Tag Archives: Exhibition

FEEDBACK

March 13, 2008

FEEDBACK

feedback_arrows_logo
The title for FEEDBACK, an exhibition conceived and curated by Eyebeam’s Sustainability Research Group, refers to the self-correcting mechanisms by which systems—in this case, ecological—respond to the influence they exert on their environments.

Numerous projects in the exhibition addressed energy consumption, production and harvesting: A visitor entered the exhibition through Fluxxlab’s Revolution Door, a modified revolving door that harnesses and redistributes human energy. Mouna Andraos’ The Power Cart is a mobile unit that delivers alternative power to people on the street, and Jeff Feddersen’s installation The Off-Grid Outlet is a solar-powered AC outlet and 12V DC power port destined for the Brooklyn restaurant Cafe Habana. Building on existing urban infrastructure, Andrea Polli’s Queensbridge Wind Power Project investigates how clean, renewable wind power might be integrated into the landmark architecture of the Queensboro Bridge.

FEEDBACK also featured the winners of the Eco-Vis Challenge, a two-part juried design competition to raise environmental awareness through creative data visualization projects.

A series of short video-documentaries by Jason Jones of the Brooklyn artists’ collective Not An Alternative, commissioned especially for FEEDBACK, documents the making of each of the displayed projects, providing insight into the creative process. These videos were screened in the main gallery, and are  available on Eyebeam’s website.

FEEDBACK

Curators: Amanda McDonald Crowley, Liz Slagus, Paul Amitai, in collaboration with Eyebeam’s Sustainabilty Research Group
Exhibition designers: Fluxxlab
Videographer: Jason Jones, Not An Alternative

Project and artist websites:
Andrea Polli, The Queensbridge Wind Power Project
Annina Rüst, eRiceCooker
Brooke Singer, Superfund365
Eve Mosher, HighWaterLine
Fluxxlab (Jennifer Broutin and Carmen Trudell), Revolution Door
Forays (Geraldine Juárez and Adam Bobbette) Edible Excess
Green Map® System, Green Map® Icons
Leah Gauthier, Sow-In
Michael Mandiberg, The Real Costs
Mouna Andraos, The Power Cart
Preemptive Media, Area’s Immediate Reading (AIR)
Rebecca Bray and Britta Riley, DrinkPeeDrinkPeeDrinkPee
Roger Marvel Architects, Govenors Island Project
The Living (David Benjamin and Soo-in Yang), Living City
The Studio for Urban Projects, Strange Weather
Timm Kekeritz, VirtualWater and WaterFootprint
Fred Beneson, CommitteeCaller
Natalie Jeremijenko, The Environmental Health Clinic
Sustainable South Bronx
SolarOne
Not an Alternative

Feedback Press Release: PRFeedback030408FINAL.

Video interview with Amanda McDonald Crowley about FEEDBACK workshops

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Interference

September 27, 2007

Interference

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part of the Eyebeam 10 Year Retrospective

Artists : Forays | Angie Eng | Jill Magid | Carrie Dashow | Jesse Pearlman Karlsberg | Trevor Paglen | neuroTransmitter | Robert Ransick | Yury Gitman | Carlos J. Gómez de Llarena | IAA | Graffiti Research Lab | Caspar Stracke | Eyebeam R&D Lab | Michael Frumin | Jonah Peretti

Interference was the second exhibition celebrating 10 years of Eyebeam support for artists experimenting with new technologies. Employing a diverse array of media and strategies, which includes data visualization, performance, community engagement and public intervention, the artists and collectives featured in Interference probe ideas of access and autonomy.

From the very public, but deliberately obscured, satellite surveillance data recorded in Paglen and IAA’s work tracking CIA aircraft, to the intimacy of Magid’s collaboration with a local NYC police officer; from Forays’ engagement with local community gardeners, to GRL, Gómez de Llarena and Gitman’s tools for communication in public space, the projects in Interference ask us to seriously consider concepts of communal space in an increasingly privatized public sphere.

-Amanda McDonald Crowley, Executive Director, Eyebeam

Interference public workshops and events.

