Pierrick Sorin, a multimedia artist which expresses himself through various means such as sound and video installations, presented the project entitled: 22:13 (this title is likely to be changed at any moment) at CentQuatre. The artist focuses his attention on short films, on the art of bricolage and storytelling through images and projections. A varied audience filled the room, even occupying the staircase seats
The Australian digital artist and poet Jason Nelson also creates his own poetry videogames. He has made a trilogy with name as: Game, Game, Game And Again Game, I made this. You play this. We are Enemies and Evidence of everything exploding. The videogame poems are based on traditional platforms games in which Nelson combines text, pictures and sound from the different sources from the Internet.
We are obviously talking about Sonia Cillari, original artist carrying on by long time a personal and coherent project, by offering to the public a way to enter, feel and live her work with body and soul. Awarded with a Honorable Mention at 2007 Prix Ars Electronica, Interactive Art, she is today a professor at Frank Mohr Institute, IME Interactive Media Environment Department, and she is part of Optofonica Laboratory for Immersive ArtScience based in Amsterdam.
Francesca Grilli, who was born in Bologna and now lives in the Netherlands has developed her research on the human figure realizing works inspired by her personal memories which are linked to her family and her daily life. Her work recently focused on the obsessive search for the daily miracle, through the manipulation of reality and adding an unexpected variable that produces a sense of familiarity that can also be shocking. As she herself explains, the daily miracle is a minimal invisible action which often transforms reality into magic, daily actions and tasks into something fabulous.
Fidel Garcia (at that time he was still known with his Micro X nickname, by the name of the homonym precinct of the Alamar quarter where he still lives now) has paid me a visit to talk about his work. At that time he was an ISA student (Instituto Superior de Arte, maybe the best school of art in all Latin America) and made part of Tania Bruguera's Catedra Arte de Conducta, the educational project the Cuban artist carried on for almost a decade, by bringing artists, philosophers, activists and curators to Cuba in order to educate and raise a new generation of artists, grown up in the shade of the international panorama of our time.
We have had the pleasure of interviewing Marta Ponsa, who is in charge of the artistic and cultural projects of Jeu de Paume, and she has been taking care of planning the virtual exhibition space since 2009. Since she surely represents one of the most interesting voices to listen to on the relationship that digital art can develope with contemporary art institutions, we asked her some questions about the history and the activity of Espace Virtuel.
This article is going to introduce a series of interventions around some of the major philosophical issues that need to be rethinked by the diffusion of Internet and the digital society. The goal is not to address these issues from a systematic point of view, but rather to re-interpret them in relation to generally accepted networking practices and to digital methods and tools through which they arise.
(Italiano) Questo saggio ha lo scopo di analizzare il concetto di spazio interstiziale e la sua esplorazione creativa nei vari interventi artistici site-specific realizzati principalmente attraverso l'utilizzo della tecnologia digitale. Questa la prima delle tre parti di cui composto il saggio.
The engineer figure described by Walter Benjamin reminds the 'tactical' art by Paolo Cirio, who contributes to transform the meaning of the artistic practice from within, by unveiling the unsolved knots in the art field. Through his artworks, Paolo Cirio (http://www.paolocirio.net) intervenes tactically locating some plugs of a puzzle which can be finished only by directly involving its referents, being them either corporations, media apparatuses, or the so-called network 'users'.
Let's continue our exploration on Barcelona's independent musical panorama. This time we have decided to interview Alfredo Costa Monteiro, Portuguese musician living in this town since almost twenty years and enriching it with his artistic practices.
More Perfect Union, the last work by Luke Dubois (United States, 1975), artist, scholar, musician, represeted by the Bitforms Gallery in New York (directed by Steve Sacks e Laura Blereau), one of the most influential exhibition centers in the digital art scenario, places itself as an interesting attempt to investigate the sentimental life of americans, through the digital visualization potential.
This winter the Media Design Program at Pasadena's Art Center College of Design hosted 'Made Up', an exhibition and series of events devoted to the most innovative productions at the borders of science fiction, speculative design, and fictional storytelling, united for the occasion under the umbrella term 'design's fiction.'
By reading in one go - as imposed by the absence of punctuation - this long periphrasis, one witness a superimposition of images, concepts and ideas that flash in mind like they do into Paper Resistance drawings. Its work of counterpoint and oxymoronic juxtaposition of figures and symbols of modern society, delineates in a biting manner all the contradictions and deformations of the present. Through a plain stroke, its composition defines clearly in frames and posters filled with alienating and unpredictable associations.
Let's start from an assumption: I am not a film critic and more in general I do not work exclusively on experimental cinema. This analysis of the avant guard director Peter Tscherkassky, born in Wien in 1958 and winner at the 67th Venice Film Festival in the 'Nuovi Orizzont" section with the film Coming Attractions, will probably lack those lexical elements and elements of analysis used by the most orthodox film criticism, and will inesorably be exposed to a radical reading of the following text. In spite of that, my intention is to highlight the austrian director's work, in terms of the importance that I think it has not only as far as cinema is concerned, but also and especially towards the production and the audiovisual research taken as an aesthetic-expressive possibility of the sound-image relationship.