星期日, 1月 16, 2011

Josh Tetrick: Crowdfunding: How Social Entrepreneurs Are Turning Small Donations Into Big Bucks

Year 2010 social media is going strong, I felt that art "now" that is still post modernistly non material, relating people together or even engaging people to participate, inspiring people for positive action, allowing more voices from the crowd, can be any kind of internet projects like this one. Josh Tetrick: Crowdfunding: How Social Entrepreneurs Are Turning Small Donations Into Big Bucks
Nohing can be done in the name of the Art. Simply look at West kowloon. Do you agree that someone who knows more about HK can succeed ?

星期一, 10月 04, 2010


40+ artists, curators, and thinkers present their work at a two-day conference (9 & 10 Oct) in The Great Hall of The Cooper Union
Tickets already sold out, look out for the live cast.CREATIVE TIME

星期六, 9月 18, 2010

Performance art is dead - China.org.cn

Performance art is dead - China.org.cn
Viva arivists in HK. Love the works of Ger Choi as in Star Ferry action (http://www.scribd.com/doc/14243047/What-is-that-Star) and opposition to Guangzhou Hong Kong Express Rail Link (http://en.wikipedia.org/wiki/Opposition_to_the_Guangzhou-Hong_Kong_Express_Rail_Link) and now ADC voting exercise (http://www.facebook.com/topic.php?uid=57082828826&topic=9037#!/note.php?note_id=428717307996&id=599619605&ref=mf).

星期日, 8月 01, 2010

Lynn Hershman Leeson receives the 2010 d.velop digital art award [ddaa] Digital Art Museum [DAM]

American artist and filmmaker Lynn Hershman Leeson has been awarded the 2010 d.velop digital art award [ddaa]. 

Given biannually by the Digital Art Museum [DAM], Berlin, Germany, this international prize honours an artist’s lifetime achievement in the field of new media.

In addition to receiving a monetary award (20,000 Euro), Hershman Leeson will have a retrospective exhibition accompanied by a catalogue at the Kunsthalle Bremen in Germany. The [ddaa] is the most prestigious lifetime award to be given to artists in digital arts.

Lynn Hershman Leeson is the fourth artist to win the [ddaa].

This year’s jury included Prof. Dr. Wulf Herzogenrath (Director of Kunsthalle Bremen), Dr. Norbert Nobis (Deputy Director of the Sprengel Museum in Hanover), Kelli Dipple (Curator Intermedia Art, Tate Modern, London), Stephen Kovats (Artistic Director of Transmediale, Berlin) and Wolf Lieser (Director of the Digital Art Museum [DAM], Berlin).

Past winners are Vera Molnar (Hungary/France, 2005), Manfred Mohr (Germany/USA, 2006) and Norman White (Canada, 2008).

Lynn Hershman Leeson (* 1941) has been at the forefront of new media art since the 70s, investigating issues now recognized as key to contemporary society: protection of privacy, gender role, and the changing concept of identity in the age of virtuality. Very often, she acts as a non-linear storyteller, showing the loneliness of people in a world of mass communication systems. Her work makes use of alter egos, puppets and agents, and artificial intelligence. As a pioneer of interactive work, her oeuvre includes performance, film, photography, site-specific installations and digital media.

One of Hershman Leeson’s most notorious projects includes Roberta Breitmore, a fictional persona, created and enacted by the artist from 1973 – 79, and which anticipated virtual avatars. Hershman Leeson has been responsible for a number of technological innovations, including the first interactive computer-based artwork with Lorna (1983-84) and the artificial intelligent web agent DiNa (2006).

Her three feature films with Tilda Swinton – Conceiving Ada (1997), the first movie to use virtual sets; Teknolust (2002); and Strange Culture (2007) – were shown at the Sundance Film Festival, Toronto International Film Festival, and Berlin International Film Festival, and won numerous awards.

Hershman Leeson has just completed !Women Art Revolution, a feature-length documentary to be released next year.

Hershman Leeson’s work is featured in the public collections of the Museum of Modern Art, New York, the William Lehmbruck Museum, Duisburg, the ZKM (Center for Art and Media Karlsruhe), The Whitworth Art Gallery, Manchester, The Tate, London, the Los Angeles County Museum of Art, the National Gallery in Canada, the Walker Art Center, Minneapolis, and The Hess Collection, California, among others.

