Note: open since last September and seen here and there, this exhibition at the Withney about the uses of rules and code in art.It follows a similar exhibition - and historical as well - this year at the MOMA, Thinking Machines. This certainly demonstrates an increasing desire and interest in the historization of six decades - five in the context of this show - of "art & technologies" (not yet "design & technologies", while "architecture and digital" was done at the CCA).
Those six decades remained almost under the radar for long and there will be obviously a lot of work to do to write this epic!
Interesting in the context of the Whitney exhibition are the many sub-topics developed:
Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 establishes connections between works of art based on instructions, spanning over fifty years of conceptual, video, and computational art. The pieces in the exhibition are all “programmed” using instructions, sets of rules, and code, but they also address the use of programming in their creation. The exhibition links two strands of artistic exploration: the first examines the program as instructions, rules, and algorithms with a focus on conceptual art practices and their emphasis on ideas as the driving force behind the art; the second strand engages with the use of instructions and algorithms to manipulate the TV program, its apparatus, and signals or image sequences. Featuring works drawn from the Whitney’s collection, Programmed looks back at predecessors of computational art and shows how the ideas addressed in those earlier works have evolved in contemporary artistic practices. At a time when our world is increasingly driven by automated systems, Programmed traces how rules and instructions in art have both responded to and been shaped by technologies, resulting in profound changes to our image culture.
The exhibition is organized by Christiane Paul, Adjunct Curator of Digital Art, and Carol Mancusi-Ungaro, Melva Bucksbaum Associate Director for Conservation and Research, with Clémence White, curatorial assistant.
Note: following the exhibitionThinking Machines: Art and Design in the Computer Age, 1959–1989 until last April at MOMA, images of the show appeared on the museum's website, with many references to projects. After Archeology of the Digital at CCA in Montreal between 2013-17, this is another good contribution to the history of the field and to the intricate relations between art, design, architecture and computing.
How cultural fields contributed to the shaping of this "mass stacked media" that is now built upon the combinations of computing machines, networks, interfaces, services, data, data centers, people, crowds, etc. is certainly largely underestimated.
Literature start to emerge, but it will take time to uncover what remained "out of the radars" for a very long period. They acted in fact as some sort of "avant-garde", not well estimated or identified enough, even by specialized institutions and at a time when the name "avant-garde" almost became a "s-word"... or was considered "dead".
Unfortunately, no publication seems to have been published in relation to the exhibition, on the contrary to the one at CCA, which is accompanied by two well documented books.
Thinking Machines: Art and Design in the Computer Age, 1959–1989
November 13, 2017–April 8, 2018 | The Museum of Modern Art
Drawn primarily from MoMA's collection, Thinking Machines: Art and Design in the Computer Age, 1959–1989 brings artworks produced using computers and computational thinking together with notable examples of computer and component design. The exhibition reveals how artists, architects, and designers operating at the vanguard of art and technology deployed computing as a means to reconsider artistic production. The artists featured in Thinking Machines exploited the potential of emerging technologies by inventing systems wholesale or by partnering with institutions and corporations that provided access to cutting-edge machines. They channeled the promise of computing into kinetic sculpture, plotter drawing, computer animation, and video installation. Photographers and architects likewise recognized these technologies' capacity to reconfigure human communities and the built environment.
Thinking Machines includes works by John Cage and Lejaren Hiller, Waldemar Cordeiro, Charles Csuri, Richard Hamilton, Alison Knowles, Beryl Korot, Vera Molnár, Cedric Price, and Stan VanDerBeek, alongside computers designed by Tamiko Thiel and others at Thinking Machines Corporation, IBM, Olivetti, and Apple Computer. The exhibition combines artworks, design objects, and architectural proposals to trace how computers transformed aesthetics and hierarchies, revealing how these thinking machines reshaped art making, working life, and social connections.
Organized by Sean Anderson, Associate Curator, Department of Architecture and Design, and Giampaolo Bianconi, Curatorial Assistant, Department of Media and Performance Art.
Note: 2017 was very busy (the reason why I wasn't able to post much on | rblg...), and the start of 2018 happens to be the same. Fortunately and unfortunatly!
I hope things will calm down a bit next Spring, but in the meantime, we're setting up an exhibition with fabric | ch. A selection of works retracing 20 years of activities, which purpose will be also to serve in the perspective of a photo shooting for a forthcoming book.
The event will take place in a disuse factory (yet a historical monument from the 2nd industrial era), near Lausanne.
If you are around, do not hesitate to knock at the door!
During a few days, in the context of the preparation of a book, a selection of works retracing 20 years of activities of fabric | ch will be on display in a disused factory close to Lausanne.
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Information: http://www.fabric.ch/xx/
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Opening on February 9, 5.00-11.00pm
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Visiting hours:
Saturday - Sunday 10-11.02, 4.00-8.00pm
Wednesday 14.02, 5.00-8.00pm
Friday-Saturday 16-17.02, 5.00-8.00pm.
