Emergencies 2012 Project Description 062011

8/3/2019 Emergencies 2012 Project Description 062011

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Cultivamos CulturaAssociao Cultural

Rua de Odemira 15, 7630-440 So Lus, Odemira, Portugal

www.cultivamoscultura.blogspot.com

EmergenciesExperimental Contemporary Art ExhibitionNEW MEDIA Exhibition for Guimares 2012_European Capital of Culture

Concept

To understand and enjoy the artistic scene of today and also the technical conditions

and technologies that favour or condition the experimentation of certain aesthetic

materialization solutions for nowadays contemporary artworks, it is necessary to

experience the new research being made in the area of New Media.

To achieve this, the exhibition Emergencies is based on a choice of Artists and Works

centred in a dichotomy of media: real and virtual. Within the real media we find the

Biological (live), the Physical (phenomena and material) and the Chemical (substances

and transformations). In the virtual media we find the social networks, augmented

reality and all within the digital world.

I sought therefore to find a series of exemplary projects to demonstrate the use of the

referred New Media in a way to show the viewers and public an extremely interesting

sample and contact with a more experimental character of artistic creation today.


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Maximizing impact

To maximize the impact of this exhibition beyond the time of its duration and beyond

the space it takes place in, we plan to develop artistic residencies.

Some artists are being invited to produce new works especially for this exhibition,being the research development and production of these made in partnership with

some Portuguese institutions: Computer Graphics Centre of University of Minho,

Ectopia Experimental Art Laboratory/Gulbenkian Institute of Science, Institute of

Molecular Medicine of University of Lisbon, Opolab (in collaboration with architect

Jos Pedro Sousa) and Cultivamos Cultura Cultural Association. This way, although the

exhibition will be held in Guimares it will have a strong impact in other Portuguese

regions.

We also plan to involve the students of Masters in Technology and Digital Art andother Masters in new media visual arts, from University of Minho and other

Universities in Portugal, who will be able to accompany the artists in their residencies

while undergoing in a system of tutorship. They will therefore follow the whole

process of research, production and installation of new works integrating new

technologies.

As a strategy to control the costs of setting up an exhibition with these features we are

already undergoing efforts, with the help of the artists themselves, to obtain additional

support for the exhibition. We will also establish protocols with other institutions,

including MEIAC - Extremadura and Ibero-American Museum of Contemporary Art in

Badajoz, Spain, that will lend some pieces from its collection.


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Artists that will develop new works for the exhibition during residencies in

Portuguese institutions:

Andr Sier (PT) (residency at Computer Graphics Centre of University of Minho)

Marta de Menezes (PT) (in partnership with Jos Pedro Sousa from Opolab)

Arcangel Constantini (MX) (residency at Computer Graphics Centre of

University of Minho)

Boo Chapple (AUS) (residency at Cultivamos Cultura - Cultural Association)

Peter Flemming (CA) (residency at Cultivamos Cultura - Cultural Association)

Roman Kirschner (AU/BE) (residency at Cultivamos Cultura)

Tagny Duff (CA) (residency at Ectopia/ Institute of Molecular Medicine)

Other participating artists:

Aernoudt Jacobs (BL)

Christopher Salter (USA/CA)

Mike Thompson (UK/NL)

Sara Jane Pell (AU)

Shawn Brixey (USA)

Yann Marussich (CH)

BioKino (Tanya Visosevic & Guy Ben-Ary) (AU)

Maria Manuela Lopes (PT)

Daniel Palacios (ES)

MEIAC Collection Works from the following artists:

(0100101110101101.ORG) Eva y Franco Mattes(IT) John Klima (USA)

Brian MacKern (UR)

John F. Simon (USA) Gustavo Romano (AR)

Joan Leandre (ES)

Netescpio WebArt Collection (Multinational)


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Andr Sier_Portugal

Andr Sier (There is still no available image for the project that will be developed in residence)

Andr Sier was born in Lisbon (1977). He works as an artist-programmer of machinesand has interdisciplinary training in painting, sculpting, music, and a degree in

philosophy. He produces dynamic pieces in code, 3D, video, sound, electronics,

drawings, among other means. The pieces rely on algorithmic structures that connectvarious media. Environments unified into autonomous procedures that can berepeated indefinitely, updating itself in various ways. Its main function: to create statesthat are programmed in specific logical schemes, operate strange connections in timeand space, circling logical flaws, sculpting processes that are grouped into machinesinstalled in spaces or its results.

Residency work:

Lampsacus, is a virtual city that self organizes. Several interactive video windows offer diverse

points of view that are interactive and possible to play with, in order to generate new formsfrom the exchange between the machine and the public. Lampsacus is a virtual abstract spacethat is one and shared, through different simultaneous viewpoints in several organizingpossibilities of the physical space. This abstract space reflects the movement and geometricpositioning generated by the users, habited by simple artificial intelligences that in continuousself-generation change the structure of the city.


