On next september, we'll launch the call for the IX edition of Magmart Festival. As usual, all details will be explained after the summer.
Meanwhile, I would like to explain the reasons, the sense, that has for me the festival. All along, since the first edition nearly a decade ago, there was the search for an opportunity of confrontation between video artists from around the world. Due an artist needs to know what is produced (artistically) in the world.
But during these years videoart has grown a lot - and obviously so are video artists, both in quality and in quantity. New festivals, also excellent, they were born, while festivals of art or photography have opened sections dedicated to videoart. It greatly increased general attention to videoart.
And of course, this growth also affects me, by asking new questions, which demanded new answers.
This is also why was born the project 100x100=900, which took the opportunity to celebrate 50 years of videoart to experiment with new forms - conceptually and organizationally.
From that experience, for me (and not just for me, I think), I have drawn important lessons, which led me to create then the project F.I.V.E., and most recently to kick off a new project, FOODS, destined to materialize in 2015.
All this has profoundly changed the perspective with which today I look at videoart, and then to my work in this field.
For this reason, the sense of Magmart Festival is not only to set up a showcase for international videoart. It is also a unique opportunity to discover new talent, a vantage point to understand the changes that pass through this artistic sector, a fundamental moment of reflection and processing for new challenges.
It is the moment in which are formed and matured ideas for new projects. And when it becomes possible to identify those who will be the protagonists of these projects, and take on these new adventures.
Appointment in September, then.
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!
Remember that you can follow the Magmart news flow even on social network: join Magmart Videoart Network on FaceBook or follow @MagmartFestival on Twitter.
Seed Space (in Nashville / Tennessee, USA / America)
(curator: Adrienne Outlaw)
Seed Space organize the F.I.V.E. screening.
The screening will have place on June 7-Aug 9 at: Seed Space, Nashville, TN, USA
Centre 3 for Print and Media Arts (in Hamilton / Canada / America)
(curator: Andrew Butkevicius)
Centre 3 for Print and Media Arts organize the F.I.V.E. screening as follow: One day screening. The screening will coincide with the monthly Art Crawl in Hamilton.
The screening will will have place on 2014-08-08 at: At Centre 3, located at the heart of Hamilton’s arts district in Ontario. It will be screened at 6 and 8:30 pm
Seed Space (in Nashville / United States / America)
(curator: Adrienne Outlaw)
Seed Space organize the F.I.V.E. screening as follow: ull screening of project.
The screening will will start on 2014-06-07 and go on until 2014-08-09 at: Seed Space gallery (Nashville, TN, USA) located at 1209 4th Ave. South
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 2014-07-22)
Video artist Bill Viola's latest installation Martyrs (Earth, Air, Fire, Water) is now on permanent display at St Paul’s Cathedral.
Bill Viola and Tate curator Matthew Gale talk us through the genus of the project and how the artist took on the challenge of creating the first moving-image artwork to be installed in a British cathedral or church on a long-term basis.
Martyrs, a work by Bill Viola and Kira Perov, features four individuals, across four vertical screens, being martyred by the four classical elements Earth, Wind, Fire and Water. Flames rain down, water cascades, winds rage, and earth flies up. However, each martyr’s resolve remains unchanged during the darkest hour of the martyr’s passage through death into the light.
Tiny Deaths was made in 1993. Barely visible figures are perceived in the darkened space until crescendos of light and sound bring moments of drama. The three projections envelop the viewer in the intense experience of the appearance and sudden disappearance of these presences.
Martyrs (Earth, Air, Fire, Water) by Bill Viola is now on permanent display at St Paul’s Cathedral and will be accompanied by a second piece entitled Mary from 2015. For more information on the work, please visit the St Paul’s website.
This video interview is part of TateShots, a great online video series about art and artists.
(posted on 2014-07-22)
El próximo viernes 8 de agosto cierra la convocatoria la Primera Bienal Internacional de Videoarte y Animación, Puebla 2014, VEA, que organiza su Ayuntamiento a través del Instituto Municipal de Arte y Cultura. El evento tiene tiene como “propósito de impulsar la creación y divulgación de prácticas artísticas en formatos electrónicos y visuales”.
En la convocatoria pueden participar artistas de cualquier nacionalidad y lugar de residencia, con un máximo de de 3 obras realizadas a partir de 2011 que no superen los 15 minutos de duración, sin importar el formato de grabación o registro; las videoinstalaciones podrá ser de mayor extensión.
Se entregarán estímulos para el Primer Lugar de $40,000 (Pesos Mexicanos MXN), para el Segundo Lugar $20,000.00 y para el Tercer Lugar de $10,000.00. El jurado podrá entregar alguna mención honorífica en caso de que lo crea conveniente y todos los seleccionados recibirán Constancia de Participación.
Mayores informes: Instituto Municipal de Arte y Cultura de Puebla, Departamento de Exposiciones, 3 Norte No.3, Centro Histórico, Puebla, Pue, México.
(posted on 2014-07-22)
Application period: Tuesday, July 15, 2014 — Friday, August 8, 2014
Deadline: Friday, August 8, 2014
Accepted applicants will be contacted throughout August 11—17, 2014
Residency and production period: August 18 — September 14, 2014
Platforma X exhibition week: September 15—21, 2014
Preparatory to the 9th edition of the eXplore dance festival — Bucharest International Contemporary Dance and Performance Festival, Romania’s main dance and performance event, 4Culture Association in co-production with Tangaj Dance kickstart Platform X — a residency program dedicated to the new generation of interactive artists across Europe that supports the research and the production of interactive, new and trans-media projects.
Seeking to express a critical understanding of technology, the X Platform program is open to young visual artists who are concerned with the syncretism between artistic genres, with a main focus on digital projects and interdisciplinary installations. The creative platform’s hot-spot is the technological invasion in contemporary art. Biotechnology, genetic engineering and molecular robotics, somatic exploration of light, sound or other technological mechanisms are speculated in the context of immersive video-art installations, which may or may not have performative value.
