beTTa's Web Log Site

My last project in Berlin – July 2011

tabsil — Sat, 20 Aug 2011 09:51:06 +0000

I intervene in the footpath area in front of ‘Errant Bodies Space’ in Kollwitzstraße by attaching a contact microphone on the bike railing, on a pot and several objects/materials I find in the given space willing to transmit pre-recorded sounds/noises for creating a physical/behavioural interaction/situation for visitors. During the performance event I am in the celler for monitoring the whole system and for mixing field recordings every half hour through a programming language. There are in total four speakers, two in the pavement outdoor, one in the cellar and another one in the corridor next to it. All the playbacks have been taken from everyday places I have lived during the last four months in Berlin area – voices in the park, shared steps, tiny slams, chirps and thunderstorms, forms of protest and sonic social behaviour – edited afterwards in order to question the nature of public places and its people in a contextual environment. All urban artifacts I chose for the sonic interplay act as a symbolic reference for expectation and hope, loss and separation, unconscious desires and irrational fears – emotions experienced by everyone but deeply connected with the private sphere of the body where disruptive spaces and free movements can be explored and discovered.

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Immersive Sound Installation at the Große Wasserturm, Prenzaluer Berg, Berlin

tabsil — Sat, 16 Jul 2011 09:13:26 +0000

Andreas Oldörp

Arbeit mit Lager

1st July 2011 – 11th September 2011
back to the season

The Hamburg sound artist Andreas Oldörp has been working with the interplay between sound and space since 1985. His installation “Arbeit mit Lager” with four “singing flames” was already on display in the Large Water Reservoir in 1997. Now, 14 years later, Oldörp has realised a re-installation of this fascinating, localised work. The small gas flames that cause the air in glass tubes of different lengths to vibrate create powerful, space-filling sounds that differ depending on the location. Constant bass sounds create powerful and changing sound textures in the space. Sometimes a few steps or a movement of the head already suffice in order to bring about a completely new sound environment. A fascinating, acoustic as well as visual work that is related to the space results, in which the visitor can embark on a journey to find new tones in a wonderfully light way.

Opening: 30.06.2011 at 8 p.m.
Wed – Sun 2 – 8 p.m.
Long Night: 11.09. to midnight

singuhr – hoergalerie
Großer Wasserspeicher: Entrance Belforter Straße
Entry: 4 / 3 € (für both reservoirs)

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RE-TOUCHING McLUHAN – THE MEDIUM IS THE MASSAGE

tabsil — Wed, 01 Jun 2011 08:21:28 +0000

well, went to this intense three days conference about the tought of mc luhan on media & communication last week- end at the Embassy of Canada in Berlin. was a bit overwhelming but having had interesting conversations around the theme of the acoustic spaces in digital environments

transmediale, in collaboration with the Embassy of Canada Berlin and Marshall McLuhan Salon invite you to a key weekend event celebrating the legacy of Canadian media philosopher Marshall McLuhan on the occasion of the 100th anniversary of his birth. Part of the McLuhan in Europe 2011 network of events initiated by transmediale, Berlin’s Conference and Centennial Weekend will take place May 27 – 29 at the Embassy of Canada and Marshall McLuhan Salon.

The international conference Re-Touching McLuhan: The Medium is the Massage chaired by Dieter Daniels and moderated by Christopher Salter, sees leading international media and digital culture researchers Richard Cavell, Martina Leeker, Claus Pias, Dieter Daniels, Katja Kwastek, Michael Darroch, Janine Marchessault and Lorenz Engell explore McLuhan’s unique take on tactile and multi-sensory media expressed by the media philosopher’s unintentionally published blurring of the words message and massage.

The opening of the Centennial Weekend features the worldwide (re-)launch of McLuhan’s 1968 audio art classic The Medium is the Massage, digitally remastered for the first time, produced and presented by hip-hop musician and conceptual artist Paul Miller aka DJ Spooky.

Legendary McLuhanist Derrick de Kerckhove and Berlin-based McLuhan scholar Steffi Winkler elaborate on rare material from the McLuhan archives in the first session of the McLuminations screening and discussion series, produced by Baruch Gottlieb.

The Centennial Weekend will feature the European première of Through The Vanishing Point, a major new multi-media installation by leading Canadian digital artists David Rokeby and Lewis Kaye, and Play_McLuhan from media students of Hochschule Darmstadt under direction of Sabine Breitsameter. The Weekend will be preceded by the 2nd German-Canadian Professionals Conference featuring keynotes Brian Lee Crowley, Linus Neumann and Gundolf S. Freyermuth.

Programme Highlights

Friday May 27, 18.00
Re-Touching McLuhan Centennial Weekend
Opening and Reception featuring Richard Cavell and Paul Miller aka DJ Spooky

Saturday May 28, 10.00 – 18.00
Re-Touching McLuhan: The Medium is the Massage
Conference chaired by Dieter Daniels

Sunday May 29, 14.30
McLuminations #1
Screening & Discussion featuring Derrick de Kerckhove and Steffi Winkler

Sunday May 29, 17.00
Through The Vanishing Point
Installation by David Rokeby and Lewis Kaye – Vernissage

Special Pre-Events

Friday, May 27, 12.00 – 17.00
Global Village: Calamity or Chance?
2nd German-Canadian Professionals Conference
gcp-conference.de/2011

Friday, May 27th, 17.00
PLAY_McLUHAN
Exhibition presentation by Sabine Breitsameter and students of the Hochschule Darmstadt

The events will take place in English / Die Veranstaltungen finden in englischer Sprache statt.

The Centennial Weekend will take place at the Embassy of Canada / Marshall McLuhan Salon, Leipziger Platz 17, 10117 Berlin. Please arrive early to ensure enough time for embassy security.

