Independent Exposure 2008
"2008 Marks the 13th season of Independent Exposure and one more year into the explosion of independent cinema on the web. The rise of Youtube and other online video sites such as Metacafe, Vimeo and Viddler provides a unique singular experience to watch independent film on more websites than ever before. This drive to push all content to the web steals the opportunity of discussion and the sharing of the cinema experience with other filmgoers, as was standard in the early Microcinema movement. For that reason we feel a great opportunity to push these films back into real life meeting situations to bring back community and culture into the experience of independent cinema."
Independent Exposure
Special Art Basel video report
Special Art Basel report on weblogart
Art Unlimited IV
Art Basel Public ArtArt Basel galleries tour III
Broadcast Yourself
BROADCAST YOURSELF
Fri 13 June – Sun 10 August 2008. Cornerhouse, Manchester.
www.broadcastyourself.net
The cultural dominance of television has been successfully challenged by artists for over three decades and, more recently, the YouTube generation of programme makers. Examples of these TV influenced projects and interventions can be discovered in Broadcast Yourself opening at Cornerhouse, Manchester from Friday 13 June. The exhibition will show a selection of broadcast, video installation and web-based works which reveal how news casting, TV advertising, surveillance systems and the Internet have been appropriated for the purposes of making and presenting art.
The exhibition includes the work of 15 international artists who each take TV technology and turn it into a performance space, a cultural forum or an interactive media platform. Broadcast Yourself will ask what it means to undertake the personal act of putting oneself ‘on-air’, especially relevant in the modern day where high-speed internet connections and web cameras allow individuals to create their own broadcast networks.
Broadcast Yourself starts its investigation in the 1970s, where artists approached television from two different perspectives: some wanted their video works broadcast, while others wanted to control how broadcasting functioned. In 1976, Chris Burden bought commercial airtime on local TV networks in Los Angeles and New York to broadcast his Promo series in 24 slots lasting 30 seconds each. Acting as a not-for-profit organisation to secure the airtime, Burden’s ‘advertisement’ displayed the names of famous artists such as Leonardo da Vinci, Michelangelo, Rembrandt, Vincent van Gogh, Pablo Picasso and lastly his own, written in small yellow text which zooms towards the viewer until it fills the whole screen. Burden’s work is an early example of artists challenging regulated media structures and audiences can watch this work, as well as the late Ian Breakwell’s landmark diaries made for the launch of Channel 4, in a period living room setting. Breakwell’s diary entries range in length from 3 minutes to nearly a quarter of an hour and were originally screened each evening after pub closing to ensure the audience was in mellow mood.
At the end of the 1970s and into the early 1980s, artists found their way into the TV newsroom with Doug Hall, Jody Procter and Chip Lord taking up residency at KVII-TV (Channel 7) in Amarillo, Texas. The project saw them work with great freedom alongside station staff to bring an alternative take to the news, altering the standard format of news features and providing alternative, absurdist scripts to the deadpan KVII reporters. For Broadcast Yourself The Amarillo News Tapes (1980) are screened in a replica of the set used by KVII-TV, including a life size recreation of the newsdesk. Collaborating with broadcasters was one way to get on air, as was the case with Bill Viola’s Reverse Television: Portraits of Viewers (1983/4), where he filmed American television viewers in Boston watching WGBH-TV, later broadcasting the footage back at them as unannounced inserts between programmes on that same channel.
In the 1990s the use of camcorders saw artists desire to get work onto commercial TV diminish as broadcast quality technology was now in their hands and brought about the concept of narrow-casting, using limited distribution channels to reach a niche audience. Piazza Virtuale by Van Gogh TV (1992) embraced advancing technology for one of the most successful ever interactive broadcasts, devised as part of documenta IX. Using the 3SAT satellite TV channel in Europe, a broadcast was made for 100 days in which the content was controlled by the audience via ISDN lines (the first public use in Europe), post, videophone, fax and telephone (viewers used their telephone keypads to ‘censor’ or change content being broadcast). Predating video file sharing sites now common on the World Wide Web, the home video art exchange project started by filmmaker and performing artist Miranda July is represented in Broadcast Yourself by Joanie 4 Jackie 4Ever (1996 – present). The artist instigated a video chain letter from which there have now been over 20 video chain letters made to date, each celebrating women’s film and video making, allowing the widespread circulation of material which might never make it on to broadcast television.
