new media

  • 03.03.2017. - 08.04.2017.


    Bartłomiej Pilarczyk | Clàudia Giralt / A cAt | Daniel Vasconcelos | Domenico Dom Barra | Gábor Hufnágel | Ivan Klis & Damir Prizmić | Joana Chicau | Kaspar Ravel | Leandro Estrella | LiL PDF | Maja Kalogera | Mark Klink | Michaela Lakova | Slobodan Tomić | stAllio! (Benjamin Berg) | Tomasz Sulej | Uğur Engin Deniz | Vedran Gligo

    The exhibition shows the source of recent new media and free culture oriented art featuring the work of 18 Croatian and international artists. The program, based on a collaborative effort and an inclusive community format - aims to create a knowledge distribution platform, transcending limits of individual disciplines and fusing them into a discourse enabled by open, free talks, presentations and media arts workshops uncovering layers of multimedia, hypermedia, technoperformance and generative art practices.

    During the exhibition’s one month long iteration, and via sections of a complementary discursive program, we will inquire on the diverse origins and tactics of artistic practices based on digital narratives and collaborative methods.

    Curators: Format C


  • 26.01.2017. - 13.02.2017.

    free_art_-_source: OPEN CALL [< 2017/February/13]

    The second iteration of free_art_-_source exhibition is open to new media art authors’ (artists, coders, clever copycats) worldwide submissions for an exhibition initiated by Format C artist organization.

    The theme is our source, constructing the rhizomatic context of computer-based new media art and culture.
    We are looking for the source code of your art, scripts that make up the features of your art or the textual representation of the data your art is built out of.

    That could include: html, scripts, any media printable text format, any programming language snippets,.. No formal limitations other than it being character printable, it should have an aesthetic property (visual and/or ideological) and it should be shown in full.

    It can be completely original; compiled from other sources; utterly unoriginal but aesthetically progressive; completely horrific but make up a curious work; a brilliant haiku-type code that does wonders for your project; something highly fringe or discursive; something free; something stolen; etc. …

    The objective of the expo is to show diverse technological syntaxes, philosophical approaches and artistic inte/*rve*/ntions in the construction of recent new media art.

    Apply here, by attaching the subjects listed below :

    - source code of artwork/project in a .txt, .doc or .rtf file {A3 / B&W / MAX. 5 pages / any font size + font file [if (special)]}

     - a photograph and/or a screencap of the visual presentation (result) of the work the code composes/compiles (min 1080px on the shorter side)

     - short description (technical) + link to the work

    - web or profile and a short (on-topic) biography

    Please use only text formats to submit your work.

    The code/work file will be hardcopied and used for RL exhibition purposes only, and the provided image(s) - photographs and/or a documentative screencap of the media work, along with credits and links will be utilized to publicly promote your work.

    ! The deadline for participating in the open call is Feb 13th 2017, 23:59 CET, and the exhibition is to be held in March 2017.

    ///  free_art_-_* : A series of discursive events on the subject of diverse ideologies and individual practices of authors creating in the domain of free (libre) digital-based art.

    ///  Format C : a non-profit artist organization based in Croatia, active in the field of visual and multimedia art.

    //   free_art_-_source exhibition program is financially supported by the Ministry of Culture of the Republic of Croatia and the City of Velika Gorica.



  • 27.11.2014. - 23.12.2014.

    Mercury Retrograde: Animated Realities

    Brian Alfred, Aline Bouvy, Cliff Evans, eteam (Franziska Lamprecht, Hajoe Moderegger), Scott Gelber, John Gillis, Jan Nalevka, Karina Aguilera Skvirsky

    Curated by Željka Himbele and William Heath

    Three or four times a year, the planet Mercury appears to move backward in its orbit when seen from Earth. This optical illusion is referred to as Mercury retrograde. In popular astrology, Mercury retrograde marks intense periods when things go awry, signaling the need for reflection and revision of our lives. This is a time for veering away from the past and taking cautious steps forward. Mercury’s cycle has been speculated as the cause of major course corrections for society; it gives us a chance to grow as humans, to raise critical awareness, and possibly make a movement towards radical change.

