Attend online in Zoom. Full information and link to attend: https://nownetarts.org/series
April 26, 2020 at 3:00pm-11:00pmEDT
Admission by donation
OptoSonic [UnLock] (BYOTea), a collaboration with NowNet Arts and Parrish Art Museum, is a community collaborative, audio-visual live improvisation network event featuring 70 live visual and live audio artists from around the world coming together over several time zones. Over the course of the 8 hours of the non-stop performance different clusters of several participating video/film and music/sound artists will perform simultaneously.
The event will take place on Zoom on the viewer’s computer screen. Visual and sonic performers will inhabit the digital environment with a wide variety of techniques, materials and instruments: from celluloid film and slides, lights, video software, puppet-like interventions with objects, movement, to audio synthesizers, laptop programs, electronic devices, acoustic instruments, and vocal approaches.
OptoSonic Tea: Katherine Liberovskaya and Ursula Scherrer
NowNet Arts: Sarah Weaver
Parrish Art Museum: Corinne Erni, Senior Curator of ArtsReach and Special Projects
Artists: Ximena Alarcon, Robert Appleton, Miah Artola, Alain Baumann, Kjell Bjorgeengen, Brian Chase, CHiKA, Yoshiko Chuma, Brandon Collwes, Michael Delia, Alexandra Dementieva, Antonio Della Marina, R. Luke DuBois, Michael Egger, Jorgen van Eijk, Bradley Eros, David First, Kit J. Fitzgerald, Asi Föcker, Lea Frohlicher, Richard Garet, Simon Grab, Andy Guhl, Glen Hall, Shelley Hirsch, Chris Jordan, Flo Kaufmann, Scott Kiernan, Carole Kim, John King, Floy Krouchi, Katherine Liberovskaya, David Linton, Jeanne Liotta, Lore Lixenberg, Luis Macias, Geoff Matters, Kenta Nagai, Dafna Naphtali, Andrew Neumann, Daniel Neumann, Phill Niblock, Nao Nishihara, Matthew Ostrowski, Marie Helene Parant, Andrea Parkins, Juan Parra, Anna Pasztor, Kurt Ralske, Bradford Reed, Scarlet Rivera, Diane Roblin, Rosa Sanchez, Ursula Scherrer, Peter Shapiro, Joseph Sledgianowski, Lisa Sokolov, Jacob Sokolov-Gonzalez, Hans Tammen, Laurenz Theinert, Keiko Uenishi, Silvia Villaba, Jane Wang, Beth Warshafsky, Sarah Weaver, Anne Wellmer, Sofy Yuditskaya, Mia Zabelka, Alessandra Zucchi.
We’re thrilled to announce Ellen Pearlman, who previously participated in CYFEST and led workshops with CYLAND MediaArtLab, was chosen among five other artists to participate in American Arts Incubator 2020.
American Arts Incubator 2020 artists: Rashin Fahandej, Santiago X, Wendy Levy, Lori Hepner, Gabriel Kaprielian, Ellen Pearlman.
These American artists will act as cultural envoys, using artistic collaboration to foster new relationships built upon common social values and the collective exploration of difference. They will travel abroad to collaborate with local communities in each exchange country during a month-long incubator, transferring skills in art, technology, and entrepreneurship. Through digital and new media art workshops, they will facilitate dialogue and explorations of a locally relevant social challenge. AAI provides small grants to participants who break into teams to prototype creative projects applying workshop skills to the challenge, and each exchange culminates in an open house that showcases the prototypes and solicits public feedback.
American Arts Incubator (AAI) is an international new media and digital arts exchange program developed by ZERO1 in partnership with the U.S. Department of State’s Bureau of Educational and Cultural Affairs. AAI was created to support the collaboration of American artists and creative communities abroad to create impactful, community-driven public art projects that address local social and environmental challenges.
Danielle Siembieda, Director of the International Society for the Arts, Sciences and Technology Leonardo (Leonardo/ISAST), writes in the Leonardo journal’s blog about the CYFEST-12 exhibition in Venice.
ID. ART:TECH EXHIBITION is dedicated to the ID as a phenomenon with wide scatter of meanings – from the term in psychoanalysis (id) to the document that certifies one’s identity (ID). We are interested in what ID represents in the world of people and things, what new meanings come to life when they interact and what this leads to.
From May 10 to June 28, 2019, in the space Ca’ Foscari Zattere Cultural Flow Zone in Venice, there was a show of works by the contemporary authors from Russia, Italy, Great Britain, USA, Belgium, France, Norway as well as artworks by the classics of the 20th century. Among the exhibit’s participants are the New York underground guru of sound art and renowned minimalist composer Phill Niblock, Russian artist Andrey Bartenev, artist and curator of the Central Asia Pavilion at the 55th Venetian Biennale Ayatgali Tuleubek, St. Petersburg artist, curator, winner of Sergei Kuryokhin Award and Innovation Prize Peter Belyi, distinguished Russian artist and founder of sots art Erik Bulatov and others.
