alexandra reill
Since 2001
Works in Vienna Austria

PORTFOLIO (11)
BIO
after ten years of film business alexandra reill focused on the development of experimenteal new media projects and - with a special view on interactive dramaturgies - transported all activities to the online platform kanonmedia, orginally founded in 1996 as the gallery kanon, situated in vienna / austria. today kanonmedia serves as a networking / content providing / exhibition platform for innovative & experimental new media projects as much as for the presentation of inhouse productions.
Discussions (52) Opportunities (0) Events (26) Jobs (0)
DISCUSSION

the SAVE / SAFE space installment at SOHO IN OTTAKRING


-----------------------------------------------------------------------
opening of the SAVE / SAFE space installment
borderlining as a contemporary phenomenon

a collaborative online ground on post - human tendencies with postings by
MARIA MADONNA : AUGUST.HIGHLAND : G.H.HOVAGIMYAN : DOCTOR.HUGO :
SCOTT.BECKER : OREA : SERGEJ.TETERIN : CD : MARC.GARRETT : MAURO.CEOLIN :
C.KONRAD : KATE.SOUTHWORTH : TAMARA.LAI & LOEZ.DENIEL : MAGMAFAKT : TINI :
ANNA : TERO : NOEL : DANA : X : GOTTFRIEDE.MEIXNER : MEHMETSINAN : LACHLAN
: MAYA : TRY1 : MAORI : ERD : MINNIE : MAIO : SILVER_SURFER : MOHSIN :
FATIMA.LASAY : JOSH : ALEXANDRA REILL

-----------------------------------------------------------------------
OPENING of the SAVE / SAFE space installment at the art festival SOHO IN
OTTAKRING, vienna, 24/05/03.
the local installment can be experienced until 07/06/03. ask for details if
you come by.
-----------------------------------------------------------------------

play & participate in SAVE / SAFE on http://www.kanonmedia.com
-----------------------------------------------------------------------
apple users, please note: send your texts to office@kanonmedia.com & we do
the onlining for you. SAVE / SAFE is designed for PC / IE 6.0 only.

theme & concept:

* The cultural container representing itself to society today and going to
reign the 21st century ... is characterized by substitutional relations
based on the central involvement with information technology, pursued from
a position of pseudo-autism ... With the decay of inter-personal culture
and the expansion of IT-controlled substitutes of inter-relation only one
mass container is left for and generally accepted by a borderlining
majority: the unavoidable search for the ego and for techniques allowing
the construction of identity. *

* J. Erik Mertz, in: Borderline - weder tot noch lebendig, 2000

In January 2003, SAVE / SAFE started from a research of human
states-of-being related to the impact of New Technologies on the perception
and self-consciousness of individual existence. Using the atmosphaeric
background of a journey to Oceania - a context of highly social municipal
communities still existing on many of the geographically isolated
Polynesian islands and a westernized New Zealand having integrated all
attitudes of 'modern' life - SAVE / SAFE compares Anna's individual
experience to results of the scientific research of philosophy, psychology,
ethics, sociology and new media theory.

Since then, a contemporary variety of aspects on the theme have been added
by artists / authors from different countries, thus turning the SAVE / SAFE
automat more and more into what it intends to be - a mirror - through a
spectrum of different views the structure of the reading machine SAVE /
SAFE turns into a mirror of contemporary conditioning, thus provoking the
user to consciously read without reading, understand without analyzing,
experience without touching.

---------------------------------------------------------------
PARTICIPATE & PLAY SAVE / SAFE on http://www.kanonmedia.com
---------------------------------------------------------------
kanonmedia.com, non - profit org. for new media
singapur / sydney / new zealand / fiji / western samoa / vienna
2000 - 2003
---------------------------------------------------------------
kanonmedia.com
non - profit org for new media

call: ++43 - 1 - 920 70 03
mobile: ++43 - 6991 - 820 70 03
mailto: office@kanonmedia.com
visit: www.kanonmedia.com
---------------------------------------------------------------
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just click reply and say 'unsubscribe'in the header.

