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      5 Sep 2008

      Art should not be a space shut in on itself

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      txt: An Interview with Maurizio Cattelan - www.sculpture.org
      Maurizio Cattelan: It feels strange to talk about sculptures. It’s not so much a question of means as of images. I never even use my hands to create my work, just my ear glued to the phone. More than anything else, I listen to the murmur of images, and that’s always louder than the echo in the phone. I’m more interested in images than in sculptures. Imagine: I never took a chisel in my hands, never even had a studio.
      img: 27 September 2007 (4) - Cle0patra on flickr.com
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      5 Sep 2008

      Snack culture

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      txt: SNACK CULTURE - www.circuitooff.com/
      Snack Culture è la fruizione di contenuti culturali sempre più condensati: un assaggio di musica con il podcast, una sitcom di due minuti, un mms o sms. I ritmi di vita oggi sono accelerati, per poter guardare un video, ascoltare musica, leggere un libro e guardare un film il tempo dedicato si riduce a pochi minuti; si sceglie tra le varie opzioni come se si scegliesse tra diversi snack. [en] Snack Culture is the fruition of cultural content increasingly condensed: a taste of music with the podcast, a sitcom of two minutes, a mms or SMS. The pace of life today are accelerated, in order to watch a video, listen to music, read a book and watch a movie time spent is reduced to a few minutes, you choose between options as if they choose between different snacks.
      video: Hot Dog Eating Contest 2007 [youtube=http://www.youtube.com/watch?v=_V-2NKUlzns]
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      30 Aug 2008

      These considerations aside, however

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      txt: Manifesta 7 - Frieze Magazine
      When Manifesta, the European Biennial of Contemporary Art, was first instituted in 1993, it was in the spirit of cultural exchange, globalization and European integration that followed the end of the Cold War. In being an itinerant entity, Manifesta had a double remit: first, to present a picture of a pan-European cultural field; and second, to reflect specifically on the often troubled border zones in which the biennial was sited. [...] The slightly uncertain focus of this year’s Manifesta reflects perhaps as much biennial fatigue as this more widespread move away from such key biennial assumptions. Indeed, spread out across four sites (in three cities and one abandoned fortress) in the affluent Italian region of Trentino–South Tyrol, the four shows that comprised Manifesta all faltered – and, interestingly, in different ways – in responding to the notion of the continent at large, or even the specific history of the locale. These considerations aside, however, Manifesta brought together some very good work.
      video: Extreme Mountain Bike Crash with 170 kph - kutlesch on youtube.com [youtube=http://www.youtube.com/watch?v=ZNwmpLPhoHw]
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      28 Aug 2008

      MyCreativity Reader: please read it, you creative.

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      via: neural.it - edited by Geert Lovink and Ned Rossiter - MyCreativity Reader txt: The MyCreativity Reader - The Institute of Network Cultures
      The MyCreativity Reader is a collection of critical research into the creative industries. The material develops out of the MyCreativity Convention on International Creative Industries Research held in Amsterdam, November 2006. This two-day conference sought to bring the trends and tendencies around the creative industries into critical question. The “creative industries” concept was initiated by the UK Blair government in 1997 to revitalise de-industrialised urban zones. Gathering momentum after being celebrated in Richard Florida’s best-seller The Creative Class (2002), the concept mobilised around the world as the zeitgeist of creative entrepreneurs and policy-makers. Despite the euphoria surrounding the creative industries, there has been very little critical research that pays attention to local and national and variations, working conditions, the impact of restrictive intellectual property regimes and questions of economic sustainability. The reader presents academic research alongside activist reports that aim to dismantle the buzz-machine. colophon: Editors: Geert Lovink and Ned Rossiter. Editorial Assistance: Sabine Niederer. Copy Editing: Michael Jason Dieter. Design: Katja van Stiphout. Cover Image: Hendrik-Jan Grievink. Printer: Veenman Drukkers, Rotterdam. Publisher: Institute of Network Cultures, Amsterdam.
      video: Here & There - (2008) by Eoghan Kidney [vimeo=http://www.vimeo.com/1264493]
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      23 Aug 2008

