Arte contemporáneo en España

Redes de arte

Observatorio de noticias de arte contemporáneo en blogs nacionales e internacionales.

< En Portada


Redes de arte es un observatorio global de noticias de arte contemporáneo, centrado en blogs nacionales e internacionales de temática artística. Arte10 selecciona regularmente los mejores blogs, para acercarlos al público en formato de feed.


En español Internacional (en inglés) Blogs de Arte10 Ver Todos Incluye tu blog Canales activos  
  ¡Cada dos semanas comentamos en Fluido Rosa de RNE3 las novedades de Redes de arte!
  Redes de arte también tiene su versión offline: Encuentro sobre arte en la red

Networked_Performance

  • Permalink for 'Crossing Wires: Technology and Play [Evanston, IL]'

    Crossing Wires: Technology and Play [Evanston, IL]

    Posted: 4-March-2012, 10:33pm EST by jo

    [Apple/apple (Beta) by Dan Silverstein and Dave Tolchinsky. Picture credit: Tom Van Eynde] Crossing Wires: Technology and Play :: until April 15, 2012 :: Evanston Art Center, 2603 Sheridan Road, Evanston, IL.

    Technology has traditionally been used to make what functions function faster, easier and more efficiently. We expect computers, robots and machines to continue to take over the performance of chores and ramp up the production of goods. But what happens when technology is used for the non-functional, to make what is functional less functional? What happens when technology, especially complex technology, is used simply for … art or for play?

    In setting out to curate this show, we envisioned work that subverted functionality in favor of amusement and absurdity. Imagine if you will a colossal Rube Goldberg, whose only purpose is to break an egg. But the more we considered works that attracted us, including those that were Goldbergesque, the more we realized that play is paradoxically serious and often has urgent underpinnings.

    Here we present ten artists wrestling with a host of contemporary topics ranging from the impact of technology on our bodies to the reverberations of technology on the environment to the subjectivity of time. Whether seriously playful or playfully serious, we hope the works in Crossing Wires: Technology and Play provoke reflection and conversation.

    Curated by Barbara Blades and Debra Tolchinsky

    Artists: Christopher P. Baker, France Cadet, Chaz Evans, Christopher Furman, Tiffany Holmes, Joseph Kohnke, Ozge Samanci, Dan Silverstein, Dave Tolchinsky, Toby Zallman

  • Permalink for 'Will capitalism survive ?value abundance??'

    Will capitalism survive ?value abundance??

    Posted: 4-March-2012, 6:36pm EST by jo

    The $100bn Facebook question: Will capitalism survive ‘value abundance’? by Michel Bauwens, Aljazeera: [...] Open-source software, shared innovation and crowd-sourced manufacturing threaten capitalism as we know it. Not only is the world faced with a global resource crisis, it is also facing a crisis of intensive development, because value creators are increasingly income-less. The knowledge economy turns out to be a pipe dream, because what is abundant cannot sustain market dynamics.

    Thus we have an exponential rise in the creation of use value, but only a linear increase in the creation of monetary value. If workers have less and less income, who can buy the commodities that are offered for sale by companies? This, in a nutshell, is the crisis of value that we are facing as humanity. It is a challenge just as big as climate change or increases in social inequality…”

  • Permalink for 'Live Stage: Moments. A History of Performance in 10 Acts [Karlsruhe]'

    Live Stage: Moments. A History of Performance in 10 Acts [Karlsruhe]

    Posted: 4-March-2012, 6:45pm EST by jo

    Moments. A History of Performance in 10 Acts :: March 8 - April 29, 2012 :: Opening: March 17; 4:00 pm :: ZKM | Center for Art and Media Karlsruhe, Lorenzstrasse 19, 76135 Karlsruhe, Germany.

    Moments. A History of Performance in 10 Acts is an international live exhibition on the history of art performance in dance and fine arts. As an exhibition ‘in progress’, the project shows and develops new formats of museal presentation of live acts. The starting point is the interest in the processes of coming to terms with history in so-called re-enactments of historic performances, but which also comes to expression in the recently erupted controversy surrounding the museal presentability of performances by Joseph Beuys in photographic documentation. This is also reflected in the practice of a younger generation of performers and choreographs, such as in numerous historical appropriations and re-enactments. At the center of this is the ‘heroic’ period of the 1960s to the 1980s in which a radical (new) definition of the genre took place in the more intimate dialog between performance movements of fine arts and dance.

    Moments develops new methodological and interdisciplinary formats of an active and not only museal representation of performance history. During the eight week duration of the exhibition project a scenic act around ten central stages of dance and performance history unfolds ? as witnessed by a group of experts invited to accompany and observe for the entire period ? before the audience. One of the key focal points is the performances and works by women who have consciously been thematizing, transgressing and critiquing the genre boundaries between dance, performance, and visual media since the 1960s. Here, they likewise reflect on the implicit male constructions of the gaze and the gestural logic of their colleagues.

    The exhibition begins and ends in an empty space in which a lively exhibition display is built up in a permanent reciprocal movement between historical presence and medial documentation, museal re-presentation and scenic re-appropriation as well as new interpretation. A multiplicity of dialogically spirited situations emerge between performers, witnesses and public. Here, unlike more popular reenactments, recourse to history serves as a face à l’histoire, an active contrast of the historical and the present.

    Among others, the artists represented in the exhibition will be Marina Abramovi?, Graciela Carnevale, Simone Forti, Anna Halprin, Reinhild Hoffmann, Channa Horwitz, Lynn Hershman Leeson, Sanja Ivekovi?, Adrian Piper and Yvonne Rainer. The artists themselves document their historical performances in exhibition spaces. In collaboration with colleagues from art and theory (Alex Baczynski-Jenkins, Nikolaus Hirsch, Lenio Kaklea, Jan Ritsema, Christine De Smedt, Gerald Siegmund, Burkhard Stangl, Meg Stuart) Boris Charmatz approaches the documented works scenically and develops on-site a live act in a laboratory situation around this central moment of performance history. The artist Ruti Sela will be documenting this artistic approach to the work of their predecessors by way of film documentaries and will produce a film in the actual exhibition context itself. A group of students at renowned European universities will be accompanying the entire process. Directed by the group Charmatz, and in collaboration with the ZKM | Museum Communication, new performative methods and actions of the mediation of historical performance will be presented to visitors.

    A publication will appear at the end of the exhibition.

    Curators and exhibition dramaturgy: Boris Charmatz, Sigrid Gareis, Georg Schöllhammer
    Display Concept: Johannes Porsch







Otros canales
rss   twitter   facebook   youtube






 portal:   Aviso Legal | Información | Enviar a un amigo | Enlazar con Arte10 | Publicidad en Arte10.com | Contacto | Widgets y RSS | Mapa de Museos de España

Arte10.com (portal) - Arte10.org ((art) red social) - by Portfolio Multimedia

Arte10.com es una marca registrada con referencia: M2303078
ISSN 1988-7744. Título clave: Monográficos de Arte 10. Tít. abreviado: Monogr. Arte 10.

    |  © 1999-2014 ARTE10.COM