mbf tod@y

L'impresa dell'arte (Naples, Italy 16 May - 30 June 2008)

L'impresa dell'arte - PAN - Palazzo delle Arti Napoli Curated by Julia Draganovic

16 maggio 2008 - 30 giugno 2008
inaugurazione: 16 maggio ore 19.00

Fino a che punto l’arte può essere “capitale”, diventando specchio dell’andamento economico generale  e termometro delle tendenze in corso? E’ solo uno degli interrogativi sollevati dalla mostra “L’Impresa dell’arte”, la prima del nuovo ciclo tematico  curato da Julia Draganovic e dedicato a “IL BENE COMUNE”, al PAN|Palazzo delle Arti Napoli, dal 16 maggio fino al 30 giugno 2008 e affidati ad artisti come 0100101110101101.org, Guy Ben-Ner, Susanne Bosch, Shu Lea Cheang, Claude Closky, Steven Cohen, Yevgeniy Fiks, Finger, Jean-Baptiste Ganne, Felix Gonzalez-Torres, Christian Jankowski, Alessandro Ludovico, UBERMORGEN.COM, Paolo Cirio, Sarah Morris, Danica Phelps, Tadej Pogacar, Roxy in the Box e Santiago.

To what extent can art be considered as “capital”, becoming a mirror of the general economic situation, and a thermometer of current trends? This is just one of the questions that will be raised at “L’impresa dell’arte” (The Enterprise of Art), the first of a new thematic cycle of events curated by Julia Draganovic and dedicated to the “A COMMON ASSET” exhibition, at PAN|Palazzo Delle Arti Napoli, from the 16th of May until the 30th of June 2008.  “The Enterprise of Art” investigates the relationship between art and economy in a period where auctions and contemporary art fairs register new record prices almost every month, leading us to consider the equation of “art enterprise = art market, a principle that is far too often taken for granted. (e-flux)

Link (English)

Brave New Pong

"Evolution and capitalism have brought us to the point where it’s possible to propel ourselves out our current state of affairs. We're intelligent enough now that we don’t need the randomness of a competitive system. We can program randomness. Things that used to be competitive games should now be cooperative games, or even non-games.

The world is no longer made up of unpredictable systems separated by incommunicable distances. By using computer models to produce what we want and distribute it fairly, the age old game of producing for production's sake can come to an end. Humans have tried organizing themselves in more equitable arrangements in the past, but these systems were ultimately run by other humans. In the new world we will be able to relax and let technology do the job. The pong ball will never fall off the table again!" (Monochrom)

Read more (via VVORK)

Premio Duellanti 2008 (Triennale Milano, 28 maggio 2008)

Notizia collegata

Neil Ledoux' Tug of War

I had the pleasure to have Neil Ledoux as a student last Fall (California College of the Arts).He's doing really interesting stuff: check out his online exhibition here (I love the interface)!

Alex Galloway vs. Guy Debord

"Galloway’s scholarly pursuits were of less interest to Becker-Ho than was his apparent violation of the Debord estate’s copyright on Le Jeu de la Guerre. (Kriegspiel was made available for free downloading about two months ago, and now has a few hundred registered players. “It’s a smattering of, like, black-wearing English graduate students and sixty-year-old military-reënactment nerds,” Galloway said.) Through a law firm in Paris, Becker-Ho sent cease-and-desist letters both to Galloway and to N.Y.U. at the end of March, requesting that Kriegspiel be taken off-line." (Ben McGrath, The New Yorker) Read more

Cold War Modern: Design 1945-70

"The way films created a fantasy visual vocabulary for the cold war struggle will be shown by designs by Kenneth Adams from such films as The Ipcress File, Goldfinger and Dr Strangelove. This is the world, said Pavitt, of "the underground bunker, the situation room ... there is a bunker mentality that runs through this show". Le Corbusier's designs for a below-ground cathedral will be shown, as will Buckminster Fuller's notion of a dome to cover Manhattan. "The idea was of a controlled environment for Manhattan," said Pavitt, "a utopia in the shadow of a nuclear threat."" [ Cold War Modern: Design 1945-70 is at the Victoria and Albert Museum, London, from September 25.] (Charlotte Higgins, The Guardian)

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ToShare 2008: video streams

All the conferences and panels of the fourth edition of Share Festival can be seen here. Among the participants: Bruce Sterling, Donald Norman, Stefano Boeri, Julian Bleecker, Montse Arbelo and Joseba Franco, Kees de Groot and Viola van Alphen, Gianni Corino, Motor, Anne Nigten, Luigi Pagliarini, Franco Torriani, PierLuigi Capucci, Pietro Terna, Owen Holland, Roberto Giolito, Massimo Banzi, TODO, Luca De Biase, Gino Bistagnino, Janez Jansa, Paolo Cirio, Antonio Caronia, Luis Bec, Nicole C. Karafyllis, Marcos Novak.

See'em here

Atari Series

Wonderland writes about Brazilian artist Alice Shintani's new series on "Atari Series", a set of oil painting inspired by classic games such as River Raid. As you might know, "River Raid is a scrolling shooter videogame and was released in 1982 by Activision for the Atari 2600, and later the Atari 5200, Atari 8-bit, C64, ColecoVision, IBM PCjr, Intellivision, ZX Spectrum, and MSX. The player controls an airplane in a top-down view over a river and gets points for shooting down enemy planes, helicopters, ships and balloons (for versions after the Atari 2600). By flying over fuel-stations, the plane's tank can be refilled. The player can shift side to side and change the speed of the plane. Sections of the river are marked by bridges. The game was programmed by Carol Shaw, one of the Activision programmers who had previously worked at Atari and then Tandem Computers and who is said to be the first female video game designer." (from Wikipedia) Alice Shintani (1971), works and lives in Sao Paulo

See more: Alice Shintani's Atari Series (and other projects)

Anche check this out: River Raid

Super Avatars!

"Superavatar muove su più piani coltivando all’interno di ciascuna maschera (e relative performances) diversi aspetti artisti e concettuali che vanno dalla socio-politica alla psicologia e dalla scienza alla tecnologia e che qui proverò a riassumere. In primis, il Superavatar definisce la sua ragion d’essere su di un piano artistico esprimendo una ricerca estetica multimediale e multidisciplinare che amalgami con originalità gli aspetti narrativi con quelli visivi e sonori e, in secondo luogo, si dispone in una prospettiva narrativa che, da una parte, lo collochi in linea con la filosofia del teatro in maschera, la commedia dell’arte e la tradizione delle maschere italiane, mentre, dall’altra, si manifesti quale denuncia socio-politica diretta." (Luigi Pagliarini, Digicult)

Leggi

Collegato

In precedenza

The Art, Technology, and Culture Colloquium: Kota Ezawa

April 7, 2008 | 7:30pm | 160 Kroeber Hall UC Berkeley, California

 

Text, Slides and Videotapes 

 

Kota Ezawa, Artist, California College of the Arts

 

The Art, Technology, and Culture Colloquium of the Berkeley Center for New Media presents a talk by the artist Kota Ezawa. Kota Ezawa's practice re-considers images from art-history and popular culture in animated videos, slide projections, lightboxes, collages and prints. His work has been shown is solo exhibitions at Hayward Gallery in London, Artpace in San Antonio, the Wadsworth Atheneum Museum of Art, Murray Guy Gallery in New York and Haines Gallery in San Francisco. He participated in exhibitions at Museum of Modern Art in New York, the Whitney Museum of American Art, SF MoMA, the Andy Warhol Museum and Musie d'Art Moderne de la Ville de Paris. Ezawa is an Assistant Professor of Media Arts at the California College of the Arts.

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