홀리스 프램튼 작품 몇 점

Zorn's Lemma (1970, 58 mins)




Maxwell's Demon (1968, 3mins)




Pan 3 (2 Mins)




Poetic Justice (1972, 32 mins)




Noctiluca (1974, 3 mins)









Critical Mass (1971)




Gloria! (1979, 10 mins)



Heterodyne (1967)





Two and a Half Minutes of Surface Tension (1968, clip)

더 가볼 곳

http://hollisframpton.org.uk

Robert Huot

Robert Huot

When I think about my work as an artist, it seems I always go back to the point at which I began to think of myself as an artist, the moment I saw the possibility and considered using a major portion of my day for “Art” activities. This happened when I was an undergraduate chemistry student at Wagner College. I had always drawn, painted and made all sorts of things but never thought of these as “Real Life” activities. The only adult I knew who made art was the town barber who decorated his shop on holidays.


At Wagner College I met a few students who were feeling what I was feeling, and a teacher, Tom Young, actively involved in the Abstract Expressionist movement. Soon I was hanging-out on Tenth Street and drinking beer with a lot of fine artists at the “Cedar.” I finished my degree in chemistry, took a few art courses, and painted. I worked, by chance, as a pigment chemist for a year and was drafted into the army. While in the army I decided I’d better make some moves to put me in the thick of it (Art | Artists).

I had no real formal training, So I thought Education – graduate school was for me. I’d heard Robert Motherwell was at Hunter so I decided to go there when I finished my two years in the service.

When I got to Hunter, Motherwell was gone but there were other teacher-artists and students who were just what I needed – Bultman, Sugarman, Parker, Morris, Ohlson, and more. I spent 3 or 4 semesters at Hunter and got much from my associations. I quit my chemistry job and ran a small paint factory for Nate (Neti) Berman. We made some good quality, inexpensive oil paint in large sizes for artists, but the trend was to acrylic, so after a year we closed the factory. I went on unemployment and painted ‘till my benefits ran out. Luckily, Gene Goossen (Hunter) offered me a part-time job teaching discussion groups in introductory Art History. It was sink or swim, and I swam.

In winter of 1962 Bob Morris and I began to work on a performance “War”. We presented it at Judson Church in early 1963. My “official” art career had begun.

In 1999, I was part of group of artists that were photographed by the Whitney Museum of American Art as part of their “American Century: Art and Culture, 1900-2000″.

- Robert Huot -

번역

정서연

원문출처

http://www.roberthuot.com//bio/

보이지 않는 적

Invisible Adversaries
Counter Cinema/Counter Media


2013.1.11
Film Studies Center

“Breaking free of conventional unities of body, space and time, this early feature by one of Europe's leading feminist filmmakers is a haunting excursion into psychic disintegration and crumbling identity. It loosely covers one year in the life of Anna, a young Viennese photographer increasingly convinced that the Hyksos, a hostile alien force, are invading people's bodies and responsible for the decay and rising violence around her. Valie Export skillfully exploits montage and integrates video, performance and installation art with elements from Cubism, Surrealism, Dada and avant-garde cinema.”—Women Make Movies
(Valie Export, Austria, 1976, 16mm, in German with subtitles, 108 min)

번역

정서연

원문출처

http://filmstudiescenter.uchicago.edu/events/2013/invisible-adversaries

Our Bodies Your Selves

Our Bodies Your Selves

Counter Cinema/Counter Media


2013.2.7
Film Studies Center

Four recent works that perform gender and resistance: from sex-play critique to gender outlaws, from hunger strikes to the reconstitution of an archived martyr. Curated by film and video maker Jason Livingston.

Love It or Leave It(Dara Greenwald and Bettina Escauriza, 2007, video, 7min)

OPERATION INVERT(Tara Mateik, 2003, BetaSP, 12.5min)

Notre corps est une arme – PRISONS(Clarisse Hahn, 2012, video, 12min)

BERNADETTE(Duncan Cambell, 2008, Digibeta, 37min)



Jason Livingston is a film and video maker from Upstate New York. His work has been programmed at many festivals and venues, including the Rotterdam International Film Festival, Anthology Film Archives, the Austrian Film Museum, the Margaret Mead Film Festival, and Ann Arbor. He is a recipient of a New York State Council of the Arts Individual Artist Grant for his work-in-progress, INTERSTATE, a long-form video essay about video collectives, the Socialist Workers Party, the Onondaga Nation, family history, political economy and disco. In addition to making moving images, he has worked in film exhibition, most notably with THAW in the late 1990s and with Cornell Cinema from 2002 - 2004. He occasionally writes about cinema for such publications as Afterimage and The Brooklyn Rail.

번역

정서연

원문출처

http://filmstudiescenter.uchicago.edu/events/2013/our-bodies-your-selves

반영화로서 21세기 퀴어영화

Queer Cinema as Counter Cinema in the 21st Century

Counter Cinema/Counter Media

2013.2.20

Film Studies Center

Nick Davis, Assistant Professor of English at Northwestern University, explores recent practices in global queer filmmaking from artistic, ideological, and theoretical vantages, assessing how they function as “counter cinema” and how they expand or depart from prior, collective impetus within LGBT filmmaking. Compared to the much-heralded New Queer Cinema of the early 1990s—influenced strongly by postmodernist aesthetics, AIDS activism, and queer theory’s critiques of identity politics—more recent queer cinema is often arraigned as diffuse in both its cinematic and its counterpublic orientations. This talk confronts two seemingly opposed projects that have been ascribed to recent queer cinema on a global scale: a reclaiming of realism, in both narrative and photographic senses, and a heightening of abstraction, often within enigmatic national allegories that make queer or crypto-queer subjects central to both image and story. Both of these trends within queer cinema have been frequently indicted as insufficiently “political.” However, when considered via Gilles Deleuze’s notions of crystalline cinema and of minor aesthetics and politics, each reveals abundant potentials to resist standard ideologies of how images are organized and of how queerness is conceived.

Counter Cinema/Counter Media Series

What is the visual language of opposition? Does the form of resistance matter today? The Center for the Study of Gender and Sexuality's Counter Cinema/Counter Media Project focuses on film and media practices that use form to resist and "counter" dominant film and media outlets, platforms, and traditions. In 2013, the Project will mount a series of talks and screenings curated by project director Jennifer Wild (Assistant Professor, CMS), and international film programmers, makers, collectives, and critics.

번역

정서연

원문출처

http://filmstudiescenter.uchicago.edu/events/2013/queer-cinema-counter-cinema-21st-century-lecture-nick-davis

Visions of Scale: Magnification, Duration, Perspective, Projection

Visions of Scale: Magnification, Duration, Perspective, Projection
9th Annual Cinema and Media Studies Graduate Student Conference

2013.4.5 - 6
Film Studies Center

The Tree of Life, Terrence Malick, 2011

Featuring a keynote address by Mary Ann Doane, "The Legibility of Cinematic Space: Perspective and Scale," the 9th annual Cinema and Media Studies Graduate Student Conference will focus on cinema not only in terms of how it represents the world through juxtaposing images of varying proximity, but also in terms of the aesthetic experience of the viewer.The conference will showcase the work of current graduate students in the field of cinema and media studies, and features a reunion of past graduates of the University of Chicago's Cinema and Media Studies Program and (since 2010) Department of Cinema and Media Studies.


