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Feedback culture in artistic circles and practices is increasingly growing and changing; many methods have been developed, adapted and modified in order to essentially support the creative process and realisation of a work. We are seeing ever more formats that open up the rehearsal process to receive feedback and communicate with audiences in a manner that goes beyond the known artist talk. Also within artistic education contexts, the desire is mounting for more quality-structured feedback that can guide students in both a critical and reflective way through their creative endeavours. Feedback is everywhere, and as a means to reflect, gather and share resources and methods on this expanding field the “Laboratory on Feedback in artistic processes” was initiated within the frame of “Teachback” – one of the modules of the project "Life Long Burning"in collaboration with HZT Berlin (Inter-University Centre for Dance) and Uferstudios Berlin.

The lab, held between 17th  and 19th  January 2014, invited a group of people who shared an interest in the topic. Over the two and a half days the group practiced, articulated and discussed different approaches, aims and experiences of existing methods of feedback. The idea was that a number of feedback-methods should be applied and tried out within the lab, as opposed to merely remaining on a theoretical discursive level.

Some of the questions that the meeting focused on were: What are the pitfalls of feedback? Where does it go wrong or become enforced? How to avoid feedback being a fashionable thing to do? How do we learn, improve and widen our means of giving and receiving feedback? How is this implemented in art practice and education today? How can the expertise and practise of feedback be passed on and grow, and what differences does it make, giving and receiving feedback depending of the perspective you take: for example as an artist, as a student, as an educator or a curator?

Here you can listen to the audio documentation of each contribution during the lab:

Siegmar Zacharias

Charlotte Vandevyver

Emma Tricard

Nik Haffner

Inge Koks and Frederik Le Roy

Britta Wirthmüller

Allison Peacock and Charlotte Vandevyver

Frank Bock

Jörg Koslowsky

Eva Meyer-Keller

Dejan Sr


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After nearly a year of preparatory work, we’re thrilled to announce the launch of one of our most ambitious initiatives ever: Creative Time Reports, a multimedia website dedicated to artists’ analysis of contemporary social issues and news from around the world. Founded on the belief that artists’ voices are critical elements of public discourse, Creative Time Reports enables artists to disseminate original reporting and analysis in a variety of formats. The site also encourages public feedback and fosters ongoing dialogue across a variety of social-media platforms.

Creative Time Reports welcomes artist contributors from all disciplines, including both the visual and performing arts. Find current contributions from the likes of British multimedia artist Liam Gillick, writing on global finance from the Basque Country; artist Pedro Reyes, reporting on elections in Mexico; Haitian writer Jean-Euphèle Milcé in Port-au-Prince, documenting the political, material, and emotional aftermath of the catastrophic earthquake of 2010; Iranian-American comedian, actress, writer, and filmmaker Negin Farsad, who has produced a video comprising interviews outside the United Nations, during the General Assembly; and many others.

Today, the Internet is our global town square. As such, Creative Time Reports can provide an international platform for artists’ ideas about the issues that matter to them, and initiate broad-based dialogue. In addition to hosting original reports and timely updates about a wide range of issues, the site will encourage your feedback and foster ongoing dialogue, and will incorporate live feeds from Twitter (@artistsreport) and Facebook. Creative Time Reports will best succeed with your smart, thought-provoking responses, whether written in the comments section on the website itself, or posted on other social-media platforms.

Creative Time is grateful to the Rockefeller Foundation's New York City Cultural Innovation Fund for its support of Creative Time Reports.

This afternoon at 2PM EST, we’ll be co-hosting a live panel with Artlog related to the launch of Creative Time Reports. You don’t have to be on Twitter to watch the live conversation, which will include panelists from SFMOMA, Art21, and the Whitney Museum, as well as artist Hank Willis Thomas and the creators of Creative Time Reports. Just click this link at 2PM, or if you are on Twitter, join in using the hashtag #CTRL.

Be sure to check regularly for stories, interviews, narrative articles, podcasts, video, photo essays and more from artists and cultural producers from around the world, and join the conversation today!


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Anatomía de un sueño nace de la necesidad de reflexionar sobre el hecho creativo.
Una directora de escena es atacada por un sueño. Cuando se recupera de las heridas se dedica a analizar la anatomía de los sueños con el objetivo secreto de que la próxima vez en que uno de ellos venga a atacarle ella sabrá defenderse y ponerlo contra las cuerdas.

