November Subject Index
October Subject Index
video
comma sutra
dutch eatcarpet - nachtpodium
Sinterklaas bloopers
vlogging - how to vlog
50 greatest independent films
AUSTRALIAN VIDEO ART
Performance and Surveillance in Video Art
Louise Borgeois
Johan Kleinjan
art playable: true
basically black
ABC broadband
how to get your video on rage
other
women's work
dryad
quiksilver or quick cash?
mirror mirror
amsterdam/kaas
De Veemvloer
lowlands terrorism
queueing in rotterdam
sinterklaas parade
Annie Leibowitz at Foam
zwarte piet
arjette hinke schreuders
bak utrecht
theo van gogh anniversary
Ouborg Prize 2005: Ben van Os
museum night
rotterdam art week
food facility
SO FAR AND YET SO CLOSE
CLUBSproject
w139
little black dress
copyright
who owns frida kahlo?
valie export & tim storrier
bootleg art
artists' intellectual property NZ
reviews
art or porn?
michael kirkham reviewed
contemporary art
universes
art & science conference - sydney
Viper - new media festival
refresh!
digimag
new media art curating
new media art - london
electronic arts intermix
Database of Virtual Art
extra city - antwerp
artissima 2005 - italian contemporary art
Marina Abramović
ARPLA
intersection of art, science, technology, culture
Mesh 17: New Media Art
granny installation
paris photo
MILKSHAKES, SUNDAES, AND CAFE CULTURE
biennale de lyon 2005
street art
m-city
stencilpunx
robots will kill
art in cities
paris in flames
may's
billboard busters
Haarlemmerdijk
brouwersgracht II
thumbs down
art theory
kill or cure?
art theory amsterdam W139
freedom of expression
on painting
30 November 2005
dutch eatcarpet - nachtpodium
Never mind eat carpet, eat kaas...
Nachtpodium (Nightstage) is a program that gives a place to what doesn't belong anywhere else on regular television. Here, ideas roam and images of young artists intrigue. Both starting as well as more experienced artists and filmmakers can climb upon the stage. No props, studio or budget, only the driven creative human being that wants to show us something different.
Every Sunday around midnight you can watch Nachtpodium on Net 3. Nachtpodium is a no-budget program that shows short films (up to 20 minutes) from mostly Dutch (beginning) filmmakers and artists. The shown work varies from animation to poetry and from documentary to videoclips.
If you would like to contribute to Nachtpodium, send your work to:
VPRO Nachtpodium
Postbus 11
1200JC Hilversum
Tel: +31 (0)35-6712693
As said above, Nachtpodium is a no-budget program. We are therefore unable to pay for films.
--------------------------------------
retreived via internet archives
what is eatcarpet?
eatcarpet brings the most unlikely, the occasionally perplexing,
the undeniably provocative but always the BEST short films, videos
and animations to Australian television screens every saturday night of the year. about eatcarpet....
audiences often ask: "what does eatcarpet mean?"... the easiest answer is that to literally do what the title suggests, that is to 'eat carpet', would seem strange, bizarre, impossible, quirky, tasteless, unheard of...Do these descriptions fit the broad range of short narratives, dance works, animations and experimental documentaries, which are screened on eatcarpet? yes.
This year, eatcarpet celebrates its 13th birthday on Australian television.
As the only regular, weekly timeslot where audiences can watch innovative, experimental and entertaining short films from Australia and around the world, eatcarpet still stands alone.
looks like the website is gone?
Nachtpodium (Nightstage) is a program that gives a place to what doesn't belong anywhere else on regular television. Here, ideas roam and images of young artists intrigue. Both starting as well as more experienced artists and filmmakers can climb upon the stage. No props, studio or budget, only the driven creative human being that wants to show us something different.
Every Sunday around midnight you can watch Nachtpodium on Net 3. Nachtpodium is a no-budget program that shows short films (up to 20 minutes) from mostly Dutch (beginning) filmmakers and artists. The shown work varies from animation to poetry and from documentary to videoclips.
If you would like to contribute to Nachtpodium, send your work to:
VPRO Nachtpodium
Postbus 11
1200JC Hilversum
Tel: +31 (0)35-6712693
As said above, Nachtpodium is a no-budget program. We are therefore unable to pay for films.
--------------------------------------
retreived via internet archives
what is eatcarpet?
eatcarpet brings the most unlikely, the occasionally perplexing,
the undeniably provocative but always the BEST short films, videos
and animations to Australian television screens every saturday night of the year. about eatcarpet....
audiences often ask: "what does eatcarpet mean?"... the easiest answer is that to literally do what the title suggests, that is to 'eat carpet', would seem strange, bizarre, impossible, quirky, tasteless, unheard of...Do these descriptions fit the broad range of short narratives, dance works, animations and experimental documentaries, which are screened on eatcarpet? yes.
This year, eatcarpet celebrates its 13th birthday on Australian television.
As the only regular, weekly timeslot where audiences can watch innovative, experimental and entertaining short films from Australia and around the world, eatcarpet still stands alone.
looks like the website is gone?
De Veemvloer
THURSDAY 1st of DECEMBER - MUSIC FOR THE ARTISTS - 2nd evening
- DAN GEESIN live [acoustic set]
- WEEKMAKER naive electronica in Dutch [support]
- HUIB VAN DER HAYE [support]
Starting at 8:30 PM, De Veemvloer opens at 8 PM
Entrance: 4 euro
Place: De Veemvloer
Address: Van Diemenstraat 410, Amsterdam
[5 min on bike from the Centraal Station or Haarlemmerpoort]
Check a short film about Kinematix on www.vpro.nl/nachtpodium [in English] Supported by VSB fonds, AFK, Mondriaan Stichting, Levi's and Heidanus Holding, ThatDam! Magazine.
--------------------------------------
ORGACOM - DISPLAY > MERGER
In collaboration with an artists-run-space Galerie Display in Prague, De Veemvloer has initiated a research and exhibition project of an art group Orgacom. Merger is a proposed potential fusion between Display and Orgacom. The proposed organisations fill the gap in the Prague artworld. Which form and function is seen as the most vital will be decided by a group of local art curators, critics or gallery owners.
Opening: 29 november 6 PM, runs until 18 december
Place: Galerie Display, Praag, www.display.cz
Supported by the Royal Embassy of the Netherlands
- DAN GEESIN live [acoustic set]
- WEEKMAKER naive electronica in Dutch [support]
- HUIB VAN DER HAYE [support]
Starting at 8:30 PM, De Veemvloer opens at 8 PM
Entrance: 4 euro
Place: De Veemvloer
Address: Van Diemenstraat 410, Amsterdam
[5 min on bike from the Centraal Station or Haarlemmerpoort]
Check a short film about Kinematix on www.vpro.nl/nachtpodium [in English] Supported by VSB fonds, AFK, Mondriaan Stichting, Levi's and Heidanus Holding, ThatDam! Magazine.
--------------------------------------
ORGACOM - DISPLAY > MERGER
In collaboration with an artists-run-space Galerie Display in Prague, De Veemvloer has initiated a research and exhibition project of an art group Orgacom. Merger is a proposed potential fusion between Display and Orgacom. The proposed organisations fill the gap in the Prague artworld. Which form and function is seen as the most vital will be decided by a group of local art curators, critics or gallery owners.
Opening: 29 november 6 PM, runs until 18 december
Place: Galerie Display, Praag, www.display.cz
Supported by the Royal Embassy of the Netherlands
29 November 2005
who owns frida kahlo?
Isolda P. Kahlo, the niece of the famed Mexican painter and the founder of "The Frida Kahlo Corporation," is marketing Frida Kahlo Tequila, claiming the right to license products using the artist’s name and image. The clear glass bottles of tequila are ornamented with a portrait photo of Kahlo on the label, her image surrounded by garlands of flowers, and a wooden bottle stopper engraved with the artist’s image.
