BIO
Domenico Quaranta (1978, Brescia, Italy, http://domenicoquaranta.com) is an art critic and curator. He is a regular contributor to Flash Art and Artpulse. He is the editor (with M. Bittanti) of the book GameScenes: Art in the Age of Videogames (2006) and the author of Media, New Media, Postmedia (2010) and In Your Computer (2011). He has curated various exhibitions, including Holy Fire: Art of the Digital Age (Bruxelles 2008, with Y. Bernard), Playlist (Gijon 2009 and Bruxelles 2010) and Collect the WWWorld (Brescia 2011 and Basel 2012). He is a co-founder of the Link Center for the Arts of the Information Age (http://www.linkartcenter.eu/).

My Life Without Technoviking: An Interview with Matthias Fritsch


Matthias Fritsch is an independent artist from Berlin, most well known for his work Kneecam No 1—the live video that brought Technoviking to the internet. Over a decade after he uploaded the clip that went viral, Fritsch now is enduring a long legal battle with Technoviking himself, who sued for the reproduction, proliferation, and unwarranted use of his likeness. In response to the process, Fritsch is making The Story of Technoviking, a crowd-funded documentary that aims to shed light on the legal issues surrounding viral images. Below, Fritsch talks about what it’s like do battle in court with a viking, the ownership of images in the internet age, and hopes for his current project.

My Life Without Technoviking—since the trial began, Fritsch is no longer allowed to use images of the plaintiff's face.

DQ: Matthias, I'm of course curious about the video that originated it all. What was, for you, Kneecam No 1 (2000) before it became an internet meme? Why did you upload it to YouTube? Were you expecting such a viral reaction? What did you think when it happened?


What's (Really) Specific about New Media Art? Curating in the Information Age


This text has been written for the proceedings of the international conference "New Perspectives, New Technologies", organized by the Doctoral School Ca' Foscari - IUAV in Arts History and held in Venice and Pordenone, Italy in October 2011


The "portal" designed by Antenna Design to show net based art in the exhibition "Art Entertainment Network", Walker Art Center, Minneapolis, 2000. Courtesy Walker Art Center, Minneapolis.

 

In the late nineties and during the first decade of this century the term “new media art” became the established label for that broad range of artistic practices that includes works that are created, or in some way deal with, new media technologies. Providing a more detailed definition here would inevitably mean addressing topics beyond the scope of this paper, that I discussed extensively in my book Media, New Media, Postmedia (Quaranta 2010). By way of introduction to the issues discussed in this paper, we can summarize the main argument put forward in the book: that this label, and the practices it applies to, developed mostly in an enclosed social context, sometimes called the “new media art niche”, but that would be better described as an art world in its own right, with its own institutions, professionals, discussion platforms, audience, and economic model, and its own idea of what art is and should be; and that only in recent years has the practice managed to break out of this world, and get presented on the wider platform of contemporary art.

It was at this point in time, and mainly thanks to curators who were actively involved in the presentation of new media art in the contemporary art arena, that the debate about “curating new media (art)” took shape. This debate was triggered by the pioneering work of curators – from Steve Dietz to Jon Ippolito, Benjamin Weil and Christiane Paul – who at the turn of the millennium curated seminal new media art exhibitions for contemporary art museums; and it was – and still is –nurtured by CRUMB - “Curatorial Resource for Upstart Media Bliss” - a platform and mailing list founded by Beryl Graham and Sarah Cook in 2000 within the School of Arts, Design, Media and Culture at the University of Sunderland, UK. As early as 2001, CRUMB organized the first ever meeting of new media curators in the UK as part of BALTIC's pre-opening program – a seminar on Curating New Media held in May 2001.

In the context of this paper, our main reference texts will be CRUMB-related publications, from the proceedings of “Curating New Media” (2001) to Rethinking Curating. Art After New Media (2010), a recent book by Beryl Graham and Sarah Cook; and New Media in the White Cube and Beyond, a book edited by Christiane Paul in 2008. Instead of addressing the specific issues and curatorial models discussed in these publications, we will try to focus on the very foundations of “curating new media”, exploring questions like: does new media art require a specific curatorial model? Does this curatorial model follow the way artists working with new media currently present themselves on the contemporary art platform? How much could “new media art” benefit from a non-specialized approach? Are we curating “new media” or curating “art”? ...


