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 The artist behind the video 

A new program of interviews to video artists

This week we launch a long series of interviews with international video artists, that will go under the title: "The artist behind the video".
All the questioned artists answer to the same eight question, so we can draw a wide overview over some defined themes. The interviews will be published weekly, and the order is simply that of reception.
We hope this will offer new sparks of reflections for all videoart lovers...
The interview of this week is with:
Nara Denning
read the Interview

(posted on 2015-07-30)

Shigeko Kubota dies

Shigeko Kubota, a pioneer of video art and a well-connected Fluxus artist known for using her body to ponder time and space, died from cancer in Manhattan on Thursday at age 77.
Today, Kubota, born in 1937 in Niigata, Japan, is perhaps better remembered for her 1965 performance Vagina Painting, in which Kubota attached a paintbrush to her skirt, squatted, and moved around over a canvas. The performance had a number of references—it spoofed Jackson Pollock’s action paintings, alluded to Yves Klein’s “Anthropometries,” and acted as a symbol for menstrual blood.
Vagina Painting is a cornerstone of feminist art, and it can even be seen as a forerunner to the wave of abject art from the ’90s, which also often alluded to bodily fluids. Kubota, however, considered it an experiment more than anything else. “I was not so interested in performance. I did that piece because I was begged to do it,” she said in a 2014 oral history.
George Maciunas, the leader of the Fluxus movement, had asked Kubota to stage that performance. (He also created the performance’s only documentation—a set of photographs.) In 1964, Maciunas invited Kubota to New York and offered her a place to stay. Having had her first show at Tokyo’s Naiqua Gallery the year prior, and having gotten no critical recognition for it, Kubota accepted Maciunas’s offer. He later named her the Vice Chairman of Fluxus.
Fluxus was a New York–based, avant-garde art movement during the ’60s that appealed to Kubota for its “anti-art” strategies and its interest in Zen Buddhism. Unlike the other Fluxus artists, Kubota did not stage many performances—she had stage fright. (It was for this same reason that she never became a pianist, even though her mother, a classical musician, had trained her to be one.) Through the Fluxus movement, Kubota met many of the most radical artists of her time, notably Yoko Ono, George Brecht, and Nam June Paik, who later became her second husband in 1965.
Like Paik, Kubota was an early adopter of video technology. When Sony introduced the Portapak, the first portable video camera, in 1965, Paik immediately bought one. Kubota followed not too long after. Yet, unlike Paik and many other early video artists, Kubota combined video with sculpture. Video, for her, could be used for its sculptural and poetic qualities. In her 2014 oral history, Kubota said, “When I began carrying a Portapak, I realized writing is something that I can do with the camera.”
Also like Paik, Kubota admired Marcel Duchamp’s work. In 1968, Kubota met Duchamp on a plane, when they were traveling to the opening of Merce Cunningham’s Walkaround Time, in Rochester. Kubota remained in touch with Duchamp and his wife, Teeny, through the remainder of his life. (Duchamp died that same year.) Four years later, Kubota made a video tribute to Duchamp. She traveled to his grave, in Rouen, and filmed his gravestone. In the video, which was later included in her 1975 installation Duchamp’s Grave, Kubota’s voice can be heard repeating, “Marcel Duchamp, 1887 to 1968.”
Kubota returned again to the Dada artist with “Duchampiana,” a series of video sculptures. Nude Descending the Staircase, a work in that series, translates Duchamp’s famed painting into Kubota’s favored video language. Four screens appear inset in a small plywood staircase, one monitor between each stair. Barbara London, who was then a video curator at MoMA, was impressed by the work and acquired it for the museum’s collection. “Nam June was stunned,” Kubota said. “It was I who had earned cash money.”
Kubota’s work has often been discussed by feminist scholars with respect to how she used the body (Kubota, at times, carried her camera on her back, just as Vietnamese women do with their children). But Kubota never involved herself in the feminist movement. She supported it, though, and, in a 2007 interview with Phong Bui, Kubota said, “[Video] was equal to both men and women because it was new and fairly inexpensive and we all had the same access to it.”
In the ’80s, Kubota’s video sculptures began to incorporate images of nature and more direct references to Buddhism. Kubota once described visiting Buddhist temples as a child and seeing the wall murals, which, she said, unfolded in time, much like video. She also had a tendency to describe video like a river—a continuous stream of moments.
With River, an installation first staged at the Whitney Museum of American Art in 1979, Kubota made the nature references literal. Three monitors playing images of Kubota swimming are hung above a trough filled with water. The only way to see these videos is by looking at them through the lens of nature.
Kubota’s work received two major surveys in the ’90s—one at the American Museum of the Moving Image, the other at the Whitney Museum of American Art—though since then, she has not received a major solo museum show. As scholars and curators are discovering, however, that female artists played a much larger role in the ’60s avant-garde than history previously remembered, it seems likely that museum visitors can expect to see more of Kubota’s work in the future. That may be exactly what Kubota hoped for. As she said in her oral history, “I said [to Paik], ‘Video is a ghost of yourself.’ It’s like your shadow. It reveals your interior. It still exists after you die.”

(posted on 2015-07-30)

PLAY Semana de Videoarte

Extension Universitaria UNNE
Arca Video Argentino abre la edición 2015 del Festival.
Charla abierta sobre POÉTICAS DE ARCHIVO : Apuntes en torno a las prácticas audiovisuales contemporáneas y sus archivos en Argentina. A cargo de Mariela Cantú
PROYECCIÓN DE la muestra POÉTICAS DE ARCHIVO - DEL PROGRAMA 1- DEL OTRO LADO DEL ESPEJO
Obras que desde la dimensión autorreferencial, proponen lecturas en primera persona pero ligándose a un entorno, y excediendo así el clásico género de la autobiografía. En el caso de Insight, la presencia de Díaz Morales frente a cámara es sólo el punto de partida de una reflexión (en todos los sentidos de esa palabra), sobre la construcción de la realidad por la máquina audiovisual, revisitando incluso la historia del arte con un guiño hacia Las Meninas, de Velázquez. Hermanas Video Home, un trabajo emblemático de los años 90, pone en escena por su parte un universo cotidiano del que la realizadora es una parte vital, aunque más no sea por su sugerida ausencia. Por su parte, el trabajo de Leticia Obeid pone en escena tres actos ligados al lenguaje, a partir de una cámara que funciona como un ojo ensimismado sobre las acciones físicas e intelectuales, las dimensiones visual y sonora y las vías de pasaje entre estas instancias de la palabra. Por último, el reciente trabajo de Salvador Cresta se presenta como parte de una serie que combina la presencia delante de cámara tanto como las intervenciones extremas sobre las imágenes, para constituir un trabajo con una fuerte impronta autoral.
Insight. Sebastian Diaz Morales. 11.30 min, 2012.
Hermanas Video Home. Sara Fried. 8 min, 1991.
Escribir, leer, escuchar. Leticia Obeid. 6 min, 2003.
The Salvador Cresta´s Home-Videos Vol. 10: "Fly Away Outsider". Salvador Cresta (Madru Gapha), 30 min, 2012.

International database of video artists

A new great new initiative by Magmart!
In view of a forthcoming international project focused on building a network of curators, we have launched an international campaign for the creation of a database on video artists.
This will be a useful tool for all curators that work with videoart. More, this database will be always open to your full worker management. At any time, you can access and modified the stored data, add new informations, or simply remove your presence. And, obviously, we'll never use your data for commercial purpose and don't transfer them to third part, neither for money nor for free.
Take part you too, linked to videoart database, check if your email address is already present, and enter your details. Otherwise, register and input your data!

100x100=900 catalogue

The 100x100=900 catalogue (214 pages, A4) finally available!
100 artists, 57 partners, 40 curators from around the world, for the project which celebrated 50 years of video art.
Order now your copy of printed catalogue!

