ARTe MEDIA

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Julian Opie - Japanese Landscapes

Born in London in 1958, Julian Opie studied at Goldsmith's College of Art from 1979 to 1982 and is one of the UK's best known contemporary artists, exhibiting widely both nationally and internationally.

Initially taking photographs of his subject matter - be it of people, landscapes or still lives - he then digitally manipulates the photographs and constructs his images by a process of elimination and distillation, and through this practice has developed a concise and reductive formal language. Drawing from influences as diverse as billboard signs, 18th Century portraiture, popular comics and Japanese woodblock prints, Opie 'paints' using a vast array of media and technologies. His works have been realised in silkscreen, vinyl, LCD, LED, lenticular and flocking, and he continues to push the boundaries of ‘traditional' artistic practice.

In 2001 Opie was awarded Music Week CADS, Best Illustration award for his album cover design for Best of Blur. His work can be found in many public collections worldwide including The Tate Gallery, London, The Arts Council of Great Britain, The National Museum of Art, Osaka, and The Museum of Modern Art, New York.

The Alan Cristea Gallery is the worldwide exclusive publisher of all of Opie's limited edition prints and animations. To view his online shop click www.julianopieshop.com

Alan Cristea Gallery - Julian Opie - Japanese Landscapes

ARTWORKS THAT IDEAS CAN BUY

ARTWORKS THAT IDEAS CAN BUY
A PROJECT BY CESARE PIETROIUSTI

Deadline for submission of ideas is 2 August after which ideas will be made public from 5 August (anonymity can be assured if requested). The artists exhibiting will decide the fate of their artworks in September 2009.

Visitors ideas can be emailed to:
ideascanbuy@wilkinsongallery.com

Wilkinson - London

Shalinee Kumari

Shalinee Kumari is arguably the most progressive of these artists, producing highly narrative, vibrantly colored critical works on hand-made paper illustrating currently pressing issues such as the evils of dowry, bride burning, capitalism, inflation, corporate control of the media, global warming, terrorism, and the sexual exploitation of women. But she also does paintings on women's cricket, gender equality, and women's liberation. The artist will create fifteen new works for this exhibition, her first outside of India.

American Debut, Shalinee Kumari at Frey Norris Gallery

Chinatown Los Angeles

Chinatown Los Angeles: "“Chinatown Art Nights” is a quarterly series of art walks on the following Saturdays: April 25, July 11, September 12, and December 12, 2009.

Artists and gallery owners will be on hand from 6:00 to 9:00 p.m. to answer questions and provide commentary on their exhibitions. Light refreshments will be provided. Adjacent parking is $3.00.

Participating galleries include Acuna-Hansen, Automat, Charlie James Gallery, David Patton Los Angeles, David Salow Gallery, Fellows of Contemporary Art (FOCA), L2Kontemporary, Lili Bernard Art Studio, North Hill Exhibitions, Sam Lee Gallery, The Company, among others."

II Encuentro Internacional El Arte es Accion

El Ministerio de Cultura organiza el II Encuentro Internacional El Arte es Acción

Reúne a los artistas más influyentes de la “nueva performance” desarrollada a lo largo de los años noventa

se celebrará los días 2, 3 y 4 de julio de 2009 y tendrá lugar en el Teatro Valle-Inclán de Madrid.


El Ministerio de Cultura, a través de la Dirección General de Bellas Artes y Bienes Culturales y en colaboración con el Centro Dramático Nacional, organiza el II Encuentro Internacional El Arte es Acción, que se celebrará los días 2, 3 y 4 de julio de 2009 en el Teatro Valle-Inclán de Madrid.

Tras el interés que despertó el I Encuentro Internacional celebrado en el Museo Nacional Centro de Arte Reina Sofía en 2008, el Ministerio de Cultura ha querido continuar esta iniciativa cuyo objetivo es fomentar el desarrollo de las nuevas disciplinas artísticas.

En esta segunda edición se puede ver el trabajo de siete performers del panorama internacional, que desarrollaron su arte a lo largo de los años noventa causando polémica y debate, y que se mantienen todos ellos en plena actividad creativa. Además de sus acciones en el escenario, o fuera de él, se han programado encuentros (de 17,00 h a 18,30 h) en los que el público podrá debatir abiertamente con los artistas, y proyecciones (de 12,00 h a 14,00 h) de los mejores trabajos de los performers invitados.

El Encuentro está comisariado por Marcel.lí Antúnez, conocido internacionalmente por sus performances mecatrónicas y sus instalaciones interactivas, que ha reunido a los siguientes artistas presentados por orden alfabético:

Annie Sprinkle & Elizabeth Stephens.- Annie, artista estadounidense, es una de las creadoras del post feminismo y el post porno. Se define como prostituta/porno star devenida artista/sexóloga; Elizabeth, artista multimedia y profesora de arte en la Universidad de California. Su trabajo se enfoca en la performance medioambiental. Performance: Dirty sexecology or how to make love to the earth. Dirigido por Patty Gallagher.

Cuco Suárez.- Artista asturiano cuyos proyectos están relacionados con la radicalidad de la experiencia corporal a través de la performance y la instalación. Performance: Las noticias se escriben con sangre. Cuco Suárez con Ernesto Avelino

Franko B.- Artista italo-británico que ha creado obras en múltiples medios entre los que destaca la performance. Es uno de los artistas más brillantes de su generación en este medio. Performance: I’m thinking of you. Música de Helen Ottaway.

Guillermo Gómez Peña & Roberto Sifuentes.- Guillermo, nacido en México y residente en Los Ángeles, performer, escritor, activista y educador. La mayor parte de su trabajo intelectual y artístico se refiere a la interfaz entre el Norte y el Sur (México y USA); Roberto, artista interdisciplinario que combina performance en vivo con tecnologías interactivas y vídeo. Su trabajo incluye una amplia gama de proyectos, desde unipersonales y dúos de performance, hasta grandes instalaciones que utilizan video, fotografía, audio y ciber-arte. Performance: Mapa-corpo 3. Guillermo Gómez-Peña & Roberto Sifuentes.

Marcel.lí Antúnez Roca.- Artista catalán conocido por sus performances mecatrónicas y sus instalaciones interactivas. Ha desarrollado una metodología que denomina sistematurgia, literalmente dramaturgia de sistemas computacionales. Performance: Hipermembrana. Marcel.lí Antúnez Roca con Nacho Galileo.

Ron Athey.- Artista de Estados Unidos. Destacó por la trilogía de performance “tortura”: “Martyrs & Saints”, “4 scenes in A Harsh Life” y “Deliverance”. Uno de los trabajos más turbadores de la performance. Performance: Self Obliteration #1: Ecstatic / Self Obliteration #2: Sustained Rapture. Ron Athey.

Tania Bruguera.- Una de las artistas más representativas de Cuba. Artista interdisciplinar que trabaja fundamentalmente en el behavior art, performance, instalación y video. Performance: Capitalismo Genérico 3.

