After the Party

sound&video installation by Francisco Tomsich and Borut Savski

15th November to 6th December 2024 – workdays from 12.00 to 18.00 in Alkatraz gallery, AKC Metelkova mesto.

https://galerijalkatraz.org/?p=20692

After the Party installation is designed specifically for the Alcatraz Gallery and its Metelkova concept. It touches the remnants of the party, the concert, the smell and sound, the images and feelings associated with the journey home or the morning after the party, which it addresses literally and metaphorically in sound and image.

Francisco Tomsich: After the party is an interactive immersive installation and an ever-changing endless concert, an ecosystem of sound and projected moving images. It explores the metaphor of resonance – both spatially and metaphorically.

Ana Grobler: The tandem, which presents itself under the name The Silent Movies, Borut Savski and Francisco Tomsich, in the third chapter of their mutual conversation – as they call the collaboration – which began with the Elegy exhibition (Cirkulacija 2, July 2020) and continued with the Summer Songs ( Cirkulacija 2, March–April 2023), provides a holistic, actually immersive experience for the viewer. The installation consists of an inseparable interweaving of videos from the SIlent works series by Francisco Tomsich and sound created by Borut Savski.

Borut Savski: The sound is based on agents that evoke destabilizing effects: the fragmentation of the sound image and the undefinedness, simultaneity/parallelism of larger sound streams. All this scattered around the room in the manner of six sound sources. No focus. Unclear voices, conversations, sound like tinnitus, vague musical echoes. Uneven ripple. The sound dynamics is driven by changes in the video image of the played silent videos and the internal inertia of the computer algorithm. A moment of silence would probably be appropriate. The six suspended sound sources are not speakers, but rather light vibrating sound bodies distributed around the room. Their task is to fill or empty the sound space, which is nevertheless primarily framed by video images. Even the synchronicity between picture and sound is not clear, but subtle.

The system metaphorically deals with the human interior, such as empathy, emotions, reflections and concerns, as well as with similar entities of human social aggregations (the state, firm, association, society), and is built as an anthropomorphic body: it has limbs, basic body, nervous system and a central brain, which also includes the visual perception of video sources. The body’s nerves are actually wiring.[1] This subject-object does not wish to harm anyone, at most it wants someone to visit it. As far as artificial intelligence is concerned, here we use heuristic methods that are a few decades older, which produce diversity and with it also errors. The sounds are transmitted to the surroundings by vibrating speakers, which create sound by transmitting vibrations to the selected material.

Francisco Tomsich:The exhibited videos are part of the Silent Works series, which I have been developing since 2016 and which has been presented in different contexts and countries. They consist of excerpts of footages from my own video diaries (which is why they have a strong documentary character) in dialogue with specific traditions of experimental documentary film, video art and early film. They are mostly monochromatic. They are narrative and meditative. They are designed as dialogic round peepholes into some scattered (outside) center of a certain perspective. They are silent.

Ana Grobler: The strong connection of video and sound, the embodiment and subjectification of the art object indicate the synchronous action of the tandem,
Sebastian Krawczyk: which builds a holistic experience through an experiment that is in constant development. The closed circle of sound and light of the art installation circulates around the space, just like an unstable mind, it is in constant motion through the restless flow of thought and emotional lability felt by Metelkova’s nocturnal visitor due to lack of sleep. In a figurative sense, we are all in a state of permanent instability, as we are part of a society that, due to technological development, wonders aloud what is actually real, because the paradox of animated information is in itself, since it is the most suitable for manipulating reality.[2] The authors’ installation can therefore be seen as a poetic parable of today’s zeitgeist: a wanderer from Metelkova amidst the remains of yesterday’s gatherings is also an observer of the glitches of an unstable reality.

Intervencije:

V četrtek, 28. november 2024 ob 18.00: obrazstavni dogodek Po zabavi: demistifikacija ljubezni – voden ogled z Borutom Savskim.

