SanArt

Get Playful: Submit to 6X6

Coming up next with 6X6 is “Play,” to be curated by Submit’>!

Six selections will be shared at this event, scheduled for April 7, 7-8pm @ Ciné Lab’> in Athens, Georgia. Open for submission to anyone from anywhere in the world. Video, film, sound, performance, or combination. Six minutes or less. Shorter can be better! Monthly themes and curators through August 2010. Fast, fun, and free. Be a part of it.

(Watch Video) Didi talks about Play’>

More about Didi Dunphy: Didi Dunphy received an MFA from SFAI in performance and video art. Selected exhibits and installations include, Playscape, COCA, St. Louis, Playscape, Atlanta Contemporary, Let’s Fall in Love, Ivy Brown Gallery, NY, Push Play, Jacksonville Museum of Modern Art, A/D 2004, The Lab, San Francisco, AIM, Armory Center for the Arts, Pasadena, CA, Georgia Triennial, Telfair Museum, GA. Ms. Dunphy also exhibits design objects at the ICFF, NY and CaBoom West Coast Indy Design Show, Santa Monica. A number of features have been written about Ms. Dunphy including Craft, CMYK, Southern Living, as well as reviews in the LA Times, SF Chronicle, Atlanta Journal Constitution, and more. Ms. Dunphy is a visiting Artist and Assistant Professor at the Dodd School of Art, University of Georgia in Athens where she teachings in the time-based arts, contemporary arts and professional practices. She lives in Athens GA with her husband, artist Jim Barsness and 15 year old daughter, Lucy.

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ASPECT: The Chronicle of New Media Art, a biannual DVD publication, is currently accepting submissions of work for V16: Lo-tech, and V17: Hi-tech. Artists have historically co-opted emerging technology, adapting and expanding complex developments to suit their own goals. Conversely, there is nostalgia for obsolete technology. We seek work that exploits antiquated or sophisticated technology, either as an aesthetic or technical choice. We will review installation, video, performance, sound, and any other work best documented in time-based format.

ASPECT asks artist/commentator pairs to submit proposals of time-based work. Commentators may be curators, historians, critics, or educators who can offer a distinct perspective on the work. Criteria for selection will include the qualifications
of the commentator and the quality of the work. Audio recordings of the commentary will be assembled after the submissions have been selected.

Submissions must include:
-Video documentation (less than 15 minutes in length)
-A brief (100 word) statement regarding the submitted work
-Resume of the artist, resume of commentator
-Contact information for the commentator and artist
-Brief notes outlining the proposed commentary w/ respect to theme

Submissions must be received by the respective deadlines, sent to*:
ASPECT: The Chronicle of New Media Art
46 Waltham Street, suite 108
Boston, MA 02118
617.695.0500
* please do not ship with signature required

For more information see our FAQ:
http://www.aspectmag.com/submit

Company Information —The mission of ASPECT is to foster a deeper and more intimate understanding of contemporary new media art by expanding access, education, and distribution of the genre. ASPECT pioneered DVD distribution of artworks and continues to set the standard for new media art publishing and distribution. ASPECT Magazine is a biannual DVD magazine of new media art. Each issue highlights 5-10 artists working in new media whose works are best documented in video or sound, including in-depth information on the artists and commentary by distinguished curators and critics. Individual issues and subscriptions are available directly from the ASPECT website.

When: Tuesday, March 16, from 6:30pm to 8:00pm
Where: SOMArts Main Gallery, 934 Brannan St, San Francisco

On February 1, the San Francisco Arts Commission approved a $104,000 budget cut for SOMArts in 2010-11. Last month we held a Community Support Board Meeting to discuss advocacy and to develop strategies to deal with the potential budget cuts for SOMArts. Action Speaks! #3 will be a follow-up meeting to see where we stand on developing those ideas. Members of the arts and cultural communities of San Francisco are invited to speak out and share their ideas for community outreach, fundraising and advocacy.

