Just love Roy Andersson

Miserable is funny, comical, and so miserable. I think this is what "hyper-reality" means to the director of "song from the second floor " and "you, the living", Roy Andersson. He made ad for a living and here are some of them, still you can see "him" in the video


And here is a little the scene behind "you, the living".

NJP Centre opens

The Nam June Paik Art Center is located in Yongin, a city on the outskirts of Seoul. It is supported by the Gyeonggi Cultural Foundation and Gyeonggi Province. The center was discussed with Nam June Paik and is under development since 2001. The NJP Art Center opened its permanent building in April 2008. Under the current director, Young Chul Lee,(and Chief curator Tobias Berger, former Director of Para-Site HK) it aspires to reactivate the experimental and interventionist spirit of 20th century and contemporary art practices in order to become a locus where aesthetic, political and social potentialities contribute to questioning and redefining the relationships between art, philosophy, media and life.


I like the branding of the museum. It is said in the home page:

The enigmatic mathematical symbols used for the main logo image of Nam June Paik Art Center are derived from the numerical expression that Paik used in an article for the magazine De/collage No.3 in 1963 and re-used commemorating his 54th birthday, and they represent Paik's rich imagination and unique sense of humor. The logo image shows that when a question is reversed and transformed into a new question, endless transformations and recurrences take place: it incorporates the identity of Nam June Paik Art Center aiming to be an experimental space that doesn't cease to question established answers.

The first event : Now Jump
NOW JUMP, the festival's title, originates in an Aesop punchline: "Hic Rhodus, Hic saltus!" NOW JUMP is an appeal to exceed past achievements: NOW is always the time to act. An invitation or call to action, this festival also represents the ambition of the Nam June Paik Art Center to leap into the future through the NJP Festival.

NOW JUMP is organized according to the concept of 'Stations,' simultaneously encompassing a state of stillness and of motion or anticipation of motion. In our everyday experience these can be places where trains or buses regularly stop; broadcasting stations; power stations; research institutes; studios; local headquarters; habitats; social status or postures. For NOW JUMP five stations exist as concurrent initiatives: exhibitions, performances, and platforms to establish discourse.

Station_1 is a point of departure gathering Nam June Paik archival material and works, and combining it with that of his friends, colleagues and references. Recontextualizing the artist's work within the history of his own practice, that of Fluxus and other trends of the 1960s, it is an attempt to highlight the complexities of creativity and its social and political significance. Ultimately the goal is to renegotiate the influence of Nam June Paik within the practice of new generations of artists.

Station_2 is a state of anticipation - reintroducing the notion of potentiality into the actualized exhibition space and implanting an openness that the exhibition loses when it comes into being. Different forms of performance are given a platform from which they can be regarded and from which they can also look at each other. By producing their own space, time and durational place these works expose the circuits into which they are inserted and begin to expand into the realm of lived experience.

Station_3 is a journey that has already begun. Unlike Stations 1 and 2 which are mainly presented in the Art Center building, Station 3 intersperses artworks into a new private gallery and an existing high school gymnasium. The specific characteristics of these buildings create shifts in mood and tone. Whereas before the works were in dialogue with the past and the contemporary present, here the dialogue ranges from domestic and introspective to imposing and controlled, reminiscent of being in urban space. In this context, the practices presented dwell on creativity as an ability to open lines of flight from reductive definitions and restrictions.

Station_4 and Station_5 are spaces of transit offering temporary points of arrival, moments for reflection, and a place from which to embark on new departures. Respectively, they correspond to workshops, seminars and publications and to the establishment of the NJP Art Center prize.

Artists List
Station_1: Allan Kaprow, Anzaï, Bas Jan Ader, Byungki Whang, Charlotte Moorman, Eunjoo Lee, George Brecht, George Maciunas, Hans G. Helms, Hermann Nitsch, Joe Jones, John Cage, Joseph Beuys, Karlheinz Stockhausen, Klaus Barisch, Kulim Kim, Kunyong Lee, Larry Miller, Manfred Leve, Manfred Montwé, Mary Bauermeister, Merce Cunningham, Nam June Paik, Naoki Ishikawa, Neungkyoung Sung, Otto Muehl, Peter Fischer, Peter Moore, Peter Weibel, Robert Filliou, Shiomi Meiko, Shuya Abe, Sukhi Kang, Sylvano Bussotti, Ulrich Bassenge, Wang Xingwei, William Gedney, Xiao Zhuang, Yiso Bahc, Yuji Takahashi

Station_2: Annie Vigier & Franck Apertet, Antonia Baehr, Boris Charmatz, Byungjun Kwon, Claudia Triozzi, Donghee Koo, Dora Garcia, Forced Entertainment, Guido van der Werve, Guillaume Désanges, Hwayeon Nam & Younggyu Jang, Hyoungmin Kim, Kris Verdonck, La Ribot, Peter Welz, Romeo Castellucci, Ryoji Ikeda, Rimini Protokoll, Toshiki Okada, Vincent Dupont, William Forsythe

