#Ignas Krunglevicius

[epellucid]

[drawdownbooks]

Myths of the Marble / Available at www.draw-down.com / Designed by Mark Owens. Documenting a group exhibition at the Institute of Contemporary Art (ICA), University of Pennsylvania, and Henie Onstad Kunstsenter (HOK), Norway, this catalog—like the exhibition—reflects on how the #virtual has been engaged by contemporary artists as a way to consider the world as a site of possibility and limitation that permeates both physical space and online experience. #MythsoftheMarble begins with individual profiles of each artist and expansive color images of their work, which includes painting, sculpture, and installation as well as video, 16-mm film, and VR technology. Informative installation views from both venues connect the essays from scholars Homay King and Tom Holert, along with artists #CayetanoFerrer #FlorianMeisenberg #SondraPerry and art historians Iggy Cortez and Marina Isgro, discussing concepts ranging from the video game “skybox” to the complexities of the “prosthetic.” Artists included in the exhibition and catalog: Rachel de Joode, Cayetano Ferrer, Ane Graff, Ignas Krunglevicius, Chris Marker, Daria Martin, Florian Meisenberg Shahryar Nashat, Sondra Perry, Jacolby Satterwhite, and Susanne M. Winterling. Edited by Alex Klein and Milena Hoegsberg. Published by #Sternberg Press and #ICA Philadelphia, 2018 https://www.instagram.com/p/BtDwM4pAH0z/?utm_source=ig_tumblr_share&igshid=bypukm7z475p

[mahniethemoo]

Sound in Interrogation

I mentioned this artwork in a very recent post, I talk about it quite a lot as it is one of my favourite artworks. It is a video installation I first saw at the Sydney Biennale a couple of years ago You Imagine What You Desire. Ignas Krunglevicius’s Interrrogation was positioned in the corner of a small concrete room, so the loud audio was blaring and echoing off the walls.The sound which could be heard from outside drew me in, and I sat down and watched it from somewhere in the mid point to the end and then the full thing from the beginning. Twice. 

The sound of this video work comes in three parts. The underlying beat, the electronic beats as the words appear on the screen and the white noise of the colour cards. The sound design appears to be digitally created, with no organic or foley noise. This helps create an even tone. It also makes the sound mixing seem quite smooth. This shows that you don’t necessarily need to have a great deal of high quality sound recordings to create an effective sound experience. 

With a very minimal use of sound, the video builds up a very distinctive tone and characters, and creates the sense of rising action that occurs throughout the narrative. Very different to what you are likely to hear in video games, the sound seems to be purely based on emotionality through tone, rather than a series of noises that come together to build a world. 

I think this is a unique use of sound design in storytelling, and though I don’t know if it will make its way into my work in VR at all, it’s an intriguing case study of sound.

[staying-with-the-trouble]

“STAYING WITH THE TROUBLE” - KÜNSTLERISCHE POSITIONEN ÜBER DAS ANTHROPOZÄN

KÜNSTLER:

AIDS-3D Halil Altindere Banksy Julius von BismarcK  Hieronymus Bosch Jason DeCaires Carla Chan Julian Charrière Chris Cunningham Bea Fremderman Carla Gannis Marco Giordano Andreas Greiner Yngve Holen Anne Imhof Chris Jordan Daniel Keller Josh Kline Ignas Krunglevicius Christopher Locke Renaud Marchand Mary Mattingly Laura Moriarty Katja Novitskova Gabriel Orozco Johannes Paul Raether Timur Si-Qin Jon Rafman Ryan Trecartin Luca Trevisani Jordan Wolfson Guan Xiao  Augustine Zegers  Robert Zhao Renhui 

In dieser exemplarischen Zusammenstellung habe ich versucht, einen kleinen Einblick in zeitgenössische künstlerische Tendenzen verschiedenster Art zu geben und zu zeigen, wie sich nicht nur Wissenschaftler und Kulturtheoretiker mit dem Zeitalter des Anthropozän auseinandersetzen, sondern auch eine große Bandbreite an Künstlern. 

Während meiner Recherche ist mir aufgefallen, dass sich viele Arbeiten, auch wenn sie sehr unterschiedlich voneinander sind, oft mit den gleichen Themen beschäftigen. Die Ausrottung der Natur durch den Menschen, der mit seinem Tunnelblick alles vereinnahmt, was er bekommen kann, bis es eben irgendwann nichts mehr gibt. Hierbei stieß ich oft auf den höchst problematischen Abbau von z.B. seltenen Erden und anderen Elementen, die in technischen Geräten enthalten sind. Natürlich wird dieses akute Thema von der Industrie möglichst kleingehalten. Ich hatte mich nie damit beschäftigt, bis ich in einer Galerie die ästhetischen Steinskulpturen von Julian Charrière gesehen hatte, die sich dann aber als Symbole dieses düsteren Themas entpuppten. Auch die Zerstörung, die durch die Plastikmassen im Meer entsteht, ist ein immer wiederkehrendes Motiv. 

