Zarina Bhimji
Dates:
Fri Nov 16, 2012 18:00 - Sun Mar 31, 2013
Location:
Amsterdam,
Netherlands
17 Nov 2012 — 31 Mar 2013
de Appel arts centre
Opening: Friday 16 November 18:00 - 21:00 hrs
This winter de Appel arts centre simultaneously presents solo projects by the Belgian photographer/filmmaker Dirk Braeckman and the British artist Zarina Bhimji. Braeckmans sensitive and large-scale photographs in shades of grey do not tell elaborate stories but are charged with an atmosphere which makes them “tick away like time bombs”, in the words of the author Luc Sante. The suggestive force and narrative potential of images are just as essential for Bhimji, whose latest film Yellow Patch (2011) has its Dutch premiere in de Appel arts centre.
In Zarina Bhimji’s work (UGA, 1963) beauty merges with politics and poetry so something new emerges. Her work is characterised by a deliberate use of visual ambiguity. The works reflect spaces, micro details and the light of distant interiors. The location of light is an important and intricate element of Bhimji’s composition. The stillness and suspension of everyday life. The atmosphere is tactile, a moist light. The spaces refer to disconnection, incompleteness and belatedness.
The exhibition develops in two phases: from 16 November 2012 to 3 February de Appel premieres Bhimji's new production Yellow Patch, from 5 February to 31 March de Appel showcases the installation Waiting (2007).
Yellow Patch is Bhimji’s second large film production, co-produced by de Appel arts centre, Outset Contemporary Art Fund, The New Art Gallery Walsall with executive producers Artsadmin. Additional support was provided from Arts Council England, Framestore and individual donors. The 35mm film was entirely shot in India and was inspired by trade and immigration routes across the Indian Ocean. Beautiful close-ups of desolate Haveli palaces and colonial offices in the port of Mumbai are coupled with atmospheric images of the desert and the sea and accompanied by an evocative soundtrack.
Waiting was shot in East-Africa in a factory used to process Sisal and has an abstraction that hovers somewhere between film and painting. The washed-out colour of the hair-like material, the light, and the interior of the factory create a saturated monochrome that, combined with the film's soundtrack, becomes immersive.
de Appel arts centre
Opening: Friday 16 November 18:00 - 21:00 hrs
This winter de Appel arts centre simultaneously presents solo projects by the Belgian photographer/filmmaker Dirk Braeckman and the British artist Zarina Bhimji. Braeckmans sensitive and large-scale photographs in shades of grey do not tell elaborate stories but are charged with an atmosphere which makes them “tick away like time bombs”, in the words of the author Luc Sante. The suggestive force and narrative potential of images are just as essential for Bhimji, whose latest film Yellow Patch (2011) has its Dutch premiere in de Appel arts centre.
In Zarina Bhimji’s work (UGA, 1963) beauty merges with politics and poetry so something new emerges. Her work is characterised by a deliberate use of visual ambiguity. The works reflect spaces, micro details and the light of distant interiors. The location of light is an important and intricate element of Bhimji’s composition. The stillness and suspension of everyday life. The atmosphere is tactile, a moist light. The spaces refer to disconnection, incompleteness and belatedness.
The exhibition develops in two phases: from 16 November 2012 to 3 February de Appel premieres Bhimji's new production Yellow Patch, from 5 February to 31 March de Appel showcases the installation Waiting (2007).
Yellow Patch is Bhimji’s second large film production, co-produced by de Appel arts centre, Outset Contemporary Art Fund, The New Art Gallery Walsall with executive producers Artsadmin. Additional support was provided from Arts Council England, Framestore and individual donors. The 35mm film was entirely shot in India and was inspired by trade and immigration routes across the Indian Ocean. Beautiful close-ups of desolate Haveli palaces and colonial offices in the port of Mumbai are coupled with atmospheric images of the desert and the sea and accompanied by an evocative soundtrack.
Waiting was shot in East-Africa in a factory used to process Sisal and has an abstraction that hovers somewhere between film and painting. The washed-out colour of the hair-like material, the light, and the interior of the factory create a saturated monochrome that, combined with the film's soundtrack, becomes immersive.
Call for participation: De Appel arts centre Curatorial Programma 2013- 2014
Deadline:
Mon Jan 14, 2013 00:00
Location:
Amsterdam,
Netherlands
de Appel Curatorial Programme is seeking for new participants for 2013–2014. Application deadline is January 14, 2013.
“There is an abc-ignorance that precedes knowledge, and there is another learned ignorance that comes after and that is created through ‘knowing’ and that will equally like the first be annihilated and annulled by knowledge.” –Michel de Montaigne [1]
Initiated in 1994 as an in-house international training trajectory for young curators, the Curatorial Programme of de Appel arts centre offers its participants a condensed package of professional encounters, hands-on experiences and skills that can be seen as instruments for the further development of a professional career. Encompassing a wide array of sometimes contrasting voices, the programme pays attention to the various approaches that exist and arise in contemporary curating, thus mapping the dynamic professional field in all its complexity and confusion, its fragmentation and fluidity.
