Exhibition in Bergen (Norway)

Exhibition opening 19. Aug 6pm , concert 6:30pm

Exhibition period 20. Aug – 25. Sept 2011

The exhibition Soft Technology was shown at SOFT Gallery in Oslo in March with four e-textile works by Norwegian and international artists and designers. We thank you for the participation in both the opening and the workshop and concert with Syntjuntan.

On Aug. 19th the exhibition Soft Technology will open again at Gallery 3.14 in Bergen, this time expanded with nine works and a collection of prototypes and samples from participants in the Soft Technology research project. The audience here will be able to touch and pull, make sound and even see and experience how electronic textile works.

The exhibition at Gallery 3,14 in Bergen shows works that takes smart materials, e-textiles and traditional electronics as a starting point in the development of the work. These are works by international and Norwegian artists that take different approaches to materiality, technology and context, and tell different stories. Still they have in common a quest to give the unstable, unknown and unpredictable a form and a visuality, both in content and materiality.

Kristina Aas (NO), Berit Greinke (DE / U.S.), Hilde Hauan (NO), Elin Igland (NO), Kobakant (AT / US / JP), Astrid Krogh (DK), Celine Marq (FR / U.S.), Hillevi Munthe (NO) and Ricardo O"Nascimento (BR).

Soft Technology is a research project on textile electronics in an artistic context, carried out at Atelier Nord in Oslo and the Art Academy in Bergen. Soft Technology is produced by Atelier Nord in collaboration with the Art Academy in Bergen and Gallery 3.14.

Concerts performed on the piece "Mønsterundersøkelser av lyd nr 1" will be played on weekends during the exhibition period.

Wednesday 31 August 5pm book launch of "The Temporary Embassy" by Anders Rubing. In cooperation with KHiB.

Lydgalleriet is also taking the opportunity to curate a sound piece for our Parabol-series in the passage.

Soft Technology is produced by Atelier Nord, more information www.ateliernord.no

Parangonet's performance

I was invited to participated in an event about wearables, part of "Mostra Sesc de artes 2010".

For this exhibition we set up the parangonets and documentation at Sesc Pompéia in São Paulo - Brazil. The scenography was really cool.



Besides the exhibition we had 3 performances in various places. I made a small compilation with some moments.

From this experience I figured out that I want to do more performances. The performance's complexity triggered something in me that i really like. Something between dance, theater and visual arts...

Parangonet 1.0: sonic dimension from ricardo O'nascimento on Vimeo.

Abertura da mostra labmis

Green Summer @ Verbeke Foundation

I had the pleasure to be in verbeke foundation for a quick residence of 4 days. Actually, I was mounting the installation "Plantas Parlantes" that I made together with the mexican artist Gilberto Sparza and Recycle-x team.

The foundation is a quite impressive place. It reminded me a lot a place in Brazil called Inhotim. However, despite of the amazing work of its founder the place encounter some difficulties in maintaining its pieces and also providing infra structure for the residents artists.

I was there together with Javier Busturia, Jelle Decker, Jnigni Wang and Roel. We slept in a truck (!). The experience that could be interested was a bit challenging due to the arctic cold that was at night, not to mention the dust everywhere. Speaking with other artists I figured out that their living conditions at Verbeke foundation was not actually better.

Walking in the almost 6.000 m2 of the foundation you can find many sculptures, some of them in big size. Some really good, others not so much. I had the impression that the curatorial line is quite weak, not to say nonexistent. Also it is possible to perceive a fascination about dead animals on the place. Almost 60% o the installations has something to do with death or dead animals. Freak!

I would say that this time was good but not really totally enjoyable. I have to confess that I was in a really bad mood also. Despite of all of this I could see some nice artworks and had a good time with my friends. if you are in Antwerp a visit is high recommended, if you are an artist and look for a residence you might want to think twice. Unless you really like contact with nature at all cost ;-)

more info: www.verbekefoundation.com

The Royal Interface Culture Masquerade Ball

studioroosegaarde

IMAFY

Hey people,

a guy from twitter sent me this link about an exhibition that I participated in Cairo last year. It seems to be from EFE TV Madrid. They say my name but do not show my work hehehe

JAPAN MEDIA ARTS FESTIVAL

From 12.09 to 20.09 we have the opportunity to see some of the media art produced in japan at the MuseumsQuartier in Wien (Austria).

