31 October 2005

santa claus' blog

the blog of sinterklaus

sinterklaus on tv


Sinterklaas uit Spanje.nl verleende al reeds meerdere malen haar medewerking aan diverse TV programma's.

Kevin Masters starring Tom Rhodes (Yorin)

Editie NL* - Bekijk filmpje! - (RTL4) * Alleen de kostuums en de Zwarte Pieten

Lijn4 (RTL4)

I Love Sint (NET5)

sinterklaus links

Sinterklaas 2005

On a Saturday between November 12th and 18th, Sinterklaas comes by ship from Spain to officially enter the country. Each year he arrives at a different seacoast town or river harbor. Large crowds gather to greet the good saint, who arrives accompanied by many colorful Piets. Dutch National Television broadcasts the festivities so the entire country may share the celebration. This is the official start of Sinterklaas season. Sinterklaas arrives in Amsterdam the next day, Sunday. He then spends the weeks until 5 December (the Eve of Sinterklaas) going about the countryside, visiting homes, schools, and churches, to determine if the children have been good.

In 2005 the official entry will be Saturday, November 12, in Sneek.

Sinterklaas boat on canal, lined by crowds
Alkmaar 2004

videos from previous years

On a Sunday in the middle of November, St. Nicholas, known as Sinterklaas in the Netherlands, arrives in Amsterdam. Around 11:30 am the steamboat from Spain moors by the Central Train Station across from Sint Nikolaaskerk. Deafening salutes and ringing church bells fill the air, as the mayor welcomes the good saint before he mounts his white (or gray) horse. The fun begins at noon with a big parade: Sinterklaas accompanied by many Zwarte Pieten, brass bands, beautiful floats, officials in cars, and colorful groups of jesters, cycling clowns, and more. Thousands of pounds of sweets and pepernoten have been put in burlap sacks for the acrobatic Piets to throw to the crowds lining the streets. The parade winds along the Damrak to the Rembrandtplein coming to an end at the Leidesplein. Here, around 2:15 pm, from the balcony of the city theatre, the Stadsschouwburg, Sinterklaas addresses crowds of children and their parents.

Thus begins "Sinterklaas Season" when Sinterklaas and his helpers travel around the country, visiting hospitals, schools, shops, restaurants, and even homes during the three weeks before the main Sinterklaas celebration. Sint and his Piets seem to be everywhere at once, asking about children's behavior and listening through chimneys. The children leave their shoes out with carrots and hay for the horse. In exchange the Piets put candy or a small gift in the shoes to be found in the morning.

2005: Sinterklass will arrive in Amsterdam on Sunday, November 20.

The Official 2005 National Entry in Sneek, Saturday, November 12, will be telecast live on Dutch national television.

1930's footage of the arrival of sinterklaas

arco beep

The international contemporary art fair ARCO will be 25 years old this year, when it will be held in Madrid from 9 th to 13 th February 2006.

ARCO and BEEP have decided to co-operate within the framework of the second edition of theblackbox@arco by organising the ARCO/BEEP New Media Art Acquisition Awards in support of New Media Art.



This site will help you to make your own VideoCDs, SVCDs or DVDs that can be played on your standalone DVD Player from video sources like DVD, Video, TV, DV, Cam or downloaded movie clips like DivX, MOV, RM, WMV and ASF. We also have extensive lists of Capture Cards, DVD Media, computer DVD Writers, desktop DVD Recorders and desktop DVD Players with features, compatibility information and user comments.

see also doom9

'de vallen' in sydney

Ed and Nancy Reddin Kienholz
The Hoerengracht

at the Museum of Contemporary Art
16 December 2005 - 26 February 2006

Stroll down red-lit alleyways of The Hoerengracht - a full-scale recreation of a street brothel in
Amsterdam - in the spectacular exhibition of work of Ed and Nancy Kienholz. Renowned for their
life-size environments that critique modern society and the political climate and compelled by
both a deeply-held sense of moral justice and a provocative sense of humour, their works have a
searing power that is as relevant and potent today as when their collaboration began over thirty
years ago. This impressive exhibition is direct, powerful and uncompromising.

'Kienholz' is open 16 December 2005 - 26 February 2006.
Admission free thanks to MCA Leading Sponsor Telstra.

review at art in america

"The sound of tinny radios playing a subdued sequence of antiquated
songs seeped through the gallery like fog, and bicycles were scattered
along the pylon moorings of a canal. These were part of Ed Kienholz and
Nancy Reddin Kienholz's massive tableau titled The Hoerengracht
(1984-88) or "whore's canal." The piece is a composite of vignettes
invoking a nocturnal prowl of Amsterdam's famous red-light district. In
fact, it's an invented location, a pastiche of the real and unreal; the
title plays on the city's Herengracht or "gentleman's canal," where
today museums occupy several of the area's once-stately homes."

The Hoerengracht consists of several major blocks of architectural
fragments and, as installed, invited the casual viewer into the furtive
ambiance of secret alleys. Several of the residential stalls were
numbered in sequence, and many of the interiors were populated with
female mannequins cast from living bodies. The figures were fitted with
generic, shop-window heads adorned with outre maquillage. Framed in
glazed and hinged shadowboxes, the heads emphasized the scale of the
work and concentrated the gaze of the viewer.
article at the guardian

When Ed Keinholz died, he was buried in his 1940 Packard, a deck of cards and a dollar in his pocket, a bottle of 1930 Italian red wine beside him, the cremated remains of his dog (who died a few days before him) on the back seat.

And prior to Hoerengracht (1983-88), which re-creates the narrow, dingy corners and alleys of Amsterdam's red light district, with greasy windows and made-up mannequin whores lounging around in their underwear. We wander through this, watching as they fix their hair, smoke, read magazines and wait. One stands in a shadowy doorway, a statue in her niche. Down to the last grim detail, it is all here.