    The exhibition Mercury Retrograde: Animated Realities features an international selection of artists making animated videos that focus on uncertain future. Appropriating popular culture images from television, film, web, newspaper, tabloid, and fashion magazines, the artists manipulate source materials with a variety of aesthetic approaches and montage techniques that offer reflections upon our mass media-saturated cultures. The materiality of animation allows for flattening, collaging, reduction and abstraction of the appropriated material that at once allows the absurdity of contemporary life to stand more singularly and clearly. The works collectively vibrate with an omnipresent feeling of anxiety, a kind of anxious energy that demands we consider the current paths and policies we have allowed to be chosen for us. The animations grapple with complex topics surrounding the culture of spectacle, excesses of consumption, economy and power relations in the era of globalization and interconnectedness, and reveal the artists’ simultaneous fascination with and critique of our culture, society, and politics.


  • 16.11.2012. - 21.12.2012.

    Eastern Surf: Kernel Panic Control*

    Having met during their studies in Edinburgh, four artists from Croatia, Italy and Scotland initiated the project and work methodology entitled Eastern Surf. The collaboration began with an exhibition proposal, after which one more participant joined Eastern Surf, and the collaboration itself eventually proved to be very fruitful. Eastern Surf emphasize that the number of participants is irrelevant and is, like their work, subject to constant change and expansion. At the moment, the project extends through organized events including performances, photoshoots, mass collated video work, online TV and gallery based installations, and an example of the former can be seen now in the Gallery Galženica in Velika Gorica.


  • 15.09.2010. - 17.10.2010.

    White, Yellow, Blue, and Black, one Coincidence, and one Object

    Artists: Ryan Barone , Charles Broskoski, Reynald Drouhin, Michael Kargl – aka carlos katastrofsky, Jan Robert Leegte,

    Curated by Birgit Rinagl, Franz Thalmair; CONT3XT. NET

    — [...] Then even your Abstract Paintings should convey a content? — Yes. —
    They’re not the negation of content, not simply the facticity of painting, not an
    ironic paraphrase of contemporary expressionism? — No. — Not a perversion of
    gestural abstraction? Not ironic? — Never! What sort of things are you asking?
    (Gerhard Richter, interviewed by Benjamin Buchloh)

    A reduction of structure, material, and space; if colour articulates itself,
    independently of interpretation or context—does that make it autonomous?
    Monochromacity has been considered the most essential form of abstraction,
    having provided a source of inspiration for non-figurative and nonrepresentational
    tendencies in contemporary art, these ideas need to be taken
    still further in the age of digital images. The notion of a pure medium proposed
    by twentieth-century modernism with its ideals of autonomy is increasingly being
    pushed aside by mixed media approaches: In this post-medium condition,
    however, the autonomous realms of the world of technical devices and the
    intrinsic characteristics of the world of media retain their relevance. In fact, the
    specificity and autonomy of media is growing ever more differentiated.
    [1] How
    does the media quality of a digital image determine its appearance? If the
    Internet is used as a tool for communicating artistic expression, how does that
    relate to the history of art? Which ways of reading the Internet have users
    These questions point to the fact that reflecting on this condition
    is not an end in itself, but at best an intrinsic and obvious undertaking.

    The exhibition White, Yellow, Blue, and Black, one Coincidence, and one Object
    presents eight international positions in Internet-based art that embrace
    monochromacity as a formal principle without clinging to the ideological aims
    of earlier artistic avant-gardes. The works on display implicitly address the
    deconstruction of the digital image via text (code) and explicitly ask whether, in
    the face of the present image overload, there are ways of escaping the so-called
    crisis of representation. It is therefore possible to read these abstract works of
    art as art about abstract art. Other than with the presentational medium of
    monochrome painting, their two-dimensionality, [3] which is limited by the
    browser and restricted to the screen, is not accepted as the boundary of the
    work. On the contrary, the exhibition encourages viewers to pursue the art into
    the world outside and to leave the exhibition in order to explore other contexts.
    This reference to the sociocultural context and the viewers’ response defines the
    exhibition’s political dimension. The focus is on the material, which is not solely
    necessary for the existence of these works but forms a complex system of
    implications and references to media and society. Between iconoclasm and
    image overload, autonomy and new forms of representation, the digital image
    needs to find a new position.
    It does so by reflecting upon itself and thus
    pointing to things other than itself.

