Christiane Paul
Since the beginning
Works in Broooklyn, New York United States of America


Always Evolving, Historically Rooted — Rhizome Needs Your Support


Still frame from Cory Arcangel, Various Self Playing Bowling Games (2011), as featured in Cory Arcangel: Pro Tools, curated by Christiane Paul for the Whitney Museum of American Art.

Rhizome puts the future of new media art in dialogue with its past — support the conversation, donate today.

Rhizome has been online since 1996 and I have been lucky enough to witness its growth from an informal email list to the organization it is today.

What I appreciate about Rhizome is that even as it continues to evolve and reinvent itself year after year, seeking out emerging ideas, artists, and areas of practice, it remains firmly rooted in a historical context. This can be seen not only in its pioneering work in the field of digital preservation, but also in programming and writing that finds contemporary relevance in media archives and brings different generations into dialogue.

Rhizome is a vital link between the past, present, and future of art and technology.

Support them, as I do. Give today.

— Christiane Paul, curator and scholar



Discussions (67) Opportunities (5) Events (47) Jobs (2)
EVENT

Feedforward - The Angel of History


Dates:
Thu Oct 22, 2009 00:00 - Mon Oct 19, 2009

Location:
Spain

FEEDFORWARD. THE ANGEL OF HISTORY
Thu, October 22 , 2009 - Mon, April 5 , 2010
LABoral Center for Art and Industrial Creation, Gijon, Spain
Curated by Steve Dietz and Christiane Paul

http://www.laboralcentrodearte.org/exhibitions/show/108

Feedforward Symposium
Fri, October 23 / Sat, October 24

http://www.laboralcentrodearte.org/seminarios/proximos/12?contenido\_id=141

FEEDFORWARD - The Angel of History addresses the current moment in history where the wreckage of political conflict and economic inequality is piling up, while globalized forces -- largely enabled by the “progress” of digital information technologies --inexorably feed us forward. The exhibition title references Paul Klee's painting Angelus Novus, which Walter Benjamin famously interpreted as an “angel of history” transfixed by the wreckage of the past that is piling up in front of him while being propelled backwards into the uncertain future by a storm from paradise (progress). 



The exhibition, curated by Steve Dietz (Artistic Director of the 01SJ Biennial) and Christiane Paul (Director of the Media Studies Graduate Program, New School, NY; Adjunct Curator of New Media Arts, Whitney Museum of American Art) features 29 artworks by 27 artists and artist teams. The projects are presented, as if in the rear view mirror of progress, in sections relating to five themes: the “wreckage” of the 20th century created by wars and conflict; the countermeasures of surveillance and repression that the state as well as global capital set up in an to attempt to maintain control; the aesthetics and symbolic language of the media of our times; the forces of economic globalization such as outsourcing and migration; and the possibilities of reconstruction and agency. 

Together, the projects featured in FEEDFORWARD create a complex picture of the global political and social forces that drive us forward. The exhibition features both the problematic aspects of the present and future, and the potential for collectivity and responsible action. At the nadir of the current global economic crisis, FEEDFORWARD is in effect about cleaning up after the 20th century and asks the question, what is progress now? 



Artists: AES+F, Christopher Baker, Stella Brennan, Paul Chan, Nancy Davenport, Nonny de la Pena and Peggy Weil, Hasan Elahi, Cao Fei, Bárbara Fluxá, Fernando García-Dory, Daniel García Andújar, Goldin + Senneby, Harwood, Wright, Yokokoji, Knowbotic Research + Peter Sandbichler, Langlands + Bell, Jennifer + Kevin McCoy, Margot Lovejoy, Naeem Mohaiemen, Ali Momeni + Robin Mandel, Carlos Motta, Trevor Paglen, Rachael Rakena, Fez, Fa’anana, and Brian Fuata, Stephanie Rothenberg + Jeff Crouse, System77 Consortium, Piotr Szyhalski, Tamiko Thiel + Teresa Reuter, Carey Young.


