Non-Stop Video Club
Production: Moderna Galerija, Ljubljana, Slovenia
Location: Mala Galerija, Ljubljana, Slovenia
Curator: Maria Lind
Courtesy: The artist
Photo: Apolonija Šušteršič
Graphic Design: Irena Wölle
Art videos from the Moderna Galerija video-collection; collection of art videos and films nt in distribution in Slovenia; furniture made of MDF boards and acrylic glass; monitors, VHS players; video projection; membership card, membership contract; flers, newspaper advertisements, logo.
I was concerned by the closing down of many public cinemas in the city centre as well as a very restrictive video distribution law, which went into effect in 1994. This law subjected foreign films andvideos to distribution restrictions in Slovenia, requiring that they be subtitled (or dubbed) in Slovenian language. Such restrictions for Slovenia’s small audience made it too costly for many filmproducers and distributors to distribute their works here.
Non-Stop Video Club was intended as a public space that would legally function as a private club where all were invited to join at no cost. The video club allowed films and videos o circulate among club members who borrowed the materials and created their own home cinema. The idea was to create a club in order to avoid the restricted video distribution law and view films and videos, whichwere not subtitled or dubbed in Slovenian.
The Non-Stop Video Club was furnished such that people could sit down and view the videos. Further, members of the club could also borrow videos for home viewing.
Participants in the panel discussion The Art Museum of the Future: Eda Čufer (Infocenter, Moderna Galerija); Carlos Basualdo (curator); Zdenka Badovinac (Moderna Galerija); Maria Lind (curator); Davor Katušić (arquitecto | architect, Produkcija 004); Igor Zabel (curator, Moderna Galerija); Tadej Pogačar (director P.A.R.A.S.I.T.E. Museum)
Selection of video films or the NON STOP NIGHT PROJECTION: Copenhagen Postmen Orchestra (Annika Eriksson, 1996); Video Material (Motion | Weight | Heat Sensing Devices) (Sean Snyder, 1998); Border Sketch (Olav Westphalen & Ana Coyne-Alonso, 1994); Covered Car (Annika Larsson, 1998); It’s Getting Easier Now (Søssa Jørgensen, 1997); House (Inger Lise Hansen, 1998); The Station (Ulf Lundin, 1997); Widow (Oho, 1967); Disappear – The House is the Woods (Eva Rothschild, 1998); My Name is Grant (J. Tobias Andersson, 1991); ASCII (Vuk Ćosić, 1999)