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Connections and Gaps between Artists’ and Institutions’ New Media Preservation Efforts

02.02.2021

 

 

Connections and Gaps between Artists’ and Institutions’ New Media Preservation Efforts

 

 

 

 

Media art, which frequently involves data, software, or electronic devices, continues to face the challenge of technological obsolescence. In a previous article, this research project reviewed example models and strategies that media artists have personally developed to prevent artworks’ technical failures and to restore artworks on the edge of obsolescence. The preliminary study also touched on why artists may or may not devote themselves to preservation proactively. For example, an artist may have essential assumptions about their artworks’ life span. Or, an artist may recognize personal preservation efforts as a kind of assistance offered to potential collectors, including institutional conservation initiatives. However, given the diversity of media art, my preliminary research on three artists does not sufficiently reveal variations in or similarities between media artists’ understandings of preservation. Since preservation and conservation are fields often dominated by museums and similar organizations, a contrast also exists between personal and institutional practices.

 

Among the 21 artists contacted, seven artists (see Figure 1)—Ellen Sandor, Jeffrey Shaw, Marcello Mercado, Mark Reaney, Paolo Cirio, Susan Collins, and Yiannis Melanitis—participated in the semi-structured interviews and answered questions listed in Appendix A. Although the non-response rate (see Figure 2a) is admittedly high, the participants were able to provide information that may apply to other cases given the variety of their artistic practices (see Figure 1). Nonetheless, one limitation is that the distribution of participants’ gender is imbalanced (see Figure 2b) even though the numbers of female and male artists (10 vs. 11) among the 21 potential interviewees were very close.

 

 

 

 

 

 

 

 

 

 

 

Magazine des Cultures digitales: Bio-Arts L’essence de la vie

07.04.2020

 

 

 

Magazine des Cultures digitales: Bio-Arts L’essence de la vie

 

 

 

 

La Nature, la Vie, le Vivant : des concepts philosophiques au cœur de la création artistique, de la poétique et des sciences. Depuis la fin des années 1980-début des années 1990, l’art a quitté le domaine de la représentation pour créer avec la dynamique même du vivant ce que l’on nomma alors le “bio-art”. Quelque vingt-cinq ans plus tard, les techniques et les formes ont évolué et se sont diversifiées, le bio-art s’écrit désormais au pluriel.

 

 

 

Depuis les années 1990, de nombreux artistes se sont aventurés sur ce terrain (Marta De Menezes, Joe Davis, Jun Takita, Adam Zaretsky, Brandon Ballengée, CriticaI Art Ensemble, Polona Tratnik, Julia Reodica, Marcello Mercado, Niki Sperou pour n’en citer que quelques uns), instaurant une forte collaboration entre l’art et la science. On compte parmi eux le Brésilien Eduardo Kac qui en 2000 a présenté GFP Bunny (Alba), la célèbre lapine albinos à qui l’on avait transplanté une mutation synthétique du gène fluorescent de la méduse Aequorea Victoria. Alba, une lapine transgénique, devenait sous une lumière particulière une chimère fluorescente, et pas seulement du point de vue biologique. Alba est issue d’une expérience somme toute ordinaire menée à l’INRA (l’Institut National de la Recherche Agronomique à Paris) et sans doute dans d’autres structures de ce genre à travers le monde, qu’Eduardo Kac a rendue publique par une sorte de performance médiatique.

 

 

 

 

[+] PDF

 

 

 

 

 

 

 

 

 

 

Book: Peter Krüll – Bilderschreiben

10.10.2018

 

 

 

Book: Peter Krüll – bilderschreiben

 

 

 

 

 

Writing or image? Handwriting as a central, significant and currently very topical stylistic device. Beautiful or outrageous – legible and enigmatic. This book ‘Peter Krüll – bilderschreiben’ presents more than 150 selected exhibits by artists and designers. The collection is fascinating to look at and shows how complex the topic of “handwriting” or the “written” image is.

