MARTIN BRICELJ BARAGA is a media artist, graphic designer and cultural activist. His interactive works, audiovisual performances and collaborative work research the relation between man and machine, social aspects of contemporary pop culture, future monumentalism and political dimensions of our mediated realities.
He has exhibited in many galleries and spaces worldwide: ICA in London, Sonar in Barcelona, Columbia University in New York, Centro cultural Recoleta in Buenos Aires, Kunsthaus Graz, Kaapelithas in Helsinki, Museums Quartier in Vienna and many others. His work has been reviewed and published by boingboing.net, Pecha Kucha, the New York Art magazine, Harper Collins, El Pais, Actar, Mladina and others,…
His project Everlandia was one of most visited exhibitions at the ICA London. It has been selected for Top five events nationwide in UK Times. Other media highlights include a special feature in TimeOut and an interview on BBC Radio1.
Media-Reality hack FakeUp has been featured as a true story in many media- it involved TV, press, radio and many websites. His Memory project recieved Europrix Award in 2006.
His presentation of Pornogobelin project has been selected out of thousands presentations worldwide as one of the 30 best PechaKucha presentations and was published in a book. His recent project RoboVox - a large (8m high) interactive public sound installation has recieved Europrix Multimedia Award in 2008.
He is the founder of Spring Festival in Ljubljana (Festival Pomladi- an open air festival of electronic music and visual arts) and he recently started an artistic-curatorial initiative MoTA - Museum of Transitory Art, which is the first AiR programme in Ljubljana and a network of foreign artists, curators in the so called ‘East’.
TENGAL is a Manila-based artist and curator actively involved in interactive media, sonic arts, moving image (cinema and beyond), networking cultures, and research-based production towards the imminent intersections of art and technology. He has showed his work and participated in collaborative exchanges in UPGRADE! Paris, Astronomical Frontiers (Cph), 7th Cimatics media art festival, Brussels, Redinthehead Formula1, Singapore, Cellsbutton #2-3, Jogjakarta, MOTa and KIBLA X-OP network, Slovenia. His work puts the focus on direct experience, risk-taking and personal interaction between artists and audience, and emphasizes the situational potential of live performance, the interplay of various media – sound and image, in particular – and candid exchange between sub-cultural and academic initiatives.
In 2005, he founded SABAW Media Art Kitchen – a not-for-profit, artist-run umbrella organization and network platform for all kinds of information and communication carried via modern electronic media art focused specially in the region of South East Asia. Since then, SABAW has been producing concerts, workshops, inter-artist dialogues and forums, music albums, festivals for new-/inter- media art, and experimental music and expanded cinema performances — most notably:
« Sinemusikalye », a 50-feet audio-video installation-street-concert for the National Arts Month of The National Commission for Culture and Arts (NCCA) in the Philippines; « Transmissions Gangan », an audio-video performance for 5 radio channels on an interactive space with California electro-acoustic composer Chris Brown; « Fete dela Wasaque — festival for outerfringe art », and most recently « ASEUM.09: Asia-Europe New Media Art Symposium » and « EAR2EYE: festival for cutting-edge music and moving image.
Each screening of CLIMAX is presented through individual episodes, is a site-specific installation and is performed in realtime. CLIMAX wants to innovate and investigate on the physical and psychological processes on how we perceive, listen, and perceive cinema.
Each episode is laid-out in a graphic visual score (which is modular in nature); and parts, sections are carefully notated but allowing the performers to improvise freely on its open structures. Structured improvisation allows the performer to realize the situational potential of realtime storytelling, in effect treating cinema as how a musician would treat music-making.
Sound is created and projected based on the acoustics of the space, and may even include sound makers installed strategically within the audience and the space to produce organic surround sound. Similarly, the visual projections could come in different forms, from the traditional large central screen to multiple projections that could be positioned site-specifically. In some occasions, the audience has the freedom to move around viewing the performance and experiencing the cinema as a video object similar to moving image installations you can find in an art exhibition. Some performances might utilize audience-participation where their interaction might even trigger certain scenes, sounds, or movements, making the usual passive viewer into an active creator and participant of cinematic experience. Each performance-screening is unique every time, enabling it as a never-ending cinematic process/object.
Selected fragments of Climax will be presented at symbolic times on symbolic places, leading to a collaborative narrative portrait of contemporary life. The story is narrated, and is about the pseudo-individual haunted by fears which are a consequence of the analysis of the world he lives in. He perceives his sensibility as an error and fears he will be stigmatized for it and consequently eliminated from the society. By analyzing social patterns, he unfolds various strategies of camouflage which individuals use and, on the other hand, how they are controlled on socio- political and intimate levels. Finally, he questions collective and personal identity and their mutations. Individual’s power decreases by complete alienation and becomes a psalm to the old world.
Keywords: collaborative cinematic experience | live cinema | coded + networked performance | AV concert | video object | theatre mirror | neverending movie
CLIMAX is an episodic live cinema research-project consisting of many reiterations and incarnations.
It is presented as a performance collective, assembling artists and musicians together to create interpretations in the various episodes.
CLIMAX allows us to reimagine and requestion our changing realities and our collective subconscious through the structure of a non-linear episodic projection:
(PHOBIA / STIGMA / CAMOUFLAGE / PANOPTICON / IDENTITY / VACUUM / PSALM)
Climax is a visual research subtly treading the thin line between a documentary image and subjective or lyrical narration. Unlike cinema essays, the potential of realtime performance augmented by various live cinema performance methods is the emphasis of generating a unique cinematic creation,
Climax researches the phenomena of present time and its influences: the collective consciousness: systems of control, rhizomatic growth and spread of the internet and giants like Google, freedom, privacy and censorship in the information age, the symptoms of decline of capitalism (economic crisis as opportunity), the rise and fall of public figures and beliefs… to the growing cult of individualism, contemporary diseases and personal fears, facing them with obsolete and contemporary values of friendship, love, freedom, family, etc…
Climax is interested in the necessity of the cartography of our collective desires and the nuances of our common experiences. By doing so, we intend to present Climax as a project that maps out connections, allowing ideas from various cultures traveled to cross-pollinate, and create new and interesting possibilities.
Climax is a pseudo-narrative about the contemporary pseudo-individual.
It is a poetically atheistic psalm built with the daily fragments or slices of life experience, unforgotten dreams, unattainable desires and the persistence of memory.
Created by Martin Bricelj and Tengal
March 2010 (C) All Rights Reserved