Mary Ann Doane (Film & Media, University of California, Berkeley) is the author of The Desire to Desire: The Woman's Film of the 1940s (Indiana University Press, 1987), Femmes Fatales: Feminism, Film Theory, Psychoanalysis (Routledge, 1991), and The Emergence of Cinematic Time: Modernity, Contingency, the Archive (Harvard University Press, 2002), in addition to a wide range of articles on film and media theory, feminist film theory, sound in the cinema, psychoanalysis, and semiotics. Her publications on the topic of scale in the cinema are major inspirations for this conference, and include "The Close-Up: Scale and Detail in the Cinema," "Scale and the Negotiation of 'Real' and 'Unreal' Space in the Cinema," and "The Location of the Image: Cinematic Projection and Scale in Modernity."



Conference sponsors include Franke Institute, Department of Cinema & Media Studies, Tom Gunning Mellon Foundation Distinguished Achievement Award, Film Studies Center, The Alumni Association, Mass Culture Workshop, and The Humanities Division Graduate Student Council.

번역

정서연

원문출처

http://filmstudiescenter.uchicago.edu/events/2013/visions-scale-magnification-duration-perspective-projection

Oscillating Visions

Oscillating Visions: From Underworld to Underground in Japanese Cinema

2013.5.31 19:00 & 6.1 15:00
Film Studies Center

This two-day screening and discussion of art and avant-garde Japanese cinema of the 1960s and 70s complements a retrospective at Doc Films, “From Silence to Pandemonium: Art Theater Guild and Japanese Underground Cinema, 1962-1974.” Between screenings, Alexander Zahlten (Harvard University) and Tom Gunning will lead discussion on the aesthetics and politics of the films, considering their historical context and their relevance to the present.

Friday, May 31, 7pm

A Manual of Ninja Arts [Ninja Bugeicho](Oshima Nagisa, Japan, 35mm, 1967)

Oshima Nagisa created one of his boldest experiments by filming Shirato Sanpei’s legendary manga Manual of Ninja Arts. The result is neither animation, nor anime, nor cinema in any conventional sense. The resistance of the work to easy categorization perfectly matches Shirato’s world of doppelgängers, ghosts, ninja, samurai, and mythical creatures. The tale of a peasants’ rebellion on the eve of a new world order circa 1600,Manual of Ninja Arts is a guidebook to rebellion which quite literally re-draws the lines of art and politics.
Print courtesy of the Japan Foundation.



Saturday, June 1, 3pm

Pandemonium [Shura](Matsumoto Toshio, Japan, 16mm, 1971)

Noel Burch called Pandemonium the “The most important and beautiful film made in Japan since Kurosawa’s prime.” The film opens with an image of the setting sun that burns bright orange and yellow. However, once night falls the film switches to black and white photography for the remainder of its duration. Nakamura Katsuo (Hoichi the Earless” inKaidan) stars as Gengobe, the “48th ronin” of the classic story of the 47 loyal retainers. As with that famous tale, Pandemonium is a story of revenge, but with an overwhelming sense of bleakness and despair. The film has a dream-like quality due to director Matsumoto’s use of repetition and the pervasive darkness.



Saturday, June 1, 7pm

Dutch Wife in the Desert [Koyano dacchi waifu](Yamatoya Atsushi, Kokuei, 35mm, 1967)

At once a soft-core “pink” film and a hard-boiled mystery, Dutch Wife in the Desert tells the story of real estate agent who hires a private detective to investigate the rape and murder of his wife. Although the crime has been captured on 8mm film, it quickly becomes apparent that the disturbing images may not be true, leading to a chain reaction of uncertainty. While perhaps best known as the writer of Suzuki Seijun’s classic Branded to Kill, Yamatoya Atsushi heads even further out in his own film. A deeply surreal experience in which time, perception, narrative, and genre are scrambled in equal measure until nothing is what it seems.




Discussion will follow each screening with Alexander Zahlten, Assistant Professor of East Asian Languages and Civilizations, Department of East Asian Languages and Literatures, Harvard University, and Tom Gunning, Edwin A. and Betty L. Bergman Distinguished Service Professor, Department of Art History, Department of Cinema and Media Studies, and the College.

Sponsored by the Committee on Japanese Studies, Center for East Asian Studies, Japan Foundation and Film Studies Center.

번역

정서연

원문출처

http://filmstudiescenter.uchicago.edu/events/2013/oscillating-visions-underworld-underground-japanese-cinema

Free Radicals: A History of Experimental Film

Art+Process Film Series:Free Radicals: A History of Experimental Film

2012.10.19 19:00
Film Studies Center (시카고)

"The artists and poets of cinema since before WWI have always been free radicals, crazy about filmmaking and pushing the art form in radical new directions. Trapped in a no man's land, excluded both from the art world and the film industry, they boldly created a grassroots network for making and showing their films in a spirit of friendship and solidarity. They also created a profound body of work that continues to influence our culture. I wanted to share with you some movies that I like, and the artists and free radicals that made them." - Pip Chodorov

In this film essay, Chodorov examines the lives and work of such experimental luminaries as Hans Richter, Michael Snow, Peter Kubelka, Stan Brakhage and Jonas Mekas. Named for Len Lye's landmark experimental film of dancing lines and marks scratched into the emulsion, Free Radicalsgives an enthusiastic and accessible introduction to the world of avant-garde cinema.

Filmmaker and film activist Pip Chodorov studied film semiotics at the University of Paris and cognitive science at the University of Rochester, NY. In 1994, he founded the distribution company Re:Voir for the edition of historical and contemporary experimental films. In 2005, he founded The Film Gallery, the only gallery devoted exclusively to experimental film artists. He is a co-founder of L'Abominable, a cooperative do-it-yourself film lab in Paris, and moderator of the online experimental film forum, Frameworks. His own films range from animation to film diary.

(Pip Chodorov, 2010, France, digital, 82 min)

번역

정서연

원문출처

http://filmstudiescenter.uchicago.edu/events/2012/free-radicals-history-experimental-film

2014 타이페이 비엔날레 : The Great Acceleration

Taipei Biennial 2014 The Great Acceleration


2014.9.13 - 2015.1.4
타이페이 미술관 (Taipei Fine Arts Museum)

큐레이터_Nicolas Bourriaud



Taipei Biennial 2014 is pleased to announce the list of participating artists for The Great Acceleration. Curated by Nicolas Bourriaud, Taipei Biennial 2014 is expected to present a wide spectacle consisting of an exhibition, film screenings, live performances, talks, readings, conferences, publications and other special events at the Taipei Fine Arts Museum and at other art spaces and public spaces throughout the city.

