Picture the Sky – Nanna Debois Buhl
Picture the Sky – Nanna Debois Buhl

With three new immersive installations, Danish artist Nanna Debois Buhl fills more than 300 square meters of gallery space at Kunsthal Aarhus.

Nanna Debois Buhl is an Aarhus-born, Copenhagen-based visual artist who for many years resided in New York. Characteristic of Buhl ’s practice is her vivid mingling of scientific research and artistic experimentation which draws connections across time and scale—like a time travel through matter and meaning.

In Picture the Sky photos, computer algorithms, video, and weaving are used to explore the sky, our fascination with it, and how we use it scientifically and speculatively.

The exhibition spans the ground floor of Kunsthal Aarhus and features three new constellations of works: HeliosParticles and Planets and Lunar. In a cosmic narrative, the exhibition makes surprising connections between Earth and sky, cyborgs and historical figures, individual heroes and heroic collectives, bodies and machines, craft and technology, scientific data and alchemists’ investigations.

Via scientific solar photographs, ethereal celestographs, and computer-generated astronomical models, Buhl ponders how art and science func­tion as categories and knowledge systems, letting her works and experiments loose in a space where the borders between art and science overlap in fuzzy ways. One could think of the works in the exhibition as a kind of “strange realism,” following what Ur­sula K. Le Guin writes about the genre of science fiction: “It is a strange realism, but it is a strange reality.”

Driven by interstellar curiosity, and informed by Buhl’s ongoing conversations with astrophysicists, weavers, programmers, and printmakers, her works in this exhibition connect local and global layers, drawing on vastly different realms of knowledge. Her sites of production are equally diverse: for example, the algorithmic pieces were conceived during a residency at Massachusetts Institute of Technology in the US, while the meteoritic studies are based on images she generated in a nano-laboratory at University of Copenhagen.

Biography
Nanna Debois Buhl (b. 1975, Aarhus) is a Copenhagen-based visual artist whose work materializes as photographs, weavings, installations, films, generative algorithms, and artist’s books. She is educated at The Royal Danish Academy of Fine Arts and The Whitney Museum’s Independent Study Program, New York. In 2024, she will complete a practice-based artistic PhD developed at The Royal Danish Academy of Fine Arts, University of Copenhagen, and Massachusetts Institute of Technology and sponsored by the Novo Nordic Foundation. Her work has been exhibited broadly in Denmark and internationally at institutions such as the Pérez Art Museum, Miami, SculptureCenter, New York, The Studio Museum, Harlem, Bucharest Biennial 7, Museum of Contemporary Art, Zagreb, Lunds Konsthall, Louisiana Museum of Modern Art, ARoS Aarhus Kunstmuseum, and Kunsthal Charlottenborg. Her work is in the collections of the MIT List Visual Arts Center, Massachusetts Institute of Technology, USA, Hasselblad Foundation and Malmö Konstmuseum, Sweden,Louisiana Museum of Modern Art, ARKEN Museum of Contemporary Art, the National Collection of Photography, and Museum of Contemporary Art, Roskilde. She has created several large-scale public works in Denmark and abroad. Commissioned by the Novo Nordisk Foundation, she has recently finished a site-specific public work for the Steno Diabetes Center at Aarhus University Hospital.


kunsthalaarhus.dk

Master in Algorithmic and Networked Photography in Barcelona
Master in Algorithmic and Networked Photography in Barcelona

The photographic image has been radically transformed by its recent digital and networked developments. The impact and relevance of photography today lie not only in its representational layer, but beyond the visual surface of the image. Its invisible algorithmic and networked properties turned traditional photography into an assemblage of intertwined apparatuses, agents and media. Contemporary forms of digital images capture, circulation and consumption have been redefining the role of the photographic as an expanded and exciting field of visual culture in constant mutation. From AI generated images and computer-generated imagery to screenshotting, from CGI to Photoshop, from VR to in-game photography, practices of image-making and modes of experiencing visual art have created a vast and rich territory, explored by contemporary artists, photographers, curators, researchers, technologists and designers.

The Master in Algorithmic and Networked Photography offers an uncompromising investigation into the world of chronically digital images and terminally online visual culture. Through a series of lectures and workshops from some of the most relevant and inspiring actors in the field, this one-year master programme combines a sharply curated scholarly foundation with an intense practical education. Creative, conceptual and critical, the programme provides you with theoretical and practical knowledge of post-photography, AI images, networked images, machine vision and synthetic imaging. It invites participants to reflect upon the social, political and economic implications of different technological imaging systems. Simultaneously, the programme encourages you to experiment and create with hardware and software, as well as appropriating and misusing media platforms through artistic and alternative forms of image-making.

Directors: Jon Uriarte and Marco de Mutiis.

