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.
星期一, 11月 10, 2008
Media Matters launches phase 2
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
星期四, 11月 06, 2008
Where's The Chicken: A Locative Robotics Project
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
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
星期一, 11月 03, 2008
When, why and how are individuals moved by a piece of art in a museum or gallery?
via
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.
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.
星期日, 11月 02, 2008
Call for Net Art in Hz
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
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
星期六, 11月 01, 2008
How much is that art in the window?
via
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).
星期四, 10月 30, 2008
New Media @ Hong Kong Visual Arts Centre
In response to the flourishing of new media to create works which are edgy and contemporary, some ink artists begin to think-out-of-the-box and create works which are beyond two-dimensional. Some young artists even turn their heads to animation as the new media to bring the spirit of Chinese Ink Art forward, since they believe that the incorporation of ink art and technology will open up new possibilities in artistic creation. As a matter of fact, Traditional Chinese Ink Art becomes far more complicated than it used to be, and this makes the appreciation and judgement basing on the long-established aesthetic criteria no longer appropriate. As different from animated works from Japan and the West, Chinese Ink Animation is exquisite, smooth and imbued with meanings carried by the Chinese Ink Painting tradition. At a time when young artists are gaining more exposures in international arenas, contents of new Chinese Ink Animation is not restricted to traditional cultural issues alone, but rather a mix of cultural qualities of the East and the West and the artists' experiences of living in this hybrid society. For it is also a platform for artists to experiment crazy artistic concepts, contemporary Chinese Ink Animation is becoming an art form with eclectic styles. In respect of this exciting new look of Chinese Ink Animation, Moving Ink is the new seasonal theme that includes demonstrations on Chinese Ink Animation and a mini-exhibition of works by Vincent Mak. Through these activities, it is hoped that the audience are presented a new perspective on appreciating Chinese Ink Animation.
Ink Animation Demonstrations
What interactions can we expect when elements of Chinese ink, animation art and computer technology are put together? In four different sessions, new media artist Vincent Mak will demonstrate the art of Ink Animation and shows us how far he can reach out integrating the traditional art medium with the new.
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*
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.
SomewhereVincent Mak Shing-fung
Ink Animation
12 mins
2006
Gear CityVincent 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*
星期三, 10月 29, 2008
SOCIAL TECHNOLOGIES SUMMIT
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
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
星期六, 10月 25, 2008
WALLED GARDEN by Virtueel Platform
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.
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.
星期五, 10月 24, 2008
Creative Commons community outreach
The creativity of Asia's people will be supported and shared thanks to a new long-term strategic partnership between the DotAsia Organisation (DotAsia, www.registry.asia) and Creative Commons (CC).
DotAsia, the not-for-profit registry operator for the ".Asia" Internet top-level domain, plans to commit US$100,000 to Creative Commons in support of its cause, outreach and community efforts in Asia. In addition, DotAsia will contribute time and effort into assisting in the coordination of events, activities of CC's regional chapters and various other socio-technical initiatives, such as a next generation copyright registry project.
The partnership will be announced by the CEO of Creative Commons, Mr. Joi Ito, and Mr. Edmon Chung, the CEO of DotAsia, during the launch ceremony next Saturday afternoon (Oct 25) for Creative Commons Hong Kong (CCHK) at the HKICC Lee Shau Kee School of Creativity, Kowloon, Hong Kong. For more details about the launch event visit: http://hk.creativecommons.org.
.....
DotAsia, the not-for-profit registry operator for the ".Asia" Internet top-level domain, plans to commit US$100,000 to Creative Commons in support of its cause, outreach and community efforts in Asia. In addition, DotAsia will contribute time and effort into assisting in the coordination of events, activities of CC's regional chapters and various other socio-technical initiatives, such as a next generation copyright registry project.
The partnership will be announced by the CEO of Creative Commons, Mr. Joi Ito, and Mr. Edmon Chung, the CEO of DotAsia, during the launch ceremony next Saturday afternoon (Oct 25) for Creative Commons Hong Kong (CCHK) at the HKICC Lee Shau Kee School of Creativity, Kowloon, Hong Kong. For more details about the launch event visit: http://hk.creativecommons.org.
