Konrad Fischer Galerie Berlin is pleased to announce the opening of an exhibition of work by Jan Dibbets on Friday, May 1 2009, from 6 to 9pm.
Besides selected works from the series "Land And Sea Horizons" (2007) we will exhibit five "Windows" from the 1980's and 1990's. As already seen in his early "PerspectiveCorrections" (1968) the later work of Dibbets is still concerned with the contradictions of our concepts of reality and their pictorial realization in photography.
Jan Dibbets' series "Land And Sea Horizons" juxtaposes photographs of dunes and ocean, each mounted in different shapes and formats. The viewer sees simultaneously what would be in front of and what would be behind him in a real landscape. This experience is further stimulated by the fact that although the panels are pieced together in different ways, the horizon line always remains level and constant.
Also Dibbets' "Windows" question the angle of vision from which we perceive reality through images today: a reality presumably existing in the objective sense, and another reality that we are able to create as a pure fiction in our minds. If some of Dibbets earlier works have already juxtaposed the indexical and the iconic dimensions of photography, this strategy is fully realized in the "Windows" series. Photographs of windows are isolated through a process of cut-outs and then enlarged. These images then are mounted on paper and surrounded by a monochrome field of paint. The light eminating through the windows is contrasted by the actual light that is reflected by the painted surface. Icon and Index are playing off each other and finally seem to become the flipside of the same coin.
KONRAD FISCHER GALERIE
Konrad Fischer Galerie Berlin is pleased to announce the opening of an exhibition of work by Jan Dibbets on Friday, May 1 2009, from 6 to 9pm.
April 30 - June 21, 2009
Vernissage on April 30 from 18 - 21:00
FEINKOST is pleased to announce the first solo presentation in Germany of New York-based artist Andisheh Avini. Entitled “Homesick” the exhibition analyzes the infamous homecoming of the Ayatollah Khomeini that followed the ousting of Shah Mohammed Reza Pahlavi. The resulting barrage of imagery becomes a dense storyboard of momentous fervor frozen in aspic. This cycle of nearly 80 newly produced silkscreen paintings construct a visual language around the transformation of Iran in the spring of 1979.
Avini’s artistic practice ranges from painting and sculpture, murals and installation. His subversive palette of materials culls anything from antique parlor house paintings and earth from the holy site of Mecca to classical craft-based techniques, each somehow specific to an idea of Iranian sensibility, history, identity, and memory. Through a conceptual instrumentalization of his Iranian background, his work often references itself and questions of his own identity superimposed unto flickers of a collective one.
In this current body of work the printing ink becomes a palimpsestuous muck of forgotten flashes and front-page archetypes. Silkscreening’s capacity for exact reproduction is taken for granted and foregone for its capabilities of pure abstraction. The repetitious use of the printer’s screen onto the canvas renders many of the archival images abstract and illegible. In certain paintings permeable fragments of riots and zeal seep through almost subliminally.
By furthering a mode of history painting associated almost exclusively with Andy Warhol, Avini’s approach is as much about technique as it is the brain’s processing and projection of yearning, memory and afterimage. This personalization of a complicated period of history offers a timely reflection on the exactitude of how we remember and what imageries define our memories.
Born in 1974, Andisheh Avini’s work has been presented at P.S.1 Contemporary Art Center, New York; Kunstmuseum Bern; and the Tufts University Art Gallery. He is in the collection of the Weisman Art Museum in Minneapolis as well as in several prominent private collections across Europe, America and the Middle East. Concurrently to his Berlin debut, Avini is having a solo exhibition at I-20 Gallery in New York opening on May 9th.
FEINKOST: Andisheh Avini
Organizzata dalla Fondazione Musei Civici di Venezia e dalla Vervoordt Foundation, In-finitum , prevista a Venezia, palazzo Fortuny dal 6 giugno al 15 novembre 2009, esplora la categoria dell’Infinito nelle sue diverse accezioni, dal non-finito all’illimitato, con un approccio multidisciplinare in cui arte, scienza e filosofia di ere e civiltà diverse si incontrano e si confrontano.
La mostra completa e conclude uno straordinario ciclo espositivo ideato da Axel Vervoordt e iniziato a Venezia nel 2007 con Artempo: Where time becomes art - che indagava il rapporto tra arte, tempo e il loro mostrarsi, attraverso differenti secoli, luoghi, tendenze e linguaggi espressivi - e proseguito nel 2008 a Parigi con Academia: Qui es-tu? basata sulla trasmissione della conoscenza e della saggezza e sulla perpetua necessità della condizione umana del porsi domande e cercare risposte.