Station_3: A kills B, André Gonçalves, Aurélien Froment, Bik Van der Pol , Bomin Kim, Changsub Choi, Choongsup Lim, Dujin Kim, Herwig Weiser, Hontoban – Anthony Bannwart, Jackson Hong, Jan Fabre, Joongki Geum, Jueun Lee, Kiyoshi Kuroda, Kyungwon Moon, Manon de Boer, Marjolijn Dijkman, MeeNa Park, Minsuk Cho, Namaiki, Paolo Soleri, Paul Granjon, Rene Daalder, Rostarr, Sasa [44], Sergio Prego, Seungmo Seo, Stephan Reusse, Stephen Smith/Neasden Control Centre, Susie Lim, Sulki & Min, Wolsik Kim, Yangachi, Zilvinas Kempinas

Station_4: A special project by castillo/corrales

NOW JUMP from October 8, 2008 to February 5, 2009

http://www.njpartcenter.kr

To find out more contact:
Nam June Paik Art Center
85 Sanggal-dong, Giheung-gu,
Yongin-si, Gyeonggi-do
446-905
Republic of Korea
T: + 82 (0) 31 201 8543
F: + 82 (0) 31 201 8515
c.pestana@njpartcenter.kr

Media Facades Festival Berlin 2008

Myths and Potentials of Media Architecture and Urban Screens

Artist Workshop: 2.-4. July 2008
Testscreening: 30. August, Lange Nacht der Museen

Exhibition: October 16 - December 12 2008
Conference: October 17 - 18, 2008
Urban Screenings: 17. October - 3. November 2008

Taipei Art Bienniel

I still miss the Taipei Biennial, it is interactive, energetic and touched on sensitive issues such as immigration, prostitution, homeless, poverty, cyberbully, artivists... etc
The side event is great, the "Tokyo Drift- an International Workshop for Art Academies 2008" posted in their blog
Again like Guangzhou Triennial, there is a multi cities discussions on "Dictionary of War" here. even that involves mainly around European Cities or should I said German sites, I think that informs not only what the artists are doing but also shifting an spectacle event into a humanistic discussion.
The site "Taipei drift" is cutie and provides a lot of readings. I am sure art students like it.

ZKM opens The Discreet Charm of Technology: Arts in Spain

After a long list of Shanghai earts festival news, seeing how new media relates to creative industry, investment and spectacle(I mean I am really happy to see how they openly ask for sponsorship for Stanley Kwan "s "Yellow River" also noted that the creative industry week that runs along with earts), I would enjoy this kind of academics and cultural exhibition for new media, for a break...from ZKM, well, it is just too long way to go from here to there.

Manuel Barbadillo, Enera, period 1968-1979, acrylic on canvas, 120 x 120 cm,
Jane Weber Collection, © J. Weber.

From ZKM :

Luis Buñuel made more than a hint at his ambiguous, ironic intent when he entitled one of his most memorable films "The Discreet Charm of the Bourgeoisie". Apart from making an acid social critique, the film also shows us the fragile boundaries that exist between different ways of acting on reality.

Exploring the ambiguous relationship between art and technology, this exhibition suggests the existence of another form and another content inherent in the practice of media art. Technology as an instrument gives way to technique as a procedure that artists use to create visual poetics, sensory and formal explorations, and conceptual developments. The discreet charm of media art lies precisely in this potential to blaze new trails.

The exhibition features 119 works produced in Spain and of exceptional aesthetic and historic value. In it, the 13th century is linked to the 21st through a modular approach that focuses on five key themes representative of the artistic condition: the formal code; the visual code; the sensory and space-time code; the body and the identity; and the construction of reality. The accent on Spanish works is not merely a question of geography; rather, the exhibition tries to establish a dialogue between creative practices and artists that had never before been brought together in the same space at the same time.

It is precisely these conceptual links between the works, and not the materials or the chronological connections, which weave the discursive thread in each module. Moreover, by interweaving the five essential themes together, the exhibition generates new narrative itineraries that can stimulate viewers into creating their own personal interpretations.

ACTING ON THE FORMAL CODE

In the Middle Ages, Ramon Llull, an eminent Catalan philosopher, designed a binary and combinatory system for coding language. Conceptually, this was a precursor of today’s binary computer code. His "disc apparatus" was the first attempt to examine the human-machine relationship from the point of view of knowledge automation. Various 20th-century theories based on new technology, such as Cybernetics, also have a bearing on this relationship.

In the 1960s artists who were influenced by Cybernetics, such as Barbadillo or Alexanco, applied combinatorics (the mathematics of combinations and permutations) to their work and used computers and programming — for the first time in Spain — to create artistic forms automatically, paving the way for generative art. The jump from programming computers to reflecting on the art of the code was made by artists such as Leandre and Marino, who investigated programming from the artistic point of view.