The Curatorial Programme is not a ‘school’: it does not grade or grant study credits, nor does it provide a singular school of thought. Based on a ‘learning by doing’ principle, the programme ‘assigns’ its participants with the collective development of a final project and creates a sub-environment for professional reflection within de Appel arts centre. In 2012-2013 the tutorial team consists of: Floris Alkemade (architect, NL) Liesbeth Bik (visual artist, NL), Ann Demeester (Director, de Appel arts centre; BE/NL) Charles Esche (Director, Van Abbe Museum; UK/NL), Annie Fletcher (curator, IR/NL), Elena Filipovic (curator/writer, US/BE), Ann Goldstein (Director, Stedelijk museum), Henk Slager (philosopher/curator, NL), Lisette Smits (independent researcher / curator, NL), Jan Verwoert (art critic, DE) and Barbara Visser (visual artist, NL). Guest/former teachers over the past years include: Mieke Bal, Teresa Gleadowe, Jan Hoet, Gerardo Mosquera, Simon Sheikh Hans Ulrich Obrist, Ulay, Tirdad Zolghadr, and many others.
Apart from regular sessions with the tutorial team, the programme also offers various excursions (including a research trip to a destination outside of Western Europe), practice-related assignments, and the opportunity to meet with a large number of artists, curators, critics and other international professionals, through thematic seminars, studio visits and other encounters. For more detailed information about the programme, please consult the programme’s website.
Application requirements:
1. A letter of motivation in which you state your personal drive as well as your expectations of the programme.
2. A proposal for a project (maximum 4000 words, approximately 8 pages A4) including concept and location of the project (main focus, explanation of context and relevance), the participating artists (including some image material), a realistic budget, a publicity plan (not mandatory). Please note that this is a hypothetical project to help familiarize the jury with your interests, ideas and curatorial approach.
3. A CV, including an extensive description of your relevant work experience.
4. Two written references of (former) tutors, professors or employers, in English.
On the basis of the submitted documents, twelve candidates will be short-listed. These candidates will be invited to come to Amsterdam in the third week of March for an interview with an international jury, who will select the final six participants of the Curatorial Programme 2013–2014.
Send applications digitally to: cp-application@deappel.nl.
Application deadline: January 14, 2013.
For further information please visit our website or contact:
Moosje Goosen (coordinator)
Nathalie Hartjes (coordinator)
T +31 (0)20 6255651
[1] Translated from Michel de Montaigne, ‘Essaies’ – Over nutteloze vernuftigheden – 2001. Uitgeverij Boom, Amsterdam, p 369.Call for applications: de Appel Curatorial Programme 2013–2014
“There is an abc-ignorance that precedes knowledge, and there is another learned ignorance that comes after and that is created through ‘knowing’ and that will equally like the first be annihilated and annulled by knowledge.” –Michel de Montaigne [1]
Initiated in 1994 as an in-house international training trajectory for young curators, the Curatorial Programme of de Appel arts centre offers its participants a condensed package of professional encounters, hands-on experiences and skills that can be seen as instruments for the further development of a professional career. Encompassing a wide array of sometimes contrasting voices, the programme pays attention to the various approaches that exist and arise in contemporary curating, thus mapping the dynamic professional field in all its complexity and confusion, its fragmentation and fluidity.
The Curatorial Programme is not a ‘school’: it does not grade or grant study credits, nor does it provide a singular school of thought. Based on a ‘learning by doing’ principle, the programme ‘assigns’ its participants with the collective development of a final project and creates a sub-environment for professional reflection within de Appel arts centre. In 2012-2013 the tutorial team consists of: Floris Alkemade (architect, NL) Liesbeth Bik (visual artist, NL), Ann Demeester (Director, de Appel arts centre; BE/NL) Charles Esche (Director, Van Abbe Museum; UK/NL), Annie Fletcher (curator, IR/NL), Elena Filipovic (curator/writer, US/BE), Ann Goldstein (Director, Stedelijk museum), Henk Slager (philosopher/curator, NL), Lisette Smits (independent researcher / curator, NL), Jan Verwoert (art critic, DE) and Barbara Visser (visual artist, NL). Guest/former teachers over the past years include: Mieke Bal, Teresa Gleadowe, Jan Hoet, Gerardo Mosquera, Simon Sheikh Hans Ulrich Obrist, Ulay, Tirdad Zolghadr, and many others.
Apart from regular sessions with the tutorial team, the programme also offers various excursions (including a research trip to a destination outside of Western Europe), practice-related assignments, and the opportunity to meet with a large number of artists, curators, critics and other international professionals, through thematic seminars, studio visits and other encounters. For more detailed information about the programme, please consult the programme’s website.
Application requirements:
1. A letter of motivation in which you state your personal drive as well as your expectations of the programme.
2. A proposal for a project (maximum 4000 words, approximately 8 pages A4) including concept and location of the project (main focus, explanation of context and relevance), the participating artists (including some image material), a realistic budget, a publicity plan (not mandatory). Please note that this is a hypothetical project to help familiarize the jury with your interests, ideas and curatorial approach.
3. A CV, including an extensive description of your relevant work experience.
4. Two written references of (former) tutors, professors or employers, in English.
On the basis of the submitted documents, twelve candidates will be short-listed. These candidates will be invited to come to Amsterdam in the third week of March for an interview with an international jury, who will select the final six participants of the Curatorial Programme 2013–2014.
Send applications digitally to: cp-application@deappel.nl.
Application deadline: January 14, 2013.
For further information please visit our website or contact:
Moosje Goosen (coordinator)
Nathalie Hartjes (coordinator)
T +31 (0)20 6255651
[1] Translated from Michel de Montaigne, ‘Essaies’ – Over nutteloze vernuftigheden – 2001. Uitgeverij Boom, Amsterdam, p 369.Call for applications: de Appel Curatorial Programme 2013–2014
Call for new Annlee art works
Deadline:
Wed Aug 15, 2012 18:00
Location:
Amsterdam,
Netherlands
Call for new Annlee art works
NIMk wants your interpretation of the Annlee project!
