[BADco. "Responsibility for Things Seen", 2011, photo: Dinko Rupčić] Symposium: Actionable Image: Agency of Image, Performance of Body, Apparatus of Spectating :: March 16-17, 2012 ::  Zagreb, Croatia :: Call for Participation - Deadline: February 10, 2012.

This symposium and its topic are a continuation of BADco.’s artistic interest to relate performance and image. More concretely, it was motivated by our most recent work Responsibility for Things Seen that was presented in 2011 within the Croatian participation at the Biennale di Venezia. The work required us, in the absence of performers in the six-months exhibition, to pursue the idea of ‘theater by other means’ and to custom develop a database video system that unfolds a particular nexus of body, image and technology. Continue reading

Eve Sussman and her collaborative team Rufus Corporation are touring their latest film project whiteonwhite: algorithmicnoir, to the Sundance Film Festival, Berlinale, and Site Santa Fe in January and February 2012. Continue reading

Blast Theory’s A Machine To See With at Edinburgh Fringe :: August 24-28, 2011; 2:00 - 7:00 pm daily :: St George’s West, 58 Shandwick Place, Edinburgh, United Kingdom.

Have you ever wanted to rob a bank? Blending secret missions and high adrenalin, you are in an interactive heist movie on the streets of the city, playing the lead.

A Machine To See With is a work for pedestrians and their mobile phones. On arrival at the venue, you enter your mobile phone number, then receive a phone call with instructions. A man’s voice leads you through the city and into a heist movie; you are the protagonist, as you move from hiding money to meeting up with a partner in crime and onwards to the bank, the tension rises. You must deal with a bank robbery and it’s aftermath. Continue reading

Surveillance Cinema: James Coupe :: August 11, 2011; 7:00 - 8:00 pm :: Henry Auditorium, University of Washington, 15th Ave NE and NE 41st Street, Seattle, WA.

In conjunction with the exhibition The Talent Show (through August 21), The Henry Art Gallery invites you to join artist James Coupe for a screening and discussion of the artist’s recent work with ’surveillance cinema’ in (re)collector, Surveillance Suite, and the web-based work Today, too, I experienced something… I hope to understand in a few days.

James Coupe is an artist whose work focuses on emergent systems, aesthetic machines, autonomy, and networks. Educated in Fine Art at the University of Edinburgh (Scotland) and Creative Technology at the University of Salford (England), his recent projects have included appropriative powerline networks, parasitical cellular phone agents, autonomous robot systems, self-organizing telephone call centres, and installations in which computers use spam to search for the meaning of the Internet. Continue reading

All The World’s A Screen — A live telematic performance by Charlotte Gould & Paul Sermon :: May 28, 2011; 4:00 - 6:00 pm (Manchester) + 5:00 - 7:00 pm (Barcelona) :: MadLab, 36-40 Edge Street, Manchester, M4 1HN + Hangar.org, Poblenou, Barcelona.

Audiences in Manchester and Barcelona will be joined together on screen for the first time to create their own interactive generative cinema experience complete with sets, costumes and props. Employing the scenographic techniques of Alfred Hitchcock the artists have created a miniature film set in which the audience can act and direct their own movie, transporting participants into animated environments and sets where they will create their own unique narrative. Continue reading

[Image: Ho Tzu Nyen, "Earth," 2009/2010. Single channel projection, 42 min.] Ho Tzu Nyen: Earth :: until February 20, 2011 :: with Live Sound Score Performances by Oren Ambarchi: January 24-25; 7:30 pm :: Artspace, Sydney, 43–51 Cowper Wharf Road, Woolloomooloo, NSW 2011, Sydney, Australia.

Singaporean artist and filmmaker Ho Tzu Nyen creates works that are fields of concrete sensations. In association with Sydney Festival 2011, Artspace presents the first major exhibition of his work in Sydney, including two live sound score performances by Melbourne-based composer and musician Oren Ambarchi accompanying screenings of the title work. Continue reading

Live Cinema/In the Round: Contemporary Art from the East Mediterranean :: September 17, 2010 – February 6, 2011 :: Philadelphia Museum of Art, 26th Street and the Benjamin Franklin Parkway, Philadelphia, PA.

Live Cinema/In the Round features the works of Ziad Antar, Inci Eviner, Hassan Khan, Gülsün Karamustafa, Maha Maamoun, and Christodoulos Panayiotou, artists from the East Mediterranean region who explore how cinema informs representations of reality through videos, installation and performance works. The title, In the Round takes its cue from theater-in-the-round, in which the audience surrounds the stage, allowing a more intimate experience for the viewer and a more realistic performance from the actors. Continue reading

Continue reading

Magic Acts — Angie Eng, Okkyung Lee and Satoshi Takeishi :: May 28, 2009; 8:00 - 9:00 pm :: Issue Project Room (Old American Can Factory), 232 3rd Street, 3rd Floor, South Brooklyn, NY

Live video artist, Angie Eng, revives cinepoetry with miniature cameras, object manipulation and a light table with cellist Okkyung Lee and percussionist Satoshi Takeishi. A garden of digital improvisational delights, a cross between music for silent film, a surrealist appetizer and a magic act.

“The fundamental difference between cinema and video lies in their respective treatment of time. Video is real time. The video artist can relate more to happenings, chance operations, action theatre which made efforts to demolish boundaries between art forms and practices. Continue reading

Ear Cinema is a collaborative multi-disciplinary installation/ performance piece incorporating animation and film footage, sound diffusion techniques (namely ambisonics) and live performance. We align the project with the ‘Expanded Cinema’ movement, a film and video practice which activates the live context of watching, transforming cinema’s historical and cultural ‘architectures of reception’ into sites of immersive experience that are heterogeneous, performative and non-determined. We have brought some of these concepts up-to-date and include cutting edge technology to combine with contemporary practices within sound art and live-performance to deliver a story in an entirely new way. Continue reading