Elemento comune alle tre mostre – oltre a un impatto emotivo e allestitivo di intensa suggestione - è l’indagine sulle innumerevoli possibilità di relazione e collegamento tra espressioni artistiche di epoche e culture differenti , e, in ultima analisi, con il senso stesso della vita.
Indagare sul concetto di “infinito” significa intraprendere un viaggio spirituale. L’anelito alla perfezione, alla compiutezza è al tempo stesso, per l’uomo, confronto costante con i propri limiti, con l’inarrivabile. E contemporaneamente l’infinito è anche il non- finito, il non completo, il vuoto o, ancora, il contenitore del tutto. L’infinito come percorso senza fine verso la completezza, la conoscenza e l’illuminazione ha ispirato artisti, scienziati e letterati fin dagli albori dell’età dell’uomo . Le loro scoperte, testimonianze, impressioni artistiche e pensieri costituiscono un altro segmento della mostra In-finitum
Gli artisti in mostra
Molti sono gli artisti che si sono misurati con il tema dell’infinito, interpretandolo secondo concetti e rappresentazioni proprie della cultura di appartenenza. In mostra saranno presenti, tra le altre, opere di Giovanni Anselmo, Natvar Bhavsar, Pierre Bonnard, Berlinde de Bruyckere, Michael Borremans, Alberto Burri, Alexander Calder, Paul Cézanne, Antonio Canova, Eugène Delacroix, Ray & Charles Eames, Lucio Fontana, Adam Fuss, Giuseppe Gabellone, Francesco Hayez, Ann-Veronica Janssens, Anish Kapoor, Anselm Kiefer, Kimsooja, Yves Klein, Piero Manzoni, Brice Marden, Fausto Melotti, Mario Merz, Joan Mirò, Tatsuo Miyajima, Vic Muniz, Renato Nicolodi, Roman Opalka, Palagio Pelagi, Pablo Picasso, Otto Piene, Giovanni Battista Piranesi, Guido Reni, Gerhard Richter, George Romney, Thomas Ruff, Kazuo Shiraga, Ettore Spaletti, Vassilikis Takis, Diana Thater, Dirk Van De Len, Jef Verheyen, Rik Wouters, Gilberto Zorio … ma molteplici, quasi infiniti, saranno gli stimoli, gli accostamenti, le interazioni con esiti diversi del pensiero e del fare artistico di tutti i tempi e i continenti.
Axel Vervoordt, Daniela Ferretti, Giandomenico Romanelli e Francesco Poli, con il contributo di pensiero di molti amici colleghi.
La trilogia si conclude e si completa anche per quel che riguarda la produzione musicale: in occasione di In-finitum, Mireille Capelle realizzerà un nuova composizione, Sunyata., che si aggiunge ad Annello di se scritta per Artempo: Where Time Becomes Art e Naga per Academia: Qui es-tu?.
Il catalogo (MER Paper Kunsthalle, Ghent in collaborazione con Skira per la distribuzione in Italia) è pubblicato in edizione italiana, inglese e francese. É curato da Axel Vervoordt, con saggi di Francesco Poli, Giandomenico Romanelli, Eddi De Wolf e Norbert Jocks e un dialogo tra Axel Vervoordt e Tatsuro Miki. Il progetto grafico è dello Studio Luc Derycke. Un’edizione in brossura con saggi e immagini uscirà all’apertura della mostra; l’edizione cartonata con immagini in situ, alla fine di giugno. A fine mostra, e quindi all’ideale conclusione della trilogia, sarà disponibile un’edizione speciale in cofanetto, a tiratura limitata, con i tre Artempo: Where Time Becomes Art, Academia: Qui es-tu? e In-finitum i cd con le composizioni di Mireille Capelle.
Fondazione Musei Civici di Venezia |
25 April – 06 June 2009"
All Cretans are liars, said the Cretan
Curated by Jeanine Hofland
The title of this three-person exhibition All Cretans are liars, said the Cretan derives from the poem ‘Cretica’ written by the Cretan philosopher Epimenides of Knossos round 600 BC and is supposed to be the first discovered self-referential paradox in language. The title refers to the non-existing concept of this exhibition, as I try to emphasize the individual works of art in the context of the whole instead of contextualizing the presented artworks by thematic or formalistic similarities. The artists included in this exhibition: Melissa Gordon, Lieke Snellen and Nina Yuen have only been selected for the individual qualities of their works and coincidentally are part of the same exhibition.
