Curating [ Media ] Arts
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Curating [ Media ] Arts
New media art is a genre that encompasses artworks created with new media technologies ... http://en.wikipedia.org/wiki/New_media_art
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ALIVE: NEW DESIGN FRONTIERS

ALIVE: NEW DESIGN FRONTIERS | Curating [ Media ] Arts | Scoop.it

A QUIET REVOLUTION IS HAPPENING. A NEW BREED OF DESIGNERS HAS BEGUN TO RESHAPE OUR WORLD BY RE- ORCHESTRATING OUR RELATIONSHIP TO NATURE. 

Monika Fleischmann's insight:

IMAGINE A WORLD WHERE BIOLOGICAL FABRICATION REPLACES TRADITIONAL MANUFACTURE, PLANTS THAT GROW PRODUCTS, AND BACTERIA GENETICALLY RE-PROGRAMMED TO ‘BIOFACTURE’ NEW MATERIALS, ARTEFACTS, ENERGY OR MEDICINE.

This world is happening right now. Today, designers and artists have begun to either embrace or rebel against this bioengineered world and as a result, new design directions are beginning to emerge. The exhibition En Vie – Alive, presents a new design landscape, where fragments of a possible programmable ‘synthetic’ future are confronted with ‘natural’ alternative design perspectives. The quest for a different kind of ecological design models underpins the selection of projects, which range from potential sustainable solutions, to poetic interpretations and extreme provocations.

Created and imagined by leading designers, architects and artists, the work showcased here is decidedly different. These designers create and unravel a future hybrid world, where our everyday products and manufacturing tools will be ‘alive‘.

They operate within a sliding scale of a ‘natural nature’ and a new ‘programmable nature’ in the quest for innovative ecological models. In this exhibition I have created a hierarchy of possible relationships with nature, and designers are grouped around 5 themes.

1/ The Plagiarists: (Nature as a model)

Here we present designers and architects who look to nature for inspiring role models and new engineering solutions. They work with biomimicry principles, imitating processes or behaviour found in the natural world, but working with man-made and digital technologies.

2/ The New Artisans: (Nature as a co-worker)

These designers and architects collaborate with nature. They work with bees, fungi, bacteria, algae or plants and develop new techniques to grow and craft consumer goods. Here, design relates more to gardening and farming than to manufacturing.

3/ The Bio-Hackers: (Reprogrammed, ‘synthetic’ nature)

These designers and artists work in collaboration with synthetic biologists or respond to cutting-edge scientific research in the field of extreme bioengineering.  They imagine what the products and interfaces of the future could become with the use of engineered living organisms. Their ideas illustrate a possible future world.

4/ The New Alchemists: (Hybridised nature)

Here, designers, architects and artists propose to explore the merging of biology, chemistry, robotics and nanotechnology to create new hybrid organisms. They combine living (biological) with non-living (electronic and chemical) technology.

5/ The Agents Provocateurs: (Conceptualised and imagined nature.)

This final group of artists and designers explores a provocative far future.  Their work encourages a debate around ethical issues related to living technology and high-tech sustainability.

I sincerely hope that this exhibition will inspire generations to come and help establish a map of creative thinkers who dare to imagine new relationships with nature and the living. This project highlights the search for new design frontiers in the quest for new ecological models pertinent for the year 2050 and beyond.

Carole Collet, Exhibition Curator and catalogue editor, Reader in Textile Futures, Central Saint Martins College of Arts and Design, University of the Arts, March 2013.

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HeK - How much of this is fiction.

HeK - How much of this is fiction. | Curating [ Media ] Arts | Scoop.it

The group show focuses on critical artistic practices, which hover at the intersection between politics, the arts, theory, activism, and the media.


Die Gruppenausstellung widmet sich kritischen künstlerischen Praktiken, die sich an der Schnittstelle von Politik, Kunst, Theorie, Aktivismus und Medien bewegen.


"Die Ausstellung How much of this is fiction. widmet sich politisch inspirierter Medienkunst, die Täuschung in all ihren Formen nutzt. Sie zeigt den Künstler als Trickster, der durch Tricks, Hacks und Falschmeldungen das verborgene Funktionieren der Machtstrukturen und die Möglichkeit einer alternativen Zukunft aufzudecken versucht. 


Im Zentrum von How much of this is fiction. steht der Wunsch, eines der dringendsten politischen Themen unserer Zeit anzusprechen: eine radikale Verschiebung der Grenzen zwischen Fiktion und Wirklichkeit im öffentlichen Diskurs, in einer Welt, die zunehmend von der "post-truth"-Politik geleitet wird. How much of this is fiction. ist eine sehr zeitgemässe Reflexion über die Natur der Wahrheit in einer Zeit, die von gefälschten Nachrichten, Fehlinformationen und taktischer Propaganda bestimmt ist. 


