina-horvat-blazinovic.com/ Curator: Maja Kalogera The exhibition opening will be on May 16th, 2018 at 6,30 pm in Art 836/G Gallery, Hacklab01, AKC Medika, Zagreb. The exhibition will run until May 21th, 2018. Gallery opening hours are from 7 pm to 10 pm, and by appointment via e-mail: medikidsart@gmail.com. 

. . . .     Nova izložba u ART 836/G galeriji predstavlja generativni kompjuterski rad 33 pitanja u minuti meksičko-kanadskog umjetnika Rafaela Lozano-Hemmera i video Rotacija hrvatske umjetnice Kristine Horvat Blažinović. 33 pitanja u minuti Postoji određena proizvoljna kvaliteta riječi. Ponekad riječi i njihova značenja nisu nužno povezani, čini se kao plutaju neovisni jedno o drugom. U ovom umjetničkom radu, umjetnik je bio zainteresiran za takav fenomen vezan uz riječ. U zapadnim je zemljama gotovo previše informacija, postoji zasićenje i gustoća koja nas čini beskorisnim. Ipak, u većini pitanja koja rad postavlja, postoji neki apstraktni smisao. Instalacija pokazuju 33 pitanja u minuti, što je prag čitljivosti, pa je iskustvo iritantno u onoj mjeri u kojoj se nema vremena za razmišljanje, kao u našoj trenutnoj medijskoj kulturi. Ovo nadraživanje povećava činjenica da rad pokreće računalo pomoću programa koji koristi gramatička pravila za kombiniranje riječi iz rječnika i automatski generira 55 milijardi različitih pitanja brzinom od 33 pitanja po minuti. Program ima veliku banku podataka koja sadrži većinu riječi koje se nalaze u rječniku. Svako je pitanje jedinstveno: nikad se ne ponavlja. Prikazati sva pitanja, to bi zahtjevalo vise od 3.000 godina. Izvorno, rad je dio Lozano-Hemmerove serije relacijske arhitekture instalacija u javnom prostoru. Rad je 2006. godine otkupio Muzej moderne umjetnosti u New Yorku. Taj rad je Zagrebčcka publika ga je mogla vidjeti u AKC Medika 2011. godine kao dio skupne AA2 izložbe. Galerija Art 836/G ga sada ponovo prikazuje u drugačijem postavu. Rafael Lozano-Hemmer (1967., Mexico City) je meksičko-kanadski elektronski umjetnik u čijem radu se isprepliču ideje iz arhitekture, tehnologije i performansa. Koristeći robotiku, računalnu grafiku u stvarnom vremenu, projekcije filmova, pozicijski zvuk, internet veze, sučelja mobitela, video i ultrazvučne senzore, LED ekrane i druge uređaje, njegove instalacije nastoje prekinuti sva homogenizirana urbana stanja pružajući kritične platforme za sudjelovanje. Lozano-Hemmerove manje skulpture i video instalacije istražuju teme percepcije, obmane i nadzora. http://www.lozano-hemmer .com/ Rotacija, video U video radovima Kristine Horvat Blažinović u fokusu se nalaze ekspresivni, simbolički i ritmički potencijali umnoženih i ponavljajućih slika, te propitivanje uloge prostorno-vremenskih intervala, međuprostora i rubova okvira – u kojima bi se moglo zrcaliti ono Realno, koje je neizrecivo (barem po Lacanu). Video prikazan u galeriji Art 836/G je dio instalacije Rotacija, 2009.-2012 U videu žena se okreće na statičkoj stolici, u smjeru kazaljke sata i unatrag, progresivno mijenjajući svoju brzinu. Njezini pokreti izgledaju neprirodni jer su proizvedeni iz nekoliko vremenskih snimaka. Unutar izvorne instalacije, video postavlja pitanja o izvedivosti i načinima mobilnosti žena i napretku u vremenu - prostornoj stvarnosti (duhovnom i materijalnom), pri čemu su prostor i vrijeme faktori koji inhibiraju. Unutar postava u Art 836/G, sa koheziji sa 33 pitanja po minuti, video kao da postavlja pitanja o apsurdnosti današnjeg vremena i neprestanog pogona koji osjećamo živeći suvremenim tempom. Kristina Horvat Blažinović rođena je 1970. godine u Čakovcu. Diplomirala je slikarstvo i magistrirala video na Akademiji za likovno umetnost in oblikovanje u Ljubljani. Doktorat izrađuje na Akademiji likovnih umjetnosti u Zagrebu. Zaposlena je na Učiteljskom fakultetu Sveučilišta u Zagrebu u zvanju izvanredne profesorice. Fundus radova obuhvaća slike, računalne grafike, trodimenzionalne objekte, multimedijalne instalacije, video, animirani film i performans. Autorica je nekoliko glazbenih video spotova, video scenografije, te scenskih lutka. https://kristina-horvat-blazinovic.com/ Kustos: Maja Kalogera Otvorenje izložbe je 16. svibnja 2018., u 18,30 sati u Galeriji Art 836/G, Hacklab01, AKC Medika, Zagreb. Izložba je otvorena do 21. svibnja 2018. Radno vrijeme galerije je od 19 do 22 sata i po dogovoru na e-mail: medikidsart@gmail.com. Izložba je dio programa ART 836 / G galerije u 2018. godini - O konvergenciji analognog i digitalnog, serija izložbi. _ _ _ _