.....
星期四, 10月 23, 2008
Kraftwerk Live in Hong Kong: Man and Machine in Perfect Harmony
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
Live in Hong Kong
5th December, 2008
AsiaWorld-Expo Hall 9
One of the most influential bands in music history, the Godfathers and pioneers of electronic music – Kraftwerk - will be performing at AsiaWorld-Expo Hall 9 on December 5, 2008 for the first time ever in Hong Kong!
The electro pioneers Kraftwerk started their vision of the future nearly forty years ago. They created the masterplan for so many contemporary music styles such as electro – synth pop – trance and techno.
Now in 2008, Kraftwerk have programmed their robots for a multimedia show with computer animation and digital surround sound. Fans will see Kraftwerk performing not only their innumerable hits from the past 40 years but also a multimedia spectacular that promises to delight their loyal army of fans.
The line up for Kraftwerk 2008 Live in HK will be: Ralf Hütter / Fritz Hilpert / Henning Schmitz / Stefan Pfaffe.
The Kraftwerk Story…
Approximately 40 years ago, in the cold, clean recesses of one Kling Klang studio laboratory located in Düsseldorf, Germany, a collective that called itself Kraftwerk began churning out from an assortment of electronic equipment and their own secret inventions what they termed “machine music”, the likes of which had never been heard before. Cold, precise, minimal, repetitive and almost wholly electronically-processed, this new brand of stiff was released on an unsuspecting public in the 70s, and pop music was never the same again…
Beginning as a duo in Germany’s late 60s experimental music scene and evolving into a notoriously reclusive synth-pop quartet in the mid 70s, Kraftwerk is today both an institution and an enigma. The group that once expressed an intention to “make music that sounded like Germany” has had its distinctive sound – drum machine beats, synths, vocodered vocals – copied and sampled by musicians such as David Bowie, Depeche Mode, Joy Division, New Order, Art of Noise and Afrika Bambaataa across genres from techno and new wave to rock and hip-hop.
Strikingly antiseptic and yet strangely compelling, Kraftwerk’s spare melodies, precise programming and curiously facile lyrics (“Radioactivity is in the air for you and me”) reveal a deadpan humour and an appreciation of the absurd. Experienced live, a Kraftwerk show is a perfectly synchronised visual spectacle with four besuited guys (and their robot doubles) standing quite still behind consoles onstage, against a backdrop of perfectly synchronized visual projection, lights, robotics and pure theatre.
Tickets: HK$680 (All Standing)
Tickets on sale at 10am – October 30 , 2008 at HK Ticketing and
Tom Lee Outlets
Booking Hotline: (852) 31-288-288
Online Booking: www.livenation.asia / www.hkticketing.com
General Enquiries: (852) 2989 9239
星期四, 10月 16, 2008
James Nachtwey awarded TED prize for work on War and disease
photo from wikipedia
via
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.
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.
星期日, 10月 12, 2008
Damien Hirst - Beautiful Inside My Head Forever London September 15 & 16, 2008
The remarkable success of the Damien Hirst auction, Beautiful Inside My Head Forever, has raised several questions about the relationship between the financial markets and the art market. The surprisingly strong numbers have also caused many to wonder about the state of the art market itself. But the results of the sale are quite plain on the subject of Damien Hirst and his stature as a contemporary artist.
This report cannot make arguments about whether the Hirst auction is or is not representative of the art market as a whole or even indicative of the Contemporary art market. But it can draw some important conclusions about the history of the Hirst market.
星期三, 10月 08, 2008
Act/React: Interactive Installation Art Makes its World Premiere at the Milwaukee Art Museum
Playful, intuitive, first of its kind—Act/React: Interactive Installation Art makes its world premiere at the Milwaukee Art Museum October 4, 2008–January 11, 2009. Showcasing a growing body of contemporary art that is visitor dependent—without the use of specific interfaces like keyboards or touchscreens—this exhibition of motion-driven installation art empowers guests to exercise their creativity and act on their curiosity. Act/React features the work of six pioneers of responsive art, including an Academy Award-winning Jurassic Park special effects designer, in the Museum’s Santiago Calatrava-designed Baker/Rowland Galleries.