Re-Touching McLuhan is a project of transmediale in collaboration with the Embassy of Canada and its Marshall McLuhan Salon with the support of the Government of Canada, the Deutsch-Kanadische Gesellschaft, Blackberry, the McLuhan Estate and the Gingko Press. The event is part of the McLuhan in Europe 2011 Network, initiated and directed by Stephen Kovats in collaboration with Michelle Kasprzak, celebrating the centenary of Marshall McLuhan and his impact on European Art and Media Culture.

Through The Vanishing Point was commissioned in 2010 by the Scotiabank CONTACT Photography Festival (Bonnie Rubenstein, curator) and the Faculty of Information McLuhan Program in Culture and Technology (Dominique Scheffel-Dunand, director) University of Toronto, Canada.

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TUNED CITY NÜRNBERG 2011

tabsil — Fri, 22 Apr 2011 12:54:26 +0000

went to this interesting event in the city of Nuremberg last week-end. the main topic was about sound and the build environment. met many artists, architects and researchers of this field.

Mini Tuned City Nürnberg
Sounds of Muggenhof
11. – 17. April 2011

As part of an interdisziplinary artist competition initiated by the city of Nürnberg/Germany Tuned City is going to realize a ‘mini-event’ in a very interesting part of the city called Muggenhof/Eberhardshof. The area is a mix of havitation and industrial architecture inbetween a green belt with a little river on one side and the main connection highway to Fürth (and the parallel train track) on the other side. The industrial architecture is dominated by the former production facilities of AEG and the Quelle (mailoder) headquarter build by Ernst Neufert.

With workshops and public interventions we’re going to explore that neighborhood for one week. The results are going to be shown on the 16th of april with presentations, performances and lectures. (See details >>> workshops and lectures))

–

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STADT-FLIMMERN ELISABETTA SENESI EXHIBITION IN BERLIN UNTIL 12 NOVEMBER

tabsil — Fri, 29 Oct 2010 16:33:57 +0000

Click to view slideshow.
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{sounding code} in berlin

tabsil — Sat, 25 Sep 2010 21:11:19 +0000

went to this inspiring symposium on supercollider developing platform for artists and musicians..

Installation Großer Wasserspeicher Print

Großer Wasserspeicher, 18. – 26. September, 14 – 20h
Opening: Friday 17. September, 18h

Alberto de Campo, Generative Art class at UdK Berlin & guests:

“Varia Zoosystematica Profundorum – Experimental studies in deep sea communication”

organized by UdK Berlin in cooperation with singuhr e.V.
Read more…

Installations .HBC Print

18. – 26. September, 14 – 22h
Opening: Friday 17.Sept. 20h
ground floor

Ron Kuivila — Alex at Twilight
Andre Bartetzki — A Show Case for SC Tweets

second floor
Jost Muxfeldt — Audio Kinematics
Marije Baalman — Sonobotanics – Montreal models
Jonas Hummel — [PB_UP] – a patchwork portrait
Hanns Holger Rutz & Nayari Castillo — Dissemination

outdoors
Victor Mazon Gardoqui — Interferenzen – Expanded Field
Read more…

.HBC Open Stage Print

Monday 20. September, 20h (incl. Berlin SC user group meeting)
Tuesday 21. September, 20h
Wednesday 22. September, 20h
Read more…

Thursday, 23.Sept., 19h, WFS Concert Print

John Bischoff “Sidewalk Chatter (Redux)”
Marcus Schmickler “Bonner Durchmusterung”
Bjarni Gunnarsson & Miguel Negrão “Fallacies”
Alberto de Campo “Reversing Pendulum Music”
Read more…

Thursday, 23.Sept., 22h, Ausland Concert 1 Print

Ruben Patiño — 3.3.3
Itaru Yasuda — complex composition
Scott Cazan / Jana Papenbrook — I Like Supercollider and Supercollider Likes Me
Roberto Garretón — From one place to another and the paths in between
EVOL– Untitled
Nick Collins — scryptogram

XII International Architecture Exhibition – Italian Pavillion‏

tabsil — Mon, 23 Aug 2010 09:41:26 +0000

The Ministry for the Cultural Heritage and Activities, with the PaBAAC – General Direction for the landscape, fine arts, architecture and contemporary art - and the Biennale di Venezia present AILATI. Reflections from the future, an exhibition conceived by Luca Molinari for the Padiglione Italia at the 12th International Architecture Exhibition.

AILATI.Reflections from the future is a play on words, a reversal of the country’s name that opens up a new reading of contemporary architecture in an original and sideways glance at objects, reality and designs (in English, the title would be YLATI). The exhibition offers a bold, knowledge-led haven for reflections of the future delivered to us by reality on a daily basis; the resources upon which Italian architecture will draw to forge new forms of identity and development.

AILATI.Reflections from the future unveils a vision of architecture as civil art, attuned both to reality and people, and yet capable of generating solutions for a restless society, a society in the midst of deep-seated change, frightened by the future… and yet a society in which architecture can and should prompt Italians to live the spaces of contemporary life with greater focus and more courage.

AILATI. Reflections from the future is divided into three sections.

“Amnesia. Italian Contemporary Architecture 1990-2010” is an initial and timelyoverview of Italian architecture during the last 20 years, fostering a sharper and more aware understanding of Italy now.

“Lab Italy” is the central portion of this exhibition focused on the present day, where works built in recent years provide a tangible look at high-quality new buildings in Italy, and the types of research undertaken during this time. The works on show are sub-divided into 10 areas, each of which represents an emerging theme in a country questing for new identities and new solutions: Socially aware design; Life below €1000 per square metre; Re-using assets seized from organized crime; Landscape emergency; Community areas; New public areas; Rethinking the city; Archetype/Prototype; Work in progress; and Connexions.