NIMk's upcoming exhibition Yes, we're open is -ironically perhaps considering the announcement of NIMk’s closure at the end of the year- all about openness in art. Openness is explored here as a theme and concept but also qua shape. What does openness mean in relation to art in the current (internet) age?
The internet is considered a free medium through which people are able to find, spread and re-mix information, but at the same time this freedom is limited by boundaries like copyright laws which have become increasingly complicated and prominent. How does this influence artists? To what extent are artworks open to interpretation and intervention?
The No ghost, just a shell project can be called a kind of 'open artwork'. In 1999, the artists Pierre Huyghe and Philippe Parreno bought a manga character from “K” works, a Japanese firm that develops Manga figures. Huyghe and Parreno decided to 'free the image from the animation market', named 'her' Annlee, made their own initial works and invited other artists to use Annlee for new art projects, free of charge. Annlee was given a voice, history and an identity and she popped up in animation videos, paintings, objects, installations, posters and a magazine, soundworks and a book. In the end 28 works were produced by 18 different artists. The project was finalized in 2002 with the artists definitively killing her off (including a coffin) and liberating her from the realm of representation -as they described it- by signing over the copyrights of the image to Annlee herself.
Is this really the end? Is Annlee dead, truly free, or both? Copyright was used explicitly to lock up an appropriated image that has the potential to flow freely as an open art work. Annlee has disappeared as an image, but not as an entity that can be discussed and talked about or as a subject for new artworks. A decade after the project came to an end, NIMk invites you to respond to the Annlee project 'unofficially' and hopes to open up the character to new art pieces. As Philippe Parreno suggested: “the project doesn't stop in the absence of Annlee, it can always produce more authors.” We look forward to your input, ideas and brand new artworks!
They can be uploaded onto the blog dedicated to this 'Annlee @ NIMk' project annlee.nimk.nl. The blog will be shown in the exhibition Yes, we're open from June 1st to mid August.
USER INFO
http://nimk.nl/blog/annlee/wp-admin/
user: gast
password: welkom
For inspiration and more information about the manga character and project go to:
http://www.noghostjustashell.com/
http://www.airdeparis.com/pann2.htm
Netherlands Media Art Institute
Keizersgracht 264
1016 EV Amsterdam
The Netherlands
T 020 6237101
F 020 6244423
http://www.nimk.nl
MEDIA ART, WE CARE: read, react and forward: http://nimk.nl/nl/media-art-we-care
http://nimk.nl/agenda
Facebook: http://www.facebook.com/NIMk.Media.Art
Twitter: http://twitter.com/NIMk_nl
Flickr: http://www.flickr.com/photos/nimk
YouTube: http://www.youtube.com/user/NIMkartchannel
Media Art Platform: http://www.mediaartplatform.nl
NIMk wants your interpretation of the Annlee project!
NIMk's upcoming exhibition Yes, we're open is -ironically perhaps considering the announcement of NIMk’s closure at the end of the year- all about openness in art. Openness is explored here as a theme and concept but also qua shape. What does openness mean in relation to art in the current (internet) age?
The internet is considered a free medium through which people are able to find, spread and re-mix information, but at the same time this freedom is limited by boundaries like copyright laws which have become increasingly complicated and prominent. How does this influence artists? To what extent are artworks open to interpretation and intervention?
The No ghost, just a shell project can be called a kind of 'open artwork'. In 1999, the artists Pierre Huyghe and Philippe Parreno bought a manga character from “K” works, a Japanese firm that develops Manga figures. Huyghe and Parreno decided to 'free the image from the animation market', named 'her' Annlee, made their own initial works and invited other artists to use Annlee for new art projects, free of charge. Annlee was given a voice, history and an identity and she popped up in animation videos, paintings, objects, installations, posters and a magazine, soundworks and a book. In the end 28 works were produced by 18 different artists. The project was finalized in 2002 with the artists definitively killing her off (including a coffin) and liberating her from the realm of representation -as they described it- by signing over the copyrights of the image to Annlee herself.
Is this really the end? Is Annlee dead, truly free, or both? Copyright was used explicitly to lock up an appropriated image that has the potential to flow freely as an open art work. Annlee has disappeared as an image, but not as an entity that can be discussed and talked about or as a subject for new artworks. A decade after the project came to an end, NIMk invites you to respond to the Annlee project 'unofficially' and hopes to open up the character to new art pieces. As Philippe Parreno suggested: “the project doesn't stop in the absence of Annlee, it can always produce more authors.” We look forward to your input, ideas and brand new artworks!
They can be uploaded onto the blog dedicated to this 'Annlee @ NIMk' project annlee.nimk.nl. The blog will be shown in the exhibition Yes, we're open from June 1st to mid August.
USER INFO
http://nimk.nl/blog/annlee/wp-admin/
user: gast
password: welkom
For inspiration and more information about the manga character and project go to:
http://www.noghostjustashell.com/
http://www.airdeparis.com/pann2.htm
Netherlands Media Art Institute
Keizersgracht 264
1016 EV Amsterdam
The Netherlands
T 020 6237101
F 020 6244423
http://www.nimk.nl
MEDIA ART, WE CARE: read, react and forward: http://nimk.nl/nl/media-art-we-care
http://nimk.nl/agenda
Facebook: http://www.facebook.com/NIMk.Media.Art
Twitter: http://twitter.com/NIMk_nl
Flickr: http://www.flickr.com/photos/nimk
YouTube: http://www.youtube.com/user/NIMkartchannel
Media Art Platform: http://www.mediaartplatform.nl
The Source
Dates:
Wed May 09, 2012 18:30 - Mon Jun 25, 2012
Location:
Amsterdam,
Netherlands
NIMk presents The Source
with Tao G. Vrhovec Sambolec, Evelina Domnitch and Dmitry Gelfand, Paul Prudence and Francisco López.
