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Begin forwarded message: > From: [log in to unmask] > Date: 31 October 2005 10:53:44 GMT > To: [log in to unmask] > Subject: mail rejected > > Hi, I am out of home (out of my Outlook express) and posted today this > message > to the list which was rejected. Thanks > Yara Guasque > =========== > Today is the opening of FILE 2005 (International Festival for > Eletronic Arts) > in São Paulo Brazil. This is its fifth year. The journal O Estado de > SãoPaulo > has published three pages about the festival today, but not at its art > section > (Caderno 2). It has published in a section dedicated to technology > called LINK. > FILE will be exhibiting digital works, processes, and pieces from 300 > artists > from 30 countries. FILE Symposium with Ted Nelson as its key note > speaker and > FILE Hipersônica (with VJs and electronic music) will begin tomorrow. > > FILE and the exhibitions and symposia on the issue Media Art promoted > by > Itaúcultural, like Emoção Art.ficial 01 and 02, are the most positive > contribution to the formation of a Media Art audience in Brazil. > > At the first Emoção Art.ficial 01 we had installations and immersive > environments from artists such as Eduardo Kac and Jefrey Shaw. At the > second > version, Emoção Art.ficial 02, Itaúcultural devoted more space for the > Brazilian pioneers as Waldemar Cordeiro, Palatinik and Júlio Plaza. > The second > version brought the discussion of “curating new media art” with low > technology > to our “quintal” (intimate suburban garden where you can hang clothes > and dirty > things). But the question to me is if such production should create > its own > exhibiting space. Even if the discussion was well succeeded in > questioning our > own historical roots and bringing it more close to our art scene (and > to the > possibilities the institution has to curate such Media Art) it > remained on > legitimized spaces for good art. > > When Oliver Grau came early this year to Brazil with his lecture > Remember > Phantasmagoria! I thought it could be a great project to collect early > Brazilian popular manifestations of illusionary tricks and immersive > environments performed by circus which tour the country exhibiting at > small > cities. As you may know our Concrete Art has some similarities with > popular “esthetics of construct by yourself” in suburban environments, > it > reflects high art theories of visual discourse and it reflects the > popular way > of appropriation in underdeveloped areas. > > Quoting Andy Polaine from its message of today <We simply need to see > more > work, exploring the modalities of emerging/ interactive/networked > media and we > need to try it out on real people > in real life. That means the galleries and museums need to take some > risks and engage with a broader audience. It's not coincidence that > museums like the Science Museum and the Powerhouse, which cater far > better for children, got their heads around interactive media much > earlier.> > > Yara Guasque > > > ------------------------------------------------- > http://www.udesc.br > UDESC - Universidade do Estado de Santa Catarina > (Horde 2.1 / IMP 3.1) >