Пермский край купить закладку: кокаин, героин, гашиш, спайс, экстази, мефедрон, амфетамин, мдма, шишки и бошки Click on text links to view relevant work using a recent web browser. Each link will open in a new window.
WORKS 1998 TO 2001
This compilation of different writings came about from the necessity to clarify the evolutionary and generative processes of my work cycles
"Parallel Worlds", Exhibition of paintings and drawings with computer music, Zemun Art Gallery, Belgrade, 1989 music by Marjan Sijanec paintings by Gordana Novakovic
Exhibition/performance "Parallel Worlds" incorporating live piano and computer music, video and paintings , ULUS Gallery. Belgrade 1990 composer Marjan Sijanec piano Dragomir Stanojevic paintings, performance and video by Gordana Novakovic
"Parallel Worlds", performance works of five international artists, SKUC Gallery, LJubljana, Slovenia, 1993 piano Dragomir Stanojevic computer music Marjan Sijanec performance, video and drawings by Gordana Novakovic
THE SHIRT OF A HAPPY MAN
Cycle (1990 – 1996) Under The shirt of a Happy Man (Interactive installation, based on pulse-measuring system - collaboration between Gordana Novakovic, Miroslav Savic and Zoran Milkovic)
The Cycle spanned over six years and culminated with 'Under The Shirt of A Happy Man', premiered at Museum of Contemporary Art, Belgrade, 1996.
It was the first computer-controlled interactive installation in Yugoslavia.
'The Shirt of A Happy Man' - multimedia and video.
Berlin Festival of Computer Graphics; Geramny, 1990; Interrelations, Belgrade, Serbia 1990; SIGGRAPH, USA, 1990.
'The Shirt of A Happy Man' - video installation, paintings utilizing computer and performance. Protocol Gallery, Belgrade, Serbia, 1991.
'Plotter Form' – performance. Protocol Gallery, Belgrade, Serbia, 1993.
'White Shirt' – performance. ULUS Gallery, Belgrade, Serbia, 1993.
'White Shirt' - video and computer animation. ISEA Symposium, Helsinki, Finland, 1993;
Videodance, Cidade De Vigo, Spain; Goeteborg, Sweden; Cannes, France; New York, USA; Lausanne, Switzerland, 1993.
'The Shirt of A Happy Man Chapters 1 - 4' - installation in four stages. Exhibition Space of Philosophy Faculty of Belgrade, Belgrade, Serbia, 1995.
Cycle (1997 – 2000) (large-scale interactive installation - online collaboration between Gordana Novakovic, London, Rainer Linz, Melbourne and Zoran Milkovic, Belgrade)
Full documentation on 'Infonoise' project, also available online at www.infonoise.net 'Infonoise' interactive installation was premiered in Belgrade, Serbia in May 2001 at Rex New Media Centre with live video-streaming between Belgrade-Paris-Marseilles.
The project was awarded a grant by Australian Arts Board Council for 2000.
'Infonoise' performance/lecture: ISEA – Art 3000, International Symposium of Electronic Art in Paris, 2000; SKC Cultural Centre, Belgrade, 2001; Communication Front International Symposium, Plovdiv, Bulgaria, 2001.
re-configured installation by Rainer Linz: Plimsol Gallery, Hobart, Australia; Maxis Symposium, Sheffield.
presentations: at U.K. universities, seminars and symposia, such as: Mediateque Symposium, Central Saint Matins College of Art and Design, London, 2002;
CHArt Annual Conference - Convergent Practices: New Approaches to Art and Visual Culture, Birkbeck College, London, November, 2003.
Paintings and Details
(1990 – 1992) (by Gordana Novakovic: large-scale, oil-on-canvas combined with silk-screen printed computer generated patterns of algorithms)
In Gordana Novakovic's paintings, organic, painted forms (which originated in drawings of cells) are juxtaposed with computer-generated algorithms.
The method of layering painted and digitized material was developed in her first experiments with computer art in the mid-eighties.
At that point she had already established her individual artistic language based upon elements of micro and macro cosmos.
These paintings serve as the basic material which will be digitally processed to form the virtual universe.
The overall impression of the virtual world will be that of a changeable abstract painting and will distinguish the visual language of 'Algorithmica' from the computer game industry which utilize computer generated images predominately.