ART RESEARCH BRIDGE
PARTICIPANTS
ÚTERY 20.10.2015
MARIA DALBERG
ÁSTA FRIðRIKSDÓTTIR
ERIN HONEYCUTT
ADAM HRUBÝ
HLYNUR HELGASON
DAVID KOŘINEK
LENKA KOČIŠOVÁ
HELENA LUKÁŠOVÁ
CRISTINA MALDONADO
THIEN-THI NGUYEN
KRISTÍN SCHEVING
HERWIG TURK
STŘEDA 21.10.2015
JANA FRANCOVÁ
ANDREAS GAJDOŠÍK
ZUZANA JANEČKOVÁ
KAROLIN KOHOUTKOVÁ
SLAVO KREKOVIČ
FILIP FIDLA MARTINEK
TOMÁŠ RULLER
PAVEL STEREC
BARBORA TRNKOVÁ & TOMÁŠ JAVŮREK
ÞÓRA VILHJÁLMS WRIGHT
MILOŠ VOJTĚCHOVSKÝ
ATELIER PERFORMANCE
ATELIER MULTIMEDIA
ATELIER TĚLOVÝ DESIGN
CONTRIBUTIONS
JANA FRANCOVÁ
Anotace příspěvku:
Obecně se předpokládá, že intuici používají umělci a vědci k tvorbě a výzkumu, což vychází z definice intuice jako náhlého smyslově nepodmíněného vhledu do všech souvislostí dané situace a zároveň do řešení problému.
Intuice má blízký vztah k mystice. Předkládám k volné kontemplaci výběr z novomediálních děl, které reflektují katarzní stavy duše ve filmu, výtvarném umění a videu. Také dám slovo strojům. Je glitch chyba, náhoda nebo intuitivní komunikace?
ÁSTA FRIðRIKSDÓTTIR
I will be introducing an Icelandic artist who works with the combination of video-art and music, Video/Music as she calls it. Her name is Dodda Maggý and that is also the title of my lecture
My name is Ásta Friðriksdóttir and I am a final year student in the masters programme at the university of Iceland. I have been working at the National Gallery of Iceland for the past few months gathering information for the database.
ANDREAS GAJDOŠÍK
Title: Usefulness of reading and writing
Annotation: On the failure of democratic dream in the age of analphabetes.
Student of Fine Arts and newbie student of Social informatics, interested in interactive media, information society and DIY culture. Member of Pavel Ondračka collective who tries to make knowledge more accesible through Connect Workshops project.
andreas-gajdosik.tumblr.com
pavelondracka.tumblr.com
www.facebook.com/connectbrno
HLYNUR HELGASON
Title: Re-accessing Bergson’s ‘Intuition’
The talk will attempt to re-access and re-consider the implications of Henri Bergson’s key concept, ‘Intuition’, in the context of contemporary issues in visual art. Bergson’s ideas have been important in the last decades for establishing a positive and alternative approach to the politically charged issues of contemporaneity. I propose that a re-newed re-reading of his ideas can help us address the confusing nature of artistic identity and action within what seems to be an overwhelmingly mediatized world.
Hlynur Helgason (born 1961) works as an artist and art theorist in Reykjavík, Iceland. He has a PhD in Media Philosophy from the European Graduate School. He is currently Assistant Professor in Art Theory and History at the University of Iceland and chairman of the Nordic Association of Art Historians. In recent years his research has concentrated on the context of contemporary art in Iceland, its effects and international connections. In 2013 he published his work, Beyond within: post-cinematic possibilities of play and action, with Atropos Press in New York and Dresden.
tacticalart.net
ERIN HONEYCUTT
Title: Considering the Intuition of the Mediated Body
From Walter Benjamin's death mask to Vilem Flusser's interface 'key',
I will discuss various theories relating to the body's mediation through
apparatuses and what physiological and existential effects this could have.