It is largely for his re-creations of rundown bars, second world war- era brothels and the unforgettable cell of the State Hospital (based on his own experience working in a mental hospital in the 1950s) that Kienholz should be remembered.


VW 2003

Tim Silver
VW 2003

Blindside's role is to support and promote contemporary art practice. We provide an environment for experimentation and encourage the creation and presentation of art works that are challenging and innovative. The program fosters exchanges between local and interstate artists. We also maintain a framework of assistance and mentoring for emerging artists, curators and writers, facilitating critical dialogues.

Blindside Artist Run Space Inc. operates on a not-for-profit basis.

Our rationale is to provide an exhibition space for emerging and established artists with a program spanning solo, two-person and curated group shows. We have access to an adjoining studio space that can be made available to artists for preparatory work. The studio also provides a venue for artists to engage in critical discussions with their peers on an informal basis.

Swanston Street, Melbourne

archived exhibtions

USA dealers & museums

art dealers and museums by state (USA)

from Art in America
Annual 1999


gallery 101

Gallery 101 is a non-profit artist-run centre in Ottawa, Ontario, dedicated to the professional presentation and circulation of visual and media art. Each year, we present a stimulating array of solo and curated group exhibitions of Canadian and international contemporary artists. We also offer services and opportunities for professional development to artists, curators and critics in our community. Our programming is competitive, but welcomes work from diverse backgrounds, encompassing all media and subject matter.

the other gallery 101 - melbourne

Gallery 101's distinctive premises are located at the rear of the 101 Collins Street Ground Floor Foyer in the heart of one of the city's best known gallery precincts. The gallery exhibits contemporary art by a range of artists working in a variety of media.

The gallery's annual programme features exhibitions of painting, printmaking, drawing, and photography as well as a significant number of shows devoted to sculpture, installation, contemporary craft, and work created using new technologies.

Gallery 101 exhibitions


2 ­ 19 November 2005

Gallery 101
101 Collins St, Melbourne 3000

>Elizabeth Boyce
>Anna Finlayson
>Natasha Frisch
>Jess MacNeil
>Rob McHaffie
>Claire Mooney
>Alex Pittendrigh

Curator Martina Copley
Opening Wednesday 2 November 6-8pm.
With remarks by Zara Stanhope, Deputy Director, Senior Curator, Heide
Museum of Modern Art

30 October 2005

Ana Mendieta & Carl Andre

Critical assessment of Mendieta's last phase of work from the 1980s has been clouded by the circumstances surrounding her violent death at age thirty-six.

When she died in a fall from the thirty-fourth floor of a Greenwich Village apartment building, she was married to Carl Andre. He was the only other person in the apartment on the morning of September 8, 1985, when she fell. Though indicted for her murder, he was acquitted in 1988.

The intrigue and mystery surrounding her death deeply polarized the art world between the powerful establishment loyal to Andre and the feminist and Latino art communities.

Personal loyalty has continued to play a role in the critical appraisal of both artists. In an emperor's-new-clothes situation, the points of comparison between their work are evident, but politically incorrect to discuss.

Of essentially different generations artistically, they still found much to admire in each other's work. A Minimalist aesthetic and preoccupation with issues of scale, materials, presentation, and environment drew them together. Yet as post-Minimalism challenged many tenets of the style it subverts, Mendieta's gendered subjectivity distinguished her art from Andre's iconic Minimalism.

more from art journal

29 October 2005


Interactive Propaganda Film @ IDFA Amsterdam
November 27th - December 2nd

In cooperation with the International Documentary Film festival (IDFA)
Mediamatic foundation Amsterdam organizes a 6-day workshop about
interactive propaganda film. Interactive media particularly are usefull
for rhetorical and manipulative use. The possibility to be active in this
medium give the makers of interactive film unlimited possibilities to
manipulate the viewpoints of the users. About how interactive film can
contribute to the political view of the user.

The workshop is designed for up to 16 film-, tv-. radio-, or new media
makers from all over Europe. You can use your own footage (max. 40 min)
to make an interactive propaganda film and publish it on- or offline.

To make your interactive film, you'll use the ever-evolving Korsakow
software. Developed by the UdK Berlin and Mediamatic, Korsakow is a
powerful, elegant,
and easy to learn editing tool. It provides many creative possibilities
to produce your interactive movie.

Visit the Mediamatic website for more information and registration. You
can also mail workshops@mediamatic.nl or call Mediamatic

what's on in november 2005

workshop 7th november

Radio Frequency Identification (RFID) is the barcode of the future. With RFID individual objects are equipped with a chip (an RFID tag), which can be read with an RFID reader from a range of up to several meters. To these tags a lot of desired (or undesired) data can be attached for a longer or shorter period of time. Instead of waiting for and commenting on a next hype of services that allow us to do old things in new ways, this workshop aims to seize some initiative.
How can we make use of RFID in meaningful ways? What sensible or beautiful things can be done with RFID that couldn't be done before? How can RFID be applied in a social context, in urban projects, in interaction and experience design? How can we appropriate this technology for our own purposes? In this workshop the participants design (creative) streetlevel uses of RFID.

artistic vlogging

I wonder if you could point me to a list of vlogs that make artistic/performative, experimental use of the medium.?

as answered by michael verdi on videoblogging

So on the one hand I really believe that the act of documenting your
life in public, like many are doing, is art in the way that Warhol's
soup cans or Picasso's found object sculptures are art. On the other
hand, since it's impossible to miss these videoblogs, I'll assume
you're not talking about them in this context. So, here are more
places to look that haven't been mentioned in this thread.
I set up a second videoblog just for what I call "videoblog R&D"
http://graymattergravy.com > I also think a lot of posts on my
main videoblog fall into the artistic/performative category. At least
that's the way I think of them. Here are a couple - there are lots more:
day-4-untitled/ >
vlogging/ >

