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Portable project Theme for the second number of the fanzine "Portable exhibition" is inspired by Marcel Duchamp's “Boîte-en-Valise” project. Artworks presented in this issue are made by artists from different artistic backgrounds and are related to the portable and folding nature of art. Contributing artists: Katarina Radovic http://katarinaradovic.jimdo.com Maria Hera http://mariahera.weebly.com Irene Kepl http://www.irenekepl.at Sejma Ferré http://sejma.jimdo.com Lena -Violetta Leitner https://rosaschlimmerwolf.wordpress.com Milica Rakic http://kic.jimdo.com
Citation preview
PORTABLE EXHIBITION NO.2
PORTABLE PROJECT
KATARINA RADOVIĆ 3
MARIA HERA 8
IRENE KEMPL 12
ŠEJMA FERRÉ 17
LENA VIOLETTA LEITNER 22
MILICA RAKIĆ 26
“Portable project”, a theme for the second number of the fanzine Portable exhibition, is inspired by Marcel Duchamp’s “Boîte-en-Valise”. Artworks presented in this issue are made by artists from different artistic backgrounds and are related to the portable and folding nature of art.
Lege
nd G
AM
MA
(20
– 6
0 m
inut
es)
for
3 to
6 in
stru
men
ts:
Sco
re
The
pict
ure
is a
sco
re o
f 20
– 6
0 m
inut
es m
usic
. 3
differ
ent
path
s le
ad t
hrou
gh it
and
def
ine
the
dens
ity
and
char
acte
r of
the
tim
e.
Inst
rum
en
ts
The
com
posi
tion
con
tain
s 3
voic
es.
By
star
ting
the
se 3
voi
ces
from
min
. 11
, a
fter
min
. 20
you
st
art
from
min
.1 t
here
are
3 m
ore
voic
es a
vala
ble.
The
pie
ce is
for
3 t
o 6
mus
icia
ns.
The
inst
rum
ents
can
be
chos
en b
y th
e in
terp
rets
.
Du
rati
on
The
dura
tion
of th
e pi
ece
is 2
0, 4
0 or
60
min
utes
, Th
e ac
tion
s ar
e tim
ed in
one
min
ute
sect
ions
. Ea
ch m
usic
ian
has
a cl
ock.
The
inst
ruct
ions
of on
e m
inut
e to
the
nex
t on
e sh
ould
ha
ppen
flu
ently.
The
first
min
ute
is w
itho
ut a
ctio
n, t
he m
usic
ian
can
get
read
y at
tha
t tim
e
40 m
inut
es
The
dura
tion
dou
bles
fro
m 2
0 to
40
min
utes
by
star
ting
the
nex
t vo
ice
afte
r fin
ishi
ng t
he
play
ed o
ne.
For
exam
ple:
if y
ou p
laye
d th
e 1st
voi
ce y
ou s
tart
with
the
seco
nd,
if yo
u pl
ayed
th
e se
cond
on
you
star
t w
ith
third,
if y
ou p
laye
d th
ird
one
you
star
t w
ith
the
first
voi
ce.
60 m
inut
esIf
you
pla
y th
e vo
ice
you
didn
´t p
lay
yet
afte
r fin
ishi
ng t
he o
ther
tw
o vo
ices
.
Inte
rpre
tati
on
of
the P
ictu
res
basi
c in
stru
ctio
n:-
dark
spo
tsm
f, h
igh
conc
entr
ated
, ac
oust
ik s
ound
- lig
ht s
pots
pp,
low
con
cent
rate
d, lo
ng la
stin
g so
unds
, fe
edba
ck
Dyn
am
ics
ppp
– m
f
The
laye
rs d
efin
e al
so t
he d
ynam
iks
m
eans
: Bac
kgro
und
laye
rs,
(mor
e tr
ansp
aren
t):
soft
er,
back
grou
nd s
ound
svo
rder
e Eb
enen
: m
ore
pres
ent
soun
d
So
un
d Q
uali
ty:
Str
u
ctu
re (
Str
uct.
)
:
abst
ra
c t s
tru
c
tur
e
z.
B.
diffus
e so
unds
rhyt
hmi
c
s tr
u
c tu
r
e z.
B.
rhyt
hmic
sou
nd fie
lds
figur
al
s
tru
c
tur
e
z.B.
prog
ress
of pi
tch
chan
ge a
ccor
ding
to
fig.s
tr.
Con
nota
tion
(Con
not.