Who is this master aimed at
The programme welcomes you from all over the world and aims at fostering an international community of artists, designers, photographers, curators and researchers working within the growing field of digital images. You’ll have access to a global network of outstanding practitioners and thinkers who are involved in the realm of algorithmic and networked visual cultures and actively shape the contemporary image discourse and its practices. The master’s programme strives to develop individuals with a blend of conceptual and technical expertise, equipping them to pursue professional careers in the art and culture sector. The aim of the programme is to cultivate graduates who not only contribute to the cultural landscape but also shape its future.

Access and admission requirements
Art, photography and design graduates. Professionals with experience in the field of media art, photography and film, and interested in contemporary digital and internet culture and art. If you have doubts about whether you would be a good fit for this programme, please submit your request for a case-by-case evaluation.


https://www.elisava.net/en/masters/master-in-cgi-photography/

Lauren Lee McCarthy: Bodily Autonomy
Lauren Lee McCarthy: Bodily Autonomy

For the past fifteen years, Lauren Lee McCarthy has worked in performance, video, installation, software, artificial intelligence, and other media to address how an algorithmically determined world impacts human relationships and social life. Bodily Autonomy is McCarthy’s largest solo exhibition in the United States to date.

The show brings together two major works—Surrogate and Saliva—to examine bio-surveillance. Surrogate takes the form of performances, videos, and installations wherein McCarthy offers her body up as a remote-controlled surrogate to individuals and couples interested in having a child. This proposition is never fully realized by the artist, but it prompts important conversations regarding familial norms, legal barriers, genetic manipulation, gender, and reproduction. Saliva is a series of performances, installations, and videos about DNA sampling and data harvesting through the routine collection of swabs and spit. In a newly commissioned installation at the Mandeville Art Gallery, as a counter-gesture McCarthy has devised a saliva exchange station where visitors can trade their own samples with one another through the assistance of an attendant. The process sidesteps the anonymity of medical and corporate entities, and invites active discussions on data privacy, race, gender, and class as they pertain to genetic material. Together, Surrogate and Saliva encourage a potent and timely dialogue regarding bodily autonomy in times of rapid technological development and increased corporate and government surveillance.

Bodily Autonomy marks the official premiere of Saliva and Surrogate, both Creative Capital–funded projects.

The exhibition is accompanied by weekly activations of the performative installation “Saliva Bar” on Thursdays from 6-8pm, guided tours, talks and other public programs. All events are free and take place in person at the Mandeville Art Gallery, unless indicated otherwise. Please consult the gallery’s events page for more.

Curated by Ceci Moss, Director and Chief Curator of the Mandeville Art Gallery and Professor of Practice, Visual Arts

Lauren Lee McCarthy (she/they) examines social relationships in the context of automation, surveillance, and algorithmic living. She has received grants and residencies from Creative Capital, United States Artists, the Los Angeles County Museum of Art, Sundance, Eyebeam, Pioneer Works, Autodesk, and Ars Electronica. Her work has been exhibited internationally, at the Barbican Centre, Fotomuseum Winterthur, Haus der elektronischen Künste, the Seoul Museum of Art, Chronus Art Center, SIGGRAPH, Onassis Cultural Center, IDFA DocLab, Science Gallery Dublin, the Japan Media Arts Festival, and beyond. McCarthy is the creator of p5.js, an open-source art and education platform that prioritizes access and diversity in learning to code, with more than ten million users. She expanded on this work in her time on the board of directors for the Processing Foundation (2015–21), whose mission is to serve those who have historically not had access to technology, code, and art in learning software and visual literacy. McCarthy is a professor at UCLA Design Media Arts. She holds an MFA from UCLA and bachelor’s degrees in computer science and art and design from MIT.


mandevilleartgallery.ucsd.edu

Haha Real
Haha Real

Buffalo Bayou Partnership is pleased to announce a major commission by pioneering artist Rachel Rossin in the Buffalo Bayou Park Cistern. Rossin (American, b. 1987) is a painter, new media artist, and programmer whose multidisciplinary practice has established her as a leading innovator in the field of virtual reality. Her work blends painting, sculpture, technically advanced media, gaming, and video to create digital landscapes that focus on the ubiquity of technology and its effect on our psychology.

The original, site-specific installation by Rossin, titled Haha Real, transforms the Cistern into a three-act theater piece, drawing on both traditional art-making techniques and innovative technologies. Taking key inspiration from a diverse pool of influences, including Rossin’s favorite childhood story, The Velveteen Rabbit; the historic Marcel Duchamp lecture, “The Creative Act,” originally delivered in Houston; and the history and structure of the Cistern itself.

In The Velveteen Rabbit, the question “What is REAL?” is central. After the child who loved the Rabbit into being grows up and moves on, the Rabbit learns that “Realness” is both liberating and painful and is attained gradually over time through being loved (and ultimately lost) by another.

