The 25th edition oftTrasmediale had a concept, "In/compatible", whose title clearly shows that still there is a part of residual in the network-numerical-policy paradigm that several users/ global citizens are experiencing from a psychic-pragmatic point of view.
One peculiar aspect concerning the use of technology formulated by Japanese artists it is shown by the constant interplay between the oneiric (relating to dreams) and science-fiction alike worlds depicted both by Japanese and American novelists and the content and/or the technique deployed in the artworks. The fictional, technological-empowered and otherworldly novels are taken as a main reference in Electronic Art; or are it true the other way round?
Sonar of Barcelona, an International festival of Advanced Music and Multimedia Art, landed for its 19th Indaba Design edition (from 29th February to 4th March) in Cape Town, by using a completely new special format. In order to know more about that, we asked Georgia Taglietti, Head of the International Media Department of Avanced Music (the organization which, every year, arranges Sonar event), to describe this new partnership.
I find it very telling that of all the panels offered at Transmediale I ended up attending most reSource talks and debates, and that the keywords and comments contained in my sparse notes were uncannily (and conveniently) connected with the key questions I had in mind when I arrived in Berlin on the frigid Saturday morning preceding the event
Periodically, as it happens in all expressive art forms, we need to ask ourselves about where we come from and which our own shapes and contents are. All that goes also for the ever-changing field affected by New Media’s “hyper-speed”. For more than two decades I’ve been trying to trace the relationships between Digital Art and Video Art on the one hand, and those established between Digital and the most specific field of Contemporary Art, on the other.
Vince Dziekan is an artist, art historian, and curator who has dedicated his research and practice to explore of the concept of “Virtuality”. Specifically, Dziekan has been working on the space (intended as exhibition space and the one where artworks can be enjoyed and experienced) and influence that new digital technologies have had on its transformation and organization.
"Dark Drives. Uneasy Energies in Technological Times" curated by Jacob Lillemose, has largely complied with these resolutions, which I perceived as a pretty interesting purpose, and brave in their way, for a festival like the Transmediale, an event deeply rooted in the media culture, on an European and international level.
When I heard about the Easter egg that make the Google search page rotate when you type “do a barrell” in the search field, I thought: “Hey wait a minute, this is old news. Constant Dullaart has already created the http://therevolvinginternet.com/ which make the same effect!”
On 25th February 2012, Boccanera Gallery of Trento, in partnership with VisualContainer, presented the event “ON VIDEOS for Hours and Hours”: a day in which it was possible to watch and talk about the Italian Video-Art of the last two decades.
Identity Bureau was established by Heath Bunting to construct a custom-made physical person for the user, who would be able to function freely in society. The activities of the bureau extend also to instructions for other users to construct their own new identities. It undermines the habitual ways of climbing the social ladder and offers an alternative system to the dictate of there being a one and only "official" identity allocated to the individual by the state authorities.
One of the founders of Reference Gallery, which could reasonably be called one of the best small-town galleries in the world, Conor Backman also happens to be a BFA student at Virginia Commonwealth University in Richmond, VA. Open since the fall of 2009, Reference has come to define the growing inertia in post-internet art with a constant flux between physical exhibitions, digital circulation, and distributed networks of attention.
Satellite stories is the title of the video program. It consists of eight different screenings, curated by Marcel Schwierin. A very successful aspect of Schwierin’s curatorial work was the capacity to transcend the division between language and distribution channels, by mixing works conceived for the net and works anchored to the cinema tradition, video art, and other performative and audiovisual works
The text is a revised version of an essay published on switch, an event, project, and book that archives the first three years of an artist-led project by Triona Ryan & Harald Turek in Nenagh, Co. Tipperary, Ireland. It began in 2008 as a ground up approach to showing contemporary works of moving images in a small town located in a rural context, a conversation between artists, audiences and artworks taking place outside of the big city and adapting to the rhythm of smaller places
transmediale is just finished. The 2k+12 edition of the media art, design and culture Berliner festival took place rom 31 January until 5 February at the wonderful Haus der Kulturen der Welt, one of the most important European leading centre for the contemporary arts in Tiergarten.
The Brain Soundtrack is a body of work, in development since its beginning in 2002. It is a trilogy of projects that its author, the Portuguese artist Ye77a (stage name), defines as ìthe soundtrack of my lifeî. The first project of the trilogy is called 4Play and the second one is Back & Forward. The third is still in its early conceptual phase.