From yb at imal.org Sat Mar 1 13:51:48 2008 From: yb at imal.org (Yves Bernard) Date: Sat Mar 1 13:52:01 2008 Subject: [0xff] NewBraveWorld masterclasses, RFID workshop registration open. Message-ID: NewBraveWorld, a series of workshops around Internet of Things, Ubicomp and Locative Media is starting ! An "Internet-of-Things" is under construction with technologies for unique digital identification (RFID), geolocation (GPS), embedded computing (ubiquitous or pervasive computing) and mobile networking (e.g. wifi, wimax, umts/3g). Places and objects become linked to digital media which can be everywhere people are. Our digital life and social interactions are going to happen through tangible augmented objects and our physical environment will become the playground of new social and artistic behaviors, interventions, actions both in data and media spaces. "New Brave World" proposes 4 workshops exploring the roles of artists, designers, media makers and creative scientists/developers in this context of the merge of digital and physical spaces. Workshop 1: RFID with R?gine Debatty and Daniel van Gils Workshop 2: Hybrid Scrapyard with Jonah Brucker-Cohen and Katherine Moriwaki Workshop 3: Talkoo, electronic interventions in Urban Context with David Cuartielles Workshop 4: Geotracing with Simon Pope and Just van den Broecke Dates and detailled descriptions on http://www.imal.org/NewBraveWorld . Registration is open for workshop 1 on RFID, 24-27 March 2008 ! The workshop will explore the social implications and artistic possibilities of Radio Frequency Identification (RFID), a technology used to identify and track persons or objects. After a theoretical introduction through the societal and artistic issues of RFID by R?gine, and after first hands-on experimentation, participants will have the possibility to test ideas by building RFID prototypes. Date: from 24 to 27 March 2008 Fee: 100 EUR Maximum Participants: 15 Location: iMAL, Brussels Detailled description and Registration Form on http://www.imal.org/NewBraveWorld/NBW1/ -- Yves Bernard yb@imal.org asbl iMAL vzw Center for Digital Cultures and Technology 30 Quai des Charbonnages / Koolmijnenkaai 30 1080 Bruxelles/Brussel tel 32 2 410 30 93 http://www.imal.org http://www.erg.be/blogs/artNumeur http://www.i-cult.be From josephgray at grauwald.com Fri Mar 14 13:29:25 2008 From: josephgray at grauwald.com (Joseph Gray) Date: Fri Mar 14 13:29:51 2008 Subject: [0xff] Fwd: yellow (+7) In-Reply-To: <004b01c884b8$fdea51a0$7c01a8c0@Red> References: <004b01c884b8$fdea51a0$7c01a8c0@Red> Message-ID: <6e8989e70803141029u5f775354gea9d3398cae8303@mail.gmail.com> Bob Campbell's been down at 911 Media Arts Center in Seattle all week putting together his new show, featuring video projected onto sculptural objects, many of which are glass pieces made at Pilchuck. Bob was my video art mentor at Cornish, and taught me (and many others) a great deal about the subject, and also taught us how to learn more on our own. It's gonna be damned good. If you wanna get some culture this weekend (and you're in Seattle) I'll see you there. http://911media.org/ (please excuse the website, we're working on it ;) ) ---------- Forwarded message ---------- From: misha neininger Date: Wed, Mar 12, 2008 at 8:19 PM Subject: yellow (+7) To: neulogy@earthlink.net Yellow (+7) Robert Campbell Please join us! Opening reception: Saturday March 15th from 6:00pm ? 9:00pm Saturday March 15th ? Wednesday April 30th, 2008 Detail view of Yellow, an installation by Robert Campbell. Misha Neininger, Executive Director and Curator of 911 Media Arts Center, welcomes another renowned media artist with Cornish art professor Robert Campbell. Campbell's new video installation yellow will be running from March 15th to April 30th. Yellow addresses perhaps the two greatest issues of our time?environmental degradation and information exchange?through a unique technique of projecting video onto cast plaster and glass. "My intention is to create a mind stain,"Campbell says of the work. The video projections serve as a form of information exchange that tries to mimic or substitute for the overabundance of chemical inputs we receive through cosmetics, food, and other common products. At its core, yellow looks into the deep relationship between information and chemicals, and attempts to leave a chemical imprint on the minds of viewers. From yb at imal.org Mon Mar 31 12:47:34 2008 From: yb at imal.org (Yves Bernard) Date: Mon Mar 31 11:47:57 2008 Subject: [0xff] "Holy Fire, Art of the Digital Age", Brussels, 18-30 April. Message-ID: Holy Fire. Art of the Digital Age April 18 - 30, 2008 iMAL Center for Digital Cultures and Technology Brussels http://www.imal.org Featuring: Cory Arcangel (USA), Gazira Babeli (SL), Boredomresearch (UK), Christophe Bruno (FR), Gr?gory Chatonsky (FR), Miguel Chevalier (FR), Vuk Cosic (SLO), Shane Hope (USA), Jodi (BE/NL), Lab[au] (BE), Joan Leandre (SP), Olia Lialina & Dragan Espenschied (RU/DE), Golan Levin (USA), Eva and Franco Mattes aka 0100101110101101.ORG (IT), Alison Mealey (UK), Mark Napier (USA), Casey Reas (USA), Charles Sandison (UK/FI), Antoine Schmitt (FR), Yacine Sebti (BE), Alexei Shulgin & Aristarkh Chernyshev (RU), John F. Simon, Jr. (USA), Paul Slocum (USA), Wolfgang Staehle (USA), Eddo Stern (USA), Ubermorgen.com (AT), Carlo Zanni (IT) iMAL Center for Digital Cultures and Technology (www.imal.org) is proud to present Holy Fire. Art of the Digital Age, a collective exhibition featuring a unique panel of digital artworks created in the last ten years by internationally known new media artists, and coming from galleries and collections from around the world. Curated by iMAL director