the opening of the Chinese language Leonardo Abstracts Service (LABS) database

The Chinese language LABS, organized by Ken Fields at the China Electronic Music Center at China's Central Conservatory of Music, is for abstracts of
art/science/technology MA or PHD theses written in Chinese and can be found at: http://china-labs.daohaus.org

The Chinese-language peer review panel for 2006/2007 includes:

Ma Gang, Central Academy of Fine Art, BeijingZhang Peili, China Academy of Fine Art, Hangzhou
Zhang Xiaofu, Central Conservatory of Music, Beijing
Zhu Qingsheng, Peking University, Beijing
Lothar Spree, Tongji University, Shanghai
Kenneth Fields, Central Conservatory of Music, Beijing

Thesis Abstract submittal forms for Chinese language abstracts can be found at:

http://china-labs.daohaus.org

Leonardo Abstracts Service (LABS) Bi-annual submission deadlines (on-going) are: 30 June and 31 December

Leonardo Abstracts Service (LABS), consisting of the English-language database, Spanish-language database and Chinese-language database, is a comprehensive collection of Ph.D., Masters and MFA thesis abstracts on topics in the emerging intersection between art, science and technology. Individuals receiving advanced degrees in the arts (visual, sound, performance, text), computer sciences, the sciences and/or technology that in some way investigate philosophical, historical or critical applications of science or technology to the arts are invited to submit abstracts of their theses for consideration.

Further information on LABS can be found at:
http://www.leonardo.info/isast/journal/calls/labsprojectcall.html

transmediale.08 Call for Entries

transmediale.08 Conspire ...
festival for art and digital culture berlin
29 January - 3 February 2008

club transmediale.08 - Unpredictable
festival for adventurous music and related visual arts
25 January - 2 February 2008

_Call for Entries_
:: Deadline: 7 September 2007
:: Award Ceremony: 2 February 2008

Find the complete call and submission form for download at:
http://transmediale.de/08/pdf/tmctm08_call


*transmediale.08 - Conspire ... & club transmediale.08 - Unpredictable*

Together, transmediale and club transmediale invite the submission of
works and projects for the festival 2008. Submissions for both festivals participate in the transmediale Award 2008, for which an international jury will award prizes totalling ca. 10 000 EUR. Abstracts and papers for a proposed Vilm Flusser Theory Award are also being invited.

As one of the leading international festivals for art and digital culture, transmediale presents and pursues the advancement of artistic positions reflecting on the socio-cultural, political and economic impact of new technologies. It seeks out artistic practices that not only respond to scientific or technical developments, but that try to shape the way in which we think about and experience the technologies which impact virtually all aspects of our daily lives. As such, transmediale understands media technologies as cultural techniques that need to be embraced in order to comprehend, critique, and shape global societies.

club transmediale (CTM) is a prominent international festival dedicated to contemporary electronic, digital and experimental music, as well as the diverse range of artistic activities in the context of sound and club culture. CTM presents projects that experiment with new aesthetic parameters and new forms of cooperation, develop possibilities for informational and economic self-determination, and reflect on the role of contemporary music against the backdrop of technological and social transformations. Now more than ever, music emerges as a laboratory for multiform experiments and as an active agent that allows for new cultural techniques to be tested and proffered to the wider world. CTM puts the focus on direct experience, risk-taking and personal interaction, and thereby emphasises the situational potential of live performance, the interplay of various media ??sound and image, in
particular ??and candid exchange between sub-cultural and academic initiatives.

transmediale is a project of the Kulturprojekte Berlin in cooperation with Haus der Kulturen der Welt.
transmediale is funded by the German Federal Cultural Foundation. club transmediale is funded by Hauptstadtkulturfonds.

Mobile Art Watch Project

Recently SHIFT has started MOBILE ART WATCH PROJECT, on which we distribute artistsf works through a mobile phone, in collaboration with Crypton Future Media. This project was launched following MOBILE ART COMPETITION, one of the competitions held by SHIFT to discover fresh creators and support their activities. You can download the works on the official site of Crypton Future Media with a mobile phone of Au or SoftBank (only in Japan), and use them as a watch.

For the website use, the Blog-parts version is now available. (Limited time offer)
Simply by copying the source, you can display the clock on your blog.
The second, by Akinori Oishi are 3 kinds of watch: "Titan", "Turquoise", "Pales". "Titan", its hand is a bit bent, so it indicates a bit delayed time. "Turquioise", it tells you time by the end of a cloud and tail. "Pales", its numbers of pictogram do the exercises.

Akinori Oishi: Graphic Artist born in 1972 Japan. Studied oil-painting at Kyoto City University of Art, and media-designs at IAMAS (Internatinal Academy of Media Arts and Sciences). Since winning the price of MILIA (International Multimedia Fair in France) 2001, working at the French creative studio TEAMCHMAN (2001 - 2003). Now independent artist, and teaching media-designs at ECAL (Ecole Cantonale d'Art Lausanne) in Switzerland, and Tama University in Tokyo... More

Here is the source of the Blog-parts.

For the first, distribution of the piece HORMON WATCH by Wabisabi, the design team formed by Ryohey gwabih Kudow and Kazushi gsabih Nakanishi. The watch was designed with Wabisabifs original typeface HORMON. The typeface was made as if alphabets and numbers were one cell.

Wabisabi: art director & graphic designer The design team formed by Ryohey gwabih Kudow and Kazushi gsabih Nakanishi in 1999. Their works range many fields from advertising, graphic design, objet to firm. Their past awards includes 85th NY-ADC (New York Art Directors Club) Awards silver prize, 86th NY-ADC Awards MERIT prize, Jagda (Japanese Graphic Designers Association) New Comer Awards prize, International Poster Triennial Toyama gold prize... More

Here is the source of the Blog-parts.