Curators: Amanda McDonald Crowley, Liz Slagus, Paul Amitai
Exhibition Design: David Benjamin, Soo-in Yang
Technical Design + Installation: Emma Lloyd, Marko Tandefelt, Paul Amitai, Bryan Mesenbourg, Matt White, Jason Jones, Kory Hellebust, Dave McDermott, Jamie O’Shea, Craig Montoro, Jon Cohrs, Benjamin Leduc-Mills
Graphic Design + Marketing: Rebecca Cittadini
PR + Media Relations: Joanna Raczkiewicz

Download Press Release: PR_Interference_91607.

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Place Ground Practice

November 1, 2005

Place, Ground, Practice.

St Paul Street Gallery, Auckland, New Zealand, December 1- 22, 2005 Gallery One
An Exhibition coinciding with the Cultural Futures conference.

Artists:
Bandung Centre for New media (Indonesia),
Lisa Reihana ( Aotearoa New Zealand),
Rachael Rakena (Kai Tahu/Ngā Puhi/Aotearoa New Zealand),
Sarai Media Lab (Delhi, India),
Sriwhana Spong (Aotearoa New Zealand)
Co-curated by Amanda McDonald Crowley and Nova Paul

Sriwhana Spong NightFall, 2002 Bandung Centre for New Media Gustaff H. Iskandar Bandung Centre for New Media Gustaff H. Iskandar Lisa Reihana Colour of Sin: HeadCase Version, 2005 Rachael Rakena Mihi Aroha, 2002 Sarai Media Lab The Network of No_des, 2004 Sarai Media Lab The Network of No_des, 2004

View exhibition web site and description of works at St Paul Street Gallery, or download pdf file here place-ground-practice.

Place, Ground and Practice

The exhibition Place, Ground, Practice has been developed to coincide with the symposium Cultural Futures, and includes a range of work from artists participating in the event that reflects upon the discussions and dialogue Cultural Futures interrogates. The exhibition, like the conference, responds to important transformations that have reconfigured opportunities for arts and media practice in the Asia and Pacific regions in recent times.

The phenomenal increase in access to information and communication technologies internationally over the last two decades, and more recently across the Asia Pacific, has in some localities led to new media practices becoming well established and recognised as part of the art world. In other places these practices have yet to carve out their own cultural space. The artists included in this exhibition create technologically assisted spaces for storytelling. Some stories are deeply personal, some are political, all are culturally specific to the places where the stories originated, yet each resonates with the technologically mediated times in which we find ourselves.

The emergence of a so called ‘new media’ environment has exponentially increased the engagement of artists from these regions with the rest of the world. At the same time, it could be said that if there is a ‘new’ element in new media practice, it is perhaps a return to an art embedded in culture, using contemporary tools and investigating their impact on society. Each of the artists and artists’ groups in this exhibition make work that engages with and critiques the impact of technological development on contemporary cultural practice.

Artists around the world are engaged in a critical discussion on urban futures and technologically mediated moments, discussions that are infused by complex sociological and political debates. This exhibition includes the work of artists from New Zealand, Indonesia and India whose work is informed by these global conversations. That the artists also look inward and across the region for inspiration reflects a growing recognition that the Asia Pacific contains distinctive cultural concerns that are common to its members and that cultural value is not centered in Europe or North America.

This exhibition extends and fosters the understanding of New Zealand’s unique position in the Asia Pacific region through and in relation to new media and art practices. The works encompass an exploration of the spiritual, ethical and technological challenges that face us in the 21st Century. The artists variously ask us to explore spaces suffused with possibilities for engaging with a technologically mediated present, but inevitably caught up in the varied and complex pasts of various places close to home.

Amanda McDonald Crowley, November 2005

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conVerge: where art + science meet

February 1, 2002

conVerge: where art + science meet

converge
ConVerge was a project developed by the Art Gallery of South Australia and the Adelaide Festival 2002 that explored the nexus between art, science and technology and its creative expression and asks “what happens at these points of intersection?”

The project comprised:

2002 Adelaide Biennial of Australian Art – conVerge: where art and science meet, an exhibition which profiled a selection of work from Australian artists working with these themes in an exhibition at the Art Gallery of South Australia.

conVerge symposium: an opportunity to share ideas (at the Adelaide Festival 2002 and online) where opinions were expressedon: Image and Meaning, Knowledge Systems, Ecology, Genomics, Bioeconomics and Partnerships.

conVerge archive: a space for documenting projects, stimulating discussion and archiving conversations, email dialogues, hypotheticals, unrealisable projects, online discussions and forums.

