INTERNATIONAL COLLECTION
February 15 to April 22 2014
UNKNOWN ARTIST VIRTUAL MUSEUM INTERNATIONAL COLLECTION
15 FEV. / FEB. - 25 ABR. / APR. 2014
INTERNATIONAL COLLECTION
The Unknown Artist Virtual Museum presents the exhibition of the UAVM International Collection. This has been developed since 2008 upon the virtual exhibitions shown at the museum, with more then 300 works presented. A Museum has as primordial function to congregate and to preserve the more significant works of art of one period and to promote its presentation, spreading, preservation and understanding. In this direction, is usual to find exhibitions with works of the collection and to promote others to increase / complete the same one. The Unknown Artist Virtual Museum intends to have the same functions as any regular museum: one colection, one educative center and temporary exhibitions. However there is some difference in relation to any another museum: its an art project, not a real museum. There is an incongruency artisticly suposed: the Museum promotes works of artists that they do not want to be known as trade marke; these artists want to be known, remembered more for its works that for its name. As artists, need to show its work, in meanwhile, they consider the name or the authorship something secondary. The name, the Author, is something intrinsic to the work of art, we know, but is their work thar gives a purpose to an artist to be artist. Participanting artists: A. Bill Miller (USA), Aaron Oldenburg (USA), Aaron Nemec (USA), Alan Bigelow (USA), André Sier (Pt), Annie Abrahams (Nl), Arthur Tuoto (Br), Ben Dunkle (USA), Benvinda Araújo (Pt), Bryant Dameron (USA), Caterina Davinio (It), Charles Veasey & J Craig Tompkins (USA), David Clark (Can), Draga Jovanovic (Can), Elena Peres Ardiles (Chl), Francesca Fini (It), Grupo Sinestético (It), Ida Julsen (Noruega), Ismaël (Tn), Jason Nelson (USA), Jesus Aguilar (Mx), Jinson Joseph (Ind), Jody Zelen (USA), JudsonN (USA), Lorna Moore (UK), Matthias Fitz (De), Matthieu Cherubini (Che), Mi You (Chn), Michael Filimovicz (USA), Michael Takeo Magruder (USA), Monika Mausolf (Pl), Oscar Poliotto (Ar), Osvaldo Cibils (Ur), P J Moskal (Pl), Patrick Miller (USA), Rick Niebe (It), Rosa Menkman (Nl), Sabriye Celik (Tr), S. L. Hoskins (USA), Stefen Riebel (De), Suguru Goto (Jp), Tamara Lai (Bel).
DIGITAL GRAPHICS
Working on Pixel Art can very well be compared with a little kid’s magic castle, which he creates with the use of funny, colorful ready made dismantling building blocks. Or, the confrontation of an infant towards a colorful puzzle block. The pixel art or painting suggest the parameter of the artistic limitation . In order to create a pixel art an artist need to channelize or dismantle their thought within the boundary or the parameter of the scattered pixels. This painting is made with the usage of two software, such as Ms Excel and Photo shop CS3. The excel sheet is a software which deal with Mathematical formulas and calculations .Rather than a painting this visual suggest the calculated application or implementation of color. Here the limitation of the visual can be mixed and matched with the icon of Virgin Mary . On the other words ,this mode of representation is a metaphor which narrate the taboo or the banal space which is being existed in the terrain of so called Christianity. JINSON JOSEPH Born on eleventh January 79 in Kerala, India. Graduated in Painting by the Mahatma Gandhi University, Kerala, 2003. Post-Graduation by The University of Hyderabad, India, 2005. In present I have been working as a faculty in fine art at Image Arts Animation and Technology at Hyderabad.
Veneration of Mother Mary, 2009 Digital Painting
Jinson Joseph (Ind)
Gridworks2000-anim09 is a reproduction of work originally created while the artist worked in information visualization at Master-List2000.com. The drawings are recreations from memory. They were drawn individually in both ink on paper and ascii plaintext over the course of 6 months just after the artist was laid-off from the organization. As a part of the severence agreement, the artist was required to destroy all of his personal copies of his work for them. A. BILL MILLER We exist within a built environment that is mediated by organizational systems that regularly incorporate grid structures. Grids are meant to compress, redisplay, and reorder information. I respond to this characteristic by creating gridworks. With gridworks I transcode, transform, and process information while occupying a position between drawing, painting, animation, video, and installation. http://www.master-list2000.com/abillmiller/
Gridworks2000 - anim 09, 2009
Animation, 3:00, black & white, sound A. Bill Miller (USA) https://vimeo.com/3387894
Teresa is a digital deconstruction of anonymous “erotic” found material, downloaded from the web and transformed into an array of characters. By using stop motion, close-up, and image re-processing, I hope to expose the never ending tension between intimate experience and theatrical representation, visible and unvisible, “real” and “art-ificial”, human and tecnology, warm and cold. RICK NIEBE Deegree in semiotic of Cinema at Pisa University, his research as videoartist is based on a minimal and epigrammatic experimetal re-use of audio visual found materials. His works has been shown in several international festival and exibitions: Directors Lounge 09 Berlin GER (2009); Videomedejia, Novi Sad SER (2008); Europa neurotisch Petersburg project space, Amsterdam NL (2008); III Streaming Festival, Int-Den Hague NL (2008); Simultan04, Timinsoara ROM (2008); You Cube Freeshout, Prato ITA (2008); Art under the bridge, Galapagos Art Space, Brooklyn NY USA (2008); Luksuz Film festival Kr?ko SLO (2008) - funny experimental award -; Cinema Oblo Lausanne CH (2008) - special mention -; VideoArt Festival Miden, Kalamata GRE (2008).