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Marta de Menezes with Jos Pedro Sousa_Portugal

Marta de Menezes is a Portuguese artist with a degree in Fine Arts/Painting from the

University in Lisbon and a master in History of Art and Visual Culture by the Universityof Oxford, under the supervision of Professor Martin Kemp and is now finishing herPhD in Art and Biology at University of Leiden.In recent years, she has been exploring the interaction between Art and Biology,working in research laboratories demonstrating that biotechnological technologies canbe used as new art. Marta de Menezes is also the artistic director of Ectopia, an artexperimentation lab in Lisbon (ectopia-lab.blogspot.com) and of the Cultivamos

Cultura Association in Odemira cultivamoscultura.blogspot.com).Her work has been presented internationally at exhibitions, conferences andpublications.

Jos Pedro Sousa is an architect graduated from the Architecture School in Porto(FAUP, 1999), and holds a master degree in Genetic Architecture from ESARQ-UIC(Barcelona, 02) and a PhD degree in Architecture at IST-UTL (Lisbon, 10). With aresearch interest in exploring new conceptual and material possibilities emerging fromthe use of advanced digital design and manufacturing technologies, he has developedan intense activity in the last 10 years, combining architectural research, teaching and

design practice. In 2009, he received the Young Research Award in Architecture fromthe Technical University of Lisbon / CGD.On his PhD research, he investigated the use of CAD/CAM technologies to rethink theapplications of cork in architecture. During this research period he was a SpecialStudent at MIT (Cambridge, MA) and a Visiting Scholar at UPenn (Philadelphia, PA).

Residency work:

We will be working together to make a living, growing and ever changing exhibition space tohost the works shown and be the live embodiment of also the concept of the exhibition.

Nature?Modified butterfly pattern wing

(performance_ 1999 by Marta de Menezes

M.City Exhibition - CONEplex Installation by Jos Pedro Sousa
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Arcangel Constantini_Mexico

Nanodrizas 2009-2012.

Arcangel Constantini explores a wide range of media and alternative resources to fuse

his ideas and concepts, both in the context of concrete objects and digital processeswhich include the exploration of sound and noise performance, as well as the art of

hacking. He is obsessed with all types of objects and their re-contextualization intemporal spaces, and reconsiders their aesthetics and connections to questions aboutour existence. Constantini has received numerous awards, including first prize in theFestival Vid at Rte 1999, first prize with Atari-noise.com in the Interference Festival(France, 2000), Honorary Mention of bacteria.org in Cinetart (Dresden, Germany2001), and Bronze prize to the project 123456789px by Machita Museum of GraphicArts (Tokyo, Japan 1999). He is a recipient of Jovenes Creadores, FONCA, Rockefeller,and MacArthur fellowships.

Residency Work:

Nanodrizas proposes an example of an emerging mode of environmentally engaged media artpractice, which we might designate 'tactical eco-tech'. Nanodrizas addresses immediate localenvironmental concerns utilizing multiple wireless networked devices, in this case floatingdevices which collect and send data about water pollution, and respond to the conditions withboth chemical interventions and acoustic expressions. The Nanodrizas are autonomousfloating devices which monitor pollutants in real time, generate sound, send data tocentralized data interpretation and visualisation systems via wireless communications and alsodisperse bacterial and enzyme remedies in situ.. The work will also functions to alert andsensitize people to the situations via, in the first location, the sound emissions of theNanodrizas and second via displays in exhibition centers and online.


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Boo Chapple_Australia/USA

Boo Chapple_Alchemy for a Global Economy2008

Boo Chapples an Australian artist and researcher whose conceptually driven practice

has been enacted across a diverse range of media including sound (installation,performance, and design), performance installation, video, and art/science projects.She holds a Master of Design (by research) from the Spatial Information ArchitectureLaboratory, RMIT University, Melbourne, and is currently undertaking an MFA in ArtPractice at Stanford University, California.In the past Boo worked as a sound artist,technician and tour manager on a number of theatre based performance projects andsince 2004 she has maintained an interdisciplinary teaching practice (Media, IndustrialDesign, Art/Science).

Residency Work

The artist will be developing a new piece in collaboration with scientists of the UniversidadeNova de Lisboa undertaking research in bioremediation technology. Boo Chapple will develop

her work with scientists from the ITQB Instituto de Tecnologia Qumica e Biolgica that focustheir research interests in the biological processes involved in the treatment of residual watersand sewage, commonly full of hormones and medications. Boo will be undertaking a newaspect of her ProjectAlchemy for a Global Economythat reflects on the emerging aesthetics ofthe questions of ecology and sustainability. The artist faces our anxieties about waste disposaland treatment, pollution and global warming, developing radical strategies and ironiccomments to solve such issues.


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Peter Flemming_Canada

Vibrations and Waves, 2010-2012. - There is still no available image for the project that will be developed inresidence

Peter Flemming is an artist who makes machines. His work has been featured across

North America and Europe. He currently resides in Montreal, where he teacheselectronics for artists at Concordia University. He has held workshops in electronicsand programming at artist-run centres around the world.

Residency Work

VIBRATIONS AND WAVES Experiments in Electromagnetism with Strings, Radio, Metal and

Glass

Pick-ups are mounted on the ends of the pendulums. The strings are vibrating acoustically.Whenever the pendulums pass over the string, the pick-ups capture the sound. A largerautomated version is planned. Piano strings, turnbuckles, wooden table, wood, 12 voltbatteries, electromagnetic coils, electric guitar pick-ups, mechanical components, 555oscillator circuits are some of the materials being used.


