Leo Peschta (media artist/ AT) ist auf der Ars Electronica 2010 mit einer umfangreichen Serie an Arbeiten vertreten in denen er sich, wie bei “B.R.E.T.T” (2008) mit dem Thema Bewegung und Raum auseinandersetzt, aber auch das Museum als Institution kritisch ins Auge fasst, “Der Zermesser” (2007-2010). Seine neueste Arbeit “Der Chronograph” (2010) verschreibt sich dem “akkustischen Augenblick”. Über ihre gemeinsame Arbeit, den “WERP_BOT” (2006), und folgende, sprechen Leo Peschta und Gordan Savicic in diesem Interview.
Interview: Gordan Savicic Kamera und Schnitt: Conny Zenk language: German
I spent a wonderful week in beautiful Sofia at the second edition of the Digital Art Festival. It was a small, but fantastic event organized by the National Academy of Art in Sofia. Apart from the professional and very nice team i met a lot of interesting artists like Paul Granjon, who´s hilarious approach to human<>machine interaction inspires me a lot, or Mark Coniglio who held a workshop with his Software “Isadora” – the first SW i paid for and worked a lot for live visuals and video-dance-performances. I also got to know Reynold Reynolds, a fascinating film maker who studied at Stan Brakhage and his very distinctive philosophical visual language is just breathtaking. He exhibited his two screen video installation “six appartments“, which won last years distinction award at the Transmediale.
Oh, and there was Brian Kneb, a very nice guy, who creates interactive installations with a great organic style. The way he works with code is fascinating. For me as a total rookie in coding it is such a mind twisting field of teaching a computer the rules and dynamics of nature. Super interesting was that out of his work with code and classical digital interaction he started some “real life” experiments with multicellular organism interacting with bacteria taken from his own body. I should not forget hexler, who exhibited a generative installation experimenting with the analysis of psychologist Hermann Rorschach. And besides some nice drinking and fun time together he managed to teach a processing workshop at the festival.
I had the pleasure to get a walk through the exhibition with the two main organizers and curators of the festival, Galina Dimitrova and Venelin Shurelov, who also teaches at the Digital Art Master Program of the Academy. The walk is splitted into two parts. The first is the main exhibition in the Gallery space and the second one presents student works from the Digital Art Program of the Academy, the Animated Film Department of Zagreb University and the Digital Art class of the University of Applied Arts in Vienna.
Verspielt zeigen sich in dieser Ausstellung nicht nur die Schnittstellen zwischen Mensch und Technik, sondern auch der Ausstellungskatalog zum Selberbasteln. Bei jedem der ausgestellten Objekte hängen bunte Kärtchen, eine Mischung aus Beipackzettel und Ausschneidebogen, die durch ihre anregende Erscheinungsform Neugierde und Sammertrieb der BesucherInnen wecken. Eine kleine Klapp – Bühne zur Platzierung der persönlichen Lieblingsobjekte bietet letztlich ein mit Ausstellungslogo versehener Pizzakarton. Diese, dem Fast and Cheap Food entlehnte Verpackungsform, lässt in mir einen Hauch von Kritik aufkeimen, einerseits am Kunst – Produktionsprozess, in welchen die Kunstschaffenden viel Zeit und Kreativität für wenig bis kein Geld investieren, sowie andererseits an den schnellen, wahllosen Konsum von Kunst, der sich bei derart großen Festivals kaum vermeiden lässt.
Foto: Ars Electronica / rubi
Playful Interface Cultures zeichnet sich durch eine klar stukturierte Ausstellungsgestaltung aus. Besucher werden zu den Objekten und durch verschiedene, in sich geschlossene Zonen geleitet. Zigarttenkartons fungieren als Raumgestaltende Trennelemente, was sowohl einen inhaltlichen Akzent zur Tabakfabrik setzt als auch von respektvollen Umgang mit denkmalgeschützer Bausubstanz zollt.
Martin Kaltenbrunner, Professor der Kunstuniversität Linz und Medienkünstler (reactable), spaziert mit uns durch die Ausstellung und zeigt uns ein paar der ausgestellten Arbeiten.
Interview: Franziska Mayr-Keber Kamera und Schnitt: Matthias Hurtl language: German
The Ars Electronica Gala is usually the place for politicians and sponsors to show off – this rule was a bit loosened by a guerillia marketing gag by a bunch of street artists that are involved in one of the ‘Golden Nica’ awarded projects – this is the kind of communication that distinguishes an art event from any other commonplace gala – thank you for that one!
Stefan Riekeles, Program Director of the ISEA 2010, is presenting a selection of pieces of the ISEA 2010 RUHR Exhibition and reflecting over misunderstandings considering the term Sonification and whether the opposite of digital is necessarily analogue.
interview: Emanuel Andel, camera & editing: Sophie-Carolin Wagner
June 2010 @ Nime ( new interfaces for musical expression) congress in Sydney; I got the chance to meet stelarc before he had to catch the plane to his homebase melbourne. After hearing his one hour lecture (showing some impressive videos of his ear on arm surgery ) the other day, it was great to talk in a more laid back atmosphere; I have to admit he can hook you into his passion and brings along an infectious (to stay with terms!) enthusiasm for the future visions of cyborg art and a lot more… For the project ear on arm he won the golden nica hybrid art 2010 at ars electronica.
We arrived in germanies funky Ruhrpott, mostly famous famous for it’s industry – but not these days: The 16th international symposium on electronic arts opened it’s doors to the exhibitions and we are happy to give you a short impression almost real time… This is a performance of Wada Ei that just happened during the opening of the coded cultures exhibition – enjoy!
I had the pleasure to get Ernesto Klar for a short interview. He is an artist from Venezuela, living in New York and won the first prize in the FILE PRIX LUX competition in the category of interactive installations. The FILE PRIX LUX Award took place for the first time this year and had three categories: interactive installations, electronic sonority and digital language.
“Luzes relacionais” (Relational Lights) is an interactive audio-visual installation that explores our relationship with the expressional-organic character of “space”. The installation uses light, sound, haze, and a custom-software system to create a morphing, three-dimensional light-space in which spectators actively participate, manipulating it with their presence and movements. “Luzes relacionais” is a hommáge to the work and aesthetic inquiry of Brazilian artist Lygia Clark.
Well, unfortunately i never attended Pixelache in Helsinki, Finnland, but it supposed to be quite an interesting festival addressing the classical contemporary topics like capitalism, sustainable energy and alternative systems. But don´t wanna talk a lot about a festival i haven´t been…. better check out their massive videocollection on vimeo or their flickr collection to get a review of what we have missed. or listen to Juha Huuskonen the programme director of pixelache, whom we know from transmediale 2009, when he was part of the jury.
And if you wanna attend in next years festival > don´t forget to apply to their call for proposals. deadline 15.4.2010
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