CYLAND’s Alexandra Dementieva Reports from the Whitney Museum of American Art

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.

Carla Gannis’ Video Work Presented in Times Square in NYC

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 HarvestworksPortraits 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

The 2018 Lumen Prize Longlist Features Two CYFEST Projects

The Lumen Prize’s 7th Call for Entries attracted entries from artists from 48 countries globally. The International Selectors Committee considered nearly 700 submitted artworks, by category, and picked this year’s longlist of 60 works, published here.

CYLAND MediaArtLab is pleased to see two of the recent CYFEST projects — William Latham’s Mutator VR and Kseniia Galkina’s Holo Sapiens — entering the longlist in their respective categories.

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Holo Sapiens project presentation during the 11th CYFEST, St. Petersrburg, 2018

Our team wishes best of luck to both of the projects and looks forward to the further announcements. Finalists will be announced on September 1. Winners will be revealed on September 27th at the Frontline Club in London and live on Facebook.

And while the jury panel works on selecting the shortlist — which will be announced on September 1st — it’s now up to you to find a People’s Choice winner from one of these 60 works. Explore the projects and pick your favourites at the Lumen Prize website.

CYLAND’s Alexandra Dementieva Reports from the 14th Athens Digital Arts Festival

CYLAND MediaArtLab artist Alexandra Dementieva shares her report from the 14th Athens Digital Arts Festival. The latest festival edition took place May 24-27, 2018 at the Megaron Concert Hall exploring the unknown future of the upcoming Technological Apocalypse through art, science and technology under the theme “SINGULARITY NOW”.

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Event Horizon is the conceivable surface of a black hole, a place where gravity curves space-time so much, there is no escape, not even by light itself. Its core is the singularity, a zero point, where space and time are discontinued and is unknown what exactly happens further. A wormhole? Termination of everything? A new universe through a white hole?

When something enters the event horizon, all physics laws get distorted, while gravity becomes such, that inevitably reaches singularity and from there on…

For more information visit http://2018.adaf.gr/.

The 2018 Lumen Prize, an International Open Call for Artists Engaged with Digital Technology

2018 Lumen Prize

Now welcoming submissions, The Lumen Prize is an international award that celebrates artists working with digital technology.

Deadline: June 1, 2018

ENTER THE PRIZE

Open to emerging and established artists working with technology and digital media, the competition offers a prize fund of $11,000, plus shortlisted and winning artists will have their works included in Lumen’s annual programme of exhibitions and events around the world.

Now in its 7th year, The Lumen Prize has already awarded over $50,000 in prize money and has staged over 40 exhibitions worldwide, in cities including London, New York, St Petersburg, Shanghai, Amsterdam and Athens.

The 2018 prizes are:

  • Gold Award ($4000)
  • Moving Image ($1000)
  • Still Image ($1000)
  • AR/VR ($1000)
  • 3D/Interactive($1000)
  • Founder’s Award ($1000)
  • The BCS Artificial Intelligence Award ($1000)
  • Meural Student Prize ($500)
  • People’s Choice Award ($500)

The 2018 Jury Panel includes:

  • Carla Gannis, Professor of Digital Arts, Pratt Institute, New York, Winner of the 2016 Lumen Prize Founder’s Award
  • Bruce Wands, Chair Emeritus, School of Visual Arts, New York
  • Fei Jun, Head of Media Lab at China’s Central Academy of Fine Arts
  • Irini Papadimitriou, Digital Programmes manager, Victoria & Albert Museum, London
  • Foteini Aravani, Digital Curator, Museum of London

The closing date for entries is 1 June 2018 at 11:59 GMT. The winner will be announced on September 27th at the Lumen Prize Winners’ Gala in London.

Shortlisted artists and recipients of The Lumen Prize from other years have gone on to achieve success around the world. Carla Gannis, 2016 Founder’s Award winner and 2018 Jury Panel member, has recently been commissioned by the Whitney Museum of Art for the net art project Sunrise/Sunset; Rachel Ara, shortlisted for the 2016 Still Image Award, has begun a residency at London’s Victoria & Albert Museum and Alexandra Handal’s web-based Dream Homes Property Consultants, winner of the 2014 People’s Choice Gold Award, has been acquired by the Museum of Contemporary Art, Denmark.

