This work is about trust that we all as citizens have given to politicians. It consists of two books placed on the stands. The first book is actually an Accession Treaty: Treaty concerning the accession of the Republic of Croatia to European Union, and the second book is the Agreement on mutual relations between the shareholders of INA – so-called The contract on sale of INA. Common to these documents is that the government was refusing to publish these documents.
In this Accession Treaty I am color coding the word “Croatia” in red-white-blue and the words “European Union” in blue and yellow, just in positions where they are located in the original treaty, and all other text is deleted. In the INA contract I am statistically showing how many times characters are repeating in one row. Visualizing the information from the original documents I am showing how I read these documents from the stand of view as an ordinary citizen with a minimal knowledge of legal chicanery, various legal and economic terms.
Do ordinary citizens that politicians represent must have such knowledge and control their every move, or just to trust politicians? In surveys that Croatian internet portals took among their readers after numerous scandals and in an election year the results are lost trust in politicians. When we give our trust to the people that must represent us in matters that concern all of us as citizens of this country do we need knowledge to read legal documents, or this kind of knowledge is unnecessary?
Trust me I trust you.

YEAR: 2011.
PROCESSING SOFTWARE / INTERNET / INTERACTIVE ANIMATION
/ DATABASE
This is the third composition in the series ‘Data Status’ in which Giba explores data visualization.
The work consists of computer software that processes data from the website of the Ministry of Interior Affairs (Crime in the city of Zagreb) and the web site of the National Meteorological and Hydrological Institute (information on the weather forecast of Zagreb) and generates a prediction of crime for the city of Zagreb. Visualization exists in the domain of augmented reality and interacts with the viewer by generating crime forecasts for the City of Zagreb based on collected data.

GLOBAL PICTURE project with Dalibor Martinis  continues in Ljubljana,  Slovenia from 29.12.2010. – 17.1.2011.

More info on www.global-picture.org

Project GLOBAL PICTURE spreads the network of sensors in various cities in Europe in order to bring the present state of humanity to as many people as possible. The changes in that state is communicated to the public via 7 colors. In each city GLOBAL PICTURE inhabits local urban site which has already been established as a location of certain urban significance. The daily changes are dependent on a set of parameters taken from daily online reports on the global economy, stock markets, disasters, health, international relations/conflicts, civil rights, ecology and media. 7 states from bad to excellent are turned into the colors: from blue, turquoise, green, yellow, orange, and red to purple. Every 20 minutes a central software performs keyword-based search on the internet and after analysis of collected data via internet database delivers necessary information regarding current state of GLOBAL PICTURE to on-site software applications. Those software applications then using different LED hardware interfaces are displaying current color.

The project Global Picture-Sensor of Human Condition started in 3 cities in Croatia (in 2010. will include other cities in Europe), in Rijeka on December 8th 2009, as part of the international exhibition 3rd Quadrilateral Biennale.

GLOBAL PICTURE project with Dalibor Martinis  continues in Ljubljana,  Slovenia from 29.12.2010. – 17.1.2011.

More info on www.global-picture.org

Project GLOBAL PICTURE spreads the network of sensors in various cities in Europe in order to bring the present state of humanity to as many people as possible. The changes in that state is communicated to the public via 7 colors. In each city GLOBAL PICTURE inhabits local urban site which has already been established as a location of certain urban significance. The daily changes are dependent on a set of parameters taken from daily online reports on the global economy, stock markets, disasters, health, international relations/conflicts, civil rights, ecology and media. 7 states from bad to excellent are turned into the colors: from blue, turquoise, green, yellow, orange, and red to purple. Every 20 minutes a central software performs keyword-based search on the internet and after analysis of collected data via internet database delivers necessary information regarding current state of GLOBAL PICTURE to on-site software applications. Those software applications then using different LED hardware interfaces are displaying current color.

The project Global Picture-Sensor of Human Condition started in 3 cities in Croatia (in 2010. will include other cities in Europe), in Rijeka on December 8th 2009, as part of the international exhibition 3rd Quadrilateral Biennale.

It is my pleasure to invite you to the opening of the solo exhibition
Mihael Giba
How are you today?
Vladimir Nazor Gallery
Illica 63a, Zagreb, Croatia

16.12.2010. – 31.12.2011.

Opening of the exhibition: 16.12.2010 at 19h.

Working hours:

Monday-friday: 08:00-20:00

Saturday: 08:00-14:00

Sunday: closed

Data status: Composition II is the title of the work that is currently on view in Gallery of Fine Arts in Split, Croatia. DSCII is custom software driven animation that visualizes news published in Croatian daily newspapers, collected on newspaper web portals. News are grouped in separate categories like sports, culture & arts, politic & economy, lifestyle & health and presented on visualization as parts of landscape – trees, birds, hills, clouds and flowers. Number of this landscape elements depends on number of news published. Visualization is refreshed every 20 seconds.
Live full-screen version of this animation can be viewed on this link.

It is my pleasure to invite you to the opening of the solo exhibition
Mihael Giba
Data status: Composition II.
Gallery of Fine Arts
Kralja Tomislava 15, Split, Croatia
21.09.2010 at 20h.

