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      26 Oct 2007

      ArtFutura 2008

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      ArtFutura 2007 - The Next Web - 25-28 October
      Barcelona Alicante Cádiz Granada Madrid Murcia Palma de Mallorca San Sebastián Valladolid Vigo Vitoria Zaragoza The eighteenth edition of the festival of Digital Culture and Creativity that has become a point of reference in Spain will take place in more than eleven cities from the 25 to the 28 October with an extensive program that will explore the most important projects and ideas that have arisen on the international panorama of new media, interactive design, videogames and digital animation over the last 12 months.
      The 2.0 revolutions that have taken place over the last two years have completely changed the face of the Web. They have transformed it into a space of social participation and collective cooperation that the first theorists of cyber culture of the early 90s would never have imagined. However, along with the boom of participative social networks on the web, some of the original utopias that understood Internet as an opportunity to build a parallel and autonomous world with its own rules have also regained strength. Among those who are starting to form the rules of a Web 3.0 and those who continue to defend a net understood as a large forum for the social debate of our time, we are starting to see the beginnings of a next web.
      Me gusta la Espana! foto: Artfutura
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      25 Oct 2007

      So Contemporary!

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      From: "Ceci n'est pas le vide" - An encounter with the artist of transience Tino Sehgal. By Sebastian Frenzel - 09/06/2005 - www.signandsight.com
      "Generally our society defines itself through technical progress – development means technology's transformation of natural resources into ever more refined things. But we already have far more than we need, and the mode of production is not sustainable and on top of that, a bit boring. For me the question was how to oppose this without lapsing into asceticism."
      From Wikipedia, the free encyclopedia: Tino Sehgal
      Tino Sehgal, born 1976, is an artist. After studying political economy in Berlin and dance in Essen, Sehgal began his work in the context of the visual arts in 2000. He has since exhibited at a number of important venues including the Institute of Contemporary Arts, the Tate gallery and the Venice Biennale.
      I agree (especially being able to stuff the plate on the table, when evening comes..). It was nice the Biennale performance: a group of fake stewards receiving the visitors with a surprising "It's so contemporary!"
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      23 Oct 2007

      The World as a Stage, and Venice too.

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      from: SuperSpatial, Adventures in contemporary urbanism (via kottke.org)
      The danger for a city as a theatre or theme-park is that it becomes a stage set, a backdrop. This inevitably treats citizens as actors, there for others amusement. This leads to a simulated city as Baudrillard would have it, a city of the hyperreal as Umberto Eco might tell us. What happens when the audience is not there? Visit Venice on a windswept January and you'd probably find a virtual ghost-town - in fact many people have commented that Venice at night is eerily quiet, as almost no-one lives there, and relatively few tourists stay on the main island.
      Venice demonstrated a robust ability in declining and transforming. It's about 600 years Venice is doing it pretty well.
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      22 Oct 2007

      ArtVerona 2007

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      from: www.artverona.it
      - it takes place in Verona, city of art, history and music - the pavilions of Veronafiere are large and accommodating - selection is based on quality of exhibitors and the importance of artists and works - wide-ranging panorama of artists and movements - this is the only exhibition in Europe with a special section dedicated to Outsider Art - the ambience of the setting, the easy-to-follow floor plan, and the wide range of services - supporting shows and events which further enhance the artistic context - free catalogue provided to all visitors - efficient and efficacious organization and information
      "Good organization, isnt'it?" "Yeah, if we'll sell something.." (dialog between gallerists)
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      19 Oct 2007

      Moleskine doodle

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      from www.moleskineproject.com
      Thousands of artists from around the world have been using legendary Moleskine notebook for their doodles. They became addicted to it. Unfortunately, some of them have gone totally mad. Take Vincent Van Gogh for example. Do you want to become just like them? But of course you do. Read the instructions and submit your Moleskine doodle.
      Untitled - Randi Antonsen - 7670 Inderøy http://privat.bluezone.no/randi.antonsen/index.htm
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      18 Oct 2007

      Rome POP invaderz

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      Two Italian chicks in cahoots with more of 50 new-POP artists from allover the world get into her head to improve our existences. The first Italian exposition is here to demonstrate that the new-pop movement is destined to everybody and art is it’s not dead at all.
      POP INVADERZ Curators / a cura di: The MondoPOPs (Serena Melandri & Ilaria Beltramme) e David Vecchiato ...e si ringrazia: Betty & Books (Bologna) Text / con un testo critico di: Demetrio Paparoni When? / Quando: From 19/10 To 06/11 2007 - Dal 19 ottobre al 6 novembre 2007 Where? / Dove: MondoPOP International Gallery & Shop, via dei Greci 30 (M Spagna) Roma. Open / Apertura:lunedì h. 16,00/20,00, dal martedì al sabato dalle h. 10.30 alle h 20,00 image and text from: www.mondopop.it
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      16 Oct 2007