      Biennale Cinema 65th Venice Film Festival

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      txt: Biennale Cinema 65th Venice Film Festival - Introduction by the Director of the 65th Mostra, Marco Müller
      If the cinema is no longer (or almost) the cinema, this may also bring to light aspects whose positive nature is not immediately discernible. The cinema has become a whole series of ideas, forces, properties, capacities, myths and stories. And, above all, it has turned into a new way of thinking, and an original and powerful one. So that, fortunately, when we set out to track down what, in the cinema, has come after the modern, we are always exposed to the danger of contagion, from the risk of hybridization.
      ----------------------- txt: Venice Film Meeting - www.comune.venezia.it Venice Film Meeting, la consueta vetrina delle produzioni veneziane andrà in scena nei giorni della Mostra del Cinema, dall'1 al 5 settembre, alla Multisala Astra del Lido. Articolato in cinque giornate di programmazione, con proiezioni pomeridiane in programma dalle 16 e ingresso libero sino ad esaurimento dei posti, Venice Film Meeting prenderà il via lunedì 1° settembre con la prima assoluta di Chi crea Venezia, una serie di otto ritratti di altrettanti artisti del secondo Novecento realizzati dal giovane filmaker veneziano Elia Romanelli; a seguire, Fedeli alla linea del pordenonese Tommaso Lessio, un viaggio molto personale nella storia della sinistra veneziana, premio Avanti al Torino Film Festival, i tre episodi al femminile dell'ultima edizione di Raccontare Mestre (Rione Pertini di Caterina Ferruzzi, Il nostro villaggio di Mila Trevisan, Vivere al Bachmann di Cecilia Irene Massaggia), Horizons del fotogiornalista Daniele Frison, i video vincitori del concorso Scuola e dintorni, diretto da Pier Paolo Fassetta e promosso dal Coordinamento Cinema e Scuola, e infine La torre del tempo di Toni Andreetta, che documenta i momenti salienti del recente restauro della Torre dell'Orologio di Piazza San Marco. La seconda giornata (martedì 2 settembre) sarà aperta dal documentario di Beatrice Barzaghi Con tocco lieve, che racconta i tempi e i luoghi delle donne nella Venezia di oggi, seguito dal reportage in Palestina di Piero Fontana e Nandino Capovilla Proprio così - Storie di quotidiana occupazione, dai video premiati alla quinta edizione del Videoconcorso Pasinetti, diretto da Giovanni Andrea Martini, dal corto a soggetto del filmaker lidense Enrico Mengotti Doppio binario, dal thriller d'amore di Solenn Le Marchand Mme Bateau e infine dal documentario di Pierandrea Gagliardi Pai nestri fogolârs, che ricostrusice la storia della Brigata partigiana Osoppo. Mercoledì 3 settembre apertura di programma con Le strade di Equal di Manuela Pellarin, un viaggio nel Veneto dei nuovi scenari lavorativi realizzato nell'ambito del progetto omonimo, seguito dal corto di Andrea Rossi e Mila Trevisan Linving Will, sul delicato tema della donazione degli organi, dai Corti in corsa del concorso ideato in occasione dell'ultima edizione della Su e zo per i ponti, dai lavori del laboratorio Mestre8luoghi, dal corto dell'Associazione Settimo Binario Niente sangue e infine dal documentario di Alessandro Munzi Ma questa storia non è importante, che descrive la vita quotidiana di una piccola comunità del Cadore. Giovedì 4 settembre, penultima giornata del festival con Robe da ciodi di Bibi Bozzato con Paola Brolati, Nero pece di Marco Rizzo, messosi in evidenza all'ultimo Mestre Film Fest, i lavori vincitori di Venice&Video, il documentario degli studenti del Liceo Morin Liberazione - La beffa del Teatro Goldoni, pagina indimenticabile della Resistenza veneziana, e infine Home (stories) dell'artista iraniana Ghazel Radpay, un film-performance realizzato in occasione della Biennale Teatro sui temi dell'asilo politico. Venerdì 5 settembre, ultima giornata del festival, apertura internazionale con la Venezia dell'artista moscovita Tatiana Danilyants, autrice dell'inedito Hidden Garden, seguito dal documentario di Valentina Monti Uganda Calling, prodotto da Mestiere Cinema, dai Micrometraggi di un giorno qualunque realizzati dagli studenti delle scuole superiori veneziane e mestrine nell'ambito del primo concorso per brevi filmati realizzati con i telefonini, dal documentario del giornalista Maurizio Crema e di Enrico Stocco Sulle ali del Leone e infine dal documentario di Antonio Pintus Mea culpa, che indaga sul folle progetto nazista di eutanasia dei cosiddetti malati di mente. Tutti i film e gli autori di Venice Film Meeting saranno presentati alla stampa nel corso degli incontri di mezzogiorno condotti da Marco Duse e in programma presso lo stand informativo della Venice Film Commissione, allestito nei locali a piano terra dell'ex Casinò, dove tutti i film della rassegna restano in consultazione permanente. Presentazioni in sala a cura di Erica Buzzo. Per informazioni: Comune di Venezia - Beni e Attività Culturali - Ufficio Attività Cinematografiche Palazzo Mocenigo San Stae 1991 30125 Venezia Tel. 041.5241320 - fax 041.5241342 circuitocinema@comune.venezia.it www.comune.venezia.it/cinema/ video: Venezia con gli occhi di un Gatto - Venice Film Meeting 2008 Opening - directed by Lucio Schiavon [youtube=http://www.youtube.com/watch?v=t0QqxGRWp_M]
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      3 Aug 2008