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It was a great symbiosis!!!!!!

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//scroll down for English// Nova izložba u ART 836/G galeriji predstavlja generativni kompjuterski rad 33 pitanja u minuti meksičko-kanadskog umjetnika Rafaela Lozano-Hemmera i video Rotacija hrvatske umjetnice Kristine Horvat Blažinović. 33 pitanja u minuti Postoji određena proizvoljna kvaliteta riječi. Ponekad riječi i njihova značenja nisu nužno povezani, čini se kao plutaju neovisni jedno o drugom. U ovom umjetničkom radu, umjetnik je bio zainteresiran za takav fenomen vezan uz riječ. U zapadnim je zemljama gotovo previše informacija, postoji zasićenje i gustoća koja nas čini beskorisnim. Ipak, u većini pitanja koja rad postavlja, postoji neki apstraktni smisao. Instalacija pokazuju 33 pitanja u minuti, što je prag čitljivosti, pa je iskustvo iritantno u onoj mjeri u kojoj se nema vremena za razmišljanje, kao u našoj trenutnoj medijskoj kulturi. Ovo nadraživanje povećava činjenica da rad pokreće računalo pomoću programa koji koristi gramatička pravila za kombiniranje riječi iz rječnika i automatski generira 55 milijardi različitih pitanja brzinom od 33 pitanja po minuti. Program ima veliku banku podataka koja sadrži većinu riječi koje se nalaze u rječniku. Svako je pitanje jedinstveno: nikad se ne ponavlja. Prikazati sva pitanja, to bi zahtjevalo vise od 3.000 godina. Izvorno, rad je dio Lozano-Hemmerove serije relacijske arhitekture instalacija u javnom prostoru. Rad je 2006. godine otkupio Muzej moderne umjetnosti u New Yorku. Taj rad je Zagrebčcka publika ga je mogla vidjeti u AKC Medika 2011. godine kao dio skupne AA2 izložbe. Galerija Art 836/G ga sada ponovo prikazuje u drugačijem postavu. Rafael Lozano-Hemmer (1967., Mexico City) je meksičko-kanadski elektronski umjetnik u čijem radu se isprepliču ideje iz arhitekture, tehnologije i performansa. Koristeći robotiku, računalnu grafiku u stvarnom vremenu, projekcije filmova, pozicijski zvuk, internet veze, sučelja mobitela, video i ultrazvučne senzore, LED ekrane i druge uređaje, njegove instalacije nastoje prekinuti sva homogenizirana urbana stanja pružajući kritične platforme za sudjelovanje. Lozano-Hemmerove manje skulpture i video instalacije istražuju teme percepcije, obmane i nadzora. http://www.lozano-hemmer .com/ Rotacija, video U video radovima Kristine Horvat Blažinović u fokusu se nalaze ekspresivni, simbolički i ritmički potencijali umnoženih i ponavljajućih slika, te propitivanje uloge prostorno-vremenskih intervala, međuprostora i rubova okvira – u kojima bi se moglo zrcaliti ono Realno, koje je neizrecivo (barem po Lacanu). Video prikazan u galeriji Art 836/G je dio instalacije Rotacija, 2009.-2012 U videu žena se okreće na statičkoj stolici, u smjeru kazaljke sata i unatrag, progresivno mijenjajući svoju brzinu. Njezini pokreti izgledaju neprirodni jer su proizvedeni iz nekoliko vremenskih snimaka. Unutar izvorne instalacije, video postavlja pitanja o izvedivosti i načinima mobilnosti žena i napretku u vremenu - prostornoj stvarnosti (duhovnom i materijalnom), pri čemu su prostor i vrijeme faktori koji inhibiraju. Unutar postava u Art 836/G, sa koheziji sa 33 pitanja po minuti, video kao da postavlja pitanja o apsurdnosti današnjeg vremena i neprestanog pogona koji osjećamo živeći suvremenim tempom. Kristina Horvat Blažinović rođena je 1970. godine u Čakovcu. Diplomirala je slikarstvo i magistrirala video na Akademiji za likovno umetnost in oblikovanje u Ljubljani. Doktorat izrađuje na Akademiji likovnih umjetnosti u Zagrebu. Zaposlena je na Učiteljskom fakultetu Sveučilišta u Zagrebu u zvanju izvanredne profesorice. Fundus radova obuhvaća slike, računalne grafike, trodimenzionalne objekte, multimedijalne instalacije, video, animirani film i performans. Autorica je nekoliko glazbenih video spotova, video scenografije, te scenskih lutka. https://kristina-horvat-blazinovic.com/ Kustos: Maja Kalogera Otvorenje izložbe je 16. svibnja 2018., u 18,30 sati u Galeriji Art 836/G, Hacklab01, AKC Medika, Zagreb. Izložba je otvorena do 18. svibnja 2018. Radno vrijeme galerije je od 19 do 22 sata i po dogovoru na e-mail: medikidsart@gmail.com. Izložba je dio programa ART 836 / G galerije u 2018. godini - O konvergenciji analognog i digitalnog, serija izložbi. _ _ _ _ ART 836/G Gallery, 2018 Program - On convergence of analog & digital, series of exhibitions The new exhibition at ART 836/G Gallery presents 33 questions per minute, by Rafael Lozano-Hemmer and Rotation by Kristina Horvat Blažinović. 