Einige Künstler beschränken sich darauf, Missstände aufzuzeigen, andere, wie Mary Mattingly, gehen einen Schritt weiter und versuchen selbst dazu beizutragen, die Ausrottung der Arten durch den Menschen zu verlangsamen.

Die neueste Generation bilden die sogenannten "Post-Internet"-Künstler, die sich vor allem für das Verhältnis von Mensch und Technik und für Ästhetiken und Möglichkeiten interessieren, die erst dadurch entstanden sind, dass sich durch die Auswirkung der Technologie unsere Wahrnehmung mittlerweile verändert hat. 

MICHELANGELO PISTOLETTO, *1933:

Il primo paradiso è quello naturale Di quando eravamo dentro alla mela. Con il morso della mela  Uscivamo dalla natura  E creavamo il paradiso artificiale:  Il secondo paradiso  Che ormai divora la mela.  Adesso entriamo nel terzo paradiso Integrando pienamente  La vita artificiale nella vita naturale  È l'opera planetaria di cui noi tutti siamo gli autori. 

Übersetzung:  Das erste Paradies ist das natürliche, wir lebten im Inneren des Apfels. Mit dem Biss in den Apfel verlie��en wir die Natur und schufen das künstliche Paradies: das zweite Paradies, das nun den Apfel frisst Jetzt treten wir in das Dritte Paradies ein und vereinen das künstliche Leben mit dem natürlichen Es ist ein weltweites Werk, dessen Schöpfer wir alle sind.

KATEGORIEN: 

#postinternet  #3Dprint #apocalypse #video #zukunftsszenarion #naturmensch #ressourcen

[lydiahainesqut-journal-blog]

Online Journal Analysis

Seminar Week 4:

“EVERYTHING IS GOING TO BE ALRIGHT”

·       Contrast between historical building and contemporary, neon, capital letters (Old building- reassuring and authoritarian- the building has been around for a long time, and is reassuring the readers that everything is going to be alright)

·       Text is quite intrusive as it has been placed on the outside of a monumental building- subtracts the quality of the building.

·       Have measured the exact width of the building to fill the text of the entire width- taking into account the architecture of the building.

·       Public space, shown by the amount of people in the photograph.

·       The colour of the white text in combination with the sombre, grey atmosphere creates an overall solemn image.

o   The main presence of luminosity in the image.

·       The text is indicating that everything is not alright currently- something needs to change. An example of modern propaganda.

Week 5:

Lecture 4:

Type up written notes from class.

Week 8:

Premier Pro CC Workshop:

·       Exporting File

o   Select area that you wish to export (mark an outpoint so that your work goes from 0 seconds to the point you wish to include).

o   Make sure window is active with blue line.

o   File à Export à Media (Command M) à Change settings and place.

§  Click on file name and make sure you know where you’re saving it.

o   Format: H.264 (NOT blueray)

o   Preset: Vimeo 1080p HD (720 is fine also)

o   Click export audio and video.

o   Click queue- this will open up a list of things to export… then launches another programme called Adobe Media Encoda.

o   Once you have got your “list”, then click export.

·       Audio

o   Right click on audio à unlink, then delete the video instead of the sound.

o   Fade: selection tool, right click. Apply to fault transition.

Preparation for Assessment 2

Artist Talk- 2 minutes

This artwork MUST be new this semester, and NOT one of the 2 discussed in your Studio Report.

Form/Process:

Introduce and describe your work addressing its general information(e.g. medium, materials, scale, ‘gestalt’ impression, display method etc.) as well as specific formal qualities (e.g. texture, light, line, colour, evident methods etc.).

Content:

Discuss how these formal qualities can relate to and communicate certain ideas or experiences that you are interested in. Remember the adjectives you use to describethe work can contribute to the discussion of content. Your choice of words is important here to acknowledge your subjective position. Avoid overly didactic and ‘closed’ discussions of your work.

·       Paper Formations – organic flower forms, lined paper.

·       Are You Happy Now? – varied blue floor piece.

·       Art Annotations – Green plastic suspended piece.

·       Process Pronunciated – Fucia pink, plastic film.

