Author: eccentric

Presentazione del libro Duchamp Meets Turing: Arte, modernismo, postumano presso Walden Milano, martedì 19 giugno, ore 18.30

Presentazione del libro
Duchamp Meets Turing: Arte, modernismo, postumano.

Martedì 19 giugno, ore 18.30

Walden Milano
via Vetere 14
20123 Milano

 

L’autrice Gabriela Galati e il curatore Maurizio Bortolotti dialogheranno sul libro, in particolare sui tanti punti di convergenza ma anche di mutua divergenza tra il mondo dell’arte così detta mainstream e l’arte new media, quello che molte volte è stato definito come “digital divide”.

Nel suo libro How We Became Posthuman, Katherine Hayles analizza il processo attraverso il quale la concezione del soggetto umanista liberale ha lasciato posto a quella di un soggetto postumano, un soggetto che vive in completa simbiosi con il digitale. Questo processo non è stato innocuo: ha reso pervasiva la (fallace) percezione che l’informazione potrebbe fare a meno della materia all’interno di molti campi del sapere, un processo che Hayles sostiene abbia avuto origine nelle Macy Conferences e nell’evoluzione della teoria cibernetica. Questa riflessione identifica un processo analogo all’interno della teoria dell’arte: quando Clement Greenberg ha delineato i concetti di otticità e colour field come le caratteristiche principali che “definiscono” la pittura modernista, li ha concepiti in un soggetto puramente disincarnato. In questo contesto, si propone di considerare che il vero superamento del modernismo avviene con il postumano, ponendo le sue origini in Marcel Duchamp e nella sua invenzione del ready-made, e non nel postmodernismo, la cui consistenza teorica, almeno per quanto riguarda il campo dell’arte, sarà messa in discussione nel presente lavoro. Un primo obiettivo sarà quello di unificare i concetti e le teorie principali del campo dell’arte con quelle della cibernetica per riunificare “ Turing land” e “Duchamp land”.

Maurizio Bortolotti è un curatore che ha lavorato in Cina, Corea del Sud e India.
Ha curato la mostra Ai Weiwei. Disposition alla Biennale di Venezia nel 2013 e nel 2015-16 è stato direttore del “Research and Public Program” presso l’Himalayas Museum di Shanghai.

Gabriela Galati è docente di Teoria e Metodologia dei Mass Media  e di Media Art Theory presso NABA, Nuova Accademia di Belle Arti Milano. Scrive recensioni su libri per Leonardo Reviews / Leonardo Journal-MIT Press, e collabora con Noema e AdVersus. Fondatrice di ECCENTRIC Art & Research, dopo un’esperienza quindicennale come direttrice di galleria e curatrice, prima a Buenos Aires, sua città natale, poi a New York e Milano, è attualmente direttrice della galleria d’arte contemporanea aA29 Project Room di Milano e Caserta.

L’installazione di Camilla Alberti De L’esprit Des Lois presso Walden Milano.

Camilla Alberti, De L’esprit Des Lois, 2018. Veduta dell’installazione presso Walden Milano.

Camilla Alberti, De L’esprit Des Lois, 2018.

Il progetto analizza la dimensione relazionale che s’instaura in un habitat tra due organismi differenti.

Lo spazio di Walden è regolato dalla convivenza stretta di umani e piante. I primi dominano lo spazio del café con il loro passaggio, mentre le piante lo abitano e attraverso questo loro risiedere modificano il luogo agendo direttamente sulla composizione dell’aria. Le piante, pertanto, conquistano l’habitat nella sfera dell’invisibile.
De L’esprit Des Lois crea una struttura composta da due basi scultoree che collegano le piante all’interno dello spazio permettendo loro di seguire il proprio sviluppo.
La definizione di un nuovo Habitat instaura una forma di coesistenza alla pari per entrambe le specie e ogni modificazione avviene secondo una concatenazione di leggi definite dalla convivenza stessa.

