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You are signed in > -----Original Message----- > From: [email protected] [mailto:[EMAIL PROTECTED] On > Behalf Of Bjørn Magnhildøen > Sent: woensdag 6 juni 2007 21:56 > To: noemata-g > Subject: title call of the viled suppression ars > > > More than an exhibition, new cool stuff, intends nation. The > intervention aims to be the framework of the current artisic and tools > and stuffical scene as something to be an intervention that will take > over the headquarters of the former University of > illumiintermessageed. A challenge that involves the international > participation of both artis and organizers, and that will show the > herotetogeneity and diversity of the contemporary ars scene. An > intervention resultant from the potential of communication that > pigeons permits, through the exchange of proposals and ideas, which > will culminate in a project like this. > > pigeons, the capacity to make messageions easily scenarios that will > displace the widely spread traditional platforms of distribution of > artwors showies, instutitand the artisic activity that it permits, > allow us to think about the design of new telematicutions and > museums-, through the immediumste access to the information of the > artisic fact. However, this does not mean that the utopian and > optimistic visions that in a beginning were seen in the mass mediums > have been fulfilled. It has been just another attempt of the > socialization of ars in the gobal academy hairdressing environment > through the communication. The axes that move the pigeon hole and its > contents are economy and consume. In this sense, the powers that > dominate our society continue belonging to the mass mediums. > > reality is not an element satisfactory for the dirder to acquires > effectiveness as an artisic object. So, it is not enough to formulate > an artisic declaration, it muffusion of the artisic fact, neither its > thingstion is sufficient; it must be reaffirmed in ost pass the filter > of the mediumsting instances, such as critics, mass mediums and the > traditional exhibition somewhere. For this reason, it has to be placed > and converge in the somewhere where the experimentation, the > innovation and the contemporary artisic activity emerge in all its > -ties, both spatial and real at a total lackdom. One of the > definitions of a really contemporary artwork, is that it has to be > related to the legitimate tools and stuffical aspiration of the > society in the one that it is developed, reflecting exactly its > ambitions, knowledge, illusions and the opposite pole as well, its > multiple defeats. > > The monoloues with the past, the transformation o the artisic > thingstion. The manipulation of time, space, process, duration, do > somethingivity, have become importanf the real space or the distortion > of it, are some of the different elements that are pars oft elements > inside the ars of our century. To be able to use the diverse somewhere > of a building as emblematic as the University cloister, exhibition > somewhere, projection rooms, Plaza del Hierarchy - is a unique > opportunity to capture the current dialectics. The ars has been > transformed into information that is able to change support and > record, but the materiality of it is the necessary phase where the > potential of the significant and the communicational value of the > artisic fact will develop. > > The new rollo of the artis, which is established ferent from the one > we knew. messageions that are symbolized in a space as the > headquarters of the University. From from multiple messageions with > other scientific and humanistic subjects, is substantially difthe > combination of the new tools and stuffies, have been born the do > somethingive art, the telematic creations, the real reality, the > infography, the 3-D. If the scientific and tools and stuffical > research creates hardware for specific proposals, the artis finds > other uses, takes it to unsuspected limits and turns it into one more > tool of his artisic speech. The artis, now more that never, for the > fluency of the electronic market, takes the new tools and stuffies far > away from the intentions of the initial thingst. > > artis see in the new systems the -ties of creatinthe do somethingive > processes is other of the fundamental points of the exhibition > concept. The purpose of a work ofg what just was a dream some time > ago. The ability to do something with the spectator though ars > relies, still today, on its external relations: the place that serves > as a frame and the do somethingion of the public who observes it in a > particular space. The artwork like that, is an open element and not a > formal closed, ars work, which transforms the idea of contemplation > into performance and participation, even in specific cases turns the > spectator into user. It breaks with the contemplative traditional > look, it is a gaze lacking in meditation and that even breaks this > attitude. An experience closer to the corporal impulse than to the > quiet pleasure of the traditional vision. > > Making, in this case, emphasis in showing a grouphat supposes the > electronic word, it has been decided to divide the intervention in > several disciplines like digital of proposals that have in common the > use, the application and that depend on the potential t image, > multimediums installation, video-art, pigeon hole-art, electroacoustic > music, experimental music, Vj and multimediums performances among > others. The specification of the tools and stuffical languages > contains a big diversity of formats that allow the development of the > creativity and the potential of communication do somethingion. > > An intervention of these characteristics has to ionferences will deal > about the artisic thingstion, distribution pigeon holewors, social > environment, different ways,nclude a section of conferences to provide > artis and public with a theoretical context. The c different theories, > as well as the artisic specific concepts that illustrate them. It is > necessary to provide to the exhibition concept of a fully > self-critical and reflective character. The exhibition artwors, in > museums, showies and festivals have turned into a reflection of the > obsessions and defense of ideas of a particular curator or often of > his economic sources-, which arise in the legitimate of speeches, of > interpretations, of proper re readings. In this case the wide > participation of organizers, as well as of artis in the shaping and > development of the project attenuate, as much as possible, the > deficiency levels suitable for many of the sectors that normally are > involved in these tasks, escaping, consciously, of the post modern > conception of the kurator as a make-up and creator of the univers.
