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MAGMART IX EDITION!

The call for the IX edition of Magmart Festival is open!. Join us, now!
Read the rules and participate with your video artwork(s)!...

Look at the videos of this edition!
(106 until now)


 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:
Loredana Raciti
read the Interview

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(posted on 2014-11-24)

Peter Greenaway & Studio Azzurro

Forum Universale delle Culture di Napoli e della Campania presenta:
Atomic bombs on the palnet earth – Peter Greenaway
Il colore dei gesti – Sinfonia Mediterraneo – Studio Azzurro
La cieca furia distruttiva dell’uomo attraverso 2201 esplosioni nucleari su un fronte e la cura minuziosa delle piccole produzioni artigianali sull’altro. L’assordante deflagrare atomico in processi di annientamento che durano pochi secondi e un senso quasi perduto del tempo nell’opera di vetrai, liutai, tessitori sulle varie sponde del Mediterraneo. Conviveranno questi due mondi – uno opposto all’altro – nelle due affascinanti e provocatorie installazioni video che il noto artista e filmaker Peter Greenaway e il celebrato collettivo artistico milanese Studio Azzurro proporranno dal 24 novembre al 9 dicembre 2014 presso la Sala Dorica del Palazzo Reale di Napoli, nell’ambito del Forum Universale delle Culture di Napoli e della Campania.
Per assistere a questa straordinaria installazione composta da due parti poste a intenzionale contrasto, gli spettatori si ritroveranno su una sorta di zattera posta al centro della Sala Dorica, immersi in un vortice di immagini e di suoni. Le due opere di Greenaway e Studio Azzurro – della durata complessiva di 43 minuti – si alterneranno continuamente nell’arco dell’intera giornata e fanno parte della rassegna “Non troverai altro luogo. Non troverai altro mare” curata per il Forum da Chèrif Kahznadar, poeta, scrittore e regista francese di origine siriana, presidente della Maison des Cultures du Monde di Parigi. Il coordinamento artistico è a cura di Change Performing Arts.
Nell’installazione ATOMIC BOMBS ON THE PLANET EARTH, che a Napoli, per la prima volta sarà visibile nell’originale concept ideato dall’artista britannico, Greenaway raccoglie in una successione sistematica le immagini di tutte le deflagrazioni nucleari avvenute nella storia del nostro pianeta. Il sonoro delle esplosioni si intreccia a una base strumentale, per dimostrare la potenza e la violenza dell’invenzione di Oppenheimer, unico personaggio cui viene data voce. Greenaway – autore di film indimenticabili quali Il cuoco, il ladro, sua moglie e l’amante e I misteri dei giardini di Compton House – negli ultimi anni si è spesso allontanato dalla pratica cinematografica tradizionale e ha dato vita a nuove forme che coinvolgono gli spettatori in esperienze originali grazie anche all’utilizzo delle tecnologie più avanzate nel campo dell’immagine elettronica.”L’uranio – afferma Greenaway – è realtà e metafora di cui non potremo fare a meno. Inevitabilmente, quando il petrolio sarà finito, torneremo a usarne il potenziale energetico. Ma non dovremo mai dimenticare il suo potere di creare Armageddon, il nucleare solleva ancora una volta i fantasmi delle nostre paure” . Greenaway ha catalogato 2.201 esplosioni atomiche registrate tra il 1945 e il 1989: “Ero affascinato nel fare una lista di questi dati, per presentarli al pubblico in sostanza, senza commento, per far capire – aggiunge – che vi è stato tanto nel secolo scorso un vero e proprio bombardamento atomico sul nostro pianeta.
L’attualità, se possibile, rende ancora più drammatico il messaggio, le catastrofi naturali ci ricordano quanto sia fragile la patina della nostra civiltà. Ci viene ricordato ancora una volta che presentare tutto ciò che riguarda potenza atomica e il significato che l’uranio ha come elemento emotivo è sicuramente salutare”.
Tutt’altre atmosfere caratterizzano invece l’installazione IL COLORE DEI GESTI – SINFONIA MEDTERRANEO progettata e realizzata da Studio Azzurro, il celebre gruppo di ricerca artistica di Milano che da più di vent’anni si esprime con i linguaggi delle nuove tecnologie. Il collettivo ha sempre puntato nelle sue opere a creare un contesto comunicativo che veda una attiva e significativa partecipazione dello spettatore all’interno di un impianto narrativo, ispirato a una ipertestualità e ad una continua oscillazione tra elementi reali e virtuali. “Il colore dei gesti” l’opera che sarà di scena alle Sala Dorica del Palazzo Reale, si forma nel corso dei viaggi attraverso il mare nostrum per le ricerche condotte per la realizzazione delle installazioni interattive del ciclo Meditazioni Mediterraneo. Studio Azzurro ha filmato numerosi artigiani durante il loro lavoro: liutai, pescatori, sellai, fonditori, vetrai, cesellatori, vasai, tessitori, raccoglitori di olive, vinai, costruttori di barche, restauratori, bambolai, rilegatori, maniscalchi, conciatori. Ciascuno di essi, ripreso nel proprio ambiente, attraverso il primo piano delle mani intreccia un racconto di quei gesti e di quei suoni che danno letteralmente forma ai manufatti. E tutti insieme vanno a comporre un grande affresco che prende una forma “visibile” diventando installazione sonora oltre che visiva. Una riscrittura musicale di suoni e rumori generati dall’incontro della materia modellata e quei gesti che si ripetono attraverso i secoli come il ritmo cardiaco dell’intero territorio rivolto verso il mare Mediterraneo.
Inaugurazione: Lunedì 24 novembre h. 18 con presentazione alle ore 17.30 in Sala Accoglienza (ingresso lato piazza Trieste e Trento)
Palazzo Reale - Sala Dorica piazza del Plebiscito, 1 80132 Napoli


www.palazzorealenapoli.beniculturali.it

(posted on 2014-11-24)

Arte Laguna Prize 14.15

Arte Laguna Prize is an international art competition, open to all, with free theme and no age restrictions. Its aim is to promote and enhance the artists and their career by offering a range of opportunities for a total endowment of € 180,000.
Cash Prizes
€ 7,000 Painting
€ 7,000 Sculpture and Installations
€ 7,000 Photographic Art
€ 7,000 Video Art and Performance
€ 7,000 Virtual and Digital Art
€ 7,000 Environmental and Land Art conceived and created with Thetis SpA
Art Residencies
7 artists will live a creative experience outside the artist's studio:
. Basu Foundation for the Arts, Kolkata India
. Artistic Serigraphy, Venice
. Glass School Abate Zanetti, Murano Venice
. Artistic Foundry Battaglia, Milan
. Art Stays, Ptuj Slovenia
Business for Art
3 artists will be selected to collaborate with 3 leaders of Made in Italy in the field of design, fashion and wine:
€ 5,000 La Tordera
€ 10,000 Pas de Rouge
Wooden artwork and Residency Riva 1920
Solo Exhibitions in Art Galleries
Each gallery will select an artist for a personal exhibition including: setting-up, coverage of transportation expenses, publication of a catalogue:
. Galerie Charlot, France
. Galeria Fernando Santos, Portugal
. Galerie Isabelle Lesmeister, Germany
. Gallery Exhibit 320, India
4 December 2014 Deadline for entries


www.premioartelaguna.it

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!