I think most of Ryanne's videoblog falls into the "life as art"
category but she also has many posts that could be termed artistic/
performative or experimental.
http://ryanedit.blogspot.com >

Also I'd say pretty much everything on these sites fit:
http://29fragiledays.blogspot.com >
http://fastmovinganimals.blogspot.com/ >
http://gnitseretni.blogspot.com/ >
http://www.alexandersvideos.com/ >
http://nordark.blogs.com/nordark/ >
http://mariopaint.blogspot.com/ >
http://www.nearlyenough.com/ >
http://bottomunion.com/blog/ >
http://www.human-dog.com/lab/ >

These are sites that are different from the examples above but I, at
least, think of them as art:

Damn! That's a hell of a list. Should keep you busy for a while.
http://michaelverdi.com/ >
http://freevlog.org/ >
http://node101.org/ >

elton john interviews jenny saville

ELTON JOHN: I'm here with Jenny Saville in the most unlikely place--Sicily. I've been a big fan of yours for such a long time. I saw your show at the Gagosian Gallery in New York City last spring, and it blew me away because the work was so strong and real. With so much abstract art these days, to walk into the gallery and see work that focuses on reality--like your huge painting of the pig [Suspension]--just completely thrilled me. You're one of the few artists working today who's committed to realism.

JENNY SAVILLE: I want people to know what it is they're looking at. But at the same time, the closer they get to the painting, it's like going back into childhood. And it's like an abstract piece--it becomes the landscape of the brush marks rather than just sort of an intellectual landscape.


28 October 2005

on Beardsley's pornography

PAPER: The Paradox of Fetishism and Pornography: The Grotesque and its Diversion and Invitation of the Gaze, by Kathryn Sibiski

"Absinthe is to all other drinks what Aubrey’s drawings are to other pictures; it stands alone; it is like nothing else; it shimmers like southern twilight in opalescent colouring; it has about it the seduction of strange sins. It is stronger than any other spirit and brings out the subconscious in man. It is just like your drawings, Aubrey; it gets on one’s nerves and is cruel. " Oscar Wilde (Weintraub, 62)

26 October 2005


The Munch Museum in Oslo, which was robbed of its world-famous painting The Scream in a daring heist last year, has defended a new board game inspired by the theft amid criticism from the art world.

"Some people think it's horrible to treat the matter as a game but we see things totally differently. It's a completely innocent game," museum spokeswoman Jorunn Christoffersen said.

The game, "The Mystery of The Scream", has been created by the Aschehoug publishing house and went on sale last week, including at the Munch Museum's gift shop.

In a dramatic robbery in August 2004, two armed and hooded thieves burst into the Munch Museum in Oslo and threatened a member of staff with a gun as stunned tourists looked on.

Grabbing The Scream and Madonna off the walls, the robbers fled the scene in a stolen car driven by an accomplice.

The paintings, which are believed to be worth as much as $A133 million, are still missing.

"In principle I find it a bit in bad taste to make a game out of the theft of The Scream," Kaare Berntsen, the artistic director of the Kaare Berntsen Gallery in Oslo, said.

"My initial reaction is to disapprove of an initiative that helps trivialise a national and international drama while the painting is still missing."

The game targets children over the age of six, and participants play the roles of either detectives or robbers.

Aschehoug says the game is educational.

"In addition to The Scream, the game has 36 cards featuring different artworks that the children know," the head of Aschehoug's games division Magnus Skrede said.

"It's a fun way for them to learn about the diversity of artistic creativity."
from the abc


2 The scream, 1893, and Madonna, 1893-94, both by Edvard Munch (1863-1944)

Tempera on board, 84 x 66 cm, and oil on canvas, 90 x 69 cm.

Stolen from the Munch Museum, Oslo, on 22 August 2004.

The Munch theft took place at 11.15am, fifteen minutes after the gallery (in the eastern suburbs of Oslo) had opened to the public. One of the thieves was armed with a gun, and he threatened guards just inside the entrance. His accomplice rushed through the fairly small museum to pull down the two paintings, which were hanging on wires. Although there were visitors in the galleries, they were terrified and unable to act. The thieves sprinted to a waiting car, which was abandoned a mile away. Police did not arrive at the museum until fifteen minutes after the theft.

The value of the two paintings is about 65 million [pounds sterling], according to Interpol, citing the Norwegian authorities--a figure which does nor seem to have been picked up by the international press. Parts of the frames were found near the abandoned getaway car; suggesting that the fragile tempera-on-board version of The scream was in a vulnerable state. As we went to press no reward had been posted, although one may well be.

Stealing an iconic work of art is one type of crime that virtually never pays. Seizing a masterpiece from a gallery is one thing, but realising its value is a very much more difficult challenge. Most criminals understand this, so the theft of great works of art is relatively rare, considering the many thousands that are on public view in museums and galleries across the world.
why steal a masterpiece? from apollo

experimental digital video

The Lossy Video Group is a collective of experimental digital video artists and musicians working out of Montréal, Québec.

22 October 2005

ex parrot

'E's not pinin'! 'E's passed on! This parrot is no more! He has ceased to be! 'E's expired and gone to meet 'is maker! 'E's a stiff! Bereft of life, 'e
rests in peace! If you hadn't nailed 'im to the perch 'e'd be pushing up the daisies! 'Is metabolic processes are now 'istory! 'E's off the twig! 'E's kicked the
bucket, 'e's shuffled off 'is mortal coil, run down the curtain and joined the bleedin' choir invisibile!! THIS IS AN EX-PARROT!!