Il lavoro è presentato nel contesto del progetto NABA Occupy Walden

a cura di Leonardo Caffo
con gli studenti di Studi Curatoriali della NABA Nuova Accademia di Belle Arti
coordinamento grafico Chiara Onestini
Sponsor Waiting Posthuman Studio, BRUMI
coordinamento progetti Clarissa Greta Gibella
dall’8 giugno al 30 luglio 2018
più di 40 progetti tra installazioni, eventi, talk, arte, design
party 22 giugno dalle ore 20

 

Walden Milano
via Vetere 14
20123 Milano
Per maggiori informazioni su Camilla Alberti si prega di cliccare qui.

 

 

Tomislav Brajnović’s solo exhibition Direct Link at the Museum of Contemporary Art Zagreb will be on view until June 10.

Tomislav Brajnović: Direct Link

MSU Gallery, Thursday, 24th May 2018 at 8:00 pm

Curator of the exhibition: Nataša Ivančević, Deputy Director & Museum Advisor

For Tomislav Brajnović, art is more than the exploration of the form, visual artistic means, production, and presentation of the work of art. The radicalism of the artistic idea is more important to him than the radicalism of the artistic form. His works as well as his worldview are concerned with the issues of ethics, social justice, and are a critical reflection of the times we live in. Art and life are interfused without limitation. His methodology is focused on asking questions, analyzing and criticizing the social moment, the polemics with proponents of opposing views, and the disagreement with generalized answers. The range of his themes spans from social to religious to political to economic controversies, and is present in the works created from the beginnings of his artistic activity in the 1990s to this day.

He easily moves from medium to medium, and uses video, installation, sound, performance, readymade, and other means that best serve to transfer ideas at a specific point in time. More recently, he has been using social networks as a medium of artistic activity, as they provide the possibility to quickly spread information and personal views, as well as to express the opinions of a large number of users. At his first larger solo exhibition in Zagreb, “Direct Link”, he presents installations, documentation, video works, FB comments, and texts taken from the Internet, in which he reveals the social inequality that is reflected in the unequal distribution of wealth, power and influence, in the manipulation and abuse of advanced technology, which becomes a means of controlling free will and possible consequences of such action.

Brajnović takes the concept of Direct Link (Direktna veza) by the Slovenian philosopher Slavoj Žižek for the title of his exhibition. The term implies a direct link between the human brain and digital space. Technology and scientific research bring progress, and the insertion of implants brings health benefits. What is a threat to the loss of autonomy of human thought and action and, ultimately, to freedom, is the possibility of managing the human mind through chip implants and digital links. According to Žižek, for an individual, the possibility of separating from the outside world and the possibility of withdrawal into one’s inner worlds thus disappears, which raises the ultimate question: “Who will control it?” On the other hand, Elon Musk thinks that humans already possess the characteristics of cyborgs, given the connection with digital devices, clouds and space. In the worst scenario, this can lead to the abolition of free will and of the space of freedom, and to the introduction of art censorship at the level of thought and idea. In this exhibition, Brajnović therefore issues a manifesto on the death of the audience as a result of the abolition of the artist, the audience and art.

After MSU, the exhibition will be presented at the Gallery of Fine Arts, Split, albeit on a lesser scale. Curator of the Split exhibition: Jasminka Babić, Senior Curator

Tomislav Brajnović was born in Zagreb in 1965. He completed his first year of studies at the Royal Academy of Art (KABK) in The Hague. He graduated from the Academy of Fine Arts in Zagreb in 1999, where his mentor was Professor Đuro Seder, and completed postgraduate studies in Fine Art at Central Saint Martins College of Art & Design in London in 2003. He works and exhibits intensively both in Croatia and abroad. He is a recipient of several awards, scholarships and recognitions, and has taken part in several residence projects. He teaches New Media, City Mapping, and Recontextualization at the Academy of Applied Arts in Rijeka. Since 2007, he has been running the Studio Golo Brdo Project/Gallery. He is the author of the Supper with the Artist project.

For more information on the exhibition please click here.

For more information on Tomislav Brajnović please click here.

