[spectre] exhibition: bit international . [Nove] Tendencije – Computer and Visual Research
bit international . [Nove] Tendencije – Computer and Visual Research Neue Galerie am Landesmuseum Joanneum . Graz . Austria 28 April – 17 June 2007 opening: Friday 27th April 19 h Curator: Darko Fritz (Zagreb / Amsterdam) Artists / artists groups: + Marc Adrian + Kurd Alsleben / Cord Passow + Getulio Alviani + Vojin Bakic + John Baldessari + Mario Ballocco + Manuel Barbadillo + Otto Beckmann + Alberto Biasi + Hartmut Böhm + Vladimir Bonacic + Frank Böttger + Ivan Cizmek + Gianni Colombo + Compos 68 + Charles Csuri + Dadamaino + Hugo Rodolfo Demarco + Gabriele De Vecchi + herman de vries + Milan Dobeš + Piero Dorazio + Michel Fadat + Alan Mark France + Herbert W. Franke + Horacio Garcia-Rossi + Karl Gerstner + Gruppo MID + Leon D. Harmon + Grace C. Hertlein + Miljenko Horvat + Hervé Huitric + Gottfried Jäger + Sture Johannesson + Hiroshi Kawano + On Kawara + Julije Knifer + Kenneth C. Knowlton + Hans Köhler + Vladimir Kristl + Edoardo Landi + Auro Lecci + Julio Le Parc + Wolfgang Ludwig + Heinz Mack + Frank Joseph Malina + Enzo Mari + Jean-Claude Marquette + Almir Mavignier + Tomislav Mikulic + Petar Milojevic + Manfred Mohr + François Morellet + Monique Nahas + Frieder Nake + Maurizio Nanucci + Georg Nees + Koloman Novak + Ivan Picelj + Otto Piene + Manuel Quejido + Zoran Radovic + Ludwig Rase + Vjenceslav Richter + Sylvia Roubaud + Manfred Robert Schroeder + Lillian Schwartz + Ana Seguí + Javier Seguí + Nikola Šerman + Soledad Sevilla + Jesus Raphael Soto + Aleksandar Srnec + Joël Stein + Kerry Strand + Alan Sutcliffe + Zdenek Sýkora + Paul Talman + Goran Trbuljak + Stan VanDerBeek + Gregorio Vardanega + Evan Harris Walker + Aron Warszawski + Gerold Weiss + Rolf Wölk + José María Yturralde + Yvaral + Edward Zajec + Vilko Ziljak + Anton Zöttl + The Neue Galerie in the Landesmuseum Joanneum Graz examines one of the most important international trends of the 1960s in the exhibition “bit international . [Nove] Tendencije computer and visual research”, which was of enormous influence at the time, but which has now slipped out of public consciousness and has virtually been lost to the history of the development of art. While numerous exhibitions have been held with the titles “New Tendencies” or “Nouvelle Tendance” in Venice and Paris, the place of origin - Zagreb, has vanished from the focus of attention. A biennial event developed in Zagreb starting with concrete and constructive art in 1961, maintained its avant-garde title by introducing the computer as a medium of “artistic research” in 1961. Simultaneous with the legendary Cybernetic Serendipity at the London ICA in 1968, which is regarded as the first major computer art exhibition, a colloquium also took place in Zagreb with an exhibition of computer generated art, tendencije 4. The Gallery for Contemporary Art – today the Museum of Contemporary Art – dedicated a series of exhibitions, symposia and publications on the subject of the ‘Computer and Visual Research’. Original projects in both art and science were presented. During the heyday of the Cold War artists and scientists from the entire world travelled to Zagreb – from Germany, France, Italy, Japan, Czechoslovakia, Poland, Russia and the USA. The multi-lingual magazine published by the Gallery in Zagreb Bit International was an initiation point for aesthetic and media theory reflection and there was nothing that could be compared with it anywhere else in the world. ‘Tendencije 4’ attempted to both accompany and mould the historic transition in which the computer as a symbol processing machine first entered consciousness as a machine for artistic creation. The arts of the electronic media were not regarded as an isolated phenomenon, but were included in the history and the discourse on the fine arts and the performing arts. A first review of the ‘Tendencije’ exhibitions and the publications of Bit International has now been assembled in cooperation with the Museum of Contemporary Art in Zagreb and with an international network of collectors and private archives in an exhibition curated by Darko Fritz. Graphic work, films, sculptures, poems, theatrical texts and artistic concepts. The English language anthology accompanying the exhibition (ed. Margit Rosen, in cooperation with Darko Fritz, Peter Weibel) has made the broad range – of both art works and theoretical writings accessible to a broader public of art and media historians and artists once again for the first in 30 years. The project also promotes an opening of awareness and sensitivity to the historical centres of the arts and culture in Eastern Europe. Exhibition in the Neue Galerie in the Landesmuseum Joanneum Graz presents 93 artists and artists groups with more than 350 artworks, alongside computer programs and other working process documents. http://www.neuegalerie.at __ SPECTRE list for media culture in Deep