The Postmedia Perspective


The following excerpt comes from the final chapter of my book Media, New Media, Postmedia, recently published in Italian by Postmediabooks, who kindly gave Rhizome permission to republish it in English. The book is an attempt to analyze the current positioning of so-called “New Media Art” in the wider field of contemporary arts, and to explore the historical, sociological and conceptual reasons for its marginal position and under-recognition in recent art history.



Discussions (52) Opportunities (6) Events (39) Jobs (0)
EVENT

6PM YOUR LOCAL TIME THE UK BETA TEST | NOVEMBER 22, 2014


Dates:
Sat Nov 22, 2014 18:00 - Sat Nov 22, 2014

Location:
London, United Kingdom of Great Britain and Northern Ireland

6PM YOUR LOCAL TIME
THE UK BETA TEST | NOVEMBER 22, 2014

Contact: gabrielle@andfestival.org.uk
Hashtag: #6pmuk
Participants: Furtherfield, London; Bloc Projects, Sheffield; Carroll / Fletcher, London; Jessy Darling / Wysing Arts Centre, Cambridge;Enclave, London; FACT, Liverpool; Federation House, Manchester; Platform Arts Belfast, Belfast; PS2 - Paragon Studios, Belfast;Seventeen, London

Website: http://6pmyourlocaltime.com/

VISITING INFORMATION: http://www.furtherfield.org/gallery/visit

DOWNLOAD PRESS RELEASE: http://furtherfield.org/gallery-files/6PM-pr.pdf

6PM YOUR LOCAL TIME (6PM YLT) is a networked, distributed, one night contemporary art event, which takes place simultaneously in different locations, coordinated from one central venue, and documented online via a web application.

Furtherfield is hosting the first UK event, chosen for its history of critical engagement with networked culture. Including a few, selected participants, the event will work as a beta test for the web platform and for the organizing body that will launch, on July 22, a massive 6PM YOUR LOCAL TIME event, distributed all over Europe.

At 5.30 pm, Domenico Quaranta and Fabio Paris from Link Art Center will talk through their ambitions and inspiration for the project. For the duration of the event, participating venues and their audiences across the UK will be testing the platform by sharing documentation images and videos of their events under the same hashtag, #6pmuk. The audience at Furtherfield will be able to enjoy the live feed from all the locations involved, and to discuss the project with us.

Artists, technologists, network thinkers and makers are invited to join us to learn more about the conceptual framework for 6PM YLT and talk through how it can evolve, in anticipation of its European launch in July. Food and drinks will be available!

6PM YLT is a format conceived by the Link Art Center and developed in collaboration with Abandon Normal Devices (AND) and Gummy Industries.

BACKGROUND AND FURTHER INFORMATION

6 PM YOUR LOCAL TIME (6PM YLT) is a networked, distributed, one night contemporary art event taking place simultaneously in different locations, coordinated from one central venue and documented online via a web application. The locations (institutions, non-profit spaces, commercial galleries, artist’s studios) will address their local audience and, through the dedicated web platform, a global audience. While visiting your local 6PM YLT event(s) will allow you to experience a single portion first hand, the only way to get the whole picture will be to access its online documentation: all exhibits will be documented and shared in real time by organizers and audience on the dedicated web platform, thanks to a web application aggregating content from different social platforms.

The lead partner will coordinate the event from one central venue, and will put on display the event itself, screening the live feed from all the locations involved, and eventually making additional documentation available in different ways, ie. arranging video conferences with specific venues, or printing out images in real time and displaying them as a wall installation.

An Open Format
After the launch event, 6PM YLT will become an open format available for anyone to utilise. The lead partners will maintain the platform and support the coordination of events all around the world.

Conceptual Framework
Today, art is mostly experienced through its documentation. Even if globalization made it easier and cheaper to organize exhibitions, ship artworks, invite artists and move audiences to any part of the world, the excess of cultural activity all around the world makes it impossible to be everywhere at the same time. Bits are still faster and cheaper than atoms, and we can enjoy them more comfortably on different devices. The border between first hand and second hand experience, reality and media documentation becomes increasingly blurred, with a profound impact on the way art is produced and documented.

