Pop op o Pe 普奧普阿比

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

2011-01-16T17:00:00.000+08:00

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

CREATIVE TIME

2010-10-04T01:41:00.001+08:00

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

Performance art is dead - China.org.cn

2010-09-18T12:28:00.000+08:00

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

Flipboard for iPad

2010-09-17T08:25:00.000+08:00

Flipboard for iPad

Best in Vienice Bienniel of architecture

2010-09-10T08:12:00.001+08:00

3D Porn: Up Close and a Little Too Personal Porn + Perversions: Details.com

2010-08-12T23:23:00.002+08:00

3D Porn: Up Close and a Little Too Personal Porn + Perversions: Details.com

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

2010-08-01T20:02:00.002+08:00

American artist and filmmaker Lynn Hershman Leeson has been awarded the 2010 d.velop digital art award [ddaa].   Given biannually by the Digital Art Museum [DAM], Berlin, Germany, this international prize honours an artist’s lifetime achievement in the field of new media.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Hong Kong a desert for new media art? New gallery I/O an oasis – interview « Art Radar Asia

2010-07-31T13:35:00.000+08:00

This is probably the last interview of I/O manager Rachel as she left HK already.

Hong Kong a desert for new media art? New gallery I/O an oasis – interview « Art Radar Asia

Body Films: New Approaches to Medicine and Film

2010-07-12T06:55:00.003+08:00

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

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

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

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

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

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

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

Hong KOng Documentary Festival

2010-07-02T02:24:00.004+08:00

Data is fascinating

2010-07-01T22:53:00.000+08:00

Nature by Numbers from Cristóbal Vila on Vimeo.

《民間地圖志》Shifting Topography

2010-05-27T19:17:00.002+08:00

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

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

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

Venue
HANART SQUARE - 2/F Mai On Industrial Building, 17-21 Kung Yip Street, (off Tai Lin Pai Road, Kwai, Hing) Kwai Chung (near Kwai Hing MTR station)
新界葵涌（由大連排道）工業街17-21號美安工業大廈

二樓(近葵興港鐵站)

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

民間地圖志
張頌仁

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

香港思維中印鑴了各種藍圖，包括股市走勢圖，商場的物慾分佈圖，街區的童年生活記憶圖。這些圖是各人規劃世界，認識世界的藍圖。此外，在香港，風水學已被領入大廈單位內，以便升斗小民都能夠分辨凶吉，避剎求福。所以要觀察龍脈氣運，即使不登扯旗山不遊獅子山亦無傷大雅。

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

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

2010

Shifting Topography
Chang Tsong-zung

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

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

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

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

Unruly Chinese visitors hurl 'Nazi' insults outside German pavilion at Shanghai Expo - Shanghaiist

2010-05-23T11:35:00.000+08:00

Unruly Chinese visitors hurl 'Nazi' insults outside German pavilion at Shanghai Expo - Shanghaiist

New Director at The 54th Venice International Art Exhibition

2010-05-19T23:12:00.003+08:00

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

New Sensory Perception for Possible Realities

2010-05-10T04:48:00.000+08:00

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

true /本当のこと (真的)
a new sound, light, dance performance – a new media experience
新媒體‧聲音‧燈光‧舞蹈聯動演出

18-20.06.2010 (五至日 Fri-Sun) 8pm
香港文化中心劇場
Studio Theatre, Hong Kong Cultural Centre
$250, 180

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

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

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

2010-05-10T04:40:00.002+08:00

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

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

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

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

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

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

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

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

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

SERVICE DESIGNING HIGHER EDUCATION

2010-04-05T21:30:00.000+08:00

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

http://tiny.cc/atdlr
http://www.creativewaves-coten.com/project/

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

2010-04-04T14:24:00.005+08:00

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

2010-04-04T10:55:00.001+08:00

从电影看：当代艺术的电影痕迹与自我建构
Looking Through Film: Traces of Cinema and Self- Constructs in Contemporary Art

主办：何香凝美术馆OCT当代艺术中心
Organizer：OCT Contemporary Art Terminal of He Xiangning Art Museum
策划人：董冰峰、杜庆春、黄建宏、朱朱
Curators: Dong Bingfeng, Du Qingchun, Chienhung Huang, Zhu Zhu
开幕式：2010年4月10日18：00
Opening: 10th April , 2010, 6:00pm
展期：2010年4月10日—6月10日
Dates: 10th April to 10th June, 2010
主题论坛/Themed Forum
2010年4月11日 10:00—12：00，14：30—17：00
Dates：11th April, 2010，10:00am-12:00am, 2:30pm-5:00pm
v

TIME TO START TAKING THE INTERNET SERIOUSLY

2010-03-18T03:09:00.004+08:00

The Internet's future is not Web 2.0 or 200.0 but the post-Web, where time instead of space is the organizing principle — instead of many stained-glass windows, instead of information laid out in space, like vegetables at a market — the Net will be many streams of information flowing through time. The Cybersphere as a whole equals every stream in the Internet blended together: the whole world telling its own story.

more :http://www.edge.org/q2010/q10_index.html

Short Shot on Flatbed Scanner Screens at Disposable Film Fest | Underwire | Wired.com

2010-03-04T08:17:00.000+08:00

Short Shot on Flatbed Scanner Screens at Disposable Film Fest | Underwire | Wired.com

Julius Popp's bit.fall

2010-02-21T21:27:00.005+08:00

In Multiplex festival that explores nature and technologgy :

Collaborative Futures

2010-02-13T01:22:00.003+08:00

I bought this book in the Transmediale.It is an interesting book with an interesting process.
via

This book was written over 5 days (Jan 18-22, 2010) during a Book Sprint in Berlin. 7 people (5 writers, 1 programmer and 1 facilitator) gathered to collaborate and produce a book in 5 days with no prior preparation and with the only guiding light being the title 'Collaborative Futures'.

These brave collaborators were: Mushon Zer-Aviv, Michael Mandiberg, Mike Linksvayer, Marta Peirano, Alan Toner, Aleksandar Erkalovic (programmer) and Adam Hyde (facilitator).
.......During this first day we relied heavily on traditional 'unconference' technologies – namely colored sticky notes. With reference to Unconferences we always need to tip the hat to Allen Gunn and Aspiration for their inspirational execution of this format. We took many ideas from Aspiration's Unconferences during the process of this sprint and we also brought much of what had been learned from previous Book Sprints to the table.

First, before the introductions, we each wrote as many notes as we could about what we thought this book was going to be about. The list consists of the following:

* When Collaboration Breaks.
* Collaboration (super) Models.
* Plausible near and long term development of collaboration tech, methods, etc. Social impact of the same. How social impact can be made positive. Dangers to look out for.
* Licenses cannot go two ways.
* Incriminating Collaborations.
* In the future much of what is valuable will be made by communities. What type of thing will they be? What rules will they have for participation? What can the social political consequences be?
* Sharing vs Collaboration.
* How to deconstruct and reassemble publishing?
* Collaboration and its relationship to FLOSS and GIT communities.
* What is collaboration? How does it differ from cooperation?
* What is the role of ego in collaboration?
* Attribution can kill collaboration as attribution = ownership.
* Sublimation of authorship and ego.
* Models of collaboration. Historical framework of collaboration. Influence of technology enabling collaboration.
* Successful free culture economic models.

Then each presented who they were and their ideas and projects as they are related to free culture, free software, and collaboration. The process was open to discussion and everyone was encouraged to write as many points, questions, statements, on sticky notes and put them on the wall. During this first day we wrote about 100 sticky notes with short statements like:

* "Art vs Collaboration"

* "Free Culture does not require maintenance"

* "Transparent premises"

* "Autonomy: better term than free/open?"

* "Centralised silos vs community"

* "Free Culture posturing"

...and other cryptic references to the thoughts of the day. We stuck these notes on a wall and after all of the presentations (and dinner) we grouped them under titles that seemed to act as appropriate meta tags. We then drew from these groups the 6 major themes. We finished at midnight.

Day two – 10.00 kick off and we simply each choose a sticky note from one of the major themes and started writing. It was important for us to just 'get in the flow' and hence we wrote for the rest of the day until dinner. Then we went to the Turkish markets for burek, coffee and fresh Pomegranates.........

I think the result is really a success. Bravo.

It may be sad to ask if there is collaborative futures in the Chinese speaking world.

Brian Eno's Music for Airports: New Audio-Visual Counterpoint

2010-01-30T12:01:00.006+08:00

I went to the performance last night, I assured you there is no Brian Eno in person but may be in spirit:

Brian Eno's Music for Airports
New Audio-Visual Counterpoint
Welcome on board airline CM! Fasten your seat belts as members of the Hong Kong New Music Ensemble takes you through a sample-infused electro-acoustic soundscape. Riveting electronic symphony and live video projections will reconstruct the old Kai Tak Airport - the real and the imagined - in this audio-visual portrait of a disappearing city.

Five of Hong Kong's best experimental musical talents will pay tribute to the Godfather of electronic music - experimentalist Brian Eno, whose Music for Airports single-handedly invented the genre that is now known as ambient music. This is certainly an experimental music mega event that you do not want to miss!

Refresh your ears with a CM hand-picked mix of experimental audio-visual compositions that promises to extend your horizon way beyond the cruising altitude.

Programme
Gaybird- The grid of elasticity II
Aenon Loo- Towards the Air
Tang Lok Yin- Clarinet Duet
Nerve (Steve Hui)
Aeolian FX -- Airport
Choi Sai Ho (S.T.)-Ten
Brian Eno, arr. Nerve
Music for Airports – new electro-acoustic arrangement *
* World Premiere
Live performance
Hong Kong New Music Ensemble
Video Artists: Adrian Yeung, Silas Fong
Set and Lighting Design: Priman Lee
Contemporary Musiking (CM)Artistic Director: Samson Young
Today's Platform for Contemporary Music
Founded in 2007, is a Hong Kong-based arts organization that is solely devoted to the promotion and creation of contemporary music and experimental music. Since its inception, CM has impressed local and overseas audiences with its daring programming and highly experimental productions that merge contemporary music with technology and new media. Past productions include Electric Requiem: God Save the Queen, in collaboration with the City Chamber Orchestra of Hong Kong ; Hong Kong Explode, a multimedia rendition of Bach's classic Two Part Invention, re-arranged for New York's DITHER electric guitar quartet; and Box of Revelation, a unique performance of Messiaen's epic Quartet for the End of Time that is housed inside of a Facebook-inspired interactive installation, staged by members of the Hong Kong Sinfonietta.

CM believes in contemporary music as a relevant performing art form, and sees the desperate need for a forward-looking platform for musical experiments in Hong Kong. CM regularly invites overseas musicians to collaborate with local composers. In addition, through its strategic partnership with arts organizations across genres, CM provides a cross-disciplinary, multi-media platform for composers to experiment, explore and expand.

Comparing to the computer music performance 5 years ago by the sound and vision people, it is much more attractive to see real muical instrument than wires and plugs. The music itself is still quite middle of the road- not pop and melodic, not heavy sound and noise, not too complex orchestrated layers and loops, the night performance was mostly minimal and non- rhythmic. "Experimental", "Fusion" ,"Audio Visual" may be the formula for new music. Most video are sleek and good looking but really lack the variation and development to bring it to the front, so now it is remain aas the background for the music.

A panel discussion organized by the Legislative Assembly of the Emilia Romagna Region, Italy

2010-01-23T22:50:00.006+08:00

Do you still ask the big question? Do you still explore life, reality, dreams, form in the practice of art ? Will the extra spectator actually ruins the path of converging life and art? Should art stay as a personal and internal dialogue ? Or a dialogue with other artists?

During Arte Fiera Art First, Bologna
In collaboration with LaRete Art Projects

For some decades, the traditional relationship between spectator and artwork is no longer the only one an artist establishes with his audience.

Since the beginning of the second half of the 20th century artists have cancelled the boundries between themselves, their work and the audience. After Fluxus, Happening and the so-called 'Relational Aesthetics' of the Nineties, art and everyday life have become so closely intertwined, that it is sometimes hard to distinguish one from the other. Numerous scholarly publications have been written on this kind of crossover. During his lifetime, Joseph Beuys expanded the definition of "being an artist" almost universally. The involvement of persons who don't consider themselves artists, or at least not in the first place, for many artists remains a challenge which presents itself continuously in new forms. The intention is to include larger groups of people, not only in the reception of art, but also in artistic production, which leads to the creation of new creative communities.

The Legislative Assembly of the Emilia Romagna Region in Bologna, Italy, has decided to support this kind of artistic endeavor with a biannual art award. The intention is not only to support an artistic production beyond market strategies, but also to stimulate a source of inspiration for participatory techniques which help create involvement, useful for citizens and politicians.

At Arte Fiera Rudolf Frieling, Alfredo Jaar and Bert Theis, moderated by Julia Draganovic, the curator in charge to develop this art award, will discuss with Monica Donini, President of the Legislative Assembly of the Emilia Romagna Region, the opportunities, limits and challenges of participatory art practices and ways in which they can help create and develop a new, shared sense of belonging to a community.

