21:00
VideoGarden.21 | Multiple Consecutive Stimuli. New entries in the DIVA Station
Screening and talk
Thursday, 4 June 2026, 9 pm
Inner courtyard of Škuc Gallery, Stari trg 21, Ljubljana
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Participating: Uršula Berlot, Hannah Koselj Marušič, Keiko Miyazaki, Juš Premrov, Nika Tomažič, Miha Vipotnik, Huiqin Wang
Curator: Vesna Bukovec
Duration: 50’
The programme presents an eclectic selection of new works from the DIVA Station archive. Seven artistically diverse approaches—varying in content, style, and technique—by artists of different generations grapple with unease, explore the unknown, experiment with media, and reflect on fundamental questions of existence.
In her video Quadragenerian (2024), Keiko Miyazaki focuses on the stage of life when the first signs of ageing appear, a mother’s memories, and the expected roles of women passed down from generation to generation. In the two-part video performance A Man and a Woman – Chessmate (2012) with Marko Mandić, Huiqin Wang reinterprets the iconic photograph of Marcel Duchamp and Eva Babitz playing chess. By reversing their roles, she highlights the power dynamics in gender relations.
Videogram 4 – Rewind (1976/1979–2026) is a condensed version of a multi-year project that Miha Vipotnik developed in the late 1970s at the RTV Ljubljana studios. A structured, experiential, performative situation and complex experimentation with live video media, which still surprises today, mark the beginning of video and multimedia art in Slovenia. Four decades later, Nika Tomažič continues to experiment with, layer, and deconstruct the digital image in the video On Emotions and the Second Law of Thermodynamics (2019).
Hannah Koselj Marušič’s short fiction film Rats With Flowery Hats (2024) transports us to a completely different time and place. A young woman struggles with obsessive-compulsive disorder while experimenting with psychoactive substances, indulging in hedonism, and reading poetry on social media. In the video How the Brain Creates the Mind? (2025), Uršula Berlot transforms radiological images of her own brain into abstract forms, through which she reflects on the relationship between the mind, emotions, and the physiological basis of mental states. The program concludes with Juš Premrov’s visual poetry piece x1 – Eschaton (2022), which, in the post-pandemic era, confronts the transience of life and calls for perseverance and love.
Keiko Miyazaki, Quadragenerian, 2024, 5′ 35″
Quadragenerian reflects my dialogue with ageing, memory, and the quiet expectations inherited from my mother’s generation. In the video, I shake off an anti-wrinkle mask in slow motion, while a barcode remains on my cheek—a sign of how beauty and age are measured, priced, and sold. The muted rhythm of Ravel’s Boléro accompanies our conversation about youth, marriage, and time. I chose this piece because of its repetitive structure and the story behind it—Ravel composed it while his mind was deteriorating. For me, the music mirrors the cycle of inherited values and the impossibility of fully escaping them. The work is both intimate and critical, a small rebellion against the scripts written for women of my generation.
Huiqin Wang, A Man and a Woman – Chessmate, 2012, 11′ 40″
Video performance in two parts was created for the artist’s solo exhibition Nemogoče je mogoče/May or May Not at the Equrna Gallery in 2012. The exhibition stemmed from a reinterpretation of two iconic images from art history featuring nude women alongside clothed men—Manet’s painting Luncheon on the Grass and Marcel Duchamp and Eva Babitz’s photograph of a chess game. In a series of photographs and a video, a critical and humorous relationship to the tradition of painting and the reversal of roles was established. The exhibition was based on conceptual clusters: ideology-iconography, man-woman, East-West, trash-world.
Miha Vipotnik, Videogram 4 – Rewind, (1976/1979-2026), 6′ 12″
This short video illustrates the complexity of the multimedia project Videogram 4 (1976/79), which consists of a performance in a television studio, an experimental video intended for television broadcast, and a gallery installation. The author has transformed the participants and objects in the television studio into electronic sensations—an endless series of layered, overexposed, perforated, and fragmented images. Videogram 4 – Rewind was created for a program of video works titled Videogram of the declaration of war. Video art in Slovenia (1970–1990) (curated by Barbara Borčić, SCCA-Ljubljana), which was presented as part of the international research and archival project Rewind Yugoslavia 1969–1990 (Summerhall, Edinburgh, 2026). In it, the author has edited together footage that depicts Videogram 4 in all its complexity.
Nika Tomažič, On Emotions and the Second Law of Thermodynamics, 2019, 4′ 56”
Emotions manipulate time. According to the Second Law of Thermodynamics, what we call “time” is nothing more than our experience of entropy – gradual decay. It’s an experience unique to man, an illusion whose duration and relativity are dictated by our feelings.
Hannah Koselj Marušič, Rats With Flowery Hats, 2024, 9′ 42”
Short fiction film. Medical student Lana, battling OCD, runs a TikTok account sharing hedonistic escapes that help ease her intrusive thoughts.
Uršula Berlot, How the Brain Creates the Mind?, 2025, 5′ 1”
Based on radiological scans of the author’s brain (MRI, tractography, 2012), the video digitally transforms scientific data into dynamic abstract forms and patterns that echo the intangible mental and affective states. By interweaving visual and verbal elements, the work invites reflection on the relationship between mind, emotion, and the brain’s physiological basis of these mental states.
Juš Premrov, x1 – Eschaton, 2022, 6′ 46”
“The wind has turned. The end is near.” A song of transience, persistence, and love.
(Warning: This film may potentially triger seizures for people with photosensitive epilepsy. Viewer discretion is advised.)
VideoDvorišče is a program of curated screenings and discussions on art, video, and film, hosted in the inner courtyard of Galerija Škuc during the spring and summer seasons. As we move out of the dark cinema and the gallery space into the open air, the gallery courtyard becomes a place for gatherings, screenings, and conversations around selected film, video, and new media works. The program is developed in collaboration with SCCA-Ljubljana and the DIVA Station archive.
DIVA Station is an online and physical archive developed by SCCA-Ljubljana since 2005 with the aim of researching, documenting, archiving, and presenting artist film, video, and new media art.
In case of rain, the screening will take place inside the gallery.
free admission.
Cover image design: Brina Vidic
Organization: SCCA-Ljubljana/DIVA Station, Škuc Gallery
Supported by: City Municipality of Ljubljana – Department of Culture