ACTING ON THE VISUAL CODE

Instruments for seeing what is not immediately visible have been widely used by science to overcome the limitations of the human eye. Microscopes and microphotography helped Ramón y Cajal, an eminent Spanish scientist, to examine nerve tissue and to formulate his neuron theory, which revolutionised neuroscience. Up to the present day, this theory continues to influence many fields of knowledge, ranging from artificial intelligence and telematic networks to art.

The invisible side of the visible is being explored in art using the latest technology. The new capabilities open up surprising possibilities for perception and for understanding and interpreting the world. Furthermore artists can use them to undertake the journey from the exterior to the interior world. This concept generates new models of visual exploration and changes the way artists work.


ACTING ON THE SENSORIAL [SPACE-TIME] CODE

The analysis of space, time and the position of the spectator were masterfully investigated by Velázquez who knew how to dismantle the dichotomy between fiction and reality and how to go beyond the limits of the canvas. His influence can still be seen today in the works of Dalí, Pujol and Eguillor. The use of audiovisual, IT and telecommunication techniques increases the ways of representing space-time dimensions linked to the construction of reality.

The great achievement of José Val del Omar was to make sensorial signals visible, the immaterial tangible and to give space-time substance. He envisioned cinema as an all-encompassing experience that would communicate with all the spectator's senses simultaneously and called this "plurisensorial supervision". His ideas opened new paths for audiovisual exploration and they have been re-examined by contemporary artists such as Sistiaga, Balcells, and Garhel.

ACTING ON THE BODY'S INTERFACE

The furthest and most intimate recesses of our minds and bodies — our interface to the world — are beyond our reach. Thus, identity is not completely under our control. It is encoded and decoded through deliberate strategies designed by ourselves and by society. This uneasy situation is frequently examined by contemporary art. Perhaps such questions reflect our growing desire to define our place in the world.

The works in this section of the exhibition are different approaches to the various aspects of this situation. They include the role of our bodies in the life-death relationship, interior-exterior worlds; the influence of external conditions on the construction of identity and the way in which gender codes underpin conventional ideas of femininity and masculinity. Other works explore the concept of the body as a place where everything we have experienced is written; the use of masks and unstable identity; and macrostructural control of individuals.

ACTING ON THE REALITY INTERFACE

The notion of reality depends on what is observed and how it is observed. New media are increasingly replacing the in situ experience of reality with prefabricated images of this "reality" on a screen. We humans no longer live exclusively "in" the world or express ourselves "in" language (an essential skill of existence) but "in" images: in the images we make and in the images that we receive through technical media. Fiction and reality are fused together. This process encourages hedonism and fun-morality, which debilitate any sense of justice and equality.

The artists in this section tackle these questions in their work from the perspective of the individual and also of the family (where individuals forge parallel realities). Others make reference to public space or the mass media, where consensus or confrontations arise about the explanation of reality.

关锦鹏最新作品黄梅音乐剧《长河》Stanley Kwan directs opera"Yellow River"

一、 艺术家组合
这是一批国际艺术奇才的空前组合。主要创作队伍如下：
1、 导演：关锦鹏（中国香港）
曾获意大利都灵国际电影节特别大奖、柏林国际电影节银熊奖、芝加哥国际电影节最佳导演奖、香港金像奖最佳导演奖等。由于他执导的《胭脂扣》、《阮玲玉》等电影，把梅艳芳、张国荣、张曼玉等演员推上国际巨星的宝座。
2、 作曲：鲍比达（菲律宾）
毕业于美国波士顿柏克莱音乐学院、洛杉矶迪格罗夫音乐工作坊。曾为五十多部电影配乐，获“亚太影展最佳音乐奖”、“二十世纪最佳中文歌曲奖”。在华人歌手中，鲍比达曾担任徐小凤、张国荣、许冠杰、林子祥、甄妮、蔡琴、苏芮、张信哲、萧亚轩、李玟等人的音乐制作人，由他创作的“新不了情”、“往日情”等曲目传遍整个华人世界。
3、 人物造型：张叔平（中国香港）
曾获戛纳电影节最佳成就奖，四度获香港金像奖，两度获台湾金马奖。曾与王家卫导演合作电影《旺角卡门》、《阿飞正传》、《东邪西毒》、《重庆森林》、《春光乍泄》、《堕落天使》、《花样年华》，佳评如潮。被公认为香港美术指导的第一把交椅。
4、 编舞：金星（中国大陆）
曾任美国舞蹈节首席编舞，比利时皇家舞蹈学院现代舞教授、北京现代舞团艺术总监、联合国（TIPS）东方文化艺术上海中心艺术顾问。曾获美国舞蹈节年度最佳编舞奖。
5、 主演：马兰（中国大陆）
黄梅戏表演艺术家。迄今为全国戏曲界同时囊括舞台剧全部最高奖项和电视剧全部最高奖项的唯一人。2007年获美国纽约市文化局、林肯艺术中心和美华协会联合国颁发的“亚洲最佳艺术家•终身成就奖”。
此外，还有几位神秘的国际艺术家参与此剧创作，请观众拭目以待。

