27 December 2007
Forum for Internet Technology in Contemporary Art
is happy to launch its Christmas edition of net:NET - netart features.
Like edition I , also the 2nd edition of net.NET is presenting
7 artists and selected works -->
"D.F. MAZE", 2006 by Ernesto Rios (Mexico)
"District of Leitavia", 2004 by Ian M Clothier (New Zealand)
FUSE, 2004 by SoiiZen Art Labs (Taiwan)
"Antroptic", 2007 by Ethan Ham/Benjamin Rosenbaum (USA/CH)
"Sonic Map of Battersea Park", 2007 by Gaya Gajewska (UK)
"X_Reloaded", 2005 by santo_file (Spain/Italy)
"Neue Kathedrale des erotische Elends", 2004- by Dirk Vekemans (Belgium)
The feature can be accessed on JavaMuseum directly via
or any other feature of the 2007 series on www.javamuseum.org
Edition I of net.NET, launched on 1 November 2007 is featuring works by
Adele Prince (UK), J.T.Wine (USA), Carlo Sansolo (Brazil)
Les Liens Invisibles (Italy), MEZ (Australia), Konstantia Sofokleous (Cyprus)
Katty Vandenberghe/Chris Diedericks (South Africa)
All net.NET - netart features are also launched in the framework of
NewMediaFest2007 - and can be accessed via the festival interface on
26 December 2007
23 December 2007
22 December 2007
20 December 2007
MIAMI’S FIRST CURATED STREET LEVEL GROUP EXHIBITION
DECEMBER / SIXTH / TWO THOUSAND AND SEVEN
MIAMI, FL, NOVEMBER 15, 2007 – SPINELLO GALLERY and BLACKBOOKS in association with LANDSEA VENTURES and SABOTAZ is proud to present PRIMARY FLIGHT - Miami's first street level, site specific, mural Installation throughout the Wynwood Art District. The exhibition features over 25 of today’s most respected graffiti artists local and abroad, curated by Books IIII, Anthony Spinello, and Lynn Yohana Howard.
Maps outlining the street installation will be available to download online: www.primaryflight.com.
Graffiti has long left the streets, having become embraced by some of the world’s greatest collections and museums. Primary Flight’s soul purpose is to provide street artists with concrete outdoor wall space where they have free reign to install their art as they see fit - back into graffiti’s original environment - to be viewed in what is arguably its most appealing format.
ARTISTS INCLUDE :
David Choe, Lady Pink, Retna, El Mac, Richard Hambleton, She Kills He, Santiago Rubino, Siner, Depoe, Logan Hicks, Peat Wollaeger, Kenton Parker, Reyes, Dolla, AIM, MSG, Brandon Opalka, Blek Le Rat, Tes One, Bask, Michael De Feo, Futura, Andy Howell, Cycle, Ellis G, Gorilla Tactiks, The London Police
18 December 2007
THE PIGS are offering their tongue-in-cheek track, "I've Got Santa Claus," as a holiday download on their www.PeaceForXmas.com site. The track, which tells the tale of Santa hiding out until there's Peace on Earth, is available as a free download, or, for .99 cents as a donation toward world peace, with all net proceeds going to UnitedForPeace.org.
Opening: 18.12.07 (vanaf 19.00)
Cafe Pakhuis de zwijger /Amsterdam
18.12.07 t/m 01.03.08c
_ a year after the first expositie of Hetzer and Mike on a desastreuze manner in order come, open Hetzer and Mike a new expositie. Last year Hetzer and Mike however everything have sat except quietly. After the lords in question plural individualities developed impairment and a video installation there concerning made, them now started to painting studio K. Alwaar heuse Straatpasta cinema room in use be are taken.
18.12.07 (as from 19.00)
Cafe package house the zwijger/Amsterdam 1
8.12.07 till 01.03.08c
17 December 2007
16 December 2007
Profile J Severn
If I can’t dance - Antwerp
SOLSTICE Postcard Exchange Archive
November 2007 subject index - bellebyrd
November 2007 subject index - blakkbyrd
Seven Ways To Say Internet with Net Art
call - Going Underground 7
Graffiti - Merry Christmas Everybody!
Icelandic bus bombing
"Chewing Gum Man"
Safe to Spray
Tags 'R' Us - graffiti superstore
Art on the street
painting health & safety - ANU guidelines
Intellectual Property (IP) online
you thought we wouldn’t notice
Community Printmaking Project (1985)
Chopper - Christmas Story
Blackadder's Christmas Carol
Merry Christmas Mr. Bean
Abbott & Costello- Christmas Special
Tom Waits - Christmas card
12 bollywood Days of Christmas
The 12 isms of Christmas
Terrorist 12 days of Christmas
Happy Christmas (War Is Over)
Donuts (Christmas music video)
Korn - Jingle Bells
F*** Christmas - Eric Idle
If I can’t dance - Antwerp
God Rest We Weary Working Moms
IM IN UR MANGER KILLING UR SAVIOR
billie holiday & count basie - god bless the child, now baby
1983 Islington Squatter Punk Documentary
Lillasyster - Umbrella
Vanilla Sky - Umbrella
T.A.G. Man knows the difference between art and graffiti, and is quick to point it out.
TAGDude has great vision and can spot graffiti in his neighborhood from far away.
T.A.G. - Totally Against Graffiti
15 December 2007
Los Angeles homeless men sing Jingle Bells in this music video. Shot in the early 90s, well before Bum Fights and with a different POV. Shot at or near donut shops in Hollywood, Silver Lake, North Hollywood and Westwood.
14 December 2007
Hybrid Toys Workshop
Integreer digitale componenten in fysiek speelgoed!
23 - 25 januari 2008, van 10.00 - 17.00
De deskundigheid van Jean-Baptiste LaBrune en Dana Gordon staan geheel tot je beschikking in onze uitdagende Hybrid Toys workshop. Gedurende deze drie-daagse cursus helpen zij je met met het creëren van je eigen hybrid world media project. Gebruik de beschikbare Arduino’s en sensoren en pas de culturele en sociale mogelijkheden van RFID toe!