I am particulary proud to see the work of my god friend Kanejun (KANEBAKO Junichi). He is presenting his amazing "Mountain guitar" who was developed here in Linz at Interface culture department.

More information here: http://plaza.bunka.go.jp/vienna/exhibition/zone1.html

I am glad to announce my next presentation in Festival
Miden 2009 on Suturday 11/7 in Kalamata,GR

More info at:

www.festivalmiden.gr

Interactivos Lima at Nature.com

The technology of illusion

Jascha Hoffman1

ARTS REVIEWED:
-Interactivos? Lima '09: Magic and Technology
Escuelab, Lima, Peru. Sponsored by Medialab Prado.
Workshop held 13 April until 13 May 2009.

ESCUELAB LIMA

Viewing your arm through this box of tricks (top) transformed it into the furry equivalent shown above.

Magic is not limited to the tricks performed at children's parties. It can refer to anything that resists explanation, from cognitive illusions to high-tech wizardry. This broader sense of magic was in the air in Lima, Peru, earlier this spring, when engineers and artists converged to explore the intersection of magic and technology, with awe-inspiring results.

"It's nuts, it's very ambitious," said Julian Oliver, an artist from New Zealand who helped to organize the workshop for Medialab Prado, based in Madrid, Spain. "People bring the skeletons of ideas and build them in just two weeks."

The workshop began with a digital nod to the time-honoured manipulation of playing cards and coins. Using a suitcase that folds out to become a digital overhead projector, a Spanish magician doctored a live video feed of his tabletop tricks using a pair of wireless shoes.

Other artists endowed spectators with unearthly powers. One Brazilian artist gave visitors a 'magic wand' to change the outline of their shadows. A Mexican inventor used a hidden theremin, the musical instrument that responds to the body's electrical fields, to activate a magnet that causes a pair of ghostly silver spoons to flip over when someone approached. "We had to reject a project that involved a flame you could control with your hands by way of gas injections," said Oliver.

The conception of magic in Peru was not always the art of deception seen in the West. Instead of Houdini-style illusions, "there is superstition and metaphysics" in Peru involving "rites, summoning and prognostication", said Oliver. Abracadabra Pata, a box in which visitors saw their own arms transformed into the legs of insects or lions, gave a taste of the spirit of witchcraft. A sense of the miraculous also pulsed through an installation that asked passers-by to synchronize their heartbeats to revive an image of a dead man projected onto the floor, in a sort of shamanistic healing- ritual-turned-video-game that took its inspiration from the Peruvian poet César Vallejo.

Magic could be defined as that which science has not yet made intelligible. But "even if science could explain everything, there would still be a place for magic," noted Kiko Mayorga, a Peruvian engineer and artist who co-founded the Escuelab centre that hosted the installations. This is because "magic is linked to surprise, and one's attention can never take in everything," he wrote.

Magic can comprise inventions that baffle us until we understand them. But this ignores a crucial fact: the best illusions rely not on advances in technology, but on permanent facts of psychology. "Magic, in the traditional sense, doesn't occur in the world, it occurs inside people," explains Oliver. "The magician merely helps people to trick themselves."

http://www.nature.com/nature/journal/v459/n7248/full/459780a.html

NEW MEDIA MEETING 2009

Dear friends,

i am glad to announce my upcoming exhibition.

My work "Authority" will be part of the New Media Meeting 2009 during 28 -30 Mat in Nooköping (Sweden)

more about the festival:
www.newmediameeting.se

more about Authority:
www.popkalab.com/authority.html

AUTRMX @ transferatv

In spite of the crisis, of the lack of sponsors and other well known obstacles, we want to communicate you that Transfera TV have not left to emit weekly the better current video art creations.

Transfer TV is audio-visual art, not spectacle or industry.

By this reason, Transfera TV propose you for next Friday 8 and Wednesday 13 of May at 21:00 the following program:

FOCFEST RETROSPECTIVE with works of

1. NEIL HOWE (AUSTRALIA) – “GENESIS” (2006: 10' 34)
2. JOSSIE MALIS (PERU) – "BENDITO MACHINE I" (2006: 4' 45)
3. RICARDO NASCIMENTO (BRAZIL) “AUTRMX” (2008: 5' 24)
4. EMRE ÖZKAPI & ASLI BÜYÜKKÖKSAL (TURKEY) “UZUM INCE BIR YOL / A LONG AND THIN ROAD” (2006: 6’)
5. JEAN-JULIAN POUS (FRANCE) “SEEKING YOU: A LOVE LETTER TO HONG KONG” (2008: 3' 14)

You can access to all the information at : http://www.transfera.es/programa33.html

Interactivos? lima 2009: magic and technology

I was not blogging this time because I spent 2 weeks in Lima (Peru) at the interactivos? workshop.

