"Love Me Do" by Sir Peter Blake opened the auction in aid of Originals show.
"Love Me Do" by Sir Peter Blake opened the auction in aid of Originals show.
EMF Presents: THE HUMAN VOICE IN A NEW WORLD
Three exceptional concerts that explore new levels of meaning and expressivity for the human voice through technology
Joan La Barbara, Jaap Blonk, Tmema (Golan Levin and Zachary Lieberman): Messa di Voce
Trevor Wishart: Vocalise, Globalalia; Joel Chadabe + Richard Kostelanetz: Micro Fictions
Bora Yoon: ( (( PHONATION )) ); David Moss: Voice Box Spectra
Taking place over two days, the Super Human symposium will present an invigorating and inspiring mix of keynote speakers and collaborative research projects engaging with one or more of the symposium themes: Augmentation, Cognition and Nanoscale Iinterventions.
A Perfect Human:
A group show curated by Milena Hoegsberg & Megha Ralapati
"A Perfect Human," includes the works of seven artists working in video, sculpture, sound and film. The artists are Zhao Bandi, Martin Basher, Melissa Dubbin & Aaron S. Davidson, Joergen Leth, Patrick McElnea and Sreshta Premnath.
Curated by Milena Hoegsberg and Megha Ralapati, "A Perfect Human" aims to explore notions of perfection and the ideals and the cultural systems and symbols that reinforce them. In a variety of ways the works question how we stage, package, and present ourselves, and how we communicate and connect with each other and the world.
Wednesday 4 March 2009
6:30 for 7:00pm
London Knowledge Lab - Institute of Education
23 - 29 Emerald St
London WC1N 3QS, England
Tube: Holborn, Russell Square or Chancery Lane
1970 - the first computer art show at the Venice Biennale: an experiment or product of the bourgeois culture?
"My talk focuses on the history of the first computer art show held at the Venice Biennale in 1970 and its political and social context. What consequences did this show bring about to the Biennale?
"I propose to consider the 1970 Venice Biennale as a reflection of the global changes in the art world that happened in the late 1960s in response to technological developments. Two earlier events, namely the Tendencies 4 exhibition in Zagreb and the First Nuremberg Biennale, both held in 1969, foreshadow these changes. I will consider works presented by artists such as Herbert Franke, Frieder Nake, Georg Nees and the Computer Technique Group (CGT, Japan), to discuss to what extent the Biennale reflected different approaches to computer art in western and eastern countries. I will also analyse the way technology brought to the Biennale a new wave of creativity, but at the same time an element of destabilisation to the traditional asset of the Biennale institution."
Francesca Franco is an associate lecturer at Birkbeck College, University of London, within the School of History of Art, Film & Visual Media (2007-present). She is currently completing her PhD in history of art on the relationship between art, technology and politics in the context of the Venice Biennale, 1966-1986, at Birkbeck College. She holds an MA in Digital Art History obtained from the same college. She has been sitting on the editorial board of Computers and the History of Art (CHArt) since 2005.
CAS 1968-2009 - supporting the Computer Arts for over 40 years
With the present exhibition the ZKM | Karlsruhe dedicates itself to the most important international artistic currents of the 1960s, the New Tendencies, and their significance for the history of computer-based art. In 1968 the movement decided to incorporate into its program the computer as a medium of artistic work so as to thereby assert its avantgarde claim and to contribute to the definition of a technology which, as one quite rightly presumed, would define the future of civilization.
Commencing with an exhibition of Concrete and Constructive Art, Nove tendencije, in Zagreb, in 1961, the New Tendencies rapidly developed into a dynamic movement dedicated to 'visual research'. Around the mid 1960s, the New Tendencies triggered an international Op-Art-Boom, which was endorsed by participation in an exhibition entitled The Responsive Eye, at the New York MoMA, in 1965. However, success brought the New Tendencies no closer to its aims: the assertion of 'art as research' and the establishment of new forms of distribution beyond the art market, which should be accessible to everyman. The organizers of the New Tendencies decided to bring their strategy up-to-date and, in the summer of 1968, initiated in the context of the fourth exhibition, Tendencije 4, the program 'Computer and Visual Research'. Until 1973 the supporting institution of the New Tendencies, the former Gallery of Contemporary Art Zagreb – today the Museum of Contemporary Art – had dedicated itself to artistic research by computer with a series of international exhibitions and symposia. At the peak of the Cold War artists and scientists throughout the world presented their work in Zagreb. The New Tendencies thus established a unique platform for the exchange of ideas and experiences from the area of art, the natural sciences and engineering. With the multi-lingual journal Bit international (1968-73, 9 numbers) Zagreb became a point of initiation for aesthetics and media-theoretical thought.