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Roman Kirschner_Austria

Dynamic Sculpture_2005/2006.

Roman Kirschner was born in 1975 in Vienna, Austria.From 93 to 98 studied philosophy and art history at the University of Vienna and from99 to 04 studied at the Academy of Media Arts Cologne, Germany.In 2001 the artist co-founded the artist collective FUR and in 2005 became a researchartist at the Academy of Media Arts in Cologne. Since 2009 has been working on a PhD"Metamorphosis_Processes of Material Transformation".

Roman Kirschner lives and works between Austria, Germany and Belgium.

Residency Work

Roman is still working on the concept of his project.


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Tagny Duff_Canada

The Cryobook Archives

Tagny Duff, Assistant Professor in the Department of Communication Studies, has anextensive background in media art production and exhibition practice, with a focus onvideo, performance, net art and bio art. She joins the Concordia faculty after livingabroad for two years while conducting PhD field research and an artist residency atSymbioticA, the Centre of Excellence in Biological Arts in the School of Anatomy andHuman Biology at the University of Western Australia. Duff is the recipient of variousawards including the Canada Council for the Arts, Social Sciences and HumanitiesResearch Council Doctoral Fellowship and FQRSC doctoral fellowship for her PhDdissertation "Moist Media Documents: Viral contagion from performance todocumentation".

Residency Work

Tagny Duffwill be developing her work with the Faculty of Pharmacy of the Universidade deLisboa with researcher Joo Gonalves, a Doctor in Pharmaceutical Sciences, in the field of

microbiology. Joo Gonalves has been working in Harvard Medical School and Cold SpringHarbour Laboratory in New York before returning to Lisbon and setting up his own lab there.His laboratory (Molecular Pathogeneses Centre) is the only group in Portugal developingresearch in the field of manipulating antibodies to fight several diseases from AIDS to cancer

without the side effects of conventional immunosuppressant therapies.

Published in"Nature", news from Publico.ptDiscovery of HIV moleculardoor is crucial, says Portuguese researcher. The discovery of the hidden

face of HIV, published in Nature magazine, is crucial because it opens way

to the development of new medication against the disease, says doctor

Joo Gonalves from the do Molecular Pathogeneses Centre of the Faculty

of Pharmacy of the Universidade de Lisboa.


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Aernoudt Jacobs_Belgium

Permafrost_ 2009

Aernoudt Jacobs (1968) lives and works in Brussels. After his architectural studies itdid not take long, however, before he chose to work with sound. His works are theresult of research into the different aspects of field recording and how to assimilatethis material into new forms and contexts. In his installation work Jacobs investigates

correlations between sound, matter, space/location, perception and psychoacoustics.The association of sound perception and memory is an ongoing preoccupation that is

visible in much of his work.

Exhibited Work:

Permafrost is an environmental sound sculpture about the freezing process of water. Aninstallation has been developed in which we can observe the constantly repeated cycle offreezing and melting. By means of a custom-made sound apparatus the process is madeaudible.

Permafrostdeals with the sometimes paradoxical relation between nature and technique. It isan installation addressing in the first place the freezing process of water. At the core ofPermafrost is a silent machine producing sounds according to its specific condition: thecrystallization process becomes the sound source, the matter outgrowing its containerbecomes visible and tangible.

Due to this visual aspect Permafrost is much more a sound sculpture than a mere installation.Different contemporary media are combined in the installation: sound art, kinetic art,sculpture and new technologies.


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Christopher Salter_USA

Christopher Salters a media artist,performance director, composer and

sound designer based in Montreal[Canada] and Berlin [Germany].

His artistic and research interests

revolve around the development and

production of real time,

computationally-augmented responsive

performance environments fusing

space, sound, image, architectural

material and sensor-based

technologies. Such projects range fromlarge scale public driven installations

where the line between spectators and

performers is blurred and questioned to

traditional performance environments

with trained performers that are

augmented with computational and

media systems. His current research interests include the use of wireless sensor

networks and ubiquitous computing technologies in artistic contexts, cross modal

perception, enactive interactive systems, real-time audio and critical studies of media,technology and performativity.

Exhibited Work:

JND (JUST NOTICEABLE DIFFERENCE) #1: SEMBLANCE

Interactive Installation_2009-2010

JND is a new series of multimedia installations that explores the concept of just noticeabledifference.

The first project, Semblance, is an interactive installation exploring the phenomenon of cross

modal perception - the ways in which one sense impression affects our perception of another

sense. The installation comprises a series of modular, portable pods, each of which is

installed with devices that produce subtle levels of tactile, auditory, visual and olfactory

feedback for the visitors, including a floor of vibrotactile actuators that visitors lie on,

peripheral levels of light, scent and audio sources which generating frequencies on the

thresholds of seeing, hearing and smelling.