Sede: Teatro Valle-Inclán.
Centro Dramático Nacional.
Plaza de Lavapiés s/n.
28012 Madrid

Presentacion de el II Encuentro Internacional El Arte es Accion

Froebel Suite

Froebel Suite, Aurélien Froment's first solo exhibition in a UK public space, continues the artist's ongoing reflection on the function and semantic power of images. Having previously worked as a projectionist, Aurélien Froment remains interested in cinematography and in how the production of knowledge varies according to the way images are sequenced.

At Gasworks, Froment presents new works that turn images and objects into the subjects of scrutiny. In these works, a brick, a maritime knot and the image of the boat on the hill taken from Werner Herzog's film Fitzcarraldo (1982) are presented out of their own contexts and dissected in a series of sequential photographs or, as it is the case with the latter work, through a conversation between the artist and Herzog.

Another piece within the installation is Cinemeccanica, a free-standing wall with a glass window from which one can see the gallery from the perspective of a projectionist. This piece gives the exhibition a new reading and highlights how each work functions within a wider narrative.

These works illustrate the idea of “education through self-activity”, championed by the German 19th century educationalist Friedrich Froebel, best known for developing the kindergarten model. Froebel, who lends his name to the title of the exhibition, believed that the acquisition of knowledge is achieved through a series of steps, each requiring a level of interaction. It is this process of active learning that gives viewers of the exhibition the opportunity to create different narratives and forms of engagement with the surrounding space.

A further element of the exhibition is Like the cow jumped over the moon, a booklet edited by Aurélien Froment, designed by Åbäke and co-published by Gasworks and Dent-De-Leone. Based on an interview between Aurélien Froment and Werner Herzog, the publication focuses on the image of the ship on the hill, which symbolises Fitzcarraldo's plot and the myth that has surrounded the film and its production. The booklet is available for sale at £3 in the gallery.

Gasworks - Gallery, Studios and International Residency Programme

NMI 2009

NMI: "NMI 2009 - 'Film, Fernsehen und Computer / Medien, Computer, Content 2.0'"

d documenta - a conference towards documenta 13

Castello di Rivoli Museo d'Arte Contemporanea, Rivoli-Turin, Italy

18 September 2009, 10am – 1pm and 2.30pm – 6.30pm
19 September 2009, 11am – 1pm and 2.30pm – 6.30pm

The d documenta is a two-day conference which has the goal to provide a forum of discussion and reflection on the history of documenta, its various incarnations and its future.

documenta has come to represent a key periodic moment when contemporary art is exhibited and those who are interested in art as well as in its relation to the world meet, assess the situation and share their views. For those involved in organising the next documenta, the journey publicly begins on September 18th, 2009.

The speakers invited to this event are the artistic directors of all the preceding editions of documenta. Each former director has been asked to make a presentation about their documenta by first describing the sense of the present they felt at the time of the project they organised: How did they feel present to their time, what did that mean and how did that inform the strategies they employed, the decisions they took? Second, they have been asked to outline, in retrospect, what they might have done differently - in light of what happened in the world of art and in the world at large subsequent to their documenta.

The Castello di Rivoli and documenta 13 are grateful that all the former directors, as representatives of the artists and the curatorial teams who together conceived, imagined, witnessed and dreamed documenta, have accepted the invitation and will reflect upon their ideas and experiences.

When documenta was conceived in the early 1950s, it was a direct response to the “degenerate art” politics of the Third Reich. Therefore, contrary to other periodic international exhibitions which have emerged from the world fair models of the 19th century, it is characterised by a theoretical grounding and a sense of the urgency of art in society. Today no less than 50 years ago.

The choice of Castello di Rivoli Museo d'Arte Contemporanea, as the ideal location for this conference, is due to the particular circumstance that the museum’s first director, Rudi Fuchs, was also Artistic Director of documenta 7 in 1982, and that today, Carolyn Christov-Bakargiev, Chief Curator since 2001 and interim artistic director of the Castello di Rivoli in 2009, has been nominated the Artistic Director of documenta 13, which will be held in 2012 in Kassel. "documenta 13 - says Christov-Bakargiev - is being developed from an archeological perspective, according to which every cultural project that moves forward must be grounded on a backwards gaze, in an ecological relationship to the past. How was the present imagined in the second half of the 20th century and what was considered urgent at each successive edition of the exhibition?" At the same time, she is “…personally committed to the illogical, the playful and the poetic, to the celebration of works of art, as well as to the participation and singular experience of those who attend an event like documenta”.

This conference attempts to bring the past, present, and future of documenta into one room, in dialogue, and we invite those who are interested to join us.

The speakers are:
Heiner Georgsdorf, Speaker of the Board of Trustees of the Arnold-Bode- Foundation, and friend of Arnold Bode.
With reference to documenta, 1955, II.documenta, 1959, documenta III, 1964, 4.documenta, 1968, directed by A. Bode.
Walter Grasskamp, Chair of Art History in the Akademie der Bildenden Künste, Munich. With reference to documenta, 1955; II. documenta, 1959; documenta III, 1964; 4.documenta, 1968.
Jean-Christophe Ammann, part of the ‘Work group’ that curated documenta 5, 1972, directed by Harald Szeemann.
Manfred Schneckenburger, Artistic Director of documenta 6, 1977
and documenta 8, 1987.
Rudi Fuchs, Artistic Director of documenta 7, 1982.
Jan Hoet, Artistic Director of documenta IX, 1992.
Catherine David, Artistic Director of documenta X, 1997.
Okwui Enwezor, Artistic Director of documenta 11, 2002.
Roger M. Buergel, Artistic Director of documenta 12, 2007.
Carolyn Christov-Bakargiev, Artistic Director of documenta 13, 2012.


General Information

All lectures and discussions will be recorded and published electronically.

Attendance to the conference is free but seating is limited.
Booking essential by August 5, 2009.
To reserve your seat please fill out the application form available on the website www.castellodirivoli.org and www.documenta.de

ARTweek 2009

ARTWEEK: "ARTweek 2009 finder sted d. 29. juli - 8. august.

Vi er altid i gang med at opdatere hjemmesiden, der er dog stadig huller og uaktuel information, men vi ger vores bedste."

Aperture Foundation | Aperture Portfolio Prize

Aperture Foundation | Aperture Portfolio Prize: "The purpose of the Aperture Portfolio Prize is to identify trends in contemporary photography and specific artists whom we can help by bringing them to a wider audience. In choosing the first-prize winner and runners-up, we are looking for work that is fresh and that hasn’t been widely seen in major publications or exhibition venues."

Deutscher Pavillon - Biennale di Venezia




deutscher-pavillon

Nathaniel Mellors - GIANTBUM

Nathaniel Mellors - GIANTBUM

30 May - 12 July 2009

Nathaniel Mellors (GB, 1974) presents his large-scale multi-media installation Giantbum in his debut solo exhibition in the Netherlands. The piece premièred earlier this year in 'Altermodern' at London's Tate Britain, curated by Nicolas Bourriaud. Mellors has expanded the installation especially for the show in Stedelijk Museum Bureau Amsterdam.

Stedelijk Museum Bureau Amsterdam

Simon Forti Exhibition

"Simone Forti's exhibit at the box will include vintage photographs, videos, performance relics, written materials and live performances both solo and collaboratively."

