The combination is hot, at first sight. In the exhibition at Arts Santa Monica in Barcelona - in this beginning of autumn 2010 - we think, reflect and make questions on the convoluted and controversial relationship between Art and TV. TV / ARTS / TV is a multi-directional path that starts from the '60s and ends to the present day: works that are now part of art history and current trials of young artists / researchers straddling art and new technologies, give life to a project that provides multiple points of view concerning TV medium
Chinese artist Cao Fei formally launched her last major project, RMB City, almost two years ago in January 2009. Nearing the end of its predetermined lifespan, the Second Life platform should come to an end within the next several months. At this juncture I have been attempting to take the pulse of the virtual community as a whole, speaking with current and former collaborators on RMB City, collectors, writers, and other interested observers in order to figure out how to measure the success or failure of the digital metropolis. See below for a summary of the findings so far; next month in this space we will continue this survey with a debriefing on Chinese art in Second Life
Among the open (collaborative) design experiences and the design-Driven Innovation strategies there is a brand new area still to be discovered. This territory is inhabited by few design entrepreneurs who haven't found a precise theoretical placement yet and can only be mentioned for their talent.
He happened to be born in an Italian provincial town, he learned to understand from an early age to love an art which is considered minor by the society and with few job opportunities. He moved on to study dance and also to meet people and have opportunities that could change his life. This happened but this was not enough if he did not want to accept the existing system, if you had to compromise and wait for years to be able to express himself completely. It was not enough to want to create, experiment, challenge and also make mistakes; it was not enough as his name is Morgan Nardi
A few years ago, there was an omnipresent personality to be seen at any digital art event organized in Barcelona (amongst other places). This personality was José Luis de Vicente, a writer, theorist, curator, and researcher actively involved in events like Sónar (http://www.sonar.es), OFFF (http://www.offf.ws) and ArtFutura (http://www.artfutura.org).
Collectors, curators, galleries, and curious visitors attended the eighth edition of the Frieze Art Fair: the Main International Fair of Contemporary Art held in London - Regent's Park from October 14th to 17th. The dynamism of the 173 galleries members who represented 29 countries and over 1000 artists shows that Art Fairs are not only about money.
Web based art, must have an address, an URL, which tells the user where the artwork is stored on the web. This obvious, but inescapable fact has the Swedish artist Anders Weberg among others, thought about in there art works. So, If you digit www.theurlistheartwork.com/, in your browser you will be taken to a homepage with the text: The url is The artwork by Anders Weberg, October 2009. The actual address, the URL is in this case the artwork. Can a net.art work be more minimalistic and sublime than just a simple URL?
It's a year since when Seth Godin, the guru of permission marketing, a highly popular theory theory that became very popular during the first outburst of speculations on the dot-com, published his ten golden rules on how to chose the right profile picture to use on social networks accounts. By following these ten simple tips on how to show one's inner self through one single image, it is allegedly possible not only to achieve the aimed economic results, but also to become quite popular.
Though the twelfth Venice Biennial Architecture is concluded, this year's theme - People Meet in Architecture - has left everyone wanting for more and returning for a long tem project, beyond the present exhibition. Our idea is to help people and society relate with architecture, to help architecture relate with people and society, and to help people and society relate with each other, as states Kazuyo Sejima, this year's director.
This article presents an investigation into the ways through which the notion of interruptive site-specificity is manifested and explored in digital art. This investigation is carried out through tracing early influential shifts in how artists have been working with site-specific virtual environments. Myron Krueger's Glowflow (1969) and Jeffrey Shaw's Virtual Museum (1991) are discussed as the relevant representative cases.
German artist Achim Wollscheid's work investigates the possibilities of sound as a social interactive medium. Since the early 80s he and his collaborators Ralf Wehowsky, Stefan Schmidt and Charlie Steiger have been working on experiments linked to the use of tape cassettes and LP records, which have been exchanged and distributed among artists all over Europe, United States and Australia.
In September and October 2010 the first edition of MFFE (Media Facade Festival) began, a European pilot project featuring the participation of different digital artists and designers. The festival is organised by the Berlin Public Art Lab, in collaboration with the artistic centers of other six European cities: Liverpool, Brussels, Helsinki, Linz, Madrid and Budapest.
Artist, designer, art critic and philosopher; Gillo Dorfles shows to be an indeed versatile figure, who binds his own name to the commitment of constantly explore and analyze aesthetic and cultural phenomena. Achieving to become interpreter and witness of the developing dialectics between artistic expressions and industrial production, Dorfles has been nurturing leading edge groups and movements, the most well-known of which are the MAC- Movimento di Arte Concreta (the Concrete Art Movement) , founded in Milan in 1948 together with Atanasio Soldati, Bruno Munari e Gianni Monnet, the aim being to promote a type of abstractionism freed from any process of mimesis - and the ADI (Industrial Design Association), the creation of which will see Dorfles himself as protagonist, 12 years later.
A candy with no taste, a fiction without images, a solo without guitar, a movie screen that goes blank as you get close to it. Loris Gréaud's work is a captivating voyage in a world of reversed perceptions, where it's possible to hear a color, see a sound, realize a score as an architecture and an architecture as music.