33 questions per minute There is a certain arbitrary quality to words. Words and meanings are not necessarily connected, they do sort of float. In this artword, artist was interested in the kind of de-authoring of the words as a phenomenon. In western countries there is almost too much information, there is a saturation and a density that renders us useless. Most of the questions that the machine asks make some kind of sense. The installations shows 33 questions per minute, which is the threshold of readability, so the experience is irritating to the extent that there is no time for reflection, like in our current media culture. Work is run by a computer with a custom-made grammatical software program. A computer program uses grammatical rules to combine words from the dictionary and automatically generates 55 billion different questions at a spedd of 33 Q per minute. The program has a large data bank containing the majority of words found in dictionary. Each question is unique: it is never repeated. Originaly, it was part of the relational architecture series of installations in public space. Rafael Lozano-Hemmer is an electronic artist, who develops interactive installations that are at the intersection of architecture and performance art. His main interest is in creating platforms for public participation, by perverting technologies such as robotics, computerized surveillance or telematic networks. Inspired by phantasmagoria, carnival and animatronics, his light and shadow works are "antimonuments for alien agency". His large-scale interactive installations have been commissioned for events such as the Millennium Celebrations in Mexico City (1999), the Cultural Capital of Europe in Rotterdam (2001), the UN World Summit of Cities in Lyon (2003), the opening of the YCAM Center in Japan (2003), the Expansion of the European Union in Dublin (2004), the memorial for the Tlatelolco Student Massacre in Mexico City (2008), the Winter Olympics in Vancouver (2010), and the pre-opening exhibition of the Guggenheim in Abu Dhabi (2015). He is recepient of the numerous awards, amongst them are: BAFTA, Golden Nica, Rave Award from Wired, a Rockefeller fellowship, Trophée des, Bauhaus Award, etc. http://www.lozano-hemmer .com/ Rotation, video In the video works of Kristina Horvat Blažinović, the focus is on the expressive, symbolic and rhythmic potentials of replicated and repetitive images, as well as the questioning of the role of space-time intervals, interstitial spaces and edges of the frame - in which the Real, unknowable (at least by Lacan ) could be mirrored. The video shown in the Art 836 / G gallery is part of the Rotation installation, 2009.-2012. In the video the woman turns on the static chair, clockwise and backward, progressively changing her speed. Her movements seem unnatural because they are produced from several time shots. Within the original installation, the video poses questions about the feasibility and ways of women's mobility and progress in time-spatial reality (spiritual and material), where space and time are inhibiting factors. Within the display in Art 836 / G, in a cohesion with 33 questions per minute, the video raises questions about the absurdity of today's time and the unstoppable drive we feel living at a contemporary pace. Kristina Horvat Blažinović was born in 1970 in Čakovec. She at the Academy of Fine Arts and Design in Ljubljana, video department. She is pursuing her PhD at the Academy of Fine Arts in Zagreb. She is employed at the Faculty of Teacher Education at the University of Zagreb as an extraordinary professor. Body of works includes images, computer graphics, three-dimensional objects, multimedia installations, video, animated films and performances. She is the author of several music videos, video scenographies and stage puppets. https://kristina-horvat-blazinovic.com/ Curator: Maja Kalogera The exhibition opening will be on May 16th, 2018 at 6,30 pm in Art 836/G Gallery, Hacklab01, AKC Medika, Zagreb. The exhibition will run until May 18th, 2018. Gallery opening hours are from 7 pm to 10 pm, and by appointment via e-mail: medikidsart@gmail.com.

