MILANO IN DIGITALE 2009 PRESENTA: Editing the future
GIOVEDì 22 ottobre 2009 – ore 14.30- 19.00
Palazzo Affari ai Giureconsulti, Piazza Mercanti 2, Milano
a cura di Cristina Trivellin e Martina Coletti
Giovedì 22 ottobre, presso Palazzo Affari ai Giureconsulti di Milano, verrà presentato al pubblico Editing the future, progetto promosso dalla Fondazione D’Ars Oscar Signorini onlus con il Patrocinio dell’Assessorato al Tempo Libero del Comune di Milano,in collaborazione con il CASVA - Centro di Alti Studi sulle Arti Visive del Comune di Milano e con il sostegno del Forum Net Economy (Camera di Commercio di Milano, Provincia di Milano, Innovhub).
L’iniziativa è un’evoluzione della piattaforma Milano in digitale, che nasce nel 2006 come concorso rivolto ai giovani artisti che lavorano con le nuove tecnologie, promosso dalla Fondazione D’Ars Oscar Signorini onlus e sostenuto dall’Assessorato al Tempo Libero del Comune di Milano. Con la nuova sezione Editing the Future siintende valorizzare l’aspetto teorico e l’indagine speculativa del rapporto arte-nuove tecnologie premiando, con una pubblicazione che sarà edita dal CASVA, sei tesi di laurea svolte sull’argomento in questione. Per questo Milano in Digitale ha chiesto ai maggiori specialisti del settore di individuare presso le Accademie e le Università in cui insegnano, le ricerche più interessanti degli studenti che si sono laureati, dal 2006 ad oggi, su argomenti riguardanti la New Media Art.
In quale modo e in che termini la tecnologia e le scoperte scientifiche stanno influenzando la società e la cultura contemporanee, di che tipo è e sarà la comunicazione del nostro prossimo futuro, sono le domande alle quali si vuole cercare di dare una risposta attraverso le ricerche dei giovani studiosi e una Giornata di incontri con soggetti provenienti da esperienze diverse.
Partendo dalla rete di scambi e collaborazioni con importanti studiosi e artisti, creata negli anni dalle attività culturali della Fondazione D’Ars, dalla rivista D’Ars e dal concorso Milano in Digitale, l’iniziativa in questione completa il senso di un percorso dedicato alla promozione della cultura contemporanea e propone uno sguardo curioso e attento sui giovani, impegnati non solo nella pratica artistica, ma anche nella ricerca, nella sperimentazione e nello studio delle forme d’arte che indagano e riflettono sui nuovi volti della nostra metamorfica società.
La Giornata del 22 ottobre 2009 sarà dedicata alla presentazione delle tesi di laurea selezionate, da parte del gruppo di studenti provenienti da diversi atenei e accademie italiane. A seguire, i tutor chiamati a segnalare gli studenti partecipanti, animeranno la Tavola rotonda nella quale verranno approfonditi e dibattuti gli argomenti emersi dalle tesi. L’evento conterà sulla presenza di Antonio Caronia, Francesco Monico, Pier Luigi Capucci, Valentina Tanni, Paolo Rosa, Tommaso Tozzi. Oltre alle tesi segnalate dai tutor ve ne sarà una scelta tra i candidati di TESICAMP ( www.tesicamp.org), altro progetto sostenuto dal Forum Net Economy.
Sarà dato inoltre spazio alla presentazione di un case history, l’esperienza dell’azienda Epson che da sempre promuove e sostiene l’arte contemporanea, mettendo a disposizione degli artisti la sua esperienza nel campo della tecnologia.
L’intera manifestazione potrà essere seguita anche in streaming dal sito www.milanoindigitale.it e www.formeeting.it grazie alla collaborazione con Virtual Valley srl.
MILANO IN DIGITALE - arte elettronica, arte digitale, software art, net art, installazioni interattive, arte contemporanea, installazioni, convegni arte elettronica, eventi arte elettronica, eventi arte digitale, concorsi arte digitale, concorsi arte elettronica,
MILANO IN DIGITALE 2009 PRESENTA: Editing the future
Presentación en Barcelona del libro de Pere Salabert El cuerpo es el sueño de la razón y la inspiración una serpiente enfurecida. Marcel•lí Antúnez Roca: cara y contracara, publicado por el CENDEAC.
El próximo jueves 15 de octubre a las 18:30 horas, se presentará en el Centre de Cultura Contemporània de Barcelona la obra de Pere Salabert publicada por el CENDEAC.