June 27 - July 25, 2009

THE BOX | los angeles | Simon Forti Exhibition

NY400

This year we celebrate 400 years of enduring friendship between the Netherlands and the United States. Four hundred years ago, a Dutch ship called the Half Moon guided to the shores of what is now New York City with Captain Henry Hudson at the helm. This led to the establishment of New Amsterdam and the New Netherland colony. Some 167 years later, in 1776, the Dutch were the first to salute the flag of the United States of America. NY400 celebrates the free spirit, openness, entrepreneurship and tolerance of those Dutch-American pioneers, and their continued relevance today and beyond.

NY400 | the Netherlands and the USA: one spirit, united by values, history and a vision of the future

Japan - Venice Biennale




Japan Foundation - Arts and Cultural Exchange > Visual Arts - International Exhibition Participation Program - Venice Biennale- International Art Exhibition

Arte Al Centro di una Trasformazione Sociale Responsabile

Si apre a Cittadellarte, il 3 luglio, la XII edizione di Arte Al Centro di una Trasformazione Sociale Responsabile, una rassegna internazionale di mostre ed eventi per tutti coloro che sono interessati alla dimensione dell’arte in rapporto alla trasformazione responsabile della società.

Cittadellarte-Fondazione Pistoletto

Aperture

Aperture—a nonprofit foundation dedicated to promoting photography—was founded in 1952 by photographers Ansel Adams, Dorothea Lange, Barbara Morgan, and Minor White; historian Beaumont Newhall; and writer/curator Nancy Newhall; as well as Melton Ferris, Ernest Louie, and Dody Warren. With scant resources, these visionary artists created a new quarterly periodical, Aperture, to serve photographers and photography enthusiasts worldwide. Aperture has maintained the founders’ spirit throughout its history—in terms of its editorial freedom, its experiential nature and the confluence of disparate sensibilities and approaches that may converge in any given issue of the magazine. The aim is to foster both the development and the appreciation of the medium and its practitioners.

Aperture Foundation

LUCAS SAMARAS

LUCAS SAMARAS REPRESENTS GREECE AT THE 53RD VENICE BIENNALE

Curated by Matthew Higgs, Lucas Samaras will present the multi-installation “PARAXENA” in the Greek Pavilion in the Giardini della Biennale at the 53rd International Art Exhibition in Venice.

Matthew Higgs explains:

“PARAXENA” brings together three recent series of photographic and video works produced between 2005 and 2009, juxtaposed with a discrete group of sculptural works from the mid 1960s. ‘PARAXENA’ sets up a conversation across four decades of Lucas Samaras’ practice, establishing a historical context for the recent departures in his work.
Upon entering the pavilion the viewer will be confronted by an image of themselves, reflected in the mirrored sculpture ‘Doorway’ (1966-2007): a scenario that initiates a narrative that runs throughout ‘PARAXENA’, where the act of being observed and the activity of observing are central concerns.
Samaras will debut new photographic works from the ‘Nexus’ series alongside images from the recent ‘Chairs’ series (2008) and the ‘iMovie’ video works (2005.) The ‘Chairs’ and ‘Nexus’ series originate in digital images taken during the artist’s walks through New York City. Seen together the images suggest a kind-of hallucinatory urbanism. The ‘iMovie’ films take this sense of ‘strangeness’ into the artist’s domestic space, recording Samaras’ everyday habits and routines. These recent works will be shown alongside the video installation ‘Ecdysiast and Viewers’ (2006), in which Samaras filmed the reactions of twenty four friends and colleagues (including artists Chuck Close and Jasper Johns) whilst they watched a video self-portrait in which Samaras lays himself bare for the camera. The frank self-portrayal in ‘Ecdysiast’ is echoed in a group of sculptures from the ‘Jewels’ series of the mid 1960s: fragile jewel-encrusted aluminum foil sculptures which represent three extremities of the artist’s body: the head, the groin, and the feet, creating a form of ‘incomplete’ self-portraiture”.

For more information on “PARAXENA” and the Greek Pavilion in Venice, as well as high resolution visuals and installation pictures please, refer to www.paraxenavenice.gr



Αρχική Σελίδα

Romanian Pavilion

The Seductiveness of the Interval
Romanian Pavilion – 53rd International Art Exhibition – La Biennale di Venezia
Artists: Ştefan Constantinescu, Andrea Faciu, Ciprian Mureşan
Commissioner: Monica Morariu
Curator: Alina Şerban
Exhibition design: studioBASAR -Alex Axinte & Cristi Borcan



In the period 7 June – 22 November 2009, the 53rd Venice Art Biennale will unfold, under the generic heading Making Worlds. The Seductiveness of the Interval, the project that will represent Romania this year at the Venice Art Biennale, was selected following the competition organised by the Ministry of Culture, Religions and National Heritage in late January.


Andrea Faciu - EXUBERANTIA suspended, 2009
Mixed –media installation (irrigation system, plants, audio system)
Variable dimensions
Drawings and preparatory sketches
Sound installation in collaboration with Guillaume Blondeau
Courtesy of the artist

The winning team, made up of artists Ştefan Constantinescu, Andrea Faciu, Ciprian Mureşan, curator Alina Şerban, and architects Alex Axinte and Cristi Borcan (studio BASAR), offers a reflection on the exhibition as a semantically mobile autonomous spatial and temporal structure, which suspends quotidian experience in order to enclose spectators within a temporal and spatial interval with which they become eventually complicit.
Directing a constrictive exhibition route, marked by stage-set and mise-en-scène elements, artists Ştefan Constantinescu, Andrea Faciu and Ciprian Mureşan pursue an unfolding of the viewing experience that reaches a crescendo, establishing a new relationship between objects and space, between the viewer’s time and the exhibition time. The artists’ projects (subjectively) juxtapose events, real-life situations, and stories, whose narrative and discursive structure recalls the world of theatre, film and literature.
Delimiting a reality that is theatrical and temporal par excellence, The Seductiveness of the Interval sets out to draw the subject into a new reality, not just as an observer, inviting him to identify a network of motivations, causal links between multiple landscapes, sequences and transitions presented within the exhibition, in order ultimately to ensure the coherence of the whole.

Romanian Pavilion 53rd International Art Exhibition - La Biennale di Venezia

Luiz Braga e Delson Uchôa

Luiz Braga e Delson Uchôa são os artistas convidados para participar da mostra

A Fundação Bienal de São Paulo tem o prazer de anunciar Ivo Mesquita, curador chefe da 28ª Bienal de São Paulo, como curador da representação brasileira na 53ª Bienal de Veneza.
Desde 1993, a Fundação Bienal de São Paulo é responsável pela organização e curadoria do pavilhão brasileiro na Bienal de Veneza, que, instituído em 1964, foi um dos últimos a ser construídos no espaço dos Giardini.




www.luizbraga.fot.br
www.delsonuchoa.com
www.bienalsaopaulo.org.br

Krzysztof Wodiczko - Guests

Krzysztof Wodiczko. Guests
53rd International Art Exhibition in Venice Polish Pavilion
Pavilion Commissioner Agnieszka Morawińska
Curator of the Exhibition Bożena Czubak
Assistant Commisioner Małgorzata Osińska