Die Ausstellung hat auch einen historischer Hintergrund. Viele der Medieninterventionen, die präsentiert werden, sind zu einem gewissen Grad Vermächtnisse der sogenannten "Taktischen Medien", eine kulturelle und politische Bewegung, die in den späten 1990er-Jahren eine kurzfristige Blütezeit erlebte. Tactical Media vereinten die Macht der Kunst mit den PR-Tricks der Werbewelt und kombinierten diese mit einem experimentellen Zugang durch die digitalen Medien, um ihre überraschenden Interventionen in der Mediensphäre zu platzieren. Die Ausstellung zeigt das Vermächtnis dieser DIY-Medienbewegung in unserer Zeit. Seien es Trumps Mitternachts-Tweets oder die Entlarvung der Totalität des Überwachungsstaates durch Edward Snowdens Aktionen und den von Wikileaks enthüllten Informationen - es ist klar, dass die kritische Rolle der "do it yourself"-Medienpolitik heute ebenso wichtig ist wie je zuvor."  


Beteiligte Künstler_innen: Morehshin Allahyari, Heba Y. Amin, Arabian Street Artists, Mathieu Cherubini, Paolo Cirio, Coco Fusco, Paul Garrin, Maia Gusberti, HeHe, Caram Kapp und Don Karl, !Mediengruppe Bitnik, Robert Ochshorn, Julian Oliver & Danja Vasiliev, Ian Alan Paul, Superflux, The Yes Men, UBERMORGEN, Wachter & Jud. Kuratiert von Annet Dekker und David Garcia in Zusammenarbeit mit Ian Alan Paul. 

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Iris Van Herpen: Visualising Sound

Iris Van Herpen: Visualising Sound | Curating [ Media ] Arts | Scoop.it
The Dutch designer’s revolutionary inventions project the lightness of being and Japanese calm
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Robots Sketch Human Portraits in a Life Drawing Class | The Creators Project

Artist and roboticist Patrick Tresset talks about his latest robotic drawing installation.
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Daniel Canogar artwork at bitforms gallery, New York City | bitforms gallery

Daniel Canogar artwork at bitforms gallery, New York City | bitforms gallery | Curating [ Media ] Arts | Scoop.it
Daniel Canogar uses discarded electronic materials in his photography, video, sculpture and installations, which construct portraits of a society and an age.
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Podiumsdiskussion mit Julia Voss und Peter Weibel : Haus am Lützowplatz

Podiumsdiskussion mit Julia Voss und Peter Weibel : Haus am Lützowplatz | Curating [ Media ] Arts | Scoop.it
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Georgia O’Keeffe and Francis Bacon among highlights of Tate’s 2016 exhibitions | Tate

Georgia O’Keeffe and Francis Bacon among highlights of Tate’s 2016 exhibitions | Tate | Curating [ Media ] Arts | Scoop.it
Announcement of Tate's 2016 exhibition programme
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Review: Big Bang Data

Review: Big Bang Data | Curating [ Media ] Arts | Scoop.it
We live in a world constantly connected to technology. With that comes data, and from data, art. (Exhibition review of "Big Bang Data" at Somerset House.)
Monika Fleischmann's insight:

We live in a world where we are constantly connected to technology. Whether it's the humble PC, the ever-present smartphone, or the latest glitzy wearable, technology has had a huge impact. It has increased our access to information, to each other, and even to our own bodies. Along with all that technology comes data; 2.5 quintillion bytes of data per day, from everything from status updates to bank transfers. It is on this data that Somerset House has based their new exhibition, Big Bang Data.

The exhibit opens by looking at the physicality of data, first in the form of the behemoth data centres that form the foundation of the internet. We have such familiarity with the internet, but to see it as rows of metal boxes, flashing lights, and neat cables paints a very different picture. This physical representation of the internet harkens back to the earlier days of the technological era, where everything was bigger and bulkier. This is perfectly represented via the exhibit's data storage timeline; starting back in the 1950s, with paper punch cards that could hold a mere 80 bytes, moving through to magnetic tape and the iconic floppy disks of our childhood, and finishing with the ubiquitous USB stick (which holds 100,000 times more data than the punch cards did). There's even an example of using DNA to store data at 700 terabytes of data per gram!

Where the exhibit comes into its own, though, is in the interpretation and representation of data. This is where the exhibit moves away from simply scientific history, and into art and intrigue. Some of these pieces are simply representations of data, such as a series of glowing globes showing different phenomenon on an international scale, or a starry night sky that is actually a real-time representation of the financial markets. However, the vast majority of the exhibits are inspired by data collected from everyday lives. In the past decade, the tide has turned, with the majority of data no longer being collected from corporate and academic sources, but from individuals just going about their lives.

