CYLAND MediaArtLab artist Alexandra Dementieva shares her reports from the recent exhibition she had visited in Paris, France. Both exhibitions explore an immersive and interactive digital world – an augmented body sensory experience that subverts our notions of space and time. The exhibition “La invención de Morel” (“The Invention of Morel”) at Maison de l’Amérique latine à Paris is named after a celebrated novel by Argentine writer Adolfo Bioy Casares depicting a strange invention capable of recording human lives and later – inhabiting these recordings. Despite being written in 1940, “The Invention of Morel” serves as a poetic explanation of our current technologies revolutionising human lives and even the conditions in which artworks are produced, presented, disseminated, conserved and received.
“Artistes and Robots” at the Grand Palais is an opportunity to experience works of art produced with the help of increasingly sophisticated robots. Featuring works by some forty artists, it offers a gateway to an immersive and interactive digital world – an augmented body sensory experience that subverts our notions of space and time.
This selection of works explores the questions raised by artists, which are also questions we ask ourselves : What can a robot do that an artist cannot? If it has an artificial intelligence, does a robot have an imagination? Who decides: the artist, the engineer, the robot, the spectators or everyone together? What is a work of art? Should we fear robots? Artists? Artist-robots?
The Lumen Prize for Digital Art celebrates the very best art created with technology through a global competition, exhibitions and events worldwide. A not-for-profit based in Wales, UK, Lumen’s annual juried competition draws entries from artists globally and has given away more than US$50,000 in prize money since its launch in 2012.
For 2018, The Lumen Prize partnered with CYLAND MediaArtLab to exhibit in St. Petersburg 2016 Lumen Prize Gold Award winner Hyperplanes of Simultaneity by Fabio Giampietro and Alessio de Vecchi and the 2017 Founders Award, Slide to Expose by by Nicole Ruggiero, Molly Soda, and Refrakt alongside a showreel of selected moving image works.
The call for entries for the seventh Lumen Prize, with a prize fund of $11K, is now open. Details of the awards and the judging process are available here.
After speaking at the Digitally Engaged Learning Conference, Anna Frants attends Future Mind International Symposium in London. Co-organized by Kyoto University & Goldsmiths University of London, the symposium gathers artists and scientists to discuss art and technology in the future.
Future Mind International Symposium takes place on September 18 at the Stuart Hall Building, Goldsmith, University of London. It covers the themes of art, science, future technology, VR and psychology, with sessions on:
Art of Future, Future City and Looking for Japan
Communication of the Future, Vision and Mind
VR Art and Imaging of the Future
AI, Art Critic of the Future
It’s worth mentioning that opening remarks and a session on VR art is given by artist and professor William Latham, who presented one of his mesmerising works Mutator VR at CYFEST10 and HYBRIS exhibitions organised by CYLAND MediaArtLab.
Project Torino is a research project from Microsoft Research Cambridge. Researchers have designed a physical programming language and scheme of work (lessons) for teaching the primary school computing curriculum to learners regardless of their level of vision.
Learners put together pods to create code that plays music, stories, or poetry. An accompanying app provides a self-directed scheme of work that learners can work through under adult supervision. Learners are gradually introduced to reading or listening to their code in a textual form to support transition to coding in secondary school.
This scheme of work includes concept introduction, a range of activities, and challenges, and ways to assess knowledge and understanding. It covers all of the major concepts in the primary computing curriculum, including: sequences, repetition, selection, variables, (and threads). In addition to these basic coding concepts, it also provides a number of challenges to push computational thinking. Not least, it encourages creative play with computation. The scheme of work is accompanied by a set of tutorials and a teacher resource guide.
Given the high demand, Microsoft Research Cambridge is considering to run the Project Torino Beta in both the autumn and winter terms of the school year (2017 – 2018) in the UK.
In this interview, Alexandra Dementieva shares her thoughts on the purpose of art and technologies, her inspirations and the use of technologies to engage an audience. Her interactive installation projects attempt to widen the mind’s potential for perception using different production materials: computers, video projections, soundtracks, slides, photography, etc. The projects explore the spectator’s depths of perceptual experience and the interaction of the individual spectator with the exhibition as well as with other visitors. The subject of an installation or its production method becomes less important to her than the mind of the user. Thus the latter becomes the center of the project or the main actor in the performance.
