"Wysing Arts Contemporary’s inaugural exhibition is entitled ANIMATED, presenting playful and witty works by Jo Addison, Julie Brenot, Matt Cook, Sarah Evans, Simon Liddiment, Anne-Mie Melis, Alex Pearl and Simon Woolham; that explore notions of energy, movement and imagination in a wide range of media from moving image and installation to drawing and sculpture."
Wysing Arts Centre
: "今年度から新たにスタートするシリーズ企画［映像をめぐる冒険］では、映像コレクションの指針となる５つのテーマを毎年ひとつずつ再考していきます。映像前史ともいえるさまざまな試みや工夫から、最新の技術を生かした現代の表現までを、収蔵作品を中心に新たな視点から紹介します。第1回となる本年は、「イマジネーション 視覚と知覚を超える旅」と題し、人が抱くイマジネーションを視覚的に表現する技法について3部構成で展示します。"
Quest for Vision vol.1-IMAGINATION : Vision, Perception and Beyond
"The 2nd Asian Hot Shots Berlin is going to take place in the the cinemas Babylon Mitte and Z-inema. The focus country is INDONESIA.
Look forward to our 8 'Green Chilies Award' COMPETITION features. Don't miss the charming ladies of our festival band THEE 50'S HIGH TEENS from Tokyo. Experience our VIDEO ART installations. And get in touch with our GUESTS from Asia in filmmaker-talks and panel discussions."
asian hot shots berlin - festival for film and video art
Facebook | www.j-e-t.org
Exploits in the Wireless City
Broadway Media Centre, Nottingham UK
15 – 16 January 2009
As part of the 4th Radiator festival, the Radiator Symposium, “Exploits in the Wireless City”, aims to instigate discussion, debate and new interdisciplinary research networks based on the understanding that the development of digital networks are transforming our notion of (public and private) space.
Bringing together artists with architects, urban theorists, computer scientists, sociologists and fellow citizens, the symposium will explore, question and play with this new urban topography where the re-conceptualizing of the public sphere in the regeneration developments of the East Midlands mirror those around Europe.
Radiator will host the symposium alongside a series of presentations, exhibitions and discussions where the audience will have the opportunity to explore, remodel and re-present space in its traditional and emergent forms.
In its critique, the Radiator symposium will question the opportunities, future strategies and implementations that artists and communities face when learning to act within these new hybrid city spaces.
Through its artistic interventions, Radiator will put theory into practice with projects and events that both position and challenge the dominant forces at work in the urban environment and explore the new territories opened up by hybrid space. The “Going Underground” project, investigates this infrastructure by placing 5 artists into the urban confines of British cities: Glenn Davidson (Artstation) (UK), Folke Köbberling&Martin Kaltwasser (DE), Ian Nesbitt (UK), Christian Nold (UK), N55 (DK). These artists will act as sleeper agents, observing and gathering information from a range of different sources including; architects, planning departments, city council offices, surveillance, monitoring centre’s and the Police to create new work in response to their research.
Radiator Symposium 2009 | Radiator
Power to the people @ aeroplastics - November 21st 2008 > January 17th 2009
The title of the exhibition is expressly ambiguous: does it have to do with putting power in the hands of the people [as in the Sixties' sense], or rather in the hands of the "people" [the English word here used as adopted in current French parlance, meaning "celebs"]?
From one's entry, the visitor encounters the photo-booth snapshot by Vincen Beeckman of an old man, anonymous and heavily marked by life, keeping company with a portrait of Jean-Claude Van Damme ("JCVD") by David Nicholson, as well as that of singer Plastic Bertrand by Jacques Charlier - two typically Belgian "people" who are also icons of popular culture.
This is equally evoked in works like Predictable incident in unfamiliar surroundings by Douglas Gordon (slowed scenes of a rare Captain Kirk kiss in Star Trek), in images (post-cards, holiday shots, or artistic views) of Fujiyama recuperated by Bernard Gigounon or, further, Emilio Lopez-Menchero's Let Me Be, a look-alike remake of the famous (Let It Be) record-sleeve for the Beatles, with the artist himself posing as each of the "Fab Four".
This sort of re-appropriation is the exhibition's second common-thread. "Power To The People" had its origins in reflections upon the complex relationships that artists have with power at its various levels, be it political, institutional, financial, the world of galleries, collectors, etc. In short, so many spheres that in one way or another come to exercise influence on the creative process. Each sphere has its own codes, and these the artist may choose to adopt or, alternatively, transgress, a metaphor for the natural desire (not limited to artists alone)to take one's destiny into one's own hands.
Such led Alain De Clerck to assemble a collection of works that he offered in legacy to the Museum of Contemporary Art in Liège, an ironic response to the lamentable state of public institutions that are incapable of supporting young artistic expression ("This System Is Corrupt Be Happy", proclaims the neon by Delphine Boël). Kamargurka inverses the relationship between the subject of portraiture and the portraitist: the artist no longer obliged to take the model before him as starting point.
Rather, his portrait starts as an imaginary person for whom he then finds - via appeals in the mass media - its real-life match as determined by Kamargurka himself. But the liberty also consists of putting a twist on others' works, as does Eric Delayen with his interpretation of James Joyce's pornographic letters to his fiancée Nora; Patrick Corillon - by way of his fictional creation Oscar Serti - with literature's classics; or Gianni Stefanon employing works by his contemporaries (Damien Hirst, Wim Delvoye - with the latter also taking part in the exhibition).
We cite, too, Jérôme Considérant, who transforms the protagonists of Gustave Wappers' famous canvas depicting a crucial moment in the founding of the Belgian state, Days of September 1830, into a masss of anonymous pictograms.This Belgo-Belgian component - within a political and cultural context that quite needs it - is present in various gradations throughout this exhibition.
The "film-maker of the absurd" Jean-Jacques Rousseau evokes a Belgium fallen prey to civil war after Flanders takes a grip on power (with only Charleroi able to resist the invader...); from the celebrated Musée du Slip, come portraits of former king Baudouin by Jan Bucquoy, echoing the portraits of "rois morts" by Jan van Imschoot, while the lion, monarchic symbol par excellence, sees itself reduced by Walter Swennen into a humorous offhandish sketch.
Ann Veronica Janssens casts an ironic eye on the "âge d'or belge", of which the World's Fair in 1958 marked both its culmination and beginning-of-the-end. Underscoring this was an ‘altered' newsreel that documented the demolition of the Civil-Engineering Pavilion, a masterpiece by Jacques Moeschal. Placed nearby, the photographs by Karine Marenne situate this problem-set within the context of today. Self-derision, as well as a particular humour based on word-play or a turn of linguistic direction, also finds an especially fertile Belgian ground: one sees this in abundance with Marcel Marien and his descendents - André Stas, Jacques Lizène, Messieurs Delmotte, Johan Muyle, Sneed, Pol Pierart, Bouli Lanners, or with the young collective HAP, with their Zorro criss-crossing the Flemish landscape on his appointed rounds. As for Christophe Bruno, Internet-based program presents a real-time analysis of convergent and divergent interests as presented on both sides of the Belgian linguistic divide, drawn from Google News from the respective communities.
Finally, certain of the works presented invite reflection on the very notion of ‘power' itself, civil, political, religious, and the tensions, the wars and the massacres that come in its wake: images from the Third Reich treated by Steven Brouns, video by Hänzel & Gretzel on the Rwanda genocide, the Turkish flag painted with pig's blood by Selçuk Mutlu, or the scenes of riot and the evocation of female kamikazes from David Pirotte.