The exhibition Digital Media in The House of Arts, Bratislava presents two schools outside the capital city,in Banská bystrica and Košice. The student works presented here are part of a larger project
which is the Vafex audio-video festival organized by Michal Murin.
There are twenty quasi-workplaces, or cubicles, full of videoart, experimental film, videoinstallation and videodocuments created by students from Digital Media Studio of Michal Murin and Intermedia studio of Miroslav Nicz from Banská Bystrica and New Media studio of Anna Tretter from Košice.

“These Krasný Czechs” by Paula Delgado is a new series of work in the artist’s ongoing project “How Come You Are So Beautiful”, which was realized as part of the 2nd year Micro Residenicas program organized by Galería parásito/… in Prague.

In September 2008 the Chapel Gallery presented editorial selection of artists by the Arts Festival organizers, technology and society Ars Electronica in Linz, ranked in the focus of the festival events (Featured Art Scene).

The microscope 08 presented a discussion with Emőke Vargová about two basic lines of her work held by Zora Rusinová. One line is focused on the illusive space (eg objects of polythene, fragible structural hanging objects, sewn soft-relief images on transparent film coated textile, recently almost intangible paintings in acrylic and varnish on the drawing sheet, etc.).. The second line of related issues are essential femininity, including theme of hand work on linking women’s sensitivity.

The project OPENEON follows the present trends, bringing art and design closer to general public. With the help of neon technology it “brings to light“ today‘s cultural and social issues, it confronts the public not only with the contemporary design, but also with the visual expression of given topics.

A live art and video event across three venues. Standpoint Gallery, Hoxton Square and the Bedroom Bar, alongside the exhibition opening of Shamanimal at Standpoint. It is an eclectic take on the traditional ritual of the British bonfire night, using the accessibility and celebratory exuberance of the time.

Streets, squares, parks, supermarkets, Internet portals, and other sites have become stages of urban life that allow us to display our everyday actions and behaviors. Many artists today work with the theatrical aspect of staging the self in everyday life.

In Daisy Richardson’s paintings, displaced forms supplant themselves confidently into contexts and situations that they have supposedly no right to be. Despite these trespasses, the pictorial outcome is convincing; paint describes and models discernible objects (albeit ones that are ambiguous in intent) and through their figurative allusion, they invite curiosity about what exactly they are and why they are there. A fictional world is asserted, where objects are not justified according to a perspectival regime – rather there is a dream-like order where objects have a metaphoric /metonymic existence according to a hypothetical or surreal logic

A project concerning the student’s identity and its history. It is held in occasion of 20th anniversary of Velvet Revolution in Czech Republic. Who is a student? Why and what for are we studying? What is the status of students in our society? Who creates the image of students? What was the influence of student movements in the past and what influence can it have today?

A site-performative exhibition by Icelandic artist Darri Lorenzen (*1978). He turns the exhibition space into a real and at the same time virtual protagonist by means of subtle interventions into its architecture and also by transforming it within a computer generated three-dimensional simulation. In the center of the (real) space stands a wooden, antique vitrine deriving from the inventory of the adjacent former Karl-Marx-bookstore. This display object becomes both the projection screen (of an absent art object) and the animated actor within the computer simulation – in addition to further personnel gradually made up by the visitors during the time of the exhibition. The visitor is thus becoming a part of an interplay of shifting and overlapping perceptions of space, time and body.