It was the best experience ever! Amazing people, amazing place.

I developed the work called: "mestre das sombras"

You can see this piece and 7 more at Galeria [e]Star that is at Calle Jiron de la Union 1044 piso 3 Centro de Lima (Peru) from 28 April until 13 May.

A little bit of press

FAD

VIDA 11.0 Awards

Once more Fundacion Telefonica rocks and presents the 2009 winners of Vida artficial.

The great winner was "hylozoic soil" by Philip Bessley and Rob Gorbet, witch I had the pleasure to join the montage here in Linz for the new AEC.

I also want to point out the work "Dialética" by Fernando Velzquez and Julia Carboneras and the bealtiful "Poetics cubes" by Patricio Garcia and Juan Manuel Moreno Aróstegui.

Check the websote to see the winners and, if you can, go to the exhibition.

http://www.fundacion.telefonica.com/arteytecnologia/certamen_vida/index.htm

VIDA 11.0 Awards
11th - 12th February 2009

Matadero Madrid
Paseo de la Chopera, 14
28045, Madrid

Opening hours
Monday to Friday,
from 5 p.m. to 10 p.m.
Saturday and Sunday,
from 11 a.m. to 10 p.m.

Admission is free

FAD

I am pleased to announce that I will present my work Authority at FAD in Belo Horizonte - Brazil.

MURAKAMI at Guggenheim Museum Bilbao

http://www.guggenheim-bilbao.es/

• The most ambitious retrospective to date of the work of internationally acclaimed Japanese artist Takashi Murakami.

• More than 90 artworks in various media including painting, sculpture, industrial design, animation and fashion, in a solo overview of his artistic career that offers an in-depth assessment of the relationship between art and mass culture.

• His personal creative universe draws from traditional Japanese art, contemporary Japanese trends such as anime (animation) and manga (comics) and artistic movements such as American Pop Art and European Surrealism.


From February 17 through May 31 2009, the Guggenheim Museum Bilbao will present the most important retrospective to date of the work of the Japanese artist Takashi Murakami (b. Tokyo, 1962), one of the most celebrated contemporary artists to have emerged from Asia in the last century.

Sponsored by Fundación Jesús Serra and Seguros Bilbao, and organized by The Museum of Contemporary Art, Los Angeles (MOCA), this exhibition, which takes up the entire third floor of the museum, offers us a fresh new vision of this Japanese artist's groundbreaking project.

With a complete selection of over 90 works in different media such as painting, industrial design, animation and fashion, the exhibition, curated by MOCA Chief Curator Paul Schimmel, reveals this artist's personal universe: from his early works in the 1990s, in which he explored his own identity, to his large-scale sculptures created after 2000, veritable icons of this artist, and ending with his gallery of manufactured objects, his animation projects, his connection to the world of fashion, and his compelling works of recent years.

The relationship with anime (animation) and manga (comics) is central to the aesthetic conception of the artist, who made his debut in the early 1990s. Both genres are, in his own words, "representative of modern everyday life in Japan" and stem from the otaku subculture (a word used to refer to the young and reclusive, obsessed fans of such genres as anime and manga). His work is also influenced by pop culture and by certain European and American artistic movements. Consequently, Murakami's praxis brilliantly blends the bright palette of pop, the flatness of traditional Japanese art and certain elements of the Surrealist movement, where dreams played a fundamental role in the creative process.

"Throughout his career, Murakami has made his personal and artistic legacy an amalgamation of Japanese, European and American traditions that he has been able to combine in order to develop a unique aesthetic, which has generated a proliferation of distinctive images and icons," states curator Paul Schimmel.

In a space of 2,000 square meters on the museum's third floor, sculpture, painting, fashion, animation and merchandising intermingle to sketch an outline of Murakami's career laid out in a chronological overview, his work takes on a new dimension in the context of the sinuous and luminous spaces of Gehry's building.

via: e-flux

Walt Disney wonderful world and it roots in European art

This week I had the pleasure to go to Munique and see some exhibitions. However I would like to point out one that impressed me more: the wald Disney wonderful world and it roots in European art.