    The exhibition White, Yellow, Blue, and Black, one Coincidence, and one Object
    addresses the conditions determining both the form and content of monochrome
    art works. The interaction between these closely linked levels is revealed in
    a mutual tension that arises when representing and represented, material and
    meaning come under scrutiny. Form does not become transparent with regard to
    content. On the contrary, when art is viewed it becomes unclear what the
    content is and what the object of representation is.
    [4] In the viewers’
    perception this results in an oscillation between artwork, exhibition display, and
    media references, the political dimensions of which unfold in the etheric realm
    of the space–time continuum. It is this tension arising between art and politics,
    with neither of the two representing or instrumentalizing the other, that it is
    possible for art to become political. For art to develop a political dimension it is
    therefore necessary to approach the sensory world or the arrangement of the
    original material in a way that is different from what traditional political
    categories would appear to suggest.
    [5]—Autonomy could therefore be said to
    arise from the Here and Now when art is viewed.

    In this context, The White Website (2002) and The Black Website (2002) by carry modernist trends into a digital environment: the artist
    duo has set up websites with white and black monochrome surfaces. An
    accompanying essay by Hans Ulrich Obrist puts into words what the art shows
    on the screen: To be able to maintain its significance up against the sciences
    and their picture-producing procedures, art must look for a position beyond the
    crisis of representation and beyond the image wars straight into the blind spaces
    of the black black and the white.

    Referring to Kazimir Malevich’s Black Square (1913) and his white square
    (Suprematist Composition: White on White, 1918) Michael Kargl applies
    reductionist forms to the phenomenon of obsession with science and technology:
    his webzen (2009) not only points to Nam June Paik, one of the originators of
    media art, but also paraphrases spiritually motivated strategies, which are
    mediated in the programming code on which the work is based. Charles
    , in turn, uses auto-generation to transform his personal reflections on
    opportunities for collaborating on the Internet into a collective, participatory
    process: Let’s Turn This Fucking Website (2007–2008) is the title of
    his website and also a clear instruction on what is to be done to turn a black
    monochrome surface into a yellow one. The responsibility in this time-based
    process lies entirely within the network.

    For Blue Monochrome .com (2008), Jan Robert Leegte articulates his critique of
    representation by drawing on the abundant freely available images on the World
    Wide Web. A simple zoom on the Pacific Ocean through Google Earth not only
    yields a view of a readymade—the blue, relief-like surface of the water—but also
    permits an insight into the economics of contemporary information hierarchies.
    The colour blue, that is, the colour clearly identified in art history and colour
    technology as International Klein Blue, is also the point of departure for Ryan
    Barone’s International Klein Blue (Google Monochromes)
    (2008). By presenting
    an endless sequence of eleven variants of one and the same—allegedly
    standardized—colour, which he discovered in a simple Google search, the artist
    disproves the assumption that categories like originality and authenticity count
    as parameters for digital art.

    The random appearance of hexadecimal colour codes provides the basis for
    Reynald Drouhin’s playful localization of virtual spaces, too. Deliberately ignoring
    users’ rights to free choice, he has programmed his IP Monochrome (2006) to
    generate colour surfaces on the basis of data about the location of the computer
    that is accessing his site. The resulting surfaces may be read as representations
    of the real context.

    Michael Kargl’s computer object all you can see (2008) also
    gives material form in real space to what is actually virtual. In a linear process
    lasting eight days, the artist displays all of the nearly 17 million colours that any
    computer screen is theoretically able to represent, proceeding from black to
    white, colour by colour, surface by surface, code by code, until perception
    arrives at zero.

