Hi, just a quick note to echo marleen about Brandon project. Indeed, the residency at wag from 1997- 1999 provided major work on the atrium anatomical interface and it was here. The early days of networked performance before stream media. I do want to mention for two times Guggenheim attempted restoration of the site, mostly due to several relocation of servers. Again in 2016, a new initiative from Guggenheim to work with New York university's computer department for digging into coding of the project. Mostly the site is restored, but indeed the part with wag society's actual space, the fact two actual/virtual space performance was held at waag is quite significant to bring back. Guggenheim by now may have more understanding of this work. The work is up to date in current trans techno debate. I am much indebted to the creative/curatorial team at waag society and certainly Would love to see the work resurfaced. Many thanks
Sl
> On Nov 30, 2016, at 12:06 PM, Chus Sarrión <@gmail.com> wrote:
>
> Ok, Nando's mail was correct. So forget what I said. Leticia confirmed it. I was told it belonged to another person.
>
>
>
>
> 2016-11-30 11:23 GMT+01:00 Chus Sarrión <[log in to unmask]>:
>> Hi Shu Lea,
>>
>> Nando's e-mail is not correct. That one listed seems to be from another Nando, but I didn't have the info. I asked Leticia correct Nando's e-mail. So, I'll remove that from the list and put the new one when I got it.
>>
>> Arturo's e-mail: [log in to unmask]
>>
>> Thanks for your patience with these mistakes due to data exchange. I double check everything and update it with new info of performers.
> On Jan 1, 2017, at 6:26 PM, karin de wild <[log in to unmask]> wrote:
>
> On behalf of Marleen Stikker (director Waag Society, Amsterdam):
>
> Dear all,
>
> Just to fill you in on the Amsterdam/Waag side of the Brandon project. We
> are working on our Waag archive and Brandon is an excellent project to dig
> deep in code, web and our attic. We found several pieces and props of the
> installations. Here some first findings
> http://project.waag.org/brandon/index.php3
>
> The curator and artistic team @waag consisted of:
> Mieke Gerritzen
> Janine Huizenga
> Caroline Nevejan
> Susanne Oxenaar
> Joep van Lieshout (theatrum circles)
> Marleen stikker (jury app)
> There were more people involved. Have to check.
>
> My impressions was that Waag understood Brandon better than the Guggenheim
> Museum at that time. The museum struggled with the hybrid nature of the
> work and could not provide the technical, conceptual and financial support.
> Waag supported Brandon over a period of two years from 1997 till 1999.
> There has been a substantial financial support from Waag Society and from
> the Dutch Mondriaan Fund. Waag could contribute some sophisticated artistic
> coding (jury app) and top notch performative design from some great Dutch
> artist. It could be interesting to explore this and see how it was embedded
> in the artistic practice of Waag and its place in the early days of netart.
> It also tells a story about the pyramid art world with musea at the top and
> artist trying to make them understand new artistic practices. And at the
> same time new artistic platforms and institutions where building up that
> where not officially recognised by the formal art world. Not much have
> changed over the years :)
>
> Looking forward collaborating on this research in the coming new year!
>
> Best wishes,
> Marleen
>
> _____________________________________________
> On behalf of Marleen Stikker (director Waag Society, Amsterdam):
>
> Dear all,
>
> Just to fill you in on the Amsterdam/Waag side of the Brandon project. We
> are working on our Waag archive and Brandon is an excellent project to dig
> deep in code, web and our attic. We found several pieces and props of the
> installations. Here some first findings
> http://project.waag.org/brandon/index.php3
>
> The curator and artistic team @waag consisted of:
> Mieke Gerritzen
> Janine Huizenga
> Caroline Nevejan
> Susanne Oxenaar
> Joep van Lieshout (theatrum circles)
> Marleen stikker (jury app)
> There were more people involved. Have to check.
>
> My impressions was that Waag understood Brandon better than the Guggenheim
> Museum at that time. The museum struggled with the hybrid nature of the
> work and could not provide the technical, conceptual and financial support.
> Waag supported Brandon over a period of two years from 1997 till 1999.
> There has been a substantial financial support from Waag Society and from
> the Dutch Mondriaan Fund. Waag could contribute some sophisticated artistic
> coding (jury app) and top notch performative design from some great Dutch
> artist. It could be interesting to explore this and see how it was embedded
> in the artistic practice of Waag and its place in the early days of netart.
> It also tells a story about the pyramid art world with musea at the top and
> artist trying to make them understand new artistic practices. And at the
> same time new artistic platforms and institutions where building up that
> where not officially recognised by the formal art world. Not much have
> changed over the years :)
>
> Looking forward collaborating on this research in the coming new year!
>
> Best wishes,
> Marleen
>
> _____________________________________________
>
>
> From our website:
> http://waag.org/en/project/brandon
> <http://waag.org/en/project/brandon>
> Brandon - Waag Society <http://waag.org/en/project/brandon>
> waag.org
> Brandon is a documentary story about (sexual) identity, initiated by the
> internationally acclaimed media artist Shu Lea Cheang, and made accessible
> through the ...
>
>
> Brandon is a documentary story about (sexual) identity, initiated by the
> internationally acclaimed media artist Shu Lea Cheang, and made accessible
> through the Internet in 1998-1999. The project researched issues of sexual
> politics through a series of hyperlinked experimental narratives and
> discourses. The events were staged at the Theatrum Anatomicum in The Waag,
> Amsterdam.