Most recently, Hershman Leeson received the 2009 SIGGRAPH Lifetime Achievement Award and a 2009 Guggenheim Fellowship. She is also the recipient of grants from The National Endowment for the Arts, Creative Capital Foundation, the Siemens Media Art Prize, ZKM, the Flintridge Foundation Award, the Prix Ars Electronica and the Alfred P. Sloan Foundation. In 2004, Stanford University acquired the artist’s working archive.

Lynn Hershman Leeson is Chair of the Film Department at the San Francisco Art Institute and Emeritus Professor at the University of California, Davis. She lives and works in San Francisco.

Lynn Hershman Leeson was nominated by Laura Sillars of FACT, Liverpool. Further nominees were Roy Ascott (nominated by Rudolf Frieling, San Francisco Museum of Modern Art), Hiroshi Kawano (nominated by Yoshiyuki Abe, pioneer of computer art from Japan), Lillian F. Schwartz (nominated by Barbara London (Museum of Modern Art in New York) and Roman Verostko (nominated by Douglas Dodds, Victoria & Albert Museum in London).

Initiated in 2005 by Wolf Lieser of the Digital Art Museum [DAM], the d.velop digital art award [ddaa] is assigned in close partnership with Kunsthalle Bremen, and is possible through the sponsoring of d.velop AG in Gescher, the Hauptpharma AG in Berlin as well as by the agency kommunikation lohnzich in Munster, Germany.

The award ceremony will take place on Sat., 9th October 2010, at the Deutsches Technikmuseum Berlin, Germany.

For further information visit www.ddaa-online.org or www.dam.org

星期一, 7月 12, 2010

Body Films: New Approaches to Medicine and Film

Body Films: New Approaches to Medicine and Film
Date: Monday 12 July 2010
Time: 4:00 - 6:00pm
Venue: Convocation Room, Room 218, Main Building

Mediatizing Epidemics: Filming an Outbreak of an Unknown Disease
Prof Charles Briggs (Department of Anthropology, UC Berkeley)

The Moving Image: Touch, Sound and the Sensory Medical Film Body
Prof Lisa Cartwright (Department of Communication Studies, UC San Diego)

Bare Feet, Fine Hands, and Flexible Bodies: Visual and Filmic Representations of Barefoot Doctors
Prof Laikwan Pang (Department of Cultural and Religious Studies, Chinese University of Hong Kong)

From Medical Imaging to Experiments of Wetware: Art Projects for the Mediated Body and the Cyborg
Ms Ellen Pau (co-founder and artistic director of the media art organization Videotage)

How are medical technologies shaping contemporary visual culture, in particular, the moving picture? And conversely, how is film impacting upon the ways we think about and experience health and illness? In this symposium, participants from medicine, anthropology, communication studies and beyond will address these issues and explore the complex ways in which medicine and film are enmeshed. Participants will consider the moving image and the sensory medical film body, visual and filmic representations of barefoot doctors, and the issues at stake in the making of 'health' documentaries.

This event is co-sponsored by the Summer Institute in the Arts and Humanities.

星期四, 5月 27, 2010

《民間地圖志》Shifting Topography

HK Art Fair itself is attracting a whole lot of attention, every "good" is trying to be part of it in many ways. Side events during HK art fair are all too overwhelming.

This one is probably the most expected, but will you expect more? Check it out.

2010/5/28 5:00pm-8:00pm

HANART SQUARE - 2/F Mai On Industrial Building, 17-21 Kung Yip Street, (off Tai Lin Pai Road, Kwai, Hing) Kwai Chung (near Kwai Hing MTR station)

參展藝術家 / Participating artists
周 俊輝 Chow Chun-fai / 何倩彤 Ho Sin-tung / 何兆基 Ho Siu-kee / 林東鵬 Lam Tung-pang / 劉學成 Lau Hok-shing, Hanison / 李鴻輝 Michael Lee / 梁志和 Leung Chi-wo / 梁巨廷 Leung Kui-ting / 黃琮瑜 Wong Chung-yu / 王無邪 Wucius Wong


香 港人對方位、地形、佈局等空間觀念得天獨厚,富於想象。此無它,這裡無論上班賦閒,香港人的談資都不離地產房價,所以每一寸空間都被人端詳過,掂量過,夢 過恨過。要了解香港,弄懂此地經濟,必須知道空間的價值如何被營造,拜物癖怎樣被開啟。所以要潛進香港文化的臟腑就不得不探討空間的各種使用方法,從公共 空間使用到私隱見不得光的私用,正式付諸實用或夢想慾望的空間。因為在這裏才能看清楚香港的核心價值。