On the interactions of extraterrestrial light with the atmosphere and biosphere an exhibition and a meeting of Synergetica: Art-Science Society
Exhibition opening: Wednesday, May 9th, 6:30 PM to 9:30 PM
With Synergetica - lectures and performance: May 9th, 7:30PM to 9:00PM
During the opening Dr. Raoul Frese will give a special presentation about artificial photosynthesis by biophysicist. There will also be a presentation by Tao G. Vrhovec Sambolec, Evelina Domnitch and Dmitry Gelfand. Evelina Domnitch en Dmitry Gelfand will activate the particle chamber during the opening. This installation will only go live once a week (on Saturdays), due to a limited supply of liquid nitrogen.
Opening hours exhibition: Tuesday through Friday 11 am - 5 pm, Saturday and Sunday, 1 to 5 p.m.
The phenomenon of light can, due to current scientific progress, become the new tool for the new artist. - Marcel Duchamp
Both the messenger and the message, both particle and wave, extraterrestrial light carries information about the entire universe into the eye of the beholder. As it unfolds into all the diverse structures of matter, eventually breathing life into some of them, light shapes its environment, and in turn, the environment reshapes light. Mastering this two-way tuning process can lead to ‘enlightenment’, as exemplified by recent breakthroughs in artificial photosynthesis, a nearly lossless translation of sunlight into bio-solar fuel. Earthbound solar, galactic and interstellar radiation can also be aesthetically harnessed to procure the optimal fuel for the human imagination. The Source reveals extraterrestrial light as an inexhaustible muse as well as a wellspring of clean energy for Earth’s inhabitants. Part of StudioLab, an EU art-science initiative, The Source will open with a presentation about artificial photosynthesis by biophysicist, Raoul Frese (VU, Amsterdam). Researching photosynthesis at the supramolecular level, Frese implements photosynthetic bio-polymers in hybrid solar cells and mimics photosynthesis using synthetic molecular compounds. “Every 90 minutes, the sun radiates an amount of energy equal to the annual consumption of the world population. By the process of photosynthesis, plants, algae and certain bacterial species have mastered the direct utilization of this energy to power their metabolism. Now we must learn from the natural process. (R. Frese)”.
Tao G. Vrhovec Sambolec’s installation, Virtual Hole - Sun 1:1 (2011) invites audiences to experience the Sun’s intricate radiance through a full-spectrum indoor simulation, occurring synchronously with the ever-changing sunlight directly outside the exhibition space. A sensor on the roof of the building feeds the amplitude, color temperature and diffusion of sunlight into a synthetic environment that analyzes and mirrors these subtleties. One’s architectural confines are intended to dissolve, allowing the immaterial, transitory surroundings to saturate the dwelling.
In Evelina Domnitch and Dmitry Gelfand’s Memory Vapor (2011), visitors will encounter another kind of extraterrestrial light, a ubiquitous cascade of subatomic particles, known as cosmic rays. Customarily beyond the reach of the senses, ionized nuclei, protons, electrons, as well as more exotic antiprotons and gamma-ray bursts continuously arrive to Earth from outer space. Most of this subatomic cascade does not even originate in the solar system, but from within our galaxy, and the fastest, highest energy particles are likely catapulted from extragalactic supernovas or active black holes. Within the low temperature gas (-200 °C) of the Memory Vapor installation, these cosmic rays are rendered visible as they are trailed by threads of condensation droplets. A white laser sheet scans and illuminates the emerging droplets, transforming the gas into a dynamic prism that vastly extends the spatio-temporal perception of particle trajectories.
Bioacoustic Phenomena (2010) immerses audiences in the primordial waters where light-imbued matter first came to life. A collaboration between generative video artist Paul Prudence and composerbiologist Francisco López, this audiovisual installation imagines the delicate cellular dynamics that marked the inauguration of the biosphere. Akin to the subatomic particles in Memory Vapor, specifically evolving entities come in and out of existence, sparking a sense of the thin line dividing living and inanimate matter. Each of these artworks brings into focus the invisible source of it all, and the foundation of all visibility.
This exhibition is part of Studiolab, an EU art-science initiative, and is hosted by the Netherlands Instituut voor Mediakunst with the generous support of the Amsterdams Fonds voor de Kunst, EU 7th Framework Programme, European Cultural Foundation, Kapelica Gallery/ Zavod K6/4, Zavod Projekt ATOL, Stichting Optofonica, Ministry of Culture Slovenia, Municipality of Ljubljana, Mondriaan Fonds - Amsterdam, GAVITA Holland BV, Ocean Optics, Hans Graafmans - Lightco Nederland BV.
Studiolab is a 3-year Europe-wide initiative that merges the artist's studio with the research lab. Funded by the EC Seventh Framework Programme in 2011, Studiolab is a European network that provides a platform for creative projects that bridge divides between science, art and design. Through a synergistic network, Studiolab is inspiring new approaches to environmental, technological and social challenges and providing a template for innovative art science collaborations. Studiolab involves interaction between 13 leading centres of scientific research, artistic excellence and experimental design accross 12 European countries. These partners are collaborating and working with world leading scientists, artists, and designers to pilot projects using integrated processes of incubation, education and public engagement. www.studiolabproject.eu/
Tao G. Vrhovec Sambolec (SI/NL) is an artist and musician based in Amsterdam, working with invisible ephemeral phenomena and the notion of space. His artistic practice is a poetic exploration of relationships between transitory and temporal flows like sound and weather phenomena and architectural and social spaces they inhabit. In his installations, he makes architecture sensitive to its immediate ephemeral surroundings and enhances the temporal dimension of architecture by creating situations where the outside and inside, the unpredictable and constructed, the permanent and temporal converse. His works encompass interdisciplinary and mixed media installations, sound interventions in public spaces and electro acoustic music. His works were shown and performed in various art galleries, museums and music festivals internationally.
