[-empyre-] Welcome to empyre Week 4:Rethinking Curatorial Options: Globally

reVoltaire revoltaire at gmail.com
Mon Apr 30 00:51:08 EST 2012


works by kinema ikon presented at International Center for
Contemporary Art Bucharest
1993 - at Ex Oriente Lux - kinema ikon screening/presentaion
1994 - at 0101100101 exhibition - The Randevous -
http://kinema-ikon.net/1994_randevuul/randev.htm
1995 - Media Culpa - Ready Media -
http://kinema-ikon.net/1995_readymedia/ready.htm

calin


On Sun, Apr 29, 2012 at 1:27 PM, Simon Biggs <simon at littlepig.org.uk> wrote:
> I remember Ex Oriente Lux and similar events. I think I was there....
>
> best
>
> Simon
>
>
> On 28 Apr 2012, at 21:39, reVoltaire wrote:
>
> Kristine, yes, you are right. but as said nowadays new media is not
> interesting for the "hipsteric" romanian art scene.....
> in the 90's Soros exhibitions were very important for us - Ex Oriente
> Lux and 0101010101 exhibition curated by Calin Dan and Media Culpa
> curated by Irina Cios. Also, from 1994-1996 at the Arad Art Museum
> Judit Angel curated 3 exhibitions dedicated on video art,
> installations.
>
> calin
>
>
>
> On Sat, Apr 28, 2012 at 10:24 PM, Kristine Stiles <awe3 at frontier.com> wrote:
>
> But Calin, you know all the debates over and problems with MNAC for being
> housed in Ceausescu's former "House of the People." That site compromises
> "new media" with its own dark history of surveillance.
>
>
> On Apr 28, 2012, at 2:43 PM, reVoltaire wrote:
>
>
> Kalinderu media lab became Museum of Contemporary Art Bucharest. MNAC
>
> was preoccupied to exhibit new media and still is.
>
> Periferic suspended the biennial and Soros center for Contemporary Art
>
> still exists but is not so visible.
>
> calin
>
>
>
> On Sat, Apr 28, 2012 at 9:29 PM,  <Christiane_Paul at whitney.org> wrote:
>
> Thanks so much, very interesting! I knew about the Biennial installation but
> didn't know about Kalinderu and had missed the Speed Show. Is Periferic
> still going on?  The ideal of course would be to have "new media" integrated
> into the art world at large (rather than shown in venues exclusively
> dedicated to it), but that integration seldom seems to happen (at least in
> the US and large parts of Europe). I don't have enough insight to know what
> is left of the "Soros legacy" and the support that media arts received in
> Eastern Europe.
>
> C.
>
>
> ________________________________________
>
> From: empyre-bounces at lists.cofa.unsw.edu.au
> [empyre-bounces at lists.cofa.unsw.edu.au] on behalf of reVoltaire
> [revoltaire at gmail.com]
>
> Sent: Friday, April 27, 2012 10:34 AM
>
> To: soft_skinned_space
>
> Subject: Re: [-empyre-] Welcome to empyre Week 4:Rethinking Curatorial
> Options: Globally
>
>
> hi Cristiane,
>
> in 2002 kinema ikon organized a simposium dedicated to new media at
>
> the arad art museum. we invited the few artists involved in new media.
>
> with the occasion we launched the alteridme.exe hypermedia
>
> installation (later exhibited at Venice Biennial, romanian pavilion).
>
> at that time new media works were ehibited at Kalinderu Media Lab and
>
> Museum of Contemporary Art Bucharest
>
> (http://www.mnac.ro/previous2003.htm), Periferic Biennial at Iasi
>
> (http://www.periferic.org/), last year Speed Show Bucharest
>
> (http://speedshow.net/speed-show-traces-bucharest/).
>
> But now there is no exclusive new media art - just mixed media - video
>
> installations and objects.
>
> best,
>
> calin
>
>
>
> On Fri, Apr 27, 2012 at 5:16 PM,  <Christiane_Paul at whitney.org> wrote:
>
> Hi Calin,
>
> thanks again -- the Carlova project looks beautiful! You mention that the
> Romanian art scene is currently focused on painting. I'm interested in the
> role that "new media" art plays in the Romania -- is there a 'scene,' is
> this art shown within Romania (and if so at what venues) or does it migrate
> to the festival scene of other European countries?
>
> Thanks,
>
> C.
>
> ________________________________________
>
> From: empyre-bounces at lists.cofa.unsw.edu.au
> [empyre-bounces at lists.cofa.unsw.edu.au] on behalf of reVoltaire
> [revoltaire at gmail.com]
>
> Sent: Thursday, April 26, 2012 4:03 AM
>
> To: soft_skinned_space
>
> Subject: Re: [-empyre-] Welcome to empyre Week 4:Rethinking Curatorial
> Options: Globally
>
>
> Thank you all for your comments and kind words.
