Vulkanizer II je druga izvedba razstave, ki je bila prvotno predstavljena v galeriji Ostavinski, ki je del Kulturnega centra Magacin v Beogradu, med 26. in 27. majem 2023. Razstava raziskuje koncept "vulkaniziranega afekta", izraza, ki nakazuje, kako se majhne podrobnosti zaznavajo kot snov, ki se odziva na toploto in pritisk. Skozi raznovrstna umetniška dela, ki vključujejo fotografijo, avdiovizualne instalacije, performanse in manjše tiskane publikacije, razstava vabi k čutnemu raziskovanju odnosa med spominom in materialnostjo ter priklicuje subtilen proces transformacije pod vplivom latentnih sil.

Vulkanizer II is the second iteration of an exhibition originally presented at Ostavinska, Kulturni Centar Magacin between May 26 and 27, 2023. The exhibition proposes an exploration of ‘vulkanizing affect,’ a term meant to imply how small details make themselves felt as matter responding to heat and pressure. Through a variety of artworks ranging from photography and audiovisual installations to performance and small print publications, the exhibition invites a sensory exploration of the relationship between memory and material, evoking a subtle process of transformation under latent forces.

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Yiannis Andronikidis je umetnostni zgodovinar, pisatelj in prevajalec. Po študiju zgodovine, arheologije in umetnostne zgodovine na Univerzi Aristotel v Solunu je na Edinburgh College of Art zaključil magistrsko nalogo z naslovom Documented subjectivities, artistic autonomy, and the social register: critical analysis of Forensic Architecture’s vision. Leta 2021 je v okviru akademije The Whole Life Academy (HkW, Berlin) začel raziskovalni projekt translation as an_archival process, ki vključuje serijo vizualnih, tekstualnih in zvočnih dokumentov ter knjigo blUe magnets: a few millibreaths away from intimacy, A) GLIMPSE) OF), 2024. Je sourednik revije brossura/ manual for pirate languages in kot član kolektiva Coated Spirits sokurator radijskega programa Video Club. Njegova besedila in prevodi v različnih formatih so bili objavljeni v revijah in platformah, kot so TripleAmpersand &&&, Robida Magazine, Philosophy World Democracy, death of workers whilst building skyscrapers, Ultra Dogme, Another Gaze/Another Screen in fade.radio. Od leta 2022 raziskuje v okviru The New Centre for Research and Practice, pri čemer se osredotoča na načine preigravanja in arhiviranja v delih Viléma Flusserja, Maryanne Amacher in Gilberta Simondona.

Yiannis Andronikidis is an art historian, writer, and translator. After studying History, Archaeology, and History of Art at the Aristotle University of Thessaloniki, he completed his thesis at the Edinburgh College of Art entitled Documented subjectivities, artistic autonomy, and the social register: critical analysis of Forensic Architecture’s vision. In 2021, he initiated the research project translation as an_archival process as part of The Whole Life Academy (HkW, Berlin), which consists of a series of visual, textual, and audio documents, as well as the book, blUe magnets: a few millibreaths away from intimacy, A) GLIMPSE) OF), 2024. He is co-editor of the journal ‘brossura/ manual for pirate languages,’ and, as part of the collective Coated Spirits, co-curator the radio program ‘Video Club.’ His texts and translations, in different formats, can be found in TripleAmpersand &&&, Robida Magazine, Philosophy World Democracy, death of workers whilst building skyscrapers, Ultra Dogme, Another Gaze/Another Screen, and fade.radio. Since 2022, he has been undertaking research at The New Centre for Research and Practice, centred on modes of rehearsing and archiving in Vilém Flusser, Maryanne Amacher, and Gilbert Simondon.
https://yiannisandronikidis.com/

767, ali Ples življenja // 767, or The Dance of Life
767, ali Ples življenja je dvodelno delo: zin, ki raziskuje razsežnosti tega, kar bi lahko bilo število/naslov/upočasnjujoče se vozilo/brboteča rana ali dolina nesreč ... v družbi Roberta Freija (fikcijski lik) in pisca/pamfletista/»besedilnega hekerja« iz 19. stoletja (nefikcijski lik); ter avdiovizualna instalacija, ustvarjena v sodelovanju z Johanno Gschwend, Moritzom Hosslijem in Evangelosom Gkountonisom, ki sledi nekoč obstoječemu naslovu Heldstrasse 767 v Widnau (St. Gallen, Švica), kjer je v zgodnjih šestdesetih letih 20. stoletja živel in delal avtorjev dedek.

