sexta-feira, 6 de julho de 2018

Contra a pós-arte

Transformar os artistas em burocratas à cata de pós-graduações e pseudo projetos de investigação é chão que não deu, nem dará uvas.

Houve e há uma produção universitária excedentária de 'artistas', logo de desemprego. Em tempo de vacas gordas criou-se o cenário das pós-graduações como forma de mitigar a exposição crítica do fenómeno (excesso de licenciados sem capacidade de devolver o investimento neles realizado). Mas agora, com a falênca galopante dos governos, e os preços exorbitantes das pós-graduações (que não têm fim!), há um modelo que começa a morrer. É tempo de voltar ao ensino das Belas Artes baseado na pequena escala, no trabalho de atelier/oficina/workstation/seminário, e na relação mestre/aprendiz. A massificação é um embuste muito caro, que já ninguém está em condições ou disposto a suportar. É duro escrever isto, mas é o que temos...

quinta-feira, 5 de julho de 2018

Maker Art 2018


Scratch Built

The New Art Fest '18 lança feira de arte tecnológica



Dando seguimento à ideia de promover, em cada edição do New Art Fest, lugar e tempo para o encontro de fazedores de arte tecnológica e os seus públicos e clientes (entre os quais se encontram artistas que não computam, mas que precisam da computação ;) iniciaremos no festival deste ano uma coisa a que chamámos Maker Art.

O conceito é auto-evidente, creio ;)

Para este efeito chegámos a acordo com a Sociedade Nacional de Belas Artes (SNBA), a qual disponibilizará gratuitamente o seu grande salão durante uma semana (26-30 de novembro), para aí se instalar o Maker Art 2018.

Neste espaço serão mostradas e experimentadas obras de arte, montadas bancadas de trabalho, e balcões de vendas de serviços (por exemplo cursos e workshops de computação e tecnologia), bem como uma dúzia de sofás velhos para conversar, combinar projetos, ou até realizar negócios!

Esta feira de arte tecnológica (por agora gratuita...) será ainda o lugar ideal para concertos e performances experimentais, demonstrações de harware e software, e aulas espontâneas.

Será ainda o sítio ideal para anunciar novos projetos e vender ideias!

A presença de empresas tecnológicas é uma opção em análise, mas exige uma negociação fina... pois não é nossa intenção fazer do Maker Art mais um certame de ruído de marcas.

Uma das iniciativas previstas para este Maker Art 2018, é a instalação de um espaço dedicado à história dos videojogos, com recurso à emulação dos mesmos. Quantos videojogos foram criados até hoje? Tente adivinhar.

quarta-feira, 4 de julho de 2018

The New Art Fest '18 - Call

Black Raven - The New Art Fest Award

Made in smartphone

The New Art Fest ‘18, Lisbon, November 2-30

OPEN CALL_1
You are terrified of your own children since they are natives in a world where you will always be immigrants. John Perry Barlow, 1996
Not only digital natives, also known as the Generation Z (1995-2009), use more smartphones than desktop/laptop computers and tablets. We all do! But if we look at what statistics say (Pew) than we’ll learn that post-millennials will probably spend most of their communication, social and creative time online. At least for now, smartphones are the most advanced convenient mobile device to interact with location-based media and mixed reality. It follows from here that asking for made in smartphone art seems only natural, don’t you think?

This is a call for art made for/with mobile devices—made by smartphones, made with smartphones, made for smartphones, or not. Smartphones are as open as any digital device can be. Any art proposal for this section of the festival should only take this new realm into consideration.

Twelve artworks will be selected for exhibition on everyone’s smartphone.

A prize committee will decide which of these twelve nominees will receive the Black Raven for the best artwork made for/with smartphones.

Contact: geral@ocupart.pt


Bit Street 2018

The New Art Fest ‘18, Lisbon, November 2-30

OPEN CALL_2

48 interactive displays @ TOMI Lisboa Smart City

Only original videos accepted. Artworks cannot publicly endorse any store, restaurant, brand, company or politician. Since these videos are primarily for public view on a street level, participants should consider this condition when submitting. Sexist, homophobic, xenophobic, racist and other offensive, or extreme-violent content will be automatically excluded. Nudity not allowed (TOMI’s policy).