Osnivanje Umjetničke akademije u Splitu (UMAS), godine 1997., značilo je konstituiranje institucionalnog
okvira umjetničke edukacije visokoškolske orijentacije. Njezinom organizacijom u odjele za likovne i kazališne
umjetnosti, odnosno glazbenu umjetnost stvorene su pretpostavke reanimacije i intenziviranja varijeteta
kulturnog života u gradu Splitu.
Fragmentiranim uvidom u umjetničku aktivnost nastavnog osoblja Odjela za likovne umjetnosti moguće
je vidjeti premise na kojima se oblikuje umjetnički svjetonazor studenata. Odjel za likovne umjetnosti
objedinjuje šest različitih studijskih programa artikuliranih u jednako toliko odsjeka (dizajn vizualnih
komunikacija, film i video, kiparstvo, konzervacija-restauracija, likovna kultura i likovne umjetnosti, slikarstvo).
Problematizirati ulogu UMAS-a kao katalizatora šarolikog spektra mogućnosti umjetničkoga govora što ga
čine umjetnici neposredno uključeni u proces umjetničke edukacije, osnovni je opis ovog izložbenog zadatka.
Prije gotovo četrdeset godina Ivan Illich sustavu zamjera nedostatnu osjetljivost na ‘incidentalno’ i ‘neformalno’
obrazovanje, ističući slogan ‘participacija, a ne simulacija’. Pritom se referirao na škole i sveučilišta kao mjesta
na kojima se, u formatu gotovo ritualnih zadanosti, simulira prostor predeterminiranih problema, i to tek
privilegiranog broja sudionika. Illicheva radikalna alternativa artificijelnom institucionalnom kontekstu
edukacije jest neograničavajuća premreženost sudionika stanovitih interesnih sfera te njihovo relacioniranje
poradi aktivnog promišljanja i kreacije znanja.
Izlagači:
Simon Bogojević Narath / Vesela Blagaić / Mladen Čulić / Edvin Dragičević / Nikola Džaja / Kristijan Falak /
Sunčica Fradelić / Sonja Gašperov / Mihael Giba / Kažimir Hraste / Vojin Hraste / Nina Ivančić / Dean Jokanović
Toumin / Robert Jozić / Ivan Kolovrat / Kuzma Kovačić / Željko Marović / Jurica Matijević / Toni Meštrović /
Matko Mijić / Dan Oki (Slobodan Jokić) / Gloria Oreb / Mateo Perasović / Veljko Popović / Viktor Popović /
Miroslav Radeljak / Tanja Ravlić Čelić / Ivana Resić Šore / Kristina Restović / Filip Rogošić / Jadranko Runjić /
Sandra Sterle / Slobodan Tomić / Vlasta Žanić / Loren Živković Kuljiš / Vlado Zrnić / Gorki Žuvela
Kustos:
Dalibor Prančević

Openning of the exhibition Participation, not simulation. Participation, not simulation is the title of the exhibition that will present 37 artists, all of them employed as teaching stuff on Arts Academy in Split on Visual Arts department.

Predgovor iz kataloga

Salon Galić, Split | 16.3.2010. – 30.3.2010.

Problematika medija suvremenog slikarstva i uporaba računalne tehnologije jasno su se nametnule kao osnova umjetničkog rada Mihaela Gibe još na njegovoj prvoj samostalnoj izložbi u MKC-u u Splitu 2008. godine. U tom trenutku Giba je nastojao pomiriti slikarsko obrazovanje s interesom za suvremenu računalnu tehnologiju kroz rad koji je ostao u domeni klasične izrade (autorovog slikanja na platnu), no odabir motiva bio je prepušten posebno konstruiranom programu koji je, temeljem osobnih autorovih interesa, birao motive s interneta. ­­

Daljnju razradu teme Giba je usmjerio na rad zasnovan na programu koji je, ovoga puta pomoću podataka prikupljenih na internetu koji se odnose na globalno gospodarstvo, sukobe, okoliš, zdravlje i dr.; tj. podatke koji pružaju svojevrsnu globalnu sliku čovječanstva, davao vizualnu sliku odabranih podataka. Iz istog je nastao niz radova pod nazivom Kako ste danas?. Dio rada realiziran u javnom prostoru razvio se kroz projekt pod nazivom Globalna slika / Senzor ljudskog stanja realiziran u suradnji s Daliborom Martinisom. Podaci su vizualizirani uvijek na javnom mjestu (reklama Transadrie u Rijeci ili Pozdrav suncu u Zadru), a čitaju se promjenom boje LED dioda. No, možda je za samo Gibino promišljanje o načinima vizualizacije podataka u umjetničkom kontekstu zanimljivo promotriti radove koji se kreću u galerijskim, dakle izložbenim, okvirima. Rad pod nazivom Kako ste danas? 4.0., koji je trenutno izložen na izložbi T-HTnagrada@msu.hr u Muzeju suvremene umjetnosti u Zagrebu, finalna je verzija zasnovana na softveru koji analizom dobrih i loših vijesti definira omjere određenih boja (zelene i crvene) i programiranim robotom ih nanosi na platno. Krajnji rezultat je “tradicionalna” slika , dakle boja nanešena na platno, koja u osnovi potvrđuje Gibinu temeljnu namjeru – kombinaciju novih tehnologija s tradicijom štafelajnog slikarstva. Korak dalje se dogodio u konstrukciji robota koji potpuno zamjenjuje osobnu autorovu ruku. Najnoviji rad pod nazivom Status podataka: Kompozicija I, kojim se umjetnik predstavlja u Salonu Galić, dalje razrađuje navedenu tematiku. Sam naziv na svojevrstan način dekodira sadržaj – termin uvriježen u računalnoj terminologiji (data status), Giba kombinira s kompozicijom koja jasno upućuje na likovnost. Ponovno je riječ o objektu koji stvara robot, ovoga puta vođen novim softverom pod nazivom Fejssken. Potencijalni posjetitelji pozivom umjetnika postaju i kreatori umjetničkog djela. Prepoznajući Facebook kao novu najrašireniju ovisnost velikog broja ljudi, pa tako i svoje publike, Giba je poslao zahtjev za skeniranje podataka osobnih profila na Facebooku, koji u konačnici rezultiraju određenim omjerom boja koje će definirati samu sliku. Interakcija se događa neposredno u samom trenutku posjeta izložbi. Posjetitelj pri ulasku upisuje osobnu šifru koja pokreće robota i stvara točno definiranu sliku na platnu koja se odnosi upravo na tu osobu. Upravo se ovakva komunikacija s publikom nameće kao izuzetno značajna, jer bez obzira na računalnu tehnologiju i socijalne kontakte koji se odvijaju u virtualnoj sferi Facebooka, neposredna komunikacija je izuzetno bitna za uspjeh i konačan izgled ovog projekta. Na isti način na koji putem računalne tehnologije dolazi do klasične slike, Giba nas ovakvim postupcima tjera da od virtualne komunikacije ipak dođemo do osobne, te se istodobno nađemo “licem u lice” s materijaliziranom verzijom nekih naših osobnih tragova.