“Italy 2050” In a dialogue with Wired Italy (the influent magazine dedicated to big ideas and technologies that change the world), fourteen scientists, thinkers and filmmakers who in their way are building the future share their priorities and bywords for Italy over the next few decades, while fourteen designers offer exclusive visions through their interpretations of the theme.

The Italy 2050 section includes a dedicated conference and workshop area. For the 3-month duration of the Biennale, the Padiglione Italia will be transformed into the “Home of Italian Architecture”, as it hosts events, roundtables, and discussions touching on the liveliest and most disparate issues facing Italy today.

AILATI. Reflections from the future will also be casting a contemporary eye on the recent past, the incumbent present, and the near future of Italian architecture as part of one continuum, in a ground-breaking exhibition designed by Salotto Buono Studio and Francesco Librizzi whichoccupies 1800m2 of the new Pavilion looking out over theGiardino delle Vergini. The exhibition graphics and corporate identity have been designed by Tank Boys to make the exhibition comprehensible and accessible to non-specialists who’d like to find out more about Italian architecture.

Credits

Curator: Luca Molinari

Exhibition design: Francesco Librizzi and Salotto Buono

Graphics and corporate identity: Tankboys

Light design: Mario Nanni

Technical coordination: viapiranesi srl

Production office: Luca Poncellini

Production and partnership: Rodex SRL

Press Office: Otto Idee e Soluzioni di Comunicazione Globale srl

Catalogue: Skira

Media partner: www.ymag.it

Exhibition sections:

- Amnesia. Italian Contemporary Architecture 1990-2010: Maria Vittoria Capitanucci

(supervision)

- Lab Italy: Michele Calzavara and Fabrizia Ippolito (supervision)

- Italy 2050: Wired and Simona Galateo

MiBAC Press Office Padiglione Italia Press Office

Tel. +39 06 67 23 22 61 / 2 OTTO – Sara Resnati Tel. +39 02 89 41 03 20

s.resnati@ottoidee.it
www.ottoidee.it

AILATI. Reflections from the future – Sections

Amnesia. Italian Contemporary Architecture 1990-2010

This initial overview of Italian architecture during the last 20 years hinges upon the word “amnesia”, a word that indicates the alarming excision of Italian history, of the experiences that underpin the recent identity of Italian architecture. By referring to Italy’s low estimation of high-quality contemporary architecture, the word is also a provocation.

The images, charts and records in this section of the exhibition offer an initial critical reading of this critical historical époque, fostering a better-focused and more aware understanding of present-day Italy. Using a hitherto absent historical and critical approach, it presents the complexities and the dense experience of a period that has seen the passage of different generations of architects and different generations of ideas, running from the later works of several post-war architectural luminaries (Ignazio Gardella, Ettore Sottsass jr., Aldo Rossi, Bruno Zevi, Vico Magistretti, Michele Capobianco, and Pasquale Culotta) to the beginnings of digital culture and two new generations of architects, from the rise of internationally-acclaimed Italian architects like Renzo Piano, Massimiliano Fuksas, Vittorio Gregotti, Aldo Rossi, Paolo Portoghesi and Franco Purini, to the development of viable, contemporary architecture in Italy’s provinces.

Lab Italy

AILATI. Reflections from the future also highlights the difficulties encountered by contemporary architecture in Italy, where there is insufficient awareness and insufficient support for fine, high-quality architecture, and where commissioning parties in the public and private sector need to be more courageous and invest in works designed by generations of emerging Italian architects. Laboratorio Italia is the central part of the exhibition dedicated to the present day. All works on show in this part of the exhibition are subdivided into 10 different themes that outline emerging issues in a country seeking new identities and new solutions. All of the projects of the exhibition have either been built or are at an advanced stage of construction, offering a tangible overview of quality construction in Italy and on-the-ground architectural experiences around the country. Together, these 10 different themes encompass Italy’s emerging issues and problems, all of which require innovative solutions.

Alongside works by architects, the Lab Italy section also features works by artists: Il Parco by Marina Ballo Charmet, Statale 106 by Francesco Jodice, Ritratto di Classi by Filippo Romano and Eva Frappicini, and Sicilia Incompiuta by Alterazioni Video.

1. Quali spazi per le diverse comunità?

ma0 / emmeazero studio d’architettura- Ketty di Tardo, Alberto Iacovoni, Luca La Torre, Ampliamento scuola media Lombardi, Bari. Alessandro Scandurra, scandurrastudio, Zurich Insurance Company Italian Headquarters, Milano. Archea Associati, Biblioteca comunale, Nembro (BG). Guidarini & Salvadeo, Centro socio-sanitario residenziale per sordociechi e pluriminorati psicosensoriali della Lega del Filo d’Oro (MI). C+S Associati, Scuola elementare, Ponzano Veneto (TV). Francesco Jodice, Ritratto di classi.

2. Quali le nuove forme dello spazio pubblico?

ma0 / emmeazero studio d’architettura- Ketty di Tardo, Alberto Iacovoni, Luca La Torre, Piazza Risorgimento, Bari. Cino Zucchi Architetti con Gueltrini e Stignani Associati, Parco pubblico, San Donà di Piave (VE). MODUS architects, Matteo Scagnol – Sandy Attia Centrale di Co-generazione – Skate Park, Bressanone, Bolzano. esterni, idee e progetti per una rivoluzione attraverso gli spazi pubblici. Ifdesign, Piazza Nera, Piazza Bianca di Robbiano,Giussano (MB). Marina Ballo Charmet, Il Parco

3. Come si trasforma la città contemporanea?

Studio elementare, Kconsult, Sauerbruch+Hutton, scandurrastudio, Studio Italo Rota & partners, Maciachini, Milano. Studio Valle Architetti Associati, Cino Zucchi Architetti con Zucchi & Partners, Canali Associati srl, Chalers Jencks con Andreas Kipar – LAND srl, Architettura e Ingegneria Arup Italia, Topotek1, Quartiere Portello-Fiera, Milano. MAB Arquitectura – Massimo Basile, Floriana Marotta, Abitare a Milano – Via Gallarate, Milano.