Una pieza sobre dramaturgia y coreografía en la escritura escénica contemporánea.

La pieza parte de una investigación sobre dramaturgia y coreografía en la escritura escénica contemporánea. Sobre el proceso de creación y composición de un espectáculo en el que se funden la danza, el teatro, las imágenes, la música….Y busca respuesta a preguntas como
¿Es una pieza el fruto de un sueño?
¿Es posible diseccionar ese sueño?
¿Es posible ofrecer al público en un espectáculo el íntimo proceso de creación de ese espectáculo?

Una conferencia escenificada, en la que se analizan diversos aspectos de la creación "You Gonna Dance".

Al informe 003 de Anatomía de un sueño le han dado el premio al espectáculo más original e innovador en el Festival Intenacional de Teatro TAC de Valladolid.
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YouTube Play. A Biennial of Creative Video aims to discover and showcase the most exceptional talent working in the ever-expanding realm of online video. Developed by YouTube and the Guggenheim Museum in
collaboration with HP, YouTube Play
hopes to attract innovative, original, and surprising videos from around
world, regardless of genre, technique, background, or budget. This
global online initiative is not a search for what’s “now,”
but a search for what’s next. Visit to learn more and submit a video.

About YouTube Play

In the last two decades, there has been
a paradigm shift in visual culture. The moving image has been fully absorbed
into critical contemporary-art practices, and now we are witnessing the power
of the Internet to catalyze and disseminate new forms of digital media,
including online video.
With video now available for anyone to produce and watch, almost anytime and
anywhere—be it on cell phones, digital cameras, computers, or tablets—it has
become the medium of choice for many aspiring artists. YouTube Play will recognize the current effect of new technologies
on creativity by showcasing exceptional talent working in the ever-expanding
realm of digital media.

It is the goal of YouTube Play to reach the widest possible audience, inviting each and every individual with access to the Internet to submit a video for consideration. The end result will
hopefully be the ultimate YouTube playlist: a selection of the most unique,
innovative, groundbreaking video work being created and distributed online
during the past two years.

The Take
Running in conjunction with YouTube Play,the Take, a blog
featuring writing by experts, scholars,
artists from the
worlds of film, video, and Internet culture will discuss digital
content, the history of video art, and
video and its
effects on art and life.

How to Participate

Now through July 31,
2010, participants are invited to submit new or existing videos created within
the last two years at Submissions may include any form
of creative video, including animation, motion graphics, narrative,
non-narrative, or documentary work, music videos, and entirely new art

Selection Process

After the submission
period closes, the Guggenheim Museum will identify up to 200 videos for
viewing at From this group, up to 20 videos will be
selected by a jury of experts, comprised of distinguished artists,
filmmakers, graphic
designers, and musicians, to be presented at the Guggenheim Museum in
New York
during a special event on October 21, 2010, on view to the public
October 22–24, with simultaneous presentations at the Guggenheim museums
in Berlin, Bilbao, and Venice.

The Jury

Laurie Anderson

One of today’s most prolific performance artists, Laurie Anderson is renowned as a
musician, inventor, and filmmaker. Her performance practice is diverse,
ranging from riveting monologues to sophisticated multimedia events that
combine and harmonize visual and aural elements. At once experimental
and entertaining, Anderson’s work resists categorization, as the
novel-inspired performance Songs
and Stories for Moby Dick

(1999–2000) illustrates. The impact of Anderson’s creative work has been
acknowledged by NASA, which named her its first artist-in-residence in
2004. A traveling retrospective of Anderson’s visual work, The Record of the Time: Sound in the
Work of Laurie Anderson
, was
organized by the Musée d’Art Contemporain de Lyon in 2003. Recently
Anderson released the album Homeland (her first in ten years) and
premiered the new performance work Delusion at the Vancouver 2010 Cultural

Animal Collective, featuring Deakin (Josh Dibb), Geologist (Brian Weitz), and Panda Bear (Noah Lennox)

Hailing from Baltimore, Animal Collective is a decade-old group of musicians
composed of childhood friends Avey Tare (Dave Portner), Panda
Bear (Noah Lennox), Geologist (Brian Weitz), and Deakin (Josh Dibb).
Known for their experimental sound and mysterious, psychedelic, and
sometimes disorienting live performances, the band has produced eight
studio records, one live record, and a variety of critically acclaimed
side projects while touring extensively nationally and internationally.