Just notable difference - interactive installation_2009


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Mike Thompson_United Kingdom/ The Netherlands

Latro 2010

Mike Thompson's work explores both old and new technologies in order to generatefresh relationships between function and behaviour, questioning common codes ofconduct. His aim is to create a body of work blending his research based designapproach with an interest in current issues and technology to reflect and commentupon society both in the present and the future. Mike believes in design with aconscience "designers should be aware of the world around them and consider theimpact of design looking to the future."As such his work touches upon issues such assustainability, biotechnology and psychology. Mike believes in strong research basedpractice and design solutions. His approach is to create deep, methodical research inorder to find fresh angles for problem solving resulting in new, unforeseen processes,and innovative design outcomes.

Exhibited Work:

In 2010, scientists from Yansei and Stanford University pioneered a techniqueby where 30-nanometre wide gold electrodes were inserted into the photosynthesising organs

chloroplasts of algal cells, thus managing to draw a small electrical current from algae

during photosynthesis. As advances in nanotechnology lead to increasingly energy efficientproducts, plant life such as algae will become attractive sources for tapping energy. Latro is aspeculative product responding to this potential future market. Latro (latin for thief)incorporates the natural energy potential of algae and the functionality of a hanging lamp intoits design. Synthesising both nature and technology in one form, Latro is a living, breathingproduct. Algae are incredibly easy to cultivate, requiring only sunlight, carbon dioxide (CO2)and water, offering a remarkably simple way of producing energy. Breathing into the handle ofthe lamp provides the algae with CO2, whilst the side spout allows the addition of water andrelease of oxygen.


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Sarah Jane Pell_Australia

Hydrophilia I I - performance

Sarah Jane Pell is a human factors researcher, live artist and philosopher. Pell became a fullyqualified commercial diver and founded the Aquabatics Research Team in 2002 to explorecommercial diving and creative practices together in a unique union. Originally focused onmaking underwater performances, Pell's work now spans aqueous live art, digital media,installation, prototype pneumatic technologies, philosophies and experiments with advancedlife support and living systems. Her work has been presented in Australia, Asia, UK, Europe,

Scandinavia and recently in the USA.

Dr. Pell is currently an artist-researcher and Adjunct Lecturer, School of Anatomy & HumanBiology, The University of Western Australia, home to SymbioticA: The Art & science

Collaborative Research Laboratory.

Exhibited Work:

Sarah Jane Pell performs wearing a prototype Surface-Supplied Breathing Apparatus SSBAdubbed an Oyster diving helmet filled with 30lt of saline. Air is drawn from the surface via an

umbilical. The sinuses are flooded. Controlled epiglottal function prevents drowning. Theperformance continues under commercial diver supervision and protocols exploring fields ofconsciousness and pneumatoses for 111 minutes. Hydrophilia revealed the art of courtingdanger by confronting the body to act in unnatural ways. It concentrated the techne diving and

of faith. The spectator was implicated in threat or promise of asphyxiation and their sadistic,innocent pleasure, was either diverted or compounded by the rhythmical, meditative andmetronome-quality breathing soundtrack that accompanies the performance and provides animmersive and soothing fabric to the work.

The long duration and the slow breathing stretched and slowed down perceived measures oftime between inhalations and exhalations. It brought about an ocean-time or desert-time, and,as Baudrillard might say, there became the silence of the image. If I was right, we all shared

our territories and experiences through pneumatoses.


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Shawn Brixey_USA

Installation view of frozenAurora Ice Crystalsculpture. * Crystal colours change dramatically from different viewing

angles, similar to holography. - There is still no available image for the project that will be developed.

Shawn Brixey (b. 1961) is the Floyd and Delores Jones Endowed Chair for the Arts, and

is Co-Founder and the former Director of the University of Washington's research centre andPh.D. program in Digital Arts and Experimental Media.Brixey is best known for pioneering highly complex experimental artworks that synthesizephysics, astronomy, cosmology, biology and advanced computing.Previously, he was Chair and founder of the Digital Media Program at the University ofCalifornia Berkeley, and was Director of their Centre for Digital Art and New Media Researchfrom 1998 to 2002. He served UC Berkeley as a Primary Investigator for the system wide UCDigital Arts Research Network, and as an Executive Council Member of the President's PlanningGroup on Digital Art.He served as an Executive Committee and Research Council Member for the system wideDigital Media Innovations Agency, and an Executive Committee Member of The Consortium for

the Arts. He was also a founding member and Executive Committee Member of The College ofEnvironmental Design's Centre for Design Visualization, as well as the newly establishedBerkeley Institute for Design. He remains a Berkeley Art Museum Board of Trustees'Committee Member on New Media. In 2007 he was named to the Board of Directors of theCentre for New Cinema (CNC) in Seattle, Washington.

