Brečević G H., Brečević , R. Explanatory notes to a postliminary script of a film called Dreaming The Memories of Now (release in 2021)
Performing Pictures & Hine, Dougald. (2013). The Crossing of Two Lines Elemental Editions, printed by El Errante in Puebla, Mexico.
Andersson, G H., Brečević , R., Thunell, H. (2009) Performing Pictures Maribor: Association for Culture and Education Kibla. (Second Edition Tox. Year 13; No. 28)
Andersson, G H., Brečević , R. , Gottlieb, H. & Nilsson, D. (2007) Electro Bacchanalia – a peep box and an interpretive tool for Old Masters’ paintings, ISBN: 978-91-85960-01-9
CHAPTERS IN BOOKS
"Berättelser från Santa Ana" in Fiktion och Verklighet, Ed. L. Gemzöe, Makadam förlag, 2016.
"A Timeless Recount of Hungover Reflections" in: You Say Light – I Think Shadow, A. Stratimirovic and T Praun, Art and Theory Publishing 2015.
"A Hand-Crafted Web om Personal Remembrances" in: Visualize The Invisible Ed. L Alfreds, C. Åberg, Art Agent Press 2014.
"Cinésense - bilder som uppträder" (2011) in: Form och färdriktning – strategiska frågor för den konstnärliga forskningen. Årsbok KFoU / T. Lind. [ed] Stockholm: Vetenskapsrådet. 146-174. Chapter in book, part of research anthology.
"UnReality Installation" (2009) in: Hammarby Artport A.Ribbung [ed], Katarina Tryck, Stockholm, 2009, ISBN 978-91-633-5073-3
PEER-REVIEWED PAPERS & ESSAYS
Crisis of Presence
Brečević, G., and Brečević, R. (2019). “Crisis of presence”, entanglements, 2(2): 33-38.
More than a Portrait. Framing the Photograph as Sculpture and Video Animation"
Becker, K., Brečević G H. (2018) "More than a Portrait. Framing the Photograph as Sculpture and Video Animation", Membrana #5: Augmented.
This essay traces the resurrection of the fotoescultura, a three-dimensional photographic portrait popular in rural Mexico in the early 20th century, as interpreted in recent works by Performing Pictures, a contemporary Swedish artist duo. The early fotoesculturas were an augmented form of portraiture, commissioned by family members who supplied photographs that artisans in Mexico City converted into framed sculptural portraits for display on family altars. We compare these ‘traditional’ photographic objects with ‘new’ digital forms of video animation on screen and in public space that characterize Performing Pictures' work, and explore how the fotoescultura inspired new incarnations of their series Men that Fall. At the intersection between the material aspects of a ‘traditional’ vernacular art form and ‘new’ media art, we identify a photographic aesthetic that shifts from seeing and perceiving to physical engagement, and discuss how the frame and its parergon augment the photographic gaze. The essay is accompanied by photos and video stills from Performing Pictures’ film poem Dreaming the Memories of Now (2018), depicting their work with the fotoesculturas.
Veneration and Wonder – Making Art Together in a Oaxacan Village
Becker, K., Brečević G H. (2014) "Veneration and Wonder – Making Art Together in a Oaxacan Village”, Journal of Aestehtics and Culture, vol. 6, 2014.
This article examines a 5-year collaboration between the Stockholm-based video artists Performing Pictures and Talleres Comunitarios, a studio based in the Oaxacan town of Santa Ana Zegache where local artisans employ traditional skills in the restoration of religious artifacts. In images and text, we trace the exchange of skills, knowledge, and aesthetic sensibility that took place as these two groups of artists collaborated in producing a series of video animations of venerative objects, against a backdrop of religious, social, and political tensions that characterize everyday life in Zegache. In the article and the accompanying series of three short films, “Wonder & Veneration 1–3” (http://vimeo.com/album/2682070), we examine how the artists negotiate questions of aesthetics and religious belief as their collaboration unfolds within the context of the Zegache community, where the Talleres contribute skills of carpentry and painting, while Performing Pictures provides skills of film, animation and micro-electronics. The processes and practices involved in creating three works provides the framework for this examination: the first, an animation of the Virgin of Guadalupe as she appears to a simple peasant, and the second, produced 2 years later, an animation of Santa Ana, local patron saint and mother of Maria, as she teaches her daughter to read the scriptures. Whereas both figures are central to the syncretic religious belief of southern Mexico with its challenge to the entrenched authority of the hispanicized clergy, the local figure of Santa Ana carries even more complex meanings for the community of Zegache. These meanings are embodied in the third work we examine, a small solar-powered chapel that the artists built to display the Santa Ana animation. With the mayor's support and located at the entrance to the town, the chapel embodies a shift of power away from the church, standing as an example of indigenous empowerment in civil society.
