VIDEO ZINE #2 錄像雜誌第二期 /
The Ultra-realist, the Extra-ordinary 非凡超（極）真實 - p.2
Look for the Signs 聽風。望月。超聲波。
“Beyond the edge of the world there’s a space where emptiness and substance neatly overlap, where past and future form a continuous, endless loop. And, hovering about, there are signs no one has ever read, chords no one has ever heard.” -- Haruki Murakami, Kafka on the Shore (2002)
To make the invisible visible is an impulse of artistic creation, to move the invisible into the realm of the perceptible, our consciousness. Imagination rules… but not without one’s sensitive presence, and the ability to see the structure of presencing.
「在世界的邊緣之外，有一個空間，其中空虛和實質完全重疊，過去和未來形成了一個連續的、無休止的循環。而且，從上往下徘徊著看，有那從沒有人讀過的跡象，沒有人聽過的和弦。」-- 村上春樹：《岸上的卡夫卡》（海辺のカフカ, Umibe no Kafuka, 2002）（英語版中譯）
I am a visual and research artist interested in the whole spectrum of art practices and collaborations. My work is characterised by intermedial overlap: my regular moving image works are made on anything from cell phones to 16mm film. Recent visual strategies embrace film as a medium mirroring memories, my dissertation's primary focus. My research examines time and perception as factors that allow the creation of memories, which in turn is what shapes ourselves as individuals.
Concept, Camera, Processing, Post-production: Ivana Durkáčová Music: Boris Javorský
Ivana Durkáčová is a graduate of the Department of Photography and New Media at the Academy of Fine Arts and Design in Bratislava, Slovakia (2012 – 2018). During her studies, she completed an internship abroad at the Academy of Arts in Vienna, Austria. She is now working on her PhD thesis focusing on memory processes at the Eugeniusz Geppert Academy of Art and Design in Wrocław,, Poland.
She regularly exhibits at home and abroad, participates in international events and workshops and, since 2012, she has also been a co-founder and a member of the art collective dsk. together with Ľuboš Kotlár and Ján Skaličan.
Her work is characterized by intermedial overlaps and she frequently works with the moving image. Currently, she lives and works in Bratislava, Slovakia.
Tamas: It’s quite poetic and has a strong impact on me.
Linda: The beauty of cinema at its basic: the work reminds us of the power of basic camera work and editing. Simple visual narrative with precise montage work. Then slowly and gradually I discover that the images I see are the result of an embodied vision -- someone was there, looking and paying attention from a specific point of space.
Winnie: Even though I’m not quite sure if it fits the categories declared, I like the work on super 8 film.
11' 09" | 16:9 | 2018 | Digital 4K Original Language : Esperanto 世界語* Subtitle : English 英文 & Simplified Chinese 簡體中文 & Esperanto 世界語 & German 德語 Location : Berlin Selected category:  DETAILED EXPLANATION OF A SINGLE ART WORK 「我的作品由零說起」
The name of the work, One World, One Dream, is the slogan of the Beijing 2008 Olympic Games, which is here adapted to my attempt in unifying the world. I built the "Mondo" (= “world” in Italian) by combining various places of interest from different parts of the world. In the "Mondo" city, "Civitanos" (world citizens) can live in any place of interest, be it the pyramids, Tiananmen, Eiffel Tower, Taj Mahal and so on. You can also communicate with other Civitanos from all over the world. Civitano represents an individual’s cultural labels (history, culture, language, etc.) as well as the country of origin. In the "Mondo" city, the first task of all "Civitanos" is to build the "Babel Tower." To do this efficiently, all "Civitanos" must use only one language, Esperanto, which I chose to be the world's mainstream language in “Mondo City.” Esperanto, however, is suspiciously the world’s language as it contains no roots from Asian languages. In this work, I also use my native language Chinese, German, the language that I now use most, and English, currently the world’s international language.
*[Editor’s note] Esperanto is the most widely spoken constructed international auxiliary language. It was created by Polish ophthalmologist L. L. Zamenhof in 1887. (more details: Wikipedia)
ZHOU Yinglin (b. 1994) is an artist from China who currently lives and works in Berlin as a student at the University of Arts Berlin (MFA). Her current concern is to explore the identity of individuals or groups in a cross-cultural context in relation to globalization, thus the possibility of language as a refreshed means of communication and its implications in social issues. Through reflecting on the cultural attributes of language, she deconstructs social structure, social system, cultural hegemony, and cultural imperialism. Zhou has appeared in several printmaking exhibitions in China since 2016. Recent exhibitions include Wanying Art Museum, Shijiazhuang, China (“Young Dreams – Discover Young Talent,” 2020), and she has moved her footprints to MIT Museum (“HOT STEAM III,” 2020),“The New Art Fest 2020” (Lisbon, Portugal), Ars Electronica Festival (Linz 2020), Contemporary Art Center Winzavod (“Now & After 2020,” Moscow) and The Institute for the Humanities and Information Technologies (Moscow 2020).
近期展覽包括今日美術館 X InArt | 「未來藝術」，麻省理工學院博物館的 《HOT STEAM III》（2020），里斯本的《The New Art Fest 2020》，莫斯科 Winzavod 當代藝術中心的《NOW & AFTER 2020》，奧地利林茨的 Ars Electronica·Art Gallery（2020），以及莫斯科人文與信息記述研究所的《Days of Contemporary Art 2020》。
Tamas: Is this work designed to be a piece of irony? I am not entirely sure about its tone. Technically it is not very well made and there are moments with some strange collage. ...