The protagonists of Krzysztof Wodiczko’s projection in the Polish Pavilion at the 53rd International Art Exhibition in Venice are immigrants, people who, not being ‘at home’, remain ‘eternal guests’. ‘Strangers’, ‘others’ are key notions in Wodiczko’s artistic practice, be it in the projections, the V ehicles, or the technologically advanced Instruments that enable those who, deprived of rights, remain mute, invisible and nameless to communicate, gain a voice, make a presence in public space.
The projection, created specially for the Biennale, transforms the space of the Polish Pavilion into a place where the viewers watch scenes taking place seemingly outside, behind an illusion of windows, their projection on the pavilion’s windowless walls. The individual projections, the images of windows projected onto the pavilion’s architecture, open its interior to virtual, but at the same time real, scenes showing immigrants washing windows, taking a rest, talking, waiting for work, exchanging remarks about their tough existential situation, unemployment, problems getting their stay legalised. The slight blurriness of the images reduces the legibility of the scenes taking place behind milky glass. Wodiczko plays with the visibility of immigrants, people who are ‘within arm’s reach’ and, at the same time, ‘on the other side’, referring us to their ambivalent status, their social invisibility. Both sides experience an inability to overcome the gap separating them. The Biennale visitors are ‘guests’ here too, of which they are reminded by the images of immigrants trying, from time to time, to peek inside.
The project, dealing with the multicultural problematique of alterity, concerns one of the most burning issues of the contemporary world, globally as well as in the EU, where a discourse of acceptance and legalisation is accompanied by often restrictive immigration policies. The author worked with immigrants based in Poland and Italy, but coming from different countries of the world such as Chechnya, Ukraine, Vietnam, Romania, Sri Lanka, Libya, Bangladesh, Pakistan or Morocco.
In his Venice project, Wodiczko combines the unique experience of his earlier indoor projections, staged in galleries or museums, which opened the otherwise isolated art world to the outside world, with a performative nature of his outdoor projections which allowed participants to animate public buildings with images of their faces or hands and the sounds of their voices.

Krzysztof Wodiczko, Guests | 53rd International Exhibition of Art in Venice

Krzysztof Wodiczko - Wikipedia, the free encyclopedia

Optica Project

"Una conciencia implica la formación de una cultura. Y ésta se da mediante un proceso. Si lo deseamos, el videoarte puede consolidarse como una de las manifestaciones artísticas más importantes de nuestros días. Tan sólo es necesaria la voluntad de unos cientos de personas en todo el mundo.

El próximo 22 de junio celebraremos el "Día Internacional del Videoarte". Se trata de una iniciativa de Optica Festival. Desde aquí, te invitamos a participar de forma individual o en grupo, allí donde te encuentres."

Optica Project [The Visual Way of Life]

EGYPTIAN PAVILION

EGYPTIAN PAVILION
Adel El Siwi /
Ahmed Askalany

Through this work, two different generations attempt to dialogue both with the creativity of their old culture, and with the experiences accumulated in and from it, which never stop to set forth and appear alive through daily but surprising images.



The discovery that comes out is that the biggest achievements can be measured on the availability of tearing a moment of possible joy, out of the logic and the means of development of it, and out of the destiny of a tiring daily struggle.
The painting from Adel El Siwi insists on the story, which is expressed by the solemn verticality of the art piece, but crossed by small anecdotes that suggest possible adventures, paths of pilgrimage towards non sacred territories. The exceptionally monumental art piece, with its heroic aspect hosts its antagonist provoking and mining it from the inside, although not destroying it. At its side the circle, which underlines the geometries of the work of art, is accentuating the presence of the painting by itself concentrated on its invisible centre and symbolically distant from the real context.
Ahmed Askalany’s sculpture present itself as an empty appearance, which isn’t heavy because of its mass but recalls only its fragility. The sculpture is produced with simple techniques, similar to a little girl’s hair weaving, with natural coloured palm leaves, and because of that it is captivating the essential gestures and shapes of a humanity cleared from its aggressiveness and its dark side. Askalany works on the subtle ridge that divides the handwork from the handcraft tradition, passed thought times, and the contemporary language to get to a synthesis which is far both from folklore and exoticism that from a declaration of identity.


Adel El Siwi was born in Beheira in Egypt in 1952. After a MA in psychiatry he decided to abandon medicine to dedicate fully to painting. He spends ten years living in Italy, and returns to Egypt where he is currently lives and works.
He participated to several international exhibitions like “Memories and Modernity” at the 1997’s Venice Biennale; “Italia-Arabia” at the Chelsea Art Museum, N.Y:; “Transafrican Art” at the Orlando Museum of Modern Art, “World into Art” at the British Museum in London, and at the Cairo Biennale in 2008.
Ahmed Askalany was born in Qena, Egypt in 1979. He began is artistic carrier as autodidact after his arrival in Cairo, where he develops a personal style based on poor materials. He exposes regularly in Egypt and abroad.

Pavilion of Serbia at the 53rd International Art Exhibition - La Biennale di Venezia

Zoran Todorović: WARMTH
and
Katarina Zdjelar: BUT IF YOU TAKE MY VOICE, WHAT WILL BE LEFT TO ME?

Commissioner and Curator: Branislav Dimitrijević, Assistant Commissioner: Jagoda Stamenković, Advisory Board: Branislav Dimitrijević, Zoran Erić, Milica Petronijević, Milica Tomić, Stevan Vuković,
Project co-ordinators: Maja Gavrić, Vesna Milić, Architectural Advisor: Milica Topalović, Catalogues editors: Anke Bangma (“But if you take my voice what will be left to me?”), Stevan Vuković (“Warmth”) Graphic Design: Gérard Konings, Borut Vild, Production and organization: Museum of Contemporary Art, Belgrade, Supported by: Ministry of Culture of the Republic of Serbia

Pavilion of Serbia at the 53rd International Art Exhibition - La Biennale di Venezia is open to become a space of dialogue between two art projects, thus far unrelated yet now jointly presented. Although they are artists of different generations, attitudes and philosophies, Zoran Todorović (Belgrade, 1965) and Katarina Zdjelar (Belgrade, 1979), share a common point in arguing that an artist is a free mediator within the space of social interaction, and that artistic subjectivity emerges only if situated in the frictions of a world constructed from social matter. They share determination to locate what is identified as contemporary art in the web consisting of social structures and individual resistances, yet they are taking this shared determination in different directions.



For his project Warmth, Todorović initiated systematic stockpiling of up to 2 tons of human hair. Hair was collected for months in hairdressing salons, but also in military barracks where hair-cutting is a norm of discipline, control or “social care”. The conditions in which this process is carried out in a closed system are thoroughly documented, and this bio-waste is reused as the material for curious looking blankets which are amassed and made available for exhibition, utilization, inspection or hypothetically a DNA test in which each participating/inscribed body could perhaps be identified.
Todorović always deals with modes of enacting bio-political control and explores the ways in which institutional spaces of control and punishment are inscribed in the body. He has been utilizing products/leftovers of the body as “raw-materials” for distressing counteractions. As in many of his previous Pavilion of Serbia at the 53rd International Art Exhibition - La Biennale di Venezia projects, Todorović explored his own scepticism towards ideas of social progress, emancipation and seemingly benevolent regulations, by questioning the norms of representation and participation; ethical and aesthetical standards.

