Re: [spectre] How International is Media Art ? The Role of the Curatorial Practice

Thu, 09 Mar 2006 04:03:52 -0800

I fully agree with Jose-Carlos. Last year was the "Year of Brazil in France" and the @rt Outsiders Festival was dedicated to "Brazilian New media art". In the catalogue, that I guest edited, I included a strong focus on the Brazilian pionneers, such as Cordeiro, Palatnik, but also Oiticica, etc. We also included 2 texts specially about 2 organisations in Brazil that focus on exhibiting new media art. It is only 2, because ... catalogs have limits in term of pages ;-) The catalog, for those of you who might be interested, has been published by Anomalie/Hyx and the texts are both in French and English. Its title is "://Brasil". All the authors are brazilian. It includes texts by the artists in the exhibition and texts about the currents trends in Brazil and historical perspectives that I just mentionned. The exhibition, curated by Jean-Luc Soret, included current Brazilian new media art and an historical piece by Esmeraldo (kinetic work, without motors but based on electro-static electricity). And it was important, as a curatorial statement, to show that new media art exist outside the "usual paths" with a high level of creativity, understanding, etc. In this case it was Brazil. But Riccardo dal Farra has done a whole research (with the Langlois Foundation) on computer-electronic-music in South America that encompasses many more countries.
Also, on the Leonardo/Olats web site, in the Pioneers & Pathbreakers (Pionniers et Précurseurs) project, we have information and documentation about Palatnik. I know that this site is mostly in French, but still, it does exist and shows that "new media art" is not only "Western" and that pionneers were also, in this case, in South America. 

Annick


Jose-Carlos Mariategui wrote:

Dear Chris and friends:

I just came up with this interesting announcement of the International
Symposium on Curating New Media Art.  Yes, but it is Western-side
International Symposium, not a real International one.  It is a pity that
though there are so many projects going on at a wide (real) International
Scale, there is still the need to "Westernize" as much as possible the arts.
This is similar to the reasons why in the majority of books on the so-called
history of New Media there is not a single discussion on what happened
outside Europe, Japan or the USA.  This reflects a conformism and lack of a
real consideration of the ways in which new media art has been evolving,
quite successfully in many cases, through out the world, and I say the world
(including the so-called emergent 'others' that in economic terms
represented in 2005 more than half world's GDP).

So when you discuss of point out questions around 'learning from pioneers',
to what pioneers are you referring, to the semi-blind western sight?   Is
that what makes a good curator of media art?   I believe that one of the
most important points around the curatorial process is to understand a
context and the development of a history (in that sense perhaps the
work/efforts of Oliver Grau are worth mentioning) but lets be OPEN, not just
in OpenSource terms, lets admit that media art and therefore its curatorial
practice is a wide international activity and not just a bunch a friends
that talk about the same stuff over and over again.

I hope we try in the future to talk about the concept of International in a
much more real (or critical) sense, and not just by defining it from one
side of the world.

Jose-Carlos Mariategui


on 3/7/06 2:13 AM, Chris Byrne at [EMAIL PROTECTED] wrote:



Art-Place-Technology
International Symposium on Curating New Media Art
Liverpool School of Art & Design and FACT Centre
30 March - 1 April 2006

Just ten days left to take advantage of our early bird registration
offer: ends on 17th March.
Register now and save 35% on the full registration fee.
Further programme details and online registration:
http://www.art-place-technology.org

New media art is a global phenomenon: a rapidly changing and dynamic
field of creative practice which crosses conventional categories and
disciplinary boundaries, challenging our assumptions about art.

- How do curators engage with new media art?
- What makes a good curator of new media art?
- What can we learn from the pioneers of this field?
- What does the future hold for curating new media art?
- What common ground exists with other disciplines?

These and other issues will be explored at Art-Place-Technology.
Speakers who are shaping the practice and theory of curating new media
art include:

Inke Arns, Hartware MedienKunstVerein, Dortmund.
Sarah Cook, CRUMB, University of Sunderland
Pierre-Yves Desaive, Fine Arts Museum of Belgium, Brussels
Paul Domela, Liverpool Biennial
Lina Dzuverovic, Electra, London
Charlie Gere, Lancaster University
Beryl Graham, CRUMB, University of Sunderland
Ceri Hand, FACT, Liverpool
Drew Hemment, Futuresonic, Manchester
Kathy Rae Huffman, Cornerhouse, Manchester
Stephen Kovats, V2, Rotterdam
Amanda McDonald Crowley, Eyebeam Art & Technology Center, New York
Francis McKee, Glasgow International & CCA, Glasgow
Trebor Scholz, Institute for Distributed Creativity, New York
Dimitrina Sevova & Alain Kessi, codeflow, Zurich
Paul Sullivan, Static Gallery, Liverpool
Simon Worthington, Mute, London

Art-Place-Technology will look at historical and current projects by
some of the world's leading curators of new media art, and discuss how
curating new media art creates interfaces with the art world, museum
culture, media, publishing and academia. The symposium also includes a
performance by LoVid, and a curator's tour of the exhibition "Howlin'
Wolf" by Mark Lewis at FACT.

---

Programme Summary

30th March - DAY 1: FACT
17:00 - Launch Reception and Symposium Registration.
Announcements: New postgraduate programme in Curating New Media Art, &
ARC Journal for Curating and Theorising New Media Art. Colin Fallows
(UK); Iliyana Nedkova (Bulgaria/UK); Chris Byrne (UK)
18:00-19:00 - Curatorial Tour of Mark Lewis exhibition "Howlin' Wolf"
at FACT Galleries. Tour Host: Ceri Hand (UK)

31st March - DAY 2: Liverpool School of Art and Design
09:30 - Introductions: Colin Fallows
09:45 - Keynote: Amanda McDonald Crowley (USA)
10:30 - Moderated Question and Answer Session: Ceri Hand (UK), Moderator
11:15 - Presentations: Inke Arns (Germany); Pierre-Yves Desaive
(Belgium)
12:15 - Moderated Question and Answer Session: Paul Domela (UK),
Moderator
14:00 - Keynote: Charlie Gere (UK)
14:45 - Moderated Question and Answer Session: Beryl Graham (UK),
Moderator
15:30 - Presentations: Francis McKee (UK); Lina Dzuverovic (UK)
16:30-17:00 - Moderated Question and Answer Session: Kathy Rae Huffman
(UK), Moderator
19:00-20:00 - FACT - Presentation: Simon Worthington (UK)

1st April - DAY 3: Liverpool School of Art and Design
09:30 - Introductions: Colin Fallows
09:45 - Keynote: Trebor Scholz (USA)
10:30 - Moderated Question and Answer Session: Paul Sullivan (UK),
Moderator
11:15 - Presentations: Stephen Kovats (Netherlands); Dimitrina Sevova &
Alain Kessi (Switzerland)
12:15 - Moderated Question and Answer Session: Drew Hemment (UK),
Moderator
14:30 - FACT - Workshop: Sarah Cook (UK/Canada)
Followed by LoVid (USA) performance.
17:00 END

---

Further programme details and registration:
http://www.art-place-technology.org
Tel +44 (0)151 2315190
E-mail [EMAIL PROTECTED]

Art-Place-Technology is hosted by the Liverpool School of Art & Design,
Liverpool John Moores University in collaboration with FACT and Art
Research Communication.

Supported by Arts Council England North West, Media Arts Network.

----------------------------------
Art Research Communication
[EMAIL PROTECTED]
www.a-r-c.org.uk
----------------------------------

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