Carlo Gambirasio ha inaugurato la sua personale Bodylights n°1 presso Porto dell’arte

Bodylights n°1 di Carlo Gambirasio

a cura di Irene Angenica

 dal 4 al 6 maggio dalle ore 18 alle 22.

Carlo Gambirasio | Verona 1994 |

 

Il pensiero di Carlo Gambirasio prende origine da un’attenta analisi della cultura visiva nella quale viviamo e pone l’attenzione sull’impossibilità di codificare attraverso un segnale finto, digitale, ogni tipo di rappresentazione sensibile. Il nostro mondo è pieno di immagini analogiche, prodotte attraverso un processo discreto che può essere semplificato ma mai riprodotto in forma identica.

Le sue non sono opere ma dispositivi privi di scopo pratico, strumenti capaci di trasmettere un concetto e di far riflettere sulle modalità di fruizione della realtà. Il suo fare pone domande sulle regole del mondo artificiale, non si abbandona a un futuro ormai programmato ma cerca di insinuarsi nel sistema per comprenderlo e modificarlo.

Carlo Gambirasio svela i trucchi dei signori delle macchine, mostra come le tecnologia sia priva di anima e necessiti di un logos per essere utile e portatrice di senso. Strumenti e macchine sono solo mezzi la cui funzione ultima viene identificata attraverso il termine “Metànthropia”. Coniata dall’artista stesso, la parola vuole evidenziare come esista un’ autoevoluzione artificiale creata dall’uomo, che differisce da quella naturale per metodi e tempi.

Per maggiori informazioni sull’artista si prega di cliccare qui.

Per informazioni sulla mostra si prega di cliccare qui.

 

 

Testo di Marco Roberto Marelli

Ivana Adaime Makac and Camilla Alberti in Questions on the Living / Domande sul vivente, at aA29 Project Room Milano.

Ivana Adaime Makac, The Variation of Animals and Plants under Domestication (2016); Origine des plants cultivées (2018) and L’univers de notre jardin (2018). Different editions of the three books, Savoy cabbage, varnish, pigments, different measures.

 

Ivana Adaime Makac’s and Camilla Alberti’s works will be featured in the exhibition Domande sul vivente / Questions on the Living at aA29 Project Room Milan, from May 30th through July 27th, together with Brandon Ballengée, Tiziana Pers, Muriel Rodolosse, Matilde Sambo and SEEDS.

Domande sul vivente /Questions on the Living is a group exhibition curated by Gabriela Galati that features works by six artists and a creative collective who ask questions about the living with very different points of view and approaches, and even sometimes in contradictory contexts.

The exponential acceleration during the last century in technological developments has inevitably led to questions on the changes in the relationship between humans and technology, and, almost at the same time, on the living as a whole. Many of the researches in this regard have been proposed under the name of posthuman: a “condition” that implies an expansion in the interest towards a more complex and comprehensive vision of contemporaneity; a vision that puts all life forms on the same level taking into consideration also the relationship with the inorganic. In this sense, “living”, one of the most discussed and difficult aspects to be defined by biology, includes human and non-human animals, the vegetal world, and why not, even forms considered semi-living, such as viruses.

The exhibition intends to explore diverse visions, approaches and methodologies regarding the living in the artistic practices it presents. Its intention is not to use living beings as materials, or to create a purely aesthetic experience, but on the contrary, all these artists are interested on the living as a topic of reflection, and often of action, whatever the medium chosen to convey it. In fact some of them, like Camilla Alberti, Tiziana Pers and Muriel Rodolosse use panting, Ivana Adaime Makac and Brandon Ballengée include vegetal elements and animals in their oeuvre, and Matilde Sambo works with video and photography.

A great part of Ivana Adaime Makac’s artistic research focuses on investigating the processes of domestication and dis-domestication of living beings. Particularly, in the works in the show she used Savoy cabbage, a vegetable that was domesticated hundreds of years ago for human consumption, treated in different ways: In the books sculptures, she covered an 1867 edition of Charles Darwin’s The Variation of Animals and Plants under Domestication and Alphonse de Candolle’s Origine des plants cultivées (1998) with layers of cabbage treated with pigments and lacquer. In the installation that belongs to the series Jardin Transformiste, the artist used the cabbage to “dress” a stool, and remaining vegetables from other works and installations to build the garlands. The artist’s interest for life cycles and incomplete shapes is paired in all these works with new forms of domestication and reutilisation of the vegetal element.