In 1955, just a few years before his death, Diego Rivera established the Diego Rivera and Frida Kahlo Museums Trust, an institution run by the Banco De Mexico. The trust was created to hold the works, possessions, and homes of the two artists as a public treasure. It would appear the trust is the only organization authorized to legally give permission to use Kahlo’s name for commercial purposes, or as Tibol put it, "According to the will of Diego Rivera and the establishment of the Foundation, all profitable use of Frida Kahlo must go to the Foundation."
as discussed on art for a change
press release
on the la times
In 1955, just a few years before his death, Diego Rivera established the Diego Rivera and Frida Kahlo Museums Trust, an institution run by the Banco De Mexico. The trust was created to hold the works, possessions, and homes of the two artists as a public treasure. It would appear the trust is the only organization authorized to legally give permission to use Kahlo’s name for commercial purposes, or as Tibol put it, "According to the will of Diego Rivera and the establishment of the Foundation, all profitable use of Frida Kahlo must go to the Foundation."
as discussed on art for a change
press release
on the la times
28 November 2005
Sinterklaas bloopers
art or porn?
Arsewoman in Wonderland is the transcript of a porn film printed in pink ink on a huge billboard. In minute detail it describes who does what to whom and what effect it has on them, as in "he cums in her face, she moans and rolls over." As the gallery blurb explains, "Banner uses pornographic film to explore sexuality and the extreme limits of written communication." In countering the outcry, Stephen Deuchar, director of Tate Britain, said, "these are not comfortable works to view but then much art is not comfortable." Visitors to the exhibit tend not to communicate. On Sunday afternoon, the silence in the gallery is absolute - despite the high number of visitors - in keeping with the orthodoxy that art can only be appreciated in total silence and while inclining the head, folding the arms and frowning importantly.
....
For a few seconds he is silent. "I think it's clever," he says, finally. "It's very cynical. Porn attracts publicity, everybody knows that. The media furore that gathers around it, that is the work of art."
A perceptible ripple of hostility moves through the room. Dover continues. "Porn is the new rock and roll and what this piece of art is, in my opinion, is verbal justification for it. It allows all the Islingtonites ..." (at this the shiver becomes a wave) "... to get off on the sexy stuff without sanctioning porn."
I whisper to him: "do you think it's art?" and Dover replies, oblivious to the now murderous vibes arrowing our way, "Art? It's basically shite. I think the best that can be said for it is that you can probably read it and have a good wank."
"Look," he says cheerfully, "She's spelt nob wrong, it should have a 'k' at the front."
Turner Prize 2002 at the guardian
....
For a few seconds he is silent. "I think it's clever," he says, finally. "It's very cynical. Porn attracts publicity, everybody knows that. The media furore that gathers around it, that is the work of art."
A perceptible ripple of hostility moves through the room. Dover continues. "Porn is the new rock and roll and what this piece of art is, in my opinion, is verbal justification for it. It allows all the Islingtonites ..." (at this the shiver becomes a wave) "... to get off on the sexy stuff without sanctioning porn."
I whisper to him: "do you think it's art?" and Dover replies, oblivious to the now murderous vibes arrowing our way, "Art? It's basically shite. I think the best that can be said for it is that you can probably read it and have a good wank."
"Look," he says cheerfully, "She's spelt nob wrong, it should have a 'k' at the front."
Turner Prize 2002 at the guardian
lowlands terrorism
UPDATE: Finally nu.nl is reporting the story of the suspected ‘terrorists’:
they were performing a cleaning ritual before looking for a quite place to pray.
Date: Wed, 02 Nov 2005 17:34:31 +0100
From: Bjorn Wijers <mailings@bdisfunctional.net>
Subject: some thoughts from the lowlands about terrorism..
Hi there,
Usually I kinda lurk over here but today I wanted to share my little story and thoughts about a false terrorism alarm in Amsterdam, The Netherlands yesterday. I posted this on my blog when I suddenly realized that this might be interesting to read for the people on this list. Finally I can shake of my cover as a lurker ;)
Bear with me if my English isn't top notch and feel free to point out any mistakes.
- --Terrorism accomplishes its goal without bombs in the Lowlands--
Yesterday I was finished with work and wanted to go home. As usual I'll check some websites to see if there were any delays with the trains. Since the liberalising of the public transport delays are quite common. So I visited nu.nl and read that the trains between Amsterdam Central and Utrecht would have delays of more than 60 minutes due to a suspicious parcel in the international train. The police had ordered the train to be held at station Muiderpoort which caused an enormous chaos.
I decided to leave work anyway and see if I could find some way home. Which means finding transport to Utrecht. I phoned my girlfriend and told her about the problems. We wanted to go out this evening to see the film Paradise Now, a film about suicide bombers in Palestine (how ironic). We cancelled our tickets and I told E. that I would try to come home anyway. Even if it meant a delay of more than 60 minutes.
Leaving work, got into the subway and I wanted to take the train to Amsterdam Amstel. I heard an announcement mentioning the advice to take the subway to Duivendrecht. The first train of line 54 that came by was stuffed. I mean sardines in a can kinda stuffed. It always gives me the creeps to go into these cramped spaces so I decide to take one train later. This was a very good idea. This one was practically empty.
I arrived at Duivendrecht and saw the enormous crowd. It was virtually impossible to stand at the station without pushing somebody else. It became very hectic and some people moved quite aggressively through the crowds, pushing people almost over the edge. Literally. I wanted to get out as quickly as possible and went to the busstation. I met a very friendly bus driver that told me that about line 120, a bus going from Holendrecht near the AMC hospital to Utrecht. Once again I was on the move.
Although moving wasn't really the right word to describe it. I was pushing and shoving my way through the crowd, that seemed to have grown exponential. Finally I arrived at the same platform I had just left. I catched the train to Holendrecht and just in time. In the meantime E. had phoned to say that the bus driver was correct about the bus departing from Holendrecht to Utrecht and that I had just a few minutes to catch it. So I ran.
The running was quite useless as the bus arrived about fifteen minutes late. Finally I had found my transport home. In total it took me more than three hours to arrive at home. More than double the normal commute of an hour and a half. At home the first thing I did was switching on the television to watch the news.
On the news they said it was a false alarm triggered by (over-protective) passengers of the international train that watched two man in djellabas (traditional clothing) going to and from the lavatory sometimes with their luggage
and sometimes not. Behaviour that might be different than 'normal' and therefore might be dangerous especially because the men looked so "Arabic". Or as one of the passengers supposedly said:
"They would have been very stupid to be muslim terrorists as they looked so much like them"
Apperently other passengers did agree on the terrorist part and took the behaviour of the two man as a serious threat and called the police. I always understood that terrorism is about destabilizing, creating chaos and fear. In that sense the terrorists have already won in the Netherlands without using bombs.
A link about the events on the website nu.nl (in Dutch)
http://www.nu.nl/news.jsp?n=618743&c=10
Feel free to use this story under the conditions of the Creative Commons Attribution 2.5 Netherlands License. To view a copy of this license, visit http://creativecommons.org/licenses/by/2.5/nl/
If you change this piece please make this visible to the reader so they know your version differs from the original. If you repost this I'd like to hear about it.
Bjorn Wijers
http://www.burobjorn.nl/blog/?p=47 (original post)
they were performing a cleaning ritual before looking for a quite place to pray.
A link about the events on the website nu.nl (in Dutch)
http://www.nu.nl/news.jsp?n=618743&c=10
as reported on bjorn's blog
-----------------------------------------Date: Wed, 02 Nov 2005 17:34:31 +0100
From: Bjorn Wijers <mailings@bdisfunctional.net>
Subject:
Hi there,
Usually I kinda lurk over here but today I wanted to share my little story and thoughts about a false terrorism alarm in Amsterdam, The Netherlands yesterday. I posted this on my blog when I suddenly realized that this might be interesting to read for the people on this list. Finally I can shake of my cover as a lurker ;)
Bear with me if my English isn't top notch and feel free to point out any mistakes.
