GOOD LUCK, ARCHAEOLOGISTS!

En 2016, pour célébrer ses dix années d’activités, OTTO-Prod réunit en Slovénie les œuvres d’une exposition rétrospective majeure au Musée d’Art Moderne de la ville de Maribor en Slovénie (Umetnostna Galerija Maribor – UGM). À l’occasion de l’année anniversaire du collectif marseillais et de cette décennie passée entre les deux villes, OTTO-Prod propose un commissariat nourri des réactivations de quelques projets phares produits en Slovénie, ainsi que de pièces inscrites par le collectif dans ses programmations ces dix dernières années.
Good Luck, Archaelogists! ne promet pas qu’un voyage dans le temps, mais bien une programmation d’oeuvres satellites dont le barycentre, point de ralliement des forces, se trouve être le lieu même de l’exposition : la ville de Maribor.

Aux archéologues à venir

« Que reste-t-il de l’expérience vécue par l’artiste lorsqu’il œuvre ? Une fois libérée de l’intention de son auteur, que devient-elle ? Son existence propre, marquée par un entourage, une géographie, une ère, une technicité, est-elle destinée à être découverte et constatée par le reste de l’humanité, par autant de futurs archéologues ?

Après dix années vécues aux côtés d’artistes, d’amis, d’activistes et des autres, OTTO-Prod ne sait comment retranscrire son histoire et touche à la vacuité de toute tentative de théoriser l’expérience, au-delà des mythologies. Ils préfèrent s’en remettre à l’expertise de tout un chacun, à qui ils proposent d’étudier cet art « à travers sa technique grâce à l’ensemble des vestiges matériels ayant subsisté et qu’il est parfois nécessaire de mettre au jour ». (1)
Ce grand rassemblement anniversaire propose aux visiteurs l’observation d’un écosystème dont le quadrillage sensible révèlera les artefacts ; paradoxalement, des œuvres dont les matériaux et la facture se jouent de leur époque, de la contemporanéité, et qui offrent à voir un moment de liberté.

Si cet appel s’étend à de potentiels futurs archéologues plutôt qu’aux seuls spécialistes de l’art, c’est que nous privilégions la lecture de ces artefacts dans les rapports complexes qu’ils entretiennent avec un ensemble : une société, ses modes de fonctionnement, ainsi que l’imaginaire qu’elle produit. Quitte à déstabiliser la cohérence d’un âge, il est sans doute important d’en nuancer les codes et références, lieux et esthétiques dominantes qui peu à peu s’approprient un patrimoine et ses communs. Flux et cours fluviaux, monnaies d’échanges, électricité, mouvements célestes, espaces publics, sphère intime, technologies, parole : fondamentaux dont ces artistes défendent une liberté d’accès par les mécanismes qu’ils donnent à voir.

Chers archéologues à venir, veillez ces objets dans leur ensemble à l’image d’un milieu dont il vous faudrait recréer la carte et l’histoire ; leur géographie est variable, leur migration un parcours de vie, leurs visions parfois anachroniques. Car c’est en vous témoignant de l’expérience de l’œuvre comme vécu et de sa substance brute, privilégiées à toute définition imposée, que nous vous invitons à célébrer dix ans de vie commune. »

OTTO-Prod

(1) Wikipédia, ‘Archéologie’

« Good Luck, Archaeologists! »

GROUP EXHIBITION at Umetnostna Galerija Maribor, Slovenia
PERFORMANCES / CONCERT NIGHT at CULTURAL CENTER
PEKARNA

Opening on Friday September 9th 2016
Performances & concerts on Saturday September 10th
Exibition from September 10th to November 6th 2016

In 2016, OTTO-Prod celebrates its 10th anniversary of activity in the field of art between cities of Maribor and Marseille. The group proposes an ambitious group show, gathering at Umetnostna Galerija Maribor a selection of thirty noticeable art works created during the last decade here in Slovenia and also elsewhere, together with a night of live performances and concerts at Pekarna Cultural Centre in Maribor. Good Luck, Archaeologists! is an invitation to discover a selection of contemporary works reactivated for most of it in their original city of birth, together with the artists and their new creations.

To future archaeologists

“What remains of the artist’s experience, as he creates a work? Once free of its intention, what becomes of it? There’s its existence, marked by an environment, geography, an era, technicity. But is it meant to be discovered and taken into account by the rest of humanity, as future archaeologists?

After ten years spent working with artists, friends, activists and others, OTTO-Prod was unsure of how to transcribe its history, and could see the vacuity of any attempt at theorising it, aside from mythologies. It thus decided to ask a variety of people to study this art ‘through its technique, based on a repertory of material remains which occasionally has to be revealed.’ (1)
This celebratory event gives an overview of an ecosystem whose sensitive mapping will show artefacts—paradoxically, works whose materials and fabrication make light of their time, and of contemporaneity, but provide a glimpse of liberty.

If this is a call to potential future archaeologists, and not just to specialists in the realm of art, it’s because we want to emphasise the ways in which these artefacts can be interpreted in their complex relationships with the society, its modus operandi and the collective imagination it produces. At the cost of destabilising the coherence of an age, it’s important to reconsider its codes and references, places and dominant aesthetics, which can gradually appropriate a legacy and its commons. Flows and river courses, exchange currencies, electricity, celestial movements, public spaces, private spheres, technologies, mode of expression: fundamentals whose accessibility the artists defend through the mechanisms they reveal.

Dear archaeologists to come, watch over these objects like a space whose topology and history you need to recreate. Their geography’s variable; their migration’s a journey through life; their visions are sometimes anachronistic. It’s by foregrounding the experience of the work as something lived, and its raw substance, rather than any imposed definition, that we invite you to celebrate 10 years of shared living.”

OTTO-Prod

(1) Wikipedia, french definition of ‘Archeology’

« Srečno, arheologi! »

Skupinska Razstava v UGM
PERFORMANSI / KONCERTNA NOČ v KULTURNEM CENTRU
PEKARNA

Odvoritev petek 9 september 2016
Perfomansi & koncertna noč sobota 10 september 2016 v skupinska razstava v Umetnostni galeriji Maribor od 9. septembra do 6. novembra 2016

V letu 2016 OTTO-Prod praznuje 10. obletnico umetniškega sodelovanja med Mariborom in Marseillem. Umetniški kolektiv načrtuje ambiciozno skupinsko razstavo v prostorih Umetnostne galerije Maribor, ki obsega izbor tridesetih izjemnih umetniških del, ustvarjenih v preteklem desetletju v Sloveniji in tudi drugod, ob tem pa v Kulturnem centru Pekarna organizira tudi noč performansov in koncertov v živo. Skupinska razstava je povabilo k odkrivanju izbora sodobnih umetniških del, od katerih je večina ponovno aktivirana v njihovem rojstnem kraju, ter k predstavitvi umetnikov in njihovih novih stvaritev.

Bodočim arheologom

“Kaj ostane od umetnikove izkušnje med ustvarjanjem umetniškega dela? Ko se delo osvobodinamena, kaj torej ostane? Obstoj dela, ki ga zaznamujejo določeno okolje, geografija, doba, tehničnost. Toda, ali je delu namenjeno, da ga odkrije in upošteva preostanek človeštva, bodoči arheologi?

Po desetih letih sodelovanja z umetniki, prijatelji, aktivisti in drugimi smo se v umetniškem kolektivu OTTO-Prod spraševali, kako naj svojo zgodovino zapišemo, saj smo dojeli nesmiselnost vsakršnega poskusa teoretiziranja − onkraj mitologij. Zato smo prosili različne ljudi, da preučijo našo umetnost ‘skozi prizmo tehnike, ki temelji na repertoarju materialnih ostalin in ga je občasno potrebno razkriti’. (1)
Praznični dogodek ponuja pregled nad ekosistemom, katerega občutljivo kartiranje bo prikazalo artefakte − paradoksalno − dela, katerih material in izdelava zmanjšujeta pomen njihovega časa in sodobnosti, vendar jih hkrati tudi osvobajata.

Če gre za poziv bodočim potencialnim arheologom in ne le strokovnjakom na področju umetnosti, je razlog zanj, da želimo poudariti načine, na katere tovrstne artefakte lahko interpretiramo v njihovem kompleksnem odnosu do družbe, njenega načina delovanja in kolektivne predstave, ki jo družba ustvarja. S tem ko tvegamo destabilizacijo skladnosti neke dobe, moramo preizprašati njena pravila in priporočila, prostore in prevladujočo estetiko, ki si sčasoma prilaščajo zapuščino in javno dobro: pretoke, valute, električno energijo, premike nebesnih teles, javne prostore, intimna okolja, tehnologije, načine izražanja. Vse to so temelji, katerih dostopnost umetniki zagovarjamo skozi mehanizme, ki jih razkrivamo.

Dragi bodoči arheologi, bdite nad temi objekti kot nad prostorom, katerega topologijo in zgodovino morate ponovno ustvariti! Njihova geografija je spremenljiva; njihova migracija je potovanje skozi življenje; njihove vizije so včasih anahronistične. S poudarjanjem izkušnje umetniškega dela kot nečesa, kar smo živeli, njegovega čistega jedra in ne njegove obvezne opredelitve, vas vabimo k praznovanju desetletnice skupnega umetniškega življenja.”

