art (44)
Raimund Hoghe, photos by Rosa Frank (c)
I really have to mark here that in female competition the same award was given to ex-ballerina Sylvie Guillem. They are both completely different in bodily physics and kinetics, but the result is actually the same. The result is strong and authentic.I already blogged about ‘Boléro Variations’ I saw back at Queer Festival, so I’m letting you to Mr. Raimund Hoghe and his ways of seeing thingz on the stage and in life…Raimund Hoghe, photo by Rosa Frank (c)
While I was watching your performance ‘Bolero Variations’, I constantly thought about the line: tinny little thingz… You like to ‘dig’ through those hidden moments in our lives… exploring society and its reflection on your own inner landscape… What was the initial trigger that has brought you to this?RH: It’s different from each piece, but I don’t make pieces with big effects, for example. I’m not interested in virtuosity or how people can jump or do incredible things. I’m interested in simplicity, so very simple and the personality of dance. To share with audience the quality of dancers, and there are these very little things; and sometimes maybe you are wondering why it’s interesting?For some people, of course, it’s not interesting, but for many it’s interesting. Like for me, last time when I was here in Zagreb, three years ago in 2006 with ‘Swan Lake, 4 Acts ‘, there was a 3-year old child in the performance. And this child didn’t want to leave the performance in the break, because it was so interested. The child wanted to see the whole story. The mother wrote to me a letter and this child had very interesting comments. It was also a long piece. So, for some adults it’s very boring, for a 3-year child is different. It’s different for each person.Lorenzo De Brabandere and Raimund Hoghe
Photo from Tanzgeschichten by Rosa Frank (c)
You have spent many years working with Pina Bausch … her pieces have a specific dramaturgy… and the set of dancers in your piece reminded me on some performances you did with Pina… having a strong female character on the stage… Ornella Balestra’s character reminded me on Mechtild Grossman…RH: Yeah, but it’s very different from Pina’s work now, because it’s much more entertain and light, not too long; all dancers are more or less young. So, I’m interested just in strong personality. And now, my works could be compared with early works by Pina, not with her works from today. Because she is working a lot with video now, and older pieces were used in films, too. I don’t use this kind of technology.And, the roads are different, like in Pina’s dance pieces women are women, and man are man. So, women have long hairs, very beautiful colourful dresses moving like women. Man wear white shirts with trousers, like this classical image of man and woman. I’m not really interested in this.Ornella Balestra, photo by Rosa Frank (c)
People tend to stuck when they try to use canons of classical dramaturgy in contemporary dance… As dramaturge how do you make this distinction, because your field is dance dramaturgy? You are directly connected with the scene that coined the term Tanz theater…RH: For me, in dramaturgy you have to come from one point to the other and you have to know why. That’s something everybody has to find out. There is no recipe or so. For me it has to be clear how you come from one point to the other, and that you can repeat it easily… this outthinking. The dramaturgy has to be so clear, that you can just jump into the piece.We don’t have long rehearsals before performances. It’s just one day, but people do different things… Maybe one piece is for one night play and then you have one rehearsal. And it is possible, because for me, and also for dancers, the dramaturgy is very clear. You don’t have to think about it. In many dance pieces you see today, they have to sing or think a lot what is coming next. In my work you have to know why you are here.Photo by Patrick Mounoud (c) taken from fipa
How would you describe your work with Pina Baush?RH: It was very interesting to work with her. People talk about her and her work in terms of personality and strong person. This is very personal related, but it could be said also for her art form. It was not that sort of work where you present only the feelings.Could you be so kind to describe a little bit your working process… from the beginning till the end…RH: I’m very inspired by music. So, this is the point, when I’m listening the music! I made a piece on Maria Callas, and she sang about all that: If you really listen to the music, the music tells you how to move. And this is what I’m also trying. Then this dramaturgy is coming together, I feel it. I just have to do ‘this next – this next – this next’…In this piece about Callas ‘36, Avenue Georges Mandel’, she wasn’t visible in the first performance. But I had a feeling I missed something and had to think why is this happening and then I put this motif in it as a scene or an aria or something.Emmanuel Eggermont and Raimund Hoghe, photo by R. Frank (c)