Open call: non-anonymous artists, non-anonymous artworks

Deadline: September 30/ 2018

Venue: 48 electronic indoor and outdoor interactive street displays, Lisbon

Screening: November 2 thru 30 (24/7)

Only twelve artworks will be selected for public screening

No screening fees

Please include:

1) Your name
2) Country of origin
3) Phone, e-mail, website, social networks
4) Title
5) Brief description (max: 800 char)

Technical rider

TOMI (vertical screen)
-Duration: 10 seconds (TNAF credits: 2 seconds)
-Format: mp4
-Codec: H264
-Widescreen (16:9)
-Resolution: 1080 x 1920 px (Full HD Vertical)
-Bitrate: Up to 6 Mbps
-Size (max.): 100 Mb each spot

TOMI (horizontal screen)
-Duration: 20 seconds (TNAF credits: 2 seconds)
-Format: mp4
-Codec: H264
-Widescreen (16:9)
-Resolution: 1920 x 1080 (Full HD Horizontal)
-Bitrate: Up to 6 Mbps
-Size (max): 100 Mb each spot

A prize committee will decide which one of the twelve selected artworks will receive the Black Raven for the best TOMI short video.

Contact: geral@ocupart.pt

quarta-feira, 27 de junho de 2018

Ouverture

Charlotte Moorman. Photo: Peter Moore, 1971.


The New Art Fest ’18
America Online
the media imperative & the net generation
Lisbon, November 2-25, 2018

More than seventy American-based authors
Twenty-two databases
Twelve labs
Sixteen social networks

It all started in Europe and America by the end of the 19th and beginning of 20th centuries and went on as almost parallel worlds since the end of the Great War (1914-1918). Asian influences entered Western visual culture, if not before, during Impressionism, and went deeper into American culture after the Second World War. This is a show about the fusion between art, life, and technology in the American continent, since the middle of the 1960’s. By and large, it is a database collage that can be explored as a ‘borgean’ labyrinth, or as the Mammoth Cave mapped by Patricia and William Crowther! Though a personal view, a manifold of possibilities is offered for study and interpretation. It is also an homage to the fundamental struggle of women artists for a fair place in the world of art and in the world of technology. I owe to Claire L. Evans a decisive bending in the investigation that supports the coherence of this curatorial work.

Antonio Cerveira Pinto

quinta-feira, 31 de maio de 2018

On The New Art Fest '18


Gazira Babeli. Second Soup. You love Pop Art - Pop Art hates you
Scripted cans, May 2006 [artist homepage]


When art becomes an emergent property of science, technology, and digital interaction


What happens to artworks when they become emergent properties of technology and databases and frequently stay dormant inside servers as deprecated software, or drown in dead links?

Welcome to The New Art Fest ’18!

I would love to have most of the following authors, and or their works in one big opening in Lisbon. If not all in real life, at least sharing their art and thoughts through screenings and online interaction. We have scarce resources. But very good will, indeed.

As an artist playing God, I should say that I have the curatorial obligation to at least point all The New Art Fest ’18 visitors to a much greater population of generators that were and are involved in digital art creation from Alaska to Tierra del Fuego.

This year’s festival, by its definition, refers to at least four hundred artists, maybe much more. That’s the consequence of dealing with immaterial stuff like bits and bytes and raising the question of how to deal with a form of art that is immaterial and stored in databases, servers, and online clouds. Just think about the number of agents (artists, writers, PhDs, technologists, software writers, designers, activists) inside the twelve repositories/websites that I've chosen to illustrate the unexpected and still obscure dimension of online art developed since 1994 in the American continent.

Not before a serious effort begins to address the complexity of this post-contemporary art emergence, all selective criteria adopted to show artists and artworks seem to be inappropriate. There are no museological criteria in place so far, as there is no market to speculate about online art values. Trade incapacity to deal with most of the new media art is a consequence of Walter Benjamin’s condemnation of art in the age of reproducibility. I might say though that before some software platform like Blockchain may certify the integrity and ownership of online art, the task of classification, description, and evaluation of what has been already created and generated seems devoted to deception.

The idea of scarcity when we talk about contemporary or post-contemporary art is a mystifying one. What we really have is too much subjectivity and too much art.

Shortening the demand to some happy few, as well as castrating curatorial criteria are not intellectually acceptable decisions. Electronic immersion dispises propaganda and overcomes censorship and manipulation by its inherent properties. Beware speculators of all time!

Curating a show like America online/ the media imperative & the net generation, about online art in America, is above all a meta-language about the facts of life and art in the computer age. The following is but a sample of hundreds of so many good artists and artworks born from the age of information...

— in the curator's blog/ The New Art Fest '18
(invitational only, for now)