Haha Real is a journey that unfolds over the course of a 30-minute visit around the quarter-mile diameter of the Cistern. As viewers circumnavigate the quarter mile Cistern, they stop at periodic “stations” where characters and symbols appear on LED holographic screens, while kinetic features and lighting augment the architecture of the space and the reflective surface of its water.

A high-fidelity score written by Rossin and performed by musician and sound artist, Frewuhn, accompanies the visuals, accentuating the Cistern’s 17-second reverberation. The end point of this journey is a cascade of uncanny sunsets within the darkness, hovering just above the reflective surface of the water inside the Cistern.

Rossin is especially known for her use of technology, not only as a tool or medium, but as subject matter that helps us examine our relationship with our attention and autonomy. Rossin’s childhood voice, trained from recovered home videos using AI techniques, is heard throughout the installation. AI is also utilized in the visual elements of the work which are mixed with hand-drawn animation. The use of AI and virtual reality tools in the creation of the work furthers the artist’s inquiry into reality versus simulation. As a programmer and engineer, Rossin designs these systems herself, enabling her to embed meaning within the core components of the work.

The installation’s name, inspired by the first use of “haha” at the turn of the 18th century, refers to an awe-inspiring feature of European gardens that prompts viewers to exclaim “Ah ah!”. The perceptual vastness provoked by the Cistern, a contemporary “Haha,” is both reflective of, and respite from, the persistent chaos of today’s technological quickening.

This project is organized by Buffalo Bayou Partnership. Project management and curatorial collaboration provided by Weingarten Art Group. Produced by Julia Simpson with technical production and lighting design by Robert Ruth. Exhibition installation by Fenris. Rachel Rossin is represented by Magenta Plains, New York, NY.


Link: www.buffalobayou.org

Call for Cognitive infrastructures – Synthetic Intelligence Studio 2024
Call for Cognitive infrastructures – Synthetic Intelligence Studio 2024

Cognitive Infrastructures is the theme for Antikythera’s 2024 Synthetic Intelligence Studio in London, running June 21–July 19. Antikythera is a philosophy of technology think tank reorienting planetary computation. Applications are open for interdisciplinary researchers to join the one-month design-development studio working across philosophy, speculation, and code to explore unexpected interfaces between social and machine intelligence. Join the London in-person info-session on Wednesday February 7 at 5:30pm, or the virtual info-session on Tuesday February 13 at 5:30pm London time.

What are cognitive infrastructures
As artificial intelligence becomes infrastructural, and as societal infrastructures become more cognitive, the relation between AI theory and practice needs realignment. Across scales and back again, from world-datafication and data visualization, to users and UI, many of the most interesting problems in AI design are still embryonic.

Natural Intelligence emerges at environmental scale and in the interactions of multiple agents. It is located not only in brains but in active landscapes. Similarly, artificial intelligence is not contained within single artificial minds but extends throughout the networks of planetary computation: it is baked into industrial processes; it generates images and text; it coordinates circulation in cities; it senses, models and acts in the wild.

This represents an infrastructuralization of AI, but also a “making cognitive” of both new and legacy infrastructures. These AIs are capable of responding to us, to the world and to each other, in ways we recognize as embedded and networked cognition.

AI is increasingly physicalized, from user interfaces on the surface of handheld devices to deep below the built environment. As we interact with the world, we retrain model weights, making actions newly reflexive, knowing that performing an action is also a way of representing it within a model. To play with the model is to remake the model, increasingly in real time.

How might this transform human-AI interaction design? What happens when the production and curation of data is for models that are increasingly generalized, multimodal, and foundational? How might the collective intelligence of generative AI make the world not only queryable, but re-composable in new ways? How will simulations collapse the distances between the virtual and the real? How will human societies align toward the insights and affordances of AI, rather than AI bending to human constructs? Ultimately, how will the inclusion of a fuller range of planetary information, beyond traces of individual human users, expand what counts as intelligence?

Antikythera’s Cognitive Infrastructures studio will unfold from several interrelated speculative briefs for intellectual and practical exploration, including:

–Civilizational overhang and productive disalignment
–HAIID: human-AI interaction design
–Toy world policies
–Embeddings visualization
–Generative AI and massively-distributed prompting
–Multimodal LLM interfaces
–Data provenance and providence: the good, the poisoned, and the collapsed
–The planetary across human and inhuman languages

Apply by March 1
The studio will select 12–18 interdisciplinary, full time funded studio researchers (engineers, designers, scientists, philosophers, writers and technologists, amongst others) to develop speculative prototypes and propositions in response to briefs investigating the socialization of machine intelligences at planetary scale. The studio will be held full time, in-person at Central Saint Martins—University of the Arts London, with special events including lectures, gatherings, and salons unfolding at sites across London.