Next F.I.V.E. screenings

Centro Cultural de España (in Montevideo / Uruguay / America)
(curator: Patricia Bentancur)
Centro Cultural de España host a full screening of F.I.V.E. project.
The screening will start on 2014-10-15 and go on until 2014-12-15 at: Centro Cultural España, Rincón 629 Montevideo, Uruguay



www.cce.org.uy



Torrance Art Museum (in Torrance / United States / America)
(curator: Max Presneill)
Torrance Art Museum host a full screening of F.I.V.E. project.
The screening will start on 2014-11-08 and go on until 2014-12-05 at: Torrance Art Museum, 3320 Civic Center, Torrance, Los Angeles, California, USA



www.torranceartmuseum.com



American University in Dubai (in Dubai / United Arab Emirates / Asia)
(curator: Ani Atanasova and Flounder Lee)
American University in Dubai host a full screening of F.I.V.E. project, with a talk of both curators, Dr. Ani Atanasova and Flounder Lee.
The screening will have place on 2014-11-18 at: American University in Dubai, near Dubai Internet City (E421), at 07.00 p.m.



www.aud.edu



VideoBabel International Festival (in Cusco / Peru / America)
(curator: Vera Tyuleneva)
VideoBabel International Festival host a full screening of F.I.V.E. project.
The screening will have place on 2014-11-24 at: Instituto Cultural Peruano Norteamericano del Cusco



www.aud.edu



Digital Marrakech Festival (in Marrakech / Morocco / Africa)
(curator: Abdelaziz Taleb)
Digital Marrakech Festival a full screening of F.I.V.E. project.
The screening will have place from 2014-11-28 to 2014-11-30 at: Marrakech, Morocco



www.digitalmarrakech.org



ArtmusicEvent (in Padua / Italy / Europe)
(curator: Nicola Valentini, Lisa Parolo and Luca Benvenuti)
ArtmusicEvent host a full screening of F.I.V.E. project.
The screening will start on 2014-11-28 and go on until 2014-11-30 at: Fornace Carotta, via Siracusa 61, Padova (Italy) 28 and 29 november: h 19.30-01.00 30 november: h 16.30-20.00



www.artmusicevent.eu



Pulimentos del Norte (in Bilbao / Spain / Europe)
(curator: Nicola Valentini, Lisa Parolo and Luca Benvenuti)
Pulimentos del Norte host a full screening of F.I.V.E. project.
The screening will have place on 2014-12-10 at: Pulimentos del Norte, Calle Cortes 29. 6E Bilbao, h 19.00



www.pulimentosdelnorte.com


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 2014-11-23)

Bill Viola, The Greeting

Inaugura sabato 22 novembre 2014 alle ore 16 allo Spazio d'arte Alberto Moretti / Schema polis di Carmignano (Prato) la videoinstallazione THE GREETING di Bill Viola, il capolavoro contemporaneo ispirato dalla Visitazione del Pontormo che è conservata proprio a Carmignano nella vicina chiesa di San Michele.
L'evento è promosso dal Comune di Carmignano / Assessorato alla Cultura con il contributo della Banca Area pratese Credito Cooperativo.
Realizzato congiuntamente dal Centro per l'arte contemporanea Luigi Pecci di Prato e dalla Fondazione Palazzo Strozzi di Firenze, con la collaborazione tecnica di ArtMediaStudio e dell'Associazione Culturale Cantiere d'Arte Alberto Moretti / Galleria Schema, si svolge nello spazio espositivo di Carmignano intitolato alla figura artistica di Moretti e all'attività della storica galleria fiorentina Schema.
THE GREETING fu presentata per la prima volta alla Biennale Internazionale d'arte di Venezia nel 1995 e oggi è considerata fra i capolavori artistici degli ultimi decenni.
L'opera di Bill Viola fu portata a Carmignano già nel 2001, esposta a cura del Centro Pecci di Prato nella Cappella di San Luca a pochi metri dalla Visitazione del Pontormo. In quell'occasione giunse a Carmignano anche l'artista americano per vedere finalmente dal vivo l'opera che aveva innescato la sua creazione.
L'incontro personale di Bill Viola con la Visitazione del Pontormo si è ripetuto nella Primavera scorsa, prima nello studio di restauro di Daniele Rossi dove il videoartista ha potuto ammirare da vicino la tavola manierista, poi nella grande mostra Pontormo e Rosso Fiorentino. Divergenti vie della "maniera" (Palazzo Strozzi, Firenze 8 marzo - 20 luglio 2014) dove THE GREETING è stata riproposta a confronto in un parallelo a stretta distanza con la Visitazione restaurata.
Adesso, in occasione della Festa della Toscana 2014 (dedicata al tema generale: Toscana. Guardare oltre. I nostri confini, le nostre abitudini, le nostre convinzioni. Per una Toscana terra del mondo), Carmignano si apre un'altra volta all'incontro con l'opera dell'artista americano per proporre un nuovo dialogo fra il patrimonio storico e la contemporaneità, per sostenere l'universalità e attualità dell'arte in questa terra ricca di storia e cultura.
L'opera di Bill Viola, realizzata nel 1995 in California nello studio dell'artista, è stata incubata molti anni prima, fra il 1974 e il 1976, in un prolungato soggiorno fiorentino durante il quale egli ebbe modo di lavorare come direttore tecnico della produzione per lo studio di videoarte art/tapes/22 diretto da Maria Gloria Conti Bicocchi (figlia del pittore fiorentino Primo Conti).
In quei primi anni Settanta a Firenze, la Galleria Schema diretta dal carmignanese Alberto Moretti, con Roberto Cesaroni Venanzi e Raul Dominguez che oggi ne è rimasto il custode, svolgeva un'attività altrettanto d'avanguardia nell'ambito dell'architettura radicale, della body art e della performance, dell'arte concettuale e dell'arte politica.
La nuova presentazione a Carmignano nello Spazio d'Arte Alberto Moretti / Schema polis, aperto in ricordo di Moretti e della stagione delle neoavanguardie artistiche a Firenze, rappresenta la volontà culturale di promuovere simultaneamente un'opera d'arte che sta "fuori dal tempo" come la Visitazione e un'opera d'arte sviluppata e inserita "nel tempo", come THE GREETING.
In tale senso Bill Viola attribuisce all'arte un ruolo fondamentale per la società contemporanea: "l'artista è colui che può creare un ponte tra passato, presente e futuro".
Nell'opera THE GREETING l'azione di tre donne ispirata alla Visitazione dipinta dal Pontormo e filmata in un'unica ripresa fissa è proiettata su uno schermo appeso in verticale alla parete, come un "quadro in movimento". L'avvenimento, che dura nella realtà 45 secondi, nel video si dilata fino a comporre una prolungata coreografia di oltre 10 minuti (proiettata a ripetizione).
Secondo l'artista americano: "l'introduzione del tempo nell'arte può considerarsi determinante quanto l'affermazione della prospettiva da parte di Brunelleschi e la rappresentazione dello spazio pittorico tridimensionale". L'incontro frale due forme d'arte - prospettiva e video - è così stabilito.
Realizzato da Centro per l’arte contemporanea Luigi Pecci, Prato, Fondazione Palazzo Strozzi, Firenze, con il contributo di BCC Banca Area pratese Credito Cooperativo, in occasione della
Festa della Toscana 2014
Spazio d’arte Alberto Moretti / Schema polis via Borgo, 4 Carmignano


www.comune.carmignano.po.it

(posted on 2014-11-22)

16th Media Art Biennale WRO

Program is open to various forms of creative artistic expression and communication made using electronic and/or digital media and completed after January 1, 2013
WRO 2015: Test Exposure
The aim of the WRO 2015 Biennale is to give exposure to new media art experiments, individual explorations and approaches investigating the potential of art both to affect and to reflect emerging issues in culture.
Artists are invited to submit works that take on the risks of innovation, inquiry and imagination, using original observations, contemporary technologies and procedures in the process of creating inventive forms, interpreting the present and revising the notion of the future (which no longer seems to be a clearly defined project).
The WRO 2015 Test Exposure Biennale is a testing ground for creative, unconstrained investigations of art’s potential to react to the present and to anticipate future challenges.
The WRO Biennale: about
The WRO Media Art Biennale is the major forum for new media art in Poland, and one of the leading international art events in Central Europe. Since its inception in 1989, WRO has been presenting art forms using new media for artistic expression and communication, exploring current creative territories and building a critical perspective toward emerging issues in culture, art, society and technology.
The previous edition of the WRO Biennale—WRO 2013 Pioneering Values Biennale—was held at 18 sites around the city of Wrocław: museums, galleries, art house cinemas, department stores, old factory halls and public space, where the works of over 200 artists were shown. The exhibitions, concerts, performances, video projections, installations and conferences were attended by more than a thousand accredited guests and over 110,000 visitors. The WRO 2013 Catalog is available both in print and online here.
Artistic director: Piotr Krajewski
May 14–September 2015
Opening events: May 13–17, 2015
Open call: WRO 2015 Biennale Test Exposure
Submission deadline: December 10, 2014
WRO Media Art Center Foundation / The WRO Art Center ul. Widok 7 50-052 Wrocław Poland


www.wro2015.wrocenter.pl

(posted on 2014-11-22)