[spectre] Gazira Babeli: [Collateral Damage]
PRESS RELEASE April 12, 2007 For Immediate Release: Gazira Babeli: Collateral Damage - a comprehensive survey of works from 2006-2007 location: Odyssey (38,30,23) Gaz', Queen of the Desert. Text by Domenico Quaranta. http://gazirababeli.com/SHOW/CollateralDamage/Queen-of-the-Desert.htm On April 16th 2007, the ExhibitA gallery on the Odyssey simulator within the online virtual world called Second LifeT, will present the first comprehensive look at the pioneering work of Gazira Babeli. Gazira Babeli is an artist creating works within Second Life and a member of Second Front - the first performance art group in Second Life. Gazira labels herself a code performer and indeed the code is at the heart of her work, tying it to the system at a deep level and reaching out to the viewer in ways that inherent to the SL platform. Her pieces are alive with scripts created using the Linden scripting language - a core component of Second Life. A Campbells soup can that is a trap, and a self proclaimed menace disguised as pop art, encases the viewer and takes him on a ride proclaiming you love pop art, pop art hates you until the unsuspecting avatar manages to run fast enough to escape. The sky filled with question marks, a vengeful tornado, these are a few of Gaz's signature works that can be seen on her site: gazirababeli.com. In the spirit of opensource - Gazira has licensed much of her code via creative commons, and you can download it for your own use on her site: gazirababeli.com. Please join us for the opening of this exhibit. Press are invited to attend at 1pm SL time. The general opening is at 6pm SL time. Inquiries may be directed to Beavis Palowakski: [EMAIL PROTECTED], or to Sugar Seville: [EMAIL PROTECTED] Following are some press excerpts regarding Gazira Babeli. Born in Second Life on 31st March 2006, *Gazira Babeli* (http://www.gazirababeli.com/) is an artist who turns the performativity of the code into performance itself. Weedy and flexuous in her long black dress which covers fashionably her polygonal haunches, Gazira radiates a strange charm that makes her somebody in between a Voodoo witch and an X-men heroine. Her charm that becomes even more evident during her masterful performances, in which she activates scripts as if they were spells, makes earthquakes happens, provokes natural fatalities and invasions of pop icons (in the place of the biblical locusts). Gazira Babeli is NOT the project of an artist who works in Second Life. She IS an artist, who makes, records and signs performances based on code. She is real, like you and me, even if her action platform is a world of bits. - Domenico Quaranta, 2006-12-02 Linden Labs is a Fluxus-Project, jokes Gazira Babeli, the pizza-throwing Second-Life-Artist and makes a reference to the Slogan of Linden Labs. Your World. Your Imagination. This is a indication for the fact, that in the metaverse art and life are connected as far like the fluxus-artist would have wanted to, she remarks ironically. [...] Gazira Babeli is one of the few artists, who has created works, which are subversively inflitrating the friendly environment of cyber-suburbia SL. - Tilman Baumgärtel, Kunstzeitung, March 2007 We keep forgetting that what we call Real Life has been a virtual frame for a long time. Second Life offers the chance to build and deconstruct this space in the form of a theatre performance. What's the difference? I'm trying to find out. For the moment I like to say: my body can walk barefoot, but my avatar needs Prada shoes. - March 23, 2007 - Interview with Gazira Babeli by Tilman Baumgärtel http://www.turbulence.org/blog/archives/003987.html Gazira: To realize an artistic or aesthetic experience, it requires a frame-space that is contemporarily physical and conceptual; it could be a frame, a museum, a computer network, a bedroom... or just a plain box 'dressed' like a RL art-galley. This referential cube gallery reminds me of the ironical artwork made by Marcel Duchamp called Box in a valise (Boîte-en-valise, 1942) Although the box gallery could be a valid expression, I prefer thinking the whole SL environment as (a kind of) frame-space. It means that scripted and built objects, avatar-people and their behaviors become essentially parts of the artwork...a world in a valise, in this case. :) - Interview with Jeremy Turner (Wirxli Flimflam) for Slatenight magazine http://www.slatenight.com/index.php?option=com_contenttask=viewid=143 -- Domenico Quaranta mob. +39 340 2392478 email. [EMAIL PROTECTED] home. vicolo San Giorgio 18 - 25122 brescia (BS) web. http://www.domenicoquaranta.net/ __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
