PORTABLE EXHIBITION NO.2

PORTABLE PROJECT

KATARINA RADOVIĆ 3

MARIA HERA 8

IRENE KEMPL 12

ŠEJMA FERRÉ 17

LENA VIOLETTA LEITNER 22

MILICA RAKIĆ 26

“Portable project”, a theme for the second number of the fanzine Portable exhibition, is inspired by Marcel Duchamp’s “Boîte-en-Valise”. Artworks presented in this issue are made by artists from different artistic backgrounds and are related to the portable and folding nature of art.

Lege

nd G

AM

MA

(20

– 6

0 m

inut

es)

for

3 to

6 in

stru

men

ts:

Sco

re

The

pict

ure

is a

sco

re o

f 20

– 6

0 m

inut

es m

usic

. 3

differ

ent

path

s le

ad t

hrou

gh it

and

def

ine

the

dens

ity

and

char

acte

r of

the

tim

e.

Inst

rum

en

ts

The

com

posi

tion

con

tain

s 3

voic

es.

By

star

ting

the

se 3

voi

ces

from

min

. 11

, a

fter

min

. 20

you

st

art

from

min

.1 t

here

are

3 m

ore

voic

es a

vala

ble.

The

pie

ce is

for

3 t

o 6

mus

icia

ns.

The

inst

rum

ents

can

be

chos

en b

y th

e in

terp

rets

.

Du

rati

on

The

dura

tion

of th

e pi

ece

is 2

0, 4

0 or

60

min

utes

, Th

e ac

tion

s ar

e tim

ed in

one

min

ute

sect

ions

. Ea

ch m

usic

ian

has

a cl

ock.

The

inst

ruct

ions

of on

e m

inut

e to

the

nex

t on

e sh

ould

ha

ppen

flu

ently.

The

first

min

ute

is w

itho

ut a

ctio

n, t

he m

usic

ian

can

get

read

y at

tha

t tim

e

40 m

inut

es

The

dura

tion

dou

bles

fro

m 2

0 to

40

min

utes

by

star

ting

the

nex

t vo

ice

afte

r fin

ishi

ng t

he

play

ed o

ne.

For

exam

ple:

if y

ou p

laye

d th

e 1st

voi

ce y

ou s

tart

with

the

seco

nd,

if yo

u pl

ayed

th

e se

cond

on

you

star

t w

ith

third,

if y

ou p

laye

d th

ird

one

you

star

t w

ith

the

first

voi

ce.

60 m

inut

esIf

you

pla

y th

e vo

ice

you

didn

´t p

lay

yet

afte

r fin

ishi

ng t

he o

ther

tw

o vo

ices

.

Inte

rpre

tati

on

of

the P

ictu

res

basi

c in

stru

ctio

n:-

dark

spo

tsm

f, h

igh

conc

entr

ated

, ac

oust

ik s

ound

- lig

ht s

pots

pp,

low

con

cent

rate

d, lo

ng la

stin

g so

unds

, fe

edba

ck

Dyn

am

ics

ppp

– m

f

The

laye

rs d

efin

e al

so t

he d

ynam

iks

m

eans

: Bac

kgro

und

laye

rs,

(mor

e tr

ansp

aren

t):

soft

er,

back

grou

nd s

ound

svo

rder

e Eb

enen

: m

ore

pres

ent

soun

d

So

un

d Q

uali

ty:

Str

u

ctu

re (

Str

uct.

)

:

abst

ra

c t s

tru

c

tur

e

z.

B.

diffus

e so

unds

rhyt

hmi

c

s tr

u

c tu

r

e z.

B.

rhyt

hmic

sou

nd fie

lds

figur

al

s

tru

c

tur

e

z.B.

prog

ress

of pi

tch

chan

ge a

ccor

ding

to

fig.s

tr.

Con

nota

tion

(Con

not.

) :

- W

hich

sou

nd c

omes

to

your

min

d if

you

wat

ch t

he p

ic(s

)?-

Wha

t w

ould

you

like

to

do if

you

are

at

this

pla

ce,

how

wou

ld t

hat

soun

d?Kno

ck o

n th

e do

or,

crea

k of

the

doo

r, lo

ok o

ut o

f th

e w

indo

w,

scra

tch

the

wal

l, fo

otst

eps

- ho

w w

as t

he s

truc

ture

mad

e (g

lass

, w

all)

how

wou

ld t

hat

soun

d lik

e?-

You

can

requ

ote

a kn

own

mel

odie

and

pla

y w

ith

it in

a v

ery

abst

ract

way

.Yo

u ca

n us

e it a

s in

spirat

ion,

it s

houl

d N

OT

be r

ecog

nise

d!

