I had work in the 2001 edition of Electrohype. It was a great event. Very friendly. I remember bumping into 86DX busking in the street as I arrived from the Heliport (I don't usually arrive at exhibitions via helicopter but a transport cock up between London and Copenhagen meant I hitched a lift with some Nokia executives. 86DX sounded wan and lonely in the cold and damp autumn night. It was quite a pathetic sight, with a little tin pot for coins on the pavement next to it and no human keeping it company. In the exhibition Vuk was showing Deep Throat.
best
Simon
On 24 Oct 2013, at 22:51, mez breeze <[log in to unmask]> wrote:
> On Thu, Oct 24, 2013 at 9:48 PM, Lars Midboe <[log in to unmask]>wrote:
>
>> ...Electrohype is closing down all future activities and I'm looking for
>> someone who can store the European parts for use in future exhibitions.
>>
>>
> A shame, Lars. You'd think the project could find a good home [and
> hopefully it will, now.]
>
> Is the entire Electrohype endeavour begin archived adequately? It should
> have been mentioned more prominently during this discussion, especially
> regarding this LEONARDO<http://www.leonardo.info/reviews/feb2001/ex_ELHYPE_andersson.html>blurb
> from the distant past [ie 13 years ago]:
>
> "Recent outbursts of NetArt enthusiasm, i.e. the NetArt section of last
> spring's Whitney Biennal, SF MOMA's present exhibition "Art in
> Technological Times" or Rachel Greenes article about the history of NetArt
> in Artforum (May 2000), shows an Art Establishment embracing cyberpunk
> anarchists. But Non-Establishment and Non-Commerce is the point of NetArt,
> as of course its immateriality. It's seen, read and heard at any computer
> equipped with a screen, a loudspeaker and a decent modem. But the same work
> may look different in different browsers or in different versions of
> browsers. And electronic technology is rapidly aging. How to collect and
> document art which is totally dependant upon aging technology?
>
> Such questions were discussed during the international conference and
> exhibition Electrohype 2000 at the University College of Malmo, Sweden,
> 25-29 October 2000. Per Platou, member of the Norwegian performance- and
> NetArt group Motherboard
> (www.liveart.org<http://www.leonardo.info/reviews/feb2001/www.liveart.org>),
> claimed the absurdity of maintaining ordinary copyright laws in the present
> situation of easily reproduced uniqueness. But some interesting questions
> remained unanswered: how to create new rules, and how to maintain an
> activity in which everything is offered for free? And what about preserving
> electronic art? Curator Perttu Rastas (from Kiasma Museum of Modern Art in
> Helsinki) aimed at a conclusion when he stated that we may have to abandon
> the routine of collecting material objects. The important thing is maybe
> not pictures and programs, but rather the ideas behind them.
>
> The Electrohype exhibition of digital works, in the galleries and at the
> Web, featured international pioneers like Vuk Cosic, Alexei Shulgin, Olia
> Lialina, Mez and others, as well as interesting Nordic artists like Bjorn
> Wangen, Anna Kindvall, Klara Nagy, Sebastian Campion, Kirsten Bergaust and
> others..."
> Warmth,
> Mez
>
> --
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> | twitter.com/MezBreezeDesign
> | en.wikipedia.org/wiki/Mez_Breeze
>
Simon Biggs
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http://www.littlepig.org.uk @SimonBiggsUK http://amazon.com/author/simonbiggs
[log in to unmask] Edinburgh College of Art, University of Edinburgh
http://www.ed.ac.uk/schools-departments/edinburgh-college-art/school-of-art/staff/staff?person_id=182&cw_xml=profile.php
http://www.research.ed.ac.uk/portal/en/persons/simon-biggs%285dfcaf34-56b1-4452-9100-aaab96935e31%29.html
http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.org.uk/ http://designinaction.com/
MSc by Research in Interdisciplinary Creative Practices http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php
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