Galerie Juliette Jongma
Lo Studio Guenzani presenta nella sede di via Eustachi, la mostra personale di Patrick Tuttofuoco dal titolo First Person Plural.
Inaugurazione 14 maggio 2009 dalle ore 18.
Il titolo della nuova mostra di Patrick Tuttofuoco, First Person Plural, è preso in prestito da quello del libro omonimo di Cameron West in cui l’autore ripercorre la vicenda che ha interrotto in modo brusco la sua vita di manager di successo, felicemente sposato e padre di un bambino: un giorno, senza un motivo apparente, comincia a comportarsi in modo strano e scopre che dentro di lui convivono diverse personalità, uomini e donne, bambini e adulti, alcuni aggressivi altri docili e gentili.
La convivenza di personalità plurime all’interno di un unico individuo non interessa all’artista dal punto di vista scientifico e tantomeno medico, è piuttosto il punto di partenza per indagare come logiche di gruppo possano agire all’interno di un unico individuo e come la loro compresenza agisca nel rapporto con la realtà.
Le precedenti mostre di Patrick Tuttofuoco sono nate spesso dalle sinergie di più persone che concorrono a immaginare un progetto, una scultura, un video. L’artista ha proiettato la sua ricerca e la sua energia verso l’esterno: la città, il viaggio, l’incontro con altri mezzi espressivi come l’architettura.
In questa mostra invece Tuttofuoco parte da una base più individuale, non fermandosi tuttavia a una semplice ricerca introspettiva ma facendosi affascinare da come la logica del gruppo possa agire all’interno del singolo.
Lo spazio della mostra si trasforma in un tracciato narrativo non lineare dove le opere funzionano quasi come dei flashback e dove lo spettatore è libero di muoversi.
Le forme che danno vita a questo percorso sono: il volto e la maschera, confine simbolico tra l’io e il mondo, scudo protettivo e cuneo attraverso cui la personalità cerca di mettersi in contatto con la realtà, e il corpo, o meglio alcuni riferimenti ad esso a rappresentarne la fisicità, l’anatomia.
Le opere in mostra rivelano una fattura più manuale del consueto, a testimonianza di un approccio alla scultura più diretto e fisico da parte dell’artista che riduce al minimo la lavorazione industriale delle opere in mostra pur rimanendo fedele a materiali come le plastiche, le resine o il vinile.
Patrick Tuttofuoco è nato Milano nel 1974. Vive a Berlino.
La mostra prosegue fino al 30 luglio 2009
Per ulteriori informazioni contattare la galleria
"Urban China: Informal Cities is an exhibition that explores the dynamic and innovative content of Urban China, the only magazine published in China devoted to issues of urbanism. The magazine’s global, cross-disciplinary network of correspondents and collaborators merge rigorous methods of data collection and analysis of rapidly developing cities in China with witty graphic representations of their findings. This installation will include a built environment of reclaimed construction materials; a massive wall graphic combining photographs, found images, numerical data, and maps; a Flash-based, user-navigable database of photographs; and a selected collection of past issues of Urban China magazine."
Urban China: Informal Cities - Exhibitions - Hammer Museum
A New Spirit in Lasagnas is an exposure in three shutters (WET DOCK, Geneva; CIRCUIT, Lausanne and NEW JERSEYY, Basle) of very young artists coming from all Switzerland, living and working between Geneva and Lausanne. Some are autodidacts, others are still with the school or coldly graduates, for the majority of the department of painting/drawing of the HEAD in Geneva, where I have taught under the aegis of Peter Roesch and Caroline Bachman for a few years.
Effect of generation: contrary to their elder immediate, the majority of these artists do not fit in a filiation related to the history of the abstraction which, since nearly twenty years - from Neuchâtel in Paris, from Geneva in New York, via Lausanne - A governs the reception of French art, both in Switzerland and abroad. Although I personally would be very attached to this family operation ("but which holds the store? "), I thinks that finally, this model with perhaps lived, perhaps quite simply because we deal here with generation of truly international Swiss artists, at the origins Peruvian, Syrian, Japanese, American, Spanish, Colombian, etc.