香 港人的樓居眼界是被間格成方塊的,因為這些懸空不沾地氣的空格子都談不上歷史掌故,只是數目編號,沒有立體的故事。空間價值必須有待於想象的故事,所以市 民只好忍受地產廣告的肉麻貴族生活大話。對空間價值的建立,文化界的創意和想象更具體更真實。藝術家驅使天馬行空的力量重新佔領和描述這個都市。他們有的 採用遊覽的策略來打開想象世界的路線和網絡,有的以假想的藍圖來樹立地標和據點。其實每人皆無法逃避的是如何設法逃避這種被資本投資邏輯所網羅的複製社區 與被刷洗的時空記憶。

參展藝術家在作品中提示了多種策略和思維方式,可供日常生活中用以打破常規並進行內觀反省。不過這些個案只可作為參 考樣品,因為要好好地介入和了解我們的都市尚有無數的方法。這些街道隱藏了層疊的秘密藍圖,遮掩了各類未被揭露的陰謀,慾望,暗角,等待空間的"用家"發 揮各自的能耐。只有廣集眾力,才能把蘊藏空間裡的能量發揮,以便從呆板的建築裡找到個性,以致累積功德,構築故事,集散句為鴻編,制圖測地,而成就多個民 間的歷史,民間的地理志和堪輿學。


Shifting Topography
Chang Tsong-zung

In a city where real estate prices dominate all social discourse, and acquiring private space is the principal goal of every person reporting to work, there is a constant obsession about the potential value of every square inch, and fantasies about myriad possible uses. How this value system works, and how it gets fetishised, are central to understanding our economy. Exploring the possible uses of space, from the public to the secret and clandestine, opens an undercover entry into the cultural heart of Hong Kong. It is here where Hong Kong’s core value lies.

The mapping of the stock index, the pattern of street-grids encasing childhood memories, and the floor plans of malls tracing commodity-desire – all have become rooted in the Hong Kong imagination. They are blueprints for making sense of our world. Here the old science of geomancy has also been brought up to date for mapping positions of energy in simple offices, so as to plan positions of defense and channel paths of good will. We do not need to climb Lion Rock or ride on the Peak Tram to see how the spirit of the ‘feng-shui’ dragon is re-materializing in this city.

At home, our imagination is compartmentalized by boxed-in spaces. Almost invariably these are artificial ‘places’ without stories (histories), identifiable only as numbers; standardized ‘units’ removed from the ground. They need fiction to maintain their value: hence the embarrassing hyper-fictions of European highlife in Hong Kong real estate advertising. This helps to explain the strong urge among many Hong Kong artists to discover ‘true’ stories, to take back imaginative possession of their city. Some adopt the strategy of navigation by delineating tours and paths; some claim visual possession by fixing landmarks and making imaginary maps. There is no escape from the passion to escape from the monotony of repetitiveness and loss of memory to which we are being condemned by capitalist logic.

Artists in this exhibition have developed tactics and working methods that may be used to illuminate and transform the daily routine of urban life, but these represent only a small reserve of the countless ways to access the city. It is up to each one of us living here to discover for himself the hidden pattern of the matrix: the intrigues, the desires, the secret passages and links. By bringing a true imagination to bear, we can identify the wells of untapped energy and the possibilities for constructing a character from the materials of characterless structures, in order to build stories and topographs that will eventually become history, and a citizen’s topology of the city.

星期三, 5月 19, 2010

New Director at The 54th Venice International Art Exhibition

The Board of the Biennale di Venezia, chaired by Paolo Baratta, has appointed Bice Curiger as Director of the Visual Arts Sector, with specific responsibility for curating the 54th International Art Exhibition to be held in 2011. A graduate of the University of Zurich, Bice Curiger is an art historian, critic and curator of exhibitions at an international level. Since 1993, she has been curator at the Zurich Kunsthaus, one of the most important museums in the world for modern and contemporary art, and which has for years implemented a major exhibitions programme of international significance. Bice Curiger is co-founder and editor-in-chief of “Parkett”, one of the most authoritative and innovative contemporary art magazines in the world, published in Zurich and New York since 1984. Since 2004, she has been publishing director of the “Tate etc” magazine ...

