Art and tech intersect at Silicon Valley Contemporary art fair
The inaugural Silicon Valley Contemporary and Modern Fine Art Fair showcased the merging of art, science and technology through a focus on video art and digital installations from around the world. The fair — which ran from April 10 to 13 at the San Jose McEnery Convention Center — represented work by 300 artists, 50 galleries and 10 different countries.
LAX recently opened the new Tom Bradley International Terminal, giving passengers a unique travel experience with new video walls called the Integrated Environmental Media System (IEMS). An impressive engineering feat, the IEMS project was commissioned by Los Angeles World Airports (LAWA) and took more than two years to create. The dazzling display opened in September 2013, and provides passengers with a host of entertainment and information.
Joan Jonas to Represent United States at 2015 Venice Biennale
Joan Jonas, a pioneering figure in performance and video art, has been chosen to represent the United States at the 2015 Venice Biennale.
Ms. Jonas, 78, was selected by the State Department’s bureau of educational and cultural affairs, which promotes cultural exchanges worldwide. Paul C. Ha, the director of the M.I.T. List Visual Arts Center in Cambridge, Mass., proposed Ms. Jonas and will be commissioner of the exhibition. He will organize it together with Ute Meta Bauer, the director of the Center for Contemporary Art at the Nanyang Technological University in Singapore.
Cennetoğlu and Özcan collaborate with a new-age healer
Rodeo Gallery on Sıraselviler Street off İstanbul’s Taksim Square presents the collaboration of acclaimed artists Banu Cennetoğlu and Yasemin Özcan.
Cennetoğlu is known for her interest in printing material and the İstanbul Art Research Association (BAS), an open archive project she initiated, that collects and features artist publications from all around the world.
“What is it that you are worried about?” is a project in which the two artists have combined their power into a multi-layered, interdisciplinary video work and a printed material accompanying it.
Tucked away in a nondescript strip mall on a back street in Santa Monica, there is an office space that quietly houses an internet service provider to Iraq and other Middle Eastern countries. Pass through the unmarked front doors and you’ll find yourself first in an innocuous waiting room, and next in a darkened chamber reminiscent of a scene out of “2001: A Space Odyssey.” There’s a conference table surrounded by springy swivel chairs, and beyond that, a huge bank of work stations and large video monitors. The monitors track the state of the company’s wireless and satellite networks and also show what the weather is like in regions where the company does business. Welcome to TigrisNet…
Another memorable Satellite Space event was a night of video art screenings cleverly titled “AME/ALE/PLE/PME,” after the scientific abbreviations identifying the multiple eyes of insects (i.e. AME = anterior median, ALE = anterior lateral, etc.). Video works by six artists were screened on several monitors simultaneously, conjuring something of a bug-eyed viewing effect, even as other monitors in the space were tuned to international news channels. This embedded, multi-channel viewing experience beautifully showed off some of the more formal work by Jon Rafman, Oliver Laric and Lindsay Lawson.
A group of 24 international artists express their thoughts and ideas on freedom at “Utopian Days,” a video art festival at the Totla Museum of Contemporary Art in Pyeongchang-dong, Seoul.
Curated by Haily Grenet, Martin Schulze and Yang Jeong-sun, video art displays explore the subject of freedom in various ways, starting from a footage of an artist dancing in front of a blank billboard (Filippo Minelli’s “You might call it a crisis but i’s silence to me”) to another artist burning his clothes until he gets naked (He Yunchang’s “Nirvana Flesh”).
Grenet said they picked the theme “freedom” because it is not something definitive, but a food for thought. “We don’t provide answer, but seek and research about freedom,” the French curator said.
The work of pioneering Chinese video artist Wang Gongxin transforms our world’s everyday details into rich and poetic visions.
Modern China’s place in the contemporary imagination is far removed from the poetic and sensuous. The world’s industrial powerhouse conjures thoughts of sprawling vertical cities, thronging crowds and dirty, hulking industry. Wang Gongxin’s video practice transforms slivers of China’s everyday reality into rich, multi-channel montages that at once entrance and charge the senses.
It has made him one of the most celebrated Chinese artists of his generation, alongside contemporaries such as Ai Weiwei and Cai Guo-Qiang. He has been credited as one of the catalysing forces in the Chinese video art movement - which has since produced artists such as award-winning filmmaker and photographer Yang Fudong, photographer and video artist Wang Qingsong and young video artist Cao Fei. Wang’s work has shown throughout the Asia-Pacific, the US and Europe and is now the subject of a major exhibition at NGV International.
Images Festival brings compelling experimental film and video to Toronto
Offerings are often political, critical and socially conscious. This year features a look at digital sweatshops, cargo ships in the Middle East, even the proliferation of techno gadgets.
