Publications

Publications and excerpts from texts about my work from various catalogues and magazines

Ultramono Publication Issue #10, 2015-2016
Tanja Vujinović
Photo credits: Jan Kušej, Tanja Vujinović, Claudio Farkasch, Sunčan Stone, Tanja Rojc, Nada Žgank, Viktor Bernik, Maja Vuksanović, Boštjan Lah.
Texts: Sanja Kojić Mladenov, Ultramono.
Publisher: Ultramono, Research and Production of Media Art
info@ultramono.org
http://ultramono.org
© Tanja Vujinović (Tatjana Vujinović Kušej) / Ultramono 2015-2016

You can order hardcover book here http://www.blurb.com/b/6578248-ultramono-10 or download free e-book http://www.blurb.com/b/6578248-ultramono-10?ebook=552085

Ultramono Publication Issue #9, 2015-2016
Tanja Vujinović
This book contains various studies and works from the 2015 series Universal Objects, including the particular works: UO Observers, UO Garden, UO Explosions and UO Levitations.
Publisher: Ultramono, Research and Production of Media Art
info@ultramono.org
http://ultramono.org
© Tanja Vujinović (Tatjana Vujinović Kušej) / Ultramono 2015-2016

You can order hardcover book here http://www.blurb.com/b/6578092-universal-objects or download free e-book http://www.blurb.com/b/6578092-universal-objects?ebook=552080





ULTRAMONO, PUBLICATION ISSUE#7, 2012

Author: Tanja Vujinović
Photo credits: Jan Kušej, Tanja Vujinović, Claudio Farkasch, Sunčan Stone, Tanja Rojc, Nada Žgank, Viktor Bernik, Maja Vuksanović, Boštjan Lah.
Texts: Petja Grafenauer, Janez Strehovec.
Language: English
ISBN 978-961-92451-3-2 (pdf)
Format: 70 pages, full color catalogue
Publisher: Ultramono
Publication is available HERE (18.5MB)

 

Ultramono: generative digital techniques, data visualisation, data sonification, modern electronics and black furry creatures 

(excerpt from the text, Petja Grafenauer, Ultramono: generative digital techniques, data visualisation, data sonification, modern electronics and black furry creatures, ULTRAMONO, PUBLICATION ISSUE #6, 2012,  pp. 2-6.; Translated by Sunčan Stone.)

"[…] In order to play we need toys, and in the last twenty years these have entered the world of contemporary art in big style. They follow the general trend of returning to play in adulthood. As they represent an important part of the Ultramono platform, which is used by Tanja Vujinović in the production of her works, their story will serve as an entry point into her projects. As digital technologies have a strong presence in her opus, toys are most commonly pushed aside and considered to be merely a means to reach the goal, and the projects are analysed within the frame of new media technological art. However, as regards their visual appearance and significance toys are central to, but by no means the only possible way of understanding her projects. It seems that this is why her projects provide the user with an easier understanding of technological issues such as the transformation from data to picture and sound and back again. On the other hand they also operate on the sensory level, a level that is much easier to access through toys and play, both of which lead the user to complex insights. […]

Tanja Vujinović operates in a field in which we can clearly see the intertwining of dark and electronic aesthetics through the research of transforming sound into images and other possibilities offered by the programming of various interfaces. All of this is intertwined with the intention to create the art of noise. Within her opus - which is tightly linked to contemporary technologies that the artist finds appealing - one should not contemplate her progress but the progress of her artistic opus, the development of the individual project, technology and its inclusion into the work of art, concept and aesthetics and the intertwining of all these factors. […]

How can one summarise the projects created by Tanja Vujinović? They are recognisable as a part of an opus with its chaotic dark noise aesthetics. Their interactivity is of key importance for the existence of the project itself – the interfaces generate the image and sound from data that is predominantly created by the viewer's presence –, and at the same time the sensory and conceptual part of the artwork provides the playful atmosphere found within the gallery. The high technology, which is in art usually perceived to be found in projects for 'geeks', where you have to enter the consecrated circle of knowledge on 'how it works', in order to understand the artwork, gains in its playfulness in the works of this artist. Playing with 'toys' that draw us in because of our nostalgic past encourages us to enjoy our play and their kinetics. At this we are getting accustomed to the images and sounds that are offered by the screens and microphones, and we also partake in their creation. Through play we understand how it works. We find this entertaining and suddenly a unique painting instrument appears in front of us, and this opens up new possibilities for playing with and enjoying art."