二、 剧情片断
这是一个具有国际音乐剧审美标准的东方故事。为了保守必要的艺术机密，可以透露一些片断性场面——
一个女孩子在母亲死后，产生了对母亲思念了整整二十年的失踪父亲的强烈好奇。她扮成男子搭上考生的船千里寻找，却遇到了半夜冰灾。所有的船只都被困死，全部考生又冷又急只能在坚冰之上跳踢踏舞，却出现了一个凿冰人……
一个公主为了寻找一个合意的恋人，在考场的门缝里偷窥了几天，终于看中了一个。但这个人再也找不到了，那天在大街上，她却看到这个人被绑在一把椅子上被人抬着，细细看着街上的每一个行人……
父亲很快就要找到，不知为什么女孩却决定不再寻找。她知道父亲在人群里便向父亲说话，谁知父亲的对话声却从天宇间传来……
妈妈的思念变成了画笔。女人画丈夫的面容越画越乱，最后终于变成了毕加索的笔触……
——整个戏有很多眼泪，更有很多欢笑。眼泪和欢笑都在启示着一种人生哲理。

三、 投资前景
1、 此剧将在今年12月首演于上海大剧院，然后展开国内外巡回演出。无论是延伸时间还是延伸空间，都远远超越一般剧目；
2、 由于国际艺术家群体的奇特组合，又由于这种组合是此剧总策划编剧余秋雨先生为了合力打造中国戏曲音乐剧的一次创新，已经足以引起中外媒体长时间、多焦点的强烈关注。而且，这种关注具有探索和创新的文化深度，而不流于浅薄；
3、 投资者可以在海报、票务网站以及巡回演出中制作相应广告，也可以在媒体报道此剧时附带广告并使之超值；
4、 投资者可以参加该剧的新闻发布会、研讨会和酒会，参于与导演、演员的互动，并获赠戏票和CD；
5、 投资者可以享有对本剧进行产业化运作的优先权。

earts festival 策展人工作坊

开始时间: 9月29日 周一 11:00
结束时间: 9月29日 周一 16:00
地点: 上海 大拇指广场，浦东芳甸路199弄28号
发起人: 证大艺术馆
构建中：策略-模式-联系
　　
　　地点：证大现代艺术馆
　　主办：证大现代艺术馆，澳大利亚新南威尔士大学当代艺术及政治研究中心
　　
　　上海证大现代艺术馆将于2008年9月29日（星期一）举行《建构中：策略—模式—联系》工作坊/讨论会，敬请您参加。
　　
　　 该工作坊由上海证大现代艺术馆和澳大利亚新南威尔士大学当代艺术与政治研究中心联合主办，由皇甫秉惠女士和Jill Bennett女士共同担任策划和主持。
　　
　　 本次工作坊旨在探讨如何通过艺术来建立我们与这个纷繁多变的世界之间的互为关系，并将重点关注展览的模式。
　　
　　
　　
　　
　　拟定议题：
　　
　　1. 展览不是简单地呈现现有的文化思潮，还将催生新的社会网络和可能性。
　　
　　2. 策划当代艺术展不受地域人种的限制，旨在让不同地区的作品产生互动。
　　
　　3. 艺术不是展示现成的观念状态，而是作为一种渠道，与日常生活发生联系。艺术的这一功能是如何体现的？
　　
　　4. 对话是如何通过美学术语呈现的？一个展览的动态空间有哪些社会因素构成？
　　
　　5. 跨学科实践是否正朝着改变、颠覆原有学科和领域的方向发展？还是说这种跨学科实践是对原有学科和领域的扩大、延伸？
　　
　　6. 这是否是连接艺术与公众的一种新方式？或者它促进了各类艺术文化更加固守其原来的形式？
　　
　　电话咨询：50339801-2004
　　
　　
　　
　　拟订议题请见图
　　
　　本活动需要预约：请各位发邮件给我们留下姓名，手机
　　电话咨询：50339801-2004