Among others: Kapelica Gallery - Ljubljana, Public Space With a Roof Gallery (PSWAR) - Amsterdam, Ars Electronica - Linz - Austria, Museum of Modern Art - Ljubljana, AV Festival - Newcastle Upon Tyne, SKUC Gallery - Ljubljana, Madrid Abierto - Madrid, Sonic Acts Festival, Amsterdam, … In 2010 his work Virtual Mirror - Rain got awarded Hybrid Arts Honorary Mention at Ars Electronica, Linz, Austria. http://www.taogvs.org/
Dr. Raoul Frese is an assistant professor in biophysics at the Department of Physics and Astronomy, in the Faculty of Science at VU University Amsterdam, the Netherlands. Dr. Frese graduated in experimental physics at the University of Amsterdam in 1995. Since, he has researched natural photosynthesis on the molecular and supramolecular level. Recently he has gained major funding from the Dutch science organization NWO for his research on ‘Nanoscale Photovoltaics and Photochemistry on Biosolar Cells’. The goal of his research is to enhance or redirect photosynthetic performance and to create solar-to-fuel energy cells. http://www.few.vu.nl/~frese/Raoul.html
Dmitry Gelfand and Evelina Domnitch create sensory immersion environments that merge physics, chemistry and computer science with uncanny philosophical practices. Current findings, particularly in the domain of mesoscopics, are employed by the artists to investigate questions of perception and perpetuity. Having dismissed the use of recording media, their works exist as ever-transforming phenomena offered for observation. In order to unveil these quantum processes, the duo has collaborated with numerous scientific research facilities, including the Drittes Physikalisches Institut (Goettingen University, Germany), the Institute of Advanced Sciences and Technologies (Japan), Ricso Lab (Russia) and the Vrije Universiteit (Amsterdam). They are recipients of the Japan Media Arts Excellence Prize (2007), and three Ars Electronica Honorary Mentions (2007, 2009, 2011). http://portablepalace.com/
Paul Prudence is a audio-visual performer and installation artist working with computational, algorithmic and generative environments. His work, which had been shown internationally, focuses on the ways in which sound, space and form can be cross wired to create live-cinematic visual-music experiences. He is also interested in data visualisation techniques, process-based environments and emergent systems. Paul maintains the research weblog Dataisnature in which he writes about the interrelationships between natural processes, computational systems and procedural-based art practices. Dataisnature has been used on a number of academic course syllabus's worldwide. http://www.transphormetic.com/
Francisco López is internationally recognized as one of the major figures of the sound art and experimental music scene. Over the past 30 years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion.
He has realized hundreds of concerts, projects with field recordings, workshops and sound installations in over 60 countries of the five continents. His extensive catalog of sound pieces (with live and studio collaborations with over 150 international artists) has been released by more than 250 record labels worldwide. He has been awarded three times with honorary mentions at the competition of Ars Electronica Festival and is the recipient of the Qwartz Award 2010 for best sound anthology. http://www.franciscolopez.net/
Netherlands Media Art Institute
Keizersgracht 264
1016 EV Amsterdam
The Netherlands
T 020 6237101
F 020 6244423
http://www.nimk.nl
MEDIA ART, WE CARE: read, react and forward: http://nimk.nl/nl/media-art-we-care
http://nimk.nl/agenda
Facebook: http://www.facebook.com/NIMk.Media.Art
Twitter: http://twitter.com/NIMk_nl
Flickr: http://www.flickr.com/photos/nimk
YouTube: http://www.youtube.com/user/NIMkartchannel
Media Art Platform: http://www.mediaartplatform.nl
with Tao G. Vrhovec Sambolec, Evelina Domnitch and Dmitry Gelfand, Paul Prudence and Francisco López.
On the interactions of extraterrestrial light with the atmosphere and biosphere an exhibition and a meeting of Synergetica: Art-Science Society
Exhibition opening: Wednesday, May 9th, 6:30 PM to 9:30 PM
With Synergetica - lectures and performance: May 9th, 7:30PM to 9:00PM
During the opening Dr. Raoul Frese will give a special presentation about artificial photosynthesis by biophysicist. There will also be a presentation by Tao G. Vrhovec Sambolec, Evelina Domnitch and Dmitry Gelfand. Evelina Domnitch en Dmitry Gelfand will activate the particle chamber during the opening. This installation will only go live once a week (on Saturdays), due to a limited supply of liquid nitrogen.
Opening hours exhibition: Tuesday through Friday 11 am - 5 pm, Saturday and Sunday, 1 to 5 p.m.