Daydream Nation: NY fun video @FINDS

Fusion -Workshop @ Taiwan

Date: August 23 Thu, 24 Fri, 25 Sat, 26 Sun
Location: National Taiwan Museum of Fine Arts, Taichung, Taiwan
Host: MIT Media Laboratory, Taiwan Workshop, and National Taiwan Museum of Fine Arts.
A tangle of senses, Taiwanese nightmarkets entice through their crowded streets, delicious people, interesting people, and motley of trinkets and toys. As a condensed and scaled down representation of a larger culture, this miniaturized landscape makes for an interesting terrain for analysis and invention. The Taiwanese Nightmarket Workshop is a hands-on and theoretical seminar that involves its participants in an artistic and technological engagement with the urban environment. This year's theme – fusion – embraces notions of cultural, disciplinary, and perspectival hybridity.
For 2007, we invited various MIT researchers from the Media Laboratory, CSAIL, Department of Architecture, and Visual Arts Program. Students and researchers will form four different groups, including Group 1-Narration, Group 2-Urban Playground, Group 3-Urban Dynamics, and Group 4-Urban Music.

Please contact Jackie Lee for more information. Send email to jackylee@media.mit.edu
Related Events:
8/18(Sat.)10am-7pm, 19(Sun.)10am-7pm, Location:Xuexue Institute, Taipei City
Talk Series : Nightmarket Workshop 2007 Talk Series-
Multidisciplinary Arts, Sciences , and Technology

8/27(Mon.)9:30am-12pm, Location: NCCU, Taipei City
Special Talk: MIT Media Lab & Computing Culture by Prof. Chris Csikszentmihalyi

8/28(Tue.)2pm-6pm, Location: Barry Hall, National Taiwan University, Taipei City
Talk Series : Nightmarket, Life, and Technology Forum (Nightmarket workshop presentation in Taipei)

8/29(Wed.)2pm-5pm, Location: NSYSU, KaoHsiung
Talk Series: MIT Media Lab "Nightmarket" experience

another new magazine : Too Magazine

Independent Bilingual Magazine
Printed in Guangzhou
Distributed to China, Hong Kong and Taiwan
Avaliable at Mackie

The World is My Imagination

Runs: 07.09.2007 to 03.11.2007
Curator: Andrea Zapp

The World is My Imagination.

Media-Model-Miniature

International Media Art Exhibition at CUBE(Manchester)

Nine artists and collectives are exploring the miniscule as an artistic interface in video, networked and interactive installations, digital sound sculptures and photography, found objects and custom built environments.

Striking and picturesque model worlds replicate real and imaginary spaces while reflecting existences and habitats, personal memories and longing – the shift in scale ultimately commenting on our surroundings within social and cultural and technological changes.

Participating Artists:

Nick Hardy, UK

h.o Media Group, Japan

Hilary Jack, UK

Jennifer and Kevin McCoy, USA

Marcus Kison, Germany

Amanda Oliphant, UK

Mark Pilkington, UK

Joel Porter, UK

Andrea Zapp, Germany/UK

7th September – 3rd November 2007

Opening Times: 12.00pm – 5.30pm Monday – Saturday

Preview: Thursday 6th September 6.00pm-9.00pm

MAAP Media Art Mentorship Program

MAAP - Multimedia Art Asia Pacific is calling for applications from young and emerging curators and artists working with a focus in media art projects that intersect or consider connections with the Asia Pacific regions to undertake a three-month mentorship.

The mentorship enables an emerging artist or curator to explore new creative directions, increase knowledge of networks, debates and to expand practical skills. Applicants are invited to select a mentor and develop a program of activity spanning a three-month period. The mentor may be accessed locally, nationally or internationally. In some cases MAAP can assist identifying suitable mentors.

Applicants must be Australian media art practitioners or curators who are 30 years or under. The mentorship will provide a fee for the mentee ($7,200 excl GST) and a fee for the mentor ($1,800 excl GST). The mentorship program should be completed by February 2008.

Other Australian Media Arts organsiations ANAT, d.lux and Experimenta are also offering mentorships: + ANAT will encompass distributed, portable, online, wearable, gaming, mobile and emerging platforms, contact Gavin Artz manager@anat.org.au + d.lux will hold their mentorship inside Second Life or a similar online virtual community, contact malcolm@dlux.org.au for more information + Experimenta's focus is on Site Related and/or Public Work, contact kentia@expeirmenta.org for more information.

MAAP APPLICATIONS CLOSE Friday 17 AUGUST 2007

For further information, guidelines and an applications form please contact:

Kim Machan, director kim@maap.org.au
MAAP-Multimedia Art Asia Pacific

This project has been assisted by the Australian Government’s Young and Emerging Artists Initiative through the Australia Council, its arts funding and advisory body.MAAP gratefully acknowledges the contract draft administration support offered by CraftSouth

香港「24小時 Flickr」-- 24 Hours of Flickr, Hong Kong

Thursday, August 30, 2007
6:30 PM - 9:00 PM

Finds
2/F LKF Tower, 33 Wyndham Street
Central, Hong Kong Island

Description
地點：香港中環雲咸街33號 LKF Tower 2樓 - Finds
請共我們一同慶祝「24小時 Flickr」及推出國際版本。倘若你將現身於香港，現誠邀你出席此慶祝活動，與 Flickr 團隊成員分享共同喜悅

Please join us to celebrate the 24 hours of Flickr and our International launch. If you’re in or around Hong Kong, we hope that you’ll join members of the Flickr team for an evening of fun.