    Birgit Rinagl & Franz Thalmair

    [1] Cf. Weibel, Peter: Postmediale Kondition (Exhibition in the context of the art fair Arco, Centro Cultural Conde Duque, Madrid), 2006, online available under:

    [2] Röbl, Marie: Abstrakte Erb- und Patenschaft. Streiflichter auf Hintergründe,
    Kategorien und Raster, in: Pfaffenbichler, Norbert and Droschl, Sandro (Hg.): Abstraction Now (exhibition catalogue, Künstlerhaus, Vienna) 2004, p. 36, online available under:

    [3] Greenberg, Clement: Modernistische Malerei, in: Harrison, Charles and Wood, Paul (eds.): Kunsttheorie im 20. Jahrhundert. Künstlerschriften, Kunstkritik, Kunstphilosophie, Manifeste, Statements, Interviews, Hatje Cantz: Ostfildern - Ruit, vol. II, 2003, p. 931-937

    [4] Rebentisch, Juliane: Zur Aktualität ästhetischer Autonomie. Juliane Rebentisch im
    Gespräch mit Loretta Fahrenholz und Hans - Christian Lotz, in: Huber, Tobias and
    Steinweg, Marcus (eds.): Inästhetik. Theses on Contemporary Art, Diaphanes,
    Zurich/Berlin, 2008, p. 116

    [5] Höller, Christian: Ästhetischer Dissens – Überlegungen zum Politisch - Werden der Kunst, in: Saxenhuber, Hedwig: Kunst + Politik. Aus der Sammlung der Stadt Wien, Springer, Vienna/New York, 2008, p. 190


    Supported by City of Velika Gorica and Ministry of Culture of Republica Croatia. Sponsored by Combis []


  • 03.12.2008. - 24.12.2008.

    Sandro Đukić, "arch_001_089_output / 2008"

    Taxonomy of technological transformation

    The exhibition of Sandro Đukić is demanding. It’s demanding for the author, but even more demanding for the audience. Not as much by its form – although certain level of technological and visual literacy is requred – as by its content, more precisely by the issues it inquires and their heaviness. One of these issues is the nature of photography as a form of art in this, more and more, digitalized world. Althoug digitalization of photography began (in its rudimentary form) more than half a century ago, recent development of technology, with particular relation to lowering costs of personal computers, storage media and digital cameras, results in two important things.

    Photography does not go through chemical processing anymore, which change its values. Not necessary in positive or negative way, but in its essence. Increasing megapixels are not necceserily technologically improving the quality of photography, but adversely excluding numerous possibilities the classic, anolog photography has to offer: from the moment of taking a photograph to developing and processing it. Of course, speed is obtained, as well as authenticity to some degree, but the question which remains unanswered (and often unquestioned) is what is lost. Question raised in mid-nineties by Critical Art Ensamble i Geert Lovink refering to information technology and digital communication is emerging in its new variant. The speed of information transfer, as well as its quantity and accessibility, is rapidly increasing, but time needed for processing remains the same – limited by human cognitive ability. Does the limitation go toward superficiality and prefering quantity over quality? In photographic discourse this question may be: Does increasing quantity of digital photographies leads to less time to observe, analize and process it visually and/or intelectually?

    Sandro Đukić is going even further. In a way he is reversing the question that Benjamin asked in the 1930s (how has photography changed art?) to make it: how has technologicaly mediated art (applied as in graphic design, but also the art market) changed photography? More and more common artistic practices transformed what was essentially an art born in print into a salon art of single pictures on walls, often incorporated in some multimedia instalation in which digitaly taken photograph is digitaly presented or screened – never getting a chance to be present in its intrinsic medium.

    What is in that proces changed in visual economy? The very notion of visual economy is developed from the work of Deborah Poole, and places emphasis on the organization of the production and exchange of images, rather than relying simply on an analysis of their visual content: The word economy suggests that the field of vision is organised in some systematic way. It is also clear that this organisation has as much to do with social relationships, inequality, and power as with shared meanings and community ... For Poole, a visual economy has three levels: the organization of production, encompassing both the individuals and the technologies that produce images; the circulation of ... images and image-objects; and the cultural and discursive systems through which graphic images are appraised, interpreted, and assigned historical, scientific, and aesthetic worth

    By removing the images from their original contexts of production and circulation, and placing them into a gallery, the visual economy that produced these images is negated or obscured in favour of a more neutral sense of the photograph as raw material or a window onto history. Whit such an action single photographs, but also their whole (in the form of photography data-base) becomes repositioned in relation to the time/place of thir origin, and at the same time in relation to the time/place of their initialy intented purpose. That is leading us to (maybe) the crucial problem of digitaly mediated photography: the question of clasification, of taxonomy. That is the question more and more essential in many branches of information and library sciences (especially in the theories of so-called semantic web), but also unavoidable one for consuments of visual images, ranging from pornophiles probing the Net in search for a distinct fetish, marketing experts deciding on media campaign’s visual images, or common people trying to handle ever biger family albums. How to find what one is looking for in the seemingly endless piles of photos (not to mention that very often they are incredibly alike each other)?