4. È possibile costruire in modo solidale?

Riccardo Vannucci_FAREstudio, CBF_Centre pour le Bien-être des Femmes et la prévention des mutilations génitales féminines ‘G.Kambou’, Ouagadougou, Burkina Faso. studio tamassociati (Raul Pantaleo, Simone Sfriso, Massimo Lepore), con Pietro Parrino e Gino Strada (EMERGENCY ngo), Centro Salam di cardiochirurgia di EMERGENCY ngo, Soba (Khartoum), Sudan.

5. Cosa fare con i beni sequestrati alle mafie?

Santo Giunta, Orazio La Monaca, Leonardo Tilotta, Simone Titone, Nuova sede degli uffici comunali, Castelvetrano (TP). Facoltà di Architettura della Seconda università degli Studi di Napoli “Luigi Vanvitelli” e Associazione Libera Caserta – “Comitato don Peppe Diana”, La rigenerazione delle Case_lese, Aversa (CE). Cangiari, Beauty is different. Recupero creativo di beni confiscati.

6. È possibile costruire qualità a 1000 euro al mq?

Christoph Mayr Fingerle, Progetto Castelfirmiano/CasaNova Complesso abitativo EA7 per 92 appartamenti (edilizia abitativa agevolata), Bolzano. Lelli & Associati architettura/Cristofani & Lelli architetti, Residenze “Fornace del Bersaglio”, Faenza (RA). Cherubino Gambardella, I.A.C.P. di Ancona, Ancona fiction, 12 alloggi popolari, Ancona. Greppi&Bianchetti Studio, Social Housing, Chiari (BS). diverserighestudio, casalogica, progetto unitario e nuovo edificio residenziale, Altedo di Malalbergo (BO).

7. Come riprogettare il patrimonio storico?

Italo Rota con Fabio Fornasari, Arengario Museo del Novecento, Milano. Renzo Piano e Alessandro Traldi e Maurizio Milano, Fondazione Emilio e Annabianca Vedova, Venezia.
Renato Rizzi con Barbara Borgini, Casa d’Arte Futurista Fortunato Depero, Rovereto (TN). DAP studio/ Elena Sacco – Paolo Danelli, Biblioteca civica “Elsa Morante”, Lonate Ceppino (VA). Cherubino Gambardella e Simona Ottieri, RestauroTorre dello Ziro, Pontone d’ Amalfi (Sa). aMDL Michele De Lucchi, Fondazione Giorgio Cini. Intervento di ripristino funzionale della Manica Lunga, Venezia. ELASTICOSPA – Stefano Pujatti Architetti, Atelier Fleuriste e abitazione privata, Chieri (To). Markus Scherer con Walter Dietl, Recupero del Forte di Fortezza, Fortezza (BZ). Emanuele Fidone, Restauro della Basilica Paleocristiana di San Pietro, Ortigia, Siracusa. Davide Vargas, Nuovo Municipio, San Prisco (CE). Piuarch Partners, D&G Headquarters, Milano.

8. Come imparare dagli archetipi e farne dei prototipi?

Beniamino Servino, TONO SU TONO. Attilio Stocchi, Bulbo/Rimbalzi. Pietro Carlo Pellegrini, Polo Tecnologico Lucchese, Edificio Lucense, Lucca.

Elisabetta Terragni – Studio Terragni Architetti, Gruppe Gut snc, Jeffrey T. Schnapp – Stanford Humanities Lab, FilmWork srl, Le Gallerie – Piedicastello, Trento.

Franco Purini, Il disegno della teoria. La Fabbrica del Sole, Modourbano Architettura, Exergy, LA RIVOLUZIONE OFF-GRID progetto pilota nell’ambito del progetto PARCO URBANO ISOLA DELLA CERTOSA (Vento di Venezia, Arch. Tobia Scarpa, Thetis S.p.A.).

9. Come affrontare l’emergenza paesaggio?

Marco Navarra, Riparare Fiumare. Programma di auto-generazione per paesaggi e centri urbani stanchi. Progetti per Giampilieri, Messina. Alterazioni Video, Incompiuto Siciliano, un progetto realizzato in collaborazione con Claudia D’Aita ed Enrico Sgarbi, Giarre (CT). Filippo Romano e Eva Frapicini, 106 Statale Jonica. Tevereterno, Il sogno realizzato di Kristine Davis.

10. Work in Progress…

Cino Zucchi Architetti + PARK ASSOCIATI, Salewa Headquarters, Bolzano. Labics, Museo e centro polifunzionale G.D, Bologna. Vincenzo Latina, Padiglione di Artemide, Ortigia, Siracusa.

Italia2050

The Italy Pavilion dialogues with the Italian language version of Wired Italy, the influent magazine dedicated to big ideas and world-changing technologies. Fourteen scientists, thinkers and filmmakers who in their way are building the future share their priorities and bywords for Italy over the next few decades, while fourteen designers offer exclusive visions through their interpretations of the theme, in a forward-looking workshop on Italy as it undergoes profound change and conjures up new visions.

Architects and designers taking part in Italia 2050: Atelier Forte, Anna Barbara, Ecologic Studio, Cherubino Gambardella, Ian+, Ma0, Marc, Metrogramma, Nowa/ Marco Navarra,

Carlo Ratti, Italo Rota, Alessandro Scandurra, Beniamino Servino, and Attilio Stocchi.