How does it work?
Almost every art-addict is now using social networks like Instagram, Twitter and Facebook to take photographs during art exhibitions and to share them with their contacts. The pictures already have some meta-data that we could use to trace them and to collect them: #hashtags, captions, geographical data, publishing date. By suggesting the use of a given #hashtag to all the organizers and audience participants, we can collect and show all this documentation on a dedicated web platform. Our software will automatically collect all the pictures and tweets produced about the 6PM YLT event, and will show them in a single gallery.

Partners
6PM YLT is a format conceived by the Link Art Center and developed in collaboration with Abandon Normal Devices (AND) and Gummy Industries.

About Link Art Center
The Link Center for the Arts of the Information Age (Link Art Center) is a no-profit organization promoting artistic research with new technologies and critical reflections on the core issues of the information age: it organizes exhibitions, events, conferences and workshops, publishes books, forges partnerships with private and institutional partners and networks with similar organizations worldwide. More info: www.linkartcenter.eu

About Abandon Normal Devices
Abandon Normal Devices (AND) presents world-class artists at the frontiers of art, digital culture and new cinema. A UK based organisation it is a catalyst for new approaches to art-making and digital invention, commissioning public realm works, exhibitions, research projects and a roaming biennial festival. AND has commissioned work from Carolee Schneeman, Krystoph Wodischko, Gillian Wearing, Phil Collins, Rafael Lozano Hemmer and the Yes Men (to name but a few). More info: www.andfestival.org.uk/

About Gummy Industries
Gummy Industries is an online communication and marketing agency based in Brescia, Italy. Their work ranges from consultancy to design and (web) development. They usually work with medium business and large companies, with a strong focus on the fashion industry. More info: http://gummyindustries.com/

About Furtherfield
Furtherfield was founded by artists Ruth Catlow and Marc Garrett in 1997 and is been sustained by the work of its community; specialist and amateur artists, activists, thinkers, and technologists, who, together cultivate open, critical contexts for making and thinking. Furtherfield is now a dynamic, creative and social nerve centre where upwards of 26,000 contributors worldwide have built a visionary culture around co-creation – swapping and sharing code, music, images, video and ideas. More info: www.furtherfield.org.

Credits
Concept: Fabio Paris
Production: Link Art Center, Brescia, IT
Co-production: Abandon Normal Devices, Manchester, UK
Website and software development: Gummy Industries, Brescia, IT
Funded by: Creative Europe; Art Council England

6PM YOUR LOCAL TIME is realized in the framework of Masters & Servers, a joint project by Aksioma (SI), Drugo more (HR), Abandon Normal Devices (UK), Link Art Center (IT) and d-i-n-a / The Influencers (ES) that was recently awarded with a Creative Europe 2014 – 2020 grant. For 24 months from now, Masters & Servers will explore networked culture in the post-digital age.
This project has been funded with support from the European Commission. This communication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.


DISCUSSION

Link Editions announces “Open”, a series of co-published books


image

Link Editions is proud to announce “Open”, a series of catalogues, essay collections and pamphlets co-published with partner institutions. The series makes available to art institutions that are interested in publishing but aren't able to find a sustainable production and distribution channel access to Link Editions' publishing expertise and distribution platform, allowing them to reach a wider audience at a viable price.

Link Editions publishes all its books in print on demand, accessing all the channels of distribution made available from Lulu.com: the Lulu store <http://www.lulu.com/spotlight/linkeditions> as well as retail distribution on Amazon, Barnes and Nobles, Ingram and other stores. Furthermore, Link Editions makes all its books available for free download in .pdf format on Lulu, Issuu and on its own website <http://editions.linkartcenter.eu/>, and sells selected books in e-book format on various online platforms including Lulu, iBookstore Apple, Amazon, Nook and Kobo.