Exhibited Work:

Aurora Ice Crystalis an interactive ice crystal nucleation installation. Installation space wasspecially engineered to allow the growth of microscopic ice crystals (snowflakes) to be basedon direct environmental changes produced by performance activities. Super pure and super

cooled water was used to record these events on a microscopic (atomic) scale, and then usedas nucleation seeds to grow large scale prismatic ice forms. Shawn will, for emergencies2012,clone ice crystals from the ice age when the glaciers reached the North of Portugal.
http://en.wikipedia.org/wiki/Physicshttp://en.wikipedia.org/wiki/Astronomyhttp://en.wikipedia.org/wiki/Cosmologyhttp://en.wikipedia.org/wiki/Biologyhttp://en.wikipedia.org/wiki/Biologyhttp://en.wikipedia.org/wiki/Cosmologyhttp://en.wikipedia.org/wiki/Astronomyhttp://en.wikipedia.org/wiki/Physics


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Daniel Palacios Jimenez_Spain

Waves_ 2006

The work of Daniel Palacios (Cordoba, 1981), an artist educated in sciences whograduated with a degree in Fine Arts, develops by applying the relations of art, scienceand technology to space and the perceptual systems as a result of his postgraduatestudies which earned him Masters degrees in Art and Technology and Art in the PublicSphere. Actually he is resident at Knstlerhaus Bethanien (Berlin, Germany) where hedevelops a research about the material perception of something as intangile as the

time going by. Concerning information and electronic technology as tools for creating aprocess more than achieving a defined representation. Although it encompassesdifferent themes, his work is a set of relationships with the surrounding environment:whether with the physical space itself as we perceive it or what phenomena arehappening in it. In a certain sense, he creates situations which invite reflection orrepresent his own reflections at a specific moment of his research concerningperceptions and the manner in which they influence the way we relate to them.

Exhibited Work:

A long piece of rope represents three dimensionally a series of waves floating in space, as wellas producing sounds from the physical action of their movement: the rope which creates thevolume also simultaneously creates the sound by cutting through the air, making up a singleelement.Depending on how we may act in front of it, according to the number of observersand their movements, it will pass from a steady line without sound to chaotic shapes ofirregular sounds (the more movement there is around the installation) through the differentphases of sinusoidal waves and harmonic sounds. These kinds of action-reaction influencesapplied to sound and space are the basis of this installation. Due to its particular features, aspace has a way of relating with sound, understanding sound as a series of compressions anddecompressions which move through the air, so that the geometry of the space itself and theelements in it will influence the movements of the sound and finally our perception of thesound; adding to this entire stationary system a chaos of infinite variables from the mostminimal movement on our part.


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Yann Marussich_Switzerland

Born in 1966, Yann Marussich, a unique character in contemporary dance, delivers

performances which have a true impact on the audience: scraped, disturbing,provocative, and authentic. Since 1989, he signed a score of performances andchoreographies diffused in all Europe.

Exhibited Work :

Bleu Remix is the follow up ofBleu provisoire created in 2001; it is a performance in whichYann Marussich allows to come through his skin the tinted blue liquids from the interior of hisbody accompanied by sound of the same origin. These invisible movements appear as if bymagic, as Yann Marussich opens the route to our interior through the exterior and towards oursubconscious...With Bleu Remix, the performer embarks on an intimate voyage, a secret tour of his own body.Always the pursue of the universal man, to try and capture the essential of Bleu Provisoire,kneaded, transformed, morphed to shake the senses and to better unveil the reality that existsin each of us. The idea of remix applies to the sound that accompanies the performance. Ineach place of performance the original sound of Bleu will be remixed by a local sound artistand this way will create a new and unique performance each time.

Bleu...remix!performance_ 2001
http://www.yannmarussich.ch/index.php?m1=2&p=7http://www.yannmarussich.ch/index.php?m1=2&p=7http://www.yannmarussich.ch/index.php?m1=2&p=7


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BioKino (Tanya Visosevic & Guy Ben-Ary)_Australia

Artists and researchers. In 2005, Tanya Visosevic and Ben-Ary founded the art groupBioKino, which explores the interface between BioArt and film theory. The LivingScreen, which projects nano-movies (500 microns in size) on a screen made of variousliving tissues and cells, was exhibited for the first time in 2006 at the John Curtin

Gallery (Perth, Australia).

Exhibited Work:

Invocation of My Demon Screen casts a cinematic spell by employing the techniques of theFrench filmmaker Jean Painleve. Painleve cinematically synthesized poetry and science in hissurreal zoological films from the 1930s through to the 70s. Invocation Of My Demon Screen,emphasises the properties of time over the qualities of movement with a projection of themicroscopic movie onto a living screen...


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Maria Manuela Lopes_Portugal

Ethology_2008

Maria Manuela Lopes is a visual artist and researcher based in Portugal and the UK.Her current practice is transdisciplinar and based on issues of memory andconsciousness informed by life sciences and medical research and presented in theform of time based installations. She has been working and showing nationally andinternationally and also teaching fine arts at ESAD CR in Portugal since 2000. She has

studied fine arts at the FBAUP in Porto, Portugal and did an MA at Goldsmiths Collegein London. She is presently doing a practice based research degree at UCCA Farnham,UK.

Exhibited Work:

Ethologyis a site specific installation created as a living witness of the microscopic life presentin our immediate environment and ourselves. On the day of the opening of the exhibition theagar full boxes will remain open to the air and therefore serve as plates for all the microbial lifein the air that touches them, and us, as we pass around them. At the end of that time they willbe sealed and left to grow freely. As the exhibition proceeds the fungal and bacterial life on the

agar will grow profusely generating live patterns on the surface with a strong smell side effectthat will confront us with our own micro-ecosystem.