Petja Grafenauer

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The Touch With Tact

(excerpt from the text, Janez Strehovec, The Touch With Tact, On the Superohm Installation by Tanja Vujinović, MASKA, Performing Arts Journal, vol. XXVI, No. 141–142 (autumn 2011),  pp. 101-103.; Translated from Slovene by Melita Silič.)

"The Superohm project, exhibited in October 2011 at the Kapelica Gallery in Ljubljana, is part of the Discreet Events in Noisy Domains (fifteenth study) series, which first of all means that it is an event, and thereby the participant’s intervention in time, and there are also noisy domains – hence the effect of sound is an essential component of the event, which has been a constant in Tanja Vujinović’s projects. This event doesn’t only imply the temporal dimension; indeed, something happens only if we bear witness through intensive participation, which is, in the case of “Discreet Events”, a discreet one. This occurs when things are not just observed – which is characteristic of the spectator’s visit to traditional art shows – but rather when an intense and individualised relationship comprising a comprehensive sensory and emotional arrangement is established with them. Such an arrangement presumes the involvement of all of the senses, including touch incorporated in a kinaesthetic dispositif due to the fact that a static engagement of touch does not result in a lot of data. It requires a visitor’s/user’s circulation in the space of the installation, touching objects in motion, their acceleration and stopping, directing and loading.

            What are the objects involved? They remind one of living beings, such as stuffed dog toys, as well as (completely harmless) reptiles and vivacious baby goats. They are fitted with sensors and capable of programmed and random behaviour alike; not smart enough to be real robots and too smart to be considered ordinary toys. They produce sounds (constituting noisy domains) and their movement is incorporated into an artificial life in the sandbox (playground) in which they are placed. They can be divided into three types: the largest and laziest, which are supplied with electricity in the centre of the sandbox, the dog-car toys (if pushed by visitors, they gladly move in a particular direction) and jumpy and tumbling stuffed baby goats, which demonstrate the most life (as if they were sort of spinning tops). Everything that is happening in the sandbox is being recorded by the cameras above, and the modulated shots are projected live onto the screen in the installation’s background, whereas the artificial life in the sandbox (based on interactions between various analogue and digital components of the system – objects, spectators, light sources, cameras, controller devices) generates a soundscape that one should listen to as well as try to affect it by the ever new kinaesthetic interventions upon the objects placed in the sandbox-playground. The video and sound maps generated on the basis of interactions between objects, visitors and smart devices produce data streams collected and processed by computer software.

            Being a project of new media art, Superohm is a challenge to theory due to complex interactions between system components, which lead to artificial life based on hybrid states between the analogue and digital as well as the algorithmic. The components include optic sensors, stroboscopic and LED lights, video cameras, microphones and loudspeakers, computer components and mechanical parts in the stuffed object-dogs, baby goats and reptiles. This installation also features a modular approach – flexible components can be adapted to new settings in other spaces and it is also important that the author herself is a programmer in her projects. However, what the contributor of this text considers a huge challenge is to address the tactile perception established by this work.

            Indeed, such perception is essential in order to pave the way from (un)usual sensory experience to intensive event, and hybrid objects in the form of stuffed dogs, reptiles and baby goats play an important role in this. They are dressed in durable, warm and touch-friendly textile (which reminds one of the neo-avant-garde artist Joseph Beuys, who also used warm materials, such as grease, wax and plush) that literally invites the visitor to touch it, caress it, until the eventual, resolute taking hold of these half-alive toys. Not only the kinaesthetic, but also the motor skills, of the visitor/user are addressed, because from the initial (timid) observation of things in front of her (when she first enters the gallery space), she passes on to a considerably more intense and investigative relationship with the environment and the objects within. The visitor/user starts taking away the strangeness from these things, which is accomplished through touch, which allows directness, the experience of materiality and incorporation of environmental components into her body schema (Maurice Merleau-Ponty’s concept). […]”

Janez Strehovec

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Discreet Events in Noisy Domains

(excerpt from the text, Ida Hiršenfelder, Discreet Events in Noisy Domains, Dnevnik, Ljubljana, 25.9.2008.)