The success of ALL our ideas hinges on community support, fun, collaboration and creativity, so if you rent our space, show your work or volunteer at SOMArts—please join us and tell us what would excite you, what you think would be successful, and how you can help.

Light refreshments will be served. Please RSVP to debbok@somarts.org.

For more information, call (415) 863-1414.

Finnish text below
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ART AND TECHNOSCIENCE
Practices in transformation

A conference by the Academy of Fine Arts in Helsinki Finland, in
collaboration with the Finnish Bioart Society and Pixelache festival.

Time: 24-25.3.2010 10-17h
Location: Auditorium, Academy of Fine Arts in Helsinki, Kaikukatu 4.
Accessible for everyone and free entry

Detailed schedule and more information:
www.kuva.fi www.kilpiscope.net www.pixelache.fi

Keynotes by Roy Ascott and Jill Scott

The beginning of the 21st century is characterized by an overwhelming
awareness of environmental issues. Facing the threat of global warming,
the findings of scientific research have become a subject of intensive
political debate. The ethical questions traditionally discussed in the
green-wing marginals have become mainstream, as science has become a
coffee-table topic.

The field of art that interacts with the practices of science and its
technologies is commonly referred to as ART&SCIENCE. During the past
decades, this hybrid field has become more or less established, with
landmark works, major institutions and written histories. However, with
the new wave of environmentalism, a further wave of artists working with
methods and questions related to scientific research has also emerged.

The conference seeks to contextualize the practices of ART&SCIENCE both
in the contemporary political atmosphere and the history of contemporary
art.

The first day of the two-day conference focuses on the practices in
transformation as a result of research-orientation and
cross-disciplinarity, characteristic to the field of ART&SCIENCE.

The second day of the conference looks at the technologies of encounter
between human and non-human worlds. The aim is to address the ethical
discourse taking place in art practices which look at the interaction
between humans and non-humans.

Speakers include:
Pau Alsina (researcher, ESP)
Roy Ascott (artist, theorist, UK)
Laura Beloff (artist, researcher, FI)
Erich Berger (artist, coordinator ArsBioarctica, AUT/FI)
Andy Gracie (artist, UK/ESP)
Terike Haapoja (artist, FI)
Eija Juurola (forest researcher, FI)
Jan Kaila (artist, professor, FI)
Tuija Kokkonen (theatre director, FI)
Minna Långström (artist, lecturer, FI
Anu Osva (artist, FI)
Ingeborg Reichle (art historian, DE)
Antti Sajantila (professor, medical doctor, FI)
Jill Scott (artist, researcher, AUS/CH)
Helena Sederholm (professor, FI)
Raitis Smits (artist, curator, LV)
Ulla Taipale (curator, FI/ESP)
Manu Tamminen (microbiologist, FI)
Adam Zaretsky (artist, US)

Contact
Erich Berger
Coordinator ArsBioarctica
eb@randomseed.org
http://kilpiscope.net

Terike Haapoja
Artist, Phd researcher
mail@terikehaapoja.net
http://kuva.fi

—————————————————-

ART AND TECHNOSCIENCE
- taiteen muuttuvat praktiikat

Kansainvälinen konferenssi, järjestäjänä Suomen Kuvataideakatemia,
yhteistyössä Biotaiteen seuran ja Pikseliähky – festivaalin kanssa

Aika: 24-25.3.2010 10-17h
Paikka: Auditorium, Academy of Fine Arts in Helsinki, Kaikukatu 4.
Tilaisuus on avoin yleisölle. Vapaa pääsy.

Konferenssiohjelma ja tarkemmat tiedot osoitteissa:
www.kuva.fi www.kilpiscope.net www.pixelache.fi

Keynotes: Roy Ascott ja Jill Scott

2000-luvun alkua leimaa ympäristökysymysten voimallinen
politisoituminen. Ilmastonmuutoksen edessä tieteellisestä
tutkimuksesta on tullut poliittisen tarkastelun kohde ja kiihkeiden
väittelyiden välikappale. Perinteisesti vihreään marginaaliin liitetyt
aiheet ovat virranneet valtavirtaan, samalla kun tieteestä on tullut
kahvipöytäkeskustelujen puheenaihe.

