"Digital Stuff", says JG@X-I.NET

AH (Annika Hansson): You are travelling back and forth inbetween Stockholm and Riga. And you are involved in art projects and collaborations at both places. Are the circumstances for artists working on the net very different in these two cities? I am thinking of funding, organization, attitudes, etc?

JG (Jaanis Garancs): The reason why I travel to Riga so frequently is that I find the current development being very dynamic, and I get much satisfaction seeing the efficiency of my activities. The per-capita Internet usage is not so high yet, as in Scandinavian countries, but Baltic countries are among leaders within the post-socialist economies. Thus, there are both challenges and still very growing interest to what we are doing. However, you know, it is paradoxical, that it seems that somehow artists working on the net seem to be less organised in Stockholm and generally in Sweden. Either artists here (Sweden) work in different media or use Internet more as publishing tool or in merely commercial medium. At least not so much has been seen recently from Sweden on the alternative, experimental Internet culture internationally (also by comparing to the much more active Finnish artists) - if I may complain. That is despite, as I said, to the otherwise extremely highly developed Internet infrastructure in Sweden.

AH: I visited Riga last spring and got the impression that the co-incidental simultaneous change in your political system and the development of the Internet really was a big thing for the young artists?

stills from "hand play" (1998-1999)

JG: Well, actually the biggest political system changes were some 8-9 years ago... However, you are right - many of our activities and contacts with people, that lead to most of our projects, started as communication through Internet.

"At least not so much has been seen recently from Sweden on the alternative, experimental Internet culture internationally (also by comparing to the much more active Finnish artists) - if I may complain. That is despite, as I said, to the otherwise extremely highly developed Internet infrastructure in Sweden."

AH: In Riga I spoke with the energetic curator Inga Steimane and got the impression that the young contemporary art not was accepted at all at any institutions or museums? But also, it seemed like a change of attitude was on its way? How are things now?

JG: I think currently there is trouble with the lack new (physical) exhibition spaces in Riga - a shame for such a relatively big city! The 'museums' and people responsible for them have, as they say, they own 'rules' or 'traditions' - and they will always lag behind the 'new contemporary art' ideas. That is why many of these new art exhibitions had to seek some 'alternative' physical places or bound to some compromises. I just hope that the long-lasting talks about this problem will finally lead to a building (or rebuilding) of at least one new, devoted exhibition hall. Else, what might bring some more hope, is the intended new Contemporary Art Centre in Riga. That will be jointly funded by the Latvian State, city of Riga and some private foundations. Finally - with the improving economical situation seems that the increase of funding from state is gradually making the work for artists and curators easier.

AH: Jaanis, you told me that you were handling computers from the age of ten? How did you get hold of the equipment - it must have been rather expensive. Am I right?

JG: At first, I did not have computer at home. I went to my friends' work places and used computers there - in evenings and nights. Later I had been working part-time at some publishing and advertisement companies in Riga, where was, for instance, very advanced video & computer graphic equipment. So, despite that the computers are generally less affordable for average people, than in, say Sweden, there were places to get hold of it, if one was motivated and 'pushy'.

"However, being aware of wider interests of mine - video, music and technology - computer seemed a very enticing tool to unite all this. Now, since the studies at the Kungliga Konsthögskolan, I do only digital stuff'."

AH: But you started your fine art education focusing on painting?

JG: Yes, I have been studying at the painting department at the Latvian Academy of Art for three years. I think that has given me a strong foundation, comprehension in visual form and composition. However, being aware of wider interests of mine - video, music and technology - computer seemed a very enticing tool to unite all this. Now, since the studies at the Kungliga Konsthögskolan, I do only 'digital stuff'.

AH: How did the computers change your way of working as an artist? Did it actually change the thematics of your work or just the finish of it?

JG: Oh, I think those computers have changed me as a person! But do not be frightened - ha, ha! I consider myself being a very emotional, spontaneous person - and I think that the 'computer grid' permits me to achieve a certain harmony. I do not think that the thematic have changed so much. Floating images and sounds structures are haunting my imagination all the time. The outcome for spectator might be - get you immersed in an audio-visual landscape that react, for instance, on your eye movements and brain waves. It is a lot of work to make the visual, aural, movement, and space of elements - integrated. It is a big enjoyment to do all things by myself, but, now - after already 15 (25,5-10=15) years of computer practice - the full range of things, that I am interested just gets out of control! I need help from specialists - computer programmers, hardware and sound engineers, music composers, etc. Therefore, further I am considering to work more as a 'producer' - creating the artwork idea and directing it's process in a collective work manner. Anyway, some kind of retrospective one could see at the solo-exhibition JG.KKH.SE:99 at the Galleri Mejan in13-19 august.