(posted on 2015-07-30)

Sparks in the Dark

Curated by: Ricard Mas
Ricard Garcia Vilanova (Barcelona, 1971) is the only photojournalist who has been in Syria since the beginning of the war. In November 2011, during the period known as the “Arab Spring”, he infiltrated into Jabal al-Zawiya in the province of Idlib. There he witnessed the first protests against Bashar al-Assad's regime. Terrified of the Mukhabarat (the secret police), civilians asked journalists to only photograph the children for fear of being identified in newspaper pictures. He also witnessed how this repressive regime used sniper fire and, later on, tanks to break up demonstrations. The civilian population was facing a modern military that attacked with artillery from helicopter gunships and fighter jets, with Scud missiles, even chemical weapons.
The uprising descended into a war fought by several factions, but the victim was one and the same: the civilian population, whose only choice was to fight or survive. Finally, the expansion of Islamic State in Syria and Iraq has transformed the conflict yet again.
Ricard Garcia Vilanova works with a still camera and a video camera at the same time. He uses a wide-angle lens on both, because, as Robert Capa used to say, “If your photographs aren't good enough, you're not close enough”. The distance between the journalist's eye and the gaze of his subject is almost non-existent. The photographer makes no pretence of journalistic objectivity. The decision to be objective or not is left up to the spectator – a spectator who is not all that different from the people Garcia Vilanova portrays, caught in a war that hits those who are most vulnerable the hardest.
Through these 40-odd photographs and nine videos, the show at La Virreina Image Centre documents the evolution of a conflict in which the civilian population at no time has been shown any respect or consideration and in which there have been 215,000 casualties, and seven million people are displaced.
CCCB - Centre de Cultura Contemporània de Barcelona
Montalegre, 5 - 08001 Barcelona


www.cccb.org

(posted on 2015-07-30)

Blast!

BLAST! is a platform for artists, creative people, free minds who love to play with moving images, animation, cartoons, computer generated videos and interactivity. After many years in contemporary art, we believe it is now time to explore how the new generation of creatives in China and Asia are approaching new media. BLAST! project is organized by Art in the City in collaboration with Arthub, Flatmind, K11, MoCA Pavilion and Phoenix Art, and supported by LIAN Cultural Development.
We are asking people to send over to us a video or interactive project. The format is HD in 16:9 with no restriction of subject (narrative or abstract) but resulting in moving images. A jury of 5 experts from the world of digital and contemporary art will select the 8 best. These works will be shown at chi K11 art museum,MoCA Pavilion, BMW Brand Experience Center during Art in the City Festival in September 2015.
Jury: aaajiao Xu Wenkai – New media artist ; Alessio Ascari – Kaleidoscope Founder & Editor-in-Chief; Roberto Gianstefani – Flatmind Co-Founder; Miltos Manetas – Painter, conceptual artist and theorist; and Yang Zhenzhong – Artist. Chair of the Jury: Davide Quadrio - Curator, Arthub Founder.
BLAST! opens for the digital generation a window to express themselves and let everybody hear their voices! Join us to enter this adventure!
Criteria for Submission:
Video submissions may be no longer than 30 seconds;
Submissions must be in 16:9 HD format;
One entry per applicant allowed;
Applicants must reside in China and Asia;
Applicants must meet the age of consent (18) or older;
Applicants must complete and sign the statement (click here);
Please send the video or the link to download the video and the signed statement to:blast.artinthecity@qq.com, or send CD and signed statement to Art in the City office (address in statement)
Deadline for submitting works: August 15, 2015 at 12pm CST
We will acknowledge the receipt of all applications. Shortlisted artists will be notified by 21 August 2015. Regretfully we are unable to give individual feedback for unsuccessful applicants due to the high volume of submissions received. The organizer ensures that non-selected works will remain confidential and will not be released to any third party for any purpose.


blast.artinthecity.cn

(posted on 2015-07-30)

Transient Transgressions

“Transient Transgressions” is a Transart Institute graduating MFA student-organized event at SomoS, consisting of exhibition, performances, screenings. Apart from the gallery space, a video lounge and the SomoS salon area are open to the public featuring special presentations. Entry free.
Fifteen artists from six countries have come together every six months for the past two years to collaborate, exchange, develop, discover, fail, make, be and share. These artists have been eachother’s sounding boards in an intense and stimulating sequence of residencies in Berlin and New York.
Transient Transgressions is representative of the process they shared along the way — unpredictable, eclectic and sometimes anarchic, but always fleeting and cooperative, they bring this transient process into the gallery for a two day continual event at SomoS Gallery in Berlin in August, 2015.
The practitioners are a diverse group working with expanded ideas of creative practice, from 2D 3D & 4D to noD and OD realms— something, anything, this thing, as it is, when it is, how it should be or would, how we wanted it to be… or who with… each of us living it, being it, allowing it to be us— a symphony of footsteps.
The core of the show is a participatory piece wherein all artists involved contribute an element to the space and offer it to be played with, re-worked, and formed over the duration of the exhibition. Around it, films and installations become the site for interventions—non-intrusive performances by the artists and the audience, to shift meaning constantly.
This eternally ephemeral and occasionally fixed work reflects the eclectic group involved, and acknowledges the sometimes subtle, often profound changes that they have gone through within the past two years, together and apart.
Participant Artists:
Beau B Baco
Honi Ryan
Jose Drummond
Niko Solorio
Allen Furgeson
Susan Strauss
Margaret Hart
Marion Claire Wasserman
Amy Konigbauer
Fatimah White
Jaye Alison Moscariello
Michael Zeltner
Mariana Rocha
Dana Zurzolo
Mark Roth
August 1, Saturday: 10:00 – 17:00 Installation/rehearsals
19:00 – 21:00 Opening Reception
August 2, Sunday: 10:00 – 16:00 Exhibition continues
19:00 – 21:00 Screenings and performances


www.somos-arts.org

(posted on 2015-07-29)

Moving Image

Moving Image art fair is very pleased to announce the artists, participating galleries and non-profit institutions in our second edition in Istanbul. Returning to the Kuleli Building at the Halic Congress Center, September 4-6, 2015, Moving Image Istanbul runs in parallel with ArtInternational art fair, and will present a selection of single-channel videos and installations from across the globe. Moving Image has been conceived to offer a viewing experience with the excitement and vitality of a fair, while allowing moving-image-based artworks to be understood and appreciated on their own terms.
Highlights of the 2015 Istanbul fair include several world premeires, including works by, Zeyno Pekünlü (Sanatorium, Istanbul), Leo Gabin (Elizabeth Dee Gallery, New York), Carlos Jiménez Cahua (Samsøn Projects, Boston), Wu Ding (L-Art Gallery, Chengdu), and João Castilho (Zipper Galeria, São Paulo). Among the historical selections in the fair are works by Ana Mendieta (Galerie Lelong, New York) and Martha Wilson (P·P·O·W Gallery, New York). Large installations include works by Kon Trubkovich (Marianne Boesky Gallery, New York), and Michael Nyman (Myriam Blundell Projects, London).
Among the special events sponsored by Moving Image Istanbul are "Bring Your own Beamer" (BYOB) at Pera Museum, and a screening of 'Ways of Something', a project by Lorna Mills, hosted by Transfer Gallery. BYOB is a one-night exhibition/performance by unrepresented, emerging Turkish film and video artists who will take over the ground floor gallery hall of Pera Musuem in an improvised installation. Curated by Maybe Art Projects, BYOB at Pera Museum runs 19:00-22:00, Friday, September 4, 2015. Transfer Gallery (Brooklyn, NY) will present a special screening of "Ways of Something" compiled by Lorna Mills, Sunday, September 6, 2015, 5:00PM - 6:30PM (17:00 – 18:30) in the Gallerist Lounge at Moving Image. Open to the public with limited seats.
Participating artists / Galleries & Non-Profit Institutions
Nur Akalin / Protocinema, Istanbul
Nevin Aladag / Rampa Gallery, Istanbul
João Castilho / Zipper Galeria, São Paulo*
Hsu Che-Yu / Vanguard Gallery, Shanghai
Wu Ding / L-Art Gallery, Chengdu*
Isil Egrikavuk / Moving Image Presents, New York
Maria Friberg / Galleri Andersson/Sandström, Stockholm
Leo Gabin / Elizabeth Dee Gallery, New York*
Carlos Jiménez Cahua / Samsøn Projects, Boston*
Ada Karczmarczyk / Postmasters Gallery, New York
Kalliopi Lemos / Gazelli Art House, London, Baku
Taus Makhacheva / .artSümer, Istanbul
Ana Mendieta / Galerie Lelong, New York
Rosa Menkman / TRANSFER, Brooklyn, NY
Michael Nyman / Myriam Blundell Projects, London
Zeyno Pekünlü / Sanatorium, Istanbul*
Leslie Thornton / Winkleman Gallery, New York
Kon Trubkovich / Marianne Boesky Gallery, New York
Xavier Veilhan / Andréhn-Schiptjenko, Stockholm
Martha Wilson / P·P·O·W Gallery, New York
*Designates that Moving Image Istanbul will be the artwork's World Premiere.
Curatorial Advisory Committee for Moving Image Istanbul 2015
Celenk Bafra, Curator, Istanbul Modern, Istanbul, Turkey
Cassilis Oikonomopoulos, Assistant Curator, Collections International Art. Tate Modern, London, UK
Reem Shadid, Deputy Director, Sharjah Art Foundation, Sharjah, UAE
Agah Ugur, Collector, Istanbul, Turkey
Moving Image Istanbul September 4-6, 2015