Contour 2007 - third biennial for video art

Participating artists: Aline Bouvy/John Gillis, Gerard Byrne, Neil Cummings/Marysia Lewandowska, Omer Fast, Cao Guimarães, Carsten Höller, Saskia Holmkvist, Hassan Khan, Tsui Kuang-Yu, Gabriel Lester, Deimantas Narkevicius, Rosalind Nashashibi, Cédric Noël, Gert Robijns, Lucy Skaer/Rosalind Nashashibi, Supersober (Bohdan Stehlik/Una Szeemann), Sarah Vanagt

Curator: Nav Haq

This summer the city of Mechelen will become the epicentre of the third edition of the Contour Biennial for Video Art. The exhibition presents a selection of video works by international artists, both well-known and emerging. The most important exhibition of its type in Belgium, Contour 2007 will be presented in 12 exceptional architectural locations, all walking distance around the centre of the city.

Contour 2007 - third biennial for video art has been given the subtitle Decoder. The exhibition presents a number of video and film works in a double-edged line of enquiry. It investigates the perceptual and rhetorical mechanisms that exist which affect and shape how people assimilate their comprehension of the world. Within this investigation it also analyses the contemporary tendencies within lens-based media art practices for looking at the particular issue above, whether self-reflexive or not. The exhibition looks at the contemporary conditions and desires for consuming through the visual, and questions the capacity for effectively debating socio- and geo-political issues through this consumption. It is not intended to be a political biennial as such. Rather it looks at the means that exist through which we consume political concerns, and then interrogates itself to ask the reason why this act is relevant within contemporary art in the first place.

Aside from 8 existing works, Contour 2007 also presents no less than 9 new ones that have been created especially for this exhibition. As in previous editions, the format of a city tour combined with video art in different locations will be emphasised. The project is citywide, and a range of sites are being used. Historical sites play a role, as well as unused sites that formerly had some kind of public function. There are also sites that presently have active public relationships of various forms.

In order to give each edition of the biennial a new 'artistic injection', and therefore possessing it its own specific character, a new guest curator is appointed each time. This third edition is curated by Nav Haq, a young London-based curator, soon to be the curator at the Arnolfini, Bristol. The artistic team also includes London-based designer Sara de Bondt and Ghent-based architect house BARAK.

A catalogue with essays by Nav Haq and Nina Möntmann, plus interviews with all the participating artists, has been published to accompany the exhibition.

Video Art by Grant Stevens Explores Emptiness

I probably should know Grant Stevens from MAAP in Singapore 2004. Here is a pic from their site, presenting "Dazed and Praised (2004),Digital Video".

Grant Stevens, Turtle Twilight, 2006, two channel digital video, duration variable, 2 channels, 4mins & 10mins 57secs, infinite loop, edition of 5
The meaningless clichés that abound in popular forms of mass entertainment are the source of inspiration for Australian video artist Grant Stevens. However, the subject of Stevens’ works seems to be the viewer — his works calling into question the viewers’ acceptance of popular catch phrases as meaningful forms of communication.

“Cliché and Collusion: Video Works by Grant Stevens” is a new exhibition at the Brigham Young University Museum of Art of 12 video installations by Stevens that explores the language and communication of popular culture. In his works, which mainly consist of successive flashes of white text on black screens, Stevens recombines text from advertisements, music, film and common conversation to engage the viewer and solicit questions and critique. Several works incorporate visual film clips or rely heavily on audio monologues.

Museum of Art Director Campbell Gray says Stevens’ work draws attention to the meaningless nature of popular communication and the viewers’ acceptance of it by intentionally subverting the viewers’ expectation of these commonplace expressions. “Often, the textual, visual or audible message of a Grant Stevens work seems to follow a pattern of Hollywood construction or a trend in everyday speech,” he says. “But just as viewers expect the pattern to mount toward a climax or conclusion, Stevens subverts the anticipated course.”

For example, in a text-based work titled “Some Want It All” the snippets of text that flash onto the screen are accompanied by the high-energy music typical of a movie preview. The text, which Stevens has appropriated from actual cinematic trailers, seems to tell a story that is building toward a climax. But the work never reaches a resolution, it keeps stringing one typical movie trailer line after another until the video loops, and it starts all over again.

“We hope this exhibition causes our visitors to ask critical questions about their relationship with the mass media and popular forms of communication,” says Herman DuToit, Museum of Art educator. “To what extent do we automatically accept the general level of discourse in popular culture as our own? What impact does mass media have on our personal worldview and hence on our individual construction of reality?”

Stevens recently received a doctorate from the Queensland University of Technology in Brisbane , Australia and has exhibited his video installations in Australia , England , Indonesia , Italy , Serbia and Singapore . This exhibition at the BYU Museum of Art marks the first museum exhibition of Stevens’ artwork in the United States and presents a varied selection of his new media art.

“Cliché and Collusion: Video Works by Grant Stevens” will open Friday, Sept. 14, 2007 and will be on view through Saturday, Feb. 9, 2008 in the Conway A. Ashton & Carl E. Jackman Gallery on the museum’s lower level. This exhibition is made possible in part by The Eccles Foundation, Curtis and Mary Ann Atkisson, and the Museum of Art Store . Admission to the exhibition is free of charge.

ARTIST in RESIDENCE [AiR] 2007 @Montevideo, Netherlands

Deadline : 1 Sept !!!!!

Details:
residency period 3 months
dates from September 2007
location Amsterdam, Netherlands

The AiR programme at the Netherlands Media Art Institute aims to support the exploration and development of new work in digital/interactive/network media and technology based arts practice. The residency provides time and resources to artists in a supportive environment to facilitate the creation of new work that is produced from an open source perspective. We encourage a cross disciplinary and experimental approach. This is a practice based residency designed to enable the development and completion of a new work.