Duty to Act

NICHOLAS MORTIMER
15th November - 15th December
The Unstitute continues to offer monthly screenings of experimental videos online. This month we take pleasure in presenting the extraordinary DIY warzone 'Duty to Act' by artist Nicholas Mortimer.
‘Duty to Act’ shows a hobbyist’s response to the world of broadcast television and past cinematic techniques married with a domesticated DIY pursuit that reflects on today’s implosion of socially mediated news casting. We are witness to a confused interpretation of the production and consumption of personal and mass media, forming a cyclical and closed system in an anonymous living room. The historically loaded script becomes a document that examines the role of rhetoric and political speeches as a form of linguistic technology, something which aids the design of ideologies, emotions and culture.
With our changing relationship to a media environment that sees art imitate life, and vice versa, our understanding of reality is in reference to a vast array of fictional scenarios, persuasive techniques and the careful translation of real world events.
‘Duty to Act’ is a layered approach to representing the ambivalence found in real life news events and their fictional counterparts. By constructing a character who presents an elaborate set of simulations, an overloaded environment emerges that questions our relationship to the projections of fact and fiction, in addition to interpretations of current issues surrounding the politics of terror attacks and their management in all media.


theunstitute.org

(posted on 2014-11-22)

Exploring Life’s Dead Ends on Repeat

I have always contended that video art is the hardest to make, in part because it’s the easiest. In our digital world, anyone can pick up their phone or (gasp) a camera and produce “video art.” The trick is to make it compelling and to use the medium in a way that transcends clichés.
Station Independent Projects, a sliver of space on the Lower East Side, is currently presenting a video piece by Pierre St-Jacques that not only transcends the medium’s clichés, but is a work of such intense longing and beauty that stepping back out onto the hubbub of Suffolk Street is a shock.
The piece, titled “The Exploration of Dead Ends” (2012–14), is presented on six video monitors of different sizes that are puzzled together into a single unit. The narrative flows throughout, around, and between the six screens in a fluid poetic movement that seems effortless, belying the hours of time in the editing room that it must have taken to make the piece so seamless.
The video is on a continuous loop, and viewers witness over and over again the journey of a middle-aged man name William as he moves through both his real and inner lives. The loop reinforces the notion that the psychological patterns we inhabit are inescapable and inevitable. William re-lives his “dead ends” throughout eternity, as if trapped in a dream that will not end.
This is a piece about our deep longing to connect. We share William’s joys, frustrations, and, in one harrowing scene of emasculation, his existential loneliness — and perhaps our own.
There are some very heavy themes running thorough this piece, as well moments of great beauty and quiet joy — the light on a leaf, the fleeting smile on a loved one’s face. These are the glimmers of hope that keep William and perhaps the rest of us going in lives that the artist sees as, well, “dead ends.”
The multiple points of view presented on the six screens give viewers the sense of being just as fully immersed in every moment of the story as William is. He greets a woman on one screen, we see her eyes glance at him on another, another screen shows the same greeting from a different angle, we also get a closeup on her lips, a view of the room around them, and so on. Then suddenly the next image flows over all of the screens, uniting the narrative, the moment, and our understanding of how the brain processes disparate experiences simultaneously. The moment sparks an epiphany of connection, which is lost again as the loop continues.
This piece is a very potent, both visually and psychologically. Ask for a chair and sit and watch the work. I found it mesmerizing and layered, each viewing revealing more nuance. The rest of the show consists of stills from the video. Several of the larger photos are quite striking on their own. There is a book of the artist’s storyboards that, for those who are interested, details the painstaking process of putting a piece like this together.
But the stars of this show are William and his creator. The fleeting encounter with this artistic dream may leave you sad, enlightened, or with a sense of self-recognition. St-Jacques’ work is among the best in its challenging medium, offering a radical answer to one of the central questions of our time: What’s on TV?
Station Independent Projects (164 Suffolk Street, Lower East Side, Manhattan) through December 14.
by Melissa Stern


www.stationindependent.com

(posted on 2014-11-21)

Now&After '15

OPEN CALL – International Video Art Festival NOW & AFTER’15.
The topic is A SPACE WE CHOOSE.
SUBMISSION
Deadline: January 31, 2015, 17:00 MSK (13:00 GMT)
The fifth edition of the Festival will take place at the Schusev State Museum of Architecture from April 21 till June 21, 2015.
Space is at the same time a philosophic category, our everyday reality and a basic concept in architecture.
But what kind of space is more interesting for artists?
A space existing in close relation with time – the Chronotope (from Greek ??????, «time» and t?p??, «space») or a space as an expansion?
A microcosm or outer space?
A space of our homes or immense spaces around?
Our personal space that we keep closed for everybody or another person's space that is kept closed for us?
Is it social or cultural space?
Virtual space: living within it, living with it or living without it?
Space as emptiness or space as a receptacle?
Architectural space vs. natural landscapes?
Space in Cartesian system of axes vs. space within the coordinates system of past, present and future?
In year 2015 the festival is being held at the Schusev State Museum of Architecture, in the unique space of “Ruin” wing – three-storeyed building created in the end of XVIII century by Russian architect M.F.Kazakov and now preserved in its disintegrating condition.
“The real material for architecture is space, not stone” – a Russian architect Nikolay Ladovsky said. And it’s exactly an architectural space that we put in the center of our attention this year: cities and buildings, architectural ensembles and villages, a variety of architectural styles and a monotony of mass housing development, architecture of the future and the ruins of the remote or recent past.
Participation Terms
There is no entry fee.
All rights on videos remain property of authors.
Submitted videos must have been completed after January 1, 2012.
Running time is up to 10 min.
Entry form must be completed online.
Each applicant may send maximum 3 submissions for single-channel videos.
All the films selected for the competition program will be considered by the jury.
The authors of the best films will be awarded. The Festival’s Prize Fund is 120,000 rubles.
Please read carefully the participation terms, fill out the online entry form on the Festival’s website and send your work via file sharing.
Contact now.after.festival@gmail.com
Now&After’15 is organized by Media Art Centre Now&After.
Now&After’15 is co-organized by the Schusev State Museum of Architecture.
Now&After director/curator is Marina Fomenko.


now-after.org

(posted on 2014-11-21)

