星期四, 10月 30, 2008

New Media @ Hong Kong Visual Arts Centre

In response to the flourishing of new media to create works which are edgy and contemporary, some ink artists begin to think-out-of-the-box and create works which are beyond two-dimensional. Some young artists even turn their heads to animation as the new media to bring the spirit of Chinese Ink Art forward, since they believe that the incorporation of ink art and technology will open up new possibilities in artistic creation. As a matter of fact, Traditional Chinese Ink Art becomes far more complicated than it used to be, and this makes the appreciation and judgement basing on the long-established aesthetic criteria no longer appropriate. As different from animated works from Japan and the West, Chinese Ink Animation is exquisite, smooth and imbued with meanings carried by the Chinese Ink Painting tradition. At a time when young artists are gaining more exposures in international arenas, contents of new Chinese Ink Animation is not restricted to traditional cultural issues alone, but rather a mix of cultural qualities of the East and the West and the artists' experiences of living in this hybrid society. For it is also a platform for artists to experiment crazy artistic concepts, contemporary Chinese Ink Animation is becoming an art form with eclectic styles. In respect of this exciting new look of Chinese Ink Animation, Moving Ink is the new seasonal theme that includes demonstrations on Chinese Ink Animation and a mini-exhibition of works by Vincent Mak. Through these activities, it is hoped that the audience are presented a new perspective on appreciating Chinese Ink Animation.

Ink Animation Demonstrations

What interactions can we expect when elements of Chinese ink, animation art and computer technology are put together? In four different sessions, new media artist Vincent Mak will demonstrate the art of Ink Animation and shows us how far he can reach out integrating the traditional art medium with the new.

Vincent Mak Shing-fung
Ink Animation
12 mins

Gear City
Vincent Mak Shing-fung
Ink Animation
5 mins

Artist: Mr Vincent Mak (in Cantonese)
Venue: 4/F Multi-purpose Room
No. of participants: 15
Free admission
Dates, time & topics:
15.11.2008 4:30 — 6:30pm Stop Motion Ink Animation
22.11.2008 3:00 — 5:00pm Visual Elements in Ink Animation
29.11.2008 4:30 — 6:30pm Movement and Sound in Ink Animation
06.12.2008 3:00 — 5:00pm Other Types of Ink Animation

Contemporary Art on 5/F
Moving Ink — Works by Vincent Mak

Craziness, out-of-the-box creativity, flexibility are some of the unique characteristics of animation. In the eyes of Vincent Mak, these are the charming qualities that drive him to create animation video works. Since his days in the University, Vincent Mak has been exploring new approaches to reinterpret the traditional Chinese Ink Art with technology. His earlier work, "Somewhere" (2006) demonstrated his determination in combining software and painterly skills in Chinese Ink Art, such as brush strokes, the stylistic composition and the spontaneous movement of water and ink in animation. Mak shows his interests in Traditional Ink Animation and absorbs Chinese cultural contexts in his work, whilst on the other hand, he experiments and plays with contents which mirrors the shocks of being a Generation Y people living in a highly dynamic and internationalized world, as seen in "Somewhere" (2006) and "Gear City" (2007). Moving Ink will display past and present Ink Animation works by Vincent Mak. Through this exhibition, one can see the artist's effort in striking a balance between technology and fine art as well as his commitment in seeking a fresher way out for Traditional Chinese Ink Art in contemporary art.

Date: 1.11 — 31.12.2008 (except Tuesdays)
Time: 4:00 — 9:00pm*

星期三, 10月 29, 2008


13-16 May 2009
Manchester UK

Digital culture burns bright with social connectivity

Futuresonic's acclaimed international conference, the Social Technologies Summit brings 500 opinion formers, futurologists, artists, researchers, technologists and scientists from the digital culture, technology and art communities together around shared issues to do with social media, society, art and the city.

The Social Technologies Summit has prefigured new trends and is a place where important international discussions take place on the latest developments in social media and their implications for society. Discover the small sparks that unfold into new ways of seeing the world and critically explore the latest upgrade affecting
today's digital culture.

It will combine keynotes, critical debates, demos and experiences with open space and participatory sessions, in a fun and engaging event.

Computers have become social interfaces for sharing digital media and collaborating to build online communities and folksonomies. Social technologies create an extension of social space, and new ways for people to come together, meet and share in today's society.

The Social Technologies Summit will explore the new social spaces and the social implications of technologies for the many different kinds of people who make, use and are affected by them. In keeping with the Environment 2.0 theme of Futuresonic in 2009, this year it will also explore the interface between our digital footprint and our environmental footprint, and new thinking on sustainability in a globalised world.