DISCUSSION

Re: Re: curating the curators


funders, especially institutional and governmental ones, do have the
responisbility to treat art pieces of whatever nature as an outcome of
social/philosophical processes needed in society. this is why they have the
responsibility to ask for art projects to be done and this is why they
should not understand themselves as well as not be looked at by artists as
institutions 'helping' artists but as the ones responsible for creating an
infrastructure, politically as well as financially, a kind of framework, in
which art can be produced on the basis of financial kind of wages for
artists needed to live and thus to produce.

i think artists should not work for free (this is a bit radical, as of
course artists are longing to produce anyways, and of course they shall do
so on a completely free-will basis, but especially for bigger or more
complex productions they won't be able to anyways; plus, the argument that
artists are producing anyways cannot be seen as a serious basis of
argumentation used by funding institutions).

a maybe more practicle step could be that artists do not exhibit without
getting a wage for it. and if bigger projects are asked for, especially in a
technological context but not only there, budgets for production need to be
delivered and they need to be charged by artists to funding institutions.
those who want exhibitions and other forms of public projects do have the
responsibility to perform the organizational, financing and marketing work.

a well functioning ethical professional production code can be found in the
theater and film industry, and i think it would work perfectly well to apply
it to the fine arts world.

cheers, sascha

----- Original Message -----
From: "Curt Cloninger" <curt@lab404.com>
To: <jess@rssgallery.com>; <list@rhizome.org>
Sent: Thursday, May 15, 2003 8:27 AM
Subject: Re: RHIZOME_RAW: Re: curating the curators

> > The 'no great money' is usually between $500 -$20,000 in the kinds of
> >various institutional grants, commissions etc. Not enough to live on (as
> >you might get maybe one a year if you are very lucky) but that can
> >make all difference in the world to being able to continue. In the
circle of
> >artists I'm working with most of us are clubbing together to do net/on &
> >offline exhibitions or projects that might bring in $50 - $400 max but
this
> >keeps the ISP's fed and watered (not to mention the kids:-)
>
> By way of personal disclosure, I've got 2 kids and another one on the
> way. Right now we may have $200 in the bank. It comes and goes.
> But if I start considering my art as something from which I may
> reasonably expect an income (or even a modest stipend), I deprive
> myself of a precious opportunity to celebrate life unobliged, and I
> become the poorer for it. (Local mileage may vary.)
>
>
>
> >I really don't know these artists that you are talking about who are
fame-
> >mongering. Particularly in the UK, people are too busy balancing art &
> >the tescos budget to bother about which curators christmas card list
> >their on.
>
> If nobody came, would they still build it? That's my (admittedly
> subjective) criterion for artistic integrity. Howard Finster would
> still build it. Tracy Emin would not.
>
>
>
> >True, but (and with the exception of turbulence who I think are the most
> >open and diverse of curators) I think we need to look at a) why the have
> >chosen the projects they have chosen and b) how successful these
> >projects have been (as I said before) as artworks that will attract,
> >endure and if 'deserve' the funds. My feeling is that currently the remit
> >of many of these these grants etc are watered down versions of the
> >conditions set by offline institution/curators as to what is 'hip' and
'net'.
>
> The logistical question is, how do you convince the trustees who are
> funding these organizations to agree with your feeling? Wouldn't it
> be more feasible (maybe it wouldn't) to establish your own
> institution and get your own grant money from the trustees to
> distribute as you see fit? (Wouldn't it be more feasible yet to
> abandon the acquisition and distribution of money altogether, and
> just make cool stuff?!?)
>
>
>
> > > If it's about going down in the academic record, that's a tougher nut
> > > to crack. But there are other ways to be remembered that are no less
> > > valid. The White Stripes are the new Stooges. How do I know the
> > > Stooges? Because there is more than one agreed upon artistic
> > > cultural archive.
> >cultural VOOOOOOOIDDD - no idea what you are talking about here,
> >sorry:-)
>
> My fault. I'll try agian... There is more than one legitimate way
> to be remembered by posterity. Just because the Velvet Underground
> aren't usually taught in college (except as a footnote to Warhol),
> that doesn't mean The Velvet Underground didn't leave their mark on
> posterity. They just did it via pop culture. There is already a
> mechanism in place for net artists to do the same sans institutions.
>
> + ti esrever dna ti pilf nwod gniht ym tup
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>