Light and Fire

ADN Galeria presents Light & Fire, the first solo show by Mounir Fatmi in Spain. The exhibition brings together a series of works that explore the basis of history and society expressed through the written word and in various forms of language: religious, political, ideological and literary. The title’s ambiguity positions us in front of the paradox of these two elements: light and fire. Since Platon´s cave myth, these elements are the source of our civilization but have also become the cause of its destruction.
The exhibition begins with the impressive installation Without History (2007), consisting of 29 jumping poles strategically spread all over the entrance floor and in which there are inscribed quotations from the book The Art of War, by the Chinese military strategist Sun Tzu. fatmi often appeals to these objects in diverse installations and sculptures, which are translated as obstacles, stating that, above all, the obstacle is like an art work: fragile, unstable, vulnerable and always threatened by possible collapse.
Gilles Deleuze, Jacques Derrida, Jean Baudrillard, Walter Benjamin, Albert Camus, Michel Foucault are the builder names of modern and post-modern thinking that appear in The Monuments (2008-2009). Their names inscribed on these construction helmets, spotless, suggest us the idea of ??construction linked to the concept of the artist as producer and the idea of hard but fragile work; not only do we find this parallelism, but also the suggestion of something that is "under construction", in other words, something that is in perpetual construction, reconstruction or deconstruction. And this brings us to the thinking essence, the feeling of curiosity, to rethink, to constantly question the human condition. This installation reminds us that we are allowed to think, express, speak, listen to and read.
In The dynamic Geography of History (2006) mounir fatmi associates political ideologies with artistic movements. Through these equivalencies, the artist proposes a rough link between the political and the aesthetic, such as capitalism with minimalism, futurism with fascism or socialism with constructivism. The viewer is confronted with a series of ironic and humorous pairings that nonetheless ring true of the XX century.
Charlie Hebdo (2011) is a French satirical, ironic and left-wing weekly newspaper that gained international relevance when published some controversial Muhammad cartoons in 2006. In this piece, the artist shows the cover of a 1973 edition in which the viewer can read the Charlie Hebdo’s request to the French military authorities to detonate a bomb on the top of the Eiffel Tower. A written demand done 40 years ago that nowadays would cause a big stir and media controversy. Undoubtedly this is both an ironic text about France´s correlation with atomic bombs, being one of the countries with the largest nuclear arsenal, and the artist’s critique towards the absurdity and cynicism as diving force of military conflicts.
History is not mine (2013-2014) is a black and white video showing the artist´s own hand trying to type using hammers. The red tape represents the symbolic load of narrating the violence from the beauty of writing. mounir fatmi could refer not only to blood, to a suppress account or to colonial power mechanisms, but rather speaks of the contemporary art world reality. The video History is Not Mine arises from the events happened in 2012, when the artist showed in Toulouse, within the context of the Contemporary Creation Festival Printemps du Septembre, his work Tecnología, an installation mixing Coranic verses with Rotoreliefs elements inspired by Marcel Duchamp. Projected onto a ground passed through pedestrians, this installation gave rise to violent protests by some Muslim groups who labeled Fatmi’s work blasphemous. This action ended up with the censorship and withdrawal of his work from Festival of Toulouse. Ironically, the work´s title plays on the title of the group exhibition History Is Mine, staged in Printemps de Septembre Festival, and reflects mounir’s direct response and positioning towards this event.
The photomontage “Who is Joseph Anton” (2012) arises after a meeting that took place between the artist and the writer Salman Rushdie in Brussels, on the occasion of the author’s autobiography presentation entitled Joseph Anton. This work leads us in the footsteps of Salman Rushdie, who used this pseudonym inspired by two of his favorite writers -Joseph Conrad and Anton Chekhov- to live and write during his period of enforced hiding caused by the numerous threats he received by the religious Iran leader, Ruhollah Khomeini, who accused the writer of conspiring against Islam in The Satanic Verses. This work takes as its point of departure the co-existence of three writers, three identities, and three voices, henceforth brought up against one another to draw a new portrait: that of the ‘fugitive’.
The writer’s identity reappears at the video Sleep Al Naim (2005-2012), showing himself in the sleep ambivalence, both quiet and disturbed, a state of vulnerability mixed with strength. Begun in 2005, Sleep Al Naim is a work of fiction in black and white showing the writer sleeping peacefully, his bare chest heaving and falling to the rhythm of his breathing. The full six-hour-long video reinterprets Andy Warhol’s groundbreaking Sleep (1963), showing continuous image of the poet and friend John Giorno sleeping, an image that suggests the ambivalence of a physical abandonment, quiet and calm. Taking into account the threats to his life since the publication of his novel The Satanic Verses in 1988, drifting off to sleep is a way for Salman Rushdie to put himself in a vulnerable position. But at the same time, this moment of unconsciousness expresses strength and confidence. mounir fatmi uses digital and 3D technology to rebuild the writer’s face from numerous images in different periods and the artist’s own breathing.
mounir fatmi encourages the visitors to question the history and violence involved in his writing and research. The works presented at ADN Galeria evoke recurring subjects for the artist, such as the border, the object desecration, the role of language and the writing. There is no doubt that beyond his subversive works is both the desire to understand the world in which we live and release it from any indoctrination form.
From November 11th 2014 to January 16th 2015
adn galeriaC. Enric Granados, 4908008 Barcelona


adngaleria.com

(posted on 2014-11-21)

Shimabuku, When Sky was Sea

November 21, 2014 to January 11, 2015
Opening reception: Thursday, November 20, 7-10pm
When Sky was Sea is the first large-scale exhibition in North America of work by renowned Japanese artist Shimabuku.
The presentation by this extraordinary artist demonstrates the breadth of his practice; works revealing an essential connection to things elsewhere in a wider world, underlining the continuity that exists between art and life.
We follow as the artist travels the world, interacting with strangers, and conversing with nature, Shimabuku instigating moments of poetry, humour, joy and surprise.The exhibition includes works dating back to the mid-1990s, when he first emerged as an artist in Japan, through to presenting a wide variety of more recent work for which he has since become internationally celebrated. Exemplifying his unending curiosity and freedom of expression Shimabuku uses installation, video, photography, drawings, sculpture and events alike to convey his intense fascination with the natural world–equally the animal and vegetable realms–and the countless manifestations of human culture within it.
His artistic proposition is essentially one of storytelling and discovery, in passing through the rubber band (2000) visitors are invited to step through the stretching loops, a simple act of fun and wonder via the most modest of means, as in all of his works the marvellous emerges from the mundane.Shimabuku is not so interested in discovering the reasons why, instead preoccupied, through a joyful approach, with unions of myth or mystery and the everyday. This is epitomized by Something that Floats / Something that Sinks (2008), a work through which the artist draws our attention to the fact that some pieces of fruit and vegetables float in water or appear to swim, while others sink. It is wonderful and ostensibly miraculous.
The exhibition is complementary to and produced in association with Ikon Gallery, Birmingham, UK and Kunsthalle Bern, Switzerland.
Shimabuku (1969, born in Kobe, Japan) lives and works in Berlin. Selected solo exhibitions include: Sea and Flowers, Barbara Wien Wilma Lukatsch, Berlin; City in the sea, Air de Paris, Paris; Flying Me, Kunsthalle Bern, Switzerland (2014); Something that Floats/Something that Sinks, Ikon Gallery, Birmingham, UK and Noto, 21st Century Museum of Contemporary Art, Kanazawa, Japan (2013); Leaves Swim, Nogueras Blanchard, Barcelona, Spain (2012); Man should try to avoid contact with alien life forms, Centre international d'art et du paysage de l’Île de Vassiviére, Vassiviére, France; On the water, CAPC musée d’art contemporain de Bordeaux (2011); The Watari Museum of Contemporary Art, Tokyo (2009); DAAD galerie, Berlin; Wilkinson Gallery (2007); Swansea Jack Memorial Dog Swimming Competition, Glynn Vivian Art Gallery, Swansea (2003); Then, I Decided To Give a Tour of Tokyo To the Octopus From Akashi, Galerie Yvon Lambert, Paris (2002); America, Hiroshima City Museum of Contemporary Art, Japan (1994).
Established in 1971 the Contemporary Art Gallery is the longest standing free public art gallery in Vancouver dedicated exclusively to presenting contemporary art. By the early 1990s the programme expanded providing some of the first institutional exhibitions for many important Vancouver artists, including Brian Jungen, Germaine Koh and Steven Shearer. The Contemporary Art Gallery is a publicly funded institution, generously supported by the Canada Council for the Arts, the City of Vancouver and the Province of BC through the BC Arts Council and the BC Gaming Policy and Enforcement Branch. We are very grateful for this support and that we receive from the Vancouver Foundation and our members, donors and volunteers.
Contemporary Art Gallery 555 Nelson Street Vancouver, BC V6B 6R5 Canada


www.contemporaryartgallery.ca

(posted on 2014-11-21)

Spectres

Recurrent apparitions, traces in the landscape, evanescences, volatile images and morbid dreams, re-introduced animals, ghosts work their way in.
Florence Pellacani Yidak, 2013, 12 mn
Production HEAD, Haute Ecole d’Art et de Design, Genève
In Tibetan tradition the yidak is a ghost who is nurtured by the emotions of living people.
A young woman called Luna witnesses the suicide of a boy, and the ghost of this boy starts to pursue her into every nook and cranny. FP
Laura Haby, Sophie Valero & Reynald Garénaux La Ronde, 2013, 9 mn
Production Languedoc-Roussillon Cinéma et Le Ciné Théâtre, Saint Chély d’Apcher.
Bison are prehistoric animals, and their silhouettes still fill the walls of Neolithic caves.
They were favourite subjects of wall painters and still evoke that imagination today. They are fantastic animals. LH
Mauricio Sanhueza Copycat, 2013, 8 mn
Throughout the centuries dreams have been to many cultures around the world the images that speak of the future. In modern times dreams have been seen as a connection to the unconscious. There is a psychiatric term “paroniria” which means: morbid dreams, strange nightmares, bizarre dreams. MS
Maria Montesi & Marvin Victor Bruire, 2013, 11 mn 45
Production La Générale d’Imaginaire dans le cadre de “Dunkerque Capitale Régionale de la Culture 2013”
The large and international trading port of Dunkirk is also a city exposed to particular climatic conditions. The filmmakers here observe the transformations of the landscape at the mercy of winds and tides in an environment where natural activity merges with human activity. MM
Bakary Diallo Tomo, 2012, 6 mn 53
Production Le Fresnoy, Studio national des arts contemporains
Bakary Diallo est disparu le 24 juillet 2014 dans la catastrophe aérienne du vol Ouagadougou/Alger qui s'est écrasé dans le nord du Mali. Ce programme lui est dédié.
Tomo announces a territory deserted because of war. In a symbolic and suggestive way it deals with the physical and psychological disorders associated with violence.
Following the death of living people, ghosts simulate their presence. They haunt the devastated and abandoned village. BD
17 - 30 novembre 2014


www.saisonvideo.com

(posted on 2014-11-20)