La strada 106 costeggia il mar Jonio ed è l’unico collegamento tra tre regioni italiane: Puglia, Basilicata e Calabria, una delle parti più belle e più degradate della Penisola. Ognuno dei suoi 491 chilometri, mostra luoghi e paesaggi naturali bellissimi, minacciati e in parte già devastati dall’abusivismo edilizio. Si tratta di territori fortemente controllati dalla Mafa. L’edilizia è purtroppo una delle attività lucrose per i gruppi mafosi che, con arroganza, spesso costruiscono senza rispettare le leggi, lasciando dei segni evidenti della propria presenza sul territorio. La Jonica è come un fume rumoroso,lungo il quale abitano circa 900.000 persone e che se risalito rivela tutte le contraddizioni di un territorio privo di tutela per una natura mozzafato: scheletri di case mai fnite, spazzatura e spiagge meravigliose, sbarchi di clandestini e templi greci, tir nei centri storici. Frapiccini e Romano trovano nel paesaggio i segni di un identità culturale collettiva, che si dibatte tra gli interessi della Mafa e la Legalità.

The route 106 runs in the extreme south of Italy along the ionian coast between the regions of Calabria and Puglia. 460 kilometers of beauty and devastations, in one side the natural enviroment, olive trees, oranges and all the tipicals naturals elements of the mediteranean enviroment. In the other side, the abbandon and the devastation done by the humans in a territory where the hands of mafa are the only rules and the crime has left signes of devastation like a knife’s slash on a beauty full face. The route is also called the Reggio Calabria-Taranto, taking the name from the two cities linked by the road. Mile by mile is a sequence of never fnished houses, builded with no permissions, abbandoned factories that never worked, not rules, no esthetics, boxes of concrete and bricks from the outside, to not pay taxes, waiting for a moratorium from the goverment, that sistematically legalized such devastation of the enviroment. The majority of this buildings are done with the mafa money, that reinvest its incomes from the drugs trafking into the construction business. The Mafa interests are devided in two differents levels, building for the single private, or building in large scale like hotels or appartments towers. “Bricks” create jobs and social agreement in Calabria, a region where unemployement is one of the highiest in the Europe. Is a circle where the conspirancy of silence, the so called “omertà”, can hide everything except the landscape, wich is the mirror of way of life and the martoriated skin of the sick body called “Sud Italiano”.

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public art, territory & social responsabilty / MILAN CONFERENCE

tabsil — Wed, 21 Jul 2010 08:35:29 +0000

doc / exibart.tv / italy

A La Triennale di Milano, in occasione di “Ermenegildo Zegna. 100 anni di Eccellenza. Dalla Fabbrica del Tessuto alla Fabbrica dello Stile”, mostra che celebra il centenario del Gruppo, la Fondazione Zegna ha organizzato “Alberto Garutti, Michelangelo Pistoletto. Arte pubblica, territorio e responsabilità sociale”.
Garutti e Pistoletto, protagonisti della conversazione, lavorano da molti anni sul rapporto tra arte e territorio; i due maestri, partendo dai rispettivi progetti realizzati per la Fondazione Zegna, si confrontano sui processi generativi di un’opera pubblica, sul suo delicato inserimento nel contesto sociale, sull’etica e la sensibilità con cui l’Artista deve agire per legare un lavoro al luogo e alla comunità che lo ospitano.
All’incontro, promosso dalla Fondazione Zegna, partecipano anche Andrea Zegna e Barbara Casavecchia – curatori del progetto ALL’APERTO, Fondazione Zegna –, e Judith Wielander, curatrice del progetto “Visible”, avviato da Cittadellarte in collaborazione con la Fondazione Zegna.
Modera Maria Luisa Frisa, giornalista, storico dell’arte e della moda e direttore del Corso di Laurea in Design della Moda presso lo IUAV di Venezia.

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RADIO APOREE – mapping sounds all over the world

tabsil — Wed, 21 Jul 2010 08:25:11 +0000

about the project

The project radio aporee ::: maps has started 2006. It connects sound and space in order to create a cartography which focusses solely on sound, open to the public as a collaborative project. It contains recordings from numerous urban, rural and natural environments, showing its audible complexity, as well as the different perceptions, practices and artistic perspectives related to sound, space and sense of place. (more about aporee.org

…)

how it works

find places

you can move the map with the mouse or the arrow keys at the upper left corner. with the slider or the mouse wheel you can zoom in & out. search + provides a basic interface to search for places, sounds, contributors or addresses. hit ::: maps for a search within the aporee database or google for an address search. the buttons on the upper right corner of the map let you choose between different map views. click places + for the most recent or all contributions to the project.

add recording

clicking the map opens a bubble window which lets you choose between upload sound, fetch sound from URL or phone call. you will be asked for a title, your email address (see privacy statement), a short description and the date/time/timezone of the recording. the timezone should be set automatically, please check. if you choose to upload a sound, there’s a button for selecting the file from your hard drive, if you want to fetch an already existing recording from your website, give the full url to the file in the corresponding form field, including http:// at the beginning. in case of a phone call, only title and email are neccessary, the phone number will be sent to you by email.