The title of the exposure is supposed to point out a famous exposure of figurative paintings which took place in Royal Academy in London in 1981, and is the slogan of a front of Italian restaurant seen with Nagoya on September 11, 2001. The poster of the exposure was carried out by Kim Seob Boninsegni, an artist and police chief of exposure which was the first to expose many artists here present.
Independent Collectors is about making these accessible to everyone eager to share. We want to compile the perfect set of tools that we think all collectors should have at their disposal, whether they are new to collecting or experts: instinct, information and contacts.
ACTING OUT: SOCIAL EXPERIMENTS IN VIDEO
March 18 - Oct. 18, 2009
In an all-video exhibition opening this March, The Institute of Contemporary Art/Boston introduces a new generation of artists—Yael Bartana, Johanna Billing, Phil Collins, Javier Téllez, and Artur Zmijewski—exploring the expressive potential of social experiment, where the impromptu actions of people are captured to surprisingly powerful effect. In their videos, the artists engage non-actors in situations that allow unscripted actions and emotions to unfold. Facing physical challenges, disparate political ideals, or high-stakes competition, the participants' reactions highlight the forces of isolation, connection, and friction that shape our lives today. Acting Out: Social Experiments in Video is on view at the ICA from March 18 to Oct. 18, 2009.
"Since video's rise in the late 1960s, the ICA has had a history of marking new trends in the medium," says Jill Mevedow, Director of the ICA. "Acting Out offers a timely group of artworks in which artists, in concert with real people, reveal profound, important, and disturbing aspects of the social condition."
"The artists' unique approach cedes some artistic control to the participants so that their natural reactions and social chemistry can come forward as a powerfully expressive medium," says Jen Mergel, Associate Curator at the ICA. "By staging provocative and poignant scenarios, the artists capture the participants' explosive outbursts or more passive gestures. These acute emotions are highlighted and intensified by audio, visual, or rhythmic cues in the video."
In Wild Seeds (2005), Yael Bartana (b. 1970, Israel) records Israeli teens in a game, first playful, then unsettling, in which "police" pull "settlers" from a clinging group. The escalating hostility of action and dialogue—translated into English on a separate screen—echo the conflicted sentiments in the Occupied Territories.
Johanna Billing's (b. 1973, Sweden) work Magical World (2005) presents Croatian children rehearsing an American song. The fragile melancholy and optimism in the song, coupled with the children's struggle with a new language, evoke their country's efforts to adopt Western ideals.
Phil Collins's (b. 1970, England) video entitled he who laughs last laughs longest (2006) highlights the hysteria of televised competition. In a contest to see who can laugh longest, set in the small Scottish town where television was born, laughter is transformed from a natural and personal expression of release into an exhausting, defeating performance.
In Letter on the Blind, for the Use of Those Who See (2007), Javier Téllez (b. 1969, Venezuela) invites a group of blind people to touch and share their perceptions of a live elephant. Inspired by the Indian parable "The Blind Men and the Elephant," Tellez updates the ancient narrative's lesson that every being experiences the same thing in a unique way.
Artur Zmijewski (b. 1966, Poland) organizes a workshop in which social activists create and desecrate each other's symbols of belief. THEM (SIE) (2007) presents groups of nationalist Polish youth, conservative Catholics, leftist socialists, and Jewish activists who actively and aggressively negotiate, fight, or ultimately withdraw from the exchange in ways that echo the successes and failures of diplomacy.
ICA Home | Acting Out: Social Experiments in Video
Opening on Sunday, May 3rd, Miguel Abreu Gallery is pleased to present Tilt/Swing, Liz Deschenes’ second solo exhibition at the gallery.
By arranging six large, camera-less photograms into the loose configuration of a shallow portal, Deschenes materializes Herbert Bayer’s diagram of 360° field of vision from 1935. Bayer’s ring, formed by empty rectangular surfaces, construes an “inclusive picture of all [viewpoint] possibilities.”1 In the center of the ring, the eye’s liberated lens floats freely above the body but remains tightly wreathed in a penumbra of vantages.