Pored pitanja pozicije suvremenog slikara 21. stoljeća, Giba ovdje otvara još jednu izuzetno zanimljivu problematiku – profil suvremene umjetničke publike. Izvjesno je da ovakva umjetnost postavlja nove zahtjeve pred publiku – razumijevanje i korištenje društvenih mreža poput Facebooka, no ipak i neposredan kontakt s izložbom i samim umjetničkim djelom. Upravo inzistiranje na samoj izložbi, a ne definiranje svoje umjetničke prakse isključivo unutar domene net.arta, čini Gibu jednim od rijetkih umjetnika koji ovu dinamičnu vezu čini još životnijom i aktualnijom.

Jasminka Babić

Data Status: Composition I is the title of the work that through custom made software and Facebook application collects information about users on Facebook. Using an automated hardware system, user information that is collected with Facebook application is visualized on canvases, in real time, in front of the visitors of the exhibition. In this case the data that is visualized is the percentage of female and male friends of users on Facebook. Left side of canvases represents female friends and right side male friends. On the projection in other room, custom made software is downloading and showing data about current user but it doesn’t show what this data is about.  This photos are taken on the first day of exhibition and as exhibition will go on, there will be more data painted o canvases.
In order to actively participate in this project, log into your Facebook account and grant access to this applications on following link http://apps.facebook.com/fdnk_web/

Data Status: Composition I – technical description:

1. Facebook application

Every user on Facebook can add Fejssken application that is custom made for this project. This application is gathering data about user -  percentage of male and female friends, number of photo albums created by user, number of photos that user is tagged on, number of events…. Then this data is stored in xml file with unique user PIN, but without any data that can identify the user.

2. Processing

In exhibition space, visitors that have approved access to Fejssken application on Facebook can enter their unique user PIN generated by  Fejssken in application written in Processing that is running on computer on exhibition. If correct unique user PIN is entered, this application is connecting to web server and downloads xml file with data about this specific user.  When the data about user is loaded application is sending part of this data to Flash animation in xml form and another part over bluetooth connection to Arduino BT board.

3. Flash animation

This Flash animation is visualizing data received in xml document on projection on the wall in form of numbers and different color for different data.

4. Arduino

Arduino in this case, can receive data about percentage of female friends from this user that is painted on the left side of canvases, and percentage of male friends that is painted on the right side of painting. When arduino receives commands from Processing software over bluetooth connection, it executes programmed actions. This actions are starting two motors on each side of canvases that are moving paint roller on canvases. Motors can be activated in both directions, and depending on percentage of friends paint roller is moved on specific height in circular movement. For example, if some user haves 100% of female friends, paint roller, when is on the left side of canvases, will paint from bottom left to top center of canvases, if this percentage is 50% percent, then it will paint to half way to top.

When all actions are completed, paint roller is returned to starting position, and other user can enter code. It takes about 5 minutes to paint data for one user.

Prioject Global Picture, Dalibor Martinis in collaboration with Mihael Giba

Project GLOBAL PICTURE spreads the network of sensors in various cities in Europe in order to bring the present state of humanity to as many people as possible. The changes in that state is communicated to the public via 7 colors. In each city GLOBAL PICTURE inhabits local urban site which has already been established as a location of certain urban significance. The daily changes are dependent on a set of parameters taken from daily online reports on the global economy, stock markets, disasters, health, international relations/conflicts, civil rights, ecology and media. 7 states from bad to excellent are turned into the colors: from blue, turquoise, green, yellow, orange, and red to purple. Every 20 minutes a central software performs keyword-based search on the internet and after analysis of collected data via internet database delivers necessary information regarding current state of GLOBAL PICTURE to on-site software applications. Those software applications then using different LED hardware interfaces are displaying current color.

ZADAR
A corresponding ever-changing color appears on the round screen of the Sun, an urban site with a big LED monitor built into the pavement in the port of Zadar (project by architect Niko Bašić).

GLOBAL PICTURE – Sensor of Human Condition

German political theorist Hannah Arendt used the term “human condition” to describe the joy, terror, humor and other emotions associated with being and existence. Let’s suppose there is a way to measure the human condition and to “paint” its global picture. Would the continuous presence of such a picture influence people to act differently, to feel more compassion for their fellow humans, to care more about their well-being?

Project GLOBAL PICTURE spreads the network of sensors in various cities in Europe in order to bring the present state of humanity to as many people as possible. The changes in that state is communicated to the public via 7 colors. In each city GLOBAL PICTURE inhabits local urban site which has already been established as a location of certain urban significance. The daily changes are dependent on a set of parameters taken from daily online reports on the global economy, stock markets, disasters, health, international relations/conflicts, civil rights, ecology and media. 7 states from bad to excellent are turned into the colors: from blue, turquoise, green, yellow, orange, and red to purple. Every 20 minutes a central software performs keyword-based search on the internet and after analysis of collected data via internet database delivers necessary information regarding current state of GLOBAL PICTURE to on-site software applications. Those software applications then using different LED hardware interfaces are displaying current color.

The project Global Picture-Sensor of Human Condition started in 3 cities in Croatia (in 2010. will include other cities in Europe), in Rijeka on December 8th 2009, as part of the international exhibition 3rd Quadrilateral Biennale.

RIJEKA
An existent large globe-shaped object on the roof of a building in Rijeka harbor representing the logo of the Transadria company, serves as an object for visualizations of changes in the global picture of humanity. The globe is lit (by color LED scanners) in a certain color which changes constantly.
ZADAR
A corresponding ever-changing color appears on the round screen of the Sun, an urban site with a big LED monitor built into the pavement in the port of Zadar (project by architect Niko Bašić).
ZAGREB
Pavilion/09 built by Studio Njirić+architects as a temporary urban site was lit up in a corresponding ever-changing color. The image of the 3 simultaneous sites were projected on 3 video projection screens in the pavilion.

Zadovoljstvo mi je najaviti otvorenje samostalne izložbe u Salonu Galić u Splitu 16/03/2010 u 19h. Izložba ostaje otvorena do 30/03/2010.