The image “http://www.intriguing.com/mp/_pictures/compdiff/norwegia.jpg” cannot be displayed, because it contains errors.

full script

listing of monty python scripts
and now for something completely different

Amleth, Prince of Denmark

Amleth, Prince of Denmark

The account that follows was written about 1185 but is based on older oral tradition. It describes the same players and events that were immortalized by William Shakespeare in his The Tragedy of Hamlet, Prince of Denmark, written about 1602.

Source: The Danish History of Saxo Grammaticus, translated by Oliver Elton (London: David Nutt, 1894). Translation slightly revised. Gesta Danorum, the multi-volume work from which this account was taken, was written about 1185. Saxo Grammaticus, the author-compiler, was born about 1150 and died about 1220.

image source

icelandic art

The Center for Icelandic Art (CIA.IS) is the platform for Icelandic visual art activities. CIA.IS promotes Icelandic art by connecting the local visual art community with the international artnetwork. CIA.IS enforces national and international collaborations in order to improve opportunities for Icelandic artists in their homecountry and to increase their visibility abroad. The CIA.IS was founded in 2005 and is located in Reykjavík.

Candice Breitz

Candice Breitz, Still from "Mother" (2005), Six-Channel Installation,

In today's media society, perception is often influenced by images from the (mass) media. Television and film images have a formative influence on cultural memory, Hollywood stars and TV-celebrities are the new role models in an expansive media culture. Candice Breitz's six-channel installation "Mother" addresses the meaning of mass media images and critically questions clichés perpetuated by the entertainment industry. Well-known Hollywood movies provide the source material which the artist has digitally reworked and rearranged according to her own script, thereby situating it in a new context.

On each of the six monitors a famous American actress is shown playing the role of a mother, mother-figures from different generations varying in character, embodied by women as diverse as Meryl Streep, Shirley McLaine, Julia Roberts, Susan Sarandon, Diane Keaton and Faye Dunaway. The characters are extracted from the context of the original movie and are made to appear as isolated figures on a black background. Their respective partners are missing from the original screen dialogues, so that the characters' emotional reactions become almost incomprehensible. Nonetheless a vivid atmosphere is created, in which the women relate to each other through their being mothers and seem to interact.

Sampling is no longer just a digital technology; it has become part of our life-style. Using Found Footage, pre-existent images and sounds, Breitz points to the images themselves as products of an increasingly dominant media industry. The deconstruction that Breitz works with her recycling of images enables a critical access to the use of images in the media and the motives and methods that lie behind it.

Along with the installation, Candice Breitz and the Edith Russ Site for Media Art for the first time present the newly created photographic score "One Minute of Mother" (2005). Stills taken from the video-installation, which has a running time of approximately 13 minutes, are arranged into a large-scale photo installation. They are lined up to create an abstract representation of the rhythmic and narrative structure of the filmic material, so that something akin to a musical score of the flow of images and sounds of the installation emerges.

Candice Breitz, born 1972, has grown up in South Africa and now lives in Berlin. She studied Art and Art History in Johannesburg, Chicago and New York. Her work has been presented in numerous international exhibitions and she has participated in many major Biennales like Johannesburg, Sao Paulo, Istanbul, Kwangju, Taipei and Venice. She has had solo exhibitions at the Centre d'Art contemporain, Geneva; the New Museum of Contemporary Art, New York; FACT, Liverpool; De Appel Foundation, Amsterdam; the Moderna Museet, Stockholm; Palais de Tokyo, Paris; and Castello di Rivoli, Turin. Her work has already been on display at the Edith Russ Site for Media Art in 2002 as part of the exhibition "Total überzogen".

A catalogue will be published by Revolver - Archiv für aktuelle Kunst, Frankfurt, in conjunction with the exhibition.

Exhibition Dates: October 30, 2005 - January 8, 2006
Artist Talk: November 15, 2005, 7 pm

the book mother + father

Conceived specifically for Castello di Rivoli in Turin, Mother + Father questions the canon of beliefs about parents that television and movies have trained the public to accept on a screen—deeply personal aspects of our lives that must be seen against a ground of real life. This is contemporary art hard at work to redress the seeming innocent distortion of popular culture.

artist bio

hz journal

Call for Articles and Net Art

On-line journal Hz (www.hz-journal.org) 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 (www.hz-journal.org/netg). Please send your URLs to

Dead-line: 15 November

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/fylkeng.html or

20 October 2005

expat friendly? not.

"No people on Earth are such bad-mannered, rude, ultra-nationalistic, racist, tasteless and stiff pigs as the Dutch, and besides, the weather is awful, the country is too flat, healthcare is sickening, the traffic is like war, the Randstad is overcrowded, the streets are full of dogs excrement, one can buy drugs everywhere, there is legalised killing called euthanasia..."

Complaints by expats in the Netherlands are nothing new, but an internal survey by the International Organisations Staff Associations (IOSA-NL) set the cat among the pigeons recently.

One of the startling findings was that 70 percent of the expat staff of international organisations based here do not want to stay in the Netherlands.

The main messages were that the Netherlands is unwelcoming, too bureaucratic and not at all 'user friendly'.

IOSA Secretary, Eva Ekstrand, said IOSA knew interest in the survey would be high (the results of which will be made public on 12 October) but was surprised that more than 60 percent of the workers represented by the organisation responded. IOSA-NL's members include the European Patent Office, European police agency EuroPol, the International Court of Justice (ICJ) and the International Tribunal for the Former Yugoslavia.

Two experts have been asked to give their opinions on whether the survey results — which were leaked to the press — reflect a general attitude of expats living in the Netherlands.

Some of the specific complaints include dissatisfaction with the Dutch bureaucracy, childcare, language and housing.The difficulty of getting the correct information from public servants drives many expats to despair.

ACCESS, an English-language organisation which helps expats adjust to the Netherlands, thinks organisations involved with sending expats to the Netherlands should paint a realistic picture of the Netherlands.