Rudolf Frieling is curator of media arts at the San Francisco Museum of Modern Art and Adjunct Professor at the California College of Art and the San Francisco Art Institute. From 1994 to 2006 he was a curator and researcher at the Center for Art and Media (ZKM) in Karlsruhe, Germany. His curatorial and editorial projects include "Media Art Net" and "40yearsvideoart.de" both at ZKM and at SFMOMA most recently "In Collaboration" and "The Art of Participation: 1950 to Now", a survey of historic and contemporary participatory concepts.

Alfredo Jaar is an artist, architect, and filmmaker who lives and works in New York. His work has been shown extensively around the world. He has created more than fifty Public Interventions around the world. He has participated in the Biennales of Venice (1986, 2007), São Paulo (1987, 1989), Sydney (1990), Istanbul (1995), Kwangju (1995, 2000), Johannesburg (1997), and Seville (2006), as well as Documenta (1987, 2002) in Kassel. Important individual exhibitions include the New Museum of Contemporary Art, New York (1992); Whitechapel, London (1992); Museum of Contemporary Art, Chicago (1992); Moderna Museet, Stockholm (1994); Museum of Contemporary Art, Rome (2005); Fundación Telefónica, Santiago (2006); Musée des Beaux Arts, Lausanne (2007); Hangar Bicocca and Spazio Oberdan, Milan (2008).

Bert Theis, artist and curator, born in Luxembourg 1952, based in Milan since 1992. Co-founder of the long-term collective projects out-Office for Urban Transformation and Isola Art Center in Milan. Bert Theis is a creator of platforms that are open to participation and self-managed activities. He has had exhibitions in several museums, build installations in public space and taken part in international art events like the Venice Biennale 1995, Sculpture Projects Münster 1997, Arte all'Arte 1998, Manifesta 1998 and numerous other biennials in Europe and Asia. In 2009 he curated Territoria 4, a project of the Province of Prato, Italy.

Information:
http://assemblealegislativa.regione.emilia-romagna.it/
http://www.larete-artprojects.net

email:
alrelistituzionali@regione.emilia-romagna.it
info@larete-artprojects.net

During Arte Fiera and in collaboration with LaRete

Breakfast is served automatic...

2010-01-21T15:52:00.005+08:00

Rube Goldberg style:

A Proposition by Hans Ulrich Obrist: Maps of the 21st Century

2010-01-13T23:08:00.003+08:00

Again Hans Ulrich Obrist :
The Maps for the 21st Century project consists in an invitation to artists in which the submission guideline is as minimal as possible: how one perceives a map of the twenty-first century. Following the Formulas for Now book, this ongoing project responds to an urgent need to chart this first decade of a century characterized by increasing displacement, migration, and globality.

Propositions is a public forum that explores ideas in development. Each two-day seminar explores a topic of current investigation in an invited speaker's own artistic or intellectual practice. Over the course of a seminar session, these developing ideas are presented to the public, responded to, "researched," and discussed to uniquely propel the ideas forward.

Propositions is part of the Museum as Hub initiative, a laboratory for art and ideas realized through a partnership of five international arts organizations that includes Insa Art Space, Seoul; the Museo Tamayo Arte Contemporáneo, Mexico City; the Townhouse Gallery of Contemporary Art, Cairo; and the Van Abbemuseum, Eindhoven. The initiative seeks to support art activities and experimentation; explore artistic, curatorial, and institutional practice; and serve as an important resource for the public to learn about contemporary art from around the world.

Error is art

2010-01-11T02:07:00.007+08:00

Recently my site was bombarded with a lot of spam. Every new post is attracting a lot more. I think it is time to change.
I recently join this station. They have great programs and play many favorite artists of mine. Check them out.

The Arts and Social Media: From Experiment to Strategy

2009-12-05T10:57:00.001+08:00

Check out this SlideShare Presentation:

The Arts and Social Media: From Experiment to Strategy

View more presentations from CAMT.

Art and culture app. for iphone

2009-12-05T10:45:00.001+08:00

We need one for Hong Kong.

art . ware

2009-11-22T13:58:00.002+08:00

International Seminar De Balie, Amsterdam

2009-11-22T03:50:00.002+08:00

Critics Floating in the Virtual Sphere

Will Art Criticism Survive the Digital Age?
Organisation:
AICA Netherlands - Association Internationale des Criticques d’Arts
De Balie - Centre for Culture and Politics

Wednesday December 9, 2009, 14.00 - 17.00 hrs (CET)
Doors open: 13.30
Live webcast:
wwwdebalie.nl/live

The digital revolution has profound effects on the status of art criticism. With newspapers and other printed media in decline, the traditional platform for critical reflection on art has shrunk or shifted towards electronic (web-based) media. At the same time the presence of art criticism on the internet is mostly limited to the “blog” – a format that celebrates an impressionistic, subjective and often populistic point of view. More substantial forms of web-based criticism are still rare to be found.

Speakers:
Georg Schöllhammer, editor in chief of Springerin and curator of the Documenta 12 Magazines project.
http://magazines.documenta12.de/frontend/
Regine Debatty, writer and editor of we-make-money-not-art.com.
www.we-make-money-not-art.com/
Arjen Mulder, writer and media theorist.
Jennifer Allen, art critic.

Moderator:
Maria Hlavajova (Basis voor Aktuele Kunst Utrecht)

Society of the Query Conference

2009-11-09T00:08:00.007+08:00

I find it very tiring to reply to every email,greet all friends in FB and make sure I get the right news first. I found I was depressed when I lost mu iphone the other day, not because it is expensive but because I was push out of the online world since then.
I hated it when my phone was offline now all the time and I cannot track it down using the .mac account. I sent out the erased all instruction yesterday. I will forever lost my iphone. Requiem.

Here is a piece of new that I missed :
The need to create order and find meaning in the gigantic quantity of online data has turned the search engine into our most significant point of reference. In this query driven society, The Society of the Query conference seeks to analyze what impact our reliance on resources to manage knowledge on the Internet has on our culture.
They have a fabulous speakers line up including : Matthew Fuller (UK), David Gugerli (CH), Siva Vaidhyanathan (US), Florian Cramer (NL), Lev Manovich (US), Christophe Bruno (FR), Joris van Hoboken (NL) and Teresa Numerico (IT).
Hey wait no IT people and google people....arty, media culture policy people talks about search engine, it is cool.

Date: November 13-14 2009
Location: Trouw Amsterdam, Amsterdam
Organized by: Institute of Network Cultures
Website: www.networkcultures.org/query/about.

Blogfest Asia

2009-11-07T16:19:00.003+08:00

Bloggers in Asia -- Come Together

6~8 November 2009

Henry Leong Community Center, Yau Ma Tei, Hong Kong

Come join the festival of bloggers in Asia.

1st regional gathering in Hong Kong.

Everyone is welcome!

Highlights:

· Meet bloggers from 20 countries / economies in Asia
· Learn how "Me Media" is making Asia 2.0, addressing "Change & Responsibility"
· Voice out for Hong Kong & for Asia! - 2009 Hong Kong Blogger Con (www.hkbloggercon.asia)
· Free workshops for NGOs and New Media advocates

Featuring :

· ABCA awards
· Charlesc sharing the success of Ma Ying Jeou election utilizing Web 2.0 (netvism.tw)

REGISTER NOW! @ www.blogfest.asia

Contemporary Art: Who Cares?

2009-10-31T12:47:00.004+08:00

I think quite in line with the theme of October Contemporary in Hong Kong, we are all asking who want Contemporary art.

Registration will start in November 2009.

Contemporay Art: Who Cares? will take place at the Royal Tropical Institute (KIT) in Amsterdam from 9 - 11 June 2010. Participants are also welcome at the pre-symposium reception on the evening of the 8th of June.

Tickets to the three-day international symposium will cost:
€ 290
€ 160 for students
Included in the price of the ticket is a copy of the book Inside Installations (working title), which is due for launch in March 2011.

The programme is being created in collaboration by a group of experts from 34 organisations who are working together under the umbrella project PRACTICs. Most of these individuals worked together during the EU project Inside Installations (2004-2007). For more information about PRACTICs follow this link.

Co-organisers of the symposium would like to point out that there will be no call for papers, but there will be a call for posters. This is expected to be sent out in November 2009.

CA:WC will feature plenary lectures as well as a choice of circa 10 parallel sessions per day; discussions, workshops and site visits. There will also be time allocated to poster presentations and networking sessions. The themes for the congress are as follows:

Day 1: Artistic production and collection development

Day 2: Care & conservation

Day 3: Access, presentation & the public

More details on the programme will be posted alongside registration information in November.

If you have any questions about the Contemporary Art: Who Cares? symposium please send an email to contemporaryartwhocares@gmail.com

Hong Kong Lesbian & Gay Film Festival Fund Raising Party

2009-10-27T00:38:00.001+08:00

Announcement:
Hong Kong Lesbian & Gay Film Festival Fund Raising Party
Date: 22 October 2009 (Thursday)
Venue: Kee Club - 6F 32 Wellington Street, Central
Time: 9:00pm - midnight
Entry Fee: HK$150.00 (In advance), HK$200.00 (At the door)
Both ticket include 1 complimentary drink
Dress Code: Glamour and Sparkle (No shorts or open toe footwear for men)
Tickets hotline : 60422068, 90941314, 97598199 or email to info@hklgff.hk.
Tickets also available at:
1. DS Magazine Office (3150-8912), 2/F Qualipak Tower, 122 Connaught Road West, Sai Ying Pun
2. KEE ( 2810 9000) KEE Club, 6th Floor, 22 Wellington Street, Central
3. Private Structure (2777-7917), 6/F Ko Wah Bldg, 69 Prcival St, CWB

HORS PISTES 2010 - CALL FOR ENTRIES

2009-10-25T17:32:00.003+08:00

Deadline: November 15th, 2009.

The HORS PISTES film festival offers a showcase to unique and audacious videos and films that move away from traditional genres to blend fiction with documentary, contemporary art or experimental formats. The festival, which is non competitive, will be held from February 19th to 28th, 2010, at the Centre Pompidou.
The deadline for entries is November 15th, 2009.

SUBMISSIONS
• Any international 25-65 minutes length work completed after January 2008 is eligible for entry.
• No submission fee is required (or requested).
• Works may be screened in theatre in either 16 or 35 mm film format or in Beta or mini DV video.
• DVD of the work is to be sent – accompanied with a DVD copy of the film – imperatively accompanied by the sender’s contacts – at:

Centre Pompidou, services Cinemas
HORS PISTES
75191 Paris CEDEX 04, France

Note: Works in languages other than French or English must be subtitled in English.

• By taking part in the festival, participants automatically and fully accept all stipulated terms and conditions. The projection of a selected film may not be cancelled by its owner or anyone having rights to this film.

WORK SELECTION
• Works are pre-selected by the organising committee and then shown in a large screen theatre to a selection committee, composed of program planners of the Centre Pompidou (from the Direction du développement culturel service cinema and the Musée national d’art moderne) as well as a member of the Agence du court métrage. The selection committee is not required to justify its decisions.
• Participants whose work has been selected are notified by e-mail no later than February 15, 2010.

PROJECTION OF SELECTED WORKS
• Film copies must be of sufficiently good quality for theatre screening. Any defects or special instructions concerning copies should be mentioned in writing and accompany the submission.
• Every copies of the selected works must be received by HORS PISTES no later than February 1st, 2010.
• Shipment of the copy both to the festival and back to its sender is paid for and organized by HORS PISTES.
• HORS PISTES is responsible for the film copy from the time it leaves the sender until the copy is finally returned. Should the copy be lost, stolen or damaged, HORS PISTES will reimburse any costs related to producing an identical replacement copy, based on a comparison of net prices in different countries.
• Any claims relating to the state of the film copy must be addressed to HORS PISTES no later than 14 days after the festival closes.
• A royalty fee of €100 (before tax) will be paid to the owner of the work.
• When HORS PISTES is travelling the owner accept the diffusion of the film and will be paid €100 also.

ATTENDING THE FESTIVAL
• Travel and accommodation expenses of participants wishing to attend the festival may be paid for, partially or totally, by HORS PISTES, at the discretion of the organization.
• All participants will be invited to an HORS PISTES dinner event during the festival.
• Participants agree to attend one of the discussion panels organized during the festival.

The first ‘crowd sourced’, ‘user generated’ biennale

2009-10-14T00:22:00.003+08:00

Opening Amsterdam Biënnale 2009 + Mediamatic Travel
Friday 16 october 2009, 20 hrs.
Exhibition open until 13 december 2009

The Amsterdam Biennale 2009 is the first ‘crowd sourced’, ‘user generated’ biennale in the world. More than 30 curators from the Mediamatic Travel network present contemporary art from their city.

The exhibition opens on Friday with the pavilions of Kabul, Napels, Amsterdam, Melbourne, Belgrade, Boston, Talinn and Brooklyn. We will have weekly openings of new pavillions untill the end of the exhbition.

The Biennale is a part of Mediamatic Travel, our new travel-office to the contemporary art worldwide. Friday travel.mediamatic.net will go on-line and with Partizan Publik we will present, the Travel Catalogue Destinations 2010.