Het digitale en het fysieke in een speelse ontmoeting!
Voor meer informatie zie: www.mediamatic.net/workshop/hybridtoys
Mediamatic, Oosterdokskade 5, Post CS gebouw, Amsterdam
Binnenkort ook bij Mediamatic:
Urban Typography Workshop, 17 en 18 januari 2008
Micro TV Workshop, 8 februari 2008
Hybrid Toys Workshop
Merge digital and/or networked components with physical toys!
23 - 25 January 2008, from 10.00 - 17.00
The expertise of Jean-Baptiste LaBrune and Dana Gordon are at your disposal in our exciting Hybrid Toys workshop. During this 3 day hands-on course you are assisted in the creation and development of your own hybrid world media project. Use the available Arduino’s and sensors, apply ideas from physical computing and integrate the cultural and social possibilities of RFID!
Let the digital play with the physical!
For more information visit the site: www.mediamatic.net/workshop/hybridtoys
Mediamatic, Oosterdokskade 5, Post CS building, Amsterdam
Urban Typography Workshop, 17 and 18 Januari 2008
Micro TV Workshop, 8 Februari 2008
English text below]
Urban Typography Workshop
Typografie geïnspireerd door urban art
17 | 18 januari 2008, van 10.00 - 17.00
Een twee-daagse workshop waarin je praktisch experimenteert met urban design. Met frames, sjablonen, lichtprojecties en andere technieken onderzoek je de rol van lettervormen en taal in de openbare ruimte. Maak snelle prototypes met behulp van het Fablab. En laat je daarbij inspireren door de creatieve kennis van graffiti kunstenaar ZEDZ en (grafisch) ontwerper Mirthe Blussé die de cursus zullen (in)leiden.
Voor meer informatie en registratie: www.mediamatic.net/urbantypography.
Mediamatic, Post CS gebouw, Oosterdokskade 5, begane grond / zij-ingang, Amsterdam
23 | 24 | 25 january 2008, Hybrid Toys workshop.
8 february 2008, Micro TV Workshop.
Urban Typography Workshop
Typography with an urban twist
17 | 18 January 2008, from 10.00 - 17.00
A two-day workshop centered on experimenting with urban designs. Use materials such as frames, stencil sheets and light projections to play with the forms of letters and the role of language in the urban environment. Make rapid prototypes with the FabLab machines and get inspired by the invigorating graffiti artist ZEDZ and (graphic) designer Mirthe Blussé.
For more information and registration: www.mediamatic.net/urbantypography.
Mediamatic, Oosterdokskade 5, Post CS building, ground floor / side entrance, Amsterdam
23 | 24 | 25 January 2008, Hybrid Toys Workshop.
8 February 2008, Micro TV Workshop.
12 December 2007
Officers are now imposing their own conformity on the culture of the street
Tuesday December 11, 2007
Here's a tale for our times. Over the last three years, it has been possible to catch the "Chewing Gum Man" at work somewhere in London, crouched on a pavement. From a distance, he could be homeless or a drunk - his coat is spattered with paint - but as you near, you see that he is painting in enamels, with great delicacy, a picture on the discarded gum that litters urban pavements. When he moves on, the picture will catch passing eyes - particularly children's - for months to come. Each picture tells a story as recounted by a passer-by: this was the place where someone was knocked down or had their first kiss. The pictures are small signs of personal connection, a humanising of an anonymous urban environment; he doesn't want payment, it's a gift of recognition in the city's commercialised and often violent public space.
Romantic or eccentric, you may think, but surely no challenge to public order. The artist, Ben Wilson, estimates he has now clocked up about 500-600 encounters with the police during this project. Most have been amicable. Some local policemen came to recognise that buried in Wilson's purpose are ends not that dissimilar from their own about building a sense of connectedness, often among alienated groups such as teenagers.
It helps that Wilson is softly spoken, gentle, and clever enough to ensure that he is not breaking the law. He paints on the gum, not the pavement, and you can't be charged with criminal damage to litter. Unlike the graffiti artist, Banksy, who has had to remain anonymous or face criminal charges, Wilson wants to connect his public art with people.
He has sometimes run into more heavyhanded policing, but nothing prepared him for what happened a few months ago. Arrested and charged with criminal damage in front of a crowd of horrified tourists, he ended up being punched and dragged across a police cell. The story illustrates what little space is left for spontaneity, or even the gentlest subversion, on our streets.
The police now have extraordinarily broad powers for regulating behaviour in public space. The pretext for acquiring these was in part terrorism, in part anti-social behaviour. They can intervene with options such as imposing a fine, making an arrest, or stop and search. Absurd recent examples of how far these powers stretch include a drunken Oxford student who said a police horse was gay and ended up with an £80 fixed-penalty fine. And the penalty fines handed to wearers of a "Bollocks to Blair" T-shirt. The most egregious instance of this new civic conformity was Tony Blair's measure to ban political protests within a mile of Westminster. It led to the removal of anti-Iraq war placards, which, in their subsequent resurrection by artist Mark Wallinger as State Britain, won the Turner prize last week - a powerful indictment of how the messy, chaotic nature of protest is now tidied into the safe spaces of artistic institutions. The police have been made arbiters of our civic space, with unprecedented scope now to impose narrow definitions of conformity on the culture of the street - often places in desperate need of civilising with just the spontaneous human exchange Wilson initiates.
But Wilson's story didn't end there. Once at the station, he was told they wanted a DNA sample, which under a 2004 amendment, the police are entitled to take from everyone accused of a recordable offence. Even if the person is never convicted, or even charged, the DNA sits in a national database until they die, or their hundredth birthday. Wilson balked at this invasion of his privacy; he tried to reason with the police, and ended up on the floor being punched, as six or so hairs were taken for the DNA sample. Charges of obstructing police in the course of their duty, and criminal damage, were brought against him and then dropped.