www.moving-image.info

(posted on 2015-07-29)

Alter

Volti di luce e terra
31 luglio, 1 e 2 agosto 2015 / Chiaramonte Gulfi
H. 10:00 - 12:00 / 18:00 - 24:00
Artisti
Alessandro Amaducci, Paola Angelini, Giuseppe Armenia, Claudio Cavallaro, Luca De Angelis, Doren, Daniele Franzella, Maria Grazia Galesi, Giuseppe Giordano, Igor Imhoff, Boris Labbè, Filippo Leonardi, Alessandro Librio, Antonio Mainenti, Sebastiano Mortellaro, Zoi Pappa, Isabella Pers, Tiziana Pers, Piero Roccasalvo Rub, Lino Strangis, Sasha Vinci, Tian Xiaolei.
Critici
Martina Cavallarin, Giusi Diana, Eleonora Frattarolo, Cecilia Freschini
L'arte contemporanea trasforma la città di Chiaramonte Gulfi.
La città di Chiaramonte Gulfi, definita il Balcone di Sicilia per la sua mirabile posizione panoramica, si trasforma per tre giorni, dal 31 luglio al 2 agosto 2015, in un Teatro Vivo, che sarà animato da interventi site specific volti ad esprimere la pluralità della ricerca dell’arte contemporanea.
ALTER - Volti di luce e terra è un progetto che assume come riferimenti fondamentali le bellezze del territorio e la vitalità della comunità che lo abita, articolandosi all’interno del centro storico della città di Chiaramonte.
Tutti i cinque sensi entrano in sinestesia per navigare attraverso un universo estetico costellato da installazioni site specific, performance, sound art, video art, pittura, disegno, scultura, fotografia e altri linguaggi creativi in dialogo con gli spazi monumentali, la rete degli otto Musei che vanta la cittadina, le chiese barocche, le abitazioni private, le vie urbane e le piazze, attivando un viaggio sensoriale capace di stabilire un colloquio dialettico con i luoghi, con l’uomo e il suo statuto poetico. Tutti gli spazi dedicati al progetto ALTER saranno aperti e fruibili gratuitamente dal pubblico dal 31 luglio al 2 agosto, dalle 10:00 alle 12:00 e dalle 18:00 alle 24:00.
La fruizione dei luoghi sarà resa possibile attraverso l’ausilio di una mappa che raccoglie tutte le informazioni utili, delineando un percorso di visita multidisciplinare e multisensoriale. All’interno dell'ALTER MAP è segnalata la rete museale completa della città e tutti gli spazi dedicati al progetto: i luoghi in cui sono allestite le opere e le installazioni site specific e le botteghe dei custodi.
Il progetto ALTER – Volti di luce e terra nasce dalla virtuosa collaborazione tra il Comune della città di Chiaramonte Gulfi con la realtà indipendente SITE SPECIFIC di Scicli (Rg) e il gruppo S.E.M. Spazi Espressivi Monumentali di Scicli (Rg).
COLLATERALTER
Nel corso dei tre giorni in concomitanza col progetto ALTER, la città sarà animata da altri eventi collaterali:
31 luglio 2015 - ore 21:30, centro storico - RATAPUN - Arti espressive, teatro di strada e musica.
31 luglio 2015 - ore 21:15 - PASSEGGIATE SOTTO LE STELLE, Barocco ed oltre - Passeggiate nel centro storico alla scoperta della storia della città a cura del Prof. Giuseppe Cultrera.
1 agosto 2015 - ore 20:30, Villa Comunale - 7° CONCORSO NAZIONALE DI POESIA "Chiaramonte Gulfi - Città dei Musei”.

(posted on 2015-07-28)

LACDA 2015

Curators:
Nana Bahaman, LACMA (Modern Exhibits Associate Curator)
Max Presneill, Torrance Art Museum (Director and Curator)
Enter our juried competition for digital art and photography. Entrants submit three JPEG files of original work. All styles of artwork and photography where digital processes of any kind were integral to the creation of the images are acceptable. The competition is international, open to all geographical locations.
Registration fee is $35US (three images).
Multiple entries permitted, additional $35 entry fee for each three images.
The selected winner receives 10 prints up to 44x60 inches on canvas or museum quality paper (approximately a $2,500-$3,000 value) to be shown in a solo exhibition in our main gallery. The exhibit will be widely promoted and will include a reception for the artist.
Second place prizes: Ten second place winners will receive one print of their work up to 24x36 inches ($150-$200 in value) to be included in the winners' exhibits and opening.
Special consideration will be given to all entrants for inclusion in future shows at LACDA. Many entrants from past competitions have already been included in our exhibits.
Deadline for entries: August 24, 2015
Winners Announced: August 31, 2015
Exhibit Dates: September 10-October 3, 2015
Artists Reception: Saturday, September 12, 6-9pm
Art Walk Preview: Thrusday, September 10, 7-9pm
Registration fee is $35US.
Los Angeles Center for Digital Art, 104 East Fourth Street Los Angeles, CA 90013, USA


lacda.com

(posted on 2015-07-28)

Silenzio per favore

Artisti:
Elena Bellantoni, Lucia Bricco, Ola Czuba, Matteo Fato, Marco Fedele di Catrano, Mariana Ferratto, Fabio Giorgi Alberti, Franco Fiorillo, Iulia Ghita, Agenzia Dancing Days – Luca Pucci/Emanuele De Donno.
Silenzio per favore a cura di Adina Pugliese, è una rassegna itinerante dedicata alla videoarte, promossa da Aria – Fondazione Industriale Adriatica che ha come scopo principale quello di valorizzare il territorio abruzzese attraverso l’arte contemporanea quale strumento di connessione e sinergia tra i popoli, stabilendo così un legame artistico-culturale in spazi condivisi.
Dieci i video già raccolti in un unico dvd che saranno proiettati durante le sei tappe del calendario degli gli incontri. L’arte condotta in giro per tutto il territorio contribuirà così a creare un vero e proprio itinerario turistico senza precedenti. Un elemento importante, per assecondare la complicità, sarà la musica con Dj Carlo Shofolahan, Dj Sam di Tullio – DJ Trava, Cappella Ars Musicalis, Gaia Mobilij, Marco Marzuoli e Colibrì Ensemble. I video saranno visibili per tutto il periodo di Arte in Centro.
Silenzio per favore – per aria. In concomitanza con la rassegna, parte il bando per l’acquisizione di 3 nuovi video. Essi saranno proiettati nella serata conclusiva e poi messi all’asta tra i soci e gli amici di Aria – Fondazione Industriale Adriatica. La giuria, presieduta da Cecilia Casorati (Direttore artistico), vedrà il coinvolgimento di: Elena Petruzzi (Presidente), Enzo de Leonibus (MuseoLaboratorio), Simone Ciglia (critico) e Adina Pugliese (operatore culturale).
Il bando è rivolto a giovani artisti under 35.
L’incontro di apertura che si terrà il 28 luglio 2015 alle 21 a Ripattoni – Bellante (Te)
28 luglio, Ripattoni, Bellante (Te); 31 luglio, Castello, Roccascalegna (Ch); 09 agosto, San Vito Chietino (Ch); 24 agosto, Pescocostanzo (Aq); 27 agosto, Museolaboratorio, Città Sant’Angelo (Pe); 3 settembre, via Delle Caserme, Pescara.