Opening hours

The Amsterdam Biennale 2009 is opened from 17 October till 13 December 2009. Open from Monday – Friday from 1 pm – 7 pm and Saturday + Sunday from 1 pm – 6 pm.
Location :Mediamatic BANK, Vijzelstraat 68, Amsterdam

There are many interesting ideas in the proposals to the biennial. And the material for the
city pavilions are listed as:
Bamboo Pavilion
Price: €65
Styrofoam Pavilion
Price: €85
Honeycomb Cardboard Pavilion
Price: €185
Inflatable Pavilion
Price: €170

Piano stairs - The fun theory

2009-10-10T21:02:00.003+08:00

Take the stairs instead of the escalator or elevator and feel better” is something we often hear or read in the Sunday papers. Few people actually follow that advice. Can we get more people to take the stairs over the escalator by making it fun to do? See the results here.

www.Rolighetsteorin.se

New use for 1920s Theremin

2009-09-11T20:10:00.004+08:00

via

Motion controlled gaming’s currently the talk of the town, thanks to the likes of Microsoft’s Project Natal. Now one enterprising Nintendo fan has turned a 1920s musical gadget into a new form of motion-based Mario controller.The unnamed 24-year-old gamer from Glasgow adapted an old Theremin so that he’s able to use it as a motion-sensing controller for Super Mario Bros.

Education = Video + Game

2009-09-06T09:47:00.004+08:00

Just heard from a secondary school teacher that the final essay for General Studies required by the Examination Authority is 5,000 words. It is ridiculous if a BA course final essay is only 3,000 words. So the other option can be to produce a 20 + minutes video and a shorter essays. bUt that is equally ridiculous because for a good video essay especially 20 minutes long requires the effort of a team of TV professional, journalists, so I guess the quality of video writing is expected to be low or minimal.

I am thinking of the copyright issue and if there are suddenly over 100,000 videos produced, there will be many students:
1. buying camera
2. need help in editing
3. want to see the past project for reference

We are forced to leave the words and the poetry behind. Do we teach media literacy in General Studies ?

Last year I did a bit of research on how new media change educations and knowledge management and I was immediately attracted to teaching via gaming and here is a recent post in the Economist that talks about teaching thru video game.

and the video

Write in air with iphone

2009-08-30T15:18:00.004+08:00

via

LED vision peripherals have been in the market since quite some time. 'Light Writer - POV Effect' from Laan labs allows you do the same, i.e. write on thin air using the iPhone. You just type in your message or select a piece of clipart, wave your arm in the air (night works best). Available for $1 at the app store it is completely worth it.

Open Everything - Serendipity35: Peer 2 Peer University

2009-08-20T03:27:00.003+08:00

Open Everything - Serendipity35

Posted using ShareThis

P2PU is an online community of open study groups for short university-level courses. The pilot "semester" has registration through August 26 and the courses will start on September 9. The semester is 6 weeks.
The courses being offered are:
Introduction to Concepts in Behavioral Economics and Decision Making-
-Copyright for Educators-
-Introduction to Cyberpunk Literature-
-Land Restoration and Afforestation-
-Open Creative Nonfiction - Take Away Narratives-
-Poker and strategic thinking

Open Source industrial design in New York

2009-08-16T04:15:00.000+08:00

Swiss Video Artist Pipilotti Rist Prepares Exhibition for Joan Miró Foundation

2009-08-09T03:33:00.004+08:00

Beside Bill Viola, I think Rist is probably one of the most active video artists in the world.

via

Barcelona, Spain - The Fundació Joan Miró will be presenting an exhibition by the Swiss videoartist Pipilotti Rist, winner of the 2009 Joan Miró Prize. Pipilotti Rist is currently preparing, for summer 2010, an exhibition at the Fundació Joan Miró in Barcelona and another at the Centre Cultural Caixa Girona–Fontana d’Or in Girona. Both exhibitions are sponsored by the Fundació Caixa Girona. The artist has shown her work in galleries and museums around the world, including the Centre Georges Pompidou in Paris and MoMA in New York. She has recently completed her first full-length feature film, Pepperminta, which will be premiered in Switzerland in September this year, and is at present showing “Elixir”, an exhibition at the Kiasma Museum in Helsinki that had previously been at the Museum Boijmans van Beuningen in Rotterdam.

More about the Pepperminta that will be launched in cinemas on 10 September.

Come Picnic

2009-07-27T03:20:00.001+08:00

From 23 to 25 September 2009, thousands of creative minds from all over the world will come together in Amsterdam for the fourth ‘converence(sen)sation’ PICNIC. An inspiring, fascinating and entertaining festival, with several keynote speakers like Media Futurist Gerd Leonhard, Biomedical Gerontologist Aubrey de Grey, and many others.

Are you looking for a Muse, a Flatmate, a one–night Adventure or a Sponsor? Mediamatic dating is safe, free and open for everyone.

2009-06-11T08:27:00.003+08:00

Mediamatic is the media art organisation in Holland that hosts exhibitions and workshops. I was surprise to see that they have dating service.
Follow this link :

You have to be a member of the website to participate. If you are not a member yet, the website will help you to register first when you click the "New dating profile" link.

Is it an art project?

Yes. You're at Mediamatic.
Is it real?

Of course. You're at Mediamatic.
Is it anonymous?

You can use a pseudonym for your dating profile and even have multiple personalities if you wish! However, always remember that the internet is not the best place for keeping secrets:-) Also, if we detect malicious use, we'll find on you.
What are the rules?

Be NICE. For people that are less civilised: Dutch law applies so no threats, spam, slander, kiddie porn, identity theft or other mayhem please. There are more pleasant ways of being naughty.
Will you sell my data?

No.
How do I get in touch with the other daters?

If you have a dating profile, you can leave messages for others. Your real name will not be revealed. That'll be up to you when you think it's time...
How can I edit my dating profile?

Just click on "EDIT THIS PAGE" at the top left of your profile. (you have to be logged in to do this)
Can I put my own pictures?

Yes. in edit mode, just click the grey camera icon and upload.
How can I delete my Dating Profile?

Choose "Your content" in the grey menu bar. Find your profile in the list and click "delete".
How is the dating site related to the Gastarbeider Dating project?

The Gastarbeider Dating project was the reason to launch this website in January 2008. The Dating site is also part of the Mediamatic Cultural dating project. In this project we explore the potential of cultural organisations as social hubs.
Will the dating site stay after the Gastarbeider project has ended?

Yes. We will continue to support and develop it.
Is this dating project a waste of arts funding?

We don't think so for 3 reasons.
1: The project is sponsored by Mediamatic Lab. That makes it affordable for a small organisation like Mediamatic Foundation.
2: The money and time we do spend on it is well spent because we seriously research and develop the social challenges of the arts and heritage sector with this project. Also the project is an art project in the sense that it forces the user to reconsider their perceptions and preconceptions of their contemporary surroundings. And actually, we feel it is innovative and beautiful too.
3: The project attracts visitors to our website that will also take notice of our other activities. It is effective cultural marketing.
Where can I get more help with using the dating site?

Just play with it. You won't break anything. If you avoid putting your portrait or your name in your dating profile, you probably won't even hurt your reputation with it:-).

Call for Artists: ESSENCE / BORDERS

2009-06-11T08:23:00.001+08:00

Deadline for applications: June 30, 2009

email: lucacurci@lucacurci.com
more:

International ArtExpo is selecting all interesting video/short.films to include in the next 2009 Exhibitions, November 14-16, 2009:

ESSENCE / BORDERS - 5th water homage - Culturagua organization at the Institut Alexander Von Humboldt at Villa de Leyva, Boyaca - Colombia (November 14-16, 2009). The deadline for applications is June 30, 2009.

Culturagua is a non-profit organization. The main goal is to educate and make aware through the arts. In order to do it a large area has been dedicated to educating and informing the wider community. This space is called "Tribute to Water" which has been developed since 2005, with presentations of theatres, music concerts, field trips, environmental conferences, art exhibitions, presentation of videos and documentaries.

The number of works with you can participate is unlimited. All works must be on DVD (PAL or NTSC), no matter what the original source medium. The duration may be any, with a preference given to a max lenght of 15 minutes. If you are interested, send your video submissions (Name/Surname, City/Country, Film title, Running time, Brief film synopsis) with a CV/biography, videography and an introduction about the piece to:

arch. Luca Curci
via Casamassima, 75
70010 - Capurso (Bari) - Italy

International ArtExpo is a not for profit organization that provides a significant forum for cultural dialogue between all artists from different cultures and countries. We depend on the support of you. ArtExpo is grateful to all of the institutions, corporations, and individuals who support our efforts. We work with a number of national and international galleries as well as publishers, museums, curators and writers from all over the world. We help artists through solo and group exhibitions, gallery representation, magazine reviews and advertisements, press releases, internet promotion, as well as various curatorial projects.

Participation open to: professional artists, architects and designers, associate groups and studios.

Who Are Our Peers? A Conversation Across Creative Disciplines

2009-06-07T18:02:00.002+08:00

Sat, Jun 13, 2009
3:00 PM
New Museum Theater, NYC
Rob Giampietro, Marco Roth, and Astra Taylor discuss generational coherence, generational self-consciousness, peer networks, and other themes related to the exhibition The Generational: Younger Than Jesus. Do the definitions of “youth,” “emerging,” and other terms used in the contemporary art world translate to the worlds of graphic design, literary criticism, and independent filmmaking?

Rob Giampietro is a New York-based designer, writer, and teacher. He has written essays and criticism for BusinessWeek, Dot Dot Dot, Design Observer, and Emigre; worked as a designer at Winterhouse, Pentagram, The New York Times Magazine, and elsewhere; and from 2003 to 2008 he was co-founder and principal of the award-winning design studio Giampietro+Smith. He teaches at Parsons The New School for Design and at the Rhode Island School of Design. He is the vice president of AIGA/NY.

Marco Roth is a New York-based editor and critic. He is a founding editor of n+1 magazine, where he currently serves as editor at large. His essays and reviews have appeared in n+1, The Nation, The Guardian, The New York Sun, and elsewhere, and a memoir was published in 2007 in Nextbook. He teaches literature and writing at The New School's Eugene Lang College.

Astra Taylor is a writer and documentarian. She was named one of the twenty-five New Faces to Watch in independent cinema by Filmmaker Magazine in 2006. She co-directed The Miracle Tree, a short documentary about infant malnutrition in Senegal, and directed Žižek! (2003). Her latest film is Examined Life (2008), in which she accompanies some of today’s most influential thinkers on a series of unique excursions through places and spaces that hold particular resonance for them and their ideas. She is the co-founder of Hidden Drive productions.

Knowing that there are four artists of Hong Kong presented in this show, namely Doris Wong,Dozer Pak, Adrian Wong, Eric Siu, what do you think? Who can be the most promising artists in HK?

China blocks social media ahead of Tiananmen anniversary

2009-06-03T09:15:00.002+08:00

via and the following link

BEIJING - Two days before the 20th anniversary of the Tiananmen Square protests, mainland netizens have been blocked from using social networking sites including Twitter, Flickr, Hotmail and Microsoft's new search engine Bing.

According to China sources, Twitter became inaccessible in the country at 5pm on Tuesday, widely noticed to be blocked after access of popular external programmes Tweet Deck and Twhirl also became patchy or non-existent.

“We started to notice an even more random and broader approach to website filtering in Beijing over the long weekend just passed. Those of us in the China marketing community are accustomed to heavy-handed filtering of blameless as well as politically sensitive websites, but this week, with the 20th anniversary on Thursday, has largely rendered the web unusable for us,” said Simon Cousins, chief executive of PR agency Illuminant Partners, describing the internet’s performance as “off kilter” all week.

“This latest block of Twitter and Flickr really hurts us, and our ability to service our clients in the mainland. They’re both important business tools.”

Cousins added that access to Tweetie, an iPhone application, via China Mobile was also blocked.

A Beijing-based agency source added that the 2 June blockage was “particularly bad” because his company’s external server based in San Francisco was also unable to process requests for Twitter and Flickr URLs.

The block is a setback for Bing, which only debuted its Chinese-language site this week.

The event followed reports that users on social networking sites also experienced difficulty as pages either stalled or had delayed loading times.

A representative from Yahoo, owner of Flickr, could not be reached in time for press.

Ullens Successfully Sells $22.2 Million Worth Of Chinese Art In Beijing

2009-05-31T12:25:00.002+08:00

Big news coming out of the Chinese art world today. Bloomberg reports that Guy Ullens, the Belgian industrialist and collector of Chinese art since the mid-1980s, has sold 18 works from his collection for over $20 million (151.7 yuan). Ullens, whose collection is made up of hundreds of pieces spanning centuries of China’s long artistic history, put these works, many of them duplicates or triplicates, up for auction to add to efforts by his popular Beijing museum of contemporary Chinese art to reach out to China’s burgeoning collector base and art enthusiasts.

According to Bloomberg, the huge returns on Ullens’s sale indicates two important developments in the Chinese art world — for one, the quality of the Ullens collection, and two, the motivation of Mainland Chinese collectors to buy Chinese art now. While the Ullens collection has long been considered one of the top collections of traditional and contemporary Chinese art, until recently the local Chinese collector base has stayed out of the picture, mainly sticking to purchasing the occasional western master or ancient Chinese antique. Now, however, as the Chinese New Collector becomes increasingly influential in art auctions around the world, sales like that of Ullens’s artwork are, as we’ve seen in the last year or so, becoming more heavily populated by Mainland buyers.

