Ideas are energy. Your brain is a satellite. Your mind is out there.' These are the basis of The Sputnik Observatory, an ambitious documentation project and representation of contemporary culture. Sputnik- literally 'fellow traveler'- was born from the idea that all the knowledge and arguments are in some way connected to each other, that the 'six degrees of separation', connecting all human beings on earth, are applicable also to their mental elaborations, and that also the most radical concepts, considered as marginal, are fertile matter of investigation and can contribute in a critical way to our cultural landscape.
The Directorate of Youth and Sport of the Council of Europe organized in March 2009 a seminary reserved to young researcher, policy-makers, youth organizations and young people coming from 47 European countries. This seminary had as topic the new partecipation methods based on Information and Communication Technology (e-participation). The results were collected in a document, which can be consulted online (http://www.coe.int/t) and fitness an open structure of encounter, where all partecipants had the opportunity to live a practical experience of cooperation in an important field within the Council of Europe.
For about 2 weeks, between last July 3 & 19, the Manchester International Festival commissioned and produced the performance Marina Abramovic presents..., created by the Serbian artists especially for the festival. For the performance, the spaces of Whitworth Gallery in Manchester were completely emptied of all arts pieces, and put at the performance artist's disposal, event almost unique in the contemporary art's world.
Alessandro Sciarroni from San Benedetto del Tronto already has a long-lasting and refined artistic history, and above all is appreciated in the European panorama of experimental theatre, and he turned out to be a sensitive interpreter of the contemporary artistic scene. This young actor and director from the Marche region, grew as an intense and impeccable actor with the Compagnia Lenz Rifrazioni from Parma, and then went back to his native region, where he conceived the idea of the Corpoceleste laboratory, and organized seminars and theatric productions. His first artistic creation, If I was your girlfriend - inspired by La Bovary c'est moi, collection of poetry by Giovanni Giudici, and Madame Bovary by Gustave Flaubert - was showed in the athletic track in Porto d'Ascoli, a non-conventional place and a demanding adaptation.
3D printers are machines which allow us to print a physical object starting from a digital model. The name 3D printer is explicit enough to let us imagine what it is about, but also unknown enough to allow our imagination to travel towards sci-fi-like scenarios
Long gone are the times when the first Vjs entered the scene in the clubs brightening up the dance-floor. Over the last few years live video has stretched its borders merging with parallel visual and artistic disciplines to become an out-and-out communication tool that allows to range from artistic projects, mainly performances and video installations, to purely commercial projects, down to the world of advertising with creative and innovating ideas.
Bálint Bolygó, born in 1976, of Hungarian origin but a London resident, appears to be an artist who works with science. His family history confirms this: both his parents are scientists, and Bolig himself declares that this field was his initial means of inspiration for his own experiments and his own cultural growth. But when talking with Balint you realise that, despite maths, Physics and chemistry being significant reference points for the development of a personal poetical scheme, during the course of his artistic activity he does not want to create objects and sculptures that are scientifically significant, but instead wants to explore that thought-provoking space that brings art and science close together and has always made them unique and united.
For its fourth edition the Biennial of Video Art in Mechelen (Belgium) Contour has opened the doors to a curator and to internationally renowned artists.
The first time I heard Cloudland, the first album from Whitetree, I thought about one of my friends traveling, sitting in front of a waterfall at the foot of the Himalayas, in contemplation of the height and depth of the universe. The song was Mercury sand. Whitetree is a collaboration between the Italian pianist and composer Ludovico Einaudi, and brothers Robert Lippok (software) and Ronald Lippok (drums), formerly part of German post-rock trio, To Rococo Rot, along with Stefan Schneider on bass
On the 16th of August Haus der Kulturen der Welt in Berlin hosted the presentation of works created during the course of six days of intensive workshops within the Sommercamp Workstation project, an event conceived as a mobile laboratory for art and media, which came about from the very important experience of the ex-research centre Tesla Medialab (www.tesla-berlin.de), a project that lasted four months and was situated in various places in the heart of Berlin.
This is the beginning of a new season of night music in clubs. This means that the day music festivals have just come to an end. And peace, of course. At the least we must accept life cycles, at the most we may even learn to love them. Yet, although an elaboration and an analysis on the experience that is being lived are possible thanks to the prolonged times of the clubs, we cannot forget that the profound elaboration and the analysis of the festivals represent the explosion and the synthesis of it...
Despite all promises of more attention to figurative arts and above all to painting, the 53° Esposizione Internazionale d'Arte della Biennale di Venezia (International Art Exhibition in Venice) focuses again on video installations and expanded cinema, which does not necessary mean experimental. In most cases it is a revisit of the exposition space after the typical experience within the cinematographic field. The screen becomes a wall or a plasma TV and the installation assumes the features of a real projection in which all typical cinematographic devices are deconstructed - think only to the loop movement enphatized by Douglas Gordon or to the decomposition of film into monitors dispayed in a row (Chantal Akerman).
The incredibile influence of Derek Jarman's cinema is considered as an unavoidable background for every research on the new visual languages from the end of the '70s. His ability to survive and fall always on his feet in a vogue of indipendent cinematographers, outside the main channels of cinematographic production made him a kind of living god (Holy Derek). He is a survivor in a generation which spent all its energies and attention in the visual research and representation methods.
In this epoch, we are witnessing the rapid evolution of technology, which facilitates scientific research and improves our lives. But technology is also captured, manipulated and used for novel purposes in the arts. Experimental practice with technology in the arts is increasingly visible in exhibitions and museums around the world and on the Internet, while there is always a strong compulsion to create spaces where experimentation is possible. The objective of these centres is the public diffusion of this mix of disc'pines, to invite people to experiment, understand and express their creativity in unison with others and in this way to create culture.
Who said that books dealing with the proceeding of a congress are boring? First of all it depends on the congress and the speakers, secondly on the way the book is conceived. The reading of L'arte della sovversione. Multiversity: pratiche artistiche contemporanee e attivismo politico (The art of overthrow. Multiversity: artistic contemporary practices and political activism) edited by Marco Baravalle for 'Manifestolibri/Uninomade', once you get over the title -a bit over the top- it is very enjoyable because it is composed of many keen and necessary statements (not all of them of course) on a group of quite current issues, that though complicated, are fascinating for those who deal with cultural production in general, and with a political/social tone in particular.
The scenario described by a timless flaneur as Baudelaire has been significantly modified during the last one hundred and fifty years, but the image of those mysteries that flow like saps in the mighty giant belongs to us. An information layer in multiple levels and distributed over the space, as well as objects, people and architecture, determines the possibility to change the world into a hybrid reality generated by a great variety of viewpoints, voices, shapes, gestures and sounds.
Quantum particle systems seem to possess the ability to communicate instantaneously with each other, defying our classical understanding of space and distance. This feature of the quantum world, known as non-locality, is often used to describe the World Wide Web, and particularly interactive networked art, which seems to collapses space into mouse clicks and links. But is it really applicable?
I would say that it was almost inevitable. To live and work in a country, as democratic as it seems, where the interdependent rapport between politics and mass media is much tighter than in any other country in the world (excluding those openly totalitarian regimes that we mentioned for example in last month's Persepolis 2.0 article, of course) and does not allow for libertarian utopias of any sort if they discuss any subject that is a fundamental part of democracy, like the freedom of the Press, the right to an opinion, the freedom of thought.