First of 6 articles as part of the Piratbyrån and Friends exhibition at Furtherfield. Mariana Delgado Coordinator of El Proyecto Sonidero (Mexico), writes about the Polymarchs posters (1980-1990) by Jaime Ruelas. Translation by Tess Wheelwright.
Resonate, the Belgrade, Serbia digital arts and design festival, now in its third year unfolds over a long week at the start of April. Its central tenet is to bring together “artists, designers and educators to participate in a forward-looking debate on the position of technology in art and culture.” It is also an emerging and challenging festival that raises many more questions than it answers.
Chris Lanier interviews new media artist Joseph DeLappe about his retrospective exhibition "Social Tactics" at the Fresno Art Museum, and his Drone Memorial project at Fresno State University, a construction of a to-scale sculptural reproduction of an MQ1 Predator Drone on the campus coordinated by DeLappe, executed by students and volunteers.
Annet Decker interviews Jonas Lund whose practice revolves around the mechanisms that constitute contemporary art production, its market & the established 'art worlds'. Using a wide variety of media, combining software-based works with performance, installation, video, photography & sculptures, he produces works that have an underlying foundation in writing code.
Raquel Rennó writes about the Festival Cultura Digital, which took place in Rio de Janeiro, Brazil - between the 2nd and the 4th of December 2011. It gathered 6 thousand people in about 20 open discussions, 20 workshops and 52 international and national projects, bringing together political institutions, artists, companies, activists and intellectuals in a hybrid format. The main goal was to change and broaden the limits of digital practices and connect to other people and networks from other cities, states and countries.
In this essay Ruth Catlow and Marc Garrett set out to show how the collaborative networked practices of the DIWO (Do It With Others) series of Email Art and co-curation projects (since 2007) underpinned the development of a series of projects, exhibitions and interventions that formed Furtherfield's Media Art Ecologies programme (since 2009) to explore what form an ecological art might take in the network age.
Based on an interview with the Critical Glitch Artware Category organizers and contenders of http://www.demoparty.us/: jonCates, James Connolly, Eric Oja Pellegrino, Jon.Satrom, Nick Briz, Jake Elliott, Mark Beasley, Tamas kemenczy and Melissa Barron.
Furtherfield recently received a hard copy of The Telekommunist Manifesto in the post, written by Dmytri Kleiner. After reading the Manifesto it was obvious that it was pushing the debate further regarding networked, commons-based and collaborative endevours. Marc Garrett interviews Dmytri about the Manifesto, its concepts and other projects created by the Telekommunist Collective.
The interface is the boundary across which information is exchanged, causing a transformation in one or both sides of that boundary. The artists in this exhibition, critical practitioners in art and technology, lift the veil on contemporary interfaces; setting out alternative routes, aesthetic visions and disruptive behaviours.
Ivan Puig and Andrés Padilla Domene (Los Ferronautas) built their striking silver road-rail SEFT-1 vehicle to explore the abandoned passenger railways of Mexico and Ecuador, capturing their journeys in videos, photographs and collected objects. In their first London exhibition, commissioned by The Arts Catalyst and presented in partnership with Furtherfield, the artists explore how the ideology of progress is imprinted onto historic landscapes and reflect on the two poles of the social experience of technology - use and obsolescence.
Arebyte gallery is happy to present ‘Next Brave New World’, an exhibition featuring a selectionof projects from graduates of the Royal College of Art which engage with the cultural and socialimpacts...
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