>
> (Christiane, your book "Digital art" is on kinema ikon's library, and
>
> the exhibition organized by Tim - "Contact Zones: The Art of CD-Rom"
>
> we consider it a reference for the way we started our research in new
>
> media.)
>
>
> Excerpt from kinema ikon catalog published in 2003
>
> Contextual history of kinema ikon by George Sabau*:
>
> (*G.S. is the founder and the theorist of the group)
>
> http://kinema-ikon.net/pages/txt.htm
>
> "After the fall of the communist regime in 1989, we could answer the
>
> invitations addressed to us, the most important being that, already
>
> mentioned, at the G. Pompidou Center, only just to become aware of
>
> having missed all of the trains of experimental movie, because the
>
> trend, the interest were already focused on video art, while the
>
> multimedia technology had had a powerful start too.
>
> As regards the
>
> reception of the ki movies, a question from the audience in Cinéma du
>
> Musée stuck to my memory: “How come that in a regime you considered
>
> totalitarian you could freely (sic) produce anticommunist movies?” No
>
> author in no film proposed such an objective, in the first place
>
> because this would have been fatal for the workshop’s destiny, and,
>
> secondly, because the group members were simply preoccupied by the
>
> relevance of new audio-visual expression. Therefore, it was not about
>
> a cultural dissidence – all the dislike of the ki members towards the
>
> communist system taken into account – but a workshop open to young
>
> artists from various domains, and having the vocation of experiment
>
> upon cinematographic language. I accept the fact that, after an hour’s
>
> projection, a confusing reception effect, of a subtextual nature, was
>
> produced, in the sense that the global perception of the movies
>
> pregnantly revealed the suffocating climate of an oppressive regime."
>
>
>
> Truth is that we only in 1994 succeeded in purchasing a computer for
>
> kinema ikon for the sole purpose to edit the first issue of the
>
> intermedia magazine – a magazine that wishes to create topics rather
>
> than to comment on them. Toiling on the first issue I learned the way
>
> a computer works and logically, I tried to produce some art works
>
> using this new medium. What truly fascinated me was how the HELP of
>
> each soft worked – in other words, I was captivated by hyperlinks.
>
> This is how we made the group’s first cd.rom – opera prima in 1996.
>
> Then I started the series of personal interactive works that were
>
> accepted in new media festivals (Osnabruek, ISEA Liverpool and ISEA
>
> Paris, FILE Sao Paulo, Art on The Net Tokyo, Viper etc) and during
>
> those early beginnings, I had no idea how other works on cd.rom
>
> looked.
>
> After the internet big bang I truly got connected into the digital
>
> world. In Romania there was a certain reticence towards new media.
>
> However, several fine projects were produced: the "context" project
>
> for the Romanian pavilion at the Venice Biennial in 2001 (curators:
>
> Patatics and Bertalan), 00101010 exhibition Soros Center for
>
> Contemporary Art (Curator: Calin Dan). In the last years, the Romanian
>
> art scene is occupied by painting – the so called Cluj School of
>
> painting (Adrian Ghenie, Serban Savu, Plan B Gallery Berlin/Cluj).
>
> About the kinema ikon group: it is not involved politically,
>
> ideologically or socially.  We had this type of experiences between
>
> December 1989 – 1994 when we published the “Conversatia” magazine and
>
> when we thought we can directly contribute in changing things: "from
>
> communism 2 capitalism with good intentions" (it could be an
>
> exhibition title). But we understood that we are good only at being
>
> simply playful and atypical.
>
>
> We had a period when we produced only digital works, after 2005 we
>
> integrated a younger generation that gravitates around the KF coffee
>
> shop/alternative venue and they are comfortable in using any type of
>
> media. With this generation I will organize the new ki exhibits in the
>
> future white cube at the art museum in Arad. Soon, very soon.
>
> But I'd like to present you a recent project, a dadaist diary: in late
>
> 70's an experimental underground new wave romanian band called Rodion
>
> GA was commissioned to compose the soundtrack for a SF movie. I don't
>
> know why but another musician was selected and the Rodion's music
>
> remained unused.  So, I illustrated the soundtrack using rare footage
>
> from my personal archive (filmed by an amateur filmmaker in the 60's)
>
> combined with the titles of the only 5 poems written by one of the
>
> pioneers of romanian literature - Vasile Carlova (1809-1831). This
>
> ready media files contains some major events of my childhood: the
>
> carnival, the annual trip to Debelagora, the visit to Shoes
>
> Factory....