On the other side, Katarina Zdjelar explores contrary processes of self-realization with all their paradoxes, promises and failures. As a foreign artist based in the Netherlands, she finds a way to situate experience of dislocation by investigating forms of regulated systems of communication and learning, rather than focus on the loss churned out by this dislocation. Language learning is of particular significance for her as this is a codified method of cultural integration not only involving a symbolic “rite of passage” of the uprooted individual, but also the corporeal affect shaping this “speaking body”.
Her videos are examining norms of establishing individual relations from trying (and failing) to pronounce an other’s name (There Is No Is, 2006), up to procedures of removing an accent in attempt to extract the ‘foreignness’ within a subject’s speech (Perfect Sound, 2009). She also turned to situations in which a group effort is made to recover or improve abilities which are not motivated by dominant values of success and competition but rather consider an unwanted surplus of inadequacy, insecurity and ineffectiveness (Everything Is Gonna Be, 2008 and A Girl, the Sun and an Airplane Airplane, 2007).

By juxtaposing two artistic positions, our intention is not to create a seamless space of cohesion and harmony. It is rather the opposite: to mark the contesting zones of contemporary art as artist-specific (as well as sitespecific)and to gain something out of this relation/confrontation. It may still be our intention to represent what we understand as major concerns, as both specific to Serbian society but also to the larger world-in-crisis. Yet, we also suggest a way of sharing certain opposing worldviews articulated by different artistic approaches: one which energetically and methodically acts out and overtly identifies with its own space of fatalism, and one which by aiming simultaneously to our empathy and critical distrust shapes its own space of engagement.
Two illustrated catalogues will be published by the Museum of Contemporary Art, Belgrade to accompany the exhibition with the contributions by Anke Bangma, Jan Verwoert, Mladen Dolar, Katarina Zdjelar, Branimir Stojanović, Frans-Willem Korsten, Stevan Vuković, Jasmina Čubrilo, Melentie Pandilovski and Alexandar Zistakis.

Muzej savremene umetnosti Beograd

http://www.zorantodorovic.com
http://katarinazdjelar.wordpress.com

bagger

bagger

Gutaj group alla Biennale di Venezia




Galerie im Taxispalais - Atsuko Tanaka

Gutaj

-- GUTAI.COM --

Gutai group - Wikipedia, the free encyclopedia

SerrONE - Biennale Giovani Monza

Il Serrone della Villa Reale si trasforma in un palcoscenico dove si confrontano le poetiche di 30 artisti, della nuova generazione, provenienti da tutta Italia.

Meris Angioletti, Silvia Argiolas, Nicola Bragantini, Christian Breed, Roberto Caruso, Cristian Chironi, Orsola Clerici, Luca Conca, Vanni Cuoghi, Paolo De Biasi, Martina della Valle, Cinzia Fiorese, Massimo Gurnari, Jacopo Miliani, Christian Niccoli, Daniela Novello, Luca Padroni, Sandro Palmieri, Caterina Pecchioli, Paolo Picozza, Mariagrazia Pontorno, Luca Pozzi, Claudia Pozzoli, Valerio Rocco Orlando, Sara Rossi, Pietro Ruffo, Giuliano Sale, Alessandro Sanna, Gaia Scaramella, Giuseppe Veneziano.

SERRONE

Leonardo Drew




Blaffer Gallery

Tomas Saraceno


Google technologie a architektura

Google technologie a architektura

Konference určená zejména zájemcům o architekturu a kreativní využití online technologií se uskuteční 25. června 2009 v pražské galerii DOX od 18ti do 21 hodin.

Program bude upřesněn.

Spolu s odborníky v oboru architektury, urbanistiky a online služeb se budeme zabývat problémy českých měst, doporučeními mezinárodního fóra Future Cities pro městský rozvoj a možnostmi využití nových technologií při tvorbě českých „měst budoucnosti“.

Pro prezentaci návrhů vizuálních změn podoby měst použijeme volně dostupné nástroje Google jako jsou Google Earth, Google Maps, Sketchup, Blogger a YouTube.

http://mestabudoucnosti.wordpress.com/

Art and Electronic Media

Art and Electronic Media
June 16 - July 10, 2009

Book launch and group exhibition featuring art and ideas from a new publication by Edward Shanken titled Art and Electronic Media from Phaidon Press. Including work by Laurie Anderson, Jim Campbell, Tim Hawkinson, Michael Joaquin Grey, Lynn Hershman Leeson, Robert Lazzarini, Golan Levin, Rafael Lozano-Hemmer, Mark Napier, Manfred Mohr, Tony Oursler, C.E.B. Reas, Jennifer Steinkamp, and Lillian Schwartz.

Thursday, June 18, 6:30 PM – 8:30 PM
Opening reception with a short talk, Q&A, and book-signing with the author at 7:00 PM

Friday, June 19, 6:30-7:30 PM
Film/video screening of select works by Lynn Hershman Leeson and a trailer for her forthcoming documentary “Women Art Revolution: The Turbulent and (Formerly) Secret History of the Feminist Art Movement, 1968-2009" (expected 2010)
bitforms gallery is pleased to announce a group exhibition that celebrates art and ideas in a new publication by art historian Edward Shanken, Art and Electronic Media. Highlighting work by more than a dozen groundbreaking artists, the exhibit “Art and Electronic Media” embraces a wide range of creative practices in the last four decades.

As visual artists embraced emerging theories and techniques of information, computation, and communication in the 1960s and 1970s, many partnered with research laboratories and broadcast networks. The artist Manfred Mohr, for example, who was inspired by German philosopher Max Bense’s “information aesthetics,” used the Fortran programming language to create ink drawings with a Benson flatbed plotter at the Institut Météorologique in France. By 1971 Mohr displayed his work at the Museé d'Art Moderne de la Ville de Paris in the first museum exhibition comprised solely of computer-generated images. Among work from this period included in “Art and Electronic Media” is P-52c (Quark Lines).

That year in the United States at Bell Labs, artist Lillian Schwartz collaborated with Kenneth Knowlton to create Olympiad, a rhythmic and mathematically rigorous 16 mm computational film that was inspired by the cycles of kinetic human form captured by 19th century photographer Eadweard Muybridge. Later, echoing Schwartz's interest in figurative representation and film-making, Jim Campbell created Ambiguous Icon #1, Running Falling (2000), a flickering, pixel-based experience generated by LEDs arranged in a Cartesian grid. Recognized as a key work in the vocabulary of today's visual arts dialog, the moving imagery in this piece operates at the borderline of perception and abstraction.

At the turn of this century, a new generation of artists first gained recognition in exhibits such as “BitStreams” and “Data Dynamics” at the Whitney Museum of American Art in 2001. Pieces from this period in the exhibition include the emblematic oak and steel Hammers by Robert Lazzarini, and video documentation of the performance Dialtones (A Telesymphony) by Golan Levin, which premiered at the Ars Electronica Festival in 2001. Also included is a c print by C.E.B. Reas, Process 8 (Image 2), which frames a discrete two-dimensional moment from an emergent geometric system: “Set the size of each circle relative to the distance between the centers of the overlapping elements. Draw the smallest circle as black and largest as white, with varying grays between.”

