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)
>
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