Intervendrá Pere Salabert acompañado de Marcel•lí Antúnez (artista), Pilar Parcerisas (historiadora y crítica de arte, presidenta de la Associació Catalana de Crítics d’Art) y Enza Appiani (presidenta de “Invenció psicoanalítica”, Associació-Escola de Psicoanàlisi de Barcelona).
Modera: Laia Manonellas, Profesora asociada, UB.
Facebook | Presentacion "El cuerpo... Marcel•li' Antùnez Roca: cara y contracara"
FAT Lab presentation & Artzilla “Skate the Web” opening / Oct 31st.
SATURDAY, OCTOBER 31st 2009, 8pm at BETAHAUS Berlin, Prinzessinnenstrasse 19-20, directly at Moritzplatz.
On our Upgrade! Helloween edition Aram Bartholl and Tobias Leingruber will present The Free Art and Technology (F.A.T.) Lab.
FAT Lab is an organization dedicated to enriching the public domain through the research and development of creative technologies and media. Release early, often and with rap music. This is Notorious R&D. The entire FAT network of artists, engineers, scientists, lawyers, musicians and Bornas are committed to supporting open values and the public domain through the use of emerging open licenses, support for open entrepreneurship and the admonishment of secrecy, copyright monopolies and patents.
FAT Lab is nominated for the Transmediale award 2010.
Aram Bartholl and Tobias Leingruber are both members of the FAT Lab collective and will talk about their own artistic practice, too.
On the same night Tobias Leingruber will present Artzilla.org including the opening of his “Skate The Web” solo show at Betahaus.
Artzilla.org is dedicated to the development of experimental browser software. The platform collects and exhibits creative works, shares code and tutorials, and publishs news from the scene.
Internet artists, street artists and skateboarders are using public architecture in ways, the creators didn’t expect it to be used. Artzilla.org is a collection of browser modifications which challenge our online society by pointing out cultural clashes, remixing existing structures in uncommon ways, and using public online services to create art work. Let’s SKATE THE WEB!
Artzilla was presented at WORM Rotterdam and ROFL-Con New York.
Aram has been working in Berlin since 1995. In his art work he thematizes the relationships between net data space and every day life. “In which form does the network data world manifest itself in our everyday life? What returns from cyberspace into physical space? How do digital innovations influence our everyday actions?” His artworks have been shown at international art festivals such as Ars Electronica, Transmediale Berlin and Futuresonic Manchester. He has also participated in exhibitions at TENT Niederlande, VOORUIT Belgium, Eyebeam New York, Enemy Gallery Chicago, Total Museum of Contemporary Art Seoul, Australian Centre for Photography Sydney, eARTS Shanghai, LABORAL Spanien and Videotage Hong Kong. Aram Bartholl has presented his work in more than 30 lectures and workshops at conferences and universities.
More about Aram’s work can be found here: http://www.datenform.de
Tobias is a diploma student at the New Media programm of the Merz Akademie in Stuttgart (Germany). He is a designer and programmer, in love with the internet - It’s culture, technologys and endless creative possibilities. In 2008 he spent one semester at the Eyebeam Art & Technology Center in New York. Tobias is part of the artist collective Free Art and Technology Lab ( F.A.T. Lab) and he used to hang out as an Intern at the Rocketboom internet video start up. He did an exchange semester at the Piet Zwart Institute for Media Design MA in Rotterdam, and he is a scholarship student of the German Student Foundation. At the moment Tobias is travelling with his latest project artzilla.org, a platform for experimental browser software.
And here is more information on Tobias: http://tobi-x.com/
About Betahaus Berlin:
Betahaus Berlin will host this event. Betahaus is a unique place dedicated for creative people and new ways of collaboration. Active since 6 months only, the Betahaus team around Christoph Fahle and Tonia Welter have already managed to create a place which is alive and kicking.
Come and see for yourself. http://www.betahaus.de/
About the program of the evening:
20:00 Upgrade Welcome
20:15 Presentation “Release early, often and w/ Rap Music” by FAT Lab (Aram Bartholl, Tobias Leingruber, Evan Roth (Skype))
21:00 Presentation “Skate the Web” by Tobias Leingruber + Jamie Wilkinson (Skype)
21:30 Schmuse’n'Booze with FAT Tunes (presented by DJ TBX)
Facebook | Upgrade! Berlin Helloween with FAT Lab & Artzilla!
Più di 1000 sono le opere iscritte a sole due settimane dalla chiusura del bando della seconda edizione del Premio Terna per l’Arte Contemporanea, curato da Gianluca Marziani e Cristiana Collu.