) :
- W
hich
sou
nd c
omes
to
your
min
d if
you
wat
ch t
he p
ic(s
)?-
Wha
t w
ould
you
like
to
do if
you
are
at
this
pla
ce,
how
wou
ld t
hat
soun
d?Kno
ck o
n th
e do
or,
crea
k of
the
doo
r, lo
ok o
ut o
f th
e w
indo
w,
scra
tch
the
wal
l, fo
otst
eps
- ho
w w
as t
he s
truc
ture
mad
e (g
lass
, w
all)
how
wou
ld t
hat
soun
d lik
e?-
You
can
requ
ote
a kn
own
mel
odie
and
pla
y w
ith
it in
a v
ery
abst
ract
way
.Yo
u ca
n us
e it a
s in
spirat
ion,
it s
houl
d N
OT
be r
ecog
nise
d!
G u
estu
r
e (G
uest
.)
:
are
variou
s, s
impl
e m
usic
al a
ctio
ns.
Aft
er o
ne g
uest
ure
follo
ws
a pa
use
with
min
imum
of th
e du
ration
of th
e gu
estu
re b
efor
e
Th
e r
ole
of
sile
nce
If y
ou p
lay
for
exam
ple
the
'Fro
nt,
Sm
all P
ics'
fro
m a
ll co
ordi
nate
s of
the
sco
re y
ou s
houl
d tr
ansl
ate
also
the
not
-pla
yed
laye
rs:
whi
ch m
eans
sile
nce
in b
etw
een
som
e ac
tion
s.
The
Sco
re d
oesn
´t s
how
a s
imul
tane
ous
of a
ctio
n bu
t de
velo
pes
during
the
dur
atio
n of
the
pi
ece.
Bes
ides
act
ions
red
uction
and
abs
trac
tion
are
a e
ssen
tial
ele
men
t of
tis
pie
ce.
Furt
herm
ore
the
'roo
m' y
ou c
an s
ee in
the
pic
s –
the
3 D
imen
sion
ality
– ca
n be
tra
nsla
ted
as
'sile
nce'
as
wel
l.
Lege
nd G
AM
MA
(20
– 6
0 m
inut
es)
for
3 to
6 in
stru
men
ts:
Sco
re
The
pict
ure
is a
sco
re o
f 20
– 6
0 m
inut
es m
usic
. 3
differ
ent
path
s le
ad t
hrou
gh it
and
def
ine
the
dens
ity
and
char
acte
r of
the
tim
e.
Inst
rum
en
ts
The
com
posi
tion
con
tain
s 3
voic
es.
By
star
ting
the
se 3
voi
ces
from
min
. 11
, a
fter
min
. 20
you
st
art
from
min
.1 t
here
are
3 m
ore
voic
es a
vala
ble.
The
pie
ce is
for
3 t
o 6
mus
icia
ns.
The
inst
rum
ents
can
be
chos
en b
y th
e in
terp
rets
.
Du
rati
on
The
dura
tion
of th
e pi
ece
is 2
0, 4
0 or
60
min
utes
, Th
e ac
tion
s ar
e tim
ed in
one
min
ute
sect
ions
. Ea
ch m
usic
ian
has
a cl
ock.
The
inst
ruct
ions
of on
e m
inut
e to
the
nex
t on
e sh
ould
ha
ppen
flu
ently.
The
first
min
ute
is w
itho
ut a
ctio
n, t
he m
usic
ian
can
get
read
y at
tha
t tim
e
40 m
inut
es
The
dura
tion
dou
bles
fro
m 2
0 to
40
min
utes
by
star
ting
the
nex
t vo
ice
afte
r fin
ishi
ng t
he
play
ed o
ne.
For
exam
ple:
if y
ou p
laye
d th
e 1st
voi
ce y
ou s
tart
with
the
seco
nd,
if yo
u pl
ayed
th
e se
cond
on
you
star
t w
ith
third,
if y
ou p
laye
d th
ird
one
you
star
t w
ith
the
first
voi
ce.
60 m
inut
esIf
you
pla
y th
e vo
ice
you
didn
´t p
lay
yet
afte
r fin
ishi
ng t
he o
ther
tw
o vo
ices
.
Inte
rpre
tati
on
of
the P
ictu
res
basi
c in
stru
ctio
n:-
dark
spo
tsm
f, h
igh
conc
entr
ated
, ac
oust
ik s
ound
- lig
ht s
pots
pp,
low
con
cent
rate
d, lo
ng la
stin
g so
unds
, fe
edba
ck
Dyn
am
ics
ppp
– m
f
The
laye
rs d
efin
e al
so t
he d
ynam
iks
m
eans
: Bac
kgro
und
laye
rs,
(mor
e tr
ansp
aren
t):
soft
er,
back
grou
nd s
ound
svo
rder
e Eb
enen
: m
ore
pres
ent
soun
d
So
un
d Q
uali
ty:
Str
u
ctu
re (
Str
uct.