DISCUSSION

Re: Re: RHIZOME_RARE: Mirapaul on Dietz Departure


i am also wondering why the net art pieces should be installed in the gift
shop ... strange idea

cheers, sascha

----- Original Message -----
From: "marc.garrett" <marc.garrett@furtherfield.org>
To: "Mark Tribe" <mt@rhizome.org>
Cc: <list@rhizome.org>
Sent: Tuesday, May 13, 2003 9:57 PM
Subject: RHIZOME_RAW: Re: RHIZOME_RARE: Mirapaul on Dietz Departure

> Hi Mark,
>
> It seems, looking from over here in the UK that 'Net Art' in America is
> moving into the dark ages. A power hungry governmental administration that
> is gradually closing many portals/doors for creative net adventurers
> nationally and of course internationally. May be business indicatives (not
> necessarily corporate or Rockefeller based) and separate from funding
> demands can offer new answers...
>
> marc
>
>
>
> > To view this entire thread, click here:
> > http://rhizome.org/thread.rhiz?thread

DISCUSSION

SAVE / SAFE : open call


-----------------------------------------------------------------------
SAVE / SAFE
borderlining as a contemporary phenomenon
a collaborative online ground

-----------------------------------------------------------------------
play & participate in SAVE / SAFE on http://www.kanonmedia.com
-----------------------------------------------------------------------

from may 23, 03 to june 07, 03 SAVE / SAFE will perform in vienna as a
local installation at the art festival SOHO IN OTTAKRING.

apple users, please note: send your texts to office@kanonmedia.com & we do
the onlining for you. SAVE / SAFE is designed for PC / IE 6.0 only.

SAVE / SAFE theme & concept:
SAVE / SAFE researches human states-of-being related to the impact of New
Technologies on the perception and self-consciousness of individual
existence. The main figure Anna serves as a 'modern' individual describing
situative experience and personal interpretations of emotionally perceived
situations occurring during her journey through Oceania.

Using the atmosphaeric background of a journey to Oceania - a context of
highly social municipal communities still existing on many of the
geographically isolated Polynesian islands and a westernized New Zealand
having integrated all attitudes of 'modern' life - SAVE / SAFE compares
Anna's individual experience to results of the scientific research of
philosophy, psychology, ethics, sociology and new media theory.

Citations out of technical literature form contemporary conclusions related
to the development of the 3rd industrial revolution and reflect and mirror
Anna's individual perception. Anna is a representative of a majority of
humans not having realized yet the subversive progressing of so-called
post-human conditioning. She still thinks of many components of her self as
personal traits of character while they are a direct expression of
post-human existence strongly being enhanced through the influence of
digital interactivity, thus excessively strengthening logical thinking &
ratio as prioritary approach to life.

* The cultural container representing itself to society today and going to
reign the 21st century ... is characterized by substitutional relations
based on the central involvement with information technology, pursued from
a position of pseudo-autism ... With the decay of inter-personal culture
and the expansion of IT-controlled substitutes of inter-relation only one
mass container is left for and generally accepted by a borderlining
majority: the unavoidable search for the ego and for techniques allowing
the construction of identity. *

* J. Erik Mertz, in: Borderline - weder tot noch lebendig, 2000

Anna tells the story of a journey into the center of her self, embedded in
the story of her journey to the other end of the world. Her central theme
is the nature of ego and non-ego, the relevance of involvement and
interaction, and the meaning of non-attachment.