Un dato in forte accelerazione: oltre duecento, infatti, sono le opere iscritte solo nell’ultima settimana a dimostrazione del fermento artistico nel nostro Paese. Opere interessanti, originali e di alta qualità che testimoniano l’attenzione degli artisti al progetto di Terna.
TERNA 02 - Home
Un fitto palinsesto di eventi esalterà la vocazione culturale di Milano
Tra i più interessanti vi saranno la mostra “R.S.V.P. 1.000 inviti di moda, arte e design” alla DesignLibrary (via Savona, 11), l’apertura del Museo Kartell sabato 24 ottobre dalle 14.00 alle 18.00 (viale delle Industrie, 3 servizio di navette gratuito dal Kartell Flagship Store di via Turati ore 14.00 e 16.00), l’omaggio al Premio Compasso d’Oro presso La Rinascente venerdì 23 ottobre alle 19.00 e l’inaugurazione dell’Archivio Giovanni Sacchi presso lo Spazio Mil (Sesto San Giovanni) venerdì 23 ottobre alle 18.00.
KOEN VANMECHELEN: Cosmopolitan Chicken Project (DC)
November 7 - December 31, 2009
Conner Contemporary Art is pleased to announce Koen Vanmechelen's Cosmopolitan Chicken Project (DC) .This is the first solo exhibition in a U.S. gallery by the celebrated Belgian conceptual artist, who is currently exhibiting in two official 53rd Venice Biennale collateral exhibitions and in the 3rd Moscow Biennial.
Featuring live chickens, the exhibition also includes taxidermy and blown-glass sculptures, video, and photography, as well as drawings and paintings in tempera made from eggs laid by chickens bred by the artist. In his ongoing global enterprise, The Cosmopolitan Chicken Project, Vanmechelen is systematically crossing all breeds of chickens to create a world-mongrel chicken. His premise is that each country/region selectively cultivated a breed of chicken expressing its cultural identity. The artist seeks to reinvigorate the species with genetic integrity which centuries of domestication and inbreeding have diminished. His initiative poses ethical questions regarding genetic engineering, globalization, and individuality, while advocating the role of artists in promoting communication and interaction across many types of boundaries, between geographical areas, races, cultures, ideologies, and professional disciplines, such as art and science.
Rebirth is the theme of Vanmechelen's D.C. exhibition, as he explains, "The whole world is trying to be reborn." The artist describes this show as "a call to America to adopt a lost generation" of chickens, which he cross-bred while the birds were "in exile" from the U.S. Seven years ago, he had planned to cross, on U.S. soil, a Mechelse Redcap rooster (descended from his crossing of the male progeny of a Belgian Mechelse Koekoek rooster and a French Poulet de Bresse hen with an English Redcap hen) with an American Jersey Giant hen. In the wake of the Sept. 11th attacks, he was unable to import live birds into the U.S., so, in 2002, he bred the Mechelse Giants in Belgium. Since then, Vanmechelen has achieved crossings with several additional breeds in various countries, moving his project into its 13th generation. Yet, he considers the separation of the 4th generation of Mechelse Giants from the U.S. to represent a profound rupture, which this exhibition will symbolically reconcile. Vanmechelen feels now to be "the right moment to move forward by integrating the American audience, with its own diversity and a newly-elected president," into his cross-cultural experiment
Conner Contemporary Art
Like the Spice is pleased to present Dean Goelz: Beaded Curtain, an exhibition of the artist's astoundingly magical works on paper and panel. Composed of fractal accretions of meticulously placed shiny white dots and tightly rendered faces and hands, the figures in Goelz's works seem to manifest themselves face first from nothingness.
Despite their delicate limbo, each figure is endowed with a strikingly detailed specificity. You can read the history of the characters between the fine lines of their faces and see the individual particularities of their dance-like gestures. These figures are very much a product of time. They exist in nothingness but came from a more solid world. This focus, however, does not mark the works as portraits; they are actually more archetypical and emotional than they are illustrative. Each character seems at once to be an individual and an everyman or everywoman.
Alone amid the void of unmarked backgrounds, each figure is left to struggle with their place. Orienting in nothingness leaves no choice but to look inward, living an ascetic silence. This stillness is reflected in the artist’s meditative approach to his gruelingly controlled and repetitive process. The time taken to complete each work requires a patience and love like that of a longtime relationship, committed, complex and mundanely miraculous. The web-like networks of dots, slowly unfurling over time, mark the hours of a life lived in art.