Our focus for this open call is on open source interactive
* installation art, in which the following occurs:
* interaction between tools and/or software
* interaction between tools and artwork
* interaction between audience and artwork

The Netherlands Media Art Institute offers an open environment with technical assistance and an active advisory board which will give feedback and support in technical, conceptual and presentation issues. There is access to studio and exhibition equipment,
technical support from the Institute’s staff and production help from interns. The technical staff is specialized and has good contacts with programmers of the following software, a.o.: PD/PDP, Blender, Dynebolic, Linux. We expect the artist to have knowledge and insight in the technical realization of the concept.

It is integral to the mission of the AiR program that artists participate in presenting their work in a public form appropriate to their project. This can include gallery installations, demonstrations of research in progress, panel discussions, on-line projects, or multimedia performances, in addition to open studio events and workshops. For this reason we ask that artists include in their proposal possible examples of how they might like to present their work publicly.

At this moment the Netherlands Media Art Institute provides in travel costs. It doesn’t provide accommodation for artists living outside of Amsterdam. However, we are willing to help the search but cannot guarantee a place for living.

Form

CALL FOR PAPERS: GAZING INTO THE 21st CENTURY : CONFRONTING IMAGE NAIVETÉ

The DEPARTMENT FOR IMAGE SCIENCE (DIS) at DANUBE UNIVERSITY is pleased to announce the second international Goettweig conference on Image Science.

Never before has the world of images changed so fast, have we been exposed to so many different image forms and never before has the way images are produced transformed so drastically. Images are advancing into new domains: Television became a global zapping field of thousands of channels; projection screens enter our cities, and cell phones transmit micromovies in real time. We are witnessing the rise of the image into a virtual spatial image. Science, politics and entertainment profit from new dimensions in the creation of images and their emotive effects. Since the 60s, arts and sciences are connected in the fundamental research media art undertakes, whose roots lie in partially unknown traditions.

A multitude of new possibilities in producing, projecting and distributing individual images has led to the formation of new image genres. The spiral movement of image history from innovation, understanding and iconoclasm results in the 21st Century in a global interweaving. These major transformations have hit society to a large extent unprepared and as we gradually start to recognize the demand to address the current knowledge explosion appropriately, we face the challenge to expand our forms of visualization, our “orders and systems of visibility”, and to reflect critically and scientifically on them. While our written culture has produced a differentiated and dedicated paedagogy, our society still lacks a conscious education concerning images - up to a degree that we can speak of visual illiteracy.

A central problem of current cultural policy, aside from poor knowledge on image procedures, stems from serious lack of knowledge about the origins of the audiovisual media. This stands in complete contradistinction to current demands for more media and image competence. The conference therefore explores the thinking space and the utopias, which were initiated by artists again and again - now on the expanded terrain of image science - and searches for the inspirations these new worlds receive from the arts. What influence does the medium have on the iconic character of the image? What chances and challenges do museums and image dealers face with the “liquidity” of the image?

The interdisciplinary conference aims to step up to the challenge of building a “visual inventory”. One goal of the Conference therefore is to build cross disciplinary exchange between the Humanities AND the Natural Sciences.


PROPOSALS are welcome to the following topics and fields:

NEW IMAGE FORMS AND TECHNIQUES
(New visualization techniques in Nano-, Bio-, Neurosciences, Architecture, Photography, Digital Collections Management, etc.)

NEW STRATEGIES IN VISUAL ARGUMENTATION
(in the Arts, Sciences and Humanities, Politics, Advertising, Comics, Diagrams & Models, Visual Music, etc.)

NEW PRACTICES OF IMAGE TRANSFER
(Global economy, Tagging, Micromovies, Flickr, Second Life, You Tube, Google Earth etc.)


DEADLINE PROPOSALS : October 21st 2007
Conference Languages: German/English.


PAPERS
One-page abstract or complete paper must be submitted by email. Upon acceptance, complete papers must be submitted by March 21, 2008 as PDF to andrea.kaufmann@donau-uni.ac.at. All rights will remain with the author. Papers will be selected for presentations. Proposals for panel discussions are encouraged and individual papers may be grouped by the Department for Image Science in panel discussion format. Panel proposals should include names of prospective panelists and topics, which should address the general themes of the symposium.

The DEPARTMENT FOR IMAGE SCIENCE is situated near Vienna in the UNESCO World Heritage Wachau, in the Goettweig Monastery. The DIS is housed in part of the fourteenth century castle. It is the platform for the international projects: Database of Virtual Art, Goettweig Database of the Graphic Print Collection, MediaArtHistory.org


ADVISORY BOARD MEMBERS OF THE DEPARTMENT
FOR IMAGE SCIENCE (DIS) AND ITS PROJECTS

* DIS * VirtualArt.at * MediaArtHistory.org *

Carl, AIGNER (St. Pölten), Roy ASCOTT (Plymouth), Sean CUBITT (Melbourne), Brigitte FELDERER (Wien), Felice FRANKEL (Boston), Beryl GRAHAM (Newcastle), Erkki HUHTAMO (Los Angeles), Douglas KAHN (Davis/California), Martin KEMP (Oxford), Harald KRÄMER (Bern), Machiko KUSAHARA (Tokyo), Jorge LAFERLA (Buenos Aires), Timothy LENIOR (Duke), Gunalan NADARAJAN (Penn State), Christiane PAUL (New York), Götz POCHAT (Graz), Martin ROTH (Dresden), Wolf SINGER (Frankfurt), Christa SOMMERER (Linz), Paul THOMAS (Western Australia), Wolfgang WELSCH (Jena), STEVE WILSON (San Francisco)

* * *
www.donau-uni.ac.at/dis/bildtage

Grafedia: Graffiti Enters New Media

Graffiti has entered new media. Secret, coded and overlooked by all but the enlightened, Grafedia is hyperlinked text, written by hand onto physical surfaces and linking to rich media content - images, video, sound files, and so forth. It can be written anywhere - on walls, in the streets, or on pavements. Grafedia can also be written in letters or postcards, on the body as tattoos, or anywhere you feel like putting it. Viewers “click” on these grafedia hyperlinks with their mobile phones by sending a message addressed to the word + “@grafedia.net” to get the content behind the link.