G u

estu

r

e (G

uest

.)

:

are

variou

s, s

impl

e m

usic

al a

ctio

ns.

Aft

er o

ne g

uest

ure

follo

ws

a pa

use

with

min

imum

of th

e du

ration

of th

e gu

estu

re b

efor

e

Th

e r

ole

of

sile

nce

If y

ou p

lay

for

exam

ple

the

'Fro

nt,

Sm

all P

ics'

fro

m a

ll co

ordi

nate

s of

the

sco

re y

ou s

houl

d tr

ansl

ate

also

the

not

-pla

yed

laye

rs:

whi

ch m

eans

sile

nce

in b

etw

een

som

e ac

tion

s.

The

Sco

re d

oesn

´t s

how

a s

imul

tane

ous

of a

ctio

n bu

t de

velo

pes

during

the

dur

atio

n of

the

pi

ece.

Bes

ides

act

ions

red

uction

and

abs

trac

tion

are

a e

ssen

tial

ele

men

t of

tis

pie

ce.

Furt

herm

ore

the

'roo

m' y

ou c

an s

ee in

the

pic

s –

the

3 D

imen

sion

ality

– ca

n be

tra

nsla

ted

as

'sile

nce'

as

wel

l.

Lege

nd G

AM

MA

(20

– 6

0 m

inut

es)

for

3 to

6 in

stru

men

ts:

Sco

re

The

pict

ure

is a

sco

re o

f 20

– 6

0 m

inut

es m

usic

. 3

differ

ent

path

s le

ad t

hrou

gh it

and

def

ine

the

dens

ity

and

char

acte

r of

the

tim

e.

Inst

rum

en

ts

The

com

posi

tion

con

tain

s 3

voic

es.

By

star

ting

the

se 3

voi

ces

from

min

. 11

, a

fter

min

. 20

you

st

art

from

min

.1 t

here

are

3 m

ore

voic

es a

vala

ble.

The

pie

ce is

for

3 t

o 6

mus

icia

ns.

The

inst

rum

ents

can

be

chos

en b

y th

e in

terp

rets

.

Du

rati

on

The

dura

tion

of th

e pi

ece

is 2

0, 4

0 or

60

min

utes

, Th

e ac

tion

s ar

e tim

ed in

one

min

ute

sect

ions

. Ea

ch m

usic

ian

has

a cl

ock.

The

inst

ruct

ions

of on

e m

inut

e to

the

nex

t on

e sh

ould

ha

ppen

flu

ently.

The

first

min

ute

is w

itho

ut a

ctio

n, t

he m

usic

ian

can

get

read

y at

tha

t tim

e

40 m

inut

es

The

dura

tion

dou

bles

fro

m 2

0 to

40

min

utes

by

star

ting

the

nex

t vo

ice

afte

r fin

ishi

ng t

he

play

ed o

ne.

For

exam

ple:

if y

ou p

laye

d th

e 1st

voi

ce y

ou s

tart

with

the

seco

nd,

if yo

u pl

ayed

th

e se

cond

on

you

star

t w

ith

third,

if y

ou p

laye

d th

ird

one

you

star

t w

ith

the

first

voi

ce.

60 m

inut

esIf

you

pla

y th

e vo

ice

you

didn

´t p

lay

yet

afte

r fin

ishi

ng t

he o

ther

tw

o vo

ices

.

Inte

rpre

tati

on

of

the P

ictu

res

basi

c in

stru

ctio

n:-

dark

spo

tsm

f, h

igh

conc

entr

ated

, ac

oust

ik s

ound

- lig

ht s

pots

pp,

low

con

cent

rate

d, lo

ng la

stin

g so

unds

, fe

edba

ck

Dyn

am

ics

ppp

– m

f

The

laye

rs d

efin

e al

so t

he d

ynam

iks

m

eans

: Bac

kgro

und

laye

rs,

(mor

e tr

ansp

aren

t):

soft

er,

back

grou

nd s

ound

svo

rder

e Eb

enen

: m

ore

pres

ent

soun

d

So

un

d Q

uali

ty:

Str

u

ctu

re (

Str

uct.

