Tara

2018-04-25T14:18:28+00:00

Tara

audiovisual installation

Austria/Poland/Denmark, 2015, five-channel video
colour, stereo, no dialogue, aspect ratio 16×9

soundscape by: Anders Vestergaard & Kåre Elers (Strange Party Orchestra DK)

Tara develops in the world of a newborn baby, putting emphasis on her body movements provoked by different emotions, absolutely real and transparent.

Tara ́s body movements have amazed me since the early days of her life, they are something new, something I was not aware of before, which I find extremely fascinating. They provoked me to reflect on the adult world, my world, so different from the world of Tara, especially on the emotional level. Tara ́s mind and body interact.Her emotions directly affect her body. Her physical, tangible sphere, extended in space, interacts with the intangible, private world, ordered in time but not in space.

The installation shows a newborn baby from different points of view. Not as a cute miniature of a human but as a growing personality. Intentionally I try to hide the face of Tara so that we can focus on her movements to reevaluate the human body and its natural behaviour.

The work starts with the somnolent body, it continues as she slowly awakens and finishes when she is completely alert (regained conscience).
The style of this work is absolutely experimental and it is a work in progress, as I would like to continue to reveal her upcoming movements till she stands up.

Exhibition: Botanic Garden, Graz, Austria

credit intallation photo: Igor Obrovski

copyrights by: Ada Kobusiewicz

Works & Projects

Azotara

2018-06-13T19:53:39+00:00

Azotara

Serbia, 2014, single-channel video, 10’30”
color, stereo, no dialogue, aspect ratio 16×9

Azotara is an experimental video about space, light and body in movement. My intention was to explore the possibility of the art of light and dance. In Azotara we try to make visible what is normally invisible, the voluminosity of light and space. Light, which ordinarily remains on the fringe of consciousness as a vague concept, has a physical presence; and by perceiving Light itself in an empty, abandoned space, rather than a representation of light, we are able to conceptualize more concretely what before may have been loose and abstract. In this environment, light gains a more palpable presence; it becomes the sensory material that allows for a bodily experience of art as an aesthetic experience. We are completely absorb by the space. We perceive different shadows, small and alone in an infinite and unknowable universe. We have no way of locating and positioning ourselves in reality, so we transcend into the infinite unknown.
The light projected on the wall is not natural sunlight; it is artificial, a product of technology, a product of transition. We move in a transitory space, somewhere between something and nothing.

Awards:

The “Best SEEtalents Experimental” award at at the Naoussa International Film Festival in Greece, 2014

Second Prize at ShortCuts Experimental Dance Festival in Graz, Austria, 2014

Screening:

Interfilm Berlin – 30th International Short Film Festival, Berlin, Germany / Independent and short film festival Film Front, Novi Sad, Serbia / The Naoussa International Film Festival, Greece / Short Cuts International Dance Festival, Graz, Austria/ Alternativ Film and Video Festival, Belgrad, Serbia//Kratki Metar, Short Film Festival, Belgrad, Serbia//Director Lounge, Urban Research, Berlin, Germany

Works & Projects

Danube Treasures

2018-06-13T19:53:20+00:00

Danube Treasures

Serbia, 2013, single-channel video, 04’53”
color, stereo, no dialogue, aspect ratio 16×9

This is an experimental documentary video about the state of the contemporary world, focused on the waste in the Danube river. The main tool used in the film is the natural light, which changes the visual appearance of the waste and turns it into the treasure of the river. Harshness and poetry reveal the dirtiness of the environment, showing the wisdom of the Earth from an anthropological angle. The poetic frame of the film reflects the passing of time, and questions our future Earth. The abstract and blurry form, which appears in the film, represents fragility, but at he same time remains open to multiple interpretations.

Prize: 2015 First prize “Gold Drop” in the short cut category, at the International Water & Film Event, South Korea

Collections: Gislaveds Art Collection, Sweden; 1 of 5 copy

Screening: Art:Screen, Sweden//New Filmmakers, New York, USA//Shortz Festival, Serbia//IFF Massage to the Man, Sankt Petersburg, Russia//  Danube VideoArt Festival, Grein, Austria//The MIA, Moving Image Art Sceening Series,  Pasadena, USA//International Environmental Film Festival, FIFE, Paris, France// Cinema Planeta, Environmental Film Festival, Mexico// Eco Zine, International Film Festival, Zaragoza, Spain

Exhibition: Museum of Contemporary Art, NS,Serbia; Royal Geographical Society Gallery London

Works & Projects

The Birthday

2018-06-13T19:54:02+00:00

The Birthday

Serbia, 2014, one-channel video, 07’52”
black&white, stereo, no dialogue, aspect ratio 16×9

The contemplative moment invites us to reflect about the meaning of life and the process of rebirth, the only permanent and mantric process on this earth.

Works & Projects

Balkan Beauty

2018-06-13T19:52:38+00:00

Balkan Beauty

Serbia, 2012, single-channel video, 01’00”
color, stereo, no dialogue, aspect ratio 16×9

with Igor F. Petković

Balkan beauty is a short video under the motto “what does Balkan Spirit mean to you?” It’s our short preview about every day life in Balkan.

Works & Projects

Blue Flow

2018-06-13T19:52:52+00:00

Blue Flow

Serbia, 2014, single-channel video, 01’28”
color, stereo, no dialogue, aspect ratio 16×9

It is a experimental video about flow of movement, rhythm and light.

Works & Projects

From dust to light

2018-06-13T19:53:06+00:00

From dust to light

Serbia, 2012, single-channel video, 02’25”
color, stereo, no dialogue, aspect ratio 16×9

with Igor F. Petković

From dust to light was made in an old sawmill near Novi Sad. After arriving there, we discovered that it was full of sawdust that we have finally used beside my body as a means of displaying the natural light, coming inside through cracks in the wooden wall.
That day never repeated itself. At the sunset, my body and the sawdust were never the same, although we returned to the place several times. The stimulating, burning heat of the color of light turns into an infinite ochre, the lightness of the sawdust becomes an unpleasant rattle, and the movement of my body generates exaggerated, uncoordinated and clumsy movements.

As Adolphe Appia said, light is a very powerful substance, but nevertheless the moments generated by its presence are very fleeting.

Works & Projects