51 artists and collectives will appear on the scene: Harold Ancart (Belgium); Charles Avery (UK); Gilles Barbier (France); Alisa Baremboym (Russia); Neil Beloufa (Algeria and France); Peter Buggenhout(Belgium); Roberto Cabot (Brazil); En-Man Chang (Taiwan); Ian Cheng (USA); Ching-Hui Chou(Taiwan); Chun-Teng Chu (Taiwan); Shezad Dawood (UK); David Douard (France); Camille Henrot(France); Roger Hiorns (UK); Xiao-Yuan Hu (China); Po-Chih Huang (Taiwan); Joan Jonas (USA);Hudinilson Júnior (Brazil); Tetsumi Kudo (Japan); Surasi Kusolwong (Thailand); An-My Lê (Vietnam and USA); Kuo-Wei Lin (Taiwan); Maria Loboda (Poland); Jonah Freeman & Justin Lowe (USA); Jr-Shih Luo (Taiwan); Tala Madani (Iran and USA); Abu-Bakarr Mansaray (Sierra Leone and Netherlands); Josephine Meckseper (Germany and USA); Nathaniel Mellors (UK); Marlie Mul(Netherlands); Henrik Olesen (Denmark) OPAVIVARA! (Brazil); Ola Pehrson (Sweden); Hung-Chih Peng (Taiwan); Laure Prouvost (France and UK); Matheus Rocha Pitta (Brazil); Rachel Rose (USA);Pamela Rosenkranz (Switzerland); Mika Rottenberg (Argentina); Sterling Ruby (USA); Timur Si-Qin(Germany); Shimabuku (Japan); Peter Stämpfli (Switzerland); Nicolás Uriburu (Argentina); Patrick Van Caeckenbergh (Belgium); Chien-Ying Wu (Taiwan); Chuan-Lun Wu (Taiwan); Yu-Chen Wang(Taiwan); Haegue Yang (Korea); Anicka Yi (Korea); and other selected works in the Anthropocene room.

The list covers different nationalities from Africa, Asia, Europe, South America, and USA. Taipei Biennial 2014 tends to take a wider, more overall view of the curatorial concept for the biennial around the topic Art and Its New Ecosystem: A Global Set of Relations.

The extent and the acceleration of the industrialization process on the planet have led some scientists to hypothesize a new geophysical era, the Anthropocene. The emergence of this new era, after ten thousand years of the Holocene, refers to the effect of human activities on the earth's biosphere: global warming, deforestation, soil pollution.

But the concept of the Anthropocene also points to a paradox: the more powerful the collective impact of the species is, the less contemporary individuals feel capable of influencing their surrounding reality. The collapse of the "human scale": helpless in the face of a computerized economic system whose decisions are derived from algorithms capable of performing operations at the speed of light, human beings have become both spectators and victims of their own infrastructure. Thus, we are witnessing the emergence of an unprecedented political coalition between the individual/citizen and a new subordinate class: animals, plants, minerals and the atmosphere, all attacked by a techno-industrial system now clearly detached from civil society.

Since the 1990s, art has highlighted the social sphere and held inter-human relations, whether individual or social, friendly or antagonistic, to be the main domain of reference. The French philosopher Quentin Meillassoux raises a fundamental question: how can one grasp the meaning of a statement on data prior to any human form of relationship to the world, prior to the existence of any subject/object relationship? In short, how can one think about something that exists completely outside of human thought? Human consciousness is actually a universal measure. In this context, we can compare it to currency, which Marx defined as an "abstract general equivalent" used in the economy.

Art also plays host to an entanglement between the human and nonhuman, a presentation of coactivity as such: Multiple energies are at work, and logical organic growth machines are everywhere. All relations between different regimes of the living and the inert are alive with tension. Contemporary art is a gateway between the human and the nonhuman, where the binary opposition between subject and object dissolves in multiplicitous images: the reified speaking, the living petrified, illusions of life, illusions of the inert, biological maps redistributing constantly.

The Great Acceleration is presented as a tribute to this coactivity, the assumed parallelism between the different kingdoms and their negotiations. This exhibition is organized around the cohabitation of human consciousness with swarming animals, data processing, the rapid growth of plants and the slow movements of matter. So we find ancestrality (the world before human consciousness) and its landscape of minerals, alongside vegetable transplants or couplings between humans, machines and beasts. At the center is this reality: human beings are only one element among others in a wide-area network, which is why we need to rethink our relational universe to include new partners.

In the light, a new generation of artists is exploring the intrinsic properties of materials "informed" by human activity, including polymers (Roger Hiorns, Marlie Mul, Sterling Ruby, Alisa Barenboym, Neil Beloufa, Pamela Rosenkranz) or the critical states of materials (the nebulizations of Peter Buggenhout, Harold Ancart or Hiorns). But polymerization has become a principle of composition, with the invention of flexible and artificial alloys of heterogeneous elements—as can be seen in the videos of Laure Prouvost, Ian Cheng, Rachel Rose or Camille Henrot, the installations of Mika Rottenberg, Nathaniel Mellors or Charles Avery, the paintings of Roberto Cabot or Tala Madani. Others explore weight, transposing the lightness of pixels onto monumental objects (David Douard, Neil Beloufa, Matheus Rocha Pitta...).

TFAM 역사
In 1976, following the central government’s decision to enhance the cultural life of the City, the Taipei Municipal Government embarked on a plan to build a high-standard museum. The construction was inaugurated in October 1980, and completed in January of 1983 during the mayoral tenure of Lee Teng-hui. Ms. Martha Su from the National Palace Museum was appointed head of the museum’s Preparatory Office. The Taipei Fine Arts Museum (TFAM) officially opened its doors on August 8, and its initial exhibition was unveiled on December 24, 1983.

On September 6, 1986, Dr. Huang Kuang-Nan was appointed TFAM’s first director by the Education Minister of Taipei City. Dr. Huang was later appointed Director of the National Museum of History on February 27,1995. His successor was Mr. Chang Chen-Yu who became director on September 7, 1995. On June 4,1996, Director Chang was replaced by Ms. Liu Pao-Kuei, Deputy Director of the Ministry of Education. The following Museum director was Dr. Lin Mun-Lee, an associate professor of the National Taipei Teachers College who served for four years until July 31, 2000. After Dr. Lin’s departure, Mr. Huang Tsai-Lang, then the Deputy Director of the City’s Department of Cultural Affairs, took up the post on September 1, 2000 and served in this position until March 26, 2007.