Using your own iphone for performance

亲爱的iphone用户们：
　　
　　我们召集诸位在10月19日晚前往浦东张家浜陈逸飞创意街沿岸体验一趟转为iphone所有者所制作的新媒体互动表演。
　　
　　在19日晚的演出中来自日本的电子艺术巨匠“赤松正行 Masayuki Akamatsu”将为您带来半小时名为“云彩”的演出。
　　“云彩” 是为现场观众随身带来的iPhone 手机而设计的视频／音频演出。每一个iphone都会化身为演出者，共同呈现一场庞大宛如交响乐般的华丽盛会。
　　
　　我们将召集50台以上的iphone参与演出，iphone玩家们，赶紧带上你的爱机参与这场河上秀吧。
　　
　　参与本次活动请将您的联系方式发送至eartsyan@gmail.com
　　2008年10月10日之前哦！
　　
　　当天还将呈现Autechre的现场电子表演，以及其他来自奥、日、美、英及中国本土艺术家的精彩表演！
　　
　　活动免费！
　　没有iphone也欢迎参与哦！！！
　　

Workshop in earts- 数字天地——电子艺术基地

For English
上海电子艺术节（eARTS）工作坊项目：
　　
　　汇聚才智、呈现思维、开启创意——eARTS2008为您而设5项主题工作坊，力邀6国一线新媒体艺术机构汇聚“数字天地——电子艺术基地”。

开始时间: 9月8日 周一 20:00
结束时间: 10月25日 周六 23:00
地点: 上海 徐汇路石龙路395号 电子艺术基地
　　
　　凭借技术与艺术的沟通、专家和公众和对话以及创意和产业的链接，共同实践激荡而生的艺术创想，并为未来的生活勾画出我们的愿景。
　　
　　我们欢迎拥有创意、乐于分享的您一同参与到各项工作坊中来，无论是技术、艺术、创意传媒的行内人士、相关专业的在校学生或是关注新媒体艺术的社会大众，“数字天地”都将为您开启。
　　
　　我们为您与您的机构设立了下述5项工作坊，他们是——
　　
　　（A） Fabrica：“设计思想”工作坊
　　位于意大利的Fabrica是举办创新性工作坊和创造性研究项目的顶尖机构，“电子艺术基地”内将展现“远程工作坊”的实践成果，并开启新一轮次的“设计思想”长期计划。来自各个艺术设计领域的专家们将会带领年轻的项目参与者，以团队的形式进行远距离在线创作。该项目将为参与活动的年轻学生打开新的远景，突出交互式文化学习的重要成果。
　　工作坊形式：作品发布、研讨
　　
　　（B）ICC：“概念建筑体”工作坊
　　来自日本ICC艺术中心的艺术家将在“电子艺术基地”内建设一座与周遭环境实时互动的“建筑”装置。环境参数将被反馈在“建筑体”的结构之上。创作该装置的艺术家将在现场解析他的创作理念，邀您一同延展和开拓对“空间”与“建筑”的认知。
　　工作坊形式：现场制作、作品展示、艺术家讲座
　　
　　（C）V2：“城市空间•玩乐时光”工作坊
　　从荷兰远道而来的新媒体艺术家将带领大家一同开发一款城市空间内的公众游戏。工作坊将涉及对城市空间游艺、艺术行为和游艺介入行为的DIY设计。在“电子艺术基地”之内，参与者们将在导师的带领下完成“游戏”项目，而游戏成果将在工作坊的后期开放性地呈现在城市空间区域。
　　工作坊形式：项目开发、驻村创作、讲座、作品展示
　　
　　（D）VS：“创意作品”工作坊
　　法国的Visual System将为“电子艺术基地”现场创作和展示三项装置作品并邀您参加一个以手机为媒介的游戏项目。VS的优秀艺术家和新媒体专业的学生们将以讲座等方式为工作坊的参与者们解析他们的创作理念，并与大家一道体验城市空间内的新媒体游戏。
　　工作坊形式：驻村创作、作品展示、讲座
　　
　　（E）传媒公司：创意与产业研讨会
　　多家中外传媒公司将汇聚“电子艺术基地”，共同研讨创意与产业链接的可能性。

