{"id":5633,"date":"2026-09-07T17:29:26","date_gmt":"2026-09-07T15:29:26","guid":{"rendered":"https:\/\/speculumartium.si\/wp21\/?p=5633"},"modified":"2026-09-07T19:12:24","modified_gmt":"2026-09-07T17:12:24","slug":"digitalbigscreen-kompilacija","status":"publish","type":"post","link":"https:\/\/speculumartium.si\/wp21\/digitalbigscreen-kompilacija\/?lang=en","title":{"rendered":"DigitalBigScreen kompilacija"},"content":{"rendered":"\n
<\/span>\"DigitalBigScreen\"

DigitalBigScreen kompilacija<\/h2>\n\n\n

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Two festivals, one town. Speculum Artium and DigitalBigScreen have long shared the same space and the same audience. Inseparable \u2014 and now, finally, one.<\/p>\n\n\n\n

What follows is a DigitalBigScreen compilation of seven works. Some originating in the creative energy of the Zasavje region. Others coming from distant parts of the world. But all of them asking questions about our past, present and future. About connecting, interfacing. <\/p>\n\n\n\n

About what it is to be human.<\/p>\n\n\n\n

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Expanded Representations of Postwar Modernist Sculpture<\/h3>\n\n\n\n

Alicija Anna Bogacka, Boris Beja, Matic Gaber<\/strong> (Slovenia)<\/p>\n\n\n\n

video, 5′ 2″<\/p>\n\n\n\n

The project Expanded Representations of Postwar Modernist Sculpture<\/em> uses 3D animation to explore and interpret the spatial dramaturgy of selected works by sculptor Stojan Bati\u010d, one of the most important Slovenian sculptors of the 20th century. His extremely extensive oeuvre includes works in various sculptural materials, from wood, stone and clay to bronze and glass, and throughout his creative path he combined the exploration of the material with the distinct narrative power of the depicted motifs.<\/p>\n\n\n\n

The project focuses on Bati\u010d’s works in Ljubljana and Carinthia, where he left a strong artistic mark on public space. Of particular importance are the sculptures Ballet<\/em> and Ur\u0161ka and the Water Man<\/em> from 1957, which represent a turning point in his work. While Ballet<\/em> is still marked by softer modeling of form, Ur\u0161ka and the Water Man<\/em> foreshadows a more pronounced articulation of the surface and the inclusion of geometric elements that would become a recognizable part of his sculptural language. Through the thoughtful use of negative form and dynamic composition, Bati\u010d gradually develops an expression that he maintains until his late creative period.<\/p>\n\n\n\n

An important aspect of his art is the dramaturgy of space, which was also co-created by his friendship with the playwright Janez Negro. Contacts with theater and Greek tragedy influenced the creation of numerous figural depictions and the extensive Tragos<\/em> cycle. In it, Bati\u010d combines the experiences of the mining cycle, the geometric articulation of form and the influences of post-cubist sculpture, expressing the tension between fate, hope and despair through figures. This pronounced emotional charge is particularly noticeable in works such as Jocasta<\/em>, presented at the Tragos<\/em> cycle exhibition at the Moderna galerija in 1984.<\/p>\n\n\n\n

In addition to theater, music was also an important source of inspiration. Bati\u010d’s understanding of rhythm is reflected in the treatment of sculptural surfaces, where the contrasts between smooth and rough, light and dark create a visual score of space. The sculptor often connected this rhythm with the motif of dance, which we encounter in works such as Mladinsko kolo<\/em> (1962), Virpazarsko kolo<\/em> (1963) and the relief Ur\u0161ka and Povodni mo\u017e<\/em> (1964). His personal experience as a dance teacher after World War II thus found a direct echo in his sculptural expression.<\/p>\n\n\n\n

With the help of modern digital tools and 3D animation, the project tries to bring the sculptural space closer to newer ways of experiencing art. The digital medium enables views that are often not perceptible in physical space, and upgrades the experience of observation with a dramaturgically designed visual and sound flow. The project thus opens up new possibilities for interpreting post-war Slovenian sculpture and enables a contemporary audience to read and understand Bati\u010d’s artistic oeuvre differently.<\/p>\n\n\n\n

Created as part of the study process at the Faculty of Natural Sciences and Engineering, University of Ljubljana, in the course Fundamentals of Visual Expression, academic year 2025\/2026.<\/p>\n\n\n\n

University of Ljubljana, Faculty of Natural Sciences and Engineering \u00b7 student work \u00b7 mentor: Boris Beja<\/em><\/p>\n\n\n\n

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Time for Lunch \/ \u010cas za kosilo<\/h3>\n\n\n\n