)

:

abst

ra

c t s

tru

c

tur

e

z.

B.

diffus

e so

unds

rhyt

hmi

c

s tr

u

c tu

r

e z.

B.

rhyt

hmic

sou

nd fie

lds

figur

al

s

tru

c

tur

e

z.B.

prog

ress

of pi

tch

chan

ge a

ccor

ding

to

fig.s

tr.

Con

nota

tion

(Con

not.

):

- W

hich

sou

nd c

omes

to

your

min

d if

you

wat

ch t

he p

ic(s

)?-

Wha

t w

ould

you

like

to

do if

you

are

at

this

pla

ce,

how

wou

ld t

hat

soun

d?Kno

ck o

n th

e do

or,

crea

k of

the

doo

r, lo

ok o

ut o

f th

e w

indo

w,

scra

tch

the

wal

l, fo

otst

eps

- ho

w w

as t

he s

truc

ture

mad

e (g

lass

, w

all)

how

wou

ld t

hat

soun

d lik

e?-

You

can

requ

ote

a kn

own

mel

odie

and

pla

y w

ith

it in

a v

ery

abst

ract

way

.Yo

u ca

n us

e it a

s in

spirat

ion,

it s

houl

d N

OT

be r

ecog

nise

d!

G u

estu

r

e (G

uest

.)

:

are

variou

s, s

impl

e m

usic

al a

ctio

ns.

Aft

er o

ne g

uest

ure

follo

ws

a pa

use

with

min

imum

of th

e du

ration

of th

e gu

estu

re b

efor

e

Th

e r

ole

of

sile

nce

If y

ou p

lay

for

exam

ple

the

'Fro

nt,

Sm

all P

ics'

fro

m a

ll co

ordi

nate

s of

the

sco

re y

ou s

houl

d tr

ansl

ate

also

the

not

-pla

yed

laye

rs:

whi

ch m

eans

sile

nce

in b

etw

een

som

e ac

tion

s.

The

Sco

re d

oesn

´t s

how

a s

imul

tane

ous

of a

ctio

n bu

t de

velo

pes

during

the

dur

atio

n of

the

pi

ece.

Bes

ides

act

ions

red

uction

and

abs

trac

tion

are

a e

ssen

tial

ele

men

t of

tis

pie

ce.

Furt

herm

ore

the

'roo

m' y

ou c

an s

ee in

the

pic

s –

the

3 D

imen

sion

ality

– ca

n be

tra

nsla

ted

as

'sile

nce'

as

wel

l.

The Signs

Time

Raw defination of the progress from one mitute to the next one., the change should be played fluenty.

Coordinates:

The picture is devided in imagined coordinates. (The coordinates are a raw instruction and can extend it´s borders.)

1 2 3 _____________________ I I I IA I I I____ I I I I IB I I I__ ___ I I I I IC I I I____ I

Layers

The different layers and Pictures are sdevided in 3 Dimensions.

Front pics in the foreground, with more contrastMiddle pics between background and foregroundBack very transparent, nearly unvisible pics in the background

Focus on

Small PicsMedium PicsBig Pics

Contrast play with the contrast of the picsCombine combine elements of the picsDimensions play with the various dimensionsLEFT to RIGHT play the pic from one to the other side.

If you realize that the chosen pic is bigger than you thought play the chosen pic instead and go back to the score during the next minute.

Instrument 1

Coord. Layer Time Focus on Sound Quality

0:00

B 2 Front 1 + 1 Pic Struct. +

B-C 2 Front 2 + Dimensions Struct. +

+ C 2 Front 3 + Struct. + Connot.

C 2 + Middle 4 + Connot.

all Front 5 + All Small Guest. + Pause

all Front – Middle 6 + All Small–Med. Struct. + Connot.

C-B 1 Middle - Back 7 + + Connot.

A 1 Front – Middle 8 + Contrast Struct. + Connot.

A 1 + ALL 9 + Combine Struct.

A 1-2 Back 10 + Struct.

11 +

A 1-2 Middle - Back 12 + Contrast + Connot.

A 3 Middle 13 + 1 Pic Struct. + Connot.

A 3 ALL 14 + Dimensions + Connot.

B 3 ALL 15 + RIGH to LEFT Struct. +

C 3 ALL 16 + Contrast Struct. + Connot.

C 3 Back 17 + 2 Pics Combine Struct.

all Back 18 + Big Struct. +

all Middle 19 + Combine Struct. + Connot.

all Back 20 + 1 Pics Transparency Struct.

