Every year, the Share Festival chooses a special topic to focus on, to help broaden our minds, sharpen our skills, and inspire creative expression. So don’t miss this year’s festival from 2nd–7th November, 2010 in Turin!
Smart Mistakes – Share Festival 2010
ERROR, mistake, mutation, failure, dysfunction, discrepancy, accident, unexpected change, chance discovery, the aesthetics of error, mass waste, project failure, abandon project, disaster, flaw, inconvenience, misappropriation, side-effect, slip-up, flop.
This year, the VI Piemonte Share Festival will be focusing on the artistic and cultural significance of mistake, in all its broader senses. The creative potential of analysing and looking into what lies behind an error is truly great, as it represents the uncovering of an issue. Which is of particular interest in this year of global emergencies. The issue uncovered then demands attention, which in turn elicits controversy, while it is controversy that generates solutions and innovation.
In the art and culture of our digital age, does mistake still play the role of instigating change and activating value?
Share Prize 2010
Now are you ready to discover the group of artists called to Turin to take part in a Share Festival?
Some 270 projects from 20 countries were submitted for consideration for the Share Prize 2010. The aim of the Share Prize is to discover, promote and support the digital arts. The competition is open to artists that use digital technology as a language of creative expression, in all shapes and formats.
The cultural aim of the Share Prize is to make participation in the Share Festival open and accessible to all artists.
An international panel of judges consisting of Jurij Krpan (Ljubljana), Andy Cameron (London), Fulvio Gianaria (Turin), and Bruce Sterling (Austin/Turin) assessed the submissions. After a very interesting meeting and a professional, in-depth analysis of all the works, it is with great pleasure that we announce the six incredible artists who have been short-listed for the Share Prize 2010.
Read the judges’ statement here: http://www.toshare.it/?page_id=2090〈=en
The prize winners will be announced at the Share Prize award ceremony on 7th November, 2010 at the Regional Museum of Natural Science in Turin.
Kuai Auson (EC), 0h!m1gas (2008)
0h!m1gas is a biomimetic stridulation environment, based on the activity of an ant colony under video and audio surveillance, transforming the ants into DJs and creating a sound-reactive space which reveals the connection between scratching, as an aesthetical expression created by human culture, and the stridulation phenomena produced by ants as a communication mechanism.
http://kuaishen.tv/0hm1gas
Perry Bard (CDN), Man with a Movie Camera (2007)
Man With a Movie Camera: The Global Remake is a participatory video shot by people around the world who are invited to record images interpreting the original script of Vertov’s Man with a Movie Camera, and upload them to http://dziga.perrybard.net, where software developed specifically for this project archives, sequences and streams the submissions as a film.
http://dziga.perrybard.net
Sonia Cillari (IT), As an artist, I need to rest (2009)
The artist is lying still on the floor of the exhibition space, exhaling through a very long cable, which departs from inside her left nostril and ends at the centre of the main screen, suspended from the floor. A digital creature which she calls 'feather' is entirely generated by her exhaling into the suspended screen. During the performance, Sonia Cillari exhales 14,000 digital elements and brings the digital feather into more than 6 different states of beings, from 'addition' to 'resistance' patterns of life.
http://www.soniacillari.net/AaA-IntR_dedicated.htm
Ernesto Klar (IT/VE/USA), Luzes relacionais (2009-10)
Luzes relacionais" (Relational Lights) is an interactive audiovisual installation that explores our relationship with the expressional-organic character of space. The installation uses light, sound, haze, and a custom-software system to create a morphing, three-dimensional light-space in which spectators actively participate, manipulating it with their presence and movements. "Luzes relacionais" is pays homage to the work and aesthetic inquiry of Brazilian artist Lygia Clark.
http://www.klaresque.org/luzes_video.mov
Knowbotic Research (GER), Macghillie_ just a void (2009-10)
In the public performance project MacGhillie, urban sites are visited by a figure, clad in a camouflage suit, who shows neither the traits of an individual, or even of a person. The so-called Ghillie Suit was originally invented in the 19th century for hunting and was later also used during the First World War (bis heute). Its camouflage anonymizes and neutralises of the person who wears it in public. The figure oscillates between the hyperpresence of a mask and visual redundancy.
http://krcf.org/krcf.org/?p=249
Teatrino Elettrico (IT), DC12V (2009)
DC12V is a board-game version of elektrolivecircus. Sounds are generated using analogue instruments only, recordings of movements, percussion, friction and the electromagnetic fields of various everyday machines. Small in converted into big, futile into necessary, objects into personages, the board into a location. A desktop tragedy in one act for self-propelled machines.
http://www.youtube.com/watch?v=idaVeVj7ZMc
6X6 is calling you for submissions: Monthly themes, curators, and event dates. Selected work shared live at the Ciné Lab in Athens, GA, a beacon of the alternative arts. Submit your video, performance, and sound work now -- six minutes or less. Coming up next: Chance, deadline for submission is September 21, 2010. Get with it -- submit to one or more themes today through March 21, 2011 at http://hexadic.blogspot.com.