- --Terrorism accomplishes its goal without bombs in the Lowlands--
Yesterday I was finished with work and wanted to go home. As usual I'll check some websites to see if there were any delays with the trains. Since the liberalising of the public transport delays are quite common. So I visited nu.nl and read that the trains between Amsterdam Central and Utrecht would have delays of more than 60 minutes due to a suspicious parcel in the international train. The police had ordered the train to be held at station Muiderpoort which caused an enormous chaos.
I decided to leave work anyway and see if I could find some way home. Which means finding transport to Utrecht. I phoned my girlfriend and told her about the problems. We wanted to go out this evening to see the film Paradise Now, a film about suicide bombers in Palestine (how ironic). We cancelled our tickets and I told E. that I would try to come home anyway. Even if it meant a delay of more than 60 minutes.
Leaving work, got into the subway and I wanted to take the train to Amsterdam Amstel. I heard an announcement mentioning the advice to take the subway to Duivendrecht. The first train of line 54 that came by was stuffed. I mean sardines in a can kinda stuffed. It always gives me the creeps to go into these cramped spaces so I decide to take one train later. This was a very good idea. This one was practically empty.
I arrived at Duivendrecht and saw the enormous crowd. It was virtually impossible to stand at the station without pushing somebody else. It became very hectic and some people moved quite aggressively through the crowds, pushing people almost over the edge. Literally. I wanted to get out as quickly as possible and went to the busstation. I met a very friendly bus driver that told me that about line 120, a bus going from Holendrecht near the AMC hospital to Utrecht. Once again I was on the move.
Although moving wasn't really the right word to describe it. I was pushing and shoving my way through the crowd, that seemed to have grown exponential. Finally I arrived at the same platform I had just left. I catched the train to Holendrecht and just in time. In the meantime E. had phoned to say that the bus driver was correct about the bus departing from Holendrecht to Utrecht and that I had just a few minutes to catch it. So I ran.
The running was quite useless as the bus arrived about fifteen minutes late. Finally I had found my transport home. In total it took me more than three hours to arrive at home. More than double the normal commute of an hour and a half. At home the first thing I did was switching on the television to watch the news.
On the news they said it was a false alarm triggered by (over-protective) passengers of the international train that watched two man in djellabas (traditional clothing) going to and from the lavatory sometimes with their luggage
and sometimes not. Behaviour that might be different than 'normal' and therefore might be dangerous especially because the men looked so "Arabic". Or as one of the passengers supposedly said:
"They would have been very stupid to be muslim terrorists as they looked so much like them"
Apperently other passengers did agree on the terrorist part and took the behaviour of the two man as a serious threat and called the police. I always understood that terrorism is about destabilizing, creating chaos and fear. In that sense the terrorists have already won in the Netherlands without using bombs.
A link about the events on the website nu.nl (in Dutch)
http://www.nu.nl/news.jsp?n=618743&c=10
Feel free to use this story under the conditions of the Creative Commons Attribution 2.5 Netherlands License. To view a copy of this license, visit http://creativecommons.org/licenses/by/2.5/nl/
If you change this piece please make this visible to the reader so they know your version differs from the original. If you repost this I'd like to hear about it.
Bjorn Wijers
http://www.burobjorn.nl/blog/?p=47 (original post)
universes
UNIVERSES IN UNIVERSE - Worlds of Art
Visual arts of Africa, Asia, Latin America within the context of international art processes
_______________________________________________________
Newsletter, - New articles, Contemporary Art from the Islamic World - Photo Tour: Politics of Fun, Berlin
*** Contemporary Art from the Islamic World ***
The online magazine is currently being restructured. From now on the contributions will appear on a continuous basis, and not in quarterly issues, as before. http://universes-in-universe.de/islam/eng/index.html
New articles, as usual, with numerous photos:
* Shirin Neshat
Two new film installations by the Iranian artist in an exhibition in Berlin and Salzburg (Austria). Text by Britta Schmitz.
http://universes-in-universe.de/islam/eng/2005/026/index.html
* Languages of the Desert
20 artists from countries on the Persian Gulf at the Kunstmuseum Bonn. Critical notes on the curatorial approach. By Gerhard Haupt.
http://universes-in-universe.de/islam/eng/2005/023/index.html
* Reem Al Faisal: El Hajj
Extensive photo project about the pilgrimage to Mecca. Statement of the artist from Saudi Arabia and 24 photo pages.
http://universes-in-universe.de/islam/eng/2005/028/index.html
* ruangrupa
Artists' group and alternative art space in Jakarta. Interview with the director Ade Darmawan, by Hendro Wiyanto.
http://universes-in-universe.de/islam/eng/2005/024/index.html
* Layers of Time and Space
Works by 6 artists from Bangladesh, India and Pakistan at the ifa-Galleries in Berlin and Stuttgart, Germany.
http://universes-in-universe.de/islam/eng/2005/027/index.html
*** Politics of Fun - Photo Tour ***
Extensive Photo Tour through the exhibition of contemporary Art from Southeast Asia at the House of World Cultures, Berlin: http://universes-in-universe.de/specials/2005/politics-of-fun/english.htm
Visual arts of Africa, Asia, Latin America within the context of international art processes
_______________________________________________________
Newsletter, - New articles, Contemporary Art from the Islamic World - Photo Tour: Politics of Fun, Berlin
*** Contemporary Art from the Islamic World ***
The online magazine is currently being restructured. From now on the contributions will appear on a continuous basis, and not in quarterly issues, as before. http://universes-in-universe.de/islam/eng/index.html
New articles, as usual, with numerous photos:
* Shirin Neshat
Two new film installations by the Iranian artist in an exhibition in Berlin and Salzburg (Austria). Text by Britta Schmitz.
http://universes-in-universe.de/islam/eng/2005/026/index.html
* Languages of the Desert
20 artists from countries on the Persian Gulf at the Kunstmuseum Bonn. Critical notes on the curatorial approach. By Gerhard Haupt.
http://universes-in-universe.de/islam/eng/2005/023/index.html
* Reem Al Faisal: El Hajj
Extensive photo project about the pilgrimage to Mecca. Statement of the artist from Saudi Arabia and 24 photo pages.
http://universes-in-universe.de/islam/eng/2005/028/index.html
* ruangrupa
Artists' group and alternative art space in Jakarta. Interview with the director Ade Darmawan, by Hendro Wiyanto.
http://universes-in-universe.de/islam/eng/2005/024/index.html
* Layers of Time and Space
Works by 6 artists from Bangladesh, India and Pakistan at the ifa-Galleries in Berlin and Stuttgart, Germany.
http://universes-in-universe.de/islam/eng/2005/027/index.html
*** Politics of Fun - Photo Tour ***
Extensive Photo Tour through the exhibition of contemporary Art from Southeast Asia at the House of World Cultures, Berlin: http://universes-in-universe.de/specials/2005/politics-of-fun/english.htm
art & science conference - sydney
INTERNATIONAL CONFERENCE
New Constellations: Art, Science and Society
17-19 March 2006
Museum of Contemporary Art
Circular Quay West, Sydney Australia
New Constellations: Art, Science and Society an international conference charting the ways in which art and science are gravitating towards one another within contemporary culture.
The Conference will present the latest thinking about collaboration between artists and scientists and examine how the worldwide trend towards interdisciplinary engagement is changing the definitions, methodologies and practices they use and how they view the social implications of their work.
Key Speakers: Ruzena Bajcsy, Immediate Past President, CITRIS (Centre for Information Technology Research in the Interest of Society), University of California, Berkeley, California
Elizabeth Grosz, Professor of Women’s and Gender Studies, Rutgers, The State University of New Jersey, and Visiting Professor of Architecture, Princeton University, Princeton, New Jersey
Steve Kurtz, Founding Member, Critical Art Ensemble; Carnegie Mellon University, Pittsburgh, Pennsylvania
Roger Malina, Chairman, Board, Leonardo, the International Society for the Arts, Sciences and Technology; Co-Chair, International Advisory Board, Inter-Society for the Electronic Arts.
