technology

Archives

22 April 2008 by nathaniel

DATA 30: Alessandro Ludovico, Jaime Villarreal, Ivan Twohig

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 30

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!

Archives

15 April 2008 by nathaniel

Marcus Neustetter walkabout @ Art on Paper Gallery, Johannesburg

in two minds, Marcus Neustetter
a chat with the artist on Thursday 17 April 2008 at 18:00 – 20:00

Art on Paper Gallery, 44 Stanley Avenue Braamfontein Werf (Milpark), Johannesburg South Africa

Marcus Neustetter: in two minds, site-specific installation, 2008
Marcus Neustetter: in two minds, site-specific installation, 2008

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

The exhibition closes on 26 April 2008

Archives

10 April 2008 by nathaniel

Printmaking Today (and a minor kvetch)

My hard drive died last week, which sucked. I didn’t lose anything important like art or my PhD (thank goodness), but it’s taken days just to get back to running, due to file and email jumbles on various drives, etc (still not quite there, and will have some crazy organizing to do in my spare time – files everywhere! – over the next few months…).

Anyhow, lost somewhere in the gambit was this 2-page feature on David Krut projects – featuring li’l ole me! – in Printmaking Today magazine…

Read it.

Archives

10 April 2008 by nathaniel

Paddy Johnson interviews Aron Namenwirth of artMovingProjects

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.

optidisc.jpg

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.

Archives

07 April 2008 by nathaniel

new media art: image of the week

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….)

Archives

04 April 2008 by BradyDale

Artist-Blog versus The-Work-Itself

Every artist should have a website, or at least a blog. This is a point I’ve been making to a friend of mine who’s trying to make her creative way in New York City. She’s doing this and that, meeting with little successes here and there, but it isn’t quite adding up to something whole yet. If she had a website, I argue, it could help people see her body of work. Plus, it would help her be accountable to herself and other artists. The web helps artists keep going in more ways than mere self-promotion.

That said, a tension will develop between your site and your work, especially if you blog. Copyblogger says that he developed the blog not to become a pro-blogger, but because he saw it as a way to become better known in the circles where he does his real work. I think that’s right. If you’re a good sculptor, you should start a blog so that people are interested in sculpture will find out more about your work, your thoughts and your creative process. The hope being that some of those folks are interested enough to buy and they will.

The trouble is, you still have to keep up the blog.

As I’ve been working on my Earth Day Card, I’ve been spending much less time in front of the computer. This has become a sort of guilt inside me, that I’m not generating some semi-interesting new essay every day for folks to read or find or think about. I’ve started to feel a responsibility to the netizens. Once upon a time, I would go to bed proud and content if I’d gone to the gym and spent two hours at the drawing board after a workday. Now, I feel like something is undone if I don’t write something here. Like I didn’t brush my teeth. Or I didn’t make my bed.

Okay, I never make my bed.

So I thought about this tension, and came up with some mental strategies the artist-who-blogs can use to make sure the blog serves you and you aren’t serving the blog:

  • Blog about your artwork. This is the most important rule I’ve got for you. If your best work is your sculpture/writing/video/comix, then that’s what you will write the most interesting posts about. Plus, if you’re writing about your real work then you are thinking about your real work and you’ll get back to it.
  • Blog first – but keep it short. You don’t really have to blog every day, but if you’re going to carve out some time to blog, then you should carve it out before starting your real creative work. Let blogging clear out the cobwebs in your head before you start working, but if you don’t finish the post in the time allocated, hit save as draft. Your public can wait a day.
  • Your process is interesting, so blog about it. Don’t interpret your work at the end. That’s not a story. The story is how that crazy stuff you do comes together! We all think our creative process is boring. We don’t see why anyone would want to hear about the fact that we take an old racquetball into the backyard and bounce it against a wall in time to the lyrics we’re composing. It is interesting, though. An artist’s bizarre little creative quirks are, perhaps, the most interesting thing he or she has to write about. So write about it.
  • Blog about your progress. I need to do this more. Try to read and be read by some other similar artists, so you know that other folks that will understand are reading about it when you write about how far you’re getting. Maybe it’s just me, but I find accountability motivational. I want people to know if I’m trucking along or if I’m on dead center, and knowing that someone is seeing those reports makes it more motivational.

If you’re an artist-who-blogs, it would be great to hear you say whether or not you feel this tension, like I do. Is blogging giving you a more short-term view of creativity? Is there a tension between long projects and punchy posts? How much time does blogging take up for you? Do you have balancing strategies of your own? Do you think mine are wrong-headed?

I’m still working on convincing my friend to start her own blog. Once we’ve got her on-line and she’s feeling comfortable with the Internet, I’ll make sure you all know where to find her. Till then, I took today off so I could finish the inks on page one of my Earth Day Card and get page two drawn. So I’d better get off here and back to work! What are you getting done today?
___________________
BradyDale keeps up ThisTooWillPass.com

← Older posts
Newer posts →