 

 


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Yinka Shonibare MBE: Wilderness into a Garden | DAEGU ART MUSEUM

Yinka Shonibare MBE: Wilderness into a Garden | DAEGU ART MUSEUM | Curating [ Media ] Arts | Scoop.it
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Cornelia Parker, 'Cold Dark Matter: An Exploded View' 1991

Cornelia Parker, 'Cold Dark Matter: An Exploded View' 1991 | Curating [ Media ] Arts | Scoop.it
Monika Fleischmann's insight:

Cornelia Parker 'Cold Dark Matter: An Exploded View'

Narrator: To talk about her work 'Cold Dark Matter: An Exploded View' - here's the artist :

CORNELIA PARKER
This piece came out of a series of works I was doing about cartoon deaths - things like, things falling off cliffs, things being run over by a steam roller, things being blown up, shot full of bullets, like Roadrunner or Tom and Jerry. The garden shed came about because I was trying to find something universal and archetypal and that we all identified with and that was familiar to us. It's not the house but it's this kind of attic-y private place at the bottom of the garden which we put all our left-over stuff in. And so it seemed like a depository rather than the place that you live. We took it out to the Banbury Army School of Ammunition, to their demolition grounds where they do all these experiments with explosives and they were really keen to blow it up. I actually pressed the button that detonated it.

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Pollen artist Wolfgang Laib: 'It's not politics that have changed the world, but culture' | Arts | DW.COM | 20.10.2015

Pollen artist Wolfgang Laib: 'It's not politics that have changed the world, but culture' | Arts | DW.COM | 20.10.2015 | Curating [ Media ] Arts | Scoop.it
Wolfgang Laib collected hazelnut pollen for 20 years for a famous installation at the MoMA. He says art can change the world. Now the nature-loving artist is getting one of the world's highest-priced awards in Japan.
Monika Fleischmann's insight:

He creates art out of natural materials like pollen, milk or beeswax. Wolfgang Laib was discovered in the late 1970s, when the curator of the Venice Art Biennale visited one of his exhibitions. He immediately received an invitation to Venice, and showed his work in the German Pavilion in 1982. 

He caught the attention of the global art world and has since exhibited at two Documentas and at MoMA in New York, and received scores of awards. His latest accolade - the Praemium Imperiale - is considered the Nobel Prize of the Arts. It is presented by the imperial family of Japan on behalf of the Japan Art Association on Wednesday (21.10.2015) and comes with prize money totaling 15 million Yen (about $125,000). 

DW: Congratulations on winning the Praemium Imperiale. Is it significant for you that the prize is awarded in Japan? 

Wolgang Laib: I have very close ties to Asia, especially to India and Japan. I had a large exhibition in Japan and it was always nice to see how the Japanese responded to my work - especially the pollen works. It's incredibly beautiful to show pollen in Tokyo, in such a huge city where 20, 30 or 40 million people never have the opportunity to see nature with their own eyes. They don't even know what it is anymore. But it's also fascinating to see that these people still have it in them and that has a huge impact. I always felt that I can give people so much with my work.

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Monika Fleischmann - YouTube

Monika Fleischmann - YouTube | Curating [ Media ] Arts | Scoop.it
eCulture Factory is a project of Monika Fleischmann and Wolfgang Strauss, media artists, architects and researchers at Fraunhofer IAIS - MARS Explorator
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First day of the congress

First day of the congress | Curating [ Media ] Arts | Scoop.it
After the excellent scientific sessions and Bernard Stiegler’s talk, we improvised a very small reception to discover the artistic exhibition of CAC.5.
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Variation, la foire des générations connectées - ArtsHebdoMédias

Variation, la foire des générations connectées - ArtsHebdoMédias | Curating [ Media ] Arts | Scoop.it
Depuis mardi 18 octobre, à l’issue d’un vernissage performé par le duo de plasticiens Daniaux … Continuer la lecture de « Variation, la foire des générations connectées »
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SHIFTING OPTICS III - VARIOUS ARTISTS

SHIFTING OPTICS III - VARIOUS ARTISTS | Curating [ Media ] Arts | Scoop.it
Amsterdam, 30 Jan - 12 Mar '16 | Opening: 30 January, 17.00 - 19.30
A group show with Aram Bartholl, Max Dovey, Constant Dullaart
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Paper Life – The artist Rogan Brown cuts thousands of microorganisms in paper

Paper Life – The artist Rogan Brown cuts thousands of microorganisms in paper | Curating [ Media ] Arts | Scoop.it
The paper art creations of the American artist Rogan Brown who designs then cuts by hand or laser thousands of paper microorganisms, including tree moss, cell
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SEO | Galerie Michael Schultz