Selected studio researchers will work with a network of affiliate researchers, including collaborators from Google Research/ Deepmind, Cambridge Centre for the Future of Intelligence, Cambridge Centre for Existential Risk, and many others. Special seminars, lectures and workshops will be hosted by Director of Antikythera Benjamin Bratton, Google Research/ Deep Mind VP Technology and Society Blaise Aguera Y Arcas, Cambridge Centre for Existential Risk Historian Thomas Moynihan, Science-fiction author Chen Qiufan, Astrophysicist and co-developer of Assembly Theory Sara Walker, and others.


antikythera.org

2024 DIGITAL COMMISSIONS OPEN CALL
2024 DIGITAL COMMISSIONS OPEN CALL

Locust Projects invites local, national, and international artists to apply for the opportunity to propose ambitious multi-layered digital projects that respond to the hybridity and flexibility of Locust Projects’ physical space and various presenting platforms from onsite, galleries, interior or exterior surfaces, on screens, or online.

These projects can be new proposals, current works-in-progress, or existing works that need support for their evolution or next iteration.

Proposals are reviewed by a rotating panel comprised of local, national and international artists known for working with digital technologies. Locust Projects provides selected artists with curatorial guidance, production budget, artist W.A.G.E. fee, documentation, and a live/work residency opportunity.Fees and production budgets to be determined based upon the final presentation space/format. As a W.A.G.E. certified organization we maintain minimums or above fee standards.

OPEN CALL – DIGITAL COMMISSIONS:

The 2024 Digital Commissions Open Call is open through February 5th, 2024 Extended to March 3rd. 

Late submissions will not be accepted. (Please allow time for possible technical difficulties by submitting well before the deadline.)

Please direct questions to submissions@locustprojects.org. 

SUBMISSION REQUIREMENTS:

  1. Project description (max. 500 words)
  2. Drafted /rendering of proposed project
  3. General artist statement (max. 250 words)
  4. Project Impact – Explain how your project embraces experimentation and innovation at the intersections of art and technology,  and is relevant to current artistic practice. (Max 350 words)
  5. Describe any programming or activations that might happen during the course of your project
  6. Production Budget – provide an overview of approximate expenses for any that apply (see description of Production Budget* below)
  7. CV or Resume
  8. Link to website or past online-based projects
  9. Up to five images or links of previous/related work that help illustrate the proposed idea
  10. Image details (title, date, year medium of the submitted work and/or links)  Please be sure to include passwords if videos are private.

GENERAL GUIDELINES

For 25 years Locust Projects has been committed to supporting the creation and presentation of ambitious new work. Guided by our commitment to experimentation and our Knight Digital Innovation Initiative’s focus on innovation at the intersections of art and technology, the Digital Commissions Open Call embraces both emerging artists working in technology-based practices and established artists seeking to expand their practice in digital media including code-based and AI generated art.

Locust Projects is seeking proposals from artists to help realize new, existing works in progress, or support the next major public presentation stage of multi-layered digital projects. Proposals can be submitted for any physical space at Locust Projects, including (but not limited to) the project room, building interior, building exterior, our Digital Innovation Lab or screen-based and online interactive works. Proposals can be presented as an exhibition, metaverse, performance, or a series of activations (in-person or online) as long as the project stays within given budget parameters. Final projects are realized with support from a collaborative environment and supportive Locust Projects staff.

DIGITAL COMMISSIONS OPEN CALL OPPORTUNITY

  • Realization of ambitious multi-layered digital projects whether new, existing works in progress, or even the future evolution of a previous project
  • Community engagement with the public through public programs or activations (i.e. conversation, metaverse activation, performance, or a series of activations (in-person or online)
  • an in-depth interview on the Locust Projects Closer Look blog https://www.locustprojectscloserlook.org/
  • Opportunity to participate in the Locust Projects studio residency the possibility of a live/work opportunity for the duration of up to 6 months.

DIGITAL COMMISSIONS RESOURCES AND SUPPORT

Fees and production budgets to be determined based upon the final presentation space/format. As a W.A.G.E. certified organization we maintain minimums or above fee standards.

  • Production Budget Ranges from $1,000 to $5,000 (may include but is not limited to: production/fabrication, equipment and technology rental, materials, professional/technical support, installation/construction labor, assistants, shipping, de-installation) Final budget determined based upon dates, proposal scope and scale of project.
  • Artist Fee. Ranges from $500 to $3,100 depending on space, scope and scale following W.A.G.E. standards. Artists may use the Artist Fee at their discretion.
  • Basic infrastructure provided by Locust Projects includes access to use existing tool and av equipment inventory, up to 24 hours preparator labor/assistance for install/de-install, signage, installation documentation, and promotional support.
  • Accommodations, travel and per diem are provided to out of town artists. Includes $50 per diem stipend for out-of-town artists # of days to be determined; and stipend towards roundtrip, coach-class flights or car rental equivalent, and ground transport to and from airport with receipts available to artists that live 150 miles away from Miami (above and beyond travel expenses are applied to production budget) as well as temporary studio work space at Locust Projects and accommodations for up to six months in the Locust Projects residence.

