implicit art

Fantastic DATA on Tuesday with Alessandro Ludovico (Italy), Jaime Villarreal (Mexico), Ivan Twohig (Ireland).

Ivan showed several projects including his Falling Man, which turned free 3D graphics of a falling man into life-size paper sculptures throughout a gallery. Alessandro showed his Google Will Eat Itself and Amazon Noir, and Jaime did a live networked performance with junk and micro-controllers, making music in real-time with his friends in Mexico while here in Dublin.

Heaps of photos here. A few samples:

See more photos.

The Dublin Art and Technology Association is having a hot month!

8pm Tuesday 29 April
Science Gallery, Trinity College, Dublin
Guests: Alessandro Ludovico (Italia), Jaime Villarreal (Mexico), Ivan Twohig (Ireland)

See the flyer at full size.

DATA:EVENT:30 - * Special 30th Event Anniversary*

Alessandro Ludovico (Italia):
Alessandro Ludovico, 1969, lives and works in Bari, Italy. He is a media critic and the editor in chief of the magazine Neural from 1993 and was awarded with a “Honorary Mention” for Net.Vision at Prix Ars Electronica 2004. Alessandro Ludovico is one of the founding contributors of the Nettime community and one of the founders of the organization “Mag.Net (Electronic Cultural Publishers)”. www.neural.it

Jaime Villarreal (Mexico):
Jaime Villarreal is an artist, technologist and researcher whose work explores the use of emerging technologies and electronic media as tools for creative expression. He works at the Centro Multimedia of the National Center for Arts of Mexico where he researches and develops creative applications of computer graphics programming and electronics. He is 1/2 of the electropunk/hardcore band “555vs666″ and 1/3 of the audiovisual performance group “rrr”. Jaime will be performing with his collaborators Sonida RRR live from Mexico City using networked electronic instruments. Dublin heads will also be taking part using instruments they’ve built in local workshops at NCAD and the Science Gallery.

Ivan Twohig (Ireland):
Ivan Twohig is an artist and student of the Ncad (2nd year MA, Art in the Digital World) His work operates at the convergence between fine art, architectural design and pop culture.� He works across a range of media including electronic art, video, sculpture, installation, net art, drawing and text based work.

All D.A.T.A. events are FREE and open to the public!

Fantastic interview here. Snippet:

Two years ago Caitlin Jones observed in NYFA Current that net artists working in multiple formats were increasingly finding venues to show. Today, the art world is still figuring out how to manage the practicalities of dealer and artist relationships. I spoke with Aron Namenwirth, of artMovingProjects, in an effort to better understand the challenges, and solutions, digital media presents to contemporary galleries with a focus on New Media. - Paddy Johnson

One topic that’s come up on Rhizome’s blog is the rematerialization of art (the idea, according to Ed Halter, “that innovations such as the flat-screen monitor, the digital print, and the editioned DVD, have helped transform immaterial forms like video and net.art into a new generation of physical, sellable objects”), so I wanted to talk to you about this a little. Is it critical to display new media art in the gallery?

I think new media art, like old media, needs a physical place for critical and social discourse. On the computer screen in the privacy of your home, you can do research, and email other professionals on the merits of a piece, but it’s not the same as looking at it in a real space, walking around it, and experiencing it. A lot of new media work requires interaction, and that interaction is mediated by the spectator and the user together.

Tom Moody, OptiDisc, 2007 (Installation at artMovingProjects)

It seems to me that there’s a lot to be said for going into a space, and experiencing that work with someone else too. A dialog can occur, that, as you mention, is more spontaneous. Which I think can be important for new media, particularly because the bias of the medium is “cold.”

Of course, the beauty of some new media art projects is that you can view it anytime you want online.

Right, which presumably has its pluses and minuses for dealers. I know you have been working on a contract between the artist and gallery. I thought maybe we could discuss some of these details a little, because I imagine they’re really important to both artists and dealers.

Sure. The contract I’ve drawn up is an agreement between the artist and artMovingProjects. It’s binding for the life of the working relationship between artist and the gallery, and that’s actually how the document starts. The stipulation is for one piece of the artist’s oeuvre — and that’s what’s so different about it than other gallery contracts. Typically, the contract between the artist and the gallery represents all the artist’s work, and ties the artist to the gallery. In this case, the artist is free to work for many different venues simultaneously, which is a real plus.

Well, there are examples of independently working artists in traditional mediums that seem to do okay, but it is very rare.

Yes, and this is very specifically tied to the intellectual content. It stipulates that the artwork will only be sold with permission of the gallery at the agreed piece in perpetuity….With editions, and video, the dealers typically increase the price of the edition as it is sold, and I feel that that’s not such a great idea in the short term because it creates undue pressure on the collector. Also, part of the contract stipulates that any deals the artist makes outside the agreement involving others will not be supported by the gallery without authorization in writing. Further, should the artwork be sold without permission in writing this will end the relationship between the artist and the gallery.

To read the full piece click here.