Anna Frants shares her report of the recently visited exhibition devoted to Fred Forest at Centre Pompidou, Paris. Fred Forest, a French new media artist, is especially dear to us as an ever-inspiring CYFEST (CYBERFEST) participant. View the report below:
Fred Forest is “media-man” and pioneer of a participatory, sociological art based on the use of modern and contemporary tools of communication takes up the notion of “territory” to organise a survey of his work as a whole. It is modelled on the narrative of his Territoire du m² artistique, created in 1977 – the same year as the Centre Pompidou – which follows the artist’s trajectory from his screen-paintings and other spaces to be filled in to his media-critical actions-performances on territories both local and planetary. Inhabiting a space between the real and the imaginary, the exhibition presents for the first time a selection of archive documents and previously unseen works, offering visitors an opportunity to discover or find out more about the career of this self-taught artist, pursued outside the institutions – 40 years of agitation and commitment!
Visit the exhibition
12 July 2017 – 28 August 2017
from 11 a.m. to 9 p.m.
Forum -1 – Centre Pompidou, Paris
Transmission Video Art Festival invites competition entries from around the world on the theme“We Are All in this Together – A Road Map Through a Post-Truth Art World”.
Does art have anything to contribute to the post-truth, post-democracy world? Is it the time forus to start producing noise, politicizing aesthetic practices or just turn full-time towards political activism? In the era of post-truth politics, alternative facts and fake news campaigns undermining ourdemocracies, we would like to invite experimental film makers and video artists to take a standin the overwhelming ethical ambiguity of our time.
The competition is open to all forms of moving image-based artworks on a single-screen. Entries selected by our international jury of experts will be screened during the TransmissionVideo Art Festival taking place simultaneously in Karlsruhe (DE), Warsaw (PL) and Kassel (DE). You will find a short description of our event and its concept online under www.transmission-festival.eu.
Art Fair Suomi is a unique meeting place for the public, artists and art professionals. It is an international contemporary-art Festival with a sales exhibition of contemporary art and various visual-art events: discussions, screenings, and more.
See the report from the art fair and the exhibition below:
Etude 1 along with the recently recovered TV Clock willdebut in the exhibition Watch This! Revelations in Media Art, whichopens at the Smithsonian American Art Museum April 24 and runs throughSeptember 7, 2015. The show includes works by Cory Arcangel, Hans Breder, Takeshi Murata, Bruce Nauman and Bill Viola, among dozens of others, and will include 16 mm films, computer-driven cinema, closed-circuit installations, digital animation and video games.
April 1, Tessart, a new exhibition place for art and technology, opened in St. Petersburg. Located on Karavannaya ulitsa 1, at the city centre, it will focus on promoting emerging artists working with interactive and immersive technologies. See the report from the opening below by CYLAND’s Anton Khlabov.
CYLAND MediaArtLab artist Alexandra Dementieva shares her video report from Iconomania exhibition that has recently opened at MAIF SOCIAL CLUB in Paris, France. This report is available below:
The exhibition questions the place and the treatment of the image in our contemporary society. It features 18 new media artists curated by Florence Guionneau-Joie. More information at https://www.maifsocialclub.fr.
Iconomania on display at MAIF SOCIAL CLUB in Paris until March 31, 2017.
Belgrade-based New Media festival Resonate has announced this year’s workshops. Intensive workshops (three days) will start before official opening of the festival, on Monday 17th April and will continue through Wednesday, 19th April. Moderatos and curators of these workshops are Gene Kogan + Andreas Refsgaard, Mimi Onuoha + Surya Mattu, Owen Hindley + David Li + Yuli Levtov i Cedric Flazinski + Julien Gachadoat (N O R M A L S).
Two-days workshops will be placed in main Resonate daily venue – Yugoslav Film Archive aka Kinoteka on Friday 21st and Saturday 22nd April, curated by AGF aka Antye Greie, Max Stadler, Joana Moll, Ruairi Glynn, Lubica Drangova and Matej Fandl and Jonas Gruska. Kinoteka is also place for one-day workshops, on Thursday 20thApril, with curators Daniel Temkin, Nick Ward + Paul Stapleton, Martin Schneider, Benjamin Gaulon, Kate Siicho, Pussykrew (Tikul and mi$ gogo) and Mateusz Marpi.