Klex 2014: The First Time

19-23 November 2014
Venues: Lostgens’ Contemporary Artspace, Petaling Street Art House, & FINDARS
Kuala Lumpur Experimental Film & Video Festival (KLEX), an artist-run, grassroots international festival of experimental cinema, is back with its fifth edition, “KLEX 2014: The First Time”, 19-23 November 2014, Kuala Lumpur, Malaysia. KLEX aims to serve as a platform to introduce contemporary experimental cinema from the region and worldwide to the Malaysian audience and to cultivate understanding, learning, friendship and exchange among local, regional and international experimental cinema communities. The festival includes: KLEX open programmes, international guest programmes, video installations, and audio-visual performances.
The festival will be collaborating with three different artist-run, independent art spaces, all within walking distance from one another: Lostgens’ Contemporary Artspace, Petaling Street Art House, and FINDARS.
IMPORTANT NOTE: Due to unforeseen reasons, all events initially scheduled at Petaling Street Art House will move to Gospel Hall Kuala Lumpur.
KLEX 2014: KLEX OPEN PROGRAMMES
KLEX 2014 has received over 170 submissions from our open call, including works from Australia, Canada, China, France, Germany, Hong Kong, Hungary, Italy, Japan, Malaysia, Mexico, Portugal, Russia, Singapore, Thailand, UK, USA and more. From these submissions, the curatorial committee of Andrew Stiff, Azharr Rudin, Chong Keat Aun and Kok Siew Wai has selected 37 short videos to create three KLEX Programmes.
KLEX 2014: INTERNATIONAL GUEST PROGRAMMES (GERMANY, FRANCE & THAILAND)
KLEX 2014 will also showcase three guest programmes from Germany, France and Thailand. Two Berlinale Shorts programmes from the prestigious 2014 Berlin International Film Festival, curated by Ms. Maike Mia Höhne and introduced by Dr. Torsten Schaar, Universiti Putra Malaysia; the Filmvirus programme from Thailand, curated and introduced by Wiwat Lertwiwatwongsa; and lastly, an Africa-focused programme curated and introduced by Parisian curator and Lowave’s Silke Schmickl.
KLEX 2014: AUDIO-VISUAL PERFORMANCE
Catch our popular audio-visual performances of experimental sound and moving images on 21-22 November by local and international artists: Augustine Mok (Hong Kong), Chong Keat Aun, Yii Kah Hoe, Dharma (Singapore), Game of Patience (Singapore/Malaysia), Goh Lee Kwang, Wong Eng Leong, HKPT, Syed Kamran Ali (Singapore), Yong Yandsen and Kok Siew Wai.
KLEX 2014: THE HEART ATTACK OF HONG KONG
A timely Hong Kong special programme focusing on art activism, social movement and community art, “The Heart Attack of Hong Kong” programme is co-organized by the Petaling Street Art House (PSAH) and facilitated by Chong Keat Aun. This programme includes an artist’s workshop, a talk and two film screenings with Augustine Mok Chiu Yu and Banky Yeung Ping Kei from Hong Kong (in person). The talk and artist’s workshop will be conducted in Chinese. Interested individuals can contact the PSAH directly.


www.klexfilmfest.com

(posted on 2014-11-20)

VideoPlay

Celebrando diez años de trayectoria, proyecto VideoPlay presenta una potente selección de vídeo-performances de 10 artistas tan reconocidos como León Ferrari (Argentina), Catherine Bay (Francia) o Regina José Galindo (Guatemala), hasta otros jóvenes de una gran fuerza como Carlos Martiel (Cuba). Esta muestra explora ampliamente el género del vídeo-performance con una serie de piezas que oscilan entre una presencia casi furtiva o distante y una poética de la carnalidad exacerbada, donde los cuerpos desnudan los traumas de la violencia histórica o social y de las violencias íntimas, revelándose y ofreciéndose como superficies de ritualización del dolor y del desasosiego. Este programa se exhibirá en diez ciudades alrededor del mundo durante 2014 y 2015. La Habana, a través de la Salle Zéro de la Alianza Francesa –en sostenida relación con el proyecto desde 2010–, será una de esos centros globales del arte que acogerá Videoplay.
Videoplay es una plataforma internacional con base en Argentina para la diseminación de videoarte alrededor del mundo. Es una iniciativa impulsada desde el 2004 por el artista visual y curador Silvio De Gracia, quien es un gestor cultural con una extensa experiencia en la organización y curaduría de festivales y eventos de video y performance. En diciembre del 2011 Videoplay presentó en la ciudad de Junín, Argentina, a Salle Zéro y su curador Andrés D. Abreu con un programa de videocreación franco-cubano, acción que solidificó un intercambio entre ambos proyectos.
Silvio De Gracia. Curador independiente, escritor, artista visual, performer y teórico con base en Buenos Aires. Entre 2002 y 2010 fue director y curador de diversos eventos de video arte y performance en Argentina, entre otros: PLAY – Festival Internacional de Videoarte (2004/2006); INTERFERENCIAS – Encuentro Internacional de Arte de Acción (2005/2007); man in transit - International Video & Performance Festival (2008) y Transvideoplay Festival (2010).
En 2004 fundó Videoplayproject, plataforma internacional para la diseminación de videoarte, iniciando una intensa actividad de colaboraciones e intercambios con diversas galerías, museos, fundaciones privadas e instituciones públicas alrededor del mundo. En la actualidad, este proyecto se centra en la recopilación y difusión del video-performance, especialmente de artistas latinoamericanos.
1. Casa Blanca (White House). León Ferrari – Ricardo Pons.2004.3'
Una maqueta de la Casa Blanca y un ejército de lombrices de tierra que la invaden. Alusión implacable al imperialismo de América del Norte y sus miserias.
2. Blancanieves, Episodio # 1. Catherine Bay. 2005. 14'
Desde el año 2002, el proyecto de Blancanieves evoluciona a través de una serie de intervenciones: performances, conferencias, espectáculos y eventos. Aquí, Blancanieves irrumpe en el espacio fílmico, multiplicada y descontextualizada. Este trabajo sobre la deformación del mito da lugar a una película híbrida que cuestiona la relación entre imagen e imaginación colectiva.
3. Globos. Baggenstos-Rudolf. 2006. 3 '48"
En "Globos" el dúo de artistas se centra en las posibilidades de los aspectos verbales y no verbales de la comunicación moderna.
4. Honras fúnebres. Adonis Flores. 2007. 3 '14"
Vestido con uniforme de camuflaje, el artista encarna el personaje de un soldado bailando el hula con una corona funeraria.
5. Remote Body. Sabrina Muzi. 2008. 5'
Este video muestra una imaginaria transformación del cuerpo humano en un árbol. Sonidos electrónicos se mezclan con una imaginería arcaica que recuerda al ritual primitivo de relación humanidad- naturaleza.
6. Immolation art / Arte a lo bonzo. Elías Adasme. 2009. 0´44"
Una reflexión audiovisual en torno a la relación entre el acto de crear y su mercantilización. La palaba “art” representada cubierta de billetes de dólar, nos lleva a enfrentarnos a una lectura unívoca, donde el sistema del arte claudica en sus aspiraciones como espacio de libertad, purificando su esencia creadora a través de un ritualista acto de auto-inmolación.
7. Prodigal son. Carlos Martiel. 2010. 2 '28"
En el pecho desnudo, el artista coloca todas condecoraciones pertenecientes a su padre, concedidas por el Estado cubano.
8. Marabunta. Regina José Galindo. 2011. 13 '14"
Se conoce como "marabunta" a la movilización masiva de hormigas legionarias con un comportamiento agresivo, carácter nómada y redadas en las que devoran todo a su paso. Una metáfora entre los insectos que nos hace reflexionar sobre la agresión humana.
9. Fair and lost. Francesca Fini. 2012. 05 '24"
Lo histérico, incontrolable, el movimiento de la mano representa la enfermedad de la costumbre social, lo que revela su fragilidad cuando el sistema aparece en el punto de colapso: el profundo conflicto entre un comportamiento consciente y el condicionamiento social externo.
10. Synaestheticwall. GruppoSinestetico. 2013. 8 '23"
Frente a la pared y el libro como una transmisión conjunta de herramientas de pensamiento, el GruppoSinestetico ofrece algo tangible para reverenciar su relación física y táctil.