Else, by working and communicating much on net, I have become much more aware about discourse of artistic creativity, its cultural, political, and economic aspects in the 'media era'. In this light, I somehow can not stay away from some kind of social activity in artist communities.

AH: One of the projects you're involved with is Re-Lab in Riga, a medialab like Crac. To me it looked like a tiny place but attracted many young artists? How does it work?

JG: The place itself is not the main thing that keep us excited - it is really the people and their ideas. We are some 4-5 people board that meet regularly and discuss new projects. Else, a larger number of people, who come and work, using our equipment. We were lucky to get a number of grants from various foundations to set up our technical facilities - up-to-date computers, 2 Mbit link, our own servers for almost any imaginable Internet service function. So it makes possible to either host artworks (projects) and link people that are physically in diverse locations - in some other schools, or work places. We have Latvian mailing list Rezone on new media issues in Latvia and internationally. We make regular screenings, lecture courses (also by inviting international speakers), and usually - once a year - a new media festival/symposium. Important aspect is, of course the international collaboration with other institutions of similar scope, such as: V2_Organisation (Rotterdam), Backspace (London), Public Netbase (Vienna) and others. Future projects as, for instance, BIN (Baltic Interface Net), can be worth mentioning, too.

"I have to confess, the main reason is that if I want to work, as a 'free artist' with very advanced (i.e. expensive) equipment - I need to be 'hosted' by some either facility-rich university, research centre or temporary artist residency program. Therefore, this is a practical personal challenge - or dilemma of 'independence', as well."

AH: Could you tell me about the project called Xchange, which was initiated by Re-Lab's media activist network?

JG: Xchange Network (xchange.re-lab.net) was started by 3 people from Re-Lab, in 1997 as information & communication forum for independent net.broadcasters. At that time, it was as an extension to our little RealAudio 'radiostation' Ozone (ozone.re-lab.net). Now it has grown to a very international on-line community, with its mailing list, IRC sessions, link collections, meetings at various art events, annual printed magazine acoustic.space, etc. Last year it won the 2nd prize in the prestigious Prix Ars Electronica (Austria) competition in the .net category. Very related (or integrated) are other projects,for instance, ORANG network (orang.orang.org / our node: orang.re-lab.net). Actually the Xchange is built by the participants themselves, and not imposed by some 'moderator' or 'board'. The discussions about the problems independent (.net) content providers often face, evolved into another initiative - InterFund.

AH: What is InterFund?

JG: The idea for the InterFund started in the context of a number of meetings of independent artists' initiatives in the field of net culture: Art Servers Unlimited in London, the Net Radio Days Berlin and Xchange Unlimited in Riga. I cite from one if its announcements: "The InterFund is intended as a real virtual fund for independent digital media art projects, a pool of shared resources, and a co-operative translocal structure. It is also an attempt of independent new media culture initiatives to stay independent and built a joint protection shield against bureaucratic structures and procedures". Actually, better is that you read some documents at the site: interfund.org or inter.fund in name.space system.

AH: What is name.space - a new domain name system?

JG: It is an, artist started, alternative database of so called TDL (top-level-domains). Domains like .se .com, .net .org etc - very recently had been administered by a single company: Network Solutions (InterNIC) - in this database are several hundred new domains like .art, .txt, .form, .zone, .radio, .audio, .video, for instance our http://re-lab.net is also accessible by http://e.lab - for now those domains are not accessible for everybody, unless you have not modified some settings in your computer - but everybody is welcome to do it - it's really simple. It started by making a network of so called root servers, hosted by volunteer individuals (like me) and friendly organisations or companies. To cover the costs of sustaining the network, there is now founded a USA-registered company name.space, Inc., which is now competing for right to be a part of shared global Internet domain registry.

AH: Jaanis, now you seem to be about to leave Sweden for yet another country? Where do you plan to go? And why?

JG: Well, it happens for me to travel a lot, anyway. Moreover, it is hard to tell, if there is any country where I would like to stay for good (or be all the time). However, speaking about a few years period -most likely, it will be either Germany or USA, depending of from where I'll get better reply to my applications to several institutions. I have to confess, the main reason is that if I want to work, as a 'free artist' with very advanced (i.e. expensive) equipment - I need to be 'hosted' by some either facility-rich university, research centre or temporary artist residency program. Therefore, this is a practical personal challenge - or dilemma of 'independence', as well.