Have you lost a candy wrapper, a piece of paper, or a kleenex?
Found-on the road from Hanlans to Wards (A performance wherein I comb the main road of Toronto Island looking for lost candy wrappers, pieces of paper or kleenex.)
For 15 days starting September 6th I will comb sections of the road from Hanlans to Wards looking for small litter that is hidden among the curbside bushes and tall grass. While doing this I will clean up the rest of the litter found along side the road. The small litter is photographed and logged in regards too where it was found, the date, the material it is made of, and the estimated time for it to degrade. This data is published on a blog. You can follow the blog at http://foundlitter.blogspot.com/
The piece is created for Rogue Wave, 2010 . A site specific event held on Toronto Island.
Jacky Sawatzky
"Success is relative: it is what we can make of the mess we have made of things"
-T.S Elliot
The fifth in a series of 10-minute videos about the adventures and frustrations of an ordinary (but rather hirsute) General Practitioner. In this one, Dr Hairy is advised to try a bit of straight talking with one of his patients - with hilarious results! The first of three parts.
To view it on my site, go to http://www.edwardpicot.com/drhairy/franktalking1.mov ; or you can see it on YouTube at http://www.youtube.com/watch?v=ifwCH31cRCw ; or it should be on DVblog (http://dvblog.org) in the next couple of weeks.
- Edward Picot
http://edwardpicot.com - personal website
http://hyperex.co.uk - The Hyperliterature Exchange
Barry McGee and Josh Lazcano, mural at Houston and Broadway, New York. Photos: 16 Miles[more]
I have no real interest in street art or graffiti, but I have to admit that the new mural at Houston and Bowery in New York, recently completed by Barry McGee and Lee Lozcano, is a stunning piece of work. Sure, after the monstrous Shepard Fairey piece that had been there for so long, almost anything would be have been an improvement, but this is clever, fascinating stuff, consisting of reproductions of dozens of tags of graffiti artists past and present. (It also includes the mural’s makers: the very prominent AMAZE tag is Lozcano’s signature, and a less-prominent TWISTER tag belongs to McGee.)
Lozcano and McGee dispute that age-old criticism of graffiti — “it all looks the same” — directly, showing the nuance and subtly involved in various styles, and, in the process, they emerge as expert connoisseurs and historians. They wrote the tags from memory, trying to mimic the signature of each artist memorialized on the wall. That remarkable endurance feat recalls Douglas Gordon’s List of Names piece (displayed below), which involves Gordon listing off, from memory, every person that he has ever met each time it is installed or published as an edition. At the Scottish National Gallery of Modern Art he rattled off more than 1,000 names, which line the wall of a stairwell. (Click the second image of the work below for an enormous enlargement, and spot the art-world celebrities!)
Douglas Gordon, List of Names (Random), 1990-ongoing, at the Gallery of Modern Art, Edinburgh, Scotland
Explaining the piece, Gordon said: “It was an accurate and honest statement, but it was full of mistakes (like forgetting the names of some friends), so there were some embarrassing elements in the work.” McGee and Lozcano must also have had similar fears, particularly since they listed a much smaller group of names and limited themselves solely to graffiti artists. When Mary Beth Edelson assembled a similar list of 69 artists for her 1972 collage Some Living American Women Artists (now on view in curator Roxana Marcoci’s remarkable “Pictures by Women” exhibition at MoMA), she had some time to think it through, but McGee and Lozacano fired off their work in a single night.
Jumping back a few decades: the mural stands as a direct opposite of Francis Picabia’s L’Oeil cacodylate, 1921. In that work, Picabia invited about 50 friends to scrawl notes on and sign a large canvas when they came to visit him as he recovered from an eye illness, handing over control of the work to other artists. In their mural, McGee and Lozcano function as artists but also as curators. Rather than inviting artists to tag the wall, they handpicked the people they wanted to memorialize, enacting the way in which modern and contemporary museums have generally dealt with so-called street artists like them: selecting a minute number of people (like Fairey and, of course, McGee) to serve as token exemplars of a a much larger movement. Now I am just hoping that someone writes a complete guide to the mural, explaining the origin of each tag and showing examples of each artist’s work.