星期一, 5月 10, 2010

New Sensory Perception for Possible Realities

Can you believe in what you haven’t seen? Or, can you not to believe in what you saw?
Is reality about something what you can see, what you know, or what you are brought up to believe?

true /本当のこと (真的)
a new sound, light, dance performance – a new media experience

18-20.06.2010 (五至日 Fri-Sun) 8pm
Studio Theatre, Hong Kong Cultural Centre
$250, 180

Exploring the relationship between the brain, our sensory perception and the reality we face, true is an exceptional collaboration among 10 cutting-edge Japanese artists across digital media, technology, theatre and dance. They are members of the groups Dumb Type, AbsT, rhizomatiks, Softpad, DGN and VPP.

Through the interfacing technology and the use of myoelectric sensors attached to the performers’ bodies, which provide real-time triggers for sound, mechatronics, lights and video, True creates a completely synchronous, and totally new sensory experience.

What’s Special in China’s Special Zones? by JIANG Jun

Special zones might not be China’s invention, but it could be the society most in need of them. Chinese civilisation is well known for two unique features: a power that has occupied most of the territories in East Asia, where the span of both climate zones and elevation has given birth to the most diversified ecology on the planet, and a sustainable society that has been dominated for 2000 years by the Great Unity system, in which the vast territory of China is unified by a centralised authority. Consequently, as this eco-diversity resulted in a diversity of economies, there have been considerable difficulties in balancing the two paradoxical features. Pre-modern China used to solve the puzzle with a philosophy that “seeks common ground while preserving minor differences”. This meant that diversified economic models could be developed within a self-organised family structure, as part of the Great Unity system framework. Under Confucianism, an isomorphic model between family and state was established in order to minimise differences in political structure, while maximising the vitalities of local economies. If China’s eco-diversity has given birth to special zones, it is the flexibility and inclusiveness of the regime that has given them the space to exist. China needs special zones in order to stabilise itself within the tension created by Great Unity and eco-diversity.

In a densely populated society, the Great Unity system was able to make the most of economic benefits by means of integrating resources throughout its territory by way of national power. With the “socialist transformation”, however, it was the national power itself that increased in order to concentrate core resources on the industrialisation of China, rather than the country’s agricultural economy. Industrialisation was a revolution that drastically changed these valued ideas of “localness” and “specialness”. Urbanisation could be made generic when absorbed into an industrial chain of processes. When Communist China tried to construct an independent macro-industrial system in 1950s, the whole country was unified under a planned economy, in which national zones were given priority over special zones. When Deng inherited Mao’s upstream industry in the 1980s, however, he opened up spaces for downstream industry, thus reinstating the importance of special zones. Special Economic Zones, or SEZs, were established in South China as Petri dishes for China’s experiments in market economics. The military-guarded form of the SEZs was actually a spatial indication of how the market economy was planned. The 1980s experiment was not about market economics per se, but about a “planned market economy”: a fusion of an upstream planned economy and a downstream free-trade economy, which is special not only to China, but also in global economic structures.

China’s special zones of the 1980s echoed a number of other state projects from preceding decades. The Special Trade Zone in Guangzhou was established by the Ming and Qing Governments, where “official merchants” with government-issued trading licenses could cooperate with foreign merchants in a designated area. In the 1940s, Mao also set up Yan’an, the temporary “red” capital city of the Communist Party, as a Special Political Zone in wartime China. Even in the 1960s, when China was highly centralised, Panzhihua and Liupanshui, in the hinterland of Southwest China, were designated as Special Industrial Zones because of their iron and coal mines – so important in supporting China’s independent industrialisation during the Cold War. Hong Kong and Macau were also developed as Special Administrative Zones after their turnover to China as part of the “one country, two systems” policy… All these special zones are testaments to “what is special” at different historical moments in China.

In the experiments of the 1980s, SEZs were only successful in Shenzhen, because of its proximity to Hong Kong – with its Post-war geopolitical significance. Special economic achievement has here been determined by a special geopolitical situation, or a fusion of natural endowments, because of eco-diversity and socio-political configuration due to cultural diversity. Yan’an became a Special Political Zone because of its marginal position, away from both its enemies, the Kuomintang and the Japanese. Panzhihua and Liupanshui became Special Industrial Zones because of their natural resources. In a Great Unity system, a special zone could be easily set up by simply answering the question, “what’s special?” For a special zone to be successful, however, the question should be not what, but “how to be special?” This is why China’s largest economic zone, Hainan, which was established along with Shenzhen in the 1980s, with the ambition to “create another Hong Kong”, became a failed experiment in an economic bubble created by the real estate market in the early 1990s, leaving over 20 million square metres of construction abandoned. The “Hainan Lesson”, however, did not filter throughout the whole country, as the “Shenzhen Experience” did. When “development zones” – miniature special zones directly initiated by city governments – were flourishing throughout the country, some became “miniature Shenzhens”, while others became “miniature Hainans”, revealing the double-edged effects of special zones in the Great Unity system.

