arcangel constantini
Since the beginning
Works in Mexico Mexico

PORTFOLIO (6)
BIO
arcangel constantini<mexico city
1970.71.72.73.74.75.76.77.
78.79.80.81.82.83.84.85.86.
87.88.89.90.91.92.93.94.95.
96.97.98.99.00.01.02.03.04.05.06.07.08.09.......???????

Arcángel Constantini. Mexico. produces work of a marked ludic-experimental nature, strongly influenced by the fortuitous, chaotic processes of the city as reflected in the systematic use of error aesthetics. His work and artistic practice explore the dynamics of visual and sound works, low-tech installations, propaganda action, visual/sound performance, hardware hacking , installation , sound art an Independent curator , has been developing the program of Cyberlounge, Museo Rufino Tamayo since 2001 ,was part of curatorial team for Transitio Mx , and is part of dorkbot mexico df council
holder of awards, among them the Prize for Best Multimedia Work at Vidarte, Video and Electronic Arts Festival, CENART (Mexico City, 1999); and the Bronze Prize for his project 123456789px.htm, MCMOGATK, Machida City Museum of Graphic Arts, Tokyo and Art on the Net, 1999. he is part of Sistema Nacional de Creadores Fonca grant and in 2002 received the Rockefeller / Macarthur grant for new media production , director of ¼ www.un-cuarto.org an independent electronic art exhibition space , he has participated with his work in exhibitions , festivals in countries as Japan ,Peru , Germany, Holland, Italy , Canada , United Kingdom ,France ,Uruguay , Brazil , Australia, Spain ,Korea , Puerto Rico , etc

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http://www.unosunosyunosceros.com

+( unos - adjetivo (indefinido) some)
+ ( unos - plural of one )
+ ( y - & )
+ ( unos + adjetivo(indefinido)some)
+ ( ceros - plural of Zero )

----------------------------------------------

E = M / t-e / / /

existencia es igual al movimiento entre tiempo y espacio

-----------------------------------------------

/ / / > 0110011010011 > ? >
zero wish to be one >

1+ 0 = 3 _

onirico-concreto-digital

.

salu :D

http://www.arc-data.net
http://www.unosunosyunosceros.com,
http://www.bakteria.org
http://www.atari-noise.com
http://www.infomera.net
http://www.X-no-01.net

curador gestor >
http://www.museotamayo.org/inmerso
http://www.un-cuarto.org

Discussions (33) Opportunities (1) Events (21) Jobs (0)
DISCUSSION

Prosthetic Knowledge Picks: Turntables and Records


http://www.ivanabreu.net/#works/artworks/mrpm_2006-2013

iovan abreu Mexico

m(rpm)2006-2013
Iván Abreu, 2013
2013, retrospective exhibit: documentation and designed furniture.
After six years ongoing, m(rpm) was exhibit in the context of the collective exhibit "Entropy theory". The idea was rescue documentation from the project and combine it in a video-installation with videos, photographs, molds and three sculpture-furnitures. Besides, in the openning day the artist played an ice vinyl with the national anthem and another frozen disc stayed in an freezer designed as a sculpture during the exhibit period.

The photographs and videos were contained on a grid and narrated the history of the piece, from the first projects made of ice and the first ice vinyl to the last exhibit in Berlin in 2011. Some photographs also show the procedure to create the discs. The videos are a sampler of some of the live acts and exhibitions where the discs had been played.

The projectors and molds were lodged in a furniture designed specially for the exhibit. The design of the furnitures was thinked and guided by the vinyl disc edition decades; so, the whole installation got an atmosphere suitable with the pieces. The molds selected for the exhibition were the one used for the ice disc of the mexican national anthem ("Música y voz de la patría", 1967), the Keneddy's speech ("The presidential year", 1963) and "Los inmortales de la canción ranchera"(1979)

Technical details:
45 printed photos mounted on trovicel.
3 videos.
3 furnitures-sculpture.
Designed freezer.
Industrial design by: Ingrid Culebro Brown, Beto Olguín, Iván Abreu

Assistance and documentation by: Florencia Aguirre, Dzoara Fonseca

Produced by: Ivan Abreu'Studio

Special thanks to Rodrigo Escobedo, Santiago Itzcoatl, La Metropolitana; Armando García Orso, Exhibition subdirector CECUT; Illya Haro, Exhibit coordinator CECUT; Bárbara Perea

