Elena Apostolovski


Curating
Meanwhile, in the Glossy Interface 
Click, post, play
What the Swans Are Twittering About in the Riverbed
On Point of Climax
A less obedient version of Alexa — Carmen de la Roca
all GAME no PLAY
In transmission
On Point of Oversight
Sound Occupations
At Once
68’

Teaching

Writing







Elena Apostolovski
Info
  1. Independent curator, writer and researcher.
  2. She seeks to question the relationship between social reality, artwork and the audience while affirming experiencing art as the physical experience of the body in space shared with other people.
  3. Her practice is focused on the exploration of interpersonal relationships in physical and digital realities shaped by dominant ideologies, aiming to find strategies that contribute to strengthening the connection within the community and disrupting conventions.

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In Transmission
exhibition of the 7th STIFF film festival 

Adam Wynn, Claudia Borgna, Dario di Paolantonio, Dora Brkarić, Ghinwa Yassine, Kexin Hao, Lily Dean, Luiza Perito, Marcell Mostoha, Mark Zimmerman, Mateja Zidarić, Michael Fleming, Mike Megens & Sid Dankers, S4RA, Sean Kobi Sandoval



𝑨𝒏𝒅 𝒊𝒇, 𝒘𝒆 𝐇𝐈𝐆𝐇-𝟓 @ 𝑯𝒚𝒑𝒆𝒓𝒕𝒆𝒙𝒕 𝑻𝒓𝒂𝒏𝒔𝒇𝒆𝒓 𝑷𝒓𝒐𝒕𝒐𝒄𝒐𝒍, S4RA

Imagine ourselves as bodies in constant expansion.

We all live in human form, extended in the digital data transmission. Our living and working spaces are cybernated. In the virtual area, we are accustomed to gathering and exchanging information,  holding and trading belongings, selling ourselves.

Ideas of our corporeality are shaped by the ideologies we live in. Culture defines the ways we move, in what we believe, how we crave to look, and our understanding of social norms and interactions.
We intertwine with other human beings, reciprocating the contents of our personality – knowledge, habits, thoughts, and emotions. Our bodies extend in time, passing on cellular memories to future generations and descending from past ones.

We are bodies in constant change of state, shape, and meaning.


In Transmission questions corporeality and the ways in which it is formed/deformed through time, virtual and physical space, how it intertwines with ideologies. Artworks explore bodies in digital engagement as an extension of human relations and acknowledge human perception that enables pleasure, pain, and spending time in spaces of imagination.

Artists study movement semiotics in different environments and play with the notion of materiality to reshape the relation of the body and surroundings. They imagine gestures as tools of resistance and pull back the stretched boundaries of our bodies that everyday life expects of us.



WHERE: GALLERY SKC, RIJEKA, CROATIA.
WHEN: NOVEMBER 2021.
THANKS TO STUDENT INTERNATIONAL FILM FESTIVAL STIFF, STUDENT CULTURAL CENTRE IN RIJEKA AND UNIVERSITY RIJEKA.
EXHIBITION DOCUMENTATION BY TANJA KANAZIR.

Što vidimo gledajući kroz prozore sučelja? Kako doživljavamo sebe? S4RA (PT) zamišlja tijelo izmijenjeno u aplikacijama društvenih medija i mrežnim platformama. Šest GIF animacija serije 𝑨𝒏𝒅 𝒊𝒇, 𝒘𝒆 𝐇𝐈𝐆𝐇-𝟓 @ 𝑯𝒚𝒑𝒆𝒓𝒕𝒆𝒙𝒕 𝑻𝒓𝒂𝒏𝒔𝒇𝒆𝒓 𝑷𝒓𝒐𝒕𝒐𝒄𝒐𝒍 donose pogled na digitalno tijelo: bez čvrste konstrukcije i kompaktne mase, iskrivljeno i privučeno ljudima s druge strane žice, gnjecavo i usamljeno. Mateja Zidarić (HR) u intimnom radu Plejade u iskrenom razgovoru s prijateljicom otkriva promjene u vlastitom tijelu, koristeći mitologiju kako bi im pripisala drugo značenje i dekonstruirala strah.  Predmetno tijelo očituje se i u radu Waste in Paradise. Sean Kobi Sandoval (SAD) razmatra autodestrukciju u prikazu mladih ljudi iznevjerenih od strane sistema u kojem se ne prepoznaju. Opipljiv audiovizualni esej The Blind Point Daria di Paolantonio (IT) oponaša perceptivni sustav krpelja kako bi doveo u pitanje našu sposobnost razumijevanja drugih bića ali i samih sebe. 

Jednom izmijenjeni tehnologijom, kako se vraćamo u fizički prostor? Dora Brkarić (HR) u radu an_hum_an nalazi sličnosti i razlike između tijela i krajolika. Vizualna studija geste dovedena do apstrakcije Sleight of Hand Adama Wynna (UK) kolaž je fragmenata preuzetih s video kazeta mađioničara Tommya Coopera. Never Neverland  Michaela Flemminga (NL) intenzivan je pogled na društvo opsjednuto savršenstvom i dominacijom. Ghinwa Yassine (CA) uzima gestu kao simbol revolucije zamišljajući udarac koji je prosvjednica uputila naoružanom libanonskom policajcu kao simbol otpora. 

Možemo li se uvjeriti u nešto ako dovoljno puta to ponovimo? Claudia Borgna (IT) uzima taj zadatak video performansom  We Are Making Art, smještajući lik domaćice u kontekst umjetničkog stvaralaštva kako bi potaknula razgovor o ne/vidljivosti ženskog umjetničkog rada. Mark Zimmerman (US) suočava se sa fragilnošću svoje muškosti u tihom tantrumu One Shake Two Straws uzrokovanim raspadom životnih planova. Lily Dean (UK) se nadovezuje na sistem ‘u kojem je možda zabavno, ali ništa nije fer’ i radom Joy Land nas uvodi u predstavu o toksičnoj muškosti - tradicionalnim stereotipima koji često promoviraju nasilje i dominaciju kao rodne karakteristike. Kexin Hao (CN) stvara koreografiju rekonfiguracije prošlosti u sadašnjosti, mapirajući prakse tjelovježbe u političkom kontekstu. Pozvani smo izvesti Total Body Workout  u kojem je svaka pojedina vježba razotkrivena kao dio nacionalne strategije. 

Što proizlazi iz ludila uzrokovanog osjećajem zarobljenosti? Studies for Long Take prati u dugom kadru izvedbu umjetnice Luize Perito (BR) koja istražuje odnos tijela i kamere. Rad  Facing non-objects, can we still run?  Mike Megensa (NL) & Sid Dankersa (BE) dokumentira trodnevni performans izveden tijekom manifestacije  the Hague Contemporary Art Weekend, a temelji se na improvizaciji i igri u interpretaciji umjetničkih prostora putem video prijenosa. Apstrakcija prostora očituje se u animiranom filmu Marcella Mostoha (HU) Avant koji crtežom istražuje energije bivanja u prostoru. Imaginacija je mjesto na koje odlazimo, što nas vraća u sadašnjost?







This program is made in collaboration with UNIRI students and with the support of many volunteers.  PASPARTU is an educational program for students about production in culture, mentored by Damjan Šporčić (technical production) and Elena Apostolovski (curator). Thanks to MMSU Rijeka, Drugo More and RiRock for borrowing their equipment.