A survey between the real and the virtual, one which inhabits the intermedia territories, is spreading across museum exhibition spaces, housing works of artists who also develop their repertoire outside the Internet. This could describe curator Elena Giulia Rossi's latest exhibition at Maxxi, Rome: NetinSpace adds to the long conversation on Net Art and its complex relationship with a museum which has housed many such works previous to archistar Zaha Hadid's fascinating exhibition.
A native of Toronto, 'funny man' Jeremy Bailey is a visual artist working primarily in electronic media who has been described by Filmmaker magazine as 'a one-man revolution on the way we use video, computers and our bodies to create art' and as often confidently self-deprecating in offering hilarious parodies of new media vocabularies (Marisa Olson, Rhizome). His work has been featured internationally in numerous exhibitions and festivals, and he received his MFA in Art Media Studies from Syracuse University in 2006. Currently his work can be viewed, rented and acquired through the independent on-line label Vtape.
Generative art is often misunderstood and mischaracterized, but it has always played an important role in digital aesthetics. The following is a conversation about the state of generative art with three generative artists and theorists, Leonardo Solaas, Marius Watz, and Mitchell Whitelaw and the author. Is there a generative aethetics which can be separate from the generative process?
The fourth edition of Teatro a Corte International Festival, which toke place in Turin and in eight Savoy residences in Piedmont from July 8 until the 25th, presented a wide selection of contemporary and experimental productions in the fields of theatre, dance, nouveau cirque, video-dance and performance, hosting 31 groups from eight different nations. The event schedule comprehended 38 shows, 5 site specific projects and two creations commissioned for the Festival.
(Italiano) L'estate porta con sé una 'fornitura invadente' ed un' elevata concentrazione di spettacoli dal vivo quasi imbarazzante, tanto che bisognerebbe avere quasi il dono dell'ubiquit per non sentirsi incompleti ed impotenti, per non perdere il treno della contemporaneit, e per avvertire ad ogni festival - da Santarcangelo a Drodesera, passando per il Festival d'Avignon ed ImPulsTanz, fino a Transito Firenze, Inteatro e Contemporanea di Prato - quella meravigliosa sintomatologia patologica inevitabile per un buongustaio ed amante della scena performativa all'avanguardia.
The Interferenze Festival which came to its fifth edition, has become during the years a laboratory where the rural territory and its features (identity, traditions and landscapes) are analyzed through contemporary expressive forms and languages and aesthetics of the new media become new forms of sharing.
ISEA2010 RUHR is the 16th International Symposium on Electronic Art, directed by Dr Andreas Broeckmann (Artistic Director) and Stefan Riekeles (Program Director).
It has lately become common to hear the name Facebook being used as a synonym for Internet. Magazines, radio and TV broadcast news on curiosities, updates and weaknesses of the platform that has at this stage achieved a position of dominance in social networks environment. We are not anymore referring to this as to the latest technologic fashion: Facebook is now a part of the daily routine for about five-hundred million web-users all over the world, a consistent majority of whom are American-based. The online service CheckFacebook provides realtime statistics on the number of logged-in users, men/women percentage, nationality and age groups going from 13-years-olds up to 65-years-olds.
This reflection came after a meeting with Andre Goncalves, Portuguese artist (year 1979), skilled in performance and sound, video and interactive installations. The works of Andre, presented in various festivals and in important digital culture centers in the world, have strange names and seem to be the result of experiments and natural, social or technological phenomena analysis. All made with the clever use of Do It Yourself electronics.
One of the most important events within ISEA RUHR 2010 - The International Symposium on Electronic Art was maybe the Latin American Forum IV, a series of conferences and debates divided into four meetings during which historians, artists and editors discussed and tried to define the contemporary artistic trends of the continent.
Mobile A2K: Africa Interfaces Education Technology is focused on the relationship between technology and education in Africa, which programme includes three seminars organized by lettera27, a non-profit foundation from Milan, from 11th to 12th of September at Festivaletteratura 2010 in Mantua.
As one of the most relevant figures in the international scene, choreographer Ginette Laurin - founder of Canadian group O Vertigo, based in Montreal - is committed since the eighties to a radical research on movement, which she combines with an investigation on the stage mechanism both sound and chromatically-wise. Influenced by an extensive research on physicality, Laurin created a very specific language for 'writing' movement, which tends to deconstruct its features by working on dynamics of slowness and speed in the spacial organization of the scene.
In 2007, during the ArtFutura festival, I witnessed a brief conference by Jaume Plensa and it was love at first sight. His art, his thinking and his way of presenting them to me seemed something able to accompany the viewer into a higher dimension, to transmit an almost mystical energy. This artist joined the small circle of my idols and so, without realizing it, I ended up convinced that he was a superhuman being who was not really living on earth like us ordinary mortals.
Xu Wenkai, who uses the name Aaajiao in most exhibition and other public contexts, was born in Xi'an in 1984 and currently resides in Shanghai. His name is widely known within both art and tech circles in China, though mostly for his efforts at organizing and sharing information rather than as an artist per se. New media artist and computer visual programmer, he created in 2003 the online sound art platform: cornersound.com and in 2006 the english version of the we-make-money-not-art blog We Need Money Not Art. Without forgetting his collaborations with the Dorkbot network and with the 3S Media Center, center for academic research in art, media and technologies.