Teresa, 2006
Animation, 1:18, black & white, sound Rick Niebe (It) http://www.undo.net/it/videopool/1185460584
Colored stripes is written in HTML codes, based on alphabetical order of selected HTML colours (in letters) and random use of the width in the table (“1-30�) made for the image. The documentation of the image is made with system request (SysRq), reprinted in Jpeg and can be presented as photograph. The original image is situated on a webpage and can be copied with the source code, - and if wished, it can be reedited by the one who copies it. The work is questioning artworks originality today in relations with copyright and the use of watermarks. In this case the watermark is in the source code. It can easily be copied, distributed with others copyright watermark and again be copied, remixed and recycled. IDA JULSEN Norwegian artist living and working in Oslo, Norway. After receiving her bachelor of fine art at Oslo National College of the Arts in 2004, I worked as a member of the artist group sofA! . As a group they created installations using video projections, scene lightening and objects. http://www.idajulsen.com
Colored Stripes, 2009 HTML codes
Ida Julsen (Nw)
Representational diagrams of information flows with different origins, before forming a unique culture.
OSVALDO CIBILS Osvaldo Cibils born in 1961 in Montevideo, Uruguay. He lives in Rovereto, Italy. http://osvaldocibils.com
700 Cultures, 2008
Animation, 1:44, color, sound Osvaldo Cibils (Ury)
The video-images are constructed out of nothing but the image created by feedback (I turned a high-end camera on a screen that was showing, in real time, what I was filming, creating a feedback loop). Then I glitched the video by changing its format and subsequently exporting it into animated gifs. I (minimalistically) edited the video in Quicktime. Then I sent the file to Extraboy, who composed music for the video. The composing process started with a hand held world radio. Extraboy scanned through frequencies and experimented with holding the radio in different parts of the room while touching different objects. Eventually he got the radio to oscillate noise in the tempo that he perceived in the video. The added synthesizer sounds were played live to further build on the non-digital sound and rhythm. This was later contrasted with drums which were digitally synthesized and processed through effects with a very digital sound to them. Just like with the video, the digital and analogue media and aesthetics of sound are mixed into one coherent whole. ROSA MENKMAN & EXTRABOY Have been working on Familj since 2008. Familj, or rather at this point, Studies for Familj, is a research project in which we investigate a family of digital artefacts consisting of Glitch, Noise, Feedback and Compression. Together we strive to make a compilation of music videos, which contain both a sense of their physicality as well as their digital side. In doing this, we get an even bigger understanding of the ways the bowels of the machine work. http://rosa-menkman.blogspot.pt/
Radio Dada
Video, 3:47, color, sound Rosa Menkman & Extraboy (Nl) http://rosa-menkman.blogspot.pt/2008/04/radio-dada.html
OSCAR POLIOTTO Self taught artist born in Venado Tuerto, Argentina. http://www.miad-venadotuerto.com.ar
5-VER, 2007
Digital Painting Oscar Poliotto (Ar)
PHOTOGRAPHY
Blood is a reflection over my creative process as an artist. When I think about it I feel like some sort of serial killer, struggling with my own ghosts in front and behind the symbolic space of video-making; a transparent screen that become some sort of prison, where I murder my-self over and over again.
FRANCESCA FINI Born in Rome, Italy, in 1970. Lives and Works in Rome / Italy. Degree in design by IED (Istituto Europeo di design). Works invideo and performance art regularly since 2001. Major exhibitions / events: Cinema Perpetuum Mobile Film Festival, Minsk (2012); Norme per la rivoluzione. Volksbßhne�, Berlin (2012); TakeS (Bernardo Museum), Sines Art Center, Portugal (2012); Berlin Directors Lounge 2012, Berlin, Germany (2012); Oslo Screen Festival, Oslo, Norway (2012). http://www.francescafini.com
Blood, 2012 Photography
Francesca Fini (It)
BENVINDA ARAÚJO Born in Oporto, Portugal in 1961. Lives and works in Coimbra, Portugal. Masters in Fine Arts, by the University Art’s School of Coimbra. She participated in several group exhibitions, such as I Biennial of Visual Arts (Honor Mention Aword), Marinha Grande (1996); Catherine of Braganza - Contemporary Images, Lisbon and Arcos de Valdevez (2005); Convergences, Madrid (2005); House of Culture, Coimbra (2007); Mondego 2008, Water Museum, Coimbra (2008);Digital Landscapes, TMG’s Art Gallery, Guarda (2009); Images of Feminine, Portugal’s Center Pavilion, Coimbra (2009); Ventipertrenta, MIDAC (2011); Shipping Minds, Icon Gallery, Coimbra, 2011;Porto Santo Biennial, Porto Santo, Madeira, Portugal (2011); Projecto Viajante, Montemor-o-Velho - Lisbon - Belforte del Chienti (2011); Password, Portuguese Lybrary of Macao (2012); Openend, Space for Arts, New Media & Performance, Coimbra (2013). O grito / The Scream, 2012 Photography
Benvinda Araújo (Pt)
Contemporary society is dominated by the cult of beauty, rapture, pleasure and glamour while it ignores the concepts of fear, uncertainty, uneasiness and death. The less we talk about this discrepancy the more it remains in our emotional and psychosocial life. Our society on the one hand, has character of kitsch and terrible sweetness, and on the other hand the society seems to be more afraid, aimless and bored. I sublimate the glamour perceptions of beauty today and I imagine the pain of the fear of death that lies in each person which I make visible through the grotesque. I describe this by using different materials and props. DRAGA JOVANOVIC Born in Cacak, Serbia, in 1977. Lives and works in Toronto, Canada. Master in Painting and Photography by the Kunst Hoch Schule, Kassel. Works at the lebel of media, video art and photography since 2000. Major events / exhibitions: ICrossing Identities, International Art Expo Festival, Terazza Bugambilias, Morelia, Mexico, 2011; Festival BEGEHUNGEN “You are Leaving the Area of Responsibility�, Chemnitz, Germany 2011;Exhibition at SWAN Day Berlin 2010, Performance Lab Berlin, Germany 2010; Bad Acid, Propeller Gallery, Center for Visual Art, Toronto, Canada 2009.