Bloomberg points out that the success of this sale reflects the trend that we have been observing since before the global downturn struck, of Chinese buyers (and Chinese auction houses) growing in number and influence. This extends not only to the sale of Ullens’s artwork, but to every corner of the auction market, from contemporary and traditiional Chinese art to wines and jewelry. As the article points out as well, the breadth of Ullens’s sale — which included contemporary artists like Zhang Xiaogang, who sold for 15 million yuan to a Chinese buyer — shows that the Chinese collector has truly arrived.
more

Transmediale Award and Vilem Flusser Theory Award 2010

2009-05-29T02:46:00.002+08:00

transmediale.10
festival for art and digital culture berlin
03 - 07 February 2010

CTM - club transmediale.10
festival for adventurous music and related visual arts
29 January - 6 February 2010

_Call for Entries_

:: Deadline: 31 July 2009
:: Award Ceremony: 6 February 2010, Haus der Kulturen der Welt, Berlin

Complete call, registration information and online submission form at:

http://www.transmediale.de/en/call2010-main

As leading international festivals for art and digital culture as well as adventurous music and related visual arts, respectively, transmediale and CTM (club transmediale) are inviting submissions to the transmediale Award Competition 2010 and the Vilem Flusser Theory Award 2010. Invited are art works, projects and positions that respond to the challenges of our rapidly changing digital,technological and networked cultures. The transmediale Award seeks innovative, experimental and visionary works across a wide scope of form, process and practice that embrace, question and enrich our
understanding and relationship to our immersed media and technologically driven society. Entries that exemplify new and critical forms of digital expression and interaction are encouraged, as are works from countries and regions in which digital art and culture are emergent. Submissions of art works for both festivals participate in the transmediale Award 2010 while theoretical abstracts, papers and research oriented positions are invited for the Vilem Flusser Theory Award, with prizes totaling 10.000 EURO.

************************************************************************
************

transmediale presents and pursues the advancement of artistic positions reflecting on the socio-cultural, political and creative impact of new technologies, network practices and digital innovation. As a festival aiming to define the contours of contemporary digital culture, it seeks out artistic practices that not only respond to
scientific or technical developments, but that 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 and aesthetic techniques that need to be embraced in order to comprehend, critique, and shape global
societies.

____________________________________________________________

CTM (club transmediale) is dedicated to contemporary electronic, digital and experimental music and sound creation, as well as the diverse range of artistic activities and social practises that develop within and connect to those audio cultures. Thus, the festival reflects on the agency of contemporary sound creation within the cultural fabric of society and its technological and social transformations. It explores the intersections of contemporary music and audio art with other artistic forms and cultural fields. A special emphasis is put on the creative use of new technologies, the interplay of sound with other media formats, the situational potential of live performances, the formation of social networks, and the advancement of a positive form of globalization.

____________________________________________________________

Previous transmediale Award winners have included renowned artists such as Herman Asselberghs, Shilpa Gupta, Graham Harwood / Richard Wright / Matsuko Yokokoji, Zhou Hongxiang, Istvan Kantor, Thomas Koener, Julia Meltzer/David Thorne, Agnes Meyer-Brandis, Netochka Nezvanova, schoenerwissen, ubermorgen.com, Adrian Ward, Herwig Weiser and 242.pilots. The Vilem Flusser Theory Award, in collaboration with the Vilem_Flusser_Archive of the University of Arts (UdK) Berlin, has been awarded to Simon Yuill (2008), Denis Roio aka jaromil and Brian Holmes (2009).

Jury of the transmediale Award 2010 are Michelle Kasprzak(Edinburgh), Jose Luis de Vicente (Barcelona/Madrid), Li Zhenhua(Beijing/Zurich), Yves Bernard (Brussels), Doreen Mende (Berlin/Karlsruhe).

Vilem Flusser Theory Award 2010 advisory committee members include Marcel Marburger (_Vilem_Flusser_Archive, Berlin), Oliver Grau (Danube University Krems) and Sabeth Buchmann (Academy of Fine Arts,Vienna)

transmediale Advisory Board are Alex Adriaansens (Rotterdam), Dr. Marie Cathleen Haff (Berlin), Prof. Saskia Sassen (New York), Yukiko Shikata (Tokyo).

transmediale is a project of the Kulturprojekte Berlin GmbH, in cooperation with the House of World Cultures and funded by the German Federal Cultural Foundation.
CTM is a project by DISK / club transmediale GbR funded by Hauptstadtkulturfonds and DISK Initiative Bild & Ton e.V.

HYL/SHOUT Performance Festival 2009 - Oslo, Norway

2009-05-24T23:06:00.003+08:00

I can't help to post other people's open call here on this blog, thinking that there are people who either have something they want to show or people would be going to these places, but sometimes just how other people are organising art events can be inspirational. The idea of video marathon did happen here in Hong Kong many many years ago but not a performance marathon.I still wonder if this is only a marketing strategy.

This is a call for participation in a two month long performance marathon which is
scheduled to run from August 1, 2009 through September 30, 2009, in Oslo, Norway.
If you wish to participate with works you are welcome to submit documentation of
previous performances, plan(s) of the performance(es) you wish to show at this
festival, and a brief CV. Photos should be printed on A4 sized paper. Video documentation should be on a DVD with a maximum duration of 5 minutes.

The performance festival is meant, to a certain degree, to be of an activist nature, thus the name HYL/SHOUT Performance Festival 2009. (For an understanding of how we
interpret the word activist, think of direct action, legal/illegal demonstrations, and
intervention in public spaces, etc.) The festival will take place mostly in non-traditional settings like shopping malls, on public transport, in streets, in public parks, etc, i. e. whatever creative places outside of the traditional venues of art galleries and museums you can think of.

Please indicate in the calendar below what date(s) you prefer to perform, your name,
title of your work(s), your e-mail address and phone number, and print and send together with the above mentioned material to:
Åse Karlsen, Stensbergsgata 23 C, NO-0140 Oslo, Norway.

Deadline: June 10, 2009, stamped envelope.

If selected, you'll have to pay your own travel expenses to Oslo, Norway, but we will
provide accommodation on a sofa, or similar, in a private home for two participants
for a maximum of four nights. Please bring your own sleeping bags and towels, etc.

Please indicate in the calendar below what date(s) you prefer to perform, your name, title of your work(s), your e-mail address and phone number:

Saturday 1. August
Eva Drangsholt, commencement location, kl 21 – 22, "Sekhet Iaru", e@evdr.net, no phone

Exhibition, screening and performance at iMAL, Center for Digital Cultures and Technology, Brussels

2009-05-11T16:49:00.004+08:00

V.O.S.T. OV/OT explores the connections between cinema, video art and digital art. The starting points are subtle, intermediate and functional elements of the cinema industry, such as subtitles and dubbing used by artists for appropriation and diversion. This program gives a central place to language, transcription and translation.

With: Martin Arnold, Armel Barraud, Pierre Bismuth, Frederico Camara, Jordi Colomer, DEMOLECULARISATION, Christoph Draeger, Reynald Drouhin, Yan Duyvendak, Mario Garc’a Torres, Omer Fast, Xavier Gautier, Pierre Huyghe, Kuda.org, Florence Lazar, Danilo Mandic, Julie Morel & Jocelyn Cottencin, ProjectSinge, Nicolas Provost, RYbN, Anri Sala, Keith Sanborn, Antoine Schmitt, Peter Tscherkassky, Virgil Widric.

Curators: Alexis Chazard & Marika Dermineur.
Exhibition at iMAL with video, sound, digital and interactive installations:

A Tank translated, Omer Fast (is), 2002, Video installation
Black box (Sounds of a society), Danilo Mandic (mk), 2007, Sound installation and publication.
Cinéma muet, Armel Barraud (fr), 2006, Video installation
Je sais, Antoine Schmitt, 1996-1998, Computer, generative algorithms.
L.O.S.T, RYbN, 2009, Computer programmed video installation, LCD screens.
Monkey Party, projectsinge (fr-be), 2006, Video installation
NINGEN, Frederico Camara (br), 2006, Multi-screen video installation
Psychic, Antoine Schmitt (fr), 2004, Interactive installation

Installation at Cinema Nova during de screenings and performances evening:
La philtreraie, Boris Nordmann, Installation

Screening sessions at iMAL every evenings of the exhibition at 20:00:

Al-Haj Mitwalli's Family: Proposal for an Improbable American TV program, Pierre Bismuth (fr), 2006
Babelkamer, Jordi Colomer (es), installation, 2007
Black out, Reynald Drouhin (fr), 2006, 6'
Helenès (Apparition of Freedom), Christoph Draeger (nl), 2005, 18'30''
Intervista, Anri Sala (Al), 1998, 26'
Le lieu de la langue, Florence Lazar (md/fr), 2007, 10'
Safe distance, Production: US AIR Force, Postproduction: kuda.org, New Media Center, Novi Sad, Video black & white & blue, 21'
-----
Blanche Neige Lucie, Pierre Huyghe (fr), 1997, 4'
E.T. and me, Xavier Gautier, France, 2000, video, color, sound, 1’
Fast Film, Virgil Widric (at/lux), 2003, 35 mm, silent, 14'
I scream, Julie Morel & Jocelyn Cottencin (fr), 2009, generative computer program transferred on video, various length
Michiko, Xavier Gautier (fr), 2000, video, color, silent, 0´48”
Œil pour œil, Yan Duyvendak (nl), 2002, 6'
Outer Space, Peter Tscherkassky (at), 1999, 35 mm Scope, silent, 10'
Papillon d'amour, Nicolas Provost (be), 2003, DVD, b/w, 4’
Passage à l'acte, Martin Arnold (usa), 1993, 16 mm, silent, 12'
The Artwork in the Age of its Mechanical Reproductibility by Walter Benjamin as told to Keith Sanborn, Keith Sanborn (usa), 1996, video, 4'
tv sweet, Marie Daubert (fr), 1997, 6'

A New Geography of Art in the Making

2009-05-11T15:55:00.002+08:00

Organised by ZKM | Center for Art and Media Karlsruhe, Germany and Goethe-Institut Hongkong

In collaboration with Chinese University of Hong Kong

Two-day workshop

A New Geography of Art in the Making

May 21 & 22, 2009 (Thu & Fri)

Goethe-Institut Hongkong

14/F Hong Kong Arts Centre, Wanchai

Organised by the ZKM Center for Art and Media Karlsruhe and Goethe-Institut Hong Kong in collaboration with Chinese University of Hong Kong, the third Global Art and the Museum (GAM) platform will be held at the Goethe-Institut Hongkong on May 21 and 22, 2009 (Thu & Fri).

The programme is in a way a different approach to the museum topic which is taken in Hong Kong. Hong Kong thinks from the ‘hardware’, from the museum building itself, and we try the approach from the ‘software’. Questions like ‘what is the relationship between contemporary art and the idea of a museum?’, ‘what kind of art finds its way to the museum and what not?’, ‘what does it mean when we talk about contemporary art?’ – these questions will be raised and discussed among the invited curators, museum directors and experts from the field.

Like in the previous GAM platforms which took place at the Goethe-Instituts in Sao Paulo and New Delhi, the third platform also intends to discuss some of the most important issues of the globalisation of contemporary art, this time from an Asian perspective. The platform will be organised in three sessions. An introductory session will serve to present the project GAM - Global Art and the Museum (www.globalartmuseum.de) and to discuss its agenda with the participants of the workshop.

Initiators: Prof. Dr. Hans Belting and Dr. Andrea Buddensieg (ZKM).

Session 1: China: Museum and Audiences of Contemporary Art

Session 2: South East Asia: A New Territory of Contemporary Art

Session 3: Hong Kong and Beyond: Metropolitan Art Centres in Comparison

Confirmed participants:
Jahman Anikulapo, Johnson Chang, John Clark, James Elkins, Patrick Flores, Fei Dawei, Gao Minglu, Gao Shiming, Huang Zhuan, Kuroda Raiji, Dinh Q Le, Lu Jie, Charles Merewether, Nathalie Boseul Shin, Jim Supangkat.

Moderators: Jane Debevoise, Oscar Ho, David Clarke

Please note:
May 21 & 22, 2009 (Thu & Fri):semi-internal workshop
May 22, 2009 (Fri) 6:00pm – 8:00pm:open session
Enquiries: Goethe-Institut Hongkong (Alice Ho) Tel: 2802 0088/ kultur@hongkong.goethe.org

www.goethe.de/hongkong

Dorkbot:VAC

2009-05-05T03:05:00.001+08:00

Dorkbot first appears in New York describing a group of artists (sound/image/movement etc), designers, students, scientists who meet monthly to discuss and to involve in the creation of electronic arts. Dorkbot is now made popular as a global movement of small, an autonomous gathering among people interested in the creation of arts which are inspired by technology. Under Dorkbot:VAC, Hong Kong Visual Arts Center will be transformed into a platform for active exchange, interaction and discussion of new media art through a series of art activities that suits people from all ages and backgrounds.