On August 16, 2007, Ms. Hsieh Hsiao-yun (Jean Wang), former director of the Cultural Affairs Bureau of Taoyuan County was appointed Deputy Director of the Taipei City Department of Cultural Affairs and the acting Director of TFAM. On January 1, 2009, Ms. Hsieh Hsiao-yun was appointed as the Director of the Taipei Fine Arts Museum.On March 1, 2010 , Ms. Hsieh Hsiao-yun was appointed as the Commissioner of the Department of Cultural Affairs. After Ms. Hsieh’s departure, Ms. Chen Wen-Ling , the Deputy Director of the Taipei Fine Arts Museum, took up the post.On September 15, 2010 Mr. Wu Kwang-Tyng took the position of the Director, and tenure ended on July 31, 2011. From August 1 to September 4, 2011, deputy director Munich Liu was appointed as the acting director of the museum. On September 5, 2011, Weng Chih-Tsung took up the post as the acting director of the museum. On July 2,2012, Huang Hai-Ming takes up the post as the director of the museum.

번역

정서연

원문출처

http://www.e-flux.com/announcements/list-of-participating-artists-announced/

http://www.tfam.museum/Common/editor.aspx?id=78&ddlLang=en-us

Seeing / Sounding / Sensing

Seeing / Sounding / Sensing
MIT Center for Art, Science & Technology Presents Symposium 

2014.9.26 - 27
MIT 

Art, science, and technology are ways of knowing and changing the world. These disciplines frequently draw from each other yet their devoted practitioners rarely have the opportunity for high-level intellectual and cultural exchange.

Seeing / Sounding / Sensing is an intensive two-day event at MIT that invites creative artists to join with philosophers, cognitive neuroscientists, anthropologists, historians, and scholars from a range of disciplines in an open-ended discussion about knowledge production. The goal is to challenge each domain’s conventional certainty about “what is known,” “how we know it,” or “how we can know more,” and to stimulate new issues for possible cross-disciplinary scholarship in the future.

프로그램
Seeing – Color
Friday, September 26, 2014 | 2:00 – 5:00pm
Media Lab E14-674



The visual pathway has been mapped more comprehensively than almost any other perceptual process. Given vision’s privileged status in forming knowledge (“I see”), science has considerable confidence that we are beginning to “know how we know.” But if we focus on a single aspect of sight – proprioceptive sight, or so-called “blindsight,” or color, or synesthesia, or the plasticity of mind that takes haptic signals and “remaps” them onto the visual cortex – we encounter much more complicated terrain. Artists are tireless empiricists when it comes to visual cognition; this session puts them in discussion with scientists, mathematicians, and philosophers to engage new questions about sight, beginning with color.

Moderator: Caroline Jones, Professor of Art History, Theory & Criticism, MIT

Participants:
Tauba Auerbach, Artist
Bevil Conway, Associate Professor of Neuroscience, Wellesley College

Bruno Latour Keynote
Friday, September 26, 2014 | 5:00–7:00pm
Media Lab E14-674

Immanuel Kant founded a philosophy on the notion of a “common sense.” Through sensory experience we would slowly accumulate knowledge of the world, and in sharing it, form human culture. But is there a common sense, or merely convention established through language? Does science form a genuinely alternative way of knowing the world, or merely establish different practices for describing it? In his philosophy and sociology of science, Bruno Latour has established a profound social difference between “matters of fact” that science can produce and “matters of concern” that communities of non-scientists agree on.

Bruno Latour, Professor, Sciences Po Paris

Introduction: David Kaiser, Germeshausen Professor of the History of Science and Senior Lecturer, Department of Physics, MIT

Commentary: Tomaso Poggio, Eugene McDermott Professor of Brain and Cognitive Sciences, MIT

Sounding – Resonance
Saturday, September 27, 2014 | 9:30am–noon
Media Lab E14-674



Metaphorically, in English we “sound out” an idea, a person, or a vessel – sonic explorations of subjectivity or tests of worth. That “resonance” has extensive cultural and cognitive significance. How do we know what we hear? How do we know what is inside our heads and what is outside? Following on the previous day’s session on color, which asked about the relation between the subjective, objective, mathematical, and intersubjective apprehension of color, this session asks about the quality of sound as experience. What is the relation between auditory perception and hallucination? What are the boundaries of hearing? Why does it matter, and to whom? Engaging music and noise, artists and live musicians, installations and recordings, computation and human sensory capacities, acousmata and precise directional signals, this session will explore the ethical and aesthetic components of sound, and why “noise” of many kinds is so central to scientific exploration and the human arts.

Moderator: Stefan Helmreich, Elting E. Morison Professor of Anthropology, MIT

Participants:
Alvin Lucier, John Spencer Camp Professor of Music, Wesleyan University
Mara Mills, Assistant Professor of Media, Culture, and Communication, New York University
Josh McDermott, Assistant Professor, Department of Brain and Cognitive Sciences, MIT
Alex Rehding, Fanny Peabody Professor of Music, Harvard University

Sensing – Actions
Saturday, September 27, 2014 | 2:00–5:00pm
Media Lab E14-674



For many scientists, “sensing” is the final endpoint of numerous pathways of cognition; for philosophers, it has often been the first step in the process of reason itself. Current debates center on whether neuroscience can understand cognition if the subject is constituted through an ongoing negotiation with stimulus grasped by a moving and active body, in which one signal is constantly checked against another, rather than the long-cherished binaries of excitation/inhibition, push/pull, or on/off. In short, some theorists assert that much thinking goes on outside the skull. This session will explore the scientific and cultural basis for prodigious feats of muscle memory, bodily thinking, on-the-spot decision making, and human action.

Moderator: Natasha Schüll, Associate Professor of Science, Technology, and Society, MIT

Participants:
Alva Noë, Professor of Philosophy, University of California, Berkeley
Carrie Lambert-Beatty, Associate Professor of Visual and Environmental Studies and of the History of Art and Architecture, Harvard University
Tomás Saraceno, Artist
Leila Kinney, Executive Director of Arts Initiatives and the Center for Art, Science & Technology, MIT

Evening Performance

Saturday, September 27, 2014 | 7:00pm
Media Lab E14-674

Alvin Lucier, I Am Sitting in a Room, performed by Alvin Lucier
Alvin Lucier, In Memoriam Jon Higgins, performed by Evan Ziporyn
Arnold Dreyblatt, Turntable History, performed by Arnold Dreyblatt

Alvin Lucier, John Spencer Camp Professor of Music, Wesleyan University
Evan Ziporyn, Faculty Director and Kenan Sahin Distinguished Professor of Music, MIT
Arnold Dreyblatt, Professor of Media Art, Muthesius Academy of Art and Design








About MIT Center for Art, Science & Technology
The Center for Art, Science & Technology (MIT CAST) facilitates and creates opportunities for exchange and collaboration among artists, engineers, and scientists. A joint initiative of the Office of the Provost, the School of Architecture and Planning (SA+P) and School of Humanities, Arts, and Social Sciences (SHASS), the Center is committed to fostering a culture where the arts, science and technology thrive as interrelated, mutually informing modes of exploration, knowledge and discovery.