Velvet & Flesh, 2011 Photography
Draga Jovanovic (Srb)
This image belongs to a series of photographs taken on female nudes in which slides were projected with different textures, these textures and surfaces were subsequently implanted with computer software, photoshop. Altering the color and accentuate certain features . Corporeal permeability arises from a composition of marks on the skin, dermal patches seem to come due to the infiltration of blood in the subcutaneous tissue. Bandages, welts, bruises, associated with inhibition in organ tissues of extravasated fluids. These spots later become a hazardous engraving almost like a visual embroidery - textural hurt the observer. Intended to decompensate us, getting upset and finally shout from the same nakedness, which remains silent. The work focuses on a search for alternative, usually textiles languages, and extrapolated to add a voice to the marginalized, either as discrimination, sexism, power and injustice to the weak. The search also focuses on Latin American identity. From a ancestral language rescue and folk art. ELENA PEREZ ARDILES Visual artist. With studies at the Catholic University of Chile and the National Autonomous University of Mexico. Several exhibitions in Chile and Mexico. http://arsinterra.blogspot.com
Self Portrait, 2003 Photography
Elena Perez Ardiles (Chl)
The project, includes 14 works which were made using photo manipulation. In my works I’m interested in human creature. I try to explore its identity moving around the thin line determining the sexuality and carnality of a man. In this special project the main matter is associated with searching for ideal, perfect shaped face, eternal quest for beauty. Ideal shape that, according to the general presumption of thinking about this matter, concerns faces which seem to be the most symmetrical .In my project I copy part of my face and put it on the other side with the mirror effect. Of course we see the upshot as ideal face-form but you only need to do something wrong, exception from the norm, finally bad imposition and there appears, before us, shabby face, almost like marked by a genetic disease. Singularities with human shapes, monsters, that rise to an association with the futuristic visions. The atmosphere of the pictures stored in the dark mist reminds the German expressionist’s film masterpieces and indirectly recent created film called the Sandman. The theme of the last mentioned one is similar to the case I’m presenting here. Where the reminiscences of Hans Bellmer fantasy is still alive. MONIKA MUSOLF Graduated by the faculty of Fine Arts in Torun, Poland. The main areas of her creative actions are painting, drawing, objects, installations and recently photo manipulation. In her art she’s focused on presenting the clash between pure nature and technology, unbridled primordiality and artificial shaped and manipulated world. She employs the language of myth, stereotypes, magic, fantasy and every motif covered in delicacy, fragility, intricacy sheath with echo of mysterious human habits. She’s try to present the definitive counterpoint to the view of nature as something to be possessed. Pre-Creations, 2010 Photography
Monika Mausolf (De)
Formatting Gaya. The cycle between human beings and the natural world has been transformed into a new formation that inspires intricate modes of transmitting and receiving information. Through the development of modern technologies human beings have begun to unfold the possibilities of telematic and cybernetic systems of communication. Earth is no longer a simple exchange of biological entities, but a more complex system that employs digital signal to mediate our existence within it. Human beings, technology, and nature are now all part of a congruous system of existence that is becoming more and more visible in our landscape. Formatting Gaia depicts this world, where there is a physical connection between the three and all work in unison with one another. PATRICK MILLARD Artist originated from the small Western Michigan town of Lamont and living now in Savannah, GA. Working in photography, painting, mixed media, and installation has resulted in a diversified portfolio of work that tends to address ideas about society, culture, and the interactions that human beings have within their own synthetic environment. His work has been exhibited both locally and nationally and continues to gain recognition. Recent collaborative art exhibitions/installations include the international art happening ‘Blow the City’ in Ghent, Belgium as well as ‘A Million Little Pictures’ at Art House in Decatur, GA. MFA degree in photography at the Savannah College of Art and Design. http://www.patrickmillard.com
Formatting Gaya: Congenital Skin, 2007 Photography
Patrick Millard (USA)
SABRIYE CELIK Born in Sivas, Turkey in 1973. Bachelor in Faculty of Fine Arts by Marmara University of Turkey. Works on Dijital Art and Photography since 2005. Major exhibitions / events: “Contemporary Artists Istanbul Exhibitions Past to Present”, Istanbul, Turkey, 2011; “Recollection Form 1987 to 2007”, Budapeste, Hungary, 2007; “26th Contemporary Artists Istanbul” Istanbul, Turkey, 2007; “IM-PRESSION”, Mail art & Digital art”, Rotterdam, Netherlands, 2006.