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Theodore Darst - The Tourist: This Machine Makes Fascists

2nd May– 7th May, 2018

ART 836 / G, Zagreb

//scroll down for English// Nova izložba u ART 836/G galeriji 'The Tourist: This Machine Makes Fascists' predstavlja dva video rada američkog umjetnika Theodore Darsta. Darstov jedanaest minutni video „Turist: ovaj stroj stvara   fašiste“, je žarišna točka njegovog opusa Kultno smeće. Video zamagljuje linije između virtualnih, apokaliptičnih video igrica  i youtube snimaka kroničara stvarnih Doomsday Preppers-a  koji grade elaborirane bunkere kako bi održali svoju obmanu  opstanka. Iako ne funkcionira kao izravan nastavak njegovog ranijeg rada, „Turist: ovaj stroj stvara   fašiste“ ponovno upotrebljava 3D avatare iz Darstovih ranijih videozapisa. Nadahnjujući se  teorijama  zavjere i medijskom estetikom online subkultura, Darst uživa u načinu  na koji digitalni prostor i apokaliptična arhitektura  postaju  igralištem  za ekstremizam. Njegovo istraživanje pozicije paranoidnog subjekta  ispituje globalističke zavjere, kao što su iluminati i preuzimanje vlasti od strane gmazova. Na taj način, Darst naglašava refleksivnost internetskih zajednice koje prihvaćaju izgled i dojam fantazije kulture igara za opis scenarija stvarnog svijeta. Crpeći  iz  širokog  raspona  izvora, od  rukopisa iluminata do digitalne apstrakcije CGI  eksplozija iz filmova redatelja Michael Bay-a, Darst istražuje izgradnju  ideologije kroz slike.   Kako teorije zavjerepostaju sve više mainstream, podsjeća  nas se da potencijalna estetika suvremene propagande može se pratiti unazad do pronalaska filmskog žanra trilera i njegovih manipulacija za  služenje različitim ideološkim ciljevima. Nastavak, The Tourist: This Machine Makes Fascists, drugi dio, također će biti prikazan u galeriji. Darst nastavlja sa svojim preokupacijama iz prvog dijela. Oba videa tvore rad gdje Darst na vrlo inteligentan  i zanimljiv način prikazuje cirkularni odnos između vizualne kulture i našeg razumijevanja stvarnosti. Theodore Darst je umjetnik mlađe generacije koji živi i radi na Manhattanu, NYC. U svom radi se najčešće koristi videom, stvarajući svoje avatare u 3D programima. Radi i instalacije koristeći se slikama, fotografijom i ready-made objektima. Njegov rad je bio uključen u izložbu “Dreamlands: Immersive Cinema and Art, 1905–2016” u Whitney muzeju američke umjetnosti u New Yorku. Također je izlagao na grupnoj izložbi “storefront: THIS KNOWN WORLD” u  Muzeju suvremene umjetnosti u Los Angelesu. Svoju prvu samostlnu izložbu u New Yorku imao je 2017. Godine u galeriji Magenta Plains. Kustos: Maja Kalogera Otvorenje izložbe je 2. svibnja 2018., u 19,30 sati u Galeriji Art 836/G, Hacklab01, AKC Medika, Zagreb. Izložba je otvorena do 7. svibnja 2018. Radno vrijeme galerije je od 19 do 22 sata i po dogovoru na e-mail: medikidsart@gmail.com. Izložba je dio programa ART 836 / G galerije u 2018. godini - O konvergenciji analognog i digitalnog, serija izložbi. ---- ART 836/G Gallery, 2018 Program - On convergence of analog & digital, series of exhibitions The new exhibition at ART 836/G Gallery 'The Tourist: This Machine Makes Fascists' presents 2 video works by Theodore Darst. The focal point of Cult Trash is Darst’s eleven minute video, The Tourist: This Machine Makes Fascists, which blurs the line between virtual, apocalyptic video gaming and youtube footage chronicling of real-life Doomsday Preppers who build elaborate bunkers to maintain their survivalist delusion. While not functioning as a direct sequel to earlier work, The Tourist: This Machine Makes Fascists reuses 3D avatars from earlier videos using prosumer software that has since been updated, rendering the same textures and movements familiar in structure but upgraded in their visual interface. Taking inspiration from conspiracy theory and the media aesthetics of online subcultures, Darst relishes in the ways that digital space and the architecture of post-disaster become a playground for extremism. His exploration of the paranoid subject position examines globalist conspiracies, such as the illuminati and reptilian government takeover. In doing so, Darst highlights the reflexivity of internet communities that adopt the look and feel of fantasy gaming culture to describe real world scenarios. Drawing on a wide range of sources from illuminated manuscripts to the digital abstraction of CGI explosions in the films of director Michael Bay, Darst explores the construction of ideology through images. As conspiracy theories become increasingly mainstream, we are reminded that the signature aesthetic of contemporary propaganda can be traced back primarily to the invention of the thriller genre of filmmaking and it’s subsequent manipulation to various ideological ends. The sequel, The Tourist: This Machine Makes Fascists, 2nd part, will also be shown in the gallery. In this work, Darst continues his preoccupations from the first part. Both pieces makes the work where Darst exposes the circular relationship between visual culture and our understanding of reality. -- Theodore Darst is an emerging artist who lives and works in Manhattan, NYC. In his work he mostly uses  video, creating his avatars in 3D programs. He also makes installations using pictures, photographs and ready-made objects. His work was included in the exhibition "Dreamlands: Immersive Cinema and Art, 1905-2016" at the Whitney Museum of American Art in New York. He also exhibited at the group exhibition "storefront: THIS KNOWN WORLD" at the Museum of Contemporary Art in Los Angeles. His first solo exhibition in New York was in 2017 at the Magenta Plains Gallery. ---- Curator: Maja Kalogera The exhibition opening will be on May 2nd, 2018 at 7,30 pm in Art 836/G Gallery, Hacklab01, AKC Medika, Zagreb. The exhibition will run until May 7th, 2018. Gallery opening hours are from 7 pm to 10 pm, and by appointment via e-mail: medikidsart@gmail.com.

