I met Signe Lidén over the Summer at FARM, a festival that brings digital art into rural contexts. The event was set in Tufo, a small town famous for its wine. Tufo is located in the mountains near Naples, people there are fantastically friendly, there's only one bar with wifi, the supermarket is inside a pastel-coloured ex-cinema but damn that place was so hot and sunny i almost got a tan.
In Tufo, Signe was performing the sound pieces she had recorded while traveling on the train line between Benevento-Avellino. The field recording were an homage to the rural train line that is threatened to be shut down next month.
There's nothing subtle about the artworks of John Isaacs. While some artists would like to make pretty pictures and beautify the world with their expression, John's work comments critically on how screwed up the world has become and demands attention. Every piece is a morally critical statement on the way we choose to live our lives as a species in this modern world. His hideously confronting executions can't help but make you think and riddle you with guilt on what we have become... It's like being bludgeoned about the head with our fast food guzzling, consumer driven, resource eating, air polluting, Prozac popping ways.
Personally this was one of the most memorable things for me during Turku 2011 - European Capital of Culture year. Tobias Rehberger won the Golden Lion as the best artist at The Venice Biennale (Italian: Biennale di Venezia) with his cafeteria installation utilizing the infamous Artek's furniture.
Rehberger continued the collaboration with Artek by creating this wonderful piece of art "Nothing Happens for a Reason" to Logomo (main venue of Turku 2011). This is what Rehberger says on the work:
"I like the idea of creating a visual art project which is about 'not seeing something'. the painting method of battle ships in the first and second world war, the so called dazzle painting, in a way for me perfectly represents this paradox.
The sculpture I created for Turku is based on the same concept as the one in Venice. It applies a completely different pattern to the space, but despite its very different look, it should have the same dazzling effect.'
In 1831 Honoré de Balzac wrote a short story, "The Unknown Masterpiece," in which he invented the abstract painting. Almost 200 years later, writer Ingo Niermann tries to follow in his footsteps to imagine a new epoch-making artwork. Together with the artist Erik Niedling he starts searching for the future of art and, seeking advice, meets key figures of the art world.
Conflict Kitchen is a take-out restaurant that only serves cuisine from countries with which the United States is in conflict. The food is served out of a take-out style storefront that rotates identities every six months to highlight another country. Each iteration of the project is augmented by events, performances, and discussions that seek to expand the engagement the public has with the culture, politics, and issues at stake within the focus country. These events have included live international Skype dinner parties between citizens of Pittsburgh and young professionals in Tehran, Iran; documentary filmmakers in Kabul, Afghanistan; and community radio activists in Caracas, Venezuela.
(b. 1969, New York) is an American artist who lives and works in Brooklyn, New York. She is known for site-specific installation art that utilizes everyday materials whose form is in keeping with generative art.
New media art duo SWEATSHOPPE aka Blake Shaw and Bruno Levy are back from Europe with a new video that showcases their live interactive video wheatpaste in Berlin, Bristol, Belgrade, London and Paris. Over a two week period the duo pasted their videos in over 10 spots including the Berlin Wall, Les Invalides, Cordy House and even constructed a 5 meter telescopic electronic paint roller to create a two-story tall video painting in Bristol.
Video painting is a technology the duo developed that allows them to create the illusion that they are painting videos onto walls with electronic paint rollers they built. It works through custom software that they wrote that tracks the position of the paint rollers and projects video wherever they choose to paint, allowing them to explore the relationship between video, mark making and architecture and create live video collages in real time.
Walking through the gigantic blood vessel at the entrance to the Glasgow Science Centre, I can only imagine what lies in store. I’ve come to Scotland’s leading science museum to see Going Viral, a new collaboration between immunologists and Scottish artists, and I’m hoping to be transported deep into the body, to a celebration of the immune system.
Amy Alexander is an artist and researcher working in audiovisual performance and digital media art. She has worked under a number of pseudonyms including VJ Übergeek and Cue P. Doll. Coming from a background in film and music, she learned programming and began making time and process-based art on the Internet in the mid-1990's with the Multi-Cultural Recycler and plagiarist.org. Amy has performed and exhibited on the Internet, in clubs and on the street as well as in festivals and museums. Her work has appeared at venues ranging from the Whitney Museum and Ars Electronica to Minneapolis‚ First Avenue nightclub. She has written and lectured on software art and audiovisual performance, and she has served as a reviewer for festivals and commissions for new media art and computer music. She is an Associate Professor of Visual Arts at the University of California, San
rtist Tomás Saraceno (born in Tucumán, Argentina, in 1973) has created a constellation of large, interconnected modules constructed with transparent and reflective materials for the Museum's Iris and B. Gerald Cantor Roof Garden. Visitors may enter and walk through these habitat-like, modular structures grouped in a nonlinear configuration. Over the past decade, Saraceno has established a practice of constructing habitable networks based upon complex geometries and interconnectivity that merge art, architecture, and science. The interdisciplinary project "Cloud Cities/Air Port City" is rooted in the artist's investigation of expanding the ways in which we inhabit and experience our environment.
Watch Christopher Bedford, Chief Curator of Exhibitions at the Wexner Center, and Ashley Brook, Associate Producer of Artzine discuss and interact with this playful exhibition!
Six Solos is a set of independent exhibitions featuring the work of six rising international artists on view inside and outside the Wexner Center. Organized by the Wexner Center and opening in conjunction with the center's 21st anniversary celebrations, the presentations continue the Wex's tradition of supporting younger artists in their efforts.