OTTO-Prod

(1) Wikipedija : ‘Arheologija’ francoski članek

CONFERENCE DE PRESSE
VENDREDI 9 SEPTEMBRE 2016

11h00 au Musée d’art Moderne de Maribor, U.G.M.
Conférence de presse en présence des artistes invités Gilles Desplanques, Quentin Destieu & Sylvain Huguet, Yves Duranthon, Jérôme Fino, Antonin Fourneau, Anne-Valérie Gasc, Lucien Gaudion, Jankenpopp (Pierre-Erick Lefevbre) et Zombectro (Noé Oreglia), Guillaume Brunet (La Labomédia), Yann Leguay, Pierre-Étienne Morelle, Olivier Morvan, Guillaume Stagnaro, et présentée par les artistes curateurs Luce Moreau et Paul Destieu.

PRESS CONFERENCE
FRIDAY SEPTEMBER 9^th 2016

11.00am at U.G.M., Maribor
Press conference with guests artists Gilles Desplanques, Quentin Destieu & Sylvain Huguet, Yves Duranthon, Jérôme Fino, Antonin Fourneau, Anne-Valérie Gasc, Lucien Gaudion, Jankenpopp (Pierre-Erick Lefevbre) and Zombectro (Noé Oreglia), Guillaume Brunet (La Labomédia), Yann Leguay, Pierre-Étienne Morelle, Olivier Morvan, Guillaume Stagnaro and presented by the curators and artists Luce Moreau and Paul Destieu.

NOVINARSKA KONFERENCA
PETEK 9 SEPTEMBER 2016

11.00 v Umetnostni galeriji Maribor
Na novinarski konferenci bodo prisotni umetniki in umetnice Gilles Desplanques, Quentin Destieu & Sylvain Huguet, Yves Duranthon, Jérôme Fino, Antonin Fourneau, Anne-Valérie Gasc, Lucien Gaudion, Jankenpopp (Pierre-Erick Lefevbre) and Zombectro (Noé Oreglia), Guillaume Brunet (la Labomédia), Yann Leguay, Pierre-Étienne Morelle, Olivier Morvan, Guillaume Stagnaro in umetnika/kuratorja Luce Moreau in Paul Destieu.

VERNISSAGE
VENDREDI 9 SEPTEMBRE 2016

18h00 au Musée d’art Moderne de Maribor, U.G.M.
18h30 : Burst – Performance de Pierre-Etienne Morelle
19h00 : T.o.c. – Performance de Lucien Gaudion

OPENING
FRIDAY SEPTEMBER 9^th 2016

6.00pm at U.G.M., Maribor
6.30pm: Burst – Performance by Pierre-Etienne Morelle
7pm: T.o.c. – Performance by Lucien Gaudion

ODVORITEV
PETEK 9 SEPTEMBER 2016

18.00 v Umetnostni galeriji Maribor
18.30: Burst – Performans, Pierre-Etienne Morelle
19.00: T.o.c. – Performans, Lucien Gaudion

PERFORMANCES & CONCERT
SAMEDI 10 SEPTEMBRE 2016

18h00 à Hladilnica, Centre culturel Pekarna
BABEL BOOKFIGHTING – performance participative d’Yves Duranthon avec Dare Pejić

22h00 à Dvorana Gustaf, Centre culturel Pekarna
Concert de Postcoïtum – Bertrand Wolff, Damien Ravnich
PROPAGANDA – performance de Yann Leguay
Ｗｉｎｄｏｗｓ９３– performance de Jankenpopp & Zombectro

PERFORMANCES & CONCERT
SATURDAY SEPTEMBER 10^th 2016

6.00pm at Hladilnica, Pekarna Cultural Centre
BABEL BOOKFIGHTING – performance by Yves Duranthon with Dare Pejić

10.00pm at Dvorana Gustaf, Pekarna Cultural Centre
Live by Postcoïtum – Bertrand Wolff, Damien Ravnich
PROPAGANDA – performance by Yann Leguay
Ｗｉｎｄｏｗｓ９３– performance by Jankenpopp & Zombectro

PERFORMANSI IN KONCERTI
SOBOTA 10 SEPTEMBER 2016

18.00 Hladilnica, Pekarni kulturni Center
BABEL BOOKFIGHTING – performans Yvesa Duranthona z Daretom Pejićem

Postcoïtum – koncert – Bertrand Wolff, Damien Ravnich
PROPAGANDA – performans, Yann Leguay
Ｗｉｎｄｏｗｓ９３ – performans, Jankenpopp & Zombectro

FOUAD BOUCHOUCHA
Artist-in-residence during Working Holidays 2012, Maribor, Slovenia
Gostujoči umetnik v okviru umetniškega programa Working Holidays 2012, Maribor

PIERRE-ÉTIENNE MORELLE
Artist-in-residence during Working Holidays 2014, Maribor, Slovenia.
Gostujoči umetnik v okviru umetniškega programa Working Holidays 2014, Maribor

Description d’un paysage
(Description of a Landscape)
Video 16/9 – 7.11 min – stereo sound

Panorama #1 − Paysages Topographiques is an immersive installation that Fouad Bouchoucha created in Maribor in the frame of his residency during EPK 2012. The presented videos document the making of field recording sessions taking place in Slovenian mountains; a series of blasts that echo through the singularity of each landform.

Description d’un paysage
(Opis pokrajine)
Video 16/9 – 7.11 min – stereo

Panorama #1 – Topografske pokrajine je poglobljena instalacija, ki jo je Fouad Bouchoucha ustvaril med svojim rezidenčnim bivanjem v Mariboru v času EPK 2012. Predstavljeni videi dokumentirajo nastajanje snemanja na terenu v slovenskih gorah; gre za serijo zvočnih odbojev, ki odmevajo skozi edinstvenost posameznih pokrajin.

Burst
Performance & video documentation of the performance – 2016 – rubber straps, tent, sawdust – variable dimensions

Pierre-Etienne Morelle pulls meticulously long rubber strings, hooking them step by step together with an undefined blue package located in the centre of the exhibition space. After a minutious and physical fastening, the performer sits in the heart of this installation, lying down face to the ground, getting ready for the triggering of the package. In the frame of the show Good Luck Archaeologists, this performative device will remain in the exhibition space, along with a video documentation of the performance.

Burst
(Izbruh)
Performans, video – 2016 – elastični trakovi, šotor, žagovina – različne dimenzije

Pierre-Étienne Morelle pazljivo povleče dolge elastične trakove in enega za drugim pritrdi na neopredeljen modri sveženj sredi razstavnega prostora. Po natančnem fizičnem pričvrščevanju izvajalec sede v osrčje postavitve, se z obrazom uleže proti tlom in pripravi na sprožitev svežnja. Po sprožitvi na otvoritveno noč razstave Srečno, arheologi! uprizoritvena naprava ostaja v razstavnem prostoru skupaj z video dokumentacijo performansa.

ANNE-VALÉRIE GASC & GILLES DESPLANQUES
Artists-in-residence during The Branch programme in 2009, Maribor, Slovenia
Gostujoča umetnika v okviru programa The Branch, 2009, Maribor

ANNE-VALÉRIE GASC
Artist-in-residence during The Branch program in 2009, Maribor, Slovenia
Gostujoča umetnica v okviru programa The Branch, 2009, Maribor

Overland
Series of 40 collages – 2009 – red ink stamp – 21.5 x 31.5 cm each

As guest artists in Maribor in 2009 (The Branch programme by OTTO-Prod), Anne-Valérie Gasc and Gilles Desplanques have created a series of artistic and architecture based interventions in different spots of the city. These experimentations were based on demolition protocols and emergency evacuation tactics from the city centre via the river Drava. “On deadly ground, the two artists turn aimed points into targets. They blast each of the Slovenian typical architectures by cutting the catalogue of a building contractor in thousand pieces. They illustrate effects of missile impact: the gallery becomes the ultimate focal point of their proposal.”

Overland
(Po kopnem)
serija 40 kolažev – 2009 – žigi z rdečim tušem – vsak 21.5 x 31.5 cm

Kot gostujoča umetnika v Mariboru sta Anne-Valérie Gasc in Gilles Desplanques leta 2009 ustvarila serijo umetniških in arhitekturnih intervencij na različnih lokacijah mesta. Eksperimenti so temeljili na protokolih uničenja in taktikah nujne evakuacije iz mestnega jedra v smeri Drave. “Umetnika izbrane nepremične cilje spreminjata v tarče. Z razrezom stavbnega kataloga v tisoče delčkov razstreljujeta tipične primere slovenske arhitekture. Pri tem ponazarjata učinke raketnih izstrelkov, galerija pa postane osrednja točka njune intervencije.”