I am an MA student in Art History and Theory at the University of Iceland. I will be writing my
thesis about Media Archaeology and the Vasulkas.
ZUZANA JANEČKOVÁ
Title: Šiesty zmysel v praxi
Schopnosť rýchleho rozhodovania a improvizácie je v súčasnom hektickom výstavnom kolobehu prakticky nevyhnutná. Pri realizovaní umeleckých diel a výstavných projektov často dochádza k zmenám, na ktoré treba reagovať veľmi rýchlo a nebáť sa aj riskovať. Riešenia sa často doslova zjavujú. Odvaha kurátorov a umelcov sa posúva rôznymi smermi a skúša hranice únosnosti divákov. Konkrétne príklady zjavení: veštecký koncept programových letákov Galerie TIC 2014, diela umelca Oldřicha Morysa, osobná skúsenosť s vlastnou tvorbou.
SLÁVO KREKOVIČ
Title: Performing complexity – the future of music? Intuitive approaches in electronic sound performance
Human-machine musicianship, experimental systems, instant complexity, new musical interfaces, algorithmic improvisation, aleatoric live computer music: these are some keywords that could be used to describe inspiring approaches to technology-driven sound performance. The presentation will explore the intuitive aspects and some visionary artistic possibilities of experimental electronic sound performance.
Mgr. Slávo Krekovič, PhD.
Sound artist, musician, musicologist, teacher, contemporary music and new media art curator and cultural organizer/nonprofit activist. Holds Mgr. (MA) and PhD degrees in musicology. Since 2013, he has been the Head of the Multimedia Studio at the Faculty of Fine Arts (FaVU) of Brno University of Technology. Editor-in-Chief of the 3/4 art and culture magazine, co-founder of Atrakt Art – Society for Advanced Arts and Culture and the Mag.Net – Electronic Culture Publishers. Organizer and curator of series of experimental music and multimedia events, including the annual NEXT festival of advanced music and Multiplace new media culture network festival. Co-founder of A4 independent cultural centre in Bratislava, where he holds the position of Deputy Director and music programme curator. Performing solo or as a member of various experimental music projects (Voice Over Noise, Shibuya Motors, Musica falsa et ficta, Feed The Tiger, VRITTI, Bolka/Krekovic). Published articles and papers about contemporary music, sound art and media art in various magazines and yearbooks (Musiktexte, Skug, Springerin, HIS Voice, A2…).
HELENA LUKÁŠOVÁ
Title: Embalmed Information
In 1970 cutrator of the show INFORMATION in MoMA claims that a dynamic
exchange of information would only be ’embalmed’ if given permanent form.
Since than digital media significantly expanded their possibilities in terms of
information (data) representation. Methods of the digital fabrication resurrect
the object through its materialization, thus creating new entity independent on
the digital media. This situation forces us to rethink the possibilities of the
computational power of computers.
Helena Lukášová is a sculptor and digital artist.
"I am looking for the intersection of the physical reality and virtual realm. The borderline between these two worlds can create stunning outcomes where fractions of the familiar reality used in strange settings can acquire different connotations. In my work I am also questioning the problem of representation, since the primal idea could be manifested with virtual or physical essence."
cargocollective.com/helenalukasova
FILIP FIDLA MARTINEK
Meritem mého příspěvku je snaha intuitivně proniknout do spojení mezi světlem a intuicí. Kde světlo je chápáno jako metafyzická veličina, která v post-mediálním soudobém světě sehrává významnou roli.
KRISTÍN SCHEVING
Title: Sitting at Both Ends of the Table
In my conference contribution I will go into the development of an // artist as // curator as // head of department in a museum! I will split my time with a short introduction to the newly opened Vasulka Chamber (opened 16th of October 2014) at the National Gallery of Iceland. Done in collaboration with Steina and Woody Vasulka. I will go briefly into future plans and international collaboration projects, like Vasulka Bridge, between Brno and Reykjavík. The other half of my time I will go over my own personal carrier as a visual artist and curator in media art.