Ukoliko niste u mogućnosti posjetiti izložbu, pratite je na www.mihaelgiba.com.

Ako želite aktivno sudjelovati na ovom projektu/izložbi, prijavite se na Facebook i odobrite bristup aplikaciji Fejssken putem ovog linka: http://apps.facebook.com/fdnk_web/

Više informacija uskoro.

I am happy to announce the opening of the solo exhibition in Salon Galić in Split on 16/03/2010 at 19h.  Please do come along if you are around. Exhibition stays open until 30/03/2010.

Looking forward seeing you at the premises. For the ones who are not able to visit the show please visit www.mihaelgiba.com.

First things firts, if you want to actively contribute to this exhibition login to Facebook and approve application access for Fejssken application over this link:  http://apps.facebook.com/fdnk_web/

More info next week.

Opening of the exhibition of the T-HTnagrada@MSU.hr contest.
26.2.2010. at 19:00h
Museum of Contemporary Art in Zagreb.

T-HTnagrada@MSU.hr is joint project, the annual award for the prestigious works of the Croatian contemporary art. The competition is organised for the third time, and the awarded works of the competition will make a base of the T-HT Collection that will be exhibited in the Museum of Contemporary Art in Zagreb.

On this exhibition Giba is participating with his work “How are you today?”.

Otvorenje izložbe finalista natječaja T-HTnagrada@MSU.hr

26. Veljače u 19:00h,

Muzej suvremene umjetnosti u Zagrebu, Avenija Dubrovnik 17.

Project Global Picture, Dalibor Martinis in collaboration with Mihael Giba

Project GLOBAL PICTURE spreads the network of sensors in various cities in Europe in order to bring the present state of humanity to as many people as possible. The changes in that state is communicated to the public via 7 colors. In each city GLOBAL PICTURE inhabits

local urban site which has already been established as a location of certain urban significance. The daily changes are dependent on a set of parameters taken from daily online reports on the global economy, stock markets, disasters, health, international relations/conflicts, civil rights, ecology and media. 7 states from bad to excellent are turned into the colors: from blue, turquoise, green, yellow, orange, and red to purple. Every 20 minutes a central software performs keyword-based search on the internet and after analysis of collected data via internet database delivers necessary information regarding current state of GLOBAL PICTURE to on-site software applications. Those software applications then using different LED hardware interfaces are displaying current color.

Zagreb:

7.12.2009. Njirić+ architects pavilion

Ban Josip Jelačić square, next to the “Gradska Kavana” building

With site specific installation artist Dalibor Martinis in collaboration with Mihael Giba and Ivan Marusic Klif, will illuminate the iron globe on the top of the Transadrija building in Rijeka haurbor.

Work Global picture is relying on the daily reports from the global economy, stock exchanges, disasters, health, international relations and conflicts, civil liberties, environmental protection and the media, which are  providing data to measure the current state of humanity, and depending on those reports software is changing color of the iron globe on the top of the building.

Using similar sensors and software, Global picture will be launched simultaneously in Zagreb and Zadar.

Zagreb:

7.12.2009. Njirić+ architects pavilion

Ban Josip Jelačić square, next to the “Gradska Kavana” building

Rijeka:

8.12.2009.  Biennale Quadrillateral 3

Transadrija Building in Rijeka Haurbor.

Zadar:

8.12.2009. Riva, on the LED urban installation “Pozdrav suncu”

Site specific instalacijom Globalna slika / Senzor ljudskog stanja, umjetnici Dalibor Martinis u suradnji sa Mihaelom Giba i Ivanom Marušićem Klifom osvijetlit će globus na zgradi Transadrije u riječkoj luci, oslanjajući se na dnevna izvješća o globalnom gospodarstvu, burzama, katastrofama, zdravlju, međunarodnim odnosima i sukobima, građanskim slobodama, zaštiti okoliša i medijima, koja pružaju podatke za mjerenje trenutačnog stanja čovječanstva te pomoću softvera mijenjaju boje globusa. Pomoću sličnih senzora i softvera Globalna slika simultano će biti pokrenuta u Zagrebu i Zadru.

Zagreb:

7.12.2009. na paviljonu arhitektonskog ureda Njirić+ arhitekti

pored Gradske kavane na Trgu bana Jelačića

Rijeka:

8.12.2009. u sklopu izložbe Biennale Kvadrileterale 3

Zgrada Transadrije u Riječkoj Luci.

Zadar:

8.12.2009.  Zadarska Riva, na instalaciji “Pozdrav suncu”

MMSU, 8. prosinca 2009. – 13. siječnja 2010.

Otvorenje: 8. prosinca 2009. u 19 sati, MMSU, Rijeka

Umjetnička direktorica BQ3: Christiane Paul
Voditeljica projekta: Ksenija Orelj
Kustosi: Christiane Paul (SAD), Nina Czegledy (HU), Peter Tomaž Dobrila (SL), Darko Fritz (HR) i Elena Giulia Rossi (IT)

After Art Party – Arca Fiumana u 21 sat

srijeda, 09. 12. 2009., 11 – 13 sati, MMSU
Predavanje Christiane Paul, umjetničke direktorice Biennala: BQ3 – Perspektive medijske umjetnosti
Razgovor s umjetnicima i kustosima BQ3

Muzej moderne i suvremene umjetnosti po treći put predstavlja jednu od najvažnijih regionalnih umjetničkih manifestacija – Biennale Kvadrilaterale. Biennale je započelo svoju povijest 2005. godine kulturnom razmjenom četiriju susjednih zemalja, članica inicijative Kvadrilaterale – Hrvatske, Slovenije, Mađarske i Italije, s naglaskom na predstavljanje suvremene umjetničke prakse, njezinih recentnih kretanja, uzbudljivih izričaja, novih oblika i medija.
Za razliku od svojih tematskih prethodnika Relativizma (2005.) i Heroja kulture (2007.), ovogodišnji Biennale Kvadrilaterale prvi se put bavi umjetnošću novih medija – onom koja kao svoj medij koristi digitalne tehnologije koje su dubinski oblikovale suvremeno društvo. Biennale Kvadrilaterale ispitat će različite uglove i sjecišta koja proizlaze iz poveznih značajki novih medija u odnosu spram specifičnoga političkog, ekonomskog i kulturnog konteksta zemalja sudionica.
Kustoski tim – Christiane Paul (SAD), Nina Czegledy (HU), Peter Tomaž Dobrila (SL), Darko Fritz (HR) i Elena Giulia Rossi (IT), premijerno će predstaviti 16 radova medijske i digitalne umjetnosti, po estetskim i tehnološkim konstelacijama zasigurno među najinovativnijim umjetničkim područjima. Postavom u MMSU-u i na nekoliko drugih mjesta u Rijeci, izložba će biti integrirana u urbani prostor Rijeke, čime će grad za vrijeme trajanja Biennala doista postati regionalno središte umjetnosti novih medija.

