Internet Culture(s) – Resistance and Options panel at Videonale.17

Internet Culture(s) – Resistance and Options panel at Videonale.17

Videonale, the Festival for Video and Time-Based Arts took place at Bonn (Germany) from February 21 to 24, 2019. As part of its program, it organized a series of lectures, panels and workshops related to video art and digital cultures.

DARTS member Dr. Pau Waelder was invited to moderate the panel  Internet Culture(s) – Resistance and Options with the participation of  Dr. Tatiana Bazzichelli (director Disruption Network Lab, Berlin), Zach Blas (artist/lecturer in Visual Cultures, Goldsmiths University London), Vera Tollmann (cultural scientist/writer, Berlin), and Liz Haas from UBERMORGEN (artists/professors Academy of Media Arts Cologne). 

The panel examined the influence of internet culture on visual art, placing a focus on artworks produced for the internet as well as alternative models to the status quo. What democratizing potentials does the internet possess, how does it alter our notions of reality, individuality, originality, identity, and truth? It also addressed questions related to surveillance and resistance, as well as the control of images and information.

 

Vanina Hofman participates as an associate researcher of the Red Cultura Digital project

Vanina Hofman participates as an associate researcher of the Red Cultura Digital project

Vanina Hofman participates as an associate researcher of the Red Cultura Digital project. Crosses between narrative, art and technology directed by Valeria Radrigán, Valentina Montero and Carolina Gainza. Project financed by competition for the formation of international networks for researchers in the initial stage, CONYCIT, Ministry of Education, Government of Chile 2017-2019.

 

 

 

Prácticas divergentes de preservación del arte de los medios. Recordar y olvidar en la cultura digital

Prácticas divergentes de preservación del arte de los medios. Recordar y olvidar en la cultura digital

This February, 2019, Vanina Hofman publishes Prácticas divergentes de preservación del arte de los medios. Recordar y olvidar en la cultura digital (Editorial Prometeo, Buenos Aires), INVESTIGA CULTURA Award from the Ministry of Culture of the Argentine Republic.

ABSTRACT

In the framework of the debates about memory and materiality in the digital age, this research asks about the possible futures of media art, introducing the ‘ecology of practices’ as a thinking tool through which to recognize and explain a ground of divergences and pluralities. This book suggests an opening in conceptions about the ‘preservation of art’, anchoring them in concrete practices of maintenance, restoration, archiving, transformation and creation. Some of these practices – together with their positions and values ​​- are more easily recognized, others less; however, it is the coexistence in diversity and dispersion that enables the legacy of our cultural productions. This work highlights the multiplicity of knowledge, the soft lines of the forgotten and the forgotten, the tactics of resistance against disappearance, and thinks about permanence, memory and forgetting, from a process perspective and in the present tense.

 

TV by Mariano Ramis. Digital monocopy (29x50cm) Transfer printing inkjet ink adulterated with soy sauce. Graphic intervention with manual strokes of pastels and pencils.

 

Curator of the City-Science Biennial

Pau Alsina and Irma Vilà are part of the Biennial Ciutat i Ciència curatorial to be held in Barcelona from February 7 to 11.

Increasingly, science is part of our lives and, increasingly, citizens have more weight in deciding which paths to advance the search. And in Barcelona there is a lot of science and a very high level. So much so that the city is one of the European referents in various fields of research. In order to facilitate the dissemination of scientific knowledge that is generated in Barcelona and strengthen its link with the public, from 7 to 11 February, the City and Science Biennial will be held in numerous facilities in all districts. It will employ a total of 138 participating specialists.

The Biennial has seven objectives in the field of science: reflecting, participating, connecting, reinforcing equality, transmitting knowledge, enhancing transversality and complementing the Barcelona City Council’s Science Plan. In order to achieve them, it has designed a wide range of activities of very diverse formats: conferences, debates, conferences, hackatons, performing arts, music, cinema, workshops … An extensive offer that invites reflection and with which the public can Find answers to many of your concerns, understand the processes of science and actively engage in research. At the same time, it also aims to promote new scientific vocations on equal terms and bring science closer to children through an offer aimed at families.