For the 12th International Architecture Exhibition in Venice, Director and 2010 Pritzker Prize winner Kazuyo Sejima invited Hans Ulrich Obrist to realize the Now Interviews, six days of live public interviews. The Now Interviews will be on view from August 29 – November 21, 2010. From August 22 through 27, Obrist developed what he calls “a portrait of an exhibition” encouraging viewers to consider the diverse practices of all the participants in this year’s Biennale, which Sejima has united within the theme “people meet in architecture.” Located in the Arsenale designed by SANAA, the exhibition of the Now Interviews are installed on a series of monitors for the duration of the Biennale. In addition, the 2006 Serpentine Gallery 24-Hour Interview Marathon archive will be shown in its entirety. The Now Interviews are curated by Karen Marta.
In the second part of VernissageTV’s interview with Hans Ulrich Obrist, the curator and director of the Serpentine Gallery talks about the main idea of the project in Venice, the exhibition layout and new insights he took from his stay in Venice.
The Now Interviews at the Architecture Biennale Venice 2010: Interview with Hans Ulrich Obrist, part 2/2. Venice, Italy, August 27, 2010.
Jonathan Monk, "Painted Process Still no. 11 (Process Documentation)," 2009 Oil on canvas, 40.9 x 29.1 inches Courtesy of the artist and Casey Kaplan, New York
Gerhard Richter, "R.O., 22.1.1984," 1984 Watercolor on paper, 5 1/8 x 7 1/8 inches Private Collection, Berlin
The Drawing Center
September 11 – November 18, 2010
The Drawing Center announces Gerhard Richter: "Lines which do not exist", a new iteration of an exhibition first presented at mima, Middlesbrough Institute of Modern Art, UK, in 2009. This presentation features a selection of 50 abstract graphite, watercolor, and ink on paper drawings made from 1966 to 2005. While Richter's painting has enjoyed critical acclaim throughout the world, his drawing practice remains more opaque and enigmatic.
ArtAsiaPacific magazine
September/October #70 Issue
As events such as biennials and festivals and the flow of commercial and intellectual capital make the world smaller, ideas of thinking locally, notions of home and conditions of connectedness loom large. Anticipating a cavalcade of biennials in the second half of 2010, ArtAsiaPacific's September/October edition looks at the work of artists who are acclaimed internationally for embracing their own particular place.
Kunsthallen Brandts
10 September 2010 – 9 January 2011
Kunsthallen Brandts will be opening the exhibition Stir Heart under the heading Short Notice, an exhibition concept making it possible to show exhibitions on short notice.
Retro Futurism
December 2010 (Exhibition)
October 10, 2010 (entry deadline)
About the Exhibition: Retro Futurism is an exhibition that looks at the present and the future through the lens of the past.
What did the past get right about the future? What do you wish it had?
What are you glad it didn’t? What are your hopes for tomorrow?
What ideas today will be quaint “rocket cars” of tomorrow?
About The Theme:
We are not just looking for cool images (although those can work) but ideas that resonated then, still do, and will hopefully into the future. Concept driven work is fully emphasized.
Eligibility:
Open to all artists worldwide, except students enrolled in an undergraduate program.
How to Submit Your Work:
Please submit the following items in one email to retrofuturism-rhizome@spacecampgallery.com
1. Up to 5 artworks
a. You may include up to 3 views of detailed or 3D work)
b. JPG or PDF for non-moving work
c. MP4, WMA, or Quicktime for video or other time based work
2. Artist Statement about the work
3. Artist Biography, 3rd person
4. Artist Resume or CV
5. Image List including size, media, date, and sale price (if for sale)
6. List of special instructions/requirements for installation
--------------------------------
Please include your name in each file title (i.e. Jane Doe, Resume.doc)
Messages are limited to 25MB
o Links are acceptable for large video files
All documents must be in either Word or PDF format.
--------------------------------
Review and Selection:
Work will be reviewed by the curators. Artists will be contacted by October 30, 2010 and informed what works are selected for the exhibition. Work will be due to the gallery by November 20, 2010.
Costs:
There is no submission fee to enter or participate, but artists are responsible for shipping both directions.
Artists will receive 70% of the sale price for anything sold during the show.
Dates to Remember:
Submissions due: October 10, 2010
Artists informed of artwork selected for exhibition by: October 30, 2010
Work received by gallery: November 20, 2010
Exhibition: December 2010
Opening Reception: December 3, 2010, First Friday Art Walk
Artwork returned: Mid-January
About the Location:
SpaceCamp MicroGallery is a small contemporary arts gallery located in the Murphy Arts Building in Indianapolis, Indiana. SpaceCamp is dedicated to bringing small (size wise) but large (idea wise) national and international art to Indianapolis. The co-gallerists are Flounder Lee, Paul Miller, and Kurt Nettleton. www.spacecampgallery.com
The Murphy is a collection of galleries, studios, and restaurants. It is also the temporary home of the Indianapolis Museum of Contemporary Art. The Murphy and SpaceCamp are located in the Fountain Square Arts District near Downtown Indianapolis.