Contextual Discussion- 3 minutes

Providing a very brief overview of a post-1960 contemporary artist who influences your work, choose 1 work of theirs to compare to your own. This artist MUST be a different artist to those you discussed in your Studio Report.

Form/Process: Describe the formal qualities of the work using adjectives to contribute to ideas of content. Content: What ideas, experiences, and emotions do you think the work communicates? Again, this is a subjective analysis of the work that should avoid exclusive claims and readings. It is expected thought that this analysis would be informed by further research.

Context: Now compare and contrast your work with your chosen influence. How do your formal choices of media and process relate or diverge? Why did you make these decisions? Why do you imagine they did? What overlaps and differences are there in your ideas, topics, emotions etc.? How does this manifest in the work? What else have you found out about this artist? Do you share any influences?

·       Marit Roland

·       Angela De La Cruz

Week 8

Lecture 5:

John Baldessari (1973)

·       He sits in front of some new technology for that time (video camera) making images that move- beyond cinema, beyond film. Was a very technically advanced and expensive activity making films but in the 1970’s video became more accessible for artists to make moving images.

·       Artists were playing with the idea of experience- what experience can they offer someone to take them on a journey? (early video works were documentations of performances)

o   35 Sentences on Conceptual Art- what Baldessari is singing/reading on the video performance.  

Dan Graham (1975) “Performer, Audience, Mirror”

·       This artist is purely narrating his actions in the performance (eg. I am moving my head to the right, to the left… etc.)

·       The large mirror allows each audience member to watch themselves watching the performance - become acutely aware of how they watch a performance.

Richard Serra (1973) “Television Delivers People”

·       Branding the use of television to show people how ‘useless’ television might be. Merely a source of branding/advertising for companies behind the scenes.

Gary Hill (1980) “Prosesual Video”

·       The monotone voice adopted when narrating creates a sombre atmosphere, enhanced with the use of a black background.

·       The powerful thing here is that we implicitly connect his narrative with the ever-changing image on the screen.

·       The very simple white line becomes everything it needs to be when it adapts to each different object narrated (eg. Horizon, ski slope, horizon etc.)

More works by Gary Hill- “Videograms” , “Happenstance”

·       Creates abstracted forms, moments of synchronicity between sound and image as well as discontinuity between image and language. A slippage becomes prominent between how we read text and how we see text.

General Idea “Shut the Fuck Up- Part III” (1984) – Artist Collective

·       Subtle reference to Eve’s Cline.

·       A multi-segmented video.

·       The artist collective’s cleverly deceit makes this video lightly comical.

Gillian Wearing (1997) “2 in 1”

·       An example of a very simple idea becoming very effective- mother and twin sons swap voices. The kids critique her parenting, and she explains how there is love and hate in all human relationships.

·       Simple creative choices that go together can create incredibly rich viewing situations.

·       This is quite a compelling video to watch in terms of time, as she critiques about how her children behave and they critique how the mum dresses.

Omer Fast (2002) “CNN Concatenated”

·       Again, this video is very compelling derived from the simple idea of creating a unique narrative using news reporters words in aid of this.

·       This very simple editing has incredible power to create a whole new narrative out of existing pieces.

·       Quite poetic- pauses, rhythm etc.

·       Post 9/11: in attempt to make sense of the world and what is currently happening. Utilizing the reports from this time to try and make sense of an incredibly complex and political landscape.

Young-Hae Chang Heavy Industries (2002) “Dakota”

·       Create flash-based artworks – early net art makers creating these online experiences of purely text and sound, however it is poetry aswell.

o   What happens when you try and make poetry that has sound attachced?

o   What happens when a reader has no control at the speed to read the poem? (Entirely at the mercy of the time and experience that the artists make for us).

·       Forms a ‘porous poem’: one of different entry points, unable to refer back as it is continuous. If one is unable to keep up with the speed, then they will have a different artistic experience to someone who can.

Candice Breitz (2005) “King (portrait of Michael Jackson)”

·       Video recording of selected people singing other celebrities songs. Very effective.

Grant Stevens (2005) “Like Two Ships”

·       Pairs a fast paced poem with different sound: creates slippages between what we hear and what we see.

Video art usually operates on different time-based experiences, so try and push yourself to see what your attention spam is capable of.

Ignas Krunglevicius (2009) “Interrogation”

·       Took advantage of what it means to create a conversation between two screens.

·       This work recreates an interrogation between a police officer and their as yet un-arrested interviewee.

·       Formally, the very simple composition and rhythm adopted here reflects actually a very complex, kinetic soundtrack that is synchronised with every line typed.