Izložba daje uvid u značajke medijske umjetnosti kao što su njezina povezivost, interaktivnost, umreženost i prilagodljivost u odnosu na čovjeka te time reflektira aktualni trenutak informacijskog društva, dok sama manifestacija nadilazi predviđene nacionalne granice i poprima puno širi regionalni učinak. Uz to, Biennale kao umjetničku direktoricu ugošćuje Christiane Paul iz SAD-a, a u OFF programu četvero umjetnika iz zemalja ne-članica Kvadrilaterale, pa i time opravdano dobiva karakter multilateralnog događanja koje iz polazišnoga zemljopisnog formata prelazi u otvorenu matricu povezanosti i perspektiva što oblikuju okvir suvremene medijske kulture.

Kustoski odabir nudi različite perspektive spram današnje umjetnosti i kulture te skreće pozornost na mnogostruke veze između oblika i tema. Tu pripadaju sjecišta različitih medija poput kinematografije, fotografije i performansa, sjecišta između vremena i prostora (što omogućuju telekomunikacije), između lokalne i osobne povijesti i politike te prirodnog i tehnološkog prostora (Christiane Paul, umjetnička direktorica Biennala Kvadrilaterale).

MUSEUM OF MODERN AND CONTEMPORARY ART
Dolac 1/II, Rijeka 51000, Croatia
tel. +385 (0)51/334-280, 335-252; fax. +385 (0)51 330-982
e-mail: mmsu-rijeka@ri.htnet.hr; www.mmsu.hr

3 rd Biennial of Quadrilateral – Angles and Intersections
- International exhibition of new media art
Museum of Modern and Contemporary Art and dislocated sites, Rijeka, Croatia
December 8, 2009 – January 29, 2010

Selector: Christiane Paul, curatorial team: Darko Fritz (CRO), Elena Giulia Rossi (I), Nina Czegledy (HU), Pete – Tomaž Dobrila (SLO)

Based on rich history of such events – MMSU organized the legendary Biennial of Young Yugoslav Artists (1960-1991) followed by the Biennial of Young Mediterranean Artists (1993-1997) – the present event, Biennial Quadrilateral, takes into consideration a diplomatic initiative of Quadrilateral which, since 2002, has encompassed the states of Croatia, Italy, Hungary and Slovenia. All of these neighboring and independent states have at one time and in different combinations, been a part of one and the same state. Presently, three of them are members of the European Union, while Croatia awaits the next round of EU enlargement.
By its geographic position and cultural habitus, the city of Rijeka represents an ideal converging point of influences and identities. The biennial claims this position once more, thus creating a space and place where regional distinctiveness can manifest itself through a globally understood language of contemporary art.

A biennial conception presupposes a curator from each of the participating countries who will propose a national selection that will further be subjugated to the selection of a joint committee singling out four artists from every country. Each biennial employs a new curatorial team and in such a manner brings in a new theme of universality and actuality that will transcend the events’ geographical confinements.
For the first time focus is on new media art – art that uses digital technologies as a medium. The projects by eminent artists from the four participating countries (Italy, Slovenia, Hungary, Croatia) as well as presentations by invited artists from other countries, will extend notions of the “quadrilateral” itself. The Biennial will explore the different angles and intersections that emerge from the connective qualities of new media in relation to specific local, political, economical, cultural contexts of the participating countries. Be it in a poetic and metaphorical or a concrete and literal sense, the Biennial will engage with new aesthetic constellations brought about a medium that is multilateral by nature.

By additional programs, lecturers and specific panel discussion, workshops for students, BQ 3 will explore large spectrum of globalization problematic, social and cultural transformations influenced by informatics technologies, displayed to the wide spectrum of public in innovative approaches of new media artists.

Until now the project is supported by grants by the City of Rijeka, Primorsko-goranska County, Ministry of Culture of the Republic of Croatia, and partners: American Embassy / Zagreb, Audion d.o.o. / Pula, Astronomical Centre Rijeka / Rijeka sport, T-COM / Croatia, Transadria d. d. Rijeka.

AUTOR: MIHAEL GIBA

GODINA: 2009

PROCESSING SOFTWARE / ARDUINO / INTERNET / ELEKTROMOTORI/ LIM / PLATNA /

Rad “KSD? 4.0” vizualizira podatke sakupljene sa web tražilicom Yahoo.

Riječ je o robotskom mehanizmu koji se svakih 60 minuta spaja na internet i prikuplja podatke o objavljenim pozitivnim i negativnim novostima na hrvatskim news portalima. Nakon što robot obradi podatke, aktivira se mehanizam i robot povuče liniju kistom i bojom po platnu u omjeru pozitivnih ili negativnih vijesti.

Rad se pušta u pogon na otvaranju izložbe i tijekom trajanja izložbe robot kreira sliku nastalu na temelju podataka sa interneta.