Postures, 2011 Photography
Sabriye Celik (Tr)
VIDEO
Since 2007 I am working on a sequence of short movies. They are designed to fit into public spaces, in festival programs or on the internet. All of them are based on simple text animations and inform about fictional or real circumstances, demand different actions and sharpen the viewers awareness for significant details of the surrounding they are shown in. All these movies focus on the interaction of the audience and the information provided through the moving image. I understand these movies as a possibility of an apparative extension to my performative work. They offer an interesting way of interaction within very short but clearly defined times apart from the artist. STEFEN RIEBEL Born in Halle / Saale in 1982. 1999-2000 Living in the USA / High-School Diploma. 2003-05 Studies Fine Arts at the University of Applied Sciences and Arts in Hannover, with focus on photography with Prof. Gosbert Adler and sculpture with Prof. Bernhard Garbert. 2005-06 Basic studies in Media Arts at the Academy of Visual Arts in Leipzig with Prof. Christin Lahr. Since 2006 at the Class of Installation and Space with Prof. Joachim Blank. Since 2008 at the Class of Mass Media Research and Art in Public Media Space with Prof. G端nther Selichar. 2007-08 Tutor at the class of Prof. G端nther Selichar at the Academy of Visual Arts in Leipzig. 2009 Studies at the Finnish Academy of Fine Arts in Helsinki, with focus on sculpture with Prof. Villu Jaanisoo. 2010 Diploma at the Academy of Visual Arts in Leipzig. http://www.stefanriebel.de
Untitled #61, 2010
Video, 1:14, black white, no sound Stefen Riebel (De) https://vimeo.com/14571871
The Jesus Aguilar work investigates the fundamental logic of digital technology, communication, and mark-making. I am interested in how history, heritage, and human codes exist within these realms. The digital domain has changed the way that we relate to each other, to the world, and to information at large. Information and knowledge are simultaneously omnipresent and continuously fleeting. My intention is to question the status of traditional forms of communication and learning in contemporary culture, where technology is further mediating our experiences. JESUS AGUILAR Born in San Lucas de O’Campo, Durango, Mexico and lives and works in the San Francisco Bay Area. In 2006, he received his MFA in Video and Multimedia from Mills College in Oakland, and in 1999, his BFA in Photography from San Jose State University. In 2006, he was awarded the Headlands Center for the Arts MFA Studio Residency and the Herringer Prize for Excellence in Studio Art. In 2008, he was awarded a grant from the James Irvine Foundation for Intersections at the 2nd Bienniel 01SJ Global Festival of Art on the Edge. http://www.jesusaguilar.net
No Entropy, 2007-08
Video, Black & White, Sound Jesus Aguilar (Mx)
Human made electromagnetic radiation and signals have become an elementary part of society, at the latest since the invention of wireless telegraphy at the beginning of the 20th century. Electromagnetic waves surround and penetrate us continuously. No matter where we are. Electromagnetic plot is a collection of electromagnetic audio-signals, analog and digital interference-images and signals, as well as different variations of making electromagnetic radiation visible for scientific purposes. Assembled in an associative way these image- and sound fragments resulted in one possible blueprint of the invisible electromagnetic environment of human beings. MATTHIAS FITZ Born in Bad Steben, Oberfranken, Germany, in 1967. 1987 Completion as electronic engineer for communication. 1995 Study of Visuell Communication in the “Universität der Künste” (UdK) in Berlin. 1998 Study of Experimental Mediacreation (E.M.) in the UdK in Berlin. 2000 One year scholarship in the Universitat de Barcelona; Spain. 2001 Founding of the service galerie for moving image “Format” in Berlin. 2002 Final examination with distinction at the UdK. 2003 Appointment as “Meisterschüler” in E.M. / Prof. Maria Vedder. Since 2003 working as media artist. http://www.matthiasfitz.de
Electromagnetic Plot, 2008
Video, 6:58, Black & White, Sound Matthias Fitz (De) http://www.matthiasfitz.de/english/html-video/ep.html
Universe builded using only three-dimensionalized Bronze calligraphy characters, inviting users/audiences to walk or fly in its virtual reality, with dance pad and/or Wii game controller designated as interactive medium. With the aid of 3D glasses, it has a more mythical look. (The old) Chinese characters are very visual, e.g. “East” illustrates a “Sun” coming up from behind “Woods”. Thus we put a “Sun” behind “Woods”, resulting as “East” seen from a certain angle. MI YOU Trained in digital arts, working in film/video, theater, and writing, and tries to cross over amongst these disciplines. She has been invited to Berlinale and has exhibited her work at Siggraph.
Empty Space, 2009
Video, 2:05, color, sound Mi You (Ch) https://vimeo.com/4973916
Waves as sheets of water, rotated and split-screened, create mesmerizing undulation of movement, broken only by slow progressive shifts of horizontal asynchronous transitions that glide between each shot.
STEVEN HOSKINS Video artist and designer working from Richmond, Virginia, USA. He spent most of hes life as a graphic designer, and recently as a graphic design educator who teaches and practices in video. Much of this work is imbued with formal/visual explanations for the Hermeneutic Circle: the understanding of meaning derived from interrelationships between part and whole. This is embodied in the video image that is broken and reassembled; fragmented and reconstituted; a union made of asynchrony. Chaotic and irregular movements converge into unified movement; small multiples begin to move as a system.
Vertical Water, 2009
Video, 7:37, color, sound Steven Hoskins (USA) https://vimeo.com/17008971
In a world of media saturation the 2D image is validation. Stoic screens leave us more connected to unnatural, flat celebrity faces than to our rarely seen next-door-neighbors. We feel a power over the strange 2D world where we can “pause, rewind or fastfoward live TV,” that doesn’t exist anywhere else in life. Flickering ghost simulacra is our new longing. This digital experience created here is as much a simulation of experience as the idea is a simulation of an ideal.
BRYANT DAMERON Born in White Stone, Virginia, USA in 1983. He has exhibited work internationally and across the USA in film festivals, gallery exhibtions, and television. Recent exhibitions include Videoholica 08 in Bulgaria, and 809 International New Image Art Festival in China. He graduated Virginia Tech in 2005 with a degree in Mass Media Communications, and in 2007 received a MFA degree from Virginia Commonwealth University. He currently lives and works in Richmond Virginia. In addition to film and video Bryant enjoys teaching, web-design, and turtle keeping. http://projectoctober.com
Longing and Legacy, 2008 Video, 2:52, color, sound Bryant Dameron (USA) http://youtu.be/t6wCP2wAzSA
At the beginning there was the photography and then there was the cinema. The webcam is the computer back to the origins of cinema: the invention of the Lumiere brothers had the ability to be both a camera and a projection device. Nowadays, the computer sees us at the same time it gives us to be shown by the others, the other computers / the other humans. But what does he see? And what does he see in us? At the beginning, there was the photography and the cinema, now there is the “video-chat”. “Visions of computers” attempts to bring back the video-chat at the beginning, at the origins: to photography. But a photography that gesture, language and signs are different. A photography that attempts to materialize the vision of the computer. ISMAEL (IAN FLITMAN) Tunisian filmmaker, videographer, photographer, poet, writer and arts activist. Born in 1981 in Tunis. He is involved with some of his photographic projects in the collaborative artistic website: ateliersanstitre.com In June 2009, he directed his first experimental video. Follows a dozen of art videos, experimental films, music and performance videos. http://shownd.com/computersvisions
Visions of Computers, 2009 Photo Gallery
Ismaël (Tn) https://vimeo.com/4973916
Mutant, 4 min of Huis Clos / No Exit - On Collaboration, a telematic performance / experiment investigating communication and relational dynamics in a dispersed group with 6 actors.