 

“Writing is the painting of words,” Ben Vautier once said. Handwriting has long been, and is once again, a central stylistic device in art and design. Sometimes beautiful, sometimes outrageous – legible as well as enigmatic.

The book ‘Peter Krüll – bilderschreiben,’ which is in color throughout and of high quality, brings together more than 150 works by artists, designers and students on the subject of the “written” image. The professor of typography and graphic design has compiled a representative selection of works with great skill and extensive knowledge, and in doing so has unearthed treasures by well-known artists, among others, which are not necessarily widely known as famous works of the same.

 

Paul Klee, Joseph Beuys, Jean Tinguely or Antoni Tàpies used handwriting as an artistic element in works. Robert Rauschenberg wrote the logo for the “Moderna Museet” in Stockholm; the designer duo Vier5 from Paris surprised us at Documenta 12 with a handwritten signage system. Many posters by the designers Grapus, Niklaus Troxler, Stefan Sagmeister or Fons Hickmann, among others, have become famous through their handwriting. Exceptional and remarkable are also the projects of word drawings or word paintings of “Asemic Writing”. Calligraphy is not only an art with a long and varied tradition worldwide, but is also used in visual poetry or visual music, as the works of Gerhard Rühm or John Cage show. And of course there are plenty of magazines, books, CD’s or record covers that have been uniquely designed using handwritten words.

 

 

 

Artists:

 

Herbert Achternbusch, Akatre, Atelier Formes Vives, Alice Attie, Honoré de Balzac, François-Marie Banier, Peter Bankov, Fiona Banner, Martine Bertrand, Joseph Beuys, Mila Blau, Anthony Braxton, August von Briesen, Nancy Burr, John Cage, Rebecca Chew, Allesandro De Francesco, Mirtha Dermisache, Christian Dotremont, Eva Dranaz, Michael Dumontier, Heinz Edelmann, Gia Edzgveradze, Neil Farber, Ed Fella, Martin Galton, Yvonne Gargano, Pierre Garnier, Marco Giovenale, Anselm Glück, Grapus, Jon Gray, Christoph Grünberger, Florian und Romano Hänni, Patrick Hartl, Romuald Hengstler, Fons Hickmann, Christian Hundertmark C100, Paul Klee, Peter Krüll, L2M3 Ina Bauer & Sascha Lobe, Gabriel Lalonde, Miriam Londoño, Martino&Jaña, Stefan Marx, Marcello Mercado, Saed Meshki, Joan Miró, Maryam Motallebzadeh, Rudolf Mumprecht, John Bunion Murray, Hiroko Nakajima, Emilio Nanni, Nous Travaillons Ensemble, Hans Ulrich Obrist, JonOne, Yoko Ono, Roman Opalka, Dennis Orel, Peng Peng Klaus Fromherz & Martin Geel mit Gelinda Paganini, Pablo Picasso, Olaf Probst, Guillaume Adjutor Provost, Robert Rauschenberg, Nicholas Rougeux, Gerhard Rühm, SagmeisterWalsh, Yuichi Saito, Stefan Sandner, Shoshu, Manita Songserm, Susann Stefanizen, Strichpunkt Design, Antoni Tàpies, Meliha Teparic, Jean Tinguely, Henryk Tomaszewski, Jouri Toreev, Damien Tran, Niklaus Troxler, Cy Twombly, Ben Vautier, James Victore, Vier5, Robert Walser, Andy Warhol, Jan Willem Welzenis, Daniel Wiesmann, Adolf Wölfli, Barbara Wojirsch, Guoqin Zhu, Zwölf Stefan Guzy & Björn

 

 

 

 

 

KUNSTFORUM International: 236

01.10.2015

 

KUNSTFORUM International

 

236

Wendezeiten

Deutschland in der Kunst

„Nationen malen keine Bilder“, schrieb Werner Hofmann 1999 in seiner Streitschrift Wie deutsch ist die deutsche Kunst?. Mit der Praxis künstlerischen Arbeitens haben nationale Zuschreibungen wenig zu tun. Schließlich