You can make street art with grafedia, or just leave behind simple calling cards for others wherever you go. You can have running dialogues between authors, or create interactive narratives or poetry in public spaces. Grafedia is a boundless, interactive publishing platform, base, cheap, and easy to use. It is an open system - the places and ways to use it are limitless. With grafedia, every surface becomes potentially a web page, and the entire physical world can be joined with the Internet.

It’s created in 3 easy steps.
1. Choose a word.
2. Send a media file from your mobile to that chosen word plus ‘@grafedia.net’, e.g. ‘myword@grafedia.net’.
3. Write that word anywhere in the real world in blue with an underline. That word will then be linked to the media file you send to grafedia.net and whoever sees your grafedia will be able to retrieve the file.

visit Shanghai 上海创意区

“田子坊”即泰康路210弄，是画家黄永玉几年前给这旧弄堂起的雅号。据史载，“田子方”是中国古代的画家，取其谐音，用意自不言而喻。自上世纪九十年代末，这条弄堂开始与一些艺术家结缘，陈逸飞、尔冬强、黄永玉、王劼音、王家俊......曾经的街道小厂，深巷里被弃用的仓库，石库门里弄的平常人家，因此而渐渐被抹上了“苏荷”（SOHO)的色彩、沾染了艺术的气息。

泰康路210弄2号乙 · 尔冬强艺术中心
　　这里常有版画展、招贴展、爵士音乐会、歌剧名段演唱会，艺术界名流云集。尔冬强本人也将自已的摄影作品在此展出。






红门艺术工作室 －－ 在这扇红门的左侧，“泰康路220号丁”的门牌下面，有着另一块更醒目的牌子：1936年　天然味精厂





泰康路210弄2号丁 · 金粉世家



泰康路210弄7号 －－ 右边一行小字：上海纸杯厂的成品车间　1958年墙面本身，不妨将它视为现代艺术作品。
M50视觉艺术产业园

莫干山路50号内汇聚的画室和画廊介绍。


位于苏州河畔莫干山路50号的上海春明粗纺厂，如今是闻名海内外的“M50视觉艺术产业园”。这里的老厂房群里，吸引了包括瑞士香格纳画廊、意大利比翼艺术中心、法国东廊艺术、英国领事馆文化艺术处艺术家工作室、加拿大艺术景画廊以及以色列、香港在内的国内外42家画廊、艺术中心、影视机构和56位艺术家、设计师工作室，成为苏州河畔一
道独特的文化景观和现代艺术的“新天地”。现在，几乎每天都有来自世界各国的旅游观光者到此参观或考察，海内外不少媒体记者也经常前来进行现场采访。

莫干山路50号内著名的香格纳画廊入口处。呵呵，不注意，还真以为就是一个旧仓库的破门呢

上海春明粗纺厂是一家建于上世纪30年代初的老纺织厂，拥有工业历史建筑4．1万平方米。春明在上海纺织产业结构调整中于1999年底停产。此后，留守的30多名员工对老厂房进行“整旧如旧”的适度包装，吸引了一批艺术家和从事创意设计的艺术机构纷纷入驻，逐步形成了以视觉艺术为特色的创意产业园区。

入口进来，便是过道，通向一片广阔的艺术空间。

“M50见证了上海传统产业向新兴产业转型的历史性变革。”上海华宇毛麻(集团)有限公司总经理兼上海春明粗纺厂厂长赵长征告诉笔者，昔日的苏州河沿线坐落着包括申新九厂、上海春明粗纺厂在内的十多家纺织企业，如今仅剩下上海春明粗纺厂的老厂房被完好无损地保留下来。M50充分体现了“旧”与“新”的和谐共生，因为这里曾是国内最大的棉纺织生产基地，拥有中国民族工业最早的棉纺厂和最大的棉纺厂，而上海春明粗纺厂作为苏州河沿线惟一保留得最完整的纺织企业厂房，目前成为上海最大的视觉艺术中心。

民族纺织工业的厂房融入现代前卫文化，为古老的苏州河增添了富有时代气息的亮色。美国《时代周刊》将M50列为全球“推荐参观之地”，其声名直逼纽约苏荷区和法国塞纳河。
对于圈外人来说，莫干山路50号不过是一群破旧的老厂房。但是，在真正的艺术家们的眼里，莫干山路50号却是一块孕育艺术的宝地。自从第一批艺术家看中莫干山路仓库的宽敞空间和合理租金并租来做工作室之后，这些旧厂房仓库的命运就被彻底改变了——

　　在短短两年的时间里，不断地有画廊、设计公司、艺术机构和艺术家迁入此处，从而形成了目前上海最具规模的当代艺术场所。这些苏州河沿岸见证过中国工业进程的工厂仓库如今焕发出新的生命力。老树开新花，开的是这些老厂房仓库做梦也没有想过的中国当代艺术之花。一时之间，海内外的媒体纷至沓来，争相报道，使得莫干山路50号的艺术仓库声名远播，有关上海现代艺术的报道也随之扩散到了全球。

不过，当我第一次走进这些由仓库改建而成的艺术家工作室时，还是暗自吃了一惊。这里，并不是我之前想象中的前卫场地——除了倚在墙头的大尺寸画作之外，就是画家本人了。其余的，不过是摆满各种颜料的长桌而已。但是画家们想要的，或许就是这样的效果。“看中这里就是因为这里的空间够大，创作起来，更加方便自在，”画家陈墙说，“待在太过舒适的环境里反而是创作不出好的作品的。”