Read the full story at https://www.leonardo.info/blog/2019/05/14/id-exhibition-at-la-biennale-di-venezia
Congrats to Vladimir Rannev who received the Golden Mask Award for his opera PROSE at the Stanislavsky Electrotheatre. The Awards Ceremony was held on 16 April at the Bolshoi Theatre, Historic Stage in Moscow.
The Golden Mask is a National Theatre Award established in 1993 for productions in all genres of theatre art: drama, opera, ballet, modern dance, operetta, musical, and puppet theatre. Golden Mask is also an all-Russian Performing Arts Festival that takes place in Moscow in the spring of each year, presenting the most significant performances from all over Russia.
Vladimir Rannev, who previously participated in CYFEST’s WE’LL HAVE ANOTHER CHANCE exhibition project, will present his recent work at an upcoming CYFEST-12:ID exhibition in Venice.
Recently published Digital Icons Issue 19 includes a comprehensive interview with CYLAND MediaArtLab founder Anna Frants along with CYLAND artists and curators Ludmila Belova, Alexandra Dementieva, Victoria Ilyushkina and Elena Gubanova. Titled “Women and Tech in the Post-socialist Context: Intelligence, Creativity, Transgression”, the interview is based on CYLAND MediaArtLab role in developing new media art scene in St. Petersburg, Russia.
New media art is an extensive concept, which unites a number of different art forms made with the help of media technologies such as digital art, computer graphics, computer animation, virtual art, internet art, interactive art, video games, computer robotics, 3D printing, cyborg art and art as biotechnology. Media art has existed in Russia for more than twenty years and female artists were the core developers of media art in St. Petersburg. Taking the CYLAND media art laboratory as its vantage point, this interview with five artists aims to give an account of the history, key works, exhibitions and ideas in St. Petersburg media art. The artists participating in this interview are Anna Frants, Ludmila Belova, Alexandra Dementieva, Victoria Ilyushkina and Elena Gubanova. They all have exhibited their works extensively both in Russia and abroad and contributed significantly to the development of Russian media art and CYLAND’s development as one of the leading media art institutions in Russia.
Full interview can be accessed from the Digital Icons website.
Digital Icons: Studies in Russian, Eurasian and Central European New Media (Digital Icons) is an online publication that appears twice a year. The journal is a multi-media platform that explores new media as a variety of information flows, varied communication systems and networked communities. The main goal of the journal is to disseminate research on new media in the region across global communities of scholars, media practitioners and the general public.
SCREEN SERIES, a selection of Virginia Lee Montgomery’s surreal videos currently screen throughout the New Museum’s lobby through March 3rd, 2019. Additional information is available online alongside Curatorial Assistant Kate Wiener’s beautiful, short text on the videos.
Working across video, sculpture, and performance, Virginia Lee Montgomery interrogates the relationship between physical and psychic structures and the uncanny materiality of lived experience.
Meanwhile, every night at midnight for the month of February, HONEY MOON will play simultaneously across the many screens of Times Square. Both SCREENS SERIES and HONEY MOON coincide with the ongoing exhibition of Montgomery’s work in The Socrates Annual curated by Director of Exhibitions, Jess Wilcox, at New York City’s Socrates Sculpture Park on view through March 24th, 2019.
Happy Holidays and New Year from the CYLAND MediaArtLab team! See you in 2019!
This Thursday, December 6th, students of the Pratt Institute visited the Made in NY Media Center where CYLAND MediaArtLab is preparing CYFEST-12 premiere.
For CYFEST, Pratt Digital Arts MFA students made a special video installation project curated by Carla Gannis. Designed to explore the genetic and memetic evolution, devolution, and re-evolution of the human consciousness. These topics, represented by three interconnecting 45-second animated loops, combine to tell a story about our collective personhood.
CYFEST-12: ID premieres December 13th at the renowned Made in NY Media Center BY IFP. The inaugural event will set in motion it’s year-long, multi-city festival; geared towards exhibiting new media work which explores the dynamics of identity in our ever-expanding digital culture; focusing on levels of tech:intimacy, self augmentation, identity health, and technological personas at large.
For more information on CYFEST-12 please visit this page.
Weather as Medium: Toward a Meteorological Art, a recent book by Janine Randerson, includes mentions of the CYFEST’s Weather Forecast: Digital Cloudiness theme as well as Weather Station 1, Atmospheric Acoustic Transducer, an artwork by Alexey Grachev produced by CYLAND MediaArtLab.