Delo je nastalo med rezidenco v Footnote Centre for Image & Text in je povezano z raziskovalnim projektom Yiannisa Andronikidisa translation as an_archival process (2021–).

767, or The Dance of Life is a two-part work: a zine, exploring the expansiveness of what could be a number/an address/a decelerating vehicle/a teeming wound/a valley of accidents… in the company of Robert Frei (fictional) and a 19th-century (ghost-)writer/pamphleteer/“textual hacker” (non-fictional); & an audiovisual installation, made in collaboration with Johanna Gschwend, Moritz Hossli, and Evangelos Gkountonis, tracing a once existing street address in Widnau (St. Gallen, Switzerland), Heldstrasse 767, where my grandfather used to live and work in the early 1960s.

It was realized while in residency at Footnote Centre for Image & Text, and is connected to Yiannis Andronikidis’ ongoing research project translation as an_archival process (2021–).

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Marianna Karava je multidisciplinarna umetnica in pedagoginja (Grčija, 1982). Njena umetniška praksa združuje sodobni ples, performans, vizualno poezijo in umetnost knjige. Njene akademske študije vključujejo diplomo iz biologije in diplomo iz sodobnega plesa. Njeno pedagoško delo zajema prakse, povezane z gibanjem, kot so sodobni ples, joga in pilates. Zadnji dve leti živi med Chalkido (Grčija) in Beogradom (Srbija) ter sodeluje z umetniki z Balkana in širše mednarodne skupnosti.

Marianna Karava is an multidisciplinary artist and educator (Greece, 1982). Her artistic practice intersects with contemporary dance, performance, visual poetry and book arts. Her academic studies include a degree in biology and a degree in contemporary dance. Her teaching repertoire covers movement based practices such as contemporary dance, yoga and pilates. For the last two years she has been living between Chalkida (Greece) and Belgrade (Serbia), collaborating with artists from the Balkans and the wider international community.
https://www.mariannakarava.com/

Basil Cole (1989) (dulce melos, mild effects) je glasbenik, umetnik in pisatelj, specializiran za interdisciplinarne, sodelovalne in performativne oblike. Njegovi glavni inštrumenti so cimbale, ki jih je izdelal njegov oče v Iowi, in jih uporablja z lokanjem, trzanjem, udarjanjem ter plastenjem zvokov, da ustvari skrivnostne in navdihujoče zvočne krajine. Uveljavil se je kot skladatelj glasbe za sodobni ples, tako za žive nastope kot plesne filme. Cole je diplomiral iz likovne umetnosti in ustvarjalnega pisanja na Univerzi v Iowi, magistriral iz poezije na Brooklyn College (CUNY) in je doktorski kandidat iz študij likovne umetnosti na Univerzi v Ljubljani. Njegova doktorska disertacija si prizadeva ustvariti nove okvire za medkulturne analize. Živi v Beogradu, Srbija.