(posted on 2014-11-20)

Sixpackfilm

Four times each year, current Austrian films and videos (maximum of six months after completion) can be submitted to sixpackfilm. After a group viewing, an independent jury selects the works sixpackfilm will submit to relevant festivals around the world.
Works with a connection to Austria because of the director, production company or public subsidies will be considered Austrian for the purposes of submission.
Production or distribution of video installations or audiovisual works that must be presented as part of a live event will not be possible. Submission to festivals will not be possible for productions for advertising purposes and videos produced for the sole purpose of promoting musical, theatrical, dance or performance works to the extent that they possess no independent aesthetic value.
Submission deadlines 2014: November 17
The following materials must be included in submissions:
Samples for viewing purposes (DVD or Blu-Ray of sufficient quality)
Films 45 minutes or more in length require submission of seven DVDs, which will be returned after viewing. Return of single DVDs will not be possible due to the shipping fees involved.
Description of the work (format, length, credits, brief synopsis or text)
Brief biography
Contact address, including telephone number
Send submissions to:
sixpackfilm
Neubaugasse 45/13
1070 Vienna, Austria
office@sixpackfilm.com
selection comitee 2014:
Alejandro Bachmann
Petra Erdmann
Michael Pekler
Wiktoria Pelzer
Dieter Pichler
Lotte Schreiber


www.sixpackfilm.com

(posted on 2014-11-20)

NAA Festival

The NAA Festival - New Associated Arts is an event organized by EsferaNegra in partnership with Pelouro da Cultura de Barcelos (Portugal), a Honeysound/Sment production, with the support of other entities and associations. The festival’s goal is to promote new art, focusing essentially on music, visual arts, photography, video and movie making. NAA is a non-profit event, the program is made by artists.
In 2014, the festival takes place between November 15 and December 31.
VENUES
TEATRO GIL VICENTE | Largo Doutor Martins Lima
BIBLIOTECA MUNICIPAL | Largo José Novais
CASA DA JUVENTUDE | Rua da Madalena
GALERIA SMENT | Rua Miguel Bombarda
CENTRO HISTÓRICO | historical centre
COBERTO | Plátano Roriz
other locations


www.festivalnaa.org

(posted on 2014-11-19)

Vibeke Tandberg, Mumble

Videoart at Midnight #15
Upcoming Friday we will have Isabell Heimerdinger as our guest at Videoart at Midnight! But today I am very happy to announce that we have an outstanding new work by Vibeke Tandberg in the Videoart at Midnight Edition: N°15: Vibeke Tandberg MUMBLE 2014, 19:43 min, HD video, color, sound, Ed. 40 (+10 artist’s proofs)
Mumble is based on selected footage from around twenty different feature films from different times, genres and techniques. The original footage is merged into an absurd totality driven primarily by movement, either of the camera or of the subject before the lense. The film is edited to work with the narration of a text bearing the same title, in where a voice is talking to itself revealing an internal struggle to locate its own body. Mumble was conceived as a 145 page long poem originally published with Onestar Press in Paris, 2011. The script for the film is an edited version of the poem. The voice belongs to actress Petronella Barker.
The film aims to distort the notion of time and so twisting the relationship between time and events and between text and image. The distortion of temporality is obvious through the repeated use of the same footage causing the collapse of a linear narrative. Events are told and retold, images occur and reoccur, as if everything is happening at the same time. This applies also to the narrative with the monotonous voice reciting a minimalistic and repetitious text, creates an impression of something about to happen as if events are about to take place but which are in fact never beginning at all.
VIDEOART AT MIDNIGHT EDITION is a video-art edition.
This edition has accompanied the Videoart at Midnight program by Olaf Stüber and Ivo Wessel at the Babylon film theatre since 2012.
In a series featuring about eight artworks per year, with just a small number of published copies, this edition is building up a collectable contemporary document of video art – a purchasable anthology of a medium that is gaining more and more importance within contemporary art.
Videoart at Midnight Edition gives a growing insight into the current video-art production of Berlin's international art scene. There will be renowned artists, but also relatively unknown young and promising ones. The edition will publish artworks by 'stars' as well as continuing to search for new talent in the art scene.
Each artwork is unique and produced or selected exclusively for the Videoart at Midnight Edition. Each work is published in a limited edition of 40 (+ 10 artist's proofs) and has a price of 680 EUR (incl. VAT).
VIDEOART AT MIDNIGHT EDITION
c/o Olaf Stüber (Hg.) Strausberger Platz 19, 9th floor, 10243 Berlin


www.videoart-at-midnight.info

(posted on 2014-11-19)

World Art Day

POST - video art
Simultaneous opening on World Art Day.
15 . 04 . 2015
BUILD YOUR "POST"
"Post" is a sculpture model and invites artists to participate with a video.
(about 1')
Everyone is free to create his "Post".
Opening in world art day.
The "Poste, can be placed in any place, on the street, bridge, mountain, beach, etc..
Materials needed:
- a wooden pole, iron, etc..
- one or more screens,
- a support base,
- artists vídeos.
REGISTRATION
1st stage:
Send an rtf file (arial 12) with the following information: (for assigning a code for identifying)
1. Name.
2. Date and place of birth.
3. City, street or place, and country where it is held.
4. Contact: email and skype.
2sd stage:
1. Send drawings or photographs of "Poste".
2. Artists invited to participate.
3rd stage:
1. Sending photos from the event.
2. Published event:
- Artists name, 10 pictures of the event, place (city - country) where they held an promoters name.
3. All videos will be housed on Youtube, Vimeo, etc ( artist responsibility ).
Since 2011 the World Association of Art established that April 15 was the World Art Day, coinciding with the birthday of Leonardo de Vinci.
The decision was taken in April 2011 in the General Assembly of the International Association held in Guadalajara, Mexico, proposed by the Association of Turkish Art.


www.exteril.com

(posted on 2014-11-19)

Screen Test

Jani Ruscica descrive il suo lavoro come una lunga corsa in cui ‹‹le stratificazioni temporali sembrano giocare ripetutamente un ruolo significativo nelle catene associative›› che si rivelano nei suoi lavori. Sarà per questo che Screen Test (for a Living Sculpture) presentato alla OTTO ZOO di Milano è un lavoro inedito che deriva dal progetto commissionato dal MOMA PS1 di New York, da Creative Time e MTV global.
Il progetto prende spunto dal tentativo di ricreare gli MTV's Art Breaks, la leggendaria serie di cortometraggi che negli Anni Ottanta venivano commissionati agli artisti e trasmessi su Music Television durante le pause pubblicitarie (tra i cortometraggi si annoverano quelli di Andy Warhol, Jean Michel Basquiat, Keith Haring e Richard Prince). Per l'occasione Ruscica, in collaborazione con l'artista Sini Pellki, presenta un video che mostra una scultura vivente che prende vita.
Nella versione presentata nella galleria l'artista decide però di mantenere solo le riprese del backstage del video, dando risalto a quei gesti che in fase di montaggio aveva eliminato per mantenere la stasi della posa della scultura vivente. La scena è pervasa da un'atmosfera silenziosa e trasmette un senso di isolamento mentale corrispettivo di un paesaggio freddo e desolato come quello finlandese, paese d'origine dell'artista. L'immobilità fisica del performer è improvvisamente rotta da un movimento che fa emergere la vulnerabilità dell'attore: il protagonista provato dal freddo e dalle condizioni atmosferiche che corrodono la sua pelle come la pioggia corrode i monumenti esposti alle intemperie, è colto in un momento di fragilità, mostrandone la tensione non solo interiore, ma soprattutto fisica.
Il passaggio dalla stasi al movimento è esattamente il momento in cui si manifesta la sottile linea che trasforma la scultura in un atto performativo.
Quello che emerge è un rituale gestuale e figurativo che è la fonte della creatività: mani e testa.
Jani Ruscica mette in opera quello che Richard Kostelanetz chiama mixed-means e che oggi viene descritto genericamente come mixed-media: mescolare più forme artistiche per giungere alla creazione di un nuovo genere. Questo sconfinamento porta a un superamento del tradizionale modo di guardare e percepire le opere d'arte, come nel caso di Screen Test (for a Living Sculpture) in cui scultura, video, performance e teatro si confondono.
Inedite contaminazioni vengono sperimentate anche in Material Studies, un lavoro fatto da una serie di collage mixed media, che divagano sul concetto della materia plastica applicata alla materia umana in cui il mezzo della fotografia incontra quello della pittura fingendosi una scultura.
Sara Marvelli
Jani Ruscica, Screen Test, Otto Zoo Via Vigevano 8, (zona Porta Genova) - 20144 Milano


www.ottozoo.com

(posted on 2014-11-19)

