twitter : @jmartinho
Your new post is loading...
Your new post is loading...
Visit the website/portal to see much more news
- Call for artists
- ALL RSS IN ONE
- Some of my other Twitter accounts
We are honored to present the project film of Symphonie Cinétique - The Poetry of Motion.
This film presents the wonderful journey that media artist Joachim Sauter (ART+COM) and composer Ólafur Arnalds ventured on together at MADE, that culminated with the creation and performance of this interdisciplinary Gesamtkunstwerk.
The dialogue and exchange between these two craftsmen, each coming from a distinctly different discipline, resulted in a majestic clash of light, motion and sound.
Please dive in, let go and enjoy this wonderful moment - Joachim's graceful kinetic pieces breathing and moving in harmony with the touching music composed by Olafur.
Film by: Matthias Maercks
MADE is a creative platform for artists from various fields, located in the heart of Berlin.
It can be a gallery, a workspace, a studio, a stage, a laboratory, or a performance space – but most of all, it is a venue for interdisciplinary projects that invites artists to step out of their artistic routines.
The goal of MADE is to enable a new kind of creative work by bringing together different artistic fields and offering a workspace and an inspiring biotope that allows new things to happen.
MADE was founded in early 2010 by German contemporary artist tadiROCK, her partner Nico Zeh and ABSOLUT Vodka, a visionary brand that fosters creative collaborations for over 30 years.
In language and in action, we handle time as concretely as money in the bank – we borrow it, spend it, keep it, lose it, and never have enough of it. Until, that is, something stops the clock. A brilliant movie makes hours pass like minutes; the same amount of time that can turn a pre-lunch meeting into eternity. Cars crash in slow motion; week-long vacations slip away in a flash; our heart is broken, the next days feel like fifteen weeks, and suddenly we wonder: What, if anything, does time even measure? ...
Dans un article de novembre 2013, abondamment commenté sur la toile, la journaliste blogueuse Titiou Lecoq faisait une analyse désenchantée de la situation démocratique dans l’espace numérique. Pour elle, le net étant originellement un espace libre et non contrôlé, il était porteur d’un potentiel émancipateur puissant, vecteur de bricolages coopératifs, de créativité, d’autonomie individuelle et de liberté d’expression et de critique (un « Mai 68 numérique » donc). Or, cet espace de contre-culture et de critique artiste ouvert et décentralisé se serait réduit en quelques années à « un grille-pain fasciste » c’est-à-dire à un circuit fermé et centralisé. Elle démontre en quelques paragraphes comment la marchandisation d’Internet aurait offert, en centralisant la circulation des utilisateurs et de leurs données, les moyens (jusque-là inexistants) aux États de surveiller vraiment les usagers « (…) ce ne sont pas les politiques qui ont les premiers perverti les usages du Net. ...
On June 26, Mozilla Research launched an experimental build of Firefox with VR-enablers bundled, empowering developers to turn any website into a virtual reality experience. No plugins, installs or expensive development tools required.
The Engine Institute, Inc. a 501(c)3 fosters collaborative explorations between artists and scientists through research, development and presentations. By providing support and encouraging freedom of thought, innovation and imagination, The Engine Institute, Inc., facilitates the spread of scientific and artistic literacy. Through the cross-fertilization of these disciplines fruitful solutions for our present future will result to benefit society.
We went to the Kinetica art fair to learn about moving and experimental art.
The Kinetica Art Fair returned to London for its sixth year but changed its dates and location to tie in with Frieze London. This year saw its base at the Truman Brewery, an edgier location in London’s East End, which also hosted the Moniker Art Fair, the Other Art Fair, and the Contra Art Fair.
But the Kinetica Art Fair is not your typical fair—this is all about interacting with the works, which basically means getting to play with art. It’s also a fair that is better seen in the flesh than viewed in photographs, but we wanted to give you a look at some of the incredible works that were on view at the fair this year. ...
TUNDRA is a collective from Saint Petersburg who last year brought us The Void (video below), and the challenge to remain still long enough to “visualize the idea of emptiness”. The tricky part was to attain this state of stillness while situated in a hyper-immersive 360-degree surround installation of vortex-style spinning panoramic projections and quadrophonic sound.
Tundra define themselves as a “collaborative artistic collective” whose members include musicians, sound engineers, programmers and visual artists. Their focus is to create “spaces and experiences by making sound, visuals and emotions work together” in audiovisual performances and interactive installations.