Tieteen ja teknologian suhteita tarkasteleva, leimallisesti monialainen
ja poikkitieteinen nykytaiteenalue otsikoidaan usein sananparilla
ART&SCIENCE. Viime vuosikymmenten aikana tämä perinteisiä genrerajoja
ylittävä kenttä on vakiinnuttanut asemansa: merkkiteokset ja alan
instituutiot ovat jo osa taiteen kirjoitettua historiaa.
Ympäristökysymysten politisoitumisen myötä on kuitenkin noussut esiin
uusi aalto tieteen ja sen teknologioiden parissa työskenteleviä
taiteilijoita.

Konferenssi pyrkii hahmottamaan art&science -kentän praktiikoita sekä
suhteessa ajankohtaisiin poliittisiin kysymyksiin, että nykytaiteen
perinteisiin.

Konferenssin ensimmäinen päivä keskittyy taiteen muuttuviin
praktiikoihin tutkimuksellisuuden ja poikkitieteellisyyden seurauksena.

Konferenssin toinen päivä tarkastelee ihmisen ja ei-inhimillisen
suhteita määrittäviä kohtaamisen teknologioita ja niitä eettisiä
kysymyksiä, joita ihmisen ja ei-inhimillisen suhteita tieteen kehyksessä
käsittelevä taide nostaa esiin.

Konferenssin puhujina ovat mm.
Pau Alsina (tutkija, ESP)
Roy Ascott (taiteilija, teoreetikko, UK)
Laura Beloff (taiteilija, tutkija FI)
Erich Berger (taiteilija, suunnittelija ArsBioarctica, AUT/FI)
Andy Gracie (taiteilija, UK/ESP)
Terike Haapoja (taiteilija, tutkija FI)
Eija Juurola (MTT, ekologi, FI)
Jan Kaila (taiteilija, professori, KuvA, FI)
Tuija Kokkonen (ohjaaja, FI)
Minna Långström (taiteilija, lehtori KuvA, FI)
Anu Osva (taiteilija, FI)
Ingeborg Reichle (taidehistorioitsija, DE)
Antti Sajantila (oikeuslääketieteen professori, FI)
Jill Scott (taiteilija, tutkija, AUS/CH)
Helena Sederholm (professori, FI)
Raitis Smits (taiteilija, kuraattori, LV)
Ulla Taipale (kuraattori, FI/ESP)
Manu Tamminen (mikrobiologi, FI)
Adam Zaretsky (taiteilija, US)

Yhteystiedot:

Erich Berger
suunnittelija, ArsBioarctica
eb@randomseed.org
http://kilpiscope.net

Terike Haapoja
kuvataiteilija, KuvA
mail@terikehaapoja.net
http://kuva.fi

with/drawn

Contemporary International Juried Drawing Exhibition

The Drawing Room HU
The term drawing room is derived from the sixteenth-century idea of a “withdrawing chamber” Originally drawing rooms were places in the house to withdraw to, an area to entertain visitors, to play games, to gossip, to plan, to conspire. This exhibition aims to investigate the capacity of drawing; from the intimate, intricate mark to the volatile, restless moving image. We encourage multi-media submissions. Drawing, printmaking, photography, video or installations are acceptable mediums as long as drawing is the basis or inspiration for the work.

Online Submission Only: Submit maximum 8 digital images via email. Please give corresponding size/date/title/medium. No maximum size of original art. Video/performative work can be submitted as links, maximum 3 submissions, any length.

Please include a brief artist’s statement, current bio in your email submission.