CAST’s activities include:

Curricula
• soliciting and supporting cross-disciplinary curricular initiatives that integrate the arts into the core curriculum and create new artistic work or materials, media and technologies for artistic expression

Residencies
• spearheading a Visiting Artists program that emphasizes creative process, extensive interaction with MIT faculty, students and researchers, and cross-fertilization among disciplines

Support
• assisting in the presentation and curation of performing and visual arts or design relevant to the research of engineers, scientists, and the MIT community as a whole

Programs
• disseminating the creative and intellectual production supported by the Center to the public through performances, exhibitions, installations, and a biennial symposium

Research
• supporting graduate students and postdoctoral researchers whose work advances the mission of the Center

번역

정서연

원문출처

http://arts.mit.edu/cast-symposium/

http://arts.mit.edu/cast-symposium/program/

http://arts.mit.edu/cast/about/

Crime in Art

Crime in Art

2014.5.16 - 9.28

MOCAK (museum of contemporary art in krakow)

Debora Hirsch, The Last Supper, 2002, video, 4 min

Generic Art Solutions, A Study After Innocent 2, 2010, photograph, 111 cm × 76 cm

Crime in Art is the 4th exhibition to date in MOCAK’s series which combines art with the most significant civilisational themes such as history, sport, science and religion. To date, three exhibitions have taken place: History in Art, Sport in Art and Economics in Art. The series aims to demonstrate how many creative inspirations and how much symbolic potential there lurks in the everyday reality. The most recent show, where we shall see works of 40 Polish and foreign artists, reveals various thematic, symbolic and critical possibilities that crime contains.

Crime reveals all the inner fanatical turmoil, bleak helplessness and wrong without atonement. Crime has two sources. It stems either from ‘lesser’ crimes that often go unpunished, because they have been committed in the privacy of the home on the weak and defenceless, who go on to seek revenge on society at large. Or else, crime is instigated by politics and religion. Crime reveals the abundance of evil inside us. It unveils hidden inclinations, the muddle of justice and injustice, experiments on human susceptibility and perverse attractiveness. It is the ultimate lesson in human vulnerability and cultural turmoil.

The exhibition features, among other works, a collection of police portraits dating back to early 20th century, which documents criminals from one of Sydney's poor districts. The photographs do not reveal their offences, leaving room for speculation. Andy Warhol's prints from the Electric Chair series (1971), in turn, constitute a presentation of a specific witness of crime: an object set up in an empty execution room, which becomes a symbol of violence and loneliness of death. Warhol found the photograph of an electric chair so fascinating that he used it in many of his works. A special place in the exhibition will be occupied by the works of the Belgian artist Danny Devos, whose art reveals fascination with the theme of crime and serial murder. Among his other works the exhibition presents those referring to Ed Gein, a serial killer, who made utilitarian objects from dissected corpses, Ted Bundy, Dean Corll known as Candyman and an installation referring to the much-publicized case of actress Elizabeth Short, nicknamed The Black Dahlia, murder.

Very much in the spirit of historical inspirations is A Study after Innocent X (2010) by the art duo Generic Art Solutions. In the 17th century Velázquez's composition, subsequently transformed by Francis Bacon, the artists saw the figure of a convict sitting on an electric chair. The result was a diptich showing a man 'sentenced to an armchair' and trying to struggle against it. The crime of rape is shown in Dorota Nieznalska's Modus Operandi installation (1998). The artist confronts the victim with her assaulter in order to emphasise the helplessness of a woman reduced to an object, the nightmare of the event and the humiliation of interrogations.

The exhibition will be accompanied by a comprehensive publication both in Polish and in English that will develop the themes of the presented works and analyse the significant issues that transpire from the relationship between crime and art. As well as the theoretical texts by Noël Carroll, Brunon Hołyst, Bogusław Habrat, Colin Wilson and Maria Anna Potocka, the catalogue will also have a richly illustrated part devoted to the artists and the works presented in the exhibition.

번역

정서연

원문출처

http://en.mocak.pl/crime-in-art

톤 비겔란 개인전

Tone Vigeland

2014.5.22 - 8.17

KUNSTHALLEN

Skulptur, 2009-2010. Stål, 272 x 200 x 18 cm. Detalj. Courtesy Galleri Riis Oslo / Stockholm. Fotograf Guri Dahl

Skulptur III, 2007. Stål, sølv, H180 x B70 x 80 cm . Courtesy Galleri Riis Oslo / Stockholm. Fotograf Stein Jørgensen

The Festival Exhibition 2014 - Muster. Opens Thursday 22nd of May at 1pm 

This year’s Festival Artist is an international figure central to recent Norwegian art history. Tone Vigeland has won many awards and enjoys almost legendary status in some circles. As a jewellery artist she has occupied a special position since the end of the 1950s. In the mid-nineties, for the first time, she exhibited works that were independent of the body as ‘bearer’ of the objects, and which were instead self-bearing as free-standing sculptural objects. 

In "Muster" Vigeland takes her sculptural activities into what is a hitherto unexplored format for her. The sculptures in this exhibition lie close to a kind of encompassing installation art — where each space is dominated by a single, fully cut work with dimensions that are directly related to the scale of the architecture.

When you see Vigeland’s early jewellery photographed against a neutral background, you lose the sense of the size and function of the object. What may look like a sculpture by Richard Serra, with large heavy surfaces leaning against one another in a strict balance, is perhaps in reality a bracelet consisting of four thin plates in steel and silver. Similarly, a jewel consisting of two hovering lines on metal that are accurately joined at a single crucial point may recall a suspended mobile by the sculptor Alexander Calder. 

Such photographs bring out the parallels of Vigeland’s early jewellery with international modernism — and at the same time with her own later sculptures. But the photographs lose sight of the connections between the objects and the human body, some¬thing that for Vigeland has always constituted an indissoluble link in the jewellery art. If one of the works in the Festival Exhibition was photographed in a similarly ‘neutral’ way, without visualizing the spatial context in which the works are inscribed, you might perhaps think that they similarly look like jewellery. Like the jewel¬lery, these works too are dependent on a ‘bearer’, in this case the actual exhibition space. 

Much has been said and written about Vigeland’s ‘transition to sculpture’ in the nineties. This transition also made it possible to use larger formats, and the Festival Exhibition can in that sense be seen as a natural continuation of an ongoing development. All the same, the large formats do not seem to be the main issue in the exhibition. The format seems rather to be pragmatically adapted to the physical setting of which the objects are a part. 

Vigeland’s works still consist of a few recognizable components where a limited range of materials — all with a basis in the craft tra¬ditions of jewellery art — are tirelessly explored again and again. The colour scheme of Vigeland’s exhibition is often compared to a Norwegian winter landscape: cool, clear and pure. But this palette must first and foremost be attributed to the closeness to and honesty towards the material; the lustre of polished metals or the light-absorbing grey in a surface of oxidized silver. Lead. Steel. Iron. Aluminium. 

Among Vigeland’s best known jewels there are a number of works that are assembled from many small repetitive elements into a network or a form that adapts to the body. In this way the hard material appears soft and malleable, almost like ‘knitted metal’. Another repeated element has been the principle of ‘one form — one piece’. Both these techniques are also clearly present in the Festival Exhibition. A few of the works exploit the principle of rep¬etitions of small elements assembled into a larger whole. Others clearly relate to the principle of one cohesive form. 