Part of this picture is the increasing Dutch wariness of immigrants since 9/11. The degree to which an expat is confronted by this distrust depends upon an expat's skin colour and the language an expat speaks.

"Many couples with one Dutch partner feel that Holland is less open and far less accepting or tolerant than the Dutch say they are. The level of disinterest, unhappiness or even rudeness is far beyond acceptable," says expat counsellor Rj Nuis.

According to Nannette, prospective expats perceive the Netherlands as an open, tolerant and friendly society, and are shocked to learn that the Dutch government is one of (unclear) rules and regulations.

from expatica

new media art - croatia

new media article
croation arts and culture from panorama

- mailing lists – international, focus on cooperation with the so-called Eastern and Central Europe
Syndicate – network for media culture and media art
Specte (‘new Syndicate’, since September 2001)
Transitions online - on-line magazine, cultural policy /politics
Communication Front , Bulgaria - mailing list, annual workshop

- mailing lists – international, focus on international media events and theory:
archée, cinematik, [: hacktivism :], Internodium, nettime, :::recode:::, Rhizome, rolux, 7-11, xchange...

- on-line texts:
Barbara Borcic: Yugoslav Border Scenes - Fragments, (The conceptual art production of the 1970s), I_CAN_ Reader, 2002.
Ryszard W. Kluszczynski: The Past and Present of (Multi)Media Art in Central and Eastern European Countries - An Outline, I_CAN_ Reader, 2002
Hrvoje Turkovic: Croatian Avant-Garde Scene, 1993.
Predrag Sidjanin: Istorija kompjuterske umetnosti u Jugoslaviji
Davor Maticevic: Indentity Despite Discontinuity, I_CAN_ Reader, 2002.

croatian video art

'must have' is 'bit international' magazine [1968 - 1972, Zagreb] dedicated to computer art and information aesthetic [9 issues, 1400
pages in total, bilingual]:http://darkofritz.net/curator/alive/eng/bitinternational.htm
From: Darko Fritz

The New Media Encyclopedia

Centre Georges Pompidou

The New Media Encyclopedia is the first trilingual English-French-German catalogue of its kind freely available on-line. It is intended as a source of information, a tool for documentary research, and a scholarly work, but also a locus of debate on artistic practices related to the new media.

For this project, the Centre Georges Pompidou, the Museum Ludwig, the Centre pour l'Image Contemporaine and the Fonds national d'art contemporain have pooled information on their respective holdings in order to provide the international public with a reference work bringing together four major European collections.

This catalogue will be expanded progressively: the first part (published in November 1998) covers 43 artists and 233 of their works. The second part (published in 2000) includes 36 new artists and 176 works. The third part of this project is anticipated for 2004 and concerns 182 artists and 256 works. The totality of the artists and works in the collections of the four partners will be available. It is anticipated that other public collections will also join this project and help to enrich it through their collaboration.
re chronology
This chronology obviously reflects an ongoing process. In collaboration with our European partners, we have been able to research most of the main events in Europe and the Americas, but this initiative will undoubtedly be enhanced by new material provided by our future discoveries and the remarks of the public. Unfortunately, we have not yet had either the time or the means to cover developments in Asia, Eastern Europe, or the Middle East.
(or Australia)

their link list

keith haring

As a student at SVA, Haring experimented with performance, video, installation and collage, while always maintaining a strong commitment to drawing. In 1980, Haring found a highly effective medium that allowed him to communicate with the wider audience he desired, when he noticed the unused advertising panels covered with matte black paper in a subway station. He began to create drawings in white chalk upon these blank paper panels throughout the subway system. Between 1980 and 1985, Haring produced hundreds of these public drawings in rapid rhythmic lines, sometimes creating as many as forty “subway drawings” in one day. This seamless flow of images became familiar to New York commuters, who often would stop to engage the artist when they encountered him at work. The subway became, as Haring said, a “laboratory” for working out his ideas and experimenting with his simple lines.

haring for kids

anne landa award

Six young and innovative artists have been selected for the inaugural Anne Landa Exhibition and Award - the first award exhibition in Australia for moving image and new media work.

The award has been established in honour of Anne Landa, a Trustee of the Art Gallery of New South Wales who died in 2002. This is the first in a biennial series of exhibitions, each with an acquisitive award of $25,000.

Initiated by Anne Landa's daughter, Sophie, and Edmund Capon, Director of the Art Gallery of New South Wales, the award acknowledges her exceptional support of the visual arts in Australia. "Anne was a woman of great passion, energy and courage. This award honours a truly remarkable Australian who was a great supporter of the arts in this country," said Edmund Capon.

A panel comprising Juliana Engberg, Director of the Australian Centre for Contemporary Art, Melbourne, Edmund Capon and Wayne Tunnicliffe, Curator of Contemporary Australian Art at the Art Gallery of New South Wales, selected the six artists whose work is represented in this exhibition. "We chose some of Australia's most innovative younger artists working with moving images for this first exhibition. The exhibition includes videos, DVDs, animations, and digital media. While the art ranges from the low-tech to the high-tech in approach, all of it reflects on the vital role of screen culture in shaping our lives."

Van Sowerwine's engaging animated girl invites us to play with her at a tea-party. As you interact with her screen image she responds to your suggestions, but playtime unfortunately becomes sinister as each decision you make on the doll's behalf has consequences. David Rosetzky'sUntouchable we look into three rooms whose inhabitants speak about an emotionally charged experience that is preoccupying them. confessional videos consider how we represent our lives to ourselves and how our experience of self is affected by relationships with others. In

A subtle politics infuses Peter Hennessey's digital animation of the Voyager space probe and soundtrack of messages recorded for anyone in outer space who may encounter the voyager, greetings from earth to aliens. Guy Benfield constructs room environments and in a mock-ironic reprise of 70s performance art, he pours, splashes and rolls around in paint to make visceral, humourous, sexually charged art works recorded on video and played back in the final gallery installation.