Transmedial spaces, transmedial stories: Co-creating religious artefacts
Becker, K. & G. Brečević (2013) “Transmedial spaces, transmedial stories: Co-creating religious artefacts, The International Communication Association’s pre-conference on Transmedia Storytelling, London, June 17. Also presented at a seminar in Gender Studies, Stockholm University, December 2013.
Designing performativity for mixed reality installations
Morrison, A., Brečević, R. Davies, A., Sem, I., Boykett, T., & Brečević, G.H. (2010). “Designing performativity for mixed reality installations”, FormAkademisk Vol 3, No 1 (2010): Research by Design. ISSN: 1890-9515
This article takes up the concept of performativity prevalent in the humanities and applies it to the design of installation arts in mixed reality mode. Based on the design, development and public access to two specific works, the concept is related to a form of research by design. We argue that the concept of performativity may be further usefully employed in investigations (design and research, artistic and public) into digital arts where complex intersections between concepts, technologies, dramaturgy, media and participant actions are in flux and together constitute the emergence and experience of a work. Theories of performativity are related to these two works in an argument that further suggests there is room in research by design to also include ‘performative design’. The article is the result of a wide-ranging interdisciplinary collaboration and aims to convey some sense of that in its reporting style, content and analysis.
Disquiet in the plasma
Morrison, A., Andersson, G., Brečević, R. & Skjulstad, S. (2009). “Disquiet in the plasma”, Digital Creativity. Vol. 20, Nr 1 & 2, 3-20. s. 3-20.
The metaphor of plasma is taken up to present and discuss movement and engagement by participants in mixed reality installation arts. Two works involving full body video portraits exhibited through large plasma screens in a variety of public settings are covered. Machinic mediations of video realism are considered in terms of embodied interaction in which viewer-participants contribute to the ‘disquiet’ of gendered figuring. Processural, proximal and personal aspects of responsive engagement are discussed. This is extended to performativity that may lead us to critical reflection of our own actions and responses in mixed reality arts.
(PDF) Disquiet in the plasma. Available from: https://www.researchgate.net/publication/237990197_Disquiet_in_the_plasma
Play, performance and belief in contemporary ’perversive’ play
Andersson, G. H. (2005). “Play, performance and belief in contemporary ’perversive’ play” In: Proceedings of Space and Perception, international symposium on Mixed Realities, Rix-c in Riga, Latvia.
Should I look or should I go? The on-screen choreography of player characters in responsive movies
Andersson, G.H and Brečević, R. (2006) "Should I look or should I go? The on-screen choreography of player characters in responsive movies" In: Proceedings of the Mindplay Conference, London Metropolitan University, Great Britain, 20 January.
Andersson, G.H., Brecevic, R., Lorenzi, M., and Mishra, R. (2005) “Mirrorbox” In: Proceedings of the 9th Generative Art Conference, Politecnico di Milano University, Italy.
PAPERS PRESENTED AT CONFERENCES
Becker, K., Brečević G H. (2019) Excavating the Fotoescultura, Media Matter – Media-Archaeological Research and Artistic Practice, conference, 27-29 November 2019 Stockholm, Sweden.
Becker, K., Brečević G H. (2018) Illuminating Ephemeral Places, ECREA Visual Cultures pre-conference, 31 October 2018, Lugano, Switzerland.
Brečević R. (2018) Dreaming the Memories of Now (Film screening) at Creative Image: Ways of Seeing, representing and reshaping reality, 1st International Residency Conference, Manchester, UK, 21-27 September 2018.
Becker, K., Brečević G H. (2018) Questioning the transparency of truth: The foto-escultura then and now, PhotoMedia 2018:
Helsinki, Finland, 26-28 March 2018.
Brečević G.H., Brečević, R., (2014) A Hand-Crafted Web of Personal Remembrance – Using vernacular photography and crocheting as a therapeutic tool, ISPCN Research Conference, Bolnica Rab Croatia, 2014.
Brečević G.H., Brečević, R., (2014) “Visual documentation and the Creation of Art: ”Wonder and Veneration, 1-3” at Beyond the Frame: The Future of the Visual in an Age of Digital Diversity, hosted by The Nordic Research Network for Visual Digitality in Stockholm/Saltsjöbaden, Sweden 7-9 April 2014.
Becker, K., Brečević G H. (2013) “Zegache stories” at the Digital Narratives & Visual Knowledge Symposium, hosted by The Nordic Research Network for Visual Digitality in Hösterköbing, Denmark.
Brecevic, G. H. (2012) “Performativity with and within moving imagery” ADIT 2012 conference Petrozavodsk, Russia.
Brečević G and Becker, K. (2007) “Performing Art in Urban Space” paper presented at the European Cultural Studies Conference in Sweden, 11-13 June 2007.