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¡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
Virality: Contagion Theory in the Age of Networks by Tony D. Sampson, University of Minnesota Press:
In this thought-provoking work, Tony D. Sampson presents a contagion theory fit for the age of networks. Unlike memes and microbial contagions, Virality does not restrict itself to biological analogies and medical metaphors; it instead points toward a theory of contagious assemblages, events, and affects. For Sampson, contagion is how society comes together and relates.
“Tarde and Deleuze come beautifully together in this outstanding book, the first to really put forward a serious alternative to neo-Darwinian theories of virality, contagion, and memetics. A thrilling read that bears enduring consequences for our understanding of network cultures. Unmissable.” ? Tiziana Terranova, author of Network Culture
ABOUT THE AUTHOR: Tony D. Sampson is senior lecturer and researcher in the School of Arts and Digital Industries at the University of East London.
Harrell Fletcher: Where I’m Calling From :: June 28, 2012; 8:00 pm (BST) :: Online at BMW Tate Live: Performance Room.
Artist Harrell Fletcher invites busking musicians to take their performances from the tube stations and streets of London into the gallery to play live, online to the BMW Tate Live Performance Room’s global audience.
Harrell Fletcher’s work often takes the form of socially engaged collaborative and interdisciplinary projects. For his BMW Tate Live performance, Where I’m Calling From, the musicians will shift from playing to a local London audience to performing on a global online stage. By moving these performers from tube station, to gallery space, and then back out to the world through the web, Harrell Fletcher aims to question value, and the influence of the internet.
Where I’m Calling From continues the BMW Tate Live Performance Room series ? a pioneering programme of live, online performances simultaneously seen by international audiences across world time zones at www.youtube.com/tate.
Audiences only view the BMW Tate Live performances on the internet and are invited to enter the online Performance Room via www.youtube.com/user/tate/tatelive at 20.00 in the UK and exactly the same moment across time zones on the specified dates?16.00 on the East Coast of America, 21.00 in mainline Europe, and 23.00 in Russia.
The global audience is encouraged to chat with other viewers via social media channels during the performance and to put questions to the artist or curator following it using Tate’s social media channels ? www.twitter.com/tate using #BMWTateLiveQ and www.facebook.com/tategallery.
This innovative format offers international audiences an opportunity to experience performance works through an entirely new mode of presentation. Each performance is archived and available to view online after the live event. Previous artists to perform in the series are Jérôme Bel, Pablo Bronstein, and Emily Roysdon.
BMW Tate Live is a four-year partnership between BMW and Tate, which focuses on performance, interdisciplinary art and curating digital space. BMW Tate Live: Performance Room is the inaugural strand of the partnership and features four commissions in 2012, and will continue in 2013 with a new series of six commissions.
BMW Tate Live is curated by Catherine Wood, Curator, Contemporary Art and Performance, Tate, and Kathy Noble, Curator of Interdisciplinary Projects, Tate, and assisted by Capucine Perrot, assistant curator, Tate.
Remitting Default: Sonic Diagrams ? Kenya (Robinson) :: July 6, 2012; 6:00 - 8:00 pm :: Recess, 41 Grand Street, New York City.
On July 6, 2012, Kenya (Robinson) will report back from the midway point of her time spent as the inaugural artist in Recess?s online residency program, Analog. Over the past year, the artist developed Remitting Default: A Psycho-economic Performance of Getting Skooled. This project records her experience as a black MFA student at Yale University while struggling to maintain her personal finances and secure fiscal support. Rendering her private education public, (Robinson) posted a daily record of the available balance in her personal checking account. This information is fully accessible at recessanalog.org.
To mark the midpoint of this durational performance of the mundane, on July 6th, (Robinson) will again transcend privatized aspects of culture and language in an attempt to present her own ?personal fiscal rhythm,?1. She invited five artists to translate her year?s worth of numerical data into sound. These collaborators will present audio material that references the dichotomies of vulnerability and empowerment, digital and analog.