“[…] Sounds in the tactile biotope Supermono 2/3 arise from two mutually complementary sources through which complex digital modules enable a nearly unrepeatable variability of sounds and pictures. The crackling noise base is randomly processed from the video recording of movements in the gallery through a computer intermediary into abstract sound and video pictures. The sound structures on the other side of the gallery receive and transmit signals from cute, black, doll-like objects, plush forms, in which sound sensors are hidden, whose reactions, however, are entirely dependent on play or interaction. Sound art often uses the reactions of the human body, which in this installation is encouraged by the cuteness and softness of the black figures. The installation is actually a toy for coming to like the sound. The artist is not seeking some great theme, but with the help of the hybrid forms she gently encourages visitors to face technology and the development of the mental, emotional, and poetic dimensions in the perception of space. […]”

Ida Hiršenfelder

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Image of a Soundscape

(excerpt from the text, Barbara Sterle Vurnik, The Image of a Soundscape, Ampak, monthly magasine for culture, politics and economy, year 9, number 10, Ljubljana, October 2008. )

“[…] In her work she takes away the identity of the toys, and applies them in the project as anonymous bodies. By doing this she softens the serious and sophisticated world of technology, and also contrasts it with the hand-production of these soft “plushettes”. In their blackness, these are far from friendly toys, estranged and nameless. However, other technological toys, such as the “Teletubbies” and “Pikachus”, are often the same. One can understand the work also as the author's commentary on the impersonality of the contemporary consumer society which is polluting our lives.

The entire project is based on a complex concept and an even more complex technical implementation, which however are not perceived by the viewer, since the installation is clean and operates flawlessly. It is interesting for viewers because it opens up to them the unknown sphere of invisible signals and waves which literally permeates the atmosphere of our everyday environment. A wonderful chain of interdependent relations unfolds, which people determine in the gallery by simply entering it, and if they act in some other way, perhaps touch some object, a wonderful process of transformation occurs which results in the magical image of a soundscape.[…]”

Barbara Sterle Vurnik

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A World of Little Sounds and Noises

(excerpt from the text, Luka Zagoričnik, Svet malih zvokov in šumov [A World of Little Sounds and Noises], Delo, Ljubljana, 26.9.2008)

“[…]With Tanja Vujinovic’s current sound installation (co-produced by Zavod B-51 and Zavod Exstat), sound art, which has been presented in Kapelica Gallery for many years, became an integral part of the Ex Ponto Festival. Recently the Gallery also garnered great praise from those knowledgeable about the field as well as from the audience and organizers at the prestigious Ars Electronica Festival for part of its program on contemporary sound art from various sources. One proof that the artists who have presented their works for many years in the framework of the mentioned gallery are connected to contemporary sound art and trends regarding this type of art not only in Europe, but also more widely, is the current installation "Supermono 2/3”, which is divided into three central parts, each by itself forming a fragile sound system of subtle noise and synthetic sounds. These connect us to the infantile world of children, to the world of moving toys, and all the surrounding sounds that motivate us to interact; and in the vice of modern technology they emit their own sounds or operate as a modular sign of our movements, touches, and echoes. In another area we encounter an intertwining of the video- and audio-signals, which, amplified and modularized, reach out to us from small mono-bodies. Each part of the installation makes us a part of its own world of small sounds and noise, while at the same time it embraces us in the central area in a gentle and delicate cacophony of sound, which at its core wonderfully validates the title of the cycle: ‘Discreet Events in Noisy Domains’, and in a special manner unveils the beauty, playfulness, and sparkle of ‘noisy domains’, opens them up, and on the level of interaction and the participation of the visitors, offers to each of them their own sound sphere, which is presented to them coated in a soft, enticing plushness. […]”