The organizers of the Zabrab Tendencies initially sought to consciously accompany and form the historical transition in which the computer was perceived as medium of artistic creation. They set computer generated works in relation to Constructive and Kinetic Art (1968/69) and to Concept Art (1973). The arts of the electronic media were not considered as an isolated phenomenon but rather incorporated into the history and discourse of fine-and performing arts. ZKM is comitted to this principle and initiated an exhibition series in the Media Museum that started with The Algorithmic Revolution (2004) and is now be persued with Bit International.
In cooperation with the MSU | Museum of Contemporary Art Zagreb and an international network of collectors and private archives, the exhibition provides an overview of the (New) Tendencies and its program 'Computer and Visual Research': graphics, paintings, films, sculptures as well as computer-generated lyrics and literature are once again, for the first time in 40 years, made accessible to a wider public.
Text: M. Rosen
Curator: Darko Fritz
Co-curators: Margit Rosen, Peter Weibel
Project direction: Bernhard Serexhe
bit - Exhibition
"Visions of Humanity in Cyberculture, Cyberspace and Science Fiction aims to promote the inter- and multi-disciplinary study of all aspects relating to how cyberculture, cyberpunk and science fiction and how significant perspectives can be brought to bear on the nature of what it is to be human and the understanding of what it means for human beings to live in communities."
Visions of Humanity in Cyberculture, Cyberpunk and Science Fiction - 2009 Call for Papers
La peur du vide 1987
Valstar Barbie 2003
Le Grand Sommeil 2006
*** Claude Levêque ***
Claude Lévêque representera la France à la Biennale de Venise 2009
ARTe MEDIA: other news about 53rd Venice Biennale International Art Exhibition
I soci dell'associazione Ink-Elektro continuano il loro percorso formativo incontrando, nei giorni 21 e 22 Febbraio, Nat Muller e Simon Worthington.
Nat Muller, Nat Muller, esperta delle intersezioni fra arte, media e politica nel Medio Oriente è una curatrice freelance e vive a Rotterdam; è stata staff curator al V2, Instute for Unstable Media (Rotteredam) e al De Balie, Centre for Culture and Politics (Amsterdam). Collabora con le riviste Springerin e Bidoun, ed ha co-curato le antologie di testi Magnet Reader 2, Between Paper and Pixel e Magnet Reader 3, Processual Publishing, Actual Gestures. Insegna alla Lebanese American University (Beirut) e alla American University of Dubai (UAE). Attualmente sta completando la sua curator-in-residence alla Townhouse Gallery de Il Cairo. Affronterà con noi le problematiche e le strategie della stampa indipendente nel Medio Oriente e nell' area del Mediterraneo, e dell' uso delle nuove technologe in quelle aree. http://www.labforculture.org/en/labforculture/blogs/10739
Simon Worthington co-fondatore di "Mute Magazine - Cultures and Politics After The Net", è ad oggi uno dei maggiori esperti europei di tecnologie Print on Demand. L'incontro verterà prevelantemente sull' esperienza di Mute, rivista seminale sui temi della cultura tecnologica e della network society con particolare riferimento alla produzione di nuovi saperi. http://www.metamute.org
The Wonderful in Contemporary Art (part 2)
8 February – 10 May 2009
with : Pierre Alferi (FR), Pierre Ardouvin (FR), Sandra Böhme (D), Robert Breer (EU), Yves Chaudouët (FR), Jugnet + Clairet (FR), Perrine Lievens (FR), Camila Oliveira Fairclough (BR), Bruno Peinado (FR), Estefania Peñafiel Loaiza (EC), Simon Schubert (D), Guido van der Werve (NL), Rémy Zaugg (CH)
After the world of wonders making up the Waoohhh! exhibition at the CRAC Alsace, the second segment, titled Chhttt…, is in a more Conceptual, Minimalist vein: wonders deriving more from a certain way of looking at and paying tribute to the everyday, the banal, the sub-flimsy.
Each of the artists brought together by Chhttt… has his/her personal interest in the following postulate: the wondrous is not inherently wondrous, it is wondrous in its relationship with reality. Thus something wondrous can be created by applying this relationship to any reality at all, from the most mundane to the most fleeting.
And so stands revealed that which, as a rule, we fail to notice: that which lurks in the creases in reality.
The means the artists have come up with for exploring these creases are many: subtle appearance/disappearance games involving images and objects (Simon Schubert, Estefania Peñafiel Loaiza, Yves Chaudouët); decelerated body movements (Robert Breer); vibrations of light, colour and/or line (Jugnet + Clairet, Sandra Böhme, Camila Oliveira Fairclough); and intimations of the universal through unostentatious objects and processes (Bruno Peinado, Pierre Ardouvin, Pierre Alferi); and more.
Last of all, might not the wondrous at work in Chhttt… be the simple fact of allowing the asking of new, unexpected and yet vital questions – such as Rémy Zaugg's "When melts the snow, where will white go?"