Yves Bernard and Italian curator Domenico Quaranta, Holy Fire is, in fact, featured into the "Off Program" of Art Brussels, the international contemporary art fair (April 18 - 21, 2008). Taking its cue from this occasion, Holy Fire is an attempt to explore how new media art, bypassing all the stereotypes connected with its presumed immateriality, was able to enter the art market. Thus, Holy Fire is probably the first exhibition to show only collectable media artworks already on the art market, in the form of traditional media (prints, videos, sculptures) or customized media objects. The exhibition wants to show that new media art is just art of this century, to contribute to reduce the gap between digital art and contemporary art, and to participate in a broader understanding and acceptance of digital media. Holy Fire comes out from the belief that talking about a "new media art" as something different and separated from the contemporary art world doesn't really make sense today. All contemporary art is, someway, new media art, as far as it makes use of the digital media for various purposes. So, the artworks collected in Holy Fire are not new media art, but simply art of our time: art which appropriates institutional or corporate identities, creates fictional ones, hacks softwares and game engines for its own purposes, infiltrates online or offline communities in order to portray them or their own myths, subverts existing tools or creates its own ones, explores the aesthetics of computation and information spaces; or, more simply, art which uses hardware and software in order to create art and speak about our time. Over the last two decades, new media art experienced an exponential growth, that changed it from a little and relatively closed niche of experimentation into one of the biggest and more vital communities of the contemporary scene, and into an entirely new "art world", with its own festivals, its own exhibition centers, its own magazines and debates. Yet, this increasing importance is hardly ever recognized in the contemporary art world, which is challenged by new media art in many ways. New media art is often immaterial, temporary, performative; it strongly relies on software and interfaces, and produce hardly sellable artifacts, with a high obsolescence risk in supporting equipment. So, it's always difficult to find new media art in contemporary art venues and collections. In the meantime, many artists are fighting to find more stable layouts for their works, in the effort to bring new media culture in the contemporary art arena; and some brave individuals and institutions are starting collecting new media, knowing that its importance in the future could only grow up. With the accelerated technological development (e.g. large flat screens, powerful beamers, ubiquitous computing, wifi, fast internet) and the sociological and cultural acceptance of digital tools and media, new media art is going to become one of the main currents of 21th century art, looking at its own nexus to our techno-environment as a strength (not deafness), and to be part of our everyday life in our office, in public buildings as well as in our home. The title of the exhibition is a reference to a well-known book by Bruce Sterling, a book which, among other issues, envision the art of the (at that time, future) digital age. In the same time, the issue makes reference to the passion that helps a growing number of people (artists, curators, gallery owners and collectors) to take care of an art that is temporary and variable by definition. Galleries: Bitforms, New York; DAM Gallery, Berlin; Fabio Paris Art Gallery, Brescia; Numeriscausa, Paris; Postmasters, New York; Project Gentili, Prato; Rodolphe Jannen Gallery, Brussels; XL Gallery, Moscow. Collateral Events: "Holy Fire: Exhibiting and Collecting New Media Art". Conference-debate Saturday 19 april, 11:30 - 13:30 Art Brussels (Brussels Expo) One of the targets of the Holy Fire exhibition (iMAL, 18-30 april) is to take a snapshot of the present situation of New Media Art, an art practice arose from the meeting of art and computer technology in the Sixties. This practice developed into a self-built, parallel art system and had a second youth in the last half of the Nineties. New Media Art has always been described as process oriented, immaterial, and therefore un-collectable and un-preservable. Now getting to its adult age, it is entering the contemporary art world and market. Moderated by Patrick Lichty (Columbia College, Chicago) with Alexei Shulgin (RU), Olia Lialina (RU/DE), Steve Sacks (bitforms, New York), Wolf Lieser (DAM, Berlin), St?phane Manguet (Numeriscausa, Paris), Philippe Van Cauteren (SMAK, BE), Domenico Quaranta (Brescia, I) and Yves Bernard (Brussels). Catalogue: Domenico Quaranta, Yves Bernard (eds), Holy Fire. Art of the Digital Age, FPEditions, Brescia 2008. Hardcover, color, 128 pages. ISBN 978-88-903308-4-1, 25.00 ? Featuring contributions by: Inke Arns & Jacob Lillemose, Yves Bernard, Aristarkh Chernyshev, Roman Minaev & Alexei Shulgin, Vuk Cosic, R?gine Debatty, Steve Dietz, Joan Leandre, Olia Lialina & Dragan Espenschied, Patrick Lichty, Wolf Lieser, Vicente Matallana, Eva & Franco Mattes aka 0100101110101101.org, Fabio Paris, Christiane Paul, Domenico Quaranta, Charles Sandison, Magdalena Sawon & Tamas Banovich, Paul Slocum, Bruce Sterling, Michele Thursz, Mark Tribe, Ubermorgen.com, Karen A. Verschooren. -- Yves Bernard yb@imal.org asbl iMAL vzw Center for Digital Cultures and Technology 30 Quai des Charbonnages / Koolmijnenkaai 30 1080 Bruxelles/Brussel tel 32 2 410 30 93 http://www.imal.org http://www.erg.be/blogs/artNumeur http://www.i-cult.be