EVENT

WWW.X-NO-01.NET - PORNOCEROUNONET live


Dates:
Sat May 25, 2013 22:00 - Sat May 25, 2013

Location:
mexico city, Mexico

WWW.X-NO-01.NET - PORNOCEROUNONET

* * * X-No-01.net * * *
* * * Pornocerounonet : de Arcangelo Constantini * * *
* * Presenta Varios Actos En Vivo, En Una Velada Nocturna * * *
* * * De la Mas Fina Retro-Post-Porno-Net.Art-Grafia * * *
* * * Con la Colaboración Sonora de la Orquesta de Arthur Henry Fork * * * ,
* * * El Sensacional Programador Exabel y el Maestro Alvaro Ruiz * * *
* * * El programa Incluye el Lanzamiento de las Nuevas Series * * *
* * * KaleidoPornScope:::Lenticular:::PeepShow.4:::Vision-Nocturna * * *
* * La Película 16mm Intervenida Por la Naturaleza “” PorNHongo”” * * *
* * y Clásicas del Pasado Digital Como :: EROTONIKA y Nice Noice * * *
* * * Todo un Cumulo de Experiencias Vouyeuristas Llenas de Asombrosas Aristas * * *
* * * Dislocando Temáticas de Discursos Irreverentes Alternos * * *
* * * Único Gran Show Del RemiXXX Como Luz Y Sonido * * *
* * * En La Red La Permanencia Es Voluntaria * * *
* * SNCA FONCA * * *

[22:00 hrs. Entrada: $100 18+ID Boletos disponibles en taquilla]


EVENT

spark-un-plug @ sombra del agua exhibition


Dates:
Wed Aug 31, 2011 16:25 - Fri Sep 30, 2011

Location:
Mexico DF, Mexico

spark-un-plug @ sombra del agua exhibition 
http://www.arc-data.net/sparkunplug/index.html


EVENT

Utilitarios para un universo inestable // Utilitarian Objects for an Unstable Universe


Dates:
Wed Jun 17, 2009 00:00 - Tue Jun 16, 2009

Location:
Mexico

El Cyberlounge del Museo Tamayo Arte Contemporáneo invita al performance
inaugural de

*Gustavo Romano
Utilitarios para un universo inestable
*

Miércoles 17 de junio 2009 20:00

Entrada libre I cupo limitado

Gustavo Romano
Utilitarian Objects for an Unstable Universe
http://www.gustavoromano.com.ar/

Ever since he started working as an artist, Gustavo Romano has experimented with the conceptual possibilities and processes of the production of new media such as video, animation and the Internet. For Romano, this self-reflexive Web-based work is playful and spontaneous; it is also meant to be contrasted with day-to-day reality‹a consistent characteristic of Internet art practice.

This exhibition, Gustavo Romano. Utilitarian Objects for an Unstable Universe, includes Mi deseo es tu deseo (My Desire Is Your Desire, 1996) which is one of the first pieces in which Romano worked with the Web; this piece deals with the concept of assumed identities within the interplay of networks. In Hyperbody (2000­2004), the artist refers to the complex issue of digital corporeity and associates human body parts with the Web¹s digital space. Romano began a stage of work as a ³classifier² of species with the construction of Cyberzoo (2003­2005), a digital-era menagerie for endangered creatures that are harmful to mankind. In The World 1:1 (2003), the experience of navigating the Internet is associated with ³real² coordinates and perceptions of urban space. In turn, the project IP Poetry (2006) is about generating poems based on a real-time search for text materials on the Web.

Curator: Arcángel Constantini

Gustavo Romano
Utilitarios para un universo inestable
http://www.gustavoromano.com.ar/

Desde sus inicios creativos como artista, Gustavo Romano ha
experimentado con las posibilidades conceptuales y los procesos de
producción de los nuevos medios como el video, la animación y el Internet.

Mi deseo es tu deseo (1996) es una de las primeras obras en las que
Romano trabajó con los procesos de la red; expuesta por primera vez en
México en 1997, esta pieza habla sobre la falsa identidad en el
entramado de los networks. En Hyperbody (2000-2004), el artista recurre
a la compleja temática de la corporeidad digital. Mediante el
desmembramiento de los órganos de un hombre y una mujer, dispersos en
los dominios de la red a partir de una imagen obtenida de la sonda
espacial Pioneer 10, como referente interespacial de la humanidad, el
artista vincula cada parte de esos órganos humanos con en el espacio
digital de la red.

Romano devela su etapa de “clasificador” en Cyberzoo (2003-2005), al
construir un zoológico de la era digital donde se resguardan peligrosas
especies en peligro de extinción. En este zoológico de la info-esfera,
famosos virus informáticos, considerados como vida artificial, son
resguardados y estudiados. En The World 1:1 (2003), se vincula la
experiencia de la navegación de Internet con latitudes y percepciones
“reales” de la urbanidad. A su vez, el proyecto IP Poetry (2006) se basa
en la generación de poesía que existe a partir de la búsqueda, en tiempo
real, de material textual en la Web. En esta pieza, robots que se
encuentran conectados a Internet convierten los textos hallados por
ellos en sonidos e imágenes pregrabados, los cuales emite una boca
humana que recita los fonemas. Las diferentes instrucciones de búsqueda
conforman la estructura y el sentido de cada poema IP.

Para Romano, la autorreflexión que realiza del arte en red se da de
manera lúdica y espontánea, contraponiéndola con la realidad concreta,
lo cual representa una constante en el sentido de producción en Internet.