It was with no small amount of surprise, when starting a new job last year as executive director of The Kitchen in New York, that I found my first order of business to be attending a conference required of hundreds of nonprofit institutions, from modern dance companies to major opera houses, in addition to alternative arts spaces such as my own – all of whom had recently accepted major grants from Bloomberg Philanthropies for the enhancement of cultural organizations’ usage of contemporary technologies and, more specifically, social media.  Not that I felt artistic institutions harbor no need for consultation when seeking to grasp the cultural influence and implications of changes in the digital field. Quite the contrary
This is a story about an arts organization that set out the shape the future of the planet by bringing together collaborative partnerships across industries of art, technology, business, science, design, architecture and academia.
ZERO1: The Art & Technology Network is here to build a resilient world through the lens of the arts.
French artist Claude Lévêque has been creating light sculptures and installations since the ’80s. There’s a surreal quality to much of his work — upside down blacklit beds, abandoned trailers with chandeliers, or an elevated one with stringed lights inside, precariously balanced on cement blocks — as well as wit. I also like the way many of his neon signs are integrated with chairs or paintings, resulting in a strange juxtaposition.
Korean sculptor Cha Jong-Rye works with wood as if it were clay or paint. She layers and sands hundreds of delicate wood pieces to create pockmarked canvases, threatening beds of thorns, or wall-sized recreations of crumpled cloth napkins. Jong-Rye completed her graduate work at Ewha Women’s University in Seoul in 1996 and has had numerous group exhibits and five solo shows, her latest at the Sungkok Art Museum. I am completely hypnotized by these sculptures and in total awe of the painstaking craft on display here. If you like this, you might also enjoy the work of Ben Butler.
Dennis Feddersen thinks big and his sculpture truly invades the space it occupies. Indoors or outside, his sculpture installations force their way into view as they overtake the surrounding environment. There is an uncomfortable beauty that I find in these installations as they seem playfully dangerous.
Checkout Dennis Feddersen’s website for more wonderful art work.
The In Order to Rebuild exhibition at the Dosi Gallery in Korea (20 July /18 August 2012, 202-2 Kwangan 2 dong, Suyoung-gu, Busan, Korea) features the work of Andrew Salgado, the London based painter from Canada known for his eerie paintings that are preoccupied with universal themes such as identity, sexuality and convalescence. He considers himself a storyteller and admits to his attraction to faces. 'I am attracted to interesting faces and I am certainly no stranger to melodrama. I like dramatic lighting and faces that immediately grab my attention and the attention of the viewer,''he says.
Salgado avoids subjects whose emotions are easily definable. He considers smiling, accessible and plainly ‘happy’ subjects as banal. ''I think it is much more interesting to paint faces that have a type of strength in their emotion. Along with the process of painting and abstracting the figure, I use emotion to confound and blur any easy reading of the figure within the work''.
Details for NY Fall Previews: Art World Gullivers and Lilliputians.The art world Gulliver, power-napping in the fantasy land of excitable Gallery Girl Lilliputians, reawakens after Labor Day to the trumpeting of purring, promising shows that will inevitably uplift the spirit ratings or go down deep dark waters with the centennial of Titanic’s sinking. Just as Swift’s traveler encounters the range of human goodities and lameassness, so too our subway sojourns take us from the west end taverns of Chelsea eastward on the limping L to the faraway lands of bearded Bushwick (if only to see the doppelgänger of Yahoo Luhring Augustine).
"Beauty is no quality in things themselves: It exists merely in the mind which contemplates them; and each mind perceives a different beauty. One person may even perceive deformity, where another is sensible of beauty; and every individual ought to acquiesce in his own sentiment, without pretending to regulate those of others." -- David Hume
"Beauty is pleasure regarded as the quality of a thing. … Beauty is a value, that is, it is not a perception of a matter of fact or of a relation: it is an emotion, an affection of our volitional and appreciative nature. An object cannot be beautiful if it can give pleasure to nobody: a beauty to which all men were forever indifferent is a contradiction in terms. … Beauty is therefore a positive value that is intrinsic; it is a pleasure." -- Santayana (1896)
"The nature of beauty is one of the most enduring and controversial themes in Western philosophy, and is—with the nature of art—one of the two fundamental issues in philosophical aesthetics. Beauty has traditionally been counted among the ultimate values, with goodness, truth, and justice. It is a primary theme among ancient Greek, Hellenistic, and medieval philosophers, and was central to 18th and 19th-century thought, as represented in treatments by such thinkers as Shaftesbury, Hutcheson, Hume, Burke, Kant; Hegel, Schopenhauer, Hanslick, and Santayana. By the beginning of the twentieth century, beauty was in decline as a subject of philosophical inquiry, and also as a primary goal of the arts. However, the last decade has seen a revival of interest in the subject.
This article will begin with a sketch of the debate over whether beauty is objective or subjective, which is perhaps the single most-prosecuted disagreement in the literature. It will proceed to set out some of the major approaches to or theories of beauty developed within Western philosophical and artistic traditions."
Sharing your scoops to your social media accounts is a must to distribute your curated content. Not only will it drive traffic and leads through your content, but it will help show your expertise with your followers.
How to integrate my topics' content to my website?
Integrating your curated content to your website or blog will allow you to increase your website visitors’ engagement, boost SEO and acquire new visitors. By redirecting your social media traffic to your website, Scoop.it will also help you generate more qualified traffic and leads from your curation work.
Distributing your curated content through a newsletter is a great way to nurture and engage your email subscribers will developing your traffic and visibility.
Creating engaging newsletters with your curated content is really easy.