Camilla Alberti’s paintings deal with nature as landscape: she isolates some details from a landscape, and recomposes the images creating an abstract background. In this way, the elaboration of nature is doubled: firstly when it is conceptualised as landscape, as it usually is, and a secondly through her artistic elaboration.

Brandon Ballengée is an artist and biologist who has been researching for a long time on terminal deformities in amphibian populations, and from these investigations his artistic series Malamp (1996-ongoing) stemmed. Featured in the show there is one work of his Styx series (2007-ongoing). It consists in a chemically cleared and stained tiny frog lying on an illuminated glass dish. The deformed bodies are very small, and as in the Reliquaries photographs (2001-ongoing), the artist intends to create an emotional bond with the viewer, not to present the animals as monsters. His research also includes finding what generated these deformities, and eventually killed the amphibians: the causes are often pollution of the environment and water.

Tiziana Pers research is focused on biocentrism and antiespeciesism. The painting presented in the show is part of the series Elephant Song (2016), a group of works that initially addressed the extinction of elephants, but that successively the artist extended to other species, in this case, sharks. In particular, she is interested in increasing awareness on an extremely cruel practice usual in some parts of Asia where sharks’ fins are used to make a very popular soup: sharks are caught, its fins cut while they are still alive, and then thrown back to the water, where they slowly bleed to death. Elephant Song_Shark is a call to stop these insane practices, and at the same time, an homage to all animals, like all the artist’s oeuvre is.

Muriel Rodolosse’s back paintings on Plexiglas intend to put into question common human views on nature. In the apparent delicate and dreamy quality of many of her works, a quality possibly accentuated by the milky white background, it is possible to perceive a silent struggle between architectural and natural elements. The idea of a disturbed nature is challenged by also conveying the sense of natural wilderness that predominates on the pictorial surface.

Matilde Sambo’s recent video Fairy Cage (2018) investigates the tension between human fascination with nature, more specifically with other non-human animals, and the also very human need of possessing it/them. The artist slowly unveils each image and each movement, a choice that together with the disturbing audio intensifies the feeling of uneasiness when the viewer understands that each one of the living beings in the piece is a prisoner.

The exhibition is completed with the participation of SEEDS, a collective dedicated to exploring the relations between people and plants. For the exhibition, Giada Seghers, one of SEEDS’ three founders, conceived the installation Up Above and Down Below in which plant cuttings that belonged to different people, and thus have different stories are exhibited. The work aim is twofold: on the one hand, tracing and sharing plants’ movements and stories, on the other hand, in this work the roots, which are usually hidden and untouchable acquire the same importance as the “upper green” part.

SEEDS will also present the performance The Plant Swap on June 23rd, from 4 to 8pm. It will be an event open to the public in which participants exchange plants, plant cuttings and seeds, advices on how to better take care of them, but also their stories (The Plant Story Project). SEEDS has been organising the The Plant Swap event in Bruxelles, Paris and Milan since 2015 as a way of creating a community through these cities grounded on the love of plants and their shared stories.

Thus Questions on the Living aims at making evident that, even when the angles to tackle the diverse topics and the artistic research methodologies can vary, sometime greatly, there are current artistic practices, like the presented ones, which actively engage in the necessary efforts to rethink and re-enact the co-existence between the living, the inorganic and the technological as a complex ecosystem. In this complexity, older hierarchies, especially the ones that considered “the human” on top, are put into discussion and new models of interaction and co-habitation are conceived and deployed.