Haydn Shaughnessy, founder of Gallery ICA and Ten Cubed gallery (the former in Kinsale, Ireland and latter in Second Life), has shifted his blog from a more tech - convergence - journalism focus to new media art musings. The most exciting feature is his “image of the week,” where he scours the internet for tech-related art and posts this with a short feature on the artist or designer. Some lovely stuff thus far. Check it out. (Disclosure: I show/work with Haydn! But this is precisely cuz I think he’s great….)

Marcus is one of my favorite people and favorite contemporary artist-thinkers in South Africa. This his his first solo exhibition there (as far as I know). GO!

in two minds
Marcus Neustetter

Please join us for the opening on Saturday 5 April 2008 at 14:00
The exhibition is accompanied by an artist’s book

Preview by appointment
The exhibition closes on 26 April 2008

Marcus Neustetter Tswaing Meteorite Crater (detail) 2008 digital print on paper 700 X 1000mm

Although Marcus Neustetter’s latest exhibition at Art on Paper Gallery invokes processes of mapmaking - representing space by drawing it in two dimensions on a map - it is not about conventional cartography. Rather, he introduces the element of motion into the mapmaking process, intimating the aspect of time in the exploration of geographical space. In fact, Neustetter’s art is about finding a method of referring to our experience of the coalescence of space and time.

On the last evening of Neustetter’s ascent of Kilimanjaro in December 2006 the night was so clear that the lights of the city of Moshi at the foot of the mountain seemed to be reflected in the stars of the sky. The sky above could as well have been a map of the landscape below. Neustetter generated digital maps of these reflections exploring the structural similarities of various spaces at specific times.

Marcus Neustetter considers his solo exhibition as an opportunity to articulate his ideas and concepts about dealing with a profound personal experience, and searching for the relationship between seemingly random occurrences in his life and subsequent visual ‘translations’. The exhibition includes an installation, digital traces, drypoint prints, drawings, photographs and images presented on SANSUI LCD screen.

Marcus Neustetter was born in Johannesburg on 14 November 1976 and attended the Deutsche Schule zu Johannesburg. He obtained his Bachelor of Arts in Fine Arts at the University of the Witwatersrand, and his Masters Degree in 2001. During this time he launched sanman (Southern African New Media Art Network). He has been a professional artist since 2001 and, in partnership with Stephen Hobbs, has been developing The Gallery Premises, The Trinity Session and their artistic collaboration, Hobbs/Neustetter, as documented in www.onair.co.za

Marcus Neustetter lives and works in Johannesburg, South Africa.
www.marcusneustetter.net

Art on Paper Gallery
44 Stanley Avenue Braamfontein Werf (Milpark)
P O Box 91476 Auckland Park 2006 Johannesburg South Africa
+27 11 726 2234 info@artonpaper.co.za
www.artonpaper.co.za

Event: D.A.T.A. No. 29
Speakers: Dr. Sarah Cook, Rob Costello, Alan Butler, K Bear Koss.
Date: Wednesday April 2nd, 2008, 7.30-9pm
Venue: Hop House, 160 Parnell St., Dublin 1
Admission: FREE!!!

The Dublin Arts and Technology Association is proud to present D.A.T.A. No. 29, taking place at the now legendary Hop House, Korean Bar and Restaraunt, 160 Parnell St.

D.A.T.A. No. 29 will be, as usual, an informal gathering of interested parties, open to the public, where a group of invited speakers will present their art/technology practice and work-in progress.

Sarah Cook
Dr. Sarah Cook is a curator of media art and co-founder of CRUMB, an international website and mailing list for media art curators (http://www.crumbweb.org). She also holds a post-doctoral research position at the University of Sunderland (Leverhulme Early Career fellowship 2006-2008), where she has been working with Professor BerylGraham; they have co-authored a book on curatorial practice and new media art, forthcoming from MIT Press. In 2008, Sarah will be an AHRC-funded Curatorial Fellow at EYEBEAM in New York. Sarah’s recent curatorial projects include “Broadcast Yourself” (http://www.broadcastyourself.net with Kathy Rae Huffman) for the AV Festival 2008, Hatton Gallery and Cornerhouse Gallery (UK) and “My Own Private Reality” 2007 (http://myownprivatereality.wordpress.com with Sabine Himmelsbach) for the Edith Russ Site for Media Art (Oldenburg, Germany).

As part of her longstandin relationship with the Banff Centre’s New Media Institute and the Walter Phillips Gallery, she co-curated “Database Imaginary” (2004) with Steve Dietz and Anthony Kiendl (http://databaseimaginary.banff.org) and “The Art Formerly Known As New Media” (also with Steve Dietz) to celebrate the 10th anniversary of new media art research at Banff. Sarah will talk about the background curatorial processes of these exhibitions, and the issues surrounding the installation and documentation of new media art.

Rob Costello
Robert Costello is a recent graduate of NCAD and performs live electronic music under the name Sounds of System Breakdown. For D.A.T.A. he will be talking about his practice including his new work ‘?XY?’ which is a synesthetic artwork that relates physical position to automatically generated audio. The participant can explore the effects created by musical parameters such as pitch, tone, harmony and phase by walking around the gallery space while wearing a set of headphones.