194 dB
Seismogram, thermal paper, ink – 2009 – 34 x 62 cm, framed

In 2009, during the residence programme The Branch, Anne-Valerie Gasc has experimented with a site specific demolition protocol at the Hladilnica exhibition premises. The experiment took place in the context of the controversial renovations of Pekarna Cultural Centre in Maribor, planned at the time of Maribor being the European Capital of Culture 2012. The intervention was entitled 194 dB: it is level at which sound turns into a shock wave. The seismogram remains as a unique documentation of this public performance. It is a graphical record of the seismic waves going through the ground of the space during 2.8 seconds, generated by a massive blast produced by a 72000 watts powered sound system.

194 dB
seizmogram, toplotno občutljiv papir, tuš – 2009 – 34 x 62 cm, okvirjen

Leta 2009 je Anne-Valerie Gasc v kontekstu kontroverzne obnove Kulturnega centra Pekarna, ki je bila načrtovana v času Evropske prestolnice kulture 2012 v Mariboru, eksperimentirala s prostorsko specifičnim protokolom uničenja v razstavnem prostoru Hladilnice. Intervencija se je imenovala 194 dB: to je meja, ob kateri se zvok spremeni v udarni val. Seizmogram ostaja izvirna dokumentacija javne izvedbe; grafični zapis potresnih valov, ki so se prenašali po tleh prostora v času 2,8 sekunde in proizvedli sunek 72000-vatnega zvočnega sistema.

HARM VAN DEN DORPEL
Guest artist at the collective show Contre-Temps in Marseille (France), 2012
Gostujoči umetnik na skupinski razstavi Contre-Temps 2012, Marseille, Francija

YANN LEGUAY
Artist-in-residence during Working Holidays 2014, Maribor, Slovenia.
Gostujoči umetnik v okviru umetniškega programa Working Holidays 2014, Maribor

Resurrection
Videos – 2007 – mute – loop

Resurrection is a series of seven animated collages based on photos found in the Internet. Are these persons sleeping, are they drunk, dead, ghosts? The still bodies, hiding in the web’s underground (but found by the artist), are getting slowly dismantled. As ectoplasms, the dematerialised souls of these anonymous subjects begin to float away, out of their frame, away from their fate. “While the ‘net artists’ of the early 2000s designed art expressly for the web, today’s post-Internet artists work in many mediums, from painting and illustration to photography and video, using web-based content as their source material. In this vein, Berlin-based Dutch post-Internet artist Harm van den Dorpel creates not only live websites, but also tangible, three-dimensional objects, like sculptural assemblages and photo collages, that both reference and target emerging technologies.”

Resurrection
(Vstajenje)
Videi – 2007 – brez zvoka – zanka

Vstajenje je serija sedmih animiranih kolažev fotografij, najdenih na spletu. Ali osebe spijo, so pijane, mrtve, duhovi? Umetnik postopoma demontira nepremična telesa, ki se skrivajo v spletnem podzemlju (a jih je kljub temu odkril). Dematerializirane duše anonimnih posameznikov kot ektoplazme počasi odlebdijo iz svojega okvirja in zapuščajo svojo usodo. “Medtem ko so ‘spletni umetniki’ v prvih letih 21. stoletja umetniška dela oblikovali posebej za splet, današnji postinternetni umetniki delujejo v mnogih medijih, od slikarstva in ilustracije do fotografije in videa, in pri tem kot vir uporabljajo spletne vsebine. V tem smislu nizozemski postinternetni umetnik, ki živi v Berlinu, Harm van den Dorpel ne ustvarja le živih spletnih strani, temveč tudi oprijemljive tridimenzionalne objekte kot neke vrste skulpturne asemblaže in fotokolaže, ki ciljajo na nastajajoče tehnologije in se hkrati nanje nanašajo.”

Test Tone
Installation – 2016 – variable dimensions

“1000 Hz is a frequency commonly used as a test tone in audio perception experiments. Rigorous research into human sensitivity to sound and auditory thresholds has often used 1000 Hz as a reference point for determining the quietest tones a person with perfect hearing can perceive. Test tones are also commonly used for configuring audio equipment, PAs, speakers and digital audio interfaces. This frequency is also sometimes used as a test tone for radio or TV stations. Yann Leguay’s installation piece Test Tone, 1000 Hz, 33 rpm consists of a vinyl record and a record player whose respective motions have been reversed. The player, arm and stylus revolve around the static record in order to create a 1000 Hz test tone frequency, albeit with a momentary glitch at a slightly higher frequency on each revolution. The role reversal here suggests a Dadaist impulse and the contradictory deconstruction of utility proposes a re-modification of the perceptual expectations of sound in relation to the materiality from which it arises. Yann refers to himself as a ‘media saboteur’ working counter to accepted norms in auditive performances. He appropriates the utility of different kinds of media in his installations while releasing a variety of dysfunctional sound recordings. His non-conventional output includes a 7-inch record without a hole as well as performing a live disintegration of a microphone with an angle grinder.” Paul Prudence

Test Tone
(Preizkusni ton)
instalacija – 2016 – različne dimenzije

“1000 Hz je frekvenca, ki se pogosto uporablja kot preizkusni ton v zvočnih eksperimentih. Natančne raziskave človekove zvočne občutljivosti in njegovega slušnega praga so 1000 Hz pogosto uporabljale kot referenčno točko za določanje najtišjih tonov, ki jih lahko zazna oseba z odličnim sluhom. Preizkusni toni se tudi običajno uporabljajo pri konfiguraciji zvočne opreme, sistemov javnega ozvočenja, zvočnikov in digitalnih zvočnih vmesnikov. Frekvenca se včasih uporablja tudi kot preizkusni ton za radijske in televizijske postaje. Instalacija Preizkusni ton, 1000 Hz, 33 obratov/min. Yanna Leguayja sestoji iz vinilnih plošč in gramofona, ki delujejo v obratni smeri. Gramofon, ročica in igla krožijo okoli statične plošče in s tem ustvarjajo frekvenco preizkusnega tona 1000 Hz, čeprav ob občasnih motnjah z nekoliko višjo frekvenco ob vsakem vrtljaju. Zamenjava vlog po eni strani nakazuje dadaistično pobudo, protislovna uporabnost pa po drugi strani predlaga preobrazbo zaznavnih zvokovnih pričakovanj glede na materialni pomen, iz katerega izhaja. Yann se označuje za ‘medijskega saboterja’, ki deluje v nasprotju s sprejetimi normami zvočnih performansov. V svojih postavitvah si prisvaja uporabnost različnih medijev in tako ustvarja raznolike neuporabne zvočne zapise. Njegova neobičajna stvaritev vključuje 7-palčno vinilno ploščo (45 obratov/min.) brez odprtine in v živo uprizorjen razrez mikrofona s kotno brusilko.” Paul Prudence

ANTONIN FOURNEAU
Guest artist – Organizer of SlovEniarof in 2008, Maribor, Slovenia
Gostujoči umetnik v okviru festivala Sloveniarof 2008, Maribor

YANN LEGUAY
Artist-in-residence during Working Holidays 2014, Maribor, Slovenia
Gostujoči umetnik v okviru umetniškega programa Working Holidays 2014, Maribor

R R (The Headbanging Simulator)
Interactive installation – 2011 – mixed material – variable dimensions

R R is an interactive installation presented as a headbanging simulator. Two long hair wigs are available to the public, both of them are connected to a playlist of heavy rock tracks; more the public gets involved in his headbanging dance, the more intense the music gets. Left player: drum & bass. Right player: guitar & vocal. Artist Antonin Fourneau is the creator of the art fun fair ENIAROF. The festival SlovENIAROF took place in Maribor in 2007 at Pekarna Cultural Centre in Maribor. The artist created then a prototype of the participative installation R R. “Eniarof is an experimental funfair, a revisited lunapark in which the concept of amusement arcade is reconsidered with an artistic concept. The creators of each Eniarof sessions are getting inspirations from ancient and recent popular rituals, and they work considering the rules of ‘Dogmeniarof’.”

R R (The Headbanging Simulator)
R R (Simulator za hedbenganje)
interaktivna instalacija – 2011 – različni materiali – različne dimenzije

R R je interaktivna instalacija, ki predstavlja simulator za hedbenganje. Občinstvu sta na voljo dve dolgolasi lasulji, ki sta povezani s seznamom heavy rock skladb; bolj ko se občinstvo razvnema v plesu, intenzivnejša postaja glasba. Levi predvajalnik: bobni & bas kitara. Desni predvajalnik: kitara & vokal. Umetnik Antonin Fourneau je kreator umetniškega sejma zabave ENIAROF. Festival SlovENIAROF se je odvijal leta 2007 v mariborskem Kulturnem centru Pekarna, na katerem je umetnik ustvaril prototip participativne instalacije R R. “Eniarof je eksperimentalni sejem zabave, lunapark preteklosti in prihodnosti, v katerem je koncept igralnega salona zasnovan kot umetniška zabava. Ustvarjalci vsakega srečanja Eniarof črpajo navdih iz starodavnih in sodobnih priljubljenih obredov, ki delujejo po pravilih ‘Dogmeniarofa’.”

The Song of the Second Moon
Installation – 2011 – 120 LP records – 32 x 45 x 32 cm

The song of the Second Moon consists of a vertical 33 LP stack, from which few vinyl discs have been gradually pulled from their lined up covers, cutting out the linear skeleton of a dark half-sphere. The title of the installation The Song of the Second Moon refers to the cover of the front record disc. This installation has been exhibited in the solo show Zero dB (at Les Instants Chavirés, Paris) among other unplugged sound devices (speakers, LP discs, cables, etc.), eclipsing the potential of sound by a muted and evocative occupation of our surrounding space.