This year’s theme is re-imagining/reconfiguring the WASP exhibition space, through an evolutionary approach, in both aesthetic and reflexive terms. The WASP — Working Art Space and Production in Bucharest, Romania, is the home of two modern, minimalist studios dedicated to performance all forms situated in the building of a former communist factory.
Based in Bucharest, Romania WASP — Working Art Space & Production is an independent alternative space with a focus on contemporary dance, visual arts experiments, underground contemporary theatre and multimedia addicts. Repurposing 500 square meters of an old communist factory, the place hosts two modern studios, exhibition spaces, as well as the 4Culture Association’s offices.
Leaving the institutionalized art world behind, the project is a manifesto for creativity and innovation for the new generation. Platform X does not encourage a static perspective, but envisions space in continous motion and transformation. The aesthetic purpose of the platform is to arouse curiosity, to play with perception and to introduce original performative processes that create a sense of deliberate disorientation.
The project’s starting point will be a one month residency at WASP — Working Art Space and Production in Bucharest, where the artists will work on the production of individual or group projects under mentorship sessions, that aim to complemented by workshops and public discussions.
*X Platform is a cultural program in co-production between 4Culture, WASP — Working Art Space & Production, Tangaj Dance and LifeLongBurning, with the support of the Cultura 2007 — 2013 programme. This project was financed by The National Cultural Fund Administration (AFCN), as well as through the ARCUB — Bucure?ti 555 program.
4Culture is a non profit association based in Bucharest with the objectives to support the education of young artists, the research, production and dissemination of emerging creators in the field of contemporary art. The most notable of the activities and projects organized so far by the 4Culture Association number eXplore dance festival — Bucharest International Contemporary Dance and Performance Festival, Jardin d’Europe, Balkan Dance Platform. 4Culture is member of IETM network, Jardin d’Europe and Balkan Dance Platform.
WASP — Working Art Space and Production is an independent alternative space with a focus on contemporary dance, visual arts experiments, underground contemporary theatre and multimedia addicts. Repurposing 500 square meters of an old communist factory, the place hosts the annual eXplore Dance Festival – Bucharest International Contemporary Dance and Performance, as well as the 4Culture Association’s offices.
(posted on 2014-07-22)
Video art in a festival context – quality / quantity, mediation / curation, selection / collection, distribution / archive
Video art festivals have become widely spread worldwide as a comparatively easy and cheap format for video art mobility, presentation and distribution, for which they have been the same way widely criticized because of their mass character concerning both inter-subjective factors quality-quantity / video artworks-audiences.
Through this panel we would like to discuss and debate any new and alternative strategies for strengthening those boundaries of video art mediation and presentation in a festival context for building up two-side values and benefits, for both artists and audiences, while acting in a small and stagnant scene locally but among big international competition.
Iara Boubnova is a curator and an art critic. She was born in Moscow, where she graduated from the Department of History and Theory of Art at the Moscow State University. Lives in Sofia and currently she is a Director of the National Gallery for Foreign Art. She is the founding Director of the Institute of Contemporary Art - Sofia. Iara Boubnova has curated the national participation of Bulgaria at the 48th Biennale di Venezia, 1999; the 3rd Biennial in Cetinje, Montenegro, Yugoslavia, 1997; the 4th St. Petersburg Biennial, 1996; the 4th Istanbul Biennial, 1995; and the 22nd Sao Paulo Biennial, 1994.
Dr. Antonio Geusa holds a PhD in Media Arts (London University, UK), a BA in Foreign Literatures (University of Bari, Italy), and a BA in Media Arts (London University, UK). In the past few years he has been working as an independent curator and critic. In Russia, he is one of the leading figures in the field of art and new technologies. He is also the biggest expert of Russian video art in the world. He is a widely published author in Russia and abroad.
Hong Kong based artist. Her creative practice includes installation, mixed media, and public and community art etc. Her works integrate elements and platforms of theatre, design, and commercial and social spaces in order to extend performance or action; these can be read as issue-based creativity. Currently, she is an assistant professor at the Academy of Visual Arts, Hong Kong Baptist University.
Jason Waite is curator at Casco – Office for Art, Design in Utrecht, the Netherlands. Recently he was co-curator of The Real Thing? at Palais de Tokyo, Paris and Maintenance Required, The Kitchen, New York. Waite was the co-curator of the 4th Biennial of Young Artists in Bucharest, and is founder and curator of the mobile platform the International Guerrilla Video Festival. He holds an M.A. in Art and Politics from Goldsmiths College, London and was a 2012-2013 Helen Rubinstein Curatorial Fellow at the Whitney Museum Independent Study Program in New York.
Markus Huber is a researcher, part-time curator and cultural producer with a background in philosophy, art history and film. In his research he focuses on the shift of technological paradigms of power and representation between the 17th and 19th century. He currently is working as festival manager of transmediale in Berlin.
August 4th, 2014, 6 pm
Graffit Gallery, 65 Knyaz Boris I Blvd
(posted on 2014-07-21)
Film screening, introduced by Catalina Lozano, in English
Directed by Anocha Suwichakornpong, in Thai with English subtitles, TH, 82 min
The feature-length film Mundane History (2009) by independent Thai filmmaker Anocha Suwichakornpong follows developments in the relationship between a young man, who has suffered a recent accident and is paralyzed from the waist down, and his male nurse. The uneasy interactions between the two, traversing class divisions and generational difference, slowly give way to a much more complicated scenario that conflates aspects of Buddhist philosophy, cosmological experience, family ties and self-actualization. The occurring emotions start to unveil other possibilities of consciousness, as well as a renewed sense of one’s very own presence in the world. Larger political issues are brought into the film allegorically, crafting narratives from personal lives as references to Thailand’s recent history.
