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MFRU

The world is changing, and MFRU always showcases what artists are creating. If the artists are younger, it exhibits what appeals to the younger generation, which may exclude other generations. And vice versa. Personally, I believe that the festival needs a star, an artist who can capture the interest of even the disinterested public. MFRU would have the potential for a higher profile if it persisted with its star, like Stelarc, whom we have hosted several times. If MFRU presents a wide range of works, including student projects, it demands more attention from the public, which poses a challenge. I would venture to say that artists generally don't care why the public came to the festival – noticing their work in passing is key and only positive.

You need to attract the public; it has to physically appear there. It may sound trite, but art is meant to be seen. The MFRU used to thrive on fascination; it was very exciting. Now that it's becoming commonplace, we don't feel the same level of excitement anymore. People need to get excited about something else. Creating thrill is challenging; contemporary forms of computer art now require a certain orthodoxy that is a bit distracting, a bit disconcerting. It was probably easier for us – just getting the festival going was enough, and it generated buzz.

In Maribor, our topics were less familiar to people than elsewhere. In 1998, I invited Olia Lianina, a rising star in net art who is now known as the mother of net art, to participate in the festival. The artist responded with enthusiasm. We organized a large presentation at IZUM in Maribor – let me describe it: a huge building, a vast hall, everything looked beautiful. The media covered it and interviewed her. However, at the presentation, only four festival staff members showed up. Just then, the government consultant for intermedia art (which was then still classified under theater as 'new media') happened to stop by. He was furious, questioning why we were investing in this.

This incident is symptomatic because, as far as I can see, it has been somewhat of a constant at the festival. There doesn't seem to be much of an audience. If local artists participate, younger audiences from Maribor attend. But when we bring in bigger names, it often ends in disaster. This makes me reflect on the festival's impact over these thirty years. I've questioned its existence. In my view, it does exist, but beyond the local sphere. As for its impact on Maribor itself... it seems to be minimal. Other central institutions in Maribor aren't engaging with it. MFRU remains underground. While that might sound negative, it also grants it freedom. The masses shouldn't be the sole measure.

However – during the festival, I made a GIF for Olia titled "teleportation." It was a simple yet impactful GIF, inspired by a newspaper article. It became a significant part of her body of work – a glimpse into the future. If I were to assess the impact of this GIF, I would say it was a creation, or rather an event, that reached far beyond Maribor. That's quite a success for the festival. Historic.

Locally, we have exceptional intermedia artists who deserve more recognition through these events. What's even more positive is the active involvement of women in these pursuits. There's a feedback loop in place – the number of artists and their caliber must also be a consequence of the festivals. The direction has evolved here because we've invested in it. However, there's still a tendency for separation into different streams and directions, each considering itself more important than the others. I would argue that all festivals are equally vital and should be more interconnected, especially as digital art becomes more prevalent and costly.

Comparing running a festival today to ten years ago, the expenses have significantly increased. I'm currently curating Pixxelpoint, and comparing 2014 to this year, the fees have risen by thousands of euros within a year. Do you know how much foreign artists charge for a single performance? Technological advancements entail a financial burden; even a decade ago, it was challenging. That's primarily why we collaborated with Kibla and merged with the Kiblix Festival. It made things easier for us together. The most successful festival for me was the one that completely utilized the Kibla Portal space. We could have collaborated in a way where several organizations would share the cost of hiring one piece of artwork, and the artist could then tour the whole region – it would have been beneficial for both financial and visibility reasons!

I believe that the Speculum Artium festival in Trbovlje sets a good example due to its connections with schools. During my time as curator of MFRU, these connections were relatively weak. It's regrettable, especially considering that art education in schools tends to be simplistic, almost banal. I see significant potential in enhancing the educational aspect – involving schoolchildren and students could become the core of the festival. These young individuals would mature into better adults with such involvement.

The festival certainly made commendable efforts by venturing into uncharted territories, exploring new fields, and inviting spectators to join them. With a visionary approach, we strived to transcend the familiar and the already known, delving into the realm of imagination – not in the sense of fantasy, but as an exploration of the boundaries of what's possible. However, there is always room for improvement, and the MFRU still has unrealized potential waiting to be fulfilled.