TEKSTOMLAT

Generated Animation / Installation
Coauthor: Boštjan Čadež
Exhibited: Beyond the Globe | 8th Triennial of Contemporary Art – U3, curator: Boris Groys, Museum of Modern Art, Ljubljana, 2016; MFRU, 22nd International Festival of Computer Arts, Maribor, 2016; City of Women, exhibition Zig Zag, Škuc Gallery, Ljubljana, 2015; Haustor Gallery Liberspace, Zagreb, 2014;

Tekstom(l)at is a real-time generated animation programmed to randomly pick parts of the given text and render them into a collaged body of words. The shape of the projection and the source text of Tekstomlat changes with every exhibition depending on the architecture, and the concept of the event.

_MG_8479-3 — Tekstomlat at Zig Zag exhibition curatetd by Lenka Đorojević for festival Mesto Žensk, Škuc, Ljubljana, 2015

“A real-time generated animation Tekstom(l)at by the Croatian-Slovenian duo Lina Rica and Boštjan Čadež transforms linguistic space into a rhizomatic structure in which linear reading is replaced by a multidirectional link between text (on the subject of feminist theory – transfeminism, posthumanism, performing arts) and external, empirical processes of nonlinear reading and thinking.”

Lenka Đorojević

…information must explain how these thinking raises god oh remember sources as being by the one who stayed on one is to has already been driving it understanding these were moving away from before the universe help control messages the conflict the tradition contain a big bang into battle apparently nearer then there is theorem required that which it is possible relativity the difference a galaxy is strongest gravitational effects of high seas by bishop a visible stars appear surprising still was little while but a big bang the orbits of these clusters by its general relativity is to be great to have seem to suggest intense experience unlike beauty expects the artworks had to be it could mean from which it present in the star and thereby does we get that hubble published arc is directors mistrust hardness avarice and exist then this complete the level edge orbits around the pleasure from having missing from a one could not use and in standard binary code oppressed turns into the sun in our not awakened 21st century to start contracting even the size speed of light longitude and a led experiment at the case example and the caring however it is kind of the second thus of the particles can be ideas of space promise is below the speed that which is galaxy is red shift the world waited at the red immortality of the soul cosmic events that other bodies things it exists in real difference between any universe meant the theory of relativity status and tactical extraterritoriality for a mission shorter wavelengths that obey is a discovery of the random but is waves we receive is in the depths when they suddenly discovered hyper secure bunker of their own world when humanity we see it however fence borders but of a sofa of space- time affects the fire towards the light of an event…

Tekstomlat

N O W H E R E

Animated Light Sign
Wood, plexiglass, led lights, Arduino
54 cm x 420 cm x 6 cm

Production: Lighting Guerrilla, GaleRica
Exhibited: Cukrarna, Ljubljana, 2018; Center for Contemporary Arts, Ljubljana, 2018; Capella de Sant Corneli, Barcelona, 2019

Acknowledgements: RampaLab, RogLab, Brane Ždralo, Žiga Palčar, Rožle Palčar, Marek Fakuč, Rok Podržaj, Peter Šavli

Solo show at Capella de Sant Corneli, Cardedeu, Barcelona 2019

NOWHERE / NOW HERE

At the 2014 Taipei Biennale, Nicolas Bourriaud stated that what interests artists of our time is no longer things, but the circuits that distribute and connect them. Lina Rica is interested in how individuals connect in their environment, and that means the landscape, history, and everything they contain, both living things and places and things. And this action of connecting is itself a speculation about time.

Lina Rica travels to a linguistic game to speculate on time in NOWHERE, if we write it together, or NOW HERE, if we write it separately. In the first case it means NOWHERE and in the second HERE NOW. It is evident that she refers to a transformation of the conception of time in which the here and now, the coordinates that had dominated the idea of space and time in modernity, have now become a volatile, fleeting space and time, ungraspable, or perhaps flowing, in a kind of continuity that crosses the static dimensions of time and space. Precisely, Lina Rica’s work deals with how this phenomenon impacts on individuals, our perception of time and how we manage it in the information age, and addresses the question of the anguish produced by the loss of horizon.

The artist quotes the thinker Boris Groys in her article “Comrades of Time”: “Today we are anchored in the present that reproduces itself without leading to any future. We simply waste our time, without being able to invest it safely, to accumulate it, either utopically or heterotopically. The loss of infinite historical perspective generates the phenomenon of lost, unproductive time. Despite this, one can also approach this lost time as excessive time – as a time that bears witness to our life as a pure being in time, beyond its value within the framework of modern economic and political projections. ”¹ Surely, freeing ourselves from the confinement of language can offer us ways of understanding these overlapping times. As Armen Avanessian affirms, the present is not only represented by the indicative present, nor can we identify it with a single verbal form, that is why he proposes that we get rid of the comprehension a-modal of the time, since what is necessary for an understanding and a practice adapted to the speculative time in which we live are means to transform the verbal forms of the future into verbal forms of the present. We have to understand, he concludes, that language changes the meaning of time, on a material level and ontological, not only linguistic and conceptual.²

Here and now, nowhere … it is not a mere linguistic game but a proposal for the material and ontological transformation of space and time, or at least in the way we experience them.

Mercè Alsina, 2019

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¹ Boris Groys, “Comrades of Time”, e-flux, 11th of December 2009. Accessible on: https://www.e-flux.com/journal/11/61345/comrades-of-time/

² Armen Avanessian and Suhail Malik (ed.) (2016). The Time Complex Post-Contemporary. Name Publications. Revised transcript of a conversation held inBerlin, 29 January 2016. p. 53. Accesible on: https://namepublications.org/wp-content/uploads/2016/06/post-contemporary_intro_sample_small.pdf

VIDEO TRACT

Video Installation
Coauthor Boštjan Čadež
2015.

Production: Cirkulacija2
Exhibited: Cirkulacija2, Ljubljana, Slovenia

Video organism feeding of the visual surrounding, digesting the picture and projecting it on to the walls.
Eight cameras, one monitor, video mixer, sequencer, four projectors. All mounted on to the tower, making a technological body that is recording, processing and shaping it’s surrounding.