the title should be an address or short term describing the recording, or both. this label shows up in the navigation bars. please keep it short and significant…
for uploads, the browse button opens a window to your hard drive. here you can select the soundfile to send to radio aporee. it must be an mp3 file, max. 25mbyte, 44.1 or 48khz sample rate, up to 320k bitrate. for best audio quality, we recommend bitrates of 256 or 320 kbit. please be patient while uploading, don’t hit reload or back on your browser until the site has returned. depending on your connection, this may take a while.
fetching sounds from an URL is usually very quick, since it happens between two servers. use this option if you have sounds already somewhere on the web.
calling into the system by phone works a bit different. once you have choosen the phone call option, an email will be sent to your address. it contains the (german) phone number of radio aporee and a code for identifying the place. a (german speaking) voice system will guide you through. it’s not clear yet if and how the phone / voice interface will be supported in future. we like it… while it adds and has proofed to be an interesting acoustic layer for spoken words, the sound quality of most phones is ugly. that may change for next generation smartfones.
after hitting OK, all necessary information to activate your sound in order to make it audible / visible on the map will be send to your email address, as well as some instructions how to access the editor. it obviously makes no sense to enter an invalid email address… if something goes wrong, you should get an email with an error message explaining the problem briefly. almost all known problems are related to the wrong file format, i.e. if you try to send wav, aif or mp4 files.
if you want to add a sound to an existing place, just click the red blinking marker or more… at the lower right corner, which opens the info window for this sound. choose the corresponding option for uploading, fetching from url or call, then proceed as described above. if there’s more than one sound at a place, they will be played consecutively in chronological order.
there are also some other options available in the info window. if you click on the title of the recording, it starts to download the file. embed map lets you include a little map of this place on your blog or website, bookmark creates a bookmark for this place in your favorites folder. these functions may not work on all browsers, just try. the envelope opens a comments form which goes directly to the contributor of this sound.

edit your recordings

you don’t need a login or account in order to participate on the project, however, after uploading your first sound, you have access to an editor for your contributions. it lets you edit titles, locations, descriptions and other info. it also provides a possibility to create your own projects. imagine it as the radio aporee ::: maps with only your recordings, under a dedicated URL. there are links in the confirmation emails you receive after uploading, about how to get a password and access the editor.

play recordings

when the map loads initially, it jumps to the most recent recording and plays it. the currently playing sound is indicated by a blinking red marker. click it to get more information about this sound. play + on the menue bar has several options for playing random selections, an Internet radio stream or the currently visible sounds on the map. you may like the mix and multi modes:
when in mix mode, all markers on the map are sensitive for the mouse pointer moving over them. they will start playing when touched, max. 3 at the moment and restricted to close areas. sounds will be mixed based on the geographical distance between them, in analogy to walking if you want, the sound changes by direction and the speed of your movement. move the mouse slowly over the map.
multiplay mode lets you play different places around the world simultaneously. it’s a bit like mix mode, but without the mouse moving/mixing and not restricted to local areas. playtime, give it a try… note: these functions may put some load on our computer, esp. if it’s an older one. things may become slow or hang. don’t worry, it will not damage anything…

about content

this project is about sounds and sites, check the many recordings to get an idea. get yourself a recorder, go out and listen… it’s not about music!… please don’t send songs, your CD collection or some greatest hits. excessive workings or sound manipulations are also undesirable. in case of doubt, send an email. spam, garbage and illegal stuff will be deleted without comment, as well as obviously copyright-protected material. if you want to send sounds from others, implicitly ask for permission first and give propper credits. if you look for a great site for almost any kind of sounds, radio aporee recommends freesound.org

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tabsil — Thu, 10 Jun 2010 08:02:11 +0000

Agency and Automatism
Photography as Art since the 1960s

Thursday 10 June 2010, 18.30–20.00
Friday 11 June 2010, 10.30–18.00
Saturday 12 June 2010, 10.30–18.00

Despite attending to similar features of photography as an artistic medium, philosophers and art historians have drawn opposed conclusions about their implications. This conference brings them into dialogue around questions of agency and automatism in the photographic process.

Speakers include artist Jeff Wall, art historians Carol Armstrong, Robin Kelsey, Anna Dezeuze, Briony Fer, Susan Laxton and Margaret Iversen, philosophers David Davies, Nigel Warburton, Cynthia Freeland, Sherri Irvin and Diarmuid Costello.

Tate Modern Starr Auditorium

This event is part of the AHRC-funded research project ‘Aesthetics after Photography’ directed by Margaret Iversen (University of Essex) and Diarmuid Costello (University of Warwick). See the research project pages on the Univeristy of Essex website and Univeristy of Warwick website for more information.

Download the full programme (PDF)

Programme of speakers

Thursday 10 June

18.30	Welcome by Marko Daniel
18.35	Introduction by Margaret Iversen and Diarmuid Costello
18.45	Jeff Wall Agency and Automatism keynote address Followed by Q&A chaired by Diarmuid Costello
20.00	Drinks will be served in the Starr Auditorium Foyer

Friday 11 June

10.30	Session 1: Chaired by Dawn Phillips
10.40	Carol Armstrong Automatism and Agency Intertwined: The Spectrum of Photographic Intentionality My aim will be to address the different ways in which photography since the 1960s has joined, rather than opposed, the processes of automatism and agency. Beginning with an address to the manner in which photography works by way of happenstance more than other media, followed by a discussion of the historical convergence of post-sixties practices with anti-authorial discourse, I will argue that the photographic artist intervenes to make use of the aleatory event in an interaction that defines photographic intentionality.
11.35	David Davies Agency, Automatism, and the Possibility of Photographic Art Appreciative interest in an artistic manifold is always interrogative, seeking to understand its ordering in terms of motivated agency. The automatism of the photographic process therefore challenges the artistic pretensions of photography. I examine different responses in recent photographic theory and practice to this tension between automatism and agency. I argue that an interrogative interest in the photographic image itself, and thus properly photographic art, requires that the image issue from a process in which they are mutually constraining forces.
12.30	Break
13.30	Session 2: Chaired by David Campany
13.40	Briony Fer Test-site In Ed Ruscha’s book, Royal Road Test, a typewriter is mangled and so is narrative. The allusion in Ruscha’s title to Freud’s famous saying that ‘the interpretation of dreams is the royal road to the unconscious’ is explored in this paper as a comic gambit as well as a serious provocation. Ruscha’s image of the test-site is reconfigured as a means to put in question what or who is at stake in the work of the artwork.
14.35	Robin Kelsey Random Generation: John Baldessari, Photography, and the early 1970s In the early 1970s John Baldessari investigated, spoofed, and dismantled photography’s often suppressed, sometimes mystified, truck with chance. In series such as Throwing Three Balls in the Air to Get a Straight Line: Best of Thirty-Six Attempts (1973), Baldessari lampooned the decisive moment and the elevation of chance to a cosmic principle. At the same time, his engagement with random generation played off the contemporaneous rise of simulation in various cultural domains, from the military-industrial complex to the game industry.
15.30	Tea and coffee will be served in the Starr Auditorium Foyer
16.00	Session 3: Chaired by Jason Gaiger
16.10	Cynthia Freeland Icon and Index Revisited: Artistic Explorations of Medical Imaging Technologies My paper explores a range of medical imaging technologies that challenge the icon/index distinction articulated by C.S. Peirce. These range from electrocardiograms to X-rays, ultrasounds, and fMRI images of the brain. I question the nature of realism in such images and examine the role of interpretation and aesthetic choice in their creation. Finally, I discuss work by various artists who have used “automatic” imaging technologies for creative purposes, including Robert Rauschenberg, Gary Schneider, Aline Mare, and Gabriele Leidloff.
17.05	Anna Dezeuze Photography as a Way of Living By setting up a dialogue between the writings of Michel Foucault and Michel de Certeau, I will analyse the kind of automatism mobilised by Richard Wentworth’s Making Do, Getting By series (ongoing since 1977). In its technique and subject matter, I will argue that this conceptual project stages a biopolitical continuum between nature and culture, body and technology, while exploring the ambivalent nature of the everyday as the intersection between the personal and the collective, between agency and instincts or reflexes.
18.00	End