EVENT

Incheon Digital Art Festival, INDAF 2009


Dates:
Fri Aug 07, 2009 00:00 - Tue Aug 11, 2009

Location:
Republic of Korea

Incheon Digital Art Festival, INDAF 2009
Incheon, Korea, 8/7 - 10/25, 2009

http://indaf.org/emain.asp

Exhibition Opening: 8/7, 2009
Exhibition Space: Incheon Digital Art Festival Pavilion at “Incheon Global Fair & Festival”
Chief Director: Unzi Kim
Curators: Hye Kyung Shin, Christiane Paul, Gerfried Stocker

VISTAS / Vision of U-city
Inter-Face, Inter-Space, Inter-Time


The exhibition presents a vision of a new city where people communicate, cross borders, and traverse time zones in a digital environment. The show's three sub-themes -- Inter-Face, Inter-Space, Inter-Time -- reflect on the aesthetics of new media art. INDAF strives to explore the impact of contemporary information society through media art works.

Participating Artists:
Inter-Time
http://indaf.org/e_bmu02/bmu02_02_03.asp

Inter-Face
http://indaf.org/e_bmu02/bmu02_02_01.asp

Inter-Space
http://indaf.org/e_bmu02/bmu02_02_02.asp


EVENT

Re:live09


Dates:
Thu Nov 26, 2009 00:00 - Wed Jul 15, 2009

Location:
Australia

Re:live09 - Third World Conference on the Histories of Media Art, Science and Technology.

MELBOURNE 26-29 November 2009

The Media Art History national conference committee of Austrialia would like to invite you to attend the Re:live the international media art history conference.

Over three stimulating days, historians, curators, media artists, creative arts practitioners and theorists at the forefront of their practice will explore the latest research and theories that challenge;

CONFERENCE SESSIONS on the HISTORIES OF::
:: art-science-technology :: biology :: the environment :: liveness :: the life of machines :: innovation ::

How do the media arts change? Through innovation, accident, discovery, mutation or crisis? How did contemporary media arts come to look and sound like they do? What options, potentialities and eccentricities in the history of media have been lost or overlooked or suppressed? What hopes have been realised and which dashed? What is the history of speculation on alternate histories, and how have they altered the course of media art history?

Keynote Presenters :: ZHANG GA :: DOUGLAS KAHN :: LISA GITELMAN

We welcome you to join possible presenters for this extraordinary event;
Marianne SCHMIDT, Slavko KACUNKO, McKenzie WARK, Luís QUINTAIS, Daniela Alina PLEWE, Gebhard SENGMUELLER, Oliver GRAU, Ian CLOTHIER, Morten SONDERGAARD, Andres BURBANO, Audrey SAMSOM, Denisa KERA, Ana PERAICA, Darko FRITZ, Gabriel Menotti GONRING, Andrea GLENIGER, Laura BELOFF, Simona CARACENI, Ingrid HOELZL, Maggie MACNAB, Darren TOFTS, Frederik LESAGE, Lawrence BIRD, Natasha VITA-MORE, Mike LEGGETT, Eva KEKOU, Camille PALOQUE-BERGES, Nigel LLWYD, William HELYER, Mike STUBBS, Gabriella GIANNACHI, Katja KWASTEK, Roger MALINA, Catherine MASON, Lizzie MULLER, Caroline Seck LANGILL, Elena Giulia ROSSI, Martin CONSTABLE, Adele TAN, Danielle WILDE, Brogan BUNT, Mark GUGLIELMETTI, Margaret SEYMOUR, Oron CATTS, Melentie PANDILOVSKI, Ionat ZURR, Jennifer LADE, Stephen JONES, Paul SERMON, Christopher SALTER, Jihoon KIM, Jussi PARIKKA, Allison de FREN, Troy INNOCENT, Jon CATES, Nina WENHART, Susan BALLARD, Leon MARVELL, Rudy RUCKER, Ryszard W. KLUSZCZYNSKI, Daniel PALMER, Zita JOYCE, Lucas IHLEIN, Louise CURHAM, Lissa MITCHELL, Gabrielle Finnane, Cass MEERS, Virginia PITTS, Manosh CHOWDHURY.
Francesca FRANCO, Sarah KENDERDINE, Pia EDNIE-BROWN, Anders CARLSSON, Rosana Horio MONTERIO, Suzette WORDEN, Stefano RAIMONDI, Cat HOPE, Jung-Yeon MA, Keiko COURDY, Margit ROSEN, Robrecht VANDERBEEKEN, O. PARASKEVOPOULOU, D. CHARITOS, V. LAMONTAGNE, Mathias FUCHS, Franck ANCEL, Joanna WALEWSKA, Monika GORSKA-OLESINSKA, Robert SWEENY, Caitlin JONES, Ernest EDMONDS, Michael CENTURY, Larissa HJORTH, Kathy Rae HUFFMAN, Jens HAUSER, Mike PHILLIPS, Thomas MICAL, Anne-Marie DUGET, Norman FORD, Helen Mary GRACE, Hector RODRIGUEZ, Ross HARLEY, Tapio MAKELA