AUTHOR: MIHAEL GIBA

YEAR: 2009

PROCESSING SOFTWARE / FLASH ANIMATION / XML DATABASE /

Work, “How are you today?” Visualizes data collected with a web search engine Google.
I have designed software that collects information from top seven Croatian web news portals and visualizes current day status – positive or negative day.
Data that software is collecting presents search results for 10 negative and 10 positive keywords (e.g. death, murder, love, happiness …) on top seven Croatian news portals. Data that software has collected is used as ratio (e.g. 30% negative news and 70% positive news) and stored in database of days.
Day status is represented with ratio of red and green color – most common colors in statistical graphs. Data is represented on two flat screen monitors – first and bigger one is showing current day visualization, and smaller one is showing in loop number of days I define in the past.
Idea came from mass media power to design reality.
“How are you today?” Is a gadget for people who are easyly influenced with media and have lost their own critical thinking and accept all that is served in newspapers and TV. This work stereotypes society and provokes it to confront the influences and to criticize and question those influences, particularly from mass media.
Since the day that work is in function (12.1.2009) it is continuously storing data in the day database. From the collected data I generate computer renderings of a certain number of days and then I transfer those visualizations in the form of pictures / painting installation and present them with the “How are you today?” software.

GODINA: 2009

DESKTOP SOFTWARE / FLASH ANIMACIJA / PROCESIRANJE PODATAKA /
Rad “Kako ste danas?” vizualizira podatke sakupljene sa web tražilicom Google.
Dizajnirao sam software koji sakuplja informacije sa top 7 hrvatskih news portala i vizualizira trenutni status dana – pozitivan dan ili negativan dan.

Podaci koje software sakuplja su rezultati pretraživanja za 10 negativnih i 10 pozitivnih ključnih riječi (npr. smrt, ubojstvo, silovao, sreća, ljubav…) na 7 hrvatskih najčitanijih news portala. Podaci koje software sakupi koriste se u obliku omjera (npr. 30% negatvinih novosti i 70% pozitivnih novosti) i spremaju se u bazu podataka.
Status dana je prezentiran u obliku omjera crvene i zelene boje – najčešće boje u statističkim grafikonima. Podaci se prikazuju na dva flat screen ekrana – prvi i veći prikazuje vizualizaciju za trenutni dan, a manji prikazuje u loopu vizualizacije za određen broj dana u prošlosti.

“Kako ste danas?” je prvenstveno kreiran za čekaonu u uredu Javnog bilježnika sa pretpostavkom da svakodnevno u tu čekaonu dolaze ljudi sa suprotnim svrham,a – neki zbog dobiti, oporuke… a neki zbog gubitka, ovrhe…
Ideja je povezana sa snagom masovnih medija da oblikuju stvarnost. “Kako ste danas?“ je gadget za ljude koji su podložni utjecajima medija te su izgubili svoje kritičko razmišljanje I prihvačaju sve što im serviraju novine I televizija. Ovaj rad stereotipizira društvo i izaziva gad a se suprotstavi utjecajima i da kritizira i propituje te utjecaje, posebno one od strane masovnih medija.

Od kada je rad pušten u funkciju 12.1.2009. kontinuirano prikuplja podatke o danima u bazu podataka. Od prikupljenih podataka računalno generiram vizualizacije za određeni broj dana te tada te vizualizacije prenosim na slikarsku podlogu i u obliku slika/slikarske instalacije prezentiram uz gore navedeni rad.

Suradnik na ovome radu bio je Vladimir Pleština (programiranje softwarea)

TEHNIČKI OPIS

Rad se prezentira na 2 flat screen monitora montirana na zid

Tehnička oprema::
- Flat screen display (TV) veličine cca. 39” (100 cm)
- Flat screen display veličine cca. 17” (43 cm)
-računalo sa Windows XP OS sa instaliranim Adobe Shockwave Player i Adobe Flash Player (standalone player) i dva VGA izlaza
- dva VGA kabla – ldužine 2m (ili više – ovisi o udaljenosti ekrana od računala)
- 24 satni internet pristup

INFORMATION

AUTHOR: MIHAEL GIBA

YEAR: 2007.

- 2008.

2008. / oil on 3 canvases / 700 x 300 x 100 cm.

2008. /oil on 21 canvases / 1600 x 300 x 100 cm.

In my work I have combined space, digital technologies and information, and the end product is a picture. Image at first glance looks like an abstract composition located within the space, but works from viewers require more than casual view or pure visual pleasure – “Information “requires thinking and understanding (and acceptance) of all the opportunities that artists have today.Given that technology affects peoples’ lives and changes them on everyday basis,through my work I study influence of technology on the arts, the possibility of technology in art, as well as its boundaries. Interference of digital technology in the process of creation of work in traditional technique such as painting there comes to depersonalization of me as an artist. Literally
I let machine take over the creative process during the formation of composition.
Works are formed in an interaction with the architecture.Based on the assumption that the architecture is in some way illusionistic shaping of reality, then we have in those spaces, an opportunity to recreate our own reality.The work is placed in dialogue with the space and the information in it. I use the information of space and with the simulations in digital reality stop that information on canvases. At first glance it seems that it is a pure abstract composition without reference to the appearance world. To the eye of the observer, it is difficult to read any of the starting points in figuration. However the starting points of work are in figuration – vast amount of visual information (pictures,texts …) that every day consciously or less consciously entered into the memory of artist and computer.The process of creation of work completely takes place in virtual reality, so until the end product (picture) there is no physical evidence of the process. Equally the life of today’s modern man takes place within the real and the virtual world (my space, Facebook, e-mail …) and also my work – in the process of creation exist in virtual reality, and later it is presented in a physical form in palpable reality.

Process begins by collecting information only in digital format – photos, texts, web pages … This information is placed in a 3D space, where information is circling through 3d model of architectural space. Canvases are through the simulation automatically placed in the space, and when they take the position the computer automatically assigns them “information” in the form of art composition made up of previously collected information / documents.
Collected documents / information is mixed-up by computer and incorporated in the virtual space. Because of huge quantity of documents / information, the composition becomes abstract.
Work is presented as a painting installation in space, i.e. physical replica of virtual compositions.

INFORMACIJA

AUTOR: MIHAEL GIBA

GODINA: 2007. – 2008.