      Where the decades has no name

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      One director, two ubercurators, 60 players among curators and artists, 4 venues for a decade without name. On y va! The 2000s – The history of a decade that has not yet been named
      "Are we victims of our own search engines, which play up the information atavism and naturally stress immediate communication at the expense of the slow business of sedimentation? Nonetheless, isn’t the work of art the established, archaic drag on the flows, just as the literary and the author might be elsewhere? If the answer to this question is yes, we must conclude that the time frame of the biennials is not that of the works and that there is even a deep antagonism between the two. This is what is at stake in the 2007 Biennial."
      LYON BIENNAL 2007 Wednesday 19 September 2007 – Sunday 6 January 2008 Closed 25 December 2007 and 01 January 2008 Thierry Raspail / Artistic Direction Stéphanie Moisdon, Hans Ulrich Obrist / Conception photo by entropik, on flickr.com
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      10 Oct 2007

      Uncomfortable cracks

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      Tate Turbine Hall host colombian artist Doris Salcedo's work "Shibboleth" from 9 october to 6 april 2008. We can find a lot of stuff in that fracture.
      The history of racism, Salcedo writes, runs parallel to the history of modernity, and is its untold dark side. For hundreds of years, Western ideas of progress and prosperity have been underpinned by colonial exploitation and the withdrawal of basic rights from others. Our own time, Salcedo is keen to remind us, remains defined by the existence of a huge socially excluded underclass, in Western as well as post-colonial societies. In breaking open the floor of the museum, Salcedo is exposing a fracture in modernity itself. Her work encourages us to confront uncomfortable truths about our history and about ourselves with absolute candidness, and without self-deception.
      Doris Salcedo - Shibboleth 2007 - Tate Gallery photo: Tate Gallery
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      9 Oct 2007

      What Is Art and Why Does It Matter?

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      What Is Art and Why Does It Matter? "is an online magazine that creates a forum for interpretive experimentation and gives a face to the people who make museums a vibrant presence in the world. This magazine is here because we all “know” that art is important, but do we always know why? Looking at art can provide a much needed refuge for reflection, sympathy, quietude, inspiration, and even ecstasy in this increasingly chaotic world. Looking further can deepen knowledge of cultures and artistic practice, develop and hone observational skills, reveal insights into history that other documents can't, and encourage creative, analytical, and autonomous thinking. Art can be funny, and it can make you cry, too. We want you to find a way in. And the best way to find a way into anything is to look closely and ask a lot of questions. Enjoy."
      Anna Hammond - Deputy Director for Education, Programs, and Public Affairs - Yale University Art Gallery - "What is art" magazine Contemporary art is estrangement, alienation, displacement that allow you to think, to see things. And/or "refuge for reflection, sympathy, quietude, inspiration, and even ecstasy in this increasingly chaotic world." I love art for that.
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      John Baldessari (American, born 1931) - Solving Each Problem As It Arises, 1967 Acrylic on canvas, 67 3/4 x 56 1/2 in. (172.1 x 143.5 cm) - The Janet and Simeon Braguin Fund
      "This work is one of a small group of text and phototext paintings on canvas that Baldessari commissioned from a sign painter in 1967. His decision to use text in this work, not as decoration but as information, reflected his commitment to infuse reality into high art through didactic, confessional image making. Although the works in this series were drawn from textbooks, course lessons, and popular culture, Baldessari presented them on canvas in order to locate the logic of their creation within the context of painting. This work builds on the conceptual foundation of artists like Marcel Duchamp, who questioned methods of production in high art."
      Yale Art Gallery - Modern and Contemporary art
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      9 Oct 2007

      Left or Right?

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      Do you see the dancer turning clockwise or anti-clockwise? If clockwise, then you use more of the right side of the brain and vice versa.
      www.news.com.au/dailytelegraph/ To see the dancer turning the other way, cover half of the image with your hand and focus on the arm. Interesting how things don't change, but our vision of them does...
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  • oddtag's posterous

    #contemporary #change #future @Venice area (Italy)

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