Kevin Beasley: The Doppler Effect, Applied to Urban Riots
Christine Sun Kim: Skype Compositions
Erick Mack: Painting as a Durational Performance
Nontsikelelo Mutiti: Aural Map Making (125th Street)
Kenya (Robinson): Memory in Real Time
Tim Wilson: New Forms of Music Notation
1. Kenya (Robinson), June 13 2012
As performed by: Kevin Beasley, Christine Sun Kim, Eric Mack, Nontsikelelo Mutiti, Kenya (Robinson), Tim Wilson
Fifth Wall is an App designed for the iPad that considers the digital tablet as a new performance space. It explores the unique spatial, visual, and temporal conditions of the tablet, and its possibilities for choreography. The performance was created to embrace the multi-directional orientation and gravitational pull of the iPad. Viewers can focus on a single dance, or move, sort, and re-frame the performance, with touch.
By Jonah Bokaer with 2wice Arts Foundation, Abbott Miller, Pentagram, Ben Nicholas, and Adam H. Weinert.
iTunes Download of the Dance: [itunes.apple.com]
[Alfredo Jaar, "The Cloud"] Border Crossing :: until September 16, 2012 :: Kunsthallen Brandts, Brandts Torv 1, 5000 Odense, Denmark.
Why have we drawn borders between the countries of the world which are defined so strictly that people risk losing their lives if they cross them? Why is the right to migrate not a human right? This question may seem banal but the answer is complex. Border Crossing at Kunsthallen Brandts examines why the answer is not that straightforward and why it is relevant to all of us.
Kunsthallen Brandts has assembled video works and films by 6 world-renowned artists which explore the problems of migration, but they focus on this issue without emphasising the cruel aspects. With a high degree of intelligent aesthetics and by depicting the migrants as resourceful individuals rather than strangers, they succeed in involving us in the heavy debate.
The following artists are featured in the exhibition:
Alfredo Jaar (Chile/USA). The Cloud depicts a performance project enacted over the US-Mexican border. A concert is held on each side of the border while a huge cloud of balloons hovers in the sky representing the number of migrants who have died attempting to cross the border to the United States.
Chen Chieh-jen (Taiwan). Empire Borders examines and shows the discriminatory interviews that people who apply for a visa are being subjected to. Chen Chieh-jen´s film has resulted in Taiwan easing the rules and demands which the Taiwanese confront when they apply for permission to leave their country.
Ulrike Biemann (Switzerland). Sahara Chronicles is a video installation consisting of several videos exploring the complicated networks which migrants navigate within and the places where they meet each other, for example Agadez in Niger where up to 50,000 migrants gather each year.
Aernout Mik (Holland). Convergencies consists of footage from international news archives. By cutting between different scenes like railway stations, border crossings, and ships, the film depicts groups of anonymous people confronting each other. As is typical to Aernout Mik´s other video works, there is an ever-present atmosphere of something indefinable and strange.
Isaac Julien (Great Britain). The audiovisual film installation Western Union, small boats explores one of the most traumatic aspects of migration by showing how extremely dangerous it is to cross the Mediterranean from Africa. Drowned people lie on the beach but the poetic qualities of the film and the use of the sea as a metaphor adds an odd and compelling beauty to the scenes.
Guido van der Werve (Holland). In the film Everything is going to be alright, nr. 8 we follow a lone figure walking on a frozen sea. He moves towards the spectator and behind him an enormous, threatening icebreaker is getting closer to him all the time. Here it is not Caspar David Friedrich’s forces of nature which are a sign of destruction and superiority, but probably mankind’s own creations.
[Collective Geology of the Erased Space by Paul Catanese] Expanded Artists’ Books: Envisioning the Future of the Book :: Call for Proposals — Deadline: September 15, 2012.
The Center for Book and Paper Arts, a program of the Interdisciplinary Arts Department at Columbia College Chicago, recently received a $50,000 Arts in Media grant from the National Endowment for the Arts in support of a new electronic publishing initiative, Expanded Artists’ Books. This grant will support an award of two $10,000 commissions for new artworks for the iPad. These will have physical counterparts that intersect, modulate, or inform the digital components of the artwork.