Luka Zagoričnik

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Non-central domains: video art in Slovenia after 2000

27. 02. - 03. 04. 2008 Curators: Petja Grafenauer Krnc and Igor Španjol, excerpt from the text

“[…]Tanja Vujnovic’s projects are based on an expanded notion of sculpture that connects technologically objects, sound, and images. Her spatial interventions depend on radio waves, television frequencies, and algorithmic processing of sound and visual signals in public environments. She uses video to construct rhythmic images and sound-based micro-worlds.[…]”

Igor Španjol

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Tour / Detour

(excerpt from the text, Duba Sambolec, Tour / Detour, Helium, a sound art series in 5 parts on the internet, Ballongmagasinet and NIFCA (http://www.ballongmagasinet.com/helium), 2002.)

“[…] Dialogue is polluted with noise from frequencies that are traversing the atmosphere. We hear the sounds from a café, particles of statements, which come and go in waves. Therefore it is hard to follow the utterances of two artists, Marcel Duchamp and Herman Nitsch. We find ourselves in a situation that is similar to a disturbed hunter who is trying to catch the prey of his interest. However, there is no such thing as a pure-ideal situation. The messiness of the sound is aggressive. The bombing of our capacity to perceive what is going on is even increased by the equally important sounds of everyday compulsive activity, such as the sounds of dishes being washed. As a counterpart, we may rest our eyes on the images of beautified kitsch details from one's home, (the words kitsch and kitchen sound so similar), which do offer comfort and visual pleasure that nurture people's needs of integrity. You might feel safe when you have at least something to rest your eyes upon and consequently, you think that you are in control.[…]”

Duba Sambolec

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Fictional Dictionary, second part

(excerpt from the text, Jasmina Čubrilo, Fictional Dictionary, second part, "Perfect Frequency" exhibition catalogue, DOB Belgrade, Belgrade, 1998.)

“[…] The poetic moment in which an image is dimmed until it can no longer be recognized, in which, in the electronically defragmented structure, the contours of given elements are barely outlined, is repeated as unpleasant sound vibration of mixed radio-stations. For a message to be comprehensible, it has to refer to a reality shared, at least in part, by both a sender and a receiver. This reality creates context. An ideal situation is considered when a message gets undamaged to its destination, and read according to the intentions of its sender. However, just as a sender is unaware of all the aspects of his/her message, a receiver reacts to messages sent from his/her own reality/context and preoccupations. The “Perfect Frequency” is an affirmation of theses that what we perceive is not always that what we see, and that what we hear is not always what we listen to. In both cases, positions establishing a platform of our speech are important, and they condition the final selection. (Im)possibility of decoding of the read-in contents make communication more difficult or easier. Thus, broadcasting difficulties are not just conditioned by technical limitations only of transmitters and/or receivers, but their origin and existence can be an effect of various levels of needs, demands, wishes, concentration, information, interest, permissiveness... So, “Perfect Frequency” is the moment of the perfect noise deconstructing all ideologies, that is to say, a critical field induced by thee actual network over-burdening, as well as by an impasse through its dense plexus. Anyway, the very collages of the stills taken from the video project, suggest that these circumstances have transformed each and everyone of us into incomplete sentences, hovering around, mostly, parallel contexts."