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MEIAC COLLECTION

MUSEU ESTREMEO IBERO-AMERICANO DE ARTE CONTEMPORANEO (SPAIN)

Brian Makern_Uruguai

Brian Makern is a digital artist. Director/editor of one of the first latin-american virtualspaces devoted to the investigation, development and implementation of webartprojects (1996). His last works explore interfaces-design, random concatenation of

random events, stochastic, sound toy creations, generative/ reactive/interactiveimage_sound objects, real time video-data animations for electronic musicgroups/musicians, and sound art. He has also been developing a database of latin-

american net-artists, among many other collaborative web projects. He writes articlesabout websites that explore the uncertain border between design and netart andother art in cyberspace related topics [browser-art, net-art].

Exhibited Work:

Springing from the innards of Uruguayan net.artist Brian Mackerns old computer,The Rotten

Machine is a surprising work that captures the period in which net.art was at its peak justprior to the advent of the Web 2.0 or Social Network. The computer, which was both hisinstrument and workplace - his workshop, to employ the traditional term - contains all of hiscreations and a good portion of the history of digital art between 1999 and 2004, when it was

acquired by the MEIAC.

La mquina podrida aka La desdentada_1999/2004
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(0100101110101101. ORG) Eva y Franco Mattes_Italy

-

Perpetual Self Dis/Infecting Machine and Biennale.py_2001

Conceived and compiled for the invitation to the 49th Venice Biennale, Biennale.py is

both a computer virus and a work of art. The virus is made public and spread from theSlovenian Pavilion on the opening day of the exhibition, June the 6th 2001. Biennale.pybecomes headline-hitting news, suddenly turning into an unprecedented performance,a controversial work of art revealing how media hysteria can be theoretically provokedand raised. Following the spreading of the virus, Symantec Corporation, world leader in

Internet security technology, detects Biennale.py and starts the hunt. Eva,0100101110101101.ORG's spokeswoman, says: As part of an organization thatproduces art, my only responsibility is to be irresponsible.


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John Klima_United States/Portugal

Train 2003

John Klima employs a variety of technologies to produce artwork with hand-builtelectronics, and computer hardware and software. Consistently connecting the virtualto the real, Klima builds large scale electro-mechanical installations driven by 3D gamesoftware he programs from scratch. The virtual computer imagery mirrors and extendsthe potential and agency of the physical components to produce cohesive worlds thatare both humorous and sinister. In 2003 he focused on his long-time fascination withmodel railroading to create his first HO scale railroad piece, titled simply Train.Exhibited in December 2003 at Postmasters Gallery in New York, Train was shown inApril 2005 at the DeCordova Museum in Boston, and in September became part of the

permanent collection of MEIAC_Museo Extremeo Iberoamericano de ArteContemporneo in Badajoz, Spain.

Exhibited Work:

Train is a hyper-narrative that takes place on the physical layout of an HO scale modelrailroad. Controlled via cell phones, viewers guide the trains around the track, picking uppassengers along the way. The passengers are familiar characters from well known films.When two or more characters are on board, they begin to have a dynamically generatedconversation, overheard on the cell phone. Train is a unique and original take on "mobilecomputing" and "the moving image." A cinematic narrative in miniature, Train spans the

history of technology and its impact on culture and the aesthetics of representation.

The scene: A 15 x 23 foot model railroad layout that the artist painstakingly constructed byhand. The landscape seems familiar and, at the same time, awkward: a beach with azure bluewaters juxtaposed with a bleak cityscape cum factory and protesters; an idyllic church next toan overpass and ambulance signaling disaster. Visitors to the gallery can navigate thelandscape by using a phone (or their own cell phones) to control each of the two trains as theymake their way around the track. The trains haul a special cargo, a Nintendo Gameboy hand-held game device, which presents the view out of the train's window -- a rendered 3D imagereflecting the model scenery as the train travels through it. When a train stops, viewers areable to make choices by pressing buttons on their cell phone; they may choose the route and

'pick up' passengers along the way.


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John F. Simon_United States

John F. Simon has been producing art professionally foralmost 20 years beginning with hand and pen plotterdrawings and progressing through Internet Art to finallyarrive at his own practice of 'coding as creative writing'. Themain way that he shows his Software Art is throughsculptural wall hangings with LCD screens that the artistcalls 'art appliances' and has made and sold since 1999.

Color Panel v1.0, his first 'art appliance' was published as an edition of 12 and shownat the Sandra Gering Gallery in New York in 1999. It was acquired at that time by theWhitney Museum of American Art, the Solomon R. Guggenheim Museum, and the SanFrancisco Museum of Modern Art. Shortly after, developed his premier piece of

Internet based Software Art, called 'Every Icon', which was included in the 2000Biennial Exhibition at the Whitney Museum of American Art.