** What really does authenticity of personal development mean ? Having it
worked through for so many years, it finally emerges - this realization of
a self, leading to autonomy and self-control of authority in the framework
of a society demanding for autonomous responsibility and respecting it.
Which sense though does this authenticity make, if with its final acquiring
its inner character proves to be fluid and transparent, if personal vanity,
ego-profiling and the exertion of authority having become a natural option
prove to be nothing but accessories of again dependent, mechanistic
existence, thus loosing significance completely ? **

** Alexandra Reill, Anna in: SAVE / SAFE, 2002

*** While in the framework of old value systems the individual always has
been subject to communal models, developed themselves by individuals again,
in the context of new orientation amongst other components something like
'altruistic individualism' is emerging.***

*** Ulrich Beck, aus: Kinder der Freiheit, 1998

the SAVE / SAFE platform: a collaborative playground SAVE / SAFE transports
its content through textual content expressing
itself not only via wording but strongly through atmosphere created via
visual design and interactive structure.

The database application SAVE / SAFE is a reading machine mirroring through
its structure contemporary conditioning, thus provoking the user to
consciously read without reading, understand without analyzing, experience
without touching. SAVE / SAFE uses structure not only for the transport of
data - it is a reading automat.

The SAVE / SAFE machine is a communal platform. As much as SAVE / SAFE can
be viewed in a linear way or by individual intuition it lets you use all
material contained to recompose and edit it or to upload newly created
content to your personally created thread of individual views on the themes
of borderlining & post - humanity.

SAVE / SAFE has been developed with the kind support of the Department for
Cultural Affairs, City of Vienna.

POST YOUR PERSONAL VIEW ... USE YOUR OWN LANGUAGE
PLAY SAVE / SAFE on http://www.kanonmedia.com

kanonmedia.com, non - profit org. for new media
singapur / sydney / new zealand / fiji / western samoa / vienna
2000 - 2003

---------------------------------------------------------------
kanonmedia.com
non - profit org for new media
12/24 richtergasse
a - 1070 vienna
call: ++43 - 1 - 920 70 03
mailto: office@kanonmedia.com
visit: www.kanonmedia.com
---------------------------------------------------------------
sorry for cross postings.for unsubscribing from our info mailer
just click reply and say 'unsubscribe'in the header.

DISCUSSION

Re: invitation to participate: your favorite four letter words


life

cheers, a
---------------------------------------------------------------
kanonmedia.com
non - profit org for new media

call: ++43 - 1 - 920 70 03
mobile: ++43 - 699 - 1- 820 70 03
mailto: office@kanonmedia.com
visit: www.kanonmedia.com
---------------------------------------------------------------
----- Original Message -----
From: "D. Jean Hester" <jenajunk@hotmail.com>
To: <ivan@ivanpope.com>; <neil@devoid.co.uk>; <list@rhizome.org>
Cc: <marc.garrett@furtherfield.org>
Sent: Thursday, April 17, 2003 6:43 PM
Subject: Re: RHIZOME_RAW: invitation to participate: your favorite four
letter words