Having the honour of inviting Keith Lam, a rising star in the international new media art scene who has just won the prestigious PRIX Ars Electronica 2008 with the work — Moving Mario (2007-8), Keith will lead a series of activities which are inspired by the concepts and skills behind his creation in Dorkbot:VAC between May till October 2009.

High-technology is not necessarily the gist among Keith Lam's works. For Keith, the question of new media is to create works that can captivate his audience to think about the relationship between human and space, human and human or space and space. Hence his works such as Moving Mario (2007-8), Mobile Brush (2007) and His-story (2008) attests the artist's attempt to readjust the tension between human and technology, they alarm our over-reliance on technology is, in fact, manipulating the relationship between human and machines since the Modern Industrial Revolution and our flagging sensibility to the past, present and future.

Dorkboot:VAC will kick off with Dorkbot the Gadget from May, other programmes like Cross-disciplined New Media Workshop, Dorkbot Camp, Night Performance etc will then follow throughout this summer and autumn (details to be announced in July APO Newsletter). So stay tuned! Don't Miss it!
Date Toy Remark
24.5.2009
(Sunday) Analog Digital: Paper Musical Instrument Deadline of Application: 1.5.2009
14.6.2009
(Sunday) Viewable Sound Please state the session that you intend to participate on the application form.
12.7.2009
(Sunday) Electronic Body: Wearable Technology I *Stay tuned for detail of application in July APO Newsletter.
8.8.2009
(Saturday) Electronic Body: Wearable Technology II

Art & Craft Workshop系列從手藝作業而來的快樂，由夏天一條連身裙開始……

2009-05-02T16:25:00.003+08:00

IN the age of new technologies- Revolutionary ideas and technologies are brought into the process of "Make" and "'Grow". DIY culture together with open source movement make everyone an inventor and an entrepreneur. We can build our remote controller, chinese writing pad using ipone, we can build our musical instrument using retro technologies such as the copier, fax machine.
We see 'grow your animation' from people using processing and 'grow your meat' as in bio art research. Generative software are now solving problems for us from random and artificial intelligence.

Democracy is out. We no longer need to be represented, we represent ourselves and we share our presence. The ideas of sustainability and 'living green' is also part of this cureent.

SEE emphasizes sustainability and creativity in life are hosting this 'make my own dress' workshop. Wanna bring in some new technologies here?

MYOD工作坊

手藝作業，讓活在虛擬與數字世界的城市人經驗實在與創造而來滿足，思網絡將於5月舉辦首次一連兩堂的“Make your own DRESS”工作坊，拉攏資深自由設計師兼收藏家Vincent AY與沙田區以布藝在家小本創業的Helen嘗試cross over，教大家自己親手加工與創作一條獨一無二的連身裙，讓你在壓力緊迫的生活，轉移視線在這穿得上身的瑣事花心思，與朋友一同分享「手製」的樂趣，重新感受生活中原始的簡單和快樂。。

Make your own DRESS! 工作坊宣傳短片：
http://www.youtube.com/watch?v=2fc27czhw9o

工作坊詳情
日期：2009年5月16日及23日(一連兩堂)
時間：下午2:30 – 5:00
地點：思網絡工作室, 上環皇后大道中233號柏聯樓3樓
導師：資深自由設計師兼收藏家Vincent AY
收費：680元首次報名優惠 550元正
(連基本裙一條, 包材料費及導師費)
名額：20人 (額滿即止)

如欲參加或有任何查詢,可電郵到 project.see08@gmail.com 或致電 21274504 (Samantha Lam)

ELECTRONIC VISUALISATION AND THE ARTS EVA London 2009

2009-05-02T13:08:00.002+08:00

REGISTRATION OPEN
Catch the Early Bird rates before the end of May!
The outstanding EVA London programme is online now.

EVA London 2009
Monday 6th - Wednesday 8th July 2009
British Computer Society, London WD2E 7HA

EVA London 2009 will debate the issues, discuss trends and demonstrate
the digitial possibilities in:
• Reconstructive archaeology
* Digital history
* Virtual museology
• Digital arts concepts and practice
• Immersive environments
• Digital performance
• Computer music

If you are interested in the new technologies in the cultural sector –if you are an artist, policy maker, manager, researcher, practitioner,audience evaluator or educator – this conference is for you.

Registration and programme
http://www.eva-conferences.com/eva_london/

New International Curator for Liverpool Biennial

2009-05-02T12:54:00.002+08:00

Liverpool Biennial has appointed Lorenzo Fusi as curator for the International, the lead exhibition of the Liverpool Biennial festival of contemporary art. He will be working on the development of the programme for the next festival the UK¹s Biennial - which takes place in 2010. Lorenzo will be working alongside curators from the Bluecoat, FACT [Foundation for Art and Contemporary Technology], Open Eye Gallery, and Tate Liverpool under the leadership of Liverpool Biennial Artistic Director, Lewis Biggs.

Lorenzo, who takes up his role in May, is currently Curator of sms contemporanea in Siena (Italy) and until 2008 he was Chief Curator at the Palazzo delle Papesse. He brings to Liverpool almost a decade of experience in delivering contemporary art commissions, with a distinct interest in politically and socially engaged work and a track record in new media and installation at an international level. He has developed a versatile and multi-disciplinary approach reflecting upon contemporary culture as a whole.

For further information about Liver pool Biennial visit www.biennial.com

Media Art Platform: CALL FOR BLOGGERS!

2009-04-21T01:31:00.001+08:00

the Netherlands Media Art institute will launch the Media Art Platform, a networking website for people active in media art.

For the Media Art Platform, we are looking for practitioners who are, during the course of this year, interested in contributing a (short) weblog about their work. We invite researchers and media artists to submit proposals for a future weblog of a maximum of 10 short posts.
If your proposal is accepted, you will be invited to write the proposed weblog on the Media Art Platform. Each blog post is rewarded with 30 EUR, with a maximum of 300 EUR per contributor (max. 10 postings).

From all submitted proposals, four or five will be selected.

Requirements
- your blog is preferably about practical aspects of your work. Ideally, it should give a unique, ‘behind the scenes’ insight in a working process: the development of an art project, the preparation of a publication or event, a research process...
ideally, the blog is interesting for a large number of people who are active in, or interested in, media art
the blog is written in English
blog posts are short and to-the-point (max. 300 words)
your weblog must be written in the course of a few months between 15 May and 31 December 2009. Please indicate which months or which period are most convenient for you.
you remain the copyright owner of your postings and you are allowed to re-post them on your website or on other platforms, provided that you mention that the writing was commissioned for the Media Art Platform.

We are especially interested in weblogs that show a personal perspective; especially related to the development of (future) art and research projects!

Please submit the following:
* a short proposal for your weblog (max. 300 words)
* your CV and/or biography
* a link to your website (if you have one)
* one or more examples of previous writing

Deadline for submissions: 30 April 2009
Please send your submissions to info at mediaartplatform.nl
Selected/accepted writers will be informed around 15 May.

Making Cultural Clusters: New Strategies for Culture-led Urban (Re)development

2009-04-14T18:47:00.000+08:00

Making Cultural Clusters: New Strategies for Culture-led Urban (Re)development

Date: 19 April, 2009 (SUNDAY)

Time: 930am--5pm (Reception starts at 9am)

Venue: Conference Room, 2/F, HKICC Lee Shau Kee School of Creativity, 135 Junction Road, Kowloon, Hong Kong

Map: http://www.creativehk.edu.hk/main/contact/contact_main.php

(the seminar will be conducted in Cantonese)

Organized by the Center for Cultural Studies, Hong Kong University of Science and Technology
Co-organized by the Department of Comparative Literature, Hong Kong University and the Department of Cultural Studies, Lingnan University
Supported by the Public Policy Research Grant of the Central Policy Unit (HKSAR)
Sponsored by the HKUST School of Humanities and Social Science

Venue sponsored by HKICC Lee Shau Kee School of Creativity

Conference Statement:

‘Cultural Cluster’ has become a catchword in recent debates on creative industries and globalization. For artists and stakeholders in the field, the term ‘cultural cluster’ refers to a vibrant and highly diversified community. Unfortunately, the diversity and complexity of ‘cultural clusters’ have not been fruitfully understood by the government, the business sector and the community at large.

In this seminar, the speakers will share with us their observations and views on the ecology of cultural clusters in Hong Kong, and the relationships between cultural clusters, local communities and the city at large. The seminar will be divided into two panels. In panel I, the speakers will share with us the preliminary research findings on three cultural clusters in Hong Kong (i.e. Cattle Depot Artist Village, Central and Sheung Wan, and Wanchai) under the project ‘Making Cultural Clusters: New Strategies for Culture-led Urban Re-development’.

In panel II, scholars, cultural critics and participants in the field will try to evaluate the development of creative industries, cultural policy, and urban (re)development in Hong Kong with reference to the development of local cultural clusters.

Panel One: Case Study

(930am-1230pm)

Moderator: May Fung (Cultural Worker)

Market-led?: Cultural Cluster in Central and Sheung Wan
Yun-Chung CHEN (Assistant Professor, Division of Social Science, Hong Kong University of Science and Technology)

Cultural Thickness: the Possibility of Cultural Cluster Formation in Wanchai
Mirana May SZETO (Assistant Professor, Department of Comparative Literature, Hong Kong University)

Borrowed Place and Borrowed Time: the Case of Cattle Depot Artist Village
Damian CHENG (Postdoctoral Fellow, Hong Kong University of Science and Technology)

Model of Cultural Cluster in Fotan Artist Village
Patrick MOK (Consultant(Research Projects), Cheung Kong Centre for Creative Industries)

Commentators:
LEUNG Po-shan, Anthony (Cultural Worker)
Louis YU (CEO, Hong Kong Arts Development Council)

Discussion

(1230-2pm Lunch Break)

Panel II: From Cultural Cluster to West Kowloon Cultural District

(2-5pm)

Moderator: Yun-Chung CHEN

Cultural Landfill: When Creativity becomes Industrialized
Oscar HO (Curator and Cultural Critics)

The Discourse of Cultural Value-Adding
CHAN Wan (Cultural Critics)

Cultural Planning and Creative Cities: Gaps and Blindspots in Local Cultural Policy
Stephen CHAN (Professor and Department Head, Department of Cultural Studies, Lingnan University

Commentator:
Desmond Hui (Professor, Department of Cultural and Religious Studies, the Chinese University of Hong Kong)

Discussion
All are welcome! Enquiry: Keith Au (Tel: 9224-2763)

ART AND DESIGN RESIDENCY (NEW DELHI)

2009-04-02T15:07:00.000+08:00

The Khoj International Art and Design Residency, in New Delhi, is for practitioners, working at the intersection of art, design and media, who seek to
"push artistic practice beyond convention". Five places are available on the six
week programme during November-December 2009.

Altermodern + ism from Nicolas Bourriaud

2009-03-26T04:16:00.003+08:00

Ancient and modern: Gustav Metzger’s Liquid Crystal Environment. The 82-year-old artist has been hailed as the “godfather” of the altermodern by the inventor of the term, Nicolas Bourriaud

via

(The Tate Triennial)...an international show that attempts to define the new art of the post-economic apocalypse, christening it “altermodern”.

It is a new world of “wandering in time, space and mediums”. “Altermodernity,” Bourriaud continues, “arises out of negotiations between different agents from different cultures and geographical locations.”Artists, by this reckoning, have become nomads, a mobile community of outsiders within a vast globalised society, choosing their images, like words, from roughly the same visual language. It’s the next stage, Bourriaud claims, for civilisation after postmodernism, and artists who mocked its own claims to greatness (the people who canned their own poo, put donkeys in art galleries or exhibited their smoked cigarettes).

(Altermodern is at Tate Britain (020 7887 8888, www.tate.org.uk) until 26 April. Open daily 10am-6pm (first Friday of every month until 10pm). Admission £7.80, concs available.)

Eye of the Storm : An interdisciplinary conference on scientific controversy

2009-03-22T03:44:00.003+08:00

19 / 20 June 2009
Tate Britain, Millbank, London SW1, UK

CALL FOR SUBMISSIONS

The Arts Catalyst and Tate Britain announce an international call for artists, scientists, social scientists, theorists, policy-makers and other disciplines, to present in Eye of the Storm, a conference exploring scientific controversy from an interdisciplinary perspective.

Eye of the Storm aims to explore a range of controversies, from esoteric arguments between physicists over the structure of the universe, to disputes about the causes of species decline and climate change, and highly charged public controversies around the use of stem cells and the distribution of genetically modified organisms. When heated debates around the challenge of climate change have shown how abstruse uncertainties within a scientific community can be amplified and distorted to challenge the whole notion of human-caused greenhouse warming, Eye of the Storm sets out to examine the relationship between scientific uncertainty and public controversies around science.