>
> revoltaire.net/carlova
>
>
> best,
>
> calin man
>
>
>
>
>
> On Wed, Apr 25, 2012 at 6:24 AM, Timothy Conway Murray <tcm1 at cornell.edu>
> wrote:
>
> Dear Calin,
>
>
> Thanks ever so much for sharing your informative post with the -empyre-
> community.  Although we've had the wonderful opportunity to collaborate in
> the past, I've never heard your fascinating account of the
> ideological/political trajectory of your work over the last 27 years of
> Arad.  You provide a fascinating account of 'Rethinking Curatorial Options,
> Globally.'
>
>
> Regarding your comments about the early risk of your work, I'm wondering
> whether you might elaborate of the relation of your early work on the
> internet in relation to risk.  Was the virtual framework considered to be an
> alternative to risk or its extension?  Your comments reminded me of the days
> when I carried your CD-Roms and those of about 40 other artists across
> various borders for a few years when curating "Contact Zones: The Art of
> CD-Rom" (https://contactzones.cit.cornell.edu/).  When camouflaging the
> artworks as "music" when crossing national borders, I was responding to
> concerns about the risky nature of virtual responses to sexuality,
> pornography, politics, and ecology that were so elaborately and
> enigmatically presented by that generation of new media artists.  Even when
> mounting the show in museums and public spaces, I found myself being
> encouraged not to call attention to the particularities of content embedded
> in so many files.  I thus find myself wondering about the political or
> ideological thrust of the kinema ikon group, or even its aesthetic thrust in
> relation to digital media.
>
>
> Looking forward to hearing more.
>
>
> Best,
>
>
>
> Tim
>
>
> Director, Society for the Humanities
>
> Curator, Rose Goldsen Archive of New Media Art
>
> Professor of Comparative Literature and English
>
> A. D. White House
>
> Cornell University
>
> Ithaca, New York. 14853
>
> ________________________________________
>
> From: empyre-bounces at lists.cofa.unsw.edu.au
> [empyre-bounces at lists.cofa.unsw.edu.au] on behalf of reVoltaire
> [revoltaire at gmail.com]
>
> Sent: Tuesday, April 24, 2012 8:39 AM
>
> To: soft_skinned_space
>
> Subject: Re: [-empyre-] Welcome to empyre Week 4:Rethinking Curatorial
> Options: Globally
>
>
> hi everyone!
>
>
> thank you Renate for the introduction and invitation, thank you Tim.
>
> it is my pleasure to be guest on this list.
>
>
> from "Happening mise-en-Seine" to "Wunderkammer & Other Apparatus"
>
>
> (http://revoltaire.net/empyre)
>
>
>
> It is quite possible that my intervention will seem rather
>
> unprofessional due to the autobiographic references that lace the text
>
> henceforward. My activity as a curator was and still is tied to my own
>
> work and the work of the kinema ikon group. Now is the time to mention
>
> that I live in a small town called Arad, in western Transylvania,
>
> where I can still find the Austro-Hungarian spirit scattered in the
>
> small things. The museum where I work was founded 99 years ago and I
>
> am with it for the last 27 years. In the beginning I was a
>
> photographer, and since 1990, when the kinema ikon group became a part
>
> of the museum, I became a curator along with the founder of the group,
>
> George Sabau.
>
> In the ‘80s, the communist regime got to decide who is an artist and
>
> who is not. I, as a major in literature, was not allowed to display
>
> visual art except in special places, where amateurs were corralled.
>
> Rebelling against the professionals/amateurs rift, I chose to exhibit
>
> my works in unconventional and sometimes prohibited places. To display
>
> photos in the central park was an assumed risk in those times (see
>
> Landscape Pleonasm).
>
>
> The texts I wrote couldn’t be published as they were not compliant
>
> with the political system on one hand but mainly because I was not
>
> happy with the literary merit of my works. I tried to salvage the
>
> situation, so I organized a happening which consisted of me throwing
>
> all my “literature” in the river Mures, in front of an audience. Only
>
> one text survived, the one called Our Young Man Went to Circus. The
>
> characters of this remaining work became the core of the future
>
> reVoltaire archive and they first encountered the public in 1992, in
>
> the kinema ikon magazine, then called “conversatia”.  I lived the 90’s
>
> with the enthusiasm of discovering the computer, the internet and
>
> mainly, interactivity. In 1995, 22 experimental short films of the
>
> group were shown at the Pompidou Center in Paris. George Sabau
>
> considered the event a proper closure for an era.
