MULTIPLACE #10 Festival

10th edition of the MULTIPLACE festival for creativity and culture after the digital took place from 2nd to 8th May 2011 in 8 European cities (Bratislava, Trnava, Brno, Praha, Budapest, Cluj, Nantes, Reykjavík) on different locations and had REMAKE as its main topic. For the festival, several artworks with this theme were commissioned, created and/or presented to the public, many of them as a result of an public open call for participation.

Multiplace is network of people and organisations interested in interaction between media, technologies, art, culture and society. Network activities culminate every year into the festival, that is happening parallely at several locations in the world. Its program is open to workshops, installations, discussions, concerts, performances, exhibitions, presentations, screenings and especially new forms of creativity. Original focus on the new media culture has been evolving since 2002 and besides the technological aspect of digital media in art, the focus shifted also to questions related to its aesthetical, social, cultural, legal and political issues. The aim of the festival-network Multiplace is to create the fertile ground for media art, to support the creativity in an open and collaborative environment and to encourage critical reflection on the life in the culture shaped by technologies. Multiplace emphasizes the experimentation with the possibilities of collaboration and networking among particular nodes in the network. Multiplace NGO was founded in 2004. In January 2008, it launched the free art server, Sanchez.

Participating artists:

Alex Nowitz (DE), Alexander Zaklynsky (IS), Alexandra Moralesová (CZ), Auxpan, Balázs Kovács alias Xrc (HU), Beata Zdražilová (CZ), Ben Frost (AU/IS), BIOS (SK), Blu (BR), Boris Vitázek (SK), Chaosdroid (SK), Click Joe (CZ), David Bimka (CZ), David Možný (CZ), David Strang (UK), Dawid Marcinkowski (PL), Derek Holzer (US/DE), DJ Mortlacreier (RO), Drakh (SK), G.H.C (UK), Georgij Bagdasarov (AM/CZ), Hallogenerator (SK), Jan Nálepa (CZ), Jiří Suchánek (CZ), Jitka Semotamová (CZ), Johnny Fox (UK), Julino Bosák (SK), Kellys (CZ), Klára Prešnajderová (SK), Kria Brekkan (IS), Maja Štefančíková (SK), Mariusz Pisarski (PL), Łukasz Podgórni (PL), Ludmila Pohlová (CZ/SK), Maroš Schmidt (SK), Matěj Plíhal (CZ), MCLD a.k.a. Dan Stowell (UK), Michal Cabowitz (CZ), Murmur (SK), Ninna Thorarinsdottir (IS), Ocusonic (IE), Ondřej Merta (CZ), Örn Bárður Arnarson (IS), Pavel Richtr (CZ), Peter Gonda a.k.a GND (SK), Peter Rónai (SK), Phill Niblock (US), Postman (SK), Richard Loskot (CZ), Robin Fox (AU), Roman Bromboszcz (PL), Standa Filip (CZ), Tač.ka (BIH), Tachykardia (SK), Teve (CZ), Thizone, Thomas Ankersmit (NL), Tim Hecker (CA), Tomáš Hrůza (CZ), Tomáš Mach (CZ), Tristen (DE), Václav Peloušek (CZ), Víctor Mazón (ES/DE), Viliam Slaminka (SK), Vincent van Uffelen (UK), Zu (IT), Zuzana Godálová (SK) + workshop participants.

More info and festival program:

Media coverage (selection):

Beata Zdražilová (CZ) + Drakh (SK): SYKORA BEAT

Performance, 5. 5. 2011, A4 – zero space

Sykora Beat is a collaborative project of two artist based in Bratislava – Beata Zdrazilova and Drakh. Drummer Beata Zdrazilova built a setup on which she controlls image/video with drums. Drakh is the author of a new application of this setup. He builds patch in procesing in which drummer controls the image based on Zdenek Sykora’s abstract paintings, which were first example of using computer in artistic praxis in former Czechoslovakia. The composition of the patterns was computed with a program on a LGP-30 computer. In contemporary performance, which is a remake of Sykora’s artistic process, firstly the drummer initiates the image – sets up the placement of initial elements. On second stage the final picture is genareted. Drummer then triggers rotation and resize of elements, color schema and recalculaion of image. In this stage drummer controls simple matrix sequencer controled by shapes – to each shape is attached one sound sampled from Experimental Studio of the Slovak Radio.

Tomáš Hrůza (CZ): Datapatch ver. 1.11

Performance, 5. 5. 2011, A4 – zero space

The idea of Datapatch ver. 1.11 lies on the border between instalation and audio-visual performace, inspired by the principles of the works of Japanese artist Ryoji Ikeda. Project Datapatch tries to discover the charm of total synchronisation of the visual and sonic complements generated in a real time, which both origin in pure data and signal.