Deschenes fills Bayer’s empty panels with empty photographs – photograms evacuated of all representational content. By exposing photosensitive paper to the darkness of night and bringing the sheets back indoors before sunrise to fix them with silver toner, she produces a range of slightly reflective sheens. The photogram circumvents the responsibility of figurative depiction in favor of temporal record. The photographic moment has passed, but the possibility for another image begins, or continues. The passersby may scan the slippery surface, detecting their own cloudy features. Although out-of-focus and incomplete, we are pictured. The resulting image,
more absorptive than reflective, is fleeting. As the exhibition proceeds, the atmospheric circumstances will tend to slightly oxidize the photograms’ surfaces, manifesting a third, time based material operation.
Transforming Bayer’s diagram into architectural plan, Deschenes sublimates the camera’s tilt/swing by covering the lens and producing camera-less photographic objects. This latent tilt/swing then re-emerges in the dynamic angling of the panels that refract the viewer’s wanderings. The various sizes of these reflective photograms adhere to the human scale of Bayer’s 5-foot tall line of sight. The spatial approximation ends there, however, as Deschenes expands the interstices of Bayer’s diagram to incorporate rather than veil her architectural surroundings. New perspectives of the gallery emerge between and around the suspended panels. A reflection is never fully separate from the space of the room or the duration of the viewer’s vision. Without human intervention the ensemble calcifies into a sculpture that endlessly looks back onto itself. It is the tilt and swing of the viewer’s body – not the absent camera – that allows the photographic panels to receive an image.
While this recent emanation of Deschenes’ Photographs series actively engages architecture, the most conspicuous reference for her ongoing body of work would be John Szarkowski’s 1978 exhibition, Mirrors and Windows: American Photography since 1960. The tie between her literalization of his title expedites a satisfactorily symbolic interpretation, but it occludes the economy with which Deschenes addresses Szarkowski as a means for citing Bayer.
In the exhibition catalogue for Mirrors and Windows Szarkowski states: “There is a fundamental dichotomy in contemporary photography between those who think of photography as a means of self-expression and those who think of it as a method of exploration.”2 The first description applies to the mirror while the second refers to
the window; introspection and extroversion comprise the two furthest points on this scopic spectrum. When hung individually on a wall, Deschenes’ Photographs function as foggy mirrors, and in a wry rhetorical twist upon Szarkowski’s definition it is the viewer’s introspection, rather than the photographer’s, that the dulled surfaces refuse to fully deliver.
Meanwhile, the interstitial non-photographic space, framed between ‘mirrors,’ forms a ‘window’ into the surrounding site. The successive vacillation between the ‘mirrors’ and ‘windows’ invites the viewers to associate their reflections with a specific context. This opening into the surrounding space is like a stone skipping across the narcissistic reflecting pool of the ‘mirror.’
In all fairness to Szarkowski, these photographic objects never intended to reference the 1970s ‘me’ generation of self-expression that followed the exploratory mass movements of the 1960s. Nor is this work interested in faithfully replicating Bayer’s Bauhaus aims for clarity, efficiency, and didacticism.
As a pendant to this camera-less investigation, Deschenes presents us with an unexpected counterpart.
Comparatively small in scale, a representational black and white photograph renders a non-representational photogram. Captured obliquely from the left side, we see a slice of projected light spill over the edge of a framed sheet of white. Inside the frame hangs a piece of emulsified paper that has been developed in the darkroom.
Without ever being touched by light, this photogram elides all possibility for exposure and approaches only the barest definition of a photograph.
As if only surfacing for air, Deschenes’ camera makes an uncanny return to render two essential components of the analog image: paper and light. By re-establishing the documentary mode to bring forth the proximity of these dis-entangled elements, she self-consciously documents the option to dispense with depiction. The reintroduction of the camera is, in effect, a fleeting reappearance of the photographer – her lens, her eye and her point of view.
Deschenes delves into the dominant conditions of seeing by returning to a specific historical precedent. Like Bayer, Moholy-Nagy and El Lissitzky, she instrumentalizes photography as a tool for liberating vision. But in sharp contrast to Bauhaus photography and our current landscape of the ubiquitous screen, her gesture does not compress space, architecture, and time. Instead of dictating views, she refuses enclosure and empties the screen.
The only information viewers might walk away with is a reintroduction to their own bodies in time and space. We may say that this work de-compresses time and space in order to invent it anew.
In a collaborative project with Gaylen Gerber opening on May 16th, Liz Deschenes will be included in The Art Institute of Chicago’s Modern Wing Inaugural Installation of Contemporary Photography, curated by Matthew Witkovski. In early June, she will participate in Art|40|Basel – Premiere in an exhibition alongside R. H. Quaytman with Miguel Abreu Gallery.