ANNIE ABRAHAMS Dutch artist and biologist living in France questioning the possibilities and the limits of communication in general and more specifically investigates its modes under networked conditions. She is an internationally regarded pioneer of networked performance art. She performed and showed work extensively in France and in many international venues: Centre Pompidou, Paris; Black Mountain College Museum + Arts Center, Asheville, US; Furtherfield gallery, London; Nimk, Amsterdam. http://www.bram.org
Mutant, 2011
Video, 4:05, color, sound Annie Abrahams (Nl) https://vimeo.com/16666157
On the Centenary of Italian Futurism, on the 40º Anniversary of the First Lunar Landing, The First Poetry Space Shuttle Landing on Second Life. Landing of the poets: July 20-21 2009. The poets have form of spheres and colorful prisms which donate a poem file. The guest book of the shuttle “Welcome on Board” contains more then 300 poems by 230 authors from various continents, countries, and planets... Virtual installation in the framework of 53º Venice Biennale - Eventi Collaterali. June 4 - November 22, 2009. A video-poetry report by Caterina Davinio with music by Mirko Lalit Egger. CATERINA DAVINIO Italian Multimedia artist, writer, poet. Painter and poetry performer in the 80s, in 1990 she was pioneer of Italian digital art and poetry. In 1998 she was the initiator of Italian Netpoetry , a development of net-art related to multi-located events, based on line and in real spaces. Her work has been presented in more then 200 exhibitions in Europe, North America, Latin America, Asia, Australia, six times in the Venice Biennale and Collateral Events, where she collaborated also as curator. Other international biennials: Biennale of Sidney (Online Venue 2008), Athens Biennial (2007), Liverpool Biennial (Independents 2006 and 2008), Biennales de Lion (1999 and 2007), Biennale de Paris (2004), New Media Art Biennial (Merida, Yucatan/Messico, 2003), and others. http://xoomer.virgilio.it/cprezi/caterinadav.html
The First Poetry Space Shuttle Landing on Second Life, 2009 Video, 5:45, color, sound
Caterina Davinio (It) http://www.youtube.com/watch?v=E3zMgGMiUuw
Net Body, 2008
Video performance, 5:23, color, sound Suguru Goto (Jp) https://www.youtube.com/watch?v=lEYJgRC9gxc
In this project, we link the real world to the online reality of Second Life. We do this at the physical level: the bodily movements of a person in the real world control an avatar in Second Life, while an avatar’s movements guide a human being’s. Second Life is a 3D online digital platform created by its residents. Here, each flesh-andblood human creates a unique identity – an avatar – to inhabit the digital community environment. The contact between these realities is usually effected through a monitor, keyboard and mouse. In this work, the whole body takes part; we develop technology that makes communication between the two realities two-way and physical. A movement-registering mechanism built into the BodySuit allows a person’s movements to directly control the behavior of an avatar in Second Life to perform Virtual Musical Instruments. Conversely, the Powered Suit contains motors that control the human body like a marionette. It is a sort of robot you can wear, controlled by an avatar, and plays real percussion instruments on a stage. SUGURU GOTO Composer, performer, inventor and a multimedia artist considered one of the most innovative and the mouthpiece of a new generation of Japanese artists. He is highly connected to technical experimentation in the artistic field and to the extension of the existing potentialities in the relation man-machine. In his works the new technologies mix up in interactive installations and experimental performances; he is the one who invented the so called virtual music instruments, able to create an interface for the communication between human movements and the computer, where sound and video image are controlled by virtual music instruments in real-time through computers. Lately, he has been creating the robots, which perform acoustic instruments, and he is gradually constructing a robot orchestra. He was born in Japan. After he studied composition and piano in Japan, he moved to the United States to continue his studies at New England Conservatory in Boston. He preceded his post-graduate studies at Technical University Berlin and HDK in Berlin, Germany and Paris University in France. He studied composition with Lukas Foss and Earl Brown in U.S.A, and with Robert Cogan at New England Conservatory and Dieter Schnebel in Berlin, Tristan Murail and Philippe Manour at IRCAM, Paris. http://suguru.goto.free.fr/Contents/SuguruGoto-e.html
Be[ing] Interface is a video installation using real time video interaction. Two bodies occupy separate spaces with a real time video camera pointing at them. Both participants interact with one another in remote locations. They are able to interact via the real time video link. These dual digital doubles of their enlarged heads are projected onto a large wall. Each participant sees the other person’s digital double and there own projected over each other to form a completely unique digital ‘being’. Each pair of participants ‘play’ with their real time new identity that is morphed together in real time. A renaissance is created through the digital technology which challenges our perception of the portrait/identity and the location of the body and consciousness. LORNA MOORE Performer installation artist living and working in the UK. Her recent work involves exploring digital technologies to challenge our perception of performance, identity and location. Her work involves using telematic principles to communicate her ideas using real time interaction. Lorna has had her work exhibited nationally and internationally. She has worked on a number of collaborations and has been involved in a many of events and residencies.
Be[ing] Interface, 2007 Video, 1:38, color, sound Lorna Moore (UK) http://www.youtube.com/watch?v=X5NTF2R4B7A
A shadow questions itself about its shapes. Through a performance of the artist on a white background, the work offers a reflection on the video image and its deformities. The shadow of the person who films, while it is questioned, asserts its presence.