The Song of the Second Moon
(Pesem drugega Meseca)
instalacija − 2011 − 120 LP plošč − 32 x 45 x 32 cm

The song of the Second Moon (Pesem drugega Meseca) sestoji iz kupa pokončno postavljenih LP plošč s frekvenco 33 obratov na minuto, od katerih je umetnik nekaj vinilnih plošč postopoma povlekel iz ovitkov, ki so zloženi v liniji, in tako ustvaril linearni relief temne poloble. Naslov postavitve Pesem drugega Meseca se nanaša na naslovnico sprednje plošče. Instalacija je bila skupaj drugimi akustičnimi napravami (zvočniki, LP ploščami, kabli ipd.), ki so zatemnili potencial zvoka s pridušenim in evokativnim zasedanjem okoliškega prostora, del samostojne razstave Zero dB v galeriji Les Instants Chavirés v Parizu.

LUCE MOREAU
Co-founder of OTTO-Prod, artist-in-residence during Working Holidays 2010 and 2015, Maribor, Slovenia
Soustanoviteljica umetniškega kolektiva OTTO-Prod, Gostujoča umetnica v okviru umetniškega
programa Working Holidays 2010 in 2015, okolica Maribora

YANN LEGUAY & PACÔME BÉRU
Y. Leguay: Artist-in-residence during Working Holidays 2014, Maribor, Slovenia
Y. Leguay : Gostujoči umetnik v okviru umetniškega programa Working Holidays 2014, Maribor

Landmarks
Video series – 2010 – loop

Landmarks is a project which sets up an anamorphosis made of light marks in the landscapes around Maribor. After selecting the point of view of one landscape she will keep until the end, the artist, assisted by her team, installs mirror systems according to pre-established brands that reflect sunlight towards the lens. Various generic and geometric shapes then emerge from a commonplace landscape: a rectangle homothetic to the picture frame, a diagonal joining both ends. The areas reflected in the landscape are like so many areas of resistance, and the sunlight in its natural inclination is thus deflected and thereby transformed into a signal. The dialogue between the light source—the sun—and the photographer becomes intimate and privileged, because it is only accessible from the view originally taken. This series has been realised in Slovenia during the artist’s stay there in summer 2010, thanks to a minutious exploration of the hilly countryside around Maribor. Villages, such as Jazbine, Fram, or Kalše, appeared to be perfect environments for the Landmarks project.

Landmarks
(Mejniki)
serija videev − 2010 − zanka

Mejniki je projekt, ki iz svetlobnih znakov v pokrajinah v okolici Maribora ustvarja anamorfozo. Potem ko je izbrala določen pogled na pokrajino, ki ga ohranja do konca videa, je umetnica s podporo ekipe namestila sistem ogledal določene znamke, ki so sončno svetlobo odsevala od leče kamere. Pojavile so se različne generične in geometrijske oblike iz vsakdanje pokrajine: pravokotna homotetična lega glede na okvir slike, in diagonala, ki povezuje oba konca. Točke, ki odsevajo v pokrajino, so enake mnogim točkam odboja. Sončna svetloba se po svoji naravni težnji odbija in tako spreminja v signal. Dialog med svetlobnim virom − soncem − in fotografinjo postane intimen in privilegiran, saj je dostopen le z vidika, s katerega je nastal. Serija je nastala med umetničinim bivanjem v Sloveniji poleti 2010 in je rezultat natančnega raziskovanja hribovite pokrajine v okolici Maribora. Vasi, kot so Jazbine, Fram ali Kalše, so se izkazale kot odlična izbira za izvedbo projekta Mejniki.

The Tune the Old Cow Died of
Video of the performance – 2009 – 6:33 min (loop)

A listening session for cows played on a simple turntable and removable loudspeaker which took place in a pastoral landscape reminiscent of old Flemish paintings. The title comes from the Vernon & Burn’s record, played during the performance, which is also an English expression taken from an old rhyme:
“There was an old man, and he had an old cow, But he had no fodder to give her, So he took up his fiddle and played her the tune— ‘Consider, good cow, consider, This isn’t the time for the grass to grow. Consider, good cow, consider.”

The Tune the Old Cow Died of
(Melodija, ki je ubila staro kravo)
video performans − 2009 − 6:33 minut (zanka)

V pašni pokrajini, ki spominja na stare flamske slike, umetnika na starem gramofonskem krožniku s prenosnim zvočnikom predvajata melodijo za krave. Naslov dela je iz plošče Vernona & Burna, ki se preigrava med performansom, in je hkrati tudi kitica iz stare angleške rime:
“Nekoč je živel star mož, ki je imel staro kravo, a ni imel krme zanjo, zato je pograbil svoje gosli in kravi zaigral − ‘Razmisli, dobra krava, razmisli, to ni čas, v katerem bi rasla trava. Razmisli, dobra krava, razmisli.”

ARTIE VIERKANT
Guest artist at the collective show Contre-Temps, 2012, Marseille, France
Gostujoči umetnik na skupinski razstavi Contre-Temps 2012, Marseille, Francija

VELI & AMOS

Exposure Adjustment on a Sunset
Video HD – 2009 – mute – 35 min (loop)

“Exposure Adjustment on a Sunset by Artie Vierkant is a 35-minutes real time video of the sun going down over the ocean gradually breaks up as the camera’s ‘exposure adjustment’ algorithm struggles to keep the light constant in an image that is fading to black. What should be a calm bath for the eyes becomes increasingly, violently agitated— an accidental psychedelic light show.”

Exposure Adjustment on a Sunset
(Prilagajanje osvetlitve sončnega zahoda)
video HD − 2009 − brez zvoka − 35 minut (zanka)

Delo umetnika Artieja Vierkanta Prilagajanje osvetlitve sončnega zahoda iz leta 2009 je 35-minutni video posnetek sončnega zahoda nad oceanom v realnem času, ki se postopoma razgrajuje, ko se algoritem ‘prilagajanja osvetlitve’ trudi ohranjati konstantno svetlobo slike, ki se razblinja v črno. Kar naj bi bila blaga kopel za oči, postaja vedno bolj moteč in nasilen naključni psihedelični svetlobni spektakel.

Action Paintings
Installation – 2013 – variable dimensions

Three videos remain as the documentation of three furtive painting actions by the artistic duo Veli & Amos. The explosion of dynamite in a quiet lake, the triggering of an extinguisher next to a wall, two smoke canisters held by a dancer are the real time subjects for a painter to seize. These video shots as a whole spot and question the fragile balance between figuration and abstraction. “The works look simple and raw at first glance, but they go deeper. They question our system and the world we are living in, by showing contrasts, romanticizing problems and twisting the perception of everyday moments.

Action Paintings
(Akcijske slike)
instalacija − 2013 − različne dimenzije

Trije videi dokumentirajo tri tajne slikarske akcije umetniškega tandema Veli & Amos. Eksplozija dinamita v mirnem jezeru, sprožitev gasilnega aparata blizu zidu in dimna posoda, ki jo drži plesalec, so teme realnega časa, ki prevzamejo slikarja. Video posnetki odkrivajo in preizprašujejo krhko ravnovesje med figurativnostjo in abstrakcijo. “Dela na prvi pogled delujejo preprosto in surovo, vendar imajo globlji pomen. Z izpostavljanjem kontrastov, romantiziranjem problemov in izkrivljanjem zaznave vsakdanjih trenutkov preizprašujejo ustroj sveta, v katerem živimo.

PAUL DESTIEU
Co-founder of OTTO-Prod, artist-in-residence during Working Holidays 2010, Maribor, Slovenia
Soustanovitelj umetniškega kolektiva OTTO-Prod, gostujoči umetnik v okviru umetniškega
programa Working Holidays 2010, Maribor

Méditation sur la Méthode
(Meditation on the Method)
Video HD – 2013 – datamoshing, mute – 10 min (loop)

Méditation sur la méthode (Meditation on the Method) explores the practice of Tai-Chi- Chuan (that could be translated as ‘boxing shadow’) and based on a video found in the Internet. The work is presented as a re-edited version of the method thanks to video compression processes. The encoding of its data rate and time references is modified in order to generate corruptions of the original content and of the visual frame according to the sequence of movements executed by the martial master. Méditation sur la méthode reveals a concrete representation of the encounter between body, space and movement. Thanks to the erratic video encoding method, the work proposes to capture and visualize the mechanism of different flows in play.

Méditation sur la Méthode
(Meditacija na metodo)
video HD − 2013 − kompresijski artefakt, brez zvoka − 10 minut (zanka)

Meditacija na metodo raziskuje vadbo tai chi chuan (dobesedni prevod se glasi ‘senca, ki boksa’) in temelji na videu s spleta. S kompresijo video zapisa je prikaz vadbe predstavljen v novi montaži. Z modificiranim kodiranjem hitrosti prenosa podatkov in časovnih razmerij umetnik popači izvirno vsebino in slikovni okvir glede na zaporedje gibov, ki jih zvaja mojster borilne veščine. Meditacija na metodo odkriva dejanski prikaz interakcije med telesom, prostorom in gibom. Delo z nepredvidljivo metodo kodiranja zajema in vizualizira mehanizme različnih sekvenc izvajanja.