“Open” already features a number of titles, including Best of Rhizome 2012 (co-published with Rhizome, New York), The F.A.T. Manual (co-published with MU, Eindhoven), Troika and the exhibition catalogue Eternal September. The Rise of Amateur Culture, both co-published with Aksioma, Ljubljana. Recent publications include Torque#1. Mind, Language and Technology, co-published with Torque Editions; U+29DC aka Documento Continuo, co-published with Viafarini DOCVA, Milan; and Cyposium – The Book, co-published with La Panacée, Montpellier.

Torque#1. Mind, Language and Technology is the result of a wide range of cross-disciplinary conversations, taking place across symposia, online forums, live events and workshops, produced by the book’s editors: Nathan Jones and Sam Skinner. The book brings together a diverse collection of essays and artworks, many newly commissioned for the project, that reflect upon the plasticity of the brain, the adaptability of technology and the malleability of language, and their twisting together through past, present and future cultures. According to Professor Mike Stubbs, Artistic Director at FACT Liverpool: “Torque activities and this publication bravely push our boundaries of cognition and thinking, through striking essays, tricky concepts, and beautiful, arresting imagery.” Contributors include Lambros Malafouris, Emil Alzamora, Anna Munster, Benedict Drew, Esther Leslie, Cécile B Evans, Hannah Proctor, Nathan Jones, Stephen Fortune, Dennis Oppenheim, Lawrence Abu Hamdan, Holly Pester, Geoff Cox, Alex McLean, Kate Sicchio, Karl Heinz Jeron, Mez Breeze, Robert Sheppard, Chris Boyd, Imogen Stidworthy. The book will be presented at FACT Liverpool on the occasion of the opening of the Type Motion <http://www.fact.co.uk/projects/type-motion.aspx> exhibition on Thurdsay, November 13.

U+29DC aka Documento Continuo by artist Enrico Boccioletti is an artist book and a research into that contemporary zeitgeist that has been labeled “post internet”. Originally conceived as a MA thesis, Documento Continuo is a textual and visual collage strongly relying on appropriation as the only possible way to draw your own path through the information overload. Written in Italian but mostly in “International Art English”, it focuses on issues like awareness, creolization, the crisis of the European Union, dematerialization and materiality, globalization, performance, identity, FOMO, and how to be an artist in the age of “always on”. The book will be presented at Viafarini DOCVA on Thurdsay, November 13, with a special event that will also include a live performance by the artist.

Edited by Annie Abrahams and Helen Varley Jamieson, CyPosium - The Book presents a selection of artefacts from the CyPosium, a one-day online symposium organized in October 2012 for discussing the practice of cyberformance - live performance that uses internet technologies to connect remote participants. The 12-hour event featured 10 presentations and attracted an audience of over 100 from around the world who engaged in a lively, vibrant conversation. The book collects presentation texts, chat log excerpts, discussion transcripts, edited email conversations, creative chat excerpt essays and illustrations - along with invited articles that respond to the event. The contributors are Adriene Jenik, Alan Sondheim, Alberto Vazquez, Annie Abrahams, Auriea Harvey and Michaël Samyn, Cherry Truluck, Clara Gomes, Helen Varley Jamieson, James Cunningham, Joseph DeLappe, Liz Bryce, Maria Chatzichristodoulou, Maja Delak and Luka Prinčič, Miljana Perić, Rob Myers, Roger Mills, Ruth Catlow, Stephen A. Schrum and Suzon Fuks.

Other books are on the way and will be available soon on all channels. If you are interested in the series or just want to know more, please drop us an email to info@linkartcenter.eu.

http://editions.linkartcenter.eu/
http://www.linkartcenter.eu/

OPPORTUNITY

In My Computer CALL FOR PROPOSALS 2015


Deadline:
Fri Jan 16, 2015 00:00

Link Editions: In My Computer
CALL FOR PROPOSALS 2015

The LINK Center for the Arts of the Information Age invites artists to submit proposals for its ongoing book series “In My Computer”.

One's computer is a repository of valuable things that, for some reason, never went public: projects, drafts, short notes, private emails, unreleased interviews, unpublished texts, tales, poems, quotes, image or spam email collections, whatever.