Kristín Scheving, born in Reykjavík Iceland, she is a visual artist, curator and the founder and director of 700IS
Reindeerland (www.700.is), International Experimental Art Festival in Iceland from 2005. She is the head of Vasulka Chamber, Center of Electronic and Digital Art, at the National Gallery of Iceland. Collaborative project with pioneers of video Art, Steina and Woody Vasulka. (www.listasafn.is) Scheving has curated, directed and produced many art events and exhibitions, like Independent people (www.independentpeople.is) for Reykjavík Arts Festival (www.artfest.is) in 2012 and other visual art projects for the Nordic house in Reykjavík. (www.nordice.is) She studied fine arts in the École Supérieure des Arts Décoratifs de Strasbourg in France, and went on to study at the Manchester Metropolitan University, UK and completed a BA(Hons) in Visual Art followed by an MA in Media Arts in 2003. Kristin has worked internationally as a curator and a visual artist for over a decade.
THIEN-THI NGUYEN
Thien-Thi Nguyen is a volunteer programmer for the GNU project who currently works as a technical writer. He enjoys pondering language, both human and computer, and music (human only).
BARBORA TRNKOVÁ & TOMÁŠ JAVŮREK
EN
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Do You want to continue?
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The use of intuition in the digital environment is dangerous. Try to realize your ideas in a tangible and practical way. Do You have a desire for a great spiritual breakthrough and for the possibility to express your creativity?
Chaos is not the Cosmos and the Cosmos is not the Logos. Discrete is not Continuous. The intuition is not an absolute tool, especially when you are in an interpreted area.
Do You want to continue?
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The beginnings of the artistic duo & dates back to 2009, when during their studies at the Faculty of Fine Arts have met Barbara Trnková and Thomas Javůrek. Together they have developed a number of projects (Generation of Princesses, since 2011; Black, since 2012, AnnaMarie, since 2012), which presented in various institutions and areas (House of Art in Opava, 2012; Corpus Christi Chapel in Olomouc, 2012; Brno City Museum, 2014 ) and to which continue to live their lives in a cyberspace networks. Here you will also find the ScreenSaverGallery (2013), an experimental platform for the presentation of contemporary art created and managed by them. However, they participate also in running the local scene as a co-curator of Umakart gallery. (Ondřej Navrátil, Text To Speech (curatorial text of the exhibition in OFF/Format gallery), Brno, 2015)
CZ
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Přejete si pokračovat?
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Používání intuice v digitálním prostředí je nebezpečné. Pokuste se realizovat své myšlenky hmatatelným a praktickým způsobem. Máte touhu po velkém duchovním průlomu a po možnosti vyjadřovat svoji tvořivost?
Chaos není Kosmos a Kosmos není Logos. Diskrétní není spojité. Intuice není absolutním nástrojem, a to zvláště, pohybujete-li se v prostoru interpretovaném.
Přejete si pokračovat?
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Počátky umělecké dvojice & sahají do roku 2009, kdy se během společných studií na FaVU VUT setkali Barbora Trnková a Tomáš Javůrek. Společně rozvinuli řadu projektů (Generace princezen, od 2011; Black, od 2012; AnnaMarie, od 2012), které prezentovali v různých institucích a prostorách (Dům umění v Opavě, 2012; Kaple Božího těla v Olomouci, 2012; Muzeum města Brna, 2014) a které dále žijí svým životem ve virtuálním prostoru sítí. Zde naleznete také ScreenSaverGallery (2013), jimi vytvořenou a spravovanou experimentální platformu pro prezentaci současného umění. Podílí se však i na provozu lokální scény jako spolukurátoři galerie Umakart. (Ondřej Navrátil, Text To Speech (text k výstavě v galerii OFF/Format), Brno, 2015)
HERWIG TURK
Tacit Knowledge Experiments.