Key information:

  • Administration fee of US$47.50 for two works and US$23.75 for each additional work. Fees go directly to the prize fund and associated exhibitions
  • You must select a category to enter from: Still, Moving Image, AR/VR, 3D/Interactive and the BCS AI award
  • The Student Prize is only valid for still and moving image. To enter the Student Prize contact: info@lumenprize.com
  • Digitised versions of traditional artworks will not be accepted
  • Deadline for submissions is June 1 2018 For more information visit www.lumenprize.com or contact info@lumenprize.com

The Zooetics+ Symposium Commences at MIT ACT

The Zooetics+ Symposium commences Friday, April 27, 2018 with the sessions “What Does Ecosystemic Thinking Mean Today” and “Knowledge Production Through Making and Living with Other Species,” discussing the habits of thought associated with cybernetics and the transition towards new thinking, inspired by sympoietics. The day will be finalized with a session speculating on what non-human imagination could look like in the session “The Radical Imagination: Toward Overcoming the Human.”

On Saturday, April 28, the program will explore further devices for ecosystemic thinking, discussing relevant artistic methods and practices in the panel “Artistic Intelligence, Speculation, Prototypes, Fiction.” “Creating Indigenous Futures” will be explored through bringing Indigenous values together with science and technology. The need for other, alternative vantage points—of species, of time, of traditions, of beings will be addressed in the session “Futures of Symbiotic Assemblages: Multi-naturalism, Monoculture Resistance and “The Permanent Decolonization of Thought.”

The symposium will conclude with a roundtable and launch of a new artistic research program “Sympoiesis: New Research, New Pedagogy, and New Publishing in Radical Inter-disciplinarity.”

Zooetics+ will be accompanied by a program of performances and installations by Juan Pérez Agirregoikoa, Allora and Calzadilla, Rasa Smite and Raitis Smits, Rikke Luther and NODE Berlin/Oslo.

Zooetics+ is part of ACT’s program recognizing the 50th anniversary of the founding of the renowned Center for Advanced Visual Studies, a predecessor to ACT.

Online registration closes at midnight EST on April 24. Onsite registration will be available throughout the Symposium. Hurry up to reserve your seat!

For detailed schedule and description of program sessions follow the link here.

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The Zooetics+ Symposium at MIT is co-produced by Jutempus Interdisciplinary Art Program and MIT Program in Art, Culture & Technology (ACT). Co-presented by the MIT Center for Art, Science & Technology (CAST), and sponsored, in addition, by the Office of the Dean of the School of Architecture + Planning, MIT.

CYLAND’s Alexandra Dementieva Reports from The Recent New Media Art Exhibitions in Paris

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?

For more information on “The Invention of Morel” visit http://www.mal217.org/ and for “Artistes and Robots” – https://www.grandpalais.fr/en/event/artistes-robots.

Lumen Prize Call for Entries Now Open with a $11K Prize Fund

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.

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Hyperplanes of Simultaneity by Fabio Giampietro (Italy) at the 11th CYFEST, St. Petersburg, 2018

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.

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Anna Frants Reports from Future Mind International Symposium in London

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
  • Future Mind

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.

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For more information on Future Mind International Symposium, please visit: http://at.kokoro.kyoto-u.ac.jp/program

Microsoft Creates a Physical Programming Language for Teaching Computing to Visually Impaired Children

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.

Microsoft Project Torino

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.

Learn more about Project Torino at https://aka.ms/torinobeta.

Studio International Publishes Interview with Alexandra Dementieva

Studio International publishes an interview between Natasha Kurchanova and Alexandra Dementieva. The interview covers Dementieva’s recent exhibition “10 Installations” at the MMOMA, produced by CYLAND MediaArtLab.

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.

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Alexandra Dementieva’s “Ten Installations”, the Moscow Museum of Modern Art. Photography by Eugeniy Gurko

Read the interview: http://www.studiointernational.com/index.php/alexandra-dementieva-interview-10-installations-moscow-museum-of-contemporary-art

More information on Alexandra Dementieva’s “10 Installations” exhibition: http://cyland.org/lab/cyland-opens-the-exhibition-of-alexandra-dementieva-s-installations-at-the-mmoma/

Anna Frants Reports from Fred Forest’s Exhibition at Centre Pompidou, Paris

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:

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Fred Forest with Bernard Blistène, Director of the Department of Cultural Development at the Centre Pompidou
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Fred Forest with Anna Frants and Alexandra Dementieva

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

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