An interview with Nikola Uzunovski during his Alien workshop at Sonica Festival. Nikola Uzunovski is a Macedonian visual artist and architect. Uzunovski’s work focuses on the conceptual and empirical analysis of natural and perceptible phenomena, paying great attention to the relationship established between subjects and their environment. During Sonica Festival 2016 he created Alien, a sci-fi sculpture that draws its inspiration from socrealistic moments of our not too distant past.

Jan Vormann has in a project, urban spatial intervention Dispatchwork, created a real international platform, which through play and playfulness through participation creates a subtle manifestation of the fusion of art and everyday life, through which the artist intervenes in urban greyness of everyday life. Plastic cubes as a material with which Vormann built in gaps, cracks and holes in the urban landscape, not only embodied game, the first children’s contact with the architecture, but also the object of popular culture, with its distinctive coloring becomes critical commentary, satire of complex urban structures in the city. Work has become a global phenomenon, and Dispatchwork an international network, to which we invited everyone.

Young German artist Jan Vormann quickly earned a reputation in the art world for his kinetic sculptures and installations and in recent years particularly with his project Dispatchwork, an intervention in the public space, with which he in a witty way repairs, patches and builds in holes with material of popular culture – with well known plastic construction pieces Lego. It is not superfluous information that Vormann studied monumental art and restoration. With an extremely successful project he has been for three years traveling around the world and repaired old buildings and monuments , including the Great Wall of China and buildings in Venice. Vormann in the last six years has  exhibited worldwide in galleries in Paris, Berlin, Barcelona , Linz, Taipei, Atlanta, New York , St . Petersburg , Belgrade, Tel Aviv, Moscow, Rome, Tehran, Amsterdam and elsewhere. Vormann is a resident of an international residency project TRIBE at Sonica.

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The participants looked at what art can contribute to society in a time when the forms, values and relations of creative and technological media are being reinterpreted. In order to create a cohesive view on these developments, the subjects were approached from various scientific, social, historical and artistic perspectives, on both a practical as well as a theoretical level. With the symposium we touched upon a series of topics that gave us space for discussion and information exchange.

The Symposium was organized by TodaysArt in cooperation with the International Cities of Advanced Sound and related arts (ICAS) network, the Netherlands Study Centre for Technology Trends (STT) and the Royal Academy of Art The Hague. The realization of the Symposium has been made possible by the support of the EU Culture Programme, the DOEN Foundation, the Prins Bernhard Cultuurfonds Zuid-Holland, Witteveen+Bos and Fonds1818.

Besides, he explains how is the using of technological inventions changing the architecture nowadays and where does the term User of architecture come from.

They present the exhibition Crumbs of paradise they curated. It was a collective exhibition commissioned by French institute which took place in Timisoara, Romania. As Julien Choppin and Nicola Delon said, it was a result of collaboration between them, two others young french photographers and two young romanian photographers living in France, so it was kind of cultural exchange as well. Considering they wanted to focus mainly on the meaning of the photography, not the technique, they chose the cheap materials for this particular exhibition- plenty photos were installed on plasterboard (which can be reused later on), fixed just by tapes and explained in handwritten text.

Amongst them are naked people – men and women of different age – passing a ball between themselves. Every now and then, one of the naked persons falls down viciously fouled by the German players.

The work commemorates events of 1941 when Nazi Germans mass executed over 33.000 Jews in Babi Yar near Kiev, its title referes to the Munich massacre of 1972 when during the Olimpic Games Israeli athletes and coaches were murdered and the International Olympic Committee declared that “the Games must go on”. Fleckenstein combines the memory of past events with the present context, juxtaposing the idea of sport competition, and fair play rules with still ongoing genocides, national and ethic hatred and political power play.