As much the conjuror’s trick as the conspirator’s plot, Smoke and Mirrors refers to a careful act, fully conceived and artfully deceptive. Within the realm of an artist’s reflection, it becomes a space worth investigating.
The University of Oklahoma School of Art & Art History invites submissions from artists that relate to concepts of deception, illusion and the unknown. Artists are encouraged to interpret the title, Smoke & Mirrors, in a variety of ways. Selected work will be exhibited in the Lightwell Gallery at the School of Art & Art History from November 29 through December 10.
Eligibility
All media is accepted. We are especially interested in film, video, photography, sculpture and performance. Proposals for new projects are also accepted and should be accompanied by three examples of past work. For non-proposals, each artist may submit up to three pieces. There is no entry fee, but entrants are responsible for shipping and return costs.
About the gallery
The Lightwell Gallery is located in The School of Art & Art History at the University of Oklahoma. Vertically inclined, the space is well lit by skylight and visible from three stories. Due to the unique structure and spatial acoustics of the space, we encourage artists to consider its dimensions when choosing work to submit.
For more Info (& to download Prospectus/Entry Form): www.smokenmirrors2010.com
Yoshitomo Nara’s show at Asia Society doesn’t open until Thursday, but his outdoor installation on Park Avenue is already in place. The work, White Ghost, comprises two 12-foot-tall sculptures made of fiberglass and steel that face each other from pedestals on the median that runs along Park. One is at 70th Street, right across from Asia Society, and the other is at 67th Street, in front of the Park Avenue Armory, where Nara worked on finishing touches for the show. The sculptures are presented by Asia Society, the Art Production Fund, the sculpture committee of the Fund for Park Avenue, and the New York City Department of Parks and Recreation. Asia Society has some nice shots of the installation of the pieces.
Journal of Fine and Studio Art (JFSA) is an open access journal that provides rapid publication of articles in all areas of the subject.
The Journal welcomes the submission of manuscripts that meet the general criteria of significance & excellence. All articles published in JFSA will be peer-reviewed.
The types of paper that are accepted are:
- Regular articles
- Short Communications
- Reviews
The Journal of Fine and Studio Art will be published monthly (one volume per year) by Academic Journals.
Editor: Dr Eugenia Fratzeskou International Editorial Board: Dr. Edward Peter Kelly, Dr. Jonathan Zilberg, Dr. Julian Voss-Andreae, Dr. Luís Loures, Rob Harle.
NewMediaFest’2010
---------------------------------------------------------
program- week 37 ---> 6-12 September 2010
http://2010.newmediafest.org/?p=1024
---------------------------------------------------------
Feature of the Week 37
http://2010.newmediafest.org/?p=1027
A Virtual Memorial Foundation
Memorial for the Victims of Terror
http://terror.a-virtual-memorial.org/
On occasion of the 9th return of the 11 September attacks 2001,
A Virtual Memorial Foundation is relaunching
the -Memorial for the Victims of Terror-
--------------------------------------------------------
2.
--------------------------------------------------------
Feature of the Month September 2010
http://2010.newmediafest.org/?p=1015
VideoChannel Cologne
is pleased to launch the Feature of the Month September
-->
Fonlad Festival, Videolab Project Portugal and artvideoKOELN present
Videoart from Portugal
curated by Pedro Almeida & Sergio Gomes
-------------------------------------------------------
3.
-------------------------------------------------------
Feature of the Month September 2010
http://2010.newmediafest.org/?p=1017
SoundLAB VII - soundCELEBRATION
was releasing on 1 September 2010,
the 7th edition of SoundLAB in sequence since 2004,
celebrating soundart at it’s best on occasion of the
10th anniversáry of ||cologne
as the highlight of 7 years promoting soundart
as a creative form of digital art.
-------------------------------------------------------
4..
-------------------------------------------------------
SIP - SoundLAB Interview Project
http://sip.newmediafest.org/?p=414
is pleased to release the new interviews with
Luke Munn (NZ)
Gaia Bartolini (Italy)
Dario Lazzaretto (Italy)
John Transue (USA)
Philip Mantione (USA)
Guenther Schlienz (Germany)
---------------------------------------------------------
NewMediaFest'2010
10 Years :||cologne
global heritage of digital culture
1 January - 31 December 2010
http://2010.newmediafest.org
director and chief curator: Wilfried Agricola de Cologne
Episode 4 next Monday features Curators Bob Cozzolino of Pennsylvania Academy of the Fine Arts and Sid Sachs of Rosenwald-Wolf Gallery in a heady discussion about public art. In the short sample below, hear Sid opine that money should not be spent just to spend money because it spawns a lot of bad art. Hear Bob asking Sid to name some bad public art in Philadelphia… Listen to the entire episode on Sept. 13.