www.fondazionearia.it

(posted on 2015-07-28)

24 Frames Per Second

Sydney’s Carriageworks has developed a reputation for delivering innovative and cutting-edge visual arts experiences that challenge boundaries and exceed expectations. And Carriageworks’ current exhibition, the ambitious “24 Frames Per Second,” continues the trend, delivering a groundbreaking and unprecedented showcase of dance-inspired film-based installations and interventions, presented within a curatorial framework that sets the bar for the presentation of video art at a lofty height and situates the exhibition at the forefront of experimental, cross-disciplinary practice. Carriageworks has not only exhibited incredible vision and foresight with “24 Frames Per Seconds,” it has facilitated the translation of that ambitious vision into what is arguably one of the most effective, successful, and awe-inspiring showcases of film-based artworks to have ever been presented, anywhere in the world. The exhibition is only on at Carriageworks until August 2 and should definitely not be missed.
“24 Frames Per Second” is the product of a 3-year $300,000 Screen Dance initiative established by the dance board of the Australia Council for the Arts in response to major shifts in the cross-disciplinary, collaborative nature of choreography, visual arts, and film. The initiative has enabled Carriageworks to commission 24 Australian and international artists, dancers, choreographers, and filmmakers to create 24 major new artworks that explore the physicality, expressivity, and emotiveness of human movement; from its most primitive to its most sophisticated; from its most restrained to its most extravagant; from its most concrete to its most conceptual.
The genius and success of the exhibition is the framework and structure of the commission itself which seems to embody the ideal balance of boundaries, liberties, inspirations, and motivations, matched to the optimal facet of each component of the creative and production process. The spatial and structural freedoms afforded to the participating artists by the cavernous Carriageworks exhibition space and the almost unlimited potential of the human body as subject matter combined with the inherent boundaries of the film medium and the carefully prescribed context of dance-inspired physical expression has elicited a diverse and exciting range of responses that span the breadth of human movement as well as the depth of film-based visual arts practice. As perhaps the most democratic of the arts, performance has again proven to be the perfect conduit for experimentation and self-expression, but only after being shaped and contextualized by Carriageworks.
Every work in the exhibition is worthy of mention and praise, but there are a few highlights that embody the innovative and experimental nature of the overall project. Indigenous artist Tony Albert’s collaboration with choreographer Stephen Page, titled “Moving Targets,” epitomizes the spatial innovations generated the project. Imagine a stripped-out shell of a car combined with a haunting video artwork that pays homage to the vulnerability and strength of young Aboriginal men and you’ll have some idea of what to expect from “Moving Targets.” Another spatial innovation is the three-dimensional, sculpted screen of “I Can Relate” by Adelaide-based choreographer Alison Currie who has created an experience so unique that it causes some viewers to do a double take. Then there’s the encapsulating structure of Japanese choreographer Saburo Teshigawara’s innovative four-channel installation “Broken Lights” which envelops the viewer in an evocative field of broken glass.
The innovations in “24 Frames Per Second” also extend to the content itself, which is just as diverse and pioneering as the different modes of presentation. One of the best examples of the scope of radical content is by Melbourne-based creators Byron Perry and Antony Hamilton who have taken the interactive potential of screen-based artworks to new heights with their “Untitled 2015,” enabling the viewer to manipulate absurd, spontaneous facial-choreography using a piano keyboard. In “Apparitional Charlatan...,” New-Zealand born Sydney-based artist Brian Fuata challenges perceptions of human movement by removing the body altogether, instead employing the form of a “ghost” which he combines with text to document the absent body. Sydney-based artist Kate Murphy’s liberating and poetic expression of the ageing, failing body as beautiful in its physical limits and restrictions is not only unique but startlingly powerful. Sydney-based artist Khaled Sabsabi earns his place at the entrance of the exhibition with the originality and potency of his multi-channel video “Organized Confusion” which contrasts two different forms of heightened awareness expressed through movement. Sabsabi’s juxtaposition of the secular fanaticism of Sydney Wanderers football team fans with the spiritual ecstasy of the rituals of an Indonesian shaman is at once polarizing and cohesive, challenging and revealing, soothing and disconcerting – characteristics that encapsulate the radical nature of the “24 Frames Per Second” project.
24 FRAMES PER SECOND ARTISTS:
Tony Albert and Stephen Page, Branch Nebula (Lee Wilson and Mirabelle Wouters) with Denis Beaubois, Clare Britton, Jack Prest & Matt Prest, François Chaignaud and César Vayssié, Alison Currie, Nat Cursio and Daniel Crooks, Siobhan Davies and David Hinton, Brian Fuata, Antony Hamilton and Byron Perry, Ho Tzu Nyen, Vicki Van Hout, Sophie Hyde with Restless Dance Theatre, Angelica Mesiti, Kate Murphy, James Newitt, David Rosetzky, Khaled Sabsabi, S. Shakthidharan, Aimee Smith, Sriwhana Spong, Latai Taumoepeau & Elias Nohra, Saburo Teshigawara, Christian Thompson, Lizzie Thomson, Vicki Van Hout & Marian Abboud.
“24 Frames Per Second” is at Carriageworks until August 2


www.carriageworks.com.au

(posted on 2015-07-25)

Electronic Superhighway

A landmark exhibition of art after the internet shows the impact of digital technology on artists over the last 50 years. Electronic Superhighway tells the story of a changing global culture, sparked by mass social and technological change.
With multimedia works, film, painting, sculpture, photography and drawing by Cory Arcangel, Roy Ascott, Jeremy Bailey, Judith Barry, James Bridle, Lynn Hershman Leeson, Oliver Laric, Vera Molnar, Trevor Paglen, Nam June Paik, Ryan Trecartin and Ulla Wiggen.
29 January – 15 May 2016
Whitechapel Gallery, 77-82 Whitechapel High St London E1 7QX


www.whitechapelgallery.org

(posted on 2015-07-25)

Mundoartstv y Videoakt

II Muestra online de vídeoarte parte de una serie de muestras que se irán dando en el año, escogiendo cada cierto tiempo a 5 artistas de diferentes países de iberoamérica seleccionados por Videoakt para mostrarse en la sección de vídeoarte en web de Mundoarts tv.
Ambas organizaciones tienen su base en Barcelona y se unen una vez mas, para esta experiencia comunicativa internacional por medio del vídeoarte de la mano de artistas iberoamericanos.
Obras seleccionadas:
1- Elizabeth Ross (México) "Insomnio" 4´17"
2- Barbara Hertiman (Venezuela) "No se mira fijamente II"
3-Daniela Medina Poch (Colombia)"Tutorial: Burka para no musulmanes"
4- Daniel Silvo – (España) "Technoaceitunas"
5- Héctor Delgado – (Perú) "Ale Hop- All beast must die"
1- Elizabeth Ross (México) "Insomnio" 4´17"
Reedición de obra hecha originalmente para VideoGuerrilla en Sao Paulo como video mudo proyectado en espacios públicos.
2- Barbara Hertiman (Venezuela) "No se mira fijamente II" 2¨58"
Un recorrido intimo donde la alternancia entre el exhibicionismo y el voyeurismo va alcanzando su climax en lo que parece un sueño. ¿Es esa la realidad real o la aparente?
El riesgo de ser descubierto forma parte de este dialogo secreto, donde se devela lo que estaba escondido.
3-Daniela Medina Poch (Colombia)"Tutorial: Burka para no muslmanes"
Para que cualquier persona pueda ser camuflad@ y disfrutar del hecho de pasar desapercibid@ cuando lo necesite. Para todos aquellos días que queremos estar en el interior estando en el exterior.
4- Daniel Silvo – (España)"Technoaceitunas"
Technoaceitunas sirve ahora de pretexto para hablarnos desde una candorosa e inocente postura, con música techno de fondo, de un problema racial; ya que Daniel Silvo muestra a alegres y danzarinas aceitunas que han cobrado vida mezcladas e integradas. El artista ha posado su mirada en algo tan usual como perversamente cotidiano. Silvo establece un vínculo con el metalenguaje visual al conceder vida a unas enervadas aceitunas, siendo su mano la que maneja, manda y acota el irremediable destino de las olivas. Un vídeo que provoca la sonrisa ladeada, ésa que sólo unos pocos logran entender cuando nos referimos a ironía.
5- Héctor Delgado – (Perú) "Ale Hop- All beast must die" 3´49"
Una casa solitaria es invadida por unos sujetos enternados mientras que la televisión los acompaña cantando una dulce melodía “All beast must die…”
Finalista Mejor video Peruano en el Festival VideoBabel 2013


www.mundoartstv.com

(posted on 2015-07-24)