 

Questions on the Living

 Ivana Adaime Makac, Camilla Alberti,

Brandon Ballengée, Tiziana Pers,

Muriel Rodolosse, Matilde Sambo,

SEEDS

curated by Gabriela Galati

Opening May 30th, 6.30pm

May 30th – July 27 2018

Wed-Fri, 2.00-7.30pm

Or by appointment

The Plant Swap by SEEDS

Saturday June 23rd, 4-8pm

aA29 Project Room Milan

Piazza Caiazzo 3

20124 Milan

www.aa29.it

info@aa29.it

Gabriela Galati interverrà nel incontro “Dal modernismo al postumano: Duchamp, le macchine e il vivente”, 2 marzo, Università di Udine.

Dal modernismo al postumano: Duchamp, le macchine e il vivente

Università degli Studi di Udine

Palazzo Antonini, Aula 2, Via Petracco, 8, Udine

venerdì 2 marzo ore 11.00

intervengono:

Gabriela Galati, NABA Nuova Accademia di Belle Arti di Milano

Giovanni Leghissa, Università di Torino

Tiziana Pers, RAVE East Village Artist Residency

introduce:

Nunziana Mastrangelo

Partendo dalle riflessioni contenute nel recente libro di Gabriela Galati Duchamp Meets Turing: Arte, modernismo, postumano (Postmedia Books, 2017), i relatori dialogheranno sull’intreccio fra teoria dell’arte, il rapporto attuale con il vivente e la soggettivazione indotta dalle nuove tecnologie.

L’incontro è organizzato da ALL Associazione Laureati/e in Lingue e Letterature Straniere, Università degli Studi di Udine, in collaborazione con RAVE East Village Artist Residency, con il supporto della Regione Autonoma Friuli Venezia Giulia.

Gabriela Galati è docente di Teoria e Metodologia dei Mass Media presso NABA, Nuova Accademia di Belle Arti Milano, e docente di Media Art Theory presso Domus Academy. Scrive recensioni su libri per Leonardo Reviews / Leonardo Journal-MIT Press, e collabora con Noema e AdVersus. Fondatrice di ECCENTRIC Art & Research, dopo un’esperienza quindicennale come direttrice di galleria e curatore, prima a Buenos Aires, sua città natale, poi a New York e Milano, è attualmente direttrice della galleria d’arte contemporanea aA29 Project Room di Milano.

Giovanni Leghissa, membro della redazione della rivista “aut aut” e direttore della rivista online “Philosophy Kitchen”, è professore associato di Filosofia teoretica presso il Dipartimento di Filosofia dell’Università di Torino. I suoi interessi di ricerca comprendono: fenomenologia, filosofia continentale e psicoanalisi; studi culturali, di genere e postcoloniali; filosofia del postumano; epistemologia dell’economia e teoria delle organizzazioni. Tra le sue ultime pubblicazioni: Postumani per scelta. Verso un’ecosofia dei collettivi (Mimesis, 2015). The Origins of Neoliberalism (Routledge, London 2016, con Giandomenica Becchio).

Tiziana Pers, artista visiva e co-fondatrice del progetto RAVE, concentra la sua ricerca sulla questione animale e sui temi del biocentrismo. Sue opere sono state presentate in svariate istituzioni tra cui Musée de la Chasse et de la Nature, Parigi, Seoul Biennale of Architecture, aA Project Room, Milano, One Night Stand Gallery, Sofia, PAC Padiglione d’Arte Contemporanea, Milano, PAV Parco Arte Vivente, Torino, Villa Manin, Passariano, MAC Milano Animal City, Castello di Rivoli, Palais De Tokyo, Parigi, e.c.53. Biennale d’Arte Venezia, Museo MADRE, Napoli, Dade Public Library Miami.

Immagine: Ivana Adaime Makac, Rééducation, 2011-ongoing. Studio work, spring 2017.

Baptiste Debombourg at Dans le cadre de 4+4, Galerie RX, Le Marais.

Baptiste Debombourg, Cesium XIII, 2017.

Baptiste Debombourg has been selected by Isabelle de Maison Rouge to take part of the show Dans le cadre de 4+4, 4 invités  + 4  Artistes at Galerie RX.

The exhibition opens on February 1st, 6p-9pm.