ARTHUR TUOTO Works with video, photography and poetry. His works have been exhibited in more than 40 festivals and exhibitions around the world, such as: Videoformes - International Video and New Media Art Festival (France), aluCine Latin Media Festival (Canada), Naoussa Short Fim Festival (Greece), Buenos Aires Festival de Cine Independiente (Argentina), Time is Love Exposition (Galerie Octobre/Paris), 5th Salon de Arte Digital (Venezuela) and Armenian Center for Contemporary Experimental Art (Armenia). Through reconfigurations of memory and daily life, the artist has been developing a work that includes video art, installations, fiction and experimental documentaries. Lives in S達o Paulo and Curitiba, Brazil. http://www.arthurtuoto.com
Disforme / Shapeless, 2008 Video, 2:30, color, sound
Arthur Tuoto (Br) http://www.arthurtuoto.com/disforme.html
NET ART
My work examines the process by which concept is transformed from the imagined to the visible. We use words as a way of circumventing the difficulty this presents for those who are “bad at drawing”, and as a way to quickly and seamlessly transfer conceptions from one brain to another without embellishment. 8x8x1 is a way confronting the viewer with the problems of visually symbolizing abstract concepts. As an icon designer, I’ve spent countless hours plotting grids that are governed by parameters of varying constraint; e.g., width, height, bit-depth, operating system, user demographic, and most notably, resistance to being visualized, or “imageability”. The goal is always the same; i.e., what is the most efficient way to transfer the concept to the target audience under the given parameters? And the parameters can be hopelessly oppressive-a 16 pixel octopus, an 8 pixel clock, the debate over whether to use a mailbox or an envelope to symbolize mail, and how to plot the concept of “Exit” all come to mind. I measure an icon’s effectiveness by the amount of time spent by the user in interpreting the icon. One bad pixel can diminish an icon’s effectiveness and each mouse click demands assessment. However, the process of determining what pixels should be eliminated, added, and modified is highly meditative. 8x8x1 invites the viewer to participate in this process. BEN DUNKLE Digital printmaker. With degrees in traditional paper-based printmaking techniques, Ben has expanded his processes into digital realms. He teaches in the digital media arts program at Canisius College, Buffalo, NY. http:// www.bendunkle.com
8x8x1, 2008-09 Net Art
Ben Dunkle (UK)
Sacred Scroll is an internet-based response to the role technology plays in the continuous cultural progression of religious practices.
AARON NEMEC Born in the United States in 1978. He lives and Works in West Lafayette, Indiana, USA. He received his BFA from the University of Michigan in 2001 and his MFA from Purdue University in 2011. The primary focus of his work is recombinant aesthetics in music and the listener-performer relationship. He is also a founding member of the rock band Drum Kit and conceptual art band The Meatballz. He mostly works in video/audio and performance. His work has recently been included in the following exhibitions: ASPECT-EZ Strangely Funny, Boston, Massachusetts, USA, 2010; DA Fest, National Academy of Art, Sofia, Bulgaria, 2010; AUDO: Alternative Practices in Sound, West Lafayette, USA, 2010; AGA-BNO Invitation, Amsterdam Grafisch Atelier, The Netherlands, 2010.
Sacred Scroll, 2008 Net Art
Aaron Nemec (USA) http://www.executivebird.com/art/sacredscroll.html
“Discos Sem Memória” (No Memory Disks) is a collection of unique quicktime movies preserved in diskettes, circa 2002, made from struct_1 application (André Sier, 2001). Each original movie is 256x256 pixels stored in cinepak codec and during approximately one second. There are 53 short movies which attempt to duplicate visually thought processes, each stored in a standard pc 31/2 diskette signed and numbered, existing only one copy for sale of all of the movies. This online experience is a lower-fi approach to that experience, built with 25 fragment movies, each having 128x128px. Struct_1 is an audiovisual app that explores the concepts of time and space-, time in the 3 possible tenses (what was, what is, what will be) and a spatial metaphor of the consciousness as a segmented rectfi eld capable of being tinted with quicktime movies stills. ANDRÉ SIER Artist-programmer. Degree in philosophy, studied also painting and sculpture. Makes objects that seek to unravel connections in time and space using algorithmic structures. Highlights series ‘struct’, ‘747’, ‘Space Race’, works proposing emersing experiences in abstract spaces, often using site-specifi c data from microphones and cameras, or synthesizing experiences with generative and chaotic maths. Has exhibited code and installations in Portugal, Spain, USA, Italy, Germany, Brazil, Slovenia, Poland. http://s373.net
No Memory Discs, 2002 Net Art
André Sier (Pt)
“Urban Fragments” is an interactive website that functions as a repository for ideas about the city and how the urban experience can be translated into an online experience. From the opening users can peruse numerous avenues each accessible through a different vertical fragment pictured on the home page.
JODY ZELLEN Los Angeles based artist who is currently a Visiting Artist at the School of the Museum of Fine Arts, Boston. She works in many media simultaneously making photographs, installations, net art, public art, as well as artists’ books that explore the subject of the urban environment. She employs media-generated representations of contemporary and historic cities as raw material for aesthetic and social investigations. Recent projects include “The Unemployed” a interactive data visualization at Cerritos College (Los Angles, 2009), a site specific interactive installation entitled “The Blackest Spot” at Fringe Exhibitions (Los Angles, 2008). http://www.jodyzellen.com
Urban Fragments, 2009 Interactive web site Jody Zellen (USA) http://www.urbanfragments.net/
The player of this videogame assumes the role of a hoarder trying to keep memories of friends alive through the junk that surrounds them. The eventual fading of a friend’s photograph is temporarily prevented by touching an item associated with them. These memories come out in Microsoft Anna’s text-to-speech reading of status updates from Facebook users. The photographs of friends are appropriated from Facebook profile pictures, and as they are stopped from fading through an object-mediated peripheral awareness, they also become more distorted.