The phenomenon of light can, due to current scientific progress, become the new tool for the new artist. - Marcel Duchamp
Both the messenger and the message, both particle and wave, extraterrestrial light carries information about the entire universe into the eye of the beholder. As it unfolds into all the diverse structures of matter, eventually breathing life into some of them, light shapes its environment, and in turn, the environment reshapes light. Mastering this two-way tuning process can lead to ‘enlightenment’, as exemplified by recent breakthroughs in artificial photosynthesis, a nearly lossless translation of sunlight into bio-solar fuel. Earthbound solar, galactic and interstellar radiation can also be aesthetically harnessed to procure the optimal fuel for the human imagination. The Source reveals extraterrestrial light as an inexhaustible muse as well as a wellspring of clean energy for Earth’s inhabitants. Part of StudioLab, an EU art-science initiative, The Source will open with a presentation about artificial photosynthesis by biophysicist, Raoul Frese (VU, Amsterdam). Researching photosynthesis at the supramolecular level, Frese implements photosynthetic bio-polymers in hybrid solar cells and mimics photosynthesis using synthetic molecular compounds. “Every 90 minutes, the sun radiates an amount of energy equal to the annual consumption of the world population. By the process of photosynthesis, plants, algae and certain bacterial species have mastered the direct utilization of this energy to power their metabolism. Now we must learn from the natural process. (R. Frese)”.
Tao G. Vrhovec Sambolec’s installation, Virtual Hole - Sun 1:1 (2011) invites audiences to experience the Sun’s intricate radiance through a full-spectrum indoor simulation, occurring synchronously with the ever-changing sunlight directly outside the exhibition space. A sensor on the roof of the building feeds the amplitude, color temperature and diffusion of sunlight into a synthetic environment that analyzes and mirrors these subtleties. One’s architectural confines are intended to dissolve, allowing the immaterial, transitory surroundings to saturate the dwelling.
In Evelina Domnitch and Dmitry Gelfand’s Memory Vapor (2011), visitors will encounter another kind of extraterrestrial light, a ubiquitous cascade of subatomic particles, known as cosmic rays. Customarily beyond the reach of the senses, ionized nuclei, protons, electrons, as well as more exotic antiprotons and gamma-ray bursts continuously arrive to Earth from outer space. Most of this subatomic cascade does not even originate in the solar system, but from within our galaxy, and the fastest, highest energy particles are likely catapulted from extragalactic supernovas or active black holes. Within the low temperature gas (-200 °C) of the Memory Vapor installation, these cosmic rays are rendered visible as they are trailed by threads of condensation droplets. A white laser sheet scans and illuminates the emerging droplets, transforming the gas into a dynamic prism that vastly extends the spatio-temporal perception of particle trajectories.
Bioacoustic Phenomena (2010) immerses audiences in the primordial waters where light-imbued matter first came to life. A collaboration between generative video artist Paul Prudence and composerbiologist Francisco López, this audiovisual installation imagines the delicate cellular dynamics that marked the inauguration of the biosphere. Akin to the subatomic particles in Memory Vapor, specifically evolving entities come in and out of existence, sparking a sense of the thin line dividing living and inanimate matter. Each of these artworks brings into focus the invisible source of it all, and the foundation of all visibility.
This exhibition is part of Studiolab, an EU art-science initiative, and is hosted by the Netherlands Instituut voor Mediakunst with the generous support of the Amsterdams Fonds voor de Kunst, EU 7th Framework Programme, European Cultural Foundation, Kapelica Gallery/ Zavod K6/4, Zavod Projekt ATOL, Stichting Optofonica, Ministry of Culture Slovenia, Municipality of Ljubljana, Mondriaan Fonds - Amsterdam, GAVITA Holland BV, Ocean Optics, Hans Graafmans - Lightco Nederland BV.
Studiolab is a 3-year Europe-wide initiative that merges the artist's studio with the research lab. Funded by the EC Seventh Framework Programme in 2011, Studiolab is a European network that provides a platform for creative projects that bridge divides between science, art and design. Through a synergistic network, Studiolab is inspiring new approaches to environmental, technological and social challenges and providing a template for innovative art science collaborations. Studiolab involves interaction between 13 leading centres of scientific research, artistic excellence and experimental design accross 12 European countries. These partners are collaborating and working with world leading scientists, artists, and designers to pilot projects using integrated processes of incubation, education and public engagement. www.studiolabproject.eu/
Tao G. Vrhovec Sambolec (SI/NL) is an artist and musician based in Amsterdam, working with invisible ephemeral phenomena and the notion of space. His artistic practice is a poetic exploration of relationships between transitory and temporal flows like sound and weather phenomena and architectural and social spaces they inhabit. In his installations, he makes architecture sensitive to its immediate ephemeral surroundings and enhances the temporal dimension of architecture by creating situations where the outside and inside, the unpredictable and constructed, the permanent and temporal converse. His works encompass interdisciplinary and mixed media installations, sound interventions in public spaces and electro acoustic music. His works were shown and performed in various art galleries, museums and music festivals internationally.