Artcast New Art Channel

Artcast, the industry leader of "Art for Your TV" programming, launches ArtcastLITE on Roku, making available a vast library of more than 20,000 paintings, photographs and video art for free. ArtcastLITE features the same world-class programming as the premium, ad-free Artcast channel.
Artcast founder, Justin Ostensen notes, "We're thrilled to be able to offer viewers direct access to the largest curated and constantly-expanding collection of museum works, contemporary photography, and video art." He continued, "The high quality and breadth of the artwork provides a dramatic improvement to homes, restaurants, businesses and more. Best of all, it's 100% free."
The Artcast channel on Roku enables viewers to browse a vast library of artwork to enhance and beautify their environment, whether it be their home or business. Notably, the Artcast library includes works of art featured in esteemed collections such as the J. Paul Getty Museum, the Louvre, the Metropolitan Museum of Art and the National Gallery of Art. Professionally curated, the works of art are organized by genre or theme and presented for ease of viewing in hour long programs that transform televisions into ever-changing art galleries. Each artwork plays for one minute before seamlessly transitioning into the next.
In addition to paintings by classical masters, today's emerging artists and contemporary photographers, Artcast produces original programs such as "Ocean Wonders," a collaboration with the world-renowned Monterey Bay Aquarium, "Slow Motion Dance," a contemporary video display of the beauty and artistry of dance, and "Serengeti Safari," an up close journey through the majestic African plains.


artcast.tv

(posted on 2014-11-18)

Video art projects pain of Partition

A white tent pitched in the atrium of the India Habitat Centre looks like a place serving refreshments to attendees of a conference. However, in the evening, it is transformed into a venue for a video art installation.
“Five Rivers: A Portrait of Partition” is a documentary in cyclorama. Artistes Sheba Remy Kharbanda and William Charles Moss use the tent as a canvas to project the story. Five synchronised films are projected onto various surfaces of the tent, creating a conflation that crafts the narrative of Amrik Singh, a Punjabi/Afghani Sikh who at age nine left his childhood home in the months preceding the Partition. Videos of him telling his story, combined with visuals of landscapes and an audio that includes poetry and speeches, make for an interesting audio/visual spectacle. The tent is used as symbol of diversity, a congregational space that transcends the historical discourse.
Talking about the installation, Singh says the artistes bring out, in a very poignant manner, the pathos of being uprooted from one’s native soil. The use of visuals with a very unique technique and recitation of poetry by some legendary poets is the most touching.
Kharbanda is a London-born film-maker and storyteller based in New York. She has made a number of documentaries that chronicle the stories of women from Punjab, who, in the decades following the Partition, left for England in search of work and a new home. Moss is a photographer and cinematographer.
The installation is on display after 5.30 p.m. till November 21.

(posted on 2014-11-18)

Yearning to return in palestinian videoart

A new Palestinian artistic video production commemorates the sixty-sixth anniversary of the ethnic cleansing of Kufr Birim, a Palestinian village hugging the border of Lebanon.
According to a press release, the video — “In Your Absence” — aims to “recover the spirit and life” of Kufr Birim, where young Palestinian activists with ancestral ties to the village returned and began camping in August 2013.
Palestinians commemorate the ethnic cleansing of their homeland — known as the Nakba (Arabic for “catastrophe”) — each year on 15 May, the day in 1948 when the State of Israel was formally established.
Yet Zionist militias did not occupy and depopulate Kufr Birim and other Palestinian communities in the Galilee region of the country until later that year on 13 November. Its indigenous Palestinian Christians were promised that they would be allowed to return after a few weeks.
Internally displaced
That promise was never fulfilled. In 1951, the Israeli military used warplanes to bomb the homes and buildings in Kufr Birim, leaving only a graveyard and a historical church standing.
Those who had been forced to leave their homes eventually accepted Israeli citizenship and became internally displaced persons prevented from returning to the village.
Today, they are part of the estimated 1.7 million Palestinian Muslims, Christians and Druze who live in cities, towns and villages across the country. Despite their Israeli citizenship, they face more than fifty discriminatory laws that limit their access to state resources and repress political expression, according to Adalah, a Haifa-based legal center.
Since returning to the village nearly a year and a half ago, activists in Kufr Birim have faced constant harassment from the Israeli land authorities and police.
The video is directed by Mohammad Khalil, produced by Samara Hawa and funded by Elika Bar and Art, a Palestinian art gallery and café in Haifa. The idea of filming the music video in Kufr Birim was first conceived by Palestinian artist and musician Yazid Sadi.
According to an Arabic-language press release, the video art draws on “a mix of Palestinian and international culture” in order to convey “the longing of Palestinian refugees in the diaspora [including those internally displaced] as the result of the occupation of their land and their displacement from their homes.”
It expresses Palestinian refugees’ “yearning to return” to their lands, as well as how Palestinian citizens of Israel are “waiting for the refugees to come home.”
Using concepts from Sufi Islamic philosophy, the video includes acting and modern Sufi dance to depict “the moment when two lovers touch one another, despite the checkpoints and long distances” standing between them.
It shows a young woman and man dancing through the ruins of Kufr Birim, among the destroyed homes and buildings, although they cannot touch one another. Saeed Tarabeh, an acclaimed Palestinian vocalist from Sakhnin (also in the Galilee), sings Arabic poetry as Pauline Laidet reads French-language spoken word poetry in the background.
“Declare my return”
“They cannot touch each other because of the checkpoints and borders imposed on them,” the press release adds.
The video “expresses the right of return in a creative way” and seeks to open a dialogue on “Palestinian refugees in their homeland and the diaspora.”
The press release states that “it is important to bear in mind that the Palestinian village of Kufr Birim was occupied by the Zionist militias” like hundreds of other villages occupied in 1948.
“In August 2013,” it adds, “Kufr Birim’s [refugees still living] in their homeland returned and announced to the world: ‘I declare my return.’”
Dozens of artists and activists took part in the production of “In Your Absence.”
The descendants of Palestinian refugees from Iqrit, another Galilee village depopulated in 1948 and destroyed in 1951, also returned to their ancestral lands in the summer of 2013.

(posted on 2014-11-18)

