DEFRAGMENTATION AND MULTI_VIDUAL

1 03 2009

By RICHARD KRIESCHE

INTRODUCTION

facing the earth under it’s global conditions we must realize, that we have become a victim of the one-world-one-mankind illusion. the fact is: the opposite is true. under nowadays global conditions we should speak of a billionfold world and mankind. whenever today’s human beings question the world and themselves, they no longer rely on their own unsupported sensory unifying systems, but more and more on science-and technoassisted, from each other independent devices and apparatuses. (cameras, microscopes, telescopes, film,- video-, computer-, netsystems, etc.) the reality check signifies, that human awareness has become more and more alienated by technology from the vision of the human existence as an integral whole. finally, as the human awarness has become substituted by the millionfold of technological devices it has also become obsolete with the most crucial consequence, the individual itself has fallen apart. this has happened following the speed and need of the scientific- technological progress of differenciation and specialisation. as a result, in the science- ans technology driven world the individual becomes splitted further and further into millionfold of fragments, pieces and bits which are already dispersed and distributed worldwide by the same technology. this kind of millionfold, fragmented in_dividual has become today’s contradiction to further speak of one world, one mankind and one universe.

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RICHARD KRIESCHE

1 03 2009

kriesche-bloodcrown

Participation in more than 370 exhibitions worldwide: musee d’art moderne, paris; centre george pompidou, paris; museum of modern art, new york; institute of contemporary art, los angeles; municipal art gallery, los angeles; museum moderner kunst, wien; DAAD- berlin; massachusetts institute of technology, MIT media lab- list visual art center, cambridge; washington project for the arts, washington; kunsthaus zürich; kunsthalle baden-baden; museum of modern art, oxford; galerije grada zagreba, zagreb, kunsthistorisches museum, wien;

main exhibitions:

DOCUMENTA 6, kassel.

DOCUMENTA 8, kassel.

ARS ELECTRONICA, linz, 1989, 1994.

ARTSAT – SPACESTATION MIR (first art project in the history of the russian spaceflight on the spacestation MIR, 1991.)

34. BIENNALE DI VENEZIA.

42. BIENNALE DI VENEZIA.

46. BIENNALE DI VENEZIA. (prizewinner: menzio d’onore)

http://kulturdata.joanneum.at





FROM “WORLD WIDE VIP” TO “TUTOR” AND VICE VERSA

28 02 2009

By OLGA KISSELEVA

figure 1 Figure 1: a person with Down Syndrome using TUTOR in Guggenheim Museum

TUTOR project is a work in progress I developed in 2006-2007 in Bilbao and in San Sebastian (Spain) within the framework of DISONANCIAS.

DISONANCIAS is an interdisciplinary project founded in 2005 by Xabide Group to promote the relationship between artistic creativity and technological innovation and to establish a new dialogue between the business world (and its technological environment), the artist world (and its creative development) and society, the ultimate beneficiary of the results of innovation. During 2006-2007 I was artist in residency in LEIA Scientific Foundation. As a part of the Integrated Safety Unit, I was asked to carry out research on safe environments to integrate disabled people with the aid of advanced design and simulation tools under the Design for All concept.

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OLGA KISSELEVA

28 02 2009

olga

Russia, born in St.Petersburg, 1965

Associated Professor – University Paris 1 Pantheon-Sorbonne

Contemporary art department

www.kisseleva.org

olga(at)kisseleva.org

Graduated from St. Petersburg University, Olga Kisseleva belongs to the first generation of Russian intelligentsia after Perestroika, which helped to bring down the Berlin Wall and cast aside the iron curtain. From the middle of the 90s, on the invitation of the Fulbright Foundation she found a roof for her work in the research group which dealt with the development of digital technologies. In 1996 she is getting her PhD. Olga Kisseleva’s exhibitions include: Centre Pompidou (Paris), KIASMA (Helsinki), Guggenheim Museum (Bilbao), National Centre for Contemporary Art (Moscow), ARC (Paris), Reina Sofia (Madrid), Art Institute (Chicago), Venice, Istanbul, Dakar, Tirana and Moscow Biennials.





EXTERNALISING OUR BODY: DEVICE ART AND ITS EXPERIMENTAL NATURE

24 02 2009

By MACHIKO KUSAHARA

WHAT IS DEVICE ART

Device Art is a concept proposed by a group of artists, researchers and engineers in Japan, who currently carry a collaborative project under the same title. Project members have been involved in the field of media art for many years. Device Art is a concept derived from recent digital media art scene in Japan. Using both latest and everyday technologies and material, these media art works enable users/viewers/interactors to enjoy and understand what media technologies mean to us. In Device Art, an artwork is realized in a form of device, the device becoming the content itself. There is a sense of playfulness or sense of wonder in Device Art work – even if it involves a serious theme – which makes it possible to be shown or commercialized outside museums and galleries. The concept reflects Japanese cultural tradition in many ways, including appreciation of refined tools and materials, love for technology, acceptance of playfulness, absence of clear border between art, design and entertainment, among other issues. At the same time it shares an ongoing international interest in bridging between art, design and other related areas. Device Art seeks after a new paradigm in art, by producing artworks based on creative use of hardware technologies and opening a channel to make them more accessible to everyone. Through these activities Device Art questions the validity of traditional boundaries between art, design, entertainment, technology, and commercial products. 1

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MACHIKO KUSAHARA

24 02 2009

kusahara

Machiko Kusahara , Ph. D

Professor, School of Culture, Media and Society, Waseda University

Visiting Professor, Dept. Design|Media Arts, UCLA

Machiko Kusahara is a media art curator and a scholar in the interdisciplinary field of art, science, technology and culture. Since early 80s she has curated many exhibitions and served as a jury for ISEA, SIGGRAPH, Ars Electronica, to name a few, while being involved in launching Tokyo Metropolitan Museum of Photography and NTT/ICC. Her texts on both media art and media history have been included in MediaArtHistories (MIT Press), Panorama Phenomenon (Mesdag Panorama), The Robot in the Garden (MIT Press) and Art&Science (Springer) among others. Kusahara’s major research theme is the interaction between art, entertainment, media technology, and the society. Being a Japanese but active internationally, she analyzes Japanese and Western visual cultures to understand what happened in media culture and what is happening now. With Device Art Project, which is carried by a group of nine major Japanese artists and researchers, she focuses on theorizing a new concept in contemporary Japanese media art. Currently she is a professor in media art and media studies at Waseda University, Tokyo.





ERNESTINE DAUBNER

15 01 2009

daubner

Ernestine Daubner, Canada, lecturer, Art History Department & MFA Studio Arts, Concordia University; Adjunct Professor, Centre interuniversitaire des arts médiatiques, Université du Québec à Montréal, daubner@alcor.concordia.ca. Her research interests lie at the intersection of (bio)media art, science and technology.  She is co-organizer of the international colloquia, Art & Biotechnologies (2004) and Mobile/Immobilized: Art, Technologies & (Dis)abilities (2007)  and co-editor of collected essays & DVD-Rom anthology, Art et biotechnologies (2005), as well as numerous other publications on new media art.