Crash Pad c/o KW Institute for Contemporary Art, Auguststraße 69, 10117 Berlin
Free entrance, limited capacity
(posted on 2014-07-21)
Estate, stagione di festival, Luglio, soprattutto, con tante rassegne a tutte le latitudini, impegnate a ritagliarsi la propria specificità, per emergere da mare magnum e focalizzarsi sulla propria fetta di potenziale pubblico. Ma ce ne sono alcune che se ne scelgono più di una, di specificità: è il caso di Villa Ada Roma Incontra il Mondo, che nel bellissimo parco della Capitale si presenta con un fitto programma che spazia dalla musica pop, electro, rock, folk, alla street food, alle arti visive. Fino al 31 luglio concerti di artisti come Almamegretta, Nouvelle Vogue, Diodato, Roma Brucia, Pierpaolo Capovilla, Muchachitos y Sus Compadres, Buzzcocks, Calibro, affiancati a performance culinarie di chef come Cristina Bowerman, Gianfranco Pascucci, Roy Caceres, ai gelati Carapina di Simone Bonini, al Food Lab con Chef Rubio, il 27 luglio.
L’Art Project Space è lo spazio dove si concentra Orienti – Visioni contemporanee, programma di video-proiezioni ed installazioni di artisti contemporanei asiatici diretto da Valentina Gioia Levy, con il contributo curatoriale di Elena Abbiatici e Naima Morelli. Dopo Giappone e Indonesia, dal 21 al 30 luglio è di scena la scena mediorientale, con un focus particolare su quella iraniana. Power Shakes. Iran e Medioriente – questo il titolo della rassegna, curata da Elena Abbiatici – presenta opere di Farid Bayan, Arash Irandoust, Haleh Jamali, Hiwa K, Avish Khebrehzadeh, Maziar Mokhtari, Moataz Nasr, Azadeh Nilchiani, Ehsan Shadmani. “Un codice stilistico e linguistico tanto semplice, quanto efficace per tematiche eterogenee: dalla circolarità temporale e spaziale dell’universo, alle ostruzioni di cui questi paesi sono vittima, da traumi tangibili e/o invisibili di relazioni sociali e/o interpersonali all’espressione estetica come esorcizzazione e salvezza”.
(posted on 2014-07-21)
Visioni di Eterno® 2014
Il team creativo di Visioni di Eterno®, procede il suo cammino aggiungendo la quarta tessera allo speciale “mosaico contemporaneo” che associa alle architetture storiche le visioni create dalle più moderne tecnologie digitali il video mapping 3D.
Dopo Galla Placidia Shines On al Mausoleo di Galla Placidia nel 2011, Teoderico il Grande al Mausoleo di Teoderico nel 2012, Il Cielo Dorato alla Basilica di Sant’Apollinare Nuovo nel 2013, approda ora nel luogo che ha dato origine alle visioni di Carl Gustav Jung, Il Battistero Neoniano con “Luce D’Oriente”
"Dopo la mia toccante esperienza nel Battistero di Ravenna so con certezza che un fatto interno può apparire esterno e viceversa”. C.G. Jung, "Ricordi, sogni, riflessioni".
Assisteremo alla trasformazione della realtà attraverso il potere dell’immaginazione e della tecnologia 3D. In questo viaggio con l’utilizzo del video Mapping saremo accompagnati da una piccola particella di luce che si addentrerà e ci guiderà in un contenitore di stupore. La luce entrerà nel Battistero, lo avvolgerà, lo assorbirà e ne modificherà l’aspetto trasformandolo in Luce, Acqua, Sole e Onirici Zodiaci.
Una giostra di sensazioni, una esposizione intima di meraviglie interne, dove il movimento del sentire trova rifugio nell’acqua. Acqua del battesimo, acqua dell’inconscio.
Installazione video mapping 3D
Director and Concept: Andrea Bernabini N.E.O. Visual Project Ravenna
Visual Art Design 3D: Sara Caliumi, Roberto Costantino “Prospectika Group”
Sound design Davide Lavia
Produzione Servizio Turismo e Attività Culturali del Comune di Ravenna, con i finanziamenti della Legge 77/06
DoBattistero Neoniano (o degli Ortodossi)
Via Gioacchino Rasponi, (via Romolo Gessi) . Ingresso da piazza Arcivescovado - Ravenna
Dalle 22.00 alle 24.00 (proiezioni ogni 20 minuti)
(posted on 2014-07-20)
The Experimental Video Art Exhibition is an annual presentation of new video art from Thailand and Europe, which started in 2004. The exhibition focuses on artistic video practices to reveal new media’s important position and versatile use in contemporary art that differs from traditional art media such as painting, sculpture, and print making. Video art uses new technology, computer calculation and engineering practices for artistic expression and generates results in close proximity to our increasingly technological living environments. In Thailand video art and its emphasis on technology has not been widely presented, yet.
The Experimental Video Art Exhibition Thai-¬-European Friendship installment of this video art series intended to show current styles and modes of video practices in Thailand will be featured from nine participating universities such as Bunditpatanasilata Institute in Bangkok, Painting, Sculpture and Graphic Arts Faculty at Silpakorn University, Fine Art Faculty at Chiang Mai University, Fine Art Faculty at Burapa University, Department of Fine Art, Architecture Faculty, at King Mongkut's Institute of Technology Ladkrabang, Faculty of Fine Arts, Bangkok University, Fine Art Faculty at Suan Sunandha Rajabhat University, Faculty of Humanities and Social Science, Dhonburi Rajabhat University. College of Fine Arts Ladkrabang, Bangkok.
The purpose of the annual project is to showcase a diverse international group of students from various universities and artists working in video art each year to stir up new concerns, methods of practice, art theory and discourses of meaning about global influences of new media on social behavior, perception and artistic expression. We invite many artists from Europe who currently live and work in Germany, Austria, Italy, Switzerland, Slovenia, England and other countries. Each artist’s style and individual work process contributes to the diversity of the exhibition project providing insights into their cultures, roots and customs, personal interests and issues that tackle concerns about place, time and simulation.
Through the participation of artists from various backgrounds we intend to create a network that enhances understanding of different cultures through artistic practices and opens up an international platform for discussions.