>
> In co-production with the Guggenheim Museum New York, two events were
> staged as part of the project: 'DIGI GENDER SOCIAL BODY: Under the knife,
> Under the spell of anaesthesia', a performance and installation, and 'Would
> the jurors please stand up? Crime and punishment as Net Spectacle', a
> netcast roundtable. Both events were broadcasted on the video wall of the
> Guggenheim Museum and presented on the World Wide Web.
>
> In the course of the year two public events were organized which were a
> combination of forum, performance and installation. These events took place
> in the Theatrum Anatomicum of the Waag in Amsterdam whilst simultaneously
> being broadcast on the internet and shown on the Videowall of the
> Guggenheim Museum in New York. Brandon was shown on an unusual scale for
> web projects in these days: three interactive displays of 25 screens each.
>
> The Waag's Theatrum Anatomicum was of major importance to the Brandon
> project. This is where in the 17th century, the guild of surgeons publicly
> taught human anatomy by dissecting the corpses of criminals. This practice
> was the inspiration behind Rembrandt's painting 'The Anatomical Lesson of
> Dr. Tulp'. Brandon can be seen as a contemporary version of these
> dissections.
>
>
> 2016-11-29 17:08 GMT+00:00 Shu Lea Cheang <[log in to unmask]>:
>
> First all, I thank Karin for organizing this discussion and gathering
>> you/we all.
>>
>> Interestingly i am aware that i am the only [net] artist invited? with
>> connections to many of you curators on this list.
>>
>> Let me flash my memories, naviagate through my own (after)lives -
>>
>> John G. Hanhardt was chief curator who commissioned 'Brandon' while still
>> at the Whitney museum. Brandon (1998-1999)
>> was brought to the Guggenheim Museum Soho as John relocated. This was the
>> time that Guggenheim was planning the virtual museum (Hani Rashid /
>> Asymptote). Matthew Drutt, then the associate curator for film and media
>> took over the realization of the project who "views Brandon as the
>> foundation for
>> the next Guggenheim, the cyber equivalent of Bilbao". (Village Voice,
>> 1998). The major partner for Brandon is Waag Society (then Society for old
>> and new media) in Amsterdam. Marleen Stikker who remains the director of
>> Waag supported the project wholeheartedly. Brandon's two major interface
>> Theatrum Anatomicum and Panopticon was developed and produced at Waag
>> Society over a year's time with many designers, programmers involved, with
>> year long residency supported by Amsterdams Fonds voor de Kunst. In Waag
>> Society, there remains Theatrum Anatomicum (built in 1691) where
>> Rembrandt's The Anatomy Lesson of Dr. Nicolaes Tulp guided the building of
>> this amphitheater for anatomical lessons. A trip to Arnhem Koepel Prison
>> which was built according to Panopticon Principle and remained functional
>> helped created the panopticon interface. Way before streaming media, the
>> opening of Brandon at the Guggenheim museum Soho was beamed from Theatrum
>> Anatomicum with still images shuffling between New York and Amsterdam.
>>
>> But then before Brandon, there was Bowling Alley (1995, commissioned by
>> Walker Art Center), a net based installation that connected an actual
>> Minneapolis bowling lane with Walker Art Center's gallery and WWW. There
>> was at the end some issues with the museum who asked for filtering/editing
>> certain online/live texts input. The work was mostly 'kicked' out of the
>> museum. I have only Steve Dietz to thank for taking in the website to the
>> gallery 9. I should also mention how later Steve and Sarah Cook as
>> curators included Brandon at the exhibition "The Art Formerly Know As New
>> Media" (2005) held at the Banff Center (part of its 10th anniversary
>> exhibiition) where I started HTML coding for Brandon back in 1997.
>>
>> I then need to thank Michael Connor who was courageous to show Kingdom of
>> Piracy (an online curatorial project with Armin Medosch and Yukoko
>> Shikata) to open FACT's then brand new media lounge in 2003 right after its
>> Ars Electronica run in 2002 and after it's being terminated by ADAC (Acer
>> Digital Art Center) who first commissioned it in 2001. KOP [Kingdon of
>> Piracy] website/workspace, however, is somehow lost now somewhere in
>> Germany. (it hurts).
>>
>> (sorry, feel like i am retrieving personal history, but hope somehow these
>> notes would help me get to some points)
>>
>> Still, I was part of ARTPORT platform initiated and curated by Christiane
>> Paul.
>> But then, another commission from Annet Dekker to compost skor.nl archive
>> as part of my composting the net (2013) project [
>> http://compostingthenet.net]
>> also disappeared when Skor (foundation for art and publis space) was shut
>> due to Dutch budget cut in recent years.
>>
>> So, good to meet all of these people I respect and love dearly here.
>>
>> I do question Dr. Matthias Kampmann's arguement for "centralised world
>> wide data base, working in a way of standardised critiria" after reading
>> his own painstaking preservation works on certain art works. if we can
>> agree with Hanhardt's "being in a museum should not normalize the artwork",
>> can we possible devise 'centrailized' 'standardised" methods on
>> preservation?
>>
>> Much thanks to Hanhardt for bringing up Brandon... to tell the
>> preservation of Brandon would take another posting. Indeed, Brandon lives
>> (not after).
>>
>>
>> best
>> sl
>>
>>
>> About the Theatrum Anatomicum of the Waag in Amsterdam
>>
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