JÉRÔME FINO IN COLLABORATION WITH ARNAUD RIVIÈRE
Guest artist at L’Improbable Vadrouille 2011, Maribor, Slovenia
Gostujoči umetnik v L’Improbable Vadrouille 2011, Maribor

PAUL DESTIEU
Co-founder of OTTO-Prod, artist-in-residence during Working Holidays 2010, Maribor, Slovenia
Soustanovitelj umetniškega kolektiva OTTO-Prod, gostujoči umetnik v okviru umetniškega
programa Working Holidays 2010, Maribor

E-Drumming Is Not a Crime
Sound installation – 2014 – video, headphones – variable dimensions

Jérôme Fino, author of the films Eyes for Ears (ongoing since 2006), follows the performer Arnaud Rivère in the streets of different cities. Behind his electronic drum kit, Arnaud Rivière, is performing a surprising live beat wearing headphones. His original overdriven sound, non-existent for the passers-by, is recorded and then edited together with the video material. The work questions the notion of surrounding noise within public space.
E-Drumming Is Not a Crime is a collaborative work between the video artist Jérôme and the musician Arnaud Rivière. A. Rivière’s practice is based on free improvisation since the late 1990s, using different rudimentary electronic devices. In E-Drumming Is Not a Crime, he performs on a self-powered 12 V electronic drum kit wearing headphones, in different street locations without any other audience but himself. The urban surrounding is included in his approach, facing the rhythm of the city itself. E-Drumming Is Not a Crime finally releases his energy, his intensity and physical involvement, along with his appeal for ‘nonsense’, enabling a combination of drama and comedy. Silent wanderings.

About Arnaud Rivière: Using various primitive electronics from a repaired turntable (pickup) and a prepared-mixer to a electronic customized drum kit, Arnaud Rivière practises free improvisation, plays noise and noises, acting solo, in groups and through collaborations, since the late 1990s.

E-Drumming Is Not a Crime
(E-bobnanje ni zločin)
zvočna instalacija – 2014 – video, slušalke – različne dimenzije

Jérôme Fino, avtor filmov Eyes for Ears (predvajanih od leta 2006), spremlja izvajalca Arnauda Rivièra na ulicah različnih mest. Arnaud Rivière na svojem setu bobnov v živo izvaja presenetljiv ritem in pri tem nosi slušalke. Izvorno precej popačen zvok, ki ga mimoidoči ne zaznajo, umetnik posname in naknadno montira z video materialom. Delo preizsprašuje pomen okoljskega hrupa v javnih prostorih. E-bobnanje ni zločin je skupna staritev video umetnika Jérôma in glasbenika Arnauda Rivièra. Rivièrovo izvajanje že od poznih 90. let temelji na prosti improvizaciji, pri kateri uporablja osnovne elektronske naprave. V delu E-bobnanje ni zločin Rivière na različnih uličnih lokacijah in brez občinstva igra na 12-voltnem samopolnilnem elektronskem setu bobnov s slušalkami na ušesih. Urbano okolje se vklaplja v njegov pristop soočanja z ritmom mesta. E-bobnanje ni zločin končno sprosti umetnikovo energijo, silovitost, fizični napor in njegovo pozivanje k ‘nesmislu’ ter s tem ustvarja kombinacijo drame in komedije. Tiho popotovanje.”

O Arnaudu Rivièru izvaja prosto improvizacijo, hrup in šume z različnimi preprostimi elektronskimi napravami, kot so popravljen gramofonski krožnik (odjemnik), predelan mešalnik ali prilagojen set elektronskih bobnov. Od poznih 90. let deluje v lastni postavi, skupinah in na projektih.

Archive d’une frappe
(Archive of a Hit)
Modèle #1 (hi-hat, snare drum and tom tom solo by Damien Ravnich)
PLA 3D-print − 2015 − variable dimensions

The project Archive d’une Frappe (Archive of a Hit) gathers a series of polymorphous creations, resulting from the capture and the motion analysis of a drummer, focusing on the emerging tensions between the musician and his instrument. “Archive d’une frappe is a research cycle questioning the materialisation of sound and musical forms. The project undertakes several collisions between physical and sound structures, calling visual practices and contemporary media for a sensitive interpretation of music languages. […] This experiment enables the unfolding of a given gesture in space and time; drumsticks sequencing time through the performed rhythm and sound through its physical output. Each of the successive steps along the production process proposes a gradual digital appropriation from a unique gesture. Once captured, synthetized and 3D-printed, the hit is extracted as a physical counterform both from the interpreter and the instrument. The archive gathers a series of these shifting processes, between listening and sight.”

Archive d’une frappe
(Arhiv udarca)
Model #1 (solo Damiena Ravnicha na činelah, malem bobnu in tom-tomu)
PLA 3D-tisk − 2015 − različne dimenzije

Projekt Arhiv udarca združuje serijo polimorfnih stvaritev, ki izhajajo iz analize prikaza in gibanja bobnarja in se osredotočajo na porajajoče se napetosti med glasbenikom in njegovim glasbilom. “Arhiv udarca je raziskovalni cikel, ki preizprašuje udejanjanje zvoka in glasbenih oblik. Projekt se loteva različnih trkov med fizičnimi in zvočnimi strukturami in poziva k senzibilni interpretaciji glasbenih jezikov skozi vizualno prakso in sodobne medije. […] Eksperiment ponuja razlago določene kretnje v času in prostoru: bobnarske palice določajo zaporedje časa skozi izvajani ritem in zvoka skozi fizično realizacijo. Vsak od zaporednih korakov produkcijskega procesa ponuja digitalno prisvajanje edinstvene kretnje. Ko se udarec zajame, sintetizira in izdela s 3D-tiskalnikom, pridobi fizično obliko tako izvajalca kot glasbila. Arhiv shranjuje serijo procesov, ki se izmenjujejo med poslušanjem in gledanjem.”

OLIVIER MORVAN
Guest artist in La Vitrine N°5, Pekarna, 2007, Slovenia
Gostujoči umetnik programa La Vitrine N°5, Pekarna, 2007, Maribor

YANN LEGUAY
Artist-in-residence during Working Holidays 2014, Maribor, Slovenia
Gostujoči umetnik v okviru umetniškega programa Working Holidays 2014, Maribor

Morituri
Series of drawings – 2015 – Ink on paper – variable dimensions

The escapological project by french artist Olivier Morvan is endless and borderless: simultaneously thread & labyrinth, crime & investigation, shovel & hole. Blending into the same chorus the single voice of fugitive and pursuer, delinquent and figure of authority, patient and asylum, Morvan explores power relations and instruments of control, just as he might explore leaks and holes in the walls. This open-ended workshop slowly exhumes the skeleton of a pulp fiction narrative or tale.

Morituri
serija risb – 2015 – tuš na papirju – različne dimenzije

Eskapološki projekt francoskega umetnika Olivierja Morvana je neskončen in brezmejen: hkrati vodilo & labirint, zločin & preiskava, lopata & jama. Ko se posamezni glasovi ubežnika in zasledovalca, prestopnika in predstavnika oblasti, varovanca in psihiatrične bolnišnice spojijo v isti zbor, Morvan raziskuje razmerja moči in inštrumente nadzora, kot bi raziskoval luknje in razpoke v zidu. Časovno neomejena delavnica počasi izkopava okostje pripovedi ali zgodbe iz zakladnice literarnega šunda.

Trapset
Installation – 2014 – sound speakers, wires, amplifiers, digital programme − variable dimensions

The project Trapset by Yann Leguay has been produced and exhibited by OTTO-Prod in the frame of the residence programme at the Cultural Centre Pekarna, during summer 2014.
Trapset is a rudimentary electro-drum prototype made of transformed second hand speakers and available to the public. Its DIY (do it yourself) nature alters our common behaviour with such usual equipment. By switching the original function of these products, the hack is as immediate as simple, a subversion of passive consumer habits turned into the potential of a performance.

Trapset
instalacija – 2014 – zvočniki, kabli, ojačevalniki, digitalni program − različne dimenzije

Projekt Trapset Yanna Leguayja je kolektiv OTTO-Prod kot producent poleti 2014 razstavil
v okviru rezidenčnega programa v Kulturnem centru Pekarna.
Trapset je elementarni prototip električnih bobnov, sestavljen iz predelanih rabljenih zvočnikov, ki so na voljo občinstvu. Njegova ‘naredi-sam’ narava spreminja naše običajno rokovanje s tovrstno opremo. S spremembo izvirne funkcije izdelkov je vdor v njihovo namembnost takojšen in preprost; prevrat pasivnih potrošniških navad se spreobrne v potencialni performans.