Darren Aronofsky

Born and raised in Brooklyn, New York, director Darren Aronofsky won the Director’s
Award at the 1998 Sundance Film Festival and an Independent Spirit Award
for Best First Screenplay for his first feature, π. In 2000 Aronofsky premiered Requiem for a Dream at the Cannes International Film
Festival. The film was named to more than 150 Top Ten lists, including
those of the New York Times, Rolling
, Entertainment
, and the American Film
Institute. His third feature, The
, a science-fiction
romance that he wrote and directed, starred Hugh Jackman and Rachel
Weisz. Aronofsky’s most recent film, The
, premiered in 2008 at
the Venice International Film Festival, where it won the Golden Lion,
making it only the third American film in history to win this prize.
Among his honors, the American Film Institute has awarded Aronofsky the
prestigious Franklin J. Schaffner Alumni Medal, and the Stockholm Film
Festival presented him the Golden Horse Visionary Award. His next
release, Black Swan, is a horror film set in the world of
ballet that stars Natalie Portman and Mila Kunis, forthcoming in late
fall 2010.

Douglas Gordon

Scottish-born artist Douglas Gordon utilizes a variety of mediums, including
installation, video, and photography, to investigate memory and time.
For his landmark video 24 Hour
(1993), he slowed Alfred
Hitchcock’s 1960 film to last an entire day; the tension of this famous
thriller was heightened by the mesmerizing, protracted action. In 2006,
Gordon collaborated with artist Philippe Parreno on Zidane: A 21st Century Portrait, a film that presents the movements
of French soccer star Zinedine Zidane in real time over the course of a
single match to create a complex study of portraiture and mediated
spectacle. Exhibited globally, Gordon's work has been the subject of
considerable critical attention. Gordon received the 1996 Turner Prize,
the Duemila Prize for best young artist at the 1997 Venice Biennale, and
the 1998 Hugo Boss Prize. In 2008 he received the Roswitha Haftmann
Prize and served as an International Juror at the 65th Venice
International Film Festival.

Ryan McGinley

Ryan McGinley is a photographer whose work celebrates raw youth, with all its connotations of revolt, hedonism, and subversion. Subjects have
ranged from fans of the musician Morrissey (in the series Irregular Regulars,
2004–07), to nude young men and women playing and living in nature (I Know Where the Summer Goes, 2007–08) or captured in intimate
studio portraiture (Everybody
Knows This Is Nowhere
, 2010). In
2003, at the age of twenty-five, McGinley became the youngest artist to
have a solo show at the Whitney Museum of American Art. McGinley has
been the recipient of two important photographic prizes, the ICP
Infinity Award for best young photographer from the International Center
of Photography in 2007 and American
magazine’s Photographer
of the Year award in 2003. In addition to projects in which he documents
his own friends and community, McGinley has created editorial
portfolios for such publications as Index, Esquire, and the New
York Times Magazine
, for which
he has photographed athletes at the 2004 summer and 2010 winter Olympic
games, 2007 Oscar nominees, and the singer M.I.A.

Marilyn Minter

Artist Marilyn Minter merges high art with commercial imagery throughout her practice, which includes painting, video, and photography. Minter’s work
frequently focuses on the female body, creating hyperrealistic artworks
that offset sensuality with lurid colors. Her second video work, Green Pink Caviar
(2009), has been screened in locations around the world, including
Sunset Boulevard in Los Angeles, Times Square in New York, Madonna’s
2009 European tour, and, at present, the lobby of the Museum of Modern
Art, New York. The manipulation of glamour and desire, recurrent themes
for Minter, converged in her appropriation of Pamela Anderson’s iconic
pin-up image in a 2007 series of photographic portraits. Minter has
exhibited internationally, with notable solo shows organized by the San
Francisco Museum of Modern Art (2005); Center for Contemporary Art,
Cincinnati (2009); and La Conservera, Centro de Arte Contemporáneo,
Murcia, Spain (2009).