Warning: this online exhibition catalogue exploits the vulnerabilities of your browser to track your profile and monitor your activity. Your metadata is stored and published after being sucked through a super-cookie that is injected in your system without your consent. No matter if you are on VPN, Anonymizer or TOR, in Incognito, Private or Do Not Track modes; in fact this website uses common attacks that make most of the privacy tools ineffective.
Désireux de faire émerger un projet ouvert et innovant dédié aux écritures scéniques contemporaines, le Centre Chorégraphique National de Franche-Comté à Belfort, MA scène nationale - Pays de Montbéliard et le Granit scène nationale de Belfort créent un laboratoire partagé. Un espace transdisciplinaire de confrontation, d’expérimentation, de défrichage et de création à dimension européenne autour d’artistes, de chercheurs, d’ingénieurs, de programmeurs, d’acteurs de la création et de la recherche… articulant spectacle vivant et transmédia.
Cette association est renforcée par la mise en place d’une Société en Participation (SEP) plaçant le projet sous le signe de la concertation et de la mutualisation. Poursuivant des missions complémentaires de création, de production et de programmation, les trois partenaires bénéficient d’une riche expérience d’accompagnement artistique et d’équipements adéquats.
1994 marked the beginning of the great era of the techno mega-raves which brought tens of thousands of people from all over Switzerland and beyond to the Gugelmann site in Roggwil near Langenthal. 1994 was also the year in which Netscape launched Navigator, the browser which popularised the World Wide Web. It was one of those moments in which a certain constellation of subcultural social and technological developments becomes the stuff of mainstream culture and a mass media phenomenon. Twenty years on, it is this moment which provides us with the occasion for Megarave-Metarave, a project which follows a number of the threads which link the present to the early web and the rave culture of the 1990s. This is not a matter of retro style or revival: what is central is precisely something that breaks through the logic of linear time—the idea, often associated with technological innovation, that something of the future is already here and now. This publication appears as part of a collaboration between the Kunsthaus Langenthal and WallRiss. It accompanies and complements the exhibitions and programme of events held in the two institutions in the autumn of 2014.
Cette première édition de la Digital Week France™ / International a pour vocation de proposer au plus grand nombre, collectionneurs, galeristes et amateurs, un parcours et des évènements clé autour de la création digitale et de l’art contemporain numérique.
La société a profondément évolué avec le numérique qui investit toutes les sphères du quotidien, privées, professionnelles ou publiques. De nouvelles pratiques, de nouveaux usages, changent notre vision du monde. Les appareils mobiles transforment notre rapport à l’image, les imprimantes 3D nous incitent à reconsidérer les objets manufacturés. Les artistes utilisant ces technologies ou services sont les premiers à offrir de nouvelles perspectives et des lectures contemporaines sur la société numérique. Twitter, Google, Google Street View, Facebook… ils détournent toutes ces plateformes et applications, et souvent innovent pour faire œuvre. L’artiste numérique devient un producteur d’idées et de savoirs et les nouvelles technologies, des outils de création associés à des moyens de diffusion accessibles à tous.
Au niveau européen, plusieurs pays capitalisent sur cette nouvelle donne créative dont, notamment l’Espagne – avec Barcelone et ses « fabcity » – ; l’Allemagne – avec Berlin, siège de nombreuses start-up et destination phare pour les artistes et collectionneurs ; l’Angleterre, avec Londres, qui reste une tête de pont en termes d’art contemporain…
Artist Amalia Ulman subverts the role of the female artist by turning life on social media into performance art, creating intricate stories that reveal how we view women online.
All sorts of things happen in accidents. After his car crashed into a ditch on the outskirts of Milan in 1909 Italian poet Filippo Tommaso Marinetti wrote the Futurist Manifesto. Frida Kahlo was never the same after she was almost killed in a bus collision in downtown Mexico City in 1925 aged only 18. And after he wrote off his Lexus on the highway leading to the W Hotel in Los Angeles in 2002, Kanye West went into the studio with his mouth wired shut and recorded a song that would change his career forever. ....
"Sonicrobots is dedicated to robotic music instruments, autonomous tonal music machines, musical hacks and circuit bending. Music hacking is our form of anti-passiveness, through which we think the individual can have an impact on his or her environment, status and state of mind."
Moritz Simon Geist
Samuel Hayat, Camille Paloque-Berges
Primavera De Filippi, Mélanie Dulong de Rosnay
Peter T. Leeson, Christopher J. Coyne
Thirty-five metres deep under ground, inside a mountain on the Southside in central Stockholm, lies a venue that’s been dubbed one of the world’s coolest offices. Behind huge doors that look like a gateway to the future, you’ll find technology that looks so advanced that it makes you wonder if entering this space will carry you to another time.