·       Bursts of colour or light at certain points might reflect the states of the interviewee.

·       The speed and tempo change depending on the nature of the conversation between the interviewer/interviewee.

[la-det-gaa]

Ignas Krunglevicius

[transit-art-lounge]

Ignas Krunglevicius, Interrogation, 2009, Oslo, Norway, two channel video installation. Installation view

 Photo: Lauren Simeoni

[applebackgrounds]

Ignas Krunglevicius - Interrogation 

[japkevanuffelen]

Ignas Krunglevicius, Interrogation, 2009

[childmagazine]

Ignas Krunglevicius - Interrogation, 2009

[mahniethemoo]

Video Art

I continued my look at alternative uses of VR and AR into video art, a relatively new medium in itself. Looking at these videos it is easy to see how some, especially those that include observations about everyday life and documentation of the passage of time, could be translated to VR. It can however be made more difficult to focus a viewer on the most important subject matter. Some video installations, are also heightened by their placement in an installation, which could also be recreated inside of a 3D world. I do also think that there is a relationship between the 3D and 2D that video and VR works have in common, video compressing a 3D world into a 2D world, and VR presenting a 3D world through a 2D screen. 

http://flavorwire.com/399191/50-great-works-of-video-art-that-you-can-watch-online 

The above article shows a collection of Video Art which is wide ranging and well known, and is a good reference for inspiration and information. 

Davey Wreden The Beginner’s Guide

Ignas Krunglevicius Interrogation

Though the two seem to have nothing in common, when I first watched a play through of The Beginner’s Guide (a 3D modelled game which is not in virtual reality) and saw the box headed characters, I was immediately reminded of Ignas Krunglevicius’s Interrogation. Both attempt to express complex emotion through the use of text, rather than an expressive face and rely on colour, movement and sound to create an emotionality. Both have narratives with an ambiguous narrator, and ambiguous truth. I also really enjoyed the experience of both, and could see similar ideas and concepts translated to VR.

[knickae]

Ignas Krunglevicus, Narrative With An Unexpected Outcome

[firinambar]

Ignas Krunglevicius - Interrogation

[flickfile]

This video installation by Ignas Krunglevicius is based on the police transcript of a 2004 murder investigation in the United States after Mary Kovic allegedly killed her husband with his own shotgun. Not unlike Elizabeth Price's Turner Prize winning The Woolworths Choir of 1979*, Interrogation presents typed transcripts on a screen to the beat of an affective sound score. This form just does it for me. It is subtle yet its effect can be heavily psychological and complex.

*#1 fan. 

Rating: 4/5

[opticolour]

Ignas Krunglevicius // Interrogation

[soundstudy69]

▶︎SOURCE OF INSPIRATION: IGNAS KRUNGLEVIČIUS

--------- IGNAS KRUNGLEVIČIUS

'interrogation' video: stills https://vimeo.com/52285861 // http://youtu.be/pYOVEFbEryo 

------

Ignas Krunglevicius, a Lithuanian contemporary artist, works with using criminal confessions, court transcripts and police interrogations as his subject matter. 'Interrogation' reflects Krunglevicius’ installation, video, text and sound practice that explore themes of power and control. Krunglevicius is interested in uncovering coded systems that are used in language to control individuals and situations.  The split screen with each side representing each character of the scenario is beneficial to the emotional charge caused by the piece. As the text drops across the screen it is accompanied by electronic beats and sounds that support the pacing of the timing of the words. Pauses and silence build the energy as much as the change of rhythm and the language. Krunglevicius’ interpretation guides us through the nuance of words unsaid, and in doing so highlights the subtleties of language usage. The ability to manipulate others  or expose ourselves becomes apparent as we take away the control devices from the speaker such as verbal cues and intonation. Pulling back to the purity of the language, and the complexity of this is sustained well throughout the work. Krunglevicius’ work inspires me in it's use of language and interpretation, also it's presentation. I hope to achieve a similar visual if working with a 2 person script/dialogue. 

>NARRATIVE WITH UNEXPECTED OUTCOME : stills https://vimeo.com/57131188 

-

BIBLIOGRAPHY: 

http://krunglevicius.com/2/interrogation/ http://www.biennaleofsydney.com.au/19bos/artists/krunglevicius/ http://www.meda301.medadada.net/2014/04/29/assignment-2-ignas-krunglevicius-interrogation/ http://cargocollective.com/krunglevicius/About-Ignas-Krunglevicius http://drawalinesomewhere.com/2014/04/20/ignas-krunglevicius-biennale-work-predicts-an-artist-to-watch/