The parallels with minimalism in visual art are palpable. While this connection has earlier existed at a formal or conceptual level, the Festival Exhibition comes closer to the most fundamental project of sixties minimalism. The artworks of minimalism were not to be regarded as objects from a distance, they were to be experienced by the body in the gallery space as phenomenological entities. The differences between Vigeland’s works and minimalism, however, are just as clear as the similarities. Instead of industrially produced ‘specific objects’, Vigeland’s installations are situated first and foremost in the transition between the overall format and the tiny details of the craftsmanship. The tension lies in the relationship between the total extension of the work as one form and the many details. One such detail is the handmade join¬ing of two metals: a small circular silver plate that is soldered like the head of a nail to a related steel pin — and which is repeated in the exhibition over 6000 times. 

TONE VIGELAND (b. 1938) lives and works in Oslo.

The Festival Exhibition has been produced by Bergen Kunsthall since 1953, annually highlighting a contemporary Norwegian artist. The exhibition is well established as one of Norway’s foremost individual expositions.

번역

정서연

원문출처

http://www.kunsthall.no/default_e.asp?AID=1580&ID=26&K=1&act=akt#.U4kuF1V_sYA

이불 개인전

LEE BUL

2013.5.10 - 2014.9.6

MUDAM (룩셈부르크)

Lee Bul : A Perfect Suffering, 2011, Collection Mudam Luxembourg

Lee Bul : Mon grand récit: Weep into stones..., 2005, Collection HITEJINRO CO., Seoul, Courtesy Mori Art Museum, Tokyo

The South Korean artist Lee Bul finished her studies in sculpture in Seoul in 1987, a time when, following a period of dictatorship and military rule, democratic reforms began opening up the economically emergent country, and visions of the future were painted both in the most glowing and the most sombre colours. As a performance artist, Lee Bul flew in the face of the artistic conventions of her native land, at first conceiving strongly physical or even guerilla-like actions – for example, appearing unexpectedly in public wearing monstrous soft-fabric forms sprouting tentacular appendages – as she searched for a way to express not just her own states of mind, but those of society as well.




Extending the body – as represented in the works of Lee Bul by the organic growths of fabric in Monster: Black or Monster: Pink and by the technoid additions of the Cyborgs – constitutes an old dream, or nightmare, of humanity that was to make the theme of utopia and dystopia a central motif in Lee Bul’s work. The artist draws her formal and thematic inspiration from a wide diversity of sources, ranging from cinema to literary and architectural history, from European intellectual history to the political and cultural history of her own country.



After the Cyborgs (1997–2011) and Anagrams series, Lee Bul turned to making complex, model-like landscapes, whose reference to utopia lies mostly in their details: in reproductions of utopian architectures, in concrete reference to the German architect Bruno Taut and his idea of Sternenbau (star structures), or in pointing to post-modern scepticism about the metanarrative based on a unitary speech and the idea of universality (Mon grand récit series, 2005–). The utopia of placeless infinity (Untitled, “Infinity wall”, 2008) or the reminiscence of a former socialist utopist turned dictator (Thaw (Takaki Masao), 2007) explore this theme, as do the most recent large-scale sculptures, which, like pieces of architecture, allow the viewer to access interior worlds and provide him/her with an intense spatial experience (Via Negativa, 2012). In Diluvium (2012), a floor installation covering a large part of Mudam’s Grand Hall and from which the sculptures hanging down from above are to be viewed only with caution, it becomes clearly tangible how the observer’s footing is made uncertain by the utopias that have settled to form the sediment of history.

In the downstairs Studio section, Lee Bul gives insights into the process of the proliferation of her artistic creativity. This reconstruction of her studio, containing a wealth of drawings, models and materials, enhances understanding of Lee Bul’s work, shown here in very different stages of development. This incursion into the artist’s working place shows completely the personal dimension of Lee Bul’s technically perfect work.

Lee Bul was born in 1964 in Yeongju, South Korea. She lives and works in Seoul.

번역

정서연

원문출처

http://www.mudam.lu/en/expositions/details/exposition/lee-bul/

BMW Tate Live: Spatial Confessions – Moving Part

BMW Tate Live: Spatial Confessions – Moving Part

2014.5.21 - 24 (except 22)

Tate Modern, Turbine Hall

Marta Popivoda, Yugoslavia, How Ideology Moved Our Collective Body 2013, Film still

Bojana Cvejić addresses the question of publicness through a series of experiments staged within the unique public arena of Tate Modern’s Turbine Hall. Invited to manifest the book Public Sphere by Performance which she co-wrote with Ana Vujanović, in this space, and working with and amongst Tate’s mass audience, Cvejić invites choreographer Christine De Smedt, filmmaker Lennart Laberenz, Neto Machado and Nikolina Pristaš to test choreographic patterns for Tate Modern’s visitors, elaborating upon and interfering with the audience flow.

After the claim that ‘the public can only be performed’ in Public Sphere by Performance, Bojana Cvejić investigates Tate Modern as a model of public institution exhibiting and producing contemporary art.


At various intervals during the day on Wednesday 21 May; Friday 23 and Saturday 24 May, the flow of visitors through the Turbine Hall is filtered through by a choreographic inquiry. As a result of questions which discern citizens as they perform their individual selves in relation to each other, group movements, postures and formations spontaneously emerge in the open public space of the Turbine Hall. Tate Modern’s audience flow is reordered in choreographic patterns that reflect the visitors’ Spatial Confessions. The arising choreographic images reveal how the museum’s visitors appear as a public in the vast public arena of Tate Modern.

Join in!

The book Public Sphere by Performance resulted from a two-year research project ‘Performance and the Public’ that Ana Vujanović, Bojana Cvejić and Marta Popivoda carried out in 2011 and 2012, during the residency of TkH (Walking Theory) platform (Belgrade) at Les Laboratoires d’Aubervilliers. In Public Sphere by Performance Cvejić and Vujanović propose an analysis of and discussion about the public – and its discontents – through several models of mass, collective, and self-performances, such as social drama and social choreography. The part of the research of Marta Popivoda gave rise to the documentary film Yugoslavia: How Ideology Moved Our Collective Body to be screened on Saturday 24 May.

Spatial Confessions is conceived by Bojana Cvejić in collaboration with Christine De Smedt, Lennart Laberenz, Marta Popivoda, Ana Vujanović and other invited guests.



BiographiesBojana CvejićBojana Cvejić lives and works in Brussels. She practises critical theory in writing, teaching and dramaturgy, and performance in theatre and dance. Her work comprises performances, lectures and books in philosophy and performance studies (e.g. Choreographing Problems, Palgrave Macmillan, upcoming). As dramaturge, she has collaborated with a number of European choreographers, amongst others Xavier Le Roy, Eszter Salamon and Mette Ingvartsen. She is a co-founding member of TkH (Walking Theory) editorial collective from Belgrade, dedicated to theoretical-artistic research. She is currently investigating solo as a technique and performance of the self in liberal individualism.


