Welcome to the FINAL jərˈmān of the season. Take this time to reflect back the amazing pieces of work that we've featured over the past months. Meanwhile, we have an equally inspiring piece of work before us this month. What better way to finish off this season of jərˈmān than by getting all self-reflexive up in here. "Feedback" turns the apparatus of the gaze back upon itself, capturing the static and crackle given off when filmic technology confronts itself. A moment of technological self-recognition produces excessive flash, only to quickly fade into its opposite: blind-spot, non-seeing. The work treads the tension of this dialectic as camera turns toward and then away from itself, mediating exposure and camouflage. Find an artist statement regarding the work as well as a brief bio of the artist below.
Five cameras are placed in a gallery. One is fixed on a tripod and shoots another camera that is mounted on the rotating rack of fan. The camera pan left to right. Above them is a wireless camera that is mounted on the engine of the wireless disco ball and slowly rotate in a circle, shooting both cameras below. Other cameras shoot situation from distance. All five cameras are connected with a quad-mounted device that edit signals every 2-3 seconds and includes the following camera. The image is projected on the wall behind the system. Fixed camera image is projected on a LCD screen on the side. On the floor below the camera projects a color test. The projected images are the background in sight of each camera. Installation completes ambient drone sound with deep reverb. In this installation, monitoring and control system is transformed into an absurd panopticon. Every day we are exposed to hundreds of camera views in the city. Big Brother is watching us. There are more and more 3D movies. The reality is expanded. The camera is an extension of the eye (McLuhan). Baudrillard's simulacrum comes to its true form, and the Internet gives everyone 15 megabytes of fame. Each camera is now equipped with a night vision option that allows the impossible - visibility in the dark. Things that we used to see only on the screen become tangible and erases the boundary between the real and meditised, real and virtual, virtual and actual, visual and verbal. We no longer watch television, but television watching us. Driving along the highway, over time, we are being driven: turn, stop, slow down, move to the other side (Horkheimer). By Gržinić technology does not serve us, we serve the technology, as Flusser’s apparatus operators. We are becoming cyborgs, machized people versus robots - humanized machines. Australian artist Stelarc built himself a third, robotic arm. The technique achieves autonomy. The elimination of human is necessary because it can be a source of error and unpredictability, it tends to fatigue. Ten percent of the telephone calls was wrong, because of the human factor. Thus man becomes a inspector, who oversees the automated machines, unmanned aerial vehicles, steering mechanisms ... In the near future, no one will use the pen. Everyone will write on your phone, computer. Manually becomes manipulative. Futurists advocated the cult of the machine, but it seems that we strive from the Society of the Spectacle to Society of Debacle.
Bob Miloshevic (aka Incredible Bob, Belgrade, 1978.) is a Belgrade based media artist. Bob works in a field of glitch art by recycling drops, bugs, pixels, scrambles, feedbacks and noises in a structural way.
Bob performed with numerous artists including Deadbeat, Sutekh, Murcof, Kit Clayton, Dan Deacon, Konque, WoO, Mats Gustafsson and others, on festivals like Mutek, TodaysArt, Dis Patch, Communikey, EXIT, Terraneo, Elevate, Joshua Tree... Some of his videos were screened on Transmediale, European Media Art Festival, Videoex, Mediawave...
EXIBITIONS MANGELOS, Salon Muzeja savremene umetnosti, Beograd, 2002 S verom u sex, Galerija Remont, Beograd, 2002. Globalni Seljak, Galerija Studentskog kulturnog centra, Beograd, 2003. Backspace 000, Galerija Studentskog kulturnog centra Beograd, 2003. Backspace 001, Cinema REX, Begrad, 2003. NIGHT OF 1000 DRAWINGS – Artist Space, New York, 2003. BELEF 03, 04Backspace 002, Galerija Doma omladine, Beograd, 2004. Dis-patch, Presentation at Museum of Contemporary Arts, Beograd, 2004. Upgrade! Belgrade, 2006. FLICKER, Galerija Doma omladine, Beograd, 2007. Kritichari su izabrali, Galerija KCB, Beograd 2008. Za ovu izlozbu Sofija, with group Kosmoplovci, Galerija FLU, Beograd, 2009. Patherns, with Lillevan Pobjoy, Galerija Progres, Beograd 2009. Feedback, Galery Belgrade, 2012. Preslisavanje 7, Remont Gallery, 2012.
AWARDS Mangelos Award for best Serbian young artist, 2002., BelgradeAward for best documentary, 8. Festival neovisnoga filma, Ljubljana Award for best soft porn film, Festival jeftinog filma, Krško Award for best one minute film, 9. Festival neovisnoga filma, Ljubljana Award for most funny film, 9. Festival neovisnoga filma, Ljubljana Special award for film EUFORIA, Vojvodjanski Festival Filma i Videa, Novi Sad Award for significant achievement for video ALGORYTHM, ALTERNATIVEFILMVIDEO 04, Beograd Diploma for film (X) at TOTI Film Festival, Maribor Grand Prix for film EUFORIA at Festival Amaterskog Filma, Bitolj
Cover Image Source: the-patricians.blogspot.com