Jasmina Čubrilo

///SLOVENSKI///

Ultramono publikacija številka #10, 2015-2016
Tanja Vujinović
Avtorji fotografskih reprodukcij: Jan Kušej, Tanja Vujinović, Claudio Farkasch, Sunčan Stone, Tanja Rojc, Nada Žgank, Viktor Bernik, Maja Vuksanović, Boštjan Lah.
Besedila: Sanja Kojić Mladenov, Ultramono.
Izdajatelj: Ultramono, Raziskovanje in produkcija medijske umetnosti
info@ultramono.org
http://ultramono.org
© Tanja Vujinović (Tatjana Vujinović Kušej) / Ultramono 2015-2016

Tukaj lahko naročite trdo vezavo http://www.blurb.com/b/6578248-ultramono-10 ali prevzamete brezplačno elektronsko knjigo http://www.blurb.com/b/6578248-ultramono-10?ebook=552085

Ultramono publikacija številka #9, 2015-2016
Tanja Vujinović
Knjiga vsebuje studije in dela iz serije Univerzalni objekti iz leta 2015, vključno z deli: UO Opazovalci, UO Vrt, UO Eksplozije in UO Levitacije.
Izdajatelj: Ultramono, Raziskovanje in produkcija medijske umetnosti
info@ultramono.org
http://ultramono.org
© Tanja Vujinović (Tatjana Vujinović Kušej) / Ultramono 2015-2016

Tukaj lahko naročite trdo vezavo http://www.blurb.com/b/6578092-universal-objects ali prevzamete brezplačno elektronsko knjigo http://www.blurb.com/b/6578092-universal-objects?ebook=552080

ULTRAMONO, 
PUBLIKACIJA ŠTEVILKA #7, 2012
Avtorji fotografskih reprodukcij: Jan Kušej, Tanja Vujinović, Claudio Farkasch, Sunčan Stone, Tanja Rojc, Nada Žgank, Viktor Bernik, Maja Vuksanović, Boštjan Lah.
Izvršni producent: Jan Kušej
Besedila: Petja Grafenauer, Janez Strehovec.
ISBN 978-961-92451-2-5 (pdf)
©Tanja Vujinovic/Ultramono, 2012
Ultramono, publikacija #7 je dostopna TUKAJ (17.6MB)


Ultramonogenerativne digitalne tehnike, vizualizacije podatkov, ozvočenja podatkov, sodobna uporabna elektronika in črni plišasti stvori

(izvleček iz besedila, Petja Grafenauer, Ultramonogenerativne digitalne tehnike, vizualizacije podatkov, ozvočenja podatkov, sodobna uporabna elektronika in črni plišasti stvori, ULTRAMONO, PUBLIKACIJA ŠTEVILKA #6, 2012,  st. 2-6.)

“[…] Za igranje pa potrebujemo igrače, in te so v zadnjih dveh desetletjih v svet sodobne umetnosti vstopile skozi velika vrata. Tudi tu sledijo vsesplošnemu trendu vračanja k igri v odraslosti. Ker so pomemben del platforme Ultramono, ki jo za produkcijo svojih del uporablja Tanja Vujinović, nam bo njihova zgodba služila za vstop v serijo projektov te umetnice. Igrače so zaradi prisotnosti digitalnih tehnologij v njenem opusu največkrat potisnjene ob stran kot sredstvo, projekti pa analizirani v okvirih novomedijske tehnološke umetnosti. Vendar so igrače vizualno in pomensko centralni, vendar pa nikakor ne edini možen način za razumevanje njenih projektov. Zdi se celo, da so prav zato njeni projekti takšni, da uporabniku olajšajo dostop do razumevanja tehnoloških vprašanj: valovanja od podatka do slike in zvoka ter spet nazaj. Po drugi strani pa delujejo tudi na čutni ravni in s to, lažje dostopno ravnjo, prek igrač in igranja, uporabnika vodijo do kompleksnejših spoznanj. […]

V domeni, v kateri deluje Tanja Vujinović, se prepletata darkerska in elektronska estetika z raziskovanji v polju pretvarjanja zvoka v podobe in drugih možnosti, ki jih danes ponuja programiranje ob pomoči raznolikih vmesnikov. Vse to pa je prepredeno z zanimanjem za zvočno umetnost hrupa. V okviru opusa, tako povezanega s sodobnimi tehnologijami, ki privlačijo umetnike, je potrebno raje kakor o samoniklosti razmišljati o razvoju umetniškega opusa, razvoju posameznega projekta, tehnologiji in njeni vpletenosti v umetnino, konceptu in estetiki ter prepletu vseh teh faktorjev. […]