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Kako to ona vidi / How she sees it

3rd April – 8th April ·

ART 836 / G , AKC Medika, Zagreb

Nova izložba u ART 836/G galeriji predstavlja zvučnu instalaciju How she sees it by Her američke avangardne umjetnice i predstavnice prvog vala performansa Arleen Schloss. Kako to ona vidi, 1981. (18 minuta) Naslov ovog djela proizlazi iz priče Kako to ona vidi, 58-stranica pisanog dnevnika osobnih opažanja koji skeniraju život i opstanak u New Yorku početkom 80-ih godina. Započet kao komad zvukovne poezije i kasnije javnog performansa, Arleen je pomiješala svoj glas i osobna promatranja s snimkama iz tog vremenskog razdoblja. U galeriji će rad biti predstavljen kao zvučna instalacija. Kustos: Maja Kalogera Otvorenje izložbe je 3.travnja 2018., u 19 sati u Galeriji Art 836/G, Hacklab01, AKC Medika, Zagreb. Izložba je otvorena do 8.travnja 2018. Radno vrijeme galerije je od 18 do 21 sat i po dogovoru na e-mail: medikidsart@gmail.com. Izložba je dio programa ART 836 / G galerije u 2018. godini - O konvergenciji analognog i digitalnog, serija izložbi. O umjetnici: Arleen Schloss (1943., Brooklyn, New York) je istaknuta američka umjetnica performansa, videa, zvuk pjesnikinja zvuka, redateljica i kustosica koji je utjecajna figura u centru New York umjetnosti, videa, performansa i glazbene scene. Schloss započela svoj utjecaj kroz “A” - interdisciplinarni studio koji je postao središte za glazbu, izložbe, performans i eksperimentalni video. U A studiju su predstavljena djela umjetnika Eric Bogosiana, Jean-Michel Basquiata, Carolee Schneeman, Thurston Moora, Shirin Neshat, Alan Vege i Ai Weiwei-ja, između brojnih drugih. Istodobno sa A studiom, Schloss ko-organizira Danceteriu u Showroom of Art and Architekture, sada poznatom izložbenom arhitektonskom mjestu u New Yorku. Arleen Schloss je stekla pozornost kao umjetnica u 1970. Tijekom 1980-ih, počela je raditi na zvučnoj poeziji, prvenstveno za audio komad "Kako to ona vidi”. Dobitnica je potpora, nagrada i rezidencija od Experimental Television Center, Creative Artists Grant, New York Art Foundation, Harvestworks, United Productions i Ford Foundation. Njezin rad je u zbirkama Fales knjižnice, AT & T, Aldrich muzeja suvremene umjetnosti,     Donnell biblioteke i Novog muzeja NYC. New York Underground Museum dokumentira njen rad filmom pod nazivom Wednesdays at A's,  koji se trenutno nalazi u postprodukciji. Schloss živi u New Yorku. https://en.wikipedia.org/wiki/Arleen_Schloss // The new exhibition in  ART 836/G Gallery presents sound installation   'How she sees it by Her'  by American avant-garde artist and pioneer of the performance art Arleen Schloss. ART 836/G Gallery 2018 Program - On the convergence of analog & digital, series of exhibitions How She Sees It, 1981 (18 minutes) The title of this work is derived from the story HOW SHE SEES IT BY HER, a 58-page written journal of personal observations scanning life and survival in New York City in the early 80s. Originating as a piece of sound poetry and later a public performance, Arleen mixed her voice and personal observations with footage from the time period. In the gallery, the work will be presented as sound installation. Curator: Maja Kalogera Exhibition opening will be on April 3rd, 2018 at 7 pm in Art 836/G Gallery, Hacklab01, AKC Medika, Zagreb. Exhibition will run till April 8th, 2018. Gallery opening hours are from 6 pm to 9 pm, and by appointment via e-mail: medikidsart@gmail.com. Arleen schloss is a poet, visual, performance, video and sound artist. Since the early 70's she has created over 50 multimedia works developing new forms of improvisations and numerous compositions based on a vocabulary of vocal and visual techniques. New York performances include The Museum of Modern Art, The Kitchen Center, and The Storefront for Art and Architecture. In order to explore and expand an interdisciplinary approach to performance, in 1979 she founded A's, a program dedicated to new music, performance art, media and visual exhibitions. Designing over 200 posters for A's events encouraged a series of collaborations extending exhibits and performance work throughout Europe including the Vienna Biennale, Austria; Lanbachhaus Galerie, Munich; and the Basel Art Fair. Public recordings include How She Sees It (Audiographics); Adazee (Tellus); and A To Z (Audio Arts). Videography includes Sun daze Away; Glenn Branca Symphony No. 4/Physics; and It's a Live Laser. Using a variety of art forms as sets of interchangeable parts, a range of experience has developed in her works. She was commissioned to create an outdoor media opera at the Ars Electronica Festival for Art, Technology and Society in Linz. Most recently she was featured as Artists at Bowery series at New Museum, NYC.

