▀ Browsing ▄▆Internet Archaeology▆▄ @ ATELIER 35

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║Tabor Robak♵Ryder Ripps♵Jacob Broms Engblom
║Benjamin Lotan♵Arran Ridley♵Hector Llanquin♵
║Scott Ostler♵Kacie Kim♵Alli Crawford♵Jerónimo
║Jiménez♵Joel Ritch
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+dump.fm live performance
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+Christian “Megazord” Oldham B ⊙☮ T Y MIDI MIX
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║Curators: Silvia Saitoc & Matei Samihaian
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Atelier 35 invites you to the vernacular netscapes brought to life by the Internet Archaeology surfing junkies, file type explorers, on and offline artists. The exhibition collects different approaches to internet surfing, both as an artistic practice and as a personal investigation into the history of web aesthetics.

“Internet Archaeology seeks to explore, recover, archive and showcase the graphic artifacts found within earlier Internet Culture. Established in 2009, the chief purpose of Internet Archaeology is to preserve these artifacts and acknowledge their importance in understanding the beginnings and birth of an Internet Culture.” InternetArchaeology.org

18.11.2010
19:00 – 22.00
Bucharest

“Autobiografia lui Nicolae Ceausescu” in cinematografe

THE KNOT – structură mobilă ce leagă existentul cu imaginarul

Bucureşti – 8 – 31 octombrie 2010

Parcul Carol I, Intrarea dinspre Fântâna Zodiac

THE KNOT este un proiect multi-disciplinar, o platformă de întâlnire şi experiment, care ajunge la Bucureşti şi va fi situată în spaţiul public pentru trei săptămâni. Concepută ca o structură mobilă, uşor de transportat şi de adaptat diferitelor situaţii urbane, platforma KNOT se adresează unui public divers, care împreună cu organizatorii şi invitaţii proiectului îi poate conferi sens şi funcţionalitate. Apariţia ei în oraş este temporară şi condiţia ei fragilă, cu toate acestea ea oferă un model de utilizare şi producţie a spaţiului public. KNOT poate fi privit ca un proiect de cercetare a relaţiilor dintre individ, grup şi locurile în care aceştia se întâlnesc. Proiectul răspunde modalităţilor din ce în ce mai constrângătoare prin care aceste relaţii sunt definite în societatea noastră. Unul dintre cele mai importante obiective ale proiectului KNOT este să imagineze comportamente urbane alternative, bazate pe cooperare şi auto-gestionare. De asemenea, să exploreze ce a mai rămas din idealurile colective sau posibilităţile de a depăşi condiţiile actuale, de competiţie economică severă şi de tendinţă către izolarea naţională sau etnică. Comunităţile temporare sunt un instrument pentru a crea o altă noţiune a unui “oraş promis”, mai departe de înţelegerea capitalistă a acestui ideal.

După Berlin în mai şi Varşovia în iunie-iulie, The KNOT ajunge la Bucureşti şi va putea fi găsit zilnic în Parcul Carol, intrarea de lângă Fântâna Zodiac. Vor avea loc acţiuni artistice, ateliere arhitecturale, concerte, discuţii, şi multe altele, în fiecare zi între orele 11:00 şi 23:00. Pe lângă Parcul Carol, participanţii KNOT la Bucureşti vor avea intervenţii sau acţiuni şi în alte locuri sau instituţii din oraş: Club Fabrica (partener strategic al The KNOT la Bucureşti), Greenhours, Clubul Ţăranului Român.

Participanţi:

Tomasz Adamowicz, Matei Bejenaru + Corul Madrigal, Anca Benera + Angelica Iacob, Robert Bęza, Biblioteca Alternativă, Silke Baumann & Reinhard Pelger, Luchezar Boyadjiev, Biroul de Cercetări Melodramatice, Claudiu Cobilanschi (membru F.R.R.), Mauricio Corbalán, CriticAtac, Maciej Czeredys, DIS-PATCH ON TOUR Showcase (Wo0, Incredible Bob, Felony Flats, DJ Moodswinger, Felony Flats, Lukatoyboy, Kate Lesta, KidsPatch, ViceVerse & Mind the Gap), Pola Dwurnik, Roman Dziadkiewicz, Joanna Erbel + Julia Kluzowicz + Mania Wierzbicka, Vasile Ernu + FILB, graw böckler, Karen Grzemba, h.arta, höfner + sachs, Mihaela Kavdanska & Dilmana Yordanova, Katharina Koch, Anne Kohl & Stephan Endewardt (kotti-shop), Wojtek Kosma, Heimo Lattner, Grzegorz Lechowski, LePlacard, Tor Lindstrand (economy), Olivia Mihălţianu, Vlad Morariu + The Satellite Group, Florin Poenaru + guests, Iulia Popovici + guests (Maria Drăghici & Irina Gâdiuţă, Farid Fairuz, Eduard Gabia, Andreea Grecu, Manuel Pelmuş, David Schwartz), Jan Przyłuski, Barbara & Samet Reisinger, Natalia Romik, Ewa Rudnicka, Ştefan Rusu, Tomek Saciłowski, Kai Schiemenz & Iris Flügel, Arnold Schlachter & Veda Popovici, Christoph Schmidt (ifau), Sick Girls, Peter Szabó, Agnieszka Szreder, tag, Ştefan Tiron (membru F.R.R.), Ovidiu Ţichindeleanu + guests, şi alţii.