Saturday 12 June

10.30	Session 4: Chaired by Simon Baker
10.40	Susan Laxton As Photography: Abstraction and Automatism in Gerhard Richter’s Overpainted Snapshots Gerhard Richter’s exploration of painting “as photography,” repeatedly restaged as an engagement between photography, chance, and the suspension of control over the image, on one hand, and painting, aesthetic attention and the artist’s will on the other, becomes explicit in his overpainted snapshots. These works, composed entirely of dejecta, ask us to consider the possibility that, beyond the most obvious attributes of these mediums, lie their shared and repressed irrationalities – compelling us to look for meaning in the politics of heteronomy.
11.35	Margaret Iversen Analogue: On Tacita Dean and Zoe Leonard It is significant that both Leonard and Dean have recently produced exhibitions simply titled Analogue. Current debates concerning artistic agency and automatism often hinge on the difference between digital and analogue photographic processes. This is so because some prominent contemporary artists produce photographs which foreground intentionality through digital manipulation. The debate is joined in this paper through the work of two artists who attach great value to the analogue image and the chance encounter.
12.30	Break
13.30	Session 5: Chaired by Wolfgang Brückle
13.40	Sherri Irvin Artwork and Document in the Photography of Louise Lawler What makes a photograph an artwork, as opposed to a mere document? I reflect on this question in relation to Louise Lawler’s photographs of others’ artworks (usually in the context of an auction, gallery or private collection). Lawler’s work provides a fascinating test case for probing this distinction, since her central aim is to examine the institutional setting in which artworks are presented and understood, and that institutional setting is precisely what makes it possible for her own photographs to be artworks rather than mere documents.
14.35	Nigel Warburton Absence and Presence in the Work of Thomas Demand For several decades analytic philosophers have focused obsessively on the alleged automatism of photographic media and especially on the consequences for pictorial realism. This rarely sheds light on actual photography. In contrast, in this paper I examine a series of Thomas Demand’s photographs from a philosophical angle and suggest some ways philosophers might contribute to the understanding of photographic art by sometimes beginning with the particular rather than the general.
15.30	Tea and coffee will be served in the Starr Auditorium Foyer
16.00	Session 6: Chaired by Margaret Iversen
16.10	Diarmuid Costello The Question Concerning Photography This paper explores some surprising affinities between Martin Heidegger’s theory of art and Kendall Walton’s theory of photography. I suggest that photography, understood in terms of Walton’s ‘mind-independence’ thesis, mirrors the anti-subjectivism of authentic art on Heidegger’s account. Both are committed to an automatism thesis of sorts. If is right, I argue that Heidegger and Walton’s theories are equally contentious in so far as this commitment leads them to downplay the agency of artist and photographer respectively.
17.05	Closing remarks

Speakers

Carol Armstrong is Professor of History of Art at Yale University, where she teaches and writes about 19th century French painting, the history of photography of both centuries, and feminist theory and criticism. Among her publications on photography are the October book Scenes in a Library: Reading the Photograph in the Book, 1843-1875, published by M.I.T. Press in 1998, along with numerous essays on women photographers in October, and pieces of criticism in Artforum. She is also a practicing photographic artist.

Simon Baker is Curator of Photography and International Art at Tate. From 2004 to 2009, he was a lecturer in Art History at the University of Nottingham, where he published extensively in the fields of the European avant-gardes (especially surrealism), contemporary art, and photography. Alongside a monograph, Surrealism, History and Revolution, his principal research projects have been contributions to exhibitions: Undercover Surrealism (Hayward Gallery London, 2006); and Close-up: Proximity and Defamiliarisation in Art, Film and Photography (Fruitmarket, Edinburgh, 2008).

Wolfgang Brückle worked as an assistant curator at the Staatsgalerie Stuttgart, and as an assistant professor at the art history departments at the universities of Stuttgart and Bern, where he also pursued curatorial projects. Since 2007, he has been Senior Research Fellow at the Department of Art History and Theory at the University of Essex. Brückle’s research interests focus on later medieval art, early modern art theory and contemporary art with a special focus on photography.