)
:
abst
ra
c t s
tru
c
tur
e
z.
B.
diffus
e so
unds
rhyt
hmi
c
s tr
u
c tu
r
e z.
B.
rhyt
hmic
sou
nd fie
lds
figur
al
s
tru
c
tur
e
z.B.
prog
ress
of pi
tch
chan
ge a
ccor
ding
to
fig.s
tr.
Con
nota
tion
(Con
not.
):
- W
hich
sou
nd c
omes
to
your
min
d if
you
wat
ch t
he p
ic(s
)?-
Wha
t w
ould
you
like
to
do if
you
are
at
this
pla
ce,
how
wou
ld t
hat
soun
d?Kno
ck o
n th
e do
or,
crea
k of
the
doo
r, lo
ok o
ut o
f th
e w
indo
w,
scra
tch
the
wal
l, fo
otst
eps
- ho
w w
as t
he s
truc
ture
mad
e (g
lass
, w
all)
how
wou
ld t
hat
soun
d lik
e?-
You
can
requ
ote
a kn
own
mel
odie
and
pla
y w
ith
it in
a v
ery
abst
ract
way
.Yo
u ca
n us
e it a
s in
spirat
ion,
it s
houl
d N
OT
be r
ecog
nise
d!
G u
estu
r
e (G
uest
.)
:
are
variou
s, s
impl
e m
usic
al a
ctio
ns.
Aft
er o
ne g
uest
ure
follo
ws
a pa
use
with
min
imum
of th
e du
ration
of th
e gu
estu
re b
efor
e
Th
e r
ole
of
sile
nce
If y
ou p
lay
for
exam
ple
the
'Fro
nt,
Sm
all P
ics'
fro
m a
ll co
ordi
nate
s of
the
sco
re y
ou s
houl
d tr
ansl
ate
also
the
not
-pla
yed
laye
rs:
whi
ch m
eans
sile
nce
in b
etw
een
som
e ac
tion
s.
The
Sco
re d
oesn
´t s
how
a s
imul
tane
ous
of a
ctio
n bu
t de
velo
pes
during
the
dur
atio
n of
the
pi
ece.
Bes
ides
act
ions
red
uction
and
abs
trac
tion
are
a e
ssen
tial
ele
men
t of
tis
pie
ce.
Furt
herm
ore
the
'roo
m' y
ou c
an s
ee in
the
pic
s –
the
3 D
imen
sion
ality
– ca
n be
tra
nsla
ted
as
'sile
nce'
as
wel
l.
The Signs
Time
Raw defination of the progress from one mitute to the next one., the change should be played fluenty.
Coordinates:
The picture is devided in imagined coordinates. (The coordinates are a raw instruction and can extend it´s borders.)
1 2 3 _____________________ I I I IA I I I____ I I I I IB I I I__ ___ I I I I IC I I I____ I
Layers
The different layers and Pictures are sdevided in 3 Dimensions.
Front pics in the foreground, with more contrastMiddle pics between background and foregroundBack very transparent, nearly unvisible pics in the background
Focus on
Small PicsMedium PicsBig Pics
Contrast play with the contrast of the picsCombine combine elements of the picsDimensions play with the various dimensionsLEFT to RIGHT play the pic from one to the other side.
If you realize that the chosen pic is bigger than you thought play the chosen pic instead and go back to the score during the next minute.
Instrument 1
Coord. Layer Time Focus on Sound Quality
0:00
B 2 Front 1 + 1 Pic Struct. +
B-C 2 Front 2 + Dimensions Struct. +
+ C 2 Front 3 + Struct. + Connot.
C 2 + Middle 4 + Connot.
all Front 5 + All Small Guest. + Pause
all Front – Middle 6 + All Small–Med. Struct. + Connot.
C-B 1 Middle - Back 7 + + Connot.
A 1 Front – Middle 8 + Contrast Struct. + Connot.
A 1 + ALL 9 + Combine Struct.
A 1-2 Back 10 + Struct.
11 +
A 1-2 Middle - Back 12 + Contrast + Connot.
A 3 Middle 13 + 1 Pic Struct. + Connot.
A 3 ALL 14 + Dimensions + Connot.
