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Vasulka Lab 1969 – 2005, part 1 Video Programme

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Date: 2-18 MARCH, 12-5.30pm, Weds-Sat
Website: www.vivid.org.uk
Location: england

Outline:

VIVID’s new 2 part exhibition, Vasulka Lab 1969-2005, is a rare opportunity to see the major works of media art pioneers Steina and Woody Vasulka.

Since the late sixties, Steina and Woody Vasulka have developed a body of work through rigorous dialogue with each other, engineers and technology. In 1969 they began working exclusively with video and sound; by the 1980s, they were exploring large scale, complex installations and interactive projects. Their work spans the entire range of formats and configurations of electronic media and interactive technology.

Vasulka Lab 1969-2005 is the first comprehensive introduction to the Vasulkas’ major works in the UK and offers a survey of the technical developments and aesthetic approaches that underpin their role in the evolution of media art.

Featuring Participation, Machine Vision, Artifacts and The Art of Memory.

For further information on the Vasulkas` work visit www.vasulka.org

Area: not in wales

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Vasulka Lab, 1969-2005, Part 2 Installations

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Date: 13 April -6 May
Website: www.vivid.org.uk
Location: england

Outline:

The Vasulkas have continuously pushed boundaries, working with the entire range of formats and configurations of electronic media, installation and interactive technology, transforming the traditional genres of narrative and performance in the moving image, alongside pioneers such as Nam June Paik, Bill Viola and Joan Jonas.

Part 2 of Vasulka Lab focuses on the Vasulkas` large scale installation work. Woody’s Brotherhood Series is partially constructed from scrapped military hardware culled from the Los Alamos military scrap yards. The automated construction Theatre of Hybrid Automata (1990 -) contains a robotic gyroscope which navigates the space it occupies. The work analyses the digital domain, engaging the spectator in robotics and automatic behaviours, architectural and virtual space.

Steina’s Machine Vision explores the interrelationship between the camera and space. Positioned at each end of a slowly rotating arm, two cameras look inwards to a mirrored sphere, the distorted images of the reflected surroundings are relayed to two large monitors nearby. Caught within this field of vision is the viewer, distorted in a playful conversation between the eye and the lens.

For further information on the Vasulkas` work please visit www.vasulka.org

Area: not in wales

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Smoke and Mirrors

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Date: 30 March-2 April, 12-5.30pm
Website: www.vivid.org.uk
Location: england

Outline:

This is the third collaboration by mac and VIVID, investigating the crossover between artists` film and video and traditional cinema. Exploring the notion of illusion and visual trickery through contemporary and historical references, this unique event will include work by Georges MéliŠs, Pathé FrŠres and Edison alongside recent video works by Elizabeth McAlpine, Jonathan Allen, Jason Dee, Sara Fletcher & Edward Adam and Tobias Sternberg. The programme references the artifice of early cinema and theatre whereby the practice of magician and filmmaker were often indistinguishable, each aspiring to `trick` the audience through a series of manipulations and visual effects. Using both gallery and cinema environments across the two venues, this programme will investigate modes of presentation, whilst challenging the audiences perception of screen based media. Exhibitions and screenings will be accompanied by a series of related talks.

Exhibition Opening Times

mac, Cotton Gallery, Thursday – Sunday, 12-6pm

VIVID, Thursday -Sunday, 12-5.30pm

Screening Times

Programme 1: Framing the Illusion

Saturday 1 April, 1 ´ 2.30pm

Programme 2: Acts of Looking

Saturday 1 April, 3 ´ 3.45pm

Programme 3: Montage/sound and vision

Sunday 2nd April, 1 ´ 2.00pm

visit http://www.vivid.org.uk/projects.php?work=14

for full programme details.

To book please call mac box office on

0121 440 3838

Area: not in wales

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TAKEAWAY: Festival of Self-Service Media

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Date: 29th – 31st March, 2006
Website: http://www.takeawayfestival.com
Location: england

Outline:

The Takeaway Festival explores the move from media consumption to production using freely available tools, software and technologies. The festival will provide hands-on examples and workshops in free and open source software (FOSS), peer-to-peer (P2P) distribution and `pervasive` mobile and locative technologies.