The first you’ll see when you enter this place, are two massive engines that automatically start in case of a power shutdown—these are authentic German submarine engines. The mountain walls inside are covered with green plants that (at least) give the impression to provide the place with additional oxygen. There’s also a huge sound-isolated glass cube that floats above the floor, serving as a meeting room that brings your thoughts to some sci-fi laboratory. The round carpet inside looks like the moon. The cube is located upstairs, in the middle of a massive room, looking down on endless racks of computer servers. ...
Over the past two years, artist Daniela de Paulis has been working with radio astronomers, radio amateurs, neuroscientists and philosophers to develop Cogito, a research project that speculates on the creative and philosophical possibilities of exploring the cosmos by means of radio waves.
She presented the first chapter of her work at BIO 50, the 24th Biennial of Design that opened a few weeks ago in Ljubljana. Cogito was part of a group of projects that explore new ways for human to connect with and explore outer space. ...
Open Call For Contributions: This year’s leitmotif 'Wrapped in Code - the future of the informed body' calls for your contribution! We are searching for your proposals and contributions. We seek to find art works, workshops, talks or performances so far and wrongfully unknown. We encourage to ask yourself in which way your contribution integrates into the topic - nevertheless, the call is not limited to it. Deadline is November 30th 2014!
Focusing on the limits between scientific modelization and reality, theory and perception, the installation plays with different meanings of the endlessness.
DWI Clones by Gridspace. filmed @ BIAN 2014 Montreal
Colloq archives conversations and art created on social media platforms like Instagram.
How do you preserve art created on social media? As more artists start experimenting with social media platforms like Instagram and Facebook, the question has taken on new urgency. Some, like Richard Prince, quite literally print out their work to hang in galleries. But something inevitably gets lost in transferring art from the digital realm to printed matter – which is why Rhizome have created Colloq, a new online tool to help archive net art. ...
ADA is a network researching the expanded field around media, new media, electronic and digital art. The ADA Network enables communication between artists, curators, teachers, critics, theorists, writers and the interested public. ADA develops public understanding of digital art through its online forum, through publications and exhibitions, and by touring speakers, holding master classes and symposia.
ADA is a national organisation advancing education, enabling discussion, collaboration and mentoring, passing on learning and expertise. ADA contributes towards the development of digital art, in all its manifestations, across Aotearoa New Zealand.
Introduction Re-Create 2015, the sixth international Conference on the Histories of Media Art, Science and Technology will mark the 10th Anniversary of the Re conference series. Re-Create 2015 is devoted to exploring what theories, methodologies and techniques can be used to understand past, present and indeed, future paradigms of creative material practice involving technologies within research contexts from a historical and critical point of view.
The title Re-Create is an abbreviation for the term “research-creation”, part of a growing international movement which goes by many names: “practice-led research,” “research-led practice,” and “artistic research,” among others.
While the link between research and practice seems to be a new horizon, the media-based arts have long been at the intersection of the humanities, sciences, and engineering and present a critical site in which to take up the changing relationships between knowledge, power, and economy.
Research normally signifies modes of acquiring new knowledge that coherently and systematically advance a field and is grounded and validated by both social frameworks (peers) and existing bodies of knowledge. Similarly, research in conjunction with material practice demands that making be historically, theoretically and methodologically framed and valorized.
We are officially launching the call for project proposals for MUTEK's 16th edition, that will take place in Montreal May 27 to 31, 2015.
Artists from Québec and Canada working on projects exploring new aesthetic avenues in digital creation and electronic music are invited to submit their projects to us. The kinds of work we're especially interested in are:
The Danish music ensemble Between Music approached FuturePerfect to help produce its newest project AquaSonic. Regarded as one of their most ambitious and interdisciplinary works yet, AquaSonic is a visual performance, art installation, and concert for liquid space. Equipped with custom made underwater instruments, four musicians and singers submerge themselves completely in their own individual water tanks, and from these seemingly claustrophobic enclosures produce the most extraordinary music and sound that is both hauntingly melodic and deeply turbulent. Over the past several years principal artists Laila Skovmand and Robert Karlsson have been working with scientists at the University of Toronto and Arrhus to develop a number of highly peculiar subaqueous instruments including an underwater organ or hydraulophone and an electromagnetic harp. They have also developed a rhythmical waterwheel-like instrument, percussion, and a special technique for singing underwater. The result will be a concert experience out of the ordinary; a deep dive into a compelling visual universe and a new world of sound. It is organic, raw, aesthetic – and deeply original