The exhibition will be echoed by a series of events in other fields: a soundmix by Boxeurs Français at the opening; Lecture Concertante by the Morphologie des Eléments Company in March; screening of Vincent Gérard's film L’affaire du faux poisson (The False Fish Affair) in April; and an encounter with writer Clara Dupont-Monod in May.
The newspaper accompanying the exhibition includes an unpublished text by Pierre Alferi, excerpted from his next book, due to appear in spring 2009.
cracalsace.com- ALTKIRCH France
"AS FAR AS THE EYE CAN SEE
6 March - 30 April 2009
K20 K21 - Düsseldorf
Throughout his practice Lawrence Weiner has pursued inquiries into languages and a radical redefinition of the artist-viewer relationship. Translating his investigations into linguistic structures and visual systems across varied formats and manifestations, he has produced books, films, videos, performances and audio works.
The belief at the core of Lawrence Weiner’s work is that art is a material reality between human beings and objects and between sets of objects in relation to human beings. Weiner considers language to be a sculptural material and believes that a construction can function as adequately as a fabricated object.
His statement of intent published in 1969 states:
THE ARTIST MAY CONSTRUCT THE WORK
THE WORK MAY BE FABRICATED
THE WORK NEED NOT BE BUILD
EACH BEEING EQUAL AND CONSISTENT WITH THE INTENT OF THE ARTIST
THE DECISION AS TO CONDITION RESTS WITH THE RECEIVER UPON THE OCCASION OF RECEIVERSHIP
As a proposition of statement, each work need not to be confined to an existence in one realised form, place or time but might be constructed in different contexts."
GALERIE MICHELINE SZWAJCER - LAWRENCE WEINER
"I WAS SO MUCH OLDER THEN, I'M YOUNGER THAN THAT NOW
curated by Luca Beatrice
19th February - 25th April 2009"
“I was so much older then, I’m younger than that now”, Bob Dylan sang in 1964 on the album Another Side of Bob Dylan. In 1967 the Byrds – the legendary group from California – did a cover and boosted the song’s success. My Back Pages was masterfully reinterpreted by Bob Dylan in 1992, at the concert held for the thirtieth year of his career, with an all-star cast of rock greats – Roger McGuinn, George Harrison, Tom Petty, Neil Young and Eric Clapton – each taking a verse.
The show includes artists who have emerged in Italy from the end of the 1980s to the early 1990s, and have therefore all been active for almost twenty years, and represent a micro-generation born in the 1960s, the era of the first affluence, of social and economic development, who grew up during a phase of great changes in culture, politics, music, fashion and sexual attitudes.
Antonio Colombo Arte Contemporanea - I WAS SO MUCH OLDER THEN, I'M YOUNGER THAN THAT NOW
The 2008 California Biennial continues the Orange County Museum of Art’s four-decade long history of presenting new developments in contemporary art. This year’s biennial is guest-curated by Lauri Firstenberg, founder and director/curator of LAXART in Los Angeles. Firstenberg’s approach to the 2008 California Biennial is expansive—the exhibition includes works by more than 50 artists and, for the first time, incorporates off-site projects with collaborating venues from Tijuana to Northern California. The 2008 California Biennial is on view at the Newport Beach and Orange Lounge galleries from October 26, 2008–March 15, 2009.
Orange County Museum of Art
Albert Oehlen at Museo di Capodimonte, Naples
February 14 – April 14, 2009
For the first time in an Italian museum, the works of Albert Oehlen will be presented at the Museo di Capodimonte. The artist will present a collection of his new work which reflect the latest results of his research following his constant exploration of the methods and the meaning itself of painting.
“Albert Oehlen developed a way to treat the language of art in order to take it outside of its own semantic needs. He has always understood how to construct observation or auditory space without cross-references through design, color, two-dimensional or plastic forms, with an internal echo which defines the autonomy of the creation meant as a combinatory and paradoxically tautological gesture.” (A. Bonito Oliva)
Albert Oehlen / Museo di Capodimonte
Francesca Kaufmann is happy to announce Thomas Zipp’s first solo exhibition in Italy.
In his paintings, sculptures and installations Zipp deconstructs scientific, philosophic and religious systems through formal experimentations that unearth visionary and anarchic images.
Like an architect, Zipp creates environments, structures and scenarios through the stratification of heterogeneous materials: paintings, lamps, and musical instruments whose sound saturates the created environment with further presence.
In the work of Thomas Zipp art, science and religion appear to converge in an intersection of appropriations, overlapping icons of western culture, symbols, historical figures and artistic movements. These elements, recontextualized with gothic and humorous overtones, confuse desecration with idolatry.
Galleria Francesca Kaufmann - Milano