‘Studies of light before the live’ and ‘Luminokinetika’ is a solo exhibition in two parts by Messmatik. The first part will be presented in HBgalerie in the form of a photo-installation from 18 June to 31 July.
The second part is an audiovisual concert/performance, which took place at SPAM Rotterdam in the framework of Route du Nord on Friday 18 June at 21.00hrs and Saturday 19 June at 16.00hrs.
The project is realized like mutual relationship and interaction of sound (live electronics, piano and violin) and moving image (specially programmed video software). Based on Srnec’s affinity for experimentation, adventure and soulful play, the live act leads the visitors to the center of Srnec’s light objects – Luminokinetika.
Observing, researching and recording the hidden light and sound traces which emanate from lumino objects, and which are indiscernible and invisible in everyday detection, the performance is giving a new experience to comprehend the synesthesia. This special treatment invites the public to expand their possibility to see the sound and hear the image, giving them a better understanding of Srnec’s methods: painting with light, colour and substance.
Davor Sanvincenti a.k.a. Messmatik (b.1979.) is a Croatian visual artist, member of HDLU – Croatian Association of Artists. Over the last years he has been specifically interested in a field of audiovisual research and anthropology of visual culture, particularly oriented on the conditions and forms of human senses and perceptions, developing experimental videos and immersive installations which are at the intersection of video and performing art.
He is recipient of several art awards, including the Radoslav Putar Award 2010 for the best young Croatian artist. His physical video installation ‘1001’ is part of the AV collection of the Museum of Contemporary Art in Zagreb.
‘From the beginning of my work I was fascinated by conditions and forms of human senses and perception. There is no way to prove that all of us can experience a blue color or a specific tone in the same way. However, according to different indicators, we get to conclusion that our perceptive apparatus are functioning in a similar way. Notices, observations and research that pervade the scientific and artistic spheres constitute the framework for my work.
My activity is diverging across three media: audiovisual installations (physical or interactive type), spatial interventions (in the urban and social tissue) and ‘live’ media (audiovisual performances and concerts). I am exploring qualitative and aesthetic possibilities of various media as a function of direct communication with the public (visitor, observer) by setting them in a position of questioning, discovering and expanding their own cognitive and emotional maps. By immersing themselves in perceptive scenarios, visitors are becoming an inevitable part of the work itself, a reflective thinking-body structure, an active presence in time and space.
My recent concentration and action is a continuous research in the direction of time-space poetics in an open dialogue with the human sphere of perception. The recognizable guiding principle that extends through my works does not exclude a tendency of ‘fresh’ analysis and approach, as well as the choice to be manifested in any of the mentioned media.’