Basil Cole (1989) (dulce melos, mild effects) is a musician, artist and writer who specializes in interdisciplinary, collaborative, and performance-oriented forms. His primary instruments are hammered dulcimers built by his father in Iowa, which he bows, plucks, strikes and layers to create haunting and inspiring soundscapes. He has established himself composing scores for contemporary dance, both in live performance and dance film. Cole holds a BA in studio art and creative writing from the University of Iowa, an MFA in poetry from Brooklyn College (CUNY) and is a PhD candidate in fine art studies at the University of Ljubljana. His dissertation endeavors to create new frameworks for cross-cultural analysis. He lives in Belgrade, Serbia.
https://www.dulce-melos.com/

Ko te slišim II // When I hear you II
Ko te slišim II je druga izvedba video plesnega performansa, ki je bil prvotno ustvarjen leta 2023 v Beogradu s strani umetnic M. Karava, J. Gschwend in M. Radkovič, ki so se srečale in sodelovale v tem mestu. V novi različici delo obogati glasbena kompozicija B. Cola, še enega umetnika, ki deluje v Beogradu. Postavljen v ozadje Novega Beograda in rečne obale, delo zajame popoldne, polno spominov, ki se zdijo hkrati znani in izmuzljivi. Skozi preplet gibanja in zvoka video raziskuje melanholijo urbanega življenja, spomin na oddaljene ljubljene in tiho, vztrajno nostalgijo, ki pogosto spremlja življenje v tuji prestolnici.

When I hear you II is the second iteration of a video dance performance originally created in 2023 in Belgrade by artists M. Karava, J. Gschwed and M. Radkovič, who met and collaborated in the city. In this new version, a musical composition by B. Cole, another Belgrade-based artist, enriches the work. Set against the backdrop of New Belgrade and the riverbank, the piece captures an afternoon full of memories that feel both familiar and elusive. Through the interplay of movement and sound, the video delves into the melancholy of urban life, the memory of distant loved ones, and the quiet, persistent nostalgia that often accompanies life in a foreign capital.

Plesna improvizacija / Dance improvisation: Marianna Karava

Zvočna kompozicija / Sound composition: Basil Cole

Kamera / Camera: Mojca Radkovič & Johanna Gschwend 

Montaža / Editing: Johanna Gschwend & Moritz Hossli

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Johanna Gschwend, rojena 1990, je multimedijska umetnica iz Lucerna, Švica. Njena interdisciplinarna praksa se giblje na področjih fotografije, instalacije, video umetnosti in umetniškega raziskovanja. Obiskovanje in raziskovanje tujih krajev in pokrajin sta za njo pomemben vir navdiha in del delovne strategije. Sprememba lokacije zaostri opazovanje in sproži orientacijski proces, ki intenzivira in spodbudi preučevanje ključnih tem. V svojem delu se ukvarja s pokrajinami in objekti, ki so zaznamovani z industrijskimi, zgodovinskimi in arhitekturnimi vplivi sprememb – in preučuje, kaj te spremembe povedo o naši družbi danes. Johanna je študirala oblikovanje in umetnost na Lucerne University of Applied Sciences, kjer je pridobila diplomo iz likovne umetnosti in magisterij iz likovne umetnosti z usmeritvijo v umetniško pedagogiko. V zadnjih letih je realizirala raznolike razstavne projekte v različnih institucijah v Švici, Lihtenštajnu, Italiji, Nemčiji in Srbiji.

Johanna Gschwend, born 1990, is a multimedia artist from Lucerne, Switzerland. Her interdisciplinary practice moves in the fields of installation and video art as well as photography and artistic research. Visiting and exploring foreign places and landscapes is an important source of inspiration and work strategy for Johanna Gschwend. A change of location sharpens observation and triggers an orientation process that intensifies and advances the examination of core topics. In her work she deals with landscapes and objects that are characterized by industrial, historical and architectural influences change - and examines what these changes say about our society today. Johanna Gschwend studied design and art at the Lucerne University of Applied Sciences and completed a Bachelor in Fine Arts and a Master in Fine Arts with a major in Art Teaching. In recent years she has realized various exhibition projects in various institutions in Switzerland, Liechtenstein, Italy, Germany, and Serbia.
https://johannagschwend.com

Moritz Hossli, rojen 1990, je multimedijski umetnik in filmski ustvarjalec iz Lucerna, Švica. Moritz je zaključil študij umetnosti in posredovanja na Univerzi za oblikovanje in umetnost v Lucernu. Tri leta je živel v Berlinu, kjer je študiral umetnost in medije na UdK. Kot soustanovitelj Tapir Filmatelier v Lucernu se posveča mladi filmski sceni v osrednji Švici. V svojih velikih video instalacijah se ukvarja s pojmoma atmosfere in pokrajine. Raziskuje pokrajine in prostore med mesti in podeželjem. S plavajočim delom kamere in atmosferskimi posnetki jih prikazuje v novih perspektivah.