If you think this content may be relevant or interesting also for a wider audience; if you think it may work well in book form, circulated digitally or printed on paper; the book series “In My Computer” may be the right jar for your jam.

“In My Computer” is a series of books collecting unpublished material available in your computer, produced by LINK Editions and circulated both in digital and printed form through the print-on-demand (POD) service Lulu.com. The book can take any shape compatible with POD's production and distribution standards.

LINK Editions is a publishing initiative of the LINK Center for the Arts of the Information Age. LINK Editions uses the print on demand approach to create an accessible, dynamic series of essays and pamphlets, but also catalogues and artist books. A keen advocate of the idea that information wants to be free, LINK Editions releases its contents free of charge in .pdf format, and on paper at a price accessible to all. Link Editions is a not-for-profit initiative and all its contents are circulated under an Attribution-NonCommercial-ShareAlike 3.0 Unported (CC BY-NC-SA 3.0) license.

Application Guidelines

HOW. You can apply by sending to the email address info@linkartcenter.eu a short concept / description of your book proposal, together with a short bio and a sample of what you want to do. Language of the application: English.
WHEN. The deadline for the submission is January 16, 2015. After the deadline, the Link Art Center’s editorial team will select the proposals that will be published in 2015.

Already in this series

#1 Miltos Manetas, In My Computer # 1, 2011
#2 Chris Coy, After Brad Troemel, 2013
#3 Martin Howse, Diff in June, 2013
#4 Damiano Nava, Let the Right One In, 2013
#5 Evan Roth, Since You Were Born, 2014
#6 Addie Wagenknecht, Technological Selection of Fate, 2014
#7 Roberto Fassone, Giovanna Manzotti, If Art Were To Disappear, 2014 (upcoming)

Link Editions
http://editions.linkartcenter.eu
info@linkartcenter.eu

Link Center for the Arts of the Information Age
http://www.linkartcenter.eu
info@linkartcenter.eu


EVENT

ETERNAL SEPTEMBER. The rise of amateur culture


Dates:
Tue Sep 02, 2014 18:00 - Fri Sep 26, 2014

Location:
Ljubljana, Slovenia

Aksioma – Institute for Contemporary Art, Ljubljana, Škuc Gallery and Link Art Center, present:

ETERNAL SEPTEMBER
The rise of amateur culture
Group exhibition and side programme
www.aksioma.org/eternal.september

Curator: Valentina Tanni

Škuc Gallery
Stari trg 21, Ljubljana 2 – 26 September 2014
Opening hours: TUE-SUN 12 pm – 8 pm

Opening programme on Tuesday, 2 September 2014:
6 pm at Aksioma Project Space (Komenskega 18, Ljubljana)
Screening and artist's presentation, Matthias Fritsch: The Story of Technoviking
8 pm at Škuc Gallery
Exhibition opening and curator-guided tour

Eternal September is a group exhibition that aims to explore the relationship between professional art making and the rising tide of amateur cultural movements throughout the Web, a historical event that has triggered a huge, fascinating shift in every field of culture, especially the visual one. The exhibition includes works by 15 authors and artistic groups (professionals and amateurs alike) and a series of special projects and accompanying events that will take place both offline and online.

Featuring: Anonymous (The Game Pro), Tymek Borowski & Pawel Sysiak, Mauro Ceolin, Paolo Cirio, Paul Destieu, Electroboutique, Matthias Fritsch, Colin Guillemet, David Horvitz, Maskull Lasserre, Aled Lewis, Dennis Logan (Spatula007), Valeria Mancinelli & Roberto Fassone, Mark McEvoy, Casey Pugh et al., Steve Roggenbuck, Smetnjak Collective, Helmut Smits, Phil Thompson, Wendy Vainity (madcatlady) (*)

Side programme:

- Screening, Casey Pugh et al.: Star Wars Uncut, 20 – 29 August 2014 (venue: Aksioma Project Space)
- Street project, Paolo Cirio: Street Ghosts, 30 – 31 August 2014
- Online project, Valeria Mancinelli, Roberto Fassone: The Importance of Being Context, 2 – 26 September 2014 (www.linkcabinet.eu)
- Online project, Various Authors (edited by Valentina Tanni): The Great Wall of Memes (http://eternal-september.tumblr.com)
- Talk, Smetnjak Collective: We started a meme, which started the whole world crying, 9 September 2014 at 6 pm (venue: Škuc Gallery)
- Exhibiton tour guided by Vladimir Vidmar, 17 September 2014 at 6 pm (venue: Škuc Gallery)