Inviting proposals for talks, presentations, workshops and session themes. Submissions of innovative formats for social interaction and experimentation are encouraged.

Call For Submissions -- Deadline extended 5pm, 3 November 2008

Download an application form / guidelines here:

See also -- A GBP 5000 commission plus many other opportunities are available in the Futuresonic 2008 Art & EVNTS calls for submissions.

星期六, 10月 25, 2008

WALLED GARDEN by Virtueel Platform

by Virtueel Platform
20 & 21 November 2008, Lloyd Hotel, Amsterdam

Virtueel Platform invites you to take part in WALLED GARDEN. This international working conference will approach the development and future challenges of the current Web 2.0 through exploration, experimentation and exchange of knowledge. Our goal: a blueprint for policy makers, funders and practitioners that works towards a public garden.

will address issues of identity, mobile communities and networks by focussing on the tendency towards online gated and closed communities. How does this affect the (in)accessibility of information and knowledge? Now is the time to identify success factors and failures of Web 2.0 and to initiative new tools and strategies for the future Web. Keywords: trust, transparency, accountability, enforcement, privacy, personalization, context-awareness.

Virtueel Platform sows the seeds with lively debates but we need your expertise!

breaks with the traditional conference format. Structured participative group dialogue will be interspersed with inspirational presentations from artists, researchers and technologists. Registration is open until Monday 10 November.

Speakers and moderators

Sessions will be led by international researchers, including:

Bronac Ferran (Royal College of Art, London),
Tom Klinkowstein (Media A, New York),
Tapio Mäkelä (University of Salford),
Erin Manning (Senselab, Montreal),
Aymeric Mansoux (goto10.org),
Sabine Niederer (Institute of Network Cultures, Amsterdam),
Matt Ratto (University of Toronto),
Edward Shanken (University of Amsterdam),
Adam Somlai-Fischer (The Kitchen, Budapest)

Virtual and physical presentations by:

Celia Pearce (Georgia Tech),
mez breeze (_Augmentology 101_ ),
Aenimae (Performing Creativity Platform),
Aymeric Mansoux & Marloes de Valk (Metabiosis),
Tom Klinkowstein and Irene Pereyra (2030 – a day in the life of..) and many more.

Registration closes on 10 November 2008!

If you want to be part of WALLED GARDEN please mail to workshop@virtueelplatform.nl

Since there is a limited number of seats available, a selection process will take place if the quantity of applications succeeds this number. Therefore, please send us a short statement of max 250 words describing why you want to participate and what you would like to gain by taking part.

The fee is 150 euro (students 75 euro) for two days, including lunches and dinner.

About Virtueel Platform

Virtueel Platform
is an independent expertise centre that stimulates innovation and supports knowledge exchange in the field of e-culture in the Netherlands. Virtueel Platform has an international orientation and provides insight in Dutch e-culture for the international cultural community. The Ministry of Education, Culture and Science has given Virtueel Platform the task of supporting interdisciplinary e-culture. Our aim is to encourage new kinds of partnerships, particularly between parties who would not normally work together. The resulting projects then go on to serve as examples of good practice.

星期五, 10月 24, 2008

Creative Commons community outreach

The creativity of Asia's people will be supported and shared thanks to a new long-term strategic partnership between the DotAsia Organisation (DotAsia, www.registry.asia) and Creative Commons (CC).

DotAsia, the not-for-profit registry operator for the ".Asia" Internet top-level domain, plans to commit US$100,000 to Creative Commons in support of its cause, outreach and community efforts in Asia. In addition, DotAsia will contribute time and effort into assisting in the coordination of events, activities of CC's regional chapters and various other socio-technical initiatives, such as a next generation copyright registry project.

The partnership will be announced by the CEO of Creative Commons, Mr. Joi Ito, and Mr. Edmon Chung, the CEO of DotAsia, during the launch ceremony next Saturday afternoon (Oct 25) for Creative Commons Hong Kong (CCHK) at the HKICC Lee Shau Kee School of Creativity, Kowloon, Hong Kong. For more details about the launch event visit: http://hk.creativecommons.org.