B 3 ALL 15 + RIGH to LEFT Struct. +
C 3 ALL 16 + Contrast Struct. + Connot.
C 3 Back 17 + 2 Pics Combine Struct.
all Back 18 + Big Struct. +
all Middle 19 + Combine Struct. + Connot.
all Back 20 + 1 Pics Transparency Struct.
21:00
Instrument 2
Coord. Layer Time Focus on Sound Quality
0:00
all Back 1 + 1 Pic Big Struct.
A 2 Front 2 + 1 Pic Small Connot.
A 1 Middle - Back 3 + Struct.
B-C 1 Front Back 4 + Contrast Struct. + Connot.
C 1 Back 5 + Combine Dimensions + Connot
C 2 Middle 6 + Contrast, LEFT to RIGHT Struct. + Connot
C 3 ALL 7 + Struct. + Connot.
C 3 Front 8 + Connot.
all Front Back 9 + Connot.
A 2 ALL 10 + Struct. + Connot.
B 2 Front 11 + Struct.
C 2 Front 12 + 2 Pics Contrast Struct.
C2 Front – Middle 13 + Combine Struct.
14 +
all Front 15 + All Small Pics Connot.
all Middle - Back 16 + All Medium Pics Struct. + Connot.
A 3 ALL 17 + RIGHT to LEFT, Dimension Struct.
A 3 ALL 18 + Contrast Struct. + Connot.
B-C 3 Middle - Back 19 + Combine Struct.
20 +
21:00
Instrument 3
Coord. Layer Time Focus on Sound Quality
0:00
1 +
all Middle 2 + Medium Pics Struct.
A 3 ALL 3 + Combine Dimensions Struct.
A 3-2 Back 4 + 2 Big Pics, Combine Struct. + Connot.
A 2 Front – Middle 5 + Contrast Guest.
B 2Front Back 6 + Combine Struct.
B 1 Back 7 + Struct.
A 1 ALL 8 + 3 Pics Connot.
all Middle 9 + Dimensions Struct.
B 2-3 ALL 10 + LEFT to RIGHT Struct.
B-C 3 Middle 11 + Struct. + Connot.
C 3 Front 12 + Small Pics, Contrast Connot.
C 2 Front – Middle 13 + Combine Struct. + Connot.
C-B 2 Front 14 + 2 Pics Struct. + Connot.
B-C 1 Front 15 + 2 Small Pics, Contrast Pause + Connot.
C 1 Front Back 16 + Contrast Struct. + Connot.
all Back 17 + Big Pics Struct.
all ALL 18 + Connot.
C 3 Middle - Back 19 + Struct. + Connot.
B 2 Front 20 + Struct.
21:00
ichduichduwirihrsiegrenztansieeressiemichdichihrgegenwirihrgrenztanmichwohoerichaufwofaengstduan?
ichduichduwirihrsiegrenztansieeressiemichdichihrgegenwirihrgrenztanmichwohoerichaufwofaengstduan?ichduichduwirihrsiegrenztansieeressiemichdichihrgegenwirihrgrenztanmichwohoerichaufwofaengstduan?
an die grenze gehen part eins.odysee221115sonntag 22.11.15abfahrt: 8h15 burggasseankunft: 17h25 schottenfeldgasse
nickelsdorfwindtranskription
es kostet 15 euro für 10 tage,
(wauwauwau) unverständlich
you have to go back to the main road aha okay which goes to slovakia at theend of the road will be camp at the right side of the road on the street? yeahyeahand we see it? it will be big building with lots of windows aaah okay so wejust go straight straight straight straight following the street and, thank youmenekült tabor existiert nichtmein akku is so hier kann ich hi! here very close nearby should be the refugeecamp? in hungary? hungary? no no but .....menekült tabor? menekült tabor?----not understood---slowakei? aha yeah yeah --no understood-- deutsch?deutsch oder? ja ja wo ist hier soll es ein flüchtlingslager geben Bitte? flüchtlinge?wo ist es? es soll hier sein wir fahren schon die ganze zeit herum jajaja asowo is?das is so deutsch oder? bei ungarn? --not understood-- slowakei oderdeutsch in ungarn ungarn?ungarn!ungarn... wir sind jetzt von da gekommenund dann waren wir auf einmal in der slowakei ich weiß nicht ist so mappeoder das werden wir nicht auf der mappe finden ich weiß nicht tschuldigealso sie haben auch keine menschen gesehen die irgendwie eine unterkunftsuchen gehen wir mal aufs wc wc kaputtkeine menschen weit und breit aber tote tierehi do you speak english a little bit we wanted to ask you if we can get in butnoo its closed can you get a little bit out die haben so karten stille--unverständlich--es ist ja doch kalt english deutsch no we just wanted to talk to somebody if wecan help you know no no time direktori engeli ja okay people no englishjetzt haben wir eh schon alle länder durch er redet mit ihm
suche nach grenze eingegrenzt nur im lager die flüchtlinge nicht rein nichtraus
KATARINA RADOVIĆ When You’ve Stopped Combing Me, I’ll Stop Hating You (2013)
This photographic project was realized during my artist residency at Centre WAAW in Saint-Louis, Senegal in 2013. The story takes place in women’s coiffure salons in town - almost exclusively a women’s world, and a zone of intimacy and gossip - where traditional tools and techniques are used to create an array of female hairstyles, from the quite ordinary to the almost unimaginable, as occasion dictates. Each of those coiffures requires a considerable amount of time and patience, and without doubt, a certain amount of agony and pain.