LA LABOMEDIA
Guest artists during Sloveniarof in 2008, Maribor, Slovenia
Gostujoča umetnika v okviru festivala Sloveniarof 2008, Maribor

MAXIME BERTHOU & LOUISE DRUBIGNY
M. Berthou : Co-founder of OTTO-Prod.
L. Drubigny : Artist-in-residence during Working Holidays 2014, Maribor, Slovenia.
M. Berthou : soustanovitelj umetniškega kolektiva OTTO-Prod
L. Drubigny : gostujoča umetnica v okviru umetniškega programa Working Holidays 2014,
Maribor

Projet Bidons
(floated projects)
Performance – 2015

The Projet Bidons is an artisanal raft made out of assembled beer barrels (floats) and a PVC deck. Both robust and light, its structure has to carry two passengers on-board with sensitive digital data and leaks from the media lab Labomedia based in Orleans, down to the hack lab Ping, based in Nantes. A raft trip lasting more than ten days and a three hundred km long shipping down the Loire River.

Projet Bidons
(Plavajoči projekti)
performans – 2015

Plavajoči projekti je obrtniško izdelan splav, sestavljen iz pivskih sodčkov in plastične palube. Robustna in lahka struktura na krovu prevaža dva potnika z občutljivimi digitalnimi podatki, ki uhajajo iz medijskega laboratorija Labomedia s sedežem v Orleansu v smeri hekerskega laboratorija Ping s sedežem v Nantesu. Tristo kilometrov dolga plovba vzdolž reke Loire traja več kot deset dni.

5/10
Installation – 2011 – Screen printed banknotes – variable dimensions

5/10 is the result of a collaboration between Monsieur Moo and the art-printmaker Louise Drubigny during a residence at Tchikebe, Les Éditions du Tingre, Marseille. This project consists of twenty editions of a ‘5 euros’ screen printed over the front of authentic ‘10 euros’ banknotes. Under the appearances of a high technical print counterfeit, usually meant as an artisanal and illegal wealth production, the artists lead a symbolic operation of currency depreciation, letting the back of the ‘10 euros’ note untouched. The project stresses the paradigm of currency within society: a fragile balance between symbolic and economic values.

5/10
instalacija – 2011 – bankovci v sitotisku – različne dimenzije

Instalacija 5/10 je rezultat sodelovanja med umetnikom z vzdevkom Monsieur Moo in grafično umetnico Louise Drubigny med rezidenčnim bivanjem v umetniškem ateljeju Tchikebe založbe Les Éditions du Tingre v Marseillu. Projekt sestoji iz dvajsetih izvodov 5-evrskega bankovca v sitotisku, natisnjenega čez sprednjo stran avtentičnega 10-evrskega bankovca. Pod videzom visokotehnološkega odtisa ponaredka, ki je običajno namenjen rokodelskemu in nezakonitemu kopičenju bogastva, se umetnika posvečata simbolnemu dejanju razvrednotenja valute, saj zadnja stran 10-evrskega bankovca ostaja nedotaknjena. Projekt poudarja paradigmo valute znotraj družbe, ko gre za krhko ravnovesje med simbolično in ekonomsko vrednostjo.

JANEZ JANŠA, JANEZ JANŠA & JANEZ JANŠA
Guest artists at the collective exhibiton Refonte, 2015, Marseille, France
Gostujoči umetniki na skupinski razstavi Refonte 2015, Marseille, Francija

All About You
Installation – 2016 – variable dimensions

In May 2013, the Nigerian National Identity Management Commission (NIMC) and MasterCard announced as part of a pilot programme the rollout of 13 million Master-Cardbranded National Identity Smart Cards with electronic payment capability: the new multipurpose identity card which had 13 applications including MasterCard’s prepaid payment technology. The enrolment process involved the recording of an individual’s demographic data and biometric data, which would provide the basis for a ‘National Identity Database’. Around the same time, the United Bank for Africa (UBA) announced the ‘All About U’ Debit MasterCard: a personalized debit card which allows Customers to carry around their fond memories while using their Debit Cards. Deputy UBA Managing Director Mr. Kennedy Uzoka said: “We are giving you something to own—a card that truly reflects your own personality. You do not need a bank logo, but your personal logo or identity”; and he concluded: “Using design software which seamlessly integrates with the bank’s card management system, the UBA ‘All About U’ card perfectly blends the UBA brand with the customer’s creative imagination, making the customer a ‘partner-in-design’ while creating a sense of loyalty and enhancing affinity.” In February 2015, borrowing the title from the name of the UBA debit card, the three Slovenian artists Janez Janša, Janez Janša, and Janez Janša started All About You, a project that takes advantage of the personalized card service offered by their bank: Nova Ljubljanska Banka. Each of them magnified the image of his ID-card tenfold, then partitioned it into a hundred equal parts, and finally started applying for a new personalized Visa®, Maestro® and MasterCard® every week. Each request was subjected to the scrutiny of bank’s employees who could accept or deny the submitted image in accordance with what is stated in the bank’s image guidelines. This turned the production into a time-based relational performance where the relation between the artist and the producer coincided with the relation between the bank’s customer and his bank. The triptych All About You is a specific kind of ready-made that brings up several social and subject/object relations, such as money circulation, artwork status, identification and citizenship. We could say it represents a “self-portrait as a citizen” with the Republic of Slovenia used as a mirror.

All About You
(Vse o tebi)
instalacija – 2016 – različne dimenzije

Maja 2013 sta nigerijska komisija za upravljanje identitet National Identity Management Commission (NIMC) in MasterCard napovedala lansiranje pilotnega programa uvedbe 13 milijonov nacionalnih pametnih osebnih izkaznic znamke MasterCard, ki vključujejo možnost elektronskega plačevanja, tj. program uvedbe nove večnamenske osebne izkaznice, za izvedbo katerega je bila med trinajstimi prijavami izbrana MasterCardova predplačilna tehnologija. Proces včlanitve je vključeval evidentiranje posameznikovih demografskih in biometričnih podatkov, ki naj bi bili podlaga za «nacionalno identitetno bazo podatkov». Ob približno istem času je banka United Bank for Africa (UBA) napovedala plačilno kartico MasterCard z imenom ‘All About U’ (Vse o tebi), tj. personalizirano plačilno kartico, ki omogoča, da stranke ob njeni uporabi s sabo nosijo svoje drage spomine. «Dajemo vam nekaj, kar bo samo vaše,» je rekel namestnik izvršnega direktorja UBA Kennedy Uzoka, «kartico, ki bo resnično izražala vašo lastno osebnost. Ne potrebujete bančnega logotipa, ampak osebni logotip ali identiteto.» Sklenil je: «Z uporabo oblikovalske programske opreme, ki se gladko združi s sistemom za upravljanje kartic, se kartica ‘All About U’ v znamki UBA povsem zlije z ustvarjalno domišljijo stranke, s čimer stranka postane ‘partner pri oblikovanju’, kar ustvari občutek zvestobe in poveča naklonjenost.» Februarja 2015 so trije slovenski umetniki Janez Janša, Janez Janša in Janez Janša, ki so si ime izposodili pri plačilni kartici UBA in dobesedno interpretirali besede Kennedyja Uzoke, začeli projekt Vse o tebi, ki izkorišča storitev personalizacije kartic, na voljo pri njihovi banki: Novi Ljubljanski banki. Najprej je vsak desetkrat povečal sliko svoje osebne izkaznice, povečano sliko razdelil na sto enakih delov, potem pa začel tedensko vlagati prošnje za novo personalizirano kartico Visa®, Maestro® in MasterCard®. Vsaka prošnja je bila podvržena skrbnemu pregledu bančnih uslužb

QUENTIN DESTIEU & SYLVAIN HUGUET
Guest artists at the collective exhibitons Refonte and OCCUR, 2015, Marseille and Paris, France
Gostujoča umetnika na skupinskih razstavah Refonte in OCCUR, 2015, Marseille in Pariz, Francija

YANN LEGUAY
Artist-in-residence during Working Holidays 2014, Maribor, Slovenia
Gostujoči umetnik v okviru umetniškega programa Working Holidays 2014, Maribor

Opération pièces jaunes
(Small Coins Campaign)
Installation – 2013 – melted euro cents – variable dimensions

Opération pièces jaunes (Small Coins Campaign) is a series of arrowheads made out of coins. 1, 2, 5, 10, 20 and 50 cents of euro coins melted and moulded, thus appropriating thousand-year old techniques of weapon fabrication with copper, steel and aluminium alloy.

Between contemporary archaeology and anachronic gesture, this small coin devaluation campaign changes our currency into a simple utilitarian tool. This transformation gives our small coins their supremacy back. The citizens return to the Bronze Age, opposing natural to social state in the fierce contemporary time of ‘economic war’.

Opération pièces jaunes
(Kampanja majhnih kovancev)
instalacija – 2013 – taljeni evrski centi – različne dimenzije

Kampanja majhnih kovancev je serija osti puščic, narejenih iz kovancev. 1-, 2-, 5-, 10-, 20- in 50-evrski centi se stalijo in preoblikujejo po vzoru tisoč let stare tradicije izdelave orožja iz zlitin bakra, jekla in aluminija.