The year Hainan’s laisser-faire approach broke the economic bubble was when Shanghai began its “more planned”, “5 Years, Big Change” (1993-1998) policy. It became evident that despite its ambition, Hainan is too close to Hong Kong to replace it. Hong Kong’s success was based on its position as the “gateway city” between a blockaded mainland and the international world in the 30 years after the Korean War, while Shanghai was the “gateway city” between an opened mainland and the international world in the wake of Deng’s policy of reform and opening. Hong Kong is at the mouth of the Pearl River, which connects only the Pearl River Delta, while Shanghai is at the mouth of the Yangtze River, which connects the whole of China along one of the world’s most important major arteries. As a special zone, Pudong was located almost at the centre of the old colonial city, on the other side of the Huangpu River, and easily turned itself into a new financial centre because of this geography. As a city, Shanghai was located almost at the centre of the mainland coastline, easily introducing the first-mover advantage of those special zones in South China to the north. Historically, in the 1930s, Shanghai was seen to be the biggest city in the Far East, after China’s experience of Guangzhou’s special zone and the Opium War. Now the city seems to be claiming its former glory by redeveloping its unique geographic significance.

The “superiority of socialism” was also restored to Shanghai when the central government opted to focus not only policy but also financial support on a new planned economy. While Shenzhen relied on foreign direct investment (FDI), mostly from Hong Kong, Shanghai’s success was based on hundreds of billions of investments from the central financial authorities. The experiences of the Shenzhen SEZ were implemented in Shanghai as a national strategy, making the city the “dragon’s head” of the Yangtze River Delta, or YRD, and the Yangtze River Valley [the body behind the dragon’s head]. Shanghai was also intended to become a metropolitan landmark for China, with identifiable skylines to showcase the accomplishment of China’s modernisation under the leadership of the Communist Party. Geographically, the YRD has more advantages than the Pearl River Delta, or PRD, as being the largest metropolitan area, absorbing a more rural population into the city because of its connection to the deep hinterland and water resources, which is not the case in the Bohai Sea Rim in North China. From this perspective, we can see how the World Expo 2010 could be another opportunity for Shanghai to earn greater support from central government by making itself the centre of the biggest metropolitan area in the drastic urbanisation of China as a whole.

Special zones might not be China’s invention, but they can possess distinctly Chinese characteristics. When the potential differences on both sides of the Shenzhen-Hong Kong border were incorporated into the Shenzhen SEZ, it not only inspired diversified urban spaces along the border, but also created a number of institutions and enterprises with inherent borderline characteristics. The resulting initiatives in government reform and the restructuring of state-owned enterprises provided valuable templates for the development of the hinterland. The modernisation of China is a process in which pre-modern institutions are supposed to be reformed by gradual progression. It is also a process parallel to the “special reform” of urbanisation, in which China will transform from agricultural China to urban China. Special zones provide both the impetus and space for an experiment in temporary institutions. The real ambition behind the SEZs is not a short-term economic leap forward, but a superstructure that is meant to underlie sustainable economic achievements. The focus of China’s special zones has shifted from economic to administrative and then political: the gradual evolution, rather than revolution, from a pre-modern regime.

In the last 30 years, we have witnessed a process of upgrading China’s special zones, from South China to North China; from the coastline to the hinterland; from the independent development of SEZs to national financial support in Shanghai and Tianjin; from the singular economic experiment to multi-directional exercises for strategic purposes – thereby transforming the government’s function in the Pudong New Area in Shanghai, balancing urban and rural development in Chengdu and Chongqing, implementing sustainable development in Wuhan and Changsha. With the increasingly diversified geo-political positioning of special zones, the visible hand of the national plan becomes proportionately powerful, while wearing the glove of a socialist market economy. The reforms in administrative and institutional areas, including land, finance and taxation systems, social security, urban and rural integration, environment and resource protection, together constitute China’s systematic transition from pre-modernisation to modernisation, while special zones revive the network of diversities on the map of a Great Unity civilisation.