bTWEEN“影像打水漂” 照片征集

上海电子艺术节eARTS08 浦东跨界展演节目之一——
　　
　　bTWEEN“影像打水漂”
　　
　　私影像 x 户外公共大屏幕
　　
　　想让你的私人影像记录出现在1000平方米的户外大型环幕上吗？现在就来参加吧！
　　
　　bTWEEN“影像打水漂”照片征集~~~~
　　
　　大家对小时候玩的石头“打水漂”一定都记忆犹新吧：找一块扁平的石子，找一个近于水面的倾斜角度，用石子打击水面看它能在水面上弹起几次。在eARTS08的NOTCH单元的bTWEEN节目，观众向大屏幕发送短信（石子），短信内的关键字将激发“影像海洋”里具有相似语义关键字的影像回应。回应（在水面上弹起）次数要看两者语义相关性能往下传递多远。在bTWEEN，文字（短信）和影像（大屏幕）两种不同的媒介让陌生人用一种新的（艺术化的，更具想象力）方式产生沟通并不断扩散。
　　
　　现征集你自己拍摄的关于“城市化风景”的照片，参与eARTS/NOTCH现场大屏幕互动。照片可以是城市化的视觉风景，也可以是人文，社会，虚拟世界。总之发挥你的想象力和对“城市化风景”的个人理解。
　　
　　参与方式：
　　非Flickr用户：
　　1. 从你拍的照片中挑出你认为有“城市化风景”含义的照片（精度不限）；
　　2. 将照片打包成一个zip或rar文件；
　　3. 邮件的正文写上每张照片的英文关键字（如照片1：street, happy；照片2：friend, festival, birthday）。如果你的英文不熟，可用中文，我们帮你翻译；
　　4. 邮件署名（真名或网名都可）
　　5. 将邮件发到 btween2cultures@gmail.com
　　6. 截止日期：2008年10月18日
　　
　　Flickr用户：
　　1． 将你的“城市化风景”的照片（精度不限）上传到你的flickr空间；
　　2． 记得每张照片要维护tag（英文）。并且每张照片的tag必须含有UL （活动代码）；维护好的tags可以在每张照片的右边栏看到。例如这张：http://www.flickr.com/photos/take10/141772774/
　　3． 截止日期：2008年10月19日
　　
　　现场：
　　时间：2008年10月19日晚7点到8点，10月20日 – 22日晚8点到9点
　　地点：浦东上海科技馆旁湿地广场
　　活动：现场将搭起一个直径30米，高15米的环幕。欢迎来现场向环幕发送短信看你的照片能否出现在公众面前！
　　
　　提示：
　　想让你的照片有更高的机会出现在现场大屏幕上，每张照片维护的关键字越多越好，但要和照片内容相关喔！
　　
　　
　　上海电子艺术节 http://www.shearts.org/

The Burden of Interconnectedness

During HKIAFF, 3-7 Oct at HK Convention and Exhibition Centre, Hall 3. there is an interesting talk, not to be missed.
Presented by:October Contemporary
Date:5 Oct, 2008.
Time:14:00-15:00
Speaker: Ms. Pamela Kember
Topic:"The Burden of Interconnectedness"
Pamela will be talking about "delinking" in art and cultural politics.
Register

October contemporary is an annual month-long curated platform that promotes contemporary visual art and artists in Hong Kong. Inaugurated in 2007, October Contemporary has quickly become one of Hong Kong's leading cultural events through its dedication to presenting timely and insightful contemporary arts-related events centered around a cohesive curatorial theme. This year's curatorial discourse, "Attr/Attraction," was selected as a response to the large scale public events such as biennials and the Olympics that have peopled Asia this fall. The curatorial theme seeks to analyze the political and social processes that inform these events' public reception through a series of lectures, exhibitions, workshops and screenings.

The opening reception for October Contemporary Tuesday, September 30, 8 pm - 12 am at the Hong Kong Art Museum and will include a special screening and live performances.

Art and the New Culture City: Hong Kong, China and the World Art System

Friday, October 3, 2008
9:00am-5:30pm
Leavey Library Auditorium, University of South California
association with the visit of artist Choi Yan-chi, this one-day symposium examines the current rise of international interest in Chinese contemporary art in relation to the politics of its contexts of production in the new art spaces and studio districts at the core of China’s economic transformation.

Panel 1:
"HK 97+10': Art and the City In-Between"
Speaker: Choi Yan-chi, Artist, Co-founder, Hong Kong Baptist University, Provost's Distinguished Visitor, USC
"Beyond Beyond"
Speaker: Matthew Turner, Professor of Design, School of Creative Industries, Napier University

Panel 2:
"Rise of China as an Aesthetic Question"
Speaker: Richard Kraus, Professor of Political Science, University of Oregon
"Multicentric Themes in Chinese Time-based Art"
Speaker: Meiling Cheng, Associate Professor of Theatre/Critical Studies and English, USC

Panel 3:
Visual Presentation: "Hong Kong Art Outside the Limelight'"
Speaker: Choi Yan-chi, Artist, Co-founder, Hong Kong Baptist University, Provost's Distinguished Visitor, USC

Panel 4:
"When East Really is West: A Look at Some Models of Cultural DupliCities"
Speaker: Henry Tsang, Artist; Head, Critical & Cultural Studies, Emily Carr University of Art & Design
"The Struggle to Make Space for Art in an Era of Creative Industry"
Speaker: Carolyn Cartier, Associate Professor of Geography, USC

Panel 5:
"Emergence: Contemporary Chinese Art in Beijing and LA"
Speaker: Karon Morono, Co-owner, Morono Kiang Gallery, Los Angeles
"Hybridity as Cultural Capital"
Speaker: Jenny Lin, Doctoral Student, Department of Art History, UCLA

"Competition of Making Flowers"

Choi Yan-chi
Artist, Co-founder, Hong Kong Baptist University, Provost's Distinguished Visitor, USC

Thursday & Friday, October 2nd and 3rd, 2008
9:00am-5:00pm Exhibit
Lindhurst Gallery, USC School of Architecture, 2nd Floor

Sponsored by the East Asian Studies Center, Provost's Distinguished Visitor's Program, U.S.-China Institute and USC College Visual Studies program, and made possible by a generous grant from the Freeman Foundation.

