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ANNOUNCEMENTS: May 21 & 22, 2005


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September 28 - October 1, Banff New Media Institute, Canada

“The technology of the modern media has produced new possibilities of interaction. What is needed is a wider view encompassing the coming rewards in the context of the treasures left us by the past experiences, possessions and insights."

Honorary Chair, Refresh!

Recognizing the increasing significance of media art for our culture, the conference on the Histories of Media Art will discuss for the first time the history of media art within the interdisciplinary and intercultural contexts of the histories of art. Banff New Media Institute, the Database for Virtual Art, Leonardo/ISAST and UNESCO DigiArts are collaborating to produce the first international art history conference covering art and new media, art and technology, art-science interaction, and the history of media as pertinent to contemporary art.

The conference will also discuss the documentation, collection, archiving and preservation of media art. What kind of international networks must be created to advance appropriate policies for collection and conservation? What kind of new technologies do we need to optimize research efforts and information exchange?

Held at The Banff Centre REFRESH! will feature lectures by invited speakers as well as others selected by an international jury from more than 400 papers.

"Why rock?" by Annie Abrahams and Clément Charmet
with texts by Alan Sondheim and Frédéric Madre

"Why rock?" presents sound works by net artists with real or supposed rock affinities. Why rock? Is it a need to make an adolescent dream come true or an urge to become more pop(ular)? Is it about making the body present on the screen or taking control of the power of the word? Is it an escape from net art production patterns or because we believe 21st century rock stars will emerge from the net?

Works by Alexei Shulgin, Pavu, Richard Stallman, Igor Stromajer, V.N.A.T.R.C., Talan Memmott, Cory Arcangel, Clément Charmet, Dragan Espenschied, Annie Abrahams, Clement Thomas, Alan Sondheim and Marc Garrett.

1000 covers/1000 manifestos

“Cin Cin Man” is a music composition created on the train in China on a Nokia mobile phone composer tool.

“Cin Cin Man” was COPYRIGHTED and promptly COPYLEFTED (anybody is free to use it, improve, change, mutilate, but with NO commercial purposes).

Find “Cin Cin Man” score:

The IDEA is to create a project where 1000 COVERS of “Cin Cin Man” song will be composed and published.

We initiated PREPARATIONS process from collection and coordination centre in Amsterdam.

The outposts are created on all (sub) continents: in Australia, New Zealand, Asia (Japan, China, Thailand…), Africa (South Africa, Senegal…), South America (Argentina, Brazil…), North America (USA…), Europe (Holland, Germany, Spain, Italy, UK…), Middle East (Egypt, Lebanon…). Caribbean (Cuba)…

In all this places a composer/musician from our existing network is making (or already made) a cover.

re:site montréal
May 28 - June 25, 2005

Opening at OBORO, Saturday, May 28th at 5 p.m.

Group Exhibition presented at OBORO
Curators: Felix S. Huber and Florian Wüst
Artists: Ulrike Feser, Andrea Geyer, Corinna Schnitt, Wolfgang Staehle, Unmovie (Axel Heide, onesandzeros, Philip Pocock, Gregor Stehle)

A work by Felix S. Huber and Florian Wüst is presented in Carré Saint-Louis, on the internet and at OBORO.

Special screening of works by Corinna Schnitt and launch of the publication that accompanies the project:

Tuesday, June 7th, 2005 at 6 p.m.

Felix S. Huber and Florian Wüst are in residency from April 25th to June 9th, 2005

re:site montréal consists of two interrelated parts: a group exhibition of works by German artists chosen by Felix S. Huber and Florian Wüst, and a media arts project produced by Huber and Wüst during their residency at OBORO. A component of the media arts project will be installed in Carré

re:site montréal appropriates the idea of everyday life as a film narrative. To a large extent determined by cinema, media and political spectacle, we perceive and understand the world through the eyes of cultural memory and collective imaginaries. Generally, the impact of modern image technologies on social life represents two sides of the same coin; on the one hand there is the threat of total control, and on the other hand the potential of performance and the creation of visibility are unleashed.

Combining photography, video, digital live projection, newspaper edition, and network installation, the exhibition explores the existing collusion of subjective perception and the permanent flux of information, of public and
private spheres, reality and fiction. Other works in the show critically reflect on the behavioral patterns and architectural devices of power that
increasingly guide our navigation and interaction in public space.

The media arts project situated in Carré St. Louis -- a public park near OBORO, broadcasts two live video streams through the internet. These images and sounds are automatically mixed with prefabricated recordings and enacted scenes, both stored in a database, that match with and expand upon the actual scene at the site. The constantly changing audio-visual collage is played back in real time on monitors and speakers integrated into the structure in Carré Saint-Louis as well as through the internet at that can be accessed from a computer terminal set up in OBORO's gallery. The ambiguous transparency of the project's concept creates a stage with the gaze of cameras, which subverts the notion of closed circuit surveillance found in any large city in the world. At the same time, it presents a public platform for text exchanges.

Cette exposition bénéficie du soutien financier de La Bavière au Québec, du Conseil munipale de Berlin, de l'Institut für Auslandsbeziehungen e.V.
(ifa) et de ProHelvetia, Conseil des arts de la Suisse.

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