My guest in the studio will be Ghislaine Boddington is an artist researcher, dramaturge, curator and thought leader specialising in body responsive technologies. Ghislaine is also recognised as an international pioneer in full body telepresence. and the reason why i invited her in the studios of ResonanceFM is that Ghislaine is also the Creative Director of body>data>space, a collective of artists and designers that looks at the future of the human body and its real-time relationship to evolving global, social and technological shifts.
In this episode we will talk about experiences in telepresence, digital culture in London and gender (im)balance in tech careers (believe it or not, we’re still there!)
Eniarof looks like nothing you’ve ever experienced. It’s like a very wild, very Far West version of a digital art festival, with elements of village fair, hacker meeting and circus thrown here and there
n All That Is Solid Melts Into Air (a title that refers to a passage in Marx and Engels’ Communist Manifesto. ) Deller takes a personal look at the impact of the Industrial Revolution on British popular culture, and its persisting influence on our lives today.
The designers will be talking about the aesthetics of scientific experiments but also about the human capabilities in sensing future events. They’ve explored this slightly debatable topic with a series of experiments inspired by the experimental evidence for the existence of physiological precognition, depicted the Sensing the Future paper written by Daryl J. Bem a social psychologist and professor emeritus at Cornell University.
The Welsh Space Campaign (WSC) launches ordinary Welsh people into outer space, by finding a cosmic context for Welsh traditional culture and skills
One of the projects that you can see right now in Brighton is a body of work, by Mariele Neudecker, that makes visitors reflect upon (and reluctantly admire) the use of technologies in contemporary warfare. The artist documented with seducing photo portraits and patient rubbings a series of weapons of mass destruction that were developed at the height of the Cold War
Today on ResonanceFM, Jon Thomson and Alison Craighead will be talking about how to handle and archive materials found on the web, the absence of any image documenting war in certain parts of the world, spam and other jolly subjects
In-Potentia exposes, in the most limpid and absurd way, how science is blurring what we are used to regard as clear-cut categories, such as where life begins and ends or what constitutes a person. Or in Guy Ben-Ary’s words:
What is the potential for artists employing bio-technologies to address, and modify, boundaries surrounding understandings of life, death and person-hood? And what exactly does it mean culturally, artistically, ontologically, philosophically, politically and ethically to make a living biological brain from human foreskin cells?
Art13 London, which took place a few weekends ago inside the stunning Olympia Grand Hall, demonstrated, if need be, that not all art fairs are created equal and that you can bring something different if you have enough taste and a clear vision
Curator and creative producer Ulla Taipale will be talking about ‘Biofilia – Base for Biological Arts’, a new a biological art unit interweaving artistic and bio-scientific explorations. The learning and research environment opened at Aalto University, Finland in January of this year and i’ve been looking forward to hearing more about Biofilia ever since
Year after year, i go to Kinetica with enthusiasm. I might find it a challenge to spot the real gems in a sea of (sometimes) artistically questionable works but that’s part of the fun. Kinetica might not be the Mecca for art & science that some bloggers and journalists describe (too many holograms!) but it’s certainly a good place to discover kinetic, electronic, and robotic art. It also has a friendly, open atmosphere that makes it surprisingly easy to have a chat with artists, art dealers and other exhibitors
Very few artists manage to translate scientific phenomena into stunning images as elegantly as Carsten Nicolai. If you’re in London, don’t you dare miss Observatory at Ibid Projects.