THE SELECTION PROCESS

Proposals are reviewed by a rotating panel of artists and professionals with a background working in art + technology. The following criteria will be used during the review process:

  • Conceptual strength of the proposal, ambitious ideas, scale and/or use of technology and digital innovation within the proposal.
  • Strength of past work
  • Unique or innovative approach to transforming or activating LP’s space and /or the use of technology as a source of production and extension of the artist’s practice
  • Feasibility of proposed project and related programs within budget and logistical concerns, ADA accessibility required (if applicable)
  • Compelling and innovative approach to contemporary artistic practice, societal concerns, and/or community impact

Locust Projects is proud to be W.A.G.E. Certified (Working Artists in the Greater Economy), ensuring that we have and we will continue to compensate artists fairly, at, or above, minimum W.A.G.E. fees For more information on W.A.G.E. certification, click here.


Link: https://www.locustprojects.org/for-artists/submissions/2024-digital-commissions-open-call.html 

A Comparative Dialogue Act – Andrea Mancini & Every Island
A Comparative Dialogue Act – Andrea Mancini & Every Island

A Comparative Dialogue Act, a project by the Luxembourgish artist Andrea Mancini and the multidisciplinary collective Every Island will represent the Luxembourg Pavilion at the 60th Venice Biennale.

The project of the Luxembourg pavilion challenges the entrenched notion of individual artistic authorship by presenting a collection of works where artists relinquish ego in favour of a profound exploration of collective creativity through the medium of sound.

A Comparative Dialogue Act uses sound as a tool to explore different perspectives on identity and artistic research. An unprecedented collaboration by four emerging artists from diverse backgrounds, it brings together Spanish musician and performer Bella Báguena, French transdisciplinary artist Célin Jiang, Ankara-born performance Artist Selin Davasse and Swedish artist Stina Fors to offer four intersecting approaches to the multiple ways identity, performance and sound can meet. Navigating the realms of gender identity, Báguena weaves sounds inspired by intuition, motivation and a tableau of influences from pop culture to personal experiences. Jiang adopts a decolonial cyberfeminist approach, intertwining arts, technologies and digital humanities to provoke contemplation of identity within the context of transcultural aesthetics. Repurposing literary and performative techniques, Davasse embodies various feminine beasts with distinct syntactical, vocal and gestural characteristics to intimately traverse a speculative ethics of hospitality. And finally, Fors uses choreography, performance, drumming and vocals to explore the depths of a ‘sounding body’, unleashing a powerful voice that alternates between lethal force and seductive allure and showcasing the complexities of the self. A Comparative Dialogue Act offers a rich composition of singular voices brought together in a blurred sound artwork that pushes the boundaries of contemporary art production.

This exhibition investigates the transformative potential of sound as a medium for cultivating connection and understanding. It aims to transcend the limits set by singular perspectives of what sound can lend to the acts of interpreting, distorting and appropriating.

Guest artists

Selin Davasse
Residency: April 15–21
Selin Davasse (b. 1992, Ankara) lives and works in Berlin. Her performances repurpose disparate literary and performative techniques to enact and enforce a speculative ethics of hospitality between a bestial feminine stranger and a heterogeneous public. Embodying various narrative selves with distinct syntactical, vocal and gestural characteristics, she transmutes systems of thought into intimate and playful utterances oscillating between speech and song, in a permeable and unpredictable relationship to the viewer. Recent presentation settings include steirischer herbst, Graz (2023); Institute for Contemporary Arts, London (2023); Hangar Bicocca, Milan (2023); Art Encounters Biennial, Timișoara (2023); Kunsthalle Bratislava (2022); Wiener Festwochen, Vienna (2022); BJCEM – Biennale des Jeunes Créateurs de l’Europe et de la Méditerranée, Procida (2022); School of Waters, MEDITERRANEA19 Young Artists Biennale, San Marino (2021); Volksbühne, Berlin (2021); KW Institute for Contemporary Art, Berlin, (2021). Instagram: @radicalized_faghag

Célin Jiang
Residency: June 24–30
Célin Jiang is a French artist-researcher. Her work is transdisciplinary, political, and infiltrated: it aims to explore the relationship between art, technology, and digital humanities. The decolonial approach of her work is rooted in cyberfeminism. By questioning our perception of identities in a globalised context of transcultural aesthetics, Célin Jiang advocates interoperability and considers hybridisation as a sensitive vector of metamorphosis: how does the dissident potential of artistic expressions operate in the phygital era of social networks? Célin’s works have recently been shown at Cité Internationale des Arts, Paris (2023); Bourse de commerce | Pinault Collection, Paris (2023); Fondation Pernod Ricard, Paris (2023); Biennale Internazionale Donna, Trieste (2023); Château de Montjuïc, Barcelona (2023); Villa Arson, Nice (2023); VSRL, New York (2023) and Fondation Fiminco, Romainville (2022). Instagram: @bis0u.magiqu3

