Digital #MediaArt(s) Numérique(s)

A European project supported by the European Commission DG Connect as a part of the STARTS platform-Science, Technology and the ARTS-H2020 program, VERTIGO catalyzes new synergies between artistic communities, cultural institutions and innovation stakeholders via a program of 45 artistic residencies over a 3-year period.

In applying for VERTIGO:

> You benefit from the collaboration of a top-rated artist who will develop a radically new and innovative approach to your technology
> Your project will find new societal impacts
> A large-scale network of promotion and diffusion will be available for your dissemination.

Opening of the call for projects

March 14-April 7, 2017
Artistic residencies in R&D projects beginning in September 2017

Pau Waelder is a researcher, art critic and curator who recently finished his PhD about the art market, its displacement on internet platforms and the interactions between contemporary art and New Media Art. His research acknowledge the explosion of the Post-Internet Art, as example of an artistic sector connected to New Media Art that stimulated the interest of the traditional art market.

Post-Internet Art has been for many a short parenthesis, a phenomenon which is already obsolete, but it setted a precedent of a successful artistic production for the art market, in the general context of New Media Art, even if some artists of the new generation does not recognize himself in the New Media Art field. From a different perspective, this interview also focuses on the new online resources for buying art and the new forms of distributions of digital contents.

Ruairi Glynn practices as an installation artist and directs the Interactive Architecture Lab at the Bartlett School of Architecture, University College London. He has exhibited internationally with recent shows at the Centre Pompidou Paris, the National Art Museum of China Beijing, and the Tate Modern, London. His interactive installations reflect on rapid developments in robotics, material science and computational technologies exploring the emerging aesthetics of behaviour permeating across art, architecture and design.

Drawing influence from the fields of psychophysics, cybernetics, and performance his recent work has looked at the uncanny sensation of life (anima) present in interactive objects and environments. Projects such as Fearful Symmetry commissioned for the inauguration of the Tanks at Tate Modern examined the very human impulse to anthropomorphise and build emotional relationships with things that move and interact with signs of intelligence.

Organization for the promotion and development of sound art in Chile. In 2016 they realized the X version of the Sonorous Art Festival in Valparaiso.

Today, H&M will release a special-edition leather handbag featuring the likeness of Jeff Koons’s Balloon Dog (Yellow) in some stores and on its website. To celebrate (and, really, further publicize) the occasion, Koons will decorate the six-story facade of the Swedish retailer’s Fifth Avenue flagship store in New York City with images of his iconic sculpture.

The most expensive living artist as of a November 2013 auction, Koons is routinely noted for his shrewd, and sometimes unusual, business practices. But the former Wall Street commodities broker also has a knack for science and technology.

In fact, his works are often so cutting edge that some of the world’s leading museums have found themselves ill-equipped to handle them. (Asked why the Guggenheim never went through with its 1996 plan for a major Koons exhibition, former director Lisa Dennison admitted to the New York Times that “finding the technology to match Jeff’s vision became impossible.”)

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Since 2005, Inke Arns has been the curator and artist director of Hartware MedienKunstVerein, an institution focusing the cross-section between media and technology into forms of experimental and contemporary art. This year, she was the curator for the exhibition titled alien matter during transmediale festival's thirty-year anniversary. I had the pleasure of meeting Inke and taking a leisurely stroll with her around the exhibition.

The interview is written as part of a late-night email exchange with Inke a couple of weeks following our initial meeting. 

Data Selfie is a browser extension that tracks you while you are on Facebook to show you your own data traces and reveal how machine learning algorithms use your data to gain insights about your personality.

The tool explores our relationship to the online data we leave behind as a result of media consumption and social networks - the information you share consciously and unconsciously.

Le cours « Cultures numériques » est constitué d’une constellation d’éléments théoriques et pratiques rassemblés autour d’un effort commun : travailler à définir des cultures numériques de manière collective et transversale.

Le but de ce rassemblement est de comprendre et de pratiquer les outils et environnements numériques actuels sous plusieurs approches (historique, philosophique et politique). Les technologies sont des cristallisations de forces diverses ­ politiques, esthétiques, économiques, etc ­ qui ne sont pas elles ­mêmes techniques. Ce ne sont donc pas tant les caractéristiques techniques d’Internet, par exemple, qui sont décisives pour la culture numérique (notre Zeitgeist) mais plutôt leurs effets. Non pas leur manière de fonctionner strictement parlant, mais les opérations qui soutiennent ces fonctionnements. Pour accéder à ces opérations, deux chemins s’entrecoupent et ne deviennent qu’un seul : on apprend (...)

Vous êtes Ici… et Ailleurs est un dispositif de 5 tableaux interactifs et immersifs. Voyage des étoiles jusque sous les pieds du spectateur, ce dernier explore les recoins d’une carte se dessinant au sol, face à un écran qui réagit à ses mouvements en temps réel. Grâce à un système audio-spatialisé, les promeneurs-joueurs donnent naissance à des animations surprenantes projetées face à eux : jeu des lumières vidéo-projetées, pictogrammes, témoignages et histoires d’habitants, cartographies, etc.