Among others: Kapelica Gallery - Ljubljana, Public Space With a Roof Gallery (PSWAR) - Amsterdam, Ars Electronica - Linz - Austria, Museum of Modern Art - Ljubljana, AV Festival - Newcastle Upon Tyne, SKUC Gallery - Ljubljana, Madrid Abierto - Madrid, Sonic Acts Festival, Amsterdam, … In 2010 his work Virtual Mirror - Rain got awarded Hybrid Arts Honorary Mention at Ars Electronica, Linz, Austria. http://www.taogvs.org/
Dr. Raoul Frese is an assistant professor in biophysics at the Department of Physics and Astronomy, in the Faculty of Science at VU University Amsterdam, the Netherlands. Dr. Frese graduated in experimental physics at the University of Amsterdam in 1995. Since, he has researched natural photosynthesis on the molecular and supramolecular level. Recently he has gained major funding from the Dutch science organization NWO for his research on ‘Nanoscale Photovoltaics and Photochemistry on Biosolar Cells’. The goal of his research is to enhance or redirect photosynthetic performance and to create solar-to-fuel energy cells. http://www.few.vu.nl/~frese/Raoul.html
Dmitry Gelfand and Evelina Domnitch create sensory immersion environments that merge physics, chemistry and computer science with uncanny philosophical practices. Current findings, particularly in the domain of mesoscopics, are employed by the artists to investigate questions of perception and perpetuity. Having dismissed the use of recording media, their works exist as ever-transforming phenomena offered for observation. In order to unveil these quantum processes, the duo has collaborated with numerous scientific research facilities, including the Drittes Physikalisches Institut (Goettingen University, Germany), the Institute of Advanced Sciences and Technologies (Japan), Ricso Lab (Russia) and the Vrije Universiteit (Amsterdam). They are recipients of the Japan Media Arts Excellence Prize (2007), and three Ars Electronica Honorary Mentions (2007, 2009, 2011). http://portablepalace.com/
Paul Prudence is a audio-visual performer and installation artist working with computational, algorithmic and generative environments. His work, which had been shown internationally, focuses on the ways in which sound, space and form can be cross wired to create live-cinematic visual-music experiences. He is also interested in data visualisation techniques, process-based environments and emergent systems. Paul maintains the research weblog Dataisnature in which he writes about the interrelationships between natural processes, computational systems and procedural-based art practices. Dataisnature has been used on a number of academic course syllabus's worldwide. http://www.transphormetic.com/
Francisco López is internationally recognized as one of the major figures of the sound art and experimental music scene. Over the past 30 years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion.
He has realized hundreds of concerts, projects with field recordings, workshops and sound installations in over 60 countries of the five continents. His extensive catalog of sound pieces (with live and studio collaborations with over 150 international artists) has been released by more than 250 record labels worldwide. He has been awarded three times with honorary mentions at the competition of Ars Electronica Festival and is the recipient of the Qwartz Award 2010 for best sound anthology. http://www.franciscolopez.net/
Netherlands Media Art Institute
Keizersgracht 264
1016 EV Amsterdam
The Netherlands
T 020 6237101
F 020 6244423
http://www.nimk.nl
MEDIA ART, WE CARE: read, react and forward: http://nimk.nl/nl/media-art-we-care
http://nimk.nl/agenda
Facebook: http://www.facebook.com/NIMk.Media.Art
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Media Art Platform: http://www.mediaartplatform.nl
Naked on Pluto
Dates:
Thu Dec 09, 2010 00:00 - Thu Dec 09, 2010
Naked on Pluto
Multiplayer Text Adventure Game on Facebook
"You are 4.3 billion kilometres away from the nearest human, what would you like to do?"
Naked on Pluto is a Multiplayer Text Adventure Game on Facebook. You wake up on Pluto, in a city under the rule of Elastic Versailles revision 14, a corrupted Artificial Intelligence and former entertainment colony. It used to be the Las Vegas of the Solar System, a true paradise for consumers and corporations alike. Until something snapped... What happened and how to escape?
Versailles is a capital of convenience, a non stop 24hr zone of endless pleasure, provided by Pluto’s huge entertainment corporations. Amuse yourself and your friends for hours on end collecting meaningless tokens, talking to our bland robots, or simply relax and take in the staggering conformity of your new home. Take absolutely no notice of the areas you aren’t allowed to go into, even if it were possible to break out of the zone around the Palace, why would you possibly want to - or indeed why change the core structures of this world when they have been so excellently taylored to fit your every desire?
The game explores the limits and nature of social networks from within, slowly pushing the boundaries of what is tolerated by the companies that own them, carefully documenting this process as we go. Story and play are combined with an investigation on how exposed we are on social networks, and how our data are being used.
Naked on Pluto is developed during a shared residency at NIMk, BALTAN Laboraties and Piksel, between June and November 2010, by Dave Griffiths, Aymeric Mansoux and Marloes de Valk. The project is licensed Copyleft.
The research and development process is documented and can be followed on http://pluto.kuri.mu and http://facebook.com/is.so.convenient
The game can be played on http://naked-on-pluto.net
Naked on Pluto is also part of the international touring exhibition Funware now on show until January 16, 2011 at MU Eindhoven.
Biographies
Dave Griffiths was raised on an early education in weaving, bell ringing and 8bit computers, and is now dedicated to changing the world with free software, live animation and noise. He works as a self employed artist/programmer, mainly working with the FoAM art laboratory and performs as part of slub - a livecoding band. He creates installations, open source software and teaches workshops around the themes of games, music and the lisp programming language. Past work includes computer graphics for games, feature film special effects and machine vision research for Sony's EyeToy group.
Marloes de Valk (NL) is a Dutch (software) artist. She studied Sound and Image at the Royal Conservatory in the Hague, specializing in abstract compositional computer games, HCI and crashing computers. Her work consists of audiovisual performances and installations, investigating machine theatre and narratives of digital processes. She has participated in exhibitions throughout Europe, teaches workshops, gives lectures and has published articles on Free/Libre/Open Source Software, free culture and art (a.o. in the Contemporary Music Review and Archive 2020. Sustainable archiving of born digital cultural content). She is editor of FLOSS Art (OpenMute, 2008) as well as the Digital Artists' Handbook (folly and GOTO10, 2008). She is a former member of artist collective GOTO10, and has helped develop the puredyne GNU/Linux distribution and make art festival. She is currently collaborating with Aymeric Mansoux and Dave Griffiths on a social gaming project.