>
> (http://kinema-ikon.net/2010_ki/filmexp.html)
>
>
> That was when I started producing digital works on cd.rom
>
> (http://kinema-ikon.net/1996_operaprima/op.htm), both individual and
>
> in groups, we began participating at new media shows, we coined the
>
> term ready media (http://kinema-ikon.net/1995_readymedia/ready.htm),
>
> we became exclusivists and elitists, we decided that after so much
>
> social involvement time has come to make art for the sake of art,
>
> moreover, we felt that the word "art" was dated, or to be more
>
> specific, it was confusing, and using “work” instead would be more
>
> appropriate. This way, the digital world became easier to approach.
>
> (http://revoltaire.net/)
>
>
> The peak of the digital era for myself and the kinema ikon group was
>
> the acceptance of my project for the Romanian pavilion at the Venice
>
> Biennial in 2003 (http://kinema-ikon.net/2003_alteridem/alt.htm) and
>
> the kinema ikon retrospective at the National Museum for Contemporary
>
> Art in 2005 (http://kinema-ikon.net/2005_worx/wrx.htm).
>
>
> Since 2005, the group got a fresh breath of air from the young
>
> generation of artists that gravitates around the KF coffee
>
> shop/alternative venue. Meeting with the artists in their late 20s
>
> keeps up the playful spirit of the group.
>
> (http://kf2arad.blogspot.com)
>
>
> The kinema ikon group was founded in 1970 and in the course of time
>
> had three generations who produced: experimental films (1970-1989),
>
> mixed media (1990-1994), hypermedia (1995-2005), hybrid media
>
> (2005-_).
>
> Since 1994 I took over the “conversatia” magazine which became
>
> “intermedia” – completely dedicated to experimental works.
>
> (http://issuu.com/kinema-ikon)
>
> An example is the issue consisting of 19 posters that were exhibited
>
> in the museum but also in the streets, in various places.
>
> (http://kinema-ikon.net/2009_dprt/_dprt.htm)
>
>
> An ambitious project was the one dedicated to photography, named
>
> kinema ikon 7010, when for the first time, all the kinema ikon members
>
> participated in the same project, at the same time. The result is one
>
> of the few objects of the group – a box that contains 53 large scale
>
> photos. (http://kinema-ikon.net/2010_ki/7010.html)
>
>
> The project we started last year is however, the most important:
>
> Wunderkammer & Other Apparatus. First, we printed in “intermedia” 20
>
> designs for apparatuses inspired by image producing machinery and
>
> cabinets of curiosities. The next phase is unfurling as we speak: at
>
> the Art Museum in Arad I got a space destined to house the kinema ikon
>
> experiments. I am currently preparing the inaugural exhibition. We
>
> will create a praxinoscope, a synthesis of the 20 designs, and things
>
> just start rolling from here.
>
> (http://kinema-ikon.net/2011_skepsis/_skepsis.htm)
>
>
> Paradoxically, after decades of experimenting with alternative spaces,
>
> I came to coordinate a white cube. It is as when Gabriel Garcia
>
> Marquez got away with a folk costume at his Nobel Prize acceptance
>
> speech instead of the requested tailcoat. Not wearing a tailcoat in a
>
> world where everybody wears one is rebellion. For me, who I never wore
>
> a tailcoat, rebellion is to wear one. After that, we’ll see.
>
>
> reVoltaire: www.revoltaire.net
>
> reVoltaire at V2: http://revoltaire.projects.v2.nl/pages/revoltaire.htm
>
> Encyclopedie Npuveaux Medias:
>
> http://www.newmedia-art.info/cgi-bin/show-art.asp?LG=FRA&DOC=IDEN&ID=9000000000084314
>
> http://rhizome.org/profiles/calinman/
>
>
> kinema ikon: www.kinema-ikon.net
>
> ki on youtube: http://www.youtube.com/user/kinemaikon
>
> kinema ikon 7010: http://kinema-ikon.posterous.com/
>
> ki publications: http://issuu.com/kinema-ikon
>
>
>
> all the best from Transylvania,
>
> calin man
>
> _______________________________________________
>
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>
> empyre at lists.cofa.unsw.edu.au
>
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>
> _______________________________________________
>
> empyre forum
>
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>
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>
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>
> empyre forum
>
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>
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>
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>
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>
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>
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>
> empyre forum
>
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>
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>
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>
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>
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>
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>
> empyre forum
>
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> _______________________________________________
>
> empyre forum
>
> empyre at lists.cofa.unsw.edu.au
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> _______________________________________________
> empyre forum
> empyre at lists.cofa.unsw.edu.au
> http://www.subtle.net/empyre
>
>
>
> Simon Biggs
> simon at littlepig.org.uk http://www.littlepig.org.uk/ @SimonBiggsUK skype:
> simonbiggsuk
>
> s.biggs at ed.ac.uk Edinburgh College of Art, University of Edinburgh
> http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.co.uk/
>
>
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