The question left in Wilson's mind as he recovered from this shocking experience was how something so integral to his personhood and dignity as his DNA could now sit forever on a database, which is subcontracted to private laboratories. It is accessible by more than 50 other bodies and subject to the risks of being stolen or ... lost in the post.
The routine collection of DNA slipped through parliament with barely a murmur, while campaigning efforts were focused on anti-terrorism measures. The UK is accumulating the biggest DNA database in the world - and no one can be entirely sure of how this could be used in future, and by whom. What frustrates critics is that the government has yet to produce convincing evidence as to why it needs this vast database. Liberty, the human rights organisation, has a case challenging the way DNA is routinely collected and retained, due to reach the European court in March.
Has fear so cowed us that we are prepared to offer up so much - the culture of our streets, our very own DNA with the genetic code whose significance we are still unravelling - to the discretion of the police and the state?
This document specifies the minimum requirements to be undertaken in the areas of -
- Spray-painting, and the
- Application of two pack paints and coatings.
It is expected that these procedures will be followed while working in all of The Australian National University's spray paint booths, paint workshops, and University buildings. The implementation of painting tenders\contracts, and painting by contract labour is also required to follow these guidelines. This document not only details procedures which are designed to protect the safety and health of painters but also to minimise the impact on other ANU staff and the environment.
HEALTH AND SAFETY BACKGROUND
During the process of painting, persons may be exposed to a variety of substances, which may have implications to their safety and health. For example, solvents and paints are formulated with a variety of ingredients. However, exposure and absorption occurs via -
- Skin absorption
Once within the body, the resulting dose in the body can exert an effect on various tissues and organs. This effect may be in the short term (acute effect), such as dizziness, or from repeated exposure (chronic effects), such as liver damage. The effect on health of various products can be found in their material safety data sheets, and these should be consulted by every painter before they use the product for the first time. If unsure about the products effects or for a clarification of the information please contact your supervisor or the Occupational Health and Safety Unit.
In general the risk to health from various paint products varies from least to greatest, as follows -
- Water colours, although they may contain toxic pigments.
- Acrylic paints, contain only small amounts of organic solvents.
- Oil based paints and lacquers, contain significant amounts of organic solvents. The solvents can be responsible for dizziness, headaches, nausea, tiredness, irritating cough, red and stinging eyes. Solvents will also de-fat the skin possibly leading to dermatitis.
- Two pack acrylic and some epoxy paints. Consult MSDS.
- Two pack polyurethane paints, which contain isocyanates (in the hardener) and organic solvents. The isocyanates are potential sensitising agents which may cause asthma.
Personal Protective Equipment for Spray Application
A full-face positive pressure airline respirator. This design is suitable for use in the application of all paint commonly applied at the University. This type of respirator must be used when handling two pack paints containing isocyanates. This form of respirator also includes in-built eye protection.
However, for the application of less hazardous paints (eg. acrylic based paint) a half-face respirator with spray paint canisters (type: A1 P2 with pre-filter) may be used. Eye protection (eg safety glasses or goggles) is then required.
Note: In spray booths where an airline respirator is available, it should be used.
Solvent resistant gloves made of nitrile (eg. Ansell's Sol-vex) or PVC must be worn when handling paint, solvents and during spraying. Rubber gloves are not suitable. Disposable nitrile gloves (eg. Best N-DEX Nitrile gloves) are acceptable while spraying. Re-useable gloves should be checked before use for leakage and contamination (inside) the glove.
To check for cuts and holes, simply grab and pull the cuff of the glove with both hands, flip the glove end over end two or three times to produce a good seal, then grab the cuff with one hand sealing the air within. Squeeze the glove with the other hand (the fingers should inflate), look for holes.
Protective clothing should be worn to avoid contamination of street clothes. Tradesmen's overalls with sleeves or disposable coveralls are suitable. Cotton or anti-static fabrics are preferred.
Where noise levels are in excess of the 85 dB(A) occupational exposure limit, hearing protection (ear muffs or ear plugs) should be worn. They may also be worn simply to reduce the noise to a comfortable level.
When the noise level exceeds 85 dB(A), the noise level of the booth should be documented and placed near the booth with a hearing conservation warning sign.
Good footwear should have a non-slip chemical resistant sole and protective upper.
For personal protective equipment to function correctly and last a reasonable length of time, it must be correctly maintained. This involves -
- Pre-use checks, to ensure the equipment is not damaged, leaking, and working correctly,
- Worn and correctly used, contact the OHS Unit or manufacturer\supplier if unsure. Appropriate training shall be given before equipment is used for the first time.
- Cleaned, after use to prevent the build-up of dirt and bacteria.
- Stored correctly. For example, half face respirators should be stored in a sealed container to prevent absorption of contaminates.
- Respirator filters must be changed when appropriate.
MEDIA RELEASE OCTOBER 18, 2006.
*Hi-res images are available on request.
A SPRAY OF NON-TOXIC, SOCIALLY RESPONSIBLE PAINT
The first truly responsible, planet-friendly aerosol paint has hit the hardware shelves in Australia.
Four years of intense research by Australia-based White Knight Paints has resulted in a spray paint that can’t be used for ‘chroming’ (the deliberate inhalation of the solvents to achieve a ‘high’); is lead-free; contributes no CFCs to the ozone layer; is shunned by graffiti daubers; and its cans are fully recyclable.
Secondly, the new aerosol cans actually help overcome the problem of graffiti. These new cans carry an innovative nozzle that delivers a fine mist of paint in a broad arc which, when applied in several sweeps, gives a finish previously acquired only by professionals. The one thing it doesn’t do is deliver paint in one thick, paint-saturated hit – the type the graffiti vandals love.
Lead and CFCs have also been removed from White Knight’s new aerosol paints while the cans themselves are now fully recyclable. At present there are more than 320 councils around Australia that accept the cans, with more coming on board all the time.
To ensure these new, low-tox aerosol cans are easily identifiable each can will carry a distinctive ‘Safe to Spray’ sticker or logo.
