Tracing Mobility – Cartography and Migration in Networked Space @ transmediale, Neu Bar, Greifswalder Str. 218, Berlin :: January 30 — Call for Ideas.

Following events in the UK, Warsaw and the Croatian coast in 2010, Trampoline will present the exhibition, Tracing Mobility – Cartography and Migration in Networked Space, at the Haus der Kulturen der Welt in November 2011, alongside an open platform of ideas. The opportunity starts now. On January 30th, during Transmediale’s ‘DAS Weekend’, we invite you to pitch your idea in an informal manner over a drink at Neu Bar. The ‘pitch’ can take the form of a presentation, performance or simply a chat with us. Get in touch with us asap to book a slot or to request further information. Continue reading

The Precession by Mark Jeffery and Judd Morrissey — An 80 Foot Long Internet Art Performance Poem :: until March 20, 2011 :: Events: Goat Island Dance Film Screening and Talk: February 22; 6:00 – 8:00 pm :: Performances: March 4 & 5, 7:30 pm; March 6, 6:30 pm :: The Jackman Goldwasser Catwalk Gallery, Hyde Park Art Center, 5020 S. Cornell, Chicago, IL.

Inspired by history, astronomy and new media sources, The Precession combines digital images, text and performance art into a monumental exploration of labor and the night sky. The concept was developed after the artists visited the Hoover Dam and saw the Oskar J.W. Hansen sculpture, ‘The Winged Figures of the Republic’ and the celestial floor map that is a part of the public art work. Continue reading

The Real Real Thing: Wendy Steiner in Conversation :: February 3, 2011; 6:30 pm :: Slought Foundation, 4017 Walnut Street, Philadelphia PA.

Our culture is fixated on the pose, the state of existing simultaneously as artifice and the real thing. In this reading and conversation, Penn literary scholar Wendy Steiner discusses her latest book, The Real Real Thing: The Model in the Mirror of Art. Joining Steiner in conversation are Jeffrey E. Green, Jim English, and Jean-Michel Rabaté. A book signing will follow.

Why do so many contemporary visual artists use models — often themselves — when for much of the twentieth-century, explicitly model-based representation was relatively uncommon? What is a model, and what role do models play in the creative process? Continue reading

Populations of insect pollinators such as bees, butterflies and moths and the plants on which they depend, are declining at alarming rates due to deleterious human activity. These symbiotic relationships must be protected. Through interdisciplinary collaboration with entomologists, botanists, microscopists, surface pattern technologists and print and coating engineers, artist Karen Ingham is creating a prototype range of clothing that will, through public engagement with art and science, raise greater awareness of these important issues.

The Pollinator Frocks Project is a limited edition collection of clothing based on scanning electron microscopy images of plant pollen grains linked to endangered pollinators. These digitally enhanced images form the basis for a range of striking and unusual printed fabrics, which act as ‘wearable gardens’. The fabrics will be treated with pollinator food sources that replicate nectar, which will be specially coated onto the fabric prior to cut and assemble as ‘pollinator frocks’ (loose fitting unisex clothing). Continue reading

somatic SENSOR :: January 21-22, 2011; 8:30 pm :: Highways Performance Space, 18th Street Arts Center, 165118th Street; Santa Monica, CA + Attend in Second Life.

Highways Performance Space Artistic Director Leo Garcia presents somatic SENSOR, curated by Micha Cárdenas, Elle Mehrmand, and Dino Dinco. Emerging out of queer experience, the works in somatic SENSOR move along lines of flight exploring desire, technology, the erotic and the viral. Rejecting control society to find new forms of relationality, somatic SENSOR includes performances, digital and networked media, drawing and soft sculpture to open borders between realities and bodies. Continue reading

(French version below) After a year of preparation, 2011: The Waterwheel starts turning! Welcome! Be a part of this new online collaborative space without borders: from teachers to students, performers to scientists, producers, programmers, curators, visual artists, composers, activists and everyone in between. All ages welcome!

The upcoming Waterwheel project revolves around water as a topic and metaphor – what you want to share, say, or debate about this fundamental element. It includes:

• The Waterwheel – an interactive website
• The Tap – an online performance & collaborative venue
• Fountains – outcomes that well up from the project

The Waterwheel interactive website will give you the power to collaborate, explore ideas, research and gather feedback by uploading and sharing media about water: images, video, music, text or sound. Continue reading

[image: etay by jhave] January on -empyre- soft-skinned space: Contesting the Netopticon — Moderated by Simon Biggs (UK/Australia) with invited discussants Joseph Delappe, Marc Garrett, Davin Heckman, Patrick Lichty, Heidi May, Christina Spiesel and Jon Thomson & Alison Craighead :: Simon Biggs wrote:

Jeremy Bentham (1748-1832) described an apparatus he termed the Panopticon, intended to condition the behaviour of subjects by disallowing them knowledge of whether they were being observed or not, causing them to fear they were. The space Bentham sought to control was the prison, seeking to replace capital punishment with a penal system focused on rehabilitation. Janet Semple’s study (Semple) evidences Bentham’s correspondence, suggesting an intent to establish for-profit penal institutions based on his Panoptic model. Continue reading

[Image: Athi-Patra Ruga, “Miss Congo,” 2007. Video still] Alterating Conditions: Performing Performance Art in South Africa :: until February 15, 2011 :: GoetheonMain, 264 Fox Street, City & Suburban + Bag Factory Artists’ Studios, 10 Mahlatini Street, Fordsburg, Johannesburg, South Africa.

When Brian O’Doherty first published his famous essay Notes on the Gallery Space in 1976, he provocatively questioned the gallery space and system. Already one year earlier, RoseLee Goldberg had argued that the emerging arts practices at that time, as conceptual art or performance art, amongst others, negotiate space radically differently. 30 years later, Goldberg resumes that performance art today has, finally, become interesting for museums, but is still overlooked or rather presented as part of an event-like side programme of biennials or art fairs. Goldberg rather suggests to reflect how to give performance a specific time and space. Continue reading