SEAN CUBITT and PAUL THOMAS :: Co Chairs Re:live09 ::
Third International Conference on the Histories of Media Art, Science and Technology

Conference ::
The main conference will be held at Faculty of VCA and Music, University of Melbourne, featuring keynotes by invited speakers as well as international presenters selected by a peer review process, the selected Keynotes (as listed above) will be held in the evenings at the BMW Edge at Federation Square.

National Committee ::
Oron CATTS, Edward COLLESS, Eleanor GATES-STUART, Lisa Gye, Ross Rudesch HARLEY, Larissa HJORTH, Kim MACHAN, Leon MARVELL, Anna MUNSTER, Daniel PALMER, Melinda RACKHAM, Darren TOFTS

International advisory board ::
Andreas BROECKMANN, Berlin; Paul BROWN, London/Cotton Tree; Annick
BUREAUD, Paris; Sara DIAMOND, Toronto; Diana DOMINGUES, Caxias do Sul;
Timothy DRUCKREY, New York; Oliver GRAU, Krems; Gunalan NADARAJAN,
Baltimore; Linda D. HENDERSON, Austin; Erkki HUHTAMO, Los Angeles;
Douglas KAHN, Davis; Ángel KALENBERG, Montevideo; Ryszard KLUSZCZYNSKI,
Lodz; Machiko KUSAHARA, Tokyo; Roger MALINA, Paris; W.J.T. MITCHELL,
Chicago; Christiane PAUL, New York; Miklos PETERNAK, Budapest, Edward
SHANKEN, Amsterdam; Barbara STAFFORD, Chicago; Jeffrey SHAW, Sydney;
Peter WEIBEL, Karlsruhe; Steven WILSON, San Francisco

Further information can be found at: www.mediaarthistories.org

Information about other key events connected to Re:live can be found at: www.mediaarthistories.org
Super Human symposium: Melbourne 23rd-24th of November
http://superhuman.anat.org.au/symposium.html
Leonardo Education Forum (LEF), Melbourne, 26th of November 2009
http://www.leonardo.info/isast/lef.html

:: forwarded by the Department for Image Science :: partner of Re:live and home of the Master of Arts programm in MediaArtHistories
www.donau-uni.ac.at/mediaarthistories


EVENT

Falling Times - Michael Bielicky and Kamila B. Richter - opening today


Dates:
Fri Mar 20, 2009 00:00 - Fri Mar 20, 2009

Location:
United States of America

Falling Times - Michael Bielicky and Kamila B. Richter
March 20-April 10
Opening: March 20, 6-8 pm
Czech Center New York at the Bohemian National Hall
http://www.czechcentres.cz/newyork/novinky.asp?ID=9966

Falling Times is a real-time news translation machine representing permanently appearing and disappearing information about our times. Falling Times refers to the heavy InfoPollution we live in. The most consumed information today is the news. The news has been turning more and more into entertainment.

Falling Times reduces the news content to headlines and key words that are then translated into a pictogram language considered to be universal and instantly understandable. Online users have the opportunity to define collectively the meaning associated with each icon created. Proving information does not transport meaning any more but rather creates a pattern decorating our daily life with the feeling that we are connected to reality. In collaboration with Dirk Reinbold.

The exhibition is a part of What Happened to the Future? - a series of exhibitions of conemporary art at the Czech Center New York. Curated by Jaroslav Anděl.


EVENT

Theater of Code


Dates:
Tue Mar 03, 2009 00:00 - Tue Feb 17, 2009

Light Industry

Contact Thomas Beard for further information:
thomas@lightindustry.org (646) 420-0359
http://www.lightindustry.org

FOR IMMEDIATE RELEASE

Theater of Code
Curated by Christiane Paul

Tuesday, March 3, 2009 at 7:30pm
220 36th Street, 5th Floor
Brooklyn, New York

Theater of Code will present three performance / interventions that explore how computer code, scripting language, and software applications relate to the movement of bodies and the staging and choreography of our lives.

