Media Arts Watch Lab - www.arts-numeriques.info - laboratoire de veille Arts Numériques - twitter @arts_numeriques - @processing_org - @DigitalArt_be - by @jacquesurbanska @_Transcultures
Home button, camera, front camera, click; it takes four actions and less than five seconds to capture a selfie on a standard iPhone. Perhaps then it is no surprise that we take an estimated one million a day, often risking our careers as well as our lives and the lives of those around us in order to get the perfect self-portrait.
But is this ubiquitous action merely an inane form of self-promotion or are selfies in fact a modern medium of visual expression and communication that should be taken seriously? ...
Studio de création contemporaine unique en France, Le Fresnoy nous propose de découvrir tous les ans, au sein même de l’école, un « Panorama » – scénographié ici par Christophe Boulanger – d’une cinquantaine d’œuvres cinématographiques et d’installations multimédias, conçues au cours de l’année précédente par ses étudiants résidents et professeurs intervenants. Jusqu’au 31 décembre l’école, fondée et dirigée par Alain Fleischer à Tourcoing, reste ouverte pour une monstration qui rend compte des questionnements d’artistes issus des quatre coins du monde autant que de la diversité des propositions formelles qui les sous-tendent. Quatre projets nous ont particulièrement inspirés, qu’ils relèvent d’une production interdisciplinaire et/ou d’une économie de moyens, concentrée autour de la restitution d’une parole ou d’une idée originale, faisant disparaître la technologie au profit d’une main divine… (ou d’un esprit malin)...
Pokémon, postage stamps and the strategy board game Risk. Simon Denny uses everyday objects like these to illuminate how technology shapes the way we live and work. In his latest exhibition, the Berlin-based New Zealand artist explores blockchain, the little-understood technology underpinning the digital currency bitcoin.
Opening Thursday at New York’s Petzel Gallery, “Blockchain Future States” looks at competing views about how the technology should evolve. Large cutout images of the leaders of three leading blockchain companies—Digital Asset Holdings LLC, 21 Inc. and Ethereum—stand near globe-like structures meant to highlight how new currency systems could challenge traditional forms of statehood. A Risk board for each firm lays out the company’s strategy to create a new world order. A similar installation, “Blockchain Visionaries,” is at the Berlin Biennale until Sept. 18.
The Jeu de Paume is an arts center with a strong reputation for exhibiting and promoting all forms of mechanical and electronic imagery (photography, cinema, video, installation, web art, etc.). As well as organizing or co-organizing exhibitions, it hosts film programs, symposia, seminars, and educational activities, and also publishes a range of material. With its high-profile exhibitions of established, little-known and emerging artists (notably the Satellite program), the Jeu de Paume ties together different narrative strands, mixing the historic and the contemporary, oscillating between resonance and dissonance, attracting broad and diverse audiences.
Centre d’art et lieu de référence pour la diffusion de l’image des XXe et XXIe siècles (photographie, cinéma, vidéo, installation, net art…), le Jeu de Paume a vocation à produire ou coproduire des expositions, mais aussi des cycles de cinéma, colloques, séminaires, activités éducatives ou encore des publications.
Marta Gili est directrice du Musée du Jeu de Paume à Paris depuis octobre 2006. Critique d’art, spécialiste de photographie, elle est membre fondateur du département photographique de la Fondation Miró à Barcelone et dirige ensuite pendant quinze ans le département Photographie et Arts visuels de la Fondation La Caixa.
Nowadays, we continually share data: a message via WhatsApp, a picture on Instagram, an update on Facebook or an e-mail through Gmail. With whom do we really share this data? And how can we make sure that our personal data stay strictly personal?
This exhibition addresses issues of online privacy and digital surveillance. Next to several historical examples of encrypting, ‘Design my Privacy’ also shows some surprising contemporary strategies by more than 35 young designers and artists to maintain control over our data.
With work by Roel Roscam Abbing, Zineb Benassarou & Jorick De Quaasteniet, Josh Begley, Dennis de Bel, Caitlin Berner & Jana Blom, Heath Bunting, F.A.T., Giada Fiorindi, Front 404, Roos Groothuizen, Arantxa Gonlag & Eva Maria Martinez Rey, Monika Grūzīte, Rafaël Henneberke, Jan Huijben, Daniel C. Howe & Helen Nissenbaum & Vincent Toubiana, Rosa Menkman, Owen Mundy, Naomi Naus, Joyce Overheul, Ruben Pater, Wim Popelier, Freek Rutkens, Vera van de Seyp, Mark Sheppard, Dimitri Tokmetzis & Yuri Veerman, Janne Van Hooff & Christina Yarashevich, Michaele Lakova, Jasper van Loenen, Jeroen van Loon, Esther Weltevrede & Sabine Niederer, Leanne Wijnsma & Froukje Tan, Joeri Woudstra, Sander Veenhof and Simone Niquille.