How do your dancers react to these processes because they are all very physical, but seems like there is always a layer of trust?RH: Yeah, the trust. So, that everyone can be exactly what they are. For me, it’s also important that there is no competition between dancers. Everyone is so different, you can’t compare them, each has its own quality. For example Lorenzo (De Brabandere), who was also in ‘Swan Lake, 4 Acts’; and Emmanuel (Eggermont) have really big part in this piece. They cannot be compared. They have very different backgrounds, from education and so. This is important, that there is no competition.It’s interesting how they are bringing different experiences…RH: Yeah, different experiences … like Lorenzo, who wanted to become a football player, and he was underway to football player; and Emmanuel not at all. And Yutaka (Takei), the Japanese dancer – he did also martial arts and he have this background. Nabil (Yahia-Aissa) is a medical doctor and dancer. They all have this different backgrounds.Charlotte Engelkes and Raimund Hoghe, photo by R. Frank (c)
Yeah, they enriched the performance…RH: Yeah! This is something you might feel when you’re in the audience – different personalities. And it’s important that they respect one another. This is also not so often on the stage.I got the impression that their bodies are not talking differently, not in a sense of different languages, but it’s something in their way of presentation, some thin line that makes them different…RH: Yes. I’m interested in which way they are different, and also to keep this diversity. This is one main point, you have this diversity – not one body, the ideal body.Raimund Hoghe, photo by Rosa Frank (c)
One of your main drive is music, too. When did you discover this, or was it the sound itself that attracted you, or rhythm, or classic music…RH: …also popular music. It’s very simple. I grew up surrounded mostly by popular music.Which artists inspired you?RH: Oh, there are so many of them. So many movies… For example, Maria Callas inspires me, because she was so aware of the movement. She talked a lot about it. And also Japanese dance, Butoh dancers like Kazuo Ohno, Sankai Juku… I know them well, and this is something I’m very interesting in… I was also very interested in this concept of Bauhaus. This combination of fine arts, dance, theatre…Raimund Hoghe, photo by Luca Giacomo Schulte (c)
I can relate your work with Butoh, because seems like you have similar aesthetic ground and this ‘less is more’ approach….RH: Yeah, less is more. I’m really into this, thinking about this very often. I’m into artists like Joseph Beuys, Christian Boltanski, Wolfgang Laib and his installations…I know you like Pasolini…RH: …and Pasolini, of course. So, there are many, many artists… from music and literature… I like German and Russian authors. I like a lot Anton Chekhov. But there are also some pieces by Maxim Gorki. In German literature I like Johann Gottfried von Herder, Heinrich von Kleist… Many, many artists…Mr. Hoghe, Thank You Very Much!(Originally published on blog Personal Cyber Botanica: www.lomodeedee.com)Photo: Robert Hylton Urban Classicism (c)
As a very young artist he was a member of many street art crews, for instance Bamboozle; then he decided to blast himself to the next level by studying contemporary dance at the Northern School of Contemporary Dance.In 1999 he founded Robert Hylton Urban Classicism which could be considered as a dance company, production crew and a training platform within whose Robert ‘transmits’ his knowledge and artistic vision.As a real ‘gimme some tunes’ artist he often collaborates with respectable DJs, among them also with Billy Biznizz - UK’s well known DJ, producer and remix-maestro who did some stuff for the House of Pain, Jade, N.W.A, 4Hero and Mark Morrison.Robert Hylton performed at many international festivals either as a solo dancer either with his own crew. He was a member / guest performer of several dance companies, such as: Jonzi D, JazzXchange and Phoenix Dance. Hylton is also well known for his hip hop/art/educational movies: Urban Classicism South Side, Two Sugars with My Hip Hop please…, The Real Thing, Frames, Urban Classicism, Urban Voodoo, Jaffaman, Simmetry, etc.This spring he spent some time in Zagreb (Croatia) with b-girls and b-boys from the School for Contemporary Dance ‘Ana Maletic’ and the local company What Evaa in order to work with them… they successfully presented their skills almost two months ago where else but on the street…Photo: Robert Hylton Urban Classicism (c)
I took few minutes of his time to chat a little bit with him at Dance Week Festival, and here is some stuff on street art from Jaffaman, ops… Robert Hylton’s perspective…Yo, Robert! The blood in your veins is the blood of a street artist, somebody artistically raised on asphalt with urban background… those are your foundations… what sort of ‘switch’ has happened when you decided to accept other forms of expressiveness?R: I think I’m a dance junkie, you know. The challenge of learning to dance was good. Culturally, hip hop is in my heart and my brain. Contemporary as well, it’s just a part of dance and I found that I was able to learn it, so I kept it, but I always returned. I mean, I never left hip hop and it was always there. But I enjoy both paths and that’s why I bring to the next generations of contemporary dancers discipline and how to work in the studio. So, fortunate I’m able to kind of help other people. If they just wanna stay hip hop - often come straight hip hop dancers to work with me; but when you are in a rehearsal studio and you make them work, there has to be some rules.Photo: Robert Hylton Urban Classicism (c)