Craig Walsh's projections of surprising images onto the Gallery's architecture confuse what the mind knows and what the eyes sees. A poetic beauty haunts Shaun Gladwell's low-fi videos of skateboarders, bike riders and break dancers as they take ownership of urban spaces, even momentarily, suggesting alternate ways in which we can we can live in a highly regulated physical environment.

"The exciting thing about the Anne Landa Award is that it will bring new faces, new work and new possibility into the Art Gallery of New South Wales. I can't think of a more true and fitting tribute to my mother. She was such a vibrant and passionate supporter of the arts and just loved encouraging new ideas. I know that she would think this award was pretty fabulous," said Sophie Landa.


18th jan 2005

It was announced at the Art Gallery of New South Wales in Sydney today that Melbourne artist David Rosetzky is the recipient of the inaugural Anne Landa Award for moving image and new media work.

For winning this Award, David Rosetzky receives $25,000 and his work, Untouchable, is acquired for the Gallery's collection.

David Rosetzky's video considers how we represent our lives to ourselves and how our experience of self is affected by relationships with others. In Untouchable we look into three rooms whose inhabitants speak about an emotionally charged experience that is preoccupying them. Each speaker narrates the thoughts that seem, at least initially, to refer to the other person in the room with them. The relationship between the protagonists becomes increasingly ambiguous, however, as speakers on different screens start to say each other's lines. The title Untouchable echoes their inability to connect with each other, while also suggesting the viewer's uncertain relationship with the screen characters. This distance reflects one of the paradoxes of globalisation: the tension between our contemporary drive to individualism and the desire for communality, for a sense of meaning achieved through belonging and interrelationships.(1)

Commenting on winning the Anne Landa Award, David Rosetzky said:

Aged 34, David Rosetzky's work was most recently represented in the 2004 Adelaide Biennial of Australian Art: Contemporary Photo-Media at the Art Gallery of South Australia, and in Living Together is Easy which was shown at Art Tower Mito, Japan and at the National Gallery of Victoria. In addition to his art practice, David lectures in the Photography Department at the Victorian College of the Arts and is an Education Outreach Presenter in the Australian Centre for Contemporary Art's Outreach Schools Program.
"I am very excited and appreciative about receiving the Anne Landa Award. To have a video installation in the Art Gallery of New South Wales' collection is a great honour. The award will enable me to further develop my practice as I plan to use the prize to buy equipment and time in the studio to work on new projects. I am very thankful to Sophie Landa in initiating this award and exhibition with the Art Gallery of New South Wales as it helps raise the profile of contemporary new media art in Australia and also provides artists with much needed opportunities and support."

from agnsw

17 October 2005

australia interpreted

The year 2006 marks the 400th anniversary of Dutch contact with Australia. Both in Australia and in The Netherlands special attention will be paid to the wide ranging and friendly ties between the two countries. In both countries an extensive program of activities is planned, including exhibitions, scientific symposia, and exchanges in the field of sport, culture and science.

In The Netherlands, the programme of activities is coordinated by the project bureau of the VOC Fund (Bureau Netherlands - Australia 1606-2006), in cooperation with the Australian Embassy. For information on the program and the registration of activities, please contact:

VOC Fonds
Groot Hertoginnelaan 27, 2517 EB Den Haag.
website www.vocfonds.nl

Australian Embassy
Carnegielaan 4, 2517 KH Den Haag.
website http://www.australian-embassy.nl/

website colophon

The VOC Fund has produced this website for the celebrations of Netherlands-Australia 1606-2006. The historical information was offered by the Nationaal Archief in The Hague (see separate colophon)
Foundation VOC Fund and the Netherlands Embassy in Canberra


Launch of the programme for the Adelaide Festival 2006

On October 10 the programme for the Adelaide Festival was launched, already including the Amsterdam Sinfonietta Orchestra, Kim Bowman's Black Wind, the dance performance Stau by Anouk van Dijk and lectures by Dutch architect Lars Spuybroek. Also participating from the Netherlands in the Writer's Week of the Adelaide Festival are: Moses Isegawa, Tim Krabb� and Tessa de Loo.

More info:http://www.adelaidefestival.com.au

Opening exhibition

On October 6th, the exhibition `Australia, the land and the people` was opened in the Leiden Museum of Ethnology. For the first time, a Dutch museum holds a large exhibition on Australia. On thousand square metres, familiar and unfamiliar objects as well as film reports can be viewed. The exhibition has been developed in close cooperation with specialists from the South Australian Museum of Adelaide.

More info:http://www.rmv.nl

from rmv.nl

For the first time ever, a Dutch museum is organising a large exhibition about Australia. A thousand square metres of surprising familiar and unfamiliar objects from the museum’s own collection, objects on loan from other Dutch museums and Australia, as well as specially produced film reports. Part of the museum’s permanent exhibition (Oceania) even has to make way temporarily for this one. There has been close cooperation with specialists close to the source, from the South Australian Museum of Adelaide, Australia. ...

The Europeans who arrived on the coast of Australia in 1606 found a country that, in European eyes, was still ‘unoccupied’. Nothing had been cultivated, fenced off or claimed as property. Accordingly, they called Australia an empty country. A tragic misunderstanding was born. The contacts between immigrants and Aborigines were marked by this misunderstanding until well into the twentieth century. It has only been in recent years that culture and spirituality of Aborigines have come to be viewed as a valuable and unique part of the Australian national identity.
Based on five themes, four centuries full of misunderstanding, confrontation, adaptation, maintenance of power and acceptance are explored in depth.


This large exhibition on Australia shows different aspects of this diverse and interesting continent. Among other themes, the exhibition tells the story of the different Aboriginal communities in Australia, the spiritual importance they attach to nature and land, and the first encounters of these communities with settlers from Europe.