Additionally, we focus on building academic partnerships within Thailand as well as establishing academic exchange programs with foreign universities and institutes that already include the Academy of Fine Arts in Vienna (Austria), the Academy of Media Arts in Cologne (Germany), and others.
Our specific goal is to improved fine art education and academic regulations in Thailand. Science technology is nowadays an important area of study in the arts and projects should be made available for students at their academic institutes. The Experimental Video Art, Exhibition Thai-¬-European Friendship is a project that extends knowledge of new media for students and the general public through organized video screenings and receptions at various universities in Bangkok. The cooperation among artists from Thailand and abroad proved to be very successful in the past few years opening up future communication between nations around the world.
Curator: Komson Nookiew, Pascal Fendrich, Sabine Marte
Alex Heim/ Anja Krautgassner/ Anon Chaisansook, Rach Chulajata, Nattapat Thamasal, Napat Vattanakuljalas and Bavorn Kajonpanpong/ Arnont Nongyaow/ Barbara Sturm/ Billy Rois/ Boris Irmscher/ Chayanis Wongthongde/ Daniel Burkhardt/ Dariusz Kowalski/ David Larcher/ Derek Robert/ Dieter Kovacic/ Doris Schmid/ Egbert Mittelstädt/ Eva Weingärtner/ Evamaria Schaller/ Gerald Zahn/ Gertrude Moser-Wagner/ Giuliano Vece/ Graw Boeckler/ Harald Hund and Paul Horn/ Hee-Seon Kim/ Heidrun Holzfeind and Christoph Draeger/ Ittiphon Chuntong/ Jan Arlt/ Jan Machacek/ Jate Yooyim/ Jihye Park/ Johan Lurf/ Julia Weidner/ Jun Yang/ Kanakorn Kachacheeva/ Karin Fissthaler/ Karl Inger Roys/ Kate Pickering/ Katharina Huber/ Khae Mongkornwong/ Kitti Sornmanee/ Komson Nookiew/ Kosit Juntratip/ Lena Ditte Nissen/ Leopord Kessler/ LIA/ Maki Satake/ Manuel Knapp/ Maria Petschig/ Matej Modrinjak/ Matthias Neuenhofer/ Menno Aden/ Miriam Bajtala/ Namfon Udomlertlak/ Nanthanach Ithisampand/ Natnaran Bualoy & party/ Nawarat Kanchaninthu/ Nicole Schatt/ Nithiphat Hoisangthong/ Nonglak Trithanachot/ Norbert Pfaffenbichler/ Oliver Stotz/ Orawan Arunrak/ Panu Saeng-Xuto/ Pascal Fendrich/ Pascal Fendrich and Bernd Härpfer/ Pasut Kranrattanasuit/ Peter Conrad Beyer/ Phillipp Messer/ Piriya Ouypaibulswat/ Puttipong Pisikullapark/ Rimas Sakalauskas/ Robert Vater/ Sabine Marte/ Susanne Schuda/ Susi Jirkuff/ Tessa Knapp/ Theerawat Maysasitthivit/ Thorsten Schneider/ Tina Frank/ Tintin Cooper/ Tuksina Pipitkul/ Urs Domingo Gnad/ Wuntigorn Kongka/ Yoshihisa Nakanishi/ Yuthachai Tangwongcharoen
An exhibition co-organized by BACC Exhibition Department and Komson Nookiew
For inquiry on the exhibition: Bangkok Art and Culture Centre 939 Rama I Rd., Wangmai, Pathumwan, Bangkok 10330
(posted on 2014-07-20)
A¦B¦C ontemporary (Breitensteinstr.45 Zürich) Friday, August 29, 7-10pm
Join us for A¦B¦C ontemporary's season opening exhibition, Showtime, featuring films by Mihai Grecu, Ericka Beckman, Keren Cytter, Tova Mozard, Matei Bejenaru, Mircea Nicolae, Jim Finn, Natalia LL, Dor Guez, Sigalit Landau, and others.
The exhibition will take the form of a cinema within the gallery, and each artist's video will be featured in one of three categories: Poetics of Resistance, Personal Confessions, and Broken Utopias.
Each of these three themes will play at certain listed times, thus offering the visitors the possibility to engage with the work in a more dedicated fashion.
We look forward to seeing you at the vernissage on August 29, 7-10pm. Popcorn and drinks will be served.
Itinerant Projects is the platform for our curatorial and programmatic initiatives. We developed this nomadic and roving curatorial model because we believe in bringing together a diverse audience base, unusual or alternative spaces, and emerging, mid-career, and established artists. Our nomadic nature permits us to create relationships between seemingly disparate constituencies, and thereby truly build a bridge between the public and the art community.
(posted on 2014-07-19)
El NEMAF de Seúl, uno de los más célebres festivales de videoarte de Asia, celebra su 14 edición en la primera semana de Agosto de 2014, organizando muestras, happenings y exhibiciones en la cinemateca de Seul y en diversas plazas del centro de la ciudad. Como parte destacada de la programación se exhibirán obras de los videoartistas Val del Omar y Julia Juaniz con el apoyo de la embajada de España en Corea y de la Cooperacion Española.
Este año, además, la sección paralela a la oficial tendrá como tema "Experimental & Radical" con una activa participación del Centro de investigación y documentación del Videoarte, CIDV, un proyecto del centro de artes de vanguardia “La Neomudéjar” de Madrid. Bajo el lema “Videoarte-experimentación. Somos tu memoria – te cuidamos te protegemos te difundimos”, el CIDV promoverá y difundirá en Corea del Sur el videoarte español. Néstor Prieto (Codirector de La Neomudéjar) será miembro del jurado de la Sección Oficial del Festival Nemaf en esta edición de 2014.