Performance art history and the trajectory of kinetic sculpture also offer conceptual frameworks for understanding the loose definition of an art form that engages the perpetual impact of new tools on civilization. Incorporating a telephone and old messages from Laurie Anderson's answering machine, Connections (1996) is a sound work that is both voyeuristic and compelling with its approach to non-linear storytelling. Also on view, a surreal sculpture by Tim Hawkinson clanks out a rendition of Jim Croce's “Time in a Bottle” using a rotating thermos and steak knives. In the late 1970s Tony Oursler also emerged with video and installations that combined spoken text, moving images, puppetry and sculptural objects. Included are collages on paper from 2005, Smoke and Gravity, which reveal Oursler's continued playful pursuit of human form and psychology.

Jennifer Steinkamp's computational approach toward video installation, as seen in Dance Hall Girl 11, portrays a feminist agenda which is also critical in the discussion of New Media as a genre. Colorful bouncing blossoms in this work bring to the table a conversation about social status of saloon workers in the old American West. This provocative visual and social dialog continues in a forthcoming documentary by Lynn Hershman Leeson, “Women Art Revolution", which includes intimate interviews, art, and rare, historical film and video footage that annotates evolution of the Feminist Art Movement over the last four decades. Hershman has taken a radically democratic step toward global access to all the raw footage used in this film by partnering with Stanford University’s Special Collections and Gender Studies Division, which is digitizing more than 200 hours of video and will, when the film is released next year, publicly distribute it online along with a robust interactive wiki.

The 20th century saw parallel developments in broadcast communications and conceptual art - which at this point today has influenced a mutable form that is easily migrated and translated across media. In the work of Michael Joaquin Grey, states of matter and culture in flux are molded into systems of syntax. A wall drawing created in 1988, Object as Preposition defines physical form as temporal, spatial or logical relationships- thus evolving the grammar of art from a noun, into a verb and ultimately into a transitional link of connection.

By the late 1990s, Nicolas Bourriaud's influential vocabulary of relational aesthetics had also impacted artists experimenting with the Internet. Immateriality and networked architecture are featured in the work of Mark Napier, who constructed an online studio in 1998, potatoland.org, that debuted painterly alternative web browsers such as Shredder and Riot. In a recent generative collage using imagery culled from the Internet, Napier builds a screen-based Cubist portrait of Pamela Anderson that is reminiscent of marionette puppetry and Duchamp's Nude Descending a Staircase. Also included as a special New York premiere is video documentation of a new installation by Mexican-Canadian artist Rafael Lozano-Hemmer, who is known for his large scale interactive public work. His “Antimounuments” challenge traditional notions of site-specificity, and instead focus on the idea of creating relationship-specific work through connective interfaces.

Edward Shanken is Assistant Professor of New Media at the University of Amsterdam. For more information on the author and the book, please visit www.artexetra.com

For more information on the exhibition please visit:
www.bitforms.com

Fluid Architectures

In the movie Metropolis from 1926, director Fritz Lang created the vision of a futuristic 21st century mega-city. Now that we have crossed the threshold of this century our reality makes that vision seem strangely old-fashioned as new sets of factors unconsidered by Lang move to shape the future of our urban spaces. It is now ubiquitous computer networks, information delivery in real time and new display technologies which are the key elements transforming the face of our urban living spaces. Through them a space is taking shape whose manifestations merge the virtual and the physical. Essayist Florian Rötzer talks in this context of a “digital urbanism” whose salient features are „dispersal, decentralisation, valorisation of interiority, globalisation, individuality and mobility“.
These factors shape a networked society and a 'space of flows” which generate new dimensions for imagination and action no longer concurrent with the old geographies and topographies.

The exhibition Fluid Architectures gathers spaces of flow and immateriality created by artists in response to these contemporary notions the city. These fictional spaces made of light, moving image, and other media extend the idea of physical architecture to the construction of dynamic and seemingly infinite spaces enabling a sensory experience. The works rethink the classic standards of spatial construction and topography. Rather they introduce the new concept of 'performative architecture' and thus propose an imaginary urban landscape for the 21st century. The Fluid Architectures programme comprises a gallery exhibition, lectures and workshops. The exhibition is curated by Susanne Jaschko.

ART COM - Startseite

STANZA ||Welcome to the main Stanza site. Generative art, net art, and networked spaces. 2009.

Jan Robert Leegte

___ lowstandart

pablo valbuena

potatoland

Marnix de Nijs - media artist

Annja Krautgasser [n:ja] / Index

Holger Mader | Alexander Stublic | Heike Wiermann

MICHAEL NAJJAR *** Photographer


Facebook | New Exhibition: Fluid Architectures

Nederlands Instituut voor Mediakunst Montevideo Time Based Arts

BRUSSELS ART DAY

"For the first time ever in Brussels, we are very pleased to announce Brussels Art Day this year general reopening of uptown and downtown contemporary art galleries. On Saturday September 20th 2008, about 20 participating galleries will open from noon to 8PM."

ELAINE LEVY PROJECT: BRUSSELS ART DAY

ARTVILNIUS'09

"ARTVILNIUS'09 – the first international contemporary art fair in the Baltic States

Vilnius is the European capital of culture in 2009. One of the most important and largest events of this program will be the first international art fair ever to be held in the Baltic States – ART VILNIUS’09.

A wide and representative panorama of contemporary art will be opened at LITEXPO Lithuanian Exhibition and Conference Center. On 8-12 July more than 100 well-known and new galleries from Lithuania, its neighboring countries and foreign countries will occupy LITEXPO.
Galleries from 31 country will participate in ARTVILNIUS'09:
Lithuania, Latvia, Estonia, Poland, Russia, Ukraine, Belarus, Sweden, Iceland, Denmark, Germany, France, Austria, Switzerland, Belgium, Italy, Spain, Portugal, Greece, Hungary, Slovenia, Bulgaria, Croatia, Macedonia, Romania, Armenia, Kazakhstan, Argentina, Canada and India.

Auxiliary pavilion spaces and approaches of LITEXPO will shelter exhibitions of sculptures, objects and installations, expositions of art publications, cultural institutions etc. Podium discussions, educational events and plenty of other different events are also in the program of ARTVILNIUS’09.

ARTVILNIUS'09 will become an art bridge between the East and the West

We are waiting for attention from art experts, gallerists, collectors, museologists, art critics and certainly for all local and foreign lovers of art."

ARTVILNIUS'09

Trienal de Chile 2009

"Esta trienal propone levantar reflexiones sobre el límite del arte trabajando tres figuras básicas: la de límite mismo, como pliegue que permite pensar en terceros lugares o en lindes abiertos a la intemperie o la nada; la reflexión sobre la institucionalidad del arte: un problema obsesivo que acompaña el largo camino de la modernidad y mantiene vigencia en cada escena nueva de reflexiones críticas, y la posibilidad de “obrar”, en sentido heideggeriano, de convertir en obra situaciones que, por desconocer el imperio de la forma, cruzar los límites de la estética y comprometer acciones que ocurren más allá de la escena de la representación, se encuentran sometidas a la contingencia de lo que puede o no ser ofrecido a la mirada, convertido en momento estético o en experiencia de obra."