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//Scroll down for Croatian// ---- ART 836/G Gallery 2018 Program - On convergence of analog & digital, series of exhibitions Press Release, January 26th, 2018 Stripping it out loud & proud The new exhibition at ART 836/G Gallery Stripping it out loud & proud presents two contemporary artists, Solfrid Mortensen and Rob Myers. Solfrid is Norwegian artist working with installations, textile, paintings, and drawings. In her works, she 'collects' colors, as she refers to her actions and deeds. So, in this duo of artists, she is the analog one. She presents her trials, experiments, sketches on paper for bigger acrylic canvas paintings. Rob Myers is the well known open-source artist, working with code, 3d printing, and all in between (Free Culture, Generative Art, Computing Arts, Glitch Aesthetics, Data Art, Art Bots, Cryptocurrency Art). Both artists are using color in these shown works as a primary factor for visual effect, each in their own way. Color is a phenomenon of light caused by how our eyes detect differing qualities of projected or reflected light. Because science and technology have allowed us to understand the physiology of the human eye, to measure wavelengths of light and chart energy patterns, we have come a long way in grasping the complexities of color. We define the dimensions of color in terms of hue, lightness, saturation and other characteristics of light. The property of color that we are actually talking about is "hue". Different hues are caused by different wavelengths of light. Solfrid plays with those hues in her stripes finding the saturation constants, when different hues have same intensity; then she searches for saturation contrast when the same hue has various levels of fullness; then some hues have same brightness level, yet low value constant, etc. She is always equally excited when she finds a pair, or a tris, or very rarely a bigger combination of hues which are working for her. What is specific for this presentation of her work is that she made all sketches by hand. She did not use a computer to find the color matches, she did that by her eye. Her eye is perfect - she does match the colors impeccably. The presentation of her work is digital: the work is displayed in the gallery on the LCD screen. That way that particular color space which is at each of her sketches is transferred to RGB color coordinates/numbers and indeed, the RGB gamut does not cover even all visible colors, let alone those that may be specified in other coordinate systems, and thus contain some invisible components. And yet, the hues of her stripes are so velvety and misty. Rob Myers's piece for the exhibition, Stripes, is the digital one. Rob is giving the control over his work to the generative computation. He works with composition generators, art bots, and code. This particular piece of code is written in Processing, and it is open-sourced. What is especially interesting is that unexpected color scheming which occurs with every new screen. Certainly, there is no any predictability in the color appearances. The viewer is awaiting with the eagerness for the next color combinations. Hues, saturation, their dynamic exchanges, that all contribute to the attractiveness of the piece. Both works are displayed simultaneously, one above the other. Their slow rhythmic color changes are hypnotic and exciting at the same time. The richness of the colors, the multitude of stripes, pure pleasure for the sight... Solfrid Mortensen http://olette Rob Myers http://robmyers.org/ Curator: Maja Kalogera The exhibition opening will be on February 1st, 2018 at 7,30 pm in Art 836/G Gallery, Hacklab01, AKC Medika, Zagreb. The exhibition will run until February 12th, 2018. Gallery opening hours are from 7 pm to 10 pm, and by appointment via e-mail: medikidsart@gmail.com.