Non-refundable entry fee of 30 USD for first 5 images. Additional images +5 USD. Paypal accepted: drhu45@gmail.com

Modular A.R.T.: Art of the New Industrialism

Thursday, March 25, 2010
6.00pm to 9.00pm, Free
81 Front Street, ground floor (bet. Main & Washington)
Dumbo, Brooklyn, New York

The analog assembly line of the Industrial Revolution is giving way to the digital production methods of the New Industrialism. Mass customization, modular design, production on demand, open innovation, co-creative design, tele-fabrication and other computer-driven technologies are re-defining how things are made in nearly every sector of the marketplace, with the notable exception of art. Instead, the large majority of artists continue to produce their work in solitude, in editions of one, and using the same pre-industrial methods as did their predecessors centuries ago.

This exhibition of new modular art promotes the premise that if art is to be truly contemporary it must not only exhibit modernity in its outward form but be made in a contemporary way as well. Accordingly, all the pieces shown have been produced on demand and fabricated directly from digital files uploaded to remote production facilities.

Based on a modular design system, each assembled work is composed of interlocking components that can be disconnected from each other and then re-assembled in an infinite variety of compositions. Thus the artist is no longer the sole generator of form and the work of art no longer a sacred object to be worshipped from a distance. Rather, the collector is invited to co-create the work together with the artist, bringing the piece into closer alignment with the fluid and collaborative nature of 21st century culture.

website:

Exhibition Dates: August 6th – September 19th
Submission Deadline: May 14, 2010

Museum of New Art invites submissions of research articles, essays, and works in all mediums including but not limited to installation, net-art, video, photography, painting, printmaking, and performance on the topic: New Media, Sex, and Culture in the 21st Century.

Sex has a long history of being subjected to technologies of observation, regulation, enhancement, and representation. Certainly many of the discourses and technologies of the Internet have been preoccupied with it, even though the U.S. government and other groups have tried to make it harder for people to find sex online. For example, one of the messages of the “cyberporn scare” of the mid to late 1990s in the U.S. was: It’s here, and it’s bad! But in the drawn-out process of letting everybody know about it, online porn became somewhat normalized. As van Doorn (2009) argues pornography has been involved in a mainstreaming’ process over the past decade…simultaneously, the public discourse on sex and sexuality has grown exponentially. Foucault observes how sundry discourses of sexuality espouse a veil of silence and prudishness towards sex while at the same time positioning people to seek knowledge about it, observe it and talk about it. The rhetoric of the cyberporn scare asked society to wall up and hide pornography, but ended up forcing people to accept it and engage it more directly, whether it is to talk about it, joke about it, actively seek it, or actively avoid it. Web2.0 publishing tools and social media networks have made it easier for people to publically talk about sex and to publish their own sex online for anyone to see. Scholars and artists who explore any aspects of sexuality, NetPorn, the sexualization of Web2.0, sexual identities in postmodern society, and other subject areas addressing sexuality and culture are invited to submit their work.

Each submission should contain name of artist, title, date, size, description of proposal or work, brief statement about the work, and least one or several images in jpeg format.

Submissions should be e-mailed to: detroitmona@aol.com

Co-curators: MoNA director Jef Bourgeau, visual artist Steve Coy, NmediaC managing editor Jonathon Lillie. Accepted entries will be notified in the beginning of June.
A special issue of NmediaC, the online Journal of New Media and Culture, will be launched in collaboration with the juried art exhibition at the Museum of New Art in Detroit, Michigan. The articles from this special issue will be featured in the exhibition.

For article submissions to the special issue of NMEDIAC, email submissions in Word, HTML or PDF to jlillie@loyola.edu

The editor for this issue will be Jonathan Lillie of Loyola University.

Theme: Is it a government tool, a war devise, a marketing strategy? Negative, positive or brilliant, propaganda is ever present and ill defined as a tool in our visual culture. We invite artists from all mediums to help us explore what this term means. In celebration or critique, please enter work that you feel enters into the realm of propaganda.