Lennart LaberenzLennart Laberenz lives and works in Berlin. He is a filmmaker and writer.


Ana Vujanović

Ana Vujanović is a freelance cultural worker in the fields of contemporary performing arts and culture. She is a cofounding member of the editorial collective of TkH (Walking Theory), the Belgrade-based theoretical-artistic platform, and chief editor of TkH journal for performing arts theory. Her particular commitment has been to empower the independent scenes in Belgrade and former Yugoslavia (Druga scena). She has lectured and given workshops at various universities and independent educational programs throughout Europe. She engages in artworks in the fields of performance, theatre, dance, and video/film, as dramaturge, co-author, performer and artistic collaborator. She publishes regularly in journals and collections and is author of four books, most recently Public Sphere by Performance with Bojana Cvejić (b_books: Berlin, 2012). She is currently international visiting professor at the Dpt. for Human Movement/Performance Studies, University of Hamburg and holds Ph.D. in Theatre Studies from the Faculty of Dramatic Arts, Belgrade. In recent years her research interest has been focused on the intersections between performance and politics in neoliberal capitalist societies.


Christine De Smedt
Christine De Smedt is a dancer and performer. Originally graduating in criminology, Christine De Smedt started studying movement research techniques in dance and performance. Her artistic practice draws upon dance, performance and choreography. From 1991 until 2012 De Smedt was a member of the ballets C de la B dance company, performing her own work since 1993. Notable works include the solo piece la force fait l’union fait la force, a travelling project in theBalkan Escape Velocity (1998) and, from 2000–5 the large scale project 9x9which was performed in 15 cities across Europe and Canada. De Smedt has collaborated closely with Meg Stuart since 1992, and also with Mette Edvardsen, Mårten Spångberg, Xavier Le Roy, Eszter Salamon amongst others. She is currently also pedagogical coordinator at the Brussels based dance school the Performing Arts Research and Training Studios (P.A.R.T.S.) .


Neto MachadoNeto Machado is a Brazilian artist which works as choreographer/director and performer in the fields of dance, theater, visual arts and cinema. He is one of the coordinators of Dimenti – an artistic environment responsible for the annual event Interaction and Conectivity, from Salvador – Bahia. Neto is a current fellow at Akademie Schloss Solitude in Stuttgart – Germany. Some of his works are:Desastro (2012), Kodak (2011), Infiltration (2009), Solution for All the Problems of the World (2007) and Agora (2004). He is also a screenwriter, co-director and actor in Pinta (2013), feature film produced by Dimenti. Neto also takes part in projects of Jorge Alencar, Jan Ritsema, Xavier Le Roy, Thiago Granato and Bojana Cvejić.


Nikolina PristašNikolina Pristaš is a choreographer and dancer and one of the co-founders ofBADco. a collaborative performance collective based in Zagreb, Croatia. The collective focuses on the theatrical and dance performance as a problem-generating rather than problem-solving activity and questions the established ways of performing, representing and spectating. Pristaš teaches at the newly opened dance department at the Academy of Dramatic Arts in Zagreb.


번역

정서연

원문출처

료지 이케다 신작전 supersymmetry

Ryoji Ikeda's new installation, supersymmetry


2014.4.2 - 6.1

YCAM(Yamaguchi Center for Arts and Media)

큐레이터 _ Kazunao Abe (YCAM)
공동 큐레이터 _ Patrick Gyger (Le Lieu Unique)




Artist Ryoji Ikeda has made a great impact worldwide with his installations and expressions using state-of-the-art electronic sounds ranging from the domain of microscopic and precise bit rate control to large-scaled projects in the public spaces. His new piece “supersymmetry,” the 3rd part of the YCAM commissioned work series, is an installation in where he approached the expression limits of data observation, which is his forte, as he explores quantum information theory and particle physics from an aesthetic viewpoint. In this work, he pursues overwhelmingly intensified expression via the studio spaces in YCAM.

The “supersymmetry” is a new work conceived as an installation version of his performance work “superposition” (2012-) and as a platform to update the process and outcome of his forthcoming residence during 2014-15 at CERN in Geneva where is the largest center in the world for particle physics. It is a collaborative production between YCAM and Le lieu unique, scène nationale de Nantes with the support of the City of Nantes and the Ministry of Culture and Communication (France). Unveiled first in Japan, this installation will also be shown around the world.

supersymmetry [experiment]

As suggested by the appendix “experiment” in the title, in this work visitors can witness physical phenomena prior to being observed and recorded as data. Installed in the Studio are three light boxes that emit intense white light. The surfaces of these light boxes are paved with microscopically small pellets that behave in various ways according to the boxes’ slightly changing inclination. Highlighted by the permanently blinking light boxes, the pellets behave in complex ways, gathering to form groups or moving individually while affecting each other’s behavior. Red lasers scanning the light boxes’ surfaces detect the pellets’ behavior, which is then translated into data that are reflected in the sound and liquid crystal visual displays monitoring the light boxes. While the three light boxes are identical in size (1m x 1m), pellets of different materials and differently coated surfaces are used on each of them, so that visitors can observe their individual behavior.

supersymmetry [experience]

Set up in the darkness of the exhibition space are two 20m x 0.7m horizontal video screens arranged on the left and right side, parallel to and facing each other, along with two parallel rows of 20 monitors each. While images are successively displayed on the video screens, their respective movements are analyzed and described on the monitors lined up in front of them. Each visual scene is precisely constructed of such analyzed and dissolved data, whereas all screens are controlled to operate in total synchronization with parallel independent audio playbacks. The work dismantles the visitor’s consciousness as he/she attempts to grasp at once from one position where all the things that happen simultaneously in the multiple moving and blinking images and their respective complex, high-speed analyses on both sides of the installation. Expanding their imagination of a parallel universe of imagery and sound to the awareness and resolution of the entire space, and not only pursue the meanings of single images, analyzed data and sounds, will enable visitors to enter the musical construct that Ikeda composed. In reference to the term “mathematical experience”, the ”music” that is exhibited here aims to create a connection　between mathematical models and musical expression. Audio and visual contents of this installation will be frequently updated in the future, to continually reflect Ikeda’s new scientific and mathematical interests.

about Ryoji Ikeda
born in 1966 in Gifu, Japan
lives and works in Paris, France

Japan’s leading electronic composer and visual artist Ryoji Ikeda focuses on the essential characteristics of sound itself and that of visuals as light by means of both mathematical precision and mathematical aesthetics. Ikeda has gained a reputation as one of the few international artists working convincingly across both visual and sonic media. He elaborately orchestrates sound, visuals, materials, physical phenomena and mathematical notions into immersive live performances and installations.

