This month Shanghai is hosting a huge eArts (read digital arts) Festival. The organizers teamed up with Fabrica, the Centre Pompidou, MIT, Ars Electronica and ZKM.
There's already some good content such as an interview of Andy with Gerfried Stocker of ars electronica about the background to the Shanghai interest in media arts, the meeting of communism culture with Creative Commons, some trends in digital arts in China, etc. There's also a peak inside the ars electronica pavilion which i recommend if you haven't been to ars this year, they seem to have selected (mostly) the pieces i didn't like and won't therefore blog about.
The festival runs until November 11th.
Related entries: Reports from Fabrica - Gli Occhi Aperti in Milan.
Remember the awesome projects developed during Interactivos? in Madrid in June?
The Medialab-Prado team is setting up another workshop in November, this time dedicated to data visualization.
Called VISUALIZAR and curated by Jose-Luis de Vicente, the event will be a two day symposium with a stellar cast followed by a 2 week immersive workshop around data visualization. Participants will get the opportunity to develop ten projects exploring the potential of information visualization for scientific, social and artistic communication. Teachers will be processing guru Ben Fry, journalist- programmer Adrian Holovaty (of Chicago Crime Map fame) and Santiago Ortiz and his studio Bestiario.
Medialab-Prado is looking for the best possible students in the world who want to apply and develop their project in Madrid during November. BONUS: MMedialab-Prado has also funding to cover the travel and accommodation of the participants.
We have guests Picnic day passes for 3 of you. They will give you access to the Make session, FabLab workshops and anything interesting happening on September 28.
Now the tickets are valid only September 28 because it is the day of the "Body wet hacking" session. I've asked 2 guys whose work i admire a lot, artist Adam Zaretsky and designer Michael Burton to come and talk about the way our life will be intimately transformed by the advances of biotechnology. Which scenarios will emerge? What will be the ethical, cultural or even political consequences of the bio-revolution?
Send me an email at reg at wmmna dot com if you fancy to join us for free. Fyi, A day pass is € 495 (507 euro with lunch), exclusive of VAT.
Adam Zaretsky is also setting up a hands-on workshop on the 28. I'll get back with more details later. Just be sure that whether he decides to have you get your hands dirty with extraction and isolation of Hybrid DNA or lead you to some BioPorn session, it is going to be fun and brain stimulating.
After that i'll be in Milan and Turin to check out some yummy-sounding exhibitions.
This month the second edition of urban interface, a research project exploring the interspaces between public and private, will be kicking off in Oslo.
The exhibition will pervade the districts of Grünerløkka, Tøyen and Grønland from September 14th to October 7th. The conference, titled The Porous City: Art claiming the urban void, will be held on 14th and 15th of September at Fabrikken.
The first episode of the project took place in Spring in Berlin (report part 1 and 2). Urban Interface was initiated and directed by Susanne Jaschko and produced by Atelier Nord, a project base with the objective of supporting unstable art forms, such as electronic and new media art.
Which provides me with a great excuse to publish an interview with Atle Barcley, the director of Atelier Nord. Atle is also moderator of E-kunst mailing list and member of the board of Oslo Open. He was educated as an artist at Trondheim Academy of Fine Arts. He is former chairman of the board Production Network for Electronic Arts in Norway, net art editor at Kunstnett Norge, initiator of 110 mailing list and co-admin of Syndicate mailing list.
What is the story of Atelier Nord? When did it start and how has it evolved over time? How big is the structure?
Atelier Nord was established in 1965 as a workshop for metal print. In the '80s computers were introduced into the printmaking process. At the same time artists at Atelier Nord started to use the computers for animation work. It soon became evident that the printmakers, at least at Atelier Nord, were not into computer print. In the '90s the workshop developed into a center for electronic arts and eventually the printmaking equipment was abandoned.
From the '90s all resources were tied up in technical infrastructure and people. There were over 10 people employed at the most. In the '90s artists did not have their own computers and the know how. Our aim was to help artist to use computers in their artistic process. In the beginning of our century the situation had changed dramatically and there were no longer need for a center for electronic arts that provided computers and technical know how.
In 2002 we redefined ourselves as a projectbase for unstable arts. The projectbase is a skeleton organization that can be the platform for a wide range of projects of different nature and size. It's paramount of course that such and organization has some base funding for projects. When this change was initiated the staff was reduced to two people, a director and an office manager, most of the equipment was defined obsolete and we moved to a smaller and more efficient space. This way we managed to release most of our budget and time to projects.
The strategy plan I wrote for Atelier Nord when I took over as director was called De-insitutionalising and aiming. I was using some energy to attack the center for electronic arts, which I think has proven to develop into just another rigid art institution more than once. I argued for a strategy that internalized the unstable nature of the arts in general and new technology in special.