It’s obviously that you take care a lot about soundz in your artwork… not just ‘gimme some beatz and tunez’ attitude… but a lot of classics, down tempo, trip hop, ambient… you mix it all… seems like they are all equal in your choreographic language? Basically, how do you treat sounds in your work?R: If I like it, I’m drawn to it. I think, even with hip-hop music… when hip-hop first came through, it was an amalgamation of many many different sounds. There was no formula, it was whatever the DJ thought could work for the crowd and listen to. Now, it’s a formula. It’s a straight-forward beat, and it loses its reliance it has back then. So, specifically for this project, before I came, because I didn’t know anyone, I just put a lot of different types of music in my computer and then when I met everyone I just thought: Well, this music makes a language to particular people to keep them in the comfort zone. And I think the music ballet is an important part of dance. If I like it doesn’t matter what it sounds like as long we dance to the music, whether it’s classical or ambient, as long it helps to those textures more then anything else.Photo: Robert Hylton Urban Classicism (c)
How did you manage to get the street vibe in your choreographies to fit in your style to theatre stage? Do you even think about that? Does it concern you at all?R: I think it’s a part of a natural evolution. Hip hop is young, about 35 years in its growth from the first wave in the seventies, and then in the eighties it was like the big media hustle, now it’s defined like: who the body- architect is; what the vocabulary is; what the history is and I think that’s a rich culture. Self-expression, inventiveness and all this things. So, I think that now there are more tools and it’s a combat to any kind of cultural birocracy in a way of policy. So, like ballet was a peasant dance, was a folk dance when it started. Hip hop is now a folk dance that is changing. You know, it’s a stage of a natural evolution at the moment. Now teachers require knowing the name of every single move in hip hop like in ballet. When you know the name of every move, then you know what the vocabulary is. Therefore, you are building something. It becomes a dance that grows with a form and structure, now excuse to the old ways of thinking.Photo: Robert Hylton Urban Classicism (c)
You run workshops and dance classes all around the planet. What do you want to accomplish with your dance classes?R: It’s an experience of teaching and developing. Again, wherever I was: New Zealand, Croatia, Indonesia, etc. going with the basic knowledge and vocabulary with the intention to get everyone to dance, to challenge everyone. It’s inside of me and it’s the challenge that I like and it’s always very successful. Then, this education challenge is here… And this is what it takes for me to get on stage, basically. When you come with the honesty, all the things you use are the fundamentals of dance and the experimentation. When people don’t know the fundamentals of dance I would teach them fundamentals of dance. I would challenge them with experimentation. My intention is, wherever they are, to try to push them further.You get the satisfaction from it…R: Yeah, I think I get the satisfaction from it because the more they push themselves forward the more environment in the culture grows, the more it looks to be growing up, the more looks to be organized and I think it just helps the general development of dance, whether it’s fusion, contemporary, hip hop or whatever is hip hop in it’s purest form.Photo: Robert Hylton Urban Classicism (c)
What do you think about Banksy, the graffiti artist… you probably know that some people are buying his artworks for a lot of bucks, an artwork that essentially belongs to the street and to all people?R: Yeah, I mean Banksy is a graffiti artist in a graffiti sense; he is not necessarily from hip hop background and all that stories. He is very clever, great political references and he does a great job. Banksy is definitely an outlaw, like the older graffiti artists were, when nobody knows who he is - in that sense is hip hop; and he takes big risks and gets away with it. But he is also a businessman. I know his manager; he is a good friend of mine.It’s a good marketing…R: Yeah, it’s a good marketing as long he keep that outlaw that it’s all business and that street artist can be on that level. I think, back again to dancers, that hip hop performers even when they know they wanna be b-boys, they have to learn some business; which is a part of organization when you are professional: contacts, business negotiating and all this. It takes them away from not just dancing on the street. Banksy was not just painting on the walls, he has books out, and his work is in art galleries. If his work is not in the gallery he will sneak by himself and put it there (laughs).Robert, TNX a lot!This interview was originally published on Personal Cyber Botanica: www.lomodeedee.com)
Contemporary creation as a tool
Circostrada Network, a European information and exchange network on street arts and new circus, has published a collective work called “Arts in the urban space: contemporary creation as a tool”."The publication aims to engage in deeper reflection on the effects of artistic intervention in public spaces. We asked European scholars of various fields to analyze, from the perspective of their own domain, the impact that artists’ presence has on the public space. What does it mean for society to see the arts moving into a space that was not originally conceived for them? What role can the street arts play in making adjustments on our cities or improving the framework of our lives? Should we beware of the possible exploitation of artistic creation towards political ends?"