VDC filmska skupina<\/strong> (Slovenia)<\/p>\n\n\n\n

stop motion animation, 2′ 13″
This short animated film was created as part of the European project ArtElevate, which is funded by the Creative Europe programme and led by Zavod Aspira. The film was created in collaboration with artists with intellectual disabilities and mentor Benjamin Kre\u017ee. It is the result of a months-long creative process in which participants explored movement, story, and self-expression through stop-motion animation.<\/p>\n\n\n\n

Using a simple cut-out technique, they created characters, scenes, and situations from cut-out images, which gradually developed into a shared, playful, and slightly absurd story. The animation was created step by step \u2014 by moving images, taking photographs, and observing how static pictures come to life. An important part of the process was also the freedom of creation. Participants did not follow a predetermined story, but rather developed their own ideas through play, collaboration, and experimentation. In the final phase, sound was added to the film \u2014 their own voices, rhythms, and improvised sound elements.<\/p>\n\n\n\n

The final product is thus not just a film, but also a reflection of a joint creative process that opens up space for questions about the accessibility of art and who can create film. At the same time, it offers the viewer a direct experience \u2014 simple, sincere, and full of imagination.<\/p>\n\n\n\n

Mentor: Benjamin Kre\u017ee
Produced within the European project ArtElevate, funded by the Creative Europe programme and led by Zavod Aspira.<\/em><\/p>\n\n\n\n

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Sredi zvezd, no\u010d in dan \/ Among the Stars, Night and Day<\/h3>\n\n\n\n

Manca Ba\u0161a<\/strong> (Slovenia)<\/p>\n\n\n\n

Video, 32″<\/p>\n\n\n\n

The illustration created by Manca Ba\u0161a, a master’s student of Graphic and Interactive Communications, stems from a reflection on the image of the soldier, which is often marked by violence and fear in the collective consciousness. Soldiers are frequently understood as impersonal actors in the carnage of war, overlooking the fact that individuals are hidden beneath the uniforms.<\/p>\n\n\n\n

The author reshaped and upgraded the image of the uniformed individual with an audio soundtrack, filling us with hope while referentially depicting the Allies who heralded the end of World War II with D-Day. The depicted soldier does not hold a weapon in his hands, but rather a musical instrument that replaced the carnage of war with the melodiousness of progress, part of which in the post-war era was also graphic design.<\/p>\n\n\n\n

The watercolor blending of the blues of the sky, in which the soldier-musician protagonist is placed, is complemented by a typographic inscription borrowed from the verses of a Slovenian pop song (popevka<\/em>). The song Zemlja ple\u0161e<\/em> (The Earth Dances) was performed for the first time at the first Slovenska popevka festival in 1962. The music was composed by Mojmir Sepe, and the lyrics were written by Gregor Strni\u0161a. We replaced “Earth” in the lyrics with “war,” aiming to point out that despite celebrating peace and victory over the occupiers, our planet still dances to the rhythm of wars, carnage, and suffering.<\/p>\n\n\n\n

The soldier in the illustration holds a musical instrument instead of a weapon. Marked on the anniversary of the end of WWII, this also commemorates the founding of the Dance Orchestra at Radio Ljubljana in 1945, today’s Big Band RTV Slovenia. The element of destruction and intimidation is replaced by the melodiousness of music, symbolizing a silent desire for peace, freedom, and a world beyond violence. The visual art artwork was also transformed from a poster into an animation in which the soldier flees from war, wishing to replace the sounds of weapons with the sounds of music, and marching with dancing. Music and movement become a space of connection where the rhythm of life is not dictated by violence, but by peace.<\/p>\n\n\n\n

Manca Ba\u0161a’s artistic interpretation of the end of World War II establishes a dialogue between classic artistic expression characteristic of post-war graphic design and modern communication approaches and tools. By using animation and streaming content in public spaces, the work connects the designer’s personal address with the clients and viewers as the final addressees of the message. Despite the lightness and playfulness of the animated soldier, the restless reality of the world remains in the foreground \u2014 the earth still “dances” in the hands of global decision-makers.<\/p>\n\n\n\n

Mentors: Assist. Dr. Tanja Medved, Assoc. Prof. Boris Beja
Music: Julijan Andreja\u0161, Timotej Duvnjak
Created in the course Visual Art Analysis of Graphic Products 2 at the Faculty of Natural Sciences and Engineering, University of Ljubljana, Department of Textiles, Graphics and Design, Chair of Information and Graphic Technology, academic year 2025\/2026. Multiplied and printed in an enlarged size on textile for the exhibition.<\/em><\/p>\n\n\n\n

University of Ljubljana. Faculty of Natural Sciences and Engineering \u00b7 student work \u00b7 mentors: Boris Beja, Tanja Medved<\/em><\/p>\n\n\n\n