3D VIZUALIZACIJE / SLIKARSKA INSTALACIJA

STATEMENT

U ovim radovima isprepliču se prostor, digitalne tehnologije I informacije, a krajnji product je slika. Slike na prvi pogled izgledaju kao apstraktne kompozicije smještene unutar prostora, ali radovi od gledatelja zahtjevaju više od usputnog pogleda ili čistog vizualnog užitka. Zahtjevaju razmišljanje, te shvaćanje (I prihvaćanje) svih mogučnosti koje danas stoje pred umjetnikom. Ispitujem koliko slikarstvo/umjetnost može prikazati suvremen način života I koliko taj život može utjecati na samu umjetnost.
S obzirom da tehnika svakodnevno utječe na čovjeka I mjenja ga, kroz svoj rad istražujem utjecaj tehnologije na umjetnost, mogučnosti tehnologije u umjetnosti, kao I njezine granice.Uplitanjem digitalne tehnologije u proces nastanka rada u tradicionalnoj tehnici poput slikarstva dolazi do depersonalizacije mene kao umjetnika. Doslovno puštam stroj da preuzme kreativni proces tokom nastanka rada. Dali revolucija zaista jede svoju djecu? Ironično je što tehniku, strojeve sa minimalnom umjetnom inteligencijom (koja treba služit ljudima) prepuštamo da preuzimaju razne kreativne procese, a ljudi postaju sluge koje unapređuju te strojeve.

Radovi nastaju u interakciji sa arhitekturom.
Polazim od pretpostavke da je arhitektura na neki način iluzionističko oblikovanje stvarnosti, pa onda na takvim mjestima imamo mogućnost rekreacije naše vlastite realnosti. Svoj rad stavljam u dijalog sa prostorom I informacijama u njemu. Upotrebljavam informacije koje prolaze/ostaju u nekim prostorima te ih simulacijama u digitalnoj realnosti zaustavljam na svojim platnima. Na prvi pogled čini se da je rijeć o čistoj apstrakciji bez reference u pojavnom svijetu. Oku promatrača teško je išćitat bilo koju polaznicu u figuraciji. No ipak polazište rada je u figuraciji I to kroz ogromnu količinu vizualnih informacija (fotografije, tekstovi…) koje svakodnevno svjesno ili manje svjesno ulaze u memoriju umjetnika I računala.
Proces nastanka rada u potpunosti se odvija u virtualnoj stvarnosti, tako da do krajnjeg produkta (slike) ne postoje nikakvi fizički dokazi o procesu. Jednako tako se život današnjeg suvremenog čovjeka odvija paralelno sa realnim I u virtualnim svijetom ( my space, facebook, e-mail…) tako I moj rad u procesu nastanka egzistira u virtualnoj realnosti, a kasnije se prezentira u fizičkom obliku u stvarnosti.
Sam process započinje prikupljanjem informacija u isključivo digitalnom obliku fotografije, tekstovi, web stranice… Te informacije stavljam u 3d prostor, gdje slobodno kruže kroz 3d model arhitekturnog prostora u kojem su skupljene. Platna se kroz simulacije realno nemogućih situacija poput okretanja zgrade za 360 stupnjeva, automatski razmještaju u prostoru, te kada zauzmu pozicije računalo im automatski dodjeljuje “informacije” u obliku likovnih kompozicija sastavljenih od prethodno prikupljenih informacija/filova.
Računalo prikupljene filove/informacije isprepliće u virtualnom prostoru. Zbog ogomnih količina dokumenata/informacija same kompozicije postaju apstraktne.

Rad se prezentira kao slike u prostoru, no nerjetko I snimke procesa nastanka rada u virtualnom obliku ponudim gledateljima na uvid. Najčešće su posjetitelji do sada taj dio rada u obliku videa procesa nastanka rada (uglavnom oko 60 sec trajanja) dobivali preko bluetooth bežične veze na svoje mobitele. Tako proces uvijek ostaje u virtualnoj realnosti.

INFORMACIJA (3)

12 ULJA NA PLATNU (SVAKO PLATNO VELIČINE 40X25 CM) položena na podu • VIDEO 60 SEC • 2008 GODINA

Platna su nasumce razmještena u prostoru kroz simulaciju pada u virtualnom 3D prostoru. Računalo platnima na temelju njihovog položaja dodjeljuje vizualni sadržaj – kompoziciju.
Kompozicija je nastala od nekoliko stotina dokumenata zaostalih u memoriji računala nakon surfanja po internetu ( temporary internet files). Zbog velike količine isprepletenih dokumenata ( jpg, png, gif, html….) kompozicija je apstraktna.
Proces nastanka rada u potpunosti je automatski i bez mog utjecaja na njega, jednostavno puštam računalo da sklopi kompoziciju, a ja je kasnije prenosim na stvarna platna i razmještam unutar prostora.
Kada posjetitelj uđe u izložbeni prostor preko bežične bluetooth veze dobiva na svoj mobitel video koji prikazuje proces nastanka rada. (nije potrebna nikakva tehnika za izlaganje ovog rada)
Rad kroz sam proces u potpunosti egzistira u virtualnom (digitalnom) svijetu, a ja ga kasnije prenosim u stvarni svijet.

March 2008 / Exhibition:  Maja Vodanović i Mihael Giba

This exhibition as a part of gallery debut program is presenting the young artists, in this case two students – Maja Vodanović and Mihael Giba from painting class of Professor Nina Ivančič from Split Arts Academy.

Ožujak 2008 / Izložba Maja Vodanović i Mihael Giba

Izložba pripada programskom segmentu debitantskih predstavljanja najmlađih likovnih umjetnika, u ovom slučaju dvoje apsolvenata – Maje Vodanović i Mihaela Gibe  iz slikarske klase profesorice Nine Ivančić sa splitske Umjetničke akademije.