Exhibiting artists: Oron Catts and Ionat Zurr, Justine Cooper, Rebecca Cummins, Adam Donovan, Fiona Hall, Jason Hampton, Nigel Helyer, Joyce Hinterding, Jon McCormack, Mangkaja artists, Patricia Piccinini, Lynne Sanderson, Mari Velonaki, Martin Walch.

conVerge curatorial working group comprised: Linda Cooper and Amanda McDonald Crowley, co-chairs. Jenny Fraser, Victoria Lynn, Karl Telfer, Sarah Thomas, Lynette Wallworth, Angharad Wynne-Jones.

Oron Catts & Ionat Zurr, Pig Wings, 2002

Oron Catts & Ionat Zurr, Pig Wings, 2002

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resistant media: Perspecta99

June 1, 1999

resistant media

screenshot, resistant media

screenshot, resistant media

resistant media: Perspecta99 was a web exhibition and listserv developed for Perspecta99: Living Here Now, Art and Politics.

Artists: Francesca da Rimini/ Doll Yoko, Scot Art/ System X, Melinda Rackham, Josephine Starrs, Rick Vermey, Andrew Garton, Sam de Silva/ Antimedia.

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Body of Information

October 29, 1997

Body of Information

Lynne Sanderson, video still, Primal Debug

Lynne Sanderson, video still, Primal Debug

Australian video and interactive work in Canada

In October 1997, while Director of the Australian Network for Art and Technology (ANAT), I was invited to present a program of Australian video and new media artworks at Gallery Connexion in Fredericton, New Brunswick, Canada. New Brunswick had been touted as a great centre for new technologies, evidenced by the fact that former Premier, Frank McKenna has been able to lure so many important players in this industry to the province. The general feeling in the arts, however, was that they have been left behind on the so called information highway.

Body Of Information is a selection of work which interrogates a range of issues faced by Australian artists; exploring identity, critiquing the de-centred subject, interrogating heritage, tearing up conventional notions of interface design and colonising the information body of digital media. The program provided an insight into Australian digital and screen arts practices at a time when artists are questioning the impact of information technologies on local identity and the body: texually, culturally, politically and in flesh-form.

From October 29 to November 4 1997, I was in residence at Gallery Connexion and screened a selection of videos that focused on the diverse practices of Australian video artists.

She also presented a seminar on Art and New Technologies, during which she showed work by artists who use the internet and CDROM technologies. Talks were presented at the University of New Brunswick and the New Brunswick College of Craft and Design, Fredericton. Amanda also presented work at Gallerie Sans Nom in Moncton on November l. On November 7 Amanda presented work at the Kingston Artists Association Inc. in Kingston, Ontario. Her visit to Kingston was assisted by Algonquin Travel. The project was supported by the Canada Council.

Body of Information program

“One could initially feel that the development of a “global village” would primarily reduce a sense of personal location, but in fact it may empower us to operate on a local level, enabling us to consider the global while remaining physically stuck in the local (and sometimes confused by that fact).” Mindvirus 3.7

Ian Haig – Astroturf
Lynne Sanderson – primal debug
Moira Corby – My memory your past
Francesca da Rimini & Josephine Starrs – White
Derek Kreckler – Decoy
Alyson Bell – Here I Sit
John Tonkin – Man Ascending
Ian Andrews – Programme
Gordon Bennett – Performance with Object for the Expiation of Guilt (Violence and Grief Remix)

CDROM works
Brad Miller & McKenzie Wark – planet of noise
Linda Dement – Cyberflesh Girlmonster
Josephine Starrs & Leon Cmeilewski – User Unfriendly Interface
Mindflux – Mindvirus 3.7

 

Primal Debug … animated video 1997
http://vimeo.com/vjsustenance

Dong_La International Festival, 1999

In May 1999 ANAT was invited to present the video component of the Body of Information program at the DongA-LC International Festival of Comics & Animation (DIFECA) in Soeul, Korea. Given ANAT’s focus on exploring possibilities for collaboration and exchange in our geographic region, we were very excited by this opportunity. The video program was presented three times a day for two days during the Festival.

Body of Information was developed for presentation at the Gallery Connexion in New Brunswick, Canada in November 1997, and the Australian Embassy in Seoul, in consultation with the DIFECA, approached ANAT to re-present the work in a Korean context.

 

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