We invite abstracts for papers and proposals for artists’ presentations and talks for Eye of the Storm that consider questions such as the following: When the whole culture and ethic of science is based on disagreement and alternative explanations, how does this essential scientific uncertainty work in the quest for knowledge? How do scientific disputes affect political decision-making and society’s relationship with science? As scientific and technological developments produce their own controversies, such as those around GM crops, what are the current critical controversies in and around science and technology? What alternative societal and cultural perspectives and contributions do artists and social scientists bring to this area? When the influential science sociologist Bruno Latour has worried that social science – in questioning the ‘reality’ that science examines – may have contributed to political abuses of science: what is the relationship between scholarship, science and politics?

Confirmed keynote speakers are Sheila Jasanoff, Pforzheimer Professor of Science and Technology Studies at Harvard University, and Roger Malina, astrophysicist, Director of Research at CNRS (National Center for Scientific Research), former Director at the Laboratoire d’Astrophysique de Marseille.

Submissions

Please send 200-word abstracts for papers and presentations (20 minutes maximum) to conference@artscatalyst.org. You may attach a short biog or cv. Artists may attach images (2MB maximum)

Deadline: 31 March 2009

Submission categories include: talks/papers, artists’ presentations, demonstrations

Selection Committee

Michael Bravo, Senior Lecturer, Scott Polar Research Institute, University of Cambridge
Bernadette Buckley, Programme Convenor, MA Art & Politics, Goldsmiths, University of London
Sian Ede, Director of Arts, Calouste Gulbenkian Foundation
Madeleine Keep, Education Department, Tate Britain
Rob La Frenais, Curator, The Arts Catalyst
Roger Malina, Chairman Emeritus, Leonardo, Director of Research, CNRS
Chair: Nicola Triscott, Director, The Arts Catalyst

OPEN ARCHITECTURE DESIGN COMPETITION

2009-03-22T03:17:00.003+08:00

CALL FOR PROPOSALS

OPEN ARCHITECTURE DESIGN COMPETITION

ARCTIC PERSPECTIVE INITIATIVE

“MOBILE MEDIA-CENTRIC HABITATION AND WORK UNIT”

First Prize: 5000 EUR
Second Prize: 2500 EUR
Third Prize: 1500 EUR

DEADLINE: 23:59:59 UTC, JULY 1, 2009

The ARCTIC PERSPECTIVE INITIATIVE “MOBILE MEDIA-CENTRIC HABITATION AND WORK UNIT” open architecture design competition is aimed at the submission of proposals for the design of a mobile media-centric facility, life support habitation and work module with renewable energy supply, waste recycling, and communications systems. We invite
proposals from architects, designers, engineers, artists, students, and engineering teams.

The design should be an open source mobile architecture/system/machine capable of functioning in extreme as well as temperate climates and containing mass/industrial and amateur production/ manufacturing potential. The unit is to serve as a model for mobile research within extreme cold environments, with the ability to incorporate high tech solutions while utilizing sustainable resources.

Jury decisions to be published by October 1, 2009.

All winners and honorable mentions will be published in the API Cahier #2 “Architecture”, which will be edited in the Fall/Winter 2009. All winners and honorable mentions will be, among others, also included in exhibitions and presentations in the framework of European Capital of Culture RUHR.2010 as well as the international media-art conference ISEA 2010 RUHR.

Full information and rules and regulations are at: http:// www.arcticperspective.org

For questions please email: design2009@arcticperspective.org

Theo Jansen in Japan

2009-03-21T15:06:00.006+08:00

The first exhibition in Asia by one of my favorite Dutch artist Theo Jansen is held from January 17th (Sat) to April 12th (Sun). On display at the specially constructed venue are Jansen's "strandbeests" (beach creatures). These kinetic sculptures have "skeletons" made out of plastic tubes, and mechanisms that harness wind energy to walk and move.

Theo Jansen Exhibition
Venue: Hibiya Patio
Schedule: From 2009-01-17 To 2009-04-12
10:00-21:00 (last entry 20:30)
Address: 1-4-1 Yurakucho, Chiyoda-ku, Tokyo 100-0006

I had shown his Ted Talk video in class and is very much loved by students. However it is very difficult to bring this mechanical(non-electronic) creature to walk on the sands in Hong Kong. The art climate here is just too strident for it.

The Simultan Festival

2009-03-20T18:27:00.001+08:00

The Simultan Festival is an annual festival for video, media art, experimental electronic music and a/v projects.
This year's edition runs under the theme Trans:position and will take place on 21-23 May, 2009, in Timisoara, Romania.
The festival wishes to sustain and to stimulate the creative ways of the most modern visions of perceiving and recording the cultural realities in contemporary art.
It presents the current processes and the way in which technology and society give rise to new forms of artistic expression by using the new media.
Based on a different theme every year, the festival presents video art projections, live performances, installations, lectures.

TERMS OF ENTRY
Simultan is open for submissions of innovative works, which use technology in a creative, ingenious way or are based on a peculiar, unusual story.
The applicants can send works which fall in one of the two categories below:
- experimental video
- generative visuals based on sound and image manipulations and motion graphics
Those interested may apply with a maximum number of 2 works; each of them
must not exceed 5 minutes in length.

MORE DETAILS AND APPLICATION FORM HERE:
http://www.simultan.org/en/2009/callforentry.htm

The deadline for submission is: April 10, 2009 (postmark)

DOCUMENTATION
After the event, a DVD/catalogue will be published and documentation will also be available on our website www.simultan.org.
Each of the admitted participants will receive a DVD/catalogue by the end of
2009.

No entry fee!

For additional information please contact: Levente Kozma,
email: simultan@simultan.org
www.simultan.org

Public Lecture III Mechatronic Art & its Cultural Implications

2009-03-10T17:58:00.000+08:00

Mechatronics, a portmanteau of 'Mechanics' and 'Electronics', is a platform investigates the possibilities of mechanical-based, tactile and space-related technologies on artistic and cultural practice. It includes robotics art and movable/ mobile sculpture, video/ sound sculpture, etc. Artists started to work with the chosen abstraction from 13th Century in western history and it was deployed in theater performance, sculpture & installation art since then. Leonardo De Vinci and Karel Čapek are two of the most well-known figures.

Annie On Ni Wan, currently a visiting research scholar at Academy of Visual Arts, Hong Kong Baptist University, will discuss theoretical background and development in mechatronic art and various art projects as a series of poetic systems, engage in lines of enquiry that result in shared sensations of monumental inter-connectivity.

電子機械學理所當然是「機械學」與「電子學」的「化合物」；並且是一個開闊以機械學為基礎，對空間及觸感有關科技的藝術文化實踐平台。當中包括機械藝術及可動／流動雕刻藝術、錄像／聲音雕刻藝術等。於十三世紀開始，西分藝術家便開闢電子機械學的領域，並引入至舞台表演藝術、雕刻及裝置藝術，而達文西及卡雷尔乃當中代表人物。
香港浸會大學視覺藝術院客座研究學人溫安妮將於講座中闡述電子機械藝術的理論及歷史背景。並以不同的作品作開端，遊走於詩一般和而不同的藝術理論與作品之間的互聯性。

Date: Wednesday, March 25, 2009
Time: 2:30pm - 4:30pm
Location: OEE 603 Activity Room,
Street: Ho Sin Hang Campus, Hong Kong Baptist University
Phone: 23535895
Email: morgan@hkbu.edu.hk

RSVP

social media explained

2009-03-10T12:27:00.001+08:00

Still don't know the buzz word?

《誌同志》全球首映暨座談會

2009-03-06T14:11:00.001+08:00

日期：二零零九年三月二十一日（星期六）
時間：下午二時三十分至五時三十分
地點：香港中文大學崇基學院李冠春堂（信和樓三樓）
票價：四十元正

《誌同志》影片概述：
中國改革開放30年以來，性別與性傾向議題日益受到關注，男權中心和異性戀霸權正在受到女性主義和多元性取向的挑戰與修正。30年的中國新歷史，性觀念、性行為、性媒介，在頑固的保守間曲折地進步。
我們正處於影像影響世界的時代。以影像直擊的方式總結與回顧30年以來中國同性戀議題的發展。追蹤記錄30年以來在同性戀平權活動中親歷歷史的人物，展現歷史重要變革事件，譬如中國同性戀非罪化、非病化，譬如中國人同性戀觀念變化與媒體的正面報導，譬如中國有關同性戀立法、學術研究、文學創作與發表、藝術產品與展示方面的成績，譬如性學界、醫學界和同性戀社群聯手抗擊AIDS。
用一部長篇電影，訪問親歷中國30年LGBT觀念及生活變遷的30餘位知名人士，及時地記錄和保存歷史，以探討現在，以開拓未來。
以下，是影片重點拍攝與關注的議題---學術出版：從翻譯，到社會學研究，到學術草根化；性學研究：從「無性時代」，到「開放的性」，到「一胎化時代」；法律與法規：從非法，到不非法，到合法化呼籲；性別政治：從「無名」，到「隱身」，到「現身」；經濟：從統一供給式到「粉紅經濟」；精神衛生與健康：從「病態說」到「非病化」；文化與傳媒：從虛無到熱點；文學與藝術：從地下，到公開出版，到播客；社區生活：從隱秘到公開。

映後座談會
主持：彭麗君（香港中文大學文化及宗教研究系教授）
嘉賓：崔子恩（《誌同志》導演）、
梁兆輝（香港電台《自己人》節目主持人）、
江紹祺（香港大學社會學系助理教授）、
楊宜瑄（香港中文大學文化及宗教研究系導師）

Informal Meeting with CC Artists from the Philippines - Drip

2009-03-04T03:19:00.002+08:00

One of the presenter at the second Asia Pacific Creative Commons Conference, “The Commons Crossroads: Defining the Roadmap for Creative Commons in Asia and the Pacific”, Drip, will be performing in Hong Kong at the HK Live monthly event on Sat, 7 Mar 2009.

On the Sunday after the performance, the band would like to share how they made themselves famous and collaborated with other musicians worldwide through licensing their works under Creative Commons and distributing them using different online tools such as ccMixter.

Date: 8 Mar 2009 Sunday
Time: 2:30-4:30pm
Venue: Whiskey Priest - 1/F, 12 Lan Kwai Fong, Central

Winner for “Networked: a (networked_book) about (networked_art)”

2009-02-01T22:22:00.001+08:00

the winners of our international juried competition, “Networked: a (networked_book) about (networked_art)”. They are, ANNE HELMOND, PATRICK LICHTY, ANNA MUNSTER, MARISA OLSON, and KAZYS VARNELIS.

Each will receive a commission of $3,000 to develop a chapter that will be open for revision, commentary, and translation. “Networked” will launch on July 1, 2009.

The runners-up are Ele Carpenter, Christine Nadir, Mark Shepard, and Jason Freeman.

NETWORKED COMMITTEE: Steve Dietz (Northern Lights, MN) :: Martha CC Gabriel (net artist, Brazil) :: Geert Lovink (Institute for Network Cultures, The Netherlands) :: Nick Montfort (Massachusetts Institute for Technology, MA) :: Anne Bray (LA Freewaves, LA) :: Sean Dockray (Telic Arts Exchange, LA) :: Jo-Anne Green (NRPA, MA) :: Eduardo Navas (newmediaFIX) :: Helen Thorington (NRPA, NY)

NETWORKED PARTNERS: New Radio and Performing Arts, Inc. (NRPA) :: newmediaFIX :: LA Freewaves :: Telic Arts Exchange.

LAUNCH EVENTS: Digicult :: Freewaves :: Re:live 09 :: Telic Arts Exchange :: Upgrade! Boston :: your name here (contact jo@turbulence.org).

More information is available here:
http://turbulence.org/networked/guidelines.html

what is web 2.0 now?

2009-01-29T13:16:00.002+08:00

“Today's web is radically different from three or four years ago. The web's centre of gravity has shifted from being a source of broadcast information to a platform for dynamic conversations,” says Rohan Gunatillake in "Mission 2.0: advice for arts & cultural organisations from the social web"

ELECTRONIC VISUALISATION AND THE ARTS -CALL FOR PAPERS

2009-01-29T13:02:00.002+08:00

*Monday 6th - Wednesday 8th July 2009*
CALL FOR PAPERS
**Visualising* *
ideas and concepts in culture, heritage and the arts: digital arts, sound, music, film and animation, 2D and 3D imaging, European projects, archaeology, architecture, social media for museums, heritage and fine art photography, computer arts

OFFERS OF PAPERS, DEMONSTRATIONS, WORKSHOPS by 31 January 2009

/EVA London 2009 will be co-sponsored by the Computer Arts Society, a Special Interest Group of the British Computer Society, and by the BCS. /

We invite offers of papers. For proposals we require only a summary of the paper on not more than one page. It must be submitted electronically according to the instructions on the EVA London website.

Papers may be on any aspect of EVA London's focus on visualisation for the arts and culture, broadly interpreted, including technology, use and users, creative, visual and performing arts and music, strategy,organisational implications and policy.Papers are peer reviewed and may be edited. They will be published as hard copy and online.

We hope to offer bursaries again to attend EVA London for those who do
not have access to grants.