Jiang Jun, designer, editor and critic, specialises in urban research and experimental studies, exploring the interrelationships between design phenomena and urban dynamics. He founded Underline Office in late 2003 and has been editor-in-chief of Urban China Magazine since late 2004, while also working on his book, Hi-China. His work has been presented at Get It Louder(2005/2007), the Guangdong Triennial (2005), the Shenzhen Biennial (2005/2007), China Contemporary in Rotterdam (2006) and Documenta (2007). He curated the international exhibition,Street Belongs to … All of Us! in China in 2008. He has been invited to lecture at domestic and international universities, including Sun Yat-Sen University, Beijing University, CUHK, Harvard University, UCL, Tokyo University, Seoul University, Princeton University, Columbia University, etc.. In 2009, his Urban China was exhibited at museums in New York, Los Angeles and Chicago, the first Chinese magazine to be exhibited in solo overseas travelling exhibitions. Born in Hubei in 1974, he received his Bachelor’s degree from Tongji University in Shanghai and his Master’s from Tsinghua University in Beijing. He is currently an associate professor at the Guangzhou Academy of Fine Arts.

星期一, 4月 05, 2010


Frustrated that an army of politicians, bureaucrats, auditors, managers and administrators has failed to offer an innovative vision for higher education, Andrew Polaine (founder of the esteemed new media agency AntiRom, and a professor at Lucerne University of Applied Sciences and Arts) has decided to take the initiative. He's launched a project called "Creative Waves COTEN -Service Designing Education" to explore two questions: How might we we re-imagine the structure and experience of higher education using service design techniques? and, can service design be used in a purely online, collaborative environment? Andrew is convinced that service design can make a difference due to its focus on the entire ecology of a service. Andrew invites you to apply your most innovative thinking to the problem.


星期日, 4月 04, 2010

U-ordinator in conversation with Dortmund magazine (translated from Google)

Broeckmann: "The founding director have I wished for"
Dortmund, March 2010. Founding director, director, artistic director: Who durchsurft the web for information about Dr. Andreas Broeckmann find all sorts of terms for the function that the 45-year-old art historian since mid-2009 in the Dortmund U holds. Seemingly antiquated names for one who comes from the media scene and sets off to bring seemingly opposite directions as the classical art and digital in the former brewery building to another in exchange. For in the "U", where once the beer fermented in open tanks, resulting today after extensive restoration areas to a total of 15 000 square meters, in which the future of art and creativity, art and education for the design, art and cultural education for the digital age will take.

The Dortmund-editors spoke with Broeckmann about his role in the "U" and the need for cultural education in the digital age.

Dortmund-Editor: Dr. Broeckmann, what does the "U"?

Broeckmann: The "U"-tower is transformed into the center for art and creativity. A number of institutions will move there and continue their program, other tasks are added.For example, the East Wall Museum, the Art Association Hartware media and research institutions such as the Technical University of Dortmund and the University. While these organizations continue their respective individual research or cultural activities, we hope that will be created under the umbrella of the "U" new partnerships and synergies. So shall the "U" a cultural create completely new type of play in the teaching of art and culture, and research has a central role.

Dortmund-Editor: What is your job and how you describe your own role?

Broeckmann: The task is the artistic and scientific management of the new "U - Center for Art and Creativity". This means that I "U" represents the outside to the inside and coordinate the cooperation between the different partners. I'm even there not a program but make sure that the planned projects of each institution are well-integrated content and deadlines.

The name of my job is currently founding director. That's what I liked, because I am assuming that this start-up phase of the "U", in which sniff all a little in the house and set up, and is not one will take up a half years. While we are in this construction phase, I can better be described as the founding director, because this designation is to dampen a bit of impatience.

Dortmund-editing: A key task in the "U" will be the cultural education. Why the teaching of cultural values in your eyes is important?

Broeckmann: The challenge for a contemporary art center is above all, that which is caused to cultural heritage and what takes place in contemporary artistic practice to bring in a reasonable way to broad sections of society. There have been after the Second World War a consensus on what the bourgeois cultural canon.
This has been promoted abundant in communities and countries. Since the fifties and sixties, especially in West Germany but also in the former East Germany, created a very rich cultural landscape - here in the Ruhr area - unparalleled in the world. But it was so extensive that it now extremely under pressure.