"One can observe that centers for electronic arts are so tied up to special techniques and specialized conceptions of technology that they are becoming obsolete when new technology are introduced. To try to stay on top they ask for more money to invest in even more equipment when the problem is that the whole structure is in fact obsolete. We need networks and nodes, not centers."Growing is for cowards. To let things go is courageous.
How does Atelier Nord manage to finance its projects?
We receive about € 270 000 from the state annually. After the change to projectbase we have resources within our own budget to do projects, but for larger productions like Generator.x, Interface and
Most of our external project funding is also public - form Arts Council Norway, Public Arts Norway, etc. There are very few private funds in Norway, only one significant - the Freedom of Expression Foundation.
Let's say that i'm an artist working with unstable art forms, such as electronic and new media art. Which kind of support can i expect to find at Atelier Nord?
Your suggestion is as good is mine. What do you need? The idea about the projectbase is that we provide what is needed for each individual project. We do all types of consulting on project development; infrastructure like space for test installations and project groups, office space including phone expenses; technical equipment; we do accounting and provide other types of administration services for projects and some projects we co-found. It can be anything. One artist used industrial components in his installation. He had a complicated situation when he was trying to order those components because the producers had systems suitable for other bigger companies - not for individual artists. The solution we found was simply that he bought his stuff through Atelier Nord. Then the ordering was running smooth.
Have you noticed over the years an improvement of the conditions of and the reflection related to unstable art forms? Is there still much work to do before these art forms get the recognition they deserve? What do you think is their relationship with more traditional art forms in Norway?
Unstable art forms, as we define it, is arts that have a specially challenging production, that has a partially developed distribution system at best and that are not fully contextualized - the role of these art forms in the present and in a historical context are still debated.
So the nature of unstable art forms is that they are not fully recognized. Our job is to try to stimulate the production of new art forms, help distribution and bring this praxis into a broader historical and contemporary context.
New media art used to be an unstable art form, but is developing into a stable system. There are always some special challenges when producing works with new technical equipment. There is a distribution system within the media art scene, but the distribution of media art on the contemporary art scene could be better. Media art is well contextualized within the scene, but the full complexity of media art is not recognized withing the contemporary art scene.
Atelier Nord's strategy for new media art is to bridge the gap of understanding between the new media art scene and the contemporary art scene. Atelier Nord is not a media art institution however, we will stop working with new media art as soon as this art form is stabilized withing a broader context.
In the '90s the major part of our resources were used on video art. In the beginning of our century we changed our priorities dramatically, we are no finishing our engagement in video art by working politically to establish a national online video archive. (The potential of distribution of video is bigger than what a traditional museum and gallery structure can provide.)
These changes in priorities sometimes makes Atelier Nord unpopular with artists that works with stuff that we abandon, but this is the only way to go if we want to develop. The last ten years three other institutions outside of Oslo and the PNEK network was established. PNEK was initiated by Atelier Nord and the three other organizations all received our support. Contrary to most other organizations Atelier Nord is not into unlimited growth. We would rather like to see more players on the scene.
A few years ago, Atelier Nord organized Reality Check, a series of events presenting art projects gone completely wrong. Why was it important to discuss projects that failed? What were the highlights of the events?
Per Platou that directed the Reality Check was fed up by art discourse being pretentious. He also observed that a lot of those projects that received support from the Arts Councils "Art and new technology" funding was nowhere to be seen on the scene. The question was "What happened?" He realized some of them failed - badly. Of course it's the failed projects that we can really learn form, but it's always the successes that are brought forward.
At the Reality Checks the responsible persons (usually the artists) were invited up on stage to lighten their heart, admit failure and help us to learn from their mistakes. There was only one rule: they could not blame anyone else. It was really funny and sometimes heart breaking. The group form one project that failed so badly it is almost unbelievable that they gathered on the Reality Check stage - the tension between them was lethal.
The project was a huge success, the bar it was held in was packed every night. The prime serious TV show on art wanted to air it and when Per Platou politely explained to them that sending it on TV was not compatible with the basic concept they were really insisting. And that is when we stopped doing it. We had the time and the money to continue, we had an audience, we had a huge number of people now wanting to be a failure. It became a success, which was not compatible with the basic concept of Reality Check.
You invited people to the Maxwell city workshops, an artistic investigation into the electromagnetic urban environment. How did the workshops go? What happened there exactly?
Well, we discussed strategies and techniques for using electromagnetism in art. We had Armin Medosch as a guest lecturer adding a context for this in addition to Erich Berger and Martin Howse who directed the workshop.
The most fun part I think was the actual investigation in urban space. We had a range of electromagnetic sniffers, some commercial products some of Martin Howse design. These sniffers transformed electromagnetism into sound. We were basically listening to the city. We also bought a megaphone, connected that to a sniffer and had a live show going. This workshop happened simultaneously with a city wide music festival in Oslo - I don't feel our contribution was fully recognized.