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Nova izložba u ART 836/G galeriji  'Stripping it out loud & proud' predstavlja dvoje suvremenih umjetnika, Solfrid Mortensen i Roba Myersa. Solfrid je norveška umjetnica koja se bavi instalacijama, tekstilom, slikanjem i crtežom. U svom radu ona 'skuplja' boje, kako se sama izražava o svojim djelima. U ovom duetu umjetnika, ona je analogni čimbenik. Solfrid predstavlja svoje pokušaje, eksperimente, skice na papiru za veće akrilne slike na platnu. Rob Myers is dobro znani open-source umjetnik, koji se bavi kodom i 3D printanjem, i svime između (slobodnom kulturom, generativnom umjetnošću, glitch estetikom, umjetnošću kripto-valuta, vizualizacijom podataka, art botovima). Oboje umjetnika, svaki na svoj način, koriste boju u ovim prikazanim radovima kao primarni faktor za postizanje vizualnih efekata. Boja je fenomen svjetlosti uzrokovan time kako naše oči detektiraju različite kvalitete projicirane ili reflektirane svjetlosti. Zbog toga što su nam znanost i tehnologija omogućili razumijevanje fiziologije ljudskog oka, mjerenje svjetlosnih valova i uzoraka energije, mi smo napredovali u poimanju kompleksnosti boja. Dimenzije boje se definiraju terminima nijanse, svjetloće, saturacije i drugih karakteristika svjetlosti. Osobina boje o kojoj govorimo kad govorimo o boji jest nijansa. Različite nijanse su uzrokovane različitim valnim dužinama svjetlosti. Solfrid se igra s tim nijansama u njenim izloženim prugama nalazeći konstantu saturacije, kada različite boje imaju isti intenzitet; zatim traži kontrast saturacije, kada iste nijanse boje imaju razne razine punoće; tada neke boje imaju isti nivo svjetloće, ali konstantu niske vrijednosti, itd.  Uvijek je uzbuđena kad nađe duo, ili trio, ili rjeđe veću kombinaciju nijansi boja koje odgovaraju njenim postavkama. Ono što je specifično za prezentaciju njenog rada jest da je ona naslikala sve skice rukom, analogno, te nije koristila komputer da nađe parove boja, sve je određivala svojim okom. A njeno oko to radi savršeno – ona spaja boje bez greške. Prezentacija njenog rada je digitalna: rad je prikazan u galeriji na LCD ekranu. Takvim načinom, taj određeni prostor boja koji je u svakoj njenoj skici je  prenesen u RGB koordinate/brojeve, i iako RGB gamut ne pokriva sve vidljive boje, pogotove ne one koje se mogu specificirati u drugim koordinatnim sistemima, on sadrži neke komponente koje su nevidljive u ovakvom prikazu. Usprkos tome, nijense boja njenih izloženih pruga su predivno maglovite i baršunaste. Robov rad za ovu izložbu, Pruge, je digitalan u svom nastanku. Rob daje kontrolu nad svojim radom generativnoj kompjutaciji. On radi sa kompjuterskim generatorima kompozicije. Ovaj rad ima otvoreni kod i programiran u Processingu. Ono što je posebno zanimljivo je neočekivana matrica boja pruga koja se događa sa svakim novim njihovim pojavljivanjem na ekranu. Zasigurno nema ikakve mogućnosti predviđanja redoslijeda pojavljivanja  boja. Gledatelj sa iščekivanjem čeka slijedeću kombinaciju boja. Nijanse, saturacija, njihovo dinamičko izmjenjivanje, sve to doprinosi atrakciji rada. Oba rada su izložena odjednom, jedan iznad drugog. Njihove sporo- ritmične izmjene boja su hipnotične i uzbudljive u isto vrijeme. Bogatstvo nijansi, mno��tvo prugica, čisti užitak za oko... Kustos: Maja Kalogera Otvorenje izložbe je 1.veljače 2018., u 19,30 sati u Galeriji Art 836/G, Hacklab01, AKC Medika, Zagreb. Izložba je otvorena do 12.veljače 2018. Radno vrijeme galerije je od 19 do 22 sata i po dogovoru na e-mail: medikidsart@gmail.com. Izložba je dio  programa ART 836 / G galerije u 2018. godini -   O konvergenciji analognog i digitalnog, serija izložbi.