Legislation has been introduced in Australia that requires retailers to keep all spray cans under lock and key, in an attempt to reduce the amount of graffiti vandalism that is costing State governments millions of dollars each year. White Knight Paints will continue its endeavours to produce high quality paints that deliver professional results for the consumer while making the vandalism of public and private property increasingly difficult.
All locally made White Knight Paints speciality spray cans with their new low-tox formulae are available nationally from paint specialists and hardware outlets. For information on local stockists www.whiteknightpaints.com.au.
09 December 2007
07 December 2007
released recently the netart feature
"Seven Ways To Say Internet with Net Art" -
curated by Elena Giulia Rossi
including works by
Free Soil (Amy Franceschini, Myriel Milicevic, Nis Rømer)
Seven Ways To Say Internet with Net Art
Elena Giulia Rossi
Since its inception, net art has always been referring to its own medium. The seven works selected, created in different times, address different facets of the nature of Internet, from the social perception of the self and of the body in relation to technology, to the potential impact that this medium can have on society, mostly when art is concerned.
The relationship between nature art and representation of the self with the flow of information is synthesized in the hybrid portrait of "Deus Fleurs" by the French artist Reynald Drouhin.
Generative processes as art are the core of C.J. Yeh's "Equal" where personal data generate modernist-like paintings. Sound and space in relation to dynamics and energy are the subject of Santiago Ortiz's "Sound and Energy" where Internet is treated as a canvas for dynamic and interactive sketches.
Molleindustria's works, a collective engaged in the creation of original games aimed to rise political concerns are excellent examples of how games, and Internet as a vehicle to foster them, can ease issues otherwise difficult to face. "Mc Donald's Videogame" is a courageous critique of the McDonald's brand and of the functioning of its corporation, at the origin of remarkable ecological damages. It is through the game that Juliet Davis explores in "Pieces of Herself" feminine embodiment and its relation to real and virtual space. A game is also involved in Iconoclast Game by Lorenzo Pizzanelli: through irony and play the author gives a critical view of the power of images and of the museums that make them sacred.
F.R.U.I.T., engaged in the shaping of an on-line community to encourage cultivation within urban areas, is a project where the network activity is art. It makes clear that net art is "action" and it is closer to performing than any other art practice.
About the curator
Elena Giulia Rossi works and lives in Rome/Italy as an independent curator. Since 2002, she has been collaborating with MAXXI - National Museum of 21st Century Art Rome/Italy, where she is curating since 2005 a section dedicated to net/web art. She regularly writes for the on-line edition of the Italian newspaper "L'Unità".
Detailed bio on http://and.nmartproject.net/?p=1394
Detailed artists biographies
Juliet Davis (USA) - http://www.nmartproject.net/artists/?p=1401
Reinhald Drouhin (France) - http://www.nmartproject.net/artists/?p=1402
Free Soil (Amy Franceschini, Myriel Milicevic, Nis Rømer)
Molleindustria (Italy) - http://www.nmartproject.net/artists/?p=1404
Santiago Ortiz (Colombia) - http://www.nmartproject.net/artists/?p=1405
C.J.Yeh (Taiwan) - http://www.nmartproject.net/artists/?p=1406
Lorenzo Pizzanelli (Italy) - http://www.nmartproject.net/artists/?p=1407
The netart feature -
"Seven Ways To Say Internet with Net Art" -
represents also the JavaMuseum contribution to
and can be accessed via the festival interface.
JavaMuseum - Forum for Internet Technology in Contemporary Art
is a corporate part of
info (at) javamuseum.org
06 December 2007
Berliner Fenster und interfilm Berlin are calling
for entries for
Going Underground 7
7th International Subway Film Festival Berlin
30. January - 05. February 2008
Please send us your films as soon as possible!
Entry deadline is the 15th of December 2007
The festival will take part from January 30th to February 5th 2008 on over 4,000 monitors in Berlin subways. 1.6 million passengers turn into an underground movie audience and can vote for their favorite of the 14 selected films. Berliner Fenster and interfilm Berlin are looking for your short films which must be no longer than 90 sec and silent.
The three winning film makers will be rewarded with prizes of
1. Prize 3,000 EUR
2. Prize 2,000 EUR
3. Prize 1,000 EUR
For more information and the application form please visit <http://www.interfilm.de> or <http://www.goingunderground.de>
Going Underground 7
7. Internationales U-Bahn Film Festival Berlin
30. Januar - 05. Februar 2008
Noch könnt Ihr Eure Filme einreichen!
Der Einsendeschluß ist am 15. Dezember 2007
Vom 30. Januar bis 05. Februar 2008 werden auf über 4000 Monitoren in U-Bahnen 14 internationale Kurzfilme gezeigt. Die Fahrgäste - täglich 1,6 Millionen Menschen - haben als Jury die Möglichkeit ihren Lieblingsfilm zu wählen. Wir freuen uns auf Eure Filme, die nicht länger als 90 sek. sein dürfen und ohne Ton funktionieren müssen.
Die 3 besten Filme erhalten Preise in Höhe von:
1. Preis 3,000 EUR
2. Preis 2,000 EUR
3. Preis 1,000 EUR
Nähere Informationen entnehmt bitte dem Reglement und dem Anmeldungsformular unter
04 December 2007
02 December 2007
Video Speakers Corner
At the initiative of bolwerK in
Antwerp, we are screening
reactions to the quote by Emma Goldman
– “If I can’t dance, I don’t
want to be part of your
revolution”– in the form of a
visual contribution. These will be
screened by means of a mobile Video
Speakers Corner on Thursday evening, 6
December, during the Antwerp
The Video Speakers Corner is one of the
public moments in a self-organized
alternative program initiated by
bolwerK. To empower the initiative a
workshop (FC Poppesnor), local radio
interventions (with miss Tigra) and a
concert (Gynaika Inbetween Space) are
planned, stimulating exchange between
the local Antwerp stakeholders and
Museum of Contemporary Art Antwerp
Leuvenstraat 32 2000 Antwerp Belgium
Next Thursday, December 6, the time has finally come! BolwerK, Gynaika and FC Poppesnor join forces to occupy the MuHKA with MuHKA hack – Video Speakers Corner. This artistic intervention is the central pivot of a various series of initiatives organised by the above mentioned organisations within the scope of the exhibition: If I can’t dance, I don’t want to be Part of your Revolution currently running at MuHKA in Antwerp.