Table of contents:
- Town Planning and Street Arts
- Spectator in fabula – What Street Theatre Does to Spectators
- Public Art: between (street) spectacle and the spectacular
- Nomadic Creations
- From the Street Theatre to Theatre in the Public Space
- Artistic Interventions Affirm Public Space
- Arts Don’t Have to Know How to Behave – A Commentary on Street arts in Contemporary Urban Surroundings
- Art, Public Space and Creation Centres
Contributers:
You can download the PDF for free: French and in English
- Anne Gonon
- Jean-Pierre Charbonneau
- Dragan Klaic
- Alix de Morant
- Joanna Ostrowska
- Ramón Parramón
- Christian Ruby
- Stéphane Simonin
- Corina Suteu & Cristian Neagoe
- Yohann Floch (coord.)
Exhibition at San Francisco Museum of Modern Art
let's see whether we manage to go to San Francisco before February 2009 and see this stunning expo, which actually is one of our main topics in our work. The expo presents an in-depth overview of participation-based art in the last 60 years; it can be seen as an exploration of what is an “art of participation”. The exposition's Curator, Rudolf Frieling states:
"We know what it means to participate in politics or school, and sometimes know what it means to participate in a work of art if we get clear instructions. However there are some projects where it is unclear what exactly is asked of you, or you can only find out by actually doing something. The work requires your input and your act of contribution."Works range from performance based art and happenings to web based projects. A very interesting "exhibit" seems to me Erwin Wurm’s One Minute Sculptures. The artists provides various objects, that are exposed and look like 20. century sculptures. BUT.... these objects come with instructions, that invite the visitor to perform the sculpture! Apparently not the easiest exercises, the "dead" objects come to live by the spectators following Wurm's instructions. Each sculpture is individual and ephermal. What a beautiful concept... [paper on one minute sculptures] We'd be curious to see this exploration of approaches and situations in which the public has taken a collaborative role in the art-making process. It is divided into an online exposition, and the physical on-site exhibition.. The online exhibition consists of artworks that were specifically designed for the world wide web. They range from public discussion forums to online games and sharing tools, some of them using web 2.0 technologies. You can participate in creating a performance that will be showed on 7 February 2009 at SFMOMA, by voting for ten components, including location, time, props, themes, and subtitle. A favorite work is Mejor Vida Corp., an "online shop", that "creates, promotes and distributes world wide products and services for free", including counterfeit barcodes, ID cards, and subway tickets. A very humourous critique of global corporations! Works by artists like Joseph Beuys, John Cage, Lygia Clark, Hans Haacke, Dan Graham, and Nam June Paik, Francis Alÿs, Maria Eichhorn, Jochen Gerz, Felix Gonzalez-Torres, Lynn Hershman Leeson, and Erwin Wurm can be enjoyed and seen. The exposition is completed by lectures, performances (i.e. The Act of Drinking Beer with Friends Is the Highest Form of Art), Film + Video Screenings, and a special exhibition, The 1000 Journals Project "This is an experiment and you are part of it.", which had been created and maintained by Someguy, a San Francisco–based graphic designer who chooses to remain anonymous, the 1000 Journals project is designed to stimulate collaboration and understanding among perfect strangers. The project began when blank, 220-page books from San Francisco were distributed around the world—sent through the mail or delivered by hand to discrete locations. A stamped set of instructions inside each journal invites participants to make their mark in it by drawing, pasting, cutting, ripping, folding, burning, or writing on its pages. When finished, participants pass the journals on. A website tracks the books and their contributors, and displays scans of the pages.8. November 2008 - 8. February 2009The Art of Participation: 1950 to NowSan Francisco Museum of Modern Art151 Third Street San Francisco, CA 94103
................................................................... Ewin Wurm One Minute Sculpture
for more one-minute-sculpture videos have a look at sfmoma's blog
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P.D.ART MACHINES/ MACHINE ART.For me the most interactive and participative exposition I have ever visited, though the concept was based on this thought: In general we presume that artists make art, but what happens when machines produce art? The exposition invited the public to play with the exposed machines, which were artworks in themselves, created by artists and provided the visitor with a big variation of (mostly mechanic) tools to create pieces of work (not sure whether it is art).
