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ID:00000000/Our
People 
[lyrics]
This
work postulates a question over the route of individual identity in
the digital age.
Numerous faces and identification numbers merge in a fast and infinitive
succession, generating an anonymous image of a unique human being.
By merging different portraits peculiar signs of identity get eliminated,
and at the same time the notion of human as a conjunction of different
individuals get reinforced.
The vortex from which this essential image is generated metaphorically
names the speed as the factor under which the identity in the post-biologic
era is subjected and defined.
Rodrigo Alonso, the First International Biennial of Buenos Aires, Argentina
Janez
Janša resides in the depth of the physical
and the surface of a digital representation of the body.
In his recent work he themes the video-body in the same way as we treat
the data one. If our data body in data spaces is submitted to identical
complications as our body in physical space, and we need to make our
data body conscious with the same attention as the physical one, Janša
points at the representation in video space, which is a privileged space
of electronic and printed media.
In the work ID:00000000 (ID stands for identity number), Janez covers the picture of the face with other pictures of faces, which are photographed identically so that the centre of each face stands on the same place. Janez produced twenty-five composite faces out of thirty-nine images, and they exchange each second. The video produces the impression that we see one face, which is blurred, and we are not sure whether we see the video spot or a blurry photograph. The digital counter id displayed on the monitor, however, we can't read numbers, since they change all the time and seem like a number eight, a kind of an abstract number.
The question of identity emerges through the image of the face, which consists of the series of photographs. It is the domain of ideological fights in a consumer society that tends to create the appearance of how perfect it is. Such flattening of individuality and personalisation happens on various levels. The creation of aesthetic norms in the field of imaginary presents manipulation with attributes of beauty, happiness, success, novelty ... Which all promise and command that our everyday actions must be evaluated in relation to these ideals. Consumers' mechanisms suggest how to reach these ideals.
Janša's image can be observed from two perspectives. The first is the image of a static average, where individuals are reduced to a mere number or target group, they are depersonalised and comprehended as a group, or sum. The second perspective of the same image is the procedures of idealisation, where all facial distinguishing features are blurry, and the face is reduced to facial elements without any distinguishing features (a nose, eyes, a mouth). Such image matches modern ideals of beauty which depersonalised facial lines to mere clichéd features. Depersonalised faces gaze from the billboards, not tending to attract attention due to distinguishing feature. The message mustn't be disturbed. Such a face represents the avatar of a message.
Jurij
V. Krpan
BOUND/LESS BORDERS, catalogue of the exhibition
Goethe Institute Inter Nationes Belgrade, Belgrade 2002
 |
MP3
DOWNLOAD Click on the title to download mp3 (mp3, 22050 Hz, 96 kbps, stereo Our People
|
Premiered at:
the First International Biennial of Buenos Aires (Argentina) in December 2000, where it was included in the international video art section curated by Rodrigo Alonso.
ID:00000000/Our People was also presentad at:
REWIND... REWIND... Three Decades of Video-art in Puerto Rico, curated by Elvis Fuentes as part of the NATIONAL ART EXHIBIT 2005-2006, Institute of Puerto Rican Culture, April 21st, 2006, Old San Juan, Puerto Rico
KiBela Gallery, MMC Kibla, Jan. 27th 2006, Maribor, Slovenia
2005
MIELANEXT, March 24th 2005, Teatro Miela, Trieste, Italy
2004
Glassbox gallery, December 13th, Paris, France
MMC Mostovna, November19th, Nova Gorica, Slovenia
"BOUND/LESS BORDERS", MGLC, Ljubljana, Slovenia
Gallery Kazamat, Osijek, Croatia
Cultural Center Dom Omladine, Belgrade, Serbia and Crnagora
Gallery META, Bucarest, Rumunia
Gallery AoRTa, Chisinau, Moldova
Gallery Vector, Iasi Rumunia
Art Academy, Bucarest, Rumunia
2003
Arte en Progresión, Nov. 2nd, Centro Cultural San Martín, Buenos Aires, Argentina
"SCANNER", La Gaité Lyrique, Paris, France
"Bound/less Borders" - first outdoor touring Balkan project 2002 / 2003, Museum of Modern Art, Bucarest, Rumunia
2002
"Bound/less Borders" - first outdoor touring Balkan project 2002 / 2003, organized by Goethe Institute Belgrade, Museum 25th of May, Belgrade, Serbia
"Out@night", Solar Circuit 2002, Hobart, Tasmania
ARCO 02" -International Contemporary Art Fair, pavilion 7, stand NET 704 (LaAgencia), IFEMA, Madrid, Spain
2001
"First International Biennial of Buenos Aires" (reduced version), Cabildo Historico de Cordoba, Cordoba, Argentina
3rd International Festival of Film and New Media on Art "e-phos 2001", Body Kinesis -Anamorphosis in the Digital Era, Athens, Greece
the Gromki Theatre, Ljubljana, Slovenia
"g-niale 2001" Film Festival, Stralsund, Germany
"Scanline", Digital Moving Image Festival, 29 November - 1 December, Modern Gallery, Ljubljana, Slovenia
CREDITS
Author
and producer: Janez Janša
Lyrics: various popes (selection and Cut-up by Janez
Janša; refrain by Aldo Ivančić)
Computer effects: Stanka Brljevic
Photographer: Diego A. Gomez
Sound postproduction: Drago Kociš
Production: Aksioma and
VPK
Ljubljana, © March 2001
Music: BAST
Tomaz
Grom: contrabass
Slaven Kalebic: guitar
Boštjan Gombac: MC Wattican, voice, clarinet and flute
Marjan Stanic: drums and percussion
Drago Ivanuša: keyboards and voice
Aldo Ivancic: programming, mix and production
Niko Novak: scream
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