The ease with which still is above 20 or 30 years, each city a theater, an opera, a museum has kept away. On the one hand because the money is scarce, but also because the population structure has changed: a large number of people living in cities, sees what exists in cultural institutions, not of course as their own culture. It is a speculation of mine: As grows a new generation of children, adolescents and young adults who have quite a distinctive cultural life.
Zitat "Anyone who comes into the house in May, which experienced what we call in our terminology, the "prologue"."

They have always financed but it was never publicly funded. These are computer games, various types of street culture that is pop music, that's what they do on the Internet, etc. That is, there is a generation here, which of course for what she sees as their culture, have always paid for itself. Now you have to imagine that this generation shall appoint ten, twenty years later than their representatives in the municipal parliaments. Then is the question: "Do we want this opera house or theater really afford? Who's going go there anyway? I've never been to the theater, I was also interested than ever before. For my cultural life, I have always paid themselves. Why should we subsidize every chair in this theater every night with fifty or a hundred euros? "

We need to think about what makes our cultural heritage for the younger generation important and how to transport it. What gives you the cultural heritage in a way that people really come from the different population groups and say "Yes, that's my culture." This mediation work, we want to strengthen and to see this as a kind of research and experimental task. Here it is interesting that with the University and the Technical University of Dortmund are important research partners that can accompany such offers scientifically. I am convinced that this question of cultural education and communication is the key to the success of the U is present.

Dortmund-Editorial: What will await visitors in May in the "U"?

Broeckmann: Anyone who comes into the house in May, which experienced what we call in our terminology, the "Prologue". The actual opening will take place in October. As part of the prologue we are testing the house, appropriated to make us and show them some times in the first three floors.
On the first floor show colleges their first two exhibition units. One of the college, who works with photography. The Technical University of Dortmund presented in the exhibition "TU culture" a wide range of cultural issues.

The second floor displays the Hardware Media Art Association "Building Memories". This is an exhibition of major new media art installations by internationally renowned artists. It has been developed in cooperation with the Goethe Institute in Warsaw. Artists reflect on how bedeutungsmächtig architecture, both in a positive constructive sense and in a critical sense and broken. This is a show that deals with memory issues and the "U" a very interesting refraction thereby learns that an old building is supplied with its own great history, a new use.

"We do not want the "U" becomes a temple of art, but that place where social discourse."

On the fourth floor there is also the HMKV, as part of the scene-Hungary-festival, the exhibition "agents provocateurs et. In our context, this exhibition is opening an interesting approach, because they are busy trying to interfere as artists in society, in urban, in the political process. We naturally want the "U". We do not want the "U" is a temple of art, but that place where social discourse. The house is to function as a catalyst for what motivates us today in the society.

Dortmund Editorial: Today already many are eagerly awaiting the installation of the filmmaker Professor Winkelmann. What makes them so special?

Broeckmann: The installations consist of three parts. The first in the foyer is a large panorama of 13 in an Oval hung with scenes projected on the Ruhr. They give very typical and sometimes surprising insights into the Ruhr region as a cultural space. Professor Winkelmann for his team in the last two years has made really great shots.

The second installation will be on display in the so-called verticals - that the new staircase -. There are nine projections on a large wall. They are funny little scenes - with lots of humor and profundity shot - make that a little look into the soul of the Ruhrgebietler. The third installation is the crowning element: LED screen above surfaces mounted on the roof crown. There, run videos that have more metaphorical character is, it is an art installation with really huge proportions, which is much to see over the city. This makes the "U" again a special lighthouse. But there will be no advertising, but artistic moments that will draw additional attention to the "U" - and to remind the people because they come at least once a week should pass to the latest things considered.

Dortmund-editors: If you have a favorite place in the "U"?

Broeckmann: I think it depends on the time of the day: You have the morning on the outdoor terrace of the seventh floor of a fantastic view over the city, where it can enjoy the sunrise.

Looking Through Film: Traces of Cinema and Self- Constructs in Contemporary Art

Looking Through Film: Traces of Cinema and Self- Constructs in Contemporary Art

Organizer:OCT Contemporary Art Terminal of He Xiangning Art Museum
Curators: Dong Bingfeng, Du Qingchun, Chienhung Huang, Zhu Zhu
Opening: 10th April , 2010, 6:00pm
Dates: 10th April to 10th June, 2010
主题论坛/Themed Forum
2010年4月11日 10:00—12:00,14:30—17:00
Dates:11th April, 2010,10:00am-12:00am, 2:30pm-5:00pm