origianlly posted at darlingsisters' blog and dance-tech.net text © by Karla
image credits
(1) bucket woman | Erwin Wurm, One Minute Sculptures (detail), 1997, Photo: Kuzuyuki Matsumoto, Courtesy SF MoMA, © 2008 Artists Rights Society (ARS), New York / VBK, Vienna.
(2) apple man © Clara Altenburg.
(3) Tom Marioni, FREE BEER (The Act of Drinking Beer with Friends Is the Highest Form of Art), 1970-79; refrigerator, framed print, shelf, beer bottles, and lightbulb, installation view at SFMOMA; collection SFMOMA; photo: Ben Blackwell; © 2008 Tom Marioni
(4) Lygia Clark, Diálogo: Óculos (Dialogue: Goggles), 1968; modified diving goggles, metal, and mirror; Clark Family Collection, Rio de Janeiro; photo: Eduardo Clark, courtesy "The World of Lygia Clark" Cultural Association; © 2008 "The World of Lygia Clark" Cultural Association.
 Kudu at MIXER, June 14. | We come in several original summer flavorsIt’s the end of June and Eyebeam is about to burst with interactive activity with the launch of Interactivos?@Eyebeam, Summer School and Digital Day Camp. You can also catch the tail end of the Dewar’s commission for resident artists show Tourists and Travelers, and get a tour with Charlie the robotic duck to Central Park before we kiss our Spring 2008 residents goodbye, and usher in the Summer 2008 residents. And for the memories, hot MIXER pics are online now. Summer is finally HERE kids! This Week at Eyebeam:June 26: Upgrade! launches Interactivos? June 27: Interactivos? workshop and public skill-share begins June 28: Camerautomata Charlie walking tour July 1: Eyebeam Summer School is in session July 7: Digital Day Camp begins New from our Labs: June – August 10: Sarah Cook presents Broadcast Yourself at Cornerhouse June: TouchKit API version 2.0 to be released June: Ayah Bdeir’s littleBits in BerlinJuly 5: Anti-Advertising Agency’s OFFFice in Chicago On the road again: The Eyebeam Roadshow call for Fall 2008 hosts Eyebeam community news: HeHe’s Pollstream – Nuage Vert wins 2008 Golden Nica June 26: Upgrade! launches Interactivos?Upgrade! Join us on Thursday, June 26 at 7PM for the Upgrade! New York launch of Interactivos?: Better Than the Real Thing. R&D OpenLab fellow Zach Lieberman will set the scene with a presentation about Interactivos? and its beginnings at Medialab-Prado. Discussions of the real, the fake, and spoofing will ensue, with a presentation by The Yes Men. Informal discussion and a reception will follow. Eyebeam projects on display, that evening, will include BoozBot by Eyebeam senior fellow Jeff Crouse and Eyebeam Production Lab fellow David Jimison. Upgrade! is an international, emerging network of autonomous nodes united by art, technology, and a commitment to bridging cultural divides. Upgrade! New York has been in existence since April 1999 and partnered with Eyebeam in March 2000. Upgrade! meetings present new media projects, engage in informal critique, and foster dialogue and collaboration between individual artists. June 27: Interactivos? workshop and public skill-share begins
Interactivos?: Better Than the Real Thing Join us daily between June 27 and July 12, from 12 – 6PM to witness the transformation of Eyebeam’s main space into a lab for the creation of interactive art projects. From an open-call, Eyebeam selected nine new projects to be realized by artists from around the world, with the collaboration of Eyebeam resident artists and fellows and over two dozen very skilled artists, engineers, musicians, programmers, designers, and hackers (also selected from an open call). The projects investigate interactivity in all of its forms, and usually feature a mix of hardware tinkering, software coding, and conceptual hacking. During the intensive two-week Interactivos? workshop, the lab will be open and the public are welcome to drop in, see the artists and collaborators at work, and participate in discussions, critiques, and other social activities investigating interactivity in the context of this year’s Interactivos? theme: the blurry line between the real and the fake. A full schedule of events will follow. On July 12 the lab will be transformed into an exhibition, Double Take, which will be on view through August 9. Interactivos? was initiated two years ago by the Medialab-Prado program and the Madrid