The works on show visualise diverse physical occurrences. From the ground floor to the top floor, the installations, videos and photographic pieces investigate phenomena that get further and further away from our daily experience
‘What does performance have to do with architecture?’ and ‘How can a building perform, and how can we perform a building?’ Call me an ignorant but i had never heard about Performing Architecture so i’m gathering here a few notes i wrote down during the Late at Tate night
From a group of ancient Incan skulls, to a spectacular chandelier made of 3000 plaster-cast bones by British artist Jodie Carey, this singular collection, by turns disturbing, macabre and moving, opens a window upon our enduring desire to make peace with death
This week, i’m talking with architect, artist and curator Ruairi Glynn about cybernetics, interactivity, puppetry and machines with a mind of their own
This morning i went to the press view of Gaiety is the most outstanding feature of the Soviet Union at the Saatchi Gallery and I’m not sure that the artists participating to the exhibition heartily agree with Joseph Stalin’s statement. Although this survey of contemporary art in Russia contains humour, balls and a few satisfyingly good pieces, the show is not exactly cheerful.
Take the gentlemen portrayed by Sergei Vasiliev. Their skin is their biopic, their tattoos carrying political messages and details about their criminal life. The motifs were drawn using whichever tools and ink they could get their hands on: melted books, urine, blood, etc.
Biro portraits of ‘Criminal Women’, live crime drama installation and gruesome collection of front pages of PM, the local tabloid in Ciudad Juárez, a city sadly renowned for the violence perpetrated by the drug cartels
The Frieze art fair dismantled its tents a few days ago at Regent’s Park in London. Over the next few days, i will submit the blog to an avalanche of images and works from the fair. Let’s start light and very fast with a few art pieces that demonstrate that even artists shown at art fairs have a sense of humour
For people working at the Yuri Gagarin Training Centre, a military complex where all cosmonauts have been trained since the 1960s, Gagarin remains a hero while space is the only reality they know, almost blending with the surreal machines they work with, they seem to be trapped in a window of time. In the shadow of faded dreams, thus sheds the light on a close-knit community of space-lovers, still clinging to the decaying legacy of the 1960s Space dream
I haven’t been consistently overjoyed with what the Olympics brought to London in terms of public art. However, i can’t fault Frieze Projects East’s six commissions for the Olympic Host Boroughs in East London. The works commissioned are accessible without being condescending. And they probably have enough bite and wit to fulfill their mission to connect with the communities in East London
A speech recognition algorithm searches radio waves for conversations about money. As an ongoing investigation of the Viterbi algorithm, this project seeks to understand the agency of a mathematical entity that operates as structural thread within the fabric of contemporary society.
What would happen if the regulation of air rights was given free rein, if air became a commodity that could be bought and sold? How would the trade physically manifest itself? Can we imagine that one day an Air Bank will open in the heart of Manhattan?
Brains: The Mind as Matter has a seemingly very specific, very narrow focus: the brain and not even the mind, just the physical organ. Yet, the exhibition branches out into issues of ethics, history, and reminds us that while some of the moments in the history of neuroscience are glorious, others are downright disgraceful
Reading the mini catalogue of the show i realize that during my visit i missed ‘the artist’s hoard of personal toenail clippings’. I’m glad i did. But i did smile when i saw the big LOOK AT THIS sign on the terrace, the corpse of a rat left on the floor that you might never see if you don’t happen to look down, the taxidermy dog standing on its rear legs to brandish a message that confirms that its is indeed dead, the row of boots that seem to come straight out of a cartoon, the carelessly sketched silhouettes, etc.
Tim Miller has devised 101 ways to use a trailer. Yes, a trailer, that mundane, strictly utilitarian object no one would ever waste a glance on. The designer, however, sees the trailer as a blank canvas that has the potential to become a tool for the realization of collective as well as individual dreams. You can use trailers for anything, you can reinterpret them, you can use them to manipulate the world around you or better said you can ‘pervert’ trailers according to your desires and needs
Some of the works on show at Kinetica this year are candidly whimsical, others explore responsive architecture, pay homage to Jean Tinguely or to Newton’s third law, take the form of small models of celestial mechanics, or of experimental music gigs on modified Fisher Price Turntables
The Kinetica Art Fair brings together independent galleries, art organisations and curatorial groups who focus on kinetic, electronic, robotic, sound, light, time-based and multi-disciplinary new media art, science and technology. The art fair features installations, robots and small sculptures but also live performances, artists presentations, demos and a cheerful atmosphere that makes it easy to talk to the ‘exhibitors’
As many of you probably know, i love contemporary art fairs. Yes, it’s pure art porn and there’s too much to see, most of which is quite frankly bad. But there are good surprises as well and i don’t mind spending hours in front of painted horrors if at some point i stumble upon a piece that will move me. I’m that easy. Besides, art fairs expose me to works and artists i would otherwise never have looked at
The title says it all: a law firm is sponsoring a competition of contemporary portrait photography and 60 of the best entries are exhibited in London.