John: I enjoy the rebellious tone of this work. With the use of Sims-like characters (all in cult-like uniforms), and a virtual building that explicitly refers to the Babel tower, the work expresses our collective disappointment toward the promised freedom in the virtual world (World Wide Web). As many of us have experienced it, the current post-internet era is admittedly the opposite of the utopia we are striving for.
Hoi: I have a similar feeling with Tamas. The symbolism created in the video is too expected. There is so much one can do in the virtual world that there is no need to build another Babel Tower.
Winnie: The video has created such a meditative yet somehow bizarre atmosphere... I am intrigued by how the maker uses 3D to present such ideas. The quality of the monologues heavily lingers throughout the whole video the way they are presented ...
Linda: Technical flaws are not my concern. In fact, I like it because it’s somewhat rough and with breaks in between sessions. I feel with the under-stated hardship being played out in that world as well as some of the quotations. Episodes here and there connect with my anxiety for what will become of our future.
“Andaruni” (Persian: اندروني "inside") is the inner quarter in a traditional Iranian house where women live; it has been described as a harem in Arabic. In traditional Persian residential architecture, the Andaruni is a part of the house in which the private quarters are established. This is a specific part of the house where women in the household are free to move about without being seen by an outsider (Na Mahram). This is also the place where women can interact with their kin (Maharem) without having to follow the dress code or without wearing the Hijab. There is also a closet-like space called "Pastoo" which means an additional small room built behind a room, where precious things are kept. The Pastoo is actually one of the most private places in the traditional houses of Iran. In a 3-month quarantine caused by Covid-19, I was looking for such a space of psychological safety in my apartment, something that has been physically omitted in contemporary Persian residential building design. Psychologically speaking, the space inside my apartment seemed to be getting smaller and smaller! During these long hours, I was just sitting at my computer terminal, staring at the cloud storage to which I had virtual access. These storage spaces were filled with the most private and even precious information and things I had saved and through which I was trying to expand my apartment space in different aspects. This project is a journey seeking to create, connect and remind the audience of a sense of psychological security, from “physical space in the past architecture” to a “transformation in contemporary architecture” and a trust in “cloud spaces” possible only as part of our virtual architecture.
Milad Forouzandeh was born and raised in Shiraz, Iran. He graduated in 2012 with a BA in Visual Communications from Shiraz Art Institute of Higher Education, where he developed his approach to digital and new media art, and also worked as a teaching assistant. In 2010, he won the title of top young Iranian visual artist. His works have been nominated and selected in biennales and events in Shangyuan Art Museum, Tate Britain, Hard Disk Museum, The Wrong New Digital Art Biennale, NODE Forum for Digital Arts, CADAF contemporary and digital art fair and more. In 2014, Forouzandeh founded the “Dar-Al-Hokoomeh Project” with Mohsen Hazrati, an independent new media art project based in Shiraz with a vision to create a community dedicated to emerging artistic practices, workshops, talks, presentations, and exhibitions. In 2016, Forouzandeh began lecturing as an Assistant Professor in his alma mater, teaching Digital Arts courses. In 2017, he was invited to be one of the guest speakers on the “Mollasadra St” episode of the TEDx video series.
Based on his experience as an artist and curator in DAHproject, Forouzandeh developed his emphasis on the investigation of human behavior and emotions, and the effects of culture in the past and present. His work thus anticipates future cultural changes and how they assign meaning to our living experiences. The use of contemporary and emerging technologies enables his work to bridge the cultural timeline between past and future
***Juror’s Special Mention I feel strongly in defending this work precisely because it is a controversial piece in the jury panel discussion. It stands between the demand for technical excellence and the freshness of an idea to share. Is it not enough to support this work on the ground that it is a stimulating draft idea? What is discussed in this work is something alien to my culture and familiar knowledge system and, therefore, is a precious token that initiates my attention to certain realities I have never considered. It makes my world bigger. I also feel I may have taken for granted too much the freedom and accessibility I have enjoyed “in the cloud” -- I need to re-assess. (Linda Lai)
Tamas: From a 3D animation’s point of view, this work is a bit disappointing -- with its beginner’s level and repeated use of certain 3D elements. I often see it as a problem when a tool fails to be turned into a personalized artistic style. Other than that, I think it still has a great idea and tells a personal topic.
Linda: This work lends me a unique gender angle I have not thought about -- that of gendered architectural design. Interesting that this gendered space at the heart of Persian architecture could be tied to isolation in the COVID-19 situation. I feel for the entrapment, not so much of security, in a confined space, more than ever. So, the work in a way juxtaposes architectural and institutional horror. Regardless of the lack of technical excellence in terms of 3d animation and rendering, I could relate to this work and feel I’ve learnt something.
"As I was looking for a place to stay, I realised most of the windows had a view of walls.
“On an unsafe night in mid-July 2019, he and I began to talk incessantly. Soon after that, I went to study Chinese Medicine in Guangxi. In order to save money, I looked for a place opposite the school in the village inside the city, an area literally called "village within the city" (城中村). The rent seemed the lowest in the city, so many migrant workers from other provinces were attracted to settle down there. As for him, he has moved out (to another city). He would always share photos of food with me as we were talking about our lives
Tamas: I don’t really understand the video. It’s not structured enough.
John: The sense of longing and regret is subtly creeping out here and there from seemingly plain travelogue images -- what hides underneath could be pure anguish and discomfort. I can feel the artist (and her friend) keying in on "food" as their lifeline of sanctity during their seven months.
Winnie: This video has juxtaposed her process of exploring a space/location (a new/temporary "home") with the footage of food/cooking, news report on the protest in HK, and travelogues of various locations. I echoed deeply with Ding's line on food -- sharing food and cooking for a person has such tenderness as a way to wish for someone's wellness. What stands out for me is also the back-and-forth situation when she tried to connect herself to somewhere through various means.