Moritz Hossli, born 1990, is a multimedia artist and filmmaker from Lucerne, Switzerland. Hossli completed a degree in art and mediation at the Lucerne University of Design and Art. He lived for three years in Berlin, where he studied “Art and Media” at the UdK. As a co-founder of the Tapir Filmatelier in Lucerne, he is committed to a young film scene in central Switzerland. In his large-scale video installations, Hossli deals with the concepts of atmosphere and landscape. He explores landscapes and spaces between cities and the countryside. With a floating camera work and atmospheric imagery, he makes them appear in new perspectives.
https://moritzhossli.com

Vulkanizer, 2023
To delo je igrivo sodelovanje umetniškega para med njuno umetniško rezidenco v Srbiji. Serija slik se igra z mnogimi asociacijami, ki jih lahko sproži izraz "vulkanizer". Vulkan, prvinske sile, osvajalec žensk (womanizer), igranje z ognjem, viskozna tekočina, svetleča skala, alkemijski procesi, izbruh, svetleči oblaki, otroška radovednost. Serija slik je potovanje skozi asociacijsko pokrajino vulkanizerjev.

This work is a playful collaboration between the artist couple during their art residency in Serbia. The series of images plays with the numerous associations that the term “Vulkanizer” can trigger. Volcano, primal forces, womanizer, playing with fire, viscous liquid, glowing rock, alchemical processes, eruption, glowing clouds, childlike curiosity. The series of images is a journey through the association landscape of the vulcanizers.

Koncert dežja / concert of rain, 2023
Prvi dež, ki sem ga izkusila skupaj z Moritzom Hosslijem v Beogradu, je bil impresivna akustična izkušnja. Dežni odtoki so običajno kvadratne kovinske cevi, ki usmerjajo vodo ob fasadah hiš neposredno na pločnike. Ko se sprehodiš mimo, se odpre impresiven koncert. Vsaka cev ima svoj zvočni karakter, svoj glas. Ideja, da je vsak dežni odtok instrument v mestnem orkestru, je sprehod spremenila v koncertno izkušnjo. Gibanje zvočnega prostora ustvarja naravno kompozicijo, sestavljeno iz širokega spektra zvočnih frekvenc, ritmov, melodij in hrupov, kot so šumenje, škropljenje, brenčanje in kapljanje. Ta opazovanja so nas spodbudila, da smo med sicer redkimi deževnimi dnevi v Beogradu zbrali veliko število video in zvočnih posnetkov, da bi ta impresivni koncert prikazali kot vizualno in akustično izkušnjo v video instalaciji.

The first rain that I experienced together with Moritz Hossli in Belgrade was an impressive acoustic experience. The rain pipes in Belgrade are usually square metal pipes that direct water along the house facades directly onto the sidewalks. As you walk past, an impressive concert opens up. Each tube has its own sound character, its own voice. The idea that every rainpipe is an instrument in a city-wide orchestra turned a walk into a concert experience. The movement of the sound space creates a natural composition made up of a wide variety of sound frequencies, rhythms, melodies and noises such as rustling, splashing, gurgling and dripping. This observation led us to collect a large number of video and sound recordings during the few rains in Belgrade in order to make this impressive concert a visual and acoustic experience in a video installation.