营造的氛围

艺术的氛围需要被营造。相比以前各自为政的状态，上海的前卫艺术家这次是欢聚一堂了。私人画室、画廊、艺术工作室的捧场让苏州河畔的仓库艺术集群成了气候。画家们本来是散居上海各处，有的借住普通公寓房，有的在自己家中创作。以前，要拜访不同的艺术家的工作室或许要穿越整个上海市。但是现在，却可以在同一个地点同时拜访到许多位艺术家。每位艺术家的风格都是不同的，现在却能够聚集在一起，并非出于预先的计划，而是自然而然形成的，这样的相聚，给彼此提供了交流与撞击的机会，也为艺术家们创造了新的灵感。“城市的社会环境应该是可以让任何一个小圈子的人都能够在这个城市中找到自己的归宿。”画家薛松说。从自我封闭的个人画室，到对外开放的艺术仓库，艺术家们正在努力使艺术社区成为主流社会的一部分，成为上海城市艺术的一部分。

上海滩创意时尚新地标"8号桥"
越来越酷的老厂房正成为上海创意、时尚新地标。由旧工业厂房改造而成的“8号桥”日前甫一落成便引来关注，不但因其特有的建筑风格和历史底蕴，更由于这里汇集了与创意相关的各行各业，成为了名副其实的文化时尚聚集地。

　　8号桥的建设给我们不少启示，在对老工业厂房改造中，利用存量资源，注入时尚、个性的建筑元素，吸引众多创意工作室入驻。此举既保护了历史建筑，保留了城市发展的文化底蕴，又能构建起融合现代服务业与先进制造业的创意智能平台。

　　位于建国中路重庆南路口的“8号桥”，其前身是上海汽车制动器厂15000平方米的旧工业厂房。经过精心改造，原来那些厚重的砖墙、林立的管道、斑驳的地面被保留了下来，使整个空间充满了工业文明时代的沧桑韵味；同时，从大门口法国艺术家创作的大型雕塑《绿门》，到灰砖外墙上鲜亮的玫红色块，以及内部歌剧院般的层叠式休闲吧等，无不体现出创意风尚。

难怪从动工至今， “8号桥”已如磁石般吸引了众多创意类、艺术类及时尚类的企业入驻，包括海内外的知名建筑设计、服装设计、影视制作、画廊、广告、公关、媒体、顶级餐饮等公司。对这些企业来说，这儿最为独特的是园区设计时留出了很多“租户共享空间。，比如商务中心、员工餐厅、休闲后街、阳光屋顶、小花园等，提供了许多互动的空间，使不同领域的艺术工作者和各类时尚元素可以互相碰撞，更能够激发灵感和创意。“创意产业将改变我们的未来。创意产业聚集园区在发达国家出现也不超过十年。而这个概念已经引起中国政府、企业与社会各界的极大关注，这令我们非常兴奋。”“8号桥”的建设方香港时尚生活策划咨询(上海)有限公司的总裁黄瀚泓说道：“作为上海中心城区卢湾区重点打造的精晶特色现代化园区，我们希望‘8号桥’的建设可以为上海中心城区实现从传统工业向现代服务业的跨越提供参考。”




　　这种为不同创意产业提供一个交流平台的宗旨也在“8号桥”的命名中体现：改造后的旧工业厂房可以作为一个桥梁，将过去的历史和现代的理念融合起来，将国内和国外的时尚、文化与人才连接起来，将国外的顾问和国内的客户连接起来，所以取名为“桥。；由于这里本是建国中路8—10号，最终定名为‘8号桥’。
园区一期(8号楼)工程建设于2003年12月完成，建筑面积4000多平方米。上海(国际)产业转移咨询服务中心、上海市工业开发区招商服务中心是上海产业咨询服务园(一期)的核心单位。园区二期“上海时尚创作中心”项目(包括1—7号楼)由香港时尚生活策划咨询(上海)有限公司负责建设和管理。2004年3月开始建设，建筑面积近10000平方米。其先进的建设模式使园区成为发展现代服务业的标志性项目。

文章来源:新浪网上海频道.

8号桥地址：建国中路8号-10号 面积：10000余平方米规模：建筑设计、策划咨询、影业制作等领域的40余户（目前已入住近20户）
原为上海汽车制动器厂，现在除了创意工作室外，还有咖啡吧、法式餐厅、日本料理店、美容院、画廊、家居店等休闲场所。


创意仓库




创意仓库地址：光复路181号面积：20000余平方米规模：城市规划、建筑设计、环境艺术等领域的20余户原为上海四行仓库，改造后基本保留了库房、老铁门等原貌，可作为广告CF的拍摄现场，以及各种新闻发布会举办地。


上海五角场800号艺术空间
上海首席极致艺术空间——上海五角场800号艺术空间，通过在原有建筑上进行适当设计、改造后重新利用，在保持原有的整体方正格局外，加入了艺术元素、时尚元素、创意元素，成为一个占地面积约为21，460平方米、挑高5.5米的方正、现代的高档文化艺术创意产业的聚集地。在整个上海乃至全国，其规模和画廊种类都是个中翘楚。