星期四, 10月 23, 2008

Kraftwerk Live in Hong Kong: Man and Machine in Perfect Harmony

Live in Hong Kong
5th December, 2008
AsiaWorld-Expo Hall 9

One of the most influential bands in music history, the Godfathers and pioneers of electronic music – Kraftwerk - will be performing at AsiaWorld-Expo Hall 9 on December 5, 2008 for the first time ever in Hong Kong!
The electro pioneers Kraftwerk started their vision of the future nearly forty years ago. They created the masterplan for so many contemporary music styles such as electro – synth pop – trance and techno.

Now in 2008, Kraftwerk have programmed their robots for a multimedia show with computer animation and digital surround sound. Fans will see Kraftwerk performing not only their innumerable hits from the past 40 years but also a multimedia spectacular that promises to delight their loyal army of fans.

The line up for Kraftwerk 2008 Live in HK will be: Ralf Hütter / Fritz Hilpert / Henning Schmitz / Stefan Pfaffe.

The Kraftwerk Story…
Approximately 40 years ago, in the cold, clean recesses of one Kling Klang studio laboratory located in Düsseldorf, Germany, a collective that called itself Kraftwerk began churning out from an assortment of electronic equipment and their own secret inventions what they termed “machine music”, the likes of which had never been heard before. Cold, precise, minimal, repetitive and almost wholly electronically-processed, this new brand of stiff was released on an unsuspecting public in the 70s, and pop music was never the same again…
Beginning as a duo in Germany’s late 60s experimental music scene and evolving into a notoriously reclusive synth-pop quartet in the mid 70s, Kraftwerk is today both an institution and an enigma. The group that once expressed an intention to “make music that sounded like Germany” has had its distinctive sound – drum machine beats, synths, vocodered vocals – copied and sampled by musicians such as David Bowie, Depeche Mode, Joy Division, New Order, Art of Noise and Afrika Bambaataa across genres from techno and new wave to rock and hip-hop.
Strikingly antiseptic and yet strangely compelling, Kraftwerk’s spare melodies, precise programming and curiously facile lyrics (“Radioactivity is in the air for you and me”) reveal a deadpan humour and an appreciation of the absurd. Experienced live, a Kraftwerk show is a perfectly synchronised visual spectacle with four besuited guys (and their robot doubles) standing quite still behind consoles onstage, against a backdrop of perfectly synchronized visual projection, lights, robotics and pure theatre.

Tickets: HK$680 (All Standing)
Tickets on sale at 10am – October 30 , 2008 at HK Ticketing and
Tom Lee Outlets
Booking Hotline: (852) 31-288-288
Online Booking: www.livenation.asia / www.hkticketing.com
General Enquiries: (852) 2989 9239

星期四, 10月 16, 2008

James Nachtwey awarded TED prize for work on War and disease

photo from wikipedia
Last year, acclaimed war photographer James Nachtwey was honored with the 2007 Technology, Entertainment, Design (TED) Prize for his work documenting images of war, disease and political unrest across the globe for over 25 years. Along with President Bill Clinton and Harvard biologist E.O. Wilson, Nachtwey was awarded $100,000 to help him bring "one wish to change the world" to fruition.

James' wish was to share an underreported worldwide story, prove the power of news photography in the digital age and raise awareness about a global health issue that has the potential to become a worldwide pandemic — Extensively Drug-Resistant Tuberculosis (XDR TB).

Nachtwey will unveil the images of the disease he hopes to combat at a special screening at Jazz at Lincoln Center in New York City. His poignant images will be used to offer awareness about the worldwide spread of tuberculosis through a multimedia campaign on all seven continents, in 50 cities around the globe, and across the web. You can find out more information about screenings and the images at www.xdrtb.org.

The webpage said "creating awareness of extremely drug resistance TB".

I just X-Rayed two walk in patients with active TB tonight, they are coughing all along and their radiographs show the disease, it is scary, we are so close to it.

星期日, 10月 12, 2008

Damien Hirst - Beautiful Inside My Head Forever London September 15 & 16, 2008

The remarkable success of the Damien Hirst auction, Beautiful Inside My Head Forever, has raised several questions about the relationship between the financial markets and the art market. The surprisingly strong numbers have also caused many to wonder about the state of the art market itself. But the results of the sale are quite plain on the subject of Damien Hirst and his stature as a contemporary artist.

This report cannot make arguments about whether the Hirst auction is or is not representative of the art market as a whole or even indicative of the Contemporary art market. But it can draw some important conclusions about the history of the Hirst market.

