International Festival
of Computer Arts

Video Match 05: RETRO-VISION


Video Match 05: RETRO-VISION

  • 11th MFRU
  • Exhibition
Selector Univerza umetnosti Beograd
Video Match 05: RETRO-VISION

What marks artistic production nowadays is certainly a lack of a dominant model that would cover all registers of production. This pluralism opens possibilities for different connections, both within the local and the global network. If once there had been different scenes with their own strategies of presentation, then nowadays one might speak of networks and strategies of their connection. For this reason, each production nowadays includes networking as its constitutive moment. But, this easy networking also brings along the domination of uniform thought, promiscuity of signs and values and the unstoppable flow of money. RETRO-VISION offers possibilities for the connection of artists of different generations and sensibilities. It is an attempt to bring different views of our changing life into one proximity. At the same time, it is an attempt to avoid traps of uniformity and provincial inferiority as much as possible. This year, emphasis is laid on production, primarily of video works by domestic artists, which at the same time makes room for pondering our place in the global map of artistic events. The opening of this place is only possible through artistic production and the constant rethinking on the arrow of time - from where we started and where we wish to go.

Jovan Čekić

The RETRO-VISION concept has as its goal the conceptualization of works through their determination in precise time-space coordinates that function outside of dominant existing models. Determinants of topic and content have been left out. Certain references have been offered that should provide the basic framework for different approaches to working with video. RETRO-VISION is conceived as a time-line. Directions of movement within the timeline differ by certainty, changeability and presence on the past-future line. Social surroundings, ideological, family, personal - are different registries of thinking which cut through every dot on that line. In suspended motion, they blend as given, established, unchangeable. The other side of the time-line points to the will, desire or need for changing the existing, looking towards the possible and thinking in the context of the future. The visionary distancing from the certain, common - openness for the unknown - is related to the possibility of projecting oneself into the virtual, with the tendency of actualizing in the future. In current circumstances, the distinctiveness of the RETRO-VISION timeline is the social context that determines it. Transition, a period of undetermined duration, is sharpening and destabilizing the usual tension between the past and the future. The past remains too strongly in the present. The future is condensed into the shortest possible time determinants, being uncertain, cut and removed. The destabilized character of the time-line spreads like an echo to all registries, from personal to social. Every thought about the future becomes burdening, subordinated to past experience or an unfulfilled wish. The observation of the time-line through production is actualising the relation between the past and the future: RETROartistVISION. At the same time, it enables the correction of movement and consciousness-raising of the decision about determination that is derived from work with the registries of thought, from actual retro-observation to virtual distancing.

Maja Stanković

Antea Arizanović: I am... (4' 13'')

Transformacija moških v ženske, ki se sprašuje o problemu identitete. /The transformation of men to

women, questioninig the problem of identity.

Maja Rakočević: Storysellers (3' 00'')

Podobnost med načinoma pogovarjanja in smehljanja med dvema različnima človekoma: eden je

najmogočnejši človek na svetu, drugi pa njegovo nasprotje./Resemblance in the way of talking and

smiling between two different people: one is the most powerful man in the world and the other is

the opposite.

Arion Asllani: Hommage to Mr.President [George W. Bush]

(4' 22'')

Parodija narodno-zabavne skladbe, v kateri igra glavno vlogo sam umetnik./The parody of country

song in which artist himself plays main role.

Tatjana Krstevski: Ulični prodavac / The Streetsellers

(6' 40'')

Črni trg kot produkt tranzicijskega procesa v družbi./Black market as a product of transition process in


Ivana Ilić: Isti / The Same (2' 35'')

Podobnost v fizičnem izgledu ali vpliv množičnih medijev na zasebno življenje./Similarity in physical

appearance or massmedia impact on private life.

Bojana Nikolić: Dance (3' 28'')

Indijanski ples v kombinaciji z ostrimi, nadležnimi, mehanskimi zvoki predstavlja problem

samoizražanja v mehaniziranem svetu./Indian dance in combination with sharp, irritating,

mechanistic sounds marks problem of expressing oneself in mechanistic world.

Sara Oblišar, Đorđe Arambašić, Vlada Paunović: Eto sreće

/ Here comes the happiness (4' 21'')

Umetnica in njeno delo v spreminjajočem se procesu rekreacije./Artist and her work in changing

process of recreation.

Danijela Popović: Bacim se na sto čim ugledam sarmu

spremnu / I throw myself on the table soon as I see

'sarma' is ready (9' 46'')

Beograd - alternativna rap scena./Belgrade - alternative rap scene.

Ivana Smiljanić: I Spoil Everything (2' 28'')

Dve različni stanji ženske identitete./Two different states of female identity.

Milica Ružičić: Teorijska tiranija / Thirany of the

Theory (6' 38'')

Popolnoma drugačna, avtentična interpretacija nekega "umetniškega fenomena"./Completely

different, authentic interpretation of some 'artistic phenomenon'.

Ana Nedeljković: Odustajem od Zapadne Evrope / I give up

Western Europe (2' 12'')

"Moj osebni odnos do zahodne Evrope ali odnos zahodne Evrope do mene."/"My

personal attitude towards Western Europe or Western Europe's attitude toward me."