五角场800号艺术空间是由在台从事艺术品研究工作超过25年、在大陆曾在2005年创下上海油画拍卖业辉煌的业绩的洪平涛先生带领的在全上海第一个具备国际经验的专业规划管理团队，以立足在整个上海乃至整个中国的角度上，看齐国际水平，以举办艺术博览会的感念融入五角场800号艺术空间的营运的理念，所规划管理的上海第一精致艺术空间，永续为入驻的厂商提供卖场管理与活动策划。也就是以主题展览、集中宣传、统一广告、联合造势的方式（每月都会向全球发布入驻画廊的最新信息），为入驻画廊创造最高人气与最大利润。推动国内艺术市场，搭建国际交流平台。
五角场800号艺术空间在招商短短一个多月的时间内，已经吸引了一批有前瞻性、有眼光的海内外有影响力的艺术画廊和艺术机构入驻。譬如：台湾的“艺术新闻”在北京之外，又在上海新开设一家比北京的规模更大、装潢更高档的艺术书店；在台湾经营近30年的敦煌画廊沉寂了六年以后在上海五角场800号艺术空间重整旗鼓；在画廊界享誉较高知名度、较大影响力的印尼林大画廊将在此建立全球旗舰店；“台湾悠闲”有信心和实力延伸其在台湾的实力和影响力；台湾歌德画廊、香港亚洲艺术基金会、杭州创意实业有限公司、多家上海画廊等国内外画廊目前都已在五角场800号艺术空间开设其在上海乃至全国、亚洲的艺术窗口，这些足以证明五角场500号艺术空间的非凡实力！
五角场800号艺术空间除了将空间出租给画廊与艺术相关产业使用外，也规划了大面积的公共空间，三楼的平台面积达365平方米，可做为举办大型画作展览或是雕塑与装置艺术展览使用。透过频繁举办的大型活动，创造话题、带动潮流、汇聚人气与买气。
上海的今天充满商机，上海的明天充满奇迹，上海的未来值得期待，我们不能在上海缺席。
五角场，是上海蓬勃发展的年轻商圈，未来三年内五角场的商业氛围可以达到繁荣鼎盛的程度之外，并且更多了一份人文艺术氛围。
五角场800号艺术空间是上海市杨浦区政府大力支持下的创意性产业，受上海知识产权园的全力协助，由于区政府对于艺术文化产业的特别支持，客户入驻五角场800号艺术空间后，在办理公司执照上可享受相当便利性，在税赋上也可享受特别的优惠。因此五角场800号艺术空间发展前景无可限量。
目前，五角场800号艺术空间正在积极招商，已经有多家颇负盛名的国际画廊决定入驻。未来五角场800号艺术空间将在更多国内外的画廊共襄盛举下，一起打造出上海艺术最新亮点。
专业规划国际接轨打造一流的国际级的艺术空间，吸引国际画廊名店入驻以艺术相关产业为招商范围，塑造艺术品牌主题形象

五角场800号艺术空间的招商范围
一．艺术类：画廊、艺术经纪策展、艺术礼品、艺术书店、艺术创意产业
二．名品类：流行名品、婚纱摄影、生活创意馆
三．餐饮类：主题酒吧、时尚餐厅、咖啡厅、红酒店、雪茄店

五角场800号艺术空间
地址：上海市国顺东路800号东楼
电话：86-21-55068555 55051878
传真：86-21-55069814
网址： http://www.wujiaochang800.com
E-mail: wujiaochang800@yahoo.com.cn

Two New Media Art Show in Shanghai Sculpture Centre

The exhibition 'Body Media" opens on July 15-August 12 (closed on Mondays) at Shanghai Sculpture Center, 570 Huaihai Rd 淮海西路近虹桥路，可轻轨3、4号线“虹桥路站”下，顺淮海西路东行约5分钟即见大门。此地儿又名“红坊”创意园云云。门票40元 “身体·媒体———国际互动艺术展”以其极具个性的展览风格和极强的互动性吸引大量观众，每日参观人次突破上海城市雕塑艺术中心的参观纪录。为满足市民提出的延后闭馆时间的要求，自今天起，每周六、周日增开夜场，从下午四点延长至晚上八点闭馆。
Now, 11 artists from nine countries and regions, including Japan, Austria, the United States, Germany, France and Sweden, and the Netherlands, are bringing their works to China's first International Interactive Art Exhibition, organized by Fudan University's Visual Art Institute and the Shanghai Sculpture Center. It aims to raise awareness of the new art and technology, starting from Sunday to August 12.

"Technology is a means of civilization, an illusion of control over our environment, what we called 'nature'," notes Kurt Hentschlaeger (from Granular Synthesis), who brought his latest installation piece "Karma" ("Destiny") to the Shanghai exhibition. "People create a second nature, which is supposed to control the original nature. This is certainly impossible."

"Karma" is an artwork that comes "alive" by using procedural techniques, in particular the real-time synthesis of sound, 3D animation, often seemingly unwell, trembling and oscillating.

The 3D characters are presented as puppets on strings, instilled with a familiar yet ambiguous sense of human life, resulting in an indefinite dance of the almost living dead.

Each 3D character moves and creates sound in the same frame, yet each of them has their own will to an extent that their actions and movements cannot be predicted within the space.

However, at the same time, the characters live in a very confined environment, and are equally controlled from the outside.

As such, "Karma" raises a question in a contradictory way - who is in control in people's life?

According to the Austrian artist Hentschlaeger, from the Western modern perspective, people believe they can control their life by their own will. However, the old perspective contains more mythological and religious thinking on that question. It holds that there is a life path that people cannot avoid, that is what people called "destiny," also called karma by some.

"Through 'Karma,' the two concepts clearly clash in the modern world," says Hentschlaeger. "Who is in charge of our life? There is no certain answer."

This is also the question for the new media artist, when he or she is creating his work - who is in charge, technology or the human being?

Most of the 11 artists invited to the show probably believe that people have an obsession with technology since all their installations and art works are realized through the support of high technology.

"Obviously the world we are living in is not obsessed with philosophy, but people are deeply addicted to technology," comments Hentschlaeger, who is deeply convinced by the theory that human beings can ultimately control their destiny and the world through technology. "The way I started living with technology became part of my way of looking at the world."

