Supermono 2

Supermono 2/3

Supermono 1



Oscilorama



Blipstat



Amjumix



Video and sound works



Oscilo/X



Extagram2

Extagram1



Perfect Frequency



H Projects



X projects



Hub

Press and publications | excerpts

Image of a Soundscape
(excerpt from the text, Barbara Sterle Vurnik, The Image of a Soundscape, Ampak, monthly magasine for culture, politics and economy, year 9, number 10, Ljubljana, October 2008. )

“[…] In her work she takes away the identity of the toys, and applies them in the project as anonymous bodies. By doing this she softens the serious and sophisticated world of technology, and also contrasts it with the hand-production of these soft “plushettes”. In their blackness, these are far from friendly toys, estranged and nameless. However, other technological toys, such as the “Teletubbies” and “Pikachus”, are often the same. One can understand the work also as the author's commentary on the impersonality of the contemporary consumer society which is polluting our lives.

The entire project is based on a complex concept and an even more complex technical implementation, which however are not perceived by the viewer, since the installation is clean and operates flawlessly. It is interesting for viewers because it opens up to them the unknown sphere of invisible signals and waves which literally permeates the atmosphere of our everyday environment. A wonderful chain of interdependent relations unfolds, which people determine in the gallery by simply entering it, and if they act in some other way, perhaps touch some object, a wonderful process of transformation occurs which results in the magical image of a soundscape.[…]”
Barbara Sterle Vurnik

Discreet Events in Noisy Domains
(excerpt from the text, Ida Hirsenfelder, Discreet Events in Noisy Domains, Dnevnik, Ljubljana, 25.9.2008.)

“[…] Sounds in the tactile biotope Supermono 2/3 arise from two mutually complementary sources through which complex digital modules enable a nearly unrepeatable variability of sounds and pictures. The crackling noise base is randomly processed from the video recording of movements in the gallery through a computer intermediary into abstract sound and video pictures. The sound structures on the other side of the gallery receive and transmit signals from cute, black, doll-like objects, plush forms, in which sound sensors are hidden, whose reactions, however, are entirely dependent on play or interaction. Sound art often uses the reactions of the human body, which in this installation is encouraged by the cuteness and softness of the black figures. The installation is actually a toy for coming to like the sound. The artist is not seeking some great theme, but with the help of the hybrid forms she gently encourages visitors to face technology and the development of the mental, emotional, and poetic dimensions in the perception of space. […]”
Ida Hirsenfelder

A World of Little Sounds and Noises
(excerpt from the text, Luka Zagoricnik, Svet malih zvokov in šumov [A World of Little Sounds and Noises], Delo, Ljubljana, 26.9.2008

“[…]With Tanja Vujinovic’s current sound installation (co-produced by Zavod B-51 and Zavod Exstat), sound art, which has been presented in Kapelica Gallery for many years, became an integral part of the Ex Ponto Festival. Recently the Gallery also garnered great praise from those knowledgeable about the field as well as from the audience and organizers at the prestigious Ars Electronica Festival for part of its program on contemporary sound art from various sources. One proof that the artists who have presented their works for many years in the framework of the mentioned gallery are connected to contemporary sound art and trends regarding this type of art not only in Europe, but also more widely, is the current installation "Supermono 2/3”, which is divided into three central parts, each by itself forming a fragile sound system of subtle noise and synthetic sounds. These connect us to the infantile world of children, to the world of moving toys, and all the surrounding sounds that motivate us to interact; and in the vice of modern technology they emit their own sounds or operate as a modular sign of our movements, touches, and echoes. In another area we encounter an intertwining of the video- and audio-signals, which, amplified and modularized, reach out to us from small mono-bodies. Each part of the installation makes us a part of its own world of small sounds and noise, while at the same time it embraces us in the central area in a gentle and delicate cacophony of sound, which at its core wonderfully validates the title of the cycle: ‘Discreet Events in Noisy Domains’, and in a special manner unveils the beauty, playfulness, and sparkle of ‘noisy domains’, opens them up, and on the level of interaction and the participation of the visitors, offers to each of them their own sound sphere, which is presented to them coated in a soft, enticing plushness. […]”
Luka Zagoricnik

Non-central domains: video art in Slovenia after 2000,
27. 02. - 03. 04. 2008
Curators: Petja Grafenauer Krnc and Igor Spanjol, excerpt from the text

“[…]Tanja Vujnović’s projects are based on an expanded notion of sculpture that connects technologically objects, sound, and images. Her spatial interventions depend on radio waves, television frequencies, and algorithmic processing of sound and visual signals in public environments. She uses video to construct rhythmic images and sound-based micro-worlds.[…]”
Igor Spanjol

Tour / Detour
(excerpt from the text, Duba Sambolec, Tour / Detour, Helium, a sound art series in 5 parts on the internet, Ballongmagasinet and NIFCA (http://www.ballongmagasinet.com/helium), 2002.

“[…] Dialogue is polluted with noise from frequencies that are traversing the atmosphere. We hear the sounds from a café, particles of statements, which come and go in waves. Therefore it is hard to follow the utterances of two artists, Marcel Duchamp and Herman Nitsch. We find ourselves in a situation that is similar to a disturbed hunter who is trying to catch the prey of his interest. However, there is no such thing as a pure-ideal situation. The messiness of the sound is aggressive. The bombing of our capacity to perceive what is going on is even increased by the equally important sounds of everyday compulsive activity, such as the sounds of dishes being washed. As a counterpart, we may rest our eyes on the images of beautified kitsch details from one's home, (the words kitsch and kitchen sound so similar), which do offer comfort and visual pleasure that nurture people's needs of integrity. You might feel safe when you have at least something to rest your eyes upon and consequently, you think that you are in control.[…]”
Duba Sambolec

Fictional Dictionary, second part
(excerpt from the text, Jasmina Cubrilo, Fictional Dictionary, second part, "Perfect Frequency" exhibition catalogue, DOB Belgrade, Belgrade, 1998.

“[…] The poetic moment in which an image is dimmed until it can no longer be recognized, in which, in the electronically defragmented structure, the contours of given elements are barely outlined, is repeated as unpleasant sound vibration of mixed radio-stations. For a message to be comprehensible, it has to refer to a reality shared, at least in part, by both a sender and a receiver. This reality creates context. An ideal situation is considered when a message gets undamaged to its destination, and read according to the intentions of its sender. However, just as a sender is unaware of all the aspects of his/her message, a receiver reacts to messages sent from his/her own reality/context and preoccupations. The “Perfect Frequency” is an affirmation of theses that what we perceive is not always that what we see, and that what we hear is not always what we listen to. In both cases, positions establishing a platform of our speech are important, and they condition the final selection. (Im)possibility of decoding of the read-in contents make communication more difficult or easier. Thus, broadcasting difficulties are not just conditioned by technical limitations only of transmitters and/or receivers, but their origin and existence can be an effect of various levels of needs, demands, wishes, concentration, information, interest, permissiveness... So, “Perfect Frequency” is the moment of the perfect noise deconstructing all ideologies, that is to say, a critical field induced by thee actual network over-burdening, as well as by an impasse through its dense plexus. Anyway, the very collages of the stills taken from the video project, suggest that these circumstances have transformed each and everyone of us into incomplete sentences, hovering around, mostly, parallel contexts."
Jasmina Cubrilo