Adrianne Wortzel's A Re-enactment of The Battle of the Pyramids is a performance installation of reconfigured robotic toys performing military maneuvers in rigid choreographed formations. Clusters of these toys snap to synchronization in response to a call to arms, their movements emulating the rigid and postured fighting strategies of Napoleonic warfare. These strategies, employed in Napoleon's Egyptian campaign, were particularly idiosyncratic in Egypt where they were persistently performed without consideration of either the desert environment or the fighting strategies of the enemy. The work is intended as a testimony to the tragic consequences of imperialism and the dangers, follies and sadness of a rationale for blind obedience that makes victims out of warriors.

Ursula Endlicher's Website Impersonations: The Ten Most Visited is a ten-part live performance series, which utilizes Web code as choreography. In the performance of facebook on March 3, 2009, at Light Industry, three dancers, the audience, and the artist will shape the course of the performance. The source of the website—its HTML tags—is interpreted live on stage into new dance movements, which are immediately translated into text-based descriptions and then stored online in the html-movement-library. This information is reused on stage as new instruction material. As the data performance progresses, more html-movements are developed, stored and altered by the participants. The user (=the audience) takes an active role in the performance of facebook.com. The inclusion of the html-movement-library on stage enables a simultaneous exchange of instruction and performance, data and movement input and output, and a continuous transfer between Web and body.

MTAA returns to Light Industry with two new performances of code-based art. In the first work—titled $"##'—MTAA re-stages John Cage's 4'33" within a framework of a new media lecture. The second project is a demonstration of Autotrace, a software-generated appropriation and shape creation system. As part of the Autotrace performance, MTAA will use one of the newly generated "Autotraced shapes" to create a ridiculously large, two-dimensional, site-specific work right in front of the audience's eyes.

Together, the three projects comment on the various levels in which our movements—from military maneuvers to social interaction and the presentation of a lecture—are encoded by technologies.

PROJECTS
A Re-enactment of The Battle of the Pyramids
by Adrianne Wortzel

initiated at Eyebeam Art and Technology Center in an Artist's Residency July-December 2009.
In continuing development at StudioBlue, New York City College of Technology.
Technical Director: Mike Gazes
Team: Nick Wong, Jaymes Dec, Soyoung Park, Saki Sato, Young Jin Chung.

Website Impersonations: The Ten Most Visited #8 - www.facebook.com
by Ursula Endlicher

Concept / Stage layout / Video projection / Sound: Ursula Endlicher
Web Programming: Ursula Endlicher, David Farine
Choreography: html-movement-library / live HTML code
Performers: Melissa Lohman Burke, Irem Calikusu, Yuki Kawahisa
html-movement-library live feed: Ursula Endlicher - and the audience!

$"##', a re-staging of John Cage's 4'33"
and
Autotrace
by MTAA


BIOS

Ursula Endlicher's work resides on the intersection of Internet, performance and multi-media installation. Since the mid-90s the Internet has had an impact on her practice, which bridges the Web and physical reality. She uses the Web’s 'hidden' language—its HTML code—to choreograph performances, visualizes HTML in installations, and translates it into sound.
Her work was recently shown at Theater am Neumarkt in Zürich, Switzerland; at Quartier21/Museumsquartier, Vienna, Austria; at BM-Suma Contemporary Art Center in Istanbul, Turkey; at Woodstreet Galleries, Pittsburgh, PA; at Artists Space, New York, and at the LMCC Swing Space@Seaport in New York. She received commissions from Turbulence.org/New Radio and Performing Arts, Inc., and from the Whitney Museum for its artport website. Her work is included in Rhizome’s Art Base, and in the ursula blicke videoarchiv at Kunsthalle Wien, Austria.
Ursula Endlicher has lectured about her work internationally and has contributed to several publications about net art, performance and interactivity; she discusses these topics on her blog, Curating Netart, which she runs together with Ela Kagel. She was born in Vienna, Austria and lives in New York since 1993. Endlicher’s work can be seen at http://www.ursenal.net.