 

 

 

 

Nachrichten

 

 

 

Vom 19. November 2015 bis zum 10. Januar 2016 zeugt die Berliner Akademie der Künste die Ausstellung „Bodenlos – Vilém Flusser und die Künste“. Ausgangspunkt ist Flussers Behauptung: „Synthetische Bilder sind eine Antwort auf Auschwitz“. Für den Philosophen Vilém Flusser (1921-1991) war „Denken und Schreiben war ein permanentes Experiment des (Über-)Lebens in der Diaspora“.seit er vor den Nazis aus Prag nach Brasilien geflohen war, wo er dann dreißig Jahre lang lebte. „Nur in der Passage durch die radikale Abstraktion sei eine neue Konkretisierung und damit neues spannendes Leben vorstellbar: Damit beginne die Nachgeschichte. Offensiv nahm Flusser die Herausforderung an, die Künste noch einmal neu zu denken im Angesicht der Tatsache, dass unsere Existenz im Wesentlichen von Technik bestimmt wird. Die Methoden der Naturwissenschaft mit einer neuen Auffassung von Kultur zu verkoppeln ist das Anliegen seiner besonderen Anthropologie.“ Künstlerliste: Edmar de Almeida, Louis Bec, Harun Farocki, Alex Flemming, Joan Fontcuberta, Fred Forest, Herbert W. Franke, Andreas Henrich, Dieter Jung, Marcello Mercado, Achim Mohné/Uta Kopp, Anthony Moore, Matthias Müller, Andreas Müller-Pohle, Nam June Paik, The Quay Brothers, Mira Schendel, Lisa Schmitz, Ed Sommer, Pinar Yoldas und Niobe Xandó.

 

 

 

Artists – Visions of death

 

 

Artists – Visions of death

 

 

Stan Brakhage
The Act of Seeing with One’s Own Eye
1971

 

Stan Brakhage_Lectures_revised (pdf)

 

 

 

Marcello Mercado
El Vacío – Empiness
1994

 

Marcello Mercado_Lecture_revised (pdf)

 

 

 

Derek Jarman
Blue
1993

 

 

Maya Deren

Meshes of the Afternoon
1943

with synchronized Soundtrack by Teiji Ito (1959)

 

 

 

Stan Brakhage
The Garden of Earthly Delights
1981

 

 

 

Nagisa Oshima
Death by Hanging
1968

 

 

 

Guy Maddin
The Heart Of The World
2000

 

 

 

Dušan Makavejev
WR: Mysteries of the Organism
1971 (Fragment)

 

 

 

Benjamin Christensen
HAXAN Witchcraft Through the Ages
1922

 

 

 

E. Elias Merhige
Begotten
1991

 

 

 

 

TECNICA: VIDEO

01.01.2013

 

 

TECNICA: VIDEO

 

  • Editorial ‏ : ‎ EDICIONES OLMO (1 Enero 2013)
  • Idioma ‏ : ‎ Español
  • Tapa blanda ‏ : ‎ 110 páginas
  • ISBN-10 ‏ : ‎ 9871555024

 

 

Tecnica:Video da cuenta a traves de 10 piezas de video arte de la multiplicidad de obras que utilizan al video como soporte artistico en la produccion plastica contemporanea argentina. Todas ellas refieren a una nueva etapa en el desarrollo de la disciplina: ya los artistas no estaran interesados en la particularidad del video como medio sino que lo implementaran como una tecnica mas dentro de su produccion. La obras que conforman la publicacion fueron realizadas por una joven generacion de productores visuales entre los que se encuentran Estanislao Florido Florencia Levy Gustavo Caprin Mateo Amaral Esteban de Alzaa Sebastian Diaz Morales Luciana Lamothe Federico Falco Mario Caporali y Marcello Mercado. Un fragmento de dichas piezas acompana en un DVD la publicacion valorizando el contacto directo con este tipo de arte.