19.00h – 22.00h
MuHKA hack – Video Speakers Corner
A projection of a three hours lasting compilation of contributions (photographs, video, films, memories, thoughts, slogans, reproductions,...). Without previous selections, all contributions got bundled together.
Angela Marzullo • Anke Schäfer & Christina Della Guistina • Annemie Maes • Carina De Geest • Carolin Lerch • Coline Van Acker • Daniel Daniel • Elvira Hufschmid & Monika Lilleike • Emilie de Vlam • Fiona Whitty • Gitte le Bryun & Peter Dirkx • Hilde Keunen • Ingrid Schildermans • Karen Vanderborght • Karin Vyncke • Kathrin Wolkomicz • Lieve Van Stappen • Marijana Markoska • Marjan Verhaeghe • Natalia Pershina • Nathaile Hunter • Pimvdp • Renate Els Aerts • Ria Pacquée • Sarah Bracke • Silvia Maglioni & Graeme Thomson • Winke Hossfeld • Zohrka Wollny • Scum grrrls • Amazone • Ann Cornelis • Anne Smolar • Ann Vandersleyen • Anne-mie van Kerckhove • Begga D'Haese • Blakkbyrd • Caroline Vincart • Chelsea Knight • Christine Clinckx • Colettte Cleeren • Desiree Palmen • Dina Mouton • Fc Poppesnor • Fran Kusters • Frieda Lambregs • Giséla Dheedene • Hexennacht • Hans Van Dijck • Ifi genia • Ingrid De Volder • Ingrid Vander Veken • Irene Judong • Iva Kovac • Karin Hanssen • Kitty Doomernik • Chris Meulemans • Lambregs Frieda • Liesbeth Marit • Lieven Paelinck • Lucie Kolb • Lizi Meynendonckx • Manuel Beyns Dominique Van Lommel • Margareta Peeters • Marijs Boulogne • Melina Sacré • Membrandt • Michal Lenart • Nicky Embrechts • Nina riotgrrrl • Olga Dengo • Paule van Parys • Pieter Bleuzé • Risk Hazekamp • Sara Stoop • Sofie Nagels • Sofie Muller • Tamara van San • Tine Meukens • Tinka Pittoors • Toos van Liere • Waldrada Onzea • Boemtjak • Greta Günther • ....
1 & 2 December at de Beurs van Berlage, Amsterdam
If I Can't Dance... shows three artists
during WOMEN INC:
Julika Rudelius: Forever
Hito Steyerl: November
Sofie Nijs: Lenine en Pensant
For more information about the whole
Women Inc Festival
January 07, 2007 12:00am
A GRAFFITI vandals superstore is operating under the noses of authorities in Melbourne. The shop, called Giant, specialises in graffiti paraphernalia, even offering an out-of-hours service. It boasts "Melbourne's largest range of aerosol paint", as well as nozzles designed for illegal scrawls. Authorities are powerless to stop the trade under current laws. The store also stocks graffiti magazines showcasing thousands of tags and scrawls on trains in Melbourne and around the world, as well as hooded and masked vandals brazenly posing as they deface public property. Vandals profiled include two leaders of the notorious crew 70K, whom the Sunday Herald Sun has learned have extended their tagging spree to Britain. A Giant store attendant told a reporter yesterday: "Fat caps (nozzles) are for illegal stuff like spray painting the sides of trains, when you are in a hurry. "Obviously, this store is geared more towards graffiti than street art. Melbourne has a large underground graffiti scene for its size." The North Melbourne store advertises itself on two of the city's biggest pro-graffiti website homepages. One shows more than 5000 acts of vandalism across the city, including 450 train attacks, and the second highlights scrawlings suburb by suburb. The Giant shop's phone message includes a mobile number for people to call if they need paint in the night -- by appointment. Giant owner Clarke Aaron admitting to advertising on graffiti websites, saying street art was a "great medium". "We supply art materials. I'm not responsible for what people do with them. I'm not saying, 'Go paint graffiti'," Mr Aaron said. State government spokesman Geoff Fraser said: "We do not support anything that encourages graffiti." But he said that selling spray paint was not illegal. As the annual graffiti clean-up cost approaches $100 million, calls are growing for stores to hide spray cans and ban their sale to under-18s. RAGE (Residents Against Graffiti Everywhere) founder Steve Beardon said the Giant store should be closed. "This is totally unacceptable," Mr Beardon said.
"The authorities need to take a stronger stance and stamp out operations like this which enable vandals to wreak havoc across the city."
At a "graffiti jam" in the CBD's Caledonian Lane yesterday, where businesses allow their walls to be painted, youths with spray cans did not want to be photographed at work.
A youth covering his face with one hand and brandishing a paint can in the other charged at the photographer, saying: "You can't take photographs -- some of what we do is illegal."
British police are closing in on two of Melbourne's worst graffiti vandals, who have fled the country and launched an international tagging spree.
Victorian and British police are tracking the leaders of the 70K graffiti crew, who are responsible for up to $1 million in graffiti damage.
The duo, who use the tags "Stan" and "Bonez", left Australia in late 2005 as anti-graffiti police prepared to arrest them.
Public comment is being sought on a government plan to tackle the graffiti scourge, including clamp-downs on people carrying spray cans on and near public transport and on private property.
It boasts "Melbourne's largest range of aerosol paint", as well as nozzles designed for illegal scrawls.
Authorities are powerless to stop the trade under current laws.
The store also stocks graffiti magazines showcasing thousands of tags and scrawls on trains in Melbourne and around the world, as well as hooded and masked vandals brazenly posing as they deface public property.