Published by The MIT Press in their Leonardo series, the book is an exploration of artworks that use weather or atmosphere as the primary medium, creating new coalitions of collective engagement with the climate crisis.
In a time of climate crisis, a growing number of artists use weather or atmosphere as an artistic medium, collaborating with scientists, local communities, and climate activists. Their work mediates scientific modes of knowing and experiential knowledge of weather, probing collective anxieties and raising urgent ecological questions, oscillating between the “big picture systems view” and a ground-based perspective. In this book, Janine Randerson explores a series of meteorological art projects from the 1960s to the present that draw on sources ranging from dynamic, technological, and physical systems to indigenous cosmology.
Randerson finds a precursor to today’s meteorological art in 1960s artworks that were weather-driven and infused with the new sciences of chaos and indeterminacy, and she examines work from this period by artists including Hans Haacke, Fujiko Nakaya, and Aotearoa-New Zealand kinetic sculptor Len Lye. She looks at live experiences of weather in art, in particular Fluxus performance and contemporary art that makes use of meteorological data streams and software. She describes the use of meteorological instruments, including remote satellite sensors, to create affective atmospheres; online projects and participatory performances that create a new form of “social meteorology”; works that respond directly to climate change, many from the Global South; artist-activists who engage with the earth’s diminishing cryosphere; and a speculative art in the form of quasi-scientific experiments. Art’s current eddies of activity around the weather, Randerson writes, perturb the scientific hold on facts and offer questions of value in their place.
Janine Randerson is a media artist and curator and Senior Lecturer in the School of Art and Design at Auckland University of Technology.
For more information on the book, visit https://mitpress.mit.edu/books/weather-medium.
CYLAND MediaArtLab artist Alexandra Dementieva shares her report from the Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 exhibition, now on display at the Whitney Museum of American Art.
Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 establishes connections between works of art based on instructions, spanning over fifty years of conceptual, video, and computational art. The pieces in the exhibition are all “programmed” using instructions, sets of rules, and code, but they also address the use of programming in their creation. The exhibition links two strands of artistic exploration: the first examines the program as instructions, rules, and algorithms with a focus on conceptual art practices and their emphasis on ideas as the driving force behind the art; the second strand engages with the use of instructions and algorithms to manipulate the TV program, its apparatus, and signals or image sequences. Featuring works drawn from the Whitney’s collection, Programmed looks back at predecessors of computational art and shows how the ideas addressed in those earlier works have evolved in contemporary artistic practices. At a time when our world is increasingly driven by automated systems, Programmed traces how rules and instructions in art have both responded to and been shaped by technologies, resulting in profound changes to our image culture.
The exhibition is organized by Christiane Paul, Adjunct Curator of Digital Art, and Carol Mancusi-Ungaro, Melva Bucksbaum Associate Director for Conservation and Research, with Clémence White, curatorial assistant.
Explore the exhibition yourself here.
This August, Times Square Arts, the largest public platform for innovative contemporary performance and visual arts, features a vivid work by Carla Gannis. Presented by the Times Square Advertising Coalition, Times Square Arts, Streaming Museum and Harvestworks, Portraits in Landscape is a video animation that exemplifies her signature process of remixing historical artworks with contemporary forms of communication, taking smartphone and selfie culture to the extreme. It depicts two separate figures in a twinkling landscape, each immersed in their smart phones and occasionally snapping photos.
The piece is inspired by the sixteenth-century mannerist painter Giuseppe Arcimboldo, noted for his proto-surrealist portraits composited from images of animals, vegetables, flowers and books. Rather than static, organic objects, Gannis uses thousands of her own digitally painted emoji to compose her images. The work speaks to the hyper-real condition of inhabiting virtual and physical landscapes simultaneously, and its characters may seem uncannily familiar to viewers in Times Square.
“Portraits in Landscape, a single-channel video from my “After Arcimboldo” series, is a continuation of my focus on combining eccentric art-historical references with visual smartphone language. Through this process I reflect on the constructions and perceptions of identity in contemporary culture. Unlike the subjects of Arcimboldo’s paintings, the portraits in this series are not of aristocrats and wealthy patrons. Instead they began as 3D models, the avatars of our age, that I digitally shaped into selfie poses. I then overlaid the models with hundreds of emoji, similar to Arcimboldo’s process of using everyday objects to sculpt uncanny human likenesses. Bringing the portraits to life in a hyper landscape teeming with “digital nature” expresses my fascination with how virtual and physical embodiments intersect in our networked communication age.” —Carla Gannis
Carla Gannis | Portraits in Landscape
August 1, 2018 – August 31, 2018
1560 BROADWAY, SUITE 1001, NEW YORK, NY10036
Every night from 11:57 – midnight