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2004, specialWRO 03 GlobalicaThe selection of video art works from the agenda of the 10th International Media Art Biennale WRO 03.
WRO International Media Art Biennale is a major manifestation of new media art in Poland and Central Europe. Since its first edition in 1989 WRO has been representing art heading away from mass culture towards dis-massed one created by contemporary means of artistic creation and communication. Initially as Sound Basis Visual Art Festival, WRO was committed mainly to present audiovisual creations in video and computer arts, installations, performances and various mixed-media activities. Later on, since 1993 and already functioning as a biennale, apart from the audiovisual topics it explores also new strategies and territories of digital artistic communication. Globalica, the watchword of the last WRO Biennale that took place in May 2003, expresses an encouragement for an artistic play with global culture of the society of the spectacle. It puts forward a question about an artist's role in the face of intermingling high and popular culture; global and local; commercial and independent.
Nothing but Netvideo and sound installation, RS, 2003
 Zoran Naskovski: Nothing but Net I fell in love with the sound of the net jiggling as the ball went through. (Pee Wee Kirkland, streetball legend) 'Nothing but Net' is a video and sound installation consisting of picture and sound that were recorded during various nights, on the same street basketball playground. A registered part of the atmosphere has been transformed in an environment in which there are video and sound recordings of various time lengths and who are never being repeated by the loops, and which create the impression of a harmony in the gallery in which one can resort to meditation. The sound is real and raw and sometimes can be felt even physically, while the image of a hoop with chain net that constantly moves is similar to universal principles and beauty. Eastern HouseVzhodna hisa, 17:33, Color, Stereo, SI, 2003
 Gržinić, Šmid: Eastern House It is a video that reread some key names and film sequences from the film history, giving a new meaning and opening the articulation: Antonioni, Coppola, Siegel and Romher.It includes Nesa Paripovic body performance from 1970 from ex- Yugoslavia. It presents the reconstruction of this performances. And the text written by Grzinic on Alain Badiou theories and cyberfemism questions the war in Iraque, global capitalism and the space of the Internet. The video is also in a clear reference to the Alien sequel no. 4 from 1997. Crossing Over Time'Selecting the works which form Crossing Over Time was both an enjoyable and difficult task. It’s unusual to attempt to encapsulate and present the curatorial vision of others. First, there was the problem of how to represent six years of creative activity by showing less than half the short films produced. Then choosing between different artists’ works. In the end it came down to subjectivity: the likes and dislikes of an individual. As each Crossing Over residency took as its starting point a strong thematic, I was initially concerned that one programme would not naturally ‘emerge’ from the assembled films. I needn’t have worried. Many of the works share something in common, which is a questioning of the given order of things, often expressed through the journey as metaphor for transformation.  Herb E. Smith: Coal is Black, and Sometimes Red US, 2000 Krassimir Terziev: In Search of… BG, 1997 Aleksandar Battista Ilic: Egoeast 3 HR, 2000 Dimitrina Sevova: Three Short Videoportraits BG, 1999 Antal Bodozcky: Teatime HU, 1999 Paul Rooney: Good Morning Call GB, 2001 Baza: 422008@lite RS, 1999 Boryana Dragoeva: Celebrating the Next Twinkling BG, 1999 Phil Collins: Romance. The Commercial GB, 2001 Gaspar Csongor: Postcard I RO, 2000 Gaspar Csongor: Postcard II RO, 2000  Lala Raščić: 17 Stories HR, 2001 Tsvetelina Gancheva: Virgin BG, 1997 Barbara Konopka: Binary Notes PL, 1998 Maria Natasha Stukoff: Frozen 0% CH/GB, 1999 Ivan Mudov: Simon Says… BG, 1997 Mare Tralla: Felt Boots EE, 2000 Chris Speed: Places of Difference GB, 2001 Avril Gillan: Crossing Mary IE, 1998 Levente Sipos: Tele-browsing HU, 2001 Mike Kash: Remember the Hill US, 2000 DRIFT programmecurated by Iliyana Nedkova
A programme of shorts by UK artists and film-makers which reveal the cinematic relationships between sound and image. The films play with our aural perceptions, featuring along the way bursts of sound art, noise, experimental music, field recordings, urban and rural soundscapes. DRIFT is an ongoing exploration of sound art and experimental music, including radio broadcasts, moving image, publications and occasional live events. Initiated and produced by New Media Scotland, Edinburgh. Supported by the Edinburgh International Film Festival, and Lux, London. Funded by the Scottish Arts Council and Daniel Langlois Foundation for Art, Science and Technology.  Susan Black: American Classic 2001, 02:50 Chris Bowman: River/Sundown/02.032003, 06:35 Susanne Ramsenthaler: Mirage 2003, 02:00 Kelly Richardson: The Sequel 2003, 01:10 Paddy Kernohan: Boundary/Agency 2002, 03:22 Richard Ashrowan, Alexander Hamilton, Shannon Tofts: The Windmills of Innerleithen 2004, 07:45 Simon Tricker: Berg 2003, 04:40 Peter Collis: Exposure 2003, 05:00 Emily Richardson: Nocturne 2002, 04:00 Holger Mohaupt: 128 Megabytes Germany 2003, 05:48 Victoria Clare Bernie: The Cinematic Garden (extract) 2003, 05:30 Ian Helliwell: Crosshatch 2003, 07:25 Butler Brothers: Zerotime 2002, 03:00 Rob Kennedy and diskono: You’re not Blank 2002, 02:26 Jayne Parker: 59 1/2 Seconds for a String Player. Versions 1-3 2000, 03:30 Aura Satz: Ventriloqua 2003, 3:00 John Carson: American Medley 1985, 11:00 Michelle Deignan: Audience 2003, 01:30 Works of students from the Academy of Arts in Novi SadNew Media Department, Animation and Visual Effects Department.
 Dina Stipić, Endre Ajandi Bojan Cvetković  Saša Ilić Mina Cvetinović, Vladimir Veselinović  Miloš Pušić Vlada Strajnić  Mirko Žarković Dejan Šolajić Svetlana Vuković  Živa Stanojević V. Vukmirović, Ž. Lazić, V. Trifu, E. Lajko-Mesaroš  Vladimir Ivaz Dragan Kojić |