    Analogy with another problem of classification of visual material is almost inevitable. Every human fingerprints is unique (although the final scientific verdict is still awaited), but the clasification of them is a problem yet unresolved. In case of photohgraphy confirmation is much easier. Acoording to the laws of physics two objects can not occupy the same space in the same time, therefore, no matter how short exposition is, even bursted shooting allways will result with a set of very similar (to the point of concealment), but not the same photographs. System of clasification, however, can not benefit from such evidence, as analogy with the history of dactiloscopy unmistakably shows.

    An important first issue is that any one image has varied content, which may be available either consecutively or concurrently to the same or to different viewers. These multiple ways of seeing have been discussed over the years, but it’s still a very open field. It is worth noting here the contrast with textual data. While textual data can have a multiplicity of content and meaning, in terms of the discrete elements of a query, the visual and linguistic content are homologous. The fundamental building blocks of text databases are ASCII character strings representing words that have a direct semantic interpretation.

    In contrast, the pixel values making up digital images have no inherent significance. Considerable processing of the image is necessary even to infer the presence of a simple shape like a circle, let alone a complex object such as a tree. Direct comparison of image bitmaps can tell us only one thing about a given pair of images – whether they are identical or not. Nothing can be deduced about their similarity in terms of the objects they contain, or scenes they represent.
    Art history and its pertaining theories are rich in narratological, iconographic, multidiscursive and other attampts of clasification of visual material, ranging from already classics like Panofsky to contemporary, technologicaly highly sofisticated theories of Ornager and Rasmussen (among others), however there is still no universaly applicable method of catalogizing photographies, other then on a very basic, bumpy level. Neither contemporary catalogization of image types nor more traditional iconography just aren’t a match to the problem.

    Maybe the premier value of Sandro Đukić’s exhibition lay in the fact that, thorough playing with his own archive, thorough permutations and variations of its parts, excessing from one media to another, from one technique and technology to another clearly pointing to the problem itself. (Igor Marković)

    Sandro Đukić was born 1964. in Zagreb. He graduated at the Academy of Fine Arts in Zagreb in 1989. In period from 1989 to1993 he attended Art Academy in Dusseldorf (class of prof. Nam June Paik and prof. Nan Hoover). At the same academy he attended postgraduate studies (class of prof. Nan Hoover) in period from 1993. to 1994. Exhibited in Slovenia, Germany, USA, Italy, Serbia, Austria and Croatia and lectured at the numerous conferences dedicated to media art (Rijeka, Zagreb, Plasy). In 1991. he received Croatian Artist Association Award.



  • 29.10.2008. - 23.11.2008.

    Dan Oki, "The Last Super 8 mm Film"

    This is the second time that Super 8 mm film has faced artistically more propulsive media since Eastman Kodak released it in 1965. First time was when Super 8 motion picture film format was less favoured than VHS (Video Home System) technology. This happened again 20 years later, due to the increasing accessibility of high quality digital video and the advent of new distributional channels such as the Internet. Therefore, Super 8 mm film never conquered the world of film and video arts. It was predominantly used for its initial purpose of home movie format. It enabled amateurs with little technical knowledge to record and reproduce 3-minute films about highlights of their everyday lives.

    Although Super 8 was widely used in everyday life, it was a particular, almost obscure genre in film and video arts. Some of the reasons were a specific antiquary character of the picture, shooting of 18 pictures per second, frequent lack of sound etc. The artwork of Dan Oki can serve the purpose of illustrating such position of Super 8. “The Last Super 8 mm Film” is a collection of his private films shot in the period between 1986 and 2005. These films, including Dan Oki’s earliest video experiences as a young film amateur from Zadar, his wife’s performances never seen in public and everyday family life, have so far been perceived as inferior in the context of his official artistic career. Instead of well shaped narrative form, refined production and technological excellence, all these being prevailing features of his artwork, his Super 8 films, “diaries” put in chronological order, seem “unfinished and common place”. They represent the ill-defined area where private life overlaps with professional and even social lives.

