Power strangers

Barbara Jazbec & Kristina Tica

Programming Žan Rajšek

Sound design Marija Šumarac

POWER STRANGERS is an interactive real-time video and audio installation. It consists of a web camera, projector and a water tank filled with reactive slime. It is based on custom-made face detection algorithm. When approaching the installation, the spectator’s face is traced by a live camera feed. The data received from the camera is processed and projected inside the tank, only when the spectator turns away from the installation, and they are therefore never able to see the projection of their face.

These traced images then lurk behind the spectators, disconnected from them, yet dependent on them – becoming their ghosts. Contemporary ghosts live in the digital data and they generate the power of the automated surveillance systems. Extracting the disembodied virtual presence from its real-life experience, introduces the idea of being haunted by your own ghost – your own digital data. In the context of hauntology and retro-futurism, it aims at presenting the current state of commodification in global surveillance capitalism. The name of the project is a reference to a pop-culture phenomenon that has left an imprint on the 90’s generations, whose youth seems to be the last one to grasp the pre-internet or pre-social media times, therefore the aim of this project is to suggest what comes as a phenomenon of the post-internet world. In this world, the ghosts that exist do not come from a haunted house, they come from our own digital traces. We are all strangers whose ghosts roam around in the world of data, and we generate the power of that world. The more we learn about our power to influence this world, the better rangers for the future we are.

The project was made together with the Ministry of Culture Slovenia and Delavski dom Trbovlje.

Exhibited at Speculum Artium 2021, Trbovlje Slovenia.

Video :

Photos by Kevin Blackisotne, Kristina Tica and Barbara Jazbec.


Eerie me is an interactive sculpture representing a strange creature that embodies the symbiosis of memories and imagination of a Furby and the artist herself. the interaction between the spectator and the sculpture activates the creature in a synergistic relationship. Happy and traumatic memories create a memento that spectators can relate to. At its time of commercialization, the interactive toy Furby was original and technologically advanced and fascinating not only for kids but became a cultural artifact which is still recognizable today. the artist explores personal ways to hack the toy and expand its identity by including parts of her body and personality in a hybrid creation and transcending her life into a new existence.

Exhibited at Ars Electronica 2021, Linz Austria.

Photos by Miha Godec and Barbara Jazbec


“I prePared a Pear that will help you to disapPear to a Pearlescence Pair of nowhere. How to be invisible by disapPearing? To disapPear of constant surveillance click the Pear and apPear on the square, once you coapPear you will slowly disapPear into air. The Pear will help you with rePairing your imPair. To forget the things you fear; This is how to disapPear. Don't desPair.”

It is a pear interface that makes things disapPear. The project was made for Sankt Interface-The most infamous computer mouse/keyboard contest. (4.12.2020) @SANKT INTERFACE GOES ONLINE

@Interface Cultures

If you missed the event you can watch it at the link below;

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Captured In-Betwixt

Year: 2020

Medium: 360-degree video on VR Headset Oculus Quest, single-channel video installation

Duration: 360-degree video 3'28'' loop, single-channel video 1'49'' loop

Size: single-channel video installation 3 m 52 cm x 1 m 97 cm

Link to the videos:

Link to the Degree show:

What happens when something that should be virtually made is instead made in the real, physical world? If it is exists in both virtual and real environments, can it still be considered virtual? What is the difference between what is real in virtual reality and what is artificial?

Masks have been used by human beings since ancient times for the purpose of rituals and the embodiment of natural forces. They were, in a way, ancient forms of avatars. In the modern age of technology, an avatar can be a virtually-built body – a mask that grew to encapsulate our entire form. Such avatars are often used as a tool of self-presentation online and in the virtual world, and tell the audience what kind of character is being portrayed. They are a representation of an entity, of a person, of you – in a virtual space. It is something that embodies something else.

In my work I use masks as a transitional tool that enables such role play and identity shifts. I question the power of virtuality and embodiment, how real and immersive the virtual space is becoming and how easily blurred are the boundaries between real and artificial for our brains to perceive. The virtual world in my work is deeply connected to the viewer’s inner world and to their emotions. The viewer is embodied in a body they imagine and the virtual environment causes real emotions all this is built with feelings that are based on the movements of the visual surrounding in the 360-degree video. I try to find this boundary by mixing moving image with a new, immersive 360-degree video – a combination that creates a virtual experience that puts the viewer in the very center of the story, becoming part of the video rather than only watching it. It is, perhaps, the beginning of something unknown.

Still from Single-channel video

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Duration: 00:03:25

Year: 2017

VR Goggles

What happens when you are forced to look at something that you can not look away from. Come and participate on a small journey with my VR goggles installation where you can almost smell the fresh forest.

Mediapolist, Tampere Finland - iweek 24-28.04. 2017

Year: 2016

Video installation about Tomorrow's food.

Glass jars filled with various materials. Artifical food vs real food.

Bizzare exhibition in Pietarsaari, FInland 6.5.-26.5. 2016


Year: 2015

Public installation in Kokkola, Finland - November 2015

Inverse cave paintings; With this work I want to present this really old technique in a new and modern version. My idea was to present it in the opposite way; in the cave you need to have a light to see the paintings, but here you need darkness to see them. The material I am using is el wire (Electroluminescent wire) .