Curatori: Markus Bader, Oliver Baurhenn, Jakub Szreder, Raluca Voinea.

Producţie proiect Bucureşti: Doina Anghel, Eduard Constantin, Angelica Iacob, Lea Rasovszky.

Echipa tehnică Bucureşti: Maria Burachu, Mădălin Geană, Adina Hariuc, Alexandra Mateescu, Joakim Nyström, Mario Oprean, Delia Popa, Diana Sandor.
PR: Silviu Dancu.
Asistenţă proiect, traduceri: Mariana Banciu, Diana Marincu, Veda Popovici.

COAGULATE – Mihai Grecu @ Slash Gallery

Opening October 7, 19 – 21 h

October 7 – October 30, 2010

Tuesday – Friday, 16 – 18 h

Str. Iuliu Hossu / Pavlov Nr.10 Int.7

Slash Gallery are onoarea sa va invite la prima expozitie in Romania a artistului roman, stabilit in Franta: Mihai Grecu.

Mihai Grecu s-a nascut in Romania in anul 1981. Dupa terminarea studiilor de arta in Romania si Franta , si-a continuat cercetarea la Fresnoy Studio of Contemporary Arts, Franta, explorand teme cum ar fi mediul, apa, viata in oras, izolarea si halucinatiile contemporane, razboiul, relevand misteriosul si subconstientul.

Aceste calatorii vizuale si poetice denota cunostinte aprofundate ale noilor tehnologii media si a unei cat mai bune aprofundari a stilului personal de abordare a subiectelor.

Lucrarile sale au fost prezentate la o multitudine de festivaluri internationale (Locarno, Rotterdam, Festival of New Cinema in Montreal) cat si in cadrul mai multor expozitii internationale (“Dans la nuit, des images” at the Grand Palais, Paris “Labyrinth of my mind” at Le Cube, “Studio” at “Les Filles du Calvaire” Gallery, etc).

SIMULTAN Festival #6 30 sept.-02oct. Timisoara

Past Continuous. Future Perfect.

SIMULTAN FESTIVAL#6

Este anul 2010 si lumea este plina de utilizatori media. Toata lumea este preocupata de lipsa timpului, asa incat nimeni nu are cu adevarat timp sa se gandeasca la acesta, sa-l inteleaga. Cererea pentru continut media pare sa creasca pe masura ce toate lucrurile se acumuleaza si timpul desfasurarii lor devine mai scurt. Cu cat avem mai putin timp la dispozitie, cu atat mai multa media este la dispozitia noastra pentru a ne investi timpul in ea. Vizionarea unui film este ca o evadare si totul se rezuma la a compara fiecare noua secventa din acesta cu ceea ce deja stim, intrebandu-ne daca am invatat ceva nou. Un cursor se misca intotdeauna inainte si promite in mod constant satisfactie prin intermediul unui alt moment crucial din scenariu. Evoluam spre un viitor perfect dar in acelasi timp traim in mod continuu in trecut, din moment ce orice noua experienta este evaluata numai in raport cu amintirile noastre; dar cum poate fi posibila orice noua experienta fara o imediata analiza asupra a tot ceea ce s-a intamplat inainte? Pledoarii asupra unor astfel de intrebari pot fi gasite in nenumarate carti audio, dar inainte sa asculti o carte intreaba-te daca ceea ce urmeaza sa inveti provine din cuvinte sau din gandurile tale. Pana la urma, intrebarea este daca utilizatorii media din ziua de azi se alimenteaza din media sau a devenit viata noastra instrumentul care ii impulsioneaza…

The Gender History of Art in the Post-Soviet Space: 1989–2009

Dates: September 11 — October 31, 2010
Venue: Moscow Museum of Modern Art at 25 Petrovka Street
Curators: Natalia Kamenetskaya, Oksana Sarkisyan