Imaginatively diverse in both form and function, each of the ten environments in the 10,000-square-foot exhibition space is designed to constructively respond to the physical presence of visitors. There is a table that speaks when touched (Janet Cardiff, To Touch, 1994), a floor of projected, colorful forms that reconfigure in the wake of passing visitors (Brian Knep, Healing Pool, 2008), and walls of painterly projections that respond to “brushstrokes” of human movement (Camille Utterback, External Measures 2003, 2003; Untitled 5, 2004; Untitled 6, 2005). Liz Phillips contributes a room of responsive neon lights and synthesized sound (Echo Evolution, 1999), while Daniel Rozin’s Peg Mirror (2007) and Snow Mirror (2005) configure and reflect captivating portraits. Scott Snibbe’s Boundary Functions (1998) and Deep Walls (2003) bring visitors together in works that require more than one participant.
“If in the last century the crisis of representation was resolved by new ways of seeing, then in the twenty-first century the challenge is for artists to suggest new ways of experiencing. Through interactivity, contemporary artists mirror, distort, and confuse the audience’s experience not of representation but of reality itself,” notes guest curator George Fifield, founder of the renowned Boston Cyberarts Festival. “This is contemporary art about contemporary existence.”
Act/React is guest curated by George Fifield, founding director of Boston Cyberarts, Inc., and coordinated at the Milwaukee Art Museum by Curatorial Assistant John McKinnon.
Imaginatively diverse in both form and function, each of the ten environments in the 10,000-square-foot exhibition space is designed to constructively respond to the physical presence of visitors. There is a table that speaks when touched (Janet Cardiff, To Touch, 1994), a floor of projected, colorful forms that reconfigure in the wake of passing visitors (Brian Knep, Healing Pool, 2008), and walls of painterly projections that respond to “brushstrokes” of human movement (Camille Utterback, External Measures 2003, 2003; Untitled 5, 2004; Untitled 6, 2005). Liz Phillips contributes a room of responsive neon lights and synthesized sound (Echo Evolution, 1999), while Daniel Rozin’s Peg Mirror (2007) and Snow Mirror (2005) configure and reflect captivating portraits. Scott Snibbe’s Boundary Functions (1998) and Deep Walls (2003) bring visitors together in works that require more than one participant.
“If in the last century the crisis of representation was resolved by new ways of seeing, then in the twenty-first century the challenge is for artists to suggest new ways of experiencing. Through interactivity, contemporary artists mirror, distort, and confuse the audience’s experience not of representation but of reality itself,” notes guest curator George Fifield, founder of the renowned Boston Cyberarts Festival. “This is contemporary art about contemporary existence.”
Act/React is guest curated by George Fifield, founding director of Boston Cyberarts, Inc., and coordinated at the Milwaukee Art Museum by Curatorial Assistant John McKinnon.
星期一, 10月 06, 2008
Free Culture and free society: Lecture by Lawerence Lessig
The Inaugural Lee Shu Pui Leung Wai Hing 利樹培梁蕙卿 Distinguished Lecture on the Media
Friday, October 24, 2008
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/
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/
星期四, 10月 02, 2008
Asia Art Forum- lectures starting October
Arthub is delighted to support a new educational initiative, Asia Art Forum- a dynamic series of lectures, featuring respected members of the Chinese contemporary art world discussing the emergence and historical development of Chinese contemporary art and its cultural institutions, as well as issues pertaining to the collection and market of Chinese art.
For the first time, this dynamic and fast changing period of Chinese art history will be unpicked and laid out, enabling a steady assessment and understanding of these extraordinary developments. Taking 1978 as its starting point the course will move forward chronologically focusing on key movements, specific groups and significant exhibitions that form the backbone of this startling rise in Chinese contemporary art. To date, Beijing has always been the focus of any study of contemporary Chinese art history, this course will redress the balance, shifting the focus to include the significant role played by Shanghai&r squo;s artists and art scene.
