The 2011 edition of OVNI (Observatory de V'deo no Identificat: Unidentified Video Observatory) is dedicated to the concept of dis-reality. In an age where the show business, too many times mistaken for the culture world, has risen as model of real life, where fiction and reality melt into one solution and where physic and mental solidity dissolve into a constant flow of images and appearances, in this intricate and complex mutation of reality the OVNI work shows itself as an antidote to the poison of contemporary information and communication
From December 7th to January 10th, Kenichi Kondo, curator of the Mori Art Museum in Tokyo, presented a series of young Japanese artists at the Sala 1 - International Center for Contemporary Art in Rome, as part of the review Videozoom Japan. It was an overview of selected and formally interesting artistic production coming from the Rising Sun realized over the past decade, which focused on issues related to the re-framing of daily life (as suggested by the subtitle of this review).
Ugo Pitozzi, choreographer and video-artist, is one of the major personalities of ballet born during the ʻ80s. His background stems from his education: he studied idioms of visual arts at the Accademia di Brera in Milan, contemporary dance (he studied the Laban technique), contemporary technique with William Forsythe, Mary Wigman's principles with Erika Thimey, and choreography dance composition with Gerhard Bohner. He also attended choreography dance composition and contemporary creation with Merce Cunningham, Meredith Monk, Simone Forti.
Yao Dajuin, currently based in Hangzhou where he teaches at the China Academy of Art, is an artist and thinker rather anomalous within the Chinese media scene for his intellectual and historical approach to contemporary cultural material.
(Ready)Media: Hacia una arqueología de los medios y la invención en México, DVD box recently edited by the Alameda Laboratory Art of Mexico City, revisits the history of artistic practices in the twenties of XX Century in Mexico, on the border between art, science and technological experimentation.
The last edition of Transmediale, Berlin's festival for new media, welcomed like every year artists, curators, critics, activists and insiders under the enfatic title Response: Ability. In its 2011 edition, Transmediale has dealt with the political implications generated by the technological evolution in progress, with the skills which the hypermedial and overconnected subject should acquire in order to face the new matters that reality sets with urgency.
The 2011 Transmediale Award celebrated the triumph of Intelligent bacteria - Saccharomyces cerevisiae project, by HONF - The House Of Natural Fiber.
In the 2010 Orange County Biennial we gladly testified the selection that Sarah Bancroft curator of the OCMA (Orange County Museum of Art) did of some artists identified with Souther California art scene linked to the U.C.S.D. (University of California San Diego) Visual Arts program alumni and faculty.
We are Electronic Disturbance Theater 2.0 - EDT2.0. As a collective, we are already many. As a multiplicity, our goals, hopes and intentions are multiple. Our shared goals include the disturbance of borders: national, gender, genre, disciplinary, fiction/non, through the exploitation and re/performance of technology, poetry and the imaginaries of each.
Recently reading again the essay by Nicolas Bourriaud, Post Production. The culture comme scénario: comment l'art reprogramme le monde contemporain, I have found this excerpt of Mode d'emploi du détournement by Guy Debord, which to the detriment of his fiftyfive years - the text was published back in '56 - picks an extremely contemporary aspect of the artistic practise.
Ulrich Vogl (Kaufbeuren, 1973) grew up in southern Germany. He studied in Monaco, Berlin and at the School of Visual Arts in New York. He says he inherited his artistic streak from his grandfather, who was a researcher and inventor. This familiar and romantic world belongs to Ulrich Vogl as to his works, which are a mix of invention and idyllic evocation, purified by clear and defined forms, minimal colour choices that simper away every affectation and confers the work a concise and intriguing aspect.
Realities: United is a Berlin based studio founded in 2000 by brothers Jan and Tim Edler, dealing with the contiunuous experimentation of the ephemeral boundaries between digital art and architecture. The studio, by now very renowned, has received in the last few years lots of international recognitions for the design and production of some architectural works and artistic projects, a lot of which are part of art centers collections of worldwide importance such as Moma and the Vitra Design Museum in Weil am Reid.
The launch of the first Urban Transcripts international and interdisciplinary exhibition took place on 16th December 2010 at Booze Cooperativa gallery at the historical center of Athens. Housed in a three-floored neoclassical building, this is one of the most lively, ground-breaking and influential platforms for the contemporary art scene in the capital, which facilitates diverse kinds of exchange and dialogue between various art forms, ideologies and philosophies, forming a framework for collaboration and creativity that encompasses all fields of expression.
Seaquence is an on-line project developed by Ryan Alexander, Gabriel Dunne and Daniel Massey during an art residency at Gray Area Foundation For The Arts (GAFFTA), San Francisco, a non-profit organization dedicated to building social consciousness through digital culture.