Exhibited Work:

When first viewed, Every Icon looks deceptively plain, a seemingly simple square that has beenpartitioned into 1,024 smaller squares, 32 to a side. The monochromatic grid that results takesup about one-tenth of a monitor screen, a miniaturist's delight. Loading a Web page displaying"Every Icon" launches a Java applet that, as it runs, begins to explore successively everycombination of black and white squares that could occur within the confines of the grid'stightly circumscribed space. As the tiny squares change from light to dark and back again, theblack boxes appear to hop progressively toward the right. Over time, the grid will fill up andrecognizable shapes, familiar images and perhaps even a little art are destined to materialize --however briefly -- from the visual noise of the jitterbugging boxes. Don't expect that to happenanytime soon, though. On a reasonably fast Pentium-powered PC that can flash 100 differentcombinations per second, Simon estimated, it would take about 16 months to display all of the4.3 billion variations on the top line of the grid. Because the number of possibilities literallyexpands exponentially, the second line would be completed in roughly 6 billion years. Roundedoff and expressed mathematically, the total number of conceivable variations within the grid is1.8 multiplied by 10 to the 308th power (for purposes of comparison, 1 billion is a measly 10 tothe 9th). For the grid to become totally black, the last "icon" that the applet is programmed toexhibit, Simon calculated that it would merely take several hundred trillion years.

Every Icon
http://www.meiac.es/detail.php?m1=4&m2=0&exh=26http://www.meiac.es/detail.php?m1=4&m2=0&exh=26http://www.meiac.es/detail.php?m1=4&m2=0&exh=26http://www.meiac.es/detail.php?m1=4&m2=0&exh=26


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Gustavo Romano_Argentina

IP Poetry

Gustavo Romano works in a variety of media including

video, installations and web projects. His works havebeen exhibited in the New Museum of Contemporary Artin New York; Casa de Americaand Telefonica Foundationin Madrid; the Museum of Contemporary Art of Vigo; IFAGallery in Bonn, Stuttgart and Berlin; MassachusettsCollege of Arts, Boston and Cervantes Institute inVienna,New York and Beijing.He has had solo exhibitions at the MEIAC in Badajoz;Museo Tamayo in Mxico, Museum of Modern Art ofBuenos Aires, the Ruth Benzacar Gallery, the RecoletaCultural Centrein Buenos Aires, among others.

Since 1996 he has been one of the directors of the virtualspace Fin del Mundo (The End of the World), which

provides a platform for the circulation of net art projects. He was the director of the MediaLab and the curator of the Virtual Space of the Cultural Centre of Spain in Buenos Aires.He started the PSYCHOECONOMY! project, an artistic platform for discussion, proposing analternative approach on various global issues. Each edition involves an artists meeting, apublic event and a publication.He has won the Vida 7.0 - incentive for investigation from Telefonica Foundation, Spain; theFirst Prize in Buenos Aires Video XII; the prize of the Argentine Art Critics Association,among others. On 2006, Gustavo Romano won the Guggenheim Fellowship.

Exhibited Work:The IP Poetry project involves the development of a software and hardware system that usestext from the Internet to generate poetry that is then recited in real time by automatonsconnected to the web. The different search instructions (for example, all those phrasesbeginning with the words dream that I am) and the recital mode and sequence (one robot ata time per search result, dual recitals, etc.) will dictate the structure and form of each IP poem.

The recitals will be performed at various public venues. Using a proximity sensor, the systemdetects the presence of an audience and sends a command to the robots to start reciting thepoems especially created for each event.

At that point the Internet search begins. The results are sent to the automatons (IP Bots),which convert the search results into the pre-recorded sounds and images of a moving humanmouth. As new text appears on a daily basis on the web, the poems recited maintain theirstructure, but the varying search results ensure a poem is never recited in the same way twice.The IP Poetry project studies the role of poetry and of poets themselves. On the one hand, asfar as the construction of the robots is concerned, it highlights the increasing subjectivity oftechnology, which is endowed with certain artificially enhanced human characteristics (in thiscase, memory, and the ability to speak and listen). On the other hand, as concerns theresulting poetic structures, it uses the virtual arrangement of the collective human memoryfound on the Internet to compose poetry that has both mechanical and random elements.
http://www.findelmundo.com.ar/http://www.findelmundo.com.ar/http://www.cceba.org.ar/cvirtual/cvirtual.plhttp://www.cceba.org.ar/cvirtual/cvirtual.plhttp://www.findelmundo.com.ar/


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Joan Leandre_Spain

retroyou_r00000r_Archive_ 2003-2004 (...)