New Constellations is presented by the Museum of Contemporary Art, Sydney, Australia
The Conference has grown out of a collaboration between artist Mari Velonaki and The University of Sydney’s Australian Centre for Field Robotics, an Australian Research Council -Australia Council for the Arts Linkage Project.
The Conference is supported by Artspace, Australian Network for Art and Technology and Patrick Systems and Technologies and The University of Sydney.
Conference enquiries: 61 2 9245 2484 or email@education.mca.com.au
For further program details and information about the call for papers/presentations go to www.mca.com.au/newconstellations
| www.mca.com.au |
New Constellations: Art, Science and Society
17-19 March 2006
Museum of Contemporary Art
Circular Quay West, Sydney Australia
New Constellations: Art, Science and Society an international conference charting the ways in which art and science are gravitating towards one another within contemporary culture.
The Conference will present the latest thinking about collaboration between artists and scientists and examine how the worldwide trend towards interdisciplinary engagement is changing the definitions, methodologies and practices they use and how they view the social implications of their work.
Key Speakers: Ruzena Bajcsy, Immediate Past President, CITRIS (Centre for Information Technology Research in the Interest of Society), University of California, Berkeley, California
Elizabeth Grosz, Professor of Women’s and Gender Studies, Rutgers, The State University of New Jersey, and Visiting Professor of Architecture, Princeton University, Princeton, New Jersey
Steve Kurtz, Founding Member, Critical Art Ensemble; Carnegie Mellon University, Pittsburgh, Pennsylvania
Roger Malina, Chairman, Board, Leonardo, the International Society for the Arts, Sciences and Technology; Co-Chair, International Advisory Board, Inter-Society for the Electronic Arts.
New Constellations is presented by the Museum of Contemporary Art, Sydney, Australia
The Conference has grown out of a collaboration between artist Mari Velonaki and The University of Sydney’s Australian Centre for Field Robotics, an Australian Research Council -Australia Council for the Arts Linkage Project.
The Conference is supported by Artspace, Australian Network for Art and Technology and Patrick Systems and Technologies and The University of Sydney.
Conference enquiries: 61 2 9245 2484 or email@education.mca.com.au
For further program details and information about the call for papers/presentations go to www.mca.com.au/newconstellations
| www.mca.com.au |
stencilpunx
This is Stencil Punx. A free online stencil archive website dedicated to promoting the do it yourself ethic. I started up this site because I'm tired of seeing kids going out and buying their favorite band shirts for 20 dollars, when they could make it themselves for pennies. link
26 November 2005
Viper - new media festival
VIPER is one of the major European film, video and new media festivals. It offers a highly-regarded platform for presenting innovative works and projects attracting Swiss and international filmmakers and producers, artists, curators, critics and purveyors of ideas from the media, research and politics. In addition VIPER's International Forum provides an up-to-date podium for presenting and discussing forward-looking positions, models and scenarios - a Think-and-Do-Tank for 21st century media, culture and society.
VIPER invites the Swiss and international audience to Basel and offers on the occasion of its 25th edition with its film/video screenings selected from the International Competition, its Artists-RendezVous programme, the VIPER Exhibition with interactive installations and performances, advanced mobile and wireless applications, its International Forum including a conference and panel discussions, numerous cooperation projects and special events, an interdisciplinary overview on cutting-edge projects and ideas.
VIPER invites the Swiss and international audience to Basel and offers on the occasion of its 25th edition with its film/video screenings selected from the International Competition, its Artists-RendezVous programme, the VIPER Exhibition with interactive installations and performances, advanced mobile and wireless applications, its International Forum including a conference and panel discussions, numerous cooperation projects and special events, an interdisciplinary overview on cutting-edge projects and ideas.
queueing in rotterdam
Public Lecture: Gillian Fuller (Media, Film and Theatre, UNSW, Australia)
Title: The rapture of capture: the queue.
Place: Collegezaal, Overblaak 85, Rotterdam
Time: 18.00hrs
Date: Wednesday 30th November
Entry: Gratis, all welcome
How long and for what will people queue?
For Maria Callas at Convent Garden in the early 60s?
For check-in at Heathrow Terminal 4 in July 2004?
For Macdonald's hamburger in Moscow in 1990?
For a fistula operation in Rwanda?
A Dominos Pizza menu to download with a dodgy ADSL connection in 2005?
For a chance at Australian Citizenship in 2001?
Each of these queues form at thresholds where many become, in the
event of queueing, one. When queues form, the organised traverse from
one domain to another becomes palpable in the form of a time lag - a
shift in a temporal rhythm. In the queue one is positioned in
expectation of access of some kind of threshold encounter - just
delayed. For those off the network there is not even the 'tyranny of
hope'.
To think about queues is to think about how the politics of
distribution move from one body (in the broadest sense of the term)
to another across multiple thresholds forming a technics of
connective control. Queue seems so orderly, bringing a sense of
harmony and justice to regimes of distribution. To stand in a queue
seems such an obvious and transparent act based on mythical notion
that first come, first served is socially efficient, even if,
algorithmically speaking, that may not true.
Queues remain a fundamental architectural principle for networks and
a form that, despite real-time and alternative networked models like
BitTorrent, seems to proliferating. Commensurate with the rise in
excess (and 'personal' service) is scarcity (and the queue). Some
things stream through thresholds, like commuters on the Singapore
metro, defty tapping epasses on electronic pillars, others are drip
fed by bureaucracies and NGOs - each runs to a different rhythm of
control. In queues, the relationship between intensive and extensive
time stops being transparent and becomes obvious, systems start
showing their seams, boundaries start forming in the modes of queues.
If fluctuations in time present sites of both conflict and routine
for the shiftworkers, jetsetters and global oligarchies, then queue
provides a site to ask what are chronopolitics of waiting? That a
queue is an emergent structure is obvious. But what are the
conditions, the ecological 'affordances', that enable the queue to
cohere as a form, which in the process of forming becomes index and
sign?
BIO:
Gillian Fuller is an academic, writer and lapsed semiotician who
works in the area of network media and cultural politics. She is
Senior Lecturer in Media in the School of Media, Film and Theatre,
UNSW, Australia. She currently publishes in the areas of convergent
architectures, biopolitics and biometrics, and politics and methods
of movement. She is co-author of Aviopolis: A book about Airports
2004, Gillian Fuller & Ross Harley, Blackdog Press: London, and has
just begun a new project on the politics and methods of distribution
architectures, called 'the queue project'.
This event is organised by Media Design Research, Piet Zwart
Institute, Willem de Kooning Academie Hogeschool Rotterdam.
http://www.pzwart.wdka.hro.nl/
http://www.wdka.hro.nl/
Title: The rapture of capture: the queue.
Place: Collegezaal, Overblaak 85, Rotterdam
Time: 18.00hrs
Date: Wednesday 30th November
Entry: Gratis, all welcome
How long and for what will people queue?
For Maria Callas at Convent Garden in the early 60s?
For check-in at Heathrow Terminal 4 in July 2004?
For Macdonald's hamburger in Moscow in 1990?
For a fistula operation in Rwanda?
A Dominos Pizza menu to download with a dodgy ADSL connection in 2005?
For a chance at Australian Citizenship in 2001?
Each of these queues form at thresholds where many become, in the
event of queueing, one. When queues form, the organised traverse from
one domain to another becomes palpable in the form of a time lag - a
shift in a temporal rhythm. In the queue one is positioned in
expectation of access of some kind of threshold encounter - just
delayed. For those off the network there is not even the 'tyranny of
hope'.
To think about queues is to think about how the politics of
distribution move from one body (in the broadest sense of the term)
to another across multiple thresholds forming a technics of
connective control. Queue seems so orderly, bringing a sense of
harmony and justice to regimes of distribution. To stand in a queue
seems such an obvious and transparent act based on mythical notion
that first come, first served is socially efficient, even if,
algorithmically speaking, that may not true.
