How Second Life Affects Real Life, Time Magazine
- Bailenson's research suggests that the qualities you acquire online — whether it's confidence or insecurity — can spill over and change your conduct in the real world.
in italiano su azpoint.net Il nostro Alter Ego digitale influisce sulla vita reale
How Second Life Affects Real Life, Time Magazine
Bickerton's work on view in the booth will continue to explore the raucous adventures of his blue "20th Century-Man" with new works that are a fusion of painting, photography and sculpture. According to Leslie Camhi's recent review in the Village Voice , "The remarkable works on view at Lehmann Maupin‚ eight large paintings set in elaborately carved wooden frames, and two bronze sculptures‚ depict an inner reality, a monstrous hybrid of exotic beauty, expatriate rapaciousness, and end-of-the-world angst.). At the booth, Bickerton intends to delve deeper into aspects of the paintings shown in this exhibition to further reveal his somewhat apocalyptic vision.
Since opening in October 1996, Lehmann Maupin has organized and curated exhibitions for an array of international contemporary artists working in all media. These exhibitions examine the work of both emerging and well-established artists whose work impacts contemporary art and culture. The gallery has given important artists their first one-person exhibitions in New York including Kutlug Ataman, Tracey Emin, Anya Gallaccio, Shirazeh Houshiary, Do Ho Suh, and Adriana Varejão.
Founded by partners Rachel Lehmann and David Maupin, Lehmann Maupin first opened in SoHo, and moved, in September 2002, to its present location in Chelsea. A second New York gallery space opened in late 2007 at 201 Chrystie Street in Manhattan's new cultural hub, the Bowery area.
For more information please visit www.lehmannmaupin.com
Etichette: art basel 2008
e v+ a exhibition of visual+ art is an annual exhibition of contemporary art, the premier exhibition of its kind in Ireland. e v+ a takes place in Limerick, Ireland every year in late spring and early summer (March to June) for between 10 and 12 weeks. Curated each year by a different, single, invited curator of international standing, e v+ a presents the work of Irish and international contemporary artists in a range of venues and settings, formal and alternative, throughout the city of Limerick. The artists, their works, and the venues and settings are determined each year by the decisions of the curator, in response to both the nature of the work submitted, and to the curator's own response to the canvas of Limerick city.
ev a exhibition of visual art, Limerick, Ireland
"German Art" or "Art from Germany" is a construction with a fictive exhibition tradition. After all, national classifications usually have little to do with the reality of artistic practice. Nonetheless, issues specific to a certain country in the search for history, genealogies and movements, have been a constant factor throughout art history and in the art scene. In terms of exhibitions, the overview show is the most common format. In connection with this, coordinates in artists’ biographies indicating where they live and work are granted commensurate weight, since these serve as an initial determination of their position within the art-system. Often they are accordingly linked with supposed national or local traits, which are meant to be reflected in artistic production. Through rhetoric from cultural politics and curatorial rhetoric – quite often supported by the art market – the attempt is made to derive national representation via the findings on origins. This is particularly visible in the prominent English case of "Young British Art" whereby a movement was successfully construed and marketed. Similar approaches and successes show that this is a recurring phenomenon, for example: "Art from Russia" (SOZART) and "Art from China" (1990s).
There have been numerous presentations that have dealt with the question of Germany as a place of origin and site of production, ranging, for example, from the legendary exhibition "Von hier aus – Zwei Monate neue deutsche Kunst in Düsseldorf" in 1984 to "Made in Germany" in Hannover, 2007. Nonetheless, a thematic confrontation in terms of culture has occurred only indirectly. History, to begin with, makes a dialogue regarding the content of one’s own nation awkward and problematic.
Yet analysis and involvement with the apparently familiar and also foreign terrain of Germany remains particularly interesting and important in today’s situation of self-evident, trans-national communication, where, in Europe, decision-making power at a national level is in danger of dissolving. On the one hand, we can observe the apparent leveling-off of national differences, whereas on the other hand, local settings and particularities are being ascribed with new meaning.
The project "Vertrautes Terrain – Contemporary Art in/about Germany" thus positions itself against this backdrop as a resonating space for the complex confrontation with works by artists who reflect on Germany in a variety of extremely different ways as a space of history, art and the social. This concentration on the situation in Germany is devoted to exploring an "imaginary cartography" tracking down issues related to content and form, symptoms and virulence in art against the backdrop of its socio-political and socio-cultural present. A subordinate role, only, is given to the geographic mapping of Germany based on current art zones and centers, such as the so-called marketing-tool label "Leipziger Schule" or the incessant pull towards Berlin.
The project is based on inquiries into history, memory, cultural situation, identity, biographical references, structures, symbols, relations to form, clichés and representational politics: What do artists from various nationalities find interesting about Germany today? Where do references to Germany emerge? Does an "identity in doubt" (Hans Belting) lead to (various kinds of) explosiveness in artistic works? What aesthetic and artistic qualities can be found in works that refer to German culture, history, people or places? What roles do the historically established seal of quality and the contemporary hype (from the Romantic through to the "Leipziger Schule") play in the international perception of Germany from outside?