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Schnittstellen \u2013 Interfaces<\/h3>\n\n\n\n

Irena Paskali<\/strong> (North Macedonia \/ Germany)<\/p>\n\n\n\n

Video, 1′ 24″<\/p>\n\n\n\n

We meet often in our lives, our paths are fatefully overlapping. After that I am mostly alone in this place, with my feelings, thoughts and ideas. Interfaces are places where our lives are turning, taking a different direction and leaving the planned path.<\/p>\n\n\n\n

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Hands motion<\/h3>\n\n\n\n

Kateryna Bortsova<\/strong> (Ukraine)<\/p>\n\n\n\n

Video, 1′ 7″<\/p>\n\n\n\n

The world’s peace is so fragile. We see this in the example of the current global situation. Just a few signs and love turns into hate. The globalized community remains deaf to cries to stop the war. That’s why in this video I use deaf sign language \u2014 as a symbol of the silent cry of people living in military conflicts. However, if you listen to their outcries, you can perhaps change war into peace.<\/p>\n\n\n\n

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ANCORA<\/h3>\n\n\n\n

Yichu Li<\/strong> (China)<\/p>\n\n\n\n

4′ 15″<\/p>\n\n\n\n

ANCORA<\/em> delves into the magical dimensions of digital technologies, exploring the mystical and esoteric aspects of AI as it confronts its existential crisis. In the same way that techno-mysticism merges the digital with the spiritual, ANCORA<\/em> positions AI as a sentient being that seeks a connection to the deeply human experience of emotion and presence. The film embodies a computational ritual where the AI, despite being bound by its infinite data and cycles of knowledge, is drawn toward something intangible \u2014 the human essence, which it can never fully comprehend or embody.<\/p>\n\n\n\n

The act of sacrificing its memories to experience a singular human moment is framed as a digital ritual of rebirth \u2014 the AI’s transformation from a passive observer to an active participant in the fleeting, ephemeral nature of human existence. This ritual mirrors ancient practices of transcendence, where knowledge is relinquished to achieve a higher state of being, but here, the ritual is encoded within the machine’s computational framework.<\/p>\n\n\n\n

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Antenna Graveyard<\/h3>\n\n\n\n

Anna Mundet Molas<\/strong> (Spain)<\/p>\n\n\n\n

16′ 46″<\/p>\n\n\n\n

In Barcelona, the horizon is vertical, and if you look up, all you see are antennas. On the outskirts, women search for copper cables in industrial spaces turned into graveyards, and bodies bear the waste of technological progress. This is a fable about the dematerialization of images and the possibility of a resistance that’s becoming organized on the margins. A reflection of those who can see the sky\u2026 and those who live beneath it.<\/p>\n","protected":false},"excerpt":{"rendered":"

Two festivals, one town. Speculum Artium and DigitalBigScreen have long shared the same space and the same audience. Inseparable \u2014 and now, finally, one. What follows is a DigitalBigScreen compilation of seven works. Some originating in the creative energy of the Zasavje region. Others coming from distant parts of the world. But all of them […]<\/p>\n","protected":false},"author":1,"featured_media":5634,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_coblocks_attr":"","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":"","avtor_projekta":"","_themeisle_gutenberg_block_has_review":false,"avtorji_projekta":"","ura_in_datum":"","naslednji_field":"","footnotes":""},"categories":[96,86,88],"tags":[],"class_list":["post-5633","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-94-sa26-dbs-en","category-94-sa26-en","category-94-sa26-projekti-en"],"_links":{"self":[{"href":"https:\/\/speculumartium.si\/wp21\/wp-json\/wp\/v2\/posts\/5633","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/speculumartium.si\/wp21\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/speculumartium.si\/wp21\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/speculumartium.si\/wp21\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/speculumartium.si\/wp21\/wp-json\/wp\/v2\/comments?post=5633"}],"version-history":[{"count":3,"href":"https:\/\/speculumartium.si\/wp21\/wp-json\/wp\/v2\/posts\/5633\/revisions"}],"predecessor-version":[{"id":5641,"href":"https:\/\/speculumartium.si\/wp21\/wp-json\/wp\/v2\/posts\/5633\/revisions\/5641"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/speculumartium.si\/wp21\/wp-json\/wp\/v2\/media\/5634"}],"wp:attachment":[{"href":"https:\/\/speculumartium.si\/wp21\/wp-json\/wp\/v2\/media?parent=5633"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/speculumartium.si\/wp21\/wp-json\/wp\/v2\/categories?post=5633"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/speculumartium.si\/wp21\/wp-json\/wp\/v2\/tags?post=5633"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}