Stina Fors
Residency: July 18–28
With a taste for the absurd and strange, Stina Fors (b. 1989, SE), a choreographer and performance artist, crafts unpredictable, once-in-a-lifetime performances. As a self-taught drummer and shocking vocalist, Fors tours with her one-woman-punk-band, Stina Force, claiming no two performances are ever the same. Extended ventriloquism and screams can be witnessed in her recent work, “A Mouthful of Tongues” – a magic show where the voice seems detached from the performer’s body. Fors’s work is filled with tension, wit, and raw power. She also teaches how to access extreme voices. Stina studied choreography at SNDO in Amsterdam, currently in Vienna, Austria. Her recent appearances include CA2M Móstoles (2023), Centrale Fies Dro (2023), MDT Stockholm (2023), Nobody’s Indiscipline Milano (2023), Secuencia#2/Fabra i Coats Barcelona (2023), Steinsland & Berliner Stockholm (2023), TQW Vienna (2023) Wiener Festwochen Vienna (2023), Brut Wien Vienna (2022), Campo Gent (2022), Inkonst Malmö (2022). Instagram: @stinaforce

Bella Báguena
Residency: September 9–15
Bella Báguena (b. 1994, Valencia) is a Spanish trans non-binary woman who works with different disciplines such as music, performance, jewelry and other media. Bella centers her artistic production in a gender self-examination and an intuitive, emotional process, using her voice, body movement and identity, as well as objects, spaces and technologies, to create sound, video, sculptural or performative pieces in which the emotional charge and thought load of the trans woman’s identity becomes the key. Some of her recent performance contexts include Trauma Bar, Berlin (2023); Teatro Academico Gil Vicente, Coimbra (2023); A10 Exhibition x Injuve, Valencia (2023); Rokolectiv, Bucharest (2023); Ex Aterriza. Las Cigarreras, Alicante (2023); Construction Festival, Dresden (2023); Systema, Marseille (2023); Palais de Tokyo, Paris (2022); Dakota By Night. Nieuw Dakota, Amsterdam (2022); Shape+ Platform. Meet Factory, Prague (2022). Instagram: @xbellaxbaguenax


venicebiennale.kulturlx.lu

At the still point of the turning world

At the still point of the turning world


On February 8, STUK welcomes you for At the still point of the turning world, the new edition of Artefact festival. Contemporary art, current events and societal challenges meet in a versatile exhibition, energizing concerts and performances, in-depth lectures and thought-provoking films.

“At the still point of the turning world. / Neither flesh nor fleshless; / Neither from nor towards; / at the still point, there the dance is, / But neither arrest nor movement. / And do not call it fixity, / Where past and future are gathered. / Neither movement from nor towards, / Neither ascent or decline. / Except for the point, the still point, / There would be no dance, and there is only the dance.” —T.S. Eliot, “Burnt Norton”

How can you be awake amidst the turmoil in the world and still hold your own?

In At the still point of the turning world, artists search for comfort, strength and meaning. In the cosmic and oceanic, in family ties and kinships across generations, in the relationship between forms and materials, and in poetry.
The title of the exhibition references a section from T.S. Eliot’s Burnt Norton (1936), in which he described a special state between time and motion, beyond the physicality of our bodies. Eliot wrote the poem between two world wars, trying to find a way out of the tension of societal destruction and social hostility, a tension that is all too recognizable in our current times. Today, the suffering of the world is intensely felt in our daily lives, and chaos tugs at our sleeves. How do we remain awake and conscious enough to stand up for each other’s rights in solidarity instead of rubbing the sleeping sand of powerlessness deeper into our closed eyes?

As the world changes from a chaotic to a repressive place for a growing number of people and communities, the question of how to hold your own becomes increasingly urgent. The artists in this exhibition each show through their own practice how to take a stand by making connections with each other, by sharing intergenerational stories and ancestral knowledge, and exploring the relationships between the material and emotional, the individual and the cosmic. The necessity of art and poetry in a world in decline may sound soft-headed, but is essential. Back in 1985, Audre Lorde already stated that “Poetry Is Not a Luxury”. Therefore, the exhibition is imbued with the words of poets, such as Lorde, Etel Adnan, CAConrad and more.

Inspired by the exhibition, Artefact Sound brings together groundbreaking musicians and sound artists. The programme features new creations by artists-in-residence such as Kara-Lis Coverdale & Leuven’s Alumni Choir, Valentina Magaletti and NAH, complemented by a handful of world-class performers: Swans, Tashi Wada with Julia Holter, Bolis Pupul and Oren Ambarchi’s trio Ghosted. From club night to performance and from opening night to closing afternoon, Artefact Sound provides a three-week stage for adventurous music off the beaten track.