El apoyo de La Cooperación Española a través de la Agencia Española de Cooperación Internacional para el Desarrollo (AECID) hace posible la participación de los videoartistas españoles en el festival: Enrique Palacio, Pepe Botias, Marta Azparren, Ivan Diaz Barrioso, Daniel Martín Novel, Ana F. Henry, Mery Caballero, Isabel Perez del Pulgar, Gentz del Valle, Julia Juániz, José Ramón da Cruz, Eugeni Bonet entre otros.
Junto a estos, gracias a la colaboración de sus herederos, La Neomudéjar lleva a gran parte de la historia de la experimentación audiovisual de España a través de la mirada de Eugeni Bonet sobre José Val del Omar, una referencia de las vanguardias a nivel mundial que redondeará la participación de España como país invitado del Festival.
El Centro de Investigación y Documentación del Videoarte nace con la idea de conservar, investigar y difundir a los videoartistas haciendo un registro fisico de sus piezas en el archivo del centro La Neomudejar que pueda facilitar una investigación rigurosa, el conocimiento y estudio del videoarte y la experimentación.
(posted on 2014-07-19)
"New Image New Usage"
First, we are here to be with people who can actively enjoy and appreciate new media.
Second, we believe everyone has the potential to become an artist who can play through new media.
Third, we dream of a world that can respect every individual characteristic and taste.
Fourth, we aim at diversity in the art rather than standardization of art.
Fifth, we attempt to change the world full of prejudice and discrimination into a world full of respect.
Media Theater iGong, Korean Film Archive, Theatre Sanwoollim, Seoul Art Space Seogyo, Gallery Zandari, The Gallery and around Hongik University
August 7(Thu) ~ 15(Fri), 2014 / 9 Days
(posted on 2014-07-19)
La víspera del 22 de junio, día internacional del videoarte, tendrá lugar allí una muestra de videos realizados por 17 artistas camagüeyanos que han estado presentes en Fivac.
Jorge Luis Bradshaw. Raspo con la uña un pequeño vacío en la pared. 3'49".
Adrián Curbelo. División de la naturaleza. 2'40".
Rolando González. Recinto. 3'0".
Samir Bernárdez. La caverna. 3'24".
Hamlet Armas. Bolsa de valores I. 1'30".
Dunieski Martin. Cuando la historia se nos hace invisible. 2'53".
Anahís Martínez. Disnea. 2'53".
Eliécer Jiménez. Arte soy. 3'0".
Yadniel Padrón. En la frontera. 1'07".
Manuel Enrique Ojeda. Sin que la roja se entere. 0'53".
Nelson Jalil. Campaña por la evasión del muro de agua I. 1'06".
Mikel Lorenzo Pimentel. Apollo 11 Top Secret. 1'41".
Hansel Oms. Black HOB. 5'17".
Jorge Luis Santana. Insolación. 1'14".
Iván Rodríguez Basulto / Lainier Díaz. Pasado meridiano. 3'2".
Daniel Mejías. Dulce abismo. 2'07".
Osmara Alberteris. La extinción de la inocencia. 2'41".
(posted on 2014-07-19)
Sedition and Chris Coleman+Michael Salter present Evidence of Intensive
The 5 videos in the Evidence of Intensive Series were created as part of a collaborative process over a 5 week journey across China in 2013 during which they gathered photographs, icons, ideas, and colors. Michael Salter used digital illustration and photographic manipulation. Chris Coleman wrote 12 new pieces of software that destroyed, altered, interpreted, and remixed all the materials. Together they arranged and choreographed the final prints and animations. While the prints have been shown and sold in several venues, the videos are exclusive to Sedition. Sedition is a platform for collecting digital artworks that is affordable yet still editioned.
Evidence of Intensive #1
Evidence of Intensive #2
Evidence of Intensive #3
Evidence of Intensive #4
Evidence of Intensive #5
(posted on 2014-07-18)
Artistas, curadores, investigadores, teóricos, gestores culturales, estudiantes, docentes, coleccionistas de arte, personas interesadas en la video creación y público en general. Personas cuya formación y/o trabajo provoque la necesidad de entender o realizar proyectos artísticos que involucren el lenguaje audiovisual.
En el Perú debemos destacar un aspecto sumamente importante y es la actual internacionalización de los vídeoartistas locales, los cuales se van ubicando de una manera cada vez mas contundente en el ámbito del arte contemporáneo, esto se debe a las ventajas que ofrece la flexibilidad del medio en la creación, así como la versatilidad de difusión y traslado que el medio ofrece, entre otros factores. Además con la reducción de costes de equipos y software contamos con un ambiente favorable para la producción independiente, por lo cual en estos momentos lo que se necesita cubrir es la formación teórica actualizada, que este seminario ofrece, con herramientas de análisis tanto para el artista como para el investigador.
Se intentará crear un público especializado, que sepa analizar estéticas, contenidos, subgéneros, entre otros contenidos. No es suficiente hacer solo recuentos históricos, en esta etapa del audiovisual en nuestro país, existe producción y público, lo que faltan son herramientas de análisis, las cuales serán abordadas.
Sobre Angie Bonino:
(Perú – Italia – Vive y trabaja en Barcelona – España)
Artista, investigador, curador y conservador de arte contemporáneo y nuevos medios. Es la primera mujer en dedicarse al arte con nuevas tecnologías en el Perú. Sus investigaciones se enfocan en las implicancias sociales que ejercen la ciencia y la tecnología en términos globales.
Diseñador gráfico y artista de Bellas artes de Perú. Master en Sistemas Interactivos para el audiovisual con beca en MECAD de la Universidad Ramón Llull, Barcelona – España. Master en Seguridad Informática – sistemas de software libre subvención de la Comunidad Europea – Barcelona, España. Ha realizado diversas exposiciones como artista y comisario en países de Europa, Asia, América y Oceanía.
Actualmente escribe el libro “Raductor. El agujero negro de nuestros sentidos” Últimos avances en física y neurobiología referentes a la percepción en el campo del arte contemporáneo. Escribe en publicaciones y dirige VIDEOAKT Bienal Internacional de Videoarte en Barcelona y Berlín.