21:00

Instrument 2

Coord. Layer Time Focus on Sound Quality

0:00

all Back 1 + 1 Pic Big Struct.

A 2 Front 2 + 1 Pic Small Connot.

A 1 Middle - Back 3 + Struct.

B-C 1 Front Back 4 + Contrast Struct. + Connot.

C 1 Back 5 + Combine Dimensions + Connot

C 2 Middle 6 + Contrast, LEFT to RIGHT Struct. + Connot

C 3 ALL 7 + Struct. + Connot.

C 3 Front 8 + Connot.

all Front Back 9 + Connot.

A 2 ALL 10 + Struct. + Connot.

B 2 Front 11 + Struct.

C 2 Front 12 + 2 Pics Contrast Struct.

C2 Front – Middle 13 + Combine Struct.

14 +

all Front 15 + All Small Pics Connot.

all Middle - Back 16 + All Medium Pics Struct. + Connot.

A 3 ALL 17 + RIGHT to LEFT, Dimension Struct.

A 3 ALL 18 + Contrast Struct. + Connot.

B-C 3 Middle - Back 19 + Combine Struct.

20 +

21:00

Instrument 3

Coord. Layer Time Focus on Sound Quality

0:00

1 +

all Middle 2 + Medium Pics Struct.

A 3 ALL 3 + Combine Dimensions Struct.

A 3-2 Back 4 + 2 Big Pics, Combine Struct. + Connot.

A 2 Front – Middle 5 + Contrast Guest.

B 2Front Back 6 + Combine Struct.

B 1 Back 7 + Struct.

A 1 ALL 8 + 3 Pics Connot.

all Middle 9 + Dimensions Struct.

B 2-3 ALL 10 + LEFT to RIGHT Struct.

B-C 3 Middle 11 + Struct. + Connot.

C 3 Front 12 + Small Pics, Contrast Connot.

C 2 Front – Middle 13 + Combine Struct. + Connot.

C-B 2 Front 14 + 2 Pics Struct. + Connot.

B-C 1 Front 15 + 2 Small Pics, Contrast Pause + Connot.

C 1 Front Back 16 + Contrast Struct. + Connot.

all Back 17 + Big Pics Struct.

all ALL 18 + Connot.

C 3 Middle - Back 19 + Struct. + Connot.

B 2 Front 20 + Struct.

21:00

ichduichduwirihrsiegrenztansieeressiemichdichihrgegenwirihrgrenztanmichwohoerichaufwofaengstduan?

ichduichduwirihrsiegrenztansieeressiemichdichihrgegenwirihrgrenztanmichwohoerichaufwofaengstduan?ichduichduwirihrsiegrenztansieeressiemichdichihrgegenwirihrgrenztanmichwohoerichaufwofaengstduan?

an die grenze gehen part eins.odysee221115sonntag 22.11.15abfahrt: 8h15 burggasseankunft: 17h25 schottenfeldgasse

nickelsdorfwindtranskription

es kostet 15 euro für 10 tage,

(wauwauwau) unverständlich

you have to go back to the main road aha okay which goes to slovakia at theend of the road will be camp at the right side of the road on the street? yeahyeahand we see it? it will be big building with lots of windows aaah okay so wejust go straight straight straight straight following the street and, thank youmenekült tabor existiert nichtmein akku is so hier kann ich hi! here very close nearby should be the refugeecamp? in hungary? hungary? no no but .....menekült tabor? menekült tabor?----not understood---slowakei? aha yeah yeah --no understood-- deutsch?deutsch oder? ja ja wo ist hier soll es ein flüchtlingslager geben Bitte? flüchtlinge?wo ist es? es soll hier sein wir fahren schon die ganze zeit herum jajaja asowo is?das is so deutsch oder? bei ungarn? --not understood-- slowakei oderdeutsch in ungarn ungarn?ungarn!ungarn... wir sind jetzt von da gekommenund dann waren wir auf einmal in der slowakei ich weiß nicht ist so mappeoder das werden wir nicht auf der mappe finden ich weiß nicht tschuldigealso sie haben auch keine menschen gesehen die irgendwie eine unterkunftsuchen gehen wir mal aufs wc wc kaputtkeine menschen weit und breit aber tote tierehi do you speak english a little bit we wanted to ask you if we can get in butnoo its closed can you get a little bit out die haben so karten stille--unverständlich--es ist ja doch kalt english deutsch no we just wanted to talk to somebody if wecan help you know no no time direktori engeli ja okay people no englishjetzt haben wir eh schon alle länder durch er redet mit ihm

suche nach grenze eingegrenzt nur im lager die flüchtlinge nicht rein nichtraus

KATARINA RADOVIĆ When You’ve Stopped Combing Me, I’ll Stop Hating You (2013)