      The artist today is no longer a simple producer of metaphors

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      txt: L'arte di reti e relazioni, la net art e la condivisione ("Network art and relations, net art and sharing") - Punto Informatico
      [en] The artist today is no longer a simple producer of metaphors. His is not a mere symbolic function in society. It is vice versa an active partecipatore involved "directly" in production processes and social problems around them. It is this sensitivity to work cooperatively, to be able to perceive and interact with the processes social and anthropological, as well as technological, keeping firmly in front of where the beacon of ethical values-oriented common good, instead of profit, this is the sensitivity and the priority that the school must be able to convey to their students. The keywords of the School are terms like report, cooperation, interdisciplinareità, interaction, intercreatività or communication. --------------- [it] L'artista oggi non è più un semplice produttore di metafore. La sua non è una mera funzione simbolica all'interno della società. È viceversa un partecipatore attivo che interviene "direttamente" nei processi produttivi e sociali che lo circondano. È questa sensibilità al lavoro cooperativo, al saper intuire ed interagire con i processi sociali ed antropologici, oltre che tecnologici, mantenendo ben saldo di fronte a se il faro dei valori etici orientati al bene comune, anziché al profitto individuale, è questa la sensibilità e la priorità che la Scuola deve saper trasmettere ai propri studenti. Le parole chiave della Scuola sono termini come relazione, cooperazione, interdisciplinareità, interazione, intercreatività, oppure comunicazione.
      video: "Face Gear" by Giuseppe Ragazzini [vimeo=http://www.vimeo.com/1045435]
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      20 Jun 2008

      A Manifesto for street poetry

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      "Senza paura, poesia gettata all'onde." Ivan (www.i-v-a-n.net) presenta la mostra Scala Mercalli (www.scalamercalli.it) a Roma, lanciando migliaia di barchette di carta con le poesie nel Tevere. "Without fear, poems thrown on the waves" Ivan (www.i-v-a-n.net) presents the exhibition Mercalli Scale (www.scalamercalli.it) in Rome, launching thousands of boats of paper with poems on the river Tevere. video: Ivan street performance in Rome by xister on vimeo.com [vimeo 1149083]
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      17 Jun 2008

      I'm a net artist

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      youtube tag: net-art txt + video: net-artist - a3sebastian on youtube.com
      "I'm a net artist: It's a cartoon video with the voice of a net-artist, looking for attention. He explains what net-art is, and the problems he has in order to arrive to people and to be considered as an art maker"
      "now come to Venice, meet the art, it's a honour"
      [youtube=http://youtube.com/watch?v=hZQF6Q9ISzA]
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      14 Jun 2008

      Blublu: video art

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      If you loved "Muto" have a look at the other videos by Blu, you'll love them as well: always restless, always full of thoughts, simple and involving. And go to www.blublu.org, his site deserves definitely a visit. video: Child by blu on Vimeo.com [vimeo 426534]
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      11 Jun 2008

      Find your passion

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      txt: Italian Hacktivism: Theory, Practice and History - blog.wired.com Alessandro Ludovico has engaged in communication and media aesthetics as a practitioner, theorist and curator. Since 1993, he has been the editor-in-chief of Neural, an influential new media culture magazine published in both English and Italian www.neural.it. He is also one of the founding members of the nettime list and of the Mag.Net (Magazine Network of Electronic Cultural Publishers) organisation. In the following brief interview, conducted via email between January and May 2008, Ludovico discusses topics ranging from Italian traditions of hacktivism, the apparent institutional marginalisation of media art and possibilities for conceptual aesthetic approaches to the digital culture.
      1. Could you explain something of how you originally developed an interest in media art? We understand you had an early involvement with 'mail art' and fanzines, to what extent have these practices informed your thought around exploratory and aesthetic approaches to distributed communication networks? Fanzines were an effective, cheap and archival medium for sharing ideas in freedom of expression soaked subcultures. Mail Art in my opinion was 'the net before the net'. Its spontaneous network of artist supporting themselves and sharing 'performative' action through the postal network, connecting local exhibitions with interrelated social relationships was simply unique. Furthermore I developed an interest in computers and IT, especially in its internal mechanisms and aesthetic (as many young guys did during the 80's). With the BBS phenomenon first and the early net practices later all these interests were short-circuited. I had a medium to express my approach (the magazine), a background in artistic networking (mail art), a technical knowledge to understand them and a rising avant garde that I was accidentally part of (after being invited in the first nettime meeting): the net art. Could I have asked for more?
      video: Randy Pausch Inspires Graduates - carnegiemellonu on youtube.com [youtube=http://www.youtube.com/watch?v=RcYv5x6gZTA]
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    #contemporary #change #future @Venice area (Italy)

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