MIGUEL ABREU GALLERY
pachube :: connecting environments, patching the planet: "Pachube, a service that enables you to connect, tag and share real time sensor data from objects, devices, buildings and environments around the world. The key aim is to facilitate interaction between remote environments, both physical and virtual."
The world that surrounds us is full of signs and messages – traces of the world that contemporary art makes use of by copying, recycling, sampling and commenting on them. Traces can be found near and far: on the human body, in advertising images, on cereal packets and in the urban space. The traces can be physical imprints, visible signs, actions or memory traces. Some of the traces are left consciously, others are accidental. The one thing shared by the traces in the exhibition's works is that they transmit as well as shape our idea of ourselves and of the world. They are about life and the need for interaction.
Ankara Design Days will gather designers, academic staff and fine art students with workshops, exhibitions and debates. ADD is the only design related organisation that Ankara has and it is beginning to make Ankara an important center for designers in Turkey. ADD'09 is a gathering which is open to every category of visual design, combining all the techniques and creative ideas.
Ankara Tasarım Gunleri
Pervasive 2009: "Pervasive 2009, the Seventh International Conference on Pervasive Computing, will be held May 11-14, 2009 in Nara, Japan.
This annual conference is the premier forum for researchers to present their latest results in all areas related to architecture, design, implementation, application and evaluation of pervasive computing.
Pervasive 2009 will include a highly selective single-track program for technical papers, accompanied by late-breaking result posters, videos, demonstrations, workshops, a doctoral colloquium and other events."
The IVDC is the first and only Italian videogame developers National Congress, annual official summit of the Italian Videogame Developers Association in Confindustria, the national employers’ federation. Organized by AIOMI, the Italian Interactive Multimedia Association and Videogame Culture Association, the IVDC will be held in the main lecture hall of the IULM University in Milan, and is directed by Marco Accordi Rickards (chairman) and Raoul Carbone.
The IVDC is a two-day event, totally free to attend and with a service of simultaneous translation from Italian into English. It’s completely dedicated to the Italian and international game development and it will be an important place where the most important people in the field and who would like to work in the videogame industry can meet and exchange knowledge, instruments and techniques.
The IVDC is supported by the most important Italian and international events, associations and leading media companies in the field, like the Italian Videogame Developers Association in Confindustria, IULM, IGDA Education SIG, The Art of Games, Game Developers Conference China, Dubai World Game Expo, Cartoons on the Bay (Rai Trade), Indie Vault, Game Programming Italia.
The IVDC programme will include speeches from all the Italian game developers: 7th Sense, Adventure Productions, Artematica, Black Sheep Studios, DigitalFun, EVE Interactive Studios, Frame Studios, Idra Editing, Imagimotion, Kalicanthus, Milestone, Pix Rev, PM Studios, Raylight, SpinVector, Twelve and Virtual Identity. In addition, there will be also many international guests and publishers. Independent developers will be welcome, thanks to a particular section of the conference, organized with the help of Indie Vault and Game Programming Italia.
Italian Videogame Developers Conference 2009: October 8-9, Milan
Third International Conference on the Histories of Media Art, Science and Technology
Melbourne 26-29 November 2009
Call For Papers – Deadline 19th December 2008
Third International Conference on the Histories of Media Art, Science and Technology.The next iteration of the Media Art History conference is Re:live which is to be held in Melbourne, Victoria in 2009. The event follows the success of the two previous Media Art History conferences, re:fresh (Banff 2005) and re:place (Berlin 2007). The conference series is an initiative of Leonardo/ISAST (International Society for Art, Science and Technology) whose International Advisory Committee will publicise the event and referee papers.
In developing the Re:live conference, we have established a national committee, to promote awareness and interest in the event across Australia. This committee is comprised of individuals who can drive forward these newer connections and reconnect with the ongoing themes established by the ‘re’ conferences. Australia provides an excellent geographic, geopolitical and geocultural space for hosting this conference. It connects regionally with both Asian and Pacific cultures and the ongoing exchange of media arts between, northern and southern hemispheres.