Artists? books claim all aspects of the book (format, typography, structure, etc.) as potentially expressive. As immersive hybrid experiences for the reader/viewer, these works expand the limits of what we traditionally think of as a book. Simultaneously, we consider that tablet-based mobile platforms are emerging as a dynamic arena for investigation of the notion of the book. Expanded Artists’ Books utilize the rich capabilities of the tablet platform to imagine new forms that a book might take, such as exploring how interactivity challenges the traditional closure of text or the performance of time. We are currently focused specifically on Apple?s iPad as a site for exploration of this conceptually rich territory.
Bring To Light: Nuit Blanche New York 2012 :: October 6, 2012 :: Call for Submissions — Deadline: July 13, 2012.
Bring to Light is a site-specific contemporary art exhibition that illuminates the streets, parks, and industrial waterfront of Greenpoint, Brooklyn. Bring to Light is New York?s “nuit blanche,” part of a global network of locally organized nighttime art festivals.
An investigation of the tension and transformation underway throughout the New York waterfront, Bring to Light seeks proposals from artists exploring innovative approaches to temporary public art that engages the built environment and re-imagines public space. Through this unique annual intervention, the streetlights and everyday buzz of the sidewalks, parks, and piers of the industrial waterfront are replaced by the ephemeral glow of interactive installations and contemplative spectacle. Layering time-based media with architectural space, Bring to Light illuminates historic warehouses and contested shorelines as sites teeming with creative potential. Unexpected immersive environments invite a range of engagement — from active participation to quiet spectatorship.
Artists are encouraged to carefully consider the use of illumination and address how the work may function in its outdoor context. Limited indoor sites may also be available. While we accept submissions from artists working in any medium, work presented at Bring to Light commonly includes:
-Film, Video or Image Projection
-Installation, Sculpture and Interactive Environments -Sound and A/V Performance
Proposals will be evaluated based on the following criteria:
-Site-specificity or responsiveness–work that is designed to engage and transform its location
-Articulation of a strong concept, rooted in a demonstrated artistic practice
-Artist?s ability and preparedness to execute work as proposed
-Attention to the relationship of the artwork to the spectator/participant
-Innovation in content, technology or process
Submissions will be reviewed on an ongoing basis and all proposals must be submitted by 11:59 PM on July 13th for consideration.
New Aesthetic New Anxieties is the result of a five day Book Sprint organized by Michelle Kasprzak and led by Adam Hyde at V2_ from June 17?21, 2012. Authors: David M. Berry, Michel van Dartel, Michael Dieter, Michelle Kasprzak, Nat Muller, Rachel O’Reilly, José Luis de Vicente.
The New Aesthetic was a design concept and netculture phenomenon launched into the world by London designer James Bridle in 2011. It continues to attract the attention of media art, and throw up associations to a variety of situated practices, including speculative design, net criticism, hacking, free and open source software development, locative media, sustainable hardware and so on. This is how we have considered the New Aesthetic: as an opportunity to rethink the relations between these contexts in the emergent episteme of computationality. There is a desperate need to confront the political pressures of neoliberalism manifested in these infrastructures. Indeed, these are risky, dangerous and problematic times; a period when critique should thrive. But here we need to forge new alliances, invent and discover problems of the common that nevertheless do not eliminate the fundamental differences in this ecology of practices. In this book, perhaps provocatively, we believe a great deal could be learned from the development of the New Aesthetic not only as a mood, but as a topic and fix for collective feeling, that temporarily mobilizes networks. Is it possible to sustain and capture these atmospheres of debate and discussion beyond knee-jerk reactions and opportunistic self-promotion? These are crucial questions that the New Aesthetic invites us to consider, if only to keep a critical network culture in place.
James Bridle’s Tumblr site: [new-aesthetic.tumblr.com]