Secret Places

‘Secret Places’ Contemporary video art festival, 23, 24 and 25 October 2015.
First edition of a contemporary video art festival with an international selection of video artists and film makers showing their vision on the theme of ‘Secret hiding places’. The videos will be screened in a mystical underground space, part of Museum Romeinse Katakomben in Valkenburg, the Netherlands.
Museum Romeinse Katakomben is a historical Roman museum. Wandering through the underground passages you will discover the ancient Rome of the third and fourth century. You descend to the graves of ordinary Roman citizens and to the beautiful tombs of prominent Romans. The video festival is part of the contemporary program of this museum.
Over hundreds of years the extensive ancient corridors under the city Valkenburg (250 km) have been used as a shelter in case of violence above the ground, for example during World War II. During 23, 24 and 25 October 2015 Museum Romeinse Katakomben will present the event ’Underground shelters: searching for safe places ‘. Part of this event is the international contemporary video festival ’Secret Places’.
Deadline: 25/09/2015


maureenbachaus7.wix.com

(posted on 2015-07-24)

Flussi

Ritorna Flussi, festival internazionale di arti mediali promosso dall’associazione culturale Magnitudo, che quest’anno raggiunge il traguardo della settima edizione.
Artisti internazionali, live concert, dj set, workshop, conferenze, installazioni, visuals, animeranno cinque giorni dedicati alla sperimentazione musicale, all’arte e alla cultura digitale, il tutto nella splendida cornice del capoluogo irpino.
Realityvism, il concept di questa edizione, affronta in maniera critica la digitalizzazione delle nostre vite, costantemente connesse e mediate dalle tecnologie, che a furia di socializzare ogni nostro atto, si frappongono tra noi e l’esperienza delle cose, producendo una lenta ma inesorabile perdita di Realtà.
In questo scenario la tecnologia è veleno e cura al tempo stesso; si tratta allora di trovare in essa il rimedio, affinché la nostra socialità, reinventi pratiche e politiche che attraverso la rete escano dalla rete per contagiare la vita.
Il format del festival riprende la proposta delle ultime due edizioni con 3 palchi su cui prenderanno forma i live set di artisti nazionali ed internazionali:
– Theater stage: il grande palco del Teatro Carlo Gesualdo per i concerti indoor
– Main stage: la terrazza panoramica del Teatro Carlo Gesualdo
– Esp stage: il palco sperimentale della Casina del Principe attrezzato con impianto quadrifonico.
La sezione didattica del festival segue la stessa linea del concept, affiancando alla lineup musicale, workshop e momenti di approfondimento incentrati sulle tematiche proposte con il concept Realityvism.
Tra i workshop al momento confermati:
– VoiceLab a cura di Ute Wassermann
– Blender e grafica per la stampa 3D a cura di Alan Zirpoli
– Introduzione alla realtà virtuale a cura di Roberto Fazio
– Wearable microcontrollers per live performance a cura di Carmine de Rosa
La scelta della lineup, coerentemente con il concept, punta a dare risalto a performances in cui il fattore fisico e quello umano sono aspetti centrali.
Lineup confermata al momento: Herman Kolgen*, Samuel Kerridge, Janek Schaefer, John Duncan, Dave Phillips, Edwin van der Heide, Leafcutter John, John Chantler + Stefano Tedesco, Erikm, Mia Zabelka, Ute Wassermann, Michael Vorfeld, Jealousy Party, Alessandra Eramo, Retina.it, Ossatura, Flo Kaufmann, Gondwana, Toktek, Giulio Aldinucci, Petit Singe, Andrzej Zaleski.
In aggiunta alle performance due eventi speciali che si terranno entrambi domenica presso la
Casina del Principe:
– Conduction a cura di Elio Martusciello, nella quale il maestro “dirigerà”, seguendo i principi della conduction, un ensemble aperto costituito da musicisti e persone con disabilità, creando un evento speciale di creazione musicale e di inclusione sociale.
– VoiceLab Performance, momento conclusivo del laboratorio sull’uso della voce tenuto da Ute Wassermann che coinvolgerà gli allievi che lo hanno frequentato.
Ad arricchire ulteriormente i cinque giorni del festival, screening, installazioni e videomapping.
Inoltre a sostegno di questa settima edizione del Festival, visti i continui tagli alla cultura e la miopia ormai congenita della classe dirigente italiana che fatica ad accettare l’importanza e l’impatto di eventi come Flussi per la cultura e l’economia del territorio, la necesità di un sostegno economico ci ha spinto ad attivare un’azione di crowdfunding attraverso la piattaforma Indiegogo.
(Questo il link al progetto: https://www.indiegogo.com/projects/flussi-media-arts-festival-2015-realityvism/x/11542599#/story )
Flussi ringrazia per il supporto: Prohelvetia, Mondriaan Fund, Goethe Institut, Forum Austriaco di Cultura.
*La performance indoor di Herman Kolgen è gratuita ed è prodotta in collaborazione con il festival Laceno d’Oro


www.flussi.eu

(posted on 2015-07-24)

Screen Play: Life in an Animated World

June 20–September 13, 2015
1905 Building, Gallery for New Media, Auditorium
Screen Play: Life in an Animated World is the first exhibition devoted exclusively to presenting the work of contemporary artists who use the techniques, technologies, and tropes of animation as tools in their practices. The artistic techniques on view range from traditional hand-drawn cel animations to digital modeling, three-dimensional video projections, stop-motion clay animations, and infinitely iterative live simulations—presenting the fullest range of how artists use diverse animation technologies in their work today. While such technology has become simply inseparable from contemporary life, the artists in Screen Play both maximize and critique its power to enthrall: these are the pioneers of a new golden age of animation.
Screen Play is accompanied by a free electronic catalogue, available for ten-inch iPads and Android tablets. The catalogue includes further information on artists in the exhibition and short artwork excerpts and images.


www.albrightknox.org

(posted on 2015-07-24)

4th animateCOLOGNE

4th animateCOLOGNE – Cologne Art & Animation Festival (aC4) to take place in India in February 2016 is now accepting submissions for its 4th edition.
Founded in 2012 by Wilfried Agricola de Cologne in the framework of CologneOFF – the international festival network – operating since more than 10 years from Cologne/Germany- animateCologne – Cologne Art & Animation Festival – would like give the animation more attention, relevance and space as a particular artistic expression, thus the focus is directed to non-commercial, experimental artistic representation and concepts in order to bring animation forward to both – art & moving images, as well as contemporary art.
animateCOLOGNE 4 will be hosted by “CeC – Carnival of e-Creativity” – the annual media art event founded by Shankar Barua, celebrating in 2016 its 10th anniversary in Shillong, the capital of the Indian state of Meghalaya – http://www.theaea.org/cec_cac/cec16/index.htm
aC4 – would like to demonstrate the diversity of the artistic animation as a global language connecting people from all continents, cultural and social backgrounds.
aC4 – is looking for
– animated art contents in digital video in all its variety without any thematic limitation
– new and experimental approaches in transforming artistic concepts via animation into the language of the “moving images”
aC4 – is inviting film & video creators – to submit up to 3 works of experimental forms of film and video art – (exclusively) online by using the entry form
extended deadline: 26 October 2015


netex.nmartproject.net

(posted on 2015-07-23)