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Or by appointment: 021.3511021
Guided tours at 6.00pm
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Pendant quelques jours et dans le contexte de la création d'un livre monographique, accrochage d'une sélection de travaux retraçant 20 ans d'activités de fabric | ch.
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Informations: http://www.fabric.ch/xx
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Vernissage le 9 février, 17h-23h
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Heures de visite:
Samedi - dimanche 10-11.02, 16h-20h
Mercredi 14.02, 17h-20h
Vendredi-samedi 16-17.02, 17h-20h00
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Ou sur rendez-vous: 021.3511021
Visites commentées à 18h.
Note: I'll have the great pleasure to be in discussion tomorrow with Fabio Gramazio, Prof. & Head for Digital fabrication at ETHZ and partner at Gramazio Kohler, during the much-awaited symposium "Research in Art and Design", at ECAL.
If you can attend, please do so! As we're expecting great presentations from the likes of Xavier Veilhan, Roel Wouters, Skylar Tibbits, Catherine Ince and several others... including Fabio Gramazio of course, who will speak about their rescent researches at the Swiss Institute of Technology / Department of Architecture in Zürich.
10+10 Research in Art & Design at ECAL
A symposium celebrating 10 years of Research in Art and Design
Tuesday 10 October 2017, 8.00–18.30
IKEA Auditorium, ECAL, Renens www.researchday.ch
On the occasion of the 10 years since the moving of ECAL/University of Art and Design Lausanne to its current premises in Renens and marking the 10th anniversary of the foundation of EPFL+ECAL Lab, ECAL is hosting a symposium on Research in Art and Design, featuring artists, designers and scholars in these fields from all over the world, in conversation with ECAL faculty members.
Admission is free upon registration through the online RSVP form at www.researchday.ch
Due to the limited number of seats in the auditorium, the maximum number of participants is 350.
Introductory notes on Research in Art and Design in Switzerland
Davide Fornari professor, ECAL
Moderation
Vera Sacchetti design critic, Basel
Design Research: from Academia to the Real World
9.00–9.45 Alba Cappellieri professor, Politecnico di Milano, Milan
in conversation with Nicolas Henchoz director, EPFL+ECAL Lab
9.45–10.30 Sophie Pène vice president, Conseil National du Numérique, Paris
in conversation with Davide Fornari professor, ECAL
10.30–11.00 Coffee break
Research Through Art and Design: Materials and Forms
11.00–11.45 Xavier Veilhan artist, Paris
in conversation with Stéphanie Moisdon professor, ECAL
11.45–12.30 Fabio Gramazio co-founder, Gramazio + Kohler Architects, Zurich
in conversation with Patrick Keller professor, ECAL
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12.30–13.30 Lunch
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Research Practices in Curating Art and Design
13.30–14.15 Catherine Ince senior curator, Victoria and Albert Museum, London
in conversation with Anniina Koivu professor, ECAL
14.15–15.00 Astrid Welter head of programs, Fondazione Prada, Milan/Venice
in conversation with Federico Nicolao professor, ECAL
15.00–15.15 Coffee break
The Future of Art and Design Research
15.15–16.00 Roel Wouters co-founder, Moniker, Amsterdam
in conversation with Vincent Jacquier professor, ECAL
16.00–16.45 Skylar Tibbits co-founder, MIT Self-Assembly Lab, Cambridge (MA)
in conversation with Christophe Guberan professor, ECAL
Note: Summer is coming again, and like each year now, it's time to digg into unread books or articles! "Luckily" and due to other activities, we didn't publish much since last Summer. So it won't be too much of a hassle to catch back. Nonetheless, there are almost 2000 entries now on | rblg...
So, I hope you'll enjoy your Summer readings (on the beach... or on the rocks)! On my side, I'll certainly try to do the same and will be back posting in September.
As we lack a decent search engine on this blog and as we don't use a "tag cloud" either... but because Summer is certainly one of the best period of the year to spend time reading and digging into past content and topics:
HERE ARE ALL THE CURRENT UPDATED CATEGORIES TO NAVIGATE ON | RBLG BLOG:
(to be seen below if you're navigating on the blog's html pages or here for rss readers)
As we continue to lack a decent search engine on this blog and as we don't use a "tag cloud" ... This post could help navigate through the updated content on | rblg (as of 07.2017), via all its tags!
HERE ARE ALL THE CURRENT TAGS TO NAVIGATE ON | RBLG BLOG:
(to be seen just below if you're navigating on the blog's html pages or here for rss readers)
The visual optics plates were realized by scientist Thomas Young at that time, when he was studying light (wave theory of light). It took another 100 (and fifty) years to truly access the art world...
My question would be: what kind of "plates" are getting drawn today? (and this drives us to Leonardo, to art-sciences programs of different sorts, etc.)
"(...). Nevertheless, in the early-19th century Young put forth a number of theoretical reasons supporting the wave theory of light, and he developed two enduring demonstrations to support this viewpoint.