La recherche et le développement de Vous êtes ici.. et Ailleurs s’appuie sur une démarche de création participative, un travail d’infusion artistique et territoriale mené avec les habitants. Cette étape de résidence et d’ateliers permet de situer les habitants au cœur de l’œuvre : leurs voix, témoignages, réalisations graphiques et pictogrammes sont intégrés aux tableaux vidéo-projetés de l’installation.

Autant de matières sont générées entre artistes et participants afin de révéler la perception intime et imaginaire des usagers du lieu. Le quartier et ses habitants sont ainsi au centre de l’événement, restituant au territoire toute sa singularité et son attractivité.

Daniel Bandfield is a student in his final year of BA Fine Art at Chelsea, and is a member of the Collective. For Tate Exchange, he will be part of the Physical Computing camp which will showcase projects that use coding and electronics within artworks.

We spoke to Daniel about how he works with digital in his artistic practice, why he made the shift from static sculpture and ceramics t digital and how using this technology affects the way that audiences view and relate to his artwork.

With its approximate 30,000 visitors over a span of 10 days, STRP Biënnale stands amongst the world’s ten leading festivals on creative technology. Over time our audience has come to appreciate STRP’s installations, performances, lectures and workshops as much as they love the music. Talented young makers are shown next to famous pioneers within the field. STRP offers artists from all disciplines assignments for new pieces and challenges her audiences to not only look and listen, but also to experiment themselves.

STRP Biënnale’s hybrid program makes it unique to both young and old, layman and professional. STRP is characterised by its accessibility, enticing content, drive for curiosity and international appeal. STRP is the supercollider between creativity and technology within Eindhoven’s DNA.

STRP distinguishes itself by relating contemporary themes to a curious audience and as such make future tangible in the now.

Découvrez l'exposition "Mutations-Créations / Imprimer le monde" du 15 mars au 19 juin 2017 au Centre Pompidou à Paris

Les technologies numériques ont bouleversé la conception et la fabrication des objets, transformant la pratique des architectes, des designers, des artistes. Quel est le statut de l’auteur à l’ère de la production d’objets « non standards », à la fois uniques et produits industriellement ? Quel est le statut de cet objet « imprimé » en 3D, tout à la fois objet du quotidien, objet technologique, œuvre d’art, objet de design, prototype d’architecture ? 

Comment expliquer sa généralisation à l’ère du numérique à tous les domaines de production ? Qualifiée de « technologie disruptive », l’impression 3D se diffuse depuis une quinzaine d’années à une large échelle à travers les plates-formes de logiciels « open source » et se développe dans l’industrie, de l’aéronautique aux biotechnologies.

... Commissaire : Mnam/Cci, Marie-Ange Brayer, Olivier Zeitoun

Annie Abrahams est identifiée comme une artiste précurseur liée à l’Internet et c’est sans doute sur la base de protocoles que son travail pourrait être défini. Rassembler des performers, d’âges, personnalités et milieux diversifiés, les mettre en frottement les uns avec les autres et étudier, analyser ce qui en ressort. Il s’avère cependant que ce ne sont pas les conditions d’existence de la performance même qui l’intéressent, ce seraient plutôt les espaces de liberté qui émergent et l’appropriation qu’en font les performers.

Annie Abrahams le dit simplement, elle n’est pas performeuse, elle étudie les conditions d’évolution et d’existence des corps en performance sur Internet. La performance fait usage de protocoles, car elle implique de façon indispensable de situer dans le temps les différentes actions et étapes de son déroulement...

Moniker is an Amsterdam based interactive design studio by Luna Maurer & Roel Wouters. They founded Moniker in 2012 together with Jonathan Puckey.

With Moniker, which means nickname or pseudonym, we work on commissioned design projects while also investing in projects of an autonomous and experimental nature.

The studio works across various media for a diverse range of clients ranging from those in the cultural field to commercial companies. With our projects, we explore the social effects of technology - how we use technology and how it influences our daily lives. Often, we ask the public to take part in the development of our projects. The resulting projects expand and grow like plants, displaying their inner organisational process.

Moniker specialises in interactive, print, video, physical installation and performance work.

Tehran Annual Digital Art Exhibition, TADAEX, was founded in 2011 with the aim of opening new horizons for Iran’s interdisciplinary and digital art. Its intention has been to create a serious and independent atmosphere for enthusiasts and researchers alike. The non-commercial nature of this art, in addition to the high cost of the equipment, have always made it difficult for the Iranian artists to participate and gain experience in the digital arena.

Thus, the potential for exhibiting and presenting artworks in this field could not be properly realized, and therefore, by presenting works by international artists and creating a platform for engaging with and exchanging of their knowledge, TADAEX has endeavored to pave the way for Iranian digital artists to develop and nurture their art.