Ondřej Merta: Event Horizon

Installation event horizon is influenced by Nam June Paik’s closed circuit video installation “TV Buddha” by its visual aspects, but Buddha is replaced by another television as a commentary to todays adoration of television object. The installation is also closely related with early 90’s videoworks of polish artist Jozef Robakowski, who created closed circuit for generating live videos by everyday objects.

Event horizont is closed circuit video installation, traps inside all the visual information that even crosses the system. The picture captured by a camera from space between the camera and the first television is not stored in any memory but streamed through internet into the second television that is captured by another camera that streams its output into the first television. Every picture that passes the gate of this installation is becoming part of the loop. Ideologically the loop is endless and theoretically all the information should be still present. The curved surface of the televisions sets a little amount of distortion to the system and makes the picture to fall apart after some time. This situation strongly represents what in theoretical physics is called Informational Paradox on Event Horizon and refers to Susskind-Hawking battle in which they had struggle if the information that reaches the horizon might disappear of is stored on the horizon. In this installation the answer to this question is also not obvious. Unstabillity of quantum space is represented by unstable data flow in which the delay of internet stream is constantly changing.

Jozef Robakowski created installations of his so called “machines”, which generated realtime abstract videos, that were also closed in the space of a gallery and were interactive with this space. This redefinition of space is the key link of reading the remake context.

Jan Nálepa: Partitura

Partitura is an audio-visual instalation recycling graphic compositions, which purpose was to visually record sounds or music in different ways. These visual works are by return transferred to sound by a program developed exclusively for this installation. But it is not just this transfer that matters – the order, hierarchy, relations a composition in the space are also very important.

Meduse: Jiří Suchánek

The Meduse is experimental electronic musical instrument inspired by the Lev S. Theremin´s instrument Theremin. According to actual software possiblities the inputs from sensors are filtered into the musical scales. Meduse is divided into 10 zones – each zone has specific sound that could be transformed by 5 IR sensors. Each sensor changes multiple sonic parametres. The input data are routed to several destinations which is not known for the visitors.

Ocusonic: Chasing Waves Installation

Chasing Waves Installation is an audio visual installation based on recordings made in the Experimental Television Studio with 80’s technology. Simple tones, buzzes and glitches were made visual using voltage controlled video synthesis and commited to miniDV.

These recordings are then made three dimensional by projecting them onto 10 surfaces of 4 rectinlinear forms. When a number of these recordings are played simultaneously, complete with audio, new rhythmic and harmonic, audio visual complexities emerge.

Ocusonic: Chasing Waves Performance

Chasing Waves Performance is an audio visual installation based on recordings made in the Experimental Television Studio with 80’s technology. Simple tones, buzzes and glitches were made visual using voltage controlled video synthesis.

Václav Peloušek: Drawing Machine

The remake project Drawing machine gives tribute to one of the pioneers of Czech kinetic trash sculptures – Václav Jíra. Jíra started making drawing machines and kinetic sound and light sculptures in early 1960s when influenced by New Realism, but worked in the Czech-region with strong DIY tradition. Trash yard was the source of material and inspiration for Jíras sculptures and paintings. Since the look of common trash shifted from analogue mechanic devices(cars, washing machines) to digital devices nowadays (printers, computers), reusing them for artistic purposes logically implies the digital dimension which enables to react to the institutional framework of the new media networked festival.

In my remake project the drawing machine placed in the gallery space will drawing patterns which will react to data that would be transmitted through the Multiplace website. That shift of focus from reflection of physicality of painterly gesture to reflection of context in which art is exhibited is logically caused by the change of artistic paradigm.

Ondřej Merta (CZ), Václav Peloušek (CZ): HURIKAN BM516

Audio-visual performance, 2. 5. 2011, Enter Gallery

Hurikán BM516 is collaborative audiovisual project of Ondřej Merta and Václav Peloušek reflecting low-tech approach to make videosignals-connecting found old professional video-equipment (Merta) vs. microchip based synthesizer approach (Peloušek) to make live experiments.

By their performance they remake the principles practised in the Kitchen studio where Woody Vasulka brought with him the experience of Czech DIY and transposed it in the context of early electronic art. Although their approach was that they were making experiments, they were often visited in their studio to show up their results. Merta with Pelousek actually work in similar way and by bringing our experiments to public we try to make the same shift.

David Strang, Vincent van Uffelen: RE-PAIK Workshop

David Strang and Vincent van Uffelen led a workshop starting from the installation by Nam June Paik, Random Access (1963). This time however, the network of strips of magnetic tape was not randomly played simply based on the viewer’s decision – the installation was infiltrated by completely new circumstances and technologies. The outcome of the workshop was a short performance of workshop participants, interactive instalation and a serie of recorded audio material.