City Council. This is the first time it has taken place outside Spain. The full list of projects can be found here: June 28: Camerautomata Charlie walking tourDate: Saturday, June 28, 2:30PM As part of the Tourists and Travelers exhibition and in conjunction with Interactivos?: Better than the real thing, come see how a robotic duck can take better tourist photos than you can. Join the guided tour of tourist sites with the magical image-digesting robotic duck Charlie. The tour will start at Eyebeam at 2:30PM (participants are encouraged to check out the exhibition before setting off!) when they’ll join the artist and the duck as they walk and take public transportation to Bethesda Terrace, Central Park, where they will then wander around the park with other tourists. The tour will take about 2 hours. Participants may also meet the group at the Bethesda Terrace at around 4PM. July 1: Eyebeam Summer School is in sessionDates: July 1, 3, 8, 10, 15, 19, 22, 6PM Eyebeam Summer School is an annual adult workshop series designed to encourage the creative use of technologies for personal expression, activism, communication and community involvement. For more information and to register, email: bookstore AT eyebeam DOT org. Tuesday, June 1: Illegal Billboard Workshop with IllegalSigns.ca and The Anti-Advertising Agency. Presenter: Eyebeam senior fellow Steve Lambert. Activists estimate that half the billboards in New York City are illegal. Worth millions in profit, outdoor advertising has become a corporate black market that doesn’t stop short of breaking the law to get your attention. On July 1, the Anti-Advertising Agency and Rami Tabello of IllegalSigns.ca will lead a free workshop on how to identify illegal advertising and get it taken down. Canadian activist group IllegalSigns.ca is responsible for the removal of more than over 100 illegal billboards in Toronto. Rami Tabello will reveal how the billboard industry gets away with breaking the law and will offer suggestions on what New Yorkers can do to stop it locally. To sign up, email: workshop AT antiadvertisingagency DOT com Thursday, July 3: Eyebeam senior fellows Steve Lambert and Jeff Crouse will lead a workshop on A Basic Sentence Markup Language (ABSML)—an artist statement generator—and a new email spam-inspired project to Keep an Army Recruiter Busy. Tuesday, July 8: New Tools for Collaborative Practice. Presenters: Eyebeam senior fellow Steve Lambert; Mushon Zer Aviv and Dan Pfeiffer; NOR_/D: Eyebeam Production Lab fellow Addie Wagenknecht with Stefan Hechenberger.
Thursday, July 10: What do artists and audiences think of interactivity? Presenter: Beryl Graham. As part of Interactivos?, and in preparation for the opening of the exhibition Double Take, we present a lecture on how artists and audiences consider interactivity, led by Professor of New Media, Beryl Graham. Examples of high and low-tech projects in gallery and publically-sited contexts will be shown, and a rousing discussion with artists based on their own experiences will follow. This evening is in conjunction with Eyebeam research partner CRUMB, the resource for curators of new media art, based in the UK. July 7: Digital Day Camp beginsDates: July 7 – 25, Monday – Thursday, 1 – 5PM in the Education Lab In July 2008, Eyebeam will produce its ninth annual Digital Day Camp (DDC) program for NYC public high school students. DDC is a paid three-week summer intensive program, this year focused on the theme of Better Than the Real Thing—taking off from the Interactivos? workshop series. Selected participants will explore the tension in distinguishing “real” from “fake”. Among the questions to be addressed: What is authentic in the real of the digital? Can something be so fake that it becomes real? How can hoaxes, recreations, and illusions be used aesthetically and critically? DDC 2008 will investivage this through the creation of interactive art projects, which will join the projects produced during Interactivos? in the exhibition, Double Take, July 29 – August 9. DDC participants will publicly present their final projects on July 29, 7PM at Eyebeam. New from our Labs:
