Gregory Chatonsky
Since the beginning
Works in Montreal Canada

PORTFOLIO (69)
BIO
Gregory Chatonsky was born in Paris in 1971. He studied art at college, philosophy at the Sorbonne and digital art in ENSBA Paris. He founded in 1994 incident, a collective of artists on the Internet. He teaches digital art at universities and art schools such as Paris IV, The Fresnoy or UQAM.
His work focuses on fiction, flows and destruction. He works with a variety of analog and digital media by questioning the relationship we have with technology.
He lives in Montreal and Paris.

http://chatonsky.net
Discussions (1) Opportunities (2) Events (49) Jobs (0)
EVENT

# 1. What is technologies? Incidents (Le Fresnoy, France)


Dates:
Tue Oct 14, 2003 00:00 - Sat Dec 06, 2003

Key words:tools, instruments, techniques, technologies and language.
Texts:Martin Heidegger, the question of the technique in Texts and conferences, Gallimard, 1980.
Works:Bill Viola, Information (1973).
Questions:Can one use numerical technologies?They are simply instruments to the instrumental direction?Which is the relation between technologies and languages in the numerical one?That to make incidents, bugs, accidents in the artistic field? Technique and technologies is the same thing?


EVENT

22.10.2003 . LECTURE. FOOLISH AT NUMERIC ERA (Gaite Lyrique, Paris, France)


Dates:
Wed Oct 22, 2003 00:00 - Tue Sep 16, 2003

The FOOLISH AT NUMERIC ERA
Gregory Chatonsky and Madeleine Aktypi on October 22, 2003 A Gaite Lyrique (70, street Reaumur F-75003 Paris Tel.:06 88 76 83 45)

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"There are something to see, but nothing.To give its assent to this nothing requires an infinite effort, to thwart interpretation, an asceticism against the judicious one."
Jean-Francois Lyotard, Flora danica, Galilee ed., 1997

Ambivalence:the loss of signifiance does not go without an infinite request for meaning. Everywhere, in the media and the private discussions, one does not cease speaking to us about the loss of the signifiance and the values, the fracture of the social bonds, the end of the great accounts, the completion of philosophy and the art, of died of god and of crowned.

Perhaps it is now in a university conference that one asks, challenges, requires, "to create signifiance at the numerical era".But that hides behind this injunction of the common signifiance (doxa)?This is not the art (numerical for example) which is conceived like carrier of signifiance?signifiance you have says:revealing of the truth by the beautiful one?

But at the era of numerical, on the network, there is perhaps a surplus rather than a lack of signifiance;there is perhaps too much signifiance, of the signifiance already created, in our tree structures and our data bases.Too many intentional signifiances of the designer which wants to communicate, to transmit a message.Too much signifiance in our existences which we weave of all the justifications.If the advertising executives create indeed smell, the artists must encase the step?

Perhaps would be time of:
1/To re-examine, select, choose, sort, analyze the signifiance available and not to seek to still create obligatorily signifiance (in excess) or a meta-language of navigation.

2/Keep place with foolish i.e. with the remainder, with what does not make object of preliminary division, with what is in extreme cases of the insensible.On could speak about disagreement or an attention given to the poverty of tiny phenomena.

3/To expose the aesthetic strategies of numerical works which leave a place to new, i.e. with what is not (still) signifiance.

4/Confront the certainty which accompanies the signifiance-like-value with the interactive situation where work realizes in a posteriori which is not critical any more but performative.

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more infos: http://www.la-gaite-de-paris.info/


EVENT

Bergson: aesthetic and practical theories media (MACM, Montreal, Canada)


Dates:
Wed Sep 24, 2003 00:00 - Tue Sep 16, 2003

SEPTEMBER 24 AND 25 2003
BERGSON:AESTHETIC AND PRACTICAL THEORIES MEDIA
MUSEUM Of CONTEMPORARY ART OF MONTREAL
(http://www.macm.org/)

THE CENTER OF INTERDETERMINATION: AN ESTHETICS OF THE INTERACTIVITY?
CONFERENCE OF GREGORY CHATONSKY ON THE NEW MEDIA
(http://www.incident.net/users/gregory/pdf/BERGSON.htm)

A question will be used to us as discussion thread: "how the programs can generate indetermination, the improbable one and improgrammable? To answer these questions supposes that an esthetics is developed."(Bernard Stiegler).This esthetics will be founded on the assumption that the interactivity is the proposal for an imagined causality or in other words that "there is never for us instantaneous."(p. 72).It is as from this differed time that esthetics can begin. Numerical works will be regarded as small laboratories of bergsonian philosophy, and we will try to find between them and the aesthetic operation of the witnesses a parallelism of structure.

more information: http://www.macm.org/activites/ev_prog_col_view.cfm?colloque_idR


EVENT

Gregory Chatonsky exhibition at Immanence Gallery (Paris, France)


Dates:
Sat Oct 04, 2003 00:00 - Tue Sep 16, 2003

READONLYMEMORIES EXHBITION AT IMMANENCE (Paris, France)
(http://www.art-immanence.org/)

OPENING ON OCTOBER 4, 2003 STARTING FROM 18H30 + CONCERT OF MICHAEL SELLAM TO 19H30 (NUIT BLANCHE, PARIS)

READONLYMEMORY
(http://incident.net/works/readonlymemories/)
IMAGINE CINEMATOGRAPHIC SPACE

With the cinema, we have never to pay attention not to lose the wire of the text:there is no text.Or if there is, it enters in we without we having to come to seek it.It intertwines at our time, it becomes the temporal fabric of these ninety minutes of unconscious conscience which characterizes it to be immobilized by the movement which is the witness of a film.

The camera moves on the right, on the left and reveals space.There is out-field.Time, it be-with saying the cinematographic movement, makes it possible to schematize these fragments of space and to reconstitute a space larger than ever the witness does not see in only one moment.One needs the flow of 24 maintaining so that imagination can give itself this image and reperer, creating a cartography of film.The cinema privileges time on space because space is tiny room to a distance to be traversed between two points.

READONLYMEMORIES reverse this hierarchy and recomposes the cinematographic space which does not exist in maintaining film and which is however the place of division between the scenario writer (the place like referent) and the witnesses (recomposed space).

more information: http://www.incident.net/users/gregory/notes/immanence_expo/


EVENT

New York Revolution v.2 in La Ferme du Buisson (France)


Dates:
Sat Sep 20, 2003 00:00 - Tue Sep 16, 2003

SEPTEMBER 20, 2003
NEW YORK REVOLUTION v. 2 BY GREGORY CHATONSKY(http://www.incident.net/works/revolution_new_york_v2/)
IN LA FERME DU BUISSON (http://www.ferme-du-buisson.com/)

The 7th Curious Night,
strange night course through artistic performances and of proposals for a wellbeing, is articulated around arts of the image.

It is the night appointment of the Farm of the Bush, which invests one of the places of spectacle to transform it into multiple spaces of comfort, artistic proposals and festival.
These is an experimental appointment, which dares with each edition of new mixtures of artistic forms:impromptus theatrical, performances of circus, concerts exclusive, cinema