OrganiserNational Museum of Ethnology, Leiden.
WhenOctober 7 2005 - August 27 2006
WhereSteenstraat 1, Leiden
Visitors infohttp://www.rmv.nl

yes they are talking about the same exhibition. It is disturbing to see the difference in emphasis on indigenous issues. This is an exhibition that is deserving of close examination

Meanwhile the Australian press release on the site defines the four themes as follows

400 years of bilateral relations

The year 2006 marks the 400th anniversary of the start of the relationship between Australia and the Netherlands. In 2006, both countries will celebrate this friendship. The special nature of the relationship that the two countries have shared in the past, and share now, is a good reason to do so. In both countries a programme of activities is under preparation. The programme will contain several exhibitions, symposia, and exchanges in the fields of sports, culture and science. Through these activities the relationship between Australia and the Netherlands will be further intensified for the future.

Four themes

The special nature of the relationship between Australia and the Netherlands will be expressed in four central themes:

• Dutch voyages of discovery during the VOC-era: from �Terra Australis Incognita� to �New Holland�.

The Dutch contacts with Australia in the period 1606-1770 are the first theme of the celebrations. In this period many Dutch ships visited Australia, such as the Vergulde Draeck, the Heemskerck, the Eendracht, the Batavia, the Geelvinck, the Zuytdorp and the Zeewijk. Dutch seafarers also came into contact with the indigenous peoples of Australia during that period. Some of these encounters are documented and live on in the oral tradition of the Aborigines.

• The Netherlands as the fourth ally in the defence of Australia during the Second World War

A second and less well-known aspect of the relationship is the contribution of the Dutch armed forces to the defence of Australia during the Second World War. The Netherlands was closely involved in the defence of Australia as one of the four allies (alongside the United States, the United Kingdom and Australia itself). The Merchant Navy, the Royal Netherlands Navy, the Royal Netherlands Air Force and the Royal Netherlands East Indies Army made a significant contribution to the struggle by providing personnel and equipment. In The Netherlands, Australian troops contributed to the liberation of The Netherlands in 1945.

• Emigration of the Dutch to Australia, 1947�1971

The emigration waves of Dutch people to Australia in the 1950s and 60s forms the third theme of the celebrations. Between 1947 and 1971, some 160,000 Dutch people emigrated to Australia, mostly from the Netherlands, but some relocated from the Dutch East Indies (present-day Indonesia). Today the Dutch community makes up over 1.35% of the Australian population. Some 90,000 people in Australia are of direct Dutch descent (the first generation); there are also approximately 140,000 Australians with at least one parent of Dutch descent (the second generation). The third generation of Dutch Australians is estimated at 40,000.

• The Netherlands now: present-day relations

The fourth and final theme of the celebrations in 2006, is the friendly relations between the Netherlands and Australia today. Australia and the Netherlands are in many ways similar countries, forming a natural partner for each other at the other side of the world. Both countries are active in their own region, are progressive when it comes to science, culture and design, and have a special interest in sports.

Trade relations between Netherlands and Australia are modest, but growing. The Netherlands is a major investor in Australia and a medium-sized trading partner for Australia within the EU. The Netherlands and Australia share multiple and varied cultural contacts. Each year some 60,000 Dutch people visit Australia. Approximately 4,700 young Dutch people go to Australia each year under the Working Holiday Scheme, making the Netherlands the country of origin of the fourth largest group of young people to visit Australia under the scheme. Each year between 60,000 and 80,000 Australians visit the Netherlands.

16 October 2005

Marlene Dumas

Marlene Dumas makes paintings with no concept of the taboo. Racism, sexuality, religion, motherhood and childhood are all presented with chilling honesty. Undermining universally held belief systems, Dumas corrupts the very way images are negotiated. Stripped of the niceties of moral consolation, Marlene Dumas’s work provokes unmitigated horror. She offers no comfort to the viewer, only an unnerving complicity and confusion between victims and oppressors.

Often described as an ‘intellectual expressionist’, Marlene Dumas blurs the boundaries between painting and drawing. Bold lines and shapes mix seamlessly with ephemeral washes and thick gestural brushwork. By simplifying and distorting her subjects, Marlene Dumas creates intimacy through alienation. Her subjects’ assertive stares suggest that her paintings aren’t actually about them, but the viewer’s own reaction to their perverse circumstance. With deceptive casualness, Marlene Dumas exposes the monstrous capacity belied by ‘civilised’ human nature.

Beneath Marlene Dumas’s hard-hitting social dialogue is a deep-rooted ideological equality. As one of the most profoundly feminist contemporary artists, Marlene Dumas uses painting as a means to personally navigate history. Her holistic approach to creation and subject undermines the discomfort and restriction of traditional rationale.
from saatchi


Never working from a live model, Dumas always begins with photographs that she gathers from fashion magazines and film archives or photos that she takes herself. Dumas revels in thieving images and quotes from wherever and whomever she wishes-her visual and linguistic vocabularies cobble slightly skewed aphorisms to popular and art historical imagery ranging from Mae West to Josephine Baker to Naomi Campbell to Manet's Olympia. What makes Dumas's secondhand depictions so compelling is the way she twists images we've come to take for granted so they are structurally undone, made formally strange, as in Josephine (1997), where the timeless star is simply not herself at first glance. Once we are clued in to the figure's identity through Dumas's title, the cryptic details of the drawing take on iconic pertinence: though for a moment unrecognizable, this is our Josephine, clutching her veil, barely hiding her nudity, her face lit to the point of racial ambiguity. As one would expect, Dumas's background as a white South African-born artist is hardly insignificant in any conversation about her work. Drawings like Selfportrait as a Black Girl (1989) and An African Mickey Mouse (1991) directly address the charged political climate in which she grew up. Yet, Dumas makes a point of making her stance on racial politics more about destabilization than didactic persuasion.

more essay from the New Museum of Contemporary Art

at artfacts.net

bush mechanics

This web-site is dedicated to the amazing ingenuity of the indigenous mechanics. Whether it be finding a solution to a flat tyre when you've got no spare or overcoming many obstacles of the notorious Tanami Track by playing the Bush Mechanics game. This site is full of information and new experiences.
Kumanjayi (Tom Kantor), who was the manager of Warlpiri Media serveral years ago approached Francis Jupurrurla Kelly about using the inventiveness of the local mechanics as an idea for television. Together, with Simba (Adrian) Nelson they developed the idea further into the original television documentary - Bush Mechanics.