Fostering direct encounters with leading members of the Chinese contemporary art world, the program offers a privileged access to first-hand information on subjects relating to the Chinese contemporary art history and the collection of art. The forum encourages the exchange of ideas by means of guest lectures and personal contact with the lecturers and other guests, and will provide a unique opportunity to art professionals, collectors and enthusiasts to study the history of Chinese contemporary art. Each two-hour seminar will take place in varying locations across Shanghai, either leading galleries or museums and will be presented by some of the most prominent experts in the field.
The course will be supplemented by with private gallery visits and specially organised social events which will provide informal meetings with leading gallerists, artists and critics at the forefront of Shanghai’s art scene. Asia Art Forum is an educational initiative in collaboration with Arthub, produced by Pippa Dennis, with consultation from Defne Ayas and Davide Quadrio. Arthub has supported Asia Art Forum on framework, educational content, and scholarship.
Programme to include:
• Chinese Aesthetics: a background to Chinese Art History
• Birth and Rise of the Avant Garde: 1979-1989
• Turning Abstract: Shanghai Art from 1976 to 1985
• Political Pop: Post Tianamen Trends and the Ascent of Painting
• The Rise of Shanghai: Experimental Exhibitions, the Shift from Painting to Photography, Video, and Installations
• Sensation to Legitimization
• Performance and New Media in China
• Art Market Trends and ‘What’s Next?’
Speakers to include:
Philip Tinari is a writer and curator based in Beijing. He is Contributing Editor of Artforum, and founding editor of artforum.com.cn, the magazine’s Chinese-language website. His writings have appeared in publications including The New York Times Magazine, Parkett, The Wall Street Journal, and the Chinese journal Dushu, as well as exhibition catalogues for museums including the Guggenheim and the Serpentine Gallery. He is China Advisor to Art Basel. In 2007, he founded Office for Discourse Engineering, an editorial studio focused on publishing and translation related to Chinese contemporary art.
Karen Smith has been in Beijing since 1992 researching Chinese contemporary art. She is the author of Nine Lives: The Birth of Avant-Garde Art in New China and the forthcoming monogrpah on Ai Weiwei. Her curatorial work includes The Real Thing at Tate Liverpool, 2007; The Chinese, Kunstmuseum Wolfsberg, Germany, 2004; and Illumination; Ai Weiwei and Tibetan Plateau, Beijing Girls: Liu Xiaodong both at Mary Boone Gallery, 2008.
Davide Quadrio, co-founder of BizArt, China’s first not for profit art centre, and creator of Arthub, apan Asian arts organisation that supports mobility, research and process based artistic work in Asia and the Middle East. He is based in Bangkok and Shanghai and works as art director, curator and educator committed to supporting artistic endeavours crossing the boundaries between east and west.
Defne Ayas is based in Shanghai since 2005, and working as an art history professor at New York University in Shanghai and as a program consultant to Arthub, serving China and the rest of Asia. Ayas is also curator of PERFORMA, the biennale of visual art performance with base in New York City, where she spends part of the year. Prior to joining PERFORMA, where she has been developing and presenting performances since its inception in 2004, Ayas worked as the Education and New Media Programmer at the New Museum of Contemporary Art in New York.
Zhao Chuan is a writer, theatre director and critic. He writes arts columns and regularly publishes in major newspapers and the art press in mainland China and Taiwan. He’s the guest lecturer in the ChinaArt Academy and New York University’s Shanghai Center. His book Shanghai Abstract Story was published in 2006.
Michelle Blumenthal is an art specialist based in Hong Kong and Shanghai. She originally trained in Chinese traditional porcelain, ceramic, textiles and furniture, later moving into Chinese contemporary art as a curator and art consultant. Her specific area of expertise focuses on the development of Chinese abstract art from the late 1970’s.
Course I
designed for Shanghai residents
21 October – 2 December 2008
8 weekly sessions, Tuesday evening, 7.30 – 9 pm
Course II
designed for non-Shanghai residents
21 November – 23 November 2008
3 day course, daily, 9-12am and 2-4pm
Both courses will cover the same topics with the aim that Course II will enable overseas people to take advantage of this singular opportunity.