    Remedialization has been a constant characteristic of media art. According to theoreticians such as Mcluhan and Manovich, insights into the process in which “technology of the past becomes the art of the future” (Mc Luhan) never lose its sharpness. When it comes to the exhibition “The Last Super 8 mm Film”, it presents a particular remedialization and it refers to the phenomenon of archives and archiving. By going through the process of transformation of Super 8 films into digital signal, Dan Oki’s films are not only adapted to reproduction on digital equipment (computer, TV screens etc.) but they are also organized as a system. According to Dew Harrison’s essay “Digital Archiving as an Art Practice” <>, practice of archiving has not been rare in the 20th century art. He pays special attention to self-archiving illustrated by the works of such artists as Art & Language group. Although this group cannot be classified as media art (but conceptual art) and its members unambiguously disassociated themselves from it throughout 1970’s, the destiny of their work “Indexes” (1972-1974) clearly showed the range of remedialization that digital technology introduced in the art culture. “Indexes” is a system with interchanging structure: in 1972, when first shown at Documenta 5 in Kassel, it consisted of 350 text sections (text fragments) derived from the texts and conversations about art written by members of the group that were organized in such a way that each section was related to every other section, thus resulting in 122,500 references. (The group members claimed that was the only way to reach the area where meanings were established and art criticism transformed into exact, not fantasy practice). The work was presented in the form of archive cabinets with indexed text fragments and wall display with charts that put those fragments into different relations. About 30 years later, translation of this work into DVD medium, of text into hypertext, provided opportunity for the Art & Language group members to treat their artwork as a document and to re-interpret it. According to Dew Harrison, digital variant of this work was inevitable.

    A similar idea of self-archiving is the subject of “The Last Super 8 mm Film”. However, the logic of data indexation is in accordance with a current shift of interest from personal computer to World Wide Web and Super 8 is adapted to so-called folksonomy, the practice and method of creating tags to annotate and categorize content. In other words, when Web 2.0 was released, a traditional method of classification became the focus of interest. The metadata of our private analogue archives often contain both chronological and subject indexing that reveal what the saved data actually is. These tags, such as “summer”, “wedding”, “first birthday”, “graduation”, “miscellaneous” etc. describe the content of the saved material. This logic was applied to Dan Oki’s film: by digitalizing the collection of Super 8 films, he organized a traditional film archive as a contemporary data basis thus using the old principle of systematization, so-called folksonomy. In this way, the exhibition visitor/ the Internet user can easily search and watch the films regardless of his/ her knowledge of the latest communication trends.

    What is the message of this re archiving? Does Oki’s digitalization of already existing archive discover something new or just cast a slightly different light on what has already been known about his artwork, art culture and media art in general? When compared to other examples of self-archiving in contemporary art and history of art criticism suggested by Dew Harrison, the first difference is the content of the systematized material. All the examples given by Harrison have been the attempts to systematize particular super-individual areas of life labeled as “culture”, “the spirit of the times”, “imaginary”, “dictionary” etc. (the title of Warburg’s project “Mnemosyne Atlas ”(1927-1929) illustrates this quite well). On the other hand, Oki’s systematization is focused on his own private and professional life that through the process of revalorization of personal history offers new contents and methods for future art practice (unlike typically (post) modern goal to correct the dominant discourses of art criticism, as was the case with Art & Language’s artwork “Indexes”). In the context of media art, where Oki’s artwork is at home, such revalorization becomes remedialization. Remedialization of “The Last Super 8 mm Film” refers to two things. First, at the level of artistic poetics his Super 8 mm films refer to often neglected thematic aspect of his works. He uses subjectivity, romantic preoccupation with himself as an artist to “soften” media art, determined by technological, economic and political factors. Many of his works support this thesis (Housekeeper (1997); “Forget, Remember and Know” (1998) etc.) Finally, his need for continuous recording of everyday life affirms the filmmaker (artist) as a centre of representational view (universe) (another possible reference to Oki’s films is Jonas Mekas’ film “Lost, lost, lost” (1976)). “The Last Super 8 mm Film” also refers to contemporary culture and the situation in which extremely personal information (birth of a child, summer holidays, daily routine including resting, eating or reading, love and marital relationships etc.) become socially relevant. Once digitalized and systematized, put into software “data-mining” operations, their informational relevance gradually increases. Although it is possible to differentiate more private from less private videos, such as those showing the members of Zagreb subculture who emigrated to Amsterdam in the early 1990’s, the fact they were made in the intimate circle of friends and not in conditions of the professional documentary production, emphasizes the privacy of Oki’s Super 8 films even more.

