Date: 20/05/2009 until 06/06/2009
Location: Gallery KiBela, Maribor – Slovenia
Organisers / Producers: ACE KIBLA
Exhibition Robot Partners – Paintbot, Robot Totem, Automated Table Modification by Stefan Doepner.
Robot Partner is a long-term multidisciplinary project integrating art, science, humanities and technology. Operating as the conceptual framework of Doepner’s recent art creation, it deals with the complex idea of partnership in general as well as partnership between people and machines. Based on this, the project touches upon contemporary development (Fortschritt) ideals and images in an investigative, poetic, humorous and absurd way.
More InformationFERNE SEHEN / FAR SIGHT
Heiko Daxl 2009
Refraktorteleskop, Videomonitor, Videoloop, ca. 20 Meter Luftraum
Als Fernsehen (auch kurz TV, vom griechisch-lateinischen Kunstwort Television) bezeichnet man den technischen, ökonomischen und kulturellen Komplex, der sich um die Aufnahme von Bewegtbildern und Tönen an einem Ort, deren nahezu zeitgleiche oder zeitverzögerte Übertragung an einen anderen Ort sowie ihre dortigen Wiedergabe mit Hilfe eines Fernsehgerätes herum gebildet hat, sowie die Tätigkeit des Zuschauers, fernsehen. (aus Wikipedia)
Morgens um 00:30 Uhr im Terminal auf dem Flughafen in Peking, dem zurzeit größten Gebäude der Welt, aber fast niemand ist da auf dem Weg in die Ferne.
Refractor, video monitor, video loop, about 20 meters airspace
Television or TV is broadcasting visual images of stationary or moving objects. The etymology of the word has a mixed Latin and Greek origin, meaning “far sight”: Greek tele (τῆλε), far, and Latin visio, sight (from video, vis- to see, or to view in the first person).
00:30 a.m. at Bejng International Airport, the largest building in the world until now. But almost nobody is on his way into the distance.
Lecturing:
Transgressions in Christian Iconography of the 20th century: «Crucified Christ»from Manet to Serrano” by Jerica Ziherl (Museum of Modern and Contemporary Art Rijeka – HR)
Transgressions frequently instigated two parallel processes in the visual arts during the late 19th and early 20th century. One process comprises a critique of dominant aesthetic, artistic, existential and political discursive institutions. The other is a projection of novelty as an actual or future disposability. One of the most transgressive subjects with the European artists was deviation from the Christian iconography, especially in depicting Christ. This essay is going to analyze a few works by transgressive artists and the typology of transgression connected to the subject of crucified Christ. From Courbet to Manet, Christ has been being depicted as an ordinary man, a mortal, his portraits becoming ordinary. This opened doors to a new aesthetics based on negating the doctrine, conventions and taboos, with its most prominent artists being Pablo Picasso, Francis Bacon and, by the end of the 20th century, Andrés Serrano.
More InformationSome photos of the Mutopia workshop in Mação are up on the MOKS blog. Special thanks to the workshop participants for their energy and efforts; Michelle, Ptricia, Luis, Jakko, Taavi, Laura, Maisa, Anni, Joana, Maria, Ana, Jania, Piibe, Jaanika, Sirpa and Birgit.
More InformationExhibition Maribor Graffiti by the academy-trained painter Jasna Kozar. The exhibition Maribor Graffiti in DLUM Gallery presented the latest work by the academy-trained painter Jasna Kozar. Parallel to the works belonging to the author’s recent production, some older works were shown, the contents of which present significant points in the story told by the author’s colour expression. The integration of recent and older works at the same time offered a broader insight into the formal approach in dealing with the painting surface. On the basis of the author’s opus the observer is thus enabled on various levels to track the development of the artistic expression and the search for new technological possibilities and solutions.
More InformationThe installation entitled “The Waiting Room” is made of a video of a man who doesn’t remember his memory; his past and all his sins in a room where a typewriter, a desk and a flag stand. Does a single person’s confrontation with his past mean a society or a nation’s confrontation with its own past? Can an indiviual recreate his own personal history? In the Waiting Room, while “waiting” here and now turns into the activity itself, how much it is possible for “the waiting man”s survival from the past’s ghosts and his resistance towards his own nature? “Thanks to the American writer Paul Auster’s “Mr. Blank” character..
The NoWhere Symposium integrates artists and lectures from different parts of Europe and challenges them to integrate there work in the rural scenario of Mação. One of the main aims of this Symposium is the integration of art and cultural agents in disadvantageous scenarios that are out of the usual circuits as a strategy of development. With this we want to develop new strategies of development in this areas, using the socio-economic power of the culture field, namely through the integration of contemporary art in relation with questions of anthropology and cultural heritage.
More InformationPROJECT: „germ-(cell) F2“
YEAR: 29 of May 2009
OCCASION: NCPA May Festival 2009
LOCATION: National Centre for Performing Arts/ Beijing, China
Today, 60 years after the foundation of the People’s Republic of China, Peking is no longer the closed metropolis that it once was. The process of opening up over recent years has also manifested itself in the city’s architecture. One of the most impressive examples is the construction of the new Chinese National Opera House based on the design of French architect, Paul Andreu.
Paul Andreu creates “transit space” through which an endless flow of travellers pass at locations all over the world. When Paul Andreu describes his own work, he talks about paths and curves, tunnels and gangways, thoroughfares and transitions, time and silence, light and emptiness. He creates meeting places; places where people can discover themselves, each other and their environment. His architecture is a protective shell for the flow of life.
People who understand Paul Andreu’s architecture will understand why it is more than just a projection surface but a “living light sculpture” at an historical setting between the Great Hall of The People and the walls of the Forbidden City near Tiananmen Gate.
The skin – the patina created by the natural organic film on the Gate of Heavenly Peace – is projected at nightfall onto a giant projection surface, mounted on the National Centre for Performing Arts glass façade, and it is visible at a considerable distance. The projection shows the microscopic structure of the patina on the Gate of Heavenly Peace in real-time. The colourful microcosm of the patina taken from a piece of historical architecture with world cultural heritage status is projected in large format onto a new piece of architecture close to its traditional environment.
A life flow that is never stationary and always keeps moving in the cycle of time…
The special highlight of the light performance will be an interactive sound performance underscoring the silent message, and for which Michael Nyman has composed the sound. It will be performed by the internationally-acclaimed violoncellist Jing Zhao.
In technical terms, sensors fixed to the cello transmit the modified sound recordings to a computer with the aid of special software. The audio signals from the cello are transformed into control files and thence redirected into a software control programme for the cameras which has been written on the basis of the cello score.
So the cello ‘animates’ the live microscopic images of the particle patina from Tiananmen Gate – shots of the micro-organisms’ pigment production. The cello is accompanied by virtual orchestra, but only the live play of the cello moves the images. A dialogue is generated between the different artistic disciplines; and an interplay between analogue transfer and digital storage runs throughout the performance.
The score of the international Composer Paulo C. Chagas will be interpreted by the young violoncellist Jing Zhao.
Concept / photography: Sabine Kacunko
Music Composition: Paolo C. Chagas
Solo-Cello: Jing Zhao
Interaktive Music Controller: Henry Stag
Videoanimations/Compositing: Ingeborg Fülepp und Heiko Daxl