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HERE, at ART 836 / G Gallery

Opening 22nd March, 2016 at 9pm

Exhibition will be on till 8th April, 2016, Tuesday to Saturday, from 6 pm to 10 pm.

Curated by Maja Kalogera

London-based artists Jon Thomson and Alison Craighead originally conceived Here in 2011 as a virtual image for The Mini Museum of XXI Century Arts, an online digital media platform. The concept was to mark the distance of the work from itself along a North/South axis. The physical sculpture, fabricated to UK road standards two years later, marks the 24,859 mile distance around the earth and back (i.e. the longitudinal diameter of Earth). The current placement of this sculpture is particularly relevant in its current location on the Greenwich Meridian, which is located at 0 degrees.

'Here' was first made into this open edition digital photographic artwork for THE MINI MUSEUM OF XXI CENTURY ARTS in March 2011: a traveling musuem/digital media display originated by Italian curator Domenico Quaranta. This version of the work, developed by the artists, is a digital jpeg image file intended solely for display on screen.

About artists:

Jon Thomson (b. London) and Alison Craighead (b. Aberdeen) are fascinated how globalisation and networked global communications have been re-shaping the way we all perceive and understand the world around us. They live and work in London and Kingussie in the highlands of Scotland making artworks and installations for galleries, museums and site-specific locations that include the worldwide web.

Recent exhibitions include: The Line Sculpture trail, London; Carroll/Fletcher Gallery, London; Zentrum Kunst Media, Karlsruhe; Haus der Kunst, Munich; BFI Southbank, London; Berkeley Art Museum, California; Artists Space, New York; Tang Contemporary, Beijing and Moderna Museet, Stockholm. Jon is Reader in Fine Art at The Slade School of Fine Art, University College London, while Alison is Reader in contemporary art and visual culture at University of Westminster and lectures in fine art at Goldsmiths University, London.

http://thomson-craighead.net/

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BONNIE EBNER, U.S.A.

Solo exhibition at ART 836 / G Gallery

MIKVAH - single channel video installation

Opening 29th Jan 2016 at 9 pm

Los Angeles-based artist Bonnie Ebner takes particular interest in visual vocabulary, exploring relationships between symbols and constructed meanings. With a background in economics, environmental studies, art and advertising, she is perpetually re-interpreting the way imagery and the intangible are processed. She is motivated by a genuine desire to communicate concept through art that challenges assumptions and inspires thoughtful conversation.

Exhibition will be on view till Feb 25th, 2016.

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https://www.facebook.com/events/1482046732104089/

Art 836 / G presents Dear Drops, public art installation by Aram Bartholl.

Exhibition runs from Nov 28th, 2015 to Jan 12th, 2016.

Curated by Maja Kalogera

‘Dead Drops’ is an anonymous, offline, peer to peer file-sharing network in public space. USB flash drives are embedded into walls, buildings and curbs accessible to anybody in public space. Everyone is invited to drop or find files on a dead drop. Plug your laptop to a wall, house or pole to share your favorite files and data. Each dead drop is installed empty except a readme.txt file explaining the project. ‘Dead Drops’ is open to participation. If you want to install a dead drop in your city/neighborhood follow the ‘how to’ instructions and submit the location and pictures.

Aram Bartholl is a Berlin based media artist who started  the ‘Dead Drops’ project during his stay in NYC at EYEBEAM as artist in residence, October 2010. Dead Drops was part of the show “Talk to Me” at the MoMA  July-Nov 2011.

https://deaddrops.com/

https://deaddrops.com/dead-drops/manifesto/