Ways of Something

SAW Video presents “Ways of Something” Lorna Mills’ (Toronto) ultimate collage of web-based media art. This programme of short format, distracting, glitchy, kitschy video work - perfect for an internet generation with a short attention span - will be presented in the SAW Courtyard 67 Nicholas St. the evening of July 23rd. The screening is presented in collaboration with CHUO and Downtown Rideau BIA.
“Ways Of Something morphs, warbles, seizes and glitches. It populates classic paintings with World of Warcraft characters. It shines a fleshlight on the male gaze. And as you listen to that voice-of-God narration, that narrative ruptures with flashes of the future.” - Marina Galperina
A remake of the original BBC art history programme “Ways of Seeing” by John Berger, “Ways of Something” (Ep. 1-3) is a mash-up of 85 web-based artists’ 1 minute takeover of John’s original episodic audio. Taking from John’s ‘elitist’ narration - the media artist recontextualizes and modernizes our engagement with art, art history, and artistic practice through 3 complete episodes curated by Lorna Mills.


sawvideo.com

(posted on 2015-07-23)

Videoart @ Mumbai City Museum

The August 2015 edition focuses on the creative use of the language of video by artists to convey an existential dilemma. Functioning as the sole characters in their work, they seek to confront the power of the self to create or destroy, and the feelings of entrapment and isolation that accompany it.
Date: 1st, 8th, 15th, 22nd, 29th of August
Time: Screening at 3.30 and 4.45pm
Venue: Library
Screening:
Suicide Note by Kiran Subbaiah
Take One Three Times by Kiran Subbaiah
Breathing Charcoal Soaked in a Shallow Forest Stream by Avinash Veeraraghavan
Three fragmented actions of silence by Surekha
Line of Control by Surekha
…Long Long Way by Surekha
Dr. Bhau Daji Lad Museum, Mumbai City Museum
Veer Mata Jijabai Bhosale Udyan (Rani Baug), 91/A, Dr Babasaheb Ambedkar Road, Byculla East Mumbai 400027 India


www.bdlmuseum.org

(posted on 2015-07-23)

SenseImage

A multi-shaped video tactile surface
SenseImage is the first multi-shaped, flexible video tactile surface ever created. The patented technology uses a display interface that connects surfaces of all shapes and sizes, and can go on the floor, walls and ceilings alike. The result is an immersive experience that you can walk on, touch even lay on.
SenseImage emanates from an ambition based on digital technology and to design an innovative tool about a sensitive video material concept. This is the design of an interactive touch support with the capacities of evolving with the programs developed for it. It can be likened to a touch surface that detect prototype of the first SenseImageand analyze its environment and offers playful creative or practical programs.
To touch is to see
Presentation
This is a sensitive coating applied to video architecture, monumental sculpture, within various domestic or professional environments. SenseImage is a communicating sensitive skin and has a capacity to spread over its surface to surround our bodies, to interact with it, to generate an immersive dimension to many forms of applications independently or in conjunction with our computers, our TV and our connected objects.
SenseImage can be declined into tables, walls, ceilings, floors, carpets ... .This multifaceted support can be part of interactive and immersive decor including filling out the other satellite components (speakers, lighting, interactive sculptures), support training, sales ...
Scope of application
Artistic
Interactive color flow images revelation, in combination with the sounds and music
Playful
Numerous games redisigned for the entire body with similar games as Pong, Snake, Pacman with some variations of most famous console games - Retro-gaming, Tetris, memory games, games recognition of animals, pairs game, etc.
Business
logo and products revelation, use of collaborative artistic applications.
Immersive Spaces
Hotel Room or Lobby with applications evolving with time, with the mood of the client, also living room or work area for home usage.
Retail
For events or permanent installations in stores to provide innovative display and interaction.
Technical details and equipment:
LED panels 10 mm pitch. Plates of 16 cm x 16 cm assembled by 9: square 48 cm x 48 cm.
Presence detector around each LED
Available in many formats. Example wall structure 2.5 m x 2 m, 15 cm thick, 50 cm with foot structures
Programming Interface (API) for programming
Low consumption based on LEDs. For an area of 5 m2, for example, a simple electric socket is enough.
Possible forms:
- Tables
- Walls
- Carpet
- Ceilings
- Stairs
- Furniture (tables, Bar ...)
- Display for a point of sale, as part of a trade show ....
Development
SenseImage is the second stage of an art project conceived by the visual artist Pascal Bauer. His aims is to produce a video sensitive surface applicable to architecture or monumental sculpture. The future artistic goal is to marry the physical body to the image.
The current stage is to define an interactive multi-touch display unit which can grow to infinity, and which may at some future time to be a marketer. This in turn allows marketing to pursue the technological developments of this ambitious project.
SenseImage was created by Pascal Bauer, a French visual artist and designer. After having created his own design publishing company, he decided to concentrate exclusively on the artistic dimension of his work and spent two years on a production flow where he diversified his practices by using several technical skills. The first solo exhibitions of this period helped him to develop an expressionistic density that can be easily perceived in his last monographic exhibition at the Art and History Museum of Saint-Denis.
Senseimage is a project supported by Cap Digital and Région île-de-France

(posted on 2015-07-22)

Territorios Inexplorados

Muestra de video-arte Palestino
Comisario y presentador: Iuri Lech
Pantalla del Sur – Programación de cine y vídeo
Space Exodus. 2009. Larissa Sansour
Sinopsis: Este video es una peculiar adaptación de un fragmento del filme de Stanley Kubrick, “2001: una odisea del espacio, en un contexto político de Oriente Medio, en el que la cámara sigue a la propia directora en un viaje a través de un universo fantasmagórico que hace referencia al alunizaje de Armstrong y postula la idea de un primer palestino en el espacio, gesto teórico que se interpreta como “un pequeño paso para un palestino, un salto gigante para la humanidad”.
Nation Estate. 2012. Larissa Sansour
Sinopsis: Obra de ciencia ficción que ofrece un enfoque clínicamente distópico y humorístico sobre el estancamiento en Oriente Medio. Con una mezcla de imágenes generadas por ordenador, actores y una banda sonora electrónica de estilo arabesco, este trabajo audiovisual explora una solución vertical para el Estado palestino en la forma de un único y monstruoso rascacielos patrocinado por la comunidad internacional que alojará a toda la población palestina.
Remind me to remember to forget. 2006. Oraib Toukan
Sinopsis: Un breve e irónico relato audiovisual sobre el lenguaje y el significado, en el cual la frase “recuérdame que me acuerde de olvidar” aparece obsesivamente escrita y recitada en forma de bucle. En un formato de pantalla dividida, el video muestra dos actuaciones independientes pero sincronizadas. Configurado rítmicamente en base al sonido de una respiración ahogada, el video cuestiona la creación de una innata memoria “hecha para olvidar”, para ser violada, eliminada y erradicada justo antes de su transición del presente al pasado.
Transit. 2004. Taysir Batniji
Sinopsis: Este vídeo aborda con fuerza el tema de las fronteras, las nociones de los viajes y los desplazamientos, así como la situación de estar en medio de dos culturas e identidades. El artista palestino presenta una serie de imágenes en silencio a partir de fotografías que realizó clandestinamente en los pasos fronterizos entre Egipto y Gaza. Las imágenes de personas que esperan se alternan con pantallas negras, metáforas de la vacuidad y del paso del tiempo, que reflejan las difíciles, y a menudo imposibles condiciones actuales de movilidad de los palestinos.
Sea Level. 2012. Khaled Jarrar
Sinopsis: Khaled Jarrar es un artista palestino que utiliza el arte como una plataforma analítica para interrogarse acerca de la continuada situación en su país, específicamente la que está íntimamente ligada al reconocimiento de Palestina y al discurso militarista creado a su alrededor. Es una preocupación recurrente suya hacer uso de su práctica artística como una táctica para investigar y reflexionar sobre los conflictos, la nacionalidad, el hogar, lapertenencia y la noción de la autoridad estatal.
Home Movies Gaza. 2013. Basma Alsharif
Sinopsis: “Home Movies Gaza” nos introduce en la Franja de Gaza como si fuese un microcosmos del fracaso de la civilización. Después de diez años sin visitar la Franja de Gaza, la artista regresa allí durante la mayor incursión por parte del ejército de Israel. En un intento por describir el día a día de un lugar que lucha por los derechos humanos más básico, este trabajo se afirma desde la perspectiva interior de un territorio complicado, abandonado, y en conjunto imposible de separar de su identidad política.
Protective Edge. 2014. Firas Shehadeh
Sinopsis: El 8 de julio de 2014, las Fuerzas de Defensa de Israel lanzaron la operación militar “Borde protector” en la Franja de Gaza. Después de siete semanas de ataques aéreos israelíes, 2.100 personas murieron y 11.100 resultaron heridas, la mayoría de ellos civiles. Este video propone una pantalla dividida en los que se pueden apreciar desde dos puntos de vista los ataques aéreos, evidenciando cómo la maquinaria militar de alta tecnología israelí crea una imagen abstracta de la vida de los palestinos.
Sweep. 2009. Sama Alshaibi
Sinopsis: Video producido en Emiratos Árabes Unidos como parte del proyecto “Los pesimistas”, que invita a la contemplación de las fuerzas invisibles que controlan la conducta de las personas mediante la representación de unamujer barriendo febrilmente sus pasos en un árido paisaje desértico, tratando de vigilar su propio comportamiento en un bucle sin fin. El desierto se utiliza como símbolo de un paisaje paradójico: siempre parece estar desplazándose y cambiando de forma, pero en el fondo allí nada crece o cambia, y refuerza la idea de la inútil reiteración de los reciclados conflictos en curso de nuestra historia moderna.
End of september. 2010. Sama Alshaibi & Ala’Younis
Sinopsis: Filmada en Palestina y Jordania, esta pieza de videoarte afín al realismo mágico se centra en los diversos misterios del pasado que afloran con el regreso de una fedayín palestina en busca de su compañero al país que creía conocer como si fuera un alma errante por el purgatorio, y plantea una serie de especulaciones acerca de un paisaje futuro después de la ocupación, instando a mantener una imaginación abierta para enfrentarse con la difícil situación palestina actual.
24Julio, 2015 18:00 h.
Salón de actos del Ayuntamiento