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
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
星期二, 9月 30, 2008
Just love Roy Andersson
Miserable is funny, comical, and so miserable. I think this is what "hyper-reality" means to the director of "song from the second floor " and "you, the living", Roy Andersson. He made ad for a living and here are some of them, still you can see "him" in the video
And here is a little the scene behind "you, the living".
And here is a little the scene behind "you, the living".
NJP Centre opens
The Nam June Paik Art Center is located in Yongin, a city on the outskirts of Seoul. It is supported by the Gyeonggi Cultural Foundation and Gyeonggi Province. The center was discussed with Nam June Paik and is under development since 2001. The NJP Art Center opened its permanent building in April 2008. Under the current director, Young Chul Lee,(and Chief curator Tobias Berger, former Director of Para-Site HK) it aspires to reactivate the experimental and interventionist spirit of 20th century and contemporary art practices in order to become a locus where aesthetic, political and social potentialities contribute to questioning and redefining the relationships between art, philosophy, media and life.
I like the branding of the museum. It is said in the home page:
The first event : Now Jump
NOW JUMP, the festival's title, originates in an Aesop punchline: "Hic Rhodus, Hic saltus!" NOW JUMP is an appeal to exceed past achievements: NOW is always the time to act. An invitation or call to action, this festival also represents the ambition of the Nam June Paik Art Center to leap into the future through the NJP Festival.
NOW JUMP is organized according to the concept of 'Stations,' simultaneously encompassing a state of stillness and of motion or anticipation of motion. In our everyday experience these can be places where trains or buses regularly stop; broadcasting stations; power stations; research institutes; studios; local headquarters; habitats; social status or postures. For NOW JUMP five stations exist as concurrent initiatives: exhibitions, performances, and platforms to establish discourse.
Station_1 is a point of departure gathering Nam June Paik archival material and works, and combining it with that of his friends, colleagues and references. Recontextualizing the artist's work within the history of his own practice, that of Fluxus and other trends of the 1960s, it is an attempt to highlight the complexities of creativity and its social and political significance. Ultimately the goal is to renegotiate the influence of Nam June Paik within the practice of new generations of artists.
Station_2 is a state of anticipation - reintroducing the notion of potentiality into the actualized exhibition space and implanting an openness that the exhibition loses when it comes into being. Different forms of performance are given a platform from which they can be regarded and from which they can also look at each other. By producing their own space, time and durational place these works expose the circuits into which they are inserted and begin to expand into the realm of lived experience.
Station_3 is a journey that has already begun. Unlike Stations 1 and 2 which are mainly presented in the Art Center building, Station 3 intersperses artworks into a new private gallery and an existing high school gymnasium. The specific characteristics of these buildings create shifts in mood and tone. Whereas before the works were in dialogue with the past and the contemporary present, here the dialogue ranges from domestic and introspective to imposing and controlled, reminiscent of being in urban space. In this context, the practices presented dwell on creativity as an ability to open lines of flight from reductive definitions and restrictions.
Station_4 and Station_5 are spaces of transit offering temporary points of arrival, moments for reflection, and a place from which to embark on new departures. Respectively, they correspond to workshops, seminars and publications and to the establishment of the NJP Art Center prize.
