Faruk Šabanović, Class of 2022

option5, 2022
Animated style exploration using programmable puppetry, on home found objects, servos, micro-controller, laptop, camera, microphone.

We are conditioned to understand and crave the narratives that emerge at the battle site, inspiring and supporting bare survival in hard times and celebrating the heroism of our endeavors during the periods of grace and peace. We maintain the polarization and division through the narratives embedded in street names, monuments, stories, plays, and texts – so the conflict remains unforgotten, unforgiven, and anticipated.

The lack of symbolism and labels in the elements before us, like blank pieces of paper, nonrepresentational geometry, and deconstructed apparatus repurposed for intangible labor, allows us to engage in narratives that hopefully one day perhaps become unburdened from our conflict-crisis-resolution frame of references. Like the ganzfeld effect, in which one who stares at a featureless view field their mind starts projecting and hallucinating features, our mind creates something out of the elaborate nothing.

Faruk Sabanovic is an artist, animator, and filmmaker who combines generative art, software development, traditional and computer animation with live-action film, installation, and theatre.

Faruk’s work embodies a rare combination of technical proficiency and artistic vision that made him a valuable member in many international productions.

Currently, in collaboration with a gestalt psychologist, Faruk is developing a collaborative storytelling automation software for a spontaneous cross-media piece on dealing with the trauma through the search of beauty.

Faruk studied Fine Arts and Physics at the University of Sarajevo, worked as the advisor at the Federal Ministry of Culture of Bosnia and Herzegovina, and by joining the MIT Art Culture and Technology hopes to have found a perfect place to explore the personal, relational, institutional, and global threshold of humanity in the emerging future of art, culture, and technology.

About the ACT Studio:

The ACT Studio serves as a space for participants to develop their independent practices in relation to each other’s work and in the context of the Art, Culture, and Technology program (ACT) at the Massachusetts Institute of Technology. The understanding and interpretation of each of these terms – art, culture, and technology – can vary significantly between each of the 14 participants; through shared readings, intimate conversations in small groups around each participant’s work, the spring 2022 ACT Studio aimed at developing a common language to allow for a fruitful conversation between the diverse practices of its participants.

In April, a study trip was organized to New York City, the first official out-of-campus travel since the beginning of the pandemic in the spring of 2020. During the weekend, the studio participants visited several art galleries and museums; on Sunday the 11th, they were hosted in the morning by Participant Inc.’s founder, Lia Gangitano; in the afternoon, the studio gathered at Bortolami Gallery in Tribeca, where a seminar took place in the gallery’s upstairs with the invited guests: geographer and abolitionist activist professor Ruth Wilson Gilmore, and Dia Art Foundation curator Jordan Carter.

The trip culminated on Monday, April 12th, with a full-day visit to the Whitney Biennial 2022: Quiet as it’s Kept, in which the instructor Renée Green’s work is included. after visiting the overall exhibition, the act studio engaged in an extended and intimate conversation with the biennial curators, Adrienne Edwards and David Breslin.