www.pirineos-sur.es

(posted on 2015-07-22)

Midsummer Triple

All’interno della mostra Witness Your Word di Leroy Brothers spazioborgogno presenta Midsummer Triple
Parole
Un'installazione di Stefano Boccalini
Martedì 21 luglio verrà presentata all’interno della mostra “Witness Your World” dei Leroy Brothers l’installazione 'Parole' di Stefano Boccalini.
Il lavoro è stato commissionato all’artista milanese dalla società di progettazione Lombardini22 in occasione dell’ultima edizione del salone del mobile e presentato negli spazi di questo gruppo di architetti, ingegneri, grafici, consulenti e comunicatori. “L’uso della parola che Stefano Boccalini fa nelle sue opere è stato il motivo per cui abbiamo scelto questa collaborazione, nel suo lavoro l’aspetto antropologico dello spazio è fondamentale e le parole che utilizza lo rivelano”, dice Franco Guidi AD della società.
Parole
è un’installazione mobile costituita da quattro grandi parole realizzate in alluminio che diventano dei “contenitori”di piante e fiori commestibili. Per lo Spazioborgogno l’artista ha scelto di presentare questo lavoro rinnovato per meglio interagire con la mostra che lo ospita: i fiori sono stati sostituiti dalla terra così i contenitori diventano un dispositivo in attesa di essere utilizzato; la terra come possibile momento di “creazione” al quale tutti possono partecipare. Analogamente a quanto si legge nello statement del progetto “Witness Your World” dei Leroy Brothers, dove il web diventa il dispositivo per attivare un processo di creazione condiviso e democratico. Le parole scelte da Stefano Boccalini sono i contrari di parole che in questi anni di crisi ci hanno accompagnato quasi quotidianamente: Emergenza diventa Normalità, Esclusione diventa Accoglienza, Credito diventa Dono e Crisi diventa Entusiasmo. Parole semplici e di uso comune ma troppo spesso svuotate del loro significato L’artista vuole qui mettere al centro dell’opera le parole, “risignificandole” e facendole diventare un elemento generatore di nuove conessioni.
A partire da settembre Lombardini22 ospiterà nella propria show room una selezione di opere dei Leroy Brothers, ampliando così la mostra in programma presso lo Spazioborgogno fino al 30 ottobre ed attivando una nuova collaborazione artistica con la vicina galleria milanese.
Screening in collaborazione con Kow Galerie Berlino
In questa serata la curatrice Teodora Kotseva, presenterà nelle due videoroom dello spazio i video di Angela Marzullo (Makita) , Frédéric Moser Philippe Schwinger e Mario Pfeifer . Gli autori affrontano nei lavori selezionati i temi della vita dei teenager. Il periodo, fragile e vulnerabile in cui il mondo apparentemente gira intorno ad essi protagonisti. In verità, in questi piccoli film , essa si rivela come la stagione dell'incertezza, dell’ansia, dei sentimenti polari e delle mille domande irrisolte.
I video saranno visibili fino al 22 settembre 2015.
Love Song
Canto di un antieroe per viola
di Vincenzo Pasquariello
sul poema di T.S. Eliot “Canto d’amore di Alfred Prufrock”
viola Matteo Del Soldà
voce recitante Vincenzo Pasquariello
La vita avviene, coinvolgendoci con azioni, ideali, sentimenti. noi ci occupiamo di vittorie e di progettualità compiute, ben definite. il senso è nel trascorrere con pienezza il giorno, l’anno, la vita. il quadro si realizza nell’insistere in questo esercizio rivelatore, più che nel modellare con ostina- zione un qualche pensiero significante, conclusivo. accogliamo la sensualità del divenire, e fecondiamoci con essa. VP Con questa serata lo Spazioborgogno comunica la chiusura estiva dal 28/ 7 al 31/ 8. Arrivederci al 1 Settembre 2015!
Inaugurazione martedì 21 Luglio 2015 ore 19
concerto ore 20.30
Spazioborgogno Ripa di Porta Ticinese 113 Milano


spazioborgogno.com

(posted on 2015-07-22)

FRAC

FRAC | Festival of research for contemporary arts is an event conceived and organized by PAC & C. Sas over the days 24th, 25th and 26th July, 2015 in the stunning scenery of the Renaissance Palace of Aieta(CS). FRAC born parallel to a research project, CRAC | Research Centre for Contemporary Arts located in Lamezia Terme (CZ), which thanks to an announcement for start-ups will begin its work this year. For its 1st edition FRAC stands as a meeting point amongst the contemporary arts, the new languages of the contemporary scene and the territory: the artistic fields that will be proposed are: visual arts, per forming arts, live audio video and electronic music live show with world famous artists.
The festival will take place over three days: 24th, 25th and 26th July, 2015. The first activities will start 24th July at 4pm with free workshops given by the artists who will perform during the three nights about interaction design, sound design, performing art. Every day from 6.00pm you will have access to the exhibition inside the Palace where more than 20 artists will exhibit their installations, video art, photography, design.
Live audio video and performances will run from 9pm to 11pm.
Live show of electronic music with international artists will run from 11pm to 3am the following day followed by DJ sets up to 6 in the morning.


www.fracfestival.com

(posted on 2015-07-22)