Expo
Etel Adnan, Felipe Baeza, Anouk De Clercq, Arpaïs Du Bois, Beatrice Gibson, Sky Hopinka, Saodat Ismailova, Alfredo Jaar, Anne Duk Hee Jordan, Germaine Kruip, Liliane Lijn, Margaret Salmon, Hyun-Sook Song, Pei-Hsuan Wang, Sophie Whettnall, Mickey Yang.

Artefact Sound
BELLY FLOP (Farida Amadou & Leslie Gutierrez), Bolis Pupul, Brorlab, Clara Levy, GAIKA, Gaëtan Rusquet, Hiele Badenhorst, Hieroglyphic Being, Jente Waerzeggers, Kara-Lis Coverdale & Leuven Alumni Choir, Laura Conant, Lukas De Clerck, ML Buch, Maria W Horn, NAH, Nixie a.k.a. Siren Calls, Oren Ambarchi, Johan Berthling & Andreas Werliin, Swans, Tashi Wada with Julia Holter, The Germans, Valentina Magaletti & Theresa Baumgartner.

Films, talks and performance
Malek Rasamny, Matt Peterson, Adam Pendleton, Paul B. Preciado, Gaëtan Rusquet, Angie Madalijns (bricol’art vzw), Stéphane Symons.


Link: www.artefact-festival.be

Shanshui: Echoes and Signals
Shanshui: Echoes and Signals

M+, Asia’s first global museum of contemporary visual culture in the West Kowloon Cultural District in Hong Kong, is pleased to announce the opening of the new thematic exhibition Shanshui: Echoes and Signals to the public from Saturday, February 3, 2024 in the South Galleries of the museum. Drawn from the M+ Collections, this exhibition explores the complex connections between landscape and humanity in our post-industrial and increasingly virtual world. Rotating displays will periodically renew the dialogues among the works and with the natural and urban environments beyond the museum itself.

Commonly translated as “landscape”, shanshui means literally “mountain and water.” Encompassing more than observable reality, the term refers to a cultural legacy integral to Chinese philosophical thinking and poetic imagination that has motivated a millennium-long tradition of ink painting across East Asia. Building on this legacy, Shanshui: Echoes and Signals reimagines landscape and our relationship to it through visual art, moving image, sound, design and architecture, and explores resonances not only between different genres and mediums but also between space and time, vision and imagination, fleeting experience and persistent history.

The exhibition will showcase artistic and intellectual engagements with landscape as concept, theme, and matter by artists such as Guo Hongwei, Kan Tai-keung, Heidi Lau, Ana Mendieta, Wesley Tongson, Wucius Wong, Xu Bing, Yang Jiechang, and Zao Wou-Ki. The new landscapes of contemporary urban and digital worlds are evoked in an iconic LED installation by Miyajima Tatsuo, a selection of electronics from the museum’s design collection, and major video installations by Liu Chuang, Amar Kanwar, and Nguyen Trinh Thi. Other highlights include a sculpture garden featuring Isamu Noguchi’s galvanised steel sculptures, activated by a site-responsive sound installation by Vivian Wang.

Over the course of its two-year-long run, Shanshui: Echoes and Signals will be punctuated by regular rotations of works by major international artists, architects, and moving image makers. A range of curatorial and public programmes as well as special moving image presentations at M+ Cinema will expand the exhibition’s speculative thinking and visceral experience beyond the galleries.


Link: www.mplus.org.hk
 

Fifth VH AWARD Exhibition in Singapore

Fifth VH AWARD Exhibition in Singapore


For the first time, the National Arts Council of Singapore (NAC) and VH AWARD organized by Hyundai Motor Group are collaborating to bring The Fifth VH AWARD Exhibition to Singapore as part of the twelth edition of Singapore Art Week (SAW). The VH AWARD is Asia’s leading award platform that aims to support emerging media artists from Asia since 2016.

Taking place at the Lower Gallery of Objectifs between January 21,  to February 4,  2024, the inaugural exhibition in Southeast Asia shines a spotlight on the winning artwork, Ladhamba Tayem; Future Continuous by Grand Prix recipient Subash Thebe Limbu (Dharan), along with the artworks of the finalists: Zike He (Guiyang), Riar Rizaldi (Bandung), Su Hui-Yu (Taipei) and zzyw (based in New York).

“The Fifth VH AWARD Exhibition, in partnership with the National Art Council and curated by Objectifs during Singapore Art Week, celebrates the diversity and creativity of media artists around the world who engage with the context of Asia and its future,’” said DooEun Choi, Art Director of Hyundai Motor. “These emerging artists have broadened our perspectives on the future of humanity and enabled us to blur any boundaries through their distinctive cross-cultural practices.”

In September 2022, VH AWARD announced the five shortlisted artists of the fifth edition and awarded grants for the production of new artworks. The finalists also received the opportunity to participate in an online residency program hosted by Eyebeam, the preeminent New York City-based art and technology center. The artists participated in professional development sessions and regular mentorship meetings with globally renowned art experts.