“Eternal September” is a slang expression that was coined by David Fischer in a comment sent to the Usenet group alt.folklore.computers in 1994 (“September 1993 will go down in net.history as the September that never ended.”). The sentence refers to September 1993, the year in which the major providers began offering access to all their
customers. Up to that time, the network population was composed mostly of university members, a group that would get a little bit bigger every year in September when a number of freshmen would enter college and have their first net access. Every time a fresh influx of “newbies” joined a network, its community had to confront their “net illiteracy” and general lack of netiquette; their behaviour was, in fact, considered annoying and potentially dangerous for the quality of content and discussion.
After 1993, this influx of new users became permanent, and this “Eternal September” is still happening today at exponential speed. Internet access, which is now global, is constantly growing, despite the well-known “digital divide” issues. This phenomenon, which transformed from a tidal wave into an unstoppable tsunami, gave birth
to an enormous cultural shift.

This “access” topic needs to be addressed in a very broad sense: the opportunity to access information, as well as that to use production tools and distribution channels. Every system previously used to managing and controlling cultural production is now experiencing a deep crisis, which is also causing the inevitable collapse of all the related business models.
The ultimate consequence of this scenario is also the most radical one: the questioning of “professionalism”, an event that has been foreseen by many observers ever since the 1970s. Gene Youngblood, for instance, wrote about it in the 1982 Siggraph catalogue: “A tool is ‘mature’ insofar as it’s easy to use, accessible to everyone, offering high quality at low cost and characterized by a pluralistic rather than singular practice, serving a multitude of values. Professionalism is an archaic model that’s fading in the twilight of the Industrial Age.”

The Eternal September exhibition also aims at highlighting another fundamental feature of the emerging cultural scenario: the speed that characterizes the production and distribution of creative content.
This hectic and unstoppable circulation of ideas and digital artifacts has led many critics and journalists to use words and adjectives borrowed from biology jargon: viral contents, mind viruses, contagious media. Some also refer to a controversial scientific theory that was born in the 1970s in the context of the genetic research boom: the so-called “memetics”. This theory postulates the existence of “memes”, units of human cultural transmission analogous to genes, arguing that replication also happens in culture. In a fast and liquid environment such as the Internet, in which any content – images, sounds, texts – can be edited in real-time and fed back into the communication circuit, the metamorphic nature of any cultural product rises exponentially.
In an era like the present one, in which image production is so advanced and refined that it can be easily considered scientific matter, the amateur “look and feel” of many contemporary cultural products also seems to function as proof of authenticity, passion and enthusiasm. This attitude reminds us of what happened in the early
twentieth century, when the simplicity and spontaneity of archaic and exotic artifacts was seen as an antidote to the weariness of Western culture, considered decadent and artificial. Today, the new “primitivism” coincides with the “amateur”.

This exhibition comprises a mix of artworks by professional artists and “non-professional” ones, comparing images, aesthetics and languages. A great number of contemporary artists, in fact, actively and fearlessly confront this new scenario in which the boundaries between professional art making and amateur products are increasingly
blurred and intertwined. The project also aims to show how some of the aesthetic and stylistic strategies normally associated with cutting-edge contemporary art have been assimilated by popular culture that is born and happens online.
Our definition of art is once again changing radically, challenging both artists and viewers, two categories that are getting more and more unstable and interconnected. Eternal September is an attempt to acknowledge the revolution that is subverting today’s visual culture, a colorful and messy catastrophe that is rapidly wiping away all our landmarks in the artscape. This show does not offer any new certainty, though. Instead, it’s an invitation to dive in together, and start figuring things out.