Vandals profiled include two leaders of the notorious crew 70K, whom the Sunday Herald Sun has learned have extended their tagging spree to Britain.
A Giant store attendant told a reporter yesterday: "Fat caps (nozzles) are for illegal stuff like spray painting the sides of trains, when you are in a hurry.
"Obviously, this store is geared more towards graffiti than street art. Melbourne has a large underground graffiti scene for its size."
The North Melbourne store advertises itself on two of the city's biggest pro-graffiti website homepages. One shows more than 5000 acts of vandalism across the city, including 450 train attacks, and the second highlights scrawlings suburb by suburb.
The Giant shop's phone message includes a mobile number for people to call if they need paint in the night -- by appointment.
Giant owner Clarke Aaron admitting to advertising on graffiti websites, saying street art was a "great medium".
"We supply art materials. I'm not responsible for what people do with them. I'm not saying, 'Go paint graffiti'," Mr Aaron said.
State government spokesman Geoff Fraser said: "We do not support anything that encourages graffiti."
But he said that selling spray paint was not illegal.
As the annual graffiti clean-up cost approaches $100 million, calls are growing for stores to hide spray cans and ban their sale to under-18s.
RAGE (Residents Against Graffiti Everywhere) founder Steve Beardon said the Giant store should be closed.
"This is totally unacceptable," Mr Beardon said.
25 November 2007
Art on the street
Melbourne is regarded by those in the know as the stencil capital of the world. In a select number of the city's lanes, couples have their wedding photos taken in front of the huge murals and stencils, many of the local shop and cafe owners support the artists, and the lanes themselves are listed in guide books.
One of the best known of Melbourne's street artists is Ha Ha, whose trademarks include robot stencils and the monochrome face of Ned Kelly. Vexta has a background in printmaking and has been creating stencil work since 2002. Both are profiled in a new book on Melbourne's street culture.
Title: Stencil Graffiti Capital: Melbourne
Author: Jake Smallman and Carl Nyman Mark Batty
30 November 2007
Free Interactive Radio/Chat/Multi-Media Community
Members in: Amsterdam Berlin Weimar Devon Aberdeen San Francisco Los Angeles
Contributors from: Japan Netherlands Germany Belgium UK France Spain Finland Scotland USA
Including traces from: Radio 100, Radio Rabotnik TV, Radio WHS, Radio Got, Staalplaat
Languages: English, Dutch, German, French, Spanish, Portuguese, Japanese, Finnish, Swedish, Russian, Polish, more
DFM Members are broadcasting live from their home studios, from locations
like alternative bars, parties, events or from the DFM studio in Amsterdam.
The DFM Amsterdam internet/radio/tv studio is perfect for regular programs,
DJ'ing or post-production but also to receive/record/broadcast guest
artists/dj's and small acoustic and/or electronic performers/groups.
You can also find (and jam with) us in Second Life , look for the group DFM RTV INT .
If you are a SL regular you can become member of the group DFM GUESTLIST to
receive notices about and invitations to inworld DFM Events. You can also
reach DFM inworld operators via the group IM channel.
Interested in casting on DFM rtv Int? Doing an event
with us? Maybe perform Live in our Amsterdam studio?
Want your, your group's/label's music/noise played?
Contact an operator on the Text Chat
DJ's take note: we allow only non-commercial, independent,
own made, unsigned and/or royalty free music to be played!
FRIDAY 7 DECEMBER >> AMSTERDAM ROCKS!
LFTFLD @ PARADISO
Carlos Valdes (Vreemd), David Labeij (Polder), Lauhaus (Polder, Mono), Melon (Ratio?|AMsterdam), Intifada Soundsystem, Handel (Eric de Man's Live act), 3-1 (Basserk), Toby Paul (Rednose Distrikt), Mulat (LFTFLD), Frankie D (Fok Stijl), Rombout (SubUnited), Chamelian (SubUnited), DiskoMachina (Moskow Diskow), Hummer (Drifter TV), deChev (LFTFLD)
24.00 - 05.00 uur
Entree €10 inclusief lidmaatschap
Voorverkoop is begonnen!!
LFTFLD for culture and counterculture Foundation LFTFLD has been set up in 2004, dj/promoter Ronald Linger (dj mulat) and Vj/graphic illustrator George Dechev to creative brio offering a podium: LFTFLD magazine.
On 14 February 2004 the first number was presented that it was picked up immediately by creatively and artistic Amsterdam.
Because the contents of LFTFLD are created by mainly from Amsterdam photographers, artists and illustrators arose there immediately a cultural platform in the underground, apart from municipal intervention and subsidies. That independence and freedom of contents turn LFTFLD into a binding element in the from Amsterdam scene of creatievelingen and feestgangers. So much even that LFTFLD got the very first Nachtcultuurprijs already in the first year of its existence distributed by the then night burgomaster collective the night watch.
In the meantime needs LFTFLD again its twentieth number and it has developed into a term. Beside regional contributions the magazine receives present also input of outside Amsterdam, even of (far) outside the Netherlands.
Put in has however hardly changed: a free booklet with high quality, which to artists, eigenzinnige plate labels and tense party organizers space offers to show their work.
In the previous years breidde LFTFLD its activities with among others giving festivals (among other things in the Sugar Factory and the café package house Wilhelmina), where it is ordered beside renewing music attention also much and space to audiovisual art and vogue.
That vast approach of what (night)cultuur in would have keep will also return in the range television programmes which LFTFLD made for the local broadcasting.
A similar statement also makes the collective with its involvement at the organisation of ` booklet ball. The alternative on book ball and it ball of the Geweigerden is organised by the "New Beatnix Generation", a cooperation bond of a number of independent booklet makers. Booklet ball in March for the second time in kunstenaarssociëteit the ring kept.
THE LFTFLD collective have monthly transmitted aflevereningen in 2005, on salto/A1 of LFTFLD TV.
LFTFLD started TV with retransmissions of 30 minutes, every last Wednesday of the month, as from 23.00 whereupon these at other times were repeated.