- De carácter hiper intensivo.
- Todas las sesiones tendrán una parte teórica y otra donde se realizará el visionado y análisis de obras.
Contenidos por días:
1º – Historia del Videoarte
- El videoarte internacional y local enfocado a las estéticas y aspectos discursivos de las épocas respectivas de desarrollo.
- Visionado y análisis de obras.
2º- Introducción al videoarte
- Lenguaje videográfico – Fundamentos audiovisuales.
- El Einfüllung
- Visionado y análisis de obras.
3º- Retóricas del videoarte
– Muerte y resurrección del vídeo arte. La situación inversa de la desmitificación a la mitificación y el objeto de culto.
– Argumentación discursos y debates entorno al videoarte.
– Hi tech vs Low Tech – Nuevos formatos en el Hi tech.
– Visionado y análisis de obras.
4º- Tendencias rizomáticas del videoarte
- De la reactividad a la interactividad. Puntos y espacios de encuentro con otras disciplinas.
- Innovación en plataformas
- Innovación en series y ediciones.
- Visionado y análisis de obras.
5º- Circuitos del videoarte
- El papel de los centros de producción.
- Gestión de subvenciones y sponsors internacionales para la producción.
- El mercado del videoarte – Las ferias – Organizaciones con nuevos modelos de distribución y comercialización – El coleccionismo.
- Estrategias de inserción en el mercado.
- Conservación del videoarte.
El seminario se realizará del lunes 11 al viernes 15 de agosto de 2014. Horarios: de 7 p.m. a 9 p.m. El costo es de S/. 220 (el pago se realiza en las boleterías del ICPNA).
(posted on 2014-07-18)
Impakt WORKS in Utrecht, Netherlands announces an international call for media artists, artists working with digital media, video, sound, interactive technologies for a 2 month project-based residency in 2015.
OPEN CALL FOR APPLICATIONS | Impakt WORKS is the Impakt Foundation international Residency Program. The current call is aimed to apply for the period from January to June 2015. We are looking forward to receive your project proposal until the deadline of August 1st 2014.
The selected artist will be invited for an average period of two months. They are provided with accommodation in Utrecht, a studio, basic technical facilities and equipment, and reimbursement of traveling expenses up to 500 Euros. Artists in residence receive a per-diem stipend, not exceeding 1000 Euros in the two-month period.
Impakt Works is a residency program for media artists, artists working with digital media, video, sound, interactive technologies and the likes. The Impakt Works residencies are project based, with a finished work as the end result. Applicants should be prepared to execute and complete their proposed project within the two-month duration of the residency.
Please note that Impakt does not own a gallery space and that an exhibition is therefore not a given product of the residency.
Deadline for residency proposals: AUGUST 1st, 2014
Please submit your project proposal for the Impakt Works residency to works(at)impakt(dot)nl before August 1st, using the Entry form.
Location: Utrecht, Netherlands
Deadline: August 1, 2014
Duration: 2 months (January to June 2015)
Eligibility: media artists, artists working with digital media, video, sound, interactive technologies and the likes
Costs & Support: Studio provided as well as traveling expenses up to 500 Euros Per-Diem Stipend not exceeding 1000 Euros over two month period
(posted on 2014-07-18)
El artista español Albert Merino, quien trabaja la intervención a través del audiovisual, estará en La Paz para la proyección de cortos a las 20.00 en el Espacio de Arte IMA (20 de Octubre 2475).
Merino utiliza el video como una herramienta para intervenir la cotidianidad con cortometrajes que se valen del absurdo y de la ironía para cuestionar la realidad.
“Su trabajo es poético y se hace la burla del arte contemporáneo, de lo que significan los curadores y de lo que tiene que hacer un artista”, explicó Natalia Peña, responsable del Espacio de Arte IMA.
La presentación que reúne la recopilación de su obra se inaugurará mañana y estará abierta hasta el viernes 25. “Hay películas que son más largas y planeamos pasarlas a lo largo de la semana desde las 19.00 para que se conozca más sobre Merino”, precisó la responsable.
El artista utiliza el video como una herramienta de deconstrucción de la realidad a través de la cual reinterpreta imágenes y espacios.“Realizo un trabajo de disección en el que convergen diferentes estratos temporales al mismo tiempo, creando así un universo onírico y ficticio”, indicó Merino.
Sus videos se tornan en un viaje sutil entre lo real y lo imaginario, que confunde al espectador. “Los diferentes registros que utilizo van desde obras más intimistas hasta el sarcasmo o la ironía. A través del medio y dentro de él, interfiero en la realidad circundante y la cuestiono”, remarcó el español.
Su trabajo oscila en variopintos géneros, desde piezas experimentales hasta trabajos de videodanza o inclusive el falso documental. “Estoy con buenas expectativas porque vamos a hacer una exposición de videoarte en IMA, hay piezas audivisuales que son una retrospectiva de mi trabajo”, complementó.
Uno de los cortos que se verá mañana es el Vuelo del gallina (2013), comedia que cuestiona políticas culturales en Barcelona, ciudad natal de Merino. En el filme se narra la historia de un grupo de activistas de un sindicato de artistas que decide actuar sobre el tejido institucional de la urbe para llevar a cabo sus reivindicaciones.
“Mis trabajos están hechos con medios muy sencillos, como programas de computadora, y ésta es una forma bastante artesanal, con imágenes, tomas, una producción de medios sencillos e imaginativos”, manifestó el creador.
Para este artista de 35 años, la realidad es un constante absurdo que se debe cuestionar. En la muestra también se verán La esencia de la piedra, La sombra de Lot, The white rain y Le badinage, entre otras piezas audiovisuales.
IMA Av. 20 de Octubre entre Pedro Salazar y Belisario Salinas, 431 La Paz
17 / 24 Julio
(posted on 2014-07-17)
At the beginning of 2012 I started making research about Indonesian contemporary art and now I’m excited to had the chance to introduce some of these amazing artists to an Italian public through “Indonesia – Orienti Visioni Contemporanee” , a series of screening of video art in Villa Ada’s Art Project Space.