Both the documentary and the series use the memories of Warlpiri elder - Jack Jakamarra Ross - in his early encounters with both white men and motor vehicles. These memories, together with the adventures of the Jupurrula gang, form the basis of Bush Mechanics for television.
Despite being located in Yuendumu (300 km north west of Alice Springs in a remote area of Australia) Warlpiri Media produced this award winning and popular documentary.

What a lot of people don't realise however, is that the makers of the original Bush Mechanics were not the same as for the series, which was produced by Film Australia. Ultimately Bush Mechanics for television was a co-operative idea, by a group of people working for Warlpiri Media Association. The concept, theme, characters are the property of Warlpiri Media Association as the representative media body for the Warlpiri.

Stories that are linked to this page are

(from top to bottom):

The first car - Francis Kelly
The first plane - Francis Kelly
Land rights, Land Rover - Francis Kelly
The great debate - Neil Egan
Car owner profiles - Big Bear
Bush magician movie - Francis Kelly
Jack's story - Jack Ross
Jukurrpa (Dreaming) - Jack Ross
Jorna's story - Jorna Nelson
My old car - Kasman Spencer
Car gallery - Big Bear

The stories include multimedia quicktime content.


15 October 2005

media centre network

Media Centre Network provides offices, studios, live-work spaces, IT, digital telephony and events for the Creative Industries sector. It manages centres in Huddersfield and Leeds and an innovative creative programme which includes international residencies, an exhibition programme, Ultrasound: a digital music festival and arts events focussing on digital media. With 200 companies and over 500 people it is one of the most innovative clusters of creative and media enterprises in the UK.

The Creative Programme comprises four core activities: Medialounge; Artist in Residence Programme; Projects; Speakers Corner and the Ultrasound festival, designed to facilitate synergies, knowledge sharing, collaboration and partnerships between artists, researchers, academics, and creative networks regionally, nationally and internationally.
Audio Installation
Huddersfield Art Galley
10 November - end of December 2005

Hidden stories brought alive through the turntable ro.tate is an audio installation based on personal accounts relating to journeys/ migration/identity/social attitudes/cultural stereotypes from the perspective of Huddersfield’s settled and diverse new migrant communities. The audio captured reflects real life issues, poignant tales, and feelings of memory, relating to movement – spatial and mental.

To begin with stories were collected through a digital voice recorder. The narrative pieces represent different accents, dialects and languages spoken. The audio has been pressed onto vinyl incorporating elements of found and manipulated sounds by artist Ed Martin [www.v3ctor.com] to create an emotional resonance.

ro.tate will be exhibited as part of Black History Month together with an exhibition of photographs on migration. The physical installation will consist of a turntable and a stack of vinyl for visitors to select their choice of vinyl to listen to; attendees will have the freedom to play whatever is of interest to them.

ro.tate is a partnership project between Kreative Response Diverse Arts and Mandeep Kandola and has been designed as a creative tool for archiving and sharing stories.

12 October 2005

vanishing point

Vanishing Point consists of a map of the world connected to a database fed by news coming from several international newspapers. The visibility of each country on the map results from the quantity of media coverage the country receives, so those countries that do not make the news disappear progressively.

The newspapers selected are some of the most widely-read from countries that make up the Group of Seven (G7), the seven most industrialized nations in the world:

-CANADA: -Globe and Mail
-FRANCE: -Le Figrao
-Le Monde
-GERMANY: -Frankfurter Allgemeine Zeitung
-ITALY: -La Republica
-JAPAN: -The Japan Times
-Guardian Unlimited
-UNITED STATES: -Wall Street Journal
-New York Times
The G7 countries represent the 'focus group' of this project since by great measure, their unilateral and collective influence affect fundamental aspects of most countries' social and economic fates.


All the G7 countries are in the northern hemisphere and therefore one would assume that the majority of the news coverage would be in relation to the northern hemisphere. This is reflcted in the map projected. All the seven particiating countries have the greatest visibility. It would be interesting to see a similar study with a southern hemisphere bias.

Australia, despite the best efforts of our current government, remains invisible.

Samples of recent australian news coverage included in the exercise can be viewed by clicking on the map. One can see that Australia's foriegn policy, culture and internal politics don't rate a mention.

museum card

The Museum Kaart (Museum Card) gives you free access to approximately 400 museums throughout the Netherlands. It costs around 25 euro for an annual pass.

When you consider that the entry prices of the 4 most popular Amsterdam museums are
rijksmuseum 9, van gogh 10, stedelijk 8, and rembrandt house 7.50; total 35.50
(prices taken from this site)

then you can see that this makes a considerable saving to the card holder. Once you have purchased your card you can visit all the museums as often as you like. The catch is, the card is only available to dutch residents.

Effectively, the result is that residents pay a token annual fee to have unlimited free access to all the museums and that foreigners (non residents) pay the full price and thus provide the majority of the museum funding.

Its state endorsed racial discrimination.

Having said that, perhaps its a system that the Australian Museum Association should adopt. Free museum card available to all Australian citizens (produce a birth certificate or citizenship papers) and all tourists can pay a full entry price. It would certainly assist in arts funding.