星期三, 10月 08, 2008

Act/React: Interactive Installation Art Makes its World Premiere at the Milwaukee Art Museum

Playful, intuitive, first of its kind—Act/React: Interactive Installation Art makes its world premiere at the Milwaukee Art Museum October 4, 2008–January 11, 2009. Showcasing a growing body of contemporary art that is visitor dependent—without the use of specific interfaces like keyboards or touchscreens—this exhibition of motion-driven installation art empowers guests to exercise their creativity and act on their curiosity. Act/React features the work of six pioneers of responsive art, including an Academy Award-winning Jurassic Park special effects designer, in the Museum’s Santiago Calatrava-designed Baker/Rowland Galleries.

Imaginatively diverse in both form and function, each of the ten environments in the 10,000-square-foot exhibition space is designed to constructively respond to the physical presence of visitors. There is a table that speaks when touched (Janet Cardiff, To Touch, 1994), a floor of projected, colorful forms that reconfigure in the wake of passing visitors (Brian Knep, Healing Pool, 2008), and walls of painterly projections that respond to “brushstrokes” of human movement (Camille Utterback, External Measures 2003, 2003; Untitled 5, 2004; Untitled 6, 2005). Liz Phillips contributes a room of responsive neon lights and synthesized sound (Echo Evolution, 1999), while Daniel Rozin’s Peg Mirror (2007) and Snow Mirror (2005) configure and reflect captivating portraits. Scott Snibbe’s Boundary Functions (1998) and Deep Walls (2003) bring visitors together in works that require more than one participant.

“If in the last century the crisis of representation was resolved by new ways of seeing, then in the twenty-first century the challenge is for artists to suggest new ways of experiencing. Through interactivity, contemporary artists mirror, distort, and confuse the audience’s experience not of representation but of reality itself,” notes guest curator George Fifield, founder of the renowned Boston Cyberarts Festival. “This is contemporary art about contemporary existence.”

Act/React is guest curated by George Fifield, founding director of Boston Cyberarts, Inc., and coordinated at the Milwaukee Art Museum by Curatorial Assistant John McKinnon.

星期一, 10月 06, 2008

Free Culture and free society: Lecture by Lawerence Lessig

The Inaugural Lee Shu Pui Leung Wai Hing 利樹培梁蕙卿 Distinguished Lecture on the Media
Friday, October 24, 2008
5:00pm - 6:30pm
Wang Gungwu Theatre, Graduate House
The University of Hong Kong, Pokfulam Road
Hong Kong, Hong Kong

PLEASE REGISTER AT http://hk.creativecommons.org/events/oct24-lecture/

About Prof. Lessig:

Professor Lawrence Lessig is the world’s foremost authority on copyright and intellectual property issues, a visionary seeking to reconcile creative freedom with marketplace competition. A leading authority on cyber law, he has focused his scholarship on the problem of how law should govern the exchange of information and ideas in a digital age. He is also a strong advocate of social institutions that would unleash the creativity impulses at all level of society.

Professor Lessig is the founder and co-director of Stanford law school’s Center for Internet and Society, chair of the Creative Commons project, and a fellow of the American Academy of Arts and Sciences.

He has taught at University of Chicago Law School and Harvard Law School. After completing his legal studies, Professor Lessig clerked for Justice Antonin Scalia, of the U.S. Supreme Court and Judge Richard Posner of the U.S. Court of Appeals for the Seventh Circuit.

Professor Lessig is the author of Free Culture (2004), The Future of Ideas (2001), Code and Other Laws of Cyberspace (1999) and Code 2.0 (2006). He chairs the Creative Commons project, and serves on the board of the Free Software Foundation, the Electronic Frontier Foundation, the Public Library of Science, and Public Knowledge. He is also a columnist for Wired.

For more information about Creative Commons:
* Creative Commons website http://creativecommons.org/
* Creative Commons Hong Kong website http://hk.creativecommons.org/

星期四, 10月 02, 2008

Asia Art Forum- lectures starting October

Arthub is delighted to support a new educational initiative, Asia Art Forum- a dynamic series of lectures, featuring respected members of the Chinese contemporary art world discussing the emergence and historical development of Chinese contemporary art and its cultural institutions, as well as issues pertaining to the collection and market of Chinese art.

 For the first time, this dynamic and fast changing period of Chinese art history will be unpicked and laid out, enabling a steady assessment and understanding of these extraordinary developments. Taking 1978 as its starting point the course will move forward chronologically focusing on key movements, specific groups and significant exhibitions that form the backbone of this startling rise in Chinese contemporary art. To date, Beijing has always been the focus of any study of contemporary Chinese art history, this course will redress the balance, shifting the focus to include the significant role played by Shanghai&r squo;s artists and art scene.