Nekje med sodobno arheologijo in anahronično gesto kampanja razvrednotenja majhnih kovancev naš denar spreminja v preprosto uporabno orodje. Transformacija kovancem vrača njihovo premoč. Državljani se vrnejo v bronasto dobo in v krutem sodobnem času ‘gospodarske vojne’ se naravno sooča s socialno državo.

Hardware
Hand-engraved stone series – 2013 – variable dimensions

Hardware is a series of hand engraved stones, collected during hikes and engraved by Yann Leguay while guest artist at Skaftfell residency art centre in Seydisfjordur, Iceland. Most of these stones were brought back and remain in their original locations after engravement, disseminating anachronical and time confusion as each of them carries a different contemporary code extracted from the digital era.

Hardware
(Hardver)
serija ročno graviranih kamnov − 2013 − različne dimenzije

Hardver je serija ročno graviranih kamnov, zbranih med pohodom, ki jih je Yann Leguay graviral med rezidenčnim bivanjem v umetniškem centru Skaftfell v Seydisfjorduru na Islandiji. Večino teh kamnov je umetnik po graviranju vrnil na izvorno mesto, kjer razširjajo časovno zmedo, saj vsak od njih nosi drugačno sodobno kodo, pridobljeno v digitalni dobi.

LUCE MOREAU
Co-founder of OTTO-Prod, artist-in-residence during Working Holidays 2010 and 2015, Maribor, Slovenia
Soustanoviteljica umetniškega kolektiva OTTO-Prod, Gostujoča umetnica v okviru umetniškega
programa Working Holidays 2010 in 2015, okolica Maribora

PAUL DESTIEU
Co-founder of OTTO-Prod, artist-in-residence during Working Holidays 2010, Maribor, Slovenia
Soustanovitelj umetniškega kolektiva OTTO-Prod, gostujoči umetnik v okviru umetniškega
programa Working Holidays 2010, Maribor

Les Palais
(Palaces)
Prototype of a sculpture to be made by bees – 2015 – beeswax, wooden frames, inox cable
120 x 90 x 15 cm

Les Palais (Palaces) is a sculptural bio-art project extracted from the research cycle entitled Nature ordonnée. The artist worked with Slovenian bees to work out their own wax organisations, starting with the architecture plans of socialistic utopian buildings, such as the Phalanstère by Charles Fourier. Contrasting with the undisputed and wild ‘natural order of things’, Nature Ordonnée (Ordered nature) proposes interactions with natural living systems by experimenting different reflexes. The project focuses on fascinating natural phenomena, such as bee organisms and eusociality, leading diverse processes towards disrupted results and questioning how instincts could possibly react to human models.

“[…] One must also question anthropocentrism through the exploration of geometrical cosmoses. She proposes structures conceptualised by man, but where bees apply their rationalisation in their construction. Luce Moreau suggests a geometrical base corresponding to the laws discovered in nature by humans, taking a cosmic order, but the bees apply to it their own cosmos. According to her: ‘We then look at the constructions in return, still according to our own cosmos. The artistic dimension opens up here, it is beyond human design and its anthropocentric functionalism. In actual fact, the patterns are separated by a radical alterity.’” Makery (extract) by Ewen Chardronnet

Les Palais
(Palače)
prototip skulpture, ki jo ustvarijo čebele – 2015 – čebelji vosek, leseni okvirji, nerjavna jeklena
vrv – 120 x 90 x 15 cm

Palače so skulpturni projekt na področju bioumetnosti, ki je del raziskovalnega cikla z naslovom Nature ordonnée (Urejena narava). Umetnica je preučevala slovenske čebele, da bi oblikovala njihovo voščeno strukturo na podlagi arhitekturnih načrtov utopičnih zgradb, kot je falanster Charlesa Fourierja. V nasprotju z ‘naravnim redom stvari’, kateremu ni možno ugovarjati ali ga obvladati, ‘Urejena narava’ skozi preverjanje različnih odzivov predlaga interakcije z naravnimi življenjskimi okolji. Projekt se osredotoča na očarljive naravne pojave, kot so čebelji organizmi in socialni ustroji živali, kjer različni procesi vodijo do potvorjenih rezultatov in preizprašujejo, kako bi se živali nagonsko odzivale v vsiljenem redu človeka.

«[…] Z raziskovanjem geometričnih vesolij moramo preizprašati tudi antropocentrizem. Umetnica ponuja strukture, ki jih je zasnoval človek, a čebele v svojo strukturo vnašajo lastno racionalizacijo. Luce Moreau predlaga geometrično osnovo, ki ustreza zakonitostim, ki jih je človek odkril v naravi in sledijo kozmičnemu redu, toda čebele vanj vnašajo svoje lastno vesolje. ‘In potem te konstrukcije še vedno opazujemo v skladu z našimi lastnimi predstavami o vesolju. Na tem mestu se odpira umetniška dimenzija, ki je onkraj človekovega oblikovanja in antropocentričnega funkcionalizma. Vzorce pravzaprav ločuje radikalna drugost’, pravi umetnica.» Makery (izvleček), Ewen Chardronnet

Fade-Out
Video HD – 2011 – sound – 12 min (loop)

Fade-out is a technical term both used in cinema and sound as a transition or an end: the decrease of a signal until silence or complete disappearance. The scene focuses on the progressive burying of a drum set under a gravel flow where each impact is amplified and recorded as crashing on the different instrument’s parts. The sequence proposes the immersive experience of a raw technical process, by materializing the transition between two states. The flow produces a rhythm section which slowly turns into a sound and visual chocking.

Fade-Out
(Izzvenevanje)
Video HD – 2011 – zvok – 12 min (zanka)

Fade-out (Izzvenevanje) je strokovni izraz, ki se uporablja v kinematografiji in zvoku in označuje prehajanje ali konec: pojemanje signala, dokler ne nastopi tišina oziroma signal popolnoma ne izgine. Prizorišče prikazuje postopno pokopavanje seta bobnov pod padajočim gramozom, kjer se vsak udarec na posamezne dele glasbila ojača in posname. Sekvenca podaja izkušnjo surovega tehničnega procesa, pri katerem se materializira prehajanje med dvema stanjema. Padanje gramoza ustvarja ritmično sekcijo, ki se počasi spreminja v zvočno in vizualno zagozditev.

FOUAD BOUCHOUCHA
Artist-in-residence during Working Holidays 2012, Maribor, Slovenia
Gostujoči umetnik v okviru umetniškega programa Working Holidays 2012, Maribor

LUCE MOREAU
Co-founder of OTTO-Prod, artist-in-residence during Working Holidays 2010 and 2015, Maribor, Slovenia
Soustanoviteljica umetniškega kolektiva OTTO-Prod, Gostujoča umetnica v okviru umetniškega
programa Working Holidays 2010 in 2015, okolica Maribora

La Boucle d’Hilbert
(Hilbert’s Buckle)
Sculpture – 2013 – cement, plexiglass and metal – rotating 1 tour / 10 min

La Boucle d’Hilbert (Hilbert’s Buckle) is a clear cylinder half-filled with sand. By slowly rotating on itself, the cylinder shapes an endless series of mountainous landscapes. This continuous and serial process, which never produces an identical resulting pattern, finds a direct connection with the accumulative loops of transcendental music.

La Boucle d’Hilbert
(Hilbertova zanka)
skulptura − 2013 − cement, pleksi steklo in kovina − 1 niz rotira 10 minut

Hilbertova zanka je prozoren valj, do polovice napolnjen s peskom. S počasnim samostojnim rotiranjem valj oblikuje neskončno serijo gorskih pokrajin. Neprekinjen serijski postopek, ki nikoli ne ustvari enakega končnega vzorca, se neposredno povezuje z akumulativnimi zankami transcendentalne glasbe.

Volta
Video HD – 2011 – mute – 71 min

Volta is a ‘real time’ video shot at the space Observatory of Haute-Provence in France. The surrounding nocturnal landscape is filmed on a specific tripod which counter-balances the rotational movement of the Earth, as if it was without gravity; the video shows a seventy minutes travelling, the Earth progressively slipping off-camera. “Volta gives a static point of view on our moving planet. The project’s particularity is the use of a motorized equatorial mount initially used by scientists for astronomical imagery. This simple tool’s motorized axis follows the exact rotation of the Earth. It thus compensates for the planet’s rotation (our own imperceptible movement) and makes it possible to study the stars in paradoxical lack of movement. While our well-known landscapes are slowly slipping out of frame, the stars in the sky keep stationary, as does the viewer’s sight of Volta, a new and weightless view on Earth.”

Volta
video HD − 2011 − brez zvoka − 71 minut

Volta je video, posnet v realnem času v vesoljskem Observatoriju Haute-Provence v Franciji. Nočna pokrajina okolice je posneta na posebnem trinožnem stativu, ki izravnava rotacijsko gibanje Zemlje, kot bi bila brez težnosti. Video prikazuje sedemdesetminutno potovanje, pri čemer Zemlja postopoma zdrsi iz kadra kamere. “Volta ponuja statičen pogled na gibanje našega planeta. Posebnost projekta je uporaba motorizirane ekvatorialne montaže, ki jo znanstveniki prvotno uporabljajo za astronomske posnetke. Os te preproste naprave je vzporedna z osjo vrtenja Zemlje. Tako izravnava vrtenje planeta (naše lastno nezaznavno gibanje) in omogoča proučevanje zvezd, paradoksalno v pomanjkanju gibanja. Medtem ko znane pokrajine počasi drsijo iz kadra, zvezde na nebu mirujejo in prav tako pogled opazovalca Volte − novega, breztežnega pogleda na Zemljo.”