"Vertrautes Terrain – Contemporary Art in/about Germany" with approximately 70 German and international artists, is intended as a process as well as a current snapshot. In this way, the exhibition is, last but not least, shaped by shared and clearly shifting ideas of what the term "Germany" means.
In order to expand this line of questioning beyond the fine arts and point out possible parallel developments and references in other cultural fields, such as literature, music, theater, dance, design, fashion and film, at the heart of the exhibition is a "resonating space" conceived together with the artist Heiner Blum. The three-dimensional realization of the metaphoric "resonating space" is a transdisciplinary work space, temporary exhibition space and venue. The complexity of the theme should thus be taken into account in lectures, discussions, actions, presentations, performances, guided tours and stagings with various cooperation partners, allowing visitors to approach the content from various sides.
Curated by Gregor Jansen and Thomas Thiel
Internationales Experimentalfilm & Video Festival
Freitag 23. Mai - Sonntag 1. Juni
JUBILEE - VIDEOEX feiert seine zehnte Ausgabe
Die Videoex 2008 zelebriert zehn Tage lang mit einem umfangreichen Programm und über 200 Filmen das «Andere Sehen».
Der Internationale Wettbewerb präsentiert unter anderem den Gewinner der Internationalen Kurzfilmtage Oberhausen (arte Preis) «Kempinski» des Franzosen Neil Beloufa, den Gewinner des EMAF-Festivals «Plot Point» des Belgiers Nicolas Provost und natürlich die neusten Werke von Experimentalfilmstars wie John Smith, Martha Colburn, Pip Chodorov oder Ian Helliwell.
56 Werke -ausgewählt aus den über 1800 Einsendungen aus 53 Ländern - die Verdichtung eines audiovisuellen Moments!
Der zweite Fokus des Festivals liegt auf der «Gaststadt London». Highlights hier sind das gerade an der Berlinale präsentierte Künstlerporträt «With Gilbert & George», der kontroverse Rolling-Stones-Film «One plus One» von Jean-Luc Godard und der erste Punkfilm «Jubilee» des Kultregisseurs Derek Jarman. Glamour, Punk- und Popvisionen bieten Peter Whiteheads Swinging 60s-Doku «Tonite Let's All Make Love in London» mit einem Soundtrack der frühen Pink Floyd und «The Punk Rock Movie» vom DJ Don Letts. Die Entwicklung des Experimentalfilms in der Themsestadt wird in Filmprogrammen mit Werken aus den 30er Jahren bis zur heutigen Zeit nachvollzogen. Dem zeitgenössischen Londoner Experimentalfilm widmet das Videoex drei Programme, kuratiert und präsentiert von Mark Webber(Kurator u.a. auch für Tate Modern, London). Über 100 lange und kurze Filme bieten einen Überblick zum experimentellen und unkonventionellen Filmschaffen der britischen Metropole.
Das Festival bietet Experimente aber bringt auch Musen und Stars einer Underground Szene auf die Leinwand: Marianne Faithfull und Tilda Swinton haben Auftritte in zahlreichen Festivalfilmen (z.B. auch in «Glitterbug» von Derek Jarman mit dem Sound von Brian Eno), dem Enfant terrible Leigh Bowery, Künstlerfreund, Modezar und Exzentriker, ist der Film von Charles Atlas «The Legend of Leigh Bowery» gewidmet.
Nicht zu verpassen sind dann noch die Schweizer Premieren von Isaac Juliens Werken «Fantôme Afrique» und «True North» und die Spezialprogramme zur «Interferenz zwischen Film und Performance» in der Gessnerallee oder die «Night of the Underground» im Festivalcenter.
Das Festivalcenter im Kunstraum Walcheturm ist der Ort der «Expanded Cinema»-Liveacts: AVVA aus Japan / Österreich und Metamkine aus Frankreich, der Australier Robin Fox und als einheimische Gäste das Projekt Hurrliburrli.
Im Kunstraum Walcheturm das Festivalcenter, mit Tickets Infos, Installationen, Live Expanded Cinema Performances und die Festivalbar.
Vollständiges Programm auf www.videoex.ch
HCI 2008: Culture, Creativity, Interaction
1-5 Sept. 2008, Liverpool, John Moores University, UK
HCI researchers, students and practitioners are invited to HCI 2008 to be hosted by Liverpool John Moores University, UK, next September (1st - 5th).
HCI 2008 is the 22nd running of the British HCI conference; one of Europe's largest and longest running HCI conferences.
The tag line for 2008 is “Culture, Creativity, Interaction” reflecting the fact that in 2008 Liverpool is the European Capital of Culture. Throughout the year there will be cultural events ranging from community arts to headline events such as the Turner Prize. In the week before the conference there will be the Annual Beatles Week and immediately afterwards Liverpool will host the British Academy Festival of Science. The Biennial Festival of Contemporary Art also takes place, starting September. Our cultural theme reflects not just events in Liverpool but also recent developments in HCI where the arts and humanities offer us both new insights and new challenges. Though “culture” is not the only theme for the conference we hope to reflect the cultural events happening in the rest of the city and on Merseyside. Our hope is that culture will be a unifying theme for the various strands that form the HCI family of disciplines.