Fostering direct encounters with leading members of the Chinese contemporary art world, the program offers a privileged access to first-hand information on subjects relating to the Chinese contemporary art history and the collection of art. The forum encourages the exchange of ideas by means of guest lectures and personal contact with the lecturers and other guests, and will provide a unique opportunity to art professionals, collectors and enthusiasts to study the history of Chinese contemporary art.

Each two-hour seminar will take place in varying locations across Shanghai, either leading galleries or museums and will be presented by some of the most prominent experts in the field.

The course will be supplemented by with private gallery visits and specially organised social events which will provide informal meetings with leading gallerists, artists and critics at the forefront of Shanghai’s art scene.

Asia Art Forum is an educational initiative in collaboration with Arthub, produced by Pippa Dennis, with consultation from Defne Ayas and Davide Quadrio. Arthub has supported Asia Art Forum on framework, educational content, and scholarship.

Programme to include:
• Chinese Aesthetics: a background to Chinese Art History
• Birth and Rise of the Avant Garde: 1979-1989
• Turning Abstract: Shanghai Art from 1976 to 1985
• Political Pop: Post Tianamen Trends and the Ascent of Painting
• The Rise of Shanghai: Experimental Exhibitions, the Shift from Painting to Photography, Video, and Installations
• Sensation to Legitimization
• Performance and New Media in China
• Art Market Trends and ‘What’s Next?’

Speakers to include:

Philip Tinari
is a writer and curator based in Beijing. He is Contributing Editor of Artforum, and founding editor of artforum.com.cn, the magazine’s Chinese-language website. His writings have appeared in publications including The New York Times Magazine, Parkett, The Wall Street Journal, and the Chinese journal Dushu, as well as exhibition catalogues for museums including the Guggenheim and the Serpentine Gallery. He is China Advisor to Art Basel. In 2007, he founded Office for Discourse Engineering, an editorial studio focused on publishing and translation related to Chinese contemporary art.

Karen Smith
has been in Beijing since 1992 researching Chinese contemporary art. She is the author of Nine Lives: The Birth of Avant-Garde Art in New China and the forthcoming monogrpah on Ai Weiwei. Her curatorial work includes The Real Thing at Tate Liverpool, 2007; The Chinese, Kunstmuseum Wolfsberg, Germany, 2004; and Illumination; Ai Weiwei and Tibetan Plateau, Beijing Girls: Liu Xiaodong both at Mary Boone Gallery, 2008.

Davide Quadrio, co-founder of BizArt, China’s first not for profit art centre, and creator of Arthub, apan Asian arts organisation that supports mobility, research and process based artistic work in Asia and the Middle East. He is based in Bangkok and Shanghai and works as art director, curator and educator committed to supporting artistic endeavours crossing the boundaries between east and west.

Defne Ayas is based in Shanghai since 2005, and working as an art history professor at New York University in Shanghai and as a program consultant to Arthub, serving China and the rest of Asia. Ayas is also curator of PERFORMA, the biennale of visual art performance with base in New York City, where she spends part of the year. Prior to joining PERFORMA, where she has been developing and presenting performances since its inception in 2004, Ayas worked as the Education and New Media Programmer at the New Museum of Contemporary Art in New York.

Zhao Chuan is a writer, theatre director and critic. He writes arts columns and regularly publishes in major newspapers and the art press in mainland China and Taiwan. He’s the guest lecturer in the ChinaArt Academy and New York University’s Shanghai Center. His book Shanghai Abstract Story was published in 2006.

Michelle Blumenthal is an art specialist based in Hong Kong and Shanghai. She originally trained in Chinese traditional porcelain, ceramic, textiles and furniture, later moving into Chinese contemporary art as a curator and art consultant. Her specific area of expertise focuses on the development of Chinese abstract art from the late 1970’s.

Course I
designed for Shanghai residents
21 October – 2 December 2008
8 weekly sessions, Tuesday evening, 7.30 – 9 pm

Course II
designed for non-Shanghai residents
21 November – 23 November 2008
3 day course, daily, 9-12am and 2-4pm
Both courses will cover the same topics with the aim that Course II will enable overseas people to take advantage of this singular opportunity.

Course I 8,000 RMB (due on registration)
Course II 8,000 RMB (due on registration)
15% of all profits donated to Arthub, a non profit art and cultural organisation that promotes contemporary art creation in China and Asia.

For more information please contact:
Pippa Dennis
M (China) +86 138 1611 7193

Maria Turke
M (China) +86 131 2791 4091