Michael Sarff and Tim Whidden formed the artist collaboration MTAA (M.River & T.Whid Art Associates) in1996. In New York City, MTAA has presented artworks and performances at The New Museum of Contemporary Art; P.S.1 Contemporary Art Center; The Whitney Museum of American Art; Postmasters Gallery and Artists Space. Their work has also been shown at The Walker Art Center in Minneapolis; The Beall Center for Art and Technology in Irvine, CA; The Getty Center in Los Angeles and SFMOMA in San Francisco, CA. International exhibitions include the Seoul Net & Film Festival in Korea, and Videozone2 - The 2nd International Video Art Biennial in Israel. MTAA has received grants and awards from the Creative Capital Foundation, Rhizome.org, Eyebeam and New Radio & Performing Arts, Inc. Both members of MTAA live and work in Brooklyn, New York.

Christiane Paul is the Adjunct Curator of New Media Arts at the Whitney Museum of American Art and the director of Intelligent Agent, a service organization dedicated to digital art. She has written extensively on new media arts and lectured internationally on art and technology. An expanded new edition of her book Digital Art (Thames& Hudson, UK, 2003) was published in spring 2008 and her edited anthology New Media in the White Cube and Beyond - Curatorial Models for Digital Art (UC Press) in December 2008.
Upcoming and recent curatorial work includes "Scalable Relations" (Beall Center for Art + Technology, Irvine, CA, and other venues); "SOS 4.8" (Murcia, Spain, 2008); "Feedback" (Laboral Center for Art and Industrial Creation, Gijon, Asturias, Spain, 2007); and "Profiling" (Whitney Museum of American Art, 2007). Christiane Paul teaches in the MFA computer arts department at the School of Visual Arts in New York and the Digital+Media Department of the Rhode Island School of Design.

Adrianne Wortzel creates interactive web works, robotic and telerobotic installations and performance productions, which explore historical and cultural perspectives by coupling fact and fiction via use of new technologies in both physical and virtual networked environments. They reflect her immersion in the sciences, sometimes with direct collaboration. The National Science Foundation; Swiss Artists-in-Labs Program; Artificial Intelligence Laboratory-University of Zurich; Franklin Furnace Fund for Performance Art; PSC-CUNY Research Foundation and Greenwall Foundation have supported recent projects. Recent works include: archipleago.ch, a video in progress depicting a "galapagos" where indigenous creatures are the robots created by researchers at the Artificial Intelligence Laboratory; Eliza Redux, an interactive collaborative work (elizaredux.org) where a physical robot offers virtual psychoanalytic sessions emulating Joseph Weizenbaum's ELIZA; The Veils of Transference, a video depicting a psychoanalytic session between a human and a robot where their roles become dynamically interchanged. Wortzel's telerobotic installation Camouflage Town was exhibited in Data Dynamics at the Whitney Museum of American Art (2001). Her play Sayonara Diorama, which she wrote and produced, featured human and robotic actors recounting a fictive second Voyage of the Beagle. Adrianne Wortzel is a Professor of Entertainment Technology at New York City College of Technology-CUNY, a member of the doctoral faculty of the Interactive Technology and Pedagogy Certificate Program at the CUNY Graduate Center, and an Adjunct Professor of Mechanical Engineering at the Cooper Union for the Advancement of Science and Art.

Tickets - $7, available at door.

About Light Industry

Light Industry is a new venue for film and electronic art in Brooklyn, New York. Developed and overseen by Thomas Beard and Ed Halter, the project has begun as a series of events at Industry City in Sunset Park, each organized by a different artist, critic, or curator. Conceptually, Light Industry draws equal inspiration from the long history of alternative art spaces in New York as well its storied tradition of cinematheques and other intrepid film exhibitors. Through a regular program of screenings, performances, and lectures, its goal is to explore new models for the presentation of time-based media and foster an ongoing dialogue amongst a wide range of
artists and audiences within the city.

About Industry City

Industry City, an industrial complex in Sunset Park, Brooklyn, is home to a cross-section of manufacturing, warehousing and light industry. As part of a regeneration program intended to diversify the use of its 6 million square feet of space to better reflect 21st century production, Industry City now includes workspace for artists. In addition to offering studios at competitive rates, Industry City also provides a limited number of low-cost studios for artists in financial need. This program was conceived in response to the lack of affordable workspace for artists in New York City and aims to establish a new paradigm for industrial redevelopment--one that does not displace artists, workers, local residents or industry but instead builds a sustainable community in a context that integrates cultural and industrial production.

For more information, please visit http://www.industrycityartproject.org