For close to three decades, Toronto’s Images Festival, which opens Thursday and runs till April 19, has worked at the bleeding edge of experimental film and video with a mind to bringing the most compelling of it home to show the rest of us each year.
Mainstream it’s not and that’s the point: much of Images’ content each year delves unapologetically into fraught realms, both topical and visual. Work is often political, critical, socially conscious and, more often than not, an unabashed visual challenge to the status quo. Someone’s got to do it. We’re lucky that someone is right here in our hometown. Following: a handful of standouts from this year’s selection.
The National Gallery of Victoria in Melbourne is to present an exhibition of work by Wang Gongxin between 11 April and 8 September.
The event is to show three large-scale, immersive video works by the Chinese artist. His pieces explore political and social issues, as well as notions of history and tradition in a China which is experiencing massive economic growth. Often humorously subverting the visitor’s expectations of ordinary situations, the artist aims to transfigure their view of the world.
Wang Gongxin was born in Beijing in 1960. Training initially as an oil painter, he has emerged as one of the major forces in Chinese video art – which is still in its first generation of practising artists.
The international festival of video art, Now&After, has kicked off at both Moscow’s Museum of Gulag History and the Victoria Gallery in Samara, featuring work that explores this year’s theme of memory. Videos exploring how memory is passed on from generation to generation and across time will be screened as part of a multi-channel video installation in both museums. This year’s theme is linked to the location of the festival in Moscow’s Museum of Gulag History with many of the videos looking at memory and trauma.
In an interview with The Calvert Journal, Marina Fomenko, the curator of Now&After, said the festival received more than 1,000 submissions. She added: “We dedicated the festival to the concept of memory, in particular related to gulags, because this symbolises one of the most tragic pages in Russian history. We focused on memory because it migrates from generation to generation, from person to person, between social groups and nations.”
A collaborative exhibition of video and sound works dubbed “In Perpetual Motion” commences tomorrow at the First Floor Gallery. Being hosted by Darlington Muyengwa and Thomas Muziyirwa the exhibition is expected to draw huge numbers and will run until April 28.
Gallery marketing director Marcus Gora said the gallery aims to introduce something new in the arts industry to turn away from the usual style of exhibition.
"New media like video art does not have a high profile in Zimbabwe with most emerging contemporary artists still working squarely on traditional media like painting, printing, sculpture and mixed media," he said.
Gora also said some artistes do not prefer this kind of art because it is expensive and difficult to handle.
"Most times video is seen as an expensive and difficult medium, requiring cameras, computers and training in editing software.
Video art can also be difficult to explain to audiences who are used to see and buy objects to put on their walls or stands,” he said.
Over the past 20 years, video has become a crucial part of visual art as artists try to create experiences that reflect powerfully contemporary reality and use contemporary tools to do so.
Hundreds of Tetris fans had a little fun Saturday with a big version of the classic video game.
The Philadelphia skyscraper-sized version created a spectacle against the night sky that organizers hoped inspired onlookers and players to think about the possibilities of technology.
The 29-story Cira Centre, which has hundreds of LED lights embedded in its glass facade, normally displays colorful geometric patterns at night. On Saturday, images of supersized shapes “fell” on two sides of the mirrored tower as competitors used joysticks to maneuver them into place.
It wasn’t the first time Tetris has been played on a building. But the 100,000-square-foot “screen” — which includes the north and south faces of the structure — could be a record.
**PULSE – An Evening of Electronic Music and Video Art** In traditional Tibetan medicine, pulse reading is a complex form of diagnosis which requires physicians to listen deeply to the sound waves and vibrations of one’s heartbeat. In collaboration with Warper Party, The Rubin Museum presents a museum-wide multi-media event, PULSE, which invites electronic musicians and video artists to listen deeply and explore their own beats through inspiration from the new exhibition, Bodies in Balance: The Art of Tibetan Medicine.
Friday, April 4, 2014 6:00 p.m.–11:00 p.m. (Happy hour from 6 – 7 pm)Performances in K2 Lounge and the Spiral Lobby are FREE. $15 single concert in theater | $25 for both concerts *Please note: Theater concerts are standing events with limited seating available.
Danceteria Nightclub Video Lounge Recreated In NYU Installation Exhibition
Thirty-Four Years after the pioneering creation of the Video Lounge, which merged art and video art with the punk club scene in New York, Pat Ivers and Emily Armstrong have launched GoNightclubbing, an installation at NYU, which pays tribute to the infamous Danceteria’s Video Lounge, created in 1980. Not only was this a first for the rise of the VJ but it was also the scene that launched the careers of Keith Haring and Kenny Scharf.