A joint opening reception will take place at Objectifs Courtyard on January 20, 2024 at 5pm. Apart from launching The Fifth VH AWARD Exhibition, this event simultaneously marks the start of two other presentations at Objectifs—Alternative Ecologies at the Courtyard, curated by Wang Ruobing and Reservoir of Time at Chapel Gallery, curated by Goh Chun Aik.

Emmeline Yong, Director and Co-Founder of Objectifs, said, “The five moving image works in The Fifth VH AWARD Exhibition exemplify Objectifs’ aims of broadening perspectives and inspiring through the image, and supporting original voices in visual storytelling. We hope that audiences here will find much to appreciate about these excellent works by emerging media artists in Asia.”.

“This joint initiative with Hyundai Motor Group has allowed SAW to introduce The VH AWARD to our audiences for the first time, as well as provide an encounter with new media talents from around the world. This is in line with SAW’s intention to continually promote diversity in artistic expression and give our audiences a wider range of choices. The Fifth VH AWARD Exhibition also represents a strong partnership among the three parties, NAC, Hyundai Motor Group and Objectifs. This further strengthens Singapore’s position as an arts hub in Southeast Asia.” said Tay Tong, Director of Arts Ecosystem Group (Visual Arts) at NAC.

Following its Singapore presentation, the exhibition will travel to Museum MACAN in Jakarta, Indonesia. For more information on The VH AWARD, visit www.vhaward.com. For the latest updates, visit www.objectifs.com.sg and follow @objectifscentre on Instagram and Facebook.

About Hyundai Motor Group
Hyundai Motor Group is a global enterprise that has created a value chain based on mobility, steel, and construction, as well as logistics, finance, IT, and service. With about 250,000 employees worldwide, the Group’s mobility brands include Hyundai, Kia, and Genesis. Armed with creative thinking, cooperative communication and the will to take on any challenges, we strive to create a better future for all.

More information about Hyundai Motor Group, please see hyundaimotorgroup.com.

About Hyundai Motor’s Art Projects
For over a decade, Hyundai Motor has deepened its partnerships with global museums and cultural organizations, including the National Museum of Modern and Contemporary Art, Korea (MMCA), Tate, the Los Angeles County Museum of Art (LACMA), and the Korean Pavilion at the Venice Biennale. Hyundai Motor’s own art-initiatives include open call programs such as The VH AWARD, the Hyundai Blue Prize, and Artlab Editorial, a digital platform dedicated to art writing by transnational voices. Our ongoing collaborations embrace the complexities of the cultural landscape by exploring new ideas and perspectives within and beyond the art ecosystem.

Visit artlab.hyundai.com or follow @hyundai.artlab #HyundaiArtlab to learn more about these projects.

About Singapore Art Week
As Singapore’s signature visual arts season, Singapore Art Week (SAW) represents the vibrant arts community in Singapore.

From January 19 to 28,  2024, SAW will present an array of over 130 art events featuring new works and transnational collaborations across the island and online. In its twelth edition, the ten-day celebration of the visual arts will showcase two dynamic art fairs, S.E.A. Focus and ART SG; the Southeast Asian premier of The Fifth VH AWARD Exhibition; a diverse range of practices that will present new ways of living and sharing; as well as a vibrant Light to Night in the Civic District. SAW is a nexus for creative collaborations and audiences can look forward to an exciting line-up of art experiences at our museums, galleries, independent art spaces and public spaces, and enjoy enriching discussions, talks, walks and tours.

SAW 2024, a celebration of Singapore’s visual arts landscape, is helmed by the National Arts Council (NAC). Visit artweek.sg for more information.

About the National Arts Council, Singapore
The National Arts Council champions the arts in Singapore and is committed to nurturing a vibrant and sustainable arts scene that enriches the lives of Singaporeans. Our distinctive arts sector fosters artistic excellence, inspires society, sparks creativity, and connects Singapore with the world. Through our collaborative efforts with individuals, private and public sectors, we aim to cultivate a creative city that inspires, while anchored on a thriving, inclusive and diverse arts scene. For more information on the Council’s mission and plans, visit nac.gov.sg.

About Objectifs—Centre for Photography and Film
Established in 2003, Objectifs is a visual arts space in Singapore that is dedicated to film and photography. It aims to cultivate original voices in visual storytelling, and to inspire and broaden perspectives through the power of images. It focuses on presenting and nurturing work by image-makers in Southeast Asia, and advancing the practice and appreciation of photography and film.


Link: www.objectifs.com.sg

Nel 2023 abbiamo celebrato anche l’aggiornamento dei Principles of Open Scholarly Ifrastructure (POSI), come risultato del lavoro condotto dal 2022 con il “POSI-Adopters” group per rendere i principi più chiari e inclusivi