Born in Belgrade. Studied History of Art at the University of Sussex in Brighton and Photography at the Academy of Arts in Belgrade. Lives and works in Belgrade as a free-lance artist. http://katarinaradovic.jimdo.com
MARIA HERA Collages (2015)
My artwork is located at the intersection of media- and street- art, collage, photography, installation, as well as performance. I want to explore and transform the conditions of human life, mainly it´s network of relations, interactions, social structures and roles but also common persuasions and images and approach them in diferent ways. Leant on Martha Rosler I search in the details for metaphoric content and transform this, by putting it into new context, into another semiotic feld, that evokes a truth that can be accepted without claiming validity. In my collages I use the scissors as an extension of my intellectual power and the glue as an extension of my creativity, in order to prove, deconstruct and rebuild the images I´m confronted with day by day. http://mariahera.weebly.com
IRENE KEPL GAMMA , for 3 to 6 instruments (2013)
The picture is a score of 20 – 60 minutes music. 3 different paths lead through it and define the density and character of the time. The piece is for 3 to 6 musicians. The instruments can be chosen by the interprets.
Violinist and composer Irene Kepl studied classical violin and jazz in Linz and she now lives in Vienna. Her work focuses primarily on contemporary classical music, free improvisation, composition, Jazz and groove based musics. Free improvisation is an important component in her search for her own spontaneous musical language. Recently she received the fellowship „music OMI“ New York, Gustav Mahler Composition Prize, the national scholarship for young musicians, the talent development award for composition from Upper Austria and the Theodor Körner Prize for composition. Commissioned works for Brucknerfest Linz, ORF Musikprotokoll and Wiener Festwochen. Further work includes commissions for theater, film and sound installations.http://www.irenekepl.at
ŠEJMA FERRÉ Collages (2014)
These works are made with images from diverse printed reproductions in newspapers, propaganda and magazines. They are built in an intuitive way with a highlighted fragmentation exposing the transformation process.
Graduated at University of Arts in Belgrade with a master degree in Painting and Printmaking. She exhibited internationally at numerous shows. Editor of fanzine Portable exhibition (first issue 2013). Awarded with Onassis Foundation Distinction Prize for Painting in 2006. Lives and works in Belgrade. http://sejma.jimdo.com
LENA VIOLETTA LEITNERText (2015)
The text I wrote for this edition deals with questions of border and limits. Where does the text start and where do I end? Even not understanding the whole, everybody gets their own interpretation and idea of what they see or gets cut of fragments of the whole. The longer text is a protocol of a kafkaesque journey along the border of Austria, Hungary and Slovakia. It consists of records I took during the trip.
Born in 1986 in Graz. Lives and works in Vienna. After several residencies and exchange studies in various countries (Serbia, France, Croatia, Switzerland...) she deals in her work with questions of identity (especially as a woman and female artist) and physical, psychological borders. At the moment she is focused on language and text, but she also studies Digital Art at the University of Applied Arts Vienna and finished Japanese Studies and Theatre-, Film-, Mediastudies.https://rosaschlimmerwolf.wordpress.com/
MILICA RAKIĆ Cut (2015)
With a delicate sense of humor Milica Rakic creates her own archive of reports, pictures that evolve on crossing of reality and fiction. Combining what is apparently incompatible, she gives a completely new and unexpected meaning to what is already known, critically shaping the current image of society. She is born in SFRJ. Lives and works in Belgrade. http://kic.jimdo.com
PORTABLE EXHIBITION No. 2 december 2015