The gender discourse has become one of the most fascinating subjects in post-Soviet Russia. The words ‘gender’ and ‘feminism’ appear in our vocabulary together with ‘perestroika’, ‘democracy’, and ‘pluralism’. The ruined Soviet state gives birth to some artistic practices that define these new features of the social space. They include radical actions that have received wide recognition and took their place in the history of art, as well as gender art, which the current exhibition presents, for the first time ever, as a whole artistic phenomenon. In contemporary Russian art, the strengthening of the feminine stand and the problem of gender interaction are linked to the specifics of the post-Soviet context. The Soviet policy that proclaimed equal rights for men and women led to an androgynous leveling of gender distinctions in the society. However, this held no contradiction to the ideological presentation of femininity understood as maternal function, above all. These specifics of the national context defined the traits of language, strategies and topical problems of Russian gender art of the 90s. Olesya Turkina and Viktor Masin indicate its leading role in the psychoanalytical terminology of the day: «First, the feminine position is transitive in terms of resistance to classification and bureaucratic stabilization of the dominant signifying phallus. Second, the feminine position, being hysterical, is the position of questioning — not only herself and her private space, but also the dominant discourse: what do You want from me? This very question about the wishes of the Other turns into another question about who we are.»

As the overall interest towards gender art grows in the early 90s, the first feminine organizations appear and start their activities in the field of humanitarian research; among them, ‘Idioma’ (Moscow) and ‘Cyber-Femin-Club’ (Saint-Petersburg) should be named. They act as informal unions of women artists and start exhibiting without any institutional support of gender art. A row of thematic group exhibitions of male and female artists, as well as their solo projects reveal the growth of self-consciousness and the evolution of imagery and agenda of gender art. After deconstructing Soviet myths, women’s art turns to exploration of body language and traditionally feminine social practices, and to reflection upon concepts of femininity in the society of consumption; female outlook proposes a special view of the neoliberal reality.

The exhibition in the Moscow Museum of Modern Art is the first attempt at presenting and exploring the 20-year experience of Russian gender art in several stages of its brief history. The museum space favors the fragmentary reconstruction of several key exhibitions, which brings back the original context of works that form the language of gender art. The titles of the exhibition sections reflect the main terms of gender art of the period: masquerade of identities, borders of gender, reflection on cultural codes, exaltation of maternity, mental archeology, vulnerability, and so on. This thematic sectioning, together with historical documentation that accompanies the works, creates the optics for a better understanding of gender aspects of an artwork. Pieces by well-known female and male artists combine organically with projects that still stand in the shadow — together they form the multifaceted panorama of post-Soviet gender art.

Participating artists: Natalia Abalakova, Semen Agroskin, Anna Alchuk, Tatiana Antoshina, Anna Brochet, Vita Buivid, Olga Chernysheva, Maria Chuikova, Alexandra Dementieva, Olga Florenskaya, ‘The Fourth Height’ (Katia Kameneva, Galina Smirnskaya, Dina Kim), FNO, Ilona Gansovskaya, Glyuklya and Tsaplya (Natalia Pershina-Yakimanskaya, Olga Yegorova), Lyudmila Gorlova, Tatiana Kaganova, Tatiana Natalia Kamenetskaya, Tatiana Khengstler, Vera Khlebnikova, Marina Koldobskaya, Maria Konstantinova, Nina Kotyol, Elena Kovylina, Tatiana Liberman, Marina Lyubaskina, Natalia Mali, Alena Martynova, Bella Matveeva, Marilyn Monroe (Vladislav Mamyshev-Monroe), Liza Morozova, Marina Mozgovenko, Tatiana Nazarenko, Irina Nakhova, Anastasia Nelyubina, Marina Obukhova, Maria Ovchinnikova, Marina Perchikhina, Tatiana Petrova, Larisa Rezun-Zvezdochetova, Boryana Rossa, Aidan Salakhova, Victoria Samoilova, Oksana Sarkisyan, Vera Sazhina, Alena Shakhovskaya, Tatiana Spasolomskaya, Olga Tobreluts, Natalia Turnova, Irina Valdron, Svetlana Vikkers, German Vinogradov, VMS (Anna Abazieva, Elena Kovylina), Elena Yelagina, Anatoly Zhigalov, Olga Ziangirova, Olga Kisseleva.

Accumulonimbus by andy kennedy

Natural and man-made objects on a spin cycle accumulate, disintegrate, and multiply. Created by stop motion animating clay on glass, the film is a meditation on motion and the life cycle of matter.

Making of Accumulonimbus