Eligibility: This juried exhibition is open to national and international artists (professional, emerging, and student).

Media/Genre: Open to works of all genres and media.

Entry Fee: You may submit up to three pieces for a non-refundable entry fee of $15. The entry fee may be paid online or with cash, check, or money order (checks and money orders should be made payable to DESOTOROW GALLERY).

Deadlines:
March 12 – Submissions Due by 5pm EST
March 15 – Notifications Emailed
March 24 – Accepted Work Due to Gallery
March 26 – Opening Reception
March 31 – Exhibition Closes
April 2 – Return of Work Begins (Pick-up/Ship)
April 16 – Deadline for the Pick-Up of Work

View complete information at www.desotorow.org. Questions? Email info@desotorow.org.

Desotorow Gallery is a 501(c)(3)nonprofit organization located in Savannah, GA.

MyWar: Participation in an Age of War

12 March to 30 May 2010
http://www.fact.co.uk

With: Phil Collins, Joseph Delappe, Dunne & Raby, Harun Farocki, Harrell Fletcher, knowbotic research, Oliver Laric, Renzo Martens, SWAMP, Thomson & Craighead, Milica Tomic and Sarah Vanagt.

Blog!, participate! and share! are the battle cries of a media culture in which the boundaries between private and public, between personal and political have been decisively eroded. The exhibition MyWar: Participation in an Age of War pinpoints the moral implications of wars when they are experienced through media. This intervention is delineated by a media landscape where web 2.0 tools are consistently altering the way that audiences and users both consume, and exchange information. The related artistic strategies of personalization go far beyond the Internet and its social networks, extending into quite different forms of appropriation. A radically personal look at war through the work of 12 international artists, MyWar investigates identity, participation and the reality of conflict in a digitally networked world.

Exhibition produced by FACT, Liverpool and Edith Russ Site for Media Art, Oldenburg in cooperation with ISEA2010 RUHR. Curated by Andreas Broeckmann, Heather Corcoran and Sabine Himmelsbach.

FACT (Foundation for Art and Creative Technology) | 88 Wood Street, Liverpool, UK. L1 4DQ | FREE Entry
Gallery 1, 2, Media Lounge and online: http://www.fact.co.uk

Hi,

This Tuesday is another event in a year-long series of weekly conversations and exhibits in 2010 shedding light on examples of Plausible Artworlds.

We’ll be talking with the instigators of the Hong Kong-based Community Museum Project (CMP).

The CMP was founded in 2002 by Howard Chan (cultural programs curator), Siu King-chung (design educator), Tse Pak-chai and Phoebe Wong (cultural researchers) — basically a group of disaffected curators who believed that another museum is possible and, pointing at the streets, shops and housing of Kowloon, that it was this one. The Community Museum Project thus focuses not on establishing conventional “museum” hardware and elitist collections, but carrying out flexible exhibition and public programs, within specific community settings and driven by timely issues. Through this process the Community Museum Project aims to nurture platforms that articulate personal experiences and under-represented histories. For though Hong Kong is highly multicultural, it is not transcultural: CMP seeks to foreground overlooked forms of everyday, non-professional creativity and to reevaluate the cognitive contributions of the city’s marginalized populations, by creating platforms that can also be occasions which facilitate cross-disciplinary collaborations and neighborhood participation. To CMP, the word “Community” has three connotations: subject matter, settings and creative public interface. It is the site of their reframed museum — a plausible artworld.

CMP website:
http://hkcmp.org

See you all Then!

Join us every Tuesday night – in person, or on Skype, skypename: ‘basekamp’
If you come to the potluck chat in person, be sure to bring a dish :)
Basekamp space: 723 Chestnut St, 2nd floor, Philadelphia usa

Follow Plausible Artworlds:
http://twitter.com/basekamp
http://basekamp.com/info

Join this week’s Skype chat:
http://bit.ly/dcMMTq