For this screening, part of MNAO Contemporary program, I wanted to show three completely different approaches to video art, presenting new-media pioneers Krisna Murti and Tintin Wulia, and the most irreverent bunch of punks in the whole Asia-Pacific, namely Punkasila and Slave Pianos.
Despite the title of the program, I tried to steer away from any kind of representation of “Indonesianess”. Krisna Murti makes an aesthetically mesmerizing observation on traditions slowly fading away. On the other hand, Tintin Wulia’s way of working goes beyond her nationality, in fact she works around the concept of nation and national boundaries itself. Punkasila and Slave Pianos, joining forces just like a crossover from some comic book, give space to their wildest fantasies, imagining an alien invasion starting from Java.
So, here a preview of what you will see this week if you happen to pass by the Art Project Space in Villa Ada.
Krisna Murti – Empty Theater
Video installation (multi-channel video), DVD 3 projections, 3’58’’, loop, sound, 2010.
This video shows 9 characters from the Ramayana and Mahabarata epic stories: Kresna, Hanoman, Arjuna, Sinta, Pergiwati, Srikandi, Gareng, Petruk and Bagong, all performed by the artist himself. These characters usually appear in a wayang wong performance—which is the inspiration for this piece—a form of traditional Javanese dance theater that was popular in urban areas until the 1970s. However unfortunately, today it is on the verge of bankruptcy. While on the other hand, forms of traditional arts such as this are now often performed as part of the cheap entertainment industry and only for show. This piece is performed with stiff movements, with empty facial expressions and body distortions – resulting from technological manipulation (digital) – to match the rasping sound of the rebab. The figures are presented as mannequins on a “showroom” stage, trying to move and come to life but it is futile, they are cracked and destroyed. A loop strengthens the absurdity of the situation in this video. To create this video, Krisna worked together with the director, Widayat and his group: Wayang Orang Ngesti Pandowo in Semarang (Central Java). This piece was shown in Jakarta (2010).
Tintin Wulia – Fallen
Video projection (single-channel), 18’43”, 2011
Documentation is crucial to history. It asserts the realness of what happened in the past, and thus builds some kind of faith. A documentary often invests in this kind faith and play with it. The nation-states often need this kind of faith from its citizens, thus they often rely on documentary and documentation.
Fallen is a part of the artist’s body of works on border and chance. It is neither documentation nor a documentary, although it was based on a somewhat real event. Following the path of skepticism that the real event was based on, the documentation is dramatized: it is heavily edited, and lightly presented with enchanting music.
The impossibility of tracing the sequence of events is the impossibility of tracing what is ?real. Has it fallen, or will it fall? Time, they say, is a big ball of yarn. History, they say, repeats itself. Like an image of an alluring Hades, Fallen keeps repeating itself in infinity. The sequence of images and sounds gradually builds into becoming a solid conceptual object that leaves the space where it originates, and occupies another space that is more than four-dimensional.
The Lepidopters – Slave Pianos, Punkasila
Video projection (single-channel), loop, 2014
A kulturnautic expedition defying the sovereign borders of visual arts and music, The Lepidopters is a comic and space-opera written by sci-fi writer Mark von Schlegell (Cologne) and illustrated by Erwan ‘Iwank’ Hersisusanto (Yogyakarta) in which alien moths invade the Indonesian archipelago with the aim of colonising Earth through inter-species reproduction. Terra Bajraghosa (Yogyakarta) made this film using the comic and archival materials for multi-art-form concerts by SLAVE PIANOS and PUNKASILA in Hobart, Yogyakarta and Melbourne and draws on the work of Robert Smithson to investigate sonic landscapes and dystopian visions, Indonesian telepathy and ancient Javanese mysticism.
(posted on 2014-07-17)
In a recent interview with DIS Magazine, 48-year-old writer and artist Hito Steyerl remarked that “anyone slightly interested in digital politics and technology is by now acquiring at least basic skills in disappearance and subterfuge.” Based on the title of Steyerl’s new show at Andrew Kreps Gallery, How Not to Be Seen: a Fucking Didactic Educational Installation, you might think that Steyerl wants to share those skills with everyone. But as you spend time with the show, you realize that title is something of a red herring: this is a show that is less about how not to be seen than about the ever-increasing hopelessness of achieving that goal.
Steyerl’s video “Strike” (2010) greets you as you enter the show. In “Strike,” Steyerl solemnly walks up to a massive black television screen, and with a hammer and pick, makes a single, forceful blow. As the black screen cracks, colorful, interlocking neon stripes appear in patches on its surface. Steyerl then walks away, allowing the viewer to appreciate the television screen as an aesthetic object.
There’s a tension at work here: though the stripes are beautiful, they also signify that the television has become broken and otherwise useless. If Steyerl’s act is one of artistic creation, it’s also one of anger and attack. Steyerl seems to be playing a paranoiac driven to her last straw. Fed up with the barrage of digital images which saturate her daily life, she takes the only possible path of resistance and attacks the television screen. That resistance might be useless—what good is smashing a screen when thousands more will be made every day to replace it?—but this isn’t about results, it’s about an expression of total frustration.
Humorous, violent, blunt–”Strike,” in its 28 seconds, encapsulates everything that makes How Not to Be Seen so compelling. Resistance is also at play in the show’s other video, “How Not to Be Seen: A Fucking Didactic Educational .Mov” (2013), albeit one that is less about violent forcefulness and more about subterfuge. The 16-minute video is the centerpiece of the show, and Steyerl has even built out another room to house it in the center of the gallery. Sitting at an angle and taking up an awkward amount of space, the room forces viewers to maneuver around it as they pass through the show.