WATCH LFTFLDTV: www.youtube.com/lftfld
As a platform from Amsterdam (nacht)cultuur have to the LFTFLD collective a new medium in hands creative bring brio under the attention. Moreover the zendtijd is filled in by own employees and offers also to occasion other (from Amsterdam) brio of sending in items. These items exist from o.a video art, clips, interview, etc. The duration of these inzendingen varies of short clips (shorts) from approx. 1 minus to inzendingen of approx. 6 minutes.
LFTFLD TV aim especially at local art, culture and nightlife. The launching of LFTFLD TV means an important broadening of the podium function which pursues the collective, with which she gives a positive impetus to from Amsterdam night culture.
Please review our specifications before sending in your artwork!!!
LFTFLD for culture and counterculture
Stichting LFTFLD is opgericht in 2004 door Dj / promotor Ronald Linger (Dj Mulat) en Vj / grafisch vormgever George Dechev om creatief talent een podium te bieden: LFTFLD magazine. Op 14 februari 2004 werd het eerste nummer gepresenteerd dat meteen werd opgepikt door creatief en kunstzinnig Amsterdam. Doordat de inhoud van LFTFLD gecreëerd wordt door voornamelijk Amsterdamse fotografen, kunstenaars en vormgevers ontstond er meteen een cultureel platform in de underground, los van gemeentelijke bemoeienis en subsidies.
Die onafhankelijkheid en vrijheid van inhoud maakt LFTFLD tot een bindend element in de Amsterdamse scène van creatievelingen en feestgangers. Zo zeer zelfs dat LFTFLD al in het eerste jaar van haar bestaan de allereerste Nachtcultuurprijs kreeg uitgereikt door het toenmalige nachtburgemeesterscollectief de Nachtwacht.
Ondertussen is LFTFLD alweer aan haar twintigste nummer toe en is het uitgegroeid tot een begrip. Naast regionale bijdragen ontvangt het magazine tegenwoordig ook input van buiten Amsterdam, zelfs van (ver) buiten Nederland. De insteek is echter nauwelijks veranderd: een gratis blad met hoge kwaliteit, dat aan kunstenaars, eigenzinnige platenlabels en spannende partyorganisatoren ruimte biedt om hun werk te laten zien.
In de afgelopen jaren breidde LFTFLD haar activiteiten uit met ondermeer het geven van feesten (o.a. in de Sugar Factory en het Café Pakhuis Wilhelmina), waar naast vernieuwende muziek ook veel aandacht en ruimte wordt geboden aan audiovisuele kunst en mode. Die uitgebreide benadering van wat (nacht-)cultuur in zou moeten houden kwam ook terug in de reeks televisieprogramma’s die LFTFLD maakte voor de lokale omroep. Een soortgelijk statement maakt het collectief ook met haar betrokkenheid bij de organisatie van ‘Het Bladenbal’. Het alternatief op het Boekenbal en het Bal der Geweigerden wordt georganiseerd door de "New Beatnix Generation", een samenwerkingsverband van een aantal onafhankelijke bladenmakers. Het Bladenbal zal in maart voor de tweede keer in kunstenaarssociëteit De Kring gehouden.
Het LFTFLD Collectief heeft in 2005 maandelijks op Salto/A1 aflevereningen uitgezonden van LFTFLD TV. LFTFLD TV startte met uitzendingen van 30 minuten, iedere laatste woensdag van de maand, vanaf 23:00 uur waarna deze op andere tijdstippen werden herhaald.
WATCH LFTFLDTV: www.youtube.com/lftfld
Als platform voor Amsterdamse (nacht)cultuur heeft het LFTFLD collectief hiermee een nieuw medium in handen om creatief talent onder de aandacht te brengen. De zendtijd wordt ingevuld door eigen medewerkers en biedt daarnaast ook gelegenheid aan ander (Amsterdams) talent om items in te zenden. Deze items bestaan uit o.a videokunst, clips, interviews, etc. De duur van deze inzendingen varieert van korte clips (shorts) van ca. 1 min tot inzendingen van ca. 6 minuten.
LFTFLD TV richt zich vooral op lokale kunst, cultuur en nachtleven. De lancering van LFTFLD TV betekent een belangrijke verbreding van de podiumfunctie die het collectief nastreeft, waarmee zij een positieve impuls aan de Amsterdamse nachtcultuur geeft.
Eric von Robertson
C.A.R.L. Centre for the Advancement of Recreation and Leisure
24 November 2007 - 2 January 2008
HM: In terms of the exploratory nature of your work and the tendency for the work to integrate itself into various contexts, whether they are urban or rural, how has your move to Europe affected your work?
EvR: In the Netherlands particularly, I 've found it awkward to work in public space, partly due to the density and the feeling that everything has already been determined; the space is fully occupied or complete. I did the Cloudburst piece, where I collected umbrellas that had been abandoned after a rainstorm in the city of Den Bosch. I was trying to map the city after a storm using these castaway shelters or light architectural elements. This is an element that enters into other prototypes like the Desert lodge and threads together an essential form of active shelter used for getting from here to there ' in between places.
HM: The umbrellas are left everywhere?
EvR: These are gale force winds, so afterwards you see umbrellas throughout the city
29 November 2007
December 8, 2007 – February 3, 2008
opening: Friday, December 7, 5:00 p.m.
Johan Grimonprez & Charlotte Léouzon, Martijn Hendriks, Jaap de Jonge, Meta.Live.Nu presents DFM RTV INC, Nancy Mauro-Flude, Oog Volkskrant Online, Park 4DTV, Rabotnik, Sonic()bject, Martin Takken, Thomson & Craighead
Video Vortex.2 is a sequel to the Video Vortex exhibition that responded to the Web2.0 phenomenon. Web2.0 stands for power to the user and democracy for everyone. It has led to innovative forms of media use in which open and friendly cooperation stimulates critical reflection and new ideas. In Video Vortex.2 attention is given to a different side of the democratic movement. How are artists reacting to this democratization process? To what degree does the democratic movement in Web 2.0 differ from previous utopias around radio and television? How can artists retain their autonomy and diversity outside the mass media? Is the esthetic of amateurism the new genre? Once again, artists will be responding to Web2.0, with special attention this time being given to the Dutch situation.