***********************************************************
EVA London 2009's conference themes will include, but are not limited to:

* Enabling the arts through digital technologies
* Crossing disciplinary boundaries
* Visualising ideas and concepts
* Moving and still images in museums and galleries
* Web 2.0 technologies in cultural heritage organizations
* Digital and computational arts
* Sound, music, film and animation
* 2D and 3D imaging
* Virtual and augmented worlds
* Fine art and photography
* Interactive technologies

Research into the uses of museum stored collections:
http://www.ucl.ac.uk/storedcollections/

PUBLIC" NETBASE: NON STOP FUTURE, New practices in Art and Media" Out Now

2009-01-16T15:53:00.004+08:00

New book about Public Netbase t0, edited by New Media Center_kuda.org and published by Revolver.

Published 2008
ISBN: 978-3-86588-455-8
http://t0.or.at/nonstopfuture/

New information technologies have become ubiquitous and thoroughly established in our everyday lives. This marks the end of a period of intense experimentation and speculations related to the introduction of global communication systems more than a decade ago. Artists and cultural workers were the first to explore their liberatory dimensions and to apply their emancipatory potentials. These early pioneers developed a range of interdisciplinary models and practices in order to expand the scope of social participation in information society cultures. Initiatives like the radical Viennese mediaculture institution Public Netbase became important nodes in a global network dedicated to critical art, culture and science based on new media practices.
A virtual world is possible, but never without real spaces and tangible social interaction. This publication is both a review of the pioneer days from the perspective of Public Netbase as well as an outlook into the future of art and culture in digital networks. It provides an overview of a critical information economy discourse, insights into Tactical Media strategies and a critique of the loss of public domain and the commons. Based on the extensive archives of Public Netbase, the book features some of the most spectacular and controversial art projects and interventions from 1994 to 2006. It also offers historical documents and manifestos critical of commercialisation and control society issues, together with a view into the digital world of tomorrow. "Non Stop Future" raises awareness for a need to invest in new and diverse practices in art and media.

Extensive contributions from many art and media theorists and practitioners to this book relate to long lasting collaboration with Public Netbase through different formats of conferences and projects, reflecting some of the most relevant problematics in constellation of art and tactical media practices and theories within communication technologies. The broad spectrum of themes regarding politics of digital media culture, art practices, networking, participation and self-organizing make the “Non Stop Future” an important contribution to forming the critical digital heritage of the future.

NASA hunts for its rubber ducks

2008-12-27T13:03:00.001+08:00

photo: (CC) Gaetan Lee
Sailors, fishermen and cruise passengers should be on the alert. If anybody spots a yellow rubber duck bobbing on the ocean waves, Nasa would like to know.

The US space agency has yet to find any trace of 90 bathtub toys that were dropped through holes in Greenland's ice three months ago in an effort to track the way the Arctic icecap is melting. Scientists threw the ducks into tubular holes known as "moulins" in the Jakobshavn glacier on Greenland's west coast, hoping they would find their way into channels beneath the hard-packed surface, to track the flow of melt water into the ocean.
News

oh can't believe someone did it, my microwave greeting

2008-12-20T01:54:00.001+08:00

SIGGRAPH announces the call for Art Papers for SIGGRAPH 2009, taking place 3-7 August in New Orleans, Louisiana

2008-12-18T20:41:00.003+08:00

via
SIGGRAPH encourages paper submissions on topics that explore the creation of art and its place in society, helping people understand the changing roles of artists and art creation in the increasingly computerized, online world. The papers should present challenging ideas in accessible ways with the goal of informing artistic disciplines, setting standards, and stimulating future trends. In addition to the core topics of the digital arts and interactive techniques, Art Papers will also be accepted on the theme of the SIGGRAPH 2009 juried art gallery, BioLogic Art. Art Papers submissions will be accepted through 8 January 2009 at 22:00 UTC/GMT.

New this year, SIGGRAPH will collaborate with Leonardo, (The Journal of the International Society of the Arts, Sciences and Technology) to publish a special issue specifically highlighting SIGGRAPH 2009 Art Papers. Publication of this special issue will coincide with SIGGRAPH 2009, and will also include visual documentation of works exhibited in BioLogic Art.

"SIGGRAPH concerns itself with the innovation and education crossroads of art, science, and technology," stated Jacquelyn Martino, SIGGRAPH 2009 Art Papers Chair from IBM T.J. Watson Research Center. "So, naturally we are thrilled to collaborate with Leonardo in the publication of this year's Art Papers. We hope to further emphasize the process and research behind the creation of art in today's digital world as well as its greater impact on our society and culture."

Art Papers at SIGGRAPH 2009 will be presented in 20-minute sessions by their authors, with the opportunity for participants to pose questions following the presentations. A full schedule of accepted Art Papers will be available online in May 2009.

For complete details on the SIGGRAPH 2009 Art Papers program, including submission information and deadlines, visit http://www.siggraph.org/s2009/submissions/art_papers/index.php.

For information on this year's conference or to download a copy of the SIGGRAPH 2009 Preview Video visit www.siggraph.org/s2009

What is the future of cash or a world without cash?

2008-12-07T01:46:00.004+08:00

kashklash:: exchanging the future

It is another project from fiction writer Bruce Sterling and many others, like "we-make-money-not art" Regine Debatty and Irene Cassarino, the manager of the online collaborative cinema project "A Swarm of angels".

Interesting blogging ...

Pregant robot

2008-11-18T19:06:00.004+08:00

I am impressed that the teaching of baby delivery not only on the surgeon or the midwives but on the team. They even get someone to play the mother creatively. Isn't it a very different thinking to the practice in HK hospital where the team and the patient is quite invisible?

The world's first timesculpture TV ad,

2008-11-18T18:21:00.003+08:00

production details

I am thinking about the concept and the making, I think the film "matrix' did a much better use of time sculpture, but sure it is a lot of hard work and money.(creatively vs logistically)

Web 2.0 Studies // Critical Internet Theory with Geert Lovink

2008-11-14T18:50:00.002+08:00

Research Methodologies Workshop
December 15th and 16th, 2008
School of Culture and Communication
University of Melbourne

The School of Culture and Communication at the University of Melbourne is seeking applications from researchers who wish to take part in a two day methodologies workshop with Professor Geert Lovink (Director, Institute of Network Culture, Amsterdam). Participation is free but places are limited and will be restricted to participants who are engaged in research relating to the theme of Web 2.0 studies and
critical Internet theory. Participants will be chosen based on a competitive application process and priority will be give to postgraduates and early career researchers. The workshop will include a discussion of the work of Geert Lovink and presentations from successful applicants.

Workshop Theme

This two-day intensive workshop will focus on critical methodologies for studying Web 2.0. In relation to the contemporary Internet, there is an obvious need to move beyond cultural studies approaches to fandom, where active consumption is simply recast as participatory culture without any assessment of the economic and technological forces driving user-generated content. Rather than relying on the Jenkins-style models of convergence and the notion of collective intelligence, this workshop will encourage participants to consider the alternative possibilities and theoretical problems facing a materialist understanding of network culture.

For instance, to what extent can software studies move from engineering issues and technologically-focused specifications to outline a broader analytics of power? What sort of creative concepts are available for understanding the everyday practices of blogging? How can organized networks transform their dependence on free labor to reach greater economic sustainability?

While the theme is framed in part by Geert Lovink's ongoing theoretical work, this workshop also allows for the opportunity to discuss some of the more general difficulties facing Internet research, including questions of scale, speed and temporality, theories of technology, debates around networked politics and modes of
collaboration.

Some key topics:

- organized networks
- theories of blogging
- recent web 2.0 literature (Bruns, Zittrain, Shirky)
- software studies and protocol (Fuller, Galloway)
- distributed aesthetics
- free labor and collaboration

The ARC Cultural Research Network has agreed to fund 3 stipends of up to $750 to support travel and accommodation costs of participants from outside Melbourne.

How to Apply: Applications are due by Friday Nov 21, 2008.
Applications must include a 250-word summary of your research topic,
highlighting links to the theme and a one-page curriculum vitae.

Applications and further information should be sent to Michael Dieter
at mdieter {AT} unimelb.edu.au

Geert Lovink, founding director of the Institute of Network Cultures(INC), is a Dutch-Australian media theorist and critic. He holds a PhD from the University of Melbourne and in 2003 was based at the Centre for Critical and Cultural Studies, University of Queensland. In 2004, Lovink was appointed as Research Professor at the Hogeschool van Amsterdam and Associate Professor at University of Amsterdam. He is
the founder of Internet projects such as nettime and fibreculture. His recent book titles are Dark Fiber (2002), Uncanny Networks (2002) and My First Recession (2003). In 2005-06 he was a fellow at the Wissenschaftskolleg Berlin Institute for Advanced Study where he finished his third volume on critical Internet culture, Zero Comments
(2007).

Geert's weblog: www.networkcultures.org/geert

Grow your own media lab (the graphic novel)

2008-11-13T16:07:00.005+08:00

Text by James Wallbank
Pictures by Michael Tesh
Design by Scott Hawkins
Access Space, 2008
ISBN 978-0-95500-913-6
Access Space is an open access media lab based in Sheffield. Access Space encourages people to learn how to use hardware re-used from local companies and Free Software from the GNU project and others. This saves money and builds skills. Those skills can then be shared to build a self-reliant and sustainable community around the lab.

Since being founded in the year 2000 Access Space has thrived where many community and government schemes have failed. This has drawn attention from groups eager to understand and reproduce its success. This has led to the Arts-Council-funded study "Grow Your Own Media Lab", of which the final report is the graphic novel of the same name "Grow Your Own Media Lab (The Graphic Novel)" or GYOML for short.

GYOML is a 114-page A5 perfect-bound book. The cover is a vivid black and yellow composition. Part Principia Discordia, part Emigre, it will look equally at home in gallery bookshops and alternative press outlets. Curious browsers will be hard pressed to resist taking a look. Inside, the book is black & white throughout with an introductory text followed by alternating pages of titles and comic-book illustrations of case studies.

Most books that use a Creative Commons licence either don't specify the licence or use one of the more restrictive licences. You'd be surprised how many cheerleaders for Free Software and Free Culture have restrictive licences on their books. Kudos to Access Space for getting the licence right (the copyleft "Attribution-ShareAlike" licence) and making sure that it's explained clearly in the book's front matter. This ensures that GYOML continues the Access Space ethos of sharing cultural and technological wealth in a principled and practical way.

The comic-book illustrations by Michael Tesh are in fanzine style, a characterful and evocative aesthetic for a small press publication. I found myself smiling at the clear inner thoughts of some of the people Tesh depicts, and if you meet one of Access Space's personnel after seeing his depictions of them you'll feel you already know them. What makes Tesh's art the perfect illustration for the case studies is that he is an Access Space regular.

Rather than providing an instruction manual for using software, which the book's introduction rightly points out would quickly become outdated, GYOML presents a series of case studies of users of the lab and the situations that they encounter. The case studies include a shy teenager, a nervous work placement, a mature student and a refugee dissident, all people learning from and contributing to different aspects of the running of Access Space. This illustrates the value of Access Space's approach and explain how, and more importantly why, to recreate it.

Despite not being a software manual there is a surprising wealth of technical and administrative information delivered surprisingly painlessly mixed in with the case studies. Such as how and why to use computers that businesses will pay you to take away from them, how and why to use Free Software, and how and why to make a server to keep users' work safe if one of those reclaimed computers breaks down. The names of Free Software operating system and art software is mentioned, as is how to learn more about them, so it is easy to find out more. And I didn't know how to crimp an RJ-45 ethernet cable before reading GYOML. Now I do.

For all the talk of "grass roots activism" and "alternative governance" on mailing lists, in universities, and at conferences there is often a disconnect between the rhetoric of technological radicalism and actually doing anything in society. We can learn a lot from Access Space's determination to get their hands dirty and to use technology as a means to the end of empowering people. A few years ago I helped out at Remix Reading's open access lab, which was inspired to adopt Access Space's way of working, so I can say from personal experience that running a lab is a rewarding experience.

GYOML is an effective and persuasive exposition of the virtues of Access Space's way of doing things. It is inspirational, unpretentious and informative. We need more like Access Space, and GYOML shows us how to do it. Let a thousand media labs bloom.

Jan van Eyck Academie - Call for Applications

2008-11-13T02:16:00.002+08:00

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Artists, designers and theoreticians are invited to submit proposals for individual or collective research projects for a one-year, two-year or variable research period in the department of Design

Extrastatecraft: Hidden Organizations, Spatial Contagions and Activism, a new project of the Design department, initiated by Keller Easterling, researches underexplored territory in the world's infrastructural and organizational strata. The work focuses on shared protocols, managerial subroutines and financial instruments as they produce and program physical space around the world. Perhaps because these organizations operate in the background, in an active and relational rather than nominative register, their political outcomes are often at once pervasive and mysterious.

For instance, how do organizations like the ISO (International Organization for Standardization) or McKinsey determine management protocols? How do construction networks, more than the singular creations of architects and urbanists, disseminate materials and processes that determine how the world is calibrated? How do markets and financial instruments create templates that shape space?

The research also explores the political leverage latent in this renovated conception of global infrastructure. Some of the most radical changes to the globalizing world are being written, not in the language of law and diplomacy, but rather in the language of architecture, urbanism and infrastructure. Armand Mattelart argues that global infrastructure is a field that is 'young and uncharted' largely because it is often still considered in terms of national rather than international histories. Moreover, the political instrumentality of these increasingly familiar global spheres is still frequently theorized in terms of militarization or universal rationalization, when they might really be agents of more discrepant or obscure forms of polity. The notion that there is either a dominant logic or a proper forthright realm of political negotiation usually acts as the perfect camouflage for parallel political activity - the medium of subterfuge, hoax and hyperbole that actually rules the world.