When I first knew this show I thought it would be a bit boring with all movies and drawing that we know since we were child. However I was delighted by an amazing surprise. The exhibition was extremely nicely done with an interesting design, but what is the best in this show was the explanation about some of Disney’s references.

 The references go from “Nosferato” in fantasia to “The cabinet of Dr. Caligari” in some Mickey Mouse’s short movies. From ancient Chinese painting in Bambi to a castle named Neuschwanstein in Germany in Cinderela.

Even thought these nice information the hight point of this exhibition is an unpredictable collaboration between the surrealist artist Salvador Dali and Walt Disney. In 1946 Daly was in Disney’s studios and produced a short movie called “Destino” that was finished only in 2003 and presented in this exhibition.

It is a nice exhibition that will make you look in a different way to Disney’s movies. If you have the chance do not miss.

 Opening hours

September 19, 2008 - January 25, 2009  

open daily from 10 am to 8 pm  

closed on December 24

December 31 open from 10 am to 2 pm  

Admission

Regular: 10,- €

Groups of 10 persons and over and senior citizens: 8,- €

School-age children, students and the unemployed: 4,- €

Richard Kriesche Capital + Code

Talking about money and art there will be another exhibition in Graz (Austria) that is relate to this issue. It is interesting to see how artists are becoming more sensible to the impact of economy in our life. I hope see more works in this direction....

Richard Kriesche
Capital + Code
Nov 15, 2008 - Feb 22, 2009
Tue – Sun 10am-6pm

Kunsthaus Graz am
Landesmuseum Joanneum
Lendkai 1, A–8020 Graz
T +43-316/8017-9200, F -9212
info@kunsthausgraz.at

http://www.kunsthausgraz.at

Richard Kriesche explores systems of perception. With his perennial focus on the challenges of new technology and science, he is a key figure in contemporary art. His works, which often have a cultural political background, have always been at the forefront of media art.

In his Capital + Code exhibition, Richard Kriesche zooms in on interconnections, focusing on the structure of phenomena. In the Aesthetics of Capital light installation (2008) especially created for the Kunsthaus Graz, he bathes everything in a technoid computer-blue light. The installation uses eight projectors and visualization software (which also sees use in the money markets) to project market-type fluctuations on the interior wall of the building. The constantly changing images are real-time responses to search questions on Google involving different combinations of the words art, work, capital and freedom. The images are an indication of an elusive global state.

The installation may seem clairvoyant, since it was conceived more than a year before the recent dramatic events on the world's financial markets. It thus gives a graphic picture of the interconnections and interdependence of complex relationships that determine not only today's financial world but indeed the entire image of the world.

For Kriesche, this totality with its portrayable realities is consequently a system that can be critically investigated. Analysing it is a hallmark of his oeuvre, as was evident even in his late-constructivist Numerische Systeme (Numerical Systems) of the 1960s. The exhibition is therefore a cross-section of his works, showing different perspectives that are always close to the events of the day, and focusing on the effects and circumstances of visual and socio-determinative systems. In Studio Sperimentale, shown at the 1970 Biennale in Venice, Kriesche traces the conditions and apparent unambiguities of dimensions. Life-Video-Sound-Polaroid Installation was an exhibition at the Neue Galerie in Graz in 1973, and focuses on the relationships between exhibition premises, the staging involved and the displacements between creating and viewing.

In Zwillinge (Twins) of 1977, Kriesche confronts social reality with philosophical considerations, and uses electronic media to reveal new real spaces. W.Y.S.I.W.Y.G. of 1989 transforms the history of art into "objective" visual information by means of digital geodetic analysis. In a similar way, The Informations Loaded Portrait of 1997 investigates the possibilities of pictures as information-carriers, and overlays forms of portraiture with the relevant details about the people. In the case of Art_Chip (2004) and the Genetisches Portrait (Genetic Portrait, 2001), this examination of the systematization of the human dimension is taken to visual and acoustic extremes. In a wholly different vein, Der ewige Horizont (The Eternal Horizon) of 2000 comes full circle in Kriesche's investigations of visual and social codings, giving us a highly poetic glimpse of the ecological rhythm of the world in a repetitive movement.

Thus the exhibition as a whole brings together the systems of science, social and political analysis, the economy and art together in an interaction that extends into the public and political arena and redefines architecture and the use of the media in doing so.

Curators: Katrin Bucher Trantow, Peter Pakesch

via: e-flux