„Demistifikacija ljubezni“ je bil naslov serije performansov/predavanj, ki jih je leta 2004 v Galeriji Kapelica (Ljubljana) izvedel Aljoša Kolenc. Nastal je pred enim letom po pogovoru med Savskim in Tomsichem o naravi umetnosti in vzgibih vztrajanja v umetniški praksi, iz katerega sta vzniknili močno označeni besedi „Ljubezen“ in „Resnica“. Ta dva pojma, ki sta skorajda religioznega značaja, zahtevata trezen, demistificirajoč pristop. Na vodenem ogledu po ekosistemu zvoka in gibljivih slik razstave Po zabavi bosta avtorja v spremstvu kuratorjev razstave ponudila pogovorno seciranje razstavnih sredstev, pripovedovala in analizirala sestavine razstave in razloge za njihovo mešanje, pa tudi učinke na javnost, ki jih avtorja želita, upata ali predvidevata doseči. Demistifikacija torej pomeni skrbno in sporazumno ustvariti pot v notranje jedro razstave, kjer bo mogoče najti tudi primere ljubezni in resnice.

v petek, 6. december 2024 ob 18.00: zaključni dogodek razstave Po zabavinem koncu: koncert/ intervencija z Borutom Savskim in Franciscom Tomsichem.

SKICE ZA PROJEKT BENSHI (PO ZABAVI)
Francisco Tomsich
Hiša, zabava, kampiranje, dež, dan potem. Prepovedi, bager, balet, dežnik. Andrej, Rosina, Dejan, Žiga, Rachel, Gabo. Sarajevo, Izola, Ljubljana, Bistrica ob Sotli, Montevideo. To je tragedija posameznika. Flavta spodaj noče nehati igrati.

INSITUACIJA
Borut Savski
Koncertna zloraba videozvočnega organizma Po zabavi. Sistem bo prilagojen tako, da bo s pomočjo kopičenja resonanc lovil idejo zvočne polnosti prostora.

Borut Savski (1960) je intermedijski umetnik, ki daje velik poudarek zvoku – ob sočasni uporabi tehničnih rešitev za nevsakdanje instrumente ter avtonomne zvočne in vizualne strukture/skulpture. S tem so tesno povezane mikrosocialne situacije, v katere vstopa in/ali jih kreira. Osnovni pristop je na ravni metafor – točk, kjer se zgodijo prenosi/prevodi pomenov/motivov/motivacij med različnimi diskurzivnimi polji. Umetniška produkcija je vseskozi vzporedna in prepletena z drugo produkcijo. Tehnologija, programiranje, glasba, pogled na družbo. Trenutno preokupacija s taktilnimi vmesniki in interaktivno generiranim videom/zvokom/glasbo. Različna in številna sodelovanja, organizacije in soorganizacije dogodkov/festivalov.

Francisco Tomsich (1981) je slovensko-urugvajski umetnik, ki prebiva v Istri. Pripravlja razstave, publikacije, scenska dela, kolektivne platforme, raziskovalne modele in pedagoške pripomočke. Pri tem uporablja različne medije, jezike in govorico. Je soustanovitelj in član številnih nedisciplinarnih združenj kulturnih delavcev v Južni Ameriki in Evropi. Njegova dela so bila razstavljena in objavljena v mednarodnem prostoru ter večkrat nagrajena. V svojem delovnem procesu se ukvarja z nujnostjo ustvarjanja kritičnih dialogov med podobami preteklosti, pojmi sedanjosti in aktivnimi modeli prihodnosti.

[1]https://www.cirkulacija2.org/?p=10094
[2] B. Zrinski Matrica: nestabilna realnost, s. 27, v: 28. Grafični bienale, MGLC, 2009.

Produkcija: KUD Mreža
Koprodukcija: Boja, Cirkulacija 2
Kuratorstvo: Ana Grobler, Sebastian Krawczyk
Lektura: Sonja Benčina
Prevod (v angleški jezik): Ana Makuc
Finančna podpora: Ministrstvo za kulturo RS, Mestna občina Ljubljana – Oddelek za kulturo