Madatac 06

12/12/2014 5:00 pm - 12/12/2014 6:00 pm CENTRO CENTRO - Auditorio , Plaza Cibeles 1 , MADRID , España
THEATRE FOR THE ARTIST
Farid Hamedi (Iran)
04’ 15”/ 2014
Soundtrack: Farid Hamedi (Rohina) arranged by Ehsan Gholami Beiraghdar The artists use to work the thin thread of lace of the subconscious which they unroll sometimes without a clear conscience.In doing so, it tailor-makes and at times amends the art production of the artists to such an extent that sometimes the artist himself is censored by the subconscious, which leads to the latter’s guilt feelings and melancholy, in spite of which the work of the artist and the subconscious carries on and on. This refers to the internal and external challenges artists have to meet in each society.
VALLEY OF UNCANNY #01
Vibeke Bertelsen (Denmark)
03’ 51”/ 2014
Soundtrack: Zack Christ An interactive animation that explores the relationship between visual and musical rhythms, glitches and distortions.
The title refers to the point at which a person observing the creature or object in question sees something that is
nearly human, but just enough off-kilter to seem eerie or disquieting. The term “The Uncanny Valley”
was first developed in the 1970s by japanese roboticist Masahiro Mori to describe the profoundly unsettling sense
of the non-human in human-like figures.
NATÜRMORG
Bilgi Diren Günes (Turkey)
03’ 00”/ 2014
Soundtrack: freemusic.com No one was surprised by a river drying up anymore!
THE PLASTIC GARDEN
IP Yuk-Yiu (Hong Kong)
11’ 30”/ 2013
Soundtrack: Call of Duty:Black Ops (2010) Evoking imagery and memories of the atomic age, this author summons the ghost of a forgotten future by means of hacking and appropriating the popular video game Call of Duty: Black Ops and revisiting the dark vision and symbolism of the nuclear drama that seems on the one hand remotely archaic, but hauntingly close and familiar on the other. The re-staged scenes, devoid of bloody shootouts, are equally if not more lethal and violent than in the original game.
CELULAR SYNTHESIS [EXPERIMENT 024]
Pawel Janicki (Poland)
01’ 43”/ 2013
Soundtrack: Pawel Janicki Project inspired by the research and publications by Stephen Wolfram, in which the author’s exposes his technique of musical composition based on a specially designed cellular automaton. The aim of the project is to enable the creation of complex and rich sound structures, controlling a large number of parameters and using the opportunities available only through computer programming – all these conditions are fulfilled while maintaining a very simple and intuitive user interface, susceptible to modifications in real time and using various types of equipment as controllers. In other words, cellular automaton is a concept (and application) use of finite and small (and thus enabling easy to learn and use) set of variables and rules to obtain complex musical structures.
STILL LIFE
Anabela Costa (France/Portugal)
08’ 38”/ 2014
Soundtrack: Tiago Cutileiro A work mostly with an ”inanimate” subject, ?but full of movement, that leads us from representation to abstraction.
TELL ME WHAT YOU SEE
Jordi Biendicho (Spain)
02’ 26”/ 2012
Soundtrack: Jordi Biendicho With the arrival of the heat, we move back into the sea, and return to feel sensations that lead us to a world of images and memories…
NO MORE LONELY NIGHTS
Fabio Scacchioli & Vincenzo Core (Italy)
20’ 45”/ 2013
Soundtrack: Vincenzo Core A degenerated melodrama, a journey in search of the background radiation of fiction cinema.
Cinema as language of the invisible, whisper that goes beyond logic and reason, breathing through the pores and the creases of image as simulation. The film is composed by pre-existing images: like karst rivers they cropped up in the light and returned down to follow invisible (and yet present) paths.
Pictures were subjected to a particular treatment, which included multiple re-­-shooting sessions, and analogue processes (handmade masks, physical intervention on the images, etc..) combined with digital processes.Concrete, instrumental and vocal sounds are part of the music material. Sound and image are treated like two instruments playing the same composition.
THOUGHTS OF THE OBJECTS
Carmen Isasi (Spain)
03’ 00”/ 2014
Soundtrack: Carmen Isasi The functional object is an absence of the being, says Baudrillard. So, the objects, liberated from their function, start in the search of its authenticity and, through monologues and subsequent establishment of dialogues, they reach conversations in which release their thoughts.
OPUS NIGRUM
Isabel Pérez del Pulgar (Spain)
07’ 32”/ 2014
Soundtrack: Rey Eisen Opus Nigrum is the alchemical formula that designates the phase of separation and dissolution of the matter.The artist takes the definition of the alchemical process as a metaphor for the creative process and as a battlefield where the action of deconstruction and construction of the subjective and unconscious self is pushed on a permanent basis by dissatisfaction, frustration and doubt. In the same way that it requires a constant search for hard-coded answers. In the creative act, the artist conveys from the intentions to realization through a chain of completely subjective reactions and this fight toward consummation requires a series of efforts, pains, satisfactions, denials and decisions, which cannot and must not be fully conscious, at least in the aesthetic level.


madatac.es

(posted on 2014-11-18)

Acre TV

Direct Object/Direct Action
Television creates political bodies because it happens to many people at the same time: we stay informed of our stories, we gather in bars and homes to witness, we cast ballots for our idols all by TV. Directed by television’s innate ability to create publics, and the common usage of livestreaming in contemporary populous movements, ACRE TV will spend February and March 2015 broadcasting moving image work that explores broadcast art and it’s ability to function as a catalyst for moving bodies. Direct Object/Direct Action will air live, canned, episodic, durational and experimental broadcast works that position the stream as an instrument as opposed to a stage, as well as works that address the concept and histories of political direct actions.
Leveraging the materiality of the devices and the parameters of livestreaming, examples of programming for Direct Object/Direct Action could include:
-Televised skill shares
-Live video dérives
-Documentaries for broadcast
-Free speech forums
-Audio/Visual compositions for synchronous cellphones
-Call-in shows
We are also accepting submissions for a live event in February in which the stream will operate as a prop/instrument/soundtrack for the night of IRL performances. If you’d like to be involved, please mention the live event in your proposal.
Deadline: November 25 2014
Exhibition date: February 1 2015 - March 31 2015


www.acretv.org

(posted on 2014-11-17)

FONLAD

FONLAD - Online Festival for Digital Arts is an event co-organized by the Cultural Association IC Zero and the Videolab project, completing in 2015 ten years.It is intended to promote the digital productions of several artists who approach the new technologies in contemporary art.
The Festival is open to all national and international artists working at the level of digital arts and new technologies;
The Online Festival for Digital Arts will take place online between January and December 2015 showing video art and video installations in unconventional places will also be carried out to define timely.
The theme of the Festival is free.
Dead line: March 31, 2015


www.fonlad.net

(posted on 2014-11-17)

Hye Rim Lee

A new media artist working across 3D animation, digital, sculptural and performance platforms, Hye Rim Lee’s work is now being exhibited in Britomart’s Project Space.
‘Lucid Dream, Black Rose, Glass Box’ is a collection that feature Lee’s signature character TOKI. Originally introduced through her art back in 2002, TOKI has grown up through the years and this new exhibition shows the once ‘ultra-cute’ character as a stronger, more mature female.
Exhibited across the world, Lee is a Korean-New Zealand artist currently working in New York, Auckland and Seoul. She has tried to create a zone “that exists between the analogue and digital, between the dream and reality” in this collection which you can now see at the Customs Street East mini gallery.
Sleek, modern and mythical, the artworks (on loan from Gow Langsford Gallery) are worth a visit. So head to Britomart’s Project Space to see the lovely TOKI for yourself.
Britomart Project Space Stanbeth House 26-28 Customs Street East Britomart Auckland CBD


www.britomart.org

(posted on 2014-11-17)

Shiny Toys

SHINY TOYS is a transdisciplinary art organization founded in 2010 . The basis of our activity is building a platform focusing on the production of new audiovisual performances and installations, providing educational workshops and creating publications as well as initiating a large number of multidisciplinary events.
SHINY TOYS promotes artists who use analog and digital technologies to explore and cross boundaries in sight & sound. Our aim is to look at a broad field of experimental audiovisual art, to tighten the links between audiovisual art, science, history, media art and digital culture.
Open up the closed systems! Destroyed and reconstructed. The room is wide. Time flows periodecally. History is a recycling center. The rule of Smooth and Shiny decays. The age of imperfection is dawning. Reformat reality.
The eversion of our memory in the readily available machine is complete, the transcode of our vacant brain capacity is now advancing.
From the physical remains, the psychoactive waste and the still smoldering artefacts of the past, scientifically and medially marked digital era, artists develop performative experimental set-ups and light-sound machines.
Audio-visual experiments amaze between the lab and the stage, they irritate - and put an end to the trust in seeing and hearing.
SHINY TOYS 2014:
exhibition: THE STEREOSCOPIC GLANCE
21.nov - 14.dec 2014
MAKROSCOPE
Friedrich-Ebert-Straße 48, Mülheim an der Ruhr
SHINY TOYS FESTIVAL #5
29.nov 2014 / 19:00 Uhr
RINGLOKSCHUPPEN RUHR
Am Schloß Broich 38, Mülheim an der Ruhr
SIGHT & SOUND PLAYGROUND
13.dec 2014
BOLLWERK 107 MOERS
Zum Bollwerk 107, Moers
SHINY TOYS is a transdisciplinary art organization founded in 2010 . The basis of our activity is building a platform focusing on the production of new audiovisual performances and installations, providing educational workshops and creating publications as well as initiating a large number of multidisciplinary events.
SHINY TOYS promotes artists who use analog and digital technologies to explore and cross boundaries in sight & sound. Our aim is to look at a broad field of experimental audiovisual art, to tighten the links between audiovisual art, science, history, media art and digital culture.


shinytoys.eu

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