    Prior to digital cultural shift, art practice could have differed documents, p
    rivate archives from public archives of general importance. Nowadays, especially after Web 2.0 was released this is no longer possible. Constantly establishing and annulling the border between private and public, digitalization archives all areas of human life. In the case of Oki’s “The Last Super 8 mm Film”, digitalization casts a new light on his work on one hand and creates data basis that will become less private and more public, less his and more ours on the other. (Klaudio Štefančić)

    Dan Oki (Slobodan Jokic, 1965, Zadar) is a media artist and film author. In his work he uses the media of film and video, installation, computer arts and the Internet. His works are based on the process of researching personal, visual, and narrative contents, which demand various media forms and the ways of their presentation. During a few latest years, he has focused his interest on hybrid feature-length film and cinematographic database in the context of the new media. He realised his first exhibitions and experimental films in Zagreb between 1987 and 1989. From 1991 to 1993, he studied film and video at De Vrije Academie in Den Haag as one of Professor Frans Zwartjes’ students. In 1996 he completed his graduate (M.A.) studies in media arts at Hogeschool voor de Kunsten in Arnhem. From 1997 to 1999, he studied at the postgraduate studies in film directing and screenwriting at Maurits Binger Film Institute in Amsterdam. He belongs to the generation of artists who in 1990s worked on cinematographic databases, interactive video, CD ROM's, web art and computer animation. He teaches as Associate Professor in the field of film and video art at the University of Split Arts Academy and the University of Zagreb Academy of Drama. He has taught as a visiting professor at many academies in Europe. He was awarded the following prizes: Grand Prix Videoex 2000 for the film “Divine Beings”, Zurich; Special Award by the New Media Jury at the international Split Film Festival for the CD ROM "U okolišu himera", Split, Croatia 1999; Werkbeurs by the Netherlands Foundation for Fine Arts and Design, Amsterdam 1998.; Jury Award at the International Biennal ARTEC'97 for computer animation "The Householder", Nagoya, 1997.; The Third Award for the Experimental Film at the Croatian Film Show for the film "V moje oči letio igle", Zagreb, 1989.


  • 22.09.2008. - 12.10.2008.

    db:ae - database aesthetics

    The international exhibition db:ae – aesthetics of data basis deals with works of the artists who use new ways of systematic analysis and presentation of digital media with the help of computer data basis.

    Michael Aschauer (Austria), group UMATIC (the Netherlands), Robert Luxemburg and Jan Gerber (Germany) use archives (primarily of sound and video) and their metadata (descriptions and frames of references) in order to extend the perception boundaries from linear and chronological to systematic and hypermedia. However, the results of questionnaires applied to their data basis are not presentations of financial transactions’ statistics, business trends or material resources. They are sounds of imaginary journeys, images of non-existing landscapes or abstract graphics emerged from overlapping of the film materials.

    Michael Aschauer exhibits works about systematic filming of the banks of the river Nile ( and computer-generated landscapes that resulted from daily and weekly changes’ observation (

    Jan Gerber and Sebastijan Lutgert present their artwork on film basis created for the needs of Berlin pirate cinema program and on http://www. Pad. ma web application used for manipulation of the Indian activist documentaries’ video archive.

    Group UMATIC i.e. Derek Holzer presents the web project of DIY virtual sound space journey through the web metaphor of an aeroplane flight ( as well as gallery-based installation of slides, images and sound recordings.