Growing out of the desire to do one's own things in a space one annexed for oneself, in the early 1980s various initiatives arose in Amsterdam that focused on making and exhibiting images and sound. Art, politics and media came together for the first time. Alas, it was not long before the coherence and mutual solidarity were lost, but the tone had been set and a great deal of effort had been put into dynamic and socially and culturally subversive radio and television broadcasts. Both Rabotnik and Meta.Live.Nu presents DFM RTV INC will be showing things which were made during those years. In the presentation the emphasis will be on the significance of Rabotnik and DFM for the internet today and what they could mean for those making idiosyncratic productions now. DFM (http://dfm.nu/) takes us along to Second Life, where they broadcast old and new material from the first television station in Second Life. Rabotnik goes online, making its archives accessible.
PARK, established later and known for its slogan “TAPE THIS! STEAL THIS!”, also opens its archives in the PARK4DDD (Digitale Data Dump) 1991-2007. Any visitor to Video Vortex can copy texts, short films, codes, pictures and audio from PARK to a USB stick there, on the spot. In the tradition of PARK, with his installation O.T.S. (Open Televisie Station) Jaap de Jonge has remixed a number of PARK videos in an extraordinary manner. Thirty-two prisms scramble the image, creating new images and image combinations. PARK4DTV is an artists' initiative which has been distributing Pure Image and Sound for every imaginable sort of screen since 1991. See http://www.park.nl
The You-Tube-o-thèque, designed by Johan Grimonprez and Charlotte Léouzon, is a sort of television playing a program improvised with films from YouTube, Podcasts, online television, mobile telephones, Ipod video, blogs and other sources. The films are selected on the basis of events surrounding 9/11. The You-Tube-o-thèque is a unruly contemporary podium.
Martin Takken makes use of the do-it-yourself principle that is increasingly popular, both on the internet and in exhibitions. His Es Ist Ein Gesamtkunstwerk concept is a collective, constantly changing artwork that is made by international artists. Every day a different selection of colors is available, the kind of brush changes every hour, and various rules imposing limits or creating new possibilities are introduced and modified at random moments. Each day's results are stored in the archive and can be purchased for 25 euro, but you can also make a print for yourself. http://www.gesamtkunstwerk.nl/
New tools such as wireless and mobile telephones outfitted with photo and video cameras afford new ways of working, in which the process is more important than the end product and the content is created only through unstable netwerk platforms. The work MythEngine by Nancy Mauro-Flude is a good example of this. MythEngine is a webcast that transmits live video and stills. Referring to our compulsion to tell stories, MythEngine shows how over time, with the rise of digital photography and video, our collective memory is increasingly becoming a database. http://sistero.sysx.org/verbo/index.html
Finally, Thomson & Craighead present their desktop documentary Flat Earth. Using fragments from existing blogs, Flat Earth takes the viewer around the world in seven minutes. An individual discourse is created by weaving the fragments to, through and over one another. http://www.thomson-craighead.net/docs/flat_earth.html
The mobile telephone is one of the first electronic objects that large numbers of people have personalized with sound. The 'ringtone' has become a familiar personal insignia. For both composers and users it provides a unique opportunity to do something with sound. The mission of Sonic()bject is to take advantage of this common interest and to let users become acquainted with never previously heard and experimental sound. The artists that Sonic()bject has selected for devising new sounds and ringtone compositions are professionals from all over the world who are involved in creating with sound: audio designers, audio artists, contemporary composers, classic or electro, jazz, pop ... real “sonic objects” that have their roots in the history of auditory art. Tones or melodies, instrumental, noise or pure vibrations, recorded or synthetic, these sounds all have a strong auditory character and are make for 'calling'. The ringtones can easily be downloaded from the website. Sonic()bject was set up by Antoine Schmitt and Adrian Johnson.
Oog Volkskrant online is an op-ed podium and part of the online edition of the Volkskrant. Oog (Eye) asks audiovisual artists to share their views on the news and current events, and on the role, function and composition of the news. In this way artists can take on the role of opinion makers in a news environment. Oog began in September, 2005, and each week Oog shows the work of a different artist. After that, the work can be found in the accompanying archive. Oog Volkskrant online: http://extra.volkskrant.nl/oog/
During the opening on December 7, at 6:15 p.m.
Video Response by Constant Dullaart
Constant Dullaart makes a selection from his archive, and in 30 minutes, using visual rhyming, reveals not only the democratization of video as a medium, but also of authorship. In short, 30 minutes of videos from artists, advertising agencies and lots of amateurs. http://www.constantdullaart.nl/
Video Vortex Workspace
In the Workspace everyone can get acquainted with open and free software (FLOSS, in collaboration with Derek Holzer), Vlogging (under the guidance of Seth Keen), network mapping (Govcom.org) and other products, and take part in the Furtherfield Visitors Studio. See www.montevideo.nl for the latest program.
Curator for One Day
And of course you can still become Curator for One Day! www.curatorforoneday.nl
Video Vortex international conference
January 18 and 19, 2008, PostCS Amsterdam
Organized by the Institute of Network Cultures www.networkcultures.org/videovortex
Tuesday through Saturday + the first Sunday of the month, 1:00 – 6:00 p.m.
Closed December 23, 2007 through January 7, 2008.
Open extra hours on Sunday, January 20, in connection with the Video Vortex Conference.
Admission: 3,00 euro (with discount 2,00 euro). Entry includes USB stick.
Video Vortex is a collaboration among the Netherlands Media Art Institute, the Institute of Network Cultures and Argos, Brussels.
With thanks to: David Garcia (advisor), VSBfonds, Amsterdams Fonds voor de Kunst, Powered by BeamSystems
Netherlands Media Art Institute
Montevideo/Time Based Arts
1016 EV Amsterdam