Joan Leandre is an interpreter of the media and has been a member of the Archives ofthe Observatory of Unidentified Videos (Observatorio OVNI) since 1994. Between 1994and 1996 he produced the media interruption series MAP (Mega Assemble Project),

Fundacin Zero [Zero Foundation] and Serial Monuments, all under the umbrella titleofLas cintas analgicas [The Analog Tapes]. Between 1995 and 1997 he worked on thegroup project OIGO ROM and MAP MSN (Mega Assemble Project MSN), the first CD-ROM nightmares and euphorias on the net. In 1998 he was involved in the ArchivosPresidente [President Archives] plot. Since 1999 he has been developing theretroyou.org project, with ramifications involving new forms of mass

training/entertainment based on nostalgia and the fear of continuous updating:retroyou RC (Fck the Gravity Code!); retroyou nostalG (Air Forced 2); nostalg2 (El da deltentculo, etc.
http://ddtpv-txmx7-bbgj9-wgy8k-b9ghm.org/http://ddtpv-txmx7-bbgj9-wgy8k-b9ghm.org/http://ddtpv-txmx7-bbgj9-wgy8k-b9ghm.org/


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NETescopio WEBART Collection (Multinational)

As an initial phase of the NETescopio project, for this exhibition the focus has beenplaced on those productions which came about during the webs early years.Works which experimented for the first time with the medium and which playedwith its particularities in terms of interactivity, the use of interfaces or alternativebrowsers, the tactical use of the media, and other strategies which graduallydefined the lines of activity during the first years of art on the web.From a 1.0 webof static and closed content, we have evolved to what Dale Dougherty would call

the Web 2.0, in which the use of blogs, rss, and wikis has created a hierarchyinvolving interaction and the creation of social networks, transcending the merepublication of contents for supposedly passive consumption. Under this new webparadigm, we are witnessing the appearance of another model: Net Art 2.0.Perhaps it is time, then, to review those first works, which with a greater

radicalism and with a stress on experimentation and the deconstruction of themedium, began to define those explorations which today are taken up again withina new context of production and distribution.


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INTERNATIONAL PARTNERS

The name MEIAC (standing in Spanishfor Extremadura and Ibero-AmericanMuseum of Contemporary Art)properly identifies its location, its

contents and its vocational referencebackground, at the same time being areaction to the foundational will thatled to the creation of this Museum: the

immediate gathering of a widespread heritage, the creation of a cross-border culturalrelationship with Portugal and the reinforcement of those links that for historicalreasons this region shares with Latin America.

The goals of the creation of MEIAC fit into the general purpose of cultivating

development and spreading artistic activity in a region that until now did not have anycentre of specialized formation; to facilitate its reintegration in a circuit open tocultural relationships and interchange with other similar centers, and endow theAutonomous Community of Extremadura with an unprecedented heritage of works ofcontemporary art, since there had not been in Extremadura any public or privatecollections of true meaning and value.

The collection, the exhibitions and the activities in the Museum are oriented towardsits declared Ibero-American identity. In order to elaborate the project of the Museum,a Committee was constituted in 1994. The committee was formed by Antonio Franco

Domnguez, Antonio Bonet Correa, Fernando Huici March, Fernando Castro Flrez,Rosa Olivares Zurilla, Bernardo Pinto de Almeida, Miguel Logroo Leza, Lus AlonsoFernndez, Miguel Rojas Mix, Mara del Mar Lozano Bartolozzi, Javier Cano Ramos,Jos Antonio Galea Fernndez, Pedro Barquero Moreno and Jos Mara SorianoLlamazares.


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PORTUGUESE PARTNERS

The CCG Centro de Computao Grfica is a private owned and non-profitassociation that positions itself as an "interface" between the source of knowledge andMarket through applied research and technological development in fields related tocomputer graphics, information technology, communication and electronics and itsapplications.

With headquarters in the Campus of Azurm, Guimares and with facilities in Coimbra,

CCG belongs to the INI-GraphicsNet (www.inigraphics.net/), the worldwide network ofinstitutes of technology. Managed as a company, CCG has developed its business in thearea of technology transfer and applied research at a local, regional and internationallevel, throughout the participation in projects and partnerships around the globe,especially considering Germany, South Korea and Italy CCG activity is segmented in thefollowing areas of applied research: Computer Vision, Virtual Characters and SyntheticActors, Usability Research and Services, Urban and Mobile Computing, EngineeringProcess Maturity and Quality, Creative Media and Perception and Visualization.

Ectopia is a laboratory hosting artists from different backgroundsinterested in exploring the intersection of art and science. Itfosters the development of collaborative projects involvingartists and researchers.

Ectopia provides resident artists access to the research beingconducted several research institutes in Lisbon and Portugal.

During each residency, the artists are exposed to the researchthrough seminars and informal discussions with the scientists,being encouraged to develop collaborative projects. In addition,

the researchers are also exposed to the artists and invited to take advantage of thosecollaborations in their scientific projects.
http://www.inigraphics.net/http://www.inigraphics.net/


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By Joo Barata Feyo and Jos Pedro Sousa_ architects

OPOLab is a project addressed to a wide community from students to inventors and

creators that dont have access to a space they can use as an experimental lab. A

place where a project can be developed and tested with the advantage that makes all

the difference: creative coaching and technical support as well as the necessary

technology.

But OPOLab is even more. It is also a committed think tank with planned workshops,

conferences and other converging knowledge events from academic, professional and

industry thinkers. Projects from all fields are welcome although its main influence will

be on the advanced digital technologies applied to architecture, construction and

industrial design. To achieve this, several renowned personalities will be invited to

make presentations and conferences as well as exhibitions, as a fundamental part of

OPOLabs attempt to be one of the first Portuguese labs of its kind.

By Joo Castro.