November 14, 2011
1 till 11 dec. 2011
Interference explores the significance of art within science and science in art, guided by milestones in scientific progress.
Interference 2011-2012 is inspired by The Allegory of the Cave by Plato a philosophic milestone in which the quest for scientific and systematic thought is first set.
For the first part Het Schaduwspel artist were asked to research the function of moving images in a public space. The city centre of Breda will be the stage for eight projections.
Projections can be seen daily 1 - 11 December between 17.00h and 24.00h.
Zoran Poposki's video 'Different' will be screened as part of the DVD Project selection to mark its fifth-year anniversary.
Location: ‘t Ezelsoor Bredase Boekenmarkt, Veemarktstraat 52 - 54
1 till 11 dec. 2011 from 17.00 till 23.00 hours
The Opening of Interference – Het Schaduwspel will take place thursday 1the of december in collaboration with the Huis voor Beeldcultuur:
19:00 Doors open Huis voor Beeldcultuur
19:30 Openingceremonie Huis voor Beeldcultuur
20:45 Openingceremonie Interference – Het Schaduwspel
21:00 Première ’t Turfschip van Breda van Studio Smack
21:30 Walk along all Interference projections, artists will be present
23:30 Performance Sculpture (UK) at Huis voor Beeldcultuur
Pre-Opening / Blinde Muur
Thr. 10 nov 20.00h
Blinde Muur: a selection from the DVD-project
Pre-Opening / ETALAGE
Thr. 24 nov 20.00h
ETALAGE Innercity #113 – Steph Byrne
Trainstation Breda CS
Grand Opening Interference
Thr. 1 december
19.30h in collaboration with Huis voor Beeldcultuur
20.45h Worldpremière animationfilm 't Turfschip van Breda (Studio Smack)
23.30h Performance Sculpture
November 09, 2011
Not So Distant Memory
Nov 4, 2011 - Jan 5, 2012
Location: Moving Media Hall
Delaware Center for the Contemporary Arts
200 South Madison Street | Wilmington, DE 19801 | 302.656.6466
Hours: Tue, Thu, Fri & Sat: 10 to 5 | Wed & Sun: 12 to 5 | Mon: Closed |
This hour-long presentation features contemporary video works centering around the history of The Socialist Federal Republic of Yugoslavia (1943-1992). Made by artists from ex-Yugoslav republics and provinces, the works contain a multitude of voices and perspectives: from the performative and more politically engaged to the lyrical and humorous. The focus is not on developing an over-arching theme or conclusion but experiencing art from a particular region that is often neglected by the West.
Participating artists: Leban-Kleindienst (Slovenia), Borjana Mrdja (Bosnia & Hercegovina),Renata Poljak (Croatia), Marija Djordjević (Serbia), Alban Muja (Kosovo), Danilo Prnjat (Montenegro), Mladen Miljanovic (Bosnia & Herzegovina), Boris Glamočanin & Sandra Dukić (Bosnia & Herzegovina) and Zoran Poposki (Macedonia).
Curator of the Moving Media video Not So Distant Memory Boshko Boskovic will speak about video works centering around the history of The Socialist Federal Republic of Yugoslavia (1943-1992).
November 4 Art Loop
Q & A with Boshko Boskovic and Gretchen Hupfel Curator of Contemporary Art Maiza Hixson.
The DCCA, a non-collecting art museum founded in 1979, presents between 20 - 30 exhibitions annually of regionally, nationally and internationally recognized artists that explore topical issues in contemporary art and society.
November 08, 2011
Digital artist and theorist Zoran Poposki will present a video performance at the 11 CYBERFEST International Cyber Art Festival in St. Petersburg, Russia, from 18-23 November 2011. The work will be shown as part of Not So Distant Memory, a video program curated by Boshko Boskovic.
The 11. festival edition is dedicated to the theme Show Us Your Tongue, and includes: exhibitions (media installations and interactive objects), media performances, sound art, educational program (lectures, workshops, movies), video art program, media art for children, and media opera.
According to the statement by the curator Marina Koldobskaya:"Tongues could be simple or complex, archaic or modern, alive and dead, one’s own and somebody else’s. One’s own, native tongue, is, as a rule, but one. We acquire it practically at birth and lose it together with life. If the tongue is lost, everything collapses. Many tongues are not better than one – even builders of the Tower of Babel realized that. The contemporary art is similar to that great construction – tongues got mixed. It has been a few generations already, starting with Pop Art, that artists have been using the language of mass culture and politics, sociology and psychoanalysis, journalism and advertisement, glossy photo and traditional painting, design and graffiti, theater and film, street activism and academic studies, business and outsiderism. A word emerges when a phenomenon emerges; a statement – when there is something to say; a tongue – when there is a community. The international art crown today is not unlike the population of Diaspora: people talk each in their own way, each does his own thing and each lives in his own conditions – and it is no longer really clear what characteristics and what common belief make people recognize their own kind. For how long will art preserve itself without its own speech? And what is capable of giving new vocabulary, syntax and grammar to the contemporary art that has been for several generations already leading the unenviable life of mocker, parodist, doppelganger of the “real life”? New technologies that change the civilization before our own eyes is a challenge that will have to be met; a reality that is worthy of discussion; unlimited possibilities that are impossible not to use. One should answer the question: will the art remain the mocker that would everlastingly stick out its tongue to the “big boys” or will it acquire its own tongue, on which it will say most important words – to itself and to everyone."