The Institute of Molecular Medicine (IMM) located in Lisbon, invited Herwig Turk in 2010 to be Artist in Residence. Observing the work in molecular medicine laboratories since 2003, he developed at that point some experiments to test layers of knowledge in the daily proceedings of the laboratory work that were not explicit. This knowledge would not be mentioned in the lab reports or any other documentation of the scientific practice.
The focus of the experiments was on specific incorporated motoric skills of the scientists and their perception of the lab objects (glasses, pipettes, boxes, arrays, etc.,) as functional units integrated in everyday proceedings versus the potential status as autonomous items with their specific materiality and aesthetic.
The outcome of the experiments documented traces of tacit knowledge and suggests that even though it’s not compatible with the concept of knowledge production in the field of molecular biology, non-explicit knowledge or intuition plays a vital role in the laboratory life.
Herwig Turk lives and works in Vienna and Lisbon.
His projects probe the interconnectivity of the fields of art, technology and science. Between 2010 and 2013 he has been artist in residence at the Instituto da Medicina Molecular (IMM), Lisbon. From 2003 to 2009, Turk worked together with Paulo Pereira, head of the Department of Ophthalmology at IBILI (Institute for Biomedical Imaging and Life Sciences) at the University of Coimbra.
In recent years, his work has been shown at venues such as the Museum of Applied Arts, Vienna, the Seoul Museum of Art, the Neues Museum Weserburg in Bremen, the Media Art Laboratory TESLA, the Galerie Georg Kargl in Vienna and the Transmediale in Berlin, to mention only these. Herwig Turk is currently working on a monographic exhibition for the Carinthian Museum of Modern Art (MMKK).
MILOŠ VOJTĚCHOVSKÝ
Non-binary Space for Thinking and Acting
Miloš Vojtěchovský
What is the relationship between speculative, rational and intuitive in world we are part of? The new technologies are usually described and conceptualized as a "smart" tools. They help us to reinforce us, our bodies, minds, to expand our power and knowledge, to make us more human to release us from labor. On the other hand, their special functionalities, manufactured for improving, simulating our mental and physical qualities are (by some) interpreted as factually or potentially dangerous and harmful. As technically constructed neostrata, leading to deep changes in our environment, mutation of the human into nonhuman, or influencing the planetary Zoosphere.
What are those aparata? How their design and agency are determined by the political-economic and social systems within they are developed, distributed and consumed?
How are contemporary practices, decisions and tactics ot Art (usually perceived as realm, where the intuitive plays substantial role) influenced by this (neoliberal) framework? Is Art and Artist able to overlap current framework of a binary division between rational and irrational, intuitive? How can be the role of the academic art education shaped by neoliberal concepts. And is there a way out?
(CZ)
Title: Nebinární prostory k myšlení a jednání:
Jaká je vztah mezi spekulativním, racionálním a intuitivním ve světě, ve kterém žijeme? Nové technologie jsou často popisovány a konceptualizovány jako "chytré" nástroje k rozšíření lidských mocností a schopností. Na druhé straně bývá jejich funkcionalita programovaná pro zesilování, rozšiřování a simulaci mentálních a fyzických vlastností člověka interpretována jako potenciálně patogenní, jako nová jednotka směřující k regresi lidského, nebo přirozeného světa.
Jak se na charakteru těchto technologií podílí a jak je utvářen politicko-ekonomicko společenský systém, ve kterém jsou takové produkty vyvijeny a distribuovány?
Jak se oblast současných uměleckých praxí a metod (často interpretovaných jako oblast tvorby, kde schopnost intuitice hraje důležitou roli) vůči tomuto rámci vymezuje? Kde je pro umění uvnitř rámců definovaných konceptem binárního rozdělování na racionální a iracionální místo?
Jak je akademická výchova v oblasti umění formována vnějšími neoliberálními koncepty a existuje vůbec ještě nějaká cesta ven?