AARON OLDENGURG Game designer and new media artist whose primary interest is in game rules as an expressive medium. His interactive work exhibited at art.tech in San Francisco, SIGGRAPH in Los Angeles, and VIDEOKILLS in Berlin. He received his MFA from the University of Maryland, Baltimore County, and is an Assistant Professor at University of Baltimore’s Simulation and Digital Entertainment program. http://www.aaronoldenburg.net
Peripheral Amnesia, 2009 Video Game
Aaron Oldenburg (USA) http://aaronoldenburg.net/e_peripheraldesc.html
Digital Sculptures for Analog Sounds is a collection of interactive virtual sculptures and environments inspired by 13 tracks of analog sounds composed by artists of the Warsaw Electronic Festival. The viewer can explore the virtual space and mentally immerse him/ herself in a contemplative, stimulating electronic soundscape. The explorations are time limited to the length of individual sounds. Some pieces are pure explorations of the 3D environments, others evolve with time and with development of the sounds. The sounds are played linearly but the interactive experience of the virtual space challenges that linearity. My attempt was to create an interactive audiovisual environment that, regardless of the juxtaposition of the linear audio and non-linear visuals, develops its own rhythm in time and space. PRZEMYSLAW J MOSKAL Born in Opole, Poland in 1973. Lives and Works in Buffalo, NY, USA. Master of Professional Studies in Interactive Telecommunication, by New York University. Works in Interactive Media regularly since 2002. His artworks have been presented Internationally at numerous digital media arts festivals. http://laksom.com/
Digital Sculptures for Analog Sounds, 2009 Real time 3D
Przemyslaw J Moskal (Pol/USA) http://laksom.com/artworks_DSFAS.html
The website logs into an online war game server (Counter-Strike) to record real-time frags (game event of a player’s killing). These frags trigger a search by chronological order in the Wikileaks Afghan War Diary database, which contains over 75,000 secret US military reports – the majority of these being lethal military actions involving the U.S. military. According to this data the location of the attack is displayed on the Google Earth mapping system.
MATTHIEU CHERUBINI Born in Aigle, Switzerland in 1984. Lives and Works in Lausanne, Switzerland. Is Master in Media Design by Geneva University of Art and Design (HEAD). Work at the level of media art and media design regularly since late 2009. Major exhibitions / events: MODE:DEMO in Lift10, Geneva, Switzerland (2010); re-new digital arts festival, Copenhagen, Denmark (2011); Milan Furniture Fair 2010, Milan, Italy (2010). http://www.mchrbn.net/
Afghan War Diary, 2010 Web Art
Matthieu Cherubini (Sz) http://www.afghan-war-diary.com/
The Hudson Mohawk Sound Gate: Spiral Map explores the perceptual relationship between sight and sound using the Capital District of New York as a case study. It exemplifies the fact that the scope of what the eyes see is much more limited in terms of angular and linear distance than what the ears hear. As an experiment the artists traveled around the Capital District in a predefined spiralshaped path, making short audio and video recordings at thirty proportionally equidistant points along the spiral. The resulting footage produces a map that describes the landscape and soundscape of the region. At times the audio and visual fields are complimentary; at other times they create surprising juxtapositions. CHARLES VEASEY Born in Valparaiso, Indiana, USA in 1980. Lives and Works in Santa Fe, New Mexico, USA. MFA by Rensselaer Polytechnic Institute. Works in electroacoustics and multimedia development regularly since 2000. J CRAIG TOMPKINS Born in Norman, Oklahoma, USA, in 1981. Lives and Works in Santa Fe, NM USA. MFA, by Rensselaer Polytechnic Institute. Works in Video, 3D Animation, regularly since 2006. http://charlesveasey.net/
Hmsd Spiral Map, 2011 Web Art
Charles Veasey and J Craig Tompkins (USA) http://charlesveasey.net/projects/hmsg-spiral/
An interactive, non-linear net.art piece that, through a series of animated vignettes created in Flash, explores the life and philosophy of Ludwig Wittgenstein. Each of the 88 sections corresponds to one of the 88 constellations in the night sky. Each constellation becomes a navigation device for the viewer to negotiate the associative relationships between these vignettes. As well, viewers can interact with each collaged animation using their left hand to trigger events from the computer keyboard (in homage to Ludwig Wittgenstein’s brother Paul - a concert pianist who lost his right arm in WWI but continued his career performing piano works composed for the Left Hand). This work considers questions that Ludwig Wittgenstein pondered in his career as a philosopher: logic, language, the nature of thinking, and the limits of knowledge - all in relation to our contemporary digital world. DAVID CLARK Media artist who lives and works in Halifax, Canada. He is known for his website ‘A is for Apple’ (www.aisforapple.net) that has been shown at over 50 film festivals around the world including Sundance, SIGGRAPH, Transmediale in Berlin and the American Museum of the Moving Image. ‘A is for Apple’ won ‘Best in Show’ at the 2003 SXSW Interactive Festival in Austin, Texas and First Prize at FILE2002 in Sao Paulo, Brazil. He has made a feature film; ‘Maxwell’s Demon’, numerous shorter videos and installations works. He is a member of the new media collective ‘computer.says.no’ who have made an interactive non-linear film “Meanwhile” and an interactive new media piece: “Touch and Go” for the Toronto International Airport. He studied at the School of the Art Institute of Chicago, the Whitney Program in New York, and the Canadian Film Centre in Toronto. He currently teaches film and media arts at NSCAD University in Halifax. http://www.chemicalpictures.net http://www.chemicalpictures.net/
88 Constellations, 2008 Flash animation
David Clark (USA) http://www.88constellations.net/