Queues remain a fundamental architectural principle for networks and
a form that, despite real-time and alternative networked models like
BitTorrent, seems to proliferating. Commensurate with the rise in
excess (and 'personal' service) is scarcity (and the queue). Some
things stream through thresholds, like commuters on the Singapore
metro, defty tapping epasses on electronic pillars, others are drip
fed by bureaucracies and NGOs - each runs to a different rhythm of
control. In queues, the relationship between intensive and extensive
time stops being transparent and becomes obvious, systems start
showing their seams, boundaries start forming in the modes of queues.
If fluctuations in time present sites of both conflict and routine
for the shiftworkers, jetsetters and global oligarchies, then queue
provides a site to ask what are chronopolitics of waiting? That a
queue is an emergent structure is obvious. But what are the
conditions, the ecological 'affordances', that enable the queue to
cohere as a form, which in the process of forming becomes index and
sign?
BIO:
Gillian Fuller is an academic, writer and lapsed semiotician who
works in the area of network media and cultural politics. She is
Senior Lecturer in Media in the School of Media, Film and Theatre,
UNSW, Australia. She currently publishes in the areas of convergent
architectures, biopolitics and biometrics, and politics and methods
of movement. She is co-author of Aviopolis: A book about Airports
2004, Gillian Fuller & Ross Harley, Blackdog Press: London, and has
just begun a new project on the politics and methods of distribution
architectures, called 'the queue project'.
This event is organised by Media Design Research, Piet Zwart
Institute, Willem de Kooning Academie Hogeschool Rotterdam.
http://www.pzwart.wdka.hro.nl/
http://www.wdka.hro.nl/
refresh!
Banff New Media Institute, the Database for Virtual Art, Leonardo/ISAST and UNESCO DigiArts collaborated to produce the first international art history conference covering art and new media, art and technology, art-science interaction, and the history of media as pertinent to contemporary art. In late September, more than 200 new media practitioners from around the world gathered at Banff New Media Institute (BNMI) for the Refresh! Today marks the launch of an educational resource for new media artists, researchers, historians and students across the globe - access to the Refresh! conference on line:
http://www.banffcentre.ca/bnmi/programs/archives/2005/refresh/
Visit, watch and listen to discussion on the relationship between new media and the disciplines of art history, anthropology, computing sciences, media studies, and other intercultural contexts.
http://www.banffcentre.ca/bnmi/programs/archives/2005/refresh/
Visit, watch and listen to discussion on the relationship between new media and the disciplines of art history, anthropology, computing sciences, media studies, and other intercultural contexts.
23 November 2005
vlogging - how to vlog
FreeVlog Tutorial
Start here: Step by step instructions on how to vlog
step 0.5: make video and compress it
[note to self: other/video for broadband ntsc 768kbps]
step1: set up a blog
step2: make a screen capture
step3: sign up for internet archive and ourmedia
step4: publish the video
step5: post video & images on blog
step6: get an rss feed with enclosures
step7: join videobloggers
step 8: link love
-------------------------------------------------------------------------------
more from freevlog
extras (tutorials)
new vlogs
"classic" vlogs
-------------------------------------------------------------------------------
Blogging groups:
yahoo group videoblogging
vlogeurope
List yourself
vlogmap
mefeedia directory
vlogdir
vlog viewers
FireANT
Mefeedia
22 November 2005
kill or cure?
Subsequently, Cellini developed tertiary syphilis, which resulted in grandiose projects due to his megalomania and which led him to initiate his sculpture of Perseus. He fell easy prey to individuals attempting to capitalize on his grandiosity, his wealth, and his influential reputation. He made a disadvantageous property purchase from clever business individuals who suspected that Cellini was in a terminal phase of syphilis. These salespeople produced a plot to murder Cellini to hasten the realization of their investments. The assassins prepared a meal in which they added mercury to a sauce. After eating the meal, Cellini quickly developed a severe hemorrhagic diarrhea. He suspected that he had been poisoned with sublimate (mercury).
Fortunately for Cellini, the dose of mercury in the sauce was not large enough to cause his death, but it was sufficient to cure his syphilis. He decided not to prosecute his would-be assassins, but to honor them as his therapists. Instead of dying of syphilis, Cellini lived many more years.
more
The Effects of Diseases, Drugs, and Chemicals on the Creativity and Productivity of Famous Sculptors, Classic Painters, Classic Music Composers, and Authors. by Paul L. Wolf, MD
Fortunately for Cellini, the dose of mercury in the sauce was not large enough to cause his death, but it was sufficient to cure his syphilis. He decided not to prosecute his would-be assassins, but to honor them as his therapists. Instead of dying of syphilis, Cellini lived many more years.
more
The Effects of Diseases, Drugs, and Chemicals on the Creativity and Productivity of Famous Sculptors, Classic Painters, Classic Music Composers, and Authors. by Paul L. Wolf, MD
art theory amsterdam W139
Right about Now: Art and Theory since the 1990s
W139, Stedelijk Museum Bureau Amsterdam and Stedelijk Museum Amsterdam, in collaboration with the department of Art History at the University of Amsterdam, have joined forces to bring you a unique series of lectures entitled Right about Now: Art and Theory since the 1990s. The lectures, realised with support of the Mondriaan Foundation, will be held in English.
Since the early 1990s, debate and reflection on contemporary visual art have primarily centred on concrete artistic practice and notions like production and presentation. But in the meantime, what have been the developments exactly in the field of critical theory? Right about Now can be considered a serious attempt to formulate an answer to this question. A select group of respected Dutch and foreign academics and thinkers (including leading experts like Hal Foster, Claire Bishop, Daniel Birnbaum and Nicolas Bourriaud) have been asked to scrutinize recent art history and present their findings in the form of a lecture. The speakers will address trends and themes (including ‘Interactivity’, ‘Documentary Evidence’ and ‘Money’) that have influenced theoretical debate since the start of the 1990s and will investigate the significance these notions and developments might have for today’s artistic discours. By initiating this series, the organizers hope to encourage public debate regarding the art of the recent past, as well as partially bridge the gap existing between academic research and the artistic ‘fieldwork’ of artists and curators.
Lecture 1: Wednesday November 30th, 2005
INTERACTIVITY: Speakers: Claire Bishop (UK), Nicolas Bourriaud (FR)
Lecture 2: Wednesday January 25th, 2006
DOCUMENTARY EVIDENCE: Speakers: Sophie Berrebi (FR/NL)
Lecture 3: Wednesday March 1st, 2006
THE BODY: Speakers: Maaike Bleeker (NL), Deborah Cherry (UK)
Lecture 4: Wednesday March 29th, 2006
MONEY: Speakers: Marc Spiegler (USA), Olav Velthuis (NL)
Lecture 5: Wednesday April 19th, 2006
CURATING: Speakers: Beatrice von Bismarck (DE), Jennifer Allen (USA)
Lecture 6: Wednesday May 10th, 2006
REMODERNISM: Speakers: Daniel Birnbaum (SE)
Lecture 7: Wednesday June 7th, 2006
ENGAGEMENT: Speakers: Hal Foster (USA), Sven Lütticken (DE/NL)
-----------------------------------------------------------------
The first lecture of the English-language series will be held on Wednesday November 30th, 8 p.m., in the Auditorium of the University of Amsterdam (Oude Lutherse Kerk, Singel 411, Amsterdam).
Subsequent lectures take place on a monthly basis - again on Wednesday evenings, starting 8 p.m. You are required to order tickets in advance.
For the full programme, reservations and additional information, please visit http://www.rightaboutnow.nl
digimag
The English version of the #Issue 09//November 05 of Digimag, italian monthly magazine of digital culture and electronic arts, is online. You can find it here www.digicult.it/digimag_eng/index.html
This further step of Digicult project, opens the doors to an
international audience that will have the opportunity to make use of the
portal (www.digicult.it/index_eng.htm), it's news from oll over the world,
calls for artists, archive of articles, links and other services in the near
future, and of the magazine too.