Colliding Worlds: How Cutting-Edge Science is Redefining Contemporary Art tells the story of how artists, scientists and technologists are working together to create a new art movement. It is a journey behind the scenes into a bold new world and features a close look at the artists themselves: their creativity and what drives them, their struggles, and the drama of developing a new art form. Just like previous avant-garde art movements this one is up against a hostile art establishment intent on maintaining the status quo. Distrustful of science and technology and of how its products fit gallery norms, the art establishment remains mired in the last century.

Science, engineering, computers, and algorithms inspire these artists, just as nature, hate, love and death used to inspire artists. Instead of paint and chisel, today’s artists are at home with the new twenty-first century electronically-based media. With it they strive to depict the wonders of our age of information – representing huge data sets aesthetically, looking into what it could mean in the future when robots interact with humans, sculpting with sound, folding together concepts of art with physics, using living matter to manipulate inert materials to make new and beautiful forms, and investigating what it means to be human when we can have chip implants, gene transplants, and organs produced by 3D printers inserted into our bodies.

HeK is dedicated to digital culture and the new art forms of the information age. It is a place for creative and critical discourse on the aesthetic, socio-political and economic impact of media technologies. HeK shows contemporary art that explores and configures new technologies; it promotes an aesthetic practice that uses information technology as a medium, makes it vividly accessible and actively intervenes in its processes. HeK thereby addresses the pressing issues of twenty-first-century culture and makes an active contribution to their future evolution.

As an interdisciplinary venue, the institution engages with all aspects of the current arts scene and thereby crosses traditional genre boundaries between the visual arts, music, theater, dance, performance and design. Its insights into art production at the intersection of the arts, the media and technology draw a broad public. In a diverse program comprised of exhibitions, mini-festival formats, performances, concerts and educational opportunities, HeK picks up on current social issues and the challenges posed by increasingly ubiquitous digitization...

Trained at the University of Lyon II and ARFIS Guillaume Marmin is a French visual artist.

His work, connected from the beginning to the music scene and performing arts, is part of a revival of the visual creation by overcoming traditional forms of storytelling and traditional performing media. Influenced by experimental filmmakers such as Len Lye or Stan Brakhage, Guillaume Marmin is looking for a new synaesthetic alphabet, a common language between images and sounds, rhythms, contrast and sleek moving figures.

In order to offer new media on this new language, the work of Guillaume Marmin is taken away from the traditionnal screen to test all types of media: mapping on 3D sculptures and buildings, projection on photography and screen printing, bodies in motion and smoke. His immersive works in public space consisting of collaborations between architects, musicians and lighting designers.

La co-présence des robots commence à être une réalité. Dans cet ouvrage qui leur est consacré, Paul Dumouchel et Luisa Damiano analysent les points cruciaux des relations avec ces créatures artificielles dotées de compétences sociales. Au contraire des autres objets techniques omniprésents mais le plus souvent considérés comme invisibles, conçus pour fonctionner dans un environnement façonné, contrôlé et occupé par l’homme, les robots sont les nouveaux acteurs d’une transformation technique, sociale et culturelle. Cet ouvrage est une introduction à ce projet de co-évolution, d’où serait susceptible de surgir de nouvelles formes de socialité, l’empathie artificielle étant un enjeu majeur de leur rôle annoncé.

PNEK (Production Network for Electronic Art, Norway) is a network structure aiming to provide good production conditions for artists working with electronic and interdisciplinary art. PNEK assists artists and structures with competence building, project development, workshops, screening/distribution of works, and activities aiming to raise the general awareness about hybrid art forms through seminars and social/artistic events. PNEK can provide limited travel support for artistic/structural exchange between the nodes, and for developing international relations (artists, curators, critics etc.).

PNEK also has a guest apartment in Oslo, available for visiting curators, artists, critics etc.

Stahl Stenslie is the director of PNEK (2015 – ) and Zane Cerpina is creative manager.

Pour le moment, ce n’est qu’une porte de garage au pied d’un immeuble de logements du tournant du XXe siècle, dans le quartier genevois des Pâquis. Mais en novembre, si ses enthousiastes promoteurs tiennent leur calendrier, le D.I.X. déploiera ses espaces futuristes derrière cette porte. D.I.X parce que nous sommes au 10 rue Jean-Jacquet, et pour Digital Interactive Xperience.

Le D.I.X., un peu moins de 600 m2 sans les bureaux, se projette donc en lieu de création, avec des résidences, de l’incubation de projets, une petite salle VR – pour réalité virtuelle – avec des sièges pivotant à 360°, une autre à peine plus grande (une soixantaine de places) pour les films interactifs et autres séries web, un espace d’exposition, ou encore un fonds de documentation, en collaboration avec les Bibliothèques municipales.

Entre jeu de société grandeur nature et jeu vidéo entièrement immersif, la Virtual Room ouvre un monde parallèle dans lequel une équipe de trois à quatre joueurs est invitée à se plonger pour résoudre des énigmes et décoder les différents mystères qui s’y passent.