Extrastatecraft will consider a number of tools effective in manipulating active organization, but will pay particular attention to the ways in which these organizations are really populations of repeatable components and formats, the arrangement and chemistry of which possess a political disposition. The project will research multipliers in the organization that make components contagious and powerful as shapers of polity, and will consider these as stealthy tools of activism. New objects of practice and entrepreneurialism, redefined in a relational register, reflect the network's ability to amplify structural shifts or repeatable moves. If icons of piety, collusion or competition often escalate tensions, might alternative design ingenuities distract from them? Having customarily absented itself from official political channels, architecture, as extrastatecraft, finds itself in an unexpectedly consequential position, manipulating codes of passage and points of leverage in the thickening back channels of global infrastructure.

While researchers will find in the topic many points of entry, some anticipated research agendas address the managerial and infrastructural substrates of space related to finance, construction, trade and marketing. Travel, language skills, archival experience and fieldwork will serve the research. Textual, graphic or design documents may contribute to the final collective product.

Candidates interested in this project can apply with a research proposal. Selected candidates gain the position of researcher at the Design department of the Jan van Eyck Academie.

Deadline applications: 24 November 2008.

Networked: a (networked_book) about (networked_art) : A Juried International Competition

2008-11-10T04:38:00.001+08:00

Call for Proposals
Deadline - December 15, 2008
"A networked book is an open book designed to be written,
edited and read in a networked environment."
(Institute for the Future of the Book)

Five writers will be commissioned to develop chapters for a networked book about networked art. The chapters will be open for revision, commentary, and translation by online collaborators. Each commissioned writer will receive $3,000 (US).
Details.

Media Matters launches phase 2

2008-11-10T04:29:00.000+08:00

A consortium of curators, conservators, registrars, legal advisors, and media technical managers from New Art Trust, The Museum of Modern Art (MoMA), the San Francisco Museum of Modern Art (SFMOMA), and Tate has launched the second phase of Media Matters, an innovative website designed to provide international guidelines for the care of time-based media works of art (e.g. video, slide, film, audio, and computer-based installations).Here

Where's The Chicken: A Locative Robotics Project

2008-11-06T16:00:00.003+08:00

This project, presented by the Academy of Visual Arts, Hong Kong Baptist University, aiming for the foundation of future hub in media art research, especially for installation art, locative media and robotics art. It features the exclusive opportunity in Hong Kong for young creative professionals, artists & students to develop their creative concepts through collaboration with the invited artist, Annie On Ni Wan, PhC from Center For Digital Arts & Experimental Media, University of Washington, Seattle, US.

香港浸會大學視覺藝術院冀望通過本計劃逐步為香港發展首個以裝置藝術、公共藝術和機械藝術為重點的媒體藝術平台，本計劃邀請本地藝術家溫安妮與具專業水平之視覺藝術人才和學生合作，為媒體藝術平台定立基礎。

Step 1: Professional Workshops
All workshops provide unique hands-on training within the context of contemporary experimental art scene. Selected workshop participants will be invited to a number of individual project consultation meetings with the artist and participate in the 10-days arts festival during Summer, 09. All exhibition material costs and equipments will be provided. Each workshop costs $390 (12 hours/ workshop) and workshop participants must be enrolled in at least 2 workshops.

此工作坊目標為培養各學員成為優秀藝術人才，促進他們在當代藝術領域上的創造力與實踐能力。工作坊的藝術專業顧問將會由本地媒體藝術家溫安妮擔任，屆時，被挑選的參加者會被作出個別指導，並創作其個人作品，他們的作品將會於為期10天的藝術節中展出，而本藝術院將會為被挑選的參加者提供展覽的物料和成本。每個工作坊的材料費為 $390 (12 小時/ 工作坊)，而每位參加者必須參與至少兩個工作坊。

I: Sound & Telematics Art (Registration Deadline: 19, Dec 2008) 2, 9 Jan 2009 1900-2200 & 3, 10 Jan 2008 1000-1300
II: Introduction to Sensing & Control Systems (Registration Deadline: 9, Jan 2009) 16, 23 Jan 2009 1900-2200 & 17, 24 Jan 2009 1000-1300
III: Mechatronic Art, Design & Fabrication (Registration Deadline: 6, Feb 2009) 6, 13 Feb 2009 1900-2200 & 7, 14 Feb 2009 1000-1300
IV: Performance Art & Locative Media (Registration Deadline: 20, Feb 2009) 20, 27 Feb 2009 1900-2200 & 21, 28 Feb 2009 1000-1300

For more information about workshops & the project,Academy of Visual Arts, Hong Kong Baptist University Tel: 2353 5170 URL: http://va.hkbu.edu.hk E-mail: va@hkbu.edu.hk

This project is supported by Hong Kong Arts Development Council

When, why and how are individuals moved by a piece of art in a museum or gallery?

2008-11-03T03:53:00.002+08:00

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What links a neuroscientist with a social anthropologist and the UK’s premier independent art charity?

The answer is the visual perception of art. When, why and how are individuals moved by a piece of art in a museum or gallery?

These are the questions to be examined between the world renowned Department of Museum Studies and the Department of Engineering at the University of Leicester, in collaboration with The Art Fund.

Social anthropologist Dr Sandra Dudley, and Professor of Bioengineering Rodrigo Quian Quiroga are each facing what they admit is one of the biggest research challenges of their careers.

Working with the Director of The Art Fund, Mr David Barrie, in the supervision of a new PhD student dedicated to the project, Ms Jennifer Binnie, they will develop a totally new, interdisciplinary approach to the perception of gallery art.

Dr Dudley commented: “What we’re studying is a basic level of human experience of the material and visual world. It doesn’t always happen that an individual will feel the wow factor when they look at a piece of art in a museum, but it does happen sometimes. What causes that? Why does certain art appeal to certain people? What lasting impact does it have on their lives?”

We don't need education, we don't need critics, we don't need art. It is all direct visual stimulation and we can generate inspiration with preset remix of images in the future.

Call for Net Art in Hz

2008-11-02T00:37:00.003+08:00

On-line journal Hz is looking for articles on New Media, Net Art, Sound Art and Electro-Acoustic Music. We accept earlier published and unpublished articles in English. Please send your submissions to hz-journal@telia.com

Hz is also looking for Net Art works to be included in its virtual gallery. Please send your URL to hz-journal@telia.com

Deadline: 25 November, 2008

Hz is published by the non-profit organization Fylkingen in Stockholm. Established in 1933, Fylkingen has been known for introducing yet-to-be-established art forms throughout its history. Nam June Paik, Stockhausen, Cage, etc. have all been introduced to the Swedish audience through Fylkingen. Its members consist of leading composers, musicians, dancers, performance artists and video artists in Sweden. For more information on Fylkingen, please visit http://www.fylkingen.se/about or http://www.hz-journal.org/n4/hultberg.html

How much is that art in the window?

2008-11-01T01:29:00.004+08:00

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Christie’s New York Pop Culture: Punk/Rock sale on November 24 will continue to bring fresh, new markets to auction with a Punk and Rock collection, and a selection of Designer Toys.

PUNK
The sale is highlighted with imagery and artifacts of the late seventies and early eighties Punk explosion from both sides of the Atlantic. The most important venues, bands, designers and writers of the Punk movement are showcased through fanzines, flyers, posters, t-shirts, records and photographs. With over 120 lots, estimates range from $300 to $6,000. Musicians and bands include; Blondie, David Bowie, Lou Reed, Mick Rock, Patti Smith, Richard Hell, Sid Vicious, The Clash, The Cure, The Ramones, The Sex Pistols, The Smiths, and The Velvet Underground.

Posters and flyers featured include — a rare concert poster for The Ramones seminal appearance at the Roundhouse, July 4, 1976, which notably attracted other bands in the audience such as The Sex Pistols, The Clash and The Damned (estimate: $2,000 – 3,000); the most significant Punk flyer to appear at auction, The Screen on the Green Presents a Midnight Special featuring Sex Pistols + Clash + Buzzcocks, August 29, 1976 (estimate: $3,000 – 4,000); and a flyer for The Clash, The Buzzcocks, Subway Sect and The Slits at The Coliseum, March 11, 1977 (estimate: $1,500 – 2,000).

A complete press kit from the 1977-78 U.S. Tour of The Sex Pistols is signed on the cover by Malcom McLaren and includes signed publicity photos by Johnny Rotten, Paul Cook, Steve Jones and Sid Vicious (estimate: $5,000 - 6,000). The first piece of tattoo memorabilia to appear at auction is a hand-crafted, Art Deco-style chest created by the legendary and influential tattoo artist Amund Deitzel (1890 – 1973), for use in his tattoo parlor in Milwaukee, Wisconsin (estimate: $3,000 – 5,000).

DESIGNER TOYS
After introducing Designer Toys to the auction market in Christie’s June Pop Culture sale, Christie’s is pleased to offer an expanded selection of over 25 lots in the November sale, with estimates starting at $100. This twenty-first century art movement is a unique multidisciplinary mode of expression, which employs painting, sculpture, graphic design, fashion, graffiti, industrial design, metal craft, and woodworking. This is a movement that has brought art to the masses and sits between the worlds of fine and commercial art.

Highlights include — Frank Kozik’s complete sets of his ‘Ludwig Van’ and ‘Ho Chi Minh’ busts (estimate: $3,000 - $4,000 each); KAWS’ ‘4ft. Companion’ (estimate: $7,000 - $9,000); and Huck Gee’s Customized Mega Munny (estimate: $4,000 - $5,000). Other artists represented are; Suckadelic, Carlos Enriquez Gonzales, Amanda Visell, Cupco, Luke Chueh, Dalek, Thomas Han, and Mark Nagata. Manufacturers include; Munky King, Kidrobot, Medicom, and Max Toy Co.

ROCK
Several rare and well-documented concert instruments are features in the auction. An exciting highlight is the Vox Continental Portable Organ played by John Lennon at the historic Shea Stadium concert, August 15, 1965, the Beatles’ appearance on the Ed Sullivan Show, August 13, 1965, and at the studio recording of I’m Down (estimate: $150,000 – 200,000). The concert at Shea Stadium is arguably one of the most famous in rock history. Lennon’s memorable frenzied rendition of I’m Down, while pounding on the organ, resulted in it not working properly for the next show. The organ has since been repaired and is fully functional.

A Yamaha SC 1000 electric guitar owned and played in concert by Bob Marley during the final worldwide tour of Bob Marley and The Wailers in 1979, is another highlight (estimate: $30,000 – 40,000). Marley was presented with the guitar upon his visit to the Yamaha factory in Hamamatsu during the Tokyo leg of the tour, and photographs of legendary singer playing at Tokyo and Osaka venues are sold with the guitar.

A collection of three original tapes and five handwritten boxes by Jimi Hendrix are available from the famous sessions that would become the classic album Electric Ladyland (estimate: $20,000 – 30,000). The boxes include handwritten production notes and were given to a member of the The Amen Corner, who toured with Hendrix in the UK.

Other highlights include a bass guitar played by a young Kurt Cobain while recording demos at his Aunt’s house in Aberdeen, Washington, in 1982 and 1985 (estimate: $60,000 – 80,000). For fans and collectors of the Beastie Boys, is the original artwork for the cover of the band’s 1986 debut album License to Ill by David Gambale (estimate: $20,000 – 30,000).

New Media @ Hong Kong Visual Arts Centre

2008-10-30T14:23:00.004+08:00

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.

Somewhere
Vincent Mak Shing-fung
Ink Animation
12 mins
2006

Gear City
Vincent Mak Shing-fung
Ink Animation
5 mins
2007

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*

SOCIAL TECHNOLOGIES SUMMIT

2008-10-29T15:33:00.002+08:00

via
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:
downloads.futuresonic.com/social2009.zip

See also -- A GBP 5000 commission plus many other opportunities are available in the Futuresonic 2008 Art & EVNTS calls for submissions.
http://www.futuresonic.com/getinvolved

WALLED GARDEN by Virtueel Platform

2008-10-25T10:55:00.004+08:00

WALLED GARDEN
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.

WALLED 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!

WALLED GARDEN 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.

Creative Commons community outreach

2008-10-24T13:13:00.002+08:00

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.
.....

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

2008-10-23T14:31:00.001+08:00

KRAFTWERK
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

James Nachtwey awarded TED prize for work on War and disease

2008-10-16T10:09:00.004+08:00

photo from wikipedia
via

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.

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

2008-10-12T10:02:00.003+08:00

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.

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

2008-10-08T04:28:00.003+08:00

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.

Free Culture and free society: Lecture by Lawerence Lessig

2008-10-06T16:19:00.002+08:00

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

Asia Art Forum- lectures starting October

2008-10-02T19:37:00.003+08:00

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.

Prices
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
asiaartforum@gmail.com
arthub.org.cn/asia-art-forum

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