Artists List
Station_1: Allan Kaprow, Anzaï, Bas Jan Ader, Byungki Whang, Charlotte Moorman, Eunjoo Lee, George Brecht, George Maciunas, Hans G. Helms, Hermann Nitsch, Joe Jones, John Cage, Joseph Beuys, Karlheinz Stockhausen, Klaus Barisch, Kulim Kim, Kunyong Lee, Larry Miller, Manfred Leve, Manfred Montwé, Mary Bauermeister, Merce Cunningham, Nam June Paik, Naoki Ishikawa, Neungkyoung Sung, Otto Muehl, Peter Fischer, Peter Moore, Peter Weibel, Robert Filliou, Shiomi Meiko, Shuya Abe, Sukhi Kang, Sylvano Bussotti, Ulrich Bassenge, Wang Xingwei, William Gedney, Xiao Zhuang, Yiso Bahc, Yuji Takahashi
Station_2: Annie Vigier & Franck Apertet, Antonia Baehr, Boris Charmatz, Byungjun Kwon, Claudia Triozzi, Donghee Koo, Dora Garcia, Forced Entertainment, Guido van der Werve, Guillaume Désanges, Hwayeon Nam & Younggyu Jang, Hyoungmin Kim, Kris Verdonck, La Ribot, Peter Welz, Romeo Castellucci, Ryoji Ikeda, Rimini Protokoll, Toshiki Okada, Vincent Dupont, William Forsythe
Station_3: A kills B, André Gonçalves, Aurélien Froment, Bik Van der Pol , Bomin Kim, Changsub Choi, Choongsup Lim, Dujin Kim, Herwig Weiser, Hontoban – Anthony Bannwart, Jackson Hong, Jan Fabre, Joongki Geum, Jueun Lee, Kiyoshi Kuroda, Kyungwon Moon, Manon de Boer, Marjolijn Dijkman, MeeNa Park, Minsuk Cho, Namaiki, Paolo Soleri, Paul Granjon, Rene Daalder, Rostarr, Sasa [44], Sergio Prego, Seungmo Seo, Stephan Reusse, Stephen Smith/Neasden Control Centre, Susie Lim, Sulki & Min, Wolsik Kim, Yangachi, Zilvinas Kempinas
Station_4: A special project by castillo/corrales
NOW JUMP from October 8, 2008 to February 5, 2009
http://www.njpartcenter.kr
To find out more contact:
Nam June Paik Art Center
85 Sanggal-dong, Giheung-gu,
Yongin-si, Gyeonggi-do
446-905
Republic of Korea
T: + 82 (0) 31 201 8543
F: + 82 (0) 31 201 8515
c.pestana@njpartcenter.kr
I like the branding of the museum. It is said in the home page:
The enigmatic mathematical symbols used for the main logo image of Nam June Paik Art Center are derived from the numerical expression that Paik used in an article for the magazine De/collage No.3 in 1963 and re-used commemorating his 54th birthday, and they represent Paik's rich imagination and unique sense of humor. The logo image shows that when a question is reversed and transformed into a new question, endless transformations and recurrences take place: it incorporates the identity of Nam June Paik Art Center aiming to be an experimental space that doesn't cease to question established answers.
The first event : Now Jump
NOW JUMP, the festival's title, originates in an Aesop punchline: "Hic Rhodus, Hic saltus!" NOW JUMP is an appeal to exceed past achievements: NOW is always the time to act. An invitation or call to action, this festival also represents the ambition of the Nam June Paik Art Center to leap into the future through the NJP Festival.
NOW JUMP is organized according to the concept of 'Stations,' simultaneously encompassing a state of stillness and of motion or anticipation of motion. In our everyday experience these can be places where trains or buses regularly stop; broadcasting stations; power stations; research institutes; studios; local headquarters; habitats; social status or postures. For NOW JUMP five stations exist as concurrent initiatives: exhibitions, performances, and platforms to establish discourse.
Station_1 is a point of departure gathering Nam June Paik archival material and works, and combining it with that of his friends, colleagues and references. Recontextualizing the artist's work within the history of his own practice, that of Fluxus and other trends of the 1960s, it is an attempt to highlight the complexities of creativity and its social and political significance. Ultimately the goal is to renegotiate the influence of Nam June Paik within the practice of new generations of artists.
Station_2 is a state of anticipation - reintroducing the notion of potentiality into the actualized exhibition space and implanting an openness that the exhibition loses when it comes into being. Different forms of performance are given a platform from which they can be regarded and from which they can also look at each other. By producing their own space, time and durational place these works expose the circuits into which they are inserted and begin to expand into the realm of lived experience.
Station_3 is a journey that has already begun. Unlike Stations 1 and 2 which are mainly presented in the Art Center building, Station 3 intersperses artworks into a new private gallery and an existing high school gymnasium. The specific characteristics of these buildings create shifts in mood and tone. Whereas before the works were in dialogue with the past and the contemporary present, here the dialogue ranges from domestic and introspective to imposing and controlled, reminiscent of being in urban space. In this context, the practices presented dwell on creativity as an ability to open lines of flight from reductive definitions and restrictions.
