|Authors: Gordana Novakovic and Marjan Sijanec|
Images: Gordana Novakovic (paintings, drawings, video)
Music: Marjan Sijanec
Piano: Dragomir Stanojevic
Camera: Aleksandar Zlatanovic
Parallel Worlds, videotape, 1989
Betacam SP, PAL, Duration: 11 min.
We are living in a time when the borders between the spheres of action
of a human mind are disappearing. The spheres interpenetrate each
other. Theoretical physics, at a certain point, become philosophy,
philosophy "fades into" metaphysics. Visual arts, owing to computers,
enter domains of electronic and science in general. Art, using new
technologies, changes in accordance with altered human environments.
We are bombarded, simultaneously, completely accustomed to this
type of "future shock". The result is a new aesthetic, but that does not
mean that this new aesthetic has anything to do with superficial "mass
culture". On the contrary, mixed media, by using the entire age-old
cultural inheritance in and around us, offer artists numerous
possibilities to express their ideas in deeper and more complex ways.
Among newer forms of expression multimedia installations and
environments are the most widespread. Both have a definite substance,
which can never be exhausted by simple sensual impressions.
Both require a greater effort by the observers in the search for the
Information offered to us by physics, information that most of us,
cannot probably comprehend, leads to the theological debates of
Gnostics and Agnostics, to Metaphysics. We find ourselves, once
again, in a world of poetry, beyond reality, a world which is known to
us only through our imperfect senses. And even the worlds we imagine
with absolute freedom are created only within the framework of our
These particular installations, as a project, consist of the presentation
of an idea in different media. Depending upon circumstances and
needs, the project can vary in composition, from a regular exhibition of
paintings to a multimedia performance.
The uniqueness of this project is in the way in its complexity is
achieved. While installation usually consists of elements, which cannot
exist autonomously as bearers of particular ideas, in this case every
single element is a complete work of art which communicates itself and
also, in interaction with other segments, it produces more complex
The basic elements for the construction of this project are large format
easel paintings consisting of combinations of traditional oil painting
techniques and computer-generated segments representing a chosen
mathematical model of the painted form.
This cycle of paintings is concerned with man and his understanding
of his environment, an environment containing events either too small
or too large to be comprehended by our senses, inaccessible even to
our most precise instruments, events about which our knowledge is
based only upon mathematically proven theories, or upon the traces of
their existence which we are able to perceive.
Music, an element of equal significance in this project, uses a
procedure, which is, in essence, similar to one used in the visual part.
It can exist autonomously, or as part of a much more complex whole.
The paintings consists of surfaces painted by brush, in the traditional
manner and of computer generated patterns. Some of the musical
segments are performed live by a pianist who, being present, makes
observers aware of their own presence in the "real time" of the
creation. of an artwork but within strictly defined and controlled
The composer uses the computer in the process of composing music
as well as while performing it. Musical segments represent the
composers impression of each particular painting, but it is, as well, a
separate artwork. Each painting represents a level of understanding of
the basic idea, and each painting can exist separately too. Therefore, it
is possible to present paintings in a certain order following the
composers musical idea, and also possible to rearrange the musical
part, by presenting the selected paintings in a different order, thus
producing a structure of unusual form and content, resembling a
The concept of the video, in this case, relies primarily upon the
aesthetics of classical animated film. With its abstract content this
concept emphasizes music as a higher dimension.
As far as form and technology are concerned, experiences from pop
music video spots are and will be used as a form of aesthetics present
in our everyday life. From the musical point of view this is a
contemporary presentation of classical music that uses paintings for
visualization, as the starting point for the music. In moments of
contemplation visions of inconceivable and uncharted space are
formed. Space consisting of quarks, photons, temporal levels,
particles of matter carrying remembrances of the Big Bang. There is an
awareness of that even the smallest events in space/time cause the
most colossal cosmic changes. There is a feeling of togetherness with
cosmic pulsation, togetherness with the Universe that is simultaneously
both infinite and finite.
Form of the perfomance is based on the projections of the silent film.
In the ambience of the Gordana Novakovics paintings, the video
projection is being conducted. The pianist is improvising according to
the pre-recorded tape music, thus giving additional dimension of the
Gordana Novakovic, 1989
"Parallel Worlds", Exhibition of paintings and drawings with computer
music, Zemun Art Gallery, Belgrade, 1989
music by Marjan Sijanec
paintings by Gordana Novakovic
Exhibition/performance "Parallel Worlds" incorporating live piano and
computer music, video and paintings , ULUS Gallery. Belgrade 1990
composer Marjan Sijanec
piano Dragomir Stanojevic
paintings, performance and video by Gordana Novakovic
"Parallel Worlds", performance works of five international artists,
SKUC Gallery, LJubljana, Slovenia, 1993
piano Dragomir Stanojevic computer music Marjan Sijanec
performance, video and drawings by Gordana Novakovic