There are cute kids and celebs (sadly, there were no mature men in speedo this year) but because i’m drawn to documentary photos, that’s what my quick selection will be about
Milica Tomic decided to produce the non-existing war image. The images would not only be fake, they would also be made in other locations and contexts. And with every reconstruction, Tomić came across new information linking host countries to various war zones or episodes of local violence
n design(ing) there is a revolution ongoing that is triggered by an emerging networked community that is sharing digital information about physical products and the ubiquitous availability of production tools and facilities. It transforms design into an open discipline, in which designs are shared and innovation of a large diversity of products is a collaborative and world spanning process
A couple of years ago, Nils Völker built a robot out of Lego parts that replicates the way we look. The resulting large scale images demonstrate how differently the same objects have been perceived. The robot was the one work that attracted me to Nils Völker’s portfolio but it’s his creative path that started with communication design and moved to the use of physical computing in contexts as different as advertising and art exhibitions that kept my attention
French nanny Vivian Maier relentlessly photographed New York and Chicago. She didn’t show her work to anyone, died in poverty, and left behind 100,000 negatives. Her work was discovered when a young estate agent bought the content of her storage locker. Now, with some 90% of the archive reconstructed, Maier’s work is part of a renaissance in interest in street photography
Trucks, Containers, Collectives is an initiative by Santiago Cirugeda (Recetas Urbanas) which has inspired more than a dozen collectives to get involved in creating a network for spaces that are self-managed by the entire Spanish territory. This is no longer a matter of experimenting with individual, isolated situations, a process which Cirugeda initiated fourteen years ago and, in any case, is being reassessed during these times of recession. Rather it’s a self-organised and joint action taken by small citizen groups who unite their efforts
The accelerating crisis in climate change and the realization that humans are the primary cause of this change has raised questions about ownership and responsibility. Who “owns” the climate change crisis and who is responsible for mitigating and reversing it if possible? One overwhelming response by governments on an international level has been to propose a market solution, in essence, to sell the atmosphere. Is the commercial marketplace the only answer? How can art, technology and media offer alternative cultural practices and open new forms of understanding the air?
Just back from London where i managed to catch up with up to 7 exhibitions in a day. Btw, there’s only a few more days to enjoy Parreno’s magnificent videos at the Serpentine and i urge you to run there if you haven’t seen the show yet. Another exhibition i liked a lot is Matthias Schaller’s series of Disportraits at Ben Brown Fine Arts
Prédiction was the biggest exhibition of the International Design Biennial in Saint Étienne. Its ambition was to reposition the boundaries of contemporary design, exploring in over 100 artefacts and 2000 m2 the new types, methods, and practices of the discipline
The exhibition showcase the work of young photographers, gifted amateurs, alongside that of established professionals. This year’s selection is as heavy as ever with its documentation of prostitution, childhood obesity, prison and hunting
The exhibition explores portraiture and the representation of political, economical and social power in the contemporary world through the works of contemporary artists. Portraits of famous political figures, investigations into the lifestyle of the social elite, as well as inquiries into the power structures of international institutions
I tend to avoid blogging about the most well-known galleries. I doubt they need my posts to attract the crowds. On Thursday however, i went to Tate Britain to see Fiona Banner’s sculptures and realized i would not be able to keep the excitement out of my website