Kako bi torej sumirali projekte Tanje Vujinović z besedami? Prepoznavni so kot del opusa s svojo kaotično darkersko noise estetiko. Njihova interaktivnost je ključnega pomena za obstoj samega projekta – vmesniki generirajo podobo in zvok iz podatkov, ki jih večinoma omogoči gledalčeva prisotnost –, hkrati pa tudi čutni in konceptualni del umetnine omogoči nastanek igrivega vzdušja v galeriji. Visoka tehnologija, ki jo v umetnosti navadno doživljamo kot projekte za 'geeke', kjer moraš vstopiti v posvečeni krog vedenja o 'kako deluje', da bi lahko razumel umetnino, z deli umetnice pridobiva na igrivosti. Igranje z 'igračami', ki nas pritegnejo zaradi nostalgične preteklosti, nas spodbudijo, da sprva uživamo v igri in njihovi kinetiki. Ob tem se privajamo na podobe in zvoke, ki jih ponujajo ekrani in mikrofoni, ustvarjamo pa jih tudi sami. Ob igri razumemo, kako deluje. Slednje nas začne celo zabavati in že je pred nami svojevrsten glasbeno slikarski instrument, ki odpre nove možnosti za igro in užitek v umetnosti."

Petja Grafenauer


 

Dotik s taktom

(izvleček iz besedila, Janez Strehovec, Dotik s taktom, Ob instalaciji Superohm Tanje Vujinović, MASKA, Časopis za scenske umetnosti, Letn. XXVI, št. 141–142 (jesen 2011),  st. 98-100.)

"Projekt Superohm, postavljen oktobra 2011 v Galeriji Kapelica v Ljubljani, sodi med Diskretne dogodke v hrupnih domenah (petnajsta študija), kar najprej pomeni, da je dogodek in s tem udeleženčeva intervencija v času, prav tako pa so tu hrupne domene, iz česar izhaja, da je za dogodek bistven tudi njegov zvočni učinek, kar je sicer prav tako spremljevalka drugih projektov Tanje Vujinović. Dogodek ne implicira zgolj časovne razsežnosti; nekaj se dogaja le, če smo tam priče tudi intenzivni udeleženosti, in ta je v primeru »Diskretnih dogodkov« diskretna. Do nje pride takrat, ko stvari ne zgolj gledamo, kar je sicer značilno za gledalčev obisk razstav tradicionalnih umetniških artefaktov, ampak stopimo z njimi v intenziven in individualiziran odnos, ki vključuje celostni čutni in emocionalni aranžma. Tak aranžma predpostavlja nagovor vseh čutov, tudi dotika, vključenega v kinestetični dispozitiv, kajti statični angažma dotika ne privede do veliko podatkov. Potrebno je obiskovalčevo/uporabnikovo kroženje v prostoru instalacije, dotikanje objektov v gibanju, njihovo pospeševanje in zaustavljanje, usmerjanje in nalaganje.

            Za kakšne objekte gre pri tem? Spominjajo na živa bitja, recimo plišaste psičke, pa tudi na (nič nevarne) plazilce in živahne kozličke. Opremljeni so s senzorji, sposobni so tako programiranega kot naključnega obnašanja; premalo so pametni, da bi bili pravi roboti, in hkrati preveč, da bi jih obravnavali kot navadne igrače. Proizvajajo zvoke (konstituirajo hrupne domene) in njihovo gibanje je vključeno v umetno življenje na peskovniku (igrišču), na katerega so položeni. Delimo jih lahko na tri vrste: na največje in najbolj lene, ki se napajajo z elektriko v središču peskovnika, potem na psičke-avtomobilčke (če jih obiskovalci porinejo, se veselo zapeljejo v določeni smeri) in na skakajoče in prekopicajoče se plišaste kozličke, ki demonstrirajo (kot bi bili nekakšne vrtavke) še največ življenja. Vse, kar se dogaja na peskovniku, je snemano s kamerami nad njim, in modulirani posnetki se v živo projicirajo na zaslon v ozadju instalacije, prav tako pa umetno življenje v peskovniku (temelječe na interakcijah med različnimi analognimi in digitalnimi komponentami sistema – objekti, opazovalci, svetlobnimi viri, kamerami, nadzornimi in krmilnimi napravami) ustvarja zvočno pokrajino, ki ji velja prisluhniti in skušati vplivati nanjo z novimi kinestetičnimi posegi v objekte, postavljene na peskovnik-igrišče. Video in zvočne mape, generirane na podlagi interakcij objektov, opazovalcev in pametnih naprav, proizvajajo vrste podatkov, ki jih zbirajo in obdelujejo računalniški programi.