Alan Butler
Alan Butler is an artist living and working in Dublin. His work has been exhibited internationally and he has curated exhibitions for the Dublin Fringe Festival, Monster Truck Gallery and Studios and Temple Bar Gallery & Studios. For D.A.T.A he will be talking about his own art practice and various projects he has worked on. www.newmediaart.co.uk

K Bear Koss
Whether it is paintings or interactive sculptures, Koss’ body of work is influenced by, and comments upon, over a decade of research into physiological and psychological growth and development. Recent projects have focused on creating dialogue on the increasing intimacy between biological and technological systems. He has lectured at Vincennes University and DePauw University in the USA, and The National College of Art and Design in Dublin, and is currently the director of Moxie Studios in Dublin.

My president:

And, I must also quote Andrew Sullivan’s first response in full:

Alas, I cannot give a more considered response right now as I have to get on the road. But I do want to say that this searing, nuanced, gut-wrenching, loyal, and deeply, deeply Christian speech is the most honest speech on race in America in my adult lifetime. It is a speech we have all been waiting for for a generation. Its ability to embrace both the legitimate fears and resentments of whites and the understandable anger and dashed hopes of many blacks was, in my view, unique in recent American history.
And it was a reflection of faith - deep, hopeful, transcending faith in the promises of the Gospels. And it was about America - its unique promise, its historic purpose, and our duty to take up the burden to perfect this union - today, in our time, in our way.
I have never felt more convinced that this man’s candidacy - not this man, his candidacy - and what he can bring us to achieve - is an historic opportunity. This was a testing; and he did not merely pass it by uttering safe bromides. He addressed the intimate, painful love he has for an imperfect and sometimes embittered man. And how that love enables him to see that man’s faults and pain as well as his promise. This is what my faith is about. It is what the Gospels are about. This is a candidate who does not merely speak as a Christian. He acts like a Christian.
Bill Clinton once said that everything bad in America can be rectified by what is good in America. He was right - and Obama takes that to a new level. And does it with the deepest darkest wound in this country’s history.
I love this country. I don’t remember loving it or hoping more from it than today.

Last Thursday saw DATA - the Dublin Art and Technology Association - # 28 at our temporary venue, Dublin’s Science Gallery. It was a great and energetic night with a diverse crowd and lots of dialogue, plus a few beers afterwards just down the road. Thanks to everyone for coming! All photos by Ralph Borland unless otherwise noted.

A recent graduate from DCU, Charlie von Metzradt is a software engineer by day and electronics tinkerer by night. He is irked by human-computer interface annoyances and any piece of technology that doesn’t read his mind. At DATA, Charlie presented a motion-sensitive iPod remote control, built into a set of headphones. The ‘Tiltphones’ measure what way your head is oriented and your iPod reacts accordingly. Charlie talked about his motivation for building it, how the system works and what you’d need to make your own. The audience tested them on various models, triggering music, video and photo iPods.

We flew in Michael Szpakowski - an artist, composer & educator – from London, to talk about his practice over the last few years. His music has been performed all over the UK, in Russia & the USA. He has exhibited work in galleries in the UK, mainland Europe & the USA. His short films have been shown throughout the world. He is a composer & video artist for Tell Tale Hearts Theatre Company & a joint editor of the online video resource DVblog. At DATA Michael showed some recent & not so recent work and talked about how it has not always had apparent roots in technology and the web. Pictured, he is in classic Michael excitement style, alongside a snap of a lovely video work about his father.

Joan Healy’s work is a playful interpretation of interactive technology and the objectification of the body in performance art. Her most recent work attempts to grotesquely imitate current scientific trends in bio-mimetics, using human body hair as a instrument to uncannily create sound and creating performances that parody computer touch-screen interface technology. The technological commodification of the individual/body is examined in her performances using props made from low-tech, DIY and found materials. The performer’s body becomes a tool or automaton used by indiscriminate audience members to be touched and played with. This invasive form of interaction is a transgression of social norms of respecting personal space and it toys with the feeling of embarrassment that is inherent in any performative activity. Video documentation on: http://www.vimeo.com/724001
Pictured above is the most popular of what she presented at DATA: dancing meat (powered by servo motors and activated through music).

(images from ciaraomalley.com)

Sven Anderson has been working with installation and performance art in Dublin since 2002.  His projects focus on integrating sound and video within specific architectural sites and public spaces.  His work has been installed and performed in Ireland, England, Germany, and the US.

At DATA, he spoke about ‘Streets: Past, Present, and Future,’ a community artwork realized as a collaboration with artist Ciara O’Malley, Fire Station Artists’ Studios, RPA (Railway Procurement Agency), and a collection of individuals and community groups in North Inner City Dublin.  Combining video, text, and sound within two large-scale video projections and a multi-channel sound system installed within the Luas terminus at Connolly station, this project explores the relationships that exist between specific communities and the changing urban space that surrounds them. The artwork is currently in its final stages of installation. Sven discussed its design and technical setup, his experiences working in the community, larger issues concerning the project’s themes, and obstacles encountered bringing the project to its completion.  He  also addressed the dynamics that the project creates between the communities that it represents, the institutions that support it, and the public space in which it is experienced.

Great night - thanks again to all who came and participated!