Station_4 and Station_5 are spaces of transit offering temporary points of arrival, moments for reflection, and a place from which to embark on new departures. Respectively, they correspond to workshops, seminars and publications and to the establishment of the NJP Art Center prize.
Artists List
Station_1: Allan Kaprow, Anzaï, Bas Jan Ader, Byungki Whang, Charlotte Moorman, Eunjoo Lee, George Brecht, George Maciunas, Hans G. Helms, Hermann Nitsch, Joe Jones, John Cage, Joseph Beuys, Karlheinz Stockhausen, Klaus Barisch, Kulim Kim, Kunyong Lee, Larry Miller, Manfred Leve, Manfred Montwé, Mary Bauermeister, Merce Cunningham, Nam June Paik, Naoki Ishikawa, Neungkyoung Sung, Otto Muehl, Peter Fischer, Peter Moore, Peter Weibel, Robert Filliou, Shiomi Meiko, Shuya Abe, Sukhi Kang, Sylvano Bussotti, Ulrich Bassenge, Wang Xingwei, William Gedney, Xiao Zhuang, Yiso Bahc, Yuji Takahashi
Station_2: Annie Vigier & Franck Apertet, Antonia Baehr, Boris Charmatz, Byungjun Kwon, Claudia Triozzi, Donghee Koo, Dora Garcia, Forced Entertainment, Guido van der Werve, Guillaume Désanges, Hwayeon Nam & Younggyu Jang, Hyoungmin Kim, Kris Verdonck, La Ribot, Peter Welz, Romeo Castellucci, Ryoji Ikeda, Rimini Protokoll, Toshiki Okada, Vincent Dupont, William Forsythe
Station_3: A kills B, André Gonçalves, Aurélien Froment, Bik Van der Pol , Bomin Kim, Changsub Choi, Choongsup Lim, Dujin Kim, Herwig Weiser, Hontoban – Anthony Bannwart, Jackson Hong, Jan Fabre, Joongki Geum, Jueun Lee, Kiyoshi Kuroda, Kyungwon Moon, Manon de Boer, Marjolijn Dijkman, MeeNa Park, Minsuk Cho, Namaiki, Paolo Soleri, Paul Granjon, Rene Daalder, Rostarr, Sasa [44], Sergio Prego, Seungmo Seo, Stephan Reusse, Stephen Smith/Neasden Control Centre, Susie Lim, Sulki & Min, Wolsik Kim, Yangachi, Zilvinas Kempinas
Station_4: A special project by castillo/corrales
NOW JUMP from October 8, 2008 to February 5, 2009
http://www.njpartcenter.kr
To find out more contact:
Nam June Paik Art Center
85 Sanggal-dong, Giheung-gu,
Yongin-si, Gyeonggi-do
446-905
Republic of Korea
T: + 82 (0) 31 201 8543
F: + 82 (0) 31 201 8515
c.pestana@njpartcenter.kr
星期日, 9月 28, 2008
Media Facades Festival Berlin 2008
Myths and Potentials of Media Architecture and Urban Screens
Artist Workshop: 2.-4. July 2008
Testscreening: 30. August, Lange Nacht der Museen
Exhibition: October 16 - December 12 2008
Conference: October 17 - 18, 2008
Urban Screenings: 17. October - 3. November 2008
Taipei Art Bienniel
I still miss the Taipei Biennial, it is interactive, energetic and touched on sensitive issues such as immigration, prostitution, homeless, poverty, cyberbully, artivists... etc
The side event is great, the "Tokyo Drift- an International Workshop for Art Academies 2008" posted in their blog
Again like Guangzhou Triennial, there is a multi cities discussions on "Dictionary of War" here. even that involves mainly around European Cities or should I said German sites, I think that informs not only what the artists are doing but also shifting an spectacle event into a humanistic discussion.
The site "Taipei drift" is cutie and provides a lot of readings. I am sure art students like it.
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