The three day festival combines hands-on workshops, exhibitions, lectures and discussions. Workshops will explore creating a blog, videolog or podcast; how to install and use Free operating systems; strategies for distributing and marketing your work and ways of getting paid for it.

Website: http://www.takeawayfestival.com

Area: not in wales

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Winter Garden Installation: Ynysangharad Park

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Date: 13th to 16th February 2006
Website: www.winter-garden.info
Location: wales

Outline:

The Winter Garden is an outdoor video installation sited on the Bandstand in Ynysangharad Park, Pontypridd. The event will take place from 13th to 16th February, 5 – 9pm.

The installation is a memento and reminder of the coming summer’s abundance and colour by artist Jackie Chettur. Chettur pays homage to the endeavours of gardeners in search of the perfect specimen.

Chettur, an artist based in Pontypridd worked closely with the Digital Media Coordinator, the Arts & Town Centres Regeneration Officer and the Parks & Countryside department of Rhondda Cynon Taf County Borough Council in the realisation of this project. The project was also supported by a grant from Cywaith Cymru.Artworks Wales.

Further details are available on the website: www.winter-garden.info

Area: southern bloc

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Wingbeats

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Date: 9th March, 7pm
Website: www.timestream-arts.com
Location: wales

Outline:

The Wingbeats project is driven by three key interests which are central to my life experience and artistic expression. These are the exploration of time, freedom and creation.

My TimeStream technique allows the display of motion-paths of objects as they move across the field of view. This differs from normal long-exposures in that it combines the recording of areas of darkness as well as light. Long exposures are only effective with isolated areas of brightness in a predominantly dark field of view. TimeStream works in all lighting conditions, therefore displaying motion-paths that were impossible to visualise prior to this technique.

By showing the motion-paths of birds as aerial sculptures we can reflect on how it is that our lives are dominated by memories, creating all our human difficulties by blocking our ability to experience anything new. Wingbeats also calls us to question how the idea of linear time has lead us to a life experience which is two-dimensional, not only in terms of physical travel, but also psychological and emotional capacity. By delegating the visual creation to the birds themselves, Wingbeats questions the nature of human creativity and its real value in our world.

Area: southern bloc

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Art-Place-Technology

12:00 am in Conferences by bloc

Date: 30 March – 1 April 2006
Website: http://www.art-place-technology.org
Location: england

Outline:

Art-Place-Technology, an international symposium on curating new media art will examine the global phenomenon of new media art, its rapid pace of change and interdisciplinary nature. Among the themes for the conference are:

*How do curators engage with new media art?
*What makes a good curator of new media art?
*What can we learn from the pioneers of this field?
*What does the future hold for curating new media art?
*What common ground exists with other disciplines?

Speakers include key figures from the theory and practice of new media curating including:

Inke Arns, Artistic Director, Hartware MedienKunstVerein, Dortmund.
Sarah Cook, Curator and Co-editor, CRUMB, University of Sunderland
Paul Domela, Deputy Chief Executive, Liverpool Biennial
Lina Dzuverovic, Director, Electra, London
Charlie Gere, Reader in New Media Research, Lancaster University
Ceri Hand, Director of Exhibitions, FACT, Liverpool
Drew Hemment, Director, Futuresonic, Manchester

Full programme and registration details are available on the website: http://www.art-place-technology.org , by telephoning 44 (0)151 2315190 or by email: APT@ljmu.ac.uk

Area: not in wales

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KAREN FINLEY ! my body as rorschach test ! performance lecture

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Date: 19:30 Thursday 16 February 2006 (doors open 19:00)
Website: http://amino.org.uk
Location: england

Outline:

amino, in association with Baltic Centre for Contemporary Art presents Performance Lectures…

KAREN FINLEY

my body as rorschach test

19:30 Thursday 16 February 2006 (doors open 19:00)

BALTIC Centre for Contemporary Art ! South Shore Road ! Gateshead ! UK

£4/£2 concessions ! ticket reservations from Baltic: 0191 478 1810

Performance artist Karen Finley has smeared herself with chocolate, painted with her own breast milk, put Winnie the Pooh in S&M gear, and locked horns with conservative Senator Jesse Helms.

