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BridA: opere
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| B r i d A : JURIJ PAVLICA, SENDI MANGO, TOM KERŠEVAN | |
The group was formed during the studies at the Academy of Fine Arts of Venice in 1996. The name BridA as characterization, trade mark, cancels traces of individuality, with it a new subject is reestablished that is capable of existing autonomly and function outside individuals. |
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| 2008 | |
| Modux 3.4 - Kunst museum Lentos, Ars Electronica, Linz (A), 2008 | |
The project evolves around our entering between the layers of digital and analogue visual information. Using a digital media, such as a monitor, we enter the data processing core which is otherwise invisible and seen as some distant and abstract concept. Modux 3.4 is a module which enables us to do something rather unusual with this otherwise everyday interface with the help of which we usually enter the system of mathematical calculations and displays. This time, something mathematically indefinable actually and physically interferes. A matrix of liquid crystals is detached from the light source which makes information display possible. This matrix is shifted across analogue image, performs readings and calculates parameters which are eventually displayed on the monitor. Mechanical movement of the matrix along the image makes it possible to capture a wider field of visual information and, at the same time, to follow the observer who finds himself integrated in this composition of data. Optical sensors built into the mobile module detect movement and transmit any matrix position change in real time. Detection of changes on the image surface through the coordinates x and y triggers an audio application, as well, thereby helping the observer to follow the visual information transformed into sound and thus to listen to the density of calculated changes.
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In this way, the observer slides in-between the various layers of creation and perception of visual contents, upgraded into a dynamic system of formulas, mechanisms, digital data and resulting in the final interpretation of the onlooker – this later being yet another layer in the complex system of artistic interpretation. The Modux 3.4 project might be defined as a dynamic formula in which the relation among unknowns is determined by the pattern of dynamic schemes of various complex movement systems of organisms and relational elements – the characteristic movement dynamics brings forth comparable forms and shapes. Thus we might compare the movement pattern of microorganisms (paramecia or bacteria) and that of people in certain urban environment. The project is not only a cybernetic experiment but also addresses the question of hermetical artistic interpretation detached from the perception of the observer. This project is an attempt at integrating the observer into the very core of the composition making him an upgrade and an essential component of a work of art.
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| INFORMATION ACCELERATOR - City Museum, Ljubljana, 2007 - City Museum, Nova Gorica, 2008 | |
BridA’s most recent project is entitled Information Accelerator; it unites and combines the processes of transmitting and receiving information, of directing and channeling it in an extensive system of tubes or pipes. This module spans the entire gallery as some kind of conduit, making the flow and processing of all kinds of information possible. In BridA’s words “such a structure can be compared to a traditional drawing resembling a network of wires and channels. In such case, the drawing would be understood as a topographical grid for combining information in diverse ways, multiplying it, dividing it, adding it up and subtracting it, drawing the path to the final message in some sort of system of coordinates.” Information Accelerator is a system of pipes, a duct, or an installation consisting of all the necessary equipment for such a device to work. It contains elements for observing the exterior world and for contacts with it (e.g. control monitors, interactive switches, sound units, microcontrollers for monitoring and guiding various operations). The gallery-length system of tubes will conduct, process, and above all accelerate information by increasing the tensions and the pressures with the aid of various mechanical, visual, and audio devices. Information as the essence of the message conveyed by this visual, sound, and mechanical device will remain manipulated and be transformed into new processed and purified sound and visual forms. BridA continuously focuses on the possibilities of information, discovering the boundaries or the areas where information fuses with artistic intervention and acquires an a-personal character, independent of the subject. The point of interest is the moment of reaction or response, when information becomes pure and independent artistic expression, mediated by the device, but at the same time emancipated and pure artistic speech. BridA points out that “the installation tries to present the various possibilities of manipulating information in the artistic process, of emphasizing its material presence by presenting it through matter, fluid, or gas. We try to materialize it by simulating its exposure to mechanical and chemical processing. At the same time, the installation speaks about the flow and the directing of information, which in this specific case acquires the image of matter, and of its energy potential, both positive and negative. Its existence appears to be undefined and compressed into a network of conductors, wires, and channel systems, which together only intensify the tension and the expectation. Information travels past us; we can capture some pieces, and only indirectly feel others.” The large tube system in the gallery is the traveling of (physically indeterminable) matter that functions under certain pressure; with great force it squeezes sounds (rumbling, puffing, and wheezing), warmth, and even smell out of the matter, which secures the individual perception of random visitors. At the same time, this constitutes creating the tension of currents of information, with the issue being, rather than their interpretation, the underscoring of information values, their ubiquitous presence around us and, of course, primarily their immense impact on our day-to-day activities and life in general.
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| PRINTED CIRCUIT BOARDS - International Centre of Graphic Arts (MGLC), Ljubljana, 2008 | |
Topographic structure of a drawing enables some kind of orientate entrance into a painting work. In its geometrical structure it is possible to unveil different applications of various possibilities of information directing. Following the conducts we can explore different artistic elements that are conceptually or objectively related to the transfer and manipulation of various information contents.. Whereas the physical property of the copper lines permits the information flow |
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| SOME SELECTED PROJECTS AND EXHIBITIONS |
NOVEMBER 2008 OKTOBER 2008 SEPTEMBER 2008 JULY 2008 MAY 2008 APRIL 2008 DECEMBER 2007 NOVEMBER 2007 OKTOBER 2007 JULY 2007 JUNE 2007 MAY 2007 FEBRUARY 2007 JANUARY 2007 JANUARY 2007 JANUARY 2007 DECEMBER 2006 DECEMBER 2006 DECEMBER 2006 OCTOBER 2006 OCTOBER 2006 OCTOBER 2006 OCTOBER 2006 SEPTEMBER 2006 SEPTEMBER 2006 AUGUST 2006 AUGUST 2006 JULY 2006 JULY 2006 26. JUNIJ 2006 APRIL 2006 APRIL 2006 APRIL 2006 MARCH 2006 MARCH 2006 FEBRUARY AND MARCH 2006 FEBRUARY 2006 JANUARY 2006 DECEMBER 2005 DECEMBER 2005 DECEMBER 2005 DECEMBER 2005 DECEMBER 2005 NOVEMBER 2005 OCTOBER 2005 OCTOBER 2005 SEPTEMBER 2005 AUGUST 2005 JULY 2005 JUNE 2005 MAY 2005 MACH 2005 FEBRUARY 2005 FEBRUARY 2005 NOVEMBER 2004 JUNIJ 2004 JUNIJ 2004 NOVEMBER 2003 JUNE 2003
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