Pervasive mass-media in the information age offers us a continuous stream of mediated realities. Countless events of varying and often questionable significance emerge as scrolling columns of headline news and then quickly fade into the soon-forgotten annals of our time. Within this saturated datascape of history, there are singular defining moments that rise above the ubiquitous monotony of the everyday. These events shape the consciousness of individuals and nations alike by transcending their epoch, and are indelibly situated within greater historical overviews that inform the perceptions of both present and future generations. In an era of unjust wars and monumental acts of terror, some of these events have eroded our most precious institutions and sustained fear within all strata of society, while others have instilled within us hope and offered us a means to reconcile our past transgressions. Reflection (hope and reconciliation) re-mediates one such moment. Through the distillation of its aesthetic elements – images, words, voice, music – we experience the event with changed, but undiminished intensity. MICHAEL TAKEO MAGRUBER Artist and researcher in the Visualisation Lab, King’s College London. His work uses emerging technologies; including high-performance computing, mobile devices and virtual environments, within contemporary creative and academic practice. His artworks have been showcased in over 200 exhibitions and 30 countries. http://www.takeo.org/
Reflection (hope and reconciliation), 2008 Web Art
Michael Takeo Magruber (USA) http://www.takeo.org/nspace/ns028/
I find Seurat’s drawings fascinating, more so than his famous paintings. The main difference is simply color, in the drawings we see the pointilist technique in its raw simplified form. It is actually a very simple thing for computers to analyze colors this way, and perfect halftones are easy to reproduce, however imperfect ones that make mistakes but simply random deviations are a bit more complicated. So, I made a program that takes video from a camera and renders it using his reknown dot technique. It’s like having a Seurat who can draw these several times per second. This is a simple example of using the camera as a sensor. The camera sends the computer an Array (list) of pixel values. Usually, a program prints these values, optionally altering their red, green, blue, x and/or y properties. However this takes note of pixels (and their neighbor’s brightness, and draws a heavy or slight mark accordingly at that spot. Done a few thousand times, you see the result above. JUDSON In 2007, judsoN completed a Faculty Fellowship at ITP (Interactive Telecommunications Program) at New York University/Tisch. He programmed interactive artwork in 1996 with one of the first online galleries Ädaweb. In 1999, with artist Michael Craig-Martin for the MoMA (the Museum of Modern Art’s web art collection), under circus tents in the Czech Republic and Poland with avant garde theatrical legends Mabou Mines, for the Istanbul Contemporary Art Museum web biennial, for the Arts Council of Mildura Australia, featured at the Kitchen theater in New York with multi-national group Shadow Casters, three times for the FILE festival in Brasil, at the Kennedy Center in Washington DC, an interactive piece with the Brooklyn Philharmonic and composer Eve Beglarian at the Brooklyn Museum. http://pump.org.in/
Que Seurat Seurat, 2008 Behavioral Art
JudsoN (USA) http://pump.org.in/arch/seurat
“Because You Asked” is the artist’s digital self-portrait in sound, text, and image. It provides the user with the opportunity to create the self-portrait, and then, if they wish, erase it. This work is a commentary on the tradition of self-portraiture and its ongoing evolution in a virtual age. “Because You Asked” is created entirely in Flash, and uses a synthesized combination of text, images, and audio to complete the self-portrait. The piece is interactive, and requires that the user click on a series of buttons, appearing as icons, to proceed through the work. It is only through the user’s participation that the self-portrait can be completed, and once completed, the user has the option, through tools provided on the site, to erase it.
ALAN BIGELOW Alan Bigelow’s digital stories for the web have appeared in Turbulence.org , Los Angeles Center for Digital Arts, FILE 2008/2009 (Rio de Janeiro), Root Division (San Francisco), EPoetry 2007/2009 (Paris/Barcelona), FreeWaves.org , Hallwalls Contemporary Arts Center, and many other venues. http://webyarns.com/
Because You Asked, 2006 Web Art
Alan Bigelow (USA) http://webyarns.com/BecauseYouAsked.html
TAMARA LAI Video & digital Artist & Writer Video (1983), Multimedia Interactive & Computer design (1993), Net Art / Web Art (1997, one of belgian pioneers). Tamara Lai’ art works “between happening and transitory art”, has been presented wordwide as official selections of international festivals and events. http://www.tell-a-mouse.be
My Virtual Body, 2007 Web Art
Tamara Lai (Be) http://www.tell-a-mouse.be/my_virtual_body/mvb.htm
Cursor Caressor Eraser is an interactive installation and net artwork exploring the erotic image and themes of intimacy and play. Gestures of the interactors are treated as “caresses” which produce erasures of digital photographic imagery, creating visual palimpsests of bodies and skin.
MICHAEL FILIMOVICZ New media artist working in the areas of sound, experimental video, creative writing, net art, public art and digital photography. He is on the faculty in the School of Interactive Arts and Technology at Simon Fraser University.
ANDRES WANNER Educated as a Physicist and as a Designer in Visual Communications in Switzerland (University of Basel and University of Art and Design, respectively). He likes to tinker, to invent, and to play. He is on the faculty of the School of Interactive Arts and Technology at Simon Fraser University.
MELANIE CASSIDY Sculptor, filmmaker, and art director in Vancouver’s film industry. She has exhibited her sculptural works internationally, and designed custom fabrications for feature films and television series. http://filimowicz.com
Cursor Caressor Eraser, 2002 Web Art
Michael Filimowicz / Andres Wanner / Melanie Cassidy (USA) http://www.sfu.ca/~awa52/caressor/
ACKNOLEDGMENTS
The Unknown Artist Virtual Museum express the most heartfelt to the artists that have participated in this art project: A. Bill Miller, Aaron Oldenburg, Aaron Nemec, Alan Bigelow, André Sier, Annie Abrahams, Arthur Tuoto, Ben Dunkle, Benvinda Araújo, Bryant Dameron, Caterina Davinio, Charles Veasey & J Craig Tompkins, David Clark, Draga Jovanovic, Elena Peres Ardiles, Francesca Fini, Grupo Sinestético, Ida Julsen, Ismaël, Jason Nelson, Jesus Aguilar, Jinson Joseph, Jody Zelen, JudsonN, Lorna Moore, Matthias Fitz, Matthieu Cherubini, Mi You, Michael Filimovicz, Michael Takeo Magruder, Monika Mausolf, Oscar Poliotto, Osvaldo Cibils, P J Moskal, Patrick Miller, Rick Niebe, Rosa Menkman, Sabriye Celik, S. L. Hoskins, Stefen Riebel, Suguru Goto, Tamara Lai.
CURATOR José Vieira PHOTOGRAPHIES Courtesie of the artists PRODUTION UAVM Virtual Museum
JANUARY 2014