Dean Goelz graduated from The Maryland Institute College of Art in 2001. His work has shown nationally and internationally and is included in private collections in the US, France, and the Czech Republic. He lives and works in Williamsburg, Brooklyn. This will be Dean Goelz's second solo show at Like the Spice
Like the Spice | 2009
Within a new multi-site location situated in the East End, the producers of Zoo Art Fair present Zoo 2009. An event that takes on an adapted structure, bringing together over 50 contemporary arts organisations and practitioners, through a series of exhibitions, solo shows and stand presentations. These include specially curated exhibitions by Rob Tufnell, Studio Voltaire, FormContent and LUX; solo shows by winner of the 2008 Champagne Perrier-Jouët Prize – Scoli Acosta and winner of the 2008 John Jones Art on Paper Award – Clunie Reid; as well as 25 stand presentations and 14 solo work statements by young international arts galleries and project spaces. In addition the event presents a new section selling artists’ editions and multiples from major private and public institutions. Bringing together all elements of the event, the Zoo 2009 Catalogue – a special full-colour publication – will be kindly sponsored by Hallett Independent.
This year, Zoo 2009 will produce an East End Map, highlighting over 60 contemporary art organisations within a 2 mile distance of Zoo 2009. Representing all types, from emerging to established, public to private, commercial to non-commercial spaces, it will offer visitors a unique insight into the richness of what is known to be Europe’s largest cultural quarter.
Zoo Art Enterprises
The Anarchy of Silence. John Cage and Experimental Art
23/10/2009 - 10/01/2010 MACBA [Plaça dels Àngels, 1 08001 Barcelona 93 412 08 10]
His name is highly familiar, but his work not widely or well known. John Cage (1912-92) defined such a radical practice of musical composition that he changed the course of modern music in the last century and shaped a new conceptual horizon for post-war art. With the aim of capturing the relevance of Cage's contribution to contemporary art, the MACBA presents the most extensive exhibition to be devoted to the artist on the international stage since his death.
The display will trace a path through the artist's career, from his initial works in the 1930s, pieces that broadened the parameters of percussion music by incorporating the most unconventional of instruments, leading to his “prepared piano,” moving to his famous theory on 'silence' (and the score 4'33"), his pathbreaking deployment of chance and then indeterminacy, and culminating his innovative multimedia work, which began in the 1960s and continued through the 1980s. One of the main sections of the exhibition will chart the network of repercussions as Cage’s radical conceptual transformation of “composition” entered the strategies of advanced art. A trajectory framed by dialogues with artists --Marcel Duchamp, Robert Rauschenberg among many others --and reacting to the same emergent media as Andy Warhol.
The exhibition reveals the radical strategies employed by Cage to refine the score and extend its parameters, forging a newly relevant path for the post-Pollock generation of artists. At a time when modern painting and subjectivity were ceasing to be viable formulas of artistic practice, Cage was giving classes of Experimental Composition to a new generation of artists at the New School for Social Research in New York (1956-60). Many of Cage’s students and their peers would soon find their place at the center of the rising avant-gardes, from Fluxus to Conceptual Art. Thus Cage became one of the driving forces behind the complete turnabout of post-war art in the early sixties, positioned on the cusp of modernity and post-modernity.
Sound recordings, films, scores, and documentary materials provide an insight into the extraordinary scope of Cage's conceptual and theoretical innovations. To illustrate this, the exhibition will present some of the work he carried out in collaboration with other artists, from the music he made to amplify the visual experience of Marcel Duchamp’s rotoreliefs early in his career (1947) to the musico-poetic collaboration with fellow anarchist Jackson Mac Low, through to works with random light, shadow, and ambient sounds of New York City made as part of Rauschenberg’s Experiments in Art and Technology project. If Duchamp has emerged as the pivotal figure of the early-mid 20th century, Cage’s project now appears as an indispensible paradigm for the late 20th century and into the 21st. Revealing a “Conceptual Cage,” the landmarks of his oeuvre will be exhibited in direct relation to key works by contemporaries who shared his commitments to the new, the non-subjective, the changing, and to an embrace of the technology that would redefine all perceptual experience: from Rauschenberg’s White Paintings (1951) and Robert Morris’s Box with the Sound of its Own Making, (1961), to the new mediascape of Warhol’s Exploding Plastic Inevitable, and beyond.
Curator: Julia Robinson
Production: Exhibition organized by Museu d’Art Contemporani de Barcelona and coproduced with Henie Onstad Kunstsenter, Høvikodden
Museu d'Art Contemporani de Barcelona