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[Nettime-bold] [ot] [!nt] \n2+0\ PUSAN International Contemporary Art Festival




PUSAN International Contemporary Art Festival

*Date: from October 2 to November 27 (57 days)
*Place: Pusan Metropolitan Museum of Art
*Sponsored by: the City of Pusan, PICAF Organizing Committee
*Main Exhibition Curators:
     Young Chul Lee
     Rosa Martinez
     Hou Hanru
   Video/media Show - Curator: Tom van Vliet
*Exhibition Theme: No More That Island
*Number of participating artists - Main exhibition: approximately 60 from 25
countries.
                        Special video/media exhibition: 50 international vid
eo artists
*Press Conference: October 1, 2000
*International Symposium: October 3-7, 2000

Contact information:
Young Chul Lee
2732-30 Bangbae dong, Seocho-gu, Seoul, KOREA
Telephone: 82-2-3486-1023
FAX: 82-2-3486-1107
E-mail: babacool@netsgo.com
Website: http://www.picaf.or.kr

Theme :  "LEAVING THE ISLAND"


Here the theme is a floating title, and not a fixed theme, as a way to creat
e art as a process of life, and exhibition as an open system. We want to emp
hasize the immaterial possibilities of art and life, away from the post-cons
umer/capitalist assumptions of culture. Most people assume it's impossible t
o resist the global-capitalist consumption of culture, but we are trying to
show that this is not the case and so we intend to deconstruct the notion of
the "autonomy" of art. This is an interesting way to reconsider the position
of art in society. What is important is that we should open a contact zone t
o find a possible way to reactualize art into life.

During the 20th century the center of culture changed from the notion of con
tinent to ocean. Island countries through the ocean have been stages for the
leap of global capitalism. Originally, Europe became the first archipelago w
ith the emergence of rudimentary capitalism. When capitalism evolved and fur
ther developed in England, the island country leapfrogged into the arena of
worldwide influence and domination. America and Japan later followed England
's example. In response, the rest of Asia tended to emphasize geopolitical i
dentity as a new cultural archipelago at the end of the 20th century. This d
oes not mean that we have to abandon the island but that we should escape fr
om island mentality. In terms of 'island mentality' America has been the big
gest island - with its cultural influence found in all other countries. This
time, all the questions of trans-culture and globalization are showing that
the boundaries between people/economy/nation/borders are collapsing, and tha
t networking is the new form of existence of social, economic life, and that
art is a real/virtual part of this process. Artists, not just curators, are
working on collaboration/communication. We are all in this constant (dis)con
tinuous transformation of the relationship between global and local.

The theme goes beyond the island mentality of isolation, of art being separa
te from society, of art being individual, of curators being separate from ar
tists, etc. In the past, during the 1980s, egocentric curators (authoritaria
n and individual) were previously fashionable. But it is better to collabora
te and exchange ideas.  It is not about egos anymore, but more about joining
forces and accepting ideas of the other. It is a new way of negotiating and
sharing ideas of what contemporary art should be.  We put everything togethe
r and we add. We don't separate from each other.

But we cannot seek refuge in the notion of the continent. We must reconsider
the idea of cape as a continent - to debunk the preconceived myth of communi
cation space as an emptiness. At the same time we have to retrieve neither t
he island nor independent archipelago but recreate him/herself as the non-pe
rsonal individuality in interactive relationship among the islands. We must
run across the interisland blank space; to transform it into a diverse and e
cological coexistence, away from the limits of homogeneous continent or cont
inuous ocean.


 points to be included in the exhibition

*ordinary + ecological + anachy + beauty
*small but great events of life
*ephemeral and enduring things
*'nowhere' as a place of absolute deterritorialization
*right now, right here
*friends and neighbors; networking
*sense of humor, laughter and play
*immateriality, invisibility, unsayability
*nonpersonal individuality
*freedom from morphology, structure and ideology

----

Christophe Charles

work title:                  undirected/ entbildung

The series "undirected/entbildung" generates unforeseen
combinations of text and sound. The idea of an "undirected"
music refers to the non-hierachical compositions of
John Cage as described by Richard Kostelanetz.
"entbildung" is a word created by Eckhart with the meaning of
detachment from (the image of) oneself.

"A spatial work that translates into action the concept of
the "interpenetration without obstruction" of sound, space,
media technology, and people. A computer is used to randomly
control the hierarchy and order of a sampling of environmental
sounds, thereby providing the scope for all the components to
behave freely. The viewer is the performer, and the music,
which has no completion, develops through the alternation
of sound and silence." (Hatanaka Minoru, ICC)

The undirected music doesn't intend to "tell" anything to the listener.
The sounds of the environment happening in real time are "invited"
to be heard simultaneously. The possibility to make "all sounds"
audible is realized through the absence of structure apriori :
the succession of several sounds has no importance anymore.
Any sound can meet any other sound. The music "holds itself up".

The installation will use 2 macintosh computers with MAX/MSP
for sound, 2 macintosh computers with MAX/NATO for images and texts,
and a big screen with videoprojectors on each side.



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http://www.picaf.or.kr











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                                                meeTz ver!f1kat!ěn.     



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Netochka Nezvanova
f3.MASCHIN3NKUNST
@www.eusocial.com
17.hzV.tRL.478
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