This photographic project was realized during my artist residency at Centre WAAW in Saint-Louis, Senegal in 2013. The story takes place in women’s coiffure salons in town - almost exclusively a women’s world, and a zone of intimacy and gossip - where traditional tools and techniques are used to create an array of female hairstyles, from the quite ordinary to the almost unimaginable, as occasion dictates. Each of those coiffures requires a considerable amount of time and patience, and without doubt, a certain amount of agony and pain.

Born in Belgrade. Studied History of Art at the University of Sussex in Brighton and Photography at the Academy of Arts in Belgrade. Lives and works in Belgrade as a free-lance artist. http://katarinaradovic.jimdo.com

MARIA HERA Collages (2015)

My artwork is located at the intersection of media- and street- art, collage, photography, installation, as well as performance. I want to explore and transform the conditions of human life, mainly it´s network of relations, interactions, social structures and roles but also common persuasions and images and approach them in diferent ways. Leant on Martha Rosler I search in the details for metaphoric content and transform this, by putting it into new context, into another semiotic feld, that evokes a truth that can be accepted without claiming validity. In my collages I use the scissors as an extension of my intellectual power and the glue as an extension of my creativity, in order to prove, deconstruct and rebuild the images I´m confronted with day by day. http://mariahera.weebly.com

IRENE KEPL GAMMA , for 3 to 6 instruments (2013)

The picture is a score of 20 – 60 minutes music. 3 different paths lead through it and define the density and character of the time. The piece is for 3 to 6 musicians. The instruments can be chosen by the interprets.

Violinist and composer Irene Kepl studied classical violin and jazz in Linz and she now lives in Vienna. Her work focuses primarily on contemporary classical music, free improvisation, composition, Jazz and groove based musics. Free improvisation is an important component in her search for her own spontaneous musical language. Recently she received the fellowship „music OMI“ New York, Gustav Mahler Composition Prize, the national scholarship for young musicians, the talent development award for composition from Upper Austria and the Theodor Körner Prize for composition. Commissioned works for Brucknerfest Linz, ORF Musikprotokoll and Wiener Festwochen. Further work includes commissions for theater, film and sound installations.http://www.irenekepl.at

ŠEJMA FERRÉ Collages (2014)

These works are made with images from diverse printed reproductions in newspapers, propaganda and magazines. They are built in an intuitive way with a highlighted fragmentation exposing the transformation process.

Graduated at University of Arts in Belgrade with a master degree in Painting and Printmaking. She exhibited internationally at numerous shows. Editor of fanzine Portable exhibition (first issue 2013). Awarded with Onassis Foundation Distinction Prize for Painting in 2006. Lives and works in Belgrade. http://sejma.jimdo.com

LENA VIOLETTA LEITNERText (2015)

The text I wrote for this edition deals with questions of border and limits. Where does the text start and where do I end? Even not understanding the whole, everybody gets their own interpretation and idea of what they see or gets cut of fragments of the whole. The longer text is a protocol of a kafkaesque journey along the border of Austria, Hungary and Slovakia. It consists of records I took during the trip.

Born in 1986 in Graz. Lives and works in Vienna. After several residencies and exchange studies in various countries (Serbia, France, Croatia, Switzerland...) she deals in her work with questions of identity (especially as a woman and female artist) and physical, psychological borders. At the moment she is focused on language and text, but she also studies Digital Art at the University of Applied Arts Vienna and finished Japanese Studies and Theatre-, Film-, Mediastudies.https://rosaschlimmerwolf.wordpress.com/

MILICA RAKIĆ Cut (2015)

With a delicate sense of humor Milica Rakic creates her own archive of reports, pictures that evolve on crossing of reality and fiction. Combining what is apparently incompatible, she gives a completely new and unexpected meaning to what is already known, critically shaping the current image of society. She is born in SFRJ. Lives and works in Belgrade. http://kic.jimdo.com

PORTABLE EXHIBITION No. 2 december 2015