Aymeric Mansoux (FR) is an artist, musician and media researcher.
n 2003, he founded GOTO10 with Thomas Vriet, a non profit organization and artist collective, with the goal to promote the use and support of free software in electronic music and media art creation. Aymeric has been active in the collective until 2010 and initiated several projects such as: 'make art', a yearly international no nonsense festival for software artists using and writing free software; 'Puredyne', a popular live GNU/Linux distribution for creative media and the 'FLOSS Art publication', the first collection of essays on FLOSS and digital art production.
Since 2009, he is mentor and co-supervisor of study for the networked media branch of the Media Design and Communication Master of the Piet Zwart Institute in Rotterdam (NL). Aymeric is also an MPhil/PhD student at the Centre for Cultural Studies, Goldsmiths, University of London, researching online art and design communities, free culture licenses and resources, and distributed collaboration.
Netherlands Media Art Institute
Keizersgracht 264
1016 EV Amsterdam
T 020 6237101
F 020 6244423
http://www.nimk.nl
Facebook: http://www.facebook.com/NIMk.Media.Art
Twitter: http://twitter.com/NIMk\_nl
Flickr: http://www.flickr.com/photos/nimk
YouTube: http://www.youtube.com/user/NIMkartchannel
Media Art Platform: http://www.mediaartplatform.nl
Multiplayer Text Adventure Game on Facebook
"You are 4.3 billion kilometres away from the nearest human, what would you like to do?"
Naked on Pluto is a Multiplayer Text Adventure Game on Facebook. You wake up on Pluto, in a city under the rule of Elastic Versailles revision 14, a corrupted Artificial Intelligence and former entertainment colony. It used to be the Las Vegas of the Solar System, a true paradise for consumers and corporations alike. Until something snapped... What happened and how to escape?
Versailles is a capital of convenience, a non stop 24hr zone of endless pleasure, provided by Pluto’s huge entertainment corporations. Amuse yourself and your friends for hours on end collecting meaningless tokens, talking to our bland robots, or simply relax and take in the staggering conformity of your new home. Take absolutely no notice of the areas you aren’t allowed to go into, even if it were possible to break out of the zone around the Palace, why would you possibly want to - or indeed why change the core structures of this world when they have been so excellently taylored to fit your every desire?
The game explores the limits and nature of social networks from within, slowly pushing the boundaries of what is tolerated by the companies that own them, carefully documenting this process as we go. Story and play are combined with an investigation on how exposed we are on social networks, and how our data are being used.
Naked on Pluto is developed during a shared residency at NIMk, BALTAN Laboraties and Piksel, between June and November 2010, by Dave Griffiths, Aymeric Mansoux and Marloes de Valk. The project is licensed Copyleft.
The research and development process is documented and can be followed on http://pluto.kuri.mu and http://facebook.com/is.so.convenient
The game can be played on http://naked-on-pluto.net
Naked on Pluto is also part of the international touring exhibition Funware now on show until January 16, 2011 at MU Eindhoven.
Biographies
Dave Griffiths was raised on an early education in weaving, bell ringing and 8bit computers, and is now dedicated to changing the world with free software, live animation and noise. He works as a self employed artist/programmer, mainly working with the FoAM art laboratory and performs as part of slub - a livecoding band. He creates installations, open source software and teaches workshops around the themes of games, music and the lisp programming language. Past work includes computer graphics for games, feature film special effects and machine vision research for Sony's EyeToy group.
Marloes de Valk (NL) is a Dutch (software) artist. She studied Sound and Image at the Royal Conservatory in the Hague, specializing in abstract compositional computer games, HCI and crashing computers. Her work consists of audiovisual performances and installations, investigating machine theatre and narratives of digital processes. She has participated in exhibitions throughout Europe, teaches workshops, gives lectures and has published articles on Free/Libre/Open Source Software, free culture and art (a.o. in the Contemporary Music Review and Archive 2020. Sustainable archiving of born digital cultural content). She is editor of FLOSS Art (OpenMute, 2008) as well as the Digital Artists' Handbook (folly and GOTO10, 2008). She is a former member of artist collective GOTO10, and has helped develop the puredyne GNU/Linux distribution and make art festival. She is currently collaborating with Aymeric Mansoux and Dave Griffiths on a social gaming project.
Aymeric Mansoux (FR) is an artist, musician and media researcher.
n 2003, he founded GOTO10 with Thomas Vriet, a non profit organization and artist collective, with the goal to promote the use and support of free software in electronic music and media art creation. Aymeric has been active in the collective until 2010 and initiated several projects such as: 'make art', a yearly international no nonsense festival for software artists using and writing free software; 'Puredyne', a popular live GNU/Linux distribution for creative media and the 'FLOSS Art publication', the first collection of essays on FLOSS and digital art production.
Since 2009, he is mentor and co-supervisor of study for the networked media branch of the Media Design and Communication Master of the Piet Zwart Institute in Rotterdam (NL). Aymeric is also an MPhil/PhD student at the Centre for Cultural Studies, Goldsmiths, University of London, researching online art and design communities, free culture licenses and resources, and distributed collaboration.
Netherlands Media Art Institute
Keizersgracht 264
1016 EV Amsterdam
T 020 6237101
F 020 6244423
http://www.nimk.nl
Facebook: http://www.facebook.com/NIMk.Media.Art
Twitter: http://twitter.com/NIMk\_nl
Flickr: http://www.flickr.com/photos/nimk
YouTube: http://www.youtube.com/user/NIMkartchannel
Media Art Platform: http://www.mediaartplatform.nl