Zajedničko njihovom radu jest fokusiranje na problem slike i slikarskog medija – Maja Vodanović okreće se konkretnim izražajnim likovnim sredstvima bitnim u kreiranju prostora i predmeta slike; Mihael Giba istražuje sam stvaralački proces, te širenje slike na prostor točnije u konkretne zadanosti galerijskog prostora.
Njihovi vizualni sadržaji u svijet slike ulaze posredstvom drugih medija – fotografskim bilježenjem (Maja Vodanović), odnosno računalnim modificiranjem (Mihael Giba), te su očišćeni od suvišnih simboličnih značenja i retorike.
S druge strane, ostaju vjerni manualnom postupku i slikarskoj tehnici što na prvi pogled može zavarati promatrača upućujući ga na njihovo tradicionalno područje interesa. Međutim, i Maja Vodanović i Mihael Giba pokazuju istraživačku crtu i discipliniranost u provedbi postavljene si zadaće, te vrlo kreativnim, individualnim pristupima preispituju aktualan potencijal slike.

ZAGREB, 20 June, the Croatian Association of Artists, Žrtava fašizma square at the 20h  opened  28 Youth Salon. After the declaration of prizes and a concert Minimum system requirement. The exhibition can be viewed until 20th of July

ZAGREB, 20. lipnja, u Društvu HDLU, Trg žrtava fašizma bb u 20 sati otvorio se 28. salon mladih. Nakon otvorenja i proglašenja nagrada održao se koncert grupe Minimum system requirement. Izložba se može pogledati do 20. srpnja.

‘Žiri ovogodišnjeg Salona u sastavu Marijan Crtalić, Karmen Dugeč, Đorđe Jandrić, Ivana Kancir, Mladen Lučić – predsjednik, Damir Sokić, Leo Vukelić, od 300 prijavljenih radova odabrao je 53 za izlaganje.
Na raspisani natječaj za autorsku koncepciju 28. salona mladih prijavila se i autorska grupa povjesničara umjetnosti ‘Katapult 6′. Organizacijski odbor Salona (Ana Barbić Katičić, Petar Barišić, Nikolina Ivezić, Đorđe Jandrić, Paulina Jazvić, Mladen Lučić, Borivoj Popovčak i Damir Sokić) prihvatio je njihovu koncepciju ‘Zagreb 19:00 – Seul 02:00′ kao integralni dio Salona, odnosno kao njegov neovisni segment.
Kao gost ovogodišnjeg Salona predstavio nam se Daniel Brickman s performanceom Sequences na otvorenju.
Organizacijski odbor 28. Salona mladih raspisao je natječaj i za teorijski tekst. Na natječaj nije pristigao ni jedan rad, no likovni umjetnik i povjesničar umjetnosti Nikica Klobučar je za natječaj umjesto teorijskog teksta predložio intervju s članovima Ocjenjivačkog suda, što je i usvojeno.
U srijedu, 21. lipnja od 11-19 h trajat će performans ‘Rodion’ Stjepana Grbića.

Interactive installation

30.06.2009. – 03.07.2009.

Giba is exploring combinations of images and electronic images (painting) and the area of interactive images.
This exhibition provides an insight into the interaction of electronic images and electronic visualizations with the audience combined with data from the Internet. The projected visualization is  consciously or unconsciously created by audience in gallery space.

Interaktivna instalacija

30.06.2009. – 03.07.2009.

Giba se bavi istraživanjima mogućnostima i kombinacijama elektronske slike i slike (painting) te područjem interaktivne slike.
Ova izložba pruža uvid u interakciju elektronske slike i elektronskih vizualizacija sa publikom u kombinaciji sa podacima sa Interneta. Same vizualizacije na projekcijama svjesno ili nesvjesno kreiraju ljudi u prostoru.

Concept: Mladen Lučić

05.05.2009. in
Old printshop, sv.Ivana 1, Pula (2nd. floor) 19h
MMC Luka, Istarska 30, Pula 20h
Organisation: HDLUI i MSUI

Autorski koncept: Mladen Lučić

05.05.2009. u
Stara tiskara, sv.Ivana 1, Pula (obnovljen 2.kat) 19h
MMC Luka, Istarska 30, Pula 20h
Organizatori: HDLUI i MSUI

Trenutna svjetska ekonomska recesija može se između ostaloga sagledati i tumačiti kao odraz dugogodišnje hipokrizije ljudskog duha koja je ulaskom u novi milenij rasla progresivnom geometrijom. Novi svjetski poredak formiran nakon završetka hladnog rata, odnosno globalnog pada komunizma, uvjetovao je nove obrasce svjetske politike koja je lančano sobom povukla i nove oblike društvenog i pojedinačnog ponašnja. Svemoćni mediji u rukama korporacijskih moćnika proveli su diktaturu politike i ekonomskog tržišta te uspostavili novi poredak, gdje je svaka individualnost postala nepoželjnom, jer primarni je cilj izjednačiti jedinke i pretvoriti ih u poslušnike koji će u svakom detalju svog života ovisiti od milosti korporacijskih vlasti.

Gubitak osobnosti, alarmantni pad morala i etike, korumpiranost u svim porama života, jeftini konzumizam ili apsolutna vlast potrošačkog društva, neke su od tema kojima se bave i suvremeni likovni umjetnici koji ne mogu ostati neosjetljivi na životnu realnost, zatvarati pred njom oči i povući se u osamu svog ateljea. Umjetnost je na vrijeme prepoznala recentnu krizu, te de facto još od pada Berlinskog zida, uporno problematizira o granicama, tranzicijama, regionalizmima ili globalizmima, pokušavajući se postaviti kao svojevrsni socijalni, politički, moralni i etički korektiv.

Izložba Kriza želi pokazati reakciju hrvatskih umjetnika na današnju recesijsku stvarnost, ali i izložiti radove koji su je na svojevrstan način anticipirali. Umjetnici rijetko kada posežu za ekonomskom realnošću, ali se itekako bave stanjem duha i društvenim odnosima što je posebno u vrijeme konceptualne umjetnosti bilo glavnim predloškom umjetničkog stvaranja. Izložba Kriza zamišljena je da kroz radove 55 hrvatskih umjetnika u širokom rasponu od šesdestih godina prošlog stoljeća do danas ukaže na slutnje, upozorenja i reagiranja umjetnika prvenstveno na krize duha, etike, morala i društvenih odnosa što je indirektno dovelo i do današnje svjetske recesije.

Mladen Lučić