            Superohm kot projekt novomedijske umetnosti je sicer izziv za teorijo spričo kompleksnih interakcij med komponentami sistema, ki vodijo k umetnemu življenju, temelječem na hibridnih stanjih med analognim ter digitalnim in algoritmičnim. V praksi so to senzorji, stroboskopske in LED luči, video kamere, mikrofoni in zvočniki, računalniške komponente in mehanski deli v plišastih objektih-psičkih, kozličkih in plazilcih. Prav tako se pri tej instalaciji srečujemo z modularnim pristopom – fleksibilne komponente je mogoče prilagoditi novim postavitvam v drugih prostorih, pomembno pa je tudi, da avtorica sama opravlja programerska dela pri svojih projektih. Vendar pa je tisto, kar je velik izziv za pisca tega besedila, prav nagovor taktilne percepcije, ki ga vzpostavlja to delo.

            Takšna percepcija je bistvena, da se opravi pot od (ne)običajnega čutnega izkustva k intenzivnemu dogodku, in tu imajo pomembno vlogo prav hibridni objekti v obliki plišastih psičkov, plazilcev in kozličkov. Oblečeni so v obstojen, topel in tipu prijazen tekstil (tu lahko pomislimo na neoavantgardista Josepha Beuysa, ki je tudi uporabljal tople materiale, kot so mast, vosek in pliš), ki obiskovalca kar vabi k dotikanju, potem božanju in kasneje k odločnemu prijemu takšne napol žive igrače. Nagovorjene niso le kinestetične, ampak tudi motorične sposobnosti obiskovalca/uporabnika, kajti od uvodnega (bojazljivega) opazovanja stvari, ki so pred njim (ko stopi v galerijski prostor), preide k veliko bolj aktivnemu, tudi raziskovalnemu odnosu do okolja in objektov v njem. Stvarem začenja odvzemati tujost in to mu uspe prek dotika, ki omogoča neposrednost, izkustvo materialnosti in vključevanje sestavin okolja v njegovo telesno shemo (koncept Mauricea Merleau-Pontyja). […]”

Janez Strehovec


 

Diskretni dogodki v hrupnih domenah

(izvleček iz besedila, Ida Hiršenfelder, Diskretni dogodki v hrupnih domenah, Dnevnik, Ljubljana, 25.9.2008.)  

“[…] Zvok v taktilnem biotopu Supermono 2/3 izhaja iz dveh med seboj dopolnjojočih se izvorov, ki preko kompleksnih digitalnih modulov omogočata skoraj neponovljivo varijabilnost zvoka in slike. Prasketajoca zvočna podlaga se naključno procesira iz video posnetka gibanja v galeriji preko računalniškega vmesnika v abstrakten zvok in video sliko. Zvočne strukture na drugi strani galerije absorbirajo in oddajajo ljubki crni pajaci oziroma plišaste packe, v katerih se skrivajo zvočni senzorji, njihova reakcija pa je popolnoma odvisna od igre oziroma interakcije. Zvočna umetnost mnogokrat uporablja reakcijo človeškega telesa, ki jo pri tokratni inštalaciji spodbuja prikupnost in mehkoba crnih pajacev. Inštalacija je pravzaprav igrača za zbližavanje z zvokom. Umetnica ne išče velikih tem, ampak s pomocjo hibridnih tvorb nežno spodbuja soočenje s tehnologijo in razvoj inteligenčnih, čustvenih in poetičnih dimenzij v dojemanju prostora. […]”

Ida Hiršenfelder 


Podoba zvočne pokrajine

(izvleček iz besedila, Barbara Sterle Vurnik, Podoba zvočne pokrajine, Ampak, mesečni časopis za kulturo, politiko in ekonomijo, letnik 9, številka 10, Ljubljana, oktober 2008.)  