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Mojca Radkovič (1995) je filozofinja in vizualna umetnica. Študirala je na Filozofski fakulteti v Ljubljani in na Akademiji za likovno umetnost in oblikovanje v Ljubljani, svoje znanje pa je dodatno širila preko izmenjav na Universidade do Porto, Bauhaus-Universität Weimar in Venice International University. Leta 2019 je prejela nagrado za obetavno mlado umetnico v okviru projekta Izodraz. Leta 2021 jo je Univerza v Ljubljani priznala za njeno delo na področju izvenšolskih dejavnosti. Leta 2023 je šest mesecev preživela na umetniških rezidencah v Footnote Centre for Image & Text ter KC Grad, Gradska galerija v Beogradu, Srbija. Dodatno je zaključila izobraževanje na področju transmedijskih umetniških pristopov na PHMuseum. Leta 2024 je začela literarno rezidenco, kjer deluje kot mentorica, kuratorka, soproducentka in udeleženka v Društvu humanistov Goriške, Mestu knjige ter GO!25 – Evropska prestolnica kulture 2025 Nova Gorica - Gorizia.
Mojca se izraža v različnih medijih, vključno s fotografijo, videom, filmom, pisanjem in instalacijo, raziskuje teme, kot so odraščanje, spomin, nostalgija in trivialnost, skozi opazovanje narave in poetsko pripovedovanje. Svoja dela je razstavljala tako v Sloveniji kot tudi v tujini.

Mojca Radkovič (1995) is a philosopher and visual artist. She studied at the Faculty of Arts in Ljubljana and the Academy of Fine Arts and Design in Ljubljana, further expanding her knowledge through exchanges at Universidade do Porto, Bauhaus-Universität Weimar, and Venice International University. In 2019, she received the award for emerging young artist as part of the Izodraz project. In 2021, she was recognized by the University of Ljubljana for her work in extracurricular activities. In 2023, she spent six months in artistic residencies at the Footnote Center for Image & Text and KC Grad & Gradska galerija in Belgrade, Serbia. She also completed additional education in transmedia artistic approaches at PHMuseum. In 2024, she began a literary residency, serving as a mentor, curator, and co-producer, as well as a participant, for Društvo humanistov Goriške, Mesto knjige, and GO!25 –  European Capital of Culture 2025 Nova Gorica - Gorizia. Mojca works across various media, including photography, video, film, writing and installation, exploring themes such as growing up, memory, nostalgia, and triviality through the observation of nature and poetic narrative. She has exhibited her works both in Slovenia and internationally.

Vtisi o mavrici / Notes on rainbow
Najprej so bili moji spomini le fragmenti – odtenki črno-bele, utriniki mraka in svetlobe, prepojeni z okusi grenkobe in sladkosti. Ti občutki so me na trenutke pritiskali, stiskali, z intenzivnostjo so se zatekali v moje telo. Zdaj pa so tukaj barve – celoten spekter, živahen in živ. Niso več vir napetosti, ampak se odzivajo na toploto, premikajo se brez strahu. A vendarle ostaja vprašanje: Ali bom kdaj izkusila vse barve, ki si jih predstavljam? Ali pa bodo za vedno ujete v mojem umu, kot barva kave, ki bije v tvojih očeh? Ta serija raziskuje prehod iz omejenega, enobarvnega sveta spomina v svet, poln živahnih čustev, hkrati pa vabi k razmisleku o naravi zaznavanja, transformacije in prepletanja notranjega in zunanjega sveta.

Firstly, my memories were nothing but fragments—shades of black and white, flashes of darkness and light, tinged with the tastes of bitterness and sweetness. These sensations used to weigh on me, pressing against my body with intensity. But now, there are colors—an entire spectrum, alive and vivid. No longer a source of tension, they respond to warmth, moving without fear. Yet, a question lingers: Will I ever experience all the colors I imagine? Or will they remain trapped in my mind, like the way coffee stains your eyes with a deep, lingering presence? This series explores the evolution from a limited, monochrome world of memory to one brimming with vibrant emotion, inviting reflection on the nature of perception, transformation, and the interplay between the internal and external worlds.