/////////////////////////////////////////////////////////////
Digicult is based on a web portal daily updated and a monthly magazine
about the following themes: Net Art Hacktivism Software Art Video Art Electronica
Audiovideo Performing Art Artificial Intelligence Interaction Design New Media
Digicult is an italian network of almost 30 contributors and 10 huge italian
communities and projects collaborating to the magazine and the portal at
large; some of the best italian journalists, curators, critics of the
growing new media culture in Italy.
This further step of Digicult project, opens the doors to an
international audience that will have the opportunity to make use of the
portal (www.digicult.it/index_eng.htm), it's news from oll over the world,
calls for artists, archive of articles, links and other services in the near
future, and of the magazine too.
/////////////////////////////////////////////////////////////
Digicult is based on a web portal daily updated and a monthly magazine
about the following themes: Net Art Hacktivism Software Art Video Art Electronica
Audiovideo Performing Art Artificial Intelligence Interaction Design New Media
Digicult is an italian network of almost 30 contributors and 10 huge italian
communities and projects collaborating to the magazine and the portal at
large; some of the best italian journalists, curators, critics of the
growing new media culture in Italy.
20 November 2005
sinterklaas parade
He comes! On Sunday 20 November sinterklaas comes to Amsterdam. From reliable source we have learned that he arrives exactly as previous years by steam boat concerning the Amstel. At the shipping museum burgomaster welcomes job Cohen the goedheiligman, which our city visits this year for 67e the time. Afterwards sint will continue its excursion on the back of Americo. Of course he is accompanied thereby by a horde black pieten and a festive procession with animals, acrobats, stripfiguren, clowns and music. Terminus of the intocht the Leidseplein are. As from the balcony of the stadsschouwburg sinterklaas will adress all amsterdammers traditionally. 11.00: Fleet of sint concerning the Amstel the vaarroute is as follows:
at 11.00 sinterklaas leaves off the Amstelstation concerning the Amstel and goes then by means of the new Herengracht and Schippersgracht to the shipping museum. Here is called the burgomaster him welcome, whereupon the procession at foot and at horse leaves.
12.00: Arrival shipping museum reception by the burgomaster. Slab Biesterveld loves us from minute up to minute on altitude from the arrival from sint
12.30: Festive optocht starts drumband sint Anthonius by means of prince Hendrikkade runs already for the intocht from!
13.00: Then by means of dam, Damrak, Rokin, Muntplein, Vijzelstraat and Weteringcircuit
15.00: Sint greets Amsterdam as from balcony stadsschouwburg (Leidseplein) During the intocht there is much music!
Dam 11.00-12.00 hours: pepper note link on the dam 12.00-13.00 hours: The Pietels confessed of radio and TV
shipping museum 11.30: 4 Tuoze Matroze confessed of radio and TV
Leidseplein 14.00 - 14.30: 4 Tuoze Matroze Wants know what you sinterklaas still more comes do in Amsterdam? Look then stiekum in the agenda of sint.
-------------------
Hij komt!
Op zondag 20 november komt Sinterklaas weer naar Amsterdam. Uit betrouwbare bron hebben we vernomen dat hij net als voorgaande jaren per stoomboot aankomt over de Amstel. Bij het Scheepvaartmuseum verwelkomt burgemeester Job Cohen de goedheiligman, die onze stad dit jaar voor de 67e keer bezoekt. Daarna zal Sint zijn tocht voortzetten op de rug van Americo. Uiteraard wordt hij daarbij vergezeld door een horde Zwarte Pieten én een feestelijke stoet met dieren, acrobaten, stripfiguren, clowns en muziek. Eindpunt van de intocht is het Leidseplein. Vanaf het balkon van de Stadsschouwburg zal Sinterklaas alle Amsterdammers traditiegetrouw toespreken.
| 11.00 uur: | Vloot van Sint over de Amstel De vaarroute is als volgt: om 11.00 uur vertrekt Sinterklaas ter hoogte van het Amstelstation over de Amstel en gaat dan via de Nieuwe Herengracht en Schippersgracht naar het Scheepvaartmuseum. Hier heet de burgemeester hem welkom, waarna de stoet te voet en te paard vertrekt. |
| 12.00 uur: | Aankomst Scheepvaartmuseum ontvangst door de burgemeester. Bram Biesterveld houdt ons van minuut tot minuut op de hoogte van de aankomst van Sint |
| 12.30 uur: | Start feestelijke optocht via Prins Hendrikkade Drumband Sint Anthonius loopt al voor de intocht uit! |
| 13.00 uur: | Dan via Dam,Damrak, Rokin, Muntplein, Vijzelstraat en Weteringcircuit |
| 15.00 uur: | Sint groet Amsterdam vanaf balkon Stadsschouwburg (Leidseplein) |
Tijdens de intocht is er veel muziek!
Dam
11.00-12.00 uur: Pepernotenband op de Dam
12.00-13.00 uur: De Pietels bekend van radio en tv
Scheepvaartmuseum
11.30 uur : 4 Tuoze Matroze bekend van radio en tv
Leidseplein
14.00 - 14.30 uur : 4 Tuoze Matroze
Wil je weten wat Sinterklaas nog meer komt doen in Amsterdam?
Kijk dan stiekum in de Agenda van Sint.
19 November 2005
17 November 2005
16 November 2005
electronic arts intermix
Electronic Arts Intermix (EAI) is a leading nonprofit resource for video art and interactive media.
Founded in 1971, EAI's core program is the distribution and preservation of a major collection of new and historical media works by artists. EAI also offers educational services, viewing access, exhibitions and public programs.
The Online Catalogue is a comprehensive resource on the 175 artists and 3,000 works in the EAI collection. The searchable database includes artists' biographies, QuickTime excerpts, research materials, artists' Web projects, and online ordering.
Founded in 1971, EAI's core program is the distribution and preservation of a major collection of new and historical media works by artists. EAI also offers educational services, viewing access, exhibitions and public programs.
The Online Catalogue is a comprehensive resource on the 175 artists and 3,000 works in the EAI collection. The searchable database includes artists' biographies, QuickTime excerpts, research materials, artists' Web projects, and online ordering.
Database of Virtual Art
The Database of Virtual Art documents the rapidly evolving field of digital installation art. This complex, research-oriented overview of immersive, interactive, telematic and genetic art has been developed in cooperation with established media artists, researchers and institutions.
The web-based, cost-free instrument - appropriate to the needs of process art - allows individuals to post material themselves.
Compiling video documentation, technical data, interfaces, displays, and literature offers a unique answer to the needs of the field. All works can be linked with exhibiting institutions, events and bibliographical references. Over time the richly interlinked data will also serve as a predesessor for the crucial systematic preservation of this art.
extra city - antwerp
Extra City
Information Transformation
4 Sept - 4 Dec 2005
For Die Farbe der Meere Pieroth places four bottles next to each other, each filled with water from a different sea. The samples come from the Black, White, Red and Yellow Seas, but of course the colour of the water does not differ. Pieroth plays in a humorous manner with the connection that is made between geographic specificity and cultural identity. One cannot distinguish between the contents of the bottles. The origin can only be told from the trademarks and labels on the local soft drink and water bottles.
Information Transformation
4 Sept - 4 Dec 2005
For Die Farbe der Meere Pieroth places four bottles next to each other, each filled with water from a different sea. The samples come from the Black, White, Red and Yellow Seas, but of course the colour of the water does not differ. Pieroth plays in a humorous manner with the connection that is made between geographic specificity and cultural identity. One cannot distinguish between the contents of the bottles. The origin can only be told from the trademarks and labels on the local soft drink and water bottles.
new media art curating
How is new media art being presented, commissioned, collected and critiqued?