Alongside of pure musical activity, Ikeda has been working on long-term projects: 'datamatics' (2006-) consists of various forms such as moving image, sculptural, sound and new media works that explore one's potentials to perceive the invisible multi-substance of data that permeates our world. The project 'test pattern' (2008-) has developed a system that converts any type of data - text, sounds, photos and movies into barcode patterns and binary patterns of 0s and 1s, which examines the relationship between critical points of device performance and the threshold of human perception. The series 'spectra' (2001-) is large-scale installations employing intense white light as a sculptural material and so transforming public locations in Amsterdam, Paris, Barcelona, Nagoya, Tasmania and Sharjah, where versions have been installed. With Carsten Nicolai, Ikeda works a collaborative project 'cyclo.' (2000- ), which examines error structures and repetitive loops in software and computer programmed music, with audiovisual modules for real-time sound visualization, through live performance, CDs and books (Raster-noton, 2001, 2011, 2013). He is awarded the Prix Ars Electronica Collide@Cern 2014.

번역

정서연

원문출처

http://supersymmetry.ycam.jp/en

TIMESPACE 815

TIMESPACE 815
research-creation residency

2014.1.17 - 19 & 3.14 - 16

former Northern Telecom manufacturing plant (Kingston, Ontario)

TIMESPACE 815 was a short residency undertaken by the Department of Biological Flow at a 450,000 sq.ft manufacturing plant in Kingston, ON, which had been more or less abandoned for 25 years. The residency took place over two weekends, the first in mid-January and the second two months later in mid-March.

For the two of us in this otherwise empty space, the scale was staggeringly enormous and the archaeology fascinating, if not deeply inhuman. Space here was visceral, dizzying and vertiginous in its industrial magnitude this first weekend, not to mention intensified by the brief 48-hour window.

And yet one of the interesting facets about this space was that all of the clocks in the building — the former Northern Telecom cable manufacturing centre — had stopped at 8:15 some time post-abandonment. This gave an uncanny sense of timelessness to our initial experience, which would then animate the second weekend of the residency.

As part of this second weekend we invited an involution of the famous Christian Marclay artwork “The Clock”. Participants were asked to submit one-minute video sketches in any subject or style, and with minimal editing, but which at some point showed a clock set to 8:15. This video project was incorporated into the new work that would emerge on our second visit.

One of the sensemaking strategies that organically emerged during the first weekend was a sort of cartography in the narrative form of a videogame. TIMESPACE 815 became the name of this videogame, and the second weekend formed a return to “play” the final four levels as research-creation practice.

The manufacturing plant is slated to be demolished in April 2014 to make way for a new housing subdivision. Along with it with go all material installations produced while in gamespace.

번역

정서연

원문출처

http://www.departmentofbiologicalflow.net/curated-events/timespace-815/

더 볼 거리
http://www.departmentofbiologicalflow.net/815-marclay-involution/

MPEG-9 dinner/collective LUNCH

MPEG-9 dinner/collective LUNCH
by movingpictureexpertsgroup-9 


2014.5.8 13:00 - 14:30

SITE Santa Fe

This project highlights the continuum of public and private in food. The video offers a window into our private lives as each of us, unobserved except by the camera, makes a meal. In the shared meal and in the sharing of the private space of cooking, we reflect on the fact that though food defines an individual, it welds a group together. The rampant self definition of food in popular culture, sometimes derived from medical necessity, sometimes derived from political or emotional persuasion, as well as the endemic “melting pot” of American food options, means that part of identity is food choice. Sharing a meal becomes a political, social, and economic act of finding common ground among these differences.

We use both the media of pop, small-scale cameras and live performance to offer the meal as a many faceted experience. We are building a hybrid stove/projection screen, referencing Michael Pollan’s claim that we spend more time as a culture watching shows about cooking than we do cooking. (Cooked, Pollan, 2013)

We hope to evoke complex emotional and intellectual intrinsic responses to food. And we hope to share a good meal, in the spirit of Matta-Clark’s Food, Knowles’, Identical Lunch, and Spoerri’s snare pictures. Our piece attempts to mirror the work in Radical Hospitality with a contemporary perspective. Sharing a meal allows us to bridge gaps between viewer and artist, visitor and local, through individual experience and collective sharing.

We will document the event at SITE Santa Fe and include the images in a zine format documentation for SITE’s education program.

번역

정서연

원문출처

http://sitesantafe.org/event/mpeg-9-dinnercollective-lunch/

ACTS 2014

ACTS : Festival for sound & performance 

2014.6.14 - 15 
현대미술관 (Museum of Contemporary Art, 덴마크)

ACTS에 대해

Discover the latest trends in sound and performance art, when the Museum of Contemporary Art for the third time opens the doors to a wealth of experimental performance and sound art works with the international festival for performative art, ACTS.

With ACTS, art moves out of its usual exhibition space and instead utilizes the city, its various possibilities and public spaces as a stage.

Saturday and Sunday, the festival offers spectacular sound installations in and around the Museum of Contemporary Art, and around Roskilde city center. On Saturday evening, the program takes place at the venue Gimle where the cellar, lounge and concert hall forms the stage for performance lectures, experimental concerts and more.

We look forward to welcoming you to this third edition of ACTS!




프로그램
Saturday 1.00 PM – 5.00 PM

Andrea Geyer (US)
Andreas Führer (DK)
Anna Lundh (SE)
Brett Bloom og Bonnie Fortune (US/DK)
Francesco Cavaliere (IT)
Kerstin Cmelka (AT)
Kirsten Pieroth (DE)
Niels Rønsholdt (DK)
Sharon Hayes (US)
Simon Fujiwara (UK)
T. R. Kirstein og Claus Haxholm (DK/DK)

Saturday night 6.00 PM – 9.30 PM (at the music venue Gimle)
Arendse Krabbe (DK)
Leif Elggren (SE)
Morten Riis (DK)
Siri Landgren (SE)
Örn Alexander Ámundason (IS)

___________________________________________

Sunday 2.00 PM – 5.00 PM
Andreas Führer (DK)
Anna Lundh (SE)
Francesco Cavaliere (IT)
Kerstin Cmelka (AT)
Niels Rønsholdt (DK)
Ragnhild May (DK)
Sharon Hayes (US)
Simon Fujiwara (UK)
T. R. Kirstein og Claus Haxholm (DK/DK)

Background
In 2011, the museum established ACTS – Festival for Performative Art as a yearly event. The year prior to this, the pilot projects Sound Festival and Performance Festival were held over two days as a part of the exhibition Acts with the aim to highlight the presentation and documentation of sound and performance art.

ACTS 2011 showed a wide range of sound and performance art and took place in and around the museum, but also in the centre of Roskilde and at Roskilde Library. In 2012, the festival moved to the area of the city called Musicon where the enormous industry hall 9 of 1.800 m2 provided the setting for that year’s programme, which focused on the sphere between sound, performance and scenic art. Several guest curators, Kunstparade and Lilith Performance Studio were invited to compile a programme along with the museum’s own curators Mette Truberg Jensen and Sanne Kofod Olsen. Subsequently, ACTS is held bi-annually.

번역

정서연

원문출처

http://www.samtidskunst.dk/en/exhibitions/acts