How active is the electronic and new media art in Norway? Can you tell us about organizations and artists who make it happen?
The new media art scene in Norway are well organized. We have 4 other sister organizations that collaborates through Production network for electronic arts (PNEK). BEK in Bergen, at the west coast of Norway, was established by a composer and a new media artist and are well known for the Piksel festival. TEKS in Trondheim, mid-Norway, are working with art and new technology from a fine arts perspective and are doing the annual Trondheim Matchmaking festival. IoLab in Stavanger, at the southwest coast started a biannual on unstable arts in public space last year. (And no, not all institutions in Norway are into the term "unstable arts". I did some serious development work on that biannual.) Notam in Oslo is in a an contemporary and electronic music tradition.
Of course there's a lot of artists who use new media in their production, very few however are into critique of technology. This is one of the reasons that Atelier Nord do what we do these days and I think it is also the background for the Pixel festival at BEK. Stahl Stenslie, that is now withdrawn for his own art practice while being Dean at the Art Academy in Oslo, is probably the new media artist most people abroad would recognize. HC Gilje, that was part of 242.pilots is participating in our Urban Interface show this year. I would also recommend you to take a closer look at Motherboard and Thomas Kvam.
Any upcoming project at Atelier Nord that you could already share with us?
This autumn we are producing a project initiated by Susanne Jaschko.
Images courtesy of Atle Barcley.
What it says on the tin: Burning Book is both a loving commemoration of the event's storied history and an enlightening companion for festivalgoers. Bruder explores the unique ethos and breathtaking art installations that have shaped the event, along with Black Rock City's distinctive landmarks, pranks, lore, and gift-based economy. Illustrated with hundreds of stunning photographs, Burning Book is a striking tribute to an extraordinary cultural phenomenon for the legions who participate in Burning Man every year, and for those who haven't become part of this unforgettable celebration -- yet.
Waw! I had read about Burning Man and i know several Burners. Every single one of them sings the praise of the event. I kind of gathered from our conversations that given my obsession with cosmetics, fashion and macro bio diet i would not exactly thrive in the middle of the desert. The book confirms what i suspected BM is best left enjoyed from afar as long as i am concerned. But damn! It also looks like i am missing an extraordinary event.
The eight-day-long annual festival kicks off every year on the last Monday of August and concludes on the sixth day with the burning of a huge wooden sculpture of a man. A temporary city on the playa of the Black Rock Desert in Nevada, called Black Rock City, is built from scratch every year to host the event. The organizers describe BM as an experiment in community, radical self-expression, and radical self-reliance.
The book reads like a novel. Written by a journalist who has participated several times to Burning Man and communicates incredibly well her enthusiasm. You follow the Burners' days from the moment they embark on the journey to the Desert, shop with them as they stop at Sparks or Gerlach to buy gallons of water, costumes, plasters, etc. And even if the book brings you behind the scenes --where the DPW surveys, builds, then takes down the basic infrastructure of the temporary community in the desert--, even if you it gives you the lowdown on on-site foot massages, the issue of hygiene in this ferociously hostile environment, even if you catch a glimpse at the building up of the Thunderdome or of some facetious art projects, even if you are told the story behind the mythical Tuna Guys, you are still left wondering how on Earth they manage to turn that wild party into America's most fascinating festival every year.
As befits the subject, the design of the book is made of surprises and whimsical graphics, letters run into corners, inflate, or curl. The images are everywhere and as you turn the page your eyes increasingly wonder at the picture printed right before them. Oh! The best part for me was to learn new expressions, so if you want to know why even "the Yahoos" have to face the dreadful "Nose Tator" effect, that book has the answer.
Watashi-chan, by Tomoko Ueyama, is a garment that visualizes sounds in a space. The balloons attached to the clothing inflate when there is a sound in the space, even if the wearer does not consciously perceive that sound.
How it works: Watashi-chan divides the human audio range into six frequency bands and calculates the quantity and frequency of signals entering each frequency band. An electromagnetic valve is assigned to each frequency band. As a quantity of frequency signals is calculat-ed, a signal is sent to an electromagnetic valve to open it. As a result, air is sent to a balloon corresponding to the quantity of frequency signals. After a balloon has been inflated for one second, air is released again, so that the balloon does not inflate too much.
Runs on August 24 August and 26, at the Spiral Garden (Spiral 1F) in Tokyo.
More inflatable in fashion: Self-Sustainable Chair, wearable canoe; The Life Dress; the Inflatable Breasts Dress; Fat Suits; Wearable Crisis Management; Modes for Urban Moods and Inflatable wedding dress; SurvivaBall and the Aeolian Ride.