This site aims to help independent and institutional curators, producers, technicians, and commissioners - your participation is welcome.
enter CRUMB site
New media curating
This site aims to help independent and institutional curators, producers, technicians, and commissioners - your participation is welcome.
enter CRUMB site
New media curating
new media art - london
HTTP is London's first dedicated gallery for networked and new media art. Working with artists from around the world HTTP provides a public venue for experimental approaches to exhibiting artworks simultaneously in physical and virtual space, and for online projects that explore participative and collaborative art practice. Artists' projects on DVD, real-time, webcast, software art and live art also play a role in the curatorial work of HTTP.
HTTP presents Abuse of the Public Domain, the first solo show of networked media art by UK artist Stanza. This exhibition features large-scale projections of 2 works, which use live real-time data from CCTV cameras cited in two cities, London and New York . Security tracking data is Stanza's chosen medium for these process led artworks.
YOU ARE MY SUBJECTS uses data from a single fixed camera in NYC, focusing on subjects as they pass below it. AUTHENTICITY [Trying to imagine the world from everyone elses’ perspective, all at once] draws its imagery from cameras all over London. Both works can be viewed in a web browser via the Internet and turn us all into voyeurs of eerie 'parallel realities'.
“CCTV systems are everywhere in the public domain. Millions of hours worth of data are recorded every day by these cameras. We are all unwitting bit part actors, in the filming of our own lives. Usually we cannot watch, the results are not collected for broadcast back to the public. Rather they are monitored, filtered, distributed and archived without our knowledge or permission
The city has millions of CCTV cameras. One can take the sounds and images off live web streams to offer them back to the public for new interpretations of the city. In essence the city of London can be imagined as the biggest TV station in existence.”
A full collection of Stanzas work will also available for view in the exhibition via the new website.
http://www.stanza.co.uk
HTTP presents Abuse of the Public Domain, the first solo show of networked media art by UK artist Stanza. This exhibition features large-scale projections of 2 works, which use live real-time data from CCTV cameras cited in two cities, London and New York . Security tracking data is Stanza's chosen medium for these process led artworks.
YOU ARE MY SUBJECTS uses data from a single fixed camera in NYC, focusing on subjects as they pass below it. AUTHENTICITY [Trying to imagine the world from everyone elses’ perspective, all at once] draws its imagery from cameras all over London. Both works can be viewed in a web browser via the Internet and turn us all into voyeurs of eerie 'parallel realities'.
“CCTV systems are everywhere in the public domain. Millions of hours worth of data are recorded every day by these cameras. We are all unwitting bit part actors, in the filming of our own lives. Usually we cannot watch, the results are not collected for broadcast back to the public. Rather they are monitored, filtered, distributed and archived without our knowledge or permission
The city has millions of CCTV cameras. One can take the sounds and images off live web streams to offer them back to the public for new interpretations of the city. In essence the city of London can be imagined as the biggest TV station in existence.”
A full collection of Stanzas work will also available for view in the exhibition via the new website.
http://www.stanza.co.uk
may's
Each month, May's invites a street artist to paint a 3 x 2.5 metre panel space installed on May Lane, St. Peters. At the month’s close, the panels are taken down and replaced afresh for the next ‘chapter’ in the project. The May's scenario obviously differs from normal graffiti practice but, like all street work, is subject to ‘the elements’.
15 November 2005
14 November 2005
13 November 2005
freedom of expression
The Federal Government's recently proposed Anti-Terrorism Bill 'Sedition Clause' has the potential to adversely affect artists, arts workers and writers across Australia. Specifically, these laws could limit arts practitioners' freedom of expression, and public discussion should occur to examine all potential impacts. There have been a raft of articles about this issue, which has seen artists, film makers, writers and journalists instigating lobbying efforts.
As Tamara Winikoff, Executive Director of the arts advocacy body NAVA explains, "We are concerned that the new sedition laws inhibit artists' entitlement to exercise their human right to represent, discuss and critique ideas, through their artwork or other forms of public or private expression ... As with all Australian citizens, they should remain free to continue to challenge current orthodoxies - artistic or political."
see the full article on artart blog
---------------------------------------
all about it at NAVA
(National Association for the Visual Arts)
The potential impact of the proposed new Anti-Terrorism legislation on artists' freedom of expression is extremely worrying, especially Schedule 7 dealing with "sedition". To see a press release drafted by NAVA on the legislation click here.
NAVA has put out a call to action for everyone to ring, email or meet with their local member of parliament and contact the Attorney General seeking removal of the Sedition clause. To see a copy of a letter which NAVA has drafted with other creative and visual arts organisations click here.
The Government has agreed to extend the inquiry into the legislation from one day to three weeks. NAVA urges you to send your views to this Committee Inquiry by the 11th November- email to: legcon.sen@aph.gov.au To read the proposed legislation click here.
To read NAVA's submission to the senate inquirey click here.
tags
Annie Leibowitz at Foam
Foam Photography Museum, Amsterdam
October 21 to December 7, 2005
Foam Photography Museum Amsterdam presents from October 21 to December 7, 2005 the exhibition American Music with over sixty portraits made by Annie Leibowitz. American Music showcases a central theme of Leibovitz’s long and celebrated career. Her photographs of a wide range of music legends have become signature images that vividly capture the artists behind the music. Her uncanny ability to portray each subject’s personality with her own distinct flair continues to set her work apart from other portrait artists.
tagsartissima 2005 - italian contemporary art
artist list
Over the last years Artissima - The International Fair of Contemporary Art in Turin - has achieved a unique position among the other European art fairs, Artissima is a fair exclusively devoted to contemporary art and to the newest and most emerging art trends, with an established international character and a very high quality standard.
images & virtual tours
tags
AUSTRALIAN VIDEO ART
SCREENING
AUSTRALIAN VIDEO ART
5uper, MUSEUMSQARTIER, VIENNA
November 10 - 15.
Artists:
Francesca da Rimini, TV Moore, Shaun Gladwell, Bronwyn Platten,
Mathew Bradley, Bianca Barling, Christopher Bennie, Anna Davis,
Lynne Sanderson, Brendan Lee, Dennis del Favero, Natascha
Stellmach, Project Video Art Archive (curated by Brendan Lee): Anne
Wilson, Stephen Honeger&Anthony Hunt, Sanja Pahoki, Robin Hely, Guy
Bentfield, Laresa Koslof, Angelica Mesiti, Dominic Redfern, Jarrad
Kenedy, The Kingpins, Starlie Geikie, Kathy Bosniakis, Gary Willis,
Mathew Griffin, Lane Cormick, Rebecca Ann Hobbs, Aylsa McHugh, Peter
Burke, Sue Dodd, Emil Goh, Daniel von Sturmer/Meri Blazevski, Leslie
Eastman, Philip Brophy, Kate Murphy, Lyndal Jones, David Noonan&Simon
Trevaks, Monika Tihacek, Alex Gawronski.
the exhibition is from the experimental art foundation, adelaide.
-------------------------------------
- AUSTRALIAN NEW MEDIA ART
MUSEUM OF CONTEMPORARY ART,
SKOPJE, NOVEMBER 7, 12:00.
Presenter:
Melentie Pandilovski, Director, Experimental Art Foundation
- AUSTRALIAN NEW MEDIA ART
Public Lecture mit Prˆ§sentation und anschlieˆüender Diskussion in
der 5uper.net Cuisine Digitale/MQ quartier 21. Am 10. November von 18
- 20 Uhr.
5uper, MUSEUMSQARTIER, VIENNA, November 10, 6 PM.