THE CATALOGUE

On the occasion of the exhibition, Link Editions (the editorial branch of the Link Art Center, Brescia) and Aksioma will co-publish a catalogue of the show, featuring all the participating artists and projects, along with contributions by Valentina Tanni, Smetnjak Collective and Domenico Quaranta. Designed by Fabio Paris and edited by Domenico Quaranta, the catalogue will be available for print on demand and free download along the exhibition, which will be visually documented in the book. More: http://editions.linkartcenter.eu

ABOUT THE CURATOR

Valentina Tanni (1976, Rome, Italy) is a contemporary art critic and curator. Her research is focused on the relationship between art and new media, with particular attention to Internet culture. In 2002, she graduated in Art History from La Sapienza University in Rome with a master’s thesis on net art (Net Art.1994–2001), and in the following years she published a great number of articles, reviews and essays about new media art, web culture and contemporary art in general. She is the founder of Random Magazine, one of the first web columns entirely dedicated to net art (that also gave birth to a book in 2011, Random, Link Editions), and she is the co-founder of Exibart and Artribune, two important Italian art magazines. She also directed the online version of the magazine FMR (FMR Online).
She curated the Net section of the art show Media Connection (Rome and Milan, 2001), the exhibitions Netizens (Rome, 2002), L’oading. Genetically Modified Videogames (Syracuse, 2003), Maps and Legends. When Photography Met the Web (Rome, 2010), Datascapes (Rome, 2011), Hit the Crowd. Photography in the Age of Crowdsourcing (Rome, 2012), Nothing to See Here (Milan, 2013) and numerous solo shows. She also collaborates with many digital arts festivals and she’s been one of the guest curators of FotoGrafia. International Photography Festival in Rome from 2010 to 2012. She has written articles for Italian and international magazines and she works as a teacher and lecturer for universities and private institutions. www.valentinatanni.com

Production: Aksioma - Institute for Contemporary Art, Ljubljana, 2014
/ www.aksioma.org
Coproduction: Škuc Gallery, Ljubljana / www.galerija.skuc-drustvo.si
Partner: LINK Center for the Arts of the Information Age, Brescia /
www.linkartcenter.eu

Curator: Valentina Tanni
Artistic directors: Janez Janša (Aksioma Institute), Vladimir Vidmar
(Škuc Gallery)
Advisor: Domenico Quaranta
Producers: Marcela Okretič, Joško Pajer
Executive producer: Sonja Grdina
Assistant: Boris Beja
Technicians: Atila Boštjančič, Valter Udovičić
Public relations: Mojca Zupanič
Documentation: Adriana Aleksić

Eternal September is realized in the framework of Masters & Servers, a joint project by Aksioma (SI), Drugo more (HR), AND (UK), Link Art Center (IT) and d-i-n-a / The Influencers (ES).

This project has been funded with support from the European Commission. This communication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

Supported by: Creative Europe Culture, the Ministry of Culture of the Republic of Slovenia, the Municipality of Ljubljana, Istituto Italiano di Cultura in Slovenia and Institut français de Slovénie

Thanks to: Ultrasonic audio technologies

* DISCLAIMER: Every effort has been made by the galleries and the curator to get in contact with all the authors of the works in the show. Nonetheless, due to the particular nature of the project, in some cases, we have not been able to trace the source, or we attempted to get in touch but got no response. We invite everyone who recognizes his/her work and wants to be credited, to contact us at aksioma@aksioma.org. The nature of the project is non-commercial and the works in the show are not for sale.

Contact:
Marcela Okretič, 041 250 830, marcela@aksioma.org
Aksioma | Institute for Contemporary Art, Ljubljana
Neubergerjeva 25, SI-1000 Ljubljana, Slovenia
www.aksioma.org


DISCUSSION

Five Years Later, Kev Has a New Website


Last year Marcin Ramocki sent me the link to a new website by Kevin, Treasure Hall of the Misterious Monk: http://www.treasurehallofthemysteriousmonk.com. The site is currently not available, and it's not archived on the Wayback Machine, so it was probably online for a year or less. I hope somebody saved those beautiful animations - if so, please post them on http://shareyoursorrow.tumblr.com/. But I'm pointing to this because it shows a view of the net as a place of impermanence. Enjoy ritual.technology, because it won't last forever.