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Leonardo Da Vinci was credited with sketching the world’s first self-propelled vehicle back in 1478. But da Vinci was a Renaissance Man, a man at ease in front of a religious scene to paint as much as in front of a technological challenge. There’s no artist from the Renaissance in the exhibition, the majority of the works exhibited come from the last two decades but they demonstrate that contemporary artists do not need to graduate as engineers to re-invent the car… even if the result of their experimentation has no ambition to compete with what comes out of a Porsche factory

At the beginning of the 20th century, cars were hand built by small teams of highly skilled craftsmen and women. Only a small elite could afford to buy one until Henry Ford developed a system of mass-producing automobiles that lowered the unit price and enabled the average consumer to buy a car.

Tobias Rehberger takes history backwards. In 1999, the artist embarked on a project that saw him sending simple sketches, composed essentially from memory, of iconic cars such as a Porsche 911 and a McLaren F1 to a workshop in Thailand

VASTAL is a temporary research and education institute that Adam Zaretsky has set up in Amsterdam following an invitation by the Waag Society. Zaretsky will give lectures and workshops on Art and Life Sciences. The School was born with the objective of showing what it means to work artistically and scientifically with living organisms and materials. It also aims to make this form of art-science accessible for a broader audience and invite them to discuss the ethical and aesthetic issues at stake.

Cars have shaped the 20th century probably more than any other product of technology. Ever since Carl Benz created the first “horseless carriage” (1885), the automobile has had a deep impact on almost every single aspect of our life: landscapes, architecture, geo-political relationships (necessity to gain control of the areas that produce its fuel), social and labour movements, even the air we breathe

Can the OS model be applied to artworks or even exhibitions? In how far does the open source model differ from other forms of artistic collaboration? Is there a new role model for both the artist and the curator in the future? Which (economic) value and impact has expertise in open source production? How could institutions and organisations respond to this trend and create public domains?

This panel looked at the geographical shift that media culture currently undergoes. Europe, North America and Japan used to be at the forefront of digital production, design, art and technological research. Now that technologies become available at lower prices and spread more widely on the globe, new initiatives and bottom-up organisations are burgeoning in East Europe, the Middle East, Africa and South America

I’ve never had any interest in football (that’s soccer for you, American friendz.) Never ever. I come from a country that never won any championship (and if they ever did, well… i still don’t care), i find men in shorts a rather pathetic affair and i just don’t get sport on tv anyway. There’s been just one exception to this until last week and it was Eric Cantona, his sardines, his iced tea commercials

Could chemical reactions in fruits be also used to create on-off switches, the basic building blocks of computer logic and memory? Would it be possible to create a computer with fruits? The Fruit Computer Laboratory project proposes to create a temporary laboratory, open to the general public, that will raise questions and reflections about the construction of a future computer based on fruits