> so i should just go through the rhizome list and add all four letter names
> then? oh, but i need to add "eryk" twice... ;)
>
> -- D. Jean Hester
> www.divestudio.org
> Interviewer: "Must an artist be a programmer to make truly original online
> art?"
> John Simon: "Truly original? You Modernist! Whether you make art or not,
> understanding programming is an amazing understanding."
> from "Code as Creative Writing: An Interview with John Simon"
>
>
>
>
>
> >From: "Ivan Pope" <ivan@ivanpope.com>
> >Reply-To: "Ivan Pope" <ivan@ivanpope.com>
> >To: "neil jenkins" <neil@devoid.co.uk>, "rhizome" <list@rhizome.org>
> >CC: "marc.garrett" <marc.garrett@furtherfield.org>
> >Subject: Re: RHIZOME_RAW: invitation to participate: your favorite four
> >letter words
> >Date: Thu, 17 Apr 2003 06:20:11 +0100
> >
> >ivan &/or pope
> >
> >
> >--
> >Ivan Pope
> >ivan@ivanpope.com
> >www.ivanpope.com
> >www.tochki-inc.com
> >
> >"Faster, faster, until the thrill of speed overcomes the fear of death"
> >Hunter S. Thompson
> >----- Original Message -----
> >From: "neil jenkins" <neil@devoid.co.uk>
> >To: "rhizome" <list@rhizome.org>
> >Cc: "marc.garrett" <marc.garrett@furtherfield.org>
> >Sent: Thursday, April 17, 2003 12:32 PM
> >Subject: Re: RHIZOME_RAW: invitation to participate: your favorite four
> >letter words
> >
> >
> > > neil
> > >
> > > :)
> > >
> > >
> > > On Thursday, April 17, 2003, at 11:40 am, marc.garrett wrote:
> > >
> > > > mine is 'marc'
> > > >
> > > >
> > > >
> > > >
> > > >>
> > > >> "Eryk" is my favorite four letter word.
> > > >>
> > > >> -e.
> > > >>
> > > >>
> > > >>
> > > >> ----- Original Message -----
> > > >> From: "D. Jean Hester" <jenajunk@hotmail.com>
> > > >> To: <list@rhizome.org>
> > > >> Sent: Wednesday, April 16, 2003 4:08 PM
> > > >> Subject: RHIZOME_RAW: invitation to participate: your favorite four
> > > >> letter
> > > >> words
> > > >>
> > > >>
> > > >>> Hey Rhizomers,
> > > >>>
> > > >>> I'd like to ask you to contribute/participate in my latest
> > > >>> collaborative-participative-what-the-hell-is-it-ART-THANG. (FYI,
I
> > > >>> have
> > > >>> included my bio at the end of this email.)
> > > >>>
> > > >>> It's SO EASY: send me a list of your favorite four letter words
(as
> > > > many
> > > >> or
> > > >>> as few as you want). Yeah, and remember, four letter doesn't have
> >to
> > > > mean
> > > >>> f*ck, sh*t, d*mn, although those certainly are glorious four
letter
> > > > words.
> > > >>> Hand, post, June, list, dive, chow, Oslo, poke are all perfectly
> > > >> reasonable
> > > >>> four letter words as well.
> > > >>>
> > > >>> The words will be used in a video installation planned for a
> > > >>> music/video/art/dance-like-crazy-people event at the Hollywood
> > > >>> Athletic
> > > >> Club
> > > >>> in Los Angeles for May 17. The words will be placed in a
database,
> > > >>> and
> > > >>> reconfigured in odd random pairings based on an algorithm, along
> >with
> > > > odd
> > > >>> random pairings of video footage.
> > > >>>
> > > >>> Thanks, and send those words in to jenajunk@hotmail.com! I need a
> > > >>> lot
> > > > of
> > > >>> them...
> > > >>>
> > > >>> BIO: <warning: art jargon ahead>
> > > >>> D. Jean Hester is a media artist living in Los Angeles,
California,
> > > > whose
> > > >>> work combines programming, databases, film and video to create
> > > > interactive
> > > >>> pieces for both physical installations and online platforms.
Hester
> > > >> wishes
> > > >>> to involve users as active, thinking, engaged
> > > >>> participant-collaborators
> > > > in
> > > >>> the creation of art. Her work explores the nature of
interactivity
> > > >>> and
> > > >>> audience/user participation, and what happens when a work is no
> > > >>> longer a
> > > >>> stand-alone authored environment with a tightly controlled