My Body As Rorschach Test will shock, titillate and inspire with humorous, heartfelt tales of Finley`s life and struggles intercut with performances of her work.

Karen Finley is a New York based artist whose raw and transgressive performances have long provoked controversy and debate. She has performed live and exhibited internationally her visual art, performances and plays. Finley was one of four artists whose National Endowment for The Arts grant applications were vetoed in 1990 due to content considered `indecent`. Finley and the other three artists sued for reinstatement and won the case in 1993 in court in Los Angeles. The ruling was appealed and the case went to the Supreme Court and lost, in a decision that allowed the US government to place restrictions on funding based on `decency standards`.

For the 2004 US presidential election she created George and Martha, a performance about an affair between George Bush and Martha Stewart. This play was made available over the web to download for theatres and citizens to access before the election. She is currently working on a novella of George and Martha.

Finley currently has two new works in development, The Passion of Terry Schiavo, a monologue that explores the provoked emotions in removing life support, and The Dreams of Laura Bush, a performance consisting of the dream journal of Laura Bush in text and drawings, both of which she performed as part of the navigate festival of live art at Baltic in July last year.

Karen Finley is currently a visiting professor in Art and Public Policy at Tisch School of the Arts, New York University.

Area: not in wales

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Artists and Regeneration in Preston

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Website: www.incertainplaces.org
Location: england

Outline:

In Certain Places is an initiative which aims to involve artists and creative practitioners in the regeneration process from an early stage. The project is focussed on the regeneration of Preston city centre.

The project has three strands: the Lead Artist scheme which advocates for and employs artists at all levels of redevelopment; the Here Now scheme which will commission a series of temporary artworks during the redevelopment; and Speaking of Art, a series of talks and debates which address issues surrounding the commissioning of public artwork.

More information is available on the website: www.incertainplaces.org .

Area: not in wales

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Tomorrow`s People

12:00 am in Conferences by bloc

Date: 14-17 March 2006
Website: http://www.martininstitute.ox.ac.uk/jmi/forum2006/
Location: england

Outline:

Tomorrow`s People: The Challenges of Technologies for Life Extension and Enhancement.

This event will look at `what some characterise as the next stage of evolution: conscious efforts by human beings to reshape their inherited physical, cognitive and emotional identities by extending lifespan and enhancing human capacities. It will examine the range of technologies offering lives that purport to be longer, stronger, smarter and happier and examine how far the introduction of these technologies is governable and how far they are likely to lead to lead to a fairer world. `

The organisers are inviting artists and designers whose work investigates, and invents, the future, to join the forum as delegates and speakers.

Registration is £300, but there are also three stipends of £200 on offer to artists based in England.

The successful artists will have their conference registration fee and accommodation covered. To apply send an email including your name, contact details, short biography, any affiliations and a description of what you would get out of attending and what you would contribute (up to 100 words) to: jmi.bursaries@sbs.ox.ac.uk

The deadline for applications is Thursday 16 February

Additionally, the event offers the opportunity for artists and designers to talk about and show their work. Practitioners should address the question: How does art or design practice speak about, and invent, the future?

20 minute slots in a lecture theatre/seminar room format are available. Facilities include; data projection, DVD and VHS, and network access. Presentations may be webcast and available as an archive after the event.

To apply for these opportunities email; your name, contact details, short biog, any affiliations; up to two images of your work attached (max 2MB total); a short text on your practice (one project, or overall) and how it speaks about, or invents, the future (up to 150 words) to
to james.tansey@sbs.ox.ac.uk and lucy.kimbell@sbs.ox.ac.uk .

The deadline for artists presentations is: Thursday 16 February

Full details of the event are available on the website: http://www.martininstitute.ox.ac.uk/jmi/forum2006/

Area: not in wales