Please rsvp to eascrsvp@usc.edu.

Sponsored by the East Asian Studies Center, Provost's Distinguished Visitor's Program, and Visual Studies

Liverpool Biennial TV

TVC advertisement of an art festival can be done without cutting and mixing excerpts of artists' video and images, not new but would required a much higher skill from the production. I am wondering what is the standard and how is it related to the branding of the festival.

The festival site
2008 Theme : Make up, an exploration of artistic imagination

If you could be a ___ what would you be ?


The Joyful Tree
Diller Scofidio + Renfro's Arbores Laetae (Joyful Trees) launched on 20/08/08 before a delighted crowd. The fantastic work is a trailblazer for MADE UP - this year's International 08 exhibition which opens on 20 September. Rick Scofidio, visiting from New York, officially opened the work, describing it as "beautiful, wonderful and a little bit frightening."

The 3rd digital Art Festival Taipei 2008

Date:12th September ~9th November ,2008
Place: Museum of Contemporary Art, Taipei.
39 ChangAn West Road Taipei 103, Taiwan ROC

This year, with the theme "Trans", the festival highlights include: International digital art exhibition, Performances, Artist Forum, and Digital Art Awards. A "digital art platform" will be presented through the festival, as an exploration and integration of art and technology, opening a new prospect for digital art world.

Video of international artists.

EXPERIMENTA JOB VACANCY - CURATOR

Experimenta is seeking a curator to drive its exhibition, touring and project activities. The ideal candidate will have experience in the curation and commissioning of media art, and more broadly, contemporary art, production management experience in the hosting of large scale exhibitions and events and the ability to create exceptional curatorial projects.
Details.
Closing date: 3rd October 2008, 17:00 hrs Australian Eastern Standard Time

Google 10th anniversary

Via

As part of their 10 year anniversary – in 1998, Andy Bechtolsheim made out a $100,000 check to Google Inc. – Google released an interactive time line of the company history........

Google also starts off something called Project 10100, a contest in which you should submit your idea of how to help the most people in the world. You need to assign a category to your idea, like community, energy, health and education. Later on, 100 selected ideas will be voted on publicly to find 20 semi-finalists, of which 5 will then be selected as finalists, and Google promises to commit "$10 million to implement these projects" (what you win is not a prize for yourself but, as Google puts it, "the satisfaction of knowing that your idea might truly help a lot of people"). The deadline for submitting an idea is October 20th....

Urban Screen Melbourne 08

Urban Screens Melbourne 08 is hosted by Fed Square Pty Ltd, and is the third international conference and multimedia exhibition in a series of worldwide Urban Screens events. It will also mark the official launch of the International Urban Screens Association, taking place 3-8 October at Federation Square, Melbourne.


Conference: Mobile Publics 3-5 October 2008 Full Program

What caught me are the case studies from Manray Hsu :

2008 Taipei Biennial - A case study

Urban screens have become a kind of meta-architecture. Through their ubiquity and fluidity, these screens, especially the large ones, constantly redefine the spatial relationships of the urban environment. They are new defining architectures of architecture. The 2008 Taipei Biennial utilized some of these screens as part of its venue for showing video-based works. On the one hand, this presents both an opportunity for more unpredictable encounters between art and urban space users, and offers challenges for the recontextualization of these works. On the other, it also poses the question of whether art is able to destabilize a public space generated and maintained by these meta-architectures, to add ambiguities to the certainty of information, of the social dream of the capitalist society. Aside from these curatorial and artistic aspects, my presentation will also touch on practical and technical aspects such as the technology of display, timing and encountering.

