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.
Google technologie a architektura
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:
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
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
"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 – 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."
"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
· 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
“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
curated by Lorenzo Giusti and Valentina Gensini
Green Platform takes a complex critical view designed to examine at stake in an interdisciplinary fashion the issue of the environment in the dual sense of a crisis in our thermo-industrial society based on non-renewable sources of energy and of an ecological crisis caused by pollution and by the worrying overheating of our planet. The problem of ecology cannot be confined merely to an environmental approach, it needs to be analyzed and understood in its myriad philosophical, psychological, environmental, economic and social implications. Thus ecology is no longer defined solely as a natural science but as a science of interrelations, confines and cross-border osmosis, the focal link in the partnership between nature and culture.
read all http://www.strozzina.org/greenplatform/e_index.php
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.
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.
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
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
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.”
The Big Kiss in Ljubljana - Intima Virtual Base
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.
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.
Mivos String Quartet and the CNS Symphony Orchestra play works by Tony Conrad and Luke Dubois + Dave Soldier and Brad Garton - ISSUE Project Room
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