GUILLAUME STAGNARO
Artist-in-residence during Working Holidays 2013, Maribor, Slovénie
Gostujoči umetnik v okviru umetniškega programa Working Holidays 2013, Maribor

GUILLAUME STAGNARO
Artist-in-residence during Working Holidays 2013, Maribor, Slovénie
Gostujoči umetnik v okviru umetniškega programa Working Holidays 2013, Maribor

Schémas de principe
(Proof of Concept)
Installation – 2016 – variable dimensions

Schémas de principe (Proof of Concept) gathers a series of prototypes or experimentation steps excavated from Guillaume Stagnaro’s studio and developed for the last fifteen years, in the frame of commissioned works by different artists, for art students or for his personal projects. A selection of four of these works, originally developed for the purpose of other artists, is disseminated within the exhibition Good Luck, Archaeologists! Each of these ‘extracted’ pieces is presented by itself, free from their final state of objects and standing for their independent beings.
– Machine à jouer de la guitare (Guitar player machine) is an electro-mechanical device based on an arm that replicates the movement of a hand while strumming the strings of a guitar.
– Machine à larguer de la poudre (Powder dropping machine) is a polystyrene box equipped with a countdown timer and a hatch enabling its content dropping at any time of the exhibition.
– Machine à lire du morse (Morse code player machine) is an electronic switch that is able to turn any connected electrical device into a Morse message transmitter.
– Machine à rendre la vie à des objets morts (Dead objects raising machine) is a plug-in device that enables the animation of objects thanks to random vibrating.

Schémas de principe
(Načelo dokaza)
instalacija − 2016 − različne dimenzije

Načelo dokaza združuje serijo prototipov ali eksperimentalnih korakov, odkritih v studiu Guillauma Stagnara, ki jih je v okviru naročenih del pri različnih umetnikih v preteklih petnajstih letih razvijal za študente umetnosti ali za lastne projekte. Izbor štirih del, izvirno zasnovanih za potrebe drugih umetnikov, tvori del razstave Srečno, arheologi! Vsak od ‘ekstrahiranih’ kosov je predstavljen zase, osvobojen končnega stanja objekta in postavljen kot neodvisen predmet.
– Machine à jouer de la guitare (Stroj za igranje kitare) je elektromehanična naprava v obliki ročke, ki oponaša gibanje roke med brenkanjem po strunah kitare.
– Machine à larguer de la poudre (Stroj za sipanje praška) je škatla iz stiroporja, opremljena z uro za odštevanje in loputo, ki se med razstavo odpira ob želenem času.
– Machine à lire du morse (Stroj za oddajanje Morsejeve abecede) je elektronsko stikalo, ki lahko vsako povezano električno napravo spremeni v oddajnik sporočila v Morsejevi abecedi.
– Machine à rendre la vie à des objets morts (Stroj za dviganje predmetov od mrtvih) je vtična enota, ki z naključnim vibrirajočim vklopom omogoča animacijo predmetov.

OLIVIER MORVAN
Guest artist in La Vitrine N°5, Pekarna, 2007, Slovenia
Gostujoči umetnik programa La Vitrine N°5, Pekarna, 2007, Maribor

son:DA
Guest artist at the collective exhibiton Refonte, 2015, Marseille, France
Gostujoči umetniki na skupinski razstavi Refonte 2015, Marseille, Francija

Le Cercle de Craie
(The Chalk Circle)
Installation – 2007 – mixed media – variable dimensions

The escapological project by french artist Olivier Morvan is endless and borderless: simultaneously thread & labyrinth, crime & investigation, shovel & hole. Blending into the same chorus the single voice of fugitive and pursuer, delinquent and figure of authority, patient and asylum, Morvan explores power relations and instruments of control, just as he might explore leaks and holes in the walls. This open-ended workshop slowly exhumes the skeleton of a pulp fiction narrative or tale.

Le Cercle de Craie
(Krog s kredo)
instalacija − 2007 − mešana tehnika − različne dimenzije

Eskapološki projekt francoskega umetnika Olivierja Morvana je neskončen in brezmejen: hkrati vodilo & labirint, zločin & preiskava, lopata & jama. Ko se posamezni glasovi ubežnika in zasledovalca, prestopnika in predstavnika oblasti, varovanca in psihiatrične bolnišnice spojijo v isti zbor, Morvan raziskuje razmerja moči in inštrumente nadzora, kot bi raziskoval luknje in razpoke v zidu. Časovno neomejena delavnica počasi izkopava okostje pripovedi ali zgodbe iz zakladnice literarnega šunda.

Object Nr_18
Stained glass – 2015 – 100 x 50 cm

Object Nr_18 is a mouse drawing by the Slovene duo son:DA, adapted from its digital form into a stained-glass work, for the collective show Refonte organised by OTTO-Prod in the Friche la Belle de Mai, in 2015. The work depicts a vision of our contemporary word saturated with electric wires, and organizes a confrontation between this dystopic view and the sacred dimension of such ancestral stain-glass technique.
“It is not style that makes a drawing an icon, it is subject, meaning and use.”

Object Nr_18
(Predmet št_18)
slikano steklo − 2015 − 100 x 50 cm

Object Nr_18 je risba z računalniško miško slovenskega umetniškega tandema son:- DA, predelana iz digitalne oblike v sliko na steklu za skupinsko razstavo z naslovom Refonte, ki jo je leta 2015 organiziral kolektiv OTTO-Prod v kulturnem centru Friche la Belle de Mai. Delo upodablja vizijo sodobnega sveta, zasičenega z električnimi kabli, in ustvarja nasprotje med distopičnim pogledom in posvečenostjo starodavne tehnike slikanja na steklo.
“Ne slog, temveč vsebina, pomen in uporaba so tisti, ki iz risbe ustvarijo ikono.”

MAXIME BERTHOU & LOUISE DRUBIGNY
M. Berthou : Co-founder of OTTO-Prod.
L. Drubigny : Artist-in-residence during Working Holidays 2014, Maribor, Slovenia.
M. Berthou : soustanovitelj umetniškega kolektiva OTTO-Prod
L. Drubigny : gostujoča umetnica v okviru umetniškega programa Working Holidays 2014,
Maribor

Choeur Itinéris
(Choir Itinéris)
Sound – 2012 – loop

The choir Choeur Itinéris is a vocal ensemble consisting of 6 professional female opera singers interpreting the most classical and popular mobile phone ringtones. “For the past fifteen years, our daily sound environment has been enriched by new melodies: mobile phone ringtones. Easily memorable, instantly recognizable, they follow us everywhere, and by consequence become actual modern lullabies. These ringtones have also become a nuisance as they invite themselves in museums, places of work, planes, trains, cinemas…, until being prohibited during access to most confined spaces. It is impossible nowadays to let our phone ring freely anywhere, a fortiori in sacred places. While it is advisable to turn off our phone when entering a room, Choeur Itinéris locate ‘traditional ringtones’ at the centre of attention. The public is invited to follow the unique performance of these melodies sang by a choir of professional singers. By revealing a sensational dimension to these disenchanted tunes, the Choeur Itinéris treats our point of view on these familiar songs with humour. By reinterpreting and magnifying the ‘conventional ringtones’ Choeur Itinéris aims at anticipating the sacralisation of these profane objects.”

Choeur Itinéris
(Zbor Itinéris)
zvok − 2012 − zanka

Zbor Choeur Itinéris je vokalna skupina, sestavljena iz šestih poklicnih opernih pevk, ki prepevajo klasične in priljubljene melodije zvonjenja na mobilnih telefonih. “Naše vsakodnevno zvočno okolje že petnajst let bogatijo nove melodije: zvonjenja mobilnih telefonov. Lahko zapomljivi, takoj prepoznavni napevi nas spremljajo povsod in končno postanejo prave sodobne uspavanke. Te melodije pa so postale tudi nadloga, ko so vstopile v muzeje, na delovna mesta, v letala, vlake, kinodovorane …, do uvedbe prepovedi uporabe pri vstopu v večino zaprtih prostorov. Danes telefona ne smemo več pustiti zvoniti kjerkoli, sploh pa ne na posvečenih krajih. Medtem ko je priporočljivo, da telefon ugasnemo pri vstopu v prostor, Zbor Itinéris postavlja ‘tradicionalne melodije zvonjenja’ v središče pozornosti. Zbor profesionalnih opernih pevk vabi občinstvo k poslušanju izvirne izvedbe teh melodij. Ob odkrivanju senzacionalnih razsežnosti teh streznitvenih napevov, se Zbor Itinéris našega poznavanja melodij loteva s humorjem. Z novo interpretacijo in poveličevanjem ‘običajnih melodij zvonjenja’ želi Zbor Itinéris pospešiti posvečenje teh vsakdanjih stvari.”