Trienal de Chile 2009 | 5 de octubre - 5 de diciembre

ARTLINKART | chinese contemporary art database

ARTLINKART is

· an online database project for Chinese contemporary art;
· a bilingual art website for both Chinese and English readers
· targeting on archiving the complete Chinese contemporary art history more accurately and subjectively
· a basic information register for everything from academic study to investment reference and other professional purposes

ARTLINKART | chinese contemporary art database

LA PORTA DELL’ARTE – II EDIZIONE

LA PORTA DELL’ARTE – II EDIZIONE
“Invasione - Commedia in tre atti per 40 sculture”, di Matteo Berra
Progetto a cura di Gaia Brambilla per Associazione Castelli e Ville aperti in Lombardia e di Matilde Marzotto Caotorta - Testo di Angela Madesani

Tipo di Evento: mostra / installazione di arte pubblica contemporanea
Dove: ex caselli daziari di Porta Nuova, Piazza Principessa Clotilde, Milano
Inaugurazione: mercoledì 17 giugno 2009, ore 18.30 (con aperitivo e Musica da Cucina)
In mostra: dal 17 al 24 giugno 2009

Ogni anno l’Associazione Castelli e Ville aperti in Lombardia invita un giovane artista a realizzare un’installazione di arte pubblica contemporanea appositamente ideata per la propria sede, l’ottocentesca Porta Nuova di Milano.
Quest’anno l’opera selezionata è “Invasione - Commedia in tre atti per 40 sculture: Preludio, Sconcerto, Frammentazione/Dispersione - con Rendezvous segreto -”, di Matteo Berra.

Castelli & Ville :: Aperti in Lombardia

The Endurance

The Endurance - new work by Collin Zipp
June 4 - July 2 at Gallery 1C03 - University of Winnipeg

Please join us for the opening reception on Thursday, June 4 at 4:00PM.

Using a non-linear narrative, Zipp deconstructs the story of a failed arctic voyage. Known as the Endurance, this ship was trapped in sea ice and frozen fast for ten months. The ship was crushed and destroyed by flowing ice packs, ultimately sinking to the sea floor. Contrasting this story of mans ultimate yielding to natural forces are multiple images of ice breaking on open waters. Projected onto a constructed multi-layered screen, these images create a two part video
installation exploring the haunting beauty of failure and consequence.

Collin Zipp is a multidisciplinary video/digital artist who obtained his BFA from the University of Manitoba's School of Art in 2005. His work uses experimental techniques such as scratching, hand processing, and digital re-touching to push the capacity of the video medium into uncharted and unfamiliar territory. Zipp has exhibited his video work widely throughout North America and overseas in both gallery exhibitions and video screenings.

Video Pool acknowledges the support of the University of Winnipeg, Gallery 1C03, the Canada Council for the Arts, and Manitoba Arts Council for their support.

Video Pool

crosstalk festival Budapest

crosstalk video art festival will take place from June 25 to 30 in Gödör, in heart of Budapest. The program for the second edition of crosstalk video art festival 2009 will be comprised by video screenings, round-tables, video installation exhibitions and a VJ night.
Although crosstalk video art festival is an international event, every year a country is invited to present a focused view over the local production on art videos. For 2009 Spain is the guest country. Every year a video collection is invited for the video screening: Antology. This year we have a selection from the video collection of MUSAC (Museo de Arte Contemporáneo de Castilla y León), Spain.
In this year’s edition crosstalk is hosting three partner institutes presented in Crosstalk Invites section:FixC Cooperative, a video-, media art and experimental cimena distributor and promoter from Helsinki, Finland, VideoChannel, a video project environmentfrom Cologne, Germany and VisualContainer, the italian video art distributor from Milan, Italy.
In cross-talks screening are presented videos based on the open call and S is a section exclusevily for students.

crosstalk will present three round-tables with professionals in the video art field, such as artists, curator, collector, concerning techniques, philosophical questions and methodology of works with subjects like: collecting videoart, technological limitations and conservation matters, video and media art in the hungarian and international art market, presenting, installing and exhibiting videoart.

This edition will explore the dialogue and intersections between video art and other arts disciplines such as dance, theater by hosting Barbara Bañuelos Company with the show called: 90 DB and Aggtelek from Barcelona will present az installation in Labor Gallery. The vj culture is also part of contemporary video and media art, so one night will be dedicated exclusivelly for a vj maraton.
This years edition of creating surprising collaborations with the aim of spreading the interest in video art through a wide range of audiences, in a project linked to the city.

crosstalk festival

Rencontres Internationales

From June 30 to July 5, the 19th "Rencontres Internationales Paris/Berlin/Madrid" will create a space of discovery and reflection between new cinema and contemporary art in Berlin at the Haus der Kulturen der Welt.

With the presence of 100 artists and filmmakers from all-over the world, this rare event will propose an international programme of film, video, installation and concerts.
This year's programme has been selected from 6500 submissions as well as by invitations made to certain artists and filmmakers. It is the result of an elaborate international search for works: 150 works from Germany, France, Spain and 50 other countries, made up of internationally-known artists and filmmakers as well as young artists and filmmakers presented for the first time. It includes many film premieres, a video program, multimedia concerts, a cycle of debates and panel discussions. A video library will offer a space where the whole programming, made up 90% of premieres, can be viewed and reviewed on request.

This year, the Rencontres Internationales offer a video exhibition in the Haus der Kulturen der Welt spaces. It proposes a transverse approach of different contemporary audiovisual practices as well as a reflection on issues related to the presentation devices, from movie theatre to open space. Those topics reflect a specific language and a way of thinking for many artists and filmmakers.
Amongst the presented artists: Patrick Bernatchez (CA), Johanna Domke (DE), Niklas Goldbach (DE), Erik Moskowitz & Amanda Trager (US), Diego del Pozo Barriuso (ES), Noëlle Pujol & Ludovic Burel (FR), Manuel Saiz (ES).


www.art-action.org _____ Rencontres Internationales Paris/Berlin/Madrid _____ roARaTorio transmedia

Dynamic Common Computing

L'uomo è un animale sociale. Ogni società è basata sulla collaborazione tra individui ed ha come obiettivo il raggiungimento di un fine comune di solito inteso come benessere.
L'essere umano tuttavia, nel suo processo di espansione e colonizzazione dei territori disponibili, ha creato più organizzazioni sociali chiuse in se stesse che ha definito stati.
La difesa del SUO territorio è affidata ad una organizzazione interna denominata esercito.

Giovanni Scurria, artista multidisciplinare insegna informatica per il teatro allo IUAV di Venezia,utilizza tecnologie militari a scopo sociale, crede nella libera collaborazione tra individui attraverso l'utilizzo di uno strumento, anch'esso nato in ambito militare oggi conosciuto come internet e l'utilizzo di programmi open source.