and also from Andreas Broeckmann

'Intimate Publics. Memory, Performance, and Spectacle in Urban Environments'
Cities are sites of spectacle. We walk around, looking into faces, checking out shop windows, posters, screens and facades, scanning for the new, the unexpected, the beautiful, and the wicked. The 'screen' of the city is cluttered with surfaces and items, vying for attention. A barely distinguishable mix of mediated messages we either look for - whether as street signs, clues we want to find again, or maybe as oversized TV screens during a popular sports event - while other items we barely notice, or learn to ignore. What does it mean to 'look' in public space? Are we being cheated, or caressed, by the empty billboards whose surface time no advertiser has rented? Do the large video screens testify to the triumph of a post-urban anonymity, or are they mere signs of a failed attempt at competing with the intimate media that vibrate in back pockets, and that cocoon the gaze and the listening mind? What does Josef Robakowski's 1978 video, From My Window, tell us about the multiple layers of public and private observations, about the interlacing of personal curiosity, voyeurism, and state surveillance? Who are the subjects of viewing in public space? And what does it mean to perform the city space, furrowed with surveillance technology, like those people in Noise (1998) who left their anonymous video messages to the recording box that Zoran Todorovic placed in the streets of Belgrade? The view from the window of Berlin's Staatsbibliothek cafeteria in 1998, out onto the wasteland of Potsdamer Platz, before the fall of the Wall, an age before the construction of the Sony Center: a personal memory, shared by many, a lost image reflected in Wim Wenders' movie, Wings of Desire (1987), that has Curt Bois stumbling across what used to be Potsdamer Platz, unable to find a real equivalent for his half-century old memories of the city's face. Each city, wherever people live, is rife with such imaginations, a cultural stage, and a container of mediated memories.

The Urban screen community is the development of Mirjam Struppek whose blog has been inspiring for almost a decade.

“如何成为失败者？”，“成功者失去了什么？”What have Winners Lost?

via


“如何成为失败者？”，“成功者失去了什么？”What have Winners Lost? "is the work by qiu zhijie 邱志杰 in front of the GDMoA for the Guangzhou Triennial.

Two thumb for the work! bravo Qiu Zhijie. (you can link to them on the links on the side of this blog)

Metacafe and Microcinema International Launch MetaFest 2008

Juried Online-Offline Film Festival Presenting the Best in International Creative and Contemporary Short-Form Video Entertainment
www.metacafe.com/metafest for call for entries and information
DEADLINE IS SEPTEMBER 10th

PRIZES

Grand Jury Prize - US$5,000 cash and more

Short-Short Award for outstanding work in a video of 3 minutes or less:$2,000 cash and more

Online Audience-Choice Award, as selected by Metacafe.com viewers:$1,000 cash and more Offline Audience-Choice Award, as selected by attendees of the San Francisco theatrical screening: ·$1,000 cash and more

Honorarium Pool: ·The creator of each film selected for the MetaFest offline program will receive a cash honorarium of $50 presented by Microcinema International.



Producer Rewards® Earnings:

All filmmakers whose MetaFest submissions meet the eligibility criteria for the Metacafe Producer Rewards® program are invited to submit their work to the program. Those accepted will be paid for their work at the rate of $5/1,000 views, receiving the first payment after the video is viewed 20,000 times.

Software art on iphone

Yellowtail on iPhone from Lee Byron on Vimeo.
Yellowtail originally is a project from Golan Levin now it is playable in the multi touch iphone by Lee Byron.
I like this project for last.fm from Lee. Music defines mood now, it is part of the machine memory for us.

media_city seoul 2008

The 5th Seoul International Media Art Biennale
September 12 - November 5, 2008

Theme : Turn and Widen
Opening Event: September 11, 2008
Venue: Seoul Museum of Art
Director: Ilho Park
Curators: Maarten Bertheux,
Andreas Broeckmann, Raúl Zamudio, Tohru Matsumoto

Seoul Museum of Art
30 Misulgwan-gil (37 Seosomun-dong)
Jung-gu, Seoul (100-813)

The 5th Seoul International Media Art Biennale (media_city seoul 2008) will be held in Seoul Museum of Art from September 12 to November 5, 2008. Seoul International Media Art Biennale has continued and prospered the event and its quality through the past four Biennale since 2000, being much recognized both domestically and internationally as a notable media art festival.

Especially, this 5th Biennale is significant in retracing prior exhibitions for the preparation of the next decade. Therefore it aims at asking fundamental and essential questions, such as “What is media art?” “What is the difference between traditional art and media art?” “What change in art has been caused from this?” and “What kind of effects will this bring?” and it will also attempt to find out the answers of these questions through the exhibition of various media artworks.

The theme of this Biennale is Turn and Widen and it consists of three categories; Section of Light, Section of Communication and Section of Time. The 5th Seoul International Media Art Biennale will be showing artworks by 70 teams from 26 countries. International Symposium, media_city seoul Archive and Matrix S will be held as related events of the Biennale.

A swarm of angles : Worlds will shatter

After the "one world one dream" unfaithfulness in Olympics, I am pleased to see the "worlds will shatter" open source trailer video from A Swarm of Angels, an open source collaborative feature film project started by the UK filmmaker Matt Hanson.


Worlds Will Shatter - The Unfold trailer from Nine Orders on Vimeo.

I have been tracking this project on this blog and am looking foreward to the finish work. It sure comes a long way from 2006 to phase 3 here. 1 million pound is not easy but Matt made it.

GNU is 25 years today.

Founder Stephen Fry made this video on this 25th birthday for GNU project that develop free software OS. "Freedom !! " Why is it so important and how you can help.