Nordes – Nordic Design Research – is a network of people interested in design research and participating in the Nordes conferences, the Nordes Summer schools or other Nordes activities. Nordes is an open network that started with the first Nordic Design Research Conference in Copenhagen 2005. In addition to organising the bi-annual Nordes conferences and Summer schools Nordes promotes the publication and dissemination of design research through the Nordes Digital Archive. The Nordes board is responsible for the program of the upcoming conference and also for all activities between conferences. The board consists of people from all Nordic countries, elected at each Nordes conference. The next Nordes conference – Engaging Artefacts – will be held in Oslo in 2009.
The third Nordic Design Research Conference, NORDES’09: Engaging Artefacts will take place in Oslo, Norway, from 30 August to 1 September 2009 and will be hosted by The Oslo School of Architecture and Design, AHO, in collaboration with The University of Oslo. The program includes paper presentations, workshops, tutorials, design cases, an exhibition, a doctoral consortium as well as lively social gatherings.
Keynotes: Lizbeth Goodman (founder and director of SMARTlab Digital Media Institute and the MAGIC Multimedia & Games Innovation Centre, Gamelab and PLAYroom), Mark Cameron Burry (director of Spatial Information Architecture Laboratory (SIAL) at RMIT, Melbourne, Australia) and Lavrans Løvlie (founding member of Livework). For further details, see the conference program.
Design research aims to provide new insights to the ways in which we understand – and do – design. The scope of the conference reaches beyond the traditional design disciplines and includes other research areas with mutual interest in design research and engaging artefacts. NORDES ‘09 directs its interest towards the diversity, challenges and emerging practices and understandings of design. The conference theme reflects a range of issues that characterize design and design research today.
"Garrett Phelan - The Last Broadcast Revelations"
In a possible mythology of the avian world, the Mynah bird stands alone, possessing the capacity to go beyond mere mimickery and the imitation of human speech. It is suggested that unlike other simple talking birds, the Mynah does not just mindlessly repeat sounds, but instead is capable of achieving unique modulations of syntax and inventive sentence constructions. If Mynahs can say new, unheard and unrepeated things, might they - presumably - think and reason too? This proposed folkloric belief in the Mynah’s extraordinary capacities and intelligence makes it both revered and feared – it is a shadowy and potentially dangerous bird talking to us from another realm, a world free of human vice and corruption. Garrett Phelan binds this avian meta-mythology to the core of his new body of work, The Last Broadcast Revelations, casting the Mynah bird in the role of a dark prophet with worrying access to the tools of propaganda, the radio broadcast and printed word. The bird alternates from the voice of darkness to the voice of hope, from a seer of devastation to the prophet of possibility.
Phelan’s preferred artistic method of communication and information dissemination (echoed in his creation of the thinking, talking Mynah) is famously the radio broadcast, he is perhaps best known for his now legendary Black Brain Radio (2005). In an insightful text on this project (www.garrettphelan.com), Sarah Piece’s citation of Marshall McLuhan underscores Phelan’s manipulation of medium’s potential for both intimacy and anonymity, truth and misinformation:
“Radio is provided with its cloak of invisibility... It comes to us ostensibly with person-to-person directness that is private and intimate, while in more urgent fact, it is really a subliminal echo chamber of magical power to touch remote and forgotten chords.”
Frequently in the guise of a naturalist or radio broadcaster, and in this instance through the voice of an alter-ego Mynah bird, Phelan constructs convincingly realistic narratives, through sculptural sound works, animations, drawings, and zines that parody our experience of the (re)presentation of the real, and our physical engagement with the natural world. The Last Broadcast Revelations is the third and final chapter in a trilogy of such projects through which he has explored concerns regarding our failure to behave as responsible members of what he describes as the “Natural World Community”. Like the pervasively familiar voice of the radio host, Phelan seamlessly weaves himself, visibly or invisibly, through his narratives, presenting at times outrageous inventions with such deadpan earnestness that they seem more like factual recitation than purposeful storytelling or polemic artworks. This carefully nuanced handling pulls his projects out of the quagmire of agit-prop and through his interdisciplinary process, we begin to understand his work, not merely as a didactic narrative, but rather a complex commentary upon trust: an exploration of ‘faith’ in the truth of an earnestly proposed idea, testimony or autobiography.