> > > > author-defined
> > > >>> outcome, but when the users themselves are
> >contributing/collaborating
> > > >>> through the use of interactivity (be it physical real-world
> > > >>> performative
> > > >>> actions or interaction with a database or some other program). In
> > > >>> this
> > > >>> scenario the artist's intention is only part of the puzzle - the
art
> > > > does
> > > >>> not exist until it is engaged. Without a user as a contributor,
it
> > > >>> is
> > > >> only
> > > >>> a potentiality - not an actuality. Her work has been shown in
> > > >>> numerous
> > > >>> exhibits, festivals, and screenings in the United States, Canada,
> >and
> > > >>> Mexico, and can be seen online at www.divestudio.org.
> > > >>>
> > > >>> -- D. Jean Hester
> > > >>> www.divestudio.org
> > > >>> Interviewer: "Must an artist be a programmer to make truly
original
> > > > online
> > > >>> art?"
> > > >>> John Simon: "Truly original? You Modernist! Whether you make art
or
> > > >>> not,
> > > >>> understanding programming is an amazing understanding."
> > > >>> from "Code as Creative Writing: An Interview with John Simon"
> > > >>>
> > > >>>
> > > >>>
> > > >>>
> > > >>> _________________________________________________________________
> > > >>> Tired of spam? Get advanced junk mail protection with MSN 8.
> > > >>> http://join.msn.com/?pagethatures/junkmail
> > > >>>
> > > >>> + ti esrever dna ti pilf nwod gniht ym tup
> > > >>> -> post: list@rhizome.org
> > > >>> -> questions: info@rhizome.org
> > > >>> -> subscribe/unsubscribe:
> > > >>> http://rhizome.org/preferences/subscribe.rhiz
> > > >>> -> give: http://rhizome.org/support
> > > >>> +
> > > >>> Subscribers to Rhizome are subject to the terms set out in the
> > > >>> Membership Agreement available online at
> > > >>> http://rhizome.org/info/29.php
> > > >>>
> > > >>
> > > >> + ti esrever dna ti pilf nwod gniht ym tup
> > > >> -> post: list@rhizome.org
> > > >> -> questions: info@rhizome.org
> > > >> -> subscribe/unsubscribe:
> > > >> http://rhizome.org/preferences/subscribe.rhiz
> > > >> -> give: http://rhizome.org/support
> > > >> +
> > > >> Subscribers to Rhizome are subject to the terms set out in the
> > > >> Membership Agreement available online at
> > > >> http://rhizome.org/info/29.php
> > > >>
> > > >
> > > >
> > > >
> > > > + ti esrever dna ti pilf nwod gniht ym tup
> > > > -> post: list@rhizome.org
> > > > -> questions: info@rhizome.org
> > > > -> subscribe/unsubscribe:
> >http://rhizome.org/preferences/subscribe.rhiz
> > > > -> give: http://rhizome.org/support
> > > > +
> > > > Subscribers to Rhizome are subject to the terms set out in the
> > > > Membership Agreement available online at
> >http://rhizome.org/info/29.php
> > > >
> > >
> > > + ti esrever dna ti pilf nwod gniht ym tup
> > > -> post: list@rhizome.org
> > > -> questions: info@rhizome.org
> > > -> subscribe/unsubscribe:
http://rhizome.org/preferences/subscribe.rhiz
> > > -> give: http://rhizome.org/support
> > > +
> > > Subscribers to Rhizome are subject to the terms set out in the
> > > Membership Agreement available online at
http://rhizome.org/info/29.php
> > >
> >
> >+ ti esrever dna ti pilf nwod gniht ym tup
> >-> post: list@rhizome.org
> >-> questions: info@rhizome.org
> >-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> >-> give: http://rhizome.org/support
> >+
> >Subscribers to Rhizome are subject to the terms set out in the
> >Membership Agreement available online at http://rhizome.org/info/29.php
>
>
> _________________________________________________________________
> The new MSN 8: advanced junk mail protection and 2 months FREE*
> http://join.msn.com/?pagethatures/junkmail
>
> + ti esrever dna ti pilf nwod gniht ym tup
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> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>