East of Borneo: A Collaborative Art Journal and Multimedia Archive edited by Thomas Lawson:

The launch of East of Borneo marks the convergence of two very distinct lines of thought. What is the nature, and the future, of art magazines? And how might we give form to the sprawling history of art in Los Angeles, a form that can be generative and productive, not merely descriptive or fancifully speculative?

Launched in October 2010, East of Borneo is a collaborative online art journal and multimedia archive that offers a new way to research and present the various histories of contemporary art. Its hybrid form — which publishes newly commissioned art writing within a larger context of user generated material — reflects an editorial process of thinking through the delights and constraints of printed magazines, and fully considering the transcendent possibilities of online publishing today. Continue reading

[Image: Navroze Contractor, "Street sweeper in Jodhpur," 2009. Photograph, dimensions variable] Raising Dust: Encounters in Relational Geography :: December 8, 2010 – February 20, 2011 :: Calvert 22, 22 Calvert Avenue, London E2 7JP.

Curated by Richard Appignanesi, writer, theorist and editor Raising Dust is a provocative multimedia exhibition which explores contemporary notions of identity and relativity by inviting a group of predominantly Eastern European artists to respond to the poetry and politics of place.

Arguably, the very idea of Europe is in itself a dislocation, a ‘nomadic horizon’ which responds differently to the shifting perspectives and desires of its inhabitants. Each artist in Raising Dust has contributed work which addresses this proposition and foregrounds the urgency of creating an autonomous ’space for life’ that overrides dominant mainstream distinctions. Continue reading

MMC LUKA presents Cinemaniac 2010: The InVisible MAFAF — Curated by Branka Bencic :: July 18 - August 6, 2010 :: Gallery Anex and Gallery Luka (MMC LUKA), Istarska 30, 52100 Pula, Croatia.

Cinemaniac - established in 2002 as the support programme at the Pula Film Festival in order to present innovative events in art and cinema, thus creating a new social space to introduce recent achievements in the fields of experimental video and filmmaking, and multimedia installations. Within such practices, contemporary art reveals itself as both a kind of parallel history and a signpost to possible futures for avantgarde and experimental filmmaking – as well as a space where the depths of possibility are plumbed, borders argued, and the language of film image – and, crucially, new cinema forms – investigated. Continue reading

NJP Reader #1: Contributions to an Artistic Anthropology:

The Nam June Paik Center is dedicated to the artistic and intellectual legacy of Nam June Paik, the renowned Korean-born artist who transformed visual art worldwide. In addition to its function as an exhibition space, the Nam June Paik Art Center developed a new publication, NJP Reader. The aim of the NJP Reader is to recontextualize Nam June Paik’s artistic thought and his ‘random access’ strategies in a topical discursive practice. Leading questions are: What is the meaning of Nam June Paik’s multi-medial experiments, performances, and sculpture for our current artistic practice and discourse? What new dimensions for re-imagining notions of technology, ubiquity, and human experience do Nam June Paik’s thinking and practice suggest? How does his practice potentiate paradigm shifts in broader understandings of the potentialities and characteristics of alternative processes of participation afforded by the introduction of media technology into artistic practice? Continue reading

A Special Issue of New Review of Hypermedia and Multimedia: Exploring Produsage :: Call for Papers — Deadline: July 16, 2010.

The concept of produsage points to the shift away from conventional producer/consumer relationships, and highlights the more fluid roles of users and contributors within social media environments. Participants in open source projects, in Wikipedia, in YouTube and Second Life are no longer merely consuming or using preproduced material, but neither are they at all times acting as fully self-determined producers of fully formed new works; rather, they occupy a hybrid position as produsers of content.

Produsage processes are now evident across a wide range of activities — mainly online, but increasingly also extending to the offline world — from citizen journalism and communal knowledge management through to collaborative artistic activities, from learner-led education models to citizen engagement in political processes. Continue reading

Rencontres Internationales Paris/Berlin/Madrid :: November 25 - December 4, 2010 :: Centre Pompidou, Paris :: 2011 ::Madrid and Berlin :: Film. Video. Multimedia Call for Entries — Deadline: July 10, 2010.

The Rencontres Internationales offers more than a simple presentation of the works. It introduces an intercultural forum gathering various guests from all over the world - artists and filmmakers, institutions and emerging organizations - to testify to their reflections and their experiences, but also to artistic and cultural contexts that are often undergoing deep changes.

The Rencontres Internationales reflects specificities and convergences of artistic practices between new cinema and contemporary art, explores emerging media art practices and their critical purposes, and makes possible a necessary time when points of view meet and are exchanged. Continue reading

7th International Multimedia Art Meetings: RIAM 2010 - Low-Tech :: February 25 - March 6, 2010 :: Marseilles, France.

Nowadays, artistic events devoted to connections between art and technology are facing a paradox: how to stand back from technological glorifications, in a consumerist world constantly saturated by new gadgets? RIAM (International Multimedia Art Meetings) have always focused on analyzing and criticizing the technology’s role and the artists way of appropriate and embezzled it. Even if technology have transformed our everyday life in a distinct way, RIAM’s programming has never been blindly rushed into enthusiasm for new technological feats. It seems evident to us that media and technical evolution have radically transformed our way of organizing, interpreting and understanding the world. Continue reading

International Conference on Information Visualization iV and Computer Graphics, Image and Vision (CGIV) Symposium on Digital Art, and Online Gallery D-ART 2010 :: July 26-29, 2010 :: LSBU, London, UK :: Call for Papers, Videos and Participation — Deadline: February 1, 2010.

SYMPOSIA: Authors are invited to send their extended abstract or the full paper to the chairperson of symposium. Papers presenting original research with the theme of ‘DIGITAL ART’ are being sought. Suggested topics include (but are not limited to):

• Preparing artists to learn programming, preparing programmers to learn aesthetics
• Interrelationship between disciplines. Continue reading
  
  

Residency Program for Web Art Production :: CALL FOR PROJECTS - SUBMISSION DEADLINE : JANUARY 15, 2010.

For over 10 years Agence TOPO has created and produced web art works with artists from diverse horizons whose practices and contents lend themselves to multimedia writing. Over the course of the year 2010, Agence TOPO will produce a set of web projects that incorporate a performative aspect and which explore the links between the screen and the off-screen: poetry readings and interpretations, participative performances, interactive arrangements/devices, etc. These projects are a follow-up in the series Sortir de l’écran/Spoken Screen, begun in 2007 with Laboratoire NT2 of the Université du Québec à Montréal. Continue reading

In the Beginning: Artists Respond to Genesis with Shirley Shor, Alan Berliner, Mierle Laderman Ukeles, Matthew Ritchie and Ben Rubin :: November 22, 2009 - February 28, 2010 :: Yeshiva University Museum at the Center for Jewish History, 15 West 16th Street, NYC.

Shirley Shor uses computer technology to create vibrantly colored digital worlds that are both mesmerizing and powerful. Often integrating these animations into sculptural environments, Shor provides a context and narrative to her computer-generated patterns. In The Well, Shor considers how biblical language manifests itself in everyday language — the casual and personal writing that is ubiquitous on the Web. In the center of the room is a watering well—the social meeting place in biblical stories, and a metaphor for the network of online communities and information exchange in contemporary times. Continue reading