Melentie Pandilovski, Direktor der Experimental Art Foundation in
Adelaide, Australien hˆ§lt in der Cuisine Digitale einen Vortrag zum
Thema ’ÄúNew Media Art in Australia’Äù
Melentie Pandilovski, Kurator und Direktor der Experimental Art
Foundation in Adelaide, gibt in diesem Vortrag einen ˆúberblick ˆºber
australische und internationale Kˆºnstler sowie deren Arbeiten zum
Thema Art of the Biotech Era, einem Kunstprojekt, das im Frˆºhjahr
2004 stattfand und sich kritisch mit den Auswirkungen und
Verˆ§ndungen beschˆ§ftigt, die die Wissenschaft der Biotechnologie
mit sich bringt.
tags12 November 2005
Performance and Surveillance in Video Art
Balance and Power: Performance and Surveillance in Video Art
October 22 – December 31, 2005
Krannert Art Museum and Kinkead Pavilion, Champaign, Illinois
http://www.kam.uiuc.edu
To observers of cultural phenomena, the dawn of the 21st century may not necessarily be the best or worst of times. But it could be among the most culturally confused and conflicted eras to emerge in recent history, considering society’s mass-fascination with reality TV programs and Web cams, on the one hand; and, on the other, its ever-present obsession with security, fueled by global fears of terrorism. These dichotomies are revealed and examined in a timely new exhibition, “Balance and Power: Performance and Surveillance in Video Art,” which opened October 22 at the University of Illinois at Urbana-Champaign’s Krannert Art Museum. In addition to the main exhibition at the museum, a corresponding, satellite installation also is on view at the campus’s Thomas M. Siebel Center. Both shows run through December 31.
“This exhibition examines both the pioneer days of video art and current practices in an attempt to understand the complex relationship between intentional acting for the camera and our involuntary relinquishing of privacy to the cameras of power systems that have an interest in the movement of citizens,” said guest curator Michael Rush. “In the earliest days of video art in the mid-1960s, artists engaged the question of when surveillance becomes performance and vice versa. This issue remains central to the work of many video artists today."
The exhibition references and features work by a diverse group of artists, from early video pioneers such as Andy Warhol, Vito Acconci and Bruce Nauman to emerging practitioners such as Jill Magid and Tim Hyde. Other participating artists are Antenna, Sophie Calle and Gregory Shephard, Jim Campbell, Peter Campus, Jordan Crandall, Shelley Eshkar and Paul Kaiser, Harun Farocki, Subodh Gupta, Kevin Hamilton, Tiffany Holmes, Kristin Lucas, Steve Mann, Jenny Marketou, Jonas Mekas, Muntadas and Marshall Reese, Martha Rosler, Julia Scher, and Kiki Seror.
Included in the exhibition are large-scale installations, single-channel tapes, and several works being seen for the first time.
tags
October 22 – December 31, 2005
Krannert Art Museum and Kinkead Pavilion, Champaign, Illinois
http://www.kam.uiuc.edu
To observers of cultural phenomena, the dawn of the 21st century may not necessarily be the best or worst of times. But it could be among the most culturally confused and conflicted eras to emerge in recent history, considering society’s mass-fascination with reality TV programs and Web cams, on the one hand; and, on the other, its ever-present obsession with security, fueled by global fears of terrorism. These dichotomies are revealed and examined in a timely new exhibition, “Balance and Power: Performance and Surveillance in Video Art,” which opened October 22 at the University of Illinois at Urbana-Champaign’s Krannert Art Museum. In addition to the main exhibition at the museum, a corresponding, satellite installation also is on view at the campus’s Thomas M. Siebel Center. Both shows run through December 31.
“This exhibition examines both the pioneer days of video art and current practices in an attempt to understand the complex relationship between intentional acting for the camera and our involuntary relinquishing of privacy to the cameras of power systems that have an interest in the movement of citizens,” said guest curator Michael Rush. “In the earliest days of video art in the mid-1960s, artists engaged the question of when surveillance becomes performance and vice versa. This issue remains central to the work of many video artists today."
The exhibition references and features work by a diverse group of artists, from early video pioneers such as Andy Warhol, Vito Acconci and Bruce Nauman to emerging practitioners such as Jill Magid and Tim Hyde. Other participating artists are Antenna, Sophie Calle and Gregory Shephard, Jim Campbell, Peter Campus, Jordan Crandall, Shelley Eshkar and Paul Kaiser, Harun Farocki, Subodh Gupta, Kevin Hamilton, Tiffany Holmes, Kristin Lucas, Steve Mann, Jenny Marketou, Jonas Mekas, Muntadas and Marshall Reese, Martha Rosler, Julia Scher, and Kiki Seror.
Included in the exhibition are large-scale installations, single-channel tapes, and several works being seen for the first time.
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11 November 2005
michael kirkham reviewed
michael-kirkham was featured on this blog a few days ago. Since then I have had opportunity to see the exhibition.
I was intrigued about the content and wanted to know the curatorial rationale for the genital paintings. I couldn't really find any. Here we had Hopper without the soul, Lucian Freud without the skill.
I found the paintings to be quite badly painted. The palette was muddy, the paint was slimy and there were intaglio pentimenti clearly visible under the slick surface. The standard was art school at best. The figures were poorly drawn, objectified rather than observed. One was reminded of renaissance workshop nudes painted by virgin apprentices.
There's an interview between Balthus and David Bowie in an old edition of Modern Painters where Balthus discusses his painting "the guitar lesson' and how it was instrumental in making his reputation. I found his source material the other day in an old erotic print.
This appears to answer the exhibition rationale question. If you can't paint, paint porn, it will still sell.
tags
I was intrigued about the content and wanted to know the curatorial rationale for the genital paintings. I couldn't really find any. Here we had Hopper without the soul, Lucian Freud without the skill.
I found the paintings to be quite badly painted. The palette was muddy, the paint was slimy and there were intaglio pentimenti clearly visible under the slick surface. The standard was art school at best. The figures were poorly drawn, objectified rather than observed. One was reminded of renaissance workshop nudes painted by virgin apprentices.
There's an interview between Balthus and David Bowie in an old edition of Modern Painters where Balthus discusses his painting "the guitar lesson' and how it was instrumental in making his reputation. I found his source material the other day in an old erotic print.
"As he matured in the early 1930s, Balthus' paintings often depicted pubescent young girls in erotic and voyeuristic poses. One of his most notorious works was The Guitar Lesson (1934), which caused controversy in Paris due to its depiction of a sexually explicit lesbian scene featuring a young girl and her teacher."There were a lot of red stickers and the paintings were around 9000 euros each. The audience is apparently unfazed at the lack of quality.
This appears to answer the exhibition rationale question. If you can't paint, paint porn, it will still sell.
tags
valie export & tim storrier
Series and repetitions are a recurrent theme in the oeuvre of Austrian media artist VALIE EXPORT. The central topic of her art work, most of which is based on drawing, photography and spatial intervention, is the notion of consequence and evolution. Beginning with examples from the 1970s, some 90 works show how her technique of representation has developed over the years.
videos and films
virtual tour
link
this installation by valie export dates from 2004/5
thinking of tim storrier
Tim Storrier is a romantic-realist artist who enjoys a success unparalleled by any other artist of his generation living in Australia today. There are some who even consider him Australia's greatest living landscape artist. John Olsen, now one of the grand old men of Australian art, wrote of him as 'one of the unique artists of the Australian landscape.' And again, as 'one of the most original.' Whatever one's view, Storrier has enjoyed phenomenal success. His paintings are seen as 'blue chip art', and he is regarded as one of the hottest properties in the present art market.
he's been burning lines since the 80s
tags
videos and films
virtual tour
link
this installation by valie export dates from 2004/5
thinking of tim storrier
Tim Storrier is a romantic-realist artist who enjoys a success unparalleled by any other artist of his generation living in Australia today. There are some who even consider him Australia's greatest living landscape artist. John Olsen, now one of the grand old men of Australian art, wrote of him as 'one of the unique artists of the Australian landscape.' And again, as 'one of the most original.' Whatever one's view, Storrier has enjoyed phenomenal success. His paintings are seen as 'blue chip art', and he is regarded as one of the hottest properties in the present art market.
he's been burning lines since the 80s
tags
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