"Throughout my journey as an author, journalist, curator and member of collectives, meeting artists has always been a chance for me to develop my knowledge and theory around speculative fields that go well beyond the fixed borders of academic reflection.
As such, while curating exhibitions, art directing festivals, coordinating residencies and directing productions, I have always sought out a relationship between art practice and theory that, rather than merely being mutually beneficial, leads to a true exchange. I have always felt more enriched working with the artists, rather than simply writing about them. For me, an exhibition is not a final goal but a platform where each player enriches their sensory knowledge and collectively participates in opening up new ways of perceiving and acting in society, faced with our accelerated world. These are the mutual cosmic exchanges that give artworks their “value”… and can help us to rethink our politics of recombinatory commons.
So I took the opportunity of this online curation to revisit a decade of collaborating with artists and to see where this new perspective on mutual exchange (with the gallery, the collector) can lead us. During these years, Slovenian artistic life has been a major source of inspiration for me, and this is expressed in the selection, which is faithful to the community spirit. (...)"
Created at the occasion of an exhibition in Montreal and revisited for this edition of 20 copies, Interference Dimensionnelle 1 is as a “matrix” in scale 1: X which instantly combines the spatial, temporal or even climatic dimensions/data of actual or virtual terrestrial locations.
Athens, Brasilia, Dubai, intersection of the Arctic Circle and Antemeridian, Montreal: 37 ° 58 ‘N / 23 ° 43’ E; 15 ° 46 ‘N / 47 ° 54’ W; 25 ° 16 ‘N / 55 ° 19’ E; 66 ° 33 ‘N / 180 ° 00’ E; 45 ° 30 ‘N / 73 ° 40’ W.
Five emblematic places representative of the architectural, territorial and energetic approaches of Western society and its history, five coordinates located on a world map and then gathered. These situations, when supplemented by the”original” mark 0,0,0, form a set of six interlaced benchmarks for new contemporary spatial situations.
21 x 18 x 18 cm, transparent and black acrylic polymer, edition of 20. €1200.-
Note: I'll be pleased to be in Paris next Friday and Saturday (02-03.12) at the Centre Culturel Suisse and in the company of an excellent line up (!Mediengruppe Bitnik, Nicolas Nova, Yves Citton, Tobias Revell & Nathalie Kane, Rybn, Joël Vacheron and many others) for the conference and event "Bot Like Me" curated by Sophie Lamparter and Luc Meier.
A l’occasion de l’exposition de !MedienGruppe Bitnik, et avec la complicité du duo d’artistes zurichois, Sophie Lamparter (directrice associée de swissnex San Francisco) et Luc Meier (directeur des contenus de l’EPFL ArtLab, Lausanne) ont concocté pour le CCS un événement de deux jours composé de conférences, tables rondes et concerts, réunissant scientifiques, artistes, écrivains, journalistes et musiciens pour examiner les dynamiques tourmentées des liens homme-machine. Conçues comme une plateforme d’échange à configuration souple, ces soirées interrogeront nos rapports complexes, à la fois familiers et malaisés, avec les bots qui se multiplient dans nos environnements ultra-connectés.
Vendredi 2 décembre / dès 19h30
conférence, 19h30-21h : Bot Like Me kick-off
avec Rolf Pfeifer (AI Lab de l’Université de Zurich / Osaka University), Carmen Weisskopf et Domagoj Smoljo ( !Mediengruppe Bitnik). Modération : Luc Meier et Sophie Lamparter
performance musicale live, 21h30 : Not Waving
Samedi 3 décembre / dès 14h30
tables rondes
-14h30-16h : Data Manifestos
avec Hannes Grassegger (auteur de Das Kapital bin ich), Hannes Gassert (Open Knowledge Network) et le collectif RYBN. Modération : Sophie Lamparter et Luc Meier
-16h30-18h : Cloud Labor, Petty Bot Jobs
avec Nicolas Nova (HEAD-Genève, Near Future Laboratory), Yves Citton (Université de Grenoble) et Patrick Keller (ECAL, fabric | ch). Modération : Marie Lechner
-18h30-20h : Botocene & Algoghosts
avec Tobias Revell et Natalie Kane (Haunted Machines), Gwenola Wagon et Jeff Guess (artistes). Modération : Joël Vacheron et Nicolas Nova
concert 21h : performance live de Low Jack et carte blanche au label Antinote
This blog is the survey website of fabric | ch - studio for architecture, interaction and research.
We curate and reblog articles, researches, writings, exhibitions and projects that we notice and find interesting during our everyday practice and readings.
Most articles concern the intertwined fields of architecture, territory, art, interaction design, thinking and science. From time to time, we also publish documentation about our own work and research, immersed among these related resources and inspirations.
This website is used by fabric | ch as archive, references and resources. It is shared with all those interested in the same topics as we are, in the hope that they will also find valuable references and content in it.
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