L'installazione “Dynamic Common Computing”che propone alla galleria Akneos è basata su un software di riconoscimento della figura umana (utilizzato per il puntamento automatico delle armi) ma, in questo caso l'essere umano (target) dovrà collaborare con gli altri fruitori dell'opera se vorrà interagire con l'opera stessa.
Le telecamere ad infrarossi catturano la figura umana, il software stabilisce tra gli individui presenti un punto mediano. Una azione coerente e finalizzata crea l'interazione.
Un'ulteriore forma di interazione è dovuta alla maggiore o minore presenza di rumore prodotto dai presenti. Una maggiore affluenza produce una graduale eliminazione delle barre videoproiettate generando quindi una condizione di spazialità.

www.akneos.com - Napoli

The Big Kiss in Ljubljana

The Big Kiss
Live Internet Broadcast Performance by Annie Abrahams (Ljubljana)

The Big Kiss in Ljubljana


“Machine mediated kissing in a performance = drawing with your tongue = taking pleasure, while constructing an image = a way to be superaware of the other = never totally abandoning yourself = ???????? = not at all like real kissing, it is better! This might be a female point of view.”
Annie Abrahams

http://bram.org
http://aabrahams.wordpress.com

The Big Kiss in Ljubljana - Intima Virtual Base

Trivial Pursuits: Mass Distraction

Trivial Pursuits: Mass Distraction

Roja Aslani, Erin Gee, David Han, Beatriz Herrera, Steve Shaddick, and Blake Williams
Curated by: Jennifer Chan

Exhibition runs July 10 – August 15, 2009
Opening Reception: Friday July 10, 7 pm
Discussion with the curator and artists at 8 pm

InterAccess is excited to present Trivial Pursuits: Mass Distraction, the 9th Annual Emerging Artists Exhibition opening reception on Friday, July 10th, at 7pm. Please join us for oral fixation and hyperactive banter as the curator leads an informal discussion with the artists at 8pm.

Since 2001 InterAccess has organized an annual Emerging Artists' Exhibition to showcase new media artworks by post-secondary students and/or recent graduates. This initiative aims to offer young artists professional experience and exposure. This year the centre’s emerging curator, Jennifer Chan, brings together six Canadian artists who trivially navigate their quasi-virtual existences. Roja Aslani, Erin Gee, David Han, Beatriz Herrera, Steve Shaddick, and Blake Williams create an annoying, yet captivating, assemblage of new media art.

Trivial Pursuits presents the phenomena of digital distraction in new media art. As our attention becomes split-focused by e-mail checking, Facebook applications, instant-messaging, and blogging, our multi-tasking creates more and more data trash on the Internet. Appealing to the desire for maximal pleasure from overconsumption of media, this exhibition entices the viewer to watch, procrastinate, and play. Apparitional video projection, intermedia sculptures, and interactive site-specific installation encourage our engagement with irrelevance to resist the capitalist regime of productivity. Disjunctions between fiction and reality or functionality and redundancy posed by the six works encourage the viewer to appreciate the absurd excesses of new technologies.

Shot between natural and urban landscapes of Toronto, Houston, and Reykjavik, Blake Williams’ Hotel Video projection portrays the dreamlike slippage between the interior and exterior. Beatriz Herrera’s blue-faced, walking, talking hexapod Trivia Monster robot blurts useless information in user presence. Meanwhile, Erin Gee’s Formants, a double-headed interactive sound sculpture, asks viewers to play. Combing of the hair on each head triggers operatic feedback, invoking strangeness about gendered technological desires. Roja Aslani’s autonomous self-inflating Breathing Wardrobe and Steve Shaddick’s repeatedly crashing interactive video, Restart, withholds efficient pre-visualization that interactive users are commonly accustomed to. An infinite regress of manipulated self imagery, David Han’s Glass Looking Through is a site-specific installation posing as a dysfunctional interactive mirror. A viewer’s presence triggers audio-visual feedback that eventually degenerates irrationally. Through indolent observation and play, Trivial Pursuits allows us to discover the bizarre and perverse effects of new media art.

interaccess.org

Hard Data

Hard Data is a data-mining, sonification, and visualization project by R. Luke DuBois that uses statistics from the American military actions in Iraq as source material for a series of audiovisual compositions.

Hard Data was a 2009 commission of New American Radio and Performing Arts, Inc. for its Turbulence web site (turbulence.org). This was made possible with funding from the New York City Department of Cultural Affairs.

harddata

Mivos String Quartet and the CNS Symphony Orchestra play works by Tony Conrad and Luke Dubois + Dave Soldier and Brad Garton - ISSUE Project Room

Istanbul off spaces

Thirteen art groups are invited to the Istanbul-Off-Spaces exhibition, and their works on show represent the increasing number and growing influence of independent noncommercial artist collectives and art spaces in Istanbul. Some of them, like Nomad, xurban_collective or Apartman Project, can draw upon many years of experience concerning international exhibitions, whereas Daralan or Kurye represent the newcomer scene. The exhibition was prompted by the 20th anniversary of the town twinning between Berlin and Istanbul celebrated this year. It is funded by the Capital Culture Fund and the Art Space Kreuzberg/Bethanien.

Artists and group members attending to the opening:
5533, Nancy Atakan, Volkan Aslan
Apartman Projesi, Selda Asal, Serra Özhan
Artık Space, Gonca Sezer, Yeşim Ağaoğlu
Atılkunst, Gülçin Aksoy, Gözde İlkin, Yasemin Nur Toksoy
Daralan, Dilan Gümüş, Sesil Beatris Kalayciyan
Hafriyat-Karaköy, Extrastruggle, Mustafa Pancar
Kurye, Irmak Arkman, Ceren Arkman, Mert Şahbaz
Masa Projesi, Önder Özengi, Vahit Tuna, Sinem Kurultay
Nomad & Upgrade!Istanbul, Basak Şenova, Burak Arıkan
Oda Projesi, Seçil Yersel
xurban_collective, Güven İncirlioğlu, Hakan Topal

istanbul-off-spaces

Nathalie Djurberg alla Biennale di Venezia






John Baldessari in Venice



JB_new - baldessari.org

Rosa Barba al Palazzo delle Esposizioni - Venezia




Rosa Barba

La Biennale di Venezia

ARTe MEDIA: Search results for Rosa Barba

Media e nuove tecnologie: opportunita' nel Mediterraneo e Medio Oriente

" Un momento di confronto e approfondimento sullo sviluppo dei new media nel mondo arabo e sulle opportunità di business per gli operatori italiani del settore. Il 24 giugno a Milano, Palazzo Giureconsulti (piazza Mercanti 2), a partire dalle ore 9.30.

L'incontro è organizzato da Promos in collaborazione con Regione Lombardia, Creative Commons, Mgm Digital Communication / Meet the Media Guru, nell’ambito dell’Osservatorio sui Media nel Mediterraneo.

Interverranno esperti del settore, giornalisti e alcuni importanti business leader del mondo arabo:

  • Abdullatif AL SAYEGH, Amministratore Delegato Arab Media Group (Emirati Arabi Uniti)
  • Mohammad ABDULLAH, Direttore Dubai Media City (Emirati Arabi Uniti)
  • Mohammad KHAWAJA, Direttore Queen Rania Center for Entrepreneurship (Giordania)
"

Media e nuove tecnologie: opportunita' nel Mediterraneo e Medio Oriente

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