Broadcast Yourself Broadcast Yourself is an international group exhibition of artists’ interventions into television and strategies for self-broadcasting from the 1970s to today, co-curated by Kathy Rae Huffman and Eyebeam curatorial fellow Sarah Cook. Artists include: Active Ingredient (Rachel Jacobs / Matt Watkins); Shaina Anand; Ian Breakwell; Chris Burden; Stan Douglas; Alistair Gentry; Guillermo Gomez-Pena and Adriene Jenik; Doug Hall, Chip Lord and Jody Procter; Joanie 4 Jackie (Miranda July et al.); Pat Naldi and Wendy Kirkup; TV swansong (curated by Nina Pope and Karen Guthrie); Bill Viola; Van Gogh TV; 56KTV Bastard Channel (curated by Reinhard Storz / xcult.org). June: TouchKit API version 2.0 to be releasedThe Opensource Multitouch software development kit TouchKit developed in part by Eyebeam Production Lab fellow Addie Wagenknecht will be released as the API version 2.0 in the coming two weeks. Sign up for the mailing list: http://nortd.com/touchkit/list.html to be the first to know when the newest versions and updates go live, and stay on top of upcoming free workshops around the US! June: Ayah Bdeir’s littleBits in BerlinEyebeam R&D OpenLab fellow Ayah Bdeir is participating in the Friends of Fritzing Summit in Berlin, where she will present an early prototype of littleBits: a library of discrete electronic components pre-assembled in tiny, magnetic circuit boards. The project is in collaboration with Jeff Hoefs: http://www.jeffhoefs.com, and Smart Design: http://www.smartdesignworldwide.com. http://www.fritzing.org/events/friends-of-fritzing-summit-08 July 5: Anti-Advertising Agency’s OFFFice in ChicagoThe Foundation For Freedom (Eyebeam senior fellow Steve Lambert) is thrilled to announce our new temporary world headquarters at 6932 North Glenwood Avenue in Chicago. Starting today, and over the next four weeks, we’ll bring our mission and services to all the brilliant Chicagoland advertisers, marketers, and PR people ready to contribute to society in a meaningful way. The oFFFice will be open weekdays from 9AM to 4PM, through July 15 Brazil time, in solidarity with the visionaries who banned outdoor advertising (11AM to 6PM CST). We’re holding several events in our first week to celebrate! Come by and learn more: http://antiadvertisingagency.com/news/offfice-hours Steve also has drawings at the Haterdorn Museum in New Jersey: http://visitsteve.com/news/hunterdon-museum-the-house-that-sprawl-built/ On the road again: The Eyebeam Roadshow call for Fall 2008 hostsThe Eyebeam Roadshow is looking for hosts for its Fall 2008 tour. The Eyebeam Roadshow consists of a vibrant series of mini-lectures and skill-share workshops, from the distinguished roster of artists who have worked within Eyebeam’s Labs. Lecture topics may include: art and technology; copyright; open-source hardware and software; public space; hacking as an art form; how to write the world’s worst artist statement; creating tools for dissent; and other nascent projects developed at Eyebeam. If you are interested in hosting The Eyebeam Roadshow, please contact the Eyebeam production manager Stephanie Hunt: stephanie AT eyebeam DOT org with possible dates. More information about the Roadshow visit: http://roadshow.eyebeam.org Community news:HeHe’s Pollstream – Nuage Vert wins 2008 Golden NicaHeHe (Eyebeam alumni Helen Evans and Heiko Hansen) Pollstream – Nuage Vert: http://www.nuagevert.orghttp//www.nuagevert.org transforms clouds into projection surfaces. As such, these indefinable, constantly and chaotically changing products of the condensation of water vapor become media bearing political ideas and messages. Or aestheticized symbols of environmental pollution caused by carbon emissions. Pollstream – Nuage Vert was developed in collaboration with experts in laser technology, computer science, electrical engineering, energy generation and air quality monitoring. Development commenced in 2002 and concluded in February 2008 with a performance in Helsinki that demonstrated how art is capable of encompassing an entire city—its public sphere, its industry and its inhabitants—and unfolding sociopolitical relevance. Pollstream – Nuage Vert is the recipient of the Prix Ars Electronica 2008 Golden Nica in the Hybrid Art category. |
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These Things Happen will be screened at the launch of re:surface tonight, the Dance House's video dance event.