In this line, the activities of the Biennale provide keys to form opinions and to make decisions with scientific criteria. A part of the program is framed in concepts such as citizen science or citizen laboratories, where non-specialized people participate in research projects and in the generation of new knowledge based on the real demands of society. Other activities, such as debates or a film series with a later discussion, analyze the limitations of science, methodologies, ethics, and social issues. And it goes without saying that many of the activities have a future-oriented look at the challenges that we face and how science can help us achieve them.

In short, five days to focus on the future, the challenges we face and participate in scientific thinking.

Here (web) and here (pdf) you’ll find the complete program.

 

Modernismo Vernacular y Reflexividad ante Hollywood. Una revisión historiográfica sobre el cine de los años treinta.

Ana Rodríguez-Granell participates with the paper “Modernismo Vernacular y Reflexividad ante Hollywood. Una revisión historiográfica sobre el cine de los años treinta” in L’Atalante. Revista de estudios cinematográficos, sección Puntos de Fuga, nº 27 (english version / versión en castellano)


For some decades the approaches of the New Film History have been concerned with redefining the history of cinema in a non-teleological way. In this way, they have destabilized categories of consecration of certain stylistic models such as the idea of modernity or classicism. In this article we are going to propose a revision of some cinematographies and peripheral films to Hollywood or to the framework of classicism – The great dildo (Velikiy uteshitel, Lev Kulechov, 1933); Pie in the Sky (NYKino, 1935) and The Crime of Mr. Lange (Le crime de M. Lange, Jean Renoir, 1936) – to see how, from practices close to the avant-garde, there are processes of assimilation of certain classical icons to the pair that, precisely for that appropriation, we attend to self-reflexive proposals. These practices of de-location of the classic in some films outside and even within Hollywood during the thirties propose historiographic and conceptual reconsiderations around notions such as modernity that we will explore here.

Subversiones artísticas en regímenes totalitarios (TECSED – Edicions UIB, 2019)

Ana-Rodríguez-Granell participates with the paper “Infraestructuras para la Revolución: tensiones entre arte, materialismo y tradición en la nueva política económica de la Unión Soviética” in the book Subversiones artísticas en regímenes totalitarios, a volume that presents an approach from different cultural, political and social contexts to the critical response articulated by different artists who work in neoliberal, dictatorial or socialist disciplinary systems.

 

 

“Lo familiar siniestro. Tecnologías de vigilancia para una intimidad compartida”

Pau Waelder publishes “Lo familiar siniestro. Tecnologías de vigilancia para una intimidad compartida”, at: Pedro Vicente and José Gómez-Isla (eds.), Álbum de familia y prácticas artísticas. Relecturas sobre autobiografía, intimidad y archivo. Osca: Diputación de Huesca – Universidad Internacional Menéndez Pelayo (UIMP), 2018, p.99-110.

This publication is the continuation of the book Album de familia. (Re) presentation, (re) creation and (in) materiality of the family photographs coedited in 2013 by La Oficina Ediciones and the Diputación de Huesca. Both publications are born from seminars organized by ViSiONA and UIMP between 2012 and 2016 within a theoretical framework in which the importance of family photography as a source of inspiration and reference for artistic and interdisciplinary research has been studied.

The texts included in this book are based on research on contemporary artistic creations that go beyond the formal and conceptual limits of the family album and that, from a critical and poetic point of view, subvert their dominant narratives to build new stories. In the same way, this publication analyzes the new social significance and current uses of the family album as the backbone of our identity -both individual and collective- and as a step from the private to the public.

Album of family and artistic practices. Re-readings on autobiography, intimacy and archiving are divided into three sections. The first deals with the theme of the album, biography and self-representation. In particular, it is analyzed how many of the stories constructed from the family album now become an aesthetic element that some contemporary creators have appropriated, both to represent themselves and to narrate their own version of the world.

In a second block the rereading of the album and the concept of intimacy in our current context is addressed due to the excess of public exposure to which we submit our domestic photographs and our private discourses. These essays reflect on the gradual dissolution of the differences between public and private. The intimacy, displayed without shame in personal photo albums through social networks, has now become pure extimacy.

A final block studies the inevitable parallelism between family album and archive. Erected both in memory repositories, their discursive logics propose construction methodologies that may differ from each other, but that also reflect the way in which we visualize both the social and the personal (as opposed mirrors), thus establishing concordances, connections and points of encounter between both logics.