Of the exhibition, co-curators Sarah Cook and Kathy Rae Huffman explain: “Television culture is often consumed passively and this exhibition seeks to show how artists have taken control of the way audio-visual culture is consumed and given it back to the people. Broadcast Yourself considers how individuals have established themselves within a commercial broadcast environment, how they have turned TV technology into a meaningful artistic platform, how they have given control to the viewer and even ‘squatted’ TV, undertaking a variety of personal acts to put themselves on-air / on screen. We hope to show how artists’ programming, once supported by broadcast TV, has moved to the Web, and what it means to personally appear via broadcast media.”
Full list of artists:
Active Ingredient (Rachel Jacobs / Matt Watkins); Shaina Anand; Ian Breakwell; Chris Burden; Stan Douglas; Alistair Gentry; Guillermo Gomez-Pena and Adriene Jenik; Doug Hall, Chip Lord and Jody Procter; Joanie 4 Jackie (Miranda July et al.); Pat Naldi and Wendy Kirkup; TV swansong (curated by Nina Pope and Karen Guthrie); Bill Viola; Van Gogh TV; 56KTV Bastard Channel (curated by Reinhard Storz / xcult.org)
Click! A Crowd-Curated Exhibition
Open Call (March 1–March 31, 2008)
Evaluation (April 1–May 26, 2008)
Exhibition (June 27–August 10, 2008)
Click! is a photography exhibition that invites Brooklyn Museum’s visitors, the online community, and the general public to participate in the exhibition process. Taking its inspiration from the critically acclaimed book The Wisdom of Crowds, in which New Yorker business and financial columnist James Surowiecki asserts that a diverse crowd is often wiser at making decisions than expert individuals, Click! explores whether Surowiecki’s premise can be applied to the visual arts—is a diverse crowd just as “wise” at evaluating art as the trained experts?
Click! is an exhibition in three consecutive parts. It begins with an open call—artists are asked to electronically submit a work of photography that responds to the exhibition’s theme, “Changing Faces of Brooklyn,” along with an artist statement.
After the conclusion of the open call, an online forum opens for audience evaluation of all submissions; as in other juried exhibitions, all works will be anonymous. As part of the evaluation, each visitor answers a series of questions about his/her knowledge of art and perceived expertise.
Click! culminates in an exhibition at the Museum, where the artworks are installed according to their relative ranking from the juried process. Visitors will also be able to see how different groups within the crowd evaluated the same works of art. The results will be analyzed and discussed by experts in the fields of art, online communities, and crowd theory.
The exhibition is organized by Shelley Bernstein, Manager of Information Systems, Brooklyn Museum.
Brooklyn Museum
tramuntana festival
Tramuntana: vent fort i fred del nord, que baixa de la muntanya. Mot també emprat per designar allò estrany o forà. Són nombroses les referències artístiques que atribueixen a la Tramuntana efectes pertorbadors i creatius sobre la psique.
" Le vent qui vient à travers la montagne me rendra fou." Gastibelza, Victor Hugo.
Durant la II Edició del Festival Tramuntana de Video-art, Electrònica i Interactius, Cadaqués esdevindrà un punt de trobada i convergència per a les arts basades en les noves tecnologies. Actuacions audiovisuals, instal·lacions interactives i projeccions de video-art, amb especial èmfasi en la temàtica dels Quatre Elements, brillaran amb força pròpia sota la lluna plena del mes de juliol, entre els dies 17 i 19.
http://www.tramuntanafestival.cat/
Hacker Space Festival
Hacker Space Festival: Welcome to the Hacker Space Festival (16-22 June 2008, Paris):
"What would the Internet look like without hackers? What would computing look like without free and open source software? What would the culture look like with DRM and closed media channels everywhere? Where do art and technology merge? Would Gilbert Simondon be happy if he were alive today?
Many questions will be debated during the first Hacker Space Fest from the 16th to the 22nd June 2008 near Paris, in the industrial outskirts of Vitry-sur-Seine."
Colophon2009
Colophon2009 - International Magazine Symposium Luxembourg:
"Colophon is a biennial symposium for magazine makers, experts, advertisers, readers and all creatives involved in the world of the independent magazine.
This international event celebrates excellence and innovation, and promotes exchanges between key players within independent magazine industry.
Launched in 2007, the second edition of Colophon will take place in Luxembourg from 13 to 15 March 2009, hosting exhibitions, talks, workshops, events and one-off publications, with more magazines, more attendees and a far more expansive programme than Colophon 2007."
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