David Campany is Reader in Photography at the University of Westminster. Books include: Art and Photography (2003), Photography and Cinema (2008) and Jeff Wall in conversation with David Campany (2009). He has written for Tate’s ‘Cruel and Tender’ (2003) and Rewriting Conceptual Art (2009), Frieze, Aperture, Photoworks, Tate, Source, The Oxford Art Journal, Ojodepez and Philosophy of Photography. He curated ‘Current History: Photographs and Films by Hannah Collins’ for Caixaforum, and is co-curating ‘Anonymes’ for Le Bal, Paris. David co-founded PA magazine.

Diarmuid Costello is Associate Professor of Philosophy, University of Warwick and Chair of the British Society of Aesthetics. He co-edited Photography after Conceptual Art, Art History, 32:5 (2009); The Life and Death of Images (2008); and Art: Key Contemporary Thinkers (2007). Recent articles have appeared in The British Journal of Aesthetics, Journal of Aesthetics and Art Criticism, Critical Inquiry, Rivista di Estetica, and Angelaki. He is working on two longer projects: Aesthetics after Modernism and On Photography.

David Davies is Associate Professor of Philosophy at McGill University. He is the author of Art as Performance (Blackwell, 2004), Aesthetics and Literature (Continuum, 2007), and The Philosophy of the Performing Arts (Blackwell, forthcoming). He also edited a volume on the cinema of Terrence Malick. He has published widely on issues concerning photography, cinema, literature, music, and the visual arts, and is currently studying the nature and appreciation of artworks, like photographs and cast sculptures, that can have multiple instances.

Briony Fer has written widely on modern and contemporary art. Her books include The Infinite Line (Yale 2004) and most recently Eva Hesse: Studiowork (2009), which was written to accompany the exhibition of the same name organized by the Fruitmarket Gallery, Edinburgh and which is now showing at the Tapies Foundation, Barcelona. She is Professor of History of Art at UCL.

Cynthia Freeland is professor and chair of the Philosophy Department at the University of Houston. She has published on topics in ancient philosophy, feminist theory, aesthetics, and film theory. Her books include Philosophy and Film (co-edited with Thomas Wartenberg), 1995; The Naked and the Undead: Evil and the Appeal of Horror (1999); and But Is It Art? (2001). Her latest book, Portraits and Persons: A Philosophical Inquiry, will be published by Oxford in June, 2010.

Jason Gaiger is a Senior Lecturer in Art History at The Open University. His books include Aesthetics and Painting (Continuum, 2008), an English edition of Herder’s Sculpture (University of Chicago Press, 2002) and, as co-editor with Charles Harrison and Paul Wood, Art in Theory: 1648-1815 (Blackwell, 2000) and Art in Theory: 1815-1900 (Blackwell, 1998).

Sherri Irvin is Associate Professor of Philosophy at the University of Oklahoma. Her research interests center on the philosophy of contemporary art, the relation between aesthetics and ethics, and the aesthetics of everyday experience. She is Aesthetics and Philosophy of Art editor of Philosophy Compass and has published articles in the British Journal of Aesthetics, the Journal of Aesthetics and Art Criticism, Museum Management and Curatorship, and several anthologies.

Margaret Iversen is Professor in the Department of Art History and Theory, University of Essex, England. Her most recent books are Beyond Pleasure: Freud, Lacan, Barthes, 2007 and Chance. Her other published books include Alois Riegl: Art History and Theory (1993); Mary Kelly (1997) co-edited Photography after Conceptual Art for Art History, 32:5 (2009)and Art and Thought (2003). Writing Art History (co-authored with Stephen Melville) is forthcoming from Chicago. She is Director (with Diarmuid Costello) of the AHRC research project, “Aesthetics after Photography.”

Robin Kelsey is Shirley Carter Burden Professor of Photography in the History of Art and Architecture Department at Harvard University. He has published extensively on the history of photography and received several awards for his scholarship and teaching, including the Arthur Kingsley Porter prize from the College Art Association for an essay on the survey photography of Timothy H. O’Sullivan. He is finishing a book on photography and chance and starting another on photography in America during the Cold War.

Susan Laxton is Assistant Professor of the History of Photography at University of California, Riverside. Her work on play in the visual arts can be found in October, Papers of Surrealism, and scattered among a number of recent anthologies. Currently she is a fellow at the Institute for Advanced Study in Princeton, where she is finishing a book on the ludic strategies of the interwar avant-gardes.

Dawn M. Phillips is Research Fellow in Philosophy for the AHRC Project ‘Aesthetics After Photography’. In published articles she has critically examined the ‘mind-independence’ of photographic images and defended the significance of the causal provenance of photographs by presenting an original account of the photographic production process. Her current work includes a comparison between photography and music and her further interests lie in trace, transparency, testimony and time, which in various ways relate to photography as a recording medium.

Jeff Wall is one of the most influential photographic artists of his generation. He studied art history at the University of British Columbia, Vancouver, and at the Courtauld Institute, London. His work has been exhibited in numerous international exhibitions, including a touring solo retrospective at the Museum of Modern Art, New York; The Art Institute of Chicago, and the San Francisco Museum of Art, in 2007. He has been the recipient of numerous prizes, including The Paul de Hueck and Norman Walford Career Achievement Award for Art Photography (2001); Ontario Arts Council, Canada; Erna and Victor Hasselblad Foundation International Award in Photography (2002); and the Roswitha Haftmann Prize for the Visual Arts (2003).

Nigel Warburton is Senior Lecturer in Philosophy at the Open University. He has published a number of articles on the philosophy and history of photography and edited a book about the photographer Bill Brandt. His other books include Ernö Goldfinger: the Life of an Architect; The Art Question and Free Speech: A Very Short Introduction. He regularly teaches courses on aesthetics at Tate Modern and, with David Edmonds, makes the podcast Philosophy Bites. For more information see www.nigelwarburton.com.

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back to photography

Agency and Automatism Photography as Art since the 1960s

Programme of speakers

Speakers

Agency and Automatism
Photography as Art since the 1960s