Four curators invite four artists:

Isabelle de Maison Rouge l Baptiste Debombourg
Florence Guionneau-Joie l Lionel Sabatté
Françoise Paviot l Alain Fleischer
Sandra Hegedüs l Julio Villani

 

For more information on the exhibition please click here.

For more information on Baptiste Debombourg please click here.

 

Jane Grant at GRANULAR colloquium and exhibition, University of Greenwich Galleries.

 

Utilising a range of formats from audio-visual performance to talks, Granular: The Material Properties of Noise event is an experiential investigation of noise as a granular entity. State changes are a central theme. Processes of disintegration and/or reintegration of material elements at a granular level are explored, both as the mode of transference between states (whether physical or digital) and the means by which a thing starts or ceases to be.

The colloquium will take place on January 26 and 27 from 10 am – 5pm at The University of Greenwich, Stockwell Street Building and is held in association with the exhibition Granular: The Material Properties of Noise. The event will be followed by a private viewing of the exhibition.

Chaired by Dr. Stephen Kennedy, University of Greenwich, Department of Creative Professions and Digital Arts
(author: Chaos Media: A Sonic Economy of Digital Space – Bloomsbury 2015)
Keynote: Greg Hainge , University of Queensland, Associate Professor, School of Languages and Cultures
(author: Noise Matters: Towards an Ontology of Noise – Bloomsbury 2013)
Contributors include Russell Duke, Jane Grant, Antonio Roberts, Dr David Ryan, Charles Danby and Rob Smith.

For more information on the event please click here.

For more information on Jane Grant please click here.

 

Image: Jane Grant, Soft Moon (2010).

ECCENTRIC Art & Research is pleased to announce representation of Camilla Alberti.

We are delighted to announce that ECCENTRIC Art & Research now represents Camilla Alberti.

After receiving her high school diploma, Camilla Alberti (Milan, 1994) attended the Faculty of Philosophy at the University of Milan for one year, at the same time that she started to get interested in contemporary art. In 2014 she leaves the studies in philosophy to enroll in NABA (Nuova Accademia di Belle Arti di Milano), where she obtained an BA and is now pursuing an MA. She also collaborates with an art critic since then. She lives and works in Milan.

For further information on Camilla Alberti please click here.

Axel Straschnoy wins the Feature Expanded 2017 SUB-TI Award

Axel Straschnoy wins the Feature Expanded 2017 SUB-TI Award

AWARDS FEATURE EXPANDED 2017

SUB-TI Award
> Axel Straschnoy
 with the film project Argentine from Helsinki,

which “addresses the issue of alienation through Horacio’s language and cultural challenges, an Argentinian who moved to Finland, who, when his existence is about to collapse, is forced to decide who he is and what he wants from life.”

Feature Expanded Distribution Award
> Janis Rafa 
with the film project Kala-a-zar 

Feature Expanded Development Award
>Assaf Gruber 
with the film project The Conspicuous Parts

ottod’Ame Film Award
> Pauline Curnier Jarden 
with the film project $eba$tiano Blu

FEATURE EXPANDED: European Art Film Strategies is a training program specifically designed to provide knowledge, methodologies and skills necessary for filmmakers with a background in visual arts to develop and produce feature films.

Feature Expanded is directed by Leonardo Bigazzi (Lo schermo dell’arte Film Festival) and Professor Sarah Perks (HOME).

Feature Expanded 2017 Jury, consisting of Marietta von Hausswolff von Baumgarten, Heinz Peter Schwerfel and Yorgos Tsourgianis, awarded 4 awards for the development, promotion and distribution of 4 film projects produced by the 12 participants in the third edition of the project training in collaboration with HOME, supported by Creative Europe Media and directed by Leonardo Bigazzi and Sarha Perks:

 

FEATURE EXPANDED 3rd edition

21 – 26 June 2017, HOME, Manchester
on-line sessions July – October
15 – 19 November 2017, Lo schermo dell’arte, Florence.

For more information on the program please click here.

For more information on Axel Straschnoy please click here.