“[…] V svojem delu igračam namreč odvzame identiteto, jih kot anonimna, telesa aplicira v projekt. S tem resen in sofisticiran svet tehnologije zmehča, kontrastira pa ga tudi z ročnim izdelovanjem teh mehkih „plišcev“. Slednji so v svoji črnini po drugi strani tudi hkrati daleč od prijaznih igrač, odtujeni, brezimni. A mnogokrat so takšne tudi marsikatere tehnološke igrače kot so „telebajski“, „pikačuji“ idr. Lahko bi ga razumeli tudi kot avtoričin komentar na brezosebnost sodobne potrošniške družbe, ki onesnažuje naša življenja. Celoten projekt temelji na zapletenem konceptu in še bolj zapleteni tehnični izvedbi, ki pa ju gledalec ne zazna, saj je postavitev čista in deluje brezhibno. Za gledalca je zanimiva, ker mu odpira neznano področje nevidnih signalov in valovanj, ki sicer dobesedno pršijo po ozračju našega vsakdanjega okolja. Razpre se čudovita veriga soodvisnih razmerij, ki jih v galeriji določi človek že samo z svojim vstopom vanjo, ce postane v njej še kako drugače aktiven, se dotakne objektov, pride do čudovitega procesa transformacij, ki rezultirajo v magični podobi zvočne pokrajine.[…]”

Barbara Sterle Vurnik 


Svet malih zvokov in šumov

(izvleček iz besedila, Luka Zagoričnik, Svet malih zvokov in šumov, Delo, Ljubljana, 26.9.2008)

“[…] V festival Ex Ponto se je z zvočno instalacijo umetnice Tanje Vujinović (koprodukcija Zavoda B-51 in Zavoda Exstat) letos vtrla tudi zvočna umetnost, ki se že več let uspešno predstavlja v galeriji Kapelici. Ta je pred kratkim na prestižnem festivalu Ars electronica tudi za del svojega programa sodobne zvočne umetnosti raznovrstnega izvora požela hvalospeve tako s strani poznavalcev kot občinstva in organizatorjev. Dokaz, da so ustvarjalci, ki že več let predstvljajo svoja dela v okviru omenjene galerije, vpeti v sodobno zvočnost in smeri v tej vrsti umetnosti ne samo stare celine, temvec tudi širše, je zdajšnja postavitev "Supermono 2/3", razdeljena na tri osrednje dele, ki vsak zase sestavlja krhek zvočni sistem subtilnih šumov in sintetičnih zvokov. Ti nas vpenjajo v infantilni, otroški svet, v svet igre premikajočih se igrač in obkrožajočih zvokcev ki nas nagovarjajo k interakciji in v primežu sodobne tehnologije oddajajo lasten zvok ali pa delujejo kot moduliran znak našega giba, dotika in odmeva. Spet drugje smo soočeni s prežemanjem video- in avdiosignala, ne nazadnje pa nas okrepljen in moduliran spremlja iz malih monotelesc. Vsak del postavitve nas vpne v sebi lasten svet malih zvokov in šumov, hkrati pa nas v osrednjem prostoru objame v nežno in krkho kakofonijo zvoka, ki v svojem jedru imenitno osmišlja naslov cikla "Diskretni dogodki v hrupnih domenah" in na poseben način odstira lepoto, igrivost in iskrivost v "hrupnih domenah", jih razpira in na ravni interakcije, participacije obiskovalca vsakemu ponuja lastno zvočno krajino, ki se mu predstavlja, odeta v mehkoben in vabljiv pliš.[…]”

Luka Zagoričnik