Fundación BBVA y la Creación en Videoarte

Por segundo año, la Fundación BBVA apuesta por el videoarte al repartir hasta 300.000 euros en diez becas que premian a otros tantos creadores españoles que podrán producir sus proyectos
Un falso documental de vida animal en el que los protagonistas son jóvenes fagocitados por un sistema que simula permitir la transgresión; una exploración del abandonado túnel ferroviario de La Engaña, que hubiera conectado Burgos y Cantabria, como indagación en la memoria generacional; una revisión del misterioso accidente de Ambroise Vollard, marchante y amigo de grandes pintores como Matisse y Picasso; una reflexión sobre modelos familiares, a partir de un suceso real; o un proyecto que aúna política, naturaleza, antropología y ecología en la cultura indígena de Colombia son algunos ejemplos de lo que proponen los diez proyectos seleccionados en la edición 2015 de las Ayudas Fundación BBVA a la Creación en Videoarte.
Diez de diez
Rosana Antolí (Alcoi, Alicante, 1981), que producirá la obra PIRI REIS - La continuación de un mito; Pedro Luis Cembranos (Madrid, 1973) y su El accidente de Vollard; Lúa Coderch (Iquitos, Perú, 1982); Carles Congost (Olot, Gerona, 1970); Isaías Griñolo (Bonares, Huelva, 1963); Marc Larré (Barcelona, 1978); el colectivo Momu & No Es;Txuspo Poyo(Pamplona, 1963) y María L. Ruido(Orense, 1967) y Juan Zamora (Madrid, 1982) son los diez artistas que se alzan con la beca en este 2015. Cada uno de los adjudicatarios recibirán30.000 euros para realizar obras inéditasen el plazo máximo de un año para producciones que destacan por expandir el vídeo hacia una amplia variedad de formatos (fotografía, animación, instalación, escultura...) y de géneros: investigación histórica, road movie, cine experimental y documental, entre otros.
Esta iniciativa de la Fundación BBVA ocupa un espacio singular en el panorama cultural español. Los proyectos son seleccionados en una convocatoria transparente y competitiva a la que concurren creadores de varias generaciones. Las ayudas, por la cuantía de su dotación (de la más elevada en el ámbito artístico en España) hacen posible llevar a cabo proyectos ambiciosos que, de otra forma, quedarían frustrados al no poder cubrir los los costes de producción y acceso a plataformas tecnológicas de última generación.
La Comisión Evaluadora de la edición 2015 de las ayudas ha estado presidida por Juan Antonio Álvarez Reyes, director del Centro Andaluz de Arte Contemporáneo; y formada por Javier Díaz-Guardiola, coordinador de las secciones de Arte, Arquitectura y Diseño de ABC Cultural; María Pallier, directora del programa Metrópolis de TVEElena Vozmediano, historiadora de arte y crítica de arte en El Cultural; Chus Martínez, directora del Instituto de Arte de la Academy of Arts and Design de Basilea; Blanca de la Torre, comisaria de exposiciones e historiadora de arte; Eugeni Bonet, comisario de exposiciones; Mariano Navarro, crítico de El Cultural; y Nuria Enguita, comisaria de exposiciones.
Un aumento en las solicitudes
Estas ayudas anuales se enmarcan en un programa más amplio de apoyo y fomento del videoarte y el arte digital, que incluye la realización de exposiciones, la organización de encuentros de artistas, los encargos de obras y las publicaciones electrónicas. Los nuevos diez receptores de estas ayudas se suman a la decena de videoartistas adjudicatarios de la primera edición, cuyas obras estarán finalizadas a comienzos del 2016, conformando una interesante colección centrada en el vídeo.
Si a la primera convocatoria de Ayudas a la Creación en Videoarte se presentaron 169 solicitudes (concediéndose un total de 10), en 2015,la Comisión Evaluadora ha examinado 188 proyectos, un 11 por ciento más. El perfil de las solicitudes revela que se trata de una comunidad joven, pues casi el 65 por ciento se sitúa por debajo de los 40 años. El origen geográfico es muy variado (aunque se exige residencia en España), destacando en bastantes casos la amplia experiencia internacional, tanto en lo que a la formación se refiere, como a la producción de obras y la exposición de las mismas en el extranjero.


www.abc.es

(posted on 2015-07-22)

OLHO

There is, and has always been, a mutual influence between the visual arts and cinema. Since the beginning, the two forms of creative expression have modified their aesthetic approaches, narratives, and architectural spaces in close dialogue with one another.
Nevertheless, it is intriguing to observe that film criticism and art criticism have historically pursued two separate paths and that the same applies to the ways in which the works are respectively ?collected? and ?distributed?.
Today, films and filmic effects are so pervasive that they begun to reformat other artistic practices influenced by the post-production techniques and narrative construction typical to cinema. This evidence invites us to reflect upon the reciprocal relationship between the visual arts and cinema from the perspective of the spaces and subjectivities they address.
The OLHO exhibition screening brings together, in curated sequences, works that stand out in the international panorama of contemporary art and engage in a direct or dialectical manner with cinema.
In staging a dialogue between different ways of seeing and narrating, OLHO is an invitation to reflect upon the various different visual narratives that have developed in response to moving images and to relish in the powerful, aesthetic, immersive experience of the movie theatre.
Alessandra Bergamaschi and Vanina Saracino
credits | created and curated by Alessandra Bergamaschi and Vanina Saracino, production coordination and executive production: Valeria Luna ? Artimanha Produções, production director: Carla Barbosa, production assistant: Bettina Borges, art direction: Ruth Freihof - Passaredo Design, media relations : Silvana Cardoso - Passarim Communication & MKT, web development: Felipe Perez, translation: Lea Nachbin, copy desk: Antonio Caetano, graphic: Triostudio, photographic and videographic record: Dario de Dominicis, project design: Beth Salgueiro, operational air transport and hosting: Allez Travel, transportation: Art Rio tourism, legal advice: Signorelli Associates, accounting advice: Supervision Consultancy and accounting Advisory.
acknowledgments | Maria Acciaro, Aldeia do Futuro, César Alarcón, Antonio Caetano, Silvia Cipriani, Pietro Fortuna, Ruth Freihof, Mario Garcia Torres, Daniella Géo, Federica Geronimi, Tiago Gomes, Laurent Grasso, Tamar Guimarães, Hanna Joensuu/AV-arkki, Jesper Just, Veridiana Kim, Léa Lamerre, Elizabeth Markevitch, Denise Miller, Grupo Pensar, Felipe Perez, Alessandra Populin, Vesa Puhakka/AV-arkki, Enrique Ramirez, Jõao Paulo Reis Santos, Reynold Reynolds, Saskia Reynolds, Amanda Rodrigues Alves, Mario Santos, Gloria Sensi, Eliana Signorelli, Arantxa Solis, Salla Tykka, Elisa Uematsu, Wim Van Der Meer, Guido Van der Werve, Rafael Vilela.


www.olho.ooo

(posted on 2015-07-22)

Videolab Partìcula #4: Ozgur Ozcan

Videolab Project, connected to the Residency Program of Fonlad Festival, presents a selection of video-installations, a debate by Ozgur Ozcan (Turkey) and a dance show by Inês Matos (Flic-Flac Dance Company)
This event is based on the art work developed by Ozgur Ozcan during his residency in Coimbra, whose final purpose is to present a set of video-installations at Espaço Partícula.
OZGUR OZCAN
Artist, man of the classics, musician, movie director and vídeo producer.
Özgur Ozcan (1976) was born in Ankara, Turkey. He studied Communication and the media, in North Cyprus.
Later, he moved to Barcelona, Spain, choosing to explore modern and contemporary art.
INÊS MATOS (FLIC-FLAC)
The “Flic-Flac” Dance Company was created by Ana Figueiredo, from the Superior Lisbon School of Dance, with the aim of giving Coimbra town a contemporary amateur dance company that mainly promotes Portuguese choreographers.
The “Flic-flac” is also a school with the purpose not only of coaching future dancers but anyone with a passion for dancing who do not wish to become a professional and who will be able to express artistically through dance. Therefore, children, youngsters and adults find in this space the freedom to express their wish for dancing as much as they free their body and spirit, in this way improving their well being and life quality.
Espaço Particula Coimbra, 25 Julho 2015, 21h30 Rua Miguel Torga, 25 cv – Coimbra
Video installations: Ozgur Ozcan
Contemporary Dance: inês Matos (Flic-Flac)
Coordination: José Vieira
Support on prodution: Sérgio Gomes, Maria do Mar
Translation: Maria Clara Maia
Organization: Projecto Videolab
Support: Espaço Partícula, Flic-Flac – Companhia de Dança Contemporânea, Festival Fonlad


videolabparticula.blogspot.com

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