Phelan has participated in major international projects including Manifesta 5, San Sebastian; Art Statements:Art Basel 39, and is currently part of the Hayward Touring exhibition, The End of the Line. His works are in the collection of The Stedelijk Museum, Amsterdam, The Arts Council / An Chomhairle Ealaíon, the Irish Museum of Modern Art and numerous private collections.
mother's tankstation - Contemporary Art Gallery, Watling Street, Dublin 8, Ireland
Drogheda Arts Festival returns to the banks of the Boyne for six days of the finest in performances, readings, exhibitions, workshops and fun. From the 29th of April to the 4th of May, Drogheda becomes the arts capital of Ireland, with an exciting line-up of local, national, and international artists. Drogheda Arts Festival is a wonderful opportunity to dip your toe into the wide world of creativity, offering the well-known and well-loved alongside the unknown and the soon-to-be-loved.
Drogheda Arts Festival
New Media Meeting is an annual international media art festival taking place in Norrköping, Sweden. The festival premiered in 2006 and is devoted to innovative works and projects in electronic art, media, music and visualization. In only three years NMM has become one of the most important media festivals in the Nordic Region – attracting an impressive line-up of renowned and upcoming international artists on the Media art and electronic music scene.
"New Media Meeting 2009 will take place on the 28 - 30 May."
New Media Meeting
Beatriz Herraez – curator of Centro Cultural Montehermoso Kulturunea (Vitoria-Gasteiz, Spain) – gives a lecture in Kitchen Budapest on 4 May 2009 at 6pm about the goals of a contemporary art centre in the Basque capital, as well as her recent projects.
The lecture will reflect some aspects of Montehermoso Kulturunea program; including the exhibitions, seminars, publications and research lines developed since 2008. Focusing on the different strategies elaborated by the structure, this talk will attempt to contextualize an art project based in the capital city of Basque country (Spain) and the simultaneous dialogues it establishes with different “scenes”, in terms of contemporary art practices. Trough some concrete artists and projects, the lecture will describe the complexity of Spanish/Basque contemporary art scene and its relationships with a broader international context, inscribed in the political and social transformation process which occurred during the last two decades in the territory.
Beatriz Herraez (b.1974, Spain) is an art historian and the curator of the program of Centro Cultural Montehermoso Kulturunea (Vitoria-Gasteiz, Spain) – an art centre defined as a space for the production and exhibition of contemporary art, which stands out the policy of implementation of gender equality. Among her recent shows: rendez-vous nowhere (Montehermoso, Spain, 2008); Soy el final de la reproducción (Sculpture Center, New York, 2008; castillo/corrales, Paris, 2007). She has been co-director of Las Jornadas de Estudio de la Imagen (an annual seminar on image study) in Madrid from 2005 to 2008.
Check in Budapest 9. - Beatriz Herraez lecture | Kitchen
On Friday May 8th through Sunday May 10th 2009, the IMA Spring Show: Medium of Exchange — the seventh annual showcase of Hunter College’s MFA in Integrated Media Arts program (IMA-MFA)—will open in Hunter College’s Black Box Gallery. This year, the three-day exhibit will highlight the body of video and new media art, including documentary and experimental video, installation, performance, interactive, and web-based art, produced by students of the IMA-MFA program.
This year’s theme, Medium of Exchange, refers to the exchange of ideas, theories, social commentary, and the underlying spirit that drives the artistic production and practice of the students and faculty in the IMA-MFA program.
The Digital Arts and New Media MFA program at UC Santa Cruz will present the work of ten graduate students in a two-part exhibition at The Museum of Art & History in downtown Santa Cruz. Entitled interACTIVATE, this UCSC DANM MFA presentation is the culmination of two years of research and artistic exploration into digital media art and its social impact. The show includes new media works that explore performativity, interactivity, participation and politics. These works probe the interplay of private and public space as they interrogate the borderlands, edges, and contested territories of contemporary new media art practice.
The UC Santa Cruz Digital Arts and New Media (DANM) MFA Program is a center for the development and study of digital media arts and the cultures they help shape. This intensive two-year MFA program brings together faculty and students from across the academic spectrum to study and create interdisciplinary artistic and scholarly research. Students take core and elective courses in the practice and theory of digital media arts, and participate in collaborative research in one of four areas: Mechatronics, Participatory Culture, Performative Technologies, or Playable Media. The DANM journey culminates in the development of individual or collaborative thesis projects, premiered in our annual MFA exhibition. The MFA degree in Digital Arts and New Media qualifies graduates for a variety of art-related careers including university-level teaching and research.
DANM - mfa Exhibition 2009 / Artist Information