“How Not to Be Seen” purports to be an instructional film, offering “lessons” in how to make one’s body invisible in a culture characterized by constant surveillance. Those strategies include everything from living in a gated community to being a woman over fifty. Only last month, it was revealed that Facebook had secretly experimented and collected data on hundreds of thousands of users, deliberately altering users’ newsfeeds to manipulate people’s moods. Steyerl’s video feels particularly timely when we are constantly being made aware of the far-reaching surveillance that pervades our lives, with little means of escaping it.
Steyerl’s video revolves around the resolution target, a black-and-white patterned chart that measures the resolution of cameras. “Resolution determines visibility,” the narrator’s droll voice remarks, and the target becomes the film’s central motif. These charts are constantly flitting in-and-out of screen, and the setting for the video itself is a massive, abandoned resolution target in the Californian desert, once used for calibrating airborne cameras. The narrator tells us that this target “measures the resolution of the world as a picture.” The entire globe, we’re made to understand, can be viewed through the metric of resolution: to be in resolution is to be seen, while to make yourself low-resolution is to become invisible.
How might that actually work? In one moment of the video, you learn that the size of a pixel in a satellite image of earth is about one foot. So, one way to not be seen is to make your body smaller than a foot. Cue the “pixels,” or individuals in black body suits wearing black or white one-foot cubes on their heads. They slowly jump and twirl across the screen to atonal music in what looks like a parody of modern dance. The moment is a hilarious imagining of the extremes individuals in the future might undertake to escape digital surveillance, but it’s also pretty unnerving. Even if you totally abandon society and become a hermit, you still wouldn’t be able to escape the vision of satellite cameras. Invisibility is an impossibility.
Rounding out the show’s two videos are sculptural/installation works that mostly consist of visual riffs on the resolution target. In one corner, a resolution target stands next to a few others that have been painted the color of a green screen. In another, the stripes of the resolution targets are physically placed on the gallery floor. In the video, the resolution target was a way to make the viewer hyper-aware of their own constant visibility. When used as material for sculpture, however, they become little more than aesthetic objects. And while the black-and-white patterns have a graphic kick to them, they don’t stand up next to the biting commentary of the video pieces.
That’s okay, though, because Steyerl’s two videos are more than strong enough to make for a compelling show. While funny and visually seductive, their ultimate effect is to make the viewer feel trapped in a culture where we’re all being turned into images and data. With every new cloud-related news scandal from revelations that Snapchat’s been storing your photos—to the government’s new facial recognition software development—Steyerl’s videos become all the more urgent. Though “How Not to Be Seen” might seek to offer us ways to escape this culture of surveillance, you leave it feeling more aware than ever of just how seen you really are.
(posted on 2014-07-17)
The Japan Media Arts Festival is a comprehensive festival of Media Arts (Media Geijutsu) that honors outstanding works from a diverse range of media - from animation and comics to media art and games. The festival gives awards in each of its four divisions: Art, Entertainment, Animation, and Manga. It also provides a platform for appreciation of the award-winning and other notable works. Since its inception in 1997, the festival has recognized significant works of high artistry and creativity, and in addition to a yearly Exhibition of Award-winning Works has held other events, such as symposiums, screenings, and showcases.
Entries are sought from professional, amateur, independent and commercial creators across the globe. Works completed or released between September, 13 2013 and September 2, 2014 are eligible for entry in the four divisions - Art, Entertainemnt, Animation and Manga.
(posted on 2014-07-17)
Rather than presenting one dramatically large video installation, as they did for their last show at Locks Gallery, in 2012, the filmmaking team of Matthew Suib and Nadia Hironaka now have taken the opposite approach. Their current show at Locks, "Mirrors, Marks & Loops," is a cineaste's dream and my idea of the perfect visual torment: six videos, all running continuously in the ground-floor gallery.
But Suib and Hironaka have become so good at what they do - making ambitious, witty films that play on the history of the moving image, among other things - that I soon found myself sitting in the dark on various cubes distributed throughout the gallery, watching each video from beginning to end. I think I may have seen the largest of them, Ascension (With Cat), several times, but I have no way of knowing, it being something akin to an abstract painting in flux.
The Continuous Moment imagines that the endless, world-engulfing superstructure called "Continuous Monument," proposed in 1969 by the radical Italian architecture firm Superstudio, has in fact been constructed; it is the cleverest of these latest collaborations.
Borrowing its look from the tongue-in-cheek photo-collages that Superstudio unveiled that year showing the superstructure enveloping parts of major cities, the video displays the superstructure in similarly improbable sites. But it also interjects it into found film footage incorporated in the video, in this case replacing the Queensborough Bridge in the famous nighttime scene from Woody Allen's 1979 film Manhattan. In Suib and Hironaka's version of events, Allen and Diane Keaton look out over the Hudson River toward Long Island City with the decidedly unromantic Continuous Monument looming to their left. To their credit, Suib and Hironaka are not above wanting to get a laugh - and besides, who could possibly resist pairing these images?
Two of the smaller videos, which they call "video portraits" - Post-Perceptual Exercise #1 and Post-Perceptual Exercise #2 - muse on the creative process, the former showing a male artist alone in his studio making a work, the latter a female artist in her studio doing the same, both solitarily reciting passages from Umberto Eco as they work. Seeing the pieces they produce, in which parts of paintings and drawings fly into the air and magically land in new compositions, would seem to be a reference to Suib and Hironaka's own working processes.
Their most recent work, a film installation titled Exploded View that comprises two films, struck me as a send-up of westerns, film noir, and early sci-fi. The film projected (yes, by a projector) on the gallery's west wall shows a piece of pyrite - fool's gold - mysteriously spinning above the ground in a green, wooded landscape. Behind that wall, in a former elevator shaft turned temporary makeshift theater, a black-and-white film of a piece of pyrite (also projected) gives the illusion that the rock is suspended in this dark, claustrophobia-inducing space. It's accompanied by a rambling narrative of greed and regret read by Nabil Kashyap in a voice reminiscent of William Holden. Exploded View is a modest, wonderfully strange work that augurs well for the future.
Locks Gallery, 600 Washington Square South
Through July 26.