Takashi Murakami

World-renowned Japanese artist Takashi Murakami blurs the boundaries between East and West, past and present, in his paintings, sculptures, and videos.
Influenced by such varied traditions as Japanese manga, anime, and
classical nihonga painting and Western Pop art, Murakami has developed a
unique practice that situates the artist at the cusp of high art and
mass culture. In his work as a curator, Murakami has organized such
seminal exhibitions of contemporary Japanese art and culture as Superflat
(2000) and Little Boy: The Art
of Japan’s Exploding Subcultures

(2005). As an entrepreneur, he promotes emerging artists through his
art production and management company Kaikai Kiki Co. Having exhibited
widely throughout the world, Murakami is currently preparing for an
exhibition at the Château de Versailles in September 2010.

Shirin Neshat

Shirin Neshat is an Iranian-born artist/filmmaker living in New York. Neshat’s early photographic works, including the Unveiling (1993) and Women
of Allah
(1993–97) series,
explored notions of gender in relation to Islamic fundamentalism and
militancy. Her subsequent video works departed from overtly political
content or critique in favor of more poetic imagery and narratives.
Neshat recently directed her first feature-length film, Women without Men,
which received the Silver Lion Award at the 66th Venice International
Film Festival in 2009. Neshat has been the subject of numerous solo
exhibitions at galleries and museums internationally, including the
Stedelijk Museum in Amsterdam, the Serpentine Gallery in London,
Hamburger Bahnhof in Berlin, the Walker Art Center in Minneapolis, and
the Musee d’Art Contemporain de Montreal.

Stefan Sagmeister

Stefan Sagmeister is one of today’s most innovative and influential graphic designers. His conception and application of graphic design goes above and beyond
traditional notions of the practice, taking it to the realm of
performative, conceptual, and installation-based art. Sagmeister is most
widely known for his album cover artwork for bands like the Rolling
Stones, Talking Heads, and Lou Reed, and for books like Mariko Mori’s Wave UFO
for the Kunsthaus Bregenz, which function as sculptural objects.

Apichatpong Weerasethakul

Working in both feature-length and short forms, Apichatpong Weerasethakul plays with
various narrative devices and nonlinear structures in his profoundly
expressive, lyrical films, which are produced in his native Thailand.
Exploring memory, political oppression, and spiritual quests, the works
blend naturalism with stylized, dreamlike sequences. Weerasethakul’s Syndromes and a Century was the first Thai film to be
selected for the Venice International Film Festival, where it premiered
in 2006 at the 63rd festival. Recent screenings and exhibitions of his
films and installations include Phantoms
of Nabua
, Wexner Center for the
Arts, Columbus, Ohio; Moderne de la Ville de Paris/ARC (2009); and at Life on Mars,
55th Carnegie International, Pittsburgh (2008–09), at which he was
awarded the inaugural Fine Prize. His feature films have won several
prizes from the Cannes International Film Festival, including the Prix
Un Certain Regard (2003), the Prix du Jury (2004), and for his most
recent film, Uncle Boonmee Who
Can Recall His Past Lives
, the
prestigious Palme d’Or (2010).

Nancy Spector, Jury Chair

Nancy Spector is the Deputy Director and Chief Curator of the Solomon R. Guggenheim
Museum, where she oversees the acquisition strategy for the permanent
collection and the global exhibition calendar for the institution and
its affiliates. She has organized exhibitions on conceptual photography,
Felix Gonzalez-Torres, Richard Prince, Tino Sehgal, and Matthew
Barney’s Cremaster cycle. She was adjunct curator of the
1997 Venice Biennale and co-organizer of the first Berlin Biennale in
1998. She has contributed to numerous books on contemporary visual
culture with essays on artists such as Maurizio Cattelan, Luc Tuymans,
and Lawrence Weiner.

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Radiohead just released a new video for its song "House of Cards" from the album "In Rainbows". No cameras or lights were used. Instead two technologies were used to capture 3D images: Geometric Informatics and Velodyne LIDAR. Geometric Informatics scanning systems produce structured light to capture 3D images at close proximity, while a Velodyne Lidar system that uses multiple lasers is used to capture large environments such as landscapes. In this video, 64 lasers rotating and shooting in a 360 degree radius 900 times per minute produced all the exterior scenes. Watch the making-of video to learn about how the video was made and the various technologies that were used to capture and render 3D data. See details in Google Code:
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