Curaduría: Arcángel Constantini

Gustavo Romano (Buenos Aires, 1958) ha realizado exposiciones
individuales en el Museo de Arte Moderno de Buenos Aires; Galería Ruth
Benzacar; Centro Cultural Recoleta; Centro Cultural de España en
Montevideo; MEIAC de Badajoz, entre otros. Sus obras han sido exhibidas
también en el New Museum of Contemporary Art, Nueva York; Casa de
América y Fundación Telefónica, Madrid; Museo de Arte Contemporáneo de
Vigo; IFA en Bonn, Stuttgart y Berlín; Massachusetts College of Arts,
Boston; Instituto Cervantes en Viena, Nueva York y Beijing. Además, ha
participado en bienales como las de La Habana, Singapur, Lima, Porto
Alegre, Bienal del Fin del Mundo y Videonale. Romano es uno de los
directores de Fin del Mundo, espacio virtual en Internet que, desde
1996, reúne proyectos de net art. Entre otros reconocimientos, recibió
el Primer Premio en Buenos Aires Video XII y fue ganador del concurso
internacional Vida 7.0, patrocinado por la Fundación Telefónica; en 2006
se le otorgó la beca Guggenheim.

Museo Tamayo Arte Contemporáneo

Paseo de la Reforma y Gandhi s/n


OPPORTUNITY

Transitio_MX 03


Deadline:
Fri Jun 19, 2009 00:00

Location:
Mexico

Transitio_MX 03:

Autonomies of Disagreement
New Media Art and Video
International Festival

OPEN CALL

In order to support, acknowledge, and promote current research and
production in new media art,
Consejo Nacional para la Cultura y las Artes through its Centro
Multimedia of the Centro Nacional
de las Artes calls the local and international artistic community to the
Third New Media and Art Contest
which will take place in the New Media and Art Video International Festival.

The contest is open to any individual, group and association engaged in
the production of artwork created
with new media technologies, including video art, sound art, net-art,
installation, composition, performance and related disciplines.

The Third New Media and Art Contest, Autonomies of Disagreement,
provides a setting of located practices,
where disagreement allows for dialogue and exchange in the realms of
local and international new media art.

This international contest is concerned with acknowledging those
distinct technological displacements
and art’s current status, bearing a particular emphasis on those
artworks whose technological innovations
and contributions are supported by means that can be used for creation,
stressing above all a critical perspective.

#1 Residual topography
This category seeks to reveal the discourses pronounced by means of
obsolete technology (electronic and digital)
and those articulated when contrasting local technologies with high
technology appropriations. It is open for installation;
interactive, immersed or sound environments; robotic art; hardware
hacking; circuit bending; physical computing;
site intervention; or any other related disciplines. A single prize will
be awarded worth $50,000 (Fifty thousand Mexican pesos).
The Jury will decide the honorable mentions granted.

#2 Unusual displacements: the scope of the moving images
In order to analyze the moving images technological reconfigurations
(and/or its possibilities) and consider its unusual territories, t
his category is intended to welcome artworks that use moving images in
any of its modalities, be it lineal presentation or interaction:
single channel video, 16mm, live cinema, Vj´s, videogame, mobile video,
interactive animation, augmented reality, or any other
related disciplines. A single prize will be awarded worth $50,000 (Fifty
thousand Mexican pesos). The Jury will decide the honorable
mentions granted.

#3Dissident territories: the emergence of technology
In order to explore technological developments that differ from
industrial ones, this category looks for research and technology
development projects who seek for innovations in the use of digital
tools and electronic circuits with expressive and experimental
means: free hardware and software, bioethical technology, gadget
development, applications, devices or any other related disciplines.
A single prize will be awarded worth $50,000 (Fifty thousand Mexican
pesos). The Jury will decide the honorable mentions granted.

#4 Concealed order: viral construction of web contents
This category will welcome those works whose poetics distinguish or
surpass conceptions regarding mobile interfaces and
information networks. Those that bear important contributions on
distribution, expression and collaboration will be more privileged:
internet, bluetooth, GPS, radiofrequency, mobile telephony, infrareds or
any other related disciplines. A single prize will be awarded
worth $35,000 (Thirty five thousand Mexican pesos). The Jury will decide
the honorable mentions granted.

All works must be submitted after this notification and no later than
June 19th at 15:00 hrs.

Works postmarked after the application deadline will not be considered.
The submission date will be considered only if artworks
are sent thorough express mail, not through ordinary mail. Submissions
must clearly indicate the category they belong to.

International submissions must be clearly labeled as “Material cultural
sin valor commercial”. T
HE FESTIVAL WILL NOT COVER MAILING OR OTHER CUSTOMS FEES.

Participants agree on these terms. Eventualities shall be resolved by
the Festival’s Planning Committee.

Documentation

To learn more about application guidelines, obtain application forms,
and other relevant information, please visit:

http://en.transitiomx.net

or the Multimedia Center website:

http://cmm.cenart.gob.mx

For further inquiries and application submission please contact:

Centro Nacional de las Artes
Centro Multimedia
Avenida Río Churubusco 79, Colonia Country Club,
C. P. 04220, Coyoacán, México, D. F.

From 10:00 to 15:00 hrs.
Ana Villa. Tel. ( 52 55) 41 55 00 00 Ext. 1207
concurso03@transitiomx.net