SEO | Galerie Michael Schultz | Curating [ Media ] Arts | Scoop.it
Mommsenstrasse 34, 10629 Berlin, Telefon +49 30 31 99 13 0, Telefax +49 30 31 99 13 50, office@galerie-schultz.de
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GLOBALE: David Link: Monster Resurrection | 04.12.2015 (All day) to 17.01.2016 (All day) | ZKM

GLOBALE: David Link: Monster Resurrection | 04.12.2015 (All day) to 17.01.2016 (All day) | ZKM | Curating [ Media ] Arts | Scoop.it
»Monster Resurrection«, eine Videoinstallation des Künstlers und Theoretikers David Link.
Monika Fleischmann's insight:
Obsolete machines are like monsters whose insides nobody understands any more – incomprehensible and scary. Once they’ve gone down it requires a joint effort of intellect and the art of engineering to bring them back to life again.

»Monster Resurrection«, a video installation by the artist and theorist David Link, portrays four British engineers and curators who practiced media archeology long before the humanities discovered this theme. Christopher P. Burton, John Harper, Tony Sale and Doron Swade worked intensively over many years on reconstructing four machines, which represent some of the milestones in the history of computing machines. The interviews recount the reconstruction of the »Difference Engine No. 2«, which was developed by Charles Babbage in the middle of the 19th century and the »Manchester Baby«, the world’s first computer that was developed in Manchester in 1948. The engineers also report on the reconstruction of the »Turing Bomb« and »Colossus«, two machines that were developed during the Second World War in top secrecy at Bletchley Park in England, where scientists like Alan Turing succeeded in cracking the German armed forces’ encryption.
 
As the apparatuses had been destroyed or never finished they had to be reconstructed from scratch using original plans and photographs. Media archaeology projects like this are essential because a reliable history of these machines and the algorithms carried out on them can only be written based on these.

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http://zkm.de/en/event/2015/12/globale-david-link-monster-resurrection

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50 Must-See Artworks at NADA, PULSE, UNTITLED

50 Must-See Artworks at NADA, PULSE, UNTITLED | Curating [ Media ] Arts | Scoop.it

https://www.artsy.net/article/artsy-editorial-50-must-see-artworks-from-miami-s-satellite-fairs

Monika Fleischmann's insight:

Rafael Lozano-Hemmer: Lapsus Lumen and "1984x1984"

For his seventh solo show at bitforms gallery, Mexican-Canadian artist Rafael Lozano-Hemmer presents recent works that subvert computerized surveillance to construct playful, counterintuitive, and often disorienting experiences. Each of the seven pieces on display in "Lapsus Lumen"—four of them premieres—reappropriate an instance of surveillance culture to create tessellated landscapes: one-way mirrors, airport X-Ray scanners, face-recognition algorithms, full-body tracking, fingerprinting, and other pervasive technologies are transformed into platforms for connection.

As interruptions to a now normalized predatory control regime, the works in "Lapsus Lumen" elicit critical or

Daniel Rozin, "Descent With Modification"


 

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Neo Rauch exhibition conquers Berlin | Arts | DW.COM | 02.10.2015

Neo Rauch exhibition conquers Berlin | Arts | DW.COM | 02.10.2015 | Curating [ Media ] Arts | Scoop.it
Neo Rauch is the shining star of the New Leipzig School. His paintings, drawings and prints are hot in demand on the international art market. Key works are currently on show in Berlin.
Monika Fleischmann's insight:

When MoMa Director Glenn Lowry went shopping in Germany in January 2008 for the New York Museum of Modern Art collection, he purchased works by Joseph Beuys, Martin Kippenberger, Andreas Gursky - and a painting by Neo Rauch.

The Leipzig artist is one of Germany's leading stars. His figurative, neo-Socialist, retro-style works have put the quality stamp on the New Leipzig School - a brand that is almost as well-known as Volkswagen or BMW.

 

Neo Rauch, a native to the eastern German city, studied at the Leipzig Academy for Visual Arts from 1981 to 1986. He spent the next four years as a master student to Bernhard Heisig, a pioneer of the "old" Leipzig School.

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Tentoonstellingen - Deweer Gallery - Kunst gallerij - Gallerij Deweer, ART Gallery, kunstgalerij, kunstenaars exposeren, grafiek exposeren, schilders, fotografen, beeldhouwers, sculpturen, beeldhou...

Tentoonstellingen - Deweer Gallery - Kunst gallerij - Gallerij Deweer, ART Gallery, kunstgalerij, kunstenaars exposeren, grafiek exposeren, schilders, fotografen, beeldhouwers, sculpturen, beeldhou... | Curating [ Media ] Arts | Scoop.it
Gallerij Deweer een kunstgalerij
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