    The additional introduction to the artists and the concept together with the open discussion will be held at net-club Mama (17 Preradovićeva St., Zagreb) at 7 p.m. on 23rd September 2008. Furthermore, the projections of Pirate will be held at the same place on 24th September 2008. (Željko Blaće, curator)

    Exhibition/ project is supported by:
    The City of Velika Gorica
    Ministry of Culture of Republic Croatia
    Austrian Cultural Forum, Zagreb
    Multimedia institute, Zagreb



  • 09.05.2008. - 01.06.2008.

    New Media - New Networks

    The exhibition entitled New media - New Networks is the first retrospective dedicated to the new media art and culture in Croatia. The exhibition is a result of last year’s research on new media art in Croatia proposed by Ljiljana Kolešnik (Institute of Art History from Zagreb) and conducted by Klaudio Štefančić.

    The new media art in Croatia is presented as a practice of social and artistic networking in the wider context of applying new communication technologies to old institutions of civil society, public and mass media, art and higher education. Instead of the best of presentation of the artists who have experimented with new media, we decided to represent the new media art in relation to concepts of chronology and social network.

    Distinguishing the three chronological lines – political, informatical and artistic – that began in 1990 and ended in 2005 as a background, we hope to point out particularity of new media art in Croatia in relation to international events and contemporary art. Overlapping of these three chronologies forms temporary social structures: cultural and artistic networks in which new media art has been created, produced, presented and interpreted.

    Three networks are presented with the help of four hubs.

     - BBS (Bulletin Board System) of citizen’s initiative Anti-war campaign and Zamir Transnational Net are parts of the first network. Their activities are presented in the form of archive of the mailing list.

     - Arkzin magazine and Multimedia Institute(1) from Zagreb are also parts of the first network but they are shown seperatedly: in the form of the magazine issues that can be photocopied and in the form of Marcell Mars' net artwork NRD Kit (2)

     - Media Scape(3), the art festival that used to take place in Zagreb in the period between 1993 and 1999, presents the second network in the form of Darko Fritz’s telefax action 410 Gone, which is a part of the The Internet Error Messages series.(4)

     - Department of Visual Communication Design at the Fine Arts Academy, University of Split(5), together with the International Festival of New Film(6) mark the third new media network in the form of Dan Oki and Sandra Sterle's work ““. (7)

    The low budget and the gallery space had a direct influence on the exhibition layout. Due to both reasons, the presentation of artworks has been reduced to minimum. However, the limitation on the number of exhibits enabled intertextual links, of which the reference to Arkzin’s timeline is the most prominent.

    New Media – New Networks is not a traditional retrospective exhibition. It is more appropriate to compare it to the function of hub, centre that enables connecting and participation in the network. Therefore, once you get connected the data can be added, corrected, copied, shared, deleted...

    Curator: Klaudio Štefančić



  • 02.04.2008. - 27.04.2008.


    It is difficult to say what came first, the blog or the exhibition, partly because they have the same title: kibedžezva. However, was first uploaded in July 2007 and become an official exhibition project four months later. It involves students of art history, animation and new media from Zagreb and represents the next exhibition's intro as well as an attempt to inform the Croatian public about the latest problems, tendencies and phenomena in the area of new media. Our goal is, by reblogging, to mark discursive positions for easier and more efficient interpretation of constant technological and cultural changes. For these reasons, the blog will have been updated by the end of this year.

    The exhibition entitled Kiberdžezva is mostly result of collaboration among Vjekica Buljan, Morana Matković, Petra Šešljaga and the third-year and fourth-year students at the Zagreb Fine Art Academy's Department for animation and new media. They selected artworks that referred to current problems of communicational culture of the Internet. As suggested by the artists, the most intriguing aspect of "social software" is web servers for socializing and networking cultural and art producers and distribution of their products. Although they are not the subject, Facebook, My Space or You Tube are still useful frames for understanding one part of the contemporary art production. This time, Antona Begušić, Petra Hudić, Luka Hrgović, Mirna Martini, Dina Rončević and Matea Šabić will have the honour to show their works. In order to make things more virtual, Dina Rončević's blog What do you care what "bobina" is serves as an introduction into the exhibition.