In this new media art exhibition, the theme "Body Media" stands out as a feature of interactive art as a part of new media art. It refers to the idea of human exchange or interaction with a technological artwork. As a user's actions and reactions are monitored, the outer environment will change and do something in interaction.

Curator Gong Yan, who proposed the idea of "Body Media," says the new media is a relatively young art form in its own history. It is not very well known by the Chinese public.

"With more and more young and old artists exploring this new art form, we are just wondering how long it could last for a single piece of new media artwork," she says. "This show aims to promote this new art form in a way that has various possibilities."

However, it is an over-estimation to call most of the work "interactive," says Hentschlaeger, since mostly it is just reactive. An interactive art work should be a strong and meaningful work that can process the reaction (the idea and sound raised) by an audience."

This exhibition is divided into three parts: the body as an actor or revelation of the artwork; the body represented in the artwork; and the body as an artwork itself.
三大部分

·身体激活作品
杰弗里·邵（Jeffrey SHAW） (澳大利亚)
约翰·米歇尔·布鲁耶尔（Jean-Michel BRUYERE） (法国)
杜震君 (中国)
厄尔夫·朗翰里切（Ulf LANGHEINRICH ） (奥地利)
朱里安·迈尔（Julien MAIRE） (法国)
TIME’S UP (奥地利)
米盖拉·罗斯切尔德（Miguel ROTSCHILD） (阿根廷)

·身体在作品中
粒子合成（Granular Synthesis） (奥地利)
科特·亨斯克拉奇（Kurt HENTSCHLAGER） (美国)
Dumb type(日本)
克里斯蒂安·巴托斯（Christian PARTOS） (瑞典)

·身体即作品
戴欧·杨森Theo JANSEN (荷兰)
Artworks by Jeffrey Shaw who created the world's first interactive cinema will be on exhibit. Besides, the innovator of "beach animals," Theo Jansen from the Netherlands, who believes "art is evolving," will also attend.


The new media artworks are often associated with virtual reality as if traditional art had nothing virtual about it. It is interesting to see that over and above the natural verticality any other art form, electronic arts and modern technologies do allow for a greater physical involvement of the audience and the "truth" of their own bodies.

At the age of 47, Hentschlaeger had experienced the twists and turns in the new media art field for more than 20 years. He started his art career in photography and painting, what people called "traditional fine art." He shifted to new media art in Vienna 20 years ago out of pure curiosity.

He found that the classical fine art world and the new media art world are really separate since there is very little connection between them and because new media art is difficult to sell.

"What we need in the future is a 3D real time environment," notes the artist, who believes new media art is a "time-based art. It is a virtual 3D space where you can combine all the media, including the cultural part, visual art, sound and interactive part into one coherent media."

Japan Media Arts Festival in Shanghai 2007 will open at Shanghai Sculpture Space on 19th-26th,Aug,2007.

Japanese persepect to express "Japan with happy culture" to Chinese audience by about one hundred cartoons, games and art works. Japanese plan the exhibition withe Shanghai to celebrate 35 anniversary of normalization of relations between China and Japan.

The exhibition will divide into three parts named "Earth","Tokyo" and "Expression".

2007 上海 日本新多媒体动漫艺术展
会 期：8月19日(星期天)在8月26日(星期天)
会 場：上海城市雕塑艺术中心
主 催：上海市文化広播影視管理局、文化庁
共 催：上海市対外文化交流協会、CG-ARTS協会
後 援：中华人民共和国文化部、在上海日本国总领事馆
協 力：上海城市雕塑艺术中心
感 謝：上海紅坊文化发展有限公司、全日空、日本通運、凸版印刷

Taipei, MOCA opens New Media Art Show on 10 Aug 07

绿校五周年现场涂鸦及海报设计展

展览城市： 北京-北京
策 展 人： 李贵明
展览时间： 2007-08-05～2007-09-04
开幕酒会： 2007-08-04 13：00
展览地点： 潜空间画廊

展览前言:
绿校是一个来自互联网的新锐艺术团体，他们以非职业的方式将艺术融入生活。这次成立五周年他们将通过现场涂鸦来呈现新一代年轻艺术家对于生活和艺术的态度。同时还会展出绿校成员设计的海报。而先锋电子音乐人也将配合绿校的视频短片集进行现场表演为活动助兴。这不是一次单纯的艺术展览，因为作品是在展览开始后添加上去并会不断有新的涂鸦贯穿整个展览，这也不是一个纯粹的聚会，因为所有的人都会流连现场创作和朋友交谈之间，这是中国青年艺术一代的生活方式。
如果你不懂乐器，你可能无法登台表演。
如果你不是艺术家，你仍然可以来涂鸦。
绿校五周年现场涂鸦潜·空间画廊给您留块白墙

Body of NYC artist Jeremy Blake found

Jeremy Blake: Mod Lang
Installation view at Feigen Contemporary
October 20 - November 24, 2001
Olympischer Sommer
2006
digital c-print
40 3/4 x 98 1/2 inches, edition of 3
27 x 65 1/2 inches, edition of 3

I was saddened by the news. Jeremy was an upcoming digital artist in New York and was in Whitney Bienniel for 3 consecutive years. Videotage had also played his video when Creative Times touring program came to HK in 2001, the program is reissued as retrospective in 2007.

Jeremy Blake's review (artnet, 2004)
Modern Art news


Artist Jeremy Blake missing, and his girlfriend has committed suicide (boing boing)

Artist Presumed to Have Killed Himself After Girlfriend's Suicide (Gothamist)

A body washed up on the shores of New Jersey has been identified as that of missing digital artist Jeremy Blake, presumed to have committed suicide after his companion Theresa Duncan blog took her life in the couple's New York City apartment.