An exhibition by MOTI, Museum of the Image in Breda (NL)
Une prosopopée est une « figure de rhétorique par laquelle l’auteur prête la parole à un absent ou à un être inanimé », nous explique le dictionnaire Larousse. C’est également le grand thème transversal adopté par Némo, Biennale internationale des arts numériques, qui bat son plein à travers l’Ile-de-France depuis début octobre et dans le cadre de laquelle le Centquatre accueille l’exposition éponyme. Avec humour et poésie, cette dernière entraîne le visiteur au cœur d’un monde étrange, habité d’objets, pour la plupart inutiles, rendus autonomes par la grâce de la technologie numérique ; un joli pied de nez à la culture dominante du tout connecté.
« On vous propose une revue d’objets déconnectés, un grand dérèglement ; plus rien ne va, ça se situe entre Roland Barthes et Bart Simpson ! », résumait en souriant, à l’ouverture de l’exposition début décembre, le directeur de la biennale Némo Gilles Alvarez, ayant conduit avec son homologue du Centquatre, José-Manuel Gonçalvès, la direction artistique de Prosopopées : quand les objets prennent vie. Tout en banalisant le recours au numérique, la proposition, qui réunit une trentaine de sculptures et installations de plasticiens internationaux, entend favoriser une posture critique par rapport au contenu numérique et à la société connectée qui est la nôtre. En témoigne avec force ironie, non dénuée d’onirisme, L’appartement Fou, déployé au sous-sol dans les Ecuries. « On nous fait croire que nous sommes entourés d’objets intelligents, qui vont améliorer notre sort, faire des choix à notre place, reprend Gilles Alvarez.
In his review of the Whitechapel Gallery’s Information Superhighway (2016 – 1966) exhibition, Matthew Fuller immerses himself fully in the minds of its curators
Information Superhighway is an amazing feat of curation. It starts with a slice of the present and drills inexorably back through time from post-internet, to net art, to video art, to computer art, to kinetic art and happenings. This show maximises its conceptual lifting power by illustrating how communications networks all point one way – to our illustrious present. As the show moves back through time with each of these phases, the inverse pyramid of art shown becomes smaller and the rooms get emptier as less work stands in for more art. ...
En 1965, la fusée Diamant s’élançait depuis la base de lancement Brigitte à Hammaguir en Algérie, une date qui a marqué l’avènement de l’indépendance spatiale française. 50 ans plus tard, l’Observatoire de l’Espace a proposé à des artistes d’associer création et archives pour aborder cette mémoire et les questions contemporaines qu’elle soulevait. Le FRAC Poitou-Charentes a été partenaire de l’Observatoire de l’Espace à toutes les étapes de ce projet artistique qu’il présente dans Hors Sol du 12 février au 14 mai à Angoulême, enrichi d’autres démarches artistiques.
...
Avec des oeuvres de : Paolo Codeluppi & Kristina Solomoukha, Kapwani Kiwanga | Nicolas Milhé | Bruno Petremann, Slimane Raïs | Erwan Venn | Fabien Zocco, collections FRAC Aquitaine, FRAC Provence-Alpes-Côte-d’Azur, Observatoire de l’Espace du CNES et collections privées, prêts des artistes et production FRAC Poitou-Charentes.
Commissaire d'exposition : Alexandre Bohn, directeur du Frac Poitou-Charentes
“The Game Worlds of Jason Rohrer,” in Boston, is the first major museum retrospective dedicated to a game designer’s work.
In April 2010, a brouhaha erupted in the gaming community that still reverberates today: The film critic Roger Ebert had opined that video games could never truly be counted as art. “Let me just say that no video gamer now living will survive long enough to experience the medium as an art form,” he wrote on his blog. But three months later, in an erudite follow-up titled “Okay, Kids, Play on My Lawn,” he recanted. Great works of art, he speculated, “could instruct me about life, love, disease and death, principles and morality, humor and tragedy.” Ebert admitted that he hadn’t spent enough time with video games to know if they could, indeed, evoke these feelings. “I don’t know if they can be inspired to transcend themselves,” he wrote. “Perhaps they can. How can I say?”
Présentée à la Maison des métallos en février dernier, Une liaison contemporaine fait escale au Théâtre du Nord à Lille, jusqu’au 18 décembre. L’installation immersive, imaginée par Carole Thibaut et réalisée en collaboration avec le collectif InVivo, plonge le public dans une relation amoureuse et au cœur de ses innombrables échanges numériques. A travers cette correspondance du XXIe siècle, où les mots créent l’histoire plus qu’ils ne la content, l’auteure nous entraîne dans une narration intime et émotionnelle. Elle cherche à saisir les arcanes de l’esprit amoureux, en livre certains secrets. Porté par la voix des protagonistes, le visiteur se laisse glisser au fil du récit, flotte dans un espace transparent à la fois physique et mental, oublie simplement l’heure. Traversé par des flux d’images, des refrains éprouvés et aimés, il se laisse bouleverser. En marge de l’œuvre, il peut également profiter d’une bibliothèque amoureuse et d’un confessionnal… amoureux, lui aussi ! ...
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If you were in NYC, Paris, or Moscow last weekend, you may have been one of the lucky few who were able to participate in the latest SPAMM (Super Modern Art Museum) event, a curatorial initiative launched 4 years ago by French contemporary digital artist Michaël Borras, a.k.a. Systaime. Showcasing a swath of digital arts, including video art, net art, game and social network experiments, SPAMM not only takes over physical spaces but appears as web-based viewing collection platform, marrying IRL locations to URL creations. Each SPAMM edition offers a massive selection from a roster of internet-focused and new media artists, all handled by an entirely separate curatorial team. ...
or-bits.com is an online curatorial project, a platform for the production, display and distribution of commissioned artworks and critical writing.
or-bits.com is devoted to exploring ways we perceive things, promoting practices and dialogues across and beyond media, and to thinking over and working with the empty web page.
or-bits.com presents quarterly web-based group exhibitions accompanied by a rolling blog. Each exhibition originates from the exploration of a word and culminates in a media crossover, in which the editorial and miscellany of artists' works are what remain visible of the process of production. The aim is to suggest links between various cultural areas; creating a system in which the artworks and their idiosyncratic languages, the blog posts and their critical trajectories, stand for themselves while being connected to a centre point.
or-bits.com's mission is to support the production of new works and writing and instigate an exploration of the creative and critical possibilities of the web as language, medium and subject. Its activity spans from web-based exhibitions to related OFFSITE PROJECTS, curatorial collaborations and talks.
Last year, the Solomon R. Guggenheim Museum captured the public’s attention with a working, solid gold toilet installed in one of its restrooms. This year, they're are going for something a little more subtle: A “desert” that’s acoustically soundproofed to prevent anything but the lowest of ambient sounds. PSAD Synthetic Desert III, as the installation is formally titled, is the creation of West Coast artist Doug Wheeler, who originally conceived the idea nearly 50 years ago. Working in collaboration with the museum, Wheeler is finally realizing the project after all this time.
On Thursday 10 November, FACT (Foundation for Art and Creative Technology) in Liverpool will host Day of Collisions – a full day of activities investigating the relationship between art and science.
The day is presented in collaboration with Arts@CERN – the official art programme of the cradle of the World Wide Web and home of the Large Hadron Collider – where the world’s leading physicists and engineers investigate the fundamental mysteries of our universe.
This event is part of the three-year COLLIDE CERN FACT Framework Partnership, which includes workshops, events, and the International Residency Award COLLIDE, granting an artist a fully funded residency split between CERN in Geneva, and FACT in Liverpool...
Ces images animées très courtes sont désormais un moyen d’expression à part entière sur les réseaux sociaux. Mais ce format d’image est aussi utilisé par des créateurs comme moyen d'expression de leur art. Une exposition dans les rues de Paris démarre ce samedi. ...
The video artworks in Emergence are made in collaboration between artists and scientists. By combining the curiosity, inquiry and knowledge that exists in both disciplines, artists, scientists and school students have transcended existing boundaries to create new artworks revealing scientific understandings.
Récit d’une expérience marquante, qui questionne profondément notre rapport de sujétion à la technologie.
La porte de la pièce est ouverte. C’est une cellule plus qu’une pièce d’ailleurs : des murs blancs, un éclairage au néon, un sol gris sur lequel est posé un moniteur télé.
Je suis avec une amie à l’exposition « Perceptions », au Mac de Créteil. Un jeune homme s’avance vers nous et explique :
« Quand vous entrez dans cette pièce, la porte se referme automatiquement sur vous. Vous devez trouver seule la solution pour que la porte s’ouvre. Nous avons pour consigne de ne pas vous ouvrir, quoi qu’il arrive. » ...
Figure majeure des arts numériques, Samuel Bianchini crée des dispositifs qui transforment le visiteur en véritable acteur de ses œuvres.
Au croisement de l’univers de l’art contemporain et de l’art numérique, les œuvres et les installations interactives de l’artiste français Samuel Bianchini mettent en jeu et en lumière, de façon malicieuse ou parfois plus troublante, nos comportements et nos perceptions face aux réseaux et aux dispositifs technologiques qui quadrillent notre quotidien.
Du 18 au 21 février 2016, le public parisien est invité à se rassembler sur le parvis du Palais de Tokyo, autour d’un monolithe projetant un puissant faisceau lumineux vers le ciel.
Big Bang Data is a major travelling exhibition currently set within London’s Somerset House. That a large institution is presenting a journey via data capture through ‘selfies, surveillance and infographics’ is in itself an interesting patchwork of intent and realisation. The aim of the exhibition is to ‘demystify data’. This is a grand, summative and in actuality slightly awkward claim which, in my view, encapsulates the character of an interesting, textured exhibition in an unintentionally astute way.
As Big Bang Data is dedicated to revealing data comprehensively through its various architectures and iterations, it makes sense for the underrepresented materiality of information to have prominence early on. This materiality, perhaps inevitably, was compromised in the gallery space. Entering the first room brings you face to face with Timo Arnall’s Internet Machine, which takes the form of multiscreen video documentation of not just the machines, but also the architecture, which supports mobile telephony. ...
An exhibition at the Whitechapel Gallery in London explores how the digital age has influenced artists.
LONDON — Smiling energetically, a video projection of a woman appears to be welcoming visitors to the Whitechapel Gallery here. But on approaching the work, “Homo Sacer,” by the British artist and writer James Bridle, she instead issues bureaucratic sound bites. They include text from the letter that stripped the terror suspect Mohamed Sakr of his British citizenship, two years before he was killed by a United States drone strike in Somalia in 2012.
“I was fascinated that someone born in the United Kingdom could have their citizenship removed,” Mr. Bridle said. “This work is essentially a step-by-step guide on how you can go from being a British subject to being placed in the legal position of being able to be killed.”
The exhibition Exo-Evolution shows the interconnection between art and science and the artistic application of new technology.
The exhibition Exo-Evolutionshows the interconnection between art and science and the artistic application of new technology. Over the millennia, mankind has created a culture of tools, which has expanded the boundaries of our perception and our capacities to act. Mankind has outsourced its bodily functions: the hand to the hammer, the spoken to the written word, memory to clay tablets, books and computers, etc.
Through technology, humans transcend evolution and liberate themselves from the powers of nature. With their tools and externalized artificial organs, they create a man-made exo-evolution, one which has initiated the age of the Anthropocene—a geological epoch shaped by humans with less and less nature and more and more technology around us.
In a world where we use Instagram “likes” and YouTube views to assess who and what is important, and fame is just a click away, what impact is the Internet really having on how we think about ourselves and those around us?
Follow investigates how we understand image and identity as ever-changing concepts which can be bought, sold, mimicked, endorsed, deleted and validated through a single click—as well as exploring methods to survive, subvert and utilise social media.
The exhibition raises questions about the ways in which we seek validation from social media and, ultimately, explores how we behave when everyone is watching. New commissions, research and existing work will present a wide range of experiences and views of image, self-branding, identity, sharing and micro-celebrity within the context of a life lived online.
This exhibition at ZKM | Center for Art and Media in Karlsruhe, from 03 October 2015 to 01 May 2016, is based on the collaboration with a network of scientists, journalists, activists, and artists in some twenty countries around the world, and in cooperation with expert organizations such as the German PEN Center, the Chaos Computer Club, Reporters Without Borders, and such platforms as netzpolitik. org, digitalcourage.de, WikiLeaks, and others.
The exhibition’s aim is to expand public debate about the ever-present surveillance and censorship methods, which is an urgent priority not only due to constant new reports in the media, but especially because of the extensive obstruction of the investigation of these practices...
L'art numérique gagne un terrain qui n'a rien de virtuel. Surfons sur la vague avant de slalomer entre les images 3D de Clément Valla chez Xpo Gallery à Paris.
Alertes, likes, posts, mails... L'écran a muselé ses troupes. Difficile de décrocher... En quelques décennies, le numérique a fabriqué de bons chiens de Pavlov. Par meutes. Selon Tom Stafford, chercheur en sciences cognitives à l'université de Sheffield en Grande-Bretagne, Internet offre, à l'instar des machines à sous, un type d'incitation et de récompense immédiate : le potin alléchant ou l'e-mail sincère comme friandise